Latest revision as of 15:10, 7 August 2011

Mail suggestions and corrections here.

GENERAL

How to keep your knowledge up-to-date

Keep an eye on these sources for information.

If you subscribe to this forum thread, you’ll receive notifications of important news like the release of new firmware.

How to get started quickly (for new users)

Use this checklist to quickly set up your unit for the first time. A lot of stuff is explained more in detail in separate How-Tos.

Connect it to an amplifier or mixing table. Use Output1. If you’re using a guitar combo or head, connect Output1 to the Return of the amp’s effects loop and make sure to switch on that loop.
If you bought it secondhand, reset the system (Utility menu)
Plug your guitar in the front input. Select “Analog Front” (I/O > Mode).
If you’re using your computer, home stereo, full-range monitor or mixer with headphones, verify that Cabinet simulation and Power amp simulation are on (Global > Config).
If you’re using a guitar amplifier or a power amp with a separate cabinet, switch off Cabinet simulation. Power amp simulation can be on or off (whatever sounds better).
If the amplification device is stereo and you're using the left and right outputs, set Output1 to “Stereo” (I/O > Audio). If it’s mono, set it to “Copy L>R” (for now).
Use the Input1 knob at the front to turn up the input level. The red input level LED should blink occasionally ("tickle the red") when hitting the strings hard.
Use the Output1 knob at the front to turn up the main output level.
Make sure the unit isn’t set to Bypass (Bypass LED should not blink).
Select a factory preset and make some noise.

Once you've gotten a feel for what you like from the factory presets, you can start to build your own sounds. You'll probably be overwhelmed with all the choices you have. Start by playing around with the key effect blocks: Amp and Cab. These blocks are your foundation and are the most important things to understand and get a grip on first.

How to make sure it is set up correctly (gig checklist)

Use this list to verify everything is set up correctly for the gig.

Check the volume level and EQ controls on the amplifying device
Check the cabling between the unit and the amplifier (Output1 and if applicable Output2)
Verify the input source, probably “Analog Front” (I/O > Mode)
Check the audio output mode: mono or stereo (I/O > Audio)
If applicable: check the output mode for monitoring (I/O > Audio)
Check the global settings for Cabinet simulation, Power amp simulation and Spillover (Global > Config)
Check the global EQ and level settings (Global > Out1 / Out2)
When using user cab slots: make sure the correct IRs have been uploaded
Adjust the input and output levels using the front knobs
Verify that the MIDI foot controller, pedals and switches are operational
Verify that it is not in Bypass or Tuner mode
Perform a soundcheck

How to try the factory presets

The unit comes with a lot of factory. Some people like them, some hate them, some think they are useless and delete them, some use them to build their own presets upon.

There are no separate locations for factory presets and user presets on the Ultra; if you want to save your own presets on the Ultra, you have to overwrite factory presets (you can’t delete a preset, you must overwrite one). No worries, you can always reload the factory presets, they are available online.

Cliff: "The presets were created using studio monitors. Event 20/20 to be exact. They're very neutral. Guitars were a strat copy and a PRS." And: "The presets are meant as demonstrations of the capabilities. Also they are designed to evoke the "wow" response. As such they tend to be overprocessed. Think of them as a starting point."

Notes:

If possible, use a stereo system to try the factory presets. It makes a lot of difference
Preset output levels vary from preset to preset
Presets are not been optimized for the latest firmware. And amp sims and effects that were introduced in recent firmware upgrades do not appear in factory presets yet
Some presets include a noise gate, set to a threshold that may not work well with your guitar. Turn the threshold to zero to switch the gate off (Layout > Gate)
Some presets contain an ENH block (Stereo Enhancer) which is for stereo use only. If you're running in mono and audio output is set to “Sum L+R”, this effect will make the tone hollow, thin and glassy ("phase cancellation")
Some presets include a Delay block with Phase Rev (Advanced page of the Delay block) switched on. This is a stereo-only feature. If you're running in mono and audio output mode is set to “Sum L+R”, you may not hear any delay trails because of phase cancellation. Example; the 2290 factory presets. Switch off Phase Rev or select output mode “Copy L>R” instead
When using output mode "Copy L>R" you'll lose signals that are hardwired to the right channel, such as the right channel of the Ping-Pong delay.

How to find the right factory preset

The Wiki contains lists of all factory preset names. These are probably outdated.

I categorized the factory presets I found interesting. Not all lof them. My list lets you find a specific preset quickly: LIST

How to view and hear the Axe-Fx in action

There are lots of YouTube Axe-Fx videos. A selection of ones that I found particularly interesting (including demos and tutorials) can be found at the bottom of this page. The Fractal Audio website also contains video and audio clips.

How to mount it in a rack or rackbag

The Axe-Fx is a 19” 2HE device. It can easily be mounted in a rack or rackbag. If necessary combined with a racked power amp and/or power conditioner. You can put the rack or bag on a stand. Example 1 Example 2

AMPLIFICATION AND I/O

How to switch it on and off

Use the front panel knob to switch the unit on or off. Or disconnect the power. As often as you want, it doesn't hurt.

Just remember to store your preset changes first, it saves all other changes automatically.

How to get sound (basics)

First read the topics above.

You can use XLR or 1/4" jack cables. Both kind of outputs use line level signal.

For a balanced XLR connection use Output1. A balanced signal provides +6dB more level than unbalanced, supports long distances better and enables you to use the ground lift switch at the rear to fight ground loop hum.
For an unbalanced connection use the 1/4" Output1 jack(s). It'll be a little less loud than the XLRs. You can also use Output2, explained later.
The balanced and unbalanced Output1 connections can be used simultaneously to feed multiple targets.

You DO NOT NEED a DI-box to connect the unit to a P.A., as long as you make sure that it is connected to a LINE level input on the mixer. This is often neglected! The output signal, balancedor unbalanced, is too hot for a Mic level input.

If there are only MIC inputs available on the mixer, do one of these things:

Use a DI-box. It turns line level signal into mic level and converts unbalanced into balanced. Use a stereo DI when using two outputs.
Use the pad switch on the mixer, to attenuate the incoming signal and prevent clipping.
Decrease the output level coming from the Axe-Fx, f.e. using the Global EQ level and/or Output knob at the front.

More info

Cliff: "The XLR output is balanced but it's +4 dBu nominal. The problem is people connect it to a mic input which is way too sensitive for that level signal. If the board has a mic/line switch you want to set it to line level. Or if it has a pad switch turn that on. Otherwise turn the level knob way down. The thing to remember is that XLR is just a connector. It doesn't imply microphone levels. Most pro stuff like eq's, etc. have line-level XLR's."

Notes:

The Output1 knob controls the main signal. If you have your a separate monitor, you can supply a separate feed from Output2, see separate topic.
Cliff: "Phantom power (on the mixer input) wouldn't be a problem. There are blocking caps in there for that."
When nothing is connected to the front or rear inputs, there may be some hiss, that's normal.

Troubleshooting signal problems:

Verify that the Axe-Fx isn’t set to Bypass
Check the position of the Input and Output knobs at the front
Check the amplifier level
Check the cabling to/from the Axe-Fx
Verify the settings in the I/O menu
Verify that Input is connected to Outputon the grid
Verify that bypassed effect blocks don't have their Bypass mode set to complete Mute
If the presets uses an external modifier, verify that it's not muted
Check the input source of the Amp block and match with the I/O settings
Verify that the Cabinet block isn't set to an empty user cab slot
If the tone is glassy, thin, and hollow, etc., or if there should be delay trails but you can’t hear them, it may be due to phase cancellation. See the topic about mono/stereo operation
If the output signal is “choppy”, a noise gate could be the culprit. Adjust its threshold or turn it to zero to disable (Layout > Gate; the Ultra may have additional Gate blocks
Check your guitar cable, the battery in your guitar with active electronics, etc.

How to use it with a FR monitor

This is important: the output signal of the Axe-Fx - when using Cabinet simulation - is not the same as the tone you're used to from a regular guitar cabinet. The Axe-Fx models the tone of a recorded (= close-mic'd) guitar. The frequency spectrum of the output signal is much broader: 20Hz to 20kHz, aka full-range. A guitar cabinet covers just a part of that range, shaving off high and low frequencies.

So if you are using amplification such as a home stereo, mixing table, studio monitors etc., you'll hear more extreme frequencies. And you may not always like it at first.

For personal monitoring purposes there are FR(FR) solutions: Full Range Flat Response (FRFR) or just Full Range (FR). These kind of monitors are designed to amplify the source signal in its full glory. In other words: what goes in goes out without much tone coloring. Tone shaping is left entirely to the input device, in this case: the Axe-Fx. FR(FR) monitors can be active/powered (including a power amplifier) or passive (just a full range cabinet) and often consist of a speaker and a tweeter, separate of coaxical. Advantages are portability, no tone coloring, stage volume, consistent tone at all volume levels and environments, ability to work with different cab sims, same tone at gigs as in the studio etc. Here are a couple of informative threads:

To set up the Axe-Fx for FR-amplification:

Connect the Axe-Fx to the FRFR monitor
Switch on Cabinet simulation (Global > Config)
Switch on Power amp simulation (Global > Config)
Presets must contain a Cabinet block (Layout) and the SAG parameter in AMP blocks should be set to something else than zero
Select the correct audio output settings for mono or stereo use (I/O > Audio)

Cab simulation is not required (but still possible) when using an acoustic instrument with the Axe-Fx.

And remember this: you DO NOT NEED to put a microphone in front of the FR monitor! That wouldn't make any sense. The Axe-Fx already provides adequate speaker and mic simulation. Just run a line from Output1 or Output2 to the mixing table (LINE input).

Fractal Audio has its own FR amplifier range with various models. A StandBack or something like this is handy if you want to use the cab as a personal monitor. Or you can put the cab on its side to be able to hear it better (the power amp should be at the top).

NOTE ON "IN THE ROOM": You are probably used to having a real amp and a speaker cabinet or combo to play through. If so, you have been listening to the tone coming directly from the speaker, which is often referred to as "in the room" tone, which most users are familiar with and accustomed to as being "the" guitar tone. A guitar cabinet outputs only a part of the full frequency spectrum, you won't hear very low and very high frequencies. The Axe-Fx emulates the amp part and the speaker part. The difference is that it emulates a "mic'd" guitar tone, where the mic is very close to the speaker. Not the "in the room" tone, but the guitar as you hear it in concert through a PA-system, or on a CD. A close-mic'd speaker can sound much brighter than when listening to the speaker at a distance. And it won't have any room ambience. To amplify it to full extent, you need a full-range amplifier. Now if you use that mic'd guitar tone in a band context, at loud volume levels, the high and low frequencies can get too much. The tone can get harsh and boomy. And because those frequencies compete with things such as cymbals (high) and bass guitar (low), the guitar may disappear in the mix. To bring the guitar back to where it belongs and give it its place within the mix, you can use one of several methods. Yet another approach is to put the Axe-Fx output signal through a real cabinet, but the disadvantage here is that you can't use the cabinet sims anymore: less flexibility, less versatility. Methods:

Adjust Bass, Presence and/or Treble in the Amp’s properties. Don't be afraid to turn down things a lot
Use the Low Cut and High Cut parameters on the amp's Advanced page. Low Cut is a hi-pass filter applied at the input stage of the preamp sim. High Cut is a low-pass filter applied at the output stage of the amp sim
Put a parametric equalizer (PEQ block) after the Amp/Cab blocks to block (not: shelf) frequencies below and above a certain range. Example: use the lowest band to block below 120Hz, use the highest band to block above 5.5kHz. This gets rid of highs and lows that the guitar tone often doesn't need in the mix. Use the Q parameter to finetune if required. More information
Use the Global EQ and cut the lowest band(s) and the highest one
Change the cab sim. Some cabinets such as the 4x12 V30 or German cab have much more bass than others
Change the microphone sim. The Royer 121 for example adds a lot of bass and treble to the tone, more than the SM57. Or use no mic sim at all!
Use another mic position. Only possible with 3rd party IRs
Turn down Depth for less bass. Depth is the same as Resonance, Fat, Whomp etc. on real amplifiers
Turn down HF Resonance on the amp's Advanced page in high-gain presets. This makes the distortion less harsh. It mimics the way these high-gain sims were configured in firmware 9.x and earlier
Use the tone controls on your FR monitor to tame the unwanted highs and lows.

More info on close-micing

How to connect it directly to a mixing table

Sending the Axe-Fx output signal to a mixing table is the same as amplifying it through a FRFR monitor, so read that topic. Always use a LINE input.

For digital connections, see that topic.

How to integrate your own (pre)amp

Instead of using the Axe-Fx's amp models you can use your own preamp and add the Axe-Fx for effects only.

If you want the Axe-Fx effects to come after the preamp, like delay or reverb, and you have a combo or guitar head, do this:

Insert the Axe-Fx in the amp’s effects loop like a regular effects processor. The amp’s effects loop Send goes into Input1 left (mono) at the rear of the Axe-Fx, Output1 goes to the amp’s effects loop Return
Set input source to “Analog Rear” (I/O > Mode)
Set Output1 to one of the mono settings (I/O > Audio)
Disable Cabinet simulation and Power amp simulation (Global > Config). Keep Power amp simulation switched on if you think it sounds better
Disable Amp blocks in the grid (Layout)

If you want the Axe-Fx effects to come after your preamp, like delay or reverb, and you have a preamp and a separate poweramp, do this:

Place the Axe-Fx between the preamp and power amp, using Input1 left (mono) at the rear and Output1. Depending on the power amp, this may be in mono or stereo
Set input source to “Analog Rear” (I/O > Mode)
Depending on your power amp, set Output1 to stereo or one of the mono settings (I/O > Audio)
Disable Cabinet simulation and Power amp simulation (Global > Config). Keep Power amp simulation switched on if you think it sounds better
Disable Amp blocks in the grid (Layout)

If you want the Axe-Fx effects to come both before and after your preamp, use the “Four Cable Method” (4-cable method = 4CM). The preamp becomes part of the Axe-Fx signal routing, because it's inserted into the Axe-Fx's effects loop instead of the other way around.

Connect your guitar to the Axe-Fx front input
Set input source to “Analog Front” (I/O > Mode)
Set Output1 to one of the mono settings (I/O > Audio)
Connect Output2 / Eff.Send to the amp’s main input
Connect the amp’s Send (series effects loop) to Input2 / Eff.Return on the Axe-Fx. Engage the amp’s effects loop and turn up its level
Connect Output1 on the Axe-Fx to the amp’s effects loop Return
Adjust levels using the front panel knobs on the Axe-Fx
Add a FXL block (Axe-Fx Effects Loop) to the preset grid as part of the routing (Layout). Effects before FXL will come before the preamp, and effects after FXL will come after the preamp
Disable Cabinet simulation and Power amp simulation (Global > Config). Keep Power amp simulation switched on if you think it sounds better
Disable Amp blocks in the grid

Note: 4CM CAN may cause ground loop hum and hiss, depending on your specific setup and gear. And if your amp's effects loop is line level only, you'll probably notice serious loss of volume level. Try to get the signal as hot as possible at Eff.Send/Output 2. The hiss originates from the added AD/DA conversion. The conversion happens partly before the preamp gain, so it gets amplified. More information here and here and here.

Cliff:

"Any time you do an A/D or D/A conversion you add noise, a minimum of 3 dB each time. With the 4CM you've got four conversions so you're going to add at least 12 dB of noise. Just the nature of the beast and why I'm not a big advocate"
"It also has to do with gain staging. With the 4CM and then going into a high gain preamp you're adding the noise before the gain. Those two conversions are now before a high gain stage (your preamp). It's a combination of line-level outputs, the number of conversions and gain staging."
"If you set Output2 to 12:00 you'll be down about 6 dB. You can either make this up with the processing or by turning up Output2. To clarify: at 12:00 Output2 is designed to have unity gain but the effects loop block itself actually has a gain of -6 dB. This is to prevent clipping the D/A. It gets more complicated since the input gain will effect the overall gain. In short, if you set Input1 to 2:00 and Output2 to 2:00 you should get unity gain. If you run Input1 lower or higher than 2:00 you'll need to compensate Output2 by the difference."
"A quick and dirty way to even out the levels is to plug the output into an input and adjust accordingly. For example, if you're doing the four-cable method and you want to make sure the loop send level is the same as the level coming from your guitar you could plug the loop send output into the loop return input and adjust the Output2 knob until the meters were the same."

How to use it with your own power amp and speaker cabinet

You can use a dedicated power amp and guitar cabinet with the Axe-Fx. Some players prefer this to going direct and/or FR monitoring, because they feel it sounds more like a real guitar amp on stage, it looks better (subjectively) and it simplifies creating presets because there's no need for cabinet simulation. You can also use a neutral poweramp with FR speakers.

Here is a list of solid-state and valve poweramps.

To connect:

Connect Output1 to the power amp input(s)
Disable Cabinet simulation (Global > Config)
Switch off Power amp simulation (Global > Config), unless you think things sound better with it
Select the correct settings for mono or stereo use (I/O > Audio)

If you have a combo or an amp head with a cabinet instead of a dedicated power amp, you can use its power amp section to amplify the Axe-Fx, providing that the amp has a good quality series effects loop. The Return jack of the effects loop is the input of the power section (the preamp section will be bypassed).

Connect Output1 to the amp’s effects loop Return jack
Set Output1 to one of the mono settings (I/O > Audio)
Disable Cabinet simulation. Disable Power amp simulation (Global > Config)
Disable Amp blocks in the grid (Layout)
Turn up the level of the series effects loop

Note: some amps require a dummy jack into the effects loop's Send to activate the effects loop.

Cliff: "With the power amp sims off the depth and deep controls are deactivated. The master works as just a volume and the presence turns into a shelving filter."

Note: turning off poweramp simulation doesn't work well with a few amp sims that fully rely on poweramp distortion. The Wrecker sim (Trainwreck) is a good example.

You can enable the Axe-Fx's Power amp simulation if you think it sounds better that way. Especially when using solid-state power amps. Note that, instead of globally, you can always switch on/off Power amp simulation per preset by turning the SAG parameter in the Amp block down to zero.

Apart from “on” and “off”, power simulation can also be set to “On-no thump” (Global > Config). This setting serves dedicated tube power amps that provide their own “thump” (FRFR monitors do not apply here, these should be neutral). In other words: this global setting bypasses the Thumb parameter in the amp settings.

How to use it with your own guitar amplifier

See the topic about using your own (pre)amp.

How to set it up for mono or stereo output

Always discussion going on about this. The Axe-Fx sounds gloriously in stereo. However, that experience doesn't always translate very well to a live audience, because people seldom are in the right place to hear both sides equally well. Read this for opinions and ways to set up your gear.

Use the I/O menu (> Audio) to select mono or stereo OUTPUT mode. The output mode affects the output signal only. The signal of a mono source can be transformed into a stereo signal by using certain effect blocks, or the other way around. These are the choices:

“Stereo”: select this when going direct (no amplification) into a mixing table or when using stereo amplification
“Sum L+R”: use this to feed a mono device. The left and right channels are summed, so both channels are sent to a single mono output. While this seems perfect for mono output, there is a caveat: summing signals can cause phase cancellation. Example 1: if a preset contains an ENH block (Stereo Enhancer), this setting will make your tone glassy, thin and hollow. Example 2: if a preset contains a delay with Phase Rev (Advanced page) switched on, all delay trails will disappear. A lot of factory presets employ either the Stereo Enhancer or the delay with Phase Rev set to on!
“Copy L>R”: use this with a mono source. The signal of the left channel is copied to and replaces the right channel. A nice alternative for L+R Sum to avoid the phase cancellation issue. But you'll lose the right channel signal with hard-wired stereo effects such as Ping-Pong Delay. And you'll also lose cab(s) panned to the right side (when using a stereo cab or two separate cabs).

The output mode applies to Output1 only. Output2 is always stereo. So what if you want to send the FOH a stereo signal, and a (summed) mono signal to feed your monitor? Solutions:

Do it the other way around: set Output1 to mono (monitor) and use Output2 for a stereo signal to FOH. This means that you can't use the balanced XLR outputs for FOH.
Or: use Output1 for a stereo FOH signal. Feed your monitor thrugh Output2 using the FXL block. Force the signal into summed mono by placing a Filter or Volume of Mixer block before it, with both Pan controls set to center.

Now about the effect blocks. Flanger, Chorus and Phaser are set to mono by default. Cliff: "All the effects, except the drive and amp blocks, are fully stereo. Many of the blocks default to a dual-mono configuration to prevent phasing problems when running into a mono PA." So everything before the Amp block or a Drive block will always be summed into mono.

Check this thread for tips about stereo/mono operation. And this one too.

This thread is about configuring a Wet/Dry/Wet rig.

How to get multiple output signals

The Axe-Fx sends its main signal through Output1. It goes into an amplifier, into the FOH mixing table (Front of House - the main sound system that an audience hears at a live show), etc. You can enable a separate output signal (Output2), for example to feed a separate monitor. There are multiple ways to accomplish this.

Enable “Copy Out1 to Out2” in I/O > Audio. This instructs the Axe-Fx to duplicate the signal and send it through Output2, connected to another device such as a personal monitor. This DOES NOT WORK with presets that contain a FXL block (Axe-Fx’s effects loop).

Duplicating takes place before the global EQ is applied, so you can voice each output differently (Layout > Out1 / Out2). The Output1 knob at the front controls the main volume level, the Output2 knob controls the monitor volume (turn down Output2 if you want to have a good listen to your tone through the FOH speakers). Or:

Put a FXL block in the grid, make it part of the routing but don't connect to the grid output. The signal chain before FXL gets sent to Output2. This method is more flexible than the first one because the position of the FXL block determines which part of the signal is being sent. For example, placing FXL before or after a Cabinet block determines whether the Output2 signal includes Cabinet simulation or not. Especially useful when using Output1 for the sound reinforcement system (WITH cabinet simulation) and Output2 for your own guitar amplifier with a speaker cabinet (WITHOUT cabinet simulation).
Use the "Through" or "Link" connection on your monitor to send just a single signal to your monitors and the mixing table.

It's also possible to send a stereo and a mono signal simultaneously:

A very easy solution is to set things up in stereo. Then use a 3rd connection (Output1 jack, left or right) for a mono signal. Of course you'll lose some of the signal this way. For example: if you have two cab IRs panned hard left and right, you'll hear just one of them through the mono signal
Or: use the FXL block to enable Output2 (stereo). Now make the Output1 signal mono: in I/O select "Sum L+R" or "Copy L>R". This method makes it possible to set the volume level and eq for each output differently. Beware of phase cancellation issues when summing both channels.

How to use it for effects only (effects processor)

See the topic about using your own (pre)amp.

How to connect your guitar(s)

The front input jack is the main input (Input1). It's a guitar level mono jack (max 12dB), conditioned for guitar through hardware and software. Tell the Axe-Fx that you're using this input by selecting “Analog Front” (I/O > Mode) which enables software noise reduction for the front input, a.k.a. “secret/special sauce”. If you select “Analog Rear” instead, the software optimization is not applied to the front input and the front input tone will get harsher (and then there are always people who prefer just that...).

Note that the front input jack can feel quite loose or wobbly. This is by design.

There are also left and right Input1 jacks at the rear. These have the same impedance as the front input (1 Mohm, for guitars), however they operate at LINE level (max 18dB) instead of guitar level. If you're using Input1 Left at the rear, set the input source to “Analog Rear” (I/O > Mode). Note: using the left Input1 jack at the rear will disable the front input! The front input can still be used in combination with the Input1 right rear; in that case two input sources will feed the Axe-Fx effects routing.

The input source setting has no effect on Input1 Right at the rear. Source

Cliff: "You have to set the input selection to match the input you're using. If you're using the front input then you must set the input selection to front and vice-versa. If you plug something into the front and set the input selection to rear it will get MUCH brighter. The front input is optimized for guitar-level inputs and has spectral shaping and more gain than the rear input. The front input is optimized for guitar pickups. This is a combination of hardware and software processing. If you set the input source to Analog Rear this turns off the software processing part. If you are plugged into the front it will change the tone since you're still going through the hardware processing. This is why I say you must match the input selection to the input you are using. The rear inputs are standard line-level inputs and can be used with any program material. The front input, as stated above, is optimized for guitar pickups. As such it has more gain and less headroom and may clip if used for non-guitar program material. If you are using a buffer or wireless unit with a line-level output either input can be used. If you plug a guitar directly into the rear you may find you don't have enough signal level."

If you connect a microphone level source to rear Input1 or Input2, for example for the Vocoder effect, there will be a level mismatch. You'll need to turn up the signal level to get sufficient signal strength, for example by using a mic preamp.

You can instruct the Axe-Fx which input to use (globally) and how to handle it.

Left: uses the left input jack, mono. This is the same as selecting Left in the Amp block (Advanced page).
L+R Sum: sums the signal from the left input (front or rear) and right input (rear).
Stereo: keeps the signal from the left input (front or rear) and right input stereo.

If you select Left instead of Stereo, the signal level will increase when the signal reaches the Amp block (because the channels are summed). Therefore the amp gain will increase too. It's also better to use Left if you use a mono signal anyway, because this will prevent any noise on the right channel to be added to the signal.

There’s a second set of inputs: Input2 left and right. These are also LINE level inputs that you can use to connect instruments (or use as an effects loop). Always use Left first because it has a connection detector.

Insert the FXL block (Effects Loop) in the grid. Make sure nothing connects to its input in the grid (to receive the signal from Input2). The block must be connected to the grid output
Connect the instrument to one or two Input2 jacks (always use Left first)
Tell the Axe-Fx about the connection (I/O > Audio):
- “Left”: a mono source is connected to the left jack. The signal is copied to the right channel
- “L+R Sum”: separate mono sources are connected to each jack. The signals are summed (combined)
- “Stereo”: a stereo source is connected to the left and right jacks..

Using FXL this way will add the signal from Input2 to the signal that goes to Output1. If you want the signal from Input2 to use Output2 instead - establishing a complete separate I/O chain - you need to disconnect FXL from Output on the grid too. This makes it impossible to add effects because the signal immediately leaves FXL to go to Output2. Unless you use Send /Return (Bakerman's tip). Put Return first (100% Mix), followed by FXL (0 dB), and put Send after that (not in the last column). The signal leaves the FXL block, then goes to Send, back to Return and reaches FXL again. Make sure that Input2 and Output2 at the front are turned up. Example: [return]--[FXL]--------[send] More information

Here's how to set up a preset for use with two guitars:

Method #1: use the FXL block and use Input2 Left for the additional instrument. If FXL is not connected to Input on the grid it enables the signal from Input2 to enter the grid. In the output mixer (or another block in both rows) set one row's balance to L, the other's to R to keep the signals separated. But: using FXL disables Copy Out1 > Out2 and you may need that.
Method #2: use two rows with isolated input routing. First make I/O Input1 is set to Stereo. Connect the 2nd instrument to Input1 Right (rear). Use two separate rows. Start each one with an Amp. On their Advanced pages set Amp1 to use the left input (= front) and Amp2 to use the right input (= rear right). Add cab and post-amp effects (if there are many you need an Ultra). You don't have to use Amp blocks if your tone doesn't require one (piezo). Any block that can pan the input "hard" to left or right suffices, as long as it's in the first column (if it's not, there will be signal bleeding). For example a Mixer or NullFilter in the first column of each row will work too (pan each row). This also makes it possible to add effects before an Amp block: start with a NullFilter to pan the signal, put a Drive or effects after it, followed by Amp etc. Note that this method will the signals at the output and sends it through Output1. Having two rows with amps and instruments may add some hiss to the signal.

More information

Note: if you want accurate pitch tracking and envelope detection, use the front input or rear left input.

The latency of the Axe-Fx is about 1ms. Source

If you use various guitars chances are there will be level and tone differences. You can use Vol, Filter, Mixer or PEQ (or other) blocks to manage levels. You can use an equalizer to take out too much bass or treble in the signal, but more simple is to just use the guitar's tone control. More information

How to use its effects loop

You can use the Input2/Eff.Return and Output2/Eff.Send connections to insert a device into the effects loop on the Axe-Fx. For example a preamp (see separate topic) or an external effects processor.

Connect Output2/Eff.Send to the input of the external device
Connect the output of the external device to Input2/Eff.Return
If possible set the external device to operate at line level
Put the FXL block (Effects Loop) somewhere in the grid to include the external device in the routing
Set the correct mono or stereo mode for Input2 (I/O > Audio):
- “Left”: a mono source is connected to the left input. The signal is copied to the right channel
- “L+R Sum”: separate mono sources are connected to each input. The signals are summed (combined)
- “Stereo”: a stereo source is connected to the left and right inputs.
Set the correct levels using the knobs for Input2 and Output2 at the front of the Axe-Fx, and the controls on the external device

Cliff: "There is a detector switch on Input2 Left. If you don't plug anything into Input2 Left the Effects Loop won't pass signal."

Cliff: "You have to use the left input for the right input to work. The unit detects if anything is plugged into the left input. If not it won't run the fx loop since this could result in no sound. It's a safeguard in case the cable were accidentally unplugged."

How to set the input levels

The Input1 and Input2 knobs at the front are used to set the input level for those inputs. If the red input LED blinks, it doesn’t mean that the input signal is clipping. It’s indicating that you’re just 6 dB below full-scale (< 6 dB of input headroom left). The input never really clips because a soft-limiter kicks in before that.

It’s important to set the input level correctly. Essential for the amount of preamp gain and headroom!

Select the loudest pickup on your guitar and strum hard
Turn up the level to make the red input LED blink while strumming. Then turn it down a bit to make the red LED blink only occasionally ("tickle the red"). Notice that there's quite a range between orange and red!

The manual states that the input level normally should be around 2:00 when using a guitar with a humbucker. It’s even possible that you need to turn the input level all the way up (more information), or even never see the red LED blink!.

Don't forget to adjust the input levels when swapping guitars.

If you're using 4CM (the topic about using your own preamp), select the amp's clean channel and adjust Input2 as well.

Don't mind the crackling noise when when you move the input level knob, that's normal.

How to set the output levels and avoid clipping

The main output level controls are at the front of the Axe-Fx. These control Output1 and Output2. The Axe-Fx can deliver +18 dB with all levels maxed.

Output2 at the rear will only send a signal if the setting "Copy Out1 to Out2" is enabled (I/O > Audio) or if a FXL block (Effects Loop) is used in the grid. See the topics about employing the effects loop and having multiple output signals.

There are other volume level controls too:

Effects blocks have their own level controls
Each preset has its own level controls: a master control and one for each row (Layout > Mixer)
The Global menu contains master volume level controls for each output (Global > Out1 / Out2)

When the red “Out1 Clip” LED blinks, the output signal is too hot. Severe clipping will cause digital distortion which you want to avoid at all times. There's roughly 1 dB of headroom left when the clip lights come on. Note that clipping only occurs at the output stage, not in individual blocks. The best places to reduce the signal level are the Amp block’s level parameter (recommended by Cliff) and the main preset level control in the Layout Mixer. The Output knobs at the front have no effect on clipping, they're analog and AFTER the digital-to-analog converter.

Cliff: "Brief excursions into clipping may not light the clip LED long enough to be noticeable but can be audible. There is a hard limiter prior to D/A conversion that prevents wrap-around but if your preset is too hot you can hit that limiter which will sound nasty. As a rule of thumb, a preset shouldn't clip regardless of the pickups used. If you plug in a hotter guitar and the output clips then your amp block output level is too high."

It can be quite tricky to avoid clipping. Here’s how it can be done:

Select one of your presets with a clean amp
Disable all effect blocks except Amp and Cabinet
Verify that the Cabinet's level is 0dB and select the cab you always use
If you use a boost, enable it.
Select your loudest pickup and hit the strings hard
Turn down the Amp block's level until the output signal doesn’t clip anymore
Turn that level down another couple of dBs for headroom (6dB will do)
This will be your reference level for all other presets

You probably want to match the volume levels of all your presets. It's difficult if not impossible to do this by ear at home or when using headphones. For example, you may think that your high-gain patch preset needs to be turned down in comparison to your clean preset. But when playing live, that high-gain preset is compressed and won't sound as loud as when you were playing at home. Really, the only good way to match levels is at gig level. There's also a way to do this while playing, see the section about presets. Alternatively, use the volume level of the Axe-Fx in bypass mode as reference for all presets.

When the red “Out2 Clip” LED blinks, the Output2 signal is too hot. Solve this by turning down the level in the FXL block.

There's 6 dB volume level difference between Bypass and non-Bypass mode. This is by design.

Also, you may encounter differences between the left and right output when running stereo. Note by Cliff: "It's inevitable that there will be mismatch in the L/R levels. The output levels are controlled by a stereo potentiometer. The tracking between the two resistors will never be perfect and gets worse as you get near the start of the curve (fully CCW). It's impossible to fix in software as the mismatch will vary from unit to unit. Also, you can't simply put a global balance control because the mismatch varies with the level knob position. The good news is this is one reason why they put faders on mixing boards. I'd hardly consider it a problem or a flaw. Simply compensate as necessary." Source

If you're wondering whether the frequency response of the Axe-Fx is flat: yes, it is. Read this

How to use it with headphones

The Axe-Fx doesn’t have a dedicated output for headphones. You can use a splitter cable to connect your headphones to the Axe-Fx outputs, but there might be an impedance mismatch (headphones impedance needs to be 32 Ohm or greater). You can also connect the Axe-Fx to a DAW, to a simple mixer with a headphones output or to a small headphones amplifier for this purpose. Common opinion though is that using headphones is not the right way to finetune preset settings or to enjoy the Axe-Fx.

Why is playing through headphones dull? Cliff: "Because there's no string and body reinforcement. When you play through speakers the sound couples into the guitar body and strings. With headphones you don't get this so the sound is very sterile and lifeless.Now, if you use speakers during recording and then playback through headphones it will sound fine."

Cliff: "It depends on the headphone impedance. Generally, the higher the quality the lower the impedance and the less likely you'll get satisfactory results. Cheap headphones tend to be high impedance and can often be driven from line-level outputs with varying measures of success. For the best fidelity, especially with pro quality headphones, a headphone amplifier is recommended."

How to make a digital connection (Spdif)

The Axe-Fx supports digital connections (Spdif). A digital connection skips the analog-digital conversion process. The sampling rate of the Axe-Fx is fixed at 48kHz (24-bit), so you need to set digitally connected devices to the same sampling rate.

Connections:

RCA (digital coax) input. Select “Digital” in I/O > Mode to enable it. This will disable Input1 and the effects loop!
RCA (digital coax) and XLR outputs. If the connected device only has an optical input, you’ll need a converter to connect it to the Axe-Fx’s digital output.

Note that the high-quality A/D convertors in the Axe-Fx for the analog outputs may deliver better results than a digital connection.

Adam Cook: "The Axe-FX uses higher sampling rates (oversampling) during the processing stages. This is how it avoids aliasing when non-linearities are applied. But the sampling rate of the audio that is sent to the DAC is the same as the sampling rate coming out of the SPDIF output: 48khz. In other words, it goes from 48khz (ADC) -> higher sampling rate -> 48khz (DAC). So just because these higher sampling rates are used for the processing stages doesn't mean it would be trivial to send a higher rate to the SPDIF output. The 48khz signal would need to be sample rate converted (SRC) at the output stage by a hardware SRC chip and Cliff's whole point is that software SRC's provide better quality than what is available with hardware SRC's."

More info on the digital I/O

How to use it for reamping

There's a How-To here. Also see this thread.

How to mute the signal in tuning mode

The output signal of the Axe-Fx can be muted when activating the tuner (Tuner > Mute). The signal is muted at the output stage, so delay and reverb trails are cut off immediately when the tuner is activated.

The Axe-Fx tuner works on Input1 Left and the front input only.

How to adjust the overall tone and volume level

Read the topic about output levels.

There is also an equalizer for each output (Global > Out1 / Out2). Use these to adjust the Axe-Fx’s global tone for different environments and applications, instead of having to edit presets.

How to deal with noise

It's a common misunderstanding that there's no noise when using a digital device such as the Axe-Fx. It's very possible to experience noise when using the Axe-Fx. Mostly because the input device generates noise itself, or picks it up, which is then amplified inside the Axe-Fx through the amount of amp gain. Best method is to decrease that noise before it enters the Axe-Fx as much as possible. F.e. by shielding guitar pickups properly and removing other interference sources (dimmed lights etc.). Also, set the Input level correctly to obtain a good S/N ratio. Using much amp gain at very bright settings (high frequencies are a large part of distorted tones) may make noise very noticeable, resulting in "crackle". Try disabling the Bright switch or turning down the amount of gain. To fight noise you also use the Noise Gate, see separate topic.

FIRMWARE, SYSTEM, SOFTWARE

How to connect it to a computer

Communication between the Axe-Fx and a computer requires a MIDI connection and the Axe-Fx editor: Axe-Edit or another MIDI editor such as:

The software must communicate with the Axe-Fx, so a MIDI interface is required. You can also use an USB-to-MIDI interface to turn an USB port on your computer into a MIDI interface. The Axe-Fx doesn’t support USB directly.

Note that not all interfaces work equally well with the Axe-Fx. Information regarding a couple of those is on the website's Support page. More information

How to update the firmware

One of the best features of the Axe-Fx is the fact that it gets updated all the time. For free! Through these software updates the Axe-Fx is continuously improved, extendending its functionality and features.

Go to Utility > Firmware to see the version number of the installed firmware. The latest firmware can be downloaded here.

A MIDI connection with a computer is required for the update procedure, see separate topic.

How to update:

Create the connection between the Axe-Fx (MIDI IN) and the computer
Load the firmware SysEx file into the application
On the Axe-Fx go to Utility > Firmware, press Enter
Send the file from the computer to the Axe-Fx
A progress box should appear on the Axe-Fx. It will take several minutes to transfer the file
If all goes well, the Axe-Fx will display "GOOD CHECKSUM". If not, it displays "BAD CHECKSUM". In that case switch the Axe-Fx off and on again, check everything and rerun the procedure
After a successful update the Axe-Fx will reboot

Updated firmware may cause changes in your presets. Read the firmware release notes and verify your presets.

Major firmware revisions may change the structure of presets. Use Preset Update (Utility > Preset) to update all presets to the new protocol. Usually the firmware release notes will explicitly instruct you to do this if necessary.

Note: if entering the Edit mode of the AMP block causes an audible change in the guitar tone, you probably have installed a major new firmware version without using Preset Update.

How to reset it

You can reset the Axe-Fx: Utility > Reset. This will reset all global settings, the MIDI configuration data and the settings of continuous controllers and pedals.

The reset procedure does NOT reset, delete or change presets.

Before resetting you may want to save the system configuration data. Go to Utility > Preset and select Dump system. This requires the use of a MIDI editor and a MIDI connection with the computer (separate topic).

How to prevent overloading the CPU

The processing tasks of the Axe-Fx require CPU time. Even bypassed effect blocks cost CPU time! The noise gate also needs some. Press Utility > Status to see the current CPU utilization percentage. In this thread you see how much CPU-cycles each block takes. The Ultra edition allows you to run more effects and more complex effects before maxing out the Axe-Fx capacity. The Axe-Fx intervenes before things go wrong (overloading message).

Above 95% or so you'll approach the limits of your unit. You may notice the GUI becoming very slow at that point. That's because the audio signal will always get top priority, more than the GUI refresh rate.

Cliff: "The audio processing is the highest priority thread. When there is time left the GUI thread is run. If CPU usage is high there simply isn't enough time to run the GUI at the normal refresh rate so the thread reduces the refresh rate."

Cliff: "A way to reduce CPU usage is to minimize shunt blocks if possible. If you have parallel paths, instead of routing all the way to the end try to merge the paths earlier."

How to save and restore stuff

Presets on the Axe-Fx can be saved to a computer. This requires the use of a MIDI editor and a MIDI connection with the computer (see separate topic). Go to Utility > Preset and select one of the Dump commands.

Uploading presets (or banks of presets or user cabs) from a computer into the Axe-Fx has the same requirements. It’s not necessary to ready the Axe-Fx for this, the Axe-Fx is always ready to receive MIDI data. After receiving the preset you still have to save it on the Axe-Fx. The Axe-Fx editor makes it easy to organize and exchange stuff. Use its Preset Manager to send the required SysEx data to the Axe-Fx.

BE CAREFUL: LOADING A BANK WILL REPLACE ALL CORRESPONDING PRESETS ON THE AXE-FX!!!

You can load user cabs into the Axe-Fx the same way, see separate topic.

To save system data, other than presets you can use "Dump System to MIDI" (Utility menu). AFAIK this makes a backup of Global Amps, user cabs, Global EQ and other system settings.

How to replace the battery

The Axe-Fx uses a backup battery. Lifespan is better than 10 years. Use a standard CR2450 lithium battery as a replacement.

CREATING AND EDITING PRESETS

How to edit presets on your computer

Most of the How-Tos below are about editing on the Axe-Fx itself. You can also connect the Axe-Fx to your computer and use the software editor: Axe-Edit.

How to use other users' presets

Preset files have a .SYX extension. Load these into the Axe-Fx editor to view the settings or to upload them to the Axe-Fx. Don't forget to share your own creations with other users too. :)

You'll find presets here:

Axe-Fx forums.
in the Axe-Fx editor. You need to be online for this. Open the Preset Manager, in the right pane click on the Axe-Change tab, click Source and log in, then click Load and wait.

Note: presets from other users are finetuned for their personal equipment and ears. For example, a preset that has been designed for someone's power amp and guitar cabinet will not sound as well through a FR monitor or studio speakers, and vice versa. Some presets are specifically dialed in for single-coils or humbuckers. Some presets are tuned for recording, others for playing live. There's other stuff to check too:

The preset may employ a noise gate set to a threshold that may not work well with your guitar
The preset may contain the Stereo Enhancer effect (ENH). It can cause phase cancellation when used in mono. See the topic about stereo/mono operation
The volume levels may not match your guitar's output signal, resulting in output clipping
The CAB block may point to an user cab slot, resulting in no sound
The preset may contain a block with a parameter that is attached to an external controller. If that controller is "off", the signal may be muted
If a preset that was created on an Ultra gets loaded into a Standard, its Ultra-only blocks are left out automatically
Check the selected input in the AMP block (Advanced page).

How to create a new preset

G66 is the Axe-Fx and Atomic amplifier reseller for Europe. They publish a great Get Started tutorial. Required reading for starters!

The very last preset on the Axe-Fx is a “Bypass" preset and a good starting point to build your own from scratch. Just remember to save it to another location (you can’t write-protect presets).

Try to keep the grid layout in all your presets the same, whenever possible (see the topic about keeping your presets consistent and organized). It makes editing easier and switching between presets faster.

How to create your first preset

Here's how to build your first preset (for recording or FR amplification):

Start with a empty grid
Insert an AMP block. For example: Shiver Cln. If it's too dark, turn up Presence to "5". Leave the other settings at default for now
Insert a CAB block after the amp. Select the 4x12 German, mono Hires mode. Select the "57 DYN" mic
Make sure the grid's Input is connected to the grid's output
Make sure the I/O and Global settings are set correctly.

How to escape from the menus

Don’t know anymore where you are in the menu structure of the Axe-Fx? Press Recall > left Page and you're back in the preset select screen.

How to make editing easier

A couple of shortcuts that make editing easier:

Hold Enter to automatically add lines or remove them (Auto Routing)
Press Exit and Enter to turn a block into a shunt. Vice versa for a blank block
Use the Page buttons to scroll quickly between sets of characters when naming presets
Press Edit twice to go to the next effect within the preset, while staying in Edit mode

How to copy and paste effect settings between presets

You can copy the settings of a specific effect and apply them to the same effect in another preset. Press Recall > Effects, select the preset and the effect you want to copy from, press Enter and the values will be applied to the effect block in your current preset.

Tip: create one or two presets that contain your favorite effects. Use these “effects libraries” to copy your favorite effects settings from.

If you use the Axe-Fx Editor, it's much easier to store favorite effects settings and reuse them.

How to reset an effect to its default settings

Press Bypass (not Eff.Bypass!) twice or hold it to reset the current effect to its default settings. Always verify that you didn’t put the entire preset in bypass mode accidently.

This reset procedure also works with AMP blocks. To reset only the "advanced" parameters of the AMP block (everything on the Advanced page, plus the Bright switch and Depth, Sag and Damp), re-select the amp type.

How to adjust the global effects level or the master reverb level

The GLBL MIX parameter (Global > Mix) is a master effects level control. It allows you to make the entire signal more or less “wet” (you'll hear the effects louder or softer). This only works with effects that have the GLBL MIX parameter in their properties (and enabled).

There’s a separate master level control just for Reverb. If you need to adjust the overall reverb level, you can use this control instead of having to edit each preset.

How to insert more than 12 effects in a preset

The grid contains rows of 12 blocks. So you may think you can insert 12 effects at most. But no, you can use more by placing effect blocks in parallel rows. Or use the Feedback Send/Return blocks: put Send at the end of one row (not the last block!) and Return in another row (not the first block!) to continue the routing. Don't forget to turn up the level in the Return block.

How to add an effect block to a preset

Just use the dial to turn a block into an effect or to change effect types.

To insert an effect in the middle of the grid, enter a shunt at the end of the grid and use Layout > Move to move it to the right spot. First select the direction, then press Enter repeatedly to perform the move.

How to deal with effects in a parallel row

You can put effects in parallel rows, below or above the main routing (branches). This makes it possible to have, for example, independent delay and reverb paths or more than 12 effects per preset. Running effects in a parallel path also makes it easier to set levels. When running an effect in series, using the Mix parameter influences the level of the dry level too; this doesn't happen with effects in a parallel row (when setting MIx to 100% and using Level to add the effect).

You don’t want to put 100% “wet” effects in a parallel path, such as tremolo or a compressor, because dry signal will still be going through the main path and hide the effect. (Although you can mute the direct signal in the main path by using a Volume block signal, a.k.a. “dry kill”.)

When adding parallel effects you need to avoid double direct signal paths, because those result in volume increases with the risk of clipping. So:

Make sure to set the Mix parameter of parallel effects to 100%. Then use the Level parameter to dial in the desired amount of effect.
Select a suitable Bypass mode: Mute Out or Mute In. Do not use Mix 0% or Thru, otherwise you'll get double dry signal paths when bypassing the block.

How to put Axe-Fx effects before or after your own preamp

You can keep using your own preamp and put Axe-Fx effects before it, after it or at both positions. This way you'll be using the Axe-Fx instead of pedals and/or an effects processor. Read the topic about using a preamp with the Axe-Fx.

How to create a master bypass switch

The Global Bypass feature lets you activate all effects blocks which are initially bypassed in the preset. It’s like an universal "un-bypass" knob, an easy and quick method to switch between two types of tones. For example, a rhythm tone and a lead tone where pressing the Global Bypass switch activates Drive, Delay and Reverb effects that are saved in bypassed states. You have to assign the Global Bypass CC (I/O > Ctrl) to a switch or pedal, using “0” for off and “127” for on.

How to run an effect in stereo or mono

Cliff: "All the effects, except the drive and amp blocks, are fully stereo. Many of the blocks default to a dual-mono configuration to prevent phasing problems when running into a mono PA." Effects such as Phaser, Chorus and Flanger can be stereo, but are mono by default. This is because a stereo configuration may cause phasing problems when the effect is placed before the (mono) amp sim. Use the parameter LFO Phase (value 90) to switch the effect to stereo.

How to set the correct bypass mode for an effect

The Bypass parameter in the effect's properties instructs the Axe-Fx how to mute an effect when it’s bypassed (not active). This is especially important with effects in parallel rows, to prevent volume increases/decreases.

“Mix=0%”: the direct signal is unaltered, the effect is off, level is at unity gain (0dB). Actually this bypass mode is the same as a shunt (or in the real world: a true bypass pedal) when being bypassed. This is the default Bypass mode and useful for effects like chorus etc. in the main row
“Mute FX Out”: the direct signal is unaltered, the effect is off, but the volume can be adjusted using the Mix and Level parameters
“Mute FX In”: like Mute FX Out, with spillover of delay trails and reverb
“Mute In”: everything is muted, except spillover of delay trails and reverb. Useful for effects in parallel rows
“Mute Out”: completely muted, no spillover of delays and reverb. Useful for effects in parallel rows

How to set the volume level of an effect

To adjust the volume of a preset (not that of the Axe-Fx or of an individual effect), use the volume level control in the AMP block or the main preset level control in Layout > Mix. Set the volume level at the position where the volume level is the same when the effect is bypassed and when it's active. Unless desired otherwise of course.

Adjusting the Amp block's Level does not add gain to effects blocks after it. Unless it's a "non-linear" effect such as a Drive, Amp or a Cab block with its Drive parameter set higher than zero.

Read the topic about placing effects in parallel paths.

How to adjust the volume level (per preset) while playing

The Axe-Fx offers a very convenient way to adjust the volume level per preset on the fly (in other words: without editing): the Volume Increment and Volume Decrement commands (I/O > Ctrl). These commands make it possible to adjust the preset level (Layout > Mix) in small steps while playing. Adjustments are saved automatically!

To make this work assign both commands to switches on your MIDI foot controller (I/O > Ctrl) or to switches which are directly connected to the Axe (I/O > Pedals).

How to boost the signal for leads

There are several ways to boost the volume level for leads

Add a Filter block at the end of the grid, set to NullFilter with Level at 4, 5 or 6 dB. Assign the CC for the filter (I/O > Ctrl) to your MIDI foot controller or to a directly connected switch or pedal. You can program your MIDI foot controller to enable this “Filter boost” simultaneous with activating a Drive effect and maybe Delay. Just use the same CC for the filter and the other effects (I/O > Ctrl). Some users prefer this to turning up the Drive effect's level
Use a Mixer block and attach an external controller (pedal)
Use a PEQ or GEQ block with Level turned up, and maybe a Drive tied to the same foot controller switch
Use a pedal or switch to turn up the Drive and Master Volume of the Amp block
Create a global "Boost" without having to modify each preset. Matman's trick: set the CC of an IA SWITCH on the controller to that of OUT1 VOLUME. Set the OFF value to (for example) "111" (unboosted level) and set the ON value to "127" (boosted level). Don't forget to add a second CC for OUT2 VOLUME, or assign OUT2 to the same CC as OUT1. Source

How to avoid clipping

See earlier topic about setting output levels. Note that it's possible to clip a preset's output level, without a flashing warning LED. It's noticeable by ear (digital distortion).

How to decide where to put the Cab block

In the real world it makes a difference whether you put effects before or after the speaker cabinet. It's a little different with the Axe-Fx. This is from a post by Javajunkie:

"You can place the effects loop anywhere in the chain (just add the fx loop block). Unless you are running a stereo cab or 2 mono cabs panned hard L/R, you may want to place stereo effects after the cab. The cab is a linear time invariant effect (unless you add drive) so effects like delay and reverb will sound the same before or after it. As Cliff and others have stated on numerous occasions LTI effects can be placed before and after each other and the will sound the same. Only when placed before or after non LTI effects (drive, amps, et. al) it really matters. The one caveat there is that some effects are mono, placing effects before and after that makes a difference."

Cliff: "The difference in having the cabinet before or after the effects is usually subtle. It depends on how non-linear or time-variant the effect is. For effects like EQ, which are linear and time-invariant, it doesn't matter at all. For slightly time-variant effects like chorus and flanger the difference isn't very pronounced. For highly time-variant effects, like pitch shifting, the difference can be marked."

How to enable delay and reverb spillover

Spillover means that delay and/or reverb trails in the current preset will continue after switching to another preset. The Multi-Delay, MegaTap Delay and Vintage reverb don’t support spillover.

It is enabled globally in Global > Config. Plus: the preset you’re switching to MUST contain a Delay and/or Reverb block. You can put them in the last row on their own for example, without an input, as long as they are connected to the output.

Note:

If you want spillover from the last preset and continue the same delay/reverb: don’t mute or bypass the delay and/or reverb in the second preset. These will inherit the parameters of the previous preset automatically.
If you want spillover from the last preset and start a new delay/reverb: that’s a bitch, read about it here.

Note: spillover carries over the delay/reverb signal from a previous preset. This can cause volume bumps. For example if the previous preset contains a hi-gain amp and the second preset is a clean one with a loud delay, the carried-over trails will be that of a distorted amp and will be amplified by the delay settings in the second preset.

How to enable global control of any effects block

See this topic in the Controllers section.

How to save and recall favorite amp settings (Global amp)

You can save up to 10 amps with your favorite settings using the Global parameter in the AMP block. Select a Global slot in the Amp settings, select an amp and set its parameters. From now on you can select this amp including its settings in any preset using the Global parameter. If you change its parameters in any of these presets, they change accordingly in every preset that uses this global amp.

Note that you can’t configure an amp in a preset and then save it as a Global amp; you must always select a global slot first! And you can’t reset a Global amp type to its default settings; doing that will disable the Global Amp and reselect the default amp (Tube preamp).

If Global Amps were selectable through MIDI you could have just one preset and just switch amps (without switching presets). However, there's no "official" way to accomplish that (yet).

Global Amp settings are saved through: Dump System to MIDI (Utility menu).

How to minimize gaps in the signal when switching presets

Switching between presets isn’t 100% seamless. But the gaps are very short, like 20ms.

If you hold a note or chord while switching to another amp sim, you may hear a thump, pop or click. Cliff: "You're always going to get some pop or click if you hold the note since the Axe-Fx has to ramp the volume down and then back up. Since people want fast preset switching time this means I have to ramp the volume down in around 5 ms, same for back up. There is significant energy in a ramp of that speed. It was a trade-off between switching speed and transient noise."

How to print preset settings

The Axe-Fx editor Axe-Edit lets you export presets to a file format which you can import into an application (such as Excel) and print.

How to keep your presets organized

A checklist to verify the consistency of your presets:

Stick to the same grid layout/routing whenever possible, to simplify viewing and editing. Example
Use effects with preferred settings and levels ("effects library")
Assign external controllers (MIDI foot controller, pedals)
Make use of Global amps
Use the correct cabinet for the selected amp
Even if delay won't be used, insert a bypassed Delay block just for spillover
Check the settings for mono/stereo operation, prevent phase cancellation
Set CAB and Mixer (Layout > Mix) levels at unity gain
Set Mix, Level and Bypass parameters correctly for effects in parallel rows
Make sure that the preset level matches other presets and does not clip with things like Drive and gain/boost filters enabled
Set noise gate parameters

How to insert an external pedal in the routing

If you want to use an external - analog or digital - pedal with the Axe-Fx you can of course put it between the guitar and the Axe-Fx. But the Axe-Fx also lets you insert the pedal somewhere in the routing using the FXL block. Connect the pedal to Input2 and Output2. These connections work with line level so adjust levels to compensate.

EFFECTS

How to know which effects the Axe-Fx provides

It's important to realize that the Axe-Fx is not a modeler per se, it simulates devices. For example an amp sim, when using its default settings, will sound remarkably similar to its real counterpart. But the controls may work differently (better) than on the real amp. This means that "visual" settings on a real amp (such as treble at 10 o'clock) won't translate exactly to the Axe-Fx. Another example: the Wah block hands you all the parameters you'll need to emulate every wah on the market while it doesn't offer you point-and-click models of real wahs.

You’ll find all effect blocks and their parameters here.

Each row on the grid is a full stereo signal. And most effects are stereo. For example, you can use Balance, panning parameters or the LFO Phase parameter to place the effect in the stereo field. A couple of effects, such as Drive blocks, are mono.

If you're looking for emulations of existing effects, take a look at The-Mother-of-all-pedal-and-effects-emulations thread.

AMPS:

How to know which real amps the Axe-Fx models

The amp descriptions and the names of the actual emulated amps can be found in the Wiki Amp List. And on the Fractal website.

The FAS models, Fusion, HellBeast, SuperTweed, Big Hair and some others are customized versions of other amps or Fractal's own unique designs and therefore have no real equivalents.

Cliff: "There were many design choices made in the Axe-Fx and for very good reasons. It is incorrect to assume that any of the models will sound exactly like the real amp. In many (perhaps most) cases they will if you get the EXACT same amp from the same year with the same circuit. Tube amp designers are constantly adjusting their designs, sometimes for the better, sometimes for the worse, in response to the market, trends, etc. Furthermore, the Axe-Fx was never intended to be an exact replica of any amp. In many cases I made digital modifications to the amps to remove what I considered undesirable traits. Some amps are too spitty so I adjust that out. Other amps are too flubby. I don't model ghost notes because I consider them a flaw in the design. Absolute authenticity was not a primary design goal. Tone, playability and the ability to sculpt the tone to your personal preference were the primary concerns."

How to dial in amps on the Axe-Fx

This walkthrough helps you to dial in amps and cabs on the Axe-Fx.

Preparation: First, make sure your Axe-Fx is configured correctly.
Amplification: Are you using a poweramp and guitar cabinet? If so, disable Cab simulation (Global menu) and, depending on the poweramp type, Poweramp simulation too. If not, make sure these are enabled. Note that turning off poweramp simulation doesn't work well with a few amp sims that fully rely on poweramp distortion, such as the Wrecker sim. Amplification
Global EQ: Make sure the Global EQs are flat (Global menu), unless your setup requires otherwise.
Tonestack: Check the global Tonestack parameter (Global menu). Choose between using classic amp tonestacks or active EQ, or select the tonestack type per preset (see below). Tonestack
Pickups: It really matters which pickups are driving the Amp sim. When dialing in the preset, use the guitar and pickup(s) you’ll be using most with this preset. When using various guitars, dial in the preset for the "darker" one. Then when using a brighter guitar, use its tone knob to avoid harshness.
Input Level: Set it to “tickle” the red when hitting the strings hard (front panel). Input level
Goal: Are you using this preset to record? Then dial it in using your recording setup. Or are you mainly listening through headphones? Then don’t expect the preset to translate well to amplification, without modification. Or will you be using the preset when playing “live”, using your method of amplification? Then it’s very important to dial things in at the volume level it’s going to be used at! Preferably using a backing track as well. Tones that have been dialed in at bedroom level will NOT cut at all when used in a band context (Fletcher Munson curve).
Source: What's your reference material: a real amp in front of you, a recording on CD, a live recording? It's important to be aware of this to be able to accurately recreate the tone. For an "in the room" amp tone, you may not want to use a mic sim, for example. Note that nearly all tones coming from the Axe-Fx using stock cabs are close-mic'd tones, where a microphone was placed close to the speaker (near-field). Which is very different from listening to an amp from some distance (far-field).
Create an empty preset, or copy preset 383 (“Bypass”) on the Ultra to another location.
Verify that the Noise Gate is off and that the Mixer levels are neutral (Layout menu). Noise gate
Insert an Amp block, followed by a Cab block (unless you're using your own speaker cabinet). Insert shunts to create an uninterrupted chain from input to output. You should now hear a signal when playing.
Amp: The Amp block defaults to the Tube preamp. Now select the Amp Type you want. Verify that parameters are at their defaults. Detailed info about all stock amp types is here: Wiki Amp List.
Cab: The Cab block defaults to an EVM12L. Now select the Cab type you want to combine with the amp type. Verify that parameters are at their defaults. Skip this step if you're using your own speaker cabinet. Detailed info about all stock cabs is here: Wiki Cab List. Also check the amp info in the Wiki Amp List for suggestions about amp and cab combinations. If you want other cabs than the stock ones, take a look at 3rd party IRs or use your own. The Axe-Fx provides 10 slots to upload external cabs. 3rd Party IRs
Mic: What’s your purpose: recording or live sound? If you’re going to record you’ll probably want to use the Cab sim with a Mic sim. If not, it depends. Skip this step if you're using your own speaker cabinet. Don't underestimate the impact of the mic type on the tone. Adding a R121 for example will add lots of high and low end to the tone. The 57 DYN (Shure SM57) works with almost everything. You can also select "None", which doesn't mean that you're going to hear the speaker like you are used to (in front of the cabinet). Because all cab sims were created using a neutral reference mic without coloration, placed very close to the speaker (the "far-fields" are an exception, see the Wiki Cab List). Still, selecting "none" with stock cabs is a good way to remove tonal influence by the mic from the tone. If you want other mic sims, or the ability to choose the mic position, take a look at 3rd party IRs. Mic sim, 3rd Party IRs
Master Volume: Master Volume has a great impact on the tone, it's not just a level control! If the modeled amp type is a modern high-gain amp, it probably relies on preamp distortion instead of poweramp saturation. In this case, keep the Master Volume control low (for example 3.50 for Mesa and Friedman amp sims) to prevent the tone to become mushy or noisy. If the modeled amp type has no Master Volume control (Fender, Vox, HiWatt, Plexi types, check the Wiki Amp List), turn up Master Volume to about 9.4. This disables the Master Volume and effectively turns the Drive control into a volume control. High Drive settings will then cause poweramp saturation, depending on the amp. Now turn down Drive to 3.50, you can turn it up later. Master Volume and Drive
Tonestack: You can select a desired Tonestack type on the Advanced page. Choose between the one that is native to the selected amp type (classic), or a tonestack from another amp type. Or turn the tone controls into an active EQ (Global menu, see above). Important note: using the classic tonestack does NOT imply that you’ll be able to set the controls by the eye, mimicking settings on real amps. That’s because the virtual tapers can be different. Tonestack
Bright: If the corresponding real amp type has a Bright switch or a bright cap on its volume or gain control (check the Wiki Amp List), you can change its default setting. It can make a lot of difference. Also note that the effect of the Bright switch can vary according to the setting of the Amp block’s Drive and Master Volume parameters. Bright
Presence: If the corresponding real amp type has a Presence control (check the Wiki Amp List), turn it up or down to the desired level. Important: Presence at noon means zero presence! If the original amp has no Presence, this control acts as shelving filter. And on some amp types it acts as a Cut (Vox, Dr.Z and others). In any case you can use it make the preset less bright by setting it below noon. Presence]
Boost: The Amp block’s Boost control lets you add 12dB gain to the input signal. It’s a clean boost, adding gain across the full frequency spectrum. Nice to spice up single coils for example. There are alternative methods, for example adding a block before the Amp block such as a NullFilter or Tape Dist (Clip Type set to HV Tube) or FET Boost. Boost
Drive: Use the amp’s Drive control to set the desired amount of preamp overdrive (or to set the volume level as well on non-MV amp types, see above). In some cases you may get better results by keeping Drive low and adding a Drive block before the Amp block (or use Boost, see above) to boost gain. Try setting the Drive block to T808 or BB with its Drive control set low and its Level set high. It’s also possible to add gain stages to an amp sim by using a Tape Dist block before the Amp block with Clip Type set to HV Tube. Drive block Extra gain stage
Tone: Use the 3-band tone controls (Bass, Mid, Treble) to dial in the desired tone color. Again note that using the passive tonestack does NOT imply that you’ll be able to set the controls by the eye, mimicking settings on real amps. But before you go all wild with the tone controls, first try leaving them at noon and use only Presence to color the tone. You may find that this is all that's needed. Tonestack
Amp Level: Adjust the amp Level control to set the desired overall volume level. This applies to the Amp level as well as to the overall preset level. Use this control to prevent output clipping and to match the overall preset level with other presets. Note: this parameter has NO impact on the tone, don't worry if other parameter settings force you to set this parameter very low or very high. Check the link below for a method to set levels and prevent clipping. Be aware that distorted tones are compressed more than clean tones. When matching preset levels at home (soft volume level), you may perceive them to be at the same volume, but when playing loud they won't match at all anymore. Distorted tones need to be much louder, even if it doesn't sound right at home. Output levels
Damp: This controls the amount of negative feedback in the poweramp simulation. Higher values give a tighter and brighter sound but can sound harsh at very high master volume levels. Lower values give a loose and gritty sound and feel. Each amp type defaults to its own value. The amp's volume level may change when adjusting this parameter. This parameter has no effect if poweramp simulation is switched off. Adv. parameters
Sag: This parameter models the power supply impedance and therefore controls how dynamically the power amp simulation behaves. Higher settings result in a more compressed feel. At low Master Volume settings this control will have little effect as the power amp is not being pushed. Turning Sag to zero disables poweramp simulation for the preset alltogether. This parameter has no effect if poweramp simulation is switched off globally.
Speaker Resonance Frequency: This parameter can be used to further optimize the Amp block for combination with a specific cab, especially if it's a real cabinet. Click on the link below for more detailed information. Speaker resonance
Cab Drive: The Drive parameter in the Cab block's properties simulates speaker breakup. However, at higher values it can cause audible aliasing! So rather than use this parameter, add a drive block immediately following the cab and tweak to taste. Cab Drive and Air
Cab Air: This parameter in the Cab block's properties helps to remove a “boxy” edge of the tone through a cabinet sim. Cliff: "Air is nothing more than low-pass filtered direct signal mixed with the processed signal. Sometimes adding some Air can help remove the boxiness. You typically need to set the Air Freq above 3 kHz before the effect is noticeable. I like it around 3500 or so. It adds a little sizzle to high-gain tones and removes that boxy sound." It can be hard to notice the effect though. Cab Drive and Air
Farty of flubby bass notes: If notes on the low strings sound farty or flubby, it can be caused and solved by a number of things. Try turning down the Master Volume or Drive control. Try turning down Bass (you can always increase bass after the Amp block again using a PEQ or GEQ). Turn up Low Cut on the Advanced page (high-pass filter at the input stage of the preamp sim).
Noise: If the selected amp type generates a lot of noise or crackle, it may be caused by using too much gain in combination with very bright amp settings. Noise
Advanced parameters: The Amp block offers access to a lot of advanced parameters to be tweaked by, euh, tweakers. The most popular (IMHO) are described above. Other advanced parameters are described in the manual and Wiki. Amp parameters
Reset: To reset all parameters on the Advanced page to their defaults, as well as the Boost and Bright switches and Depth, Sag and Damp, just reselect the Amp type.
Noise Gate: Adjust the Noise Gate if needed (Layout menu). And/Or use a Gate block after the Amp block if needed (Ultra only). Noise gate
Boomy bass, harsh treble: If there’s too much bass or treble in the signal, there are several ways to deal with that, apart from the regular tone controls. If it concerns the overall signal: turn down the level of the lowest band(s) and the highest one in the Global EQ. Or try another cab sim. Some stock cabinets, such as the 4x12 German cab, have a lot of bass. Or try another microphone sim. For example, the R121 adds a lot of bass and treble to the tone. Or use no mic sim at all. Or put a PEQ block after the Amp and Cab blocks to block or shelf frequencies below and above a certain range. Example: use the lowest band to block below 120Hz, and use the highest band to block above 6.1kHz or so. This gets rid of annoying highs and lows that the guitar tone doesn't need in the mix when playing live. Use the Q parameter to finetune if required. Or use another mic position on the cab which is only possible with 3rd party IRs. Or turn down the Depth parameter for less bass (same as Resonance, Fat, Whomp etc. on real amplifiers), it's like Presence but concerning low frequencies. Higher Depth values give a fuller, looser sound, while low values can be used to achieve a more focused sound. Depth is non-functional when Poweramp simulation is off. Or turn down HF Resonance (Advanced page) in high-gain presets makes the amp distortion less harsh. It mimics the way these high-gain sims were configured in firmware 9.x and earlier. Or turn down High Cut on the amp's Advanced page (low-pass filter at the output stage of the amp sim). And there are probably tone controls on your amplification device and on yur guitar that you can use to tame highs and lows.
Amp in the room: If you use FR amplification and you want Axe-Fx to sound and feel like a real amp "in the room" (not recorded or through a PA-system), use one of the stock far-field cabs (1x12 Open, 2x12 Gold, 2x12 G12H) without a mic sim.
Examples: Some users have created banks containing no-frills basic presets for amps with matching cabinets: Dutch & Timmy's amp bank: all amps at default settings with matching cabinets | Organized preset collection by Steve "Guittartarzan" | VirgilGuitar's Standard Amps

How to set the Drive and Master controls

Vintage amps don't have separate gain (drive) and master volume controls. To emulate this, crank the Master. This way Drive will become the main volume control. For Fender amps Drive at around 3.5 seems to be the magic spot. Try this method with Fenders, Vox, Plexi, Wrecker, Hiwatt, 1987X.

Modern hi-gain tube amps don't require a cranked the Master. They rely on preamp distortion primarily. In fact you may want to keep the master pretty low (3.50) to avoid power amp saturation. Examples: USA Lead, SLO.

Cliff's quotes:

"I think the major source of "farty" is people set the Master too high. With a real high-gain amp people don't crank the master volume because the amp is then insanely loud. On an Axe-Fx you can crank the master but keep the actual volume to talking levels. For the high-gain models I find the sweet spot on the Master to be less than halfway".
"Master at 7.02 on the Recto model is WAY too high and will sound muddy. You should be around 3-4, maybe less. The reason the highs sound rolled off is because the Master is too high. As you increase the Master the highs get muffled. 7.02 for the Recto Master is ridiculous and will sound like crap."
"For old, non-MV amps like Fenders and Plexis you typically want to run the Master at 9 or higher. For modern, high-gain, MV amps you typically want the Master below 5."
"For clean tones the Drive control should be set fairly low and the Master set very high. On a real "Blackface", for instance, the Master is essentially maxed since that amp has no master volume. A Blackface typically achieves full power at around 10-11 o'clock on the volume (Drive). It's also insanely loud. Beyond that the everything starts to saturate and clip. If you set the Master low and the drive high, for clean tones, the low end will tend to get muddy. Good cleans are obtained with little, if any, preamp distortion and a nice amount of power amp distortion. Power amp distortion has a much different character and tends to be glassy and bouncy. Preamp distortion is rougher and more compressed."
"The master volume is such that near maximum (4:00 or so) is equivalent if the modeled amp had no master volume. As always use your ears to fine-tune."

With all amps models the relationship between the Drive and Master settings is important. Start at modest settings, then experiment. Example: with some amp sims high values for Master and Drive will make low notes on humbuckers 'fart', like if the speaker is blown up. A lot of gain in combination with very bright settings can also result in crackle and noise.

How to use the amp tone controls (tonestack)

The tonestack is the set of tone controls for an amplifier (bass, mid, treble). For each amp the Axe-Fx lets you select between:

classic passive tone controls, appropriate for the specific amp type
passive tonestack from another amp type
active EQ

Use Global > Config to set the default for all amps: active or passive. Use the Advanced page of the AMP block to select a different tonestack for an amp.

The manual states: "Those who prefer the classic passive tone controls that are found on most tube amps, the Axe- Fx has the option of using this style of tone control as well. Not just a crude shelving filter approximation, the Axe-Fx passive tone stack simulation exactly replicates the frequency and phase response of the classic passive tone stack. When using the passive tone controls the display will read out in traditional 0-10 style as opposed to decibel readings."

Use the classic tonestack to keep the amp sims authentic. But note this: don't expect to be able to set the controls by the eye, mimicking settings on real amps! This is because the Axe-Fx doesn't always model the tapers used on the real amps.

Cliff: "This is the case with several of the amp models. In these cases the taper used on the real amp is what I would call "a less than optimum" choice. I think in many cases the designer simply doesn't realize the affect the taper has on the locus. So, if I deemed the choice of taper to be "incorrect" the model uses the correct taper. The Bogner models fall into this category. The choice of a Log10 pot for the treble pot doesn't make sense so the model uses a linear taper which gives a smooth locus".

Old quote Cliff: "There are only 15 or so unique passive tone-stacks because the same tone-stack is used on different models, i.e. the Plexi, JCM800, JCM900, etc. use the same tone-stack (just like their real-life counterparts)."

How to set the Bright switch

The Bright switch has a default setting for each amp. If you don’t remember the default setting, just reselect the amp type (this resets some other parameters back to their defaults too). To switch the Bright switch on or off, scroll to Treble and press Enter.

The Bright parameter doesn't always correspond to a dedicated Bright switch on the original amp. Some amps do not have a Bright switch but have a treble peaker on the volume control. The Bright control also mimics that.

Turning up the amp's gain (Drive) will decrease the impact of the Bright switch. With the gain maxed, the bright cap is effectively gone.

Note: the default setting of the Bright switch on some amps (Plexi, JCM800) makes the tone very harsh. Try switching it off and compensate by adjusting Presence (and Treble).

On the Plexi-type amp sims the Bright switch also has a large impact on the amount of gain.

How to set the Boost switch

There's a Boost control in each AMP block. This adds 12dB to the input stage of the preamp (before the amp's Drive). It's off by default. Sometimes enabling the boost works better than turning up preamp gain. it's a clean boost so it'll increase the gain of all frequencies.

To enable the Boost, scroll to Type in the AMP block's properties and press Enter.

You cannot assign an external switch to the Boost parameter. But there are other ways to get exactly the same result: add a Filter block before the Amp block, set to Null, with Level at 12dB. You can even assign its Level to an expression pedal and control the gain gradually.

Alternatively, use a Tape Drive block before the Amp block.

How to use the Presence control

Presence controls the high frequencies in the power amp stage. You probably can't imagine that there are entire threads discussing just this control, but there are ... (thread, thread).

The thing to remember here is that Presence at noon (12 o' clock) means ZERO presence, not "5"! Just look at the display: "0". So if you select an amp that in reality has a Presence knob and you like it at noon (5), turn up Presence in th amp sim to "5" to simulate the regular noon setting. Note: this applies to the "passive" Presence setting.

Not all real amps have a presence control though, so Presence at its default setting (noon) with those sims keeps it "vintage".

Cliff: "The difficulty is that I allow people to adjust the damping so I needed a way to allow for a hi-cut when the damping was set to zero and a presence control when not. So I came up with the dual-function presence control. When an amp has no negative feedback (i.e. AC-30), the speaker impedance has a much greater effect on the tone and causes the tone to be much brighter. Additionally, there is no way to adjust the tone by modifying the negative feedback (because there isn't any). So a non-negative feedback amp classically employs a hi-cut filter in the power amp. The Axe-Fx allows you to turn on negative feedback, even for amp models that don't normally have any. In that case the high-frequency emphasis due to the speaker impedance will decrease and you then may want to increase the highs to compensate so you need a presence control. Thus was born the presence/cut control. At settings less than zero it acts as a simple hi-cut. At settings greater than zero it acts as a presence control if the amp model has negative feedback by manipulating the feedback or by boosting the treble if there is no feedback."

Cliff: "The presence "circuit" in the Axe-Fx does the same thing as the presence circuit in an actual tube amp. It decreases the negative feedback in the power amp at high frequencies. The net result is a boost in high frequencies. The gain of an amp with negative feedback is A/(1 + A*B) where A is the open-loop gain and B is the feedback. The presence circuit makes B a function of frequency (i.e. B -> B(s), actually B(z) in digital land) so there is less feedback at high frequencies. Therefore the gain is greater at those frequencies and approaches the open-loop gain. You can hear this as you increase the Damping since that increases the overall negative feedback. The presence control will have more effect as the Damping is increased. The Depth control does the same thing but on low frequencies."

How to set Damp, Sag, Depth and advanced parameters

You find these parameters on the second page and Advanced page in the AMP block. Some users never touch them, some dig in deep to (re)create “their” tones. You'll find descriptions of most parameters on this Wiki page.

No restrictions here, do what you like. But common opinion is that the need to adjust these parameters to find good tones decreases with every major firmware update, with some exceptions.

Low Cut: this parameter in particular is important to fight 'flubby' of 'farty' bass notes. Turn it up, for example to 100 or much higher, to get a tighter low end and less "farting" or "flubby" tones on the low strings. You can compensate for loss of bass by adjusting the Bass control, or by using a PEQ after the amp
Warmth and Thump default to zero in firmware 9.01 and higher, more information. If you want to bypass Thump alltogether, set the Power Amp sim (Global menu) to "On-no thump"
SAG and B+ Capitance: SAG models the power supply impedance and therefore controls how dynamically the power amp simulation behaves. Higher settings simulate higher power supply impedance which leads to a more compressed feel. At low Master Volume settings SAG will have little effect as the power amp is not being pushed. Turning SAG to zero disables poweramp simulation for the preset. And SAG has no effect at all when Power amp simulation is switched off in the Global menu. Jay Mitchell: "B+ Capacitance is the power filter cap value which is downstream of the rectifier in the power supply. Downstream. The capacitor is charged by current flowing through the rectifier. The limitation is caused by the total charge stored on the plates of the filter capacitor and the ability of the power supply to replenish that charge within a few milliseconds (i.e., by its peak current capacity). A higher-value capacitor will store more charge at a given voltage, but it will also take longer to recharge once its charge has been depleted. The Sag control represents the virtual series impedance of the power supply - including the power transformer windings and the rectifier - and the B+ capacitance alters the power supply charging time constant. Changing sag will affect both the effective "threshold" and the amount of compression when the signal goes above threshold ("ratio"). Changing B+ capacitance will also affect the "ratio" in addition to attack and release times. There's a lot more at play than simple compression. There is a dynamic change in frequency response in the output stage of a tube amp when it is driven into saturation. IOW, there is frequency-dependent compression. The behavior of sag in the B+ voltage has a major effect on on this dynamic response change, and that's what you're fooling with when you change the "sag" and "B+ capacitance" parameters."
Read what Jay Mitchell has to say about some of the advanced parameters
Damp: controls the amount of negative feedback. Wiki Adjusting the Damp parameter influcences the amp volume level. If the poweramp is saturated, both damp and level must be increased to maintain level the same. Cliff: "The Axe-Fx attempts to normalize the volume as you change the damping. (...) However, if you are driving the "power amp" hard the equation falls apart because it assumes linear operation. Therefore there may be some volume change. This is done since otherwise you would constantly have to adjust your output volume as you change the damping. Unfortunately it is impossible to predict how saturated the power amp is since that depends on input level. The compensation isn't perfect, the idea is to minimize the volume fluctuations since without compensation the volume would fluctuate wildly."
Depth: Cliff: "The presence "circuit" in the Axe-Fx does the same thing as the presence circuit in an actual tube amp. It decreases the negative feedback in the power amp at high frequencies. The net result is a boost in high frequencies. The gain of an amp with negative feedback is A/(1 + A*B) where A is the open-loop gain and B is the feedback. The presence circuit makes B a function of frequency (i.e. B -> B(s), actually B(z) in digital land) so there is less feedback at high frequencies. Therefore the gain is greater at those frequencies and approaches the open-loop gain. You can hear this as you increase the Damping since that increases the overall negative feedback. The presence control will have more effect as the Damping is increased. The Depth control does the same thing but on low frequencies."
Speaker Resonance Frequency: this one is important to match the amp sim to the speaker type. Cliff: "Furthermore there are certain aspects that simply can't be modeled and require user intervention. For example, a speaker has a low-frequency resonance. A tube amp will create a higher output at that resonant frequency. The Axe-Fx has no way of knowing what that resonant frequency is and defaults to a value that is common for the speakers that are typically used with that amp. However, if you drive that speaker through a solid-state amp you won't excite the resonance unless you adjust the Speaker Resonant Frequency to match it. This is the one of the few advanced parameters I ever adjust and I tweak it until I hear the bottom end "sympathize". For example, my favorite Mesa cab resonates around 110 Hz but most of the models default to 95 Hz so I usually adjust the Speaker Resonance to 110 Hz when using that cab. After I do that the Axe-Fx is indistinguishable from the real thing, IMHO."

To reset all parameters on the Advanced page, plus the Bright setting and the Depth, Sag and Damp parameters, just reselect the amp type.

How to split the preamp and poweramp sections of the amp sim

Nope, you can't.

How to get tight bass control

To keep the low end under control (including palm-muted metal tones!), add a Filter block before the Amp block. Select Highpass. Go to Frequency and hit Enter (modifier menu). Select Envelope and use the default settings except for setting Scale at 40% and Offset at 22%. You have now added a dynamic filter that adjusts itself according to how hard you're hitting the strings. The harder you pick, the more low frequencies are removed from the signal hitting the amp. No need to set a frequency range. This is great for palm muting and also takes care of those flubby low notes with certain amp sims such as the Vox. You can finetune the filter by adjusting the Envelope settings, example. Source

How to use a Drive block to add or control gain

Each amp has a Drive parameter which controls the amount of preamp gain. You can assign an external controller (expression pedal) to vary the gain. this method may not work out satisfactory. You may get better results by inserting a Drive block before the amp:

Set it to FET Boost or Tape Drive (clean boost) and attach a pedal to its Drive parameter
"Old school" hard rock trick: add a TS808 or Tube Drive block before the amp, set its Drive all the way down and max its Level. This will help tighten up the low end

Alternatively use a NullFilter block before the amp instead of a Drive block, with lots of dBs to boost the amp's input.

How to add another (tube) gain stage

Jay Mitchell supplied these tips:

"Cascade one amp block into another. Turn off "Sag" in the first one. Now you've got an extra preamp feeding your amp, which opens up an incredible spectrum of gain staging. For example, think Twin Reverb preamp, with Plexi tonestack set to "post," feeding a Plexi 2 with default settings. The possibilities exceed anything one person could hope to explore in a lifetime. You can get it awfully close. You want to minimize the effect of the preamp in Amp 2. To do this, set the Amp 2 Bright to off, MV to a high value, and find a neutral setting for the tone controls in Amp 2. Then use Drive in Amp 2 for your MV. The amp types you choose for this arrangement will make a huge difference, as will quite a few parameter settings. There's easily enough flexibility to allow you to create any sound the Mesa can make, and a lot more that it can't."
"Start with Tape drive, set the clipping mode to "HV tube", Drive moderate, Level as appropriate for the amp block it's driving, and you'll have another tube gain stage, complete with EQ."

How to prevent crossover distortion

Noise that becomes apparent as the note decays, is possibly crossover distortion. Don't confuse this with background noise that comes up after the noise gate opens Crossover distortion is a buzzy distortion that can accompany semi-clean tones. It dies while the original played tone still sustains.

Cliff: "You can adjust the amount of crossover distortion with the Power Tube Bias control. The default setting gives just a little bit of hair around the note, which most people actually like but squeaky-clean guys usually object to. Crossover distortion becomes more noticeable as the note decays. Clipping distortion is more prevalent as the signal increases. A Tweed Deluxe is cathode biased which usually means the tubes run pretty hot and have little crossover distortion (same as a Vox)."

How to use multiple amps in a single preset

You can use two amps in a preset. They can share one cabinet or each have their own cabinet. Simultaneous use of two amps can thicken the tone (like two high gain amps), or make it more transparent (combination of a high gain amp with a clean type) etc.

You can also use this method to morph between two amps without having to change presets, using an expression pedal. Insert a mixer block and input both signal chains into it. Use the modifier menu to go from 0-100% on one amp and 100-0% on the other. You can adjust the curve responses for a smooth crossfade. (source: Javajunkie)

Of course, inserting multiple amps and cabinets costs CPU cycles. It'll take an Axe-Fx Standard pretty much to its limits.

How to solve the "my tone changes when I start editing the Amp block" issue

If entering the Edit mode of the AMP block causes an audible change in the guitar tone, you probably have installed a major new firmware version without updating all presets. Major firmware revisions may change the structure of presets. Use Preset Update (Utility > Preset) to update all presets to the new protocol. Usually the release notes that accompany the firmware will instruct you to do this if necessary.

How to get your guitar to feedback

It's as easy to get your guitar to feedback with the Axe-Fx as it is with a regular amp and cabinet. To make it even easier you can switch the global Phase parameter in the I/O menu, under Audio.

Frequency curves of the amp tonestacks

Don Petersen generated a curve graph of each tonestack using white noise.
You can view the graphs in this thread.

CABINETS

How to select a stock cabinet

The Axe-Fx has many cabinet models. These model the influence that speaker cabinets have on the tone. A cab sim is an IR (Impulse Response), see below.

Descriptions and the real names of the modelled cabinets can be found in the Wiki and on the Fractal website.

It’s a matter of personal preference which cab sim to use with an amp. You can go with "historically correct" amp/cab combinations or go wild. The differences can be enormous. For example the 4x12 20w (very vintage, low power) has very little bass, the 4x12 German has loads of low end, the 4x12 Brit is very bright. Note that differences between cabs may also originate from the way the IR was captured. F.e., the 4x12 German sounds as if the mic was very close to the speaker, generating a lot of proximity effect (bass). The 4x12 Brit sounds as if the mic was at some distance (thin bright tone).

When comparing cabs, don't judge too quickly. Each time you select a cab, you may need to adjust the amp settings to recover a good tone.

Tips:

4x12 V30, 4x12 German, 4x12 Cali (Mesa), 4x12 Metal (Engl), 4x12 Recto	high gain amps Don't forget to try this: 4x12 V30/DYN 57 + 4x12 German/no mic
4x12 20w / 25w / 30w	vintage Marshall (Plexi, 1987X, Brown)
1x6 Oval	Lo-fi
1x10 Gold, 1x12 Black	Fender
1x12 Brit, 2x12 Brit	Vox
1x12 Open, 2x12 Gold, 2x12 G12h	"far-field" tones

Most stock cabinets with mic sims recreate the tone of a speaker which has been recorded with the microphone close to the speaker ("near-field"). This is how amps are recorded and mic’d live in general. It's very different from the tone of an amp and cabinet that you're listening directly. A couple of cabs are “far-field” ones, meaning that the mic was placed further away from the speaker during the capturing of the IR, resulting in a tone that’s more like hearing the amp and the speaker cabinet “in the room”.

Axe-Fx cabs (stocks as well as 3rd party IRs) are max. 21.3ms long (HiRes mode, 1024 points). This is too short to contain any "room ambience". To create "room ambience" reverb must be used.

If you want to hear differences between various speakers, check this video.

How to select a microphone

You can select a microphone model in the Cabinet properties. The microphone sims are described here, here and here. Or go to these websites for information on mics:

All mics are close-mic'd, which means that they simulate the tone of a microphone placed very close to the speaker. That's different from listening to a speaker cabinet "in the room". It's how guitars amps are recorded in the studio and amplified live. Close-micing can add a lot of extra low and high frequencies to the tone.

Don't underestimate the impact of the mic type on the tone. E.g., adding a R121 (Royer 121, front at 6") for example will add lots of high and low end to the tone. The 57 DYN (Shure SM57) works with almost everything.

You can also select "None". That doesn't mean that you'll hear the speaker like you are used to (in front of the cabinet). All cab sims were created using a neutral Earthworks mic (using a PreSonus channel strip and the Axe-Fx itself as A/D converter), placed close to the speaker (the "far-fields" are an exception, see above). Still, selecting "none" with stock cabs is the best way to remove tonal influence from the tone. Also, not using a mic sim will remove a lot of those pesky low and high frequencies from the signal.

If you use 3rd party IRs, it may not be necessary to select a mic at all (select "none"). The Red Wirez and Ownhammer IRs for example already include the microphone as part of the IR.

Review of Red Wirez mic and mic positions (Joost Assink, source):

SM7: same cutting power as the SM57 but without the harsh high end. It's also quite flat and meat & potatoes mic. It's a dynamic mic and works good from 0" without too much proximity effect. Dynamic mics need to be closer to really get them working, at least according to my experience. As a general rule of thumb, get the dynamic mics up to the grill (0 inches in RedWirez land) and condenser mics, especially the large diaphragm need a bit of distance or they'll get too boomy.
RE20: also honest and to my ears the most flat, yet more detailed than the SM7. Most transparent. No proximity issues, and this gives me a condenser-like sound up close to the grill, even though it's a dynamic mic. So cap edge 0".
U67: nice tube warmth and detail and richness. Really adds something to the sound. However, that mic alone lacks cutting power and adds the risk of muddying up the mix. That's where you need the two dynamic mics. Also, the U67 has some real proximity issues, so needs to be at least 3 inches off the grill. Again, cap edge gives best compromise between detail (high-end) and low-end/body.
R121: my favorite mic of the bunch. Incredibly rich and detailed. Adds some magic. Needs to be on the cap instead of the cap edge or it gets too muddy. Because of proximity effect it needs to be at least 1" off the grill, but 2" sounds great as well. Just use the distance between 1 and 3 inches to get low end to taste. At greater distances you lose some of that magic detail though. Again, just like the U67, it needs a dash of RE20 and SM7 for some honest transparency and detail or the mix gets too thick and slightly muddy. Also, this mix gives you dynamic mics, tube mics, condenser mics and a ribbon mic.

The following mics I also liked but didn't add anything to the four I had already selected:

C414: nice detail and fatness. Needed to be on the cap edge and 3" off the grill because of proximity effect. Liked the U67 better.
U47: slight harshness, but nice condenser mic. Cap Edge 1 inch.
SM57: most common mic ever. Great cutting power but harsh high end and upper mids. Needs to be off-axis because of it. 0 inches at the cap edge off axis it is.

How to choose between a stereo or mono cabinet

The cabinet sim operates in one of three modes:

“Mono HiRes”: mono, 1024 samples
“Mono LoRes”: mono, 512 samples (first half of 1024, requires 50% of the processing load of Mono HiRes)
“Stereo”: stereo, 512 samples (idem)

While the mono HiRes setting offers the best quality (not everybody hears the difference with the LowRes/Stereo setting), the stereo setting has its own thing going. It lets you combine two cab sims in one block with either one or two amps. Two amps: pan AMP1 fully left and AMP2 fully right, sum their outputs into the cabinet block, adjust the left and right cabinet settings. One amp: hard pan L and R in the cabinet block. Many factory presets employ a stereo cab, set to two different cab sims. Instead of using a stereo cab you can also put a Mixer after two mono cabs (in parallel) to set their levels.

Alternatively you can use two separate HiRes CAB blocks in parallel rows for the best sound quality. This will increase the CPU load. Having two cabs in parallel rows will also increase the signal level. You can restore the level by setting the cabs' levels to -4 dB.

How to use the Air and Drive parameters

The Drive parameter in the Cab properties simulates speaker breakup. When set to something other than zero, the hotter the signal to the cab block, the more speaker breakup you get. Beware: at higher values it can cause audible aliasing (source). So rather than use this parameter, add a drive block immediately following the cab and tweak to taste.

The Air parameter helps to remove a “boxy” edge of the tone through a cabinet sim. Here is a demonstration. Cliff: "Air is nothing more than low-pass filtered direct signal mixed with the processed signal. Sometimes adding some Air can help remove the boxiness. You typically need to set the Air Freq above 3 kHz before the effect is noticeable. I like it around 3500 or so. It adds a little sizzle to high-gain tones and removes that boxy sound."

How to use a 3rd-party Impulse Reponse (IR or user cab)

Speaker cabinets are emulated in the Axe-Fx through IRs: Impulse Responses. An IR is the recorded output of a device (speaker cabinet, effect, etc.) when an impulse (short sound) is played into the input of the device. The Axe-Fx comes with a lot of stock cabs.

If you are looking for something different, take a look at 3rd party IRs. The Axe-Fx has 10 slots for user cabs (IRs). You need a sysex librarian or the Axe-Fx editor to upload IRs into the user cab sots. The process is described on this Wiki page. There’s no visual confirmation, except for a small MIDI IN light blink at the end of the process. You can also listen to a change in the tone for confirmation of a successful load. You can download a large collecton of IRs here (collected by Fractal Audio).

The IRs from Red Wirez (www.redwirez.com) and Ownhammer (www.ownhammer.com) get good reviews. They offer sets of close-mic’d IRs for several speakers and cabinet/microphone combinations. The microphone is already part of these IRs, so alway sset the mic sim to None in the cabinet’s properties (unless you choose IRs that have been recorded using a neutral mic such as a TC30 or KM84).

You can load external cabs (.SYX files) into a User Cab slot using Axe-Edit.

Open the Preset Manager in Axe-Edit.
Select the Cabs tab in the left column and hit the Source button.
In the new window navigate to the folder that contains the IR files, select Choose.
In the right column select Cabs too.
Now drag and drop the Impulse response from the left column to a slot in the right column.
Rightclick the slot in the right column and select Save. Or hit the Save button in the upper right column to save all slots to the Axe-Fx.

You can mix several Red Wirez IRs into one mono Hires IR using their online mix utlity. The IRs are time-aligned to prevent phase issues. This “dB-Percentage”-calculator may be of use. You can find popular "mix recipes" on the Fractal forums. You can also use a stereo cab or two single cabs to mix IRs.

Note: the Axe-Fx doesn't show what has been uploaded to the user cab slots. It's also clear that this will not be possible on the current hardware in the future. So always write it down! Or use this simple method: add a number (1 - 10) at the beginning of the filenames of the IRs you will be uploading. Sort the IRs on name in Preset Manager. Now you will always see your favorrite IRs at the top of the list and the slots they have been uploaded to.

You can clear the content of a cab slot by using the IR in this thread.

This (commercial) application makes it easier to sort, mix and play IRs: IR-Lab.

How to set the speaker resonance parameter

There's a parameter Speaker Resonance on the Amp's Advanced page. You can use it to optimize the amp sim for a specific cab, whether it's a real cabinet or a cab sim.

Cliff:

"Furthermore there are certain aspects that simply can't be modeled and require user intervention. For example, a speaker has a low-frequency resonance. A tube amp will create a higher output at that resonant frequency. The Axe-Fx has no way of knowing what that resonant frequency is and defaults to a value that is common for the speakers that are typically used with that amp. However, if you drive that speaker through a solid-state amp you won't excite the resonance unless you adjust the Speaker Resonant Frequency to match it. This is the one of the few advanced parameters I ever adjust and I tweak it until I hear the bottom end "sympathize". For example, my favorite Mesa cab resonates around 110 Hz but most of the models default to 95 Hz so I usually adjust the Speaker Resonance to 110 Hz when using that cab. After I do that the Axe-Fx is indistinguishable from the real thing, IMHO."
"The SRF parameter makes a difference in certain circumstances: medium-gain with lots of power amp breakup and high-gain into a traditional guitar cab. For example, a Deluxe Reverb easily gets into power amp breakup with a Drive of 5.0. Play a G chord and listen to the low notes breaking up. Adjust the SRF and you'll hear the character change pretty dramatically. This applies to both FRFR and traditional speaker applications. For high-gain amps into a traditional cab the SRF has a definite effect for palm-mutes and diad chugging. As you excite the resonant frequency the speaker excursion increases and you get much more punch. This even applies a bit to low and medium gain amps if you rely on that punch as part of your tone. Note, however, that the punch is rarely audible to the audience or captured during recording. One way to find the SRF is to put a Filter block after the amp block. Set the type to Peaking, Q to 5 or so and Gain to 10 dB. Start with a Freq. of 50 Hz. Play some chugga-chugga and slowly adjust the Freq. until you hear and feel the cabinet resonate. Make a note of the frequency. Remove the filter block and set the amp block SRF to match. 4x12s typically have an SRF of between 80 and 120. Open back cabs are typically a bit lower."

Jay Mitchell:

"There is a definite benefit to setting the value to the resonant frequency of the cab being modeled. If you're not using cab sims and playing through a guitar speaker, you could make the amp sim behave more like a physical amp driving that particular cab by adjusting the resonant frequency appropriately. One significant caveat: the resonant frequency of a speaker/cab combination is not the resonant frequency that is published in the speaker's data sheet. It is, without exception, somewhat higher. Open back and ported cabs can generate multiple resonant peaks in the impedance vs. frequency curve."
And answering the question "What is the effect on the emulation if this value is set incorrectly?": "You'll get the response of the amp driving a speaker with a resonant frequency other than that of the speaker that is represented by the IR you're playing through. Whether that difference is even audible depends on the resonant frequency itself (much below 80 Hz has relatively little effect on guitar frequencies) and the virtual design of the amp sim (e.g., higher values for Damp will reduce the effect). The justification for getting this "right" is getting the closest possible match to the physical cab you're simulating. There's nothing to say it won't sound better set to some other frequency."
"The term "resonant" is unfortunate, because there is no resonant peak in the electroacoustic response of most cone transducers - including guitar speakers - under normal conditions. There is an interaction between the source impedance of an amplifier and the load impedance presented by the loudspeaker. Both impedances can vary with frequency, but frequency-dependent variations in the load impedance are much greater. What is the effect of this interaction? In the most extreme case of a high source impedance - say, 3 ohms, which could be the case with a Class A SE tube amp with no negative feedback - there will be a response peak of just over 3dB at the "resonant frequency" of the speaker. In a less extreme (and more common) case - say, 1 ohm source impedance - this response peak will be reduced to about 1.23dB. In comparison to the other response peaks and dips in a guitar amp/cab system, the effect is a subtle one. Another relevant item: if you are looking for the "right" frequency (IOW, the actual resonant frequency of the cab represented by the sim), you cannot identify it with an IR of the speaker. The response of the speaker is influenced by many variables, and resonant frequency is just one of them. Anything you do via use of the Axe-Fx alone, while it may be pleasing to you, is unconnected to the actual resonant frequency of the speaker. As one person has already suggested here, choosing the fundamental of a note on the guitar may produce a desireable result. In the end, this is another form of EQ which adds a small response peak at a relatively low frequency. The higher you have the "Damp" parameter set in the amp sim, the less effect this parameter will have."

You'll find the frequency response curves of the stocks cabs in this thread, and those of the Red Wirez IRs here.

How add body to the tone

Some users report that adding the 1x6 Oval cab as a second cab, or the 2x12 Gold cab (far-field), is an easy way to thicken the tone and emphasize mids in a FR setup. Use a stereo cab or add a 2nd cab block. Turn up its level as desired.

How to optimize your room tone as well as the FOH tone

With FR amplification you don't have to settle for one tone for your monitor as well as the FOH mixer. You can optimize both signals.

Split the signal on the grid somewhere after the amp into two routings.
Use the FXL block in the parallel routing to send one signal to Out2 (don't connect to Output).
In the main routing use a stock cab WITH a mic, or an uploaded IR with a SM57 or anogther mic. This signal goes through Out1 to FOH.
In the parallel routing (before the FXL block) use a stock cab WITHOUT a mic (read: neutral mic). Or an Ownhammer TC30 IR or Red Wirez KM84 IR.
This requires the Cab blocks to be at the end of the chain. Note that using two cabs will need more CPU cycles.

This approach keeps the Out2 signal for the FR monitor close(r) to a regular speaker tone, although it's still close-mic'd. It gets even better if you select a far-field cab for this routing. And you still deliver a perfectly mic'd signal to the mixer through Out1.

How to deal with the EFFECTS

How to deal with: Chorus and Quad-Chorus

Ultra: 2, Standard: 2

Website: "Exceptionally smooth chorus/ensemble and vibrato effects with up to 8 voices. Recreates the warm tone of vintage analog chorus pedals or the pristine clarity of the best rackmount chorus effects. Auto-depth allows for "golden" chorus sounds. Mono or stereo operation with full control of width, LFO, and signal phase"

Tips:

Try the chorus presets in the categorized list of presets (bottom of this page) to see if there’s one you like
The Quad-Stereo Chorus is an Ultra-only. It's like switching on 4 chorus effects simultaneously but utilizes a lot of CPU cycles
Chorus is a stereo effect, but it defaults to mono to prevent phase problems when used before an AMP block. To make it stereo: set LFO Phase to 90
The difference between chorus and flanger is the delay time and feedback. The Quad-Stereo Chorus has those parameters so it can be used as a flanger as well
Roland Dimension D settings
Chorus tips in the Wiki
Wide chorus settings
Tri-Chorus
Retrosonic chorus settings

How to deal with: Compressor

Ultra: 2, Standard: 2

Website: "An unglamorous but VERY powerful effect - evens dynamics and adds sustain/punch. Each compressor block may be set to either Pedal or Studio type. Pedal Type - Simple controls go from a little extra sustain to super-squishy. Studio Type - A fully featured stereo compressor with every control you'd expect to find on top hardware or software models. (Sidechain and input filter too!)"

How to deal with: Crossover

Ultra only: 2

Website: "Typically used in bi-amp guitar rigs where hi/lo frequencies are split to different amps. Features variable frequency and dual independent Level/Pan controls. Can be used to isolate effects on high or low frequency signals."

The Crossover lets you split high and low frequencies. There’s a Crossover factory preset that sends the high freqs to one side and the low freqs to the other

How to deal with: Delay

Ultra: 2, Standard: 2 (without Looper)

Website: "Each delay block may be set to one of Six Types: Mono Delay, Stereo Delay, Dual Delay, Ping-Pong-Delay, Reverse Delay, or Looper. Up to 8000ms full stereo delay time can be set in ms or rhythmic values. Ducking is available on every delay type. Ultra also offers a Stereo Diffusor. 16 second Looper (Ultra Only) with Play / Record / Once / Overdub / Reverse controls. Many players use the Axe-Fx to achieve what they feel are superb emulations of classic products like EchoPlex, Memory Man, 2290 and others"

The Axe-Fx has two different types of Delay blocks. The regular Delay is a basic delay with enhancements. The second is a complex Multi-Delay (separate How-to). The regular Delay has 5 modes:

“Mono”: both inputs are summed and only the left delay line is used
“Stereo”: independent left and right delay times and feedback
“Ping-Pong”: criss-crosses the signal so that the echoes ping-pong left and right
“Dual”: allows full control over the delay block providing controls for all parameters
"Reverse”: mono reverse playback

The Ultra's Delay block has an additional mode: Looper (separate How-to).

The Delay provides a low-cut and high-cut filter to simulate old analog delays. Use the Filter Slope parameter to increase the speed of the roll-offs
There are also two delay time modulators for modulated delay trails (there’s no dedicated modulated delay mode). Alternatively, place the delay in a parallel path (mix at 100% of course) and add a chorus or flanger behind it to modulate the trails
Delay trails can be carried over to the next preset. Read the topic about Spillover
Inserting effects in a "delay loop"
Great oscillating delay
Slapback delay
Deluxe Memory Man
Tape delay emulation settings
Factory 356 ("Vintage Digital Delay"): analog-style delay
El Capistan
To add an effect to the delay trails only, not the direct tone, place the delay in a parallel row and add the effect after it
If you can't change the delay time, chances are that you've selected a tempo factor (such as 1/4)

How to deal with: Detune

See the topic about the Pitch Shifter.

How to deal with: Drive

Ultra: 2, Standard: 2

Website: "Featuring 22 types, each with Drive, Tone, 2-band pre-EQ, and 3-band post-EQ. Advanced controls like Slew, Bias, and Clip type allow custom mod"

The Drive block covers a lot of ground: clean boosts, overdrives, distortion, treble boosters, fuzzes, octavia, etc.

Pi Fuzz: Based on Big Muff® Pi Fuzz. Cliff: "I modeled an early transistor Big Muff. I forget which one exactly but the one that most people consider to be the best sounding one. Perhaps the Russian one but it's been a while so I would have to check my notes to be sure".
Tube Drive: A neutral distortion with mild low rolloff
Treb Boost: Based on a classic Treble Booster
Mid Boost: A custom drive effect with steep mid boost
Super OD: Based on the Boss Super Overdrive
T808 OD: Based on Ibanez TS-808 Tube Screamer
Rat Dist: Based the ProCo Rat Distortion
Fat Rat: Thicker distortion with a low-mid boost
T808 Mod: Captures the most popular 808 mods
Octv Dist: An octave distortion (think Jimi...)
Plus Dist: Based on the MXR Distortion Plus
Hard Fuzz: A hard-clipping 60’s-style fuzz
FET Boost: A clean boost with tone controls
Tape Dist: Simulates studio reel-to-reel tape distortion. Cliff: "One thing I often use is the Tape Drive (after the Amp block) to get a punchier sound. Same basic effect as the speaker drive but different tuning".
Full OD: Based on the Fulltone Fulldrive OD
Blues OD: Based on the Marshall Bluesbreaker
Shred Dist: Based on the Marshall Shredmaster
M-Zone: Simulates the Boss Metalzone
Bender Fuzz: Based on Sola Tone Bender
BB Pre: Based on the Xotic Pedals BB Preamp
Face Fuzz: Based on Dallas Arbiter Fuzz Face
Master Fuzz: Based on the Maestro Fuzztone

More information:

The position of the virtual knobs does not correspond to the real thing! In other words: use your ears, not your eyes
Some people like turning down the effects’s Mix level to 80% or lower to increase transparancy and decrease buzziness. You can also attach an expression pedal to the Drive parameter
For hard rock and metal often a DRIVE block (like the TS808 or Tube Drive) is inserted before the AMP block, with minimal Gain and maximum Level. This lets you turn down the Drive in the Amp block, making the tone tighter
Try the Tape Dist (Drive and Tone below 5) with clean sounds, to add bite to the tone
Try the Tape Dist after the Amp block, instead of before. Cliff: "The tape drive is meant to be used anywhere in the chain. I've been using it after the amp to fatten things up and it work really well for that. Be careful though, the drive block is mono so you can get phase issues if you put it after a stereo effect." And: "it's just a generic tape distortion simulator. I used an old Ampex EQ curve basically."
Maximizing the Drive’s Level doesn’t satisfy some users. They prefer to boost the volume using a Null Filter boost (using the same CC for the Drive block and the Filter)
Xotic EP Booster settings
Lovepedal Eternity settings: TS808Mod, Drive 5.51, Tone 4.02, Level 5.98, Low Cut 150, High Cut 2230, Clip Type: Soft, Slew 5.98, Bias 0, Bass -1, Mid Freq 1523, Mid +1.0, Treble flat (Source)
Fuzz Factory settings
Marshall Guv'nor settings
Pi Fuzz and Tonebender
Digitech Bad Monkey
Xotic AC Booster settings
The Tonebender is an ancient treble booster. It won't work well with modern amps. Try it with the Vox AC30 or JTM45
Fuzz Face settings
More Fuzz Face settings
Demonstration how to emulate some pedals: T-Rex Dr Swamp, Fulltone OCD, Mesa Boogie V-Twin, Ibanez WH10, Marshall Guv'nor, Vox Satchurator, Xotic RC Booster, Menatone Red Snapper, Voodoo Lab Sparkle Drive
Various tips for using the Drive block

Curve graphs of all Drive blocks: see here.

How to deal with: Effects Loop (FXL)

Ultra: 1, Standard: 1

Website: "Allows external 3rd party hardware to be inserted anywhere in an Axe-Fx preset. 4-channel input mixer determines exactly what is sent to the outboard gear. Like all blocks, can be bypassed via the front panel or remotely with midi.

This topic is covered already.

How to deal with: Stereo Enhancer

Ultra: 1, Standard: 1

Website: "Spatializer effect widens stereo image by delaying one channel from 0-20ms. Independent pan controls for each output channel double as a channel converter. Also allows phase inversion of one or both output channels"

As explained already phase cancellation can occur when using this effect in a mono setup with the left and right channels summed. See the topic about stereo/mono operation.

How to deal with: Feedback Send/Return

Ultra: 1 pair, Standard: 1 pair

Website: "The SEND block taps the signal anywhere in an Axe-Fx preset. The RETURN block may be placed anywhere and includes a mixer to adjust mix, level, balance, and bypass mode. Users can use these to create series of more than 12 blocks, set up loops with other effects in the path, and more"

Several applications for this effect are explained in the Wiki. Also, see the topic about putting more than 12 effect blocks in the grid.

If don't have sound after adding these blocks, turn up the level in the Return block.

How to deal with: Filter

Ultra: 4, Standard: 1

Website: "High quality resonant stereo multimode filter block with Low Pass, Band Pass, High Pass, Low Shelf, High Shelf, Peaking, and Notch types. Gain, Frequency, Resonance, Level, and Balance can also be remote assigned for envelope follower and dynamic effects based on Mu-Tron or Moog classics"

The Filter is a versatile effect. For example, it's can also be used:

as an one-band equalizer
to boost the input of an amp block (NullFiter, turn up Level)
to boost the signal level for leads (NullFilter, turn up level
to make the low end tighter (see the amo How-Tos)

How to deal with: Flanger

Ultra: 2, Standard: 2

Website: "High quality flanger effects with superb controls for classic and experimental tones. Mono or stereo operation with full control of width, LFO phase, and signal phase. "Zero crossing" effects are possible with both positive and negative regeneration. Manual sweeps can be executed at the front panel, via midi or expression pedal"

Try the “flanger” presets in the categorized list of presets bottom of this page) to see if there’s one you like
Flanger is a stereo effect but defaults to mono to prevent phase problems when used before an AMP block. To make it stereo set LFO Phase to 90
The difference between chorus and flanger is the delay time and feedback. The Quad-Stereo Chorus has those parameters so it can be used as a flanger as well

How to deal with: Formant

Ultra: 1, Standard: 1

Website: "Similar to a wah, the Formant Filter creates human vowel sounds for "talk-box" tones. Vowels can be morphed with the CONTROL knob, which can be assigned remotely. Set START, MIDDLE and END vowels for custom sweeps".

Check the “Man In The Box” and “Poltergeist” factory presets.

How to deal with: Envelope filter

Adjust the Wah block settings to get the envelope filter (auto wah) effect.

For vintage envelope filter settings (think Mu-Tron), check the Wiki. Or use the great preset in the funk preset in this thread.
Or check the categorized list of presets at the bottom of this page.
If you’re looking for a synth sound such as in “Relax Don’t Do It”, read this.

How to deal with: Graphic Equalizer

The Standard has two, the Ultra has four.

Cliff: "The Q of each band is 1.414 since it's an octave EQ."

How to deal with: Looper

This is an Ultra-only mode of the Delay block. It has 16 seconds of delay (recording) time. Go to I/O > Ctrl to assign the looper controls (such as Play and Record) to switches on your MIDI foot controller. Use a latching switch for Play/Stop and momentary switches for Record, Stack and Play Once. The loop buffer will be erased upon presets switches, unless Spillover is enabled. If the preset you're switching to also has a Delay in loop mode, you can continue to control the looper.

It's a simple looper. No quantization, no half speed etc.

Tip: use the Looper when dialing in sounds. Place it before before the Amp block, and record a "unamped" guitar tone. Now keep playing it back while adjusting amp settings. You'll hear the differences in real time. Alternatively, use it to compare two sounds. Place it after the Amp block and record. Start tweaking. When you want to hear the original tone, play back the sample.

How to deal with: MegaTap Delay

This is an Ultra-only effect. It lets you enter custom delay rhythm patterns with a lenght of 2,5 sec max.

How to deal with: Mixer

The Layout menu contains a Mixer for the four rows of the grid. It also contains the volume level control for the entire preset. See the topic about adjusting levels. You can also insert a separate MIXER block anywhere in the grid.

How to deal with: Multi-Delay

Multi-Delay is a special rhythmic Delay effect. Its Plex-modes are especially nice to create sounds such as "shimmer". The Ultra has more modes: Quad-series, Ten-Tap, Rhythm Tap and Diffusor. Multi-Delay doesn't support delay spillover between presets.

How to deal with: Multiband Compressor

This is an Ultra-only effect. The Multiband compressor (MBC) is a valuable asset if you want single notes to stand out and keep note definition in distorted chords, or as an alternative to using a PEQ. There's an great tutorial on this Wiki page.

How to deal with: Noise Gate

Every preset has a noise gate. It's not a block, it's sort of hidden on a page in the Layout menu. Hold Bypass to reset to default (which is: switched on). Or turn Threshold to zero to switch it off. The Noise Gate needs quite a bit of CPU power, so switch it off if you have no need for it in a preset.

The Ultra allows you to add additional noise gates (Gate/expander block) to the grid. Try placing it before the amp, with Side-chain set to input. This way the input signal controls the gate which is what works best. No need to put it after the Amp block.

This thread contains a different approach to keeping the noise low. It's a Vol block with the volume parameter tied to the Envelope controller. As long as you don't hit the strings, the (input) signal is off. Yet another approach is to put an envelope-controlled lowpass filter at the start of the chain, tied to the Frequency parameter.

How to deal with: Panner

Use the Pan/Tremolo effect to pan a signal left/right in the stereo field. You can make the sound appear “fuller” and “wider” by adding the Stereo Enhancer effect.

How to deal with: Parametric Equalizer

The Ultra has four PEQ blocks, the Standard has two. This thread explains how to use a EQ to contour your tone and to get rid of excessive highs and lows.

How to deal with: Phaser

Phaser is a stereo effect, but defaults to mono to prevent phase problems when used before an AMP block. To make it stereo set LFO Phase to 90
MXR Phase 90 settings
Small Stone settings

How to deal with: Pitch Shifter

The Pitch Shifter has a lot of modes. Classic Whammy, Detune, Fixed Harmony, Intelligent Harmony, Octave Divider, Crystals. A couple of remarks:

Whammy: the Whammy is a 100% wet (no dry signal) signal, going up and/or down 1 or 2 octaves. Of course you need an expression pedal to make use of it. Enable Auto-engage in the modifier menu to automatically switch the Whammy on when moving the pedal. If the tone is too harsh, turn down the HiCut frequency. If you have an Ultra, then use the additional tracking option Local Mono for better control.
Detune: check the Modern Eddie factory preset as an example. Or use the Multi-Delay effect for very thick detune tones. In general: detune up and down the same amount, between +/-5 and +/-10, delay the voices for more width (7 ms), set mix at 25% or lower, turn down HiCut Freq to 8k or lower, place the block after the amp block, pan the voices hard left and right. Check for phase cancellation when running in mono.
Pitch shifting may work better after distortion (pedals and amp) and even better using individual paths for each voice.
When the Pitch is in the main path, the Mix parameter controls the balance between the dry voice and the shifted voice. But turning the mix up, will lower the output of the block. A way around this is to put the Pitch block in a parallel path, and add that to the dry signal.

The Ultra can do a bit more:

It has a Custom Shifter mode. This makes use of up to 32 "custom scales" (Global menu). These scales are used to convert played notes into other notes.
Advanced Whammy, Arpeggiator and Auto Pitch ("Cher" effect) modes.
Better pitch detecting capabilities (choice between Local Mono and Local Poly). Local means that the tracking takes place at the input of the block, Global means that the tracking takes place at the input of the Axe-Fx.

If you need an Octaver effect (1 octave down voice), set the pitch shifter to Fixed Harmony, 1 octave down. Alternatively use the Ring Modulator with these settings: Track On, Fmult 0.5, LoCut low.

Note: pitch tracking does not work on the right rear input or the effects loop, just the front input and rear left input. So don't use the right rear input if you need to use the Pitch Shifter. Unless you have an Ultra: you can select Local Mono or Local Poly as Pitch Source.

The Octave Divider always uses the Global detector, even if you have an Ultra.

Cliff: "When going direct, pitch shifting often sounds best when placed BEFORE the cab block. The factory presets may have the block doing the shifting (pitch or multidelay) after the cabinet block. Try moving the pitch before the cabinet block for smoother results." (In this case: set the source to Global, Ultra only). Background (source: Bakerman): "The pitch block basically shifts the entire cab freq. response up/down if it's after cab. A slight detune might sound about the same either way but with a half step, whole step, etc. the difference becomes more apparent."

How to deal with: Resonator

This is an Ultra-only effect. Check the categorized list of presets at the bottom of this page for an example.

How to deal with: Reverb

This page explains how to get microphone ambience/air ("in the room") as well as rich reverb using just one Reverb block. For more information read this.
Settings for the famous PCM70 Concert Hall reverb: here. A regular "Hall" preset is among the factory presets.
Try the “reverb” presets in the categorized list of presets at the bottom of this page for different examples of reverb.

How to deal with: Reversed delay

The “reversed delay” preset in the categorized list of presets at the bottom of this page has great settings.

How to deal with: Ring Modulator

This is an Ultra-only effect. Mostly known for its metallic sound. The categorized list of presets at the bottom of this page contains a couple of Ring Modulator presets. The Ring Modulator can also be used to obtain a perfectly tracked monophonic low octave, in fact it may even perform better (low notes) than the Pitch Shifter in Fixed Harmony mode.

How to deal with: Rotary Cabinet (Leslie)

You'll find suggested settings here. The default Mix setting is 100%, decreasing it helps to define notes better. In firmware 9.0 the Rotary Cabinet effect (a.k.a. Leslie) has been improved a lot. Switching between speeds automatically ramps (firmware 9.0 and later). To switch between two fixed speeds using one switch: assign the Rate parameter to an external controller (instant access switch), set Start and End (under Rate) to the desired values (for example 0.5% and 64%), and program the MIDI controller to send “127” (using the CC of the switch) for fast and “0” for slow.

How to deal with: Seek wah

The random wah effect is also known as a seek wah (Z.VEX pedal). There are a couple of of presets, check the categorized list of presets at the bottom of this page.

How to deal with: Synth

This is an Ultra-only effect. Check the categorized list at the bottom of this page for some examples of the 2-voice Synth effect in the Axe-Fx. If it sounds too sterile, add an amp, a cab or a Drive block after it.

How to deal with: Tremolo

There are lots of tremolo presets among the factory presets. Check the categorized list of presets at the bottom of this page. To get different tremolo patterns, attach the Sequencer controller to a parameter, enter the Controller menu and adjust the Sequencer settings. For a nice vintage variation on the standard Sine or Square waveform, try the Trapezoid waveform.

How to deal with: (Uni)Vibe

Univibe is a special mode of the Phaser effect, there's no dedicated vibe effect block. Turn Order fully clockwise to active the Vibe mode. You can connect a pedal to control speed (rate). The Vibe has been improved in firmware 9.0, try the default settings and increase Depth.

How to deal with: Vocoder

This is an Ultra-only effect. This page explains how to set it up for us with a guitar guitar resp. for a guitar plus vocals.

How to deal with: Wah

The Axe-Fx doesn't model specific wah types. It provides the required parameters to dial it in yourself. Suggested settings:

Clyde: Bandpass, Fmin 369, Fmax 2369, Res 4.17, Track 5.08. More info
Morley Bad Horsie: Bandpass, Fmin 301, Fmax 1434, Res 4.37, Track 8.27. More info
Ibanez WH-10: Look here
Dunlop CryBaby GCB-95: Bandpass, Fmin 437, Fmax 2135, Res 5.75, Track 7.99.
Budda: Bandpass, Fmin 350, Fmax 1800, Res 5.75, Track 7.99.

Turn on Auto-engage in the Wah settings to activate the wah automatically when moving the pedal. Use the Off Value parameter to instruct the Axe-Fx when to switch it off. Use a low percentage (5% and up) for the heel-down position and a high percentage (95% and lower) for the toe-down position. The Slow / Medium / Fast setting instructs the Axe-Fx how fast to switch off the wah in that region. Use the Damping parameter in the modifier menu to slow down the response of the expression pedal a little (like 12 ms).

How to create special sounds and routings

How to automatically create feedback / sustain

Bakerman posted a great preset for this purpose. Source

How to create an automated "dive bomb"

This will work with any MIDI controller that supports momentary switches and 2 or more CCs per switch.

Axe-Fx:

Create a preset. Insert a Pitch block after the amp.
Set Pitch mode to Classic Whammy, Down 1 oct. Pitch Track off. 100% mix of course, Level to taste.
Pitch > Control parameter: enter modifier menu. Set source to External 8. Set Damping to 1000ms.
In I/O > Ctrl: Ext 8 should be set to CC 23.
Bypass the Pitch block and save the preset.

MIDI controller:

Program a momentary switch.
For "ON": program a command to activate the pitch block, use CC 77 for Pitch 1, or CC 78 for Pitch2, value "on" or "127". Then program a command to activate the actual dive, set this to CC 23 (External 8), value "on" or "127".
For "OFF": use commands to bypass the Pitch block and to return the pitch to normal (set the above CCs to "off" or "0").

Operation:

Select the preset.
Press and hold the momentary switch for the effect to kick in. Release to stop and bypass the Pitch block.

You can adjust the length of the dive (Damping), change the pitch to go up instead of down, make it even more dramatic by adding a flanger, etc

How to integrate your talk box

It's explained here and here.

How to create the Vibrato effect

There's no dedicated Vibrato effect in the Axe-Fx. A pity? No, because Vibrato is just a chorus with Mix set to 100% (no dry signal).

How to create a violin tone

Amazingly, the Axe-Fx can be a violin. Listen here. It’s explained here. Don’t forget to install an user cab for acoustic instruments.

How to crossfade effects

You can crossfade sounds using the sequencer. Set it to something like 16 steps, rate just over 1 Hz, values increasing in steps of 10% and have it sit at 100% for the last 6 steps. Place a volume block in each signal chain and assign seq to turn chain B up and chain A down; use 1000 ms damping. Assign one switch to sequencer run control and a second switch to bypass both volume blocks. You'll want them engaged before/during the crossfade. Use mute bypass mode for the vol. block in chain A, thru bypass mode for the one in chain B. Now you can be playing sound A, hit switch 1 and get the 8-9 second crossfade, then hit switch 2 within the next 4-5 seconds before the sequencer restarts. If you wait too long you'll hear it fade back quickly to A (then B gradually again) but whenever you hit it you'll hear sound B regardless of what the sequencer's doing. After that you can always stop the sequencer and switch back to sound A; it will just be instant instead of a crossfade. (source: Bakerman)

How to automate volume swells

To make the volume swell automatically (like the Boss Slow Gear pedal), use a Volume block with an envelope modifier. Copy the Vol block and Envelope settings from factory preset 257 or 206. Or try this. Alternatively, for example for Van Halen's Cathedral effect, set the noise gate to a low threshold, ratio to around 4 and turn down the volume on your guitar.

How to get / handle acoustic tones

You want to make your electric guitar to sound like an acoustic? Read this. In this thread you'll find (Fishman Aura) IRs to make your acoustic guitar or violin sound even better.

You can a piezo to make your electric guitar sound like an acoustic guitar. No need for an amp or cab sim. Just a bit of compression, reverb and maybe a pitch block to add some detuning. Some users like to add a bit of Tube Pre in parallel, and even a cab (with an acoustic IR) in parallel to add warmth. If you want change the tone, use a PEQ or GEQ.

How to simulate a 12-string guitar

To simulate a 12-string guitar: use a Jazz amp, a Bassman cab sim (or the Acoustic user cab) and a compressor. Let the amp feed a pitch shifter (12 semitones up). Use a filter to remove the lows and route the output to the cab. Use a little chorus and reverb. (source: Javajunkie)

How to create U2’s Mysterious Ways sound

This thread and this YouTube clip will get you close to this Korg A3 effect.

How to create space(ship) and lasergun sounds

Javajunkie provides info in this thread.

How to create a flute sound

The Synth effect (Ultra-only) makes it possible to create flute tones. Listen to the "Zamfir?" preset (categorized list at the bottom of this page). Also try the Andy's Whistle preset in Axe Change.

How to create an organ sound

You can get a great organ sound using the Pitch Shifter and the Rotary Cabinet. The Organ Grinder factory preset is a good start. This thread contains presets for the organ intro to U2's Where the streets have no name.

How to get the "shimmer" effect

The shimmer effect is an effect where notes are pitchshifted higher and higher and reverberated in a parallel path. Used a lot by U2’s The Edge. You can use the Plexi Shift mode of the Multidelay or the Pitch Shifter's Crystals mode (reverse feedback). A low pass Filter on the shifted notes helps to keep the signal clear. There are some nice examples in the factory presets, check the categorized list at the bottom of this page.

How to emulate an E-Bow (infinite sustain)

Javajunkie made a great preset. You'll find it here.

How to simulate the sound of the wind

There's one in Axe-Change.

How to emulate a sitar

There's one in Axe-Change.

How to create infinite reverb / freeze / hold reverb / chord-drone

Set a delay block to Dual. Use these values: Time L 1000ms; Time R 1500ms; Feedback L->L 50%; Feedback R->R 60%; Feedback L->R 45%; Feedback R->L 45%; Diffusion at 100%; Diff Time at 100%; Master feedback 100%. Attach a controller to Master Feedback to toggle it between 0 and 100. Turn Ingain to 0 after having frozen the chord. Use a controller for this. Source

How to make the Axe-Fx drop the tuning of your guitar

Factory preset 23 offers a nice example of fully dropped tuning. Don’t expect it to work for complex chords and such. If you're shifting all strings by small amounts, turn off Pitch Tracking. The Ultra offers improved support for pitchshifted chords.

How to create a siren

Check this thread.

How to create automatic double-tracking (ADT)

ADT: you play something and it sounds like there are two guitars. Read this.

How to use Buzz Feiten tuning

It’s in the Wiki.

How to use internal controllers and modifiers

It gets difficult here.

A controller is a source that generates control data. An expression pedal for example is a controller because it outputs control data. And it’s an external controller, because the data is generated from outside the Axe-Fx. The same goes for an on/off switch and a MIDI foot controller, when connected to the Axe-Fx. External controllers often operate on the basis of user input (by moving the pedal for example). The Axe-Fx supports 8 external controllers. These can be connected to the Axe-Fx directly using the two inputs at the rear, or via MIDI IN. Go to I/O > Ctrl to tell the Axe-Fx which external controllers you’ll be using.

The Axe-Fx also has internal controllers, which output control data as well. These are: Tempo, LFO, ADSR, Sequencer, Envelope and Pitch. Read the manual (pages 87 etc.) for more information. Push the Control button at the front to change their settings. Adjusting these settings change the current preset, not all presets.

And then there are modifiers. These sit between the controllers and the parameters that the controller controls. Still with me? The controller sends control data, which is being modified by a modifier, and then gets used to change a parameter.

Actually, it’s far easier to work with than it is to explain.

It’s important though to realize that there are internal controllers and modifiers. Often, when something peculiar is going in a preset and you can’t discover exactly why it is behaving like that, it’s because a parameter is being controlled by an internal controller. And it’s not always easy to see that a controller is attached to a parameter!

Example: the Wah-Wah effect. Go into Edit mode and you’ll see a block under the FREQ parameter. This means that the frequency parameter can be controlled by a controller. If it is, the block is filled. Go to FREQ and press Enter. You’re now in the Modifier menu. Under Source you can select the internal or external controller you wish to attach, or select “None” to detach a controller. Start, End, Slope etc. are other modifier parameters. If you’d choose an internal controller like Envelope, you need to go to the Control menu (use the front panel button) to configure it.

This thread contains a tip to optimize useof the ADSR (avoiding pops in the audio).

More information about controllers and modifiers

PEDALS, SWITCHES, FOOT CONTROLLERS, MIDI

How to get familiar with MIDI

How to configure MIDI settings and stuff

You can adjust the Axe-Fx's MIDI settings in Layout > MIDI. Things like MIDI channel, use of Program Changes, MIDI mapping, and defaults for external controllers.

Set Ignore Redundant PC to ON if you want the Axe-Fx to ignore a Program Change message that changes to the preset that's already active. This prevents that the active preset will be loaded again, and prevents the coresponding small audio gap.

If you're a MIDI expert, you can use SysEx messages (System Exclusive) to control the Axe-Fx. Required informaton is in the Wiki.

Even more SysEx information for the Ultra has been accurately acquired and organized by GM Arts here.

Information about SysEx commands for retrieving Present/Effect bypass states is here.

How to handle problems with MIDI

The Axe-Fx uses MIDI to communicate with computers. It doesn't support USB directly but you can use a USB-to-MIDI interface.

If you think there's something wrong with the MIDI ports on the Axe-Fx, try this (tip by Matman):

Connect the unit's MIDI out to its MIDI in
Press UTILITY
Page to the PRESET tab
DUMP the CURRENT PRESET
The "EDITED" LED should come on.

If this does not work, one of the above three components is not working correctly (usually the cable).

To test the MIDI handling by Axe-Edit, use its loopback test.

How to choose a MIDI foot controller

Controllers with specific support for the Axe-Fx:

Fractal Audio MFC-101
Gordius Little Giant and Big Little Giant
Liquid-Foot
RJM

Other popular controllers:

DMC Ground Control Pro
Axess FX1
Rocktron Midimate and All Access
Behringer FCB1010 with UNO chip

You can also use a Line 6 HD500 to control the Axe-Fx. Detailed setup information can be foud here.

How to make your MIDI foot controller work with the Axe-Fx

There are guides in the Fractal forum for specific controllers.

There is a MFC-101 forum and a MFC-101 Wiki page.

Controllers by Fractal, Gordius, Liquid-Foot and RJM can communicate with the Axe-Fx to sync preset names, display the tuner, etc. Support for the Gordius Little Giant is offered here and the Gordius site contains handy video clips.

There is useful setup information on this page.

How to work with the MFC-101

Visit the MFC-101 How-Tos page (Wiki).

How to power your MIDI foot controller through MIDI (phantom power)

The Axe-Fx can transfer power to your MIDI foot controller using pins 6 and 7 of a 7-pin MIDI cable, connected to MIDI IN on the Axe-Fx. The Axe-Fx doesn’t supply the power; you need to connect the power supply of the controller to the power input above MIDI IN on the Axe-Fx.

How to access presets 128 and higher with your MIDI foot controller

The 384 presets in the Axe-Fx are divided into 3 banks. To access banks 2 and 3 via MIDI the controller must be able to issue a MIDI Bank Select Coarse controller message (CC#0) with value “1” or “2”. Subsequent PC messages will then be routed to the selected bank. To get back to Bank A, send CC#0, value “0”, or restart the Axe-Fx.

Or: keep your footswitchable presets below 127 and stop worrying about it.

How to switch effects on and off using your MIDI foot controller

In I/O > Ctrl go to the effect and press Enter to activate Learn mode. Now press an instant access switch on your MIDI foot controller.

Alternatively write down the CC of the effect you want to be able to switch. Program your foot controller by assigning the CC to an instant access switch. Use “0” for off and “127” for on.

Of course, Fractal's own controller automates all of this.

List of all controllable parameters

How to activate the tuner using your MIDI foot controller

Scroll to the tuner CC (I/O > Ctrl) and hit Enter. Click the (instant access) switch on your MIDI foot controller that you want to assign the tuner to. Or configure it manually by assigning the tuner CC to a (instant access) switch on your MIDI foot controller.

How to display the tuner on your MIDI foot controller's display

Fractal's own MFC-101 and controllers by Gordius, Liquid-Foot and RJM are able to graphically display the Axe-Fx tuner information on their displays. Enable real-time MIDI SysEx communication on the Axe-Fx (I/O > MIDI) by setting it to “Tuner”. Don’t select “All” with Gordius and Liquid-Foot controllers as this can cause serious data overflow problems in some cases.

You also need to connect the Axe-Fx's MIDI OUT Fx to MIDI IN on the foot controller. Unless you have a MFC-101, 2^nd generation Gordius or Liquid-Foot controller, because these allow full bi-directional MIDI communication with the Axe-Fx using a single 5-pin MIDI-cable.

How to choose an expression pedal

A couple of suggestions:

Clff: "The pedal should be an expression pedal. Expression pedals are inherently "mono" for lack of a better term. The impedance of the pedal should be less than 100K for best results. You *can* use a volume pedal but the taper will be wrong. Best results are obtained using a linear taper pot which is what an expression pedal has."

How to connect and configure an expression pedal or switch

You can use expression pedals and (momentary or latching) footswitches to control parameters, switch presets etc. It’s particularly handy to use two expression pedals: one dedicated to volume control or a wah, and one that controls specific effects parameters like rate, pitch, volume.

The Axe-Fx has two dedicated inputs at the rear for this purpose. Expression pedals need to be connected through a STEREO (TRS) cable (stereo jack at each side). Switches can use TS cables. Use the I/O > Pedals menu to configure it all including calibration. Don’t forget to use the handy Learn feature: press Enter and move the device, for example a pedal, to have the Axe-Fx recognize the device.

Of course you can also connect pedals and switches to a MIDI foot controller. See pages 19 etc. and 87 of the manual.

After connecting an external controller (pedal, switch), you need to "attach" the external controller to the thing you want to control with it. But you don't attach controllers directly to effects parameters in the Axe-Fx! There is a configuration layer inbetween: External Controllers. The way it works is that you configure the pedal to be one of the External Controllers, and that External Controller is attached to the effects parameter in the parameter's Modifier menu: PEDAL > EXTERNAL > EFFECT.

So go to the External Controller in I/O > Ctrl. You can pick whichever you want.

If your pedal connects to a foot controller: assign a CC for the pedal in the foot controller's menu first (within the range of the External Controllers in I/O > Ctrl) , then use the same CC / External Controller in the Axe-Fx. Or use the Learn feature on the Axe-Fx.
If your pedal connects directly to the Axe-Fx: select Pedal 1 or 2 for the External Controller.

Now, to attach the selected External Controller to an effects parameter, go to that effects block and parameter, press Enter (Modifier menu) and select the External Controller that's being controlled by the pedal.

How to solve a stuttering expression pedal

If moving the expression pedal results in choppy or zipper noise, try setting the Damping parameter in the Modifier menu to 4 or 8 ms. This slows down the response rate a little.

By entering high Damping values you can also enable gradual changes. For example, if the pedal controls the speed of a tremolo, then entering a damp value of “1000” will make the speed ramp up or down slowly when moving the pedal.

How to turn an expression pedal into a wah

First, have the Axe-Fx recognize the expression pedal: go to I/O > Ctrl, and assign External1 to the expression pedal (use the Learn mode by pressing Enter). Select a preset and insert a WAH block. Enter Edit and go to to the Freq parameter. The block under Freq indicates that this is a parameter that can be attached to a controller. Press Enter and under Source select EXTRN1. The pedal has now become a wah. Adjust the Wah settings to your liking.

How to activate an effect automatically when moving the pedal

This is controlled by the Auto-Engage parameter in the Modifier menu of an effect parameter. Enter the Edit mode of the effect and go to the parameter that is controlled by the expression pedal. Press Enter and switch on Auto-engage. Experiment with the 3 settings (Slow / Medium / Fast) to see what works best for you. This is especially useful when configuring an expression pedal to behave like an optical wah or whammy pedal. Use the Off Value parameter (currently not described in the manual) to set the automatic “switch off” area; around 5% means that the effect will switch off if the pedal is within 5% at the heel-down position; around 95% does the same for the toe-down position.

How to use a single pedal to control different effects without switching presets

It's possible to use your expression pedal for multiple purposes in the same preset (apart from buying a dual-function pedal from Mission Engineering or using the Gordius MIDI foot controller).

Suppose you have one expression pedal and you want it to use as a wah as well as a Whammy, without switching presets:

Insert a Wah block.
Insert a Pitch block, directly above or below the Wah in a parallel row. Connect it back to to the main row.
Adjust the Wah and Whammy settings to your liking.
In the Modifier menu of BOTH effects (Wah: Frequency parameter; Pitch: Control parameter): set Source to Ext1 (or the other external controller that's attached to your expression pedal), enable Auto-engage, set Off Val to 95% (this means they will activate at toe-down position), enable PC RST.
Add a Mixer block to the main row, just after Wah and Pitch.
Editing the Mixer: enter the Modifier menu of the Gain parameter for the row that connects to the Wah. Set Source to the external controller that is or will be attached to an IA-switch (which switches between Wah and Whammy). Set Start Value to 100% and End Value to 0. Set PC Rst to off.
Now do the same for the row that connects to the Pitch block. But: set Start Value to 0% and End Value to 100%.
Program an IA-switch on your MIDI controller to switch between Wah and Whammy, using the Mixer rows. Use the CC of the external controller that you specified while editing the Mixer block, and send "127" for the Wah, and "0" for the Whammy.
This is it. Moving the pedal should activate both the Wah and the Pitch block. But thanks to the Mixer block you'll only hear one of these effects. To bypass the effect hold the pedal in toe-down position. If you're hearing the Wah and the Whammy effects simultaneously, you need to press the IA-switch to get the Mixer block to work.

Visit this thread to see an example of a single pedal controlling Wah, Whammy and Volume.

How to use a switch for global control of any effects block

The Axe-Fx provides a couple of global controls. For example for poweramp and cab simulation. Here's how to create a global control for any effects block. This is especially convenient for things like PEQs. For example if you use a PEQ to block high and low frequencies on your FR system, but you want to disable the PEQ when playing at home or recording. Without a global control you need to do that per preset.

Connect a switch to one of the inputs at the rear of the Axe-Fx. A latching type with a LED is best.
Make sure (I/O > Pedals) that the switch doesn't switch presets.
Assign the switch to External 8 (for example) in I/O > Ctrl.
In every preset set the Bypass of the effect you want to control to External 8.

The switch now controls the effect globally.

Note that a switch is not required per se. You can also set External to None, and use Init Value to set the state of the effect.

How to reset your pedal when switching presets

If you use an expression pedal and wish to ignore its position when recalling a preset, use PC RST in the Modifier menu of the parameter.

Manual: when set to ON the controlled parameter will be reset to the value stored with the preset upon loading the preset. The controller will not control the parameter until it has changed from its previous value. The value stored with the preset is always displayed in the value box. For example, if you want to control the Volume of the Volume block using an expression pedal but want it to be initialized to 10.0 on preset change regardless of the postion of your pedal set PC RST to ON. Then set the Volume parameter to 10.0. When the preset is recalled the Volume will be at 10.0. If you move the expression pedal the modifier will then be active and be in control of the Volume parameter from that point on.

Cliff: "The new value must be 5% different than the previous value otherwise whatever value the pedal is at will immediately override the "PC RST" value. The idea is that the parameter is set to a value when you recall the patch. You then have to move your pedal a bit (5%) to regain control of the parameter. This is done for two reasons:

Many MIDI controllers send the state of their expression pedals along with the PC message. If the behavior weren't as described, the stored parameter value wouldn't stick.
Many MIDI controllers have "noisy" expression pedals where the value tends to bounce around a little. This prevents the stored value from being lost."

How to mute the delay using an expression pedal or switch

By attaching an external controller (connected to the pedal) to Input Gain in the Delay properties, you're controlling the delay level at the input stage. This will make delay trails fade out nicely when muting the delay.

How to switch between different effect settings using one switch

In the effect’s Edit menu assign an external controller to the parameter you want to control, for example Level or Rate. Then set the Start and End parameters to the two desired settings. Assign the external controller (I/O > Ctrl) to an external switch or to a switch on your MIDI foot controller (use the correct CC, plus “127” for one setting and “0” for the other).

How to use a pedal for volume boosts

Insert a VOL block. In the Modifier menu of the Vol parameter, set Source to the pedal input. Set Start, Mid and End to the desired values.

How to know which Axe-Fx functionality can be controlled through MIDI CCs

Here's a list for Standard/Ultra. Some CCs are Ultra-only.

010 Input Volume

011 Out 1 Volume

012 Out 2 Volume

013 Bypass

014 Tempo Tap

015 Tuner

016 External 1

017 External 2

018 External 3

019 External 4

020 External 5

021 External 6

022 External 7

023 External 8

024 Looper 1 Rec

025 Looper 1 Play

026 Looper 1 Once

027 Looper 1 Stack

028 Looper 1 Rev

029 Looper 2 Rec

030 Looper 2 Play

031 Looper 2 Once

032 Looper 2 Stack

033 Looper 2 Rev

034 Global Bypass

035 Volume Incr

036 Volume Decr

037 Amp 1 bypass

038 Amp 2 bypass

039 Cabinet 1 bypass

040 Cabinet 2 bypass

041 Chorus 1 bypass

042 Chorus 2 bypass

043 Compressor 1 bypass

044 Compressor 2 bypass

045 Crossover 1 bypass

046 Crossover 2 bypass

047 Delay 1 bypass

048 Delay 2 bypass

049 Drive 1 bypass

050 Drive 2 bypass

051 Enhancer bypass

052 Filter 1 bypass

053 Filter 2 bypass

054 Filter 3 bypass

055 Filter 4 bypass

056 Flanger 1 bypass

057 Flanger 2 bypass

058 Formant bypass

059 FX loop bypass

060 Gate 1 bypass

061 Gate 2 bypass

062 GEQ 1 bypass

063 GEQ 2 bypass

064 GEQ 3 bypass

065 GEQ 4 bypass

066 Megatap 1 bypass

067 MultiComp 1 bypass

068 MultiComp 2 bypass

069 MultiDelay 1 bypass

070 MultiDelay 2 bypass

071 PEQ 1 bypass

072 PEQ 2 bypass

073 PEQ 3 bypass

074 PEQ 4 bypass

075 Phaser 1 bypass

076 Phaser 2 bypass

077 Pitch 1 bypass

078 Pitch 2 bypass

079 QuadChorus 1 bypass

080 QuadChorus 2 bypass

081 Resonator 1 bypass

082 Resonator 2 bypass

083 Reverb 1 bypass

084 Reverb 2 bypass

085 Ringmod bypass

086 Rotary 1 bypass

087 Rotary 2 bypass

088 Synth 1 bypass

089 Synth 2 bypass

090 Tremolo 1 bypass

091 Tremolo 2 bypass

092 Vocoder bypass

093 Volume 1 bypass

094 Volume 2 bypass

095 Volume 3 bypass

096 Volume 4 bypass

097 WahWah 1 bypass

098 WahWah 2 bypass

VIDEOS

Below is a selection of Axe-Fx videos on YouTube, including demos and tutorials. The Fractal Audio website also contains videos and audio clips.

CATEGORIZED FACTORY PRESETS

I categorized factory presets in the Ultra. It serves as a look-up list. The categories are arbitrary, but hey, it’s my list. Also, newer amps are missing because there aren't factory presets (yet) with those.

P.S. The numbers behind some of the preset names are for personal use.

Ambient, extreme pitch shifting, sound effects
2	Crystal Echos
4	Melancholia
8	Emerald Ocean
10	Fifths In Space
16	Night Creatures
24	Music Box
30	Serenity Now!
34	Glass Castles
41	Wood Nymphs
45	Soundtrack
51	A Clockwork Orange
57	Stratosphere
63	Arpeggiator Madness
68	Bouncing Balls
71	Wind Chimes
74	Tumbleweeds
83	Bad (U2)
90	The Planets
113	Haunted
116	Atmosphere
124	B-Movie Horror
130	Electro-Sweep
133	Detuned Wahs
134	Crystal Reverb (shimmer)
135	Pentalizer
137	Horror Movie
139	Detuned Descent
141	Inspection
143	Meet the Cytherians
145	Postive Feedback
146	Intrigue (C-Minor)
152	Velvet Sun
156	Asian Documentary
157	Delay Octoplex
158	Wind Chimes 2
159	Valentine Massacre
162	Poltergeist Pig
163	Organic
165	Pitchmodtrem
170	Avant Garde Delay
179	Vertigo
181	Dream Sequence
185	Frenetica
186	Heavenly Echo
188	The Abyss
194	Watercolors
198	Rainbow Splash
200	The Jupiter 2
203	Undulation
207	Ambient Swirl
209	Echoes From God
215	Flippin’ The Switch
216	Ascension
233	Velvet Sun 2
252	Desert Breeze
253	Flashback
267	Scintillating
268	Phenomena
269	Traffic Jam
294	Shifted Delay Thingy
328	Ambient Guitar
334	Solar Eclipse
337	Capricorn
338	Underwater
341	The Final Frontier
345	Diffuse Phaser 2
346	Corbomite Maneuver
375	Diamonique Rain
378	Ganymede
381	Sea Of Tranquillity
382	Lunar Eclipse
amp: Soldano SLO 100
86	Touch Wah Boogie
247	Track Wah
290	Scooped MIds
363	SLO Lead
amp: Vox Class A, AC30 Top Boost
12	B-May Lead (Queen)
73	Whole Lotta Love (Led Zeppelin)
77	Streets Have No Name (U2)
153	Top Boost
265	Class-A Crunch
318	Euro Top Boost
347	The Infield
amp: EVH 5150
36	Fat Solo Lead
67	Modern Eddie (with detune effect)
amp: Marshall Plexi
17	Cliff’s Of Dover (Eric Johnson)
44	Hell’s Bells (AC/DC)
52	Machine Gun (Jimi Hendrix)
95	Voodoo Chile (Jimi Hendrix)
174	Multicomp Plexi (with multiband compressor)
175	Crossover L:Lo R:Hi
229	Screaming Plexi
259	Lounge Lizards (with chorus)
271	Detune Plexi
275	Simple Plexi Rig
280	Full Plexi
286	Yngwie (Yngwie Malmsteen)
319	So Many Roads
321	Stone in love
355	80’s Clean
359	High Landrons
amp: Marshall JCM800
46	JCM Crunch
58	Still Got The Blues (Gary Moore)
81	Basic Brit 800
230	Smokin’ (Deep Purple)
301	Evil 800
315	Spandex & Hairspray
321	Stone in love
amp: Brown (EVH)
7	The Brown Sound
50	Unchained (EVH, with flanger)
263	EVH Circa 1982
270	Round Lead
298	Stratified
amp: Mesa Boogie
00	Studio Lead
5	Recto 1
28	Early Carlos (Carlos Santana)
29	Smooth (Carlos Santana)
56	Mark IV Lead
72	Thick Cali Lead
80	Super Chunk
102	USA Lead 2
106	Recto 2
121	In Your Face
131	Jet Flanger (with flanger)
256	Squashed
277	Comp Clean
282	Uber Chugga
284	Recto Lead
295	Studio Lead 2
326	Squeaky Clean
327	Cranked Recto
53 / 329	Petrucci Rhythm
336	Cranked Recto
364	Guitar Hero
amp: Fenders
47	Texas Flood (SRV)
60	EJ Clean (Eric Johnson)
1	Albert’s Lead
75	SRV Lead
101,195	Tremolo Tweed (with tremolo)
103	Stevie’s Rotary (SRV, with rotary effect)
111	Riders (with tremolo)
125	Tiny Tweed
129	Liquid Chorus (with chorus)
155	Screaming Meanie
172	Bond….James Bond (with tremolo)
214	Surf’s Up (with tremolo)
273	Chicago Blues
303	Freeway Jam
297	Mr. Gilmour Lead (Pink Floyd)
353	Brownface Blues
369	Damage Nexus
380	Blackface Lead
381	Sea of Tranquility
amp: Bogner Ecstasy, Uberschall
82	Dirty Capstan
115	Uber, Shall We? (Uberschall)
225	Rock Concert
232	Euro Crunch
318	Euro Top Boost
342	Ex-ta-see
amp: VHT / Fryette
312	Ned Beatty
amp: Trainwreck
236	Trainwreck
240	Wrecked
266	Beefy Rhythm
amp: Budda
66	Pushed
amp: Matchless
262	Brittle Comp Rhythm
278	New Country
amp: Metal, Das Metal, Engl
92	L.A. metal
22	Crazy Train (Ozzy Osbourne)
283	Uber Chugga
288	Liquid Molton Lead
304	Beef Supreme
308	Thor's Hammer + Saw
340	Blitzkrieg
372	Farvergnugen (Diezel)
amp: FAS models
222	Fat Solo Lead 2
333	FAS Lead
357	Cheezy Metal
amp: Dr. Z
206	Chicken Pickin’
amp: Dumble
248	That’s MISTER Dumble
319	So Many Roads
366	Cork Sniffers
amp: HiWatt
70	Run Like Heck (David Gilmour)
144	Time (David Gilmour)
331	Mr. Floyd (David Gilmour)
amp: Marshall JTM45
297	Mr. Gilmour Lead
300	Juicy Lead
314	Brit Blues
354	JM45 Blues Lead
367	High-Powered Lead
Organ
?	Organ Grinder
Vocoder, Formant
55	Man In The Box (talk box)
162	Poltergeist Pig
Flanger
50	Unchained (EVH)
131	Jet Flanger
282	In A Fixx
324	Triangle Flange
309	Flanged Delays
351	Flange-Chorus-Verb
Pitch shifting
23	Down Full Step (dropped tuning)
24	Music Box
37	Gamelan Nights (Indonesian gamelan orchestra sounds)
54	Lonely Heart Solo (Yes)
108	Rush Hour
151	Ballet Slippers
184	Lazy Man’s Arpeggio
208	6^th Stone From Sun
244	Orient Express
249	Diatonic 3^rd + Oct.
269	Traffic Jam
294	Shifted Delay Thingy
317	Modern Jazz
323	Four Detuners
341	The Final Frontier
343	C Major Shifter
348	China Syndrome
350	Stereo Shift + Verb
376	Happy Place
Delays
19	Band delays
70	Run Like Heck (David Gilmour)
77	Streets Have No Name (U2)
79	Circular Delays (Steve Lukather)
136	Pong Chorus
142	Flanged Echos
160	Chimey Echos
179	Vertigo
191	Rubber Biscuit
197	Sweep Band Delay 2
202	Walking On The Moon
205	Haunting Echos
207	Ambient Swirl
209	Echoes From God
217	Wandering Delays
231	Choral Canyon
245	Echoplex
250	S/H Band Delay
251	Sweep Band Delay
260	Sweep Echo
269	Traffic Jam
272	Bouncing Echoes
279	Panning Delays (Steve Lukather)
281	Dirty Tape Echo
287	Syncopated
291	Rotary Band Delay
293	Bandtaps
294	Shifted Delay Thingy
302	Forty Miles
306	2290 Delay (TC Electronic 2290)
309	Flanged Delays
320	Pulse Delay
330	TremDelay
332	Multi-Chorus
335	Comb Delays
339	Circular Delays 2
344	Analog Delays
349	Clock Tower
356	Vintage DigitalDelay
358	Filter Pong Verb
361	2290 Delay 2 (TC Electronic 2290)
365	Expanding Delay
371	Rotary Comb Delays
374	Fazed Delayz
380	Comb Delays 2
Uni-vibe
52	Machine Gun (Jimi Hendrix)
359	High Landrons
Shimmer
83	Bad (U2)
134	Crystal Reverb
186	Heavenly Echo
375	Diamonique Rain
Chorus
107	Lush Chorus
129	Liquid Chorus
177	Quad Chorus
199	Thick Chorus
259	Lounge Lizards
302	Forty Miles
311	Multi-Chorus
332	Multi-Chorus (with delay)
322	Analog Chorus
351	Flange-Chorus-Verb
370	Diffuse Chorus
Clean tones
21	Funk #49 (The James Gang)
60	EJ Clean (Eric Johnson)
104	Thick Clean
172	Clean Pop Rhythm
274	Dripping Wet
256	Squashed
326	Squeaky Clean
355	80’s Clean
Rotary Cabinet (Leslie)
103	Stevie’s Rotary (SRV)
264	Slow Rotary
Synth
91	Synth Lead
118	Analog Synth
228	Zamfir
246, 360	Funky Synth
Octave Divider
119	Wah Octave
Tremolo
101, 195	Tremolo Tweed
111	Riders (The Doors)
179	Vertigo
187	Tremverb
214	Surf’s Up
215	Flippin’ The Switch
227	Bond… James Bond
310	Bayou Country
330	TremDelay
Wah effects/Filter
86	Touch Wah Boogie
87	Envelope Phaser
95	Voodoo Chile (Jimi Hendrix)
98	Randomized
114	Seek Wah
119	Wah Octave
185	Frenetica
247	Track Wah
258	Random Wah
260	Sweep Echo
276	Get Down Syndrome
316	Opposed Notches
Reverbs
85	DreamVerb
123	Subway Verb
148	Ultraverb
157	Delay Octoplex
196	Perceptual Reverb
274	Dripping Wet
292/285	Cavernous
296	PCM70 Hall
299	Bright Plate
305	Vintage Spring
313	Long Verb
325	Dreamverb
352	Echo Room
358	Filter Pong Verb
362	Chorused Reverb
373	Jump Gate
377	Echo Room 2
Crossover
175	Crossover L:Lo R:Hi
Reverse delay
178	Reverse Flanger
289	Bass Ackwards
Resonator
176	Sweep Resonator
Phaser
108	Rush Hour
171	Phaser + Rotary
307	Diffuse Phaser
345	Diffuse Phaser 2
368	Modulation Mayhem
374	Fazed Delayz
Detune
67	Modern Eddie (EVH detuned signature tune)
255	Detune Slap
271	Detune Plexi
Auto swell ('slow gear')
157	Delay Octoplex
206	Stringlike
257	Auto Swell Pongverb
378	Ganymede
Ring Modulator
201	Tracking Ringmod
261	By Your Command
Lo-fi
237	On The Phone (lo-fi)

@@ Line 1: / Line 1: @@
-Collected and structured by Alexander van Engelen
+[[file:Yeks Standard-Ultra How-Tos icon.jpg]]
-Mail suggestions and corrections to: [mailto:engelen@xs4all.nl (yek)]
+Mail suggestions and corrections [mailto:alexandervanengelen@me.com here.]
-=Foreword=
+='''GENERAL'''=
-After ordering my Axe-Fx Ultra I wanted to prepare myself. So I read the manual, digged deep into the wiki and read a heap of forum threads. I collected all information that I found useful on the go and archived it for my own purposes. Now I’m sharing the results. It's my way to give something back. I hope and expect it’ll save new and existing users precious time, because all basic information is in one place, structured and up-to-date.  I’m just another Axe-Fx user, this is all “unofficial”. And since English isn’t my native language, there will be errors.
+==How to keep your knowledge up-to-date==
-The content partly comes from other Axe-Fx users and wiki contributors, so credit goes to them. And many thanks to Ian ("Iaresee") for migrating it all into the wiki.
-This is a work in progess. Information will be added.
-=General=
+Keep an eye on these sources for information.
-==Read this first!==
+* [http://axefxwiki.guitarlogic.org The Axe-Fx Wiki]
+* [http://www.fractalaudio.com Fractal Audio website]
+* [http://forum.fractalaudio.com Users forum]
+* [http://www.fractalaudio.com/Documents/AxeFxManual.pdf Manuals]
+* [[Firmware_history|Firmware release notes (first generation)]]
+* [http://forum.fractalaudio.com/search.php?do=finduser&userid=7762&contenttype=vBForum_Post&showposts=1 Posts by the President.] [http://www.g66.eu/index.php?option=com_content&task=view&id=340&Itemid=61 here's an interview]
+* [http://www.thegearpage.net/board/forumdisplay.php?f=53 The Gear Page]
-Lots of people get their hands on an Axe-Fx, connect it in one way or another, plug in their guitar, try a couple of factory presets and say: “Hey, it doesn’t sound as good as I had hoped for”. This is mostly due to not having set up the Axe-Fx correctly. And as the Axe-Fx is geared towards professionals and enthusiast users and not exactly being a mass consumer product, there’s some effort required to accomplish this task. The learning curve is quite high, don’t believe anything else! Read the following How-To’s to get started.
+If you subscribe to [http://forum.fractalaudio.com/threads/32028-Fractal-Audio-Systems-News this forum thread], you’ll receive notifications of important news like the release of new firmware.
+==How to get started quickly (for new users)==
+Use this checklist to quickly set up your unit for the first time. A lot of stuff is explained more in detail in separate How-Tos.
-Also, the Axe-Fx is NOT a guitar amplifier. The (stock) output signal you get from the Axe-Fx is not the tone you’re used to coming from your guitar cabinet. The Axe-Fx models tones of a recorded or FOH-amplified guitar. To the guitar player who is used to hearing his own speaker cabinet that’s a different kind of tone, although not for the audience. It takes some getting used to. However, it’s still possible to create that “in the room” tone too (explained later on).
+# Connect it to an amplifier or mixing table. Use Output1. If you’re using a guitar combo or head, connect Output1 to the Return of the amp’s effects loop and make sure to switch on that loop.
+# If you bought it secondhand, reset the system (Utility menu)
+# Plug your guitar in the front input. Select “Analog Front” (I/O &gt; Mode).
+# If you’re using your computer, home stereo, full-range monitor or mixer with headphones, verify that Cabinet simulation and Power amp simulation are on (Global &gt; Config).
+# If you’re using a guitar amplifier or a power amp with a separate cabinet, switch off Cabinet simulation. Power amp simulation can be on or off (whatever sounds better).
+# If the amplification device is stereo and you're using the left and right outputs, set Output1 to “Stereo” (I/O &gt; Audio). If it’s mono, set it to “Copy L&gt;R” (for now).
+# Use the Input1 knob at the front to turn up the input level. The red input level LED should blink occasionally ("tickle the red") when hitting the strings hard.
+# Use the Output1 knob at the front to turn up the main output level.
+# Make sure the unit isn’t set to Bypass (Bypass LED should not blink).
+# Select a factory preset and make some noise.
-==How to choose between the Axe-Fx Standard and Axe-Fx Ultra==
+Once you've gotten a feel for what you like from the factory presets, you can start to build your own sounds. You'll probably be overwhelmed with all the choices you have. Start by playing around with the key effect blocks: Amp and Cab. These blocks are your foundation and are the most important things to understand and get a grip on first.
-Currently there are two editions of the Axe-Fx: Standard and Ultra. The Ultra is faster and comes with more memory. This translates into additional, advanced Ultra effects (synth, vocoder, multiband compressor, ring modulator, delay looper, etc.) and you can run more effects per patch simultaneously before the CPU limit is reached. Of course the Ultra is more expensive too. Here’s a [[Feature_comparison|Standard-Ultra feature comparison table]]. The Standard suffices for switching basic patches. You need an Ultra for esoteric effect types and to run virtual pedalboards with lots of effects.
+==How to make sure it is set up correctly (gig checklist)==
-This page (scroll down) contains a diagram of my default patch layout. It utilizes about 90% of the CPU capacity on my Ultra.
+Use this list to verify everything is set up correctly for the gig.
+* Check the volume level and EQ  controls on the amplifying device
+* Check the cabling between the unit and the amplifier (Output1 and if applicable Output2)
+* Verify the input source, probably “Analog Front” (I/O &gt; Mode)
+* Check the audio output mode: mono or stereo (I/O &gt; Audio)
+* If applicable: check the output mode for monitoring (I/O &gt; Audio)
+* Check the global settings for Cabinet simulation, Power amp simulation and Spillover (Global &gt; Config)
+* Check the global EQ and level settings (Global &gt; Out1 / Out2)
+* When using user cab slots: make sure the correct IRs have been uploaded
+* Adjust the input and output levels using the front knobs
+* Verify that the MIDI foot controller, pedals and switches are operational
+* Verify that it is not in Bypass or Tuner mode
+* Perform a soundcheck
-==How to get started quickly with the Axe-Fx==
+==How to try the factory presets==
-The following checklist is meant to assist you with setting up the Axe-Fx quickly for a first audition. A lot of stuff is explained more in detail in other How-To’s.
+The unit comes with a lot of factory. Some people like them, some hate them, some think they are useless and delete them, some use them to build their own presets upon.
-# Connect the Axe-Fx to your amplifier or mixing table via Output1 at the rear. If you’re using a guitar combo or head, connect the output of the Axe-Fx to the amp’s effects loop Return jack and make sure the effects loop is switched on.
+There are no separate locations for factory presets and user presets on the Ultra; if you want to save your own presets on the Ultra, you have to overwrite factory presets (you can’t delete a preset, you must overwrite one). No worries, you can always reload the factory presets, they are [http://www.fractalaudio.com/support-fractal.html available online].
-# Connect your guitar to the front input on the Axe-Fx. verify that “Analog Front” is selected (I/O &gt; Mode).
-# If you’re using your computer, home stereo, a FRFR monitor or a mixer with headphones, verify that cabinet simulation and power amp simulation are switched on (Global &gt; Config). If you’re using your guitar amplifier, or a power amp and a speaker cabinet, turn off cabinet simulation and power amp simulation.
-# If the amplification device is stereo, set Output1 to “Stereo” (I/O &gt; Audio). If it’s mono, set Output1 to “Copy L&gt;R”.
-# Use the Input1 knob at the front to turn up the input level of your instrument. The red input level LED should blink only occasionally when hitting the strings hard.
-# Use the Output1 knob at the front to turn up the main output level of the Axe-Fx.
-# Make sure the Axe-Fx isn’t set to Bypass (the Bypass LED should not blink).
-# Select a factory preset and make some noise.
-==How to make sure everything is set up correctly before gigging (checklist)==
+Cliff: "The presets were created using studio monitors. Event 20/20 to be exact. They're very neutral. Guitars were a strat copy and a PRS." And: "The presets are meant as demonstrations of the capabilities. Also they are designed to evoke the "wow" response. As such they tend to be overprocessed. Think of them as a starting point."
+Notes:
-I go through the following checklist before gigging, making sure everything is set up correctly for the night.
+* If possible, use a stereo system to try the factory presets. It makes a lot of difference
+* Preset output levels vary from preset to preset
+* Presets are not been optimized for the latest firmware. And amp sims and effects that were introduced in recent firmware upgrades do not appear in factory presets yet
+* Some presets include a noise gate, set to a threshold that may not work well with your guitar. Turn the threshold to zero to switch the gate off (Layout &gt; Gate)
+* Some presets contain an ENH block (Stereo Enhancer) which is for stereo use only. If you're running in mono and audio output is set to “Sum L+R”, this effect will make the tone hollow, thin and glassy ("phase cancellation")
+* Some presets include a Delay block with Phase Rev (Advanced page of the Delay block) switched on. This is a stereo-only feature. If you're running in mono and audio output mode is set to “Sum L+R”, you may not hear any delay trails because of phase cancellation. Example; the 2290 factory presets. Switch off Phase Rev or select output mode “Copy L&gt;R” instead
+* When using output mode "Copy L>R" you'll lose signals that are hardwired to the right channel, such as the right channel of the Ping-Pong delay.
-# Check the volume level and tone controls on the amplifier.
+==How to find the right factory preset==
-# Check the cabling between the Axe-Fx and the amplifier (Output1 and if applicable Output2).
-# Verify that the input source is set to “Analog Front” (I/O &gt; Mode).
-# Check the audio output mode: mono/stereo (I/O &gt; Audio).
-# If applicable: check the output mode of the Axe-Fx for monitoring (I/O &gt; Audio).
-# Check the global settings for cabinet simulation, power amp simulation and spillover (Global &gt; Config).
-# Check the global EQ and level settings (Global &gt; Out1 / Out2).
-# Adjust the input and output levels at the front of the Axe-Fx.
-# Verify the operation of the MIDI foot controller / pedals / switches.
-# Verify that the Axe-Fx is not set to Bypass or Tuner.
-# Perform a soundcheck.
-# Get free beer, talk with girls. Or vice versa.
-==How to keep your knowledge about the Axe-Fx up-to-date==
+The Wiki contains [[Presets|lists of all factory preset names]]. These are probably outdated.
-Apart from this page, here are the main sources of Axe-Fx information.
+I categorized the factory presets I found interesting. Not all lof them. My list lets you find a specific preset quickly: [http://wiki.fractalaudio.com/index.php?title=Yeks_How_Tos#CATEGORIZED_FACTORY_PRESETS LIST]
-* [http://axefxwiki.guitarlogic.org Axe-Fx Wiki] (including [[Tutorials#Video_Tutorials|video tutorials]])
+==How to view and hear the Axe-Fx in action==
-* [http://www.fractalaudio.com Fractal Audio website] (including [http://www.fractalaudio.com/experience.html audio samples])
-* [http://www.fractalaudio.com/forum/ Fractal Audio users forum]
-* [http://www.fractalaudio.com/support-fractal.html Axe-Fx manual]
-* [[Firmware_history|Firmware release notes]]
-* [http://www.fractalaudio.com/forum/search.php?author_id=2&sr=posts Forum posts by Cliff, the Axe-Fx designer]
-And if you subscribe to [http://www.fractalaudio.com/forum/viewtopic.php?f=11&t=338 this forum thread], you’ll receive notifications of important news (such as the release of new firmware) by mail.
+There are lots of YouTube Axe-Fx videos. A selection of ones that I found particularly interesting (including demos and tutorials) can be found at the [http://wiki.fractalaudio.com/index.php?title=Yeks_How_Tos#VIDEOS bottom of this page]. The [http://www.fractalaudio.com/experience.html Fractal Audio website] also contains video and audio clips.
-==How to experience the factory presets the right way==
+==How to mount it in a rack or rackbag==
-Some like them, some hate them. Some think they are useless and delete them all, some use them to build their own patches upon. Whatever, the Axe-Fx comes with 384 pre-built presets which is also the memory space for all patches. Unlike some other digital devices there are no separated locations for factory presets and user patches. Which means that if you want to save your own patches, you have to <i>overwrite</i> factory presets (you can’t “delete” a patch, you need to overwrite it). You can always reload the factory presets, they are available online. (It would be nice to be able to write-protect patches)
+The Axe-Fx is a 19” 2HE device. It can easily be mounted in a rack or rackbag. If necessary combined with a racked power amp and/or power conditioner. You can put the rack or bag on a stand. [http://accessories.musiciansfriend.com/product/ProLine-PLAS-Adjustable-Amp-Stand?sku=581185 Example 1] [http://www.thomann.de/gb/millenium_as2001.htm Example 2]
-When auditing factory presets there are a couple of caveats:
+='''AMPLIFICATION AND I/O'''=
-# Don’t worry about major volume level differences between factory presets, they were programmed by different people.
+==How to switch it on and off==
-# Some factory presets employ the <i>noise gate</i> at a threshold that may not work well with your specific guitar signal. To adjust the threshold go to Layout &gt; Gate. Turning it to zero will switch it off completely.
-# Some of the factory presets contain an ENH block (Stereo Enhancer). This effect will make the tone hollow, thin and glassy if the Axe-Fx is being amplified in mono and the audio output mode is set to “Sum L+R”. This is also known as <i>phase cancellation</i>. Disable the Stereo Enhancer or select the output mode “Copy L&gt;R” instead.
-# Some of the factory presets employ a delay with its Phase Rev parameter (Advanced page) set to on. With this setting all delay trails will disappear if the Axe-Fx is being amplified in mono and output mode is set to “Sum L+R”. Also a case of <i>phase cancellation</i>. Switch off Phase Rev or select output mode “Copy L&gt;R” instead.
-==How to find a suitable factory preset for your needs==
+Use the front panel knob to switch the unit on or off. Or disconnect the power. As often as you want, it doesn't hurt.
-I’ve categorized a number of factory presets for my own use. This enables me to quickly find a specific preset. Scroll down to the end of this page for the list.
+Just remember to store your preset changes first, it saves all other changes automatically.
-==How to mount the Axe-Fx in a 19” rack==
+==How to get sound (basics)==
-The Axe-Fx is a 2U 19” device and can be easily mounted in a rack. If necessary together with a rack power amp and/or a power conditioner. A simple [http://www.thomann.de/nl/km_28670.htm 19” rack powerstrip] may suffice instead of a power conditioner. When performing you can put the rack on a stand. If you want to see how others deal with this, check [http://www.fractalaudio.com/forum/viewtopic.php?f=18&t=67 this thread].
+First read the topics above.
-=Amplification and Plugging In=
+* [[Front_Panel|Picture of front panel]]
+* [[Rear_Panel|Picture of rear panel]]
+You can use XLR or 1/4" jack cables. Both kind of outputs use line level signal.
+* For a balanced XLR connection use Output1. A balanced signal provides +6dB more level than unbalanced, supports long distances better and enables you to use the ground lift switch at the rear to fight ground loop hum.
+* For an unbalanced connection use the 1/4" Output1 jack(s). It'll be a little less loud than the XLRs. You can also use Output2, explained later.
+* The balanced and unbalanced Output1 connections can be used simultaneously to feed multiple targets.
-==How get sound from the Axe-Fx==
+You DO NOT NEED a DI-box to connect the unit to a P.A., as long as you make sure that it is connected to a LINE level input on the mixer. This is often neglected! The output signal, balancedor unbalanced, is too hot for a Mic level input.
-First read “How to get started quickly with the Axe-Fx” to get sound from the Axe-Fx.
+If there are only MIC inputs available on the mixer, do one of these things:
+* Use a DI-box. It turns line level signal into mic level and converts unbalanced into balanced. Use a stereo DI when using two outputs.
+* Use the pad switch on the mixer, to attenuate the incoming signal and prevent clipping.
+* Decrease the output level coming from the Axe-Fx, f.e. using the Global EQ level and/or Output knob at the front.
+[http://forum.fractalaudio.com/threads/33199 More info]
-You can use cabling with jack or XLR connections. The Axe-Fx supports <i>balanced</i> XLR cabling for Output1: it delivers extra output volume, supports longer distances and you can use the ground lift switch at the rear to isolate the ground and fight ground loop hum.
+Cliff: "The XLR output is balanced but it's +4 dBu nominal. The problem is people connect it to a mic input which is way too sensitive for that level signal. If the board has a mic/line switch you want to set it to line level. Or if it has a pad switch turn that on. Otherwise turn the level knob way down. The thing to remember is that XLR is just a connector. It doesn't imply microphone levels. Most pro stuff like eq's, etc. have line-level XLR's."
-If there’s some hiss when nothing is connected to the front or rear inputs, don’t worry about it, it’s normal.
+Notes:
+* The Output1 knob controls the main signal. If you have your a separate monitor, you can supply a separate feed from Output2, see separate topic.
+* Cliff: "Phantom power (on the mixer input) wouldn't be a problem. There are blocking caps in there for that."
+* When nothing is connected to the front or rear inputs, there may be some hiss, that's normal.
-You don’t need a DI-box to connect the Axe-Fx to a mixing table or sound reinforcement system! Just use the XLR output(s). Do make sure the Axe-Fx is connected to a <i>line input</i> on the mixer. And don’t mess too much with the Output1 knob at the front, because this has an impact on the FOH mixer level as well (use Output2 for your monitor, see other How-To).
+Troubleshooting signal problems:
-Use this list to troubleshoot signal problems:
+* Verify that the Axe-Fx isn’t set to Bypass
+* Check the position of the Input and Output knobs at the front
+* Check the amplifier level
+* Check the cabling to/from the Axe-Fx
+* Verify the settings in the I/O menu
+* Verify that Input is connected to Outputon the grid
+* Verify that bypassed effect blocks don't have their Bypass mode set to complete Mute
+* If the presets uses an external modifier, verify that it's not muted
+* Check the input source of the Amp block and match with the I/O settings
+* Verify that the Cabinet block isn't set to an empty user cab slot
+* If the tone is glassy, thin, and hollow, etc., or if there should be delay trails but you can’t hear them, it may be due to phase cancellation. See the topic about mono/stereo operation
+* If the output signal is “choppy”, a noise gate could be the culprit. Adjust its threshold or turn it to zero to disable (Layout &gt; Gate; the Ultra may have additional Gate blocks
+* Check your guitar cable, the battery in your guitar with active electronics, etc.
-# Verify that the Axe-Fx isn’t set to Bypass by accident.
+==How to use it with a FR monitor==
-# Check the levels at the front of the Axe-Fx.
-# Check the levels on the amplifier.
-# Check the cabling.
-# Verify that everything is set correctly in the I/O menu.
-# Verify that the Input is connected to the Output in the patch grid (Layout).
-# Verify that bypassed effect blocks don't have their Bypass mode set to complete mute.
-# Check if there’s a Mixer block (or an equivalent effect) connected to an external modifier which is off (but should be on).
-# Verify that the CAB block doesn’t point to an empty user cab slot.
-# Verify that the Axe-Fx isn’t in muted Tuner mode.
-# If the tone is glassy, thin and hollow, there may be phase cancellation going on. Scroll to the How-To about mono and stereo operation.
-# If there should be delay trails but you can’t hear them, there may be phase cancellation going on. Scroll to the How-To about mono and stereo operation.
-If the output signal is “choppy”, a noise gate could be the culprit. Adjust the threshold, or turn it to zero to disable the gate (Layout &gt; Gate). Note that the Ultra edition can have separate Gate blocks in the grid as well.<b></b>
+This is important: the output signal of the Axe-Fx - when using Cabinet simulation - is not the same as the tone you're used to from a regular guitar cabinet. The Axe-Fx models the tone of a recorded (= close-mic'd) guitar. The frequency spectrum of the output signal is much broader: 20Hz to 20kHz, aka full-range. A guitar cabinet covers just a part of that range, shaving off high and low frequencies.
-==How to use your FRFR monitor with the Axe-Fx==
+So if you are using amplification such as a home stereo, mixing table, studio monitors etc., you'll hear more extreme frequencies. And you may not always like it at first.
-A FRFR (Full Range Flat Response) monitor is designed to amplify the source signal as flat as possible. What goes in goes out without coloring the sound. This means that all tone shaping is left to the input device: the Axe-Fx. FRFR advantages are portability, no tone coloring, stage volume, consistent tone. It's all explained [http://www.fractalaudio.com/forum/viewtopic.php?f=13&t=4443 here] and [http://www.fractalaudio.com/forum/viewtopic.php?f=13&t=2822 here]. Fractal Audio has its own: [http://www.fractalaudio.com/products-at-reactor.html Atomic Reactor FR].
+For personal monitoring purposes there are FR(FR) solutions: Full Range Flat Response (FRFR) or just Full Range (FR). These kind of monitors are designed to amplify the source signal in its full glory. In other words: what goes in goes out without much tone coloring. Tone shaping is left entirely to the input device, in this case: the Axe-Fx. FR(FR) monitors can be active/powered (including a power amplifier) or passive (just a full range cabinet) and often consist of a speaker and a tweeter, separate of coaxical.
+Advantages are portability, no tone coloring, stage volume, consistent tone at all volume levels and environments, ability to work with different cab sims, same tone at gigs as in the studio etc. Here are a couple of informative threads:
+* http://forum.fractalaudio.com/threads/17084
+* http://forum.fractalaudio.com/threads/33883
+To set up the Axe-Fx for FR-amplification:
-To set up the Axe-Fx for amplification by a FRFR monitor:
+# Connect the Axe-Fx to the FRFR monitor
+# Switch on Cabinet simulation (Global &gt; Config)
+# Switch on Power amp simulation (Global &gt; Config)
+# Presets must contain a Cabinet block (Layout) and the SAG parameter in AMP blocks should be set to something else than zero
+# Select the correct audio output settings for mono or stereo use (I/O &gt; Audio)
-# Connect the Axe-Fx to the FRFR monitor.
+Cab simulation is not required (but still possible) when using an acoustic instrument with the Axe-Fx.
-# Switch on cabinet simulation (Global &gt; Config).
-# Switch on power amp simulation (Global &gt; Config).
-# Make sure that patches contain a CAB block for cabinet simulation (Layout) and that the SAG parameter in AMP blocks isn’t completely turned down.
-# Select the correct output settings for mono or stereo use (I/O &gt; Audio), see separate How-To.
-==How to connect the Axe-Fx directly to a mixing table==
+And remember this: you DO NOT NEED to put a microphone in front of the FR monitor! That wouldn't make any sense. The Axe-Fx already provides adequate speaker and mic simulation. Just run a line from Output1 or Output2 to the mixing table (LINE input).
-Sending the Axe-Fx output signal into a mixing table is the same as amplifying it through a FRFR monitor, so read that How-To and the How-To on mono or stereo operation.
+Fractal Audio has its own FR amplifier range with various models. A [http://www.standback.net StandBack] or [http://accessories.musiciansfriend.com/product/ProLine-PL-AS-Adjustable-Amp-Stand?sku=581185 something like this] is handy if you want to use the cab as a personal monitor. Or you can put the cab on its side to be able to hear it better (the power amp should be at the top).
-For digital connections, see that How-To.
+NOTE ON "IN THE ROOM":
+You are probably used to having a real amp and a speaker cabinet or combo to play through. If so, you have been listening to the tone coming directly from the speaker, which is often referred to as "in the room" tone, which most users are familiar with and accustomed to as being "the" guitar tone. A guitar cabinet outputs only a part of the full frequency spectrum, you won't hear very low and very high frequencies. The Axe-Fx emulates the amp part and the speaker part. The difference is that it emulates a "mic'd" guitar tone, where the mic is very close to the speaker. Not the "in the room" tone, but the guitar as you hear it in concert through a PA-system, or on a CD. A close-mic'd speaker can sound much brighter than when listening to the speaker at a distance. And it won't have any room ambience. To amplify it to full extent, you need a full-range amplifier. Now if you use that mic'd guitar tone in a band context, at loud volume levels, the high and low frequencies can get too much. The tone can get harsh and boomy. And because those frequencies compete with things such as cymbals (high) and bass guitar (low), the guitar may disappear in the mix. To bring the guitar back to where it belongs and give it its place within the mix, you can use one of several methods. Yet another approach is to put the Axe-Fx output signal through a real cabinet, but the disadvantage here is that you can't use the cabinet sims anymore: less flexibility, less versatility.
+Methods:
+* Adjust Bass, Presence and/or Treble in the Amp’s properties. Don't be afraid to turn down things a lot
+* Use the Low Cut and High Cut parameters on the amp's Advanced page. Low Cut is a hi-pass filter applied at the input stage of the preamp sim. High Cut is a low-pass filter applied at the output stage of the amp sim
+* Put a parametric equalizer (PEQ block) after the Amp/Cab blocks to block (not: shelf) frequencies below and above a certain range. Example: use the lowest band to block below 120Hz, use the highest band to block above 5.5kHz. This gets rid of highs and lows that the guitar tone often doesn't need in the mix. Use the Q parameter to finetune if required. [http://forum.fractalaudio.com/threads/23217 More information]
+* Use the Global EQ and cut the lowest band(s) and the highest one
+* Change the cab sim. Some cabinets such as the 4x12 V30 or German cab have much more bass than others
+* Change the microphone sim. The Royer 121 for example adds a lot of bass and treble to the tone, more than the SM57. Or use no mic sim at all!
+* Use another mic position. Only possible with 3rd party IRs
+* Turn down Depth for less bass. Depth is the same as Resonance, Fat, Whomp etc. on real amplifiers
+* Turn down HF Resonance on the amp's Advanced page in high-gain presets. This makes the distortion less harsh. It mimics the way these high-gain sims were configured in firmware 9.x and earlier
+* Use the tone controls on your FR monitor to tame the unwanted highs and lows.
+[http://forum.fractalaudio.com/threads/32022 More info on close-micing]
-==How to use your (pre)amp with the Axe-Fx==
+==How to connect it directly to a mixing table==
-Instead of using the amp models of the Axe-Fx you can keep using your own preamp and add the Axe-Fx for effects only.
+Sending the Axe-Fx output signal to a mixing table is the same as amplifying it through a FRFR monitor, so read that topic. Always use a LINE input.
-If you just want effects after the preamp, like delay or reverb, and you have a combo or guitar head, do this:
+For digital connections, see that topic.
-# Insert the Axe-Fx in the amp’s effects loop, like a regular effects processor. The amp’s effects loop Send jack goes into Input1 left (mono) at the rear and Output1 connects to the amp’s effects loop Return jack.
+==How to integrate your own (pre)amp==
-# Set the input source to “Analog Rear” (I/O &gt; Mode).
-# Set Output1 to one of the mono settings (I/O &gt; Audio).
-# Disable cabinet simulation and power amp simulation (Global &gt; Config). Or keep power amp simulation switched on if you think it sounds better that way.
-# Disable AMP and CAB blocks in the patch grid (Layout).
-If you just want effects after the preamp, like delay or reverb, and you have a preamp and a power amp, do this.
+Instead of using the Axe-Fx's amp models you can use your own preamp and add the Axe-Fx for effects only.
-# Put the Axe-Fx between the preamp and power amp, using Input1 left (mono) at the rear and Output1. Depending on the power amp, this may be in mono or stereo.
+If you want the Axe-Fx effects to come after the preamp, like delay or reverb, and you have a combo or guitar head, do this:
-# Set the input source to “Analog Rear” (I/O &gt; Mode).
-# Depending on your power amp, set Output1 to stereo or one of the mono settings (I/O &gt; Audio).
-# Disable cabinet simulation and power amp simulation (Global &gt; Config). Or keep power amp simulation switched on if you think it sounds better that way.
-# Disable AMP and CAB blocks in the patch grid (Layout).
-If you want Axe-Fx’s effects both before and after your preamp, you must use the “<i>Four Cable Method</i>” (4CM). In this scenario the preamp is made part of the Axe-Fx signal routing by placing the preamp into the effects loop of the Axe-Fx instead of the other way around.
+# Insert the Axe-Fx in the amp’s effects loop like a regular effects processor. The amp’s effects loop Send goes into Input1 left (mono) at the rear of the Axe-Fx, Output1 goes to the amp’s effects loop Return
+# Set input source to “Analog Rear” (I/O &gt; Mode)
+# Set Output1 to one of the mono settings (I/O &gt; Audio)
+# Disable Cabinet simulation and Power amp simulation (Global &gt; Config). Keep Power amp simulation switched on if you think it sounds better
+# Disable Amp blocks in the grid (Layout)
+If you want the Axe-Fx effects to come after your preamp, like delay or reverb, and you have a preamp and a separate poweramp, do this:
-# Connect your guitar to the Axe-Fx front input.
+# Place the Axe-Fx between the preamp and power amp, using Input1 left (mono) at the rear and Output1. Depending on the power amp, this may be in mono or stereo
-# Set the input source to “Analog Front” (I/O &gt; Mode).
+# Set input source to “Analog Rear” (I/O &gt; Mode)
-# Set Output1 to one of the mono settings (I/O &gt; Audio).
+# Depending on your power amp, set Output1 to stereo or one of the mono settings (I/O &gt; Audio)
-# Connect Output2 / Eff.Send to the amp’s main input.
+# Disable Cabinet simulation and Power amp simulation (Global > Config). Keep Power amp simulation switched on if you think it sounds better
-# Connect the amp’s Send jack (series effects loop) to Input2 / Eff.Return on the Axe-Fx. Engage the amp’s effects loop and turn up its level.
+# Disable Amp blocks in the grid (Layout)
-# Connect Output1 on the Axe-Fx to the amp’s effects loop Return jack.
-# Adjust levels all four front panel knobs on the Axe-Fx.
+If you want the Axe-Fx effects to come both before and after your preamp, use the “Four Cable Method” (4-cable method = 4CM). The preamp becomes part of the Axe-Fx signal routing, because it's inserted into the Axe-Fx's effects loop instead of the other way around.
-# Add a FXL block (Effects Loop) to the patch grid as part of the routing (Layout). Effects before the FXL block will come before the preamp, and effects after FXL will come after the preamp.
-# Disable cabinet simulation and power amp simulation (Global &gt; Config). Or keep power amp simulation switched on if you think it sounds better that way.
-# Disable AMP and CAB blocks in the patch grid.
-# If possible, set the amp’s series effects loop to instrument level.
-Note: 4CM can cause ground loop hum and/or hiss with certain systems, and mismatch of levels. Read [http://fractalaudio.com/forum/viewtopic.php?f=11&t=5366 this] and [http://www.fractalaudio.com/forum/viewtopic.php?f=23&t=82 this].
+# Connect your guitar to the Axe-Fx front input
+# Set input source to “Analog Front” (I/O &gt; Mode)
+# Set Output1 to one of the mono settings (I/O &gt; Audio)
+# Connect Output2 / Eff.Send to the amp’s main input
+# Connect the amp’s Send (series effects loop) to Input2 / Eff.Return on the Axe-Fx. Engage the amp’s effects loop and turn up its level
+# Connect Output1 on the Axe-Fx to the amp’s effects loop Return
+# Adjust levels using the front panel knobs on the Axe-Fx
+# Add a FXL block (Axe-Fx Effects Loop) to the preset grid as part of the routing (Layout). Effects before FXL will come before the preamp, and effects after FXL will come after the preamp
+# Disable Cabinet simulation and Power amp simulation (Global &gt; Config). Keep Power amp simulation switched on if you think it sounds better
+# Disable Amp blocks in the grid
-==How to use your power amp and speaker cabinet with the Axe-Fx==
+Note: 4CM CAN may cause ground loop hum and hiss, depending on your specific setup and gear.
+And if your amp's effects loop is line level only, you'll probably notice serious loss of volume level. Try to get the signal as hot as possible at Eff.Send/Output 2. The hiss originates from the added AD/DA conversion. The conversion happens partly before the preamp gain, so it gets amplified. More information [http://forum.fractalaudio.com/threads/19568-I-may-have-a-proper-solution-for-the-4CM-hum-hiss-problem?highlight=proper+solution here] and [http://forum.fractalaudio.com/threads/18224-How-to-eliminate-noisy-ground-loops-without-band-aids?highlight=eliminate+noisy here] and [http://forum.fractalaudio.com/threads/15993-4CM-hissing?highlight=hissing here].
-You can use a dedicated power amp and speaker cabinet with the Axe-Fx, like this:
+[[File:4cm.jpg]]
-# Connect Output1 to the power amp input(s).
+Cliff:
-# Disable cabinet simulation (Global &gt; Config).
+* "Any time you do an A/D or D/A conversion you add noise, a minimum of 3 dB each time. With the 4CM you've got four conversions so you're going to add at least 12 dB of noise. Just the nature of the beast and why I'm not a big advocate"
-# Switch off power amp simulation (Global &gt; Config).
+* "It also has to do with gain staging. With the 4CM and then going into a high gain preamp you're adding the noise before the gain. Those two conversions are now before a high gain stage (your preamp). It's a combination of line-level outputs, the number of conversions and gain staging."
-# Select the correct settings for mono or stereo use (I/O &gt; Audio).
+* "If you set Output2 to 12:00 you'll be down about 6 dB. You can either make this up with the processing or by turning up Output2. To clarify: at 12:00 Output2 is designed to have unity gain but the effects loop block itself actually has a gain of -6 dB. This is to prevent clipping the D/A. It gets more complicated since the input gain will effect the overall gain. In short, if you set Input1 to 2:00 and Output2 to 2:00 you should get unity gain. If you run Input1 lower or higher than 2:00 you'll need to compensate Output2 by the difference."
+* "A quick and dirty way to even out the levels is to plug the output into an input and adjust accordingly. For example, if you're doing the four-cable method and you want to make sure the loop send level is the same as the level coming from your guitar you could plug the loop send output into the loop return input and adjust the Output2 knob until the meters were the same."
-If you have a combo or an amp head with a cabinet, instead of a dedicated power amp, you can use the Return jack of its series effects loop to amplify the Axe-Fx. The Return jack actually is the input of the power section (the preamp section is bypassed).
+==How to use it with your own power amp and speaker cabinet==
-# Connect Output1 to the amp’s effects loop Return jack.
+You can use a dedicated power amp and guitar cabinet with the Axe-Fx. Some players prefer this to going direct and/or FR monitoring, because they feel it sounds more like a real guitar amp on stage, it looks better (subjectively) and it simplifies creating presets because there's no need for cabinet simulation. You can also use a neutral poweramp with FR speakers.
-# Set Output1 to one of the mono settings (I/O &gt; Audio).
-# Disable cabinet simulation and power amp simulation (Global &gt; Config).
-# Disable AMP and CAB blocks in the patch grid (Layout).
-# Turn up the level of the series effects loop.
-Note: some amps require to plug in a dummy jack into the effects loop Send to make the effects loop work.
+Here is a [http://forum.fractalaudio.com/amps-cabs/35679-list-solid-state-valve-amps-axe-fx.html list of solid-state and valve poweramps].
-[http://www.fractalaudio.com/forum/viewtopic.php?f=16&t=11613&start=0 More information about power amps].
+To connect:
-You can keep power amp simulation on the Axe-Fx switched on if you think it sounds better that way. Especially when using solid-state power amps. Note that, instead of globally, you can also switch on/off power simulation per patch by turning the SAG parameter down to zero.
+# Connect Output1 to the power amp input(s)
+# Disable Cabinet simulation (Global &gt; Config)
+# Switch off Power amp simulation (Global &gt; Config), unless you think things sound better with it
+# Select the correct settings for mono or stereo use (I/O &gt; Audio)
-Apart from “on” and “off”, power simulation can be set to “On-no thump” as well (Global &gt; Config). To be used with dedicated power amps that provide their own “thump” (FRFR monitors do not apply here, these are designed to be neutral).
+If you have a combo or an amp head with a cabinet instead of a dedicated power amp, you can use its power amp section to amplify the Axe-Fx, providing that the amp has a good quality series effects loop. The Return jack of the effects loop is the input of the power section (the preamp section will be bypassed).
-==How to use your own guitar amplifier with the Axe-Fx==
+# Connect Output1 to the amp’s effects loop Return jack
+# Set Output1 to one of the mono settings (I/O &gt; Audio)
+# Disable Cabinet simulation. Disable Power amp simulation (Global &gt; Config)
+# Disable Amp blocks in the grid (Layout)
+# Turn up the level of the series effects loop
-Check the How-To about using your own (pre)amp.
+Note: some amps require a dummy jack into the effects loop's Send to activate the effects loop.
-==How to set up the Axe-Fx for mono or stereo output==
+Cliff: "With the power amp sims off the depth and deep controls are deactivated. The master works as just a volume and the presence turns into a shelving filter."
-Use the I/O menu (&gt; Audio) to select mono or stereo operation. There’s always a lot of discussion going on about this. Playing the Axe-Fx in stereo is wonderful when recording but less so when playing live. Read [http://www.fractalaudio.com/forum/viewtopic.php?f=13&t=10611&start=0 this thread] for opinions and ways to set up your gear.
+Note: turning off poweramp simulation doesn't work well with a few amp sims that fully rely on poweramp distortion. The Wrecker sim (Trainwreck) is a good example.
-The output mode affects the output signal only. The signal of a mono source can be transformed into a stereo signal, and vice versa. These are the choices:
+You can enable the Axe-Fx's Power amp simulation if you think it sounds better that way. Especially when using solid-state power amps. Note that, instead of globally, you can always switch on/off Power amp simulation per preset by turning the SAG parameter in the Amp block down to zero.
+Apart from “on” and “off”, power simulation can also be set to “On-no thump” (Global &gt; Config). This setting serves dedicated tube power amps that provide their own “thump” (FRFR monitors do not apply here, these should be neutral). In other words: this global setting bypasses the Thumb parameter in the amp settings.
-* “Stereo”: select this when going direct (no amplification) into a mixing table or when using a stereo amplifier.
+==How to use it with your own guitar amplifier==
-* “L+R Sum”: use this with a mono source. The left and right channels are summed and sent through the left and right outputs.
-** Important! While this seems perfect for mono output, there are caveats. Summing signals will cause <i>phase cancellation</i> in some cases.
-** Example 1: if a patch contains an ENH block (Stereo Enhancer), this mode will make your tone strange, thin and hollow.
-** Example 2: if a patch contains a delay with its Phase Rev parameter (Advanced page) set to on, this mode will make all delay trails disappear.
-** A lot of factory presets employ either the Stereo Enhancer or the delay with Phase Rev set to on.
-* “Copy L&gt;R”: the signal on the left channel is copied to and replaces the right channel.
-It’s an alternative for L+R Sum and avoids the phase cancellation issues. But there's an issue here too: you lose the right channel signal with hard-wired stereo effects such as Ping-Pong Delay!
+See the topic about using your own (pre)amp.
-==How to set up the Axe-Fx for multiple output signals==
+==How to set it up for mono or stereo output==
-The Axe-Fx sends its main signal through Output1. This goes into an amplifier, into a mixing table etc. You may want to enable a second output signal (Output2), for example to feed your personal monitor during a gig. There are several ways to accomplish this.
+Always discussion going on about this. The Axe-Fx sounds gloriously in stereo. However, that experience doesn't always translate very well to a live audience, because people seldom are in the right place to hear both sides equally well. [http://forum.fractalaudio.com/threads/21991-For-all-the-guys-running-mono?highlight=guys+running+mono Read this] for opinions and ways to set up your gear.
-# Enable “Copy Out1 to Out2” in I/O &gt; Audio. This instructs the Axe-Fx to duplicate the signal and send it through Output2 (which connects to another device like an amplifier). This method requires that your patches don’t contain a FXL block (Axe-Fx’s effects loop)! Duplicating takes place before the global EQ is applied, so you can each output differently (Layout &gt; Out1 / Out2). The Output1 knob at the front controls the main volume level, the Output2 knob controls the monitor volume (turn down Output2 if you want to have a good listen to your tone through the FOH speakers).
+Use the I/O menu (&gt; Audio) to select mono or stereo OUTPUT mode. The output mode affects the output signal only. The signal of a mono source can be transformed into a stereo signal by using certain effect blocks, or the other way around. These are the choices:
-# Put a FXL block in the patch grid, make it part of the routing and connect it to the grid output. The signal chain before FXL gets sent to Output2. This method is more flexible than the first one because the position of the FXL block determines which part of the signal is being sent. For example, placing FXL before or after a CAB block determines if the Output2 signal includes cabinet simulation or not, which is especially useful if you use Output1 for the sound reinforcement system (with cabinet simulation) and Output2 for your own guitar amplifier with speaker cabinet (without cabinet simulation).
+* “Stereo”: select this when going direct (no amplification) into a mixing table or when using stereo amplification
+* “Sum L+R”: use this to feed a mono device. The left and right channels are summed, so both channels are sent to a single mono output. While this seems perfect for mono output, there is a caveat: summing signals can cause phase cancellation. Example 1: if a preset contains an ENH block (Stereo Enhancer), this setting will make your tone glassy, thin and hollow. Example 2: if a preset contains a delay with Phase Rev (Advanced page) switched on, all delay trails will disappear. A lot of factory presets employ either the Stereo Enhancer or the delay with Phase Rev set to on!
+* “Copy L&gt;R”: use this with a mono source. The signal of the left channel is copied to and replaces the right channel. A nice alternative for L+R Sum to avoid the phase cancellation issue. But you'll lose the right channel signal with hard-wired stereo effects such as Ping-Pong Delay. And you'll also lose cab(s) panned to the right side (when using a stereo cab or two separate cabs).
-Alternatively, if you have an [http://www.fractalaudio.com/products-at-reactor.html Atomic Reactor FR] amp you can use its balanced XLR THRU output to send an exact copy of the main output signal somewhere else.
+The output mode applies to Output1 only. Output2 is always stereo. So what if you want to send the FOH a stereo signal, and a (summed) mono signal to feed your monitor? Solutions:
+* Do it the other way around: set Output1 to mono (monitor) and use Output2 for a stereo signal to FOH. This means that you can't use the balanced XLR outputs for FOH.
+* Or: use Output1 for a stereo FOH signal. Feed your monitor thrugh Output2 using the FXL block. Force the signal into summed mono by placing a Filter or Volume of Mixer block before it, with both Pan controls set to center.
-==How to use the Axe-Fx for effects only==
+Now about the effect blocks. Flanger, Chorus and Phaser are set to mono by default. Cliff: "All the effects, except the drive and amp blocks, are fully stereo. Many of the blocks default to a dual-mono configuration to prevent phasing problems when running into a mono PA." So everything before the Amp block or a Drive block will always be summed into mono.
-Check the How-To about using your own (pre)amp.
+Check [http://forum.fractalaudio.com/threads/32489-THE-definitive-axe-fx-mono-setup-guide this thread] for tips about stereo/mono operation. And [http://forum.fractalaudio.com/threads/33637 this one] too.
-==How to connect your instrument(s) to the Axe-Fx==
+[http://forum.fractalaudio.com/threads/25470-Wet-Dry-Wet-Rigs?p=395934 This thread] is about configuring a Wet/Dry/Wet rig.
-The main input (Input1) is at the front of the Axe-Fx. It’s an instrument level and mono jack, conditioned for a guitar signal through hardware and software. For the best tone, instruct the Axe-Fx to use this input by selecting “Analog Front” (I/O &gt; Mode). This enables the software optimization of the front input, a.k.a. “secret sauce” J. If you choose “Analog Rear” instead, the software optimization is not applied to the front input and the tone will get more harsh.
+==How to get multiple output signals==
-There are also left and right Input1 jacks at the rear. These are line level inputs. Use these if the Axe-Fx is connected to a line level input source. Set the operating mode to “Analog Rear” (I/O &gt; Mode). Using the left Input1 jack at the rear will disable the front input jack. However, the front input can be used in combination with the right rear input; in this case two input sources will feed the Axe-Fx effects routing.
+The Axe-Fx sends its main signal through Output1. It goes into an amplifier, into the FOH mixing table (Front of House - the main sound system that an audience hears at a live show), etc. You can enable a separate output signal (Output2), for example to feed a separate monitor. There are multiple ways to accomplish this.
+* Enable “Copy Out1 to Out2” in I/O &gt; Audio. This instructs the Axe-Fx to duplicate the signal and send it through Output2, connected to another device such as a personal monitor. This DOES NOT WORK with presets that contain a FXL block (Axe-Fx’s effects loop).
+Duplicating takes place before the global EQ is applied, so you can voice each output differently (Layout &gt; Out1 / Out2). The Output1 knob at the front controls the main volume level, the Output2 knob controls the monitor volume (turn down Output2 if you want to have a good listen to your tone through the FOH speakers). Or:
+* Put a FXL block in the grid, make it part of the routing but don't connect to the grid output. The signal chain before FXL gets sent to Output2. This method is more flexible than the first one because the position of the FXL block determines which part of the signal is being sent. For example, placing FXL before or after a Cabinet block determines whether the Output2 signal includes Cabinet simulation or not. Especially useful when using Output1 for the sound reinforcement system (WITH cabinet simulation) and Output2 for your own guitar amplifier with a speaker cabinet (WITHOUT cabinet simulation).
+* Use the "Through" or "Link" connection on your monitor to send just a single signal to your monitors and the mixing table.
-If you connect an instrument level source to Input1 or Input2, such as a microphone (for example for use with the [http://www.youtube.com/watch?v=KwcDfQxC-ds Vocoder effect]), there will be a level mismatch. This means that you probably need to maximize the input level to get sufficient signal strength.
+It's also possible to send a stereo and a mono signal simultaneously:
-There’s a second set of inputs: Input2 (left and right). These are line level inputs too which you can use to connect another instrument.
+# A very easy solution is to set things up in stereo. Then use a 3rd connection (Output1 jack, left or right) for a mono signal. Of course you'll lose some of the signal this way. For example: if you have two cab IRs panned hard left and right, you'll hear just one of them through the mono signal
+# Or: use the FXL block to enable Output2 (stereo). Now make the Output1 signal mono: in I/O select "Sum L+R" or "Copy L>R". This method makes it possible to set the volume level and eq for each output differently. Beware of phase cancellation issues when summing both channels.
-# Insert the FXL block (Effects Loop) in the patch grid. Make sure nothing connects to its input in the grid but the block must be connected to the grid output.
+==How to use it for effects only (effects processor)==
-# Connect the instrument to one or two Input2 jacks.
-# Tell the Axe-Fx about the connection (I/O &gt; Audio):
-#* “Left”: a mono source is connected to the left jack. The signal is copied to the right channel.
-#* “L+R Sum”: separate mono sources are connected to each jack. The signals are summed (combined).
-#* “Stereo”: a stereo source is connected to the left and right jacks.
-Read [http://www.fractalaudio.com/forum/viewtopic.php?f=23&t=10229 this] and [http://www.fractalaudio.com/forum/viewtopic.php?f=23&t=12119&start=10 this] for information on how to connect multiple guitars simultaneously.
+See the topic about using your own (pre)amp.
-==How to insert a device in the effects loop of the Axe-Fx==
+==How to connect your guitar(s)==
-You can use Input2 / Eff.Return plus Output2 / Eff.Send to insert a device into the effects loop of the Axe-Fx itself. For example a preamp (see other How-To) or an external effects processor. This is how:
+The front input jack is the main input (Input1). It's a guitar level mono jack (max 12dB), conditioned for guitar through hardware and software. Tell the Axe-Fx that you're using this input by selecting “Analog Front” (I/O &gt; Mode) which enables software noise reduction for the front input, a.k.a. “secret/special sauce”. If you select “Analog Rear” instead, the software optimization is not applied to the front input and the front input tone will get harsher (and then there are always people who prefer just that...).
-# Connect Output2 / Eff.Send to the input of the external device.
+Note that the front input jack can feel quite loose or wobbly. This is by design.
-# Connect the output of the external device to Input2 / Eff.Return.
-# If possible set the external device to operate at line level.
-# Put the FXL block (Effects Loop) somewhere in the patch grid to make the external device part of the routing.
-# Set the correct mono or stereo mode for Input2 (I/O &gt; Audio):
-#* “Left”: a mono source is connected to the left input. The signal is copied to the right channel.
-#* “L+R Sum”: separate mono sources are connected to each input. The signals are summed (combined).
-#* “Stereo”: a stereo source is connected to the left and right inputs.
-# Set the correct levels using the knobs for Input2 and Output2 at the front of the Axe-Fx, and the controls on the external device.
-==How to set the input levels on the Axe-Fx==
+There are also left and right Input1 jacks at the rear. These have the same impedance as the front input (1 Mohm, for guitars), however they operate at LINE level (max 18dB) instead of guitar level. If you're using Input1 Left at the rear, set the input source to “Analog Rear” (I/O &gt; Mode). Note: using the left Input1 jack at the rear will disable the front input! The front input can still be used in combination with the Input1 right rear; in that case two input sources will feed the Axe-Fx effects routing.
-The Input1 and Input2 knobs at the front control the input level for those inputs. If the red input LED blinks, it doesn’t mean that the input signal is clipping. It’s just indicating that you’re just 6 dB below full-scale (6 dB of input headroom left). It has been said that the input never really clips because a soft-limiter kicks in before that (however, the manual indicates otherwise).
+The input source setting has no effect on Input1 Right at the rear. [http://forum.fractalaudio.com/axe-fx-general-discussion/35885-rear-input-question.html Source]
-It’s important to set the input level correctly, it’s essential for the amount of gain preamp and for keeping enough headroom.
+Cliff: "You have to set the input selection to match the input you're using. If you're using the front input then you must set the input selection to front and vice-versa. If you plug something into the front and set the input selection to rear it will get MUCH brighter. The front input is optimized for guitar-level inputs and has spectral shaping and more gain than the rear input. The front input is optimized for guitar pickups. This is a combination of hardware and software processing. If you set the input source to Analog Rear this turns off the software processing part. If you are plugged into the front it will change the tone since you're still going through the hardware processing. This is why I say you must match the input selection to the input you are using. The rear inputs are standard line-level inputs and can be used with any program material. The front input, as stated above, is optimized for guitar pickups. As such it has more gain and less headroom and may clip if used for non-guitar program material. If you are using a buffer or wireless unit with a line-level output either input can be used. If you plug a guitar directly into the rear you may find you don't have enough signal level."
-# Select the loudest pickup on your guitar and strum hard.
+If you connect a microphone level source to rear Input1 or Input2, for example for the [http://www.youtube.com/watch?v=KwcDfQxC-ds Vocoder] effect, there will be a level mismatch. You'll need to turn up the signal level to get sufficient signal strength, for example by using a mic preamp.
-# First turn up the level to make the red input LED blink while strumming. Then turn it down a bit so that the red LED blinks only occasionally (there is a quite a range between orange and red).
-The manual states that the input level normally should be around 2:00 when using a guitar with a humbucker. It’s possible that you need to turn the input level all the way up ([http://www.fractalaudio.com/forum/viewtopic.php?f=11&t=5918&hilit=input+level+LED+pickup more information]) or even never see the red LED blink, depending on your guitar pickups!
+You can instruct the Axe-Fx which input to use (globally) and how to handle it.
+# Left: uses the left input jack, mono. This is the same as selecting Left in the Amp block (Advanced page).
+# L+R Sum: sums the signal from the left input (front or rear) and right input (rear).
+# Stereo: keeps the signal from the left input (front or rear) and right input stereo.
+If you select Left instead of Stereo, the signal level will increase when the signal reaches the Amp block (because the channels are summed). Therefore the amp gain will increase too.
+It's also better to use Left if you use a mono signal anyway, because this will prevent any noise on the right channel to be added to the signal.
+There’s a second set of inputs: Input2 left and right. These are also LINE level inputs that you can use to connect instruments (or use as an effects loop). Always use Left first because it has a connection detector.
+# Insert the FXL block (Effects Loop) in the grid. Make sure nothing connects to its input in the grid (to receive the signal from Input2). The block must be connected to the grid output
+# Connect the instrument to one or two Input2 jacks (always use Left first)
+# Tell the Axe-Fx about the connection (I/O &gt; Audio):
+#*“Left”: a mono source is connected to the left jack. The signal is copied to the right channel
+#* “L+R Sum”: separate mono sources are connected to each jack. The signals are summed (combined)
+#* “Stereo”: a stereo source is connected to the left and right jacks..
+Using FXL this way will add the signal from Input2 to the signal that goes to Output1.
+If you want the signal from Input2 to use Output2 instead - establishing a complete separate I/O chain - you need to disconnect FXL from Output on the grid too. This makes it impossible to add effects because the signal immediately leaves FXL to go to Output2. Unless you use Send /Return (Bakerman's tip). Put Return first (100% Mix), followed by FXL (0 dB), and put Send after that (not in the last column). The signal leaves the FXL block, then goes to Send, back to Return and reaches FXL again. Make sure that Input2 and Output2 at the front are turned up.
+Example: [return]--[FXL]--------[send]
+[http://forum.fractalaudio.com/threads/33954 More information]
-If you're using 4CM (see the How-To about using your own preamp), then select the amp's clean channel and adjust the Input2 level as well.
+Here's how to set up a preset for use with two guitars:
+# Method #1: use the FXL block and use Input2 Left for the additional instrument. If FXL is not connected to Input on the grid it enables the signal from Input2 to enter the grid. In the output mixer (or another block in both rows) set one row's balance to L, the other's to R to keep the signals separated. But: using FXL disables Copy Out1 > Out2 and you may need that.
+# Method #2: use two rows with isolated input routing. First make I/O Input1 is set to Stereo. Connect the 2nd instrument to Input1 Right (rear). Use two separate rows. Start each one with an Amp. On their Advanced pages set Amp1 to use the left input (= front) and Amp2 to use the right input (= rear right). Add cab and post-amp effects (if there are many you need an Ultra). You don't have to use Amp blocks if your tone doesn't require one (piezo). Any block that can pan the input "hard" to left or right suffices, as long as it's in the first column (if it's not, there will be signal bleeding). For example a Mixer or NullFilter in the first column of each row will work too (pan each row). This also makes it possible to add effects before an Amp block: start with a NullFilter to pan the signal, put a Drive or effects after it, followed by Amp etc. Note that this method will the signals at the output and sends it through Output1. Having two rows with amps and instruments may add some hiss to the signal.
+[http://forum.fractalaudio.com/axe-fx-general-discussion/33993-using-two-guitars-simultaneously.html More information]
-If you use the input level knob to compensate for volume level differences between guitars, you don’t need to maintain different sets of patches for different guitars.
+Note: if you want accurate pitch tracking and envelope detection, use the front input or rear left input.
-==How to set the output levels on the Axe-Fx==
+The latency of the Axe-Fx is about 1ms. [http://forum.fractalaudio.com/threads/18067-Latency?highlight=latency Source]
-The main output level controls are at the front of the Axe-Fx. These control Output1 and Output2. The Axe-Fx can deliver +18 dB with all levels maxed.
+If you use various guitars chances are there will be level and tone differences. You can use Vol, Filter, Mixer or PEQ (or other) blocks to manage levels. You can use an equalizer to take out too much bass or treble in the signal, but more simple is to just use the guitar's tone control. [http://forum.fractalaudio.com/threads/33041 More information]
-Output2 at the rear will only send a signal if the setting &quot;Copy Out1 to Out2&quot; is enabled (I/O &gt; Audio) or if a FXL block (Effects Loop) is used in the patch grid. See the How-To’s about employing the effects loop and outputting multiple signals.
+==How to use its effects loop==
-There are other places to control volume levels.
+You can use the Input2/Eff.Return and Output2/Eff.Send connections to insert a device into the effects loop on the Axe-Fx. For example a preamp (see separate topic) or an external effects processor.
-# Effects blocks have their own level controls.
+# Connect Output2/Eff.Send to the input of the external device
-# Each patch has its own level controls: a master control and one for each row (Layout &gt; Mixer).
+# Connect the output of the external device to Input2/Eff.Return
-# The Global menu contains master volume level controls for each output (Global &gt; Out1 / Out2).
+# If possible set the external device to operate at line level
+# Put the FXL block (Effects Loop) somewhere in the grid to include the external device in the routing
+# Set the correct mono or stereo mode for Input2 (I/O &gt; Audio):
+#* “Left”: a mono source is connected to the left input. The signal is copied to the right channel
+#* “L+R Sum”: separate mono sources are connected to each input. The signals are summed (combined)
+#* “Stereo”: a stereo source is connected to the left and right inputs.
+# Set the correct levels using the knobs for Input2 and Output2 at the front of the Axe-Fx, and the controls on the external device
+Cliff: "There is a detector switch on Input2 Left. If you don't plug anything into Input2 Left the Effects Loop won't pass signal."
-So that’s a lot of volume level controls!
+Cliff: "You have to use the left input for the right input to work. The unit detects if anything is plugged into the left input. If not it won't run the fx loop since this could result in no sound. It's a safeguard in case the cable were accidentally unplugged."
-If the red “Out1 Clip” LED at the front of the Axe-Fx blinks, the output signal is too hot. Severe clipping will cause digital distortion which you want to avoid. Clipping only occurs at the output stage, not in individual blocks. The best places to reduce the signal level are the AMP block’s level parameter and the main patch level (Layout &gt; Mixer). The Output1 knob at the front has no effect on clipping. [http://www.fractalaudio.com/forum/viewtopic.php?f=25&t=12059 More information]
+==How to set the input levels==
-It can be quite tricky to avoid clipping altogether. Here’s how I do it:
+The Input1 and Input2 knobs at the front are used to set the input level for those inputs. If the red input LED blinks, it doesn’t mean that the input signal is clipping. It’s indicating that you’re just 6 dB below full-scale (< 6 dB of input headroom left). The input never really clips because a soft-limiter kicks in before that.
-# Select one of your patches with a clean amp.
+It’s important to set the input level correctly. Essential for the amount of preamp gain and headroom!
-# Disable all effect blocks except AMP and CAB.
-# Verify that the CAB’s level is 0dB and select the stock or user cab you always use.
-# If you use a Drive block regularly, activate it.
-# If you use a Null Filter at the end of the grid for volume boosts, activate it.
-# Select your loudest pickup and hit the strings hard.
-# Turn down the AMP’s level until the output signal doesn’t clip anymore.
-# This will be the “reference level” for all other patches.
-If the red “Out2 Clip” LED blinks, the Output2 signal is too hot. Solve this by turning down the level in the FXL block.
+# Select the loudest pickup on your guitar and strum hard
+# Turn up the level to make the red input LED blink while strumming. Then turn it down a bit to make the red LED blink only occasionally ("tickle the red"). Notice that there's quite a range between orange and red!
-==How to use headphones with the Axe-Fx==
+The manual states that the input level normally should be around 2:00 when using a guitar with a humbucker. It’s even possible that you need to turn the input level all the way up ([http://forum.fractalaudio.com/threads/18642-Input-Level-not-enough?highlight=input+level more information]), or even never see the red LED blink!.
-The Axe-Fx doesn’t have a dedicated output for headphones. Output1 and Output2 won’t do the job either. Connect the Axe-Fx to a DAW, a simple mixer or a headphones amplifier for this purpose. Note: the manufacturer doesn’t recommended using headphones to fine-tune patch settings, because there’s no interaction between guitar and amp.
+Don't forget to adjust the input levels when swapping guitars.
-[http://www.fractalaudio.com/forum/viewtopic.php?f=23&t=10707 Headphones recommendations]
+If you're using 4CM (the topic about using your own preamp), select the amp's clean channel and adjust Input2 as well.
-==How to create a digital connection with the Axe-Fx==
+Don't mind the crackling noise when when you move the input level knob, that's normal.
-The Axe-Fx supports a digital connection. To enable this, select “Digital” in I/O &gt; Mode. This will disable Input1 and the Effects Loop. There’s a RCA connector for Digital In, and RCA / XLR connections for Digital Out.
+==How to set the output levels and avoid clipping==
-The sampling rate of the Axe-Fx is fixed at 48kHz (24-bit), so digitally connected devices must operate at the same sampling rate.
+The main output level controls are at the front of the Axe-Fx. These control Output1 and Output2. The Axe-Fx can deliver +18 dB with all levels maxed.
-==How to set up the Axe-Fx for re-amping==
+Output2 at the rear will only send a signal if the setting &quot;Copy Out1 to Out2&quot; is enabled (I/O &gt; Audio) or if a FXL block (Effects Loop) is used in the grid. See the topics about employing the effects loop and having multiple output signals.
-Never done it myself but you can read about it [[Reamping|here]].
+There are other volume level controls too:
-==How to mute the Axe-Fx while tuning==
+* Effects blocks have their own level controls
+* Each preset has its own level controls: a master control and one for each row (Layout &gt; Mixer)
+* The Global menu contains master volume level controls for each output (Global &gt; Out1 / Out2)
-The output signal of the Axe-Fx can be muted automatically when the tuner is active (Tuner &gt; Mute). The signal is muted at the output stage, so delay and reverb trails are cut off immediately when the tuner is activated.
+When the red “Out1 Clip” LED blinks, the output signal is too hot. Severe clipping will cause digital distortion which you want to avoid at all times. There's roughly 1 dB of headroom left when the clip lights come on. Note that clipping only occurs at the output stage, not in individual blocks. The best places to reduce the signal level are the Amp block’s level parameter (recommended by Cliff) and the main preset level control in the Layout Mixer. The Output knobs at the front have no effect on clipping, they're analog and AFTER the digital-to-analog converter.
-==How to adjust the overall tone and volume levels of the Axe-Fx==
+Cliff: "Brief excursions into clipping may not light the clip LED long enough to be noticeable but can be audible. There is a hard limiter prior to D/A conversion that prevents wrap-around but if your preset is too hot you can hit that limiter which will sound nasty. As a rule of thumb, a preset shouldn't clip regardless of the pickups used. If you plug in a hotter guitar and the output clips then your amp block output level is too high."
-Read the How-To about output levels.
+It can be quite tricky to avoid clipping. Here’s how it can be done:
-There is also an equalizer for each output (Global &gt; Out1 / Out2). Use these to adjust the Axe-Fx’s global tone for different environments and applications, instead of editing patches.
+# Select one of your presets with a clean amp
+# Disable all effect blocks except Amp and Cabinet
+# Verify that the Cabinet's level is 0dB and select the cab you always use
+# If you use a boost, enable it.
+# Select your loudest pickup and hit the strings hard
+# Turn down the Amp block's level until the output signal doesn’t clip anymore
+# Turn that level down another couple of dBs for headroom (6dB will do)
+# This will be your reference level for all other presets
+You probably want to match the volume levels of all your presets. It's difficult if not impossible to do this by ear at home or when using headphones. For example, you may think that your high-gain patch preset needs to be turned down in comparison to your clean preset. But when playing live, that high-gain preset is compressed and won't sound as loud as when you were playing at home. Really, the only good way to match levels is at gig level. There's also a way to do this while playing, see the section about presets.
+Alternatively, use the volume level of the Axe-Fx in bypass mode as reference for all presets.
-=Firmware, System and Software=
+When the red “Out2 Clip” LED blinks, the Output2 signal is too hot. Solve this by turning down the level in the FXL block.
-==How to connect the Axe-Fx to a computer==
+There's 6 dB volume level difference between Bypass and non-Bypass mode. This is by design.
-Communication between the Axe-Fx and a computer requires a MIDI connection and the [http://www.fractalaudio.com/forum/viewforum.php?f=27 beta Axe-Fx editor]. Instead of the editor, MIDI librarian software such as [http://www.midiox.com/ MIDI-OX] or [http://www.bome.com/midi/sendsx/ Bome’s SendSX] (PC) or [http://www.snoize.com/SysExLibrarian/ SysEx Librarian] (Mac) can be used.
+Also, you may encounter differences between the left and right output when running stereo. Note by Cliff: "It's inevitable that there will be mismatch in the L/R levels. The output levels are controlled by a stereo potentiometer. The tracking between the two resistors will never be perfect and gets worse as you get near the start of the curve (fully CCW). It's impossible to fix in software as the mismatch will vary from unit to unit. Also, you can't simply put a global balance control because the mismatch varies with the level knob position. The good news is this is one reason why they put faders on mixing boards. I'd hardly consider it a problem or a flaw. Simply compensate as necessary." [http://forum.fractalaudio.com/threads/18764 Source]
-The software must communicate with the Axe-Fx, so a MIDI interface is also required. You can also use an USB-to-MIDI interface (e.g. Edirol) to turn an USB port on your computer into a MIDI interface. The Axe-Fx doesn’t support USB directly, alas… Note that not all interfaces work equally well with the Axe-Fx, check this thread for more information.
+If you're wondering whether the frequency response of the Axe-Fx is flat: yes, it is. [http://forum.fractalaudio.com/threads/31111 Read this]
-==How to update the Axe-Fx firmware==
+==How to use it with headphones==
-One of the best features of the Axe-Fx is the fact that it gets updated all the time. Through these software updates the Axe-Fx is continuously improved, sometimes with extended functionality. And the upgrades are free.
+The Axe-Fx doesn’t have a dedicated output for headphones. You can use a splitter cable to connect your headphones to the Axe-Fx outputs, but there might be an impedance mismatch (headphones impedance needs to be 32 Ohm or greater). You can also connect the Axe-Fx to a DAW, to a simple mixer with a headphones output or to a small headphones amplifier for this purpose. Common opinion though is that using headphones is not the right way to finetune preset settings or to enjoy the Axe-Fx.
-Go to Utility &gt; Firmware to see the version number of the installed firmware. The latest firmware can be downloaded [http://www.fractalaudio.com/support-fractal.html here].
+Why is playing through headphones dull? Cliff: "Because there's no string and body reinforcement. When you play through speakers the sound couples into the guitar body and strings. With headphones you don't get this so the sound is very sterile and lifeless.Now, if you use speakers during recording and then playback through headphones it will sound fine."
-A MIDI connection with a computer is required for the update procedure, so check that How-To.
+Cliff: "It depends on the headphone impedance. Generally, the higher the quality the lower the impedance and the less likely you'll get satisfactory results. Cheap headphones tend to be high impedance and can often be driven from line-level outputs with varying measures of success. For the best fidelity, especially with pro quality headphones, a headphone amplifier is recommended."
-How to update:
+==How to make a digital connection (Spdif)==
-# Create the physical connection between the Axe-Fx (MIDI IN) and the computer.
+The Axe-Fx supports digital connections (Spdif). A digital connection skips the analog-digital conversion process. The sampling rate of the Axe-Fx is fixed at 48kHz (24-bit), so you need to set digitally connected devices to the same sampling rate.
-# Load the firmware SysEx file into the program.
-# On the Axe-Fx go to Utility &gt; Firmware, press Enter.
-# Send the file from the computer to the Axe-Fx.
-# A progress box should appear on the Axe-Fx. It will take several minutes to transfer the file.
-# If all goes well, the Axe-Fx will display &quot;GOOD CHECKSUM&quot;. If not, it displays &quot;BAD CHECKSUM&quot;. In that case switch the Axe-Fx off and on again, check everything and rerun the procedure.
-# After a successful update the Axe-Fx will reboot.
-Updated firmware may cause changes in your patches. So it’s good advice to audition them.
+Connections:
-And major firmware revisions may bring changes to the structure of patches. Use “Preset Update” (Utility &gt; Preset) to update all patches to the new protocol. Usually the release notes that accompany the firmware will instruct you to do this if necessary.
+# RCA (digital coax) input. Select “Digital” in I/O &gt; Mode to enable it. This will disable Input1 and the effects loop!
+# RCA (digital coax) and XLR outputs. If the connected device only has an optical input, you’ll need a converter to connect it to the Axe-Fx’s digital output.
-Note: if entering the Edit mode of the AMP block causes an audible change in the guitar tone, you probably have installed a major new firmware version without updating all patches.
+Note that the high-quality A/D convertors in the Axe-Fx for the analog outputs may deliver better results than a digital connection.
-==How to reset the Axe-Fx==
+Adam Cook: "The Axe-FX uses higher sampling rates (oversampling) during the processing stages. This is how it avoids aliasing when non-linearities are applied. But the sampling rate of the audio that is sent to the DAC is the same as the sampling rate coming out of the SPDIF output: 48khz. In other words, it goes from 48khz (ADC) -> higher sampling rate -> 48khz (DAC).
+So just because these higher sampling rates are used for the processing stages doesn't mean it would be trivial to send a higher rate to the SPDIF output. The 48khz signal would need to be sample rate converted (SRC) at the output stage by a hardware SRC chip and Cliff's whole point is that software SRC's provide better quality than what is available with hardware SRC's."
-You can reset the Axe-Fx via Utility &gt; Reset. This will reset all global settings, the MIDI configuration data and the settings of continuous controllers and pedals.
+[http://forum.fractalaudio.com/axe-fx-general-discussion/36692-digital-input-how.html More info on the digital I/O]
-Resetting the Axe-Fx does NOT reset, delete or change patches.
+==How to use it for reamping==
-Before resetting you may want to save the system configuration data. Go to Utility &gt; Preset and select “Dump system”. This requires the use of MIDI librarian software and an operational MIDI connection with the computer (see separate How-To).
+There's a How-To [[Reamping|here]].
+Also see [http://forum.fractalaudio.com/ultra-zone/38318-re-amping-tip.html this thread.]
-==How to avoid overloading the CPU==
+==How to mute the signal in tuning mode==
-The processing tasks of the Axe-Fx cost CPU time. The Ultra edition of the Axe-Fx allows you to run more effects and more complex effects before reaching the upper limit than the Standard.
+The output signal of the Axe-Fx can be muted when activating the tuner (Tuner &gt; Mute). The signal is muted at the output stage, so delay and reverb trails are cut off immediately when the tuner is activated.
-Press Utility &gt; Status to see the current CPU utilization percentage. Above 92% or so you're approaching the upper limit. Note: even bypassed effect blocks cost CPU time!
+The Axe-Fx tuner works on Input1 Left and the front input only.
-The Axe-Fx checks that you won't exceed the upper limit using worst-case scenarios and intervenes before things go wrong. You can also use the Axe-Fx beta editor to calculate CPU utilization, even if the Axe-Fx itself isn’t connected.
+==How to adjust the overall tone and volume level==
-==How to save and restore patches==
+Read the topic about output levels.
-Patches on the Axe-Fx can be saved to a computer. This requires the use of MIDI librarian software and an operational MIDI connection with the computer (see separate How-To). Go to Utility &gt; Preset and select one of the “Dump” commands.
+There is also an equalizer for each output (Global &gt; Out1 / Out2). Use these to adjust the Axe-Fx’s global tone for different environments and applications, instead of having to edit presets.
-Loading patches (or banks) from a computer into the Axe-Fx has the same requirements. It’s not necessary to ready the Axe-Fx for this, it’s always available to receive MIDI data. After receiving the patch you still have to save it on the Axe-Fx. Use of the [http://www.fractalaudio.com/forum/viewforum.php?f=27 Axe-Fx editor]
+==How to deal with noise==
-to organize and exchange stuff is the easiest way. It’s still in beta, but it works (for this purpose). Use its Preset Manager to send the required SysEx data to the Axe-Fx.
-<i>Be careful: loading a bank will replace all patches in that bank on the Axe-Fx!!!</i>
+It's a common misunderstanding that there's no noise when using a digital device such as the Axe-Fx. It's very possible to experience noise when using the Axe-Fx. Mostly because the input device generates noise itself, or picks it up, which is then amplified inside the Axe-Fx through the amount of amp gain.
+Best method is to decrease that noise before it enters the Axe-Fx as much as possible. F.e. by shielding guitar pickups properly and removing other interference sources (dimmed lights etc.). Also, set the Input level correctly to obtain a good S/N ratio. Using much amp gain at very bright settings (high frequencies are a large part of distorted tones) may make noise very noticeable, resulting in "crackle". Try disabling the Bright switch or turning down the amount of gain.
+To fight noise you also use the Noise Gate, see separate topic.
-You load user cabs into the Axe-Fx the same way. See the separate How-To on user cabs.
+='''FIRMWARE, SYSTEM, SOFTWARE'''=
+==How to connect it to a computer==
-=Editing Patches=
+Communication between the Axe-Fx and a computer requires a MIDI connection and the [http://www.fractalaudio.com/products-axe-edit.html Axe-Fx editor: Axe-Edit] or another MIDI editor such as:
+* [http://www.midiox.com MIDI-OX (PC)]
+* [http://www.bome.com/midi/sendsx Bome’s SendSX (PC)]
+* [http://www.snoize.com/SysExLibrarian SysEx Librarian (Mac)]
-==How to take advantage of efforts by other users==
+The software must communicate with the Axe-Fx, so a MIDI interface is required. You can also use an USB-to-MIDI interface to turn an USB port on your computer into a MIDI interface. The Axe-Fx doesn’t support USB directly.
-Watch [http://www.fractalaudio.com/forum/ the forums] for patches created and published by other users.
+Note that not all interfaces work equally well with the Axe-Fx. Information regarding a couple of those is on the website's Support page. [http://forum.fractalaudio.com/threads/16129-Interfaces-working-not-working-with-the-Axe-FX?highlight=interfaces More information]
-The final [http://www.fractalaudio.com/forum/viewforum.php?f=27 Axe-Fx editor] (if or when it will be released) will feature a patch exchange facility.<b></b>
+==How to update the firmware==
-==How to build a new patch==
+One of the best features of the Axe-Fx is the fact that it gets updated all the time. For free! Through these software updates the Axe-Fx is continuously improved, extendending its functionality and features.
-[http://www.g66.eu/ G66.eu] is the Axe-Fx / Atomic reseller for Europe. They publish a great, easy-to-read [http://www.g66.eu/index.php?option=com_content&task=blogsection&id=25&Itemid=108 tutorial]. Required reading for starters.
+Go to Utility &gt; Firmware to see the version number of the installed firmware. The latest firmware can be downloaded [http://www.fractalaudio.com/support-fractal.html here].
-The very last preset on the Axe-Fx is a “bypass preset” and a good starting point to build your own from scratch. Just remember to save it to another location (you can’t write-protect patches, alas).
+A MIDI connection with a computer is required for the update procedure, see separate topic.
-Try to keep the grid layout in all your patches the same, whenever possible. It will make editing easier and switching between patches faster.
+How to update:
-==How to escape from the depths of the menus==
+# Create the connection between the Axe-Fx (MIDI IN) and the computer
+# Load the firmware SysEx file into the application
+# On the Axe-Fx go to Utility &gt; Firmware, press Enter
+# Send the file from the computer to the Axe-Fx
+# A progress box should appear on the Axe-Fx. It will take several minutes to transfer the file
+# If all goes well, the Axe-Fx will display &quot;GOOD CHECKSUM&quot;. If not, it displays &quot;BAD CHECKSUM&quot;. In that case switch the Axe-Fx off and on again, check everything and rerun the procedure
+# After a successful update the Axe-Fx will reboot
-Don’t know anymore where you are in the menu structure? Press Recall &gt; left Page and you're back at the patch select screen.
+Updated firmware may cause changes in your presets. Read the firmware release notes and verify your presets.
-==How to make editing easier==
+Major firmware revisions may change the structure of presets. Use Preset Update (Utility &gt; Preset) to update all presets to the new protocol. Usually the firmware release notes will explicitly instruct you to do this if necessary.
-# Hold Enter to automatically add lines or to remove them (Auto Routing).
+Note: if entering the Edit mode of the AMP block causes an audible change in the guitar tone, you probably have installed a major new firmware version without using Preset Update.
-# Press Exit and Enter to turn a block into a shunt. Vice versa for a blank block.
-# Use the Page buttons to scroll quickly between sets of characters when naming patches.
-# Press Edit twice to go to the next effect within the patch, while staying in Edit mode.<b></b>
-==How to copy and paste effect settings==
+==How to reset it==
-You can copy the settings from an effect in another patch and apply them to the current patch. Press Recall &gt; Effects, select the patch and the effect you want to copy from, press Enter and the values will be applied to the equivalent effect block in your current patch.
+You can reset the Axe-Fx: Utility &gt; Reset. This will reset all global settings, the MIDI configuration data and the settings of continuous controllers and pedals.
-Tip: create one or two patches that contain your favorite effects. Use these “effects libraries” to copy effects settings from. <b></b>
+The reset procedure does NOT reset, delete or change presets.
-==How to reset an effect to its default settings==
+Before resetting you may want to save the system configuration data. Go to Utility &gt; Preset and select Dump system. This requires the use of a MIDI editor and a MIDI connection with the computer (separate topic).
+==How to prevent overloading the CPU==
+The processing tasks of the Axe-Fx require CPU time. Even bypassed effect blocks cost CPU time! The noise gate also needs some. Press Utility &gt; Status to see the current CPU utilization percentage. In [http://forum.fractalaudio.com/threads/32368 this thread] you see how much CPU-cycles each block takes. The Ultra edition allows you to run more effects and more complex effects before maxing out the Axe-Fx capacity. The Axe-Fx intervenes before things go wrong (overloading message).
+Above 95% or so you'll approach the limits of your unit. You may notice the GUI becoming very slow at that point. That's because the audio signal will always get top priority, more than the GUI refresh rate.
+Cliff: "The audio processing is the highest priority thread. When there is time left the GUI thread is run. If CPU usage is high there simply isn't enough time to run the GUI at the normal refresh rate so the thread reduces the refresh rate."
+Cliff: "A way to reduce CPU usage is to minimize shunt blocks if possible. If you have parallel paths, instead of routing all the way to the end try to merge the paths earlier."
+==How to save and restore stuff==
+Presets on the Axe-Fx can be saved to a computer. This requires the use of a MIDI editor and a MIDI connection with the computer (see separate topic). Go to Utility &gt; Preset and select one of the Dump commands.
-Press Bypass (not Eff.Bypass!) twice or hold it to reset the current effect to its default settings. Always check afterwards that you didn’t set the entire patch to “ bypass” by accident!
+Uploading presets (or banks of presets or user cabs) from a computer into the Axe-Fx has the same requirements. It’s not necessary to ready the Axe-Fx for this, the Axe-Fx is always ready to receive MIDI data. After receiving the preset you still have to save it on the Axe-Fx.
+The [http://www.fractalaudio.com/products-axe-edit.html Axe-Fx editor] makes it easy to organize and exchange stuff. Use its Preset Manager to send the required SysEx data to the Axe-Fx.
-This also works for AMP blocks. To reset only the <i>advanced</i> parameters of an AMP block (everything on the Advanced page, Bright switch, Depth, Sag and Damp), just re-select the amp type.<b></b>
+* <b>BE CAREFUL: LOADING A BANK WILL REPLACE ALL CORRESPONDING PRESETS ON THE AXE-FX!!!</b>
-==How to adjust the overall effects level or master reverb level==
+You can load user cabs into the Axe-Fx the same way, see separate topic.
-The GLBL MIX parameter (Global &gt; Mix) is a master <i>effects level</i> control. With it you can make the entire signal more or less “wet” (you'll hear the effects louder or softer). This only works with effects that have this parameter in their properties, enabled.
+To save system data, other than presets you can use "Dump System to MIDI" (Utility menu). AFAIK this makes a backup of Global Amps, user cabs, Global EQ and other system settings.
-There’s a separate master level control just for Reverb. If you need to adjust the global reverb level, you can use this parameter instead of editing each patch.<b></b>
+==How to replace the battery==
-==How to use more than 12 effects in a patch==
+The Axe-Fx uses a backup battery. Lifespan is better than 10 years. Use a standard CR2450 lithium battery as a replacement.
-You may think you can use a maximum of 12 effects because there are 12 horizontal blocks. You can use more by placing effect blocks in other rows (parallel paths). Or by using the Feedback Send/Return block (separate topic).<b></b>
+='''CREATING AND EDITING PRESETS'''=
-==How to add an effect to a patch==
+==How to edit presets on your computer==
+Most of the How-Tos below are about editing on the Axe-Fx itself. You can also connect the Axe-Fx to your computer and use the software editor: [http://www.fractalaudio.com/products-axe-edit.html Axe-Edit].
-Just use the dial to turn a block into an effect or to change effects.
+==How to use other users' presets==
-To insert an effect in the middle of the grid, enter a shunt at the end of the grid and use Layout &gt; Move to move it to the right spot. First select the direction, then press Enter repeatedly to perform the move.
+Preset files have a .SYX extension. Load these into the [http://www.fractalaudio.com/products-axe-edit.html Axe-Fx editor] to view the settings or to upload them to the Axe-Fx. Don't forget to share your own creations with other users too. :)
-P.S. I wish the Layout menu had a page that displays (without scrolling!) a list of the enabled effects in the current patch plus an overview of the most important global and I/O settings. A handy checklist before gigging.<b></b>
+You'll find presets here:
-==How to put effects in a parallel path==
+*[http://forum.fractalaudio.com Axe-Fx forums].
+* in the [http://www.fractalaudio.com/products-axe-edit.html Axe-Fx editor]. You need to be online for this. Open the Preset Manager, in the right pane click on the Axe-Change tab, click Source and log in, then click Load and wait.
-Just like in the real world you can put effects parallel to each other. Use a row below or above the main routing. This allows you for example to have independent delay and reverb paths, and more than 12 effects per patch.
+Note: presets from other users are finetuned for their personal equipment and ears. For example, a preset that has been designed for someone's power amp and guitar cabinet will not sound as well through a FR monitor or studio speakers, and vice versa. Some presets are specifically dialed in for single-coils or humbuckers. Some presets are tuned for recording, others for playing live.
+There's other stuff to check too:
-Note that you don’t want to put 100% “wet” effects, like a tremolo or a compressor, in a parallel path because there will still be dry signal going through the main path too (unless you use a Volume block in the main path to mute the direct signal, a.k.a. “dry kill”).
+* The preset may employ a noise gate set to a threshold that may not work well with your guitar
+* The preset may contain the Stereo Enhancer effect (ENH). It can cause phase cancellation when used in mono. See the topic about stereo/mono operation
+* The volume levels may not match your guitar's output signal, resulting in output clipping
+* The CAB block may point to an user cab slot, resulting in no sound
+* The preset may contain a block with a parameter that is attached to an external controller. If that controller is "off", the signal may be muted
+* If a preset that was created on an Ultra gets loaded into a Standard, its Ultra-only blocks are left out automatically
+* Check the selected input in the AMP block (Advanced page).
-Important:
+==How to create a new preset==
-# Make sure to set the Mix parameter of parallel effects to 100%. Otherwise there will be two dry signal paths, which results in a undesired volume raise. With Mix at 100%, use the Level parameter to dial in the required amount of effect.
-# For the same reason select a Bypass mode for parallel effects that has no dry signal going through: Mute Out or Mute In.
-==How to put effects before or after your own preamp==
+[http://www.g66.eu/ G66] is the Axe-Fx and Atomic amplifier reseller for Europe. They publish a great [http://www.g66.eu/images/Manuals/Beginners-Guide-EN.pdf Get Started tutorial]. Required reading for starters!
-You can keep using your own preamp and put Axe-Fx effects before it, after it or both. See the topic about using your own preamp.
+The very last preset on the Axe-Fx is a “Bypass" preset and a good starting point to build your own from scratch. Just remember to save it to another location (you can’t write-protect presets).
-==How to create a virtual ‘master bypass’ switch==
+Try to keep the grid layout in all your presets the same, whenever possible (see the topic about keeping your presets consistent and organized). It makes editing easier and switching between presets faster.
-The Global Bypass feature enables you to activate all effects blocks which are initially set to bypass in the patch. It’s like an universal de-bypass knob, which makes for an easy and quick way to switch between two tones. For example a rhythm tone and a lead tone: pressing the Global Bypass switch would activate Drive, Delay and Reverb effects. You have to assign the Global Bypass CC (I/O &gt; Ctrl) to a switch or pedal, using “0” for off and “127” for on. [http://www.fractalaudio.com/forum/viewtopic.php?f=23&t=10922 More information].
+==How to create your first preset==
-==How to set the correct bypass mode for an effect==
+Here's how to build your first preset (for recording or FR amplification):
-The Bypass setting instructs the Axe-Fx how to mute an effect when it’s bypassed.
+# Start with a empty grid
+# Insert an AMP block. For example: Shiver Cln. If it's too dark, turn up Presence to "5". Leave the other settings at default for now
+# Insert a CAB block after the amp. Select the 4x12 German, mono Hires mode. Select the "57 DYN" mic
+# Make sure the grid's Input is connected to the grid's output
+# Make sure the I/O and Global settings are set correctly.
-“Mix = 0%”: the direct signal is unaltered, effects are off, and level is at unity gain (0dB). Actually this is the same as using a shunt, or in the real world a true bypass pedal. This is the default Bypass mode for an effect and useful for effects like chorus. You need to change it when placing effects in parallel (see other How-To)!
+==How to escape from the menus==
-“Mute FX Out”: the direct signal is unaltered, effects are off, but the volume can be adjusted using the Mix and Level parameters.
+Don’t know anymore where you are in the menu structure of the Axe-Fx? Press Recall &gt; left Page and you're back in the preset select screen.
-“Mute FX In”: like Mute FX Out but with spillover of delay trails and reverb.
+==How to make editing easier==
-“Mute In”: everything is muted, except spillover of delay trails and reverb. For dramatic endings of songs perhaps. Useful for parallel effects.
+A couple of shortcuts that make editing easier:
-“Mute Out”: everything is completely muted. No spillover of delays and reverb. Useful for parallel effects.
+* Hold Enter to automatically add lines or remove them (Auto Routing)
+* Press Exit and Enter to turn a block into a shunt. Vice versa for a blank block
+* Use the Page buttons to scroll quickly between sets of characters when naming presets
+* Press Edit twice to go to the next effect within the preset, while staying in Edit mode
-==How to set correct effects levels==
+==How to copy and paste effect settings between presets==
-Set the volume level at the position where the volume level is the same when bypassed and when enabled. Unless desired otherwise of course.
+You can copy the settings of a specific effect and apply them to the same effect in another preset. Press Recall &gt; Effects, select the preset and the effect you want to copy from, press Enter and the values will be applied to the effect block in your current preset.
-Read the How-To on parallel placed effects.<b></b>
+Tip: create one or two presets that contain your favorite effects. Use these “effects libraries” to copy your favorite effects settings from.
-==How to adjust the volume level of a patch==
+If you use the Axe-Fx Editor, it's much easier to store favorite effects settings and reuse them.
-Read the How-To on output levels first. To adjust the volume of an entire patch, use the volume level control of the AMP block or the main patch control in Layout &gt; Mix.
+==How to reset an effect to its default settings==
-You can use a decibel meter application for your mobile phone to measure and adjust volume levels of your patches roughly. Fine-tune later on during rehearsal or while gigging (see separate How-To).
+Press Bypass (not Eff.Bypass!) twice or hold it to reset the current effect to its default settings. Always verify that you didn’t put the entire preset in bypass mode accidently.
-==How to adjust the volume level of a patch while playing==
+This reset procedure also works with AMP blocks. To reset only the "advanced" parameters of the AMP block (everything on the Advanced page, plus the Bright switch and Depth, Sag and Damp), re-select the amp type.
-The Axe-Fx has dedicated controls to adjust the volume levels of patches while playing: Volume Increment and Volume Decrement (I/O &gt; Ctrl). These controls let you adjust patch levels on the fly while playing. A press will change the main patch level (Layout &gt; Mix) in steps of 1dB and save the setting automatically each time! Assign both controls to switches on your MIDI footcontroller (I/O &gt; Ctrl), or to switches which are connected directly to the Axe-Fx inputs at the rear (I/O &gt; Pedals).
+==How to adjust the global effects level or the master reverb level==
-==How to boost the volume level of a patch while playing==
+The GLBL MIX parameter (Global &gt; Mix) is a master effects level control. It allows you to make the entire signal more or less “wet” (you'll hear the effects louder or softer). This only works with effects that have the GLBL MIX parameter in their properties (and enabled).
-To be able to instantly boost the volume of the patch for leads, add a Filter block to the grid, set it to Null and set Level at 4, 5 or 6 dB (to your liking). Assign the CC for the filter (I/O &gt; Ctrl) to your MIDI footcontroller or to a switch or pedal that’s connected directly to the rear of the Axe-Fx.
+There’s a separate master level control just for Reverb. If you need to adjust the overall reverb level, you can use this control instead of having to edit each preset.
-You can also program your MIDI footcontroller to enable a “Filter boost” simultaneously when switching on a Drive effect. Just use the same CC for the filter and the Drive block (I/O &gt; Ctrl). Some prefer this to turning up the Drive level.<b></b>
+==How to insert more than 12 effects in a preset==
-==How to enable spillover of delay and reverb==
+The grid contains rows of 12 blocks. So you may think you can insert 12 effects at most. But no, you can use more by placing effect blocks in parallel rows. Or use the Feedback Send/Return blocks: put Send at the end of one row (not the last block!) and Return in another row (not the first block!) to continue the routing. Don't forget to turn up the level in the Return block.
-Spillover means that delay and/or reverb trails of the current patch will still be heard (carried over) after switching to another patch.
+==How to add an effect block to a preset==
-Spillover is enabled globally in Global &gt; Config. But you need to do more! To make it work, the patch you’re switching to has to contain a Delay and/or Reverb block. There are some caveats though:
+Just use the dial to turn a block into an effect or to change effect types.
-# If you want spillover of delay/reverb trails from the last patch, without starting a new delay/reverb. Set the Delay block’s Input Gain to 0 in the 2<sup>nd</sup> patch. You can put the Delay and Reverb blocks in the last row on their own for example, without an input, as long as they are connected to the output.
+To insert an effect in the middle of the grid, enter a shunt at the end of the grid and use Layout &gt; Move to move it to the right spot. First select the direction, then press Enter repeatedly to perform the move.
-# If you want spillover of delay/reverb trails from the last patch and continue the same delay/reverb:
-#* Don’t mute or bypass the delay and/or reverb in the 2<sup>nd</sup> patch. These will inherit the parameters of the previous patch automatically.
-# If you want spillover of delay/reverb trails from the last patch and start a new delay/reverb:
-#* That’s a bitch, check the [[Tutorials#Spillover|Wiki]].
-# Spillover carries over the delay/reverb signal from a previous patch. This can cause volume bumps. For example if the previous patch contains a hi-gain amp and the second patch is a clean one with a loud delay, the carried-over trails will be that of a distorted amp and will be amplified by the delay settings in the second patch. [http://www.fractalaudio.com/forum/viewtopic.php?f=11&t=8443&hilit=spill Read more].
-# The MultiTap and MegaTap Delay effects and Vintage reverb don’t support spillover.
-Since it’s so much trouble to set things up, I’ve given up on configuring Spillover. It’s one of the few areas where there’s room for improvement of the Axe-Fx I think. I keep the global setting switched on though, because it makes overall preset switching faster, even when not using spillover.<b></b>
+==How to deal with effects in a parallel row==
-==How to save and recall favorite amp settings==
+You can put effects in parallel rows, below or above the main routing (branches). This makes it possible to have, for example, independent delay and reverb paths or more than 12 effects per preset. Running effects in a parallel path also makes it easier to set levels. When running an effect in series, using the Mix parameter influences the level of the dry level too; this doesn't happen with effects in a parallel row (when setting MIx to 100% and using Level to add the effect).
-You can define 10 amps with your favorite settings using the Global parameter in the AMP block. Select a Global slot in the Amp block, select an amp and set its parameters. From now on you can select this amp including its settings in any patch using the Global Amp parameter. If you change its parameters in any of these patches, they change accordingly in all patches that use this global amp.
+You don’t want to put 100% “wet” effects in a parallel path, such as tremolo or a compressor, because dry signal will still be going through the main path and hide the effect. (Although you can mute the direct signal in the main path by using a Volume block signal, a.k.a. “dry kill”.)
-Notes: you can’t configure an amp in a patch and then save it as a Global Amp; you must always select a Global slot first! And you can’t reset a Global Amp type to its default settings; doing that will disable the Global Amp and reselect the default Tube preamp.
+When adding parallel effects you need to avoid double direct signal paths, because those result in volume increases with the risk of clipping. So:
-==How to keep your patches consistent==
+# Make sure to set the Mix parameter of parallel effects to 100%. Then use the Level parameter to dial in the desired amount of effect.
+# Select a suitable Bypass mode: Mute Out or Mute In. Do not use Mix 0% or Thru, otherwise you'll get double dry signal paths when bypassing the block.
-I have a checklist in my head that I use to verify the settings of each patch. It’s kinda like this:
+==How to put Axe-Fx effects before or after your own preamp==
-# Is my default grid used, if possible?
+You can keep using your own preamp and put Axe-Fx effects before it, after it or at both positions. This way you'll be using the Axe-Fx instead of pedals and/or an effects processor.
-# Are all effects set to my preferred settings and levels?
+Read the topic about using a preamp with the Axe-Fx.
-# Are my external controllers (MIDI footcontrollers, pedals) assigned correctly?
-# Is a Global Amp used?
-# Is the correct cabinet for that amp selected with the right settings?
-# Is the patch saved with everything bypassed except AMP and CAB?
-# Lead patches: is the patch saved with everything bypassed except AMP, CAB, boost Filter, Delay and Reverb?
-# Are the following levels at unity gain: CAB, Mixer (Layout &gt; Mix)?
-# Are the Mix, Level and Bypass parameters set correctly for effects in parallel rows?
-# Does the patch level match my other pacthes (and does it not clip with Drive and a boost Filter enabled)?
-# Is there no phase cancellation?
-# Is the noise gate set correctly?
-Below is a diagram of my default patch layout. I use this for all patches unless something special is needed. The combination of this layout and the programmability of my Gordius MIDI footcontroller makes that I can use it as a virtual pedalboard or a a basis for specific presets. On my Ultra this patch utilizes the CPU for about 90%. Effects blocks in the parallel rows are set to 100% Mix and bypass mode Mute Out. The routing is used for sending a signal to FOH and to a FRFR monitor.
+==How to create a master bypass switch==
+The Global Bypass feature lets you activate all effects blocks which are initially bypassed in the preset. It’s like an universal "un-bypass" knob, an easy and quick method to switch between two types of tones. For example, a rhythm tone and a lead tone where pressing the Global Bypass switch activates Drive, Delay and Reverb effects that are saved in bypassed states.
+You have to assign the Global Bypass CC (I/O &gt; Ctrl) to a switch or pedal, using “0” for off and “127” for on.
-                   PHR1                     CHO                REV
+==How to run an effect in stereo or mono==
-                  /    \                   /   \              /   \
- VOL > WAH > DRV1 >(RES)> AMP > CAB > PEQ > ROT > PIT2 > FLG > PAN > FIL2
-                  \    /                   \   /              \   /
-                   PHR2                     PIT1               DLY1
-                                                               DLY2
+Cliff: "All the effects, except the drive and amp blocks, are fully stereo. Many of the blocks default to a dual-mono configuration to prevent phasing problems when running into a mono PA."
+Effects such as Phaser, Chorus and Flanger can be stereo, but are mono by default. This is because a stereo configuration may cause phasing problems when the effect is placed before the (mono) amp sim. Use the parameter LFO Phase (value 90) to switch the effect to stereo.
-===Explanation===
+==How to set the correct bypass mode for an effect==
-Vol: Volume block with an Envelope attached, for auto swell effect
+The Bypass parameter in the effect's properties instructs the Axe-Fx how to mute an effect when it’s bypassed (not active). This is especially important with effects in parallel rows, to prevent volume increases/decreases.
-Wah pedal (1st expression pedal, set to auto-engage).
+* “Mix=0%”: the direct signal is unaltered, the effect is off, level is at unity gain (0dB). Actually this bypass mode is the same as a shunt (or in the real world: a true bypass pedal) when being bypassed. This is the default Bypass mode and useful for effects like chorus etc. in the main row
+* “Mute FX Out”: the direct signal is unaltered, the effect is off, but the volume can be adjusted using the Mix and Level parameters
+* “Mute FX In”: like Mute FX Out, with spillover of delay trails and reverb
+* “Mute In”: everything is muted, except spillover of delay trails and reverb. Useful for effects in parallel rows
+* “Mute Out”: completely muted, no spillover of delays and reverb. Useful for effects in parallel rows
-Drive1: TS808 or FET Boost, depending on the amp.
+==How to set the volume level of an effect==
-Phaser1: Uni-vibe.
+To adjust the volume of a preset (not that of the Axe-Fx or of an individual effect), use the volume level control in the AMP block or the main preset level control in Layout > Mix.
+Set the volume level at the position where the volume level is the same when the effect is bypassed and when it's active. Unless desired otherwise of course.
-Phaser1: MXR Phase 90 settings.
+Adjusting the Amp block's Level does not add gain to effects blocks after it. Unless it's a "non-linear" effect such as a Drive, Amp or a Cab block with its Drive parameter set higher than zero.
-(Res): reserved
+Read the topic about placing effects in parallel paths.
-Amp.
+==How to adjust the volume level (per preset) while playing==
-Cab (HiRes Red Wirez IR).
+The Axe-Fx offers a very convenient way to adjust the volume level per preset on the fly (in other words: without editing): the Volume Increment and Volume Decrement commands (I/O &gt; Ctrl). These commands make it possible to adjust the preset level (Layout &gt; Mix) in small steps while playing. Adjustments are saved automatically!
-PEQ, blocking EQ to remove too much high/low end.
+To make this work assign both commands to switches on your MIDI foot controller (I/O &gt; Ctrl) or to switches which are directly connected to the Axe (I/O &gt; Pedals).
-Chorus.
+==How to boost the signal for leads==
-Rotary Cabinet.
+There are several ways to boost the volume level for leads
-Pitch1: Detune.
+* Add a Filter block at the end of the grid, set to NullFilter with Level at 4, 5 or 6 dB. Assign the CC for the filter (I/O &gt; Ctrl) to your MIDI foot controller or to a directly connected switch or pedal. You can program your MIDI foot controller to enable this “Filter boost” simultaneous with activating a Drive effect and maybe Delay. Just use the same CC for the filter and the other effects (I/O &gt; Ctrl). Some users prefer this to turning up the Drive effect's level
+* Use a Mixer block and attach an external controller (pedal)
+* Use a PEQ or GEQ block with Level turned up, and maybe a Drive tied to the same foot controller switch
+* Use a pedal or switch to turn up the Drive and Master Volume of the Amp block
+* Create a global "Boost" without having to modify each preset. Matman's trick: set the CC of an IA SWITCH on the controller to that of OUT1 VOLUME. Set the OFF value to (for example) "111" (unboosted level) and set the ON value to "127" (boosted level). Don't forget to add a second CC for OUT2 VOLUME, or assign OUT2 to the same CC as OUT1. [http://forum.fractalaudio.com/threads/28984-Setting-up-Filter-blocks-as-Boosts-Cool-and-Useful-Tips?p=426618&viewfull=1#post426618 Source]
-Pitch2: Whammy (2<sup>nd</sup> expression pedal, set to auto-engage).
+==How to avoid clipping==
+See earlier topic about setting output levels.
+Note that it's possible to clip a preset's output level, without a flashing warning LED. It's noticeable by ear (digital distortion).
-Flanger.
+==How to decide where to put the Cab block==
-Reverb.
+In the real world it makes a difference whether you put effects before or after the speaker cabinet. It's a little different with the Axe-Fx. This is from a post by Javajunkie:
-Delay1: regular delay.
+"You can place the effects loop anywhere in the chain (just add the fx loop block). Unless you are running a stereo cab or 2 mono cabs panned hard L/R, you may want to place stereo effects after the cab. The cab is a linear time invariant effect (unless you add drive) so effects like delay and reverb will sound the same before or after it. As Cliff and others have stated on numerous occasions LTI effects can be placed before and after each other and the will sound the same. Only when placed before or after non LTI effects (drive, amps, et. al) it really matters. The one caveat there is that some effects are mono, placing effects before and after that makes a difference."
-Delay2: modulated delay.
+Cliff: "The difference in having the cabinet before or after the effects is usually subtle. It depends on how non-linear or time-variant the effect is. For effects like EQ, which are linear and time-invariant, it doesn't matter at all. For slightly time-variant effects like chorus and flanger the difference isn't very pronounced. For highly time-variant effects, like pitch shifting, the difference can be marked."
-Tremolo.
+==How to enable delay and reverb spillover==
-+5 dB Null Filter, for volume boosts.
+Spillover means that delay and/or reverb trails in the current preset will continue after switching to another preset. The Multi-Delay, MegaTap Delay and Vintage reverb don’t support spillover.
+It is enabled globally in Global &gt; Config. Plus: the preset you’re switching to MUST contain a Delay and/or Reverb block. You can put them in the last row on their own for example, without an input, as long as they are connected to the output.
+Note:
+* If you want spillover from the last preset and continue the same delay/reverb: don’t mute or bypass the delay and/or reverb in the second preset. These will inherit the parameters of the previous preset automatically.
+* If you want spillover from the last preset and start a new delay/reverb: that’s a bitch, read about it [[Tutorials#Spillover|here]].
+Note: spillover carries over the delay/reverb signal from a previous preset. This can cause volume bumps. For example if the previous preset contains a hi-gain amp and the second preset is a clean one with a loud delay, the carried-over trails will be that of a distorted amp and will be amplified by the delay settings in the second preset.
+==How to enable global control of any effects block==
-=Effects=
+See this topic in the Controllers section.
-==How to know which effects the Axe-Fx provides==
+==How to save and recall favorite amp settings (Global amp)==
+You can save up to 10 amps with your favorite settings using the Global parameter in the AMP block. Select a Global slot in the Amp settings, select an amp and set its parameters. From now on you can select this amp including its settings in any preset using the Global parameter. If you change its parameters in any of these presets, they change accordingly in every preset that uses this global amp.
+Note that you can’t configure an amp in a preset and then save it as a Global amp; you must always select a global slot first! And you can’t reset a Global amp type to its default settings; doing that will disable the Global Amp and reselect the default amp (Tube preamp).
-You’ll find all effect blocks and their parameters in [[Category:Effect_blocks|this list]].
+If Global Amps were selectable through MIDI you could have just one preset and just switch amps (without switching presets). However, there's no "official" way to accomplish that (yet).
-==How to configure an amp==
+Global Amp settings are saved through: Dump System to MIDI (Utility menu).
-===How to know which real amps are emulated by the Axe-Fx===
+==How to minimize gaps in the signal when switching presets==
-Read it in the [[List_of_amp_simulations|Wiki]].
+Switching between presets isn’t 100% seamless. But the gaps are very short, like 20ms.
-===How to change the tone controls of an amp===
+If you hold a note or chord while switching to another amp sim, you may hear a thump, pop or click.
+Cliff: "You're always going to get some pop or click if you hold the note since the Axe-Fx has to ramp the volume down and then back up. Since people want fast preset switching time this means I have to ramp the volume down in around 5 ms, same for back up. There is significant energy in a ramp of that speed. It was a trade-off between switching speed and transient noise."
-The tonestack is the set of tone controls for an amplifier. For each amp the Axe-Fx lets you select:
+==How to print preset settings==
+The Axe-Fx editor [http://www.fractalaudio.com/products-axe-edit.html Axe-Edit] lets you export presets to a file format which you can import into an application (such as Excel) and print.
-# The tone controls that are appropriate for that specific amp type (passive).
+==How to keep your presets organized==
-# The tone controls from another amp type (passive).
-# An active EQ instead of the passive tonestack.
-Use Global &gt; Config to set the default for all amps: active or passive. Use the Advanced page in the AMP block’s properties to select another type.
+A checklist to verify the consistency of your presets:
-===How to set the Drive and Master parameters for vintage amp===
+* Stick to the same grid layout/routing whenever possible, to simplify viewing and editing. [http://forum.fractalaudio.com/share-request-patches/33429-yeks-preset-collection-sound-clips.html Example]
+* Use effects with preferred settings and levels ("effects library")
+* Assign external controllers (MIDI foot controller, pedals)
+* Make use of Global amps
+* Use the correct cabinet for the selected amp
+* Even if delay won't be used, insert a bypassed Delay block just for spillover
+* Check the settings for mono/stereo operation, prevent phase cancellation
+* Set CAB and Mixer (Layout &gt; Mix) levels at unity gain
+* Set Mix, Level and Bypass parameters correctly for effects in parallel rows
+* Make sure that the preset level matches other presets and does not clip with things like Drive and gain/boost filters enabled
+* Set noise gate parameters
-Vintage amps didn’t have separate gain and master volume controls. To emulate this, set Master somewhere between 9 en 9.41. This will turn the Drive parameter into the volume control. Turn it up to make the amp push the power tubes really hard, virtually of course
+==How to insert an external pedal in the routing==
-===How to use a Drive block to add gain to an amp===
+If you want to use an external - analog or digital - pedal with the Axe-Fx you can of course put it between the guitar and the Axe-Fx.
+But the Axe-Fx also lets you insert the pedal somewhere in the routing using the FXL block. Connect the pedal to Input2 and Output2.
+These connections work with line level so adjust levels to compensate.
-Each amp has a Drive parameter which controls the amount of preamp gain. However, in some cases it works better to keep the Drive parameter pretty low and add a separate Drive block before the AMP in the grid. For example, add a TS808 with its Gain control all the way down and its Level maxed. This helps to add gain. It also decreases the low end in the signal.
+='''EFFECTS'''=
-===How to set the advanced parameters of an amp===
+==How to know which effects the Axe-Fx provides==
-You find these parameters on the Advanced page of the AMP block. Some users never touch them, some go all the way to recreate “their” tone.
+It's important to realize that the Axe-Fx is not a modeler per se, it simulates devices. For example an amp sim, when using its default settings, will sound remarkably similar to its real counterpart. But the controls may work differently (better) than on the real amp. This means that "visual" settings on a real amp (such as treble at 10 o'clock) won't translate exactly to the Axe-Fx.
+Another example: the Wah block hands you all the parameters you'll need to emulate every wah on the market while it doesn't offer you point-and-click models of real wahs.
-No restrictions here, do what you like. Since firmware 9.0 it’s been advised to turn the Warmth and Thump parameters all the way down to zero ([http://www.fractalaudio.com/forum/viewtopic.php?f=11&t=11743 more information]).
+You’ll find all effect blocks and their parameters [http://axefxwiki.guitarlogic.org/index.php?title=Category:Effect_blocks here].
-To reset the advanced parameters of an amp (everything on the Advanced page, plus the Bright switch, Depth, Sag and Damp), just reselect the amp type.
+Each row on the grid is a full stereo signal. And most effects are stereo. For example, you can use Balance, panning parameters or the LFO Phase parameter to place the effect in the stereo field. A couple of effects, such as Drive blocks, are mono.
-===How to use multiple amps in a patch===
+If you're looking for emulations of existing effects, take a look at [http://forum.fractalaudio.com/share-request-patches/34464-mother-all-pedal-effects-emulations-thread.html The-Mother-of-all-pedal-and-effects-emulations thread].
-The Axe-Fx allows the use of two AMP blocks simultaneously. These can share a cabinet or have their own. The simultaneous use of multiple amps can thicken the tone (like two high gain amps), or make it more transparent (combination of a high gain amp with a clean type) etc. You can also set up a patch with two amps and “morph” between them, without the need for two separate patches.
+=='''AMPS''':==
-Using two amps and cabinets (and no effects) will pretty much take a Standard Axe-Fx to its limits.
+===How to know which real amps the Axe-Fx models===
-===How to set the Bright switch of an amp===
+The amp descriptions and the names of the actual emulated amps can be found in the [http://wiki.fractalaudio.com/index.php?title=List_of_amp_simulations Wiki Amp List].
+And on the [http://www.fractalaudio.com/axe-fx-guitar-amps.html Fractal website].
-When you select an amp, its Bright switch is set automatically to its default setting for that amp. If you don’t remember the default setting, just reselect the amp type. To switch the Bright switch on or off, scroll to Treble and press Enter.
+The FAS models, Fusion, HellBeast, SuperTweed, Big Hair and some others are customized versions of other amps or Fractal's own unique designs and therefore have no real equivalents.
-===How to set the Boost switch===
+Cliff: "There were many design choices made in the Axe-Fx and for very good reasons. It is incorrect to assume that any of the models will sound exactly like the real amp. In many (perhaps most) cases they will if you get the EXACT same amp from the same year with the same circuit. Tube amp designers are constantly adjusting their designs, sometimes for the better, sometimes for the worse, in response to the market, trends, etc.
+Furthermore, the Axe-Fx was never intended to be an exact replica of any amp. In many cases I made digital modifications to the amps to remove what I considered undesirable traits. Some amps are too spitty so I adjust that out. Other amps are too flubby. I don't model ghost notes because I consider them a flaw in the design. Absolute authenticity was not a primary design goal. Tone, playability and the ability to sculpt the tone to your personal preference were the primary concerns."
-Each amp type has a Boost setting. This is a 12dB boost at the input stage, off by default. Sometimes the boost works better than turning up preamp gain.
+===How to dial in amps on the Axe-Fx===
-To activate the Boost switch, scroll to Type in the AMP block's properties and press Enter.
+This walkthrough helps you to dial in amps and cabs on the Axe-Fx.
-You cannot assign an instant switch to Boost. But there’s another way to get the same result: add a Filter block before AMP, set to Null with Level at 12dB. You can even assign the Filter’s Level to an expression pedal and control the gain gradually.
+# '''Preparation:''' First, make sure your Axe-Fx is configured correctly.
+# '''Amplification:''' Are you using a poweramp and guitar cabinet? If so, disable Cab simulation (Global menu) and, depending on the poweramp type, Poweramp simulation too. If not, make sure these are enabled. Note that turning off poweramp simulation doesn't work well with a few amp sims that fully rely on poweramp distortion, such as the Wrecker sim. [http://wiki.fractalaudio.com/index.php?title=Yeks_How_Tos#AMPLIFICATION_AND_I.2FO Amplification]
+# '''Global EQ:''' Make sure the Global EQs are flat (Global menu), unless your setup requires otherwise.
+# '''Tonestack:''' Check the global Tonestack parameter (Global menu). Choose between using classic amp tonestacks or active EQ, or select the tonestack type per preset (see below). [http://wiki.fractalaudio.com/index.php?title=Yeks_How_Tos#How_to_use_the_amp_tone_controls_.28tonestack.29 Tonestack]
+# '''Pickups:''' It really matters which pickups are driving the Amp sim. When dialing in the preset, use the guitar and pickup(s) you’ll be using most with this preset. When using various guitars, dial in the preset for the "darker" one. Then when using a brighter guitar, use its tone knob to avoid harshness.
+# '''Input Level:''' Set it to “tickle” the red when hitting the strings hard (front panel). [http://wiki.fractalaudio.com/index.php?title=Yeks_How_Tos#How_to_set_the_input_levels Input level]
+# '''Goal:''' Are you using this preset to record? Then dial it in using your recording setup. Or are you mainly listening through headphones? Then don’t expect the preset to translate well to amplification, without modification. Or will you be using the preset when playing “live”, using your method of amplification? Then it’s very important to dial things in at the volume level it’s going to be used at! Preferably using a backing track as well. Tones that have been dialed in at bedroom level will NOT cut at all when used in a band context (Fletcher Munson curve).
+# '''Source:''' What's your reference material: a real amp in front of you, a recording on CD, a live recording? It's important to be aware of this to be able to accurately recreate the tone. For an "in the room" amp tone, you may not want to use a mic sim, for example. Note that nearly all tones coming from the Axe-Fx using stock cabs are close-mic'd tones, where a microphone was placed close to the speaker (near-field). Which is very different from listening to an amp from some distance (far-field).
+# Create an empty preset, or copy preset 383 (“Bypass”) on the Ultra to another location.
+# Verify that the Noise Gate is off and that the Mixer levels are neutral (Layout menu). [http://wiki.fractalaudio.com/index.php?title=Yeks_How_Tos#How_to_deal_with:_Noise_Gate Noise gate]
+# Insert an Amp block, followed by a Cab block (unless you're using your own speaker cabinet). Insert shunts to create an uninterrupted chain from input to output. You should now hear a signal when playing.
+# '''Amp:''' The Amp block defaults to the Tube preamp. Now select the Amp Type you want. Verify that parameters are at their defaults. Detailed info about all stock amp types is here: [http://wiki.fractalaudio.com/index.php?title=List_of_amp_simulations Wiki Amp List].
+# '''Cab:''' The Cab block defaults to an EVM12L. Now select the Cab type you want to combine with the amp type. Verify that parameters are at their defaults. Skip this step if you're using your own speaker cabinet. Detailed info about all stock cabs is here: [http://wiki.fractalaudio.com/index.php?title=List_of_cabinet_simulations Wiki Cab List]. Also check the amp info in the [http://wiki.fractalaudio.com/index.php?title=List_of_amp_simulations Wiki Amp List] for suggestions about amp and cab combinations. If you want other cabs than the stock ones, take a look at 3rd party IRs or use your own. The Axe-Fx provides 10 slots to upload external cabs. [http://wiki.fractalaudio.com/index.php?title=Yeks_How_Tos#How_to_use_a_3rd-party_Impulse_Reponse_.28IR_or_user_cab.29 3rd Party IRs]
+# '''Mic:''' What’s your purpose: recording or live sound? If you’re going to record you’ll probably want to use the Cab sim with a Mic sim. If not, it depends. Skip this step if you're using your own speaker cabinet. Don't underestimate the impact of the mic type on the tone. Adding a R121 for example will add lots of high and low end to the tone. The 57 DYN (Shure SM57) works with almost everything. You can also select "None", which doesn't mean that you're going to hear the speaker like you are used to (in front of the cabinet). Because all cab sims were created using a neutral reference mic without coloration, placed very close to the speaker (the "far-fields" are an exception, see the [http://wiki.fractalaudio.com/index.php?title=List_of_cabinet_simulations Wiki Cab List]). Still, selecting "none" with stock cabs is a good way to remove tonal influence by the mic from the tone. If you want other mic sims, or the ability to choose the mic position, take a look at 3rd party IRs. [http://wiki.fractalaudio.com/index.php?title=Yeks_How_Tos#How_to_select_a_microphone Mic sim], [http://wiki.fractalaudio.com/index.php?title=Yeks_How_Tos#How_to_use_a_3rd-party_Impulse_Reponse_.28IR_or_user_cab.29 3rd Party IRs]
+# '''Master Volume:''' Master Volume has a great impact on the tone, it's not just a level control! If the modeled amp type is a modern high-gain amp, it probably relies on preamp distortion instead of poweramp saturation. In this case, keep the Master Volume control low (for example 3.50 for Mesa and Friedman amp sims) to prevent the tone to become mushy or noisy. If the modeled amp type has no Master Volume control (Fender, Vox, HiWatt, Plexi types, check the [http://wiki.fractalaudio.com/index.php?title=List_of_amp_simulations Wiki Amp List]), turn up Master Volume to about 9.4. This disables the Master Volume and effectively turns the Drive control into a volume control. High Drive settings will then cause poweramp saturation, depending on the amp. Now turn down Drive to 3.50, you can turn it up later. [http://wiki.fractalaudio.com/index.php?title=Yeks_How_Tos#How_to_set_the_Drive_and_Master_controls Master Volume and Drive]
+# '''Tonestack:''' You can select a desired Tonestack type on the Advanced page. Choose between the one that is native to the selected amp type (classic), or a tonestack from another amp type. Or turn the tone controls into an active EQ (Global menu, see above). Important note: using the classic tonestack does NOT imply that you’ll be able to set the controls by the eye, mimicking settings on real amps. That’s because the virtual tapers can be different. [http://wiki.fractalaudio.com/index.php?title=Yeks_How_Tos#How_to_use_the_amp_tone_controls_.28tonestack.29 Tonestack]
+# '''Bright:''' If the corresponding real amp type has a Bright switch or a bright cap on its volume or gain control (check the [http://wiki.fractalaudio.com/index.php?title=List_of_amp_simulations Wiki Amp List]), you can change its default setting. It can make a lot of difference. Also note that the effect of the Bright switch can vary according to the setting of the Amp block’s Drive and Master Volume parameters. [http://wiki.fractalaudio.com/index.php?title=Yeks_How_Tos#How_to_set_the_Bright_switch Bright]
+# '''Presence:''' If the corresponding real amp type has a Presence control (check the [http://axefxwiki.guitarlogic.org/index.php?title=List_of_amp_simulations Wiki Amp List]), turn it up or down to the desired level. Important: Presence at noon means zero presence! If the original amp has no Presence, this control acts as shelving filter. And on some amp types it acts as a Cut (Vox, Dr.Z and others). In any case you can use it make the preset less bright by setting it below noon. [http://wiki.fractalaudio.com/index.php?title=List_of_amp_simulations Presence]]
+# '''Boost:''' The Amp block’s Boost control lets you add 12dB gain to the input signal. It’s a clean boost, adding gain across the full frequency spectrum. Nice to spice up single coils for example. There are alternative methods, for example adding a block before the Amp block such as a NullFilter or Tape Dist (Clip Type set to HV Tube) or FET Boost. [http://wiki.fractalaudio.com/index.php?title=Yeks_How_Tos#How_to_set_the_Boost_switch Boost]
+# '''Drive:''' Use the amp’s Drive control to set the desired amount of preamp overdrive (or to set the volume level as well on non-MV amp types, see above). In some cases you may get better results by keeping Drive low and adding a Drive block before the Amp block (or use Boost, see above) to boost gain. Try setting the Drive block to T808 or BB with its Drive control set low and its Level set high. It’s also possible to add gain stages to an amp sim by using a Tape Dist block before the Amp block with Clip Type set to HV Tube. [http://wiki.fractalaudio.com/index.php?title=Yeks_How_Tos#How_to_use_a_Drive_block_to_add_or_control_gain Drive block] [http://wiki.fractalaudio.com/index.php?title=Yeks_How_Tos#How_to_add_another_.28tube.29_gain_stage Extra gain stage]
+# '''Tone:''' Use the 3-band tone controls (Bass, Mid, Treble) to dial in the desired tone color. Again note that using the passive tonestack does NOT imply that you’ll be able to set the controls by the eye, mimicking settings on real amps. But before you go all wild with the tone controls, first try leaving them at noon and use only Presence to color the tone. You may find that this is all that's needed. [http://wiki.fractalaudio.com/index.php?title=Yeks_How_Tos#How_to_use_the_amp_tone_controls_.28tonestack.29 Tonestack]
+# '''Amp Level:''' Adjust the amp Level control to set the desired overall volume level. This applies to the Amp level as well as to the overall preset level. Use this control to prevent output clipping and to match the overall preset level with other presets. Note: this parameter has NO impact on the tone, don't worry if other parameter settings force you to set this parameter very low or very high. Check the link below for a method to set levels and prevent clipping. Be aware that distorted tones are compressed more than clean tones. When matching preset levels at home (soft volume level), you may perceive them to be at the same volume, but when playing loud they won't match at all anymore. Distorted tones need to be much louder, even if it doesn't sound right at home. [http://wiki.fractalaudio.com/index.php?title=Yeks_How_Tos#How_to_set_the_output_levels_and_avoid_clipping Output levels]
+# '''Damp:''' This controls the amount of negative feedback in the poweramp simulation. Higher values give a tighter and brighter sound but can sound harsh at very high master volume levels. Lower values give a loose and gritty sound and feel. Each amp type defaults to its own value. The amp's volume level may change when adjusting this parameter. This parameter has no effect if poweramp simulation is switched off. [http://wiki.fractalaudio.com/index.php?title=Yeks_How_Tos#How_to_set_the_advanced_parameters Adv. parameters]
+# '''Sag:''' This parameter models the power supply impedance and therefore controls how dynamically the power amp simulation behaves. Higher settings result in a more compressed feel. At low Master Volume settings this control will have little effect as the power amp is not being pushed. Turning Sag to zero disables poweramp simulation for the preset alltogether. This parameter has no effect if poweramp simulation is switched off globally.
+# '''Speaker Resonance Frequency:''' This parameter can be used to further optimize the Amp block for combination with a specific cab, especially if it's a real cabinet. Click on the link below for more detailed information. [http://wiki.fractalaudio.com/index.php?title=Yeks_How_Tos#How_to_set_the_speaker_resonance_parameter Speaker resonance]
+# '''Cab Drive:''' The Drive parameter in the Cab block's properties simulates speaker breakup. However, at higher values it can cause audible aliasing! So rather than use this parameter, add a drive block immediately following the cab and tweak to taste. [http://wiki.fractalaudio.com/index.php?title=Yeks_How_Tos#How_to_use_the_Air_and_Drive_parameters Cab Drive and Air]
+# '''Cab Air:''' This parameter in the Cab block's properties helps to remove a “boxy” edge of the tone through a cabinet sim. Cliff: "Air is nothing more than low-pass filtered direct signal mixed with the processed signal. Sometimes adding some Air can help remove the boxiness. You typically need to set the Air Freq above 3 kHz before the effect is noticeable. I like it around 3500 or so. It adds a little sizzle to high-gain tones and removes that boxy sound." It can be hard to notice the effect though. [http://wiki.fractalaudio.com/index.php?title=Yeks_How_Tos#How_to_use_the_Air_and_Drive_parameters Cab Drive and Air]
+# '''Farty of flubby bass notes:''' If notes on the low strings sound farty or flubby, it can be caused and solved by a number of things. Try turning down the Master Volume or Drive control. Try turning down Bass (you can always increase bass after the Amp block again using a PEQ or GEQ). Turn up Low Cut on the Advanced page (high-pass filter at the input stage of the preamp sim).
+# '''Noise:''' If the selected amp type generates a lot of noise or crackle, it may be caused by using too much gain in combination with very bright amp settings. [http://wiki.fractalaudio.com/index.php?title=Yeks_How_Tos#How_to_deal_with_noise Noise]
+# '''Advanced parameters:''' The Amp block offers access to a lot of advanced parameters to be tweaked by, euh, tweakers. The most popular (IMHO) are described above. Other advanced parameters are described in the manual and Wiki. [http://wiki.fractalaudio.com/index.php?title=Yeks_How_Tos#How_to_set_the_advanced_parameters Amp parameters]
+# '''Reset:''' To reset all parameters on the Advanced page to their defaults, as well as the Boost and Bright switches and Depth, Sag and Damp, just reselect the Amp type.
+# '''Noise Gate:''' Adjust the Noise Gate if needed (Layout menu). And/Or use a Gate block after the Amp block if needed (Ultra only). [http://wiki.fractalaudio.com/index.php?title=Yeks_How_Tos#How_to_deal_with:_Noise_Gate Noise gate]
+# '''Boomy bass, harsh treble:''' If there’s too much bass or treble in the signal, there are several ways to deal with that, apart from the regular tone controls. If it concerns the overall signal: turn down the level of the lowest band(s) and the highest one in the Global EQ. Or try another cab sim. Some stock cabinets, such as the 4x12 German cab, have a lot of bass. Or try another microphone sim. For example, the R121 adds a lot of bass and treble to the tone. Or use no mic sim at all. Or put a PEQ block after the Amp and Cab blocks to block or shelf frequencies below and above a certain range. Example: use the lowest band to block below 120Hz, and use the highest band to block above 6.1kHz or so. This gets rid of annoying highs and lows that the guitar tone doesn't need in the mix when playing live. Use the Q parameter to finetune if required. Or use another mic position on the cab which is only possible with 3rd party IRs. Or turn down the Depth parameter for less bass (same as Resonance, Fat, Whomp etc. on real amplifiers), it's like Presence but concerning low frequencies. Higher Depth values give a fuller, looser sound, while low values can be used to achieve a more focused sound. Depth is non-functional when Poweramp simulation is off. Or turn down HF Resonance (Advanced page) in high-gain presets makes the amp distortion less harsh. It mimics the way these high-gain sims were configured in firmware 9.x and earlier. Or turn down High Cut on the amp's Advanced page (low-pass filter at the output stage of the amp sim). And there are probably tone controls on your amplification device and on yur guitar that you can use to tame highs and lows.
+# '''Amp in the room:''' If you use FR amplification and you want Axe-Fx to sound and feel like a real amp "in the room" (not recorded or through a PA-system), use one of the stock far-field cabs (1x12 Open, 2x12 Gold, 2x12 G12H) without a mic sim.
+# '''Examples:''' Some users have created banks containing no-frills basic presets for amps with matching cabinets: [http://www.fractalaudio.com/forum/viewtopic.php?f=11&t=22776&start=0&hilit=naked Dutch & Timmy's amp bank: all amps at default settings with matching cabinets] | [http://www.fractalaudio.com/forum/viewtopic.php?f=25&t=13144&p=124297#p124297 Organized preset collection by Steve "Guittartarzan"] | [http://www.fractalaudio.com/forum/viewtopic.php?f=25&t=20601 VirgilGuitar's Standard Amps]
-===How to get tight metal tones===
+===How to set the Drive and Master controls===
-For more control over palm muting, add a Filter before the AMP block. Set it to Highpass and attach the Envelope controller to the Frequency parameter, using the default Envelope settings. Set Scale to 40% and Offset to around 22%. You’ll have a dynamic filter which adjusts itself according to how hard you're hitting the strings.
+Vintage amps don't have separate gain (drive) and master volume controls. To emulate this, crank the Master. This way Drive will become the main volume control. For Fender amps Drive at around 3.5 seems to be the magic spot. Try this method with Fenders, Vox, Plexi, Wrecker, Hiwatt, 1987X.
-===How to tame low end frequencies===
+Modern hi-gain tube amps don't require a cranked the Master. They rely on preamp distortion primarily. In fact you may want to keep the master pretty low (3.50) to avoid power amp saturation. Examples: USA Lead, SLO.
-Depending on the amp type and your method of amplification, there may be too much low end (bass) in the tone. Turning down the Bass control in the Amp’s properties isn’t always the right way.
+Cliff's quotes:
+* "I think the major source of "farty" is people set the Master too high. With a real high-gain amp people don't crank the master volume because the amp is then insanely loud. On an Axe-Fx you can crank the master but keep the actual volume to talking levels. For the high-gain models I find the sweet spot on the Master to be less than halfway".
+* "Master at 7.02 on the Recto model is WAY too high and will sound muddy. You should be around 3-4, maybe less. The reason the highs sound rolled off is because the Master is too high. As you increase the Master the highs get muffled. 7.02 for the Recto Master is ridiculous and will sound like crap."
+* "For old, non-MV amps like Fenders and Plexis you typically want to run the Master at 9 or higher. For modern, high-gain, MV amps you typically want the Master below 5."
+* "For clean tones the Drive control should be set fairly low and the Master set very high. On a real "Blackface", for instance, the Master is essentially maxed since that amp has no master volume. A Blackface typically achieves full power at around 10-11 o'clock on the volume (Drive). It's also insanely loud. Beyond that the everything starts to saturate and clip. If you set the Master low and the drive high, for clean tones, the low end will tend to get muddy. Good cleans are obtained with little, if any, preamp distortion and a nice amount of power amp distortion. Power amp distortion has a much different character and tends to be glassy and bouncy. Preamp distortion is rougher and more compressed."
+* "The master volume is such that near maximum (4:00 or so) is equivalent if the modeled amp had no master volume. As always use your ears to fine-tune."
-The Low Cut Frequency parameter (Advanced page of the AMP block) lets you cut frequencies below a certain frequency.
+With all amps models the relationship between the Drive and Master settings is important. Start at modest settings, then experiment. Example: with some amp sims high values for Master and Drive will make low notes on humbuckers 'fart', like if the speaker is blown up. A lot of gain in combination with very bright settings can also result in crackle and noise.
-Another approach is to use a parametric equalizer (PEQ block) to cut lows after the AMP and CAB blocks. [http://www.fractalaudio.com/forum/viewtopic.php?f=11&t=12374&start=0 This thread] offers some valuable information on this.
+===How to use the amp tone controls (tonestack)===
-===How to dial in specific amps and signature sounds===
+The tonestack is the set of tone controls for an amplifier (bass, mid, treble). For each amp the Axe-Fx lets you select between:
-The Axe-Fx offers a lot of amp emulations. I’m collecting setup information about some of them:
+# classic passive tone controls, appropriate for the specific amp type
+# passive tonestack from another amp type
+# active EQ
-{| border="1" cellpadding="5" cellspacing="0"
+Use Global &gt; Config to set the default for all amps: active or passive. Use the Advanced page of the AMP block to select a different tonestack for an amp.
-|-
-|Marshall Plexi
-|[[Tutorials#.22Plexi_Bright_Setting.22:|here]] and [http://www.fractalaudio.com/forum/viewtopic.php?f=19&t=11767 here] and [http://www.fractalaudio.com/forum/viewtopic.php?f=11&t=11555&hilit=crank here]
-|-
-|Marshall JCM800
-|[http://www.thegearpage.net/board/showthread.php?t=634666 here]
-|-
-|Fenders
-|[[Tutorials#Fenders_Sims|here]] and [http://www.fractalaudio.com/forum/viewtopic.php?f=11&t=11773&hilit=fender&start=10 here] and [http://www.fractalaudio.com/forum/viewtopic.php?f=19&t=11657&hilit=blackface&start=0 here]
-|-
-|Mesa Boogies
-|[[Tutorials#The_Mesa_Mark_Series|here]] and [http://www.fractalaudio.com/forum/viewtopic.php?f=11&t=11218 here] and [http://www.fractalaudio.com/forum/viewtopic.php?f=19&t=12437 here]
-|-
-|Matchless
-|[http://www.fractalaudio.com/forum/viewtopic.php?f=11&t=11770&hilit=matchless here] and [http://www.thegearpage.net/board/showthread.php?t=634230 here]
-|-
-|Dr.Z
-|[[Tutorials#Dr._Z_Maz_38_Sim|here]]
-|-
-|CAE 3+ SE
-|[http://www.fractalaudio.com/forum/viewtopic.php?f=11&t=11689&hilit=cae here]
-|-
-|Bogner Ubershall
-|[http://www.fractalaudio.com/forum/viewtopic.php?f=16&t=11681 here] and [http://www.fractalaudio.com/forum/viewtopic.php?f=19&t=12093 here] and [http://www.fractalaudio.com/forum/viewtopic.php?f=19&t=12015 here]
-|-
-|Dumble
-|[http://www.fractalaudio.com/forum/viewtopic.php?f=19&t=12497 here]
-|-
-|Bogner Ecstasy
-|[http://www.fractalaudio.com/forum/viewtopic.php?f=19&t=11809 here]
-|-
-|Budda
-|[http://www.fractalaudio.com/forum/viewtopic.php?f=11&t=11733&start=0&hilit=budda here]
-|-
-|Vox
-|[http://www.fractalaudio.com/forum/viewtopic.php?f=11&t=12195&start=0 here] and [http://fractalaudio.com/forum/viewtopic.php?f=19&t=9930 here]
-|-
-|Cornford
-|[http://www.fractalaudio.com/forum/viewtopic.php?f=19&t=10834&start=0&hilit=cornford here] and [http://www.fractalaudio.com/forum/viewtopic.php?f=19&t=10450&hilit=cornford here] and [http://www.fractalaudio.com/forum/viewtopic.php?f=19&t=11635&hilit=cornford here]
-|-
-| colspan="2" |[http://www.fractalaudio.com/forum/viewtopic.php?f=19&t=12054&start=0 Steve Vai’s For The Love Of God]
-|-
-| colspan="2" |[http://www.fractalaudio.com/forum/viewtopic.php?f=19&t=11873&hilit=srv SRV]
-|}
-Also check the factory presets of course (see the list at the bottom of this page). And you can download a ready-made bank that contains basic patches with all amps and matching cabinets [http://www.fractalaudio.com/forum/viewtopic.php?f=25&t=9348&hilit=all+amps+default+cabinet+bank here].
+The manual states: "Those who prefer the classic passive tone controls that are found on most tube amps, the Axe- Fx has the option of using this style of tone control as well. Not just a crude shelving filter approximation, the Axe-Fx passive tone stack simulation exactly replicates the frequency and phase response of the classic passive tone stack. When using the passive tone controls the display will read out in traditional 0-10 style as opposed to decibel readings."
-And don’t forget to finetune your amp tone for the right amplification. If you want gigging material, make sure to audition all your patches on gigging volume level, with your preferred method of amplification and within the band context. If you want to record instead, optimize the tone for that goal.
+Use the classic tonestack to keep the amp sims authentic. But note this: don't expect to be able to set the controls by the eye, mimicking settings on real amps! This is because the Axe-Fx doesn't always model the tapers used on the real amps.
-==How to configure a cabinet==
+Cliff: "This is the case with several of the amp models. In these cases the taper used on the real amp is what I would call "a less than optimum" choice. I think in many cases the designer simply doesn't realize the affect the taper has on the locus. So, if I deemed the choice of taper to be "incorrect" the model uses the correct taper. The Bogner models fall into this category. The choice of a Log10 pot for the treble pot doesn't make sense so the model uses a linear taper which gives a smooth locus".
-===How to select the right (stock) cabinet===
+Old quote Cliff: "There are only 15 or so unique passive tone-stacks because the same tone-stack is used on different models, i.e. the Plexi, JCM800, JCM900, etc. use the same tone-stack (just like their real-life counterparts)."
-The Axe-Fx offers a lot of specific cabinet emulations. These simulate the influence that speaker cabinets have on the tone. A cab sim is also referred to as an IR (Impulse Response). The Wiki contains two (slightly different) lists with the real names of the cabinets that are emulated: [[Cab|here]] and [[List_of_cabinet_simulations|here]].
+===How to set the Bright switch===
-It’s a matter of personal preference which cab sim to select. Here are some tips to get you started.
+The Bright switch has a default setting for each amp. If you don’t remember the default setting, just reselect the amp type (this resets some other parameters back to their defaults too). To switch the Bright switch on or off, scroll to Treble and press Enter.
-{| border="1" cellpadding="5" cellspacing="0"
+The Bright parameter doesn't always correspond to a dedicated Bright switch on the original amp. Some amps do not have a Bright switch but have a treble peaker on the volume control. The Bright control also mimics that.
-|-
-|4x12 V30, Cali
-|high gain amps
-|-
-|4x12 20w, 4x12 25w, 4x12 Green
-|vintage Marshalls
-|-
-|1x6 Oval
-|lo-fi
-|-
-|2x12 Black, 2x12 Blue
-|Fender
-|-
-|2x12 Brit
-|Vox
-|-
-|2x12 Gold, 2x12 G12h, 1x12 Open
-|far-field tones
-|}
-Note: most of the stock cabinets recreate the tone of a speaker that’s recorded with a microphone close to the speaker. That’s how amps are often recorded or mic’d live. A couple of the stock cabs are “far-field” simulations, which means that the mic was placed further away from the speaker during the recording. That will result in a tone that’s more like hearing the amp and the speaker cabinet “in the room” ([http://www.fractalaudio.com/forum/viewtopic.php?f=11&t=9195 more information]). Far-field has nothing to do with reverb.
+Turning up the amp's gain (Drive) will decrease the impact of the Bright switch. With the gain maxed, the bright cap is effectively gone.
-===How to select the right microphone for the cabinet===
+Note: the default setting of the Bright switch on some amps (Plexi, JCM800) makes the tone very harsh. Try switching it off and compensate by adjusting Presence (and Treble).
-You can select a microphone emulation in the Cabinet properties. The [[Description_of_Mic_Models|Wiki]]
+On the Plexi-type amp sims the Bright switch also has a large impact on the amount of gain.
-explains the types of microphones. The Royer 121 and Neumann belong to the favorites. It’s not necessary to select a mic sim though if you prefer to hear the speaker in its natural state. And it’s not necessary at all when using the Red Wirez IR’s (separate topic) because the microphone is already part of the IR.
-===How to choose between a stereo or mono cabinet?===
+===How to set the Boost switch===
-The cabinet sim operates in one of three modes:
-* “Mono HiRes”: mono, 1024 samples.
+There's a Boost control in each AMP block. This adds 12dB to the input stage of the preamp (before the amp's Drive). It's off by default. Sometimes enabling the boost works better than turning up preamp gain. it's a clean boost so it'll increase the gain of all frequencies.
-* “Mono LoRes”: mono, 512 samples (but requires 50% of the processing load of Mono HiRes).
-* “Stereo”: stereo, 512 samples.
-While the mono HiRes setting offers the best quality, the stereo setting has its own thing going. It lets you combine two cab sims in one block with either one or two amps. Alternatively you can use two (mono or stereo) Cab blocks in your grid, but this costs extra CPU time. A lot of factory presets use a stereo cab, set to two different cab sims.
+To enable the Boost, scroll to Type in the AMP block's properties and press Enter.
-===How to set the Air and Drive cabinet parameters===
+You cannot assign an external switch to the Boost parameter. But there are other ways to get exactly the same result: add a Filter block before the Amp block, set to Null, with Level at 12dB. You can even assign its Level to an expression pedal and control the gain gradually.
-Drive: this parameter simulates speaker break-up. It’s not very noticeable unless you push the input of the Axe-Fx very hard.
+Alternatively, use a Tape Drive block before the Amp block.
-Air: this parameter helps to remove the “boxy” edge of the tone through a cabinet sim. It’s a low-pass filtered direct signal that gets mixed with the processed signal. Set it around 3500 Hz or higher and dial it in the mix as you like. The effect is also not always very noticeable but it opens up the sound a bit. Here is a [http://www.fractalaudio.com/forum/viewtopic.php?f=19&t=7675 demonstration]
+===How to use the Presence control===
-and here’s [http://www.fractalaudio.com/forum/viewtopic.php?f=11&t=7664 more information].
-===How to use an “user cab”===
+Presence controls the high frequencies in the power amp stage. You probably can't imagine that there are entire threads discussing just this control, but there are ... ([http://forum.fractalaudio.com/threads/26135 thread], [http://forum.fractalaudio.com/threads/23904 thread]).
-An user cab is a cabinet emulation (IR) that doesn’t come stock with the Axe-Fx. The Axe-Fx has 10 slots to load these “custom” cabs. You need a sysex librarian or the [http://www.fractalaudio.com/forum/viewforum.php?f=27 Axe-Fx editor]
+The thing to remember here is that Presence at noon (12 o' clock) means ZERO presence, not "5"! Just look at the display: "0". So if you select an amp that in reality has a Presence knob and you like it at noon (5), turn up Presence in th amp sim to "5" to simulate the regular noon setting. Note: this applies to the "passive" Presence setting.
-to load user cabs into the Axe-Fx. The process is described in the [[How_to_upload_cabinets|Wiki]]. There’s no visual confirmation that the process is done, except for a small MIDI IN light blink at the end of the process. Listen to the tone change to confirm that the load was successful.
-Note that the Axe-Fx doesn’t display any information on loaded user cabs, you need to write it down. If you want to clear an user slot, you can download an “empty” IR from [http://www.fractalaudio.com/forum/viewtopic.php?f=15&t=10934 this thread].
+Not all real amps have a presence control though, so Presence at its default setting (noon) with those sims keeps it "vintage".
-You can find free IR’s in [http://www.fractalaudio.com/forum/viewforum.php?f=15 this forum.][http://www.fractalaudio.com/forum/viewtopic.php?f=15&t=12271 This thread] is about specific IR’s for metal tones. [http://www.fractalaudio.com/forum/viewtopic.php?f=11&t=10795&sid=c93c2e6d048697d69638e876795ff3fd This thread] contains a tutorial on auditioning user cabs.
+Cliff: "The difficulty is that I allow people to adjust the damping so I needed a way to allow for a hi-cut when the damping was set to zero and a presence control when not. So I came up with the dual-function presence control.
+When an amp has no negative feedback (i.e. AC-30), the speaker impedance has a much greater effect on the tone and causes the tone to be much brighter. Additionally, there is no way to adjust the tone by modifying the negative feedback (because there isn't any). So a non-negative feedback amp classically employs a hi-cut filter in the power amp.
+The Axe-Fx allows you to turn on negative feedback, even for amp models that don't normally have any. In that case the high-frequency emphasis due to the speaker impedance will decrease and you then may want to increase the highs to compensate so you need a presence control. Thus was born the presence/cut control. At settings less than zero it acts as a simple hi-cut. At settings greater than zero it acts as a presence control if the amp model has negative feedback by manipulating the feedback or by boosting the treble if there is no feedback."
-===How to get good 3<sup>rd</sup> party IR’s===
+Cliff: "The presence "circuit" in the Axe-Fx does the same thing as the presence circuit in an actual tube amp. It decreases the negative feedback in the power amp at high frequencies. The net result is a boost in high frequencies.
+The gain of an amp with negative feedback is A/(1 + A*B) where A is the open-loop gain and B is the feedback. The presence circuit makes B a function of frequency (i.e. B -> B(s), actually B(z) in digital land) so there is less feedback at high frequencies. Therefore the gain is greater at those frequencies and approaches the open-loop gain. You can hear this as you increase the Damping since that increases the overall negative feedback. The presence control will have more effect as the Damping is increased.
+The Depth control does the same thing but on low frequencies."
-The IR’s from [http://www.redwirez.com/ Red Wirez] get good reviews. They provide a bundle of close-mic’d IR’s and far-field IR’s for several speakers and cabinet/microphone combinations. You can use these in your DAW and import them as user cabs in the Axe-Fx. The Red Wirez website contains detailed information on using the IR’s. The microphone is already part of the IR, so you don’t need to select a microphone sim in the Cabinet’s properties when using a Red Wirez IR. More information on the Red Wirez IR’s is [http://www.fractalaudio.com/forum/viewtopic.php?f=15&t=8923&hilit=stereo+room+red+wirez here].
+===How to set Damp, Sag, Depth and advanced parameters===
-You can also mix several Red Wirez IR’s into one HiRes IR. The IR’s are time-aligned to prevent phase issues. [http://www.fractalaudio.com/forum/viewtopic.php?f=15&t=10988 More information]. This [http://www.redwirez.com/pcalc.jsp “dB-Percentage”-calculator]
+You find these parameters on the second page and Advanced page in the AMP block. Some users never touch them, some dig in deep to (re)create “their” tones. You'll find descriptions of most parameters on [[Amp_simulator | this Wiki page]].
-may be of use.
-==How to use a Noise Gate==
+No restrictions here, do what you like. But common opinion is that the need to adjust these parameters to find good tones decreases with every major firmware update, with some exceptions.
-Every patch has a noise gate. It’s hidden in one of the pages of the Layout menu. Hold the Bypass button to reset it to its defaults (which is: switched on). Or turn the threshold to zero to switch it off completely.
+* Low Cut: this parameter in particular is important to fight 'flubby' of 'farty' bass notes. Turn it up, for example to 100 or much higher, to get a tighter low end and less "farting" or "flubby" tones on the low strings. You can compensate for loss of bass by adjusting the Bass control, or by using a PEQ after the amp
+* Warmth and Thump default to zero in firmware 9.01 and higher, [http://forum.fractalaudio.com/threads/22743 more information]. If you want to bypass Thump alltogether, set the Power Amp sim (Global menu) to "On-no thump"
+* SAG and B+ Capitance: SAG models the power supply impedance and therefore controls how dynamically the power amp simulation behaves. Higher settings simulate higher power supply impedance which leads to a more compressed feel. At low Master Volume settings SAG will have little effect as the power amp is not being pushed. Turning SAG to zero disables poweramp simulation for the preset. And SAG has no effect at all when Power amp simulation is switched off in the Global menu. Jay Mitchell: "B+ Capacitance is the power filter cap value which is downstream of the rectifier in the power supply. Downstream. The capacitor is charged by current flowing through the rectifier. The limitation is caused by the total charge stored on the plates of the filter capacitor and the ability of the power supply to replenish that charge within a few milliseconds (i.e., by its peak current capacity). A higher-value capacitor will store more charge at a given voltage, but it will also take longer to recharge once its charge has been depleted. The Sag control represents the virtual series impedance of the power supply - including the power transformer windings and the rectifier - and the B+ capacitance alters the power supply charging time constant. Changing sag will affect both the effective "threshold" and the amount of compression when the signal goes above threshold ("ratio"). Changing B+ capacitance will also affect the "ratio" in addition to attack and release times. There's a lot more at play than simple compression. There is a dynamic change in frequency response in the output stage of a tube amp when it is driven into saturation. IOW, there is frequency-dependent compression. The behavior of sag in the B+ voltage has a major effect on on this dynamic response change, and that's what you're fooling with when you change the "sag" and "B+ capacitance" parameters."
+* [http://www.thegearpage.net/board/showthread.php?t=791491&highlight=tweak Read] what Jay Mitchell has to say about some of the advanced parameters
+* Damp: controls the amount of negative feedback. [[Negative_feedback|Wiki]] Adjusting the Damp parameter influcences the amp volume level. If the poweramp is saturated, both damp and level must be increased to maintain level the same. Cliff: "The Axe-Fx attempts to normalize the volume as you change the damping. (...) However, if you are driving the "power amp" hard the equation falls apart because it assumes linear operation. Therefore there may be some volume change. This is done since otherwise you would constantly have to adjust your output volume as you change the damping. Unfortunately it is impossible to predict how saturated the power amp is since that depends on input level. The compensation isn't perfect, the idea is to minimize the volume fluctuations since without compensation the volume would fluctuate wildly."
+* Depth: Cliff: "The presence "circuit" in the Axe-Fx does the same thing as the presence circuit in an actual tube amp. It decreases the negative feedback in the power amp at high frequencies. The net result is a boost in high frequencies. The gain of an amp with negative feedback is A/(1 + A*B) where A is the open-loop gain and B is the feedback. The presence circuit makes B a function of frequency (i.e. B -> B(s), actually B(z) in digital land) so there is less feedback at high frequencies. Therefore the gain is greater at those frequencies and approaches the open-loop gain. You can hear this as you increase the Damping since that increases the overall negative feedback. The presence control will have more effect as the Damping is increased. The Depth control does the same thing but on low frequencies."
+* Speaker Resonance Frequency: this one is important to match the amp sim to the speaker type. Cliff: "Furthermore there are certain aspects that simply can't be modeled and require user intervention. For example, a speaker has a low-frequency resonance. A tube amp will create a higher output at that resonant frequency. The Axe-Fx has no way of knowing what that resonant frequency is and defaults to a value that is common for the speakers that are typically used with that amp. However, if you drive that speaker through a solid-state amp you won't excite the resonance unless you adjust the Speaker Resonant Frequency to match it. This is the one of the few advanced parameters I ever adjust and I tweak it until I hear the bottom end "sympathize". For example, my favorite Mesa cab resonates around 110 Hz but most of the models default to 95 Hz so I usually adjust the Speaker Resonance to 110 Hz when using that cab. After I do that the Axe-Fx is indistinguishable from the real thing, IMHO."
-The Ultra edition allows you to insert additional gates in the grid.
+To reset all parameters on the Advanced page, plus the Bright setting and the Depth, Sag and Damp parameters, just reselect the amp type.
-==How to use a Compressor==
+===How to split the preamp and poweramp sections of the amp sim===
-Read the [[Compressor|Wiki]] for recommended compressor settings. [http://www.fractalaudio.com/forum/viewtopic.php?f=11&t=8727&start=0&hilit=radley This thread] also contains valuable information on using two of them in series to get the desired results.
+Nope, you can't.
-==How to use a Graphic Equalizer==
+===How to get tight bass control===
-==How to use a Parametric Equalizer==
+To keep the low end under control (including palm-muted metal tones!), add a Filter block before the Amp block. Select Highpass. Go to Frequency and hit Enter (modifier menu). Select Envelope and use the default settings except for setting Scale at 40% and Offset at 22%.
+You have now added a dynamic filter that adjusts itself according to how hard you're hitting the strings. The harder you pick, the more low frequencies are removed from the signal hitting the amp. No need to set a frequency range. This is great for palm muting and also takes care of those flubby low notes with certain amp sims such as the Vox. You can finetune the filter by adjusting the Envelope settings, [http://www.thegearpage.net/board/showthread.php?t=709837 example]. [http://forum.fractalaudio.com/threads/22103 Source]
-[http://www.fractalaudio.com/forum/viewtopic.php?f=11&t=12374&start=0 This thread] explains how to use the PEQ block to contour your tone and to get rid of excessive highs and lows.
+===How to use a Drive block to add or control gain===
-==How to use a Reverb==
+Each amp has a Drive parameter which controls the amount of preamp gain. You can assign an external controller (expression pedal) to vary the gain. this method may not work out satisfactory. You may get better results by inserting a Drive block before the amp:
-[http://www.fractalaudio.com/forum/viewtopic.php?f=11&t=12325 This thread] explains how to get ambience and rich reverb using the correct reverb parameters.
+* Set it to FET Boost or Tape Drive (clean boost) and attach a pedal to its Drive parameter
+* "Old school" hard rock trick: add a TS808 or Tube Drive block before the amp, set its Drive all the way down and max its Level. This will help tighten up the low end
-Also, audition “reverb” presets in the ordered list of presets at the bottom of this page.
+Alternatively use a NullFilter block before the amp instead of a Drive block, with lots of dBs to boost the amp's input.
-==How to use a Chorus==
+===How to add another (tube) gain stage===
-Audition “chorus” presets in the ordered list of presets at the bottom of this page to see if there’s one you like.
+Jay Mitchell supplied these tips:
-==How to use a Flanger==
+* "Cascade one amp block into another. Turn off "Sag" in the first one. Now you've got an extra preamp feeding your amp, which opens up an incredible spectrum of gain staging. For example, think Twin Reverb preamp, with Plexi tonestack set to "post," feeding a Plexi 2 with default settings. The possibilities exceed anything one person could hope to explore in a lifetime. You can get it awfully close. You want to minimize the effect of the preamp in Amp 2. To do this, set the Amp 2 Bright to off, MV to a high value, and find a neutral setting for the tone controls in Amp 2. Then use Drive in Amp 2 for your MV. The amp types you choose for this arrangement will make a huge difference, as will quite a few parameter settings. There's easily enough flexibility to allow you to create any sound the Mesa can make, and a lot more that it can't."
+* "Start with Tape drive, set the clipping mode to "HV tube", Drive moderate, Level as appropriate for the amp block it's driving, and you'll have another tube gain stage, complete with EQ."
-Audition “flanger” presets in the ordered list of presets at the bottom of this page to see if there’s one you like.
+===How to prevent crossover distortion===
-==How to use a Phaser==
+Noise that becomes apparent as the note decays, is possibly crossover distortion. Don't confuse this with background noise that comes up after the noise gate opens
+Crossover distortion is a buzzy distortion that can accompany semi-clean tones. It dies while the original played tone still sustains.
-[http://www.fractalaudio.com/forum/viewtopic.php?f=25&t=9869&start=10 This thread] is about simulating a MXR Phase 90.
+Cliff: "You can adjust the amount of crossover distortion with the Power Tube Bias control. The default setting gives just a little bit of hair around the note, which most people actually like but squeaky-clean guys usually object to. Crossover distortion becomes more noticeable as the note decays. Clipping distortion is more prevalent as the signal increases. A Tweed Deluxe is cathode biased which usually means the tubes run pretty hot and have little crossover distortion (same as a Vox)."
-==How to use a Rotary Cabinet (Leslie)==
+===How to use multiple amps in a single preset===
-In firmware 9.0 the Rotary Cabinet effect (a.k.a. Leslie) has been improved a lot. Check [http://www.fractalaudio.com/forum/viewtopic.php?f=11&t=11487&start=0 this thread] for suggested parameters.
+You can use two amps in a preset. They can share one cabinet or each have their own cabinet. Simultaneous use of two amps can thicken the tone (like two high gain amps), or make it more transparent (combination of a high gain amp with a clean type) etc.
-Switching between speeds automatically ramps. To switch between two fixed speeds using one switch: assign the Rate parameter to an external controller (instant access switch), set Start and End (under Rate) to the desired values (for example 0.5% and 64%), and program the MIDI controller to send “127” (using the CC of the switch) for fast and “0” for slow.
+You can also use this method to morph between two amps without having to change presets, using an expression pedal. Insert a mixer block and input both signal chains into it. Use the modifier menu to go from 0-100% on one amp and 100-0% on the other. You can adjust the curve responses for a smooth crossfade. (source: Javajunkie)
-==How to use a Wah-Wah==
+Of course, inserting multiple amps and cabinets costs CPU cycles. It'll take an Axe-Fx Standard pretty much to its limits.
-The Wiki suggests settings for emulating a [[Wah|Clyde]] or a [[Bad_Horsie_Wah|Morley Bad Horsie]]. And here’s info on the [http://www.fractalaudio.com/forum/viewtopic.php?f=29&t=11816 Budda].
+===How to solve the "my tone changes when I start editing the Amp block" issue===
-Switch on Auto-engage in the Wah settings to activate the wah automatically when moving the pedal. Use the Off Value parameter to instruct the Axe-Fx when to switch it off. Use a low percentage (5% and up) for the heel-down position and a high percentage (95% and lower) for the toe-down position. The Slow / Medium / Fast setting instructs the Axe-Fx how fast to switch off the wah in that region.
+If entering the Edit mode of the AMP block causes an audible change in the guitar tone, you probably have installed a major new firmware version without updating all presets. Major firmware revisions may change the structure of presets. Use Preset Update (Utility > Preset) to update all presets to the new protocol. Usually the release notes that accompany the firmware will instruct you to do this if necessary.
-==How to use a Formant Synthesizer==
+===How to get your guitar to feedback===
-Check the “Man In The Box” and “Poltergeist” presets.
+It's as easy to get your guitar to feedback with the Axe-Fx as it is with a regular amp and cabinet.
+To make it even easier you can switch the global Phase parameter in the I/O menu, under Audio.
-==How to use a Tremolo==
+===Frequency curves of the amp tonestacks===
-Audition “tremolo” presets in the ordered list of presets at the bottom of this page to see if there’s one you like.
+Don Petersen generated a curve graph of each tonestack using white noise.<BR>
+You can view the graphs in [http://forum.fractalaudio.com/axe-fx-general-discussion/38943-tonestack-curves.html this thread.]
-==How to use a Delay==
+=='''CABINETS'''==
-The Axe-Fx has two different types of Delay blocks. The regular Delay is a basic digital delay with a few enhancements. The second is a complex Multi-Delay. The regular Delay has 5 modes:
+===How to select a stock cabinet===
-# “Mono”: both inputs are summed and only the left delay line is used.
+The Axe-Fx has many cabinet models. These model the influence that speaker cabinets have on the tone. A cab sim is an IR (Impulse Response), see below.
-# “Stereo”: independent left and right delay times and feedback.
-# “Ping-Pong”: criss-crosses the signal so that the echoes ping-pong left and right.
-# “Dual”: allows full control over the delay block providing controls for all parameters.
-# "Reverse”: mono reverse playback.
-The Delay provides a low-cut and high-cut filter to simulate old analog delays. There are also two delay time modulators for modulated delay trails (there’s no specific modulated delay in the Axe-Fx). For better resultst put the delay in a parallel path and add a modulation effect (chorus, flanger) after it.
+Descriptions and the real names of the modelled cabinets can be found [[List_of_cabinet_simulations|in the Wiki]] and [http://www.fractalaudio.com/axe-fx-guitar-amps.html on the Fractal website].
-You can create a delay “loop” and insert effects ([[Delay_loop_effects|more information]]).
+It’s a matter of personal preference which cab sim to use with an amp. You can go with "historically correct" amp/cab combinations or go wild. The differences can be enormous. For example the 4x12 20w (very vintage, low power) has very little bass, the 4x12 German has loads of low end, the 4x12 Brit is very bright. Note that differences between cabs may also originate from the way the IR was captured. F.e., the 4x12 German sounds as if the mic was very close to the speaker, generating a lot of proximity effect (bass). The 4x12 Brit sounds as if the mic was at some distance (thin bright tone).
-[http://www.fractalaudio.com/forum/viewtopic.php?f=25&t=10011 Here’s a great dub Delay patch].
+When comparing cabs, don't judge too quickly. Each time you select a cab, you may need to adjust the amp settings to recover a good tone.
-==How to use the Multi-Delay==
+Tips:
-(no information)
+{| border="1" cellpadding="5" cellspacing="0"
+|-
+|4x12 V30, 4x12 German, 4x12 Cali (Mesa), 4x12 Metal (Engl), 4x12 Recto
+|high gain amps
+Don't forget to try this: 4x12 V30/DYN 57 +  4x12 German/no mic
+|-
+|4x12 20w / 25w / 30w
+|vintage Marshall (Plexi, 1987X, Brown)
+|-
+|1x6 Oval
+|Lo-fi
+|-
+|1x10 Gold, 1x12 Black
+|Fender
+|-
+|1x12 Brit, 2x12 Brit
+|Vox
+|-
+|1x12 Open, 2x12 Gold, 2x12 G12h
+|"far-field" tones
+|}
-==How to use the Filter block==
+Most stock cabinets with mic sims recreate the tone of a speaker which has been recorded with the microphone close to the speaker ("near-field"). This is how amps are recorded and mic’d live in general. It's very different from the tone of an amp and cabinet that you're listening directly. A couple of cabs are “far-field” ones, meaning that the mic was placed further away from the speaker during the capturing of the IR, resulting in a tone that’s more like hearing the amp and the speaker cabinet “in the room”.
-The Filter is a one-band parametric EQ. See the How-To about using the Filter instead of the amp’s Boost switch.
+Axe-Fx cabs (stocks as well as 3rd party IRs) are max. 21.3ms long (HiRes mode, 1024 points). This is too short to contain any "room ambience". To create "room ambience" reverb must be used.
-==How to use the Pitch Shifter==
+If you want to hear differences between various speakers, check [http://www.youtube.com/watch?v=jWK0sa7tlfIYouTube this video].
-(no information)
+===How to select a microphone===
-==How to use the Drive effect==
+You can select a microphone model in the Cabinet properties. The microphone sims are described [[Description_of_Mic_Models|here]], [[Cabinet|here]] and [http://www.fractalaudio.com/axe-fx-guitar-amps.html here].
+Or go to these websites for information on mics:
+* [http://www.redwirez.com/bigbox.jsp Red Wirez]
+* [http://www.recording-microphones.co.uk/index.shtml Recording microphones]
-The Drive block covers a lot of ground: clean boosts, overdrives, distortion, treble boosts, fuzzes, etc.
+All mics are close-mic'd, which means that they simulate the tone of a microphone placed very close to the speaker. That's different from listening to a speaker cabinet "in the room". It's how guitars amps are recorded in the studio and amplified live. Close-micing can add a lot of extra low and high frequencies to the tone.
-# Some people like turning down the effects’s Mix level to 80% to increase transparancy and decrease buzzy tones.
+Don't underestimate the impact of the mic type on the tone. E.g., adding a R121 (Royer 121, front at 6") for example will add lots of high and low end to the tone. The 57 DYN (Shure SM57) works with almost everything.
-# Maximizing the Drive’s Level doesn’t satisfy some people. They prefer to boost the volume using the same CC for the Drive block and a Null Filter boost.
-# [http://www.fractalaudio.com/forum/viewtopic.php?f=11&t=12422 This thread] contains additional information on the Drive effect.
-==How to use the Stereo Enhancer==
+You can also select "None". That doesn't mean that you'll hear the speaker like you are used to (in front of the cabinet). All cab sims were created using a neutral Earthworks mic (using a PreSonus channel strip and the Axe-Fx itself as A/D converter), placed close to the speaker (the "far-fields" are an exception, see above). Still, selecting "none" with stock cabs is the best way to remove tonal influence from the tone. Also, not using a mic sim will remove a lot of those pesky low and high frequencies from the signal.
-This effect increases the stereo separation between the left and right outputs to make a stereo track appear wider. As explained earlier phase cancellation can occur when using this effect in a mono setup with the left and right channels summed.
+If you use 3rd party IRs, it may not be necessary to select a mic at all (select "none"). The Red Wirez and Ownhammer IRs for example already include the microphone as part of the IR.
-==How to use the Mixer block==
+Review of Red Wirez mic and mic positions (Joost Assink, [http://forum.fractalaudio.com/threads/33015 source]):
+* SM7: same cutting power as the SM57 but without the harsh high end. It's also quite flat and meat & potatoes mic. It's a dynamic mic and works good from 0" without too much proximity effect. Dynamic mics need to be closer to really get them working, at least according to my experience. As a general rule of thumb, get the dynamic mics up to the grill (0 inches in RedWirez land) and condenser mics, especially the large diaphragm need a bit of distance or they'll get too boomy.
+* RE20: also honest and to my ears the most flat, yet more detailed than the SM7. Most transparent. No proximity issues, and this gives me a condenser-like sound up close to the grill, even though it's a dynamic mic. So cap edge 0".
+* U67: nice tube warmth and detail and richness. Really adds something to the sound. However, that mic alone lacks cutting power and adds the risk of muddying up the mix. That's where you need the two dynamic mics. Also, the U67 has some real proximity issues, so needs to be at least 3 inches off the grill. Again, cap edge gives best compromise between detail (high-end) and low-end/body.
+* R121: my favorite mic of the bunch. Incredibly rich and detailed. Adds some magic. Needs to be on the cap instead of the cap edge or it gets too muddy. Because of proximity effect it needs to be at least 1" off the grill, but 2" sounds great as well. Just use the distance between 1 and 3 inches to get low end to taste. At greater distances you lose some of that magic detail though. Again, just like the U67, it needs a dash of RE20 and SM7 for some honest transparency and detail or the mix gets too thick and slightly muddy. Also, this mix gives you dynamic mics, tube mics, condenser mics and a ribbon mic.
+The following mics I also liked but didn't add anything to the four I had already selected:
+* C414: nice detail and fatness. Needed to be on the cap edge and 3" off the grill because of proximity effect. Liked the U67 better.
+* U47: slight harshness, but nice condenser mic. Cap Edge 1 inch.
+* SM57: most common mic ever. Great cutting power but harsh high end and upper mids. Needs to be off-axis because of it. 0 inches at the cap edge off axis it is.
-The Layout menu contains a final Mixer for the four rows of the grid. You can also insert a Mixer block somewhere in the routing.
+===How to choose between a stereo or mono cabinet===
-==How to use the Effects Loop (FXL)==
+The cabinet sim operates in one of three modes:
-This is covered earlier on this page.
+# “Mono HiRes”: mono, 1024 samples
+# “Mono LoRes”: mono, 512 samples (first half of 1024, requires 50% of the processing load of Mono HiRes)
+# “Stereo”: stereo, 512 samples (idem)
-==How to use the Feedback Send/Return effect==
+While the mono HiRes setting offers the best quality (not everybody hears the difference with the LowRes/Stereo setting), the stereo setting has its own thing going. It lets you combine two cab sims in one block with either one or two amps. Two amps: pan AMP1 fully left and AMP2 fully right, sum their outputs into the cabinet block, adjust the left and right cabinet settings. One amp: hard pan L and R in the cabinet block. Many factory presets employ a stereo cab, set to two different cab sims. Instead of using a stereo cab you can also put a Mixer after two mono cabs (in parallel) to set their levels.
-Several applications for this effect are explained in the [[Feedback_send/return|Wiki]].
+Alternatively you can use two separate HiRes CAB blocks in parallel rows for the best sound quality. This will increase the CPU load.
+Having two cabs in parallel rows will also increase the signal level. You can restore the level by setting the cabs' levels to -4 dB.
-==How to use the 16-band Classic Vocoder==
+===How to use the Air and Drive parameters===
-[[Using_the_vocoder|Here’s]] how to set up the Vocoder (Ultra-only) for guitar only, or for guitar plus vocals.
+The Drive parameter in the Cab properties simulates speaker breakup. When set to something other than zero, the hotter the signal to the cab block, the more speaker breakup you get. Beware: at higher values it can cause audible aliasing ([http://forum.fractalaudio.com/threads/32498 source]). So rather than use this parameter, add a drive block immediately following the cab and tweak to taste.
-==How to use the Multiband Compressor==
+The Air parameter helps to remove a “boxy” edge of the tone through a cabinet sim. Here is a [http://forum.fractalaudio.com/threads/19855 demonstration].
+Cliff: "Air is nothing more than low-pass filtered direct signal mixed with the processed signal. Sometimes adding some Air can help remove the boxiness. You typically need to set the Air Freq above 3 kHz before the effect is noticeable. I like it around 3500 or so. It adds a little sizzle to high-gain tones and removes that boxy sound."
-The Multiband compressor (Ultra only) can be a valuable asset if you want single notes to stand out and keep note definition in distorted chords.
+===How to use a 3rd-party Impulse Reponse (IR or user cab)===
-==How to use the Crossover effect==
+Speaker cabinets are emulated in the Axe-Fx through IRs: Impulse Responses. An IR is the recorded output of a device (speaker cabinet, effect, etc.) when an impulse (short sound) is played into the input of the device.
+The Axe-Fx comes with a lot of stock cabs.
-The Crossover effect (Ultra-only) enables you to split high and low frequencies. There’s a Crossover preset among the factory presets which sends the highs to one side and the lows to the other.
+If you are looking for something different, take a look at 3rd party IRs. The Axe-Fx has 10 slots for user cabs (IRs). You need a sysex librarian or the [http://www.fractalaudio.com/products-axe-edit Axe-Fx editor] to upload IRs into the user cab sots. The process is described on [[How_to_upload_cabinets|this Wiki page]]. There’s no visual confirmation, except for a small MIDI IN light blink at the end of the process. You can also listen to a change in the tone for confirmation of a successful load. You can download a large collecton of IRs [http://www.fractalaudio.com/Documents/Impulses/Cab_Impulses.zip here] (collected by Fractal Audio).
-==How to use the MegaTap Delay==
+The IRs from Red Wirez (www.redwirez.com) and Ownhammer (www.ownhammer.com) get good reviews. They offer sets of close-mic’d IRs for several speakers and cabinet/microphone combinations. The microphone is already part of these IRs, so alway sset the mic sim to None in the cabinet’s properties (unless you choose IRs that have been recorded using a neutral mic such as a TC30 or KM84).
-(no information)
+You can load external cabs (.SYX files) into a User Cab slot using Axe-Edit.
+# Open the Preset Manager in Axe-Edit.
+# Select the Cabs tab in the left column and hit the Source button.
+# In the new window navigate to the folder that contains the IR files, select Choose.
+# In the right column select Cabs too.
+# Now drag and drop the Impulse response from the left column to a slot in the right column.
+# Rightclick the slot in the right column and select Save. Or hit the Save button in the upper right column to save all slots to the Axe-Fx.
-==How to use the Quad-Stereo Chorus==
+You can mix several Red Wirez IRs into one mono Hires IR using their online mix utlity. The IRs are time-aligned to prevent phase issues. This [http://www.redwirez.com/pcalc.jsp “dB-Percentage”-calculator] may be of use. You can find popular "mix recipes" on the Fractal forums. You can also use a stereo cab or two single cabs to mix IRs.
-Audition “chorus” presets in the ordered list of presets at the bottom of this page to see if there’s one you like.
+Note: the Axe-Fx doesn't show what has been uploaded to the user cab slots. It's also clear that this will not be possible on the current hardware in the future. So always write it down!
+Or use this simple method: add a number (1 - 10) at the beginning of the filenames of the IRs you will be uploading. Sort the IRs on name in Preset Manager. Now you will always see your favorrite IRs at the top of the list and the slots they have been uploaded to.
-The Quad-Stereo Chorus is an Ultra-only effect, and utilizes a lot of CPU time.
+You can clear the content of a cab slot by using the IR in [http://forum.fractalaudio.com/user-cabs-irs/35509-strange-issue-empty-user-cab-slots.html this thread].
-==How to use the Ring Modulator==
+This (commercial) application makes it easier to sort, mix and play IRs: [http://iprodaudio.com/ IR-Lab].
-The ordered list of presets at the bottom of this page contains a couple of Ring Modulator presets.
+===How to set the speaker resonance parameter===
-I like to use the Ring Modulator for punchy (monophonic) bass tones.
+There's a parameter Speaker Resonance on the Amp's Advanced page. You can use it to optimize the amp sim for a specific cab, whether it's a real cabinet or a cab sim.
-==How to get the Uni-Vibe effect==
+Cliff:
+* "Furthermore there are certain aspects that simply can't be modeled and require user intervention. For example, a speaker has a low-frequency resonance. A tube amp will create a higher output at that resonant frequency. The Axe-Fx has no way of knowing what that resonant frequency is and defaults to a value that is common for the speakers that are typically used with that amp. However, if you drive that speaker through a solid-state amp you won't excite the resonance unless you adjust the Speaker Resonant Frequency to match it. This is the one of the few advanced parameters I ever adjust and I tweak it until I hear the bottom end "sympathize". For example, my favorite Mesa cab resonates around 110 Hz but most of the models default to 95 Hz so I usually adjust the Speaker Resonance to 110 Hz when using that cab. After I do that the Axe-Fx is indistinguishable from the real thing, IMHO."
+* "The SRF parameter makes a difference in certain circumstances: medium-gain with lots of power amp breakup and high-gain into a traditional guitar cab. For example, a Deluxe Reverb easily gets into power amp breakup with a Drive of 5.0. Play a G chord and listen to the low notes breaking up. Adjust the SRF and you'll hear the character change pretty dramatically. This applies to both FRFR and traditional speaker applications. For high-gain amps into a traditional cab the SRF has a definite effect for palm-mutes and diad chugging. As you excite the resonant frequency the speaker excursion increases and you get much more punch. This even applies a bit to low and medium gain amps if you rely on that punch as part of your tone. Note, however, that the punch is rarely audible to the audience or captured during recording. One way to find the SRF is to put a Filter block after the amp block. Set the type to Peaking, Q to 5 or so and Gain to 10 dB. Start with a Freq. of 50 Hz. Play some chugga-chugga and slowly adjust the Freq. until you hear and feel the cabinet resonate. Make a note of the frequency. Remove the filter block and set the amp block SRF to match. 4x12s typically have an SRF of between 80 and 120. Open back cabs are typically a bit lower."
-You need the Phaser effect for this. Turn the Order parameter fully clockwise to active the Uni-vibe mode. Connect a pedal to control the speed of the vibe.
+Jay Mitchell:
+* "There is a definite benefit to setting the value to the resonant frequency of the cab being modeled. If you're not using cab sims and playing through a guitar speaker, you could make the amp sim behave more like a physical amp driving that particular cab by adjusting the resonant frequency appropriately. One significant caveat: the resonant frequency of a speaker/cab combination is not the resonant frequency that is published in the speaker's data sheet. It is, without exception, somewhat higher. Open back and ported cabs can generate multiple resonant peaks in the impedance vs. frequency curve."
+* And answering the question "What is the effect on the emulation if this value is set incorrectly?": "You'll get the response of the amp driving a speaker with a resonant frequency other than that of the speaker that is represented by the IR you're playing through. Whether that difference is even audible depends on the resonant frequency itself (much below 80 Hz has relatively little effect on guitar frequencies) and the virtual design of the amp sim (e.g., higher values for Damp will reduce the effect). The justification for getting this "right" is getting the closest possible match to the physical cab you're simulating. There's nothing to say it won't sound better set to some other frequency."
+* "The term "resonant" is unfortunate, because there is no resonant peak in the electroacoustic response of most cone transducers - including guitar speakers - under normal conditions. There is an interaction between the source impedance of an amplifier and the load impedance presented by the loudspeaker. Both impedances can vary with frequency, but frequency-dependent variations in the load impedance are much greater. What is the effect of this interaction? In the most extreme case of a high source impedance - say, 3 ohms, which could be the case with a Class A SE tube amp with no negative feedback - there will be a response peak of just over 3dB at the "resonant frequency" of the speaker. In a less extreme (and more common) case - say, 1 ohm source impedance - this response peak will be reduced to about 1.23dB. In comparison to the other response peaks and dips in a guitar amp/cab system, the effect is a subtle one. Another relevant item: if you are looking for the "right" frequency (IOW, the actual resonant frequency of the cab represented by the sim), you cannot identify it with an IR of the speaker. The response of the speaker is influenced by many variables, and resonant frequency is just one of them. Anything you do via use of the Axe-Fx alone, while it may be pleasing to you, is unconnected to the actual resonant frequency of the speaker. As one person has already suggested here, choosing the fundamental of a note on the guitar may produce a desireable result. In the end, this is another form of EQ which adds a small response peak at a relatively low frequency. The higher you have the "Damp" parameter set in the amp sim, the less effect this parameter will have."
-The Vibe mode of the Phaser has been improved in firmware 9.0. These settings make it sound even better: Depth 6.18, Res 0.0%, Freq 281.1 Hz, Bulb Bias 3.04.
+You'll find the frequency response curves of the stocks cabs in [http://forum.fractalaudio.com/threads/22279 this thread], and those of the Red Wirez IRs [http://forum.fractalaudio.com/threads/31802 here].
-==How to get a violin tone from your guitar==
+===How add body to the tone===
-Amazingly, the Axe-Fx is able to do a great violin simulation. [http://www.youtube.com/watch?v=68y1gjEHiBM Listen]. It’s explained [http://www.fractalaudio.com/forum/viewtopic.php?f=19&t=7834 here] and [http://www.fractalaudio.com/forum/viewtopic.php?f=25&t=8148 here]. Don’t forget to install the Acoustic user cab.
+Some users report that adding the 1x6 Oval cab as a second cab, or the 2x12 Gold cab (far-field), is an easy way to thicken the tone and emphasize mids in a FR setup. Use a stereo cab or add a 2nd cab block. Turn up its level as desired.
-==How to automate volume swells==
+===How to optimize your room tone as well as the FOH tone ===
+With FR amplification you don't have to settle for one tone for your monitor as well as the FOH mixer. You can optimize both signals.
-To obtain the auto swell effect (like the Slow Gear pedal from Boss), use a Volume block with an envelope modifier. Copy the settings from factory preset 257.
+* Split the signal on the grid somewhere after the amp into two routings.
+* Use the FXL block in the parallel routing to send one signal to Out2 (don't connect to Output).
+* In the main routing use a stock cab WITH a mic, or an uploaded IR with a SM57 or anogther mic. This signal goes through Out1 to FOH.
+* In the parallel routing (before the FXL block) use a stock cab WITHOUT a mic (read: neutral mic). Or an Ownhammer TC30 IR or Red Wirez KM84 IR.
+* This requires the Cab blocks to be at the end of the chain. Note that using two cabs will need more CPU cycles.
-==How to get an electric guitar to sound acoustic==
+This approach keeps the Out2 signal for the FR monitor close(r) to a regular speaker tone, although it's still close-mic'd. It gets even better if you select a far-field cab for this routing.
+And you still deliver a perfectly mic'd signal to the mixer through Out1.
-A couple of threads about getting acoustic tones out of the Axe-Fx with an electric guitar: [http://www.fractalaudio.com/forum/viewtopic.php?f=25&t=1634 here] and [http://www.fractalaudio.com/forum/viewtopic.php?f=25&t=4256 here].
+==How to deal with the EFFECTS==
-==How to get a 12-string guitar tone==
+===How to deal with: Chorus and Quad-Chorus===
-To simulate a 12-string guitar: use a Jazz amp, a Bassman cab sim (or the Acoustic user cab) and a compressor. Let the amp feed a pitch shifter (12 semitones up). Use a filter to remove the lows and route the output to the cab. Use a little chorus and reverb. [http://www.mysticworks.com/tunes/12fx.mp3 Here’s] what it sounds like.
+Ultra: 2, Standard: 2
-==How to get U2’s Mysterious Ways sound==
+Website: "Exceptionally smooth chorus/ensemble and vibrato effects with up to 8 voices. Recreates the warm tone of vintage analog chorus pedals or the pristine clarity of the best rackmount chorus effects. Auto-depth allows for "golden" chorus sounds. Mono or stereo operation with full control of width, LFO, and signal phase"
-[http://www.fractalaudio.com/forum/viewtopic.php?f=25&t=8530 This thread] and [http://www.youtube.com/watch?v=_01w--gt9J0 this YouTube clip] are about getting close to this Korg A3 effect.
+Tips:
+* Try the chorus presets in the categorized list of presets (bottom of this page) to see if there’s one you like
+* The Quad-Stereo Chorus is an Ultra-only. It's like switching on 4 chorus effects simultaneously but utilizes a lot of CPU cycles
+* Chorus is a stereo effect, but it defaults to mono to prevent phase problems when used before an AMP block. To make it stereo: set LFO Phase to 90
+* The difference between chorus and flanger is the delay time and feedback. The Quad-Stereo Chorus has those parameters so it can be used as a flanger as well
+* [[Chorus#How_to_emulate_Roland_Choruses_with_the_Axe-Fx|Roland Dimension D settings]]
+* [[Chorus_tips|Chorus tips in the Wiki]]
+* [[Wide_chorus|Wide chorus settings]]
+* [http://forum.fractalaudio.com/threads/28008 Tri-Chorus]
+* [http://forum.fractalaudio.com/threads/16790 Retrosonic chorus settings]
-==How to get the Axe-Fx to handle your acoustic guitar==
+===How to deal with: Compressor===
-[http://www.fractalaudio.com/forum/viewtopic.php?f=19&t=12141&hilit=acoustic This thread] goes into that.
+Ultra: 2, Standard: 2
-==How to get synthesizer sounds from the Axe-Fx==
+Website: "An unglamorous but VERY powerful effect - evens dynamics and adds sustain/punch. Each compressor block may be set to either Pedal or Studio type. Pedal Type - Simple controls go from a little extra sustain to super-squishy. Studio Type - A fully featured stereo compressor with every control you'd expect to find on top hardware or software models. (Sidechain and input filter too!)"
-Check the ordered list at the bottom of this page for some examples of the 2-voice Synth effect in the Axe-Fx (Ultra).
+* [[Compressor_tips|Compressor tips in the Wiki]]
+* [http://forum.fractalaudio.com/threads/25398 Radley's compressor tips]
+* [http://www.ovnilab.com/faq.shtml Compressor FAQ]
-If it sounds too sterile, add an amp, a cab or a Drive block after it.
+===How to deal with: Crossover===
+Ultra only: 2
+Website: "Typically used in bi-amp guitar rigs where hi/lo frequencies are split to different amps. Features variable frequency and dual independent Level/Pan controls. Can be used to isolate effects on high or low frequency signals."
-==How to get a flute sound from the Axe-Fx==
+The Crossover lets you split high and low frequencies. There’s a Crossover factory preset that sends the high freqs to one side and the low freqs to the other
-The Synth effect (Ultra) makes it possible to extract flute tones from your Axe-Fx. Listen to the Zamfir? preset (check the ordered list at the bottom of this page).
+===How to deal with: Delay===
-==How to get a “shimmer” effect==
+Ultra: 2, Standard: 2 (without Looper)
-The shimmer effect is an effects where notes are pitchshifted higher and higher and reverberated in a parallel path. Used over and over again by U2’s The Edge.
+Website: "Each delay block may be set to one of Six Types: Mono Delay, Stereo Delay, Dual Delay, Ping-Pong-Delay, Reverse Delay, or Looper. Up to 8000ms full stereo delay time can be set in ms or rhythmic values. Ducking is available on every delay type. Ultra also offers a Stereo Diffusor. 16 second Looper (Ultra Only) with Play / Record / Once / Overdub / Reverse controls. Many players use the Axe-Fx to achieve what they feel are superb emulations of classic products like EchoPlex, Memory Man, 2290 and others"
-There are some nice examples in the factory presets, check the ordered list at the bottom of this page.
+The Axe-Fx has two different types of Delay blocks. The regular Delay is a basic delay with enhancements. The second is a complex Multi-Delay (separate How-to). The regular Delay has 5 modes:
-==How to get a seek wah (random wah) effect==
+* “Mono”: both inputs are summed and only the left delay line is used
+* “Stereo”: independent left and right delay times and feedback
+* “Ping-Pong”: criss-crosses the signal so that the echoes ping-pong left and right
+* “Dual”: allows full control over the delay block providing controls for all parameters
+* "Reverse”: mono reverse playback
-The random wah effect is also known as a seek wah (a Z.VEX pedal). There are a couple of of presets, check the ordered list of presets at the bottom of this page.
+The Ultra's Delay block has an additional mode: Looper (separate How-to).
-==How to use a reversed delay==
+* The Delay provides a low-cut and high-cut filter to simulate old analog delays. Use the Filter Slope parameter to increase the speed of the roll-offs
+* There are also two delay time modulators for modulated delay trails (there’s no dedicated modulated delay mode). Alternatively, place the delay in a parallel path (mix at 100% of course) and add a chorus or flanger behind it to modulate the trails
+* Delay trails can be carried over to the next preset. Read the topic about Spillover
+* [[Delay_loop_effects|Inserting effects in a "delay loop"]]
+* [http://forum.fractalaudio.com/threads/21572 Great oscillating delay]
+* [[Slapback_delay| Slapback delay]]
+* [http://forum.fractalaudio.com/threads/26699n Deluxe Memory Man]
+* [[Delay#Tape_delay|Tape delay emulation settings]]
+* Factory 356 ("Vintage Digital Delay"): analog-style delay
+* [http://forum.fractalaudio.com/threads/33279 El Capistan]
+* To add an effect to the delay trails only, not the direct tone, place the delay in a parallel row and add the effect after it
+* If you can't change the delay time, chances are that you've selected a tempo factor (such as 1/4)
-Check the “reversed delay” preset in the ordered list of presets at the bottom of this page.
+===How to deal with: Detune===
-==How to get the envelope filter effect==
+See the topic about the Pitch Shifter.
-You have to configure the Wah-Wah effect to get the envelope filter effect.
+===How to deal with: Drive===
-If you’re looking for a synth sound like as in “Relax Don’t Do It”, [http://www.fractalaudio.com/forum/viewtopic.php?f=25&t=9202&start=0 read this].
+Ultra: 2, Standard: 2
-For vintage envelope filter settings (think Mu-Tron), check the [[Wah|Wiki]].
+Website: "Featuring 22 types, each with Drive, Tone, 2-band pre-EQ, and 3-band post-EQ. Advanced controls like Slew, Bias, and Clip type allow custom mod"
-Also check the ordered list of presets at the bottom of this page.
+The Drive block covers a lot of ground: clean boosts, overdrives, distortion, treble boosters, fuzzes, octavia, etc.
-==How to use the Axe-Fx as a looping device==
+* Pi Fuzz: Based on Big Muff® Pi Fuzz. Cliff: "I modeled an early transistor Big Muff. I forget which one exactly but the one that most people consider to be the best sounding one. Perhaps the Russian one but it's been a while so I would have to check my notes to be sure".
+* Tube Drive: A neutral distortion with mild low rolloff
+* Treb Boost: Based on a classic Treble Booster
+* Mid Boost: A custom drive effect with steep mid boost
+* Super OD: Based on the Boss Super Overdrive
+* T808 OD: Based on Ibanez TS-808 Tube Screamer
+* Rat Dist: Based the ProCo Rat Distortion
+* Fat Rat: Thicker distortion with a low-mid boost
+* T808 Mod: Captures the most popular 808 mods
+* Octv Dist: An octave distortion (think Jimi...)
+* Plus Dist: Based on the MXR Distortion Plus
+* Hard Fuzz: A hard-clipping 60’s-style fuzz
+* FET Boost: A clean boost with tone controls
+* Tape Dist: Simulates studio reel-to-reel tape distortion. Cliff: "One thing I often use is the Tape Drive (after the Amp block) to get a punchier sound. Same basic effect as the speaker drive but different tuning".
+* Full OD: Based on the Fulltone Fulldrive OD
+* Blues OD: Based on the Marshall Bluesbreaker
+* Shred Dist: Based on the Marshall Shredmaster
+* M-Zone: Simulates the Boss Metalzone
+* Bender Fuzz: Based on Sola Tone Bender
+* BB Pre: Based on the Xotic Pedals BB Preamp
+* Face Fuzz: Based on Dallas Arbiter Fuzz Face
+* Master Fuzz: Based on the Maestro Fuzztone
-Isn’t there a looper in the Axe-Fx? Yes, if you have an Ultra! It’s an extra Delay mode on the Ultra with 16 seconds of delay time. Go to I/O &gt; Ctrl to assign the looper controls (such as Play and Record) to switches on your MIDI footcontroller.
+More information:
-==How to drop the tuning of your guitar==
+* The position of the virtual knobs does not correspond to the real thing! In other words: use your ears, not your eyes
+* Some people like turning down the effects’s Mix level to 80% or lower to increase transparancy and decrease buzziness. You can also attach an expression pedal to the Drive parameter
+* For hard rock and metal often a DRIVE block (like the TS808 or Tube Drive) is inserted before the AMP block, with minimal Gain and maximum Level. This lets you turn down the Drive in the Amp block, making the tone tighter
+* Try the Tape Dist (Drive and Tone below 5) with clean sounds, to add bite to the tone
+* Try the Tape Dist after the Amp block, instead of before. Cliff: "The tape drive is meant to be used anywhere in the chain. I've been using it after the amp to fatten things up and it work really well for that. Be careful though, the drive block is mono so you can get phase issues if you put it after a stereo effect." And: "it's just a generic tape distortion simulator. I used an old Ampex EQ curve basically."
+* Maximizing the Drive’s Level doesn’t satisfy some users. They prefer to boost the volume using a Null Filter boost (using the same CC for the Drive block and the Filter)
+* [http://forum.fractalaudio.com/threads/31494 Xotic EP Booster settings]
+* Lovepedal Eternity settings: TS808Mod, Drive 5.51, Tone 4.02, Level 5.98, Low Cut 150, High Cut 2230, Clip Type: Soft, Slew 5.98, Bias 0, Bass -1, Mid Freq 1523, Mid +1.0, Treble flat ([http://forum.fractalaudio.com/threads/26086 Source])
+* [http://forum.fractalaudio.com/threads/28385 Fuzz Factory settings]
+* [http://forum.fractalaudio.com/threads/33164 Marshall Guv'nor settings]
+* [http://forum.fractalaudio.com/threads/20629 Pi Fuzz and Tonebender]
+* [http://forum.fractalaudio.com/threads/33192 Digitech Bad Monkey]
+* [http://forum.fractalaudio.com/threads/31861 Xotic AC Booster settings]
+* The Tonebender is an ancient treble booster. It won't work well with modern amps. Try it with the Vox AC30 or JTM45
+* [http://forum.fractalaudio.com/threads/28347 Fuzz Face settings]
+* [http://forum.fractalaudio.com/threads/33126 More Fuzz Face settings]
+* [http://www.youtube.com/user/prinspatrick#p/u/12/dGJvcs8Gfog Demonstration how to emulate some pedals: T-Rex Dr Swamp, Fulltone OCD, Mesa Boogie V-Twin, Ibanez WH10, Marshall Guv'nor, Vox Satchurator, Xotic RC Booster, Menatone Red Snapper, Voodoo Lab Sparkle Drive]
+* [http://forum.fractalaudio.com/axe-fx-general-discussion/35324-drive-block-help.html Various tips for using the Drive block]
-Factory preset 23 offers a nice example of fully dropped tuning. Don’t expect it to work for complex chords and such.
+Curve graphs of all Drive blocks: [http://wiki.fractalaudio.com/axefx2/index.php?title=Drive_(FX_block) see here.]
-==How to simulate a Z.VEX Fuzz Factory==
+===How to deal with: Effects Loop (FXL)===
-Read [http://www.fractalaudio.com/forum/viewtopic.php?f=25&t=3909 this thread] for advice about turning a Drive block into a Z.VEX Fuzz Factory.
+Ultra: 1, Standard: 1
-==How to use Buzz Feiten tuning with the Axe-Fx==
+Website: "Allows external 3rd party hardware to be inserted anywhere in an Axe-Fx preset. 4-channel input mixer determines exactly what is sent to the outboard gear. Like all blocks, can be bypassed via the front panel or remotely with midi.
-It’s in the [[Tuner|Wiki]].
+This topic is covered already.
-==How to use internal controllers and modifiers==
+===How to deal with: Stereo Enhancer===
-It gets difficult here.
+Ultra: 1, Standard: 1
-A <i>controller</i> is a source that generates control data. An expression pedal for example is a controller because it outputs control data. And it’s an <i>external</i> controller, because the data is generated from outside the Axe-Fx. The same goes for an on/off switch and a MIDI foot controller, when connected to the Axe-Fx. External controllers often operate on the basis of user input (by moving the pedal for example). The Axe-Fx supports 8 external controllers. These can be connected to the Axe-Fx directly using the two inputs at the rear, or via MIDI IN. Go to I/O &gt; Ctrl to tell the Axe-Fx which external controllers you’ll be using.
+Website: "Spatializer effect widens stereo image by delaying one channel from 0-20ms. Independent pan controls for each output channel double as a channel converter. Also allows phase inversion of one or both output channels"
-The Axe-Fx also has <i>internal</i> controllers, which output control data as well. These are: Tempo, LFO, ADSR, Sequencer, Envelope and Pitch. Read the manual (pages 87 etc.) for more information. Push the Control button at the front to change their settings. Adjusting these settings change the current patch, not all patches.
+As explained already phase cancellation can occur when using this effect in a mono setup with the left and right channels summed. See the topic about stereo/mono operation.
-And then there are <i>modifiers</i>. These sit between the controllers and the parameters that the controller controls. Still with me? The controller sends control data, which is being modified by a modifier, and then gets used to change a parameter.
+===How to deal with: Feedback Send/Return===
-Actually, it’s far easier to work with than it is to explain.
+Ultra: 1 pair, Standard: 1 pair
-It’s important though to realize that there are internal controllers and modifiers. Often, when something peculiar is going in a patch and you can’t discover exactly why it is behaving like that, it’s because a parameter is being controlled by an internal controller. And it’s not always easy to see that a controller is attached to a parameter!
+Website: "The SEND block taps the signal anywhere in an Axe-Fx preset. The RETURN block may be placed anywhere and includes a mixer to adjust mix, level, balance, and bypass mode. Users can use these to create series of more than 12 blocks, set up loops with other effects in the path, and more"
-Example: the Wah-Wah effect. Go into Edit mode and you’ll see a block under the FREQ parameter. This means that the frequency parameter can be controlled by a controller. If it is, the block is filled. Go to FREQ and press Enter. You’re now in the Modifier menu. Under Source you can select the internal or external controller you wish to attach, or select “None” to detach a controller. Start, End, Slope etc. are other modifier parameters. If you’d choose an internal controller like Envelope, you need to go to the Control menu (use the front panel button) to configure it.
+Several applications for this effect are explained in the [[Feedback_send/return|Wiki]]. Also, see the topic about putting more than 12 effect blocks in the grid.
-=Using Pedals, Switches or Footcontrollers=
+If don't have sound after adding these blocks, turn up the level in the Return block.
-==How to create a virtual pedalboard==
+===How to deal with: Filter===
-Create a patch with lots of effects. Write down the CC’s for each effects (I/O &gt; Ctrl). Program instant access switches on your MIDI footcontroller to enable/disable these effects.
+Ultra: 4, Standard: 1
-==How to minimize gaps between patch switching==
+Website: "High quality resonant stereo multimode filter block with Low Pass, Band Pass, High Pass, Low Shelf, High Shelf, Peaking, and Notch types. Gain, Frequency, Resonance, Level, and Balance can also be remote assigned for envelope follower and dynamic effects based on Mu-Tron or Moog classics"
-Switching between patches isn’t seamless. But firmware 9.0 has made the gaps very short, especially if the Spillover parameter is enabled (Global &gt; Config).
+The Filter is a versatile effect. For example, it's can also be used:
-==How to configure the Axe-Fx MIDI settings==
+* as an one-band equalizer
+* to boost the input of an amp block (NullFiter, turn up Level)
+* to boost the signal level for leads (NullFilter, turn up level
+* to make the low end tighter (see the amo How-Tos)
-<i>[To be added, MIDI IN LED, PROG CHANGE, MAPPING, MIDI CHANNEL, MIDI &gt; CTRL: external control. Turn or Learn. Attach max. 8 external controllers to pedal/MIDI. value 0 = off, &gt; 0 = on.]</i>
+===How to deal with: Flanger===
-==How to handle problems with your MIDI interface==
+Ultra: 2, Standard: 2
-Check [http://www.fractalaudio.com/forum/viewtopic.php?f=11&t=434 this thread] for information about issues with certain MIDI interfaces.
+Website: "High quality flanger effects with superb controls for classic and experimental tones. Mono or stereo operation with full control of width, LFO phase, and signal phase. "Zero crossing" effects are possible with both positive and negative regeneration. Manual sweeps can be executed at the front panel, via midi or expression pedal"
-==How to connect an expression pedal or switch directly to the Axe-Fx==
+* Try the “flanger” presets in the categorized list of presets bottom of this page) to see if there’s one you like
+* Flanger is a stereo effect but defaults to mono to prevent phase problems when used before an AMP block. To make it stereo set LFO Phase to 90
+* The difference between chorus and flanger is the delay time and feedback. The Quad-Stereo Chorus has those parameters so it can be used as a flanger as well
-You can use expression pedals and footswitches to control parameters, change patches etc. The Axe-Fx has two dedicated inputs at the back for this purpose. Switches can be momentary or latching. Use the I/O &gt; Pedals menu to configure it all, such as specifying pedal/switch and to calibrate, and don’t forget to use the handy Learn feature: press Enter and move the device (such as a switch on your MIDI controller) to make the Axe-Fx recognize which device is in control of that parameter.
+===How to deal with: Formant===
-It’s particularly handy to use two expression pedals: one dedicated to volume control or a wah, and one for specific effects parameters like rate, pitch, volume.
+Ultra: 1, Standard: 1
-Expression pedals need to be connected using a stereo cable (stereo jack at each side).
+Website: "Similar to a wah, the Formant Filter creates human vowel sounds for "talk-box" tones. Vowels can be morphed with the CONTROL knob, which can be assigned remotely. Set START, MIDDLE and END vowels for custom sweeps".
-Of course you can also use a fullblown MIDI footcontroller. See pages 19 etc. and 87 of the manual.
+* Check the “Man In The Box” and “Poltergeist” factory presets.
-==How to choose an expression pedal==
+===How to deal with: Envelope filter===
-I like the ones from [http://www.mission-engineering.com/Mission-Engineering/Mission_Engineering.html Mission Engineering], [http://www.yamaha-europe.com/yamaha_europe/netherlands/40_general_accessories/30_foot_pedals_power_adapters/10_foot_pedals_power_adapters/10_foot_controllers/index.html Yamaha], [http://www.ernieball.com/products/category-534-Volume-Pedals Ernie Ball], [http://www.visualsound.net/index.php/products/guitar_effects_pedals/v2_visual_volume Visual Sound].
+Adjust the Wah block settings to get the envelope filter (auto wah) effect.
-==How to solve a stuttering expression pedal==
+* For vintage envelope filter settings (think Mu-Tron), check [[Wah|the Wiki]]. Or use the great preset in the funk preset in [http://forum.fractalaudio.com/threads/32428 this thread].
+* Or check the categorized list of presets at the bottom of this page.
+* If you’re looking for a synth sound such as in “Relax Don’t Do It”, [http://forum.fractalaudio.com/threads/21019 read this].
-If the expression pedal doesn’t perform like it should, try setting the Damping parameter in the Modifier menu to 4 or 8 ms. The Damping parameter is meant to make a pedal operate more smoothly by slowing down the response rate.
+===How to deal with: Graphic Equalizer===
-By entering high Damping values you can also enable gradual changes. For example, if the pedal controls the speed of a tremolo, then entering a damp value of “1000” will make the speed ramp up or down slowly.<b></b>
+The Standard has two, the Ultra has four.
-==How to use an expression pedal as a wah==
+Cliff: "The Q of each band is 1.414 since it's an octave EQ."
-First, make the Axe-Fx recognize the expression pedal: go to I/O &gt; Ctrl, and assign External1 to the expression pedal (use the Learn mode by pressing Enter). Select a preset and insert a WAH block. Enter Edit and go to to the Freq parameter. The block under Freq indicates that this is a parameter that can be attached to a controller. Press Enter and under Source select EXTRN1. The pedal has now become a wah.
+===How to deal with: Looper===
+This is an Ultra-only mode of the Delay block. It has 16 seconds of delay (recording) time. Go to I/O &gt; Ctrl to assign the looper controls (such as Play and Record) to switches on your MIDI foot controller. Use a latching switch for Play/Stop and momentary switches for Record, Stack and Play Once. The loop buffer will be erased upon presets switches, unless Spillover is enabled. If the preset you're switching to also has a Delay in loop mode, you can continue to control the looper.
+It's a simple looper. No quantization, no half speed etc.
-==How to activate an effect automatically when moving the pedal==
+Tip: use the Looper when dialing in sounds. Place it before before the Amp block, and record a "unamped" guitar tone. Now keep playing it back while adjusting amp settings. You'll hear the differences in real time. Alternatively, use it to compare two sounds. Place it after the Amp block and record. Start tweaking. When you want to hear the original tone, play back the sample.
-This is controlled by the Auto-Engage parameter in the Modifier menu. Enter the Edit mode of the effect and go to the parameter that is controlled by the expression pedal. Press Enter and switch on Auto-engage. Experiment with the 3 settings (Slow / Medium / Fast)&nbsp; to see what works for you. This is especially useful to configure an expression pedal to behave like an optical wah or whammy pedal. Use the Off Value parameter (currently not described in the manual) to set the automatic “switch off” area; around 5% means that the effect will switch off if the pedal is within 5% at the heel-down position; around 95% does the same for the toe-down position.
+===How to deal with: MegaTap Delay===
+This is an Ultra-only effect. It lets you enter custom delay rhythm patterns with a lenght of 2,5 sec max.
-==How to use one pedal to control different parameters in the same patch==
+===How to deal with: Mixer===
-Yes. Buy a dual-function pedal from [http://www.mission-engineering.com Mission Engineering]
+The Layout menu contains a Mixer for the four rows of the grid. It also contains the volume level control for the entire preset. See the topic about adjusting levels.
-or use the method described [http://www.fractalaudio.com/forum/viewtopic.php?f=14&t=10091 here]. The [http://www.gordius.be Gordius] MIDI footcontroller also allows you to turn your pedal it into a dual-function pedal.
+You can also insert a separate MIXER block anywhere in the grid.
+===How to deal with: Multi-Delay===
-==How to gradually slow down or speed up an effect with a switch==
+Multi-Delay is a special rhythmic Delay effect. Its Plex-modes are especially nice to create sounds such as "shimmer". The Ultra has more modes: Quad-series, Ten-Tap, Rhythm Tap and Diffusor. Multi-Delay doesn't support delay spillover between presets.
-The Rotary Cabinet (Leslie) effect often features two speed settings: slow and fast. Switching between those gradually slows down or speeds up the effect. This can be simulated by using the Damping parameter on the Modifier page of the Rate parameter. This isn’t necessary anymore since firmware 9.0: the gradual speed change is now an intrinsic part of the effect itself.
+===How to deal with: Multiband Compressor===
+This is an Ultra-only effect. The Multiband compressor (MBC) is a valuable asset if you want single notes to stand out and keep note definition in distorted chords, or as an alternative to using a PEQ. There's an great tutorial [[MultiBand_compressor_tutorial|on this Wiki page]].
-==How to control the delay effect level with an expression pedal==
+===How to deal with: Noise Gate===
-By attaching an external controller (connected to the pedal) to Input Gain in the Delay properties, you are controlling the delay level at the input stage. This will make delay trails fade out nicely while muting the delay.
+Every preset has a noise gate. It's not a block, it's sort of hidden on a page in the Layout menu. Hold Bypass to reset to default (which is: switched on). Or turn Threshold to zero to switch it off. The Noise Gate needs quite a bit of CPU power, so switch it off if you have no need for it in a preset.
+* The Ultra allows you to add additional noise gates (Gate/expander block) to the grid. Try placing it before the amp, with Side-chain set to input. This way the input signal controls the gate which is what works best. No need to put it after the Amp block.
-==How to use a Boss EV-5 pedal for volume boosts<i></i>==
+* [http://forum.fractalaudio.com/threads/30163-YT-Energyballs This thread] contains a different approach to keeping the noise low. It's a Vol block with the volume parameter tied to the Envelope controller. As long as you don't hit the strings, the (input) signal is off. Yet another approach is to put an envelope-controlled lowpass filter at the start of the chain, tied to the Frequency parameter.
-Assign the EV-5 pedal to master volume level control (I/O &gt; Ctrl). Now use the wheel at the side of the pedal to set a minimum level. Now when the pedal is at the heel-down position the volume level will quieter (but not muted) than at the toe-down position (maximized). This makes it possible to easily boost the signal for leads for example. It doesn’t influence the tone.
+===How to deal with: Panner===
-==How to choose a MIDI footcontroller==
+Use the Pan/Tremolo effect to pan a signal left/right in the stereo field. You can make the sound appear “fuller” and “wider” by adding the Stereo Enhancer effect.
-There are lots of great MIDI footcontrollers. Among the favorites are Liquid-Foot, Axess Electronics FX-1, Rocktron All Access and Voodoo Lab GCP. And Fractal Audio is developing its own controller. I favor the [http://www.gordius.be/ Gordius (Big) Little Giant] above any other controller. Very state of the art, advanced, flexible and fantastic customer service. Its user forum is [http://launch.groups.yahoo.com/group/GORDIUS/ here].
+===How to deal with: Parametric Equalizer===
-==How to make your footcontroller work with the Axe-Fx==
+The Ultra has four PEQ blocks, the Standard has two.
+[http://forum.fractalaudio.com/threads/23217 This thread] explains how to use a EQ to contour your tone and to get rid of excessive highs and lows.
-The Axe-Fx forum has tutorials for MIDI footcontrollers from [http://www.fractalaudio.com/forum/viewtopic.php?f=14&t=4432 GCP], [http://www.fractalaudio.com/forum/viewtopic.php?f=14&t=18 Behringer], [http://www.fractalaudio.com/forum/viewtopic.php?f=14&t=53 Midimate]. The [http://www.liquid-foot.com Liquid-Foot] footcontroller offers the best out-of-the-box support at this moment; for example it can download patch names. Support for the Gordius Little Giant is offered [http://launch.groups.yahoo.com/group/GORDIUS/ here]. If you have questions about other controllers, ask [http://www.fractalaudio.com/forum/viewforum.php?f=14 here].
+===How to deal with: Phaser===
-==How to power your MIDI footcontroller via the Axe-Fx (phantom power)==
+* Phaser is a stereo effect, but defaults to mono to prevent phase problems when used before an AMP block. To make it stereo set LFO Phase to 90
+* [http://forum.fractalaudio.com/threads/21476 MXR Phase 90 settings]
+* [http://forum.fractalaudio.com/share-request-patches/26819-small-stone.html Small Stone settings]
-The Axe-Fx can transfer current to your MIDI footcontroller using pins 6 and 7 of a 7-pin MIDI cable, connected to MIDI IN on the Axe-Fx. The Axe-Fx doesn’t supply the power, you need to connect the power supply for the controller to the power input above MIDI IN on the Axe-Fx.
+===How to deal with: Pitch Shifter===
+The Pitch Shifter has a lot of modes. Classic Whammy, Detune, Fixed Harmony, Intelligent Harmony, Octave Divider, Crystals. A couple of remarks:
-==How to access patch 128 and higher with your MIDI footcontroller==
+* Whammy: the Whammy is a 100% wet (no dry signal) signal, going up and/or down 1 or 2 octaves. Of course you need an expression pedal to make use of it. Enable Auto-engage in the modifier menu to automatically switch the Whammy on when moving the pedal. If the tone is too harsh, turn down the HiCut frequency. If you have an Ultra, then use the additional tracking option Local Mono for better control.
+* Detune: check the Modern Eddie factory preset as an example. Or use the Multi-Delay effect for very thick detune tones. In general: detune up and down the same amount, between +/-5 and +/-10, delay the voices for more width (7 ms), set mix at 25% or lower, turn down HiCut Freq to 8k or lower, place the block after the amp block, pan the voices  hard left and right. Check for phase cancellation when running in mono.
+* Pitch shifting may work better after distortion (pedals and amp) and even better using individual paths for each voice.
+* When the Pitch is in the main path, the Mix parameter controls the balance between the dry voice and the shifted voice. But turning the mix up, will lower the output of the block. A way around this is to put the Pitch block in a parallel path, and add that to the dry signal.
-The 384 patches on the Axe-Fx are divided in 3 banks. To access banks 2 and 3 via MIDI the controller must be able to issue a MIDI Bank Select Coarse controller message (CC#0), value “1” or “2”. Subsequent PC messages will be routed to the selected bank. To get back to Bank A, send CC#0, value “0”, or switch the Axe-Fx off and back on.
+The Ultra can do a bit more:
-Or: keep your footswitchable patches below 127 and don’t worry about it.
+* It has a Custom Shifter mode. This makes use of up to 32 "custom scales" (Global menu). These scales are used to convert played notes into other notes.
+* Advanced Whammy, Arpeggiator and Auto Pitch ("Cher" effect) modes.
+* Better pitch detecting capabilities (choice between Local Mono and Local Poly). Local means that the tracking takes place at the input of the block, Global means that the tracking takes place at the input of the Axe-Fx.
-==How to create a handy switch layout on your MIDI footcontroller==
+If you need an Octaver effect (1 octave down voice), set the pitch shifter to Fixed Harmony, 1 octave down. Alternatively use the Ring Modulator with these settings: Track On, Fmult 0.5, LoCut low.
-[http://www.fractalaudio.com/forum/viewtopic.php?f=14&t=10284&start=10 This thread] contains examples.
+Note: pitch tracking does not work on the right rear input or the effects loop, just the front input and rear left input. So don't use the right rear input if you need to use the Pitch Shifter. Unless you have an Ultra: you can select Local Mono or Local Poly as Pitch Source.
-<i>[@ Add my own controller layout]</i>
+The Octave Divider always uses the Global detector, even if you have an Ultra.
+Cliff: "When going direct, pitch shifting often sounds best when placed BEFORE the cab block. The factory presets may have the block doing the shifting (pitch or multidelay) after the cabinet block. Try moving the pitch before the cabinet block for smoother results." (In this case: set the source to Global, Ultra only). Background (source: Bakerman): "The pitch block basically shifts the entire cab freq. response up/down if it's after cab. A slight detune might sound about the same either way but with a half step, whole step, etc. the difference becomes more apparent."
-==How to switch effects on and off with your MIDI footcontroller==
+===How to deal with: Resonator===
-In I/O &gt; Ctrl go to the effect and press Enter to activate Learn mode. Now press an instant access switch on your MIDI footcontroller.
+This is an Ultra-only effect. Check the categorized list of presets at the bottom of this page for an example.
-Alternatively write down the CC of the effect you want to be able to switch. Program your footcontroller by assigning the CC to an instant access switch, use “0” for off and “127” for on.
+===How to deal with: Reverb===
-Here’s a [[Control_configuration|list of all controllable parameters]].
+* [[Radley_Reverb_tips|This page]] explains how to get microphone ambience/air ("in the room") as well as rich reverb using just one Reverb block. For more information [http://forum.fractalaudio.com/threads/23172 read this].
+* Settings for the famous PCM70 Concert Hall reverb: [http://forum.fractalaudio.com/threads/26931 here]. A regular "Hall" preset is among the factory presets.
+* Try the “reverb” presets in the categorized list of presets at the bottom of this page for different examples of reverb.
+===How to deal with: Reversed delay===
-==How to switch between two effect settings using one switch on your MIDI footcontroller==
+The “reversed delay” preset in the categorized list of presets at the bottom of this page has great settings.
-In the effect’s Edit menu assign an external controller to the parameter you want to control, for example Level or Rate. Then set the Start and End parameters to the two desired settings. Assign the external controller (I/O &gt; Ctrl) to an external switch or to a switch on your MIDI footcontroller (use the correct CC, plus “127” for one setting and “0” for the other).
+===How to deal with: Ring Modulator===
+This is an Ultra-only effect. Mostly known for its metallic sound. The categorized list of presets at the bottom of this page contains a couple of Ring Modulator presets. The Ring Modulator can also be used to obtain a perfectly tracked monophonic low octave, in fact it may even perform better (low notes) than the Pitch Shifter in Fixed Harmony mode.
-==How to activate the Axe-Fx tuner with your MIDI footcontroller==
+===How to deal with: Rotary Cabinet (Leslie)===
-Scroll to the tuner CC (I/O &gt; Ctrl) and hit Enter. Click the (instant access) switch on your MIDI footcontroller that you want to assign the tuner to. Or configure it manually by assigning the tuner CC to an (instant access) switch on your MIDI footcontroller.
+You'll find suggested settings [[Rotary|here]].
+The default Mix setting is 100%, decreasing it helps to define notes better. In firmware 9.0 the Rotary Cabinet effect (a.k.a. Leslie) has been improved a lot.
+Switching between speeds automatically ramps (firmware 9.0 and later). To switch between two fixed speeds using one switch: assign the Rate parameter to an external controller (instant access switch), set Start and End (under Rate) to the desired values (for example 0.5% and 64%), and program the MIDI controller to send “127” (using the CC of the switch) for fast and “0” for slow.
+===How to deal with: Seek wah===
-==How to display the Axe-Fx tuner on your MIDI footcontroller’s display==
+The random wah effect is also known as a seek wah (Z.VEX pedal). There are a couple of of presets, check the categorized list of presets at the bottom of this page.
-The controllers from [http://www.gordius.be/ Gordius] and [http://www.liquid-foot.com/ Liquid-Foot] (and possibly some others) can graphically display the Axe-Fx tuner data on their displays. To do this: enable real-time MIDI SysEx communication on the Axe-Fx (I/O &gt; MIDI) by setting it to “Tuner”. Don’t select “All” as this can cause serious data overflow problems.
+===How to deal with: Synth===
-Of course you also need to connect MIDI OUT on the Axe-Fx to MIDI IN on the footcontroller. However, the 2<sup>nd</sup>
+This is an Ultra-only effect. Check the categorized list at the bottom of this page for some examples of the 2-voice Synth effect in the Axe-Fx.
-generation Gordius Little Giant and Liquid-Foot MIDI footcontrollers allow full bi-directional MIDI-communication with the Axe-Fx over just one (custom!) MIDI-cable.
+If it sounds too sterile, add an amp, a cab or a Drive block after it.
+===How to deal with: Tremolo===
-Gordius Little Giant: add the Gordius-specific TunerDisplay message to your tuner stompbox (or momentary) patch to switch on the tuner display. Note that the 1<sup>st</sup> generation Little Giant may require the use of a buffer (like a MIDI Solutions device) between MIDI OUT and MIDI IN to make it work.
+There are lots of tremolo presets among the factory presets. Check the categorized list of presets at the bottom of this page. To get different tremolo patterns, attach the Sequencer controller to a parameter, enter the Controller menu and adjust the Sequencer settings. For a nice vintage variation on the standard Sine or Square waveform, try the Trapezoid waveform.
+===How to deal with: (Uni)Vibe===
-=YouTube Videos=
+Univibe is a special mode of the Phaser effect, there's no dedicated vibe effect block. Turn Order fully clockwise to active the Vibe mode. You can connect a pedal to control speed (rate). The Vibe has been improved in firmware 9.0, try the default settings and increase Depth.
-* [http://www.youtube.com/watch?v=68y1gjEHiBM Axe Fx violin preset]
+===How to deal with: Vocoder===
-* [http://www.youtube.com/watch?v=148uvMvw20Y Axe-Fx clean tone demo]
-* [http://www.youtube.com/watch?v=Ubu8A_wmmNI Axe-Fx demo 01 - cleans and SFX]
-* [http://www.youtube.com/watch?v=km2m-5n7SPA Axe-Fx demo 02 - cleans and SFX (continued)]
-* [http://www.youtube.com/watch?v=OKj_CKhlR0Y Axe-Fx demo 03 - Crunch and hi gain pt 1]
-* [http://www.youtube.com/watch?v=oAFdmrmmOYM Axe-Fx demo 04 - hi gain pt 2]
-* [http://www.youtube.com/watch?v=BL1dmdLS9H0 Axe-Fx demo 05 - hi gain pt 3]
-* [http://www.youtube.com/watch?v=GawRgrkM4m8 Axe-Fx demo 07 - hi gain pt 4]
-* [http://www.youtube.com/watch?v=5YGzYzjg4mU%5C Axe-Fx demo 06 - Pitch shifter]
-* [http://www.youtube.com/watch?v=oY5CkZuUhnU Axe-Fx demo 08 &#8211; Katmandu]
-* [http://www.youtube.com/watch?v=PlPqFpDjjWA Axe-Fx video demo3]
-* [http://www.youtube.com/watch?v=cCWLCUcD_AQ U2 shimmer and organ]
-* [http://www.youtube.com/watch?v=73iSaOShA0s Axe-Fx live rig and midi wah and watches]
-* [http://www.youtube.com/watch?v=0NXunIvK24s Axe-Fx Ultra with poweramp sim and ART SLA2]
-* [http://www.youtube.com/watch?v=qsuLzFBx9uE Shutup]
-* [http://www.youtube.com/watch?v=U5lTAXYB5To Axe-Fx tutorial 1 HQ]
-* [http://www.youtube.com/watch?v=XAJfONBq89U Peter Autschbach explains the Axe -Fx]
-* [http://www.youtube.com/watch?v=KwcDfQxC-ds Axe-Fx Ultra Looper and Vocoder]
-* [http://www.youtube.com/watch?v=2-nHCW0eg0E (R)evolution of Rock Guitar, part 1] | [http://www.youtube.com/watch?v=vZ1-rF_rG7I part 2] | [http://www.youtube.com/watch?v=dEwxZsZqJbA part 3]. Patches are [http://www.fractalaudio.com/forum/viewtopic.php?f=25&t=11509 here].
-* [http://www.g66.eu/index.php?option=com_content&task=blogsection&id=28&Itemid=136 Videos on g66.eu]
+This is an Ultra-only effect. [[Vocoder|This page]] explains how to set it up for us with a guitar guitar resp. for a guitar plus vocals.
-=Factory Presets=
+===How to deal with: Wah===
-I have gone through all factory presets and erased the ones I didn’t care for. Then I categorized the remaining ones.
+The Axe-Fx doesn't model specific wah types. It provides the required parameters to dial it in yourself. Suggested settings:
-The list below is not complete but I find it handy to look up specific presets. Note that some of them are Ultra-only.
+* Clyde: Bandpass, Fmin 369, Fmax 2369, Res 4.17, Track 5.08. [[Clyde_wah|More info]]
+* Morley Bad Horsie: Bandpass, Fmin 301, Fmax 1434, Res 4.37, Track 8.27. [[Bad_Horsie_Wah|More info]]
+* Ibanez WH-10: [[Ibanez_WH10|Look here]]
+* Dunlop CryBaby GCB-95: Bandpass, Fmin 437, Fmax 2135, Res 5.75, Track 7.99.
+* Budda: Bandpass, Fmin 350, Fmax 1800, Res 5.75, Track 7.99.
-Yes, the categories are arbitrary, but hey, it’s my list. ;-)
+Turn on Auto-engage in the Wah settings to activate the wah automatically when moving the pedal. Use the Off Value parameter to instruct the Axe-Fx when to switch it off. Use a low percentage (5% and up) for the heel-down position and a high percentage (95% and lower) for the toe-down position. The Slow / Medium / Fast setting instructs the Axe-Fx how fast to switch off the wah in that region. Use the Damping parameter in the modifier menu to slow down the response of the expression pedal a little (like 12 ms).
+==How to create special sounds and routings==
-{| border="1" cellpadding="5" cellspacing="0"
+===How to automatically create feedback / sustain===
-|-
+* Bakerman posted a great preset for this purpose. [http://forum.fractalaudio.com/share-request-patches/36469-harmonic-feedback-sim.html Source]
-! colspan="2" style="background:#ffdead;" | Ambient, extreme pitch shifting, sound effects
-|-
+===How to create an automated "dive bomb"===
-|2
-|Crystal Echos (109)
+This will work with any MIDI controller that supports momentary switches and 2 or more CCs per switch.
-|-
-|4
+Axe-Fx:
-|Melancholia (96)
+* Create a preset. Insert a Pitch block after the amp.
-|-
+* Set Pitch mode to Classic Whammy, Down 1 oct. Pitch Track off. 100% mix of course, Level to taste.
-|8
+* Pitch > Control parameter: enter modifier menu. Set source to External 8. Set Damping to 1000ms.
-|Emerald Ocean (204)
+* In I/O > Ctrl: Ext 8 should be set to CC 23.
-|-
+* Bypass the Pitch block and save the preset.
-|10
-|Fifths In Space (105)
+MIDI controller:
-|-
+* Program a momentary switch.
-|16
+* For "ON": program a command to activate the pitch block, use CC 77 for Pitch 1, or CC 78 for Pitch2, value "on" or "127". Then program a command to activate the actual dive, set this to CC 23 (External 8), value "on" or "127".
-|Night Creatures (168)
+* For "OFF": use commands to bypass the Pitch block and to return the pitch to normal (set the above CCs to "off" or "0").
-|-
-|24
+Operation:
-|Music Box (89)
+* Select the preset.
-|-
+* Press and hold the momentary switch for the effect to kick in. Release to stop and bypass the Pitch block.
-|30
-|Serenity Now! (93)
+You can adjust the length of the dive (Damping), change the pitch to go up instead of down, make it even more dramatic by adding a flanger, etc
-|-
-|34
+===How to integrate your talk box===
-|Glass Castles
-|-
+It's explained [http://forum.fractalaudio.com/threads/18616 here] and [http://forum.fractalaudio.com/ultra-zone/34107-rocktron-banshee-talkbox-ultra.html here].
-|41
-|Wood Nymphs
+===How to create the Vibrato effect===
-|-
-|45
+There's no dedicated Vibrato effect in the Axe-Fx. A pity? No, because Vibrato is just a chorus with Mix set to 100% (no dry signal).
-|Soundtrack
-|-
+===How to create a violin tone===
-|51
-|A Clockwork Orange
+Amazingly, the Axe-Fx can be a violin. [http://www.youtube.com/watch?v=68y1gjEHiBM Listen here]. It’s explained [http://forum.fractalaudio.com/threads/19984 here]. Don’t forget to install an user cab for acoustic instruments.
-|-
-|57
+===How to crossfade effects===
-|Stratosphere
-|-
+You can crossfade sounds using the sequencer. Set it to something like 16 steps, rate just over 1 Hz, values increasing in steps of 10% and have it sit at 100% for the last 6 steps. Place a volume block in each signal chain and assign seq to turn chain B up and chain A down; use 1000 ms damping. Assign one switch to sequencer run control and a second switch to bypass both volume blocks. You'll want them engaged before/during the crossfade. Use mute bypass mode for the vol. block in chain A, thru bypass mode for the one in chain B. Now you can be playing sound A, hit switch 1 and get the 8-9 second crossfade, then hit switch 2 within the next 4-5 seconds before the sequencer restarts. If you wait too long you'll hear it fade back quickly to A (then B gradually again) but whenever you hit it you'll hear sound B regardless of what the sequencer's doing. After that you can always stop the sequencer and switch back to sound A; it will just be instant instead of a crossfade. (source: Bakerman)
-|63
-|Arpeggiator Madness
+===How to automate volume swells===
-|-
-|68
+To make the volume swell automatically (like the Boss Slow Gear pedal), use a Volume block with an envelope modifier. Copy the Vol block and Envelope settings from factory preset 257 or 206.
-|Bouncing Balls
+Or try [[Volume| this]]. Alternatively, for example for Van Halen's Cathedral effect, set the noise gate to a low threshold, ratio to around 4 and turn down the volume on your guitar.
-|-
-|71
+===How to get / handle acoustic tones===
-|Wind Chimes
-|-
+You want to make your electric guitar to sound like an acoustic? Read [http://forum.fractalaudio.com/threads/16600 this].
-|74
+In [http://forum.fractalaudio.com/threads/29818 this thread] you'll find (Fishman Aura) IRs to make your acoustic guitar or violin sound even better.
-|Tumbleweeds
-|-
+You can a piezo to make your electric guitar sound like an acoustic guitar. No need for an amp or cab sim. Just a bit of compression, reverb and maybe a pitch block to add some detuning.
-|83
+Some users like to add a bit of Tube Pre in parallel, and even a cab (with an acoustic IR) in parallel to add warmth. If you want change the tone, use a PEQ or GEQ.
-|Bad
-|-
+===How to simulate a 12-string guitar===
-|90
-|The Planets
+To simulate a 12-string guitar: use a Jazz amp, a Bassman cab sim (or the Acoustic user cab) and a compressor. Let the amp feed a pitch shifter (12 semitones up). Use a filter to remove the lows and route the output to the cab. Use a little chorus and reverb. (source: Javajunkie)
-|-
-|113
+===How to create U2’s Mysterious Ways sound===
-|Haunted
-|-
+[http://forum.fractalaudio.com/threads/20518 This thread] and [http://www.youtube.com/watch?v=_01w--gt9J0 this YouTube clip] will get you close to this Korg A3 effect.
-|116
-|Atmosphere
+===How to create space(ship) and lasergun sounds===
-|-
-|124
+Javajunkie provides info in [http://forum.fractalaudio.com/threads/27755 this thread].
-|B-Movie Horror
-|-
+===How to create a flute sound===
-|130
-|Electro-Sweep
+The Synth effect (Ultra-only) makes it possible to create flute tones. Listen to the "Zamfir?" preset (categorized list at the bottom of this page).
-|-132
+Also try the Andy's Whistle preset in Axe Change.
-! colspan="2" style="background:#ffdead;" |Ambience
-|-
+===How to create an organ sound===
-|133
-|Detuned Wahs
+You can get a great organ sound using the Pitch Shifter and the Rotary Cabinet. The Organ Grinder factory preset is a good start.
-|-
+[http://forum.fractalaudio.com/recordings/34547-organ-into-u2-streets-have-no-name.html This thread] contains presets for the organ intro to U2's Where the streets have no name.
-|134
-|Crystal Reverb (Shimmer)
+===How to get the "shimmer" effect===
-|-
-|135
+The shimmer effect is an effect where notes are pitchshifted higher and higher and reverberated in a parallel path. Used a lot by U2’s The Edge. You can use the Plexi Shift mode of the Multidelay or the Pitch Shifter's Crystals mode (reverse feedback). A low pass Filter on the shifted notes helps to keep the signal clear.
-|Pentalizer
+There are some nice examples in the factory presets, check the categorized list at the bottom of this page.
-|-
-|137
+===How to emulate an E-Bow (infinite sustain)===
-|Horror Movie
-|-
+Javajunkie made a great preset. You'll find it [http://forum.fractalaudio.com/threads/28719 here].
-|139
-|Detuned Descent
+===How to simulate the sound of the wind===
-|-
-|141
+There's one in Axe-Change.
-|Inspection
-|-
+===How to emulate a sitar===
-|143
-|Meet the Cytherians
+There's one in Axe-Change.
-|-
-|145
+===How to create infinite reverb / freeze / hold reverb / chord-drone===
-|Postive Feedback
-|-
+Set a delay block to Dual. Use these values:
-|146
+Time L 1000ms; Time R 1500ms; Feedback L->L 50%; Feedback R->R 60%; Feedback L->R 45%; Feedback R->L 45%; Diffusion at 100%; Diff Time at 100%; Master feedback 100%.
-|Intrigue (C-Minor)
+Attach a controller to Master Feedback to toggle it between 0 and 100. Turn Ingain to 0 after having frozen the chord. Use a controller for this.
-|-
+[http://forum.fractalaudio.com/threads/25042 Source]
-|152
-|Velvet Sun
+===How to make the Axe-Fx drop the tuning of your guitar===
-|-
-|156
+Factory preset 23 offers a nice example of fully dropped tuning. Don’t expect it to work for complex chords and such. If you're shifting all strings by small amounts, turn off Pitch Tracking.
-|Asian Documentary
+The Ultra offers improved support for pitchshifted chords.
-|-
-|157
+===How to create a siren===
-|Delay Octoplex
-|-
+Check [http://forum.fractalaudio.com/threads/26533 this thread].
-|158
-|Wind Chimes 2
+===How to create automatic double-tracking (ADT)===
-|-
-|159
+ADT: you play something and it sounds like there are two guitars. [http://forum.fractalaudio.com/threads/23791 Read this].
-|Valentine Massacre
-|-
+===How to use Buzz Feiten tuning===
-|162
-|Poltergeist Pig
+It’s in the [[Tuner|Wiki]].
-|-
-|163
+==How to use internal controllers and modifiers==
-|Organic
-|-
+It gets difficult here.
-|165
-|Pitchmodtrem
+A <i>controller</i> is a source that generates control data. An expression pedal for example is a controller because it outputs control data. And it’s an <i>external</i> controller, because the data is generated from outside the Axe-Fx. The same goes for an on/off switch and a MIDI foot controller, when connected to the Axe-Fx. External controllers often operate on the basis of user input (by moving the pedal for example). The Axe-Fx supports 8 external controllers. These can be connected to the Axe-Fx directly using the two inputs at the rear, or via MIDI IN. Go to I/O &gt; Ctrl to tell the Axe-Fx which external controllers you’ll be using.
-|-
-|170
+The Axe-Fx also has <i>internal</i> controllers, which output control data as well. These are: Tempo, LFO, ADSR, Sequencer, Envelope and Pitch. Read the manual (pages 87 etc.) for more information. Push the Control button at the front to change their settings. Adjusting these settings change the current preset, not all presets.
-|Avant Garde Delay
-|-
+And then there are <i>modifiers</i>. These sit between the controllers and the parameters that the controller controls. Still with me? The controller sends control data, which is being modified by a modifier, and then gets used to change a parameter.
-|179
-|Vertigo
+Actually, it’s far easier to work with than it is to explain.
-|-
-|181
+It’s important though to realize that there are internal controllers and modifiers. Often, when something peculiar is going in a preset and you can’t discover exactly why it is behaving like that, it’s because a parameter is being controlled by an internal controller. And it’s not always easy to see that a controller is attached to a parameter!
-|Dream Sequence
-|-
+Example: the Wah-Wah effect. Go into Edit mode and you’ll see a block under the FREQ parameter. This means that the frequency parameter can be controlled by a controller. If it is, the block is filled. Go to FREQ and press Enter. You’re now in the Modifier menu. Under Source you can select the internal or external controller you wish to attach, or select “None” to detach a controller. Start, End, Slope etc. are other modifier parameters. If you’d choose an internal controller like Envelope, you need to go to the Control menu (use the front panel button) to configure it.
-|185
-|Frenetica
+[http://forum.fractalaudio.com/share-request-patches/37198-%5Bultra%5D-saw-pad-need-help-attack.html This thread] contains a tip to optimize useof the ADSR (avoiding pops in the audio).
-|-
-|186
+[[Controllers_and_modifiers|More information about controllers and modifiers]]
-|Heavenly Echo
-|-
+='''PEDALS, SWITCHES, FOOT CONTROLLERS, MIDI'''=
-|188
-|The Abyss
+==How to get familiar with MIDI==
-|-
+* [[Strumbringers_midi_noob_guide|Strumbringer's MIDI Noob Guide]]
-|194
+* [[Axe_midi|About MIDI implementation on the Axe-Fx]]
-|Watercolors
+* [[Midi_foot|Using a MIDI footswitch with the Axe-Fx]]
-|-
+* [http://www.midi-omni.com MIDI-Omni: everything you've always wanted to know about MIDI]
-|198
+* [http://www.musicplayers.com/tutorials/guitars/2006/0306_MIDIFootControllers.php MusicPlayers.com: MIDI and foot controller tutorial]
-|Rainbow Splash
-|-
+==How to configure MIDI settings and stuff==
-|200
-|The Jupiter 2
+You can adjust the Axe-Fx's MIDI settings in Layout &gt; MIDI. Things like MIDI channel, use of Program Changes, MIDI mapping, and defaults for external controllers.
-|-
-|203
+Set Ignore Redundant PC to ON if you want the Axe-Fx to ignore a Program Change message that changes to the preset that's already active. This prevents that the active preset will be loaded again, and prevents the coresponding small audio gap.
-|Undulation
-|-
+If you're a MIDI expert, you can use SysEx messages (System Exclusive) to control the Axe-Fx. Required informaton is in the [[AxeFxSysExTable|Wiki]].
-|207
-|Ambient Swirl
+Even more SysEx information for the Ultra has been accurately acquired and organized by GM Arts [http://www.gmarts.org/html/axefx_ultra_sysex_1005.html here].
-|-
-|209
+Information about SysEx commands for retrieving Present/Effect bypass states is [http://forum.fractalaudio.com/other-midi-controllers/39161-using-sysex-recall-present-effect-bypass-status-info-available.html here.]
-|Echoes From God
-|-
+==How to handle problems with MIDI==
-|215
-|Flippin’ The Switch
+The Axe-Fx uses MIDI to communicate with computers. It doesn't support USB directly but you can use a USB-to-MIDI interface.
-|-
-|216
+If you think there's something wrong with the MIDI ports on the Axe-Fx, try this (tip by Matman):
-|Ascension
-|-
+# Connect the unit's MIDI out to its MIDI in
-|233
+# Press UTILITY
-|Velvet Sun 2
+# Page to the PRESET tab
-|-
+# DUMP the CURRENT PRESET
-|252
+# The "EDITED" LED should come on.
-|Desert Breeze
-|-
+If this does not work, one of the above three components is not working correctly (usually the cable).
-|253
-|Flashback
+To test the MIDI handling by Axe-Edit, use its loopback test.
-|-
-|267
+==How to choose a MIDI foot controller==
-|Scintillating
-|-
+Controllers with specific support for the Axe-Fx:
-|268
+* Fractal Audio MFC-101
-|Phenomena
+* Gordius Little Giant and Big Little Giant
-|-
+* Liquid-Foot
-|269
+* RJM
-|Traffic Jam
-|-
+Other popular controllers:
-|334
+* DMC Ground Control Pro
-|Solar Eclipse
+* Axess FX1
-|-
+* Rocktron Midimate and All Access
-|337
+* Behringer FCB1010 with UNO chip
-|Capricorn
-|-
+You can also use a Line 6 HD500 to control the Axe-Fx.
-|338
+Detailed setup information can be foud [http://forum.fractalaudio.com/floor-controllers-midi-cc-questions/34354 here].
-|Underwater
-|-
+==How to make your MIDI foot controller work with the Axe-Fx==
-|341
-|The Final Frontier
+There are guides in the Fractal forum for specific controllers.
-|-
-|345
+There is a [http://forum.fractalaudio.com/forum.php#mfc-101 MFC-101 forum] and a [http://wiki.fractalaudio.com/index.php?title=Yeks_MFC-101_How-Tos_page MFC-101 Wiki page].
-|Diffuse Phaser 2
-|-
+Controllers by Fractal, Gordius, Liquid-Foot and RJM can communicate with the Axe-Fx to sync preset names, display the tuner, etc. Support for the Gordius Little Giant is offered [http://launch.groups.yahoo.com/group/GORDIUS here] and the Gordius site contains handy video clips.
-|346
-|Corbomite Maneuver
+There is useful setup information on [[Midi_foot|this page]].
-|-
-|358
+==How to work with the MFC-101==
-|Filter Pong Verb
+Visit the [http://wiki.fractalaudio.com/index.php?title=Yeks_MFC-101_How-Tos_page MFC-101 How-Tos page (Wiki)].
-|-
-|375
+==How to power your MIDI foot controller through MIDI (phantom power)==
-|Diamonique Rain
-|-
+The Axe-Fx can transfer power to your MIDI foot controller using pins 6 and 7 of a 7-pin MIDI cable, connected to MIDI IN on the Axe-Fx. The Axe-Fx doesn’t supply the power; you need to connect the power supply of the controller to the power input above MIDI IN on the Axe-Fx.
-|378
-|Ganymede
+==How to access presets 128 and higher with your MIDI foot controller==
-|-
-|381
+The 384 presets in the Axe-Fx are divided into 3 banks. To access banks 2 and 3 via MIDI the controller must be able to issue a MIDI Bank Select Coarse controller message (CC#0) with value “1” or “2”. Subsequent PC messages will then be routed to the selected bank. To get back to Bank A, send CC#0, value “0”, or restart the Axe-Fx.
-|Sea Of Tranquillity
-|-
+Or: keep your footswitchable presets below 127 and stop worrying about it.
-|382
-|Lunar Eclipse
+==How to switch effects on and off using your MIDI foot controller==
-|-
-! colspan="2" style="background:#ffdead;" |Amp: Soldano SLO 100
+In I/O &gt; Ctrl go to the effect and press Enter to activate Learn mode. Now press an instant access switch on your MIDI foot controller.
-|-
-|86
+Alternatively write down the CC of the effect you want to be able to switch. Program your foot controller by assigning the CC to an instant access switch. Use “0” for off and “127” for on.
-|Touch Wah Boogie
-|-
+Of course, Fractal's own controller automates all of this.
-|247
-|Track Wah
+* [[Control_configuration|List of all controllable parameters]]
-|-
-|363
+==How to activate the tuner using your MIDI foot controller==
-|SLO Lead
+Scroll to the tuner CC (I/O &gt; Ctrl) and hit Enter. Click the (instant access) switch on your MIDI foot controller that you want to assign the tuner to. Or configure it manually by assigning the tuner CC to a (instant access) switch on your MIDI foot controller.
+==How to display the tuner on your MIDI foot controller's display==
+Fractal's own MFC-101 and controllers by [http://www.gordius.be Gordius], [http://www.liquid-foot.com Liquid-Foot] and [http://www.rjmmusic.com RJM] are able to graphically display the Axe-Fx tuner information on their displays. Enable real-time MIDI SysEx communication on the Axe-Fx (I/O &gt; MIDI) by setting it to “Tuner”. Don’t select “All” with Gordius and Liquid-Foot controllers as this can cause serious data overflow problems in some cases.
+You also need to connect the Axe-Fx's MIDI OUT Fx to MIDI IN on the foot controller. Unless you have a MFC-101, 2<sup>nd</sup> generation Gordius or Liquid-Foot controller, because these allow full bi-directional MIDI communication with the Axe-Fx using a single 5-pin MIDI-cable.
+==How to choose an expression pedal==
+A couple of suggestions:
+* [http://www.mission-engineering.com/Mission-Engineering/Mission_Engineering.html Mission Engineering]
+* [http://www.yamaha-europe.com/yamaha_europe/netherlands/40_general_accessories/30_foot_pedals_power_adapters/10_foot_pedals_power_adapters/10_foot_controllers/index.html Yamaha]
+* [http://www.ernieball.com/products/category-534-Volume-Pedals Ernie Ball]
+* [http://www.visualsound.net/index.php/products/guitar_effects_pedals/v2_visual_volume Visual Sound]
+Clff: "The pedal should be an expression pedal. Expression pedals are inherently "mono" for lack of a better term. The impedance of the pedal should be less than 100K for best results. You *can* use a volume pedal but the taper will be wrong. Best results are obtained using a linear taper pot which is what an expression pedal has."
+==How to connect and configure an expression pedal or switch==
+You can use expression pedals and (momentary or latching) footswitches to control parameters, switch presets etc. It’s particularly handy to use two expression pedals: one dedicated to volume control or a wah, and one that controls specific effects parameters like rate, pitch, volume.
+The Axe-Fx has two dedicated inputs at the rear for this purpose. Expression pedals need to be connected through a STEREO (TRS) cable (stereo jack at each side). Switches can use TS cables.
+Use the I/O &gt; Pedals menu to configure it all including calibration. Don’t forget to use the handy Learn feature: press Enter and move the device, for example a pedal, to have the Axe-Fx recognize the device.
+Of course you can also connect pedals and switches to a MIDI foot controller. See pages 19 etc. and 87 of the manual.
+After connecting an external controller (pedal, switch), you need to "attach" the external controller to the thing you want to control with it.
+But you don't attach controllers directly to effects parameters in the Axe-Fx! There is a configuration layer inbetween: External Controllers.
+The way it works is that you configure the pedal to be one of the External Controllers, and that External Controller is attached to the effects parameter in the parameter's Modifier menu: PEDAL > EXTERNAL > EFFECT.
+So go to the External Controller in I/O > Ctrl. You can pick whichever you want.
+* If your pedal connects to a foot controller: assign a CC for the pedal in the foot controller's menu first (within the range of the External Controllers in I/O > Ctrl) , then use the same CC / External Controller in the Axe-Fx. Or use the Learn feature on the Axe-Fx.
+* If your pedal connects directly to the Axe-Fx: select Pedal 1 or 2 for the External Controller.
+Now, to attach the selected External Controller to an effects parameter, go to that effects block and parameter, press Enter (Modifier menu) and select the External Controller that's being controlled by the pedal.
+==How to solve a stuttering expression pedal==
+If moving the expression pedal results in choppy or zipper noise, try setting the Damping parameter in the Modifier menu to 4 or 8 ms. This slows down the response rate a little.
+By entering high Damping values you can also enable gradual changes. For example, if the pedal controls the speed of a tremolo, then entering a damp value of “1000” will make the speed ramp up or down slowly when moving the pedal.
+==How to turn an expression pedal into a wah==
+First, have the Axe-Fx recognize the expression pedal: go to I/O &gt; Ctrl, and assign External1 to the expression pedal (use the Learn mode by pressing Enter). Select a preset and insert a WAH block. Enter Edit and go to to the Freq parameter. The block under Freq indicates that this is a parameter that can be attached to a controller. Press Enter and under Source select EXTRN1. The pedal has now become a wah. Adjust the Wah settings to your liking.
+==How to activate an effect automatically when moving the pedal==
+This is controlled by the Auto-Engage parameter in the Modifier menu of an effect parameter. Enter the Edit mode of the effect and go to the parameter that is controlled by the expression pedal. Press Enter and switch on Auto-engage. Experiment with the 3 settings (Slow / Medium / Fast)&nbsp; to see what works best for you. This is especially useful when configuring an expression pedal to behave like an optical wah or whammy pedal. Use the Off Value parameter (currently not described in the manual) to set the automatic “switch off” area; around 5% means that the effect will switch off if the pedal is within 5% at the heel-down position; around 95% does the same for the toe-down position.
+==How to use a single pedal to control different effects without switching presets==
+It's possible to use your expression pedal for multiple purposes in the same preset (apart from buying a dual-function pedal from [http://www.mission-engineering.com Mission Engineering] or using the [http://www.gordius.be Gordius MIDI foot controller]).
+Suppose you have one expression pedal and you want it to use as a wah as well as a Whammy, without switching presets:
+# Insert a Wah block.
+# Insert a Pitch block, directly above or below the Wah in a parallel row. Connect it back to to the main row.
+# Adjust the Wah and Whammy settings to your liking.
+# In the Modifier menu of BOTH effects (Wah: Frequency parameter; Pitch: Control parameter): set Source to Ext1 (or the other external controller that's attached to your expression pedal), enable Auto-engage, set Off Val to 95% (this means they will activate at toe-down position), enable PC RST.
+# Add a Mixer block to the main row, just after Wah and Pitch.
+# Editing the Mixer: enter the Modifier menu of the Gain parameter for the row that connects to the Wah. Set Source to the external controller that is or will be attached to an IA-switch (which switches between Wah and Whammy). Set Start Value to 100% and End Value to 0. Set PC Rst to off.
+# Now do the same for the row that connects to the Pitch block. But: set Start Value to 0% and End Value to 100%.
+# Program an IA-switch on your MIDI controller to switch between Wah and Whammy, using the Mixer rows. Use the CC of the external controller that you specified while editing the Mixer block, and send "127" for the Wah, and "0" for the Whammy.
+# This is it. Moving the pedal should activate both the Wah and the Pitch block. But thanks to the Mixer block you'll only hear one of these effects. To bypass the effect hold the pedal in toe-down position. If you're hearing the Wah and the Whammy effects simultaneously, you need to press the IA-switch to get the Mixer block to work.
+[http://forum.fractalaudio.com/share-request-patches/38983-single-preset-routing-challenge-wah-whammy-volume-difficulty-1-expression-pedal.html Visit this thread] to see an example of a single pedal controlling Wah, Whammy and Volume.
+==How to use a switch for global control of any effects block==
+The Axe-Fx provides a couple of global controls. For example for poweramp and cab simulation. Here's how to create a global control for any effects block. This is especially convenient for things like PEQs. For example if you use a PEQ to block high and low frequencies on your FR system, but you want to disable the PEQ when playing at home or recording. Without a global control you need to do that per preset.
+* Connect a switch to one of the inputs at the rear of the Axe-Fx. A latching type with a LED is best.
+* Make sure (I/O > Pedals) that the switch doesn't switch presets.
+* Assign the switch to External 8 (for example) in I/O > Ctrl.
+* In every preset set the Bypass of the effect you want to control to External 8.
+The switch now controls the effect globally.
+Note that a switch is not required per se. You can also set External to None, and use Init Value to set the state of the effect.
+==How to reset your pedal when switching presets==
+If you use an expression pedal and wish to ignore its position when recalling a preset, use PC RST in the Modifier menu of the parameter.
+Manual: when set to ON the controlled parameter will be reset to the value stored with the preset upon loading the preset. The controller will not control the parameter until it has changed from its previous value. The value stored with the preset is always displayed in the value box. For example, if you want to control the Volume of the Volume block using an expression pedal but want it to be initialized to 10.0 on preset change regardless of the postion of your pedal set PC RST to ON. Then set the Volume parameter to 10.0. When the preset is recalled the Volume will be at 10.0. If you move the expression pedal the modifier will then be active and be in control of the Volume parameter from that point on.
+Cliff: "The new value must be 5% different than the previous value otherwise whatever value the pedal is at will immediately override the "PC RST" value. The idea is that the parameter is set to a value when you recall the patch. You then have to move your pedal a bit (5%) to regain control of the parameter. This is done for two reasons:
+# Many MIDI controllers send the state of their expression pedals along with the PC message. If the behavior weren't as described, the stored parameter value wouldn't stick.
+# Many MIDI controllers have "noisy" expression pedals where the value tends to bounce around a little. This prevents the stored value from being lost."
+==How to mute the delay using an expression pedal or switch==
+By attaching an external controller (connected to the pedal) to Input Gain in the Delay properties, you're controlling the delay level at the input stage. This will make delay trails fade out nicely when muting the delay.
+==How to switch between different effect settings using one switch==
+In the effect’s Edit menu assign an external controller to the parameter you want to control, for example Level or Rate. Then set the Start and End parameters to the two desired settings. Assign the external controller (I/O &gt; Ctrl) to an external switch or to a switch on your MIDI foot controller (use the correct CC, plus “127” for one setting and “0” for the other).
+==How to use a pedal for volume boosts==
+Insert a VOL block. In the Modifier menu of the Vol parameter, set Source to the pedal input. Set Start, Mid and End to the desired values.
+==How to know which Axe-Fx functionality can be controlled through MIDI CCs==
+Here's a list for Standard/Ultra. Some CCs are Ultra-only.
+Input Volume
+Out 1 Volume
+Out 2 Volume
+Bypass
+Tempo Tap
+Tuner
+External 1
+External 2
+External 3
+External 4
+External 5
+External 6
+External 7
+External 8
+''024 Looper 1 Rec''
+''025 Looper 1 Play''
+''026 Looper 1 Once''
+''027 Looper 1 Stack''
+''028 Looper 1 Rev''
+''029 Looper 2 Rec''
+''030 Looper 2 Play''
+''031 Looper 2 Once''
+''032 Looper 2 Stack''
+''033 Looper 2 Rev''
+Global Bypass
+Volume Incr
+Volume Decr
+Amp 1 bypass
+Amp 2 bypass
+Cabinet 1 bypass
+Cabinet 2 bypass
+Chorus 1 bypass
+Chorus 2 bypass
+Compressor 1 bypass
+Compressor 2 bypass
+''045 Crossover 1 bypass''
+''046 Crossover 2 bypass''
+Delay 1 bypass
+Delay 2 bypass
+Drive 1 bypass
+Drive 2 bypass
+Enhancer bypass
+Filter 1 bypass
+Filter 2 bypass
+''054 Filter 3 bypass''
+''055 Filter 4 bypass''
+Flanger 1 bypass
+Flanger 2 bypass
+Formant bypass
+FX loop bypass
+''060 Gate 1 bypass''
+''061 Gate 2 bypass''
+GEQ 1 bypass
+GEQ 2 bypass
+''064 GEQ 3 bypass''
+''065 GEQ 4 bypass''
+''066 Megatap 1 bypass''
+''067 MultiComp 1 bypass''
+''068 MultiComp 2 bypass''
+MultiDelay 1 bypass
+MultiDelay 2 bypass
+PEQ 1 bypass
+PEQ 2 bypass
+''073 PEQ 3 bypass''
+''074 PEQ 4 bypass''
+Phaser 1 bypass
+Phaser 2 bypass
+Pitch 1 bypass
+''078 Pitch 2 bypass''
+''079 QuadChorus 1 bypass''
+''080 QuadChorus 2 bypass''
+''081 Resonator 1 bypass''
+''082 Resonator 2 bypass''
+Reverb 1 bypass
+Reverb 2 bypass
+''085 Ringmod bypass''
+Rotary 1 bypass
+Rotary 2 bypass
+''088 Synth 1 bypass''
+''089 Synth 2 bypass''
+Tremolo 1 bypass
+Tremolo 2 bypass
+''092 Vocoder bypass''
+Volume 1 bypass
+''094 Volume 2 bypass''
+''095 Volume 3 bypass''
+''096 Volume 4 bypass''
+WahWah 1 bypass
+WahWah 2 bypass
+='''VIDEOS'''=
+Below is a selection of Axe-Fx videos on YouTube, including demos and tutorials. The Fractal Audio website also contains videos and audio clips.
+* [http://www.youtube.com/watch?v=sD4ddcE-F18&fmt=18 Axe-Fx users meeting, The Netherlands]
+* [http://www.youtube.com/watch?v=68y1gjEHiBM Violin simulation]
+* [http://www.youtube.com/watch?v=148uvMvw20Y Clean Fender tone by Sheets of Sound]
+* [http://www.youtube.com/user/thibderob#p/u/34/Ubu8A_wmmNI Running through many presets by Thibderob (Fremen), multiple videos] (presets are [http://www.fractalaudio.com/forum/viewtopic.php?f=19&t=6276 here])
+* [http://www.youtube.com/watch?v=Duyv-mSXid4 Controller demo by Thibderob (Fremen)]
+* [http://www.youtube.com/watch?v=cCWLCUcD_AQ U2 organ and shimmer tones]
+* [http://www.youtube.com/user/samhillband Mark Day plays the Axe-Fx (multiple videos)]
+* [http://www.youtube.com/user/rednebb (R)evolution of Rock Guitar by Ketil Strand (multiple videos)]
+* [http://www.youtube.com/watch?v=fkxH3zTn5DU Peter Autschbach demos the Axe-Fx (multiple videos)]
+* [http://www.youtube.com/user/berndkiltz#p/u/17/U5lTAXYB5To Bernd Kiltz tutorials (multiple videos)]
+* [http://www.youtube.com/watch?v=KwcDfQxC-ds Ultra Looper and Vocoder by Prinspatrick]
+* [http://www.youtube.com/user/es10000 Enzo Sutera]
+* [http://www.youtube.com/watch?v=oER9vtXj-1Q Pete Thorne Axe-Fx/Atomic Reactor demo]
+* [http://www.youtube.com/user/U2GuitarTutorials U2 guitar tutorials (multiple videos)]
+* [http://www.youtube.com/watch?v=Q63C8fMkOm4 A peek inside the Axe-Fx]
+* [http://www.youtube.com/watch?v=xeA9Wca8D70 Atomic Reactor FR by Independent Music]
+* [http://www.youtube.com/user/prinspatrick Duplicating famous drive pedals by Prinspatrick (multiple videos)]
+* [http://www.g66.eu/index.php?option=com_content&task=blogsection&id=28&Itemid=136 Videos on g66.eu]
+* [http://www.youtube.com/watch?v=KMdXdG2NlE8 Axe-Fx review by Boyinaband.com]
+* [http://www.youtube.com/user/cardinalofcrunk Cardinal of Crunk]
+* [http://www.youtube.com/watch?v=sob1u0GbBWE Adrian Belew]
+* [http://www.youtube.com/watch?v=jWK0sa7tlfI 15 speakers compared]
+* [http://www.youtube.com/watch?v=ETL3jGG7TrA Mentoneman]
+* [http://www.youtube.com/watch?v=VhfXrgv1XiY Dweezil Zappa plays Eruption]
+* [http://www.youtube.com/user/Portabaco Portabaco videos]
+='''CATEGORIZED FACTORY PRESETS'''=
+I categorized factory presets in the Ultra. It serves as a look-up list. The categories are arbitrary, but hey, it’s my list. Also, newer amps are missing because there aren't factory presets (yet) with those.
+P.S. The numbers behind some of the preset names are for personal use.
+{| border="1" cellpadding="5" cellspacing="0"
 |-
-! colspan="2" style="background:#ffdead;" |Amp: Vox AC30 / Top Boost
+! colspan="2" style="background:#ffdead;" | Ambient, extreme pitch shifting, sound effects
 |-
-|12
+|2
-|B-May Lead (Queen)
+|Crystal Echos
 |-
-|73
+|4
-|Whole Lotta Love (Led Zeppelin)
+|Melancholia
 |-
-|77
+|8
-|Streets Have No Name (U2)
+|Emerald Ocean
 |-
-|153
+|10
-|Top Boost
+|Fifths In Space
 |-
-! colspan="2" style="background:#ffdead;" |Amp: EVH 5150
+|16
+|Night Creatures
 |-
-|36
+|24
-|Fat Solo Lead
+|Music Box
 |-
-|67
+|30
-|Modern Eddie (with detune effect)
+|Serenity Now!
 |-
-! colspan="2" style="background:#ffdead;" |Amp: Marshall Plexi
+|34
+|Glass Castles
 |-
-|17
+|41
-|Cliff’s Of Dover
+|Wood Nymphs
 |-
-|44
+|45
-|Hell’s Bells (AC/DC)
+|Soundtrack
 |-
-|52
+|51
-|Machine Gun (Jimi Hendrix)
+|A Clockwork Orange
 |-
-|95
+|57
-|Voodoo Chile (Jimi Hendrix)
+|Stratosphere
 |-
-|174
+|63
-|Multicomp Plexi (with multiband compressor)
+|Arpeggiator Madness
 |-
-|175
+|68
-|Crossover L:Lo R:Hi
+|Bouncing Balls
 |-
-|229
+|71
-|Screaming Plexi
+|Wind Chimes
 |-
-|259
+|74
-|Lounge Lizards (with chorus)
+|Tumbleweeds
 |-
-|271
+|83
-|Detune Plexi
+|Bad (U2)
 |-
-|275
+|90
-|Simple Plexi Rig
+|The Planets
 |-
-|280
+|113
-|Full Plexi
+|Haunted
 |-
-|286
+|116
-|Yngwie (Yngwie Malmsteen)
+|Atmosphere
 |-
-|355
+|124
-|80’s Clean
+|B-Movie Horror
 |-
-|359
+|130
-|High Landrons
+|Electro-Sweep
 |-
-! colspan="2" style="background:#ffdead;" |Amp: Marshall JCM800
+|133
+|Detuned Wahs
 |-
-|46
+|134
-|JCM Crunch
+|Crystal Reverb (shimmer)
 |-
-|58
+|135
-|Still Got The Blues (Gary Moore)
+|Pentalizer
 |-
-|81
+|137
-|Basic Brit
+|Horror Movie
 |-
-|230
+|139
-|Smokin’ (Deep Purple)
+|Detuned Descent
 |-
-|301
+|141
-|Evil 800
+|Inspection
 |-
-! colspan="2" style="background:#ffdead;" |Amp: Brown sound (Eddie Van Halen)
+|143
+|Meet the Cytherians
 |-
-|7
+|145
-|The Brown Sound
+|Postive Feedback
 |-
-|50
+|146
-|Unchained (with flanger)
+|Intrigue (C-Minor)
 |-
-|263
+|152
-|EVH Circa 1982
+|Velvet Sun
 |-
-! colspan="2" style="background:#ffdead;" |Amp: Mesa Boogie
+|156
+|Asian Documentary
 |-
-|00
+|157
-|Studio Lead
+|Delay Octoplex
 |-
-|5
+|158
-|Recto 1
+|Wind Chimes 2
 |-
-|28
+|159
-|Early Carlos (Carlos Santana)
+|Valentine Massacre
 |-
-|29
+|162
-|Smooth (Carlos Santana)
+|Poltergeist Pig
 |-
-|56
+|163
-|Mark IV Lead
+|Organic
 |-
-|72
+|165
-|Thick Cali Lead
+|Pitchmodtrem
 |-
-|80
+|170
-|Super Chunk
+|Avant Garde Delay
 |-
-|102
+|179
-|USA Lead 2
+|Vertigo
 |-
-|106
+|181
-|Recto 2
+|Dream Sequence
 |-
-|121
+|185
-|In Your Face
+|Frenetica
 |-
-|131
+|186
-|Jet Flanger (with flanger)
+|Heavenly Echo
 |-
-|295
+|188
-|Studio Lead 2
+|The Abyss
 |-
-|327
+|194
-|Cranked Recto
+|Watercolors
 |-
-|329
+|198
-|Petrucci Rhythm
+|Rainbow Splash
 |-
-! colspan="2" style="background:#ffdead;" |Amp: Fender
+|200
+|The Jupiter 2
 |-
-|47
+|203
-|Texas Flood (SRV)
+|Undulation
 |-
-|60
+|207
-|EJ Clean (Eric Johnson)
+|Ambient Swirl
 |-
-|75
+|209
-|SRV Lead
+|Echoes From God
 |-
-|101,195
+|215
-|Tremolo Tweed (with tremolo)
+|Flippin’ The Switch
 |-
-|103
+|216
-|Stevie’s Rotary (SRV, with rotary effect)
+|Ascension
 |-
-|111
+|233
-|Riders (with tremolo)
+|Velvet Sun 2
 |-
-|125
+|252
-|Tiny Tweed
+|Desert Breeze
 |-
-|129
+|253
-|Liquid Chorus (with chorus)
+|Flashback
 |-
-|155
+|267
-|Screaming Meanie
+|Scintillating
 |-
-|172
+|268
-|Bond….James Bond (with tremolo)
+|Phenomena
 |-
-|214
+|269
-|Surf’s Up (with tremolo)
+|Traffic Jam
 |-
-|297
+|294
-|Mr. Gilmour Lead (Pink Floyd)
+|Shifted Delay Thingy
 |-
-|369
+|328
-|Damage Nexus
+|Ambient Guitar
 |-
-! colspan="2" style="background:#ffdead;" |Amp: Bogner Ecstasy, Uberschall
+|334
+|Solar Eclipse
 |-
-|82
+|337
-|Dirty Capstan
+|Capricorn
 |-
-|115
+|338
-|Uber, Shall We? (Uberschall)
+|Underwater
 |-
-|225
+|341
-|Rock Concert
+|The Final Frontier
 |-
-|232
+|345
-|Euro Crunch
+|Diffuse Phaser 2
 |-
-|342
+|346
-|Ex-ta-see
+|Corbomite Maneuver
 |-
-! colspan="2" style="background:#ffdead;" |Amp: Blues
+|375
+|Diamonique Rain
 |-
-|1
+|378
-|Albert’s Lead
+|Ganymede
 |-
-! colspan="2" style="background:#ffdead;" |Amp: VHT / Fryette
+|381
+|Sea Of Tranquillity
 |-
-|312
+|382
-|Ned Beatty
+|Lunar Eclipse
 |-
-! colspan="2" style="background:#ffdead;" |Amp: Trainwreck
+! colspan="2" style="background:#ffdead;" |amp: Soldano SLO 100
 |-
-|236
+|86
-|Trainwreck
+|Touch Wah Boogie
 |-
-|240
+|247
-|Wrecked
+|Track Wah
 |-
-! colspan="2" style="background:#ffdead;" |Amp: Budda
+|290
+|Scooped MIds
 |-
-|66
+|363
-|Pushed
+|SLO Lead
 |-
-! colspan="2" style="background:#ffdead;" |Amp: Metal, Das Metal
+! colspan="2" style="background:#ffdead;" |amp: Vox Class A, AC30 Top Boost
 |-
-|92
+|12
-|L.A. metal
+|B-May Lead (Queen)
 |-
-|22
+|73
-|Crazy Train (Ozzy Osbourne, 128)
+|Whole Lotta Love (Led Zeppelin)
 |-
-|372
+|77
-|Farvergnugen (Diezel)
+|Streets Have No Name (U2)
 |-
-! colspan="2" style="background:#ffdead;" |Amp: FAS
+|153
+|Top Boost
 |-
-|222
+|265
-|Fat Solo Lead 2
+|Class-A Crunch
 |-
-! colspan="2" style="background:#ffdead;" |Dr. Z
+|318
+|Euro Top Boost
 |-
-|206
+|347
-|Chicken Pickin’
+|The Infield
 |-
-! colspan="2" style="background:#ffdead;" |Dumble
+! colspan="2" style="background:#ffdead;" |amp: EVH 5150
 |-
-|248
+|36
-|That’s MISTER Dumble
+|Fat Solo Lead
 |-
-|366
+|67
-|Cork Sniffers
+|Modern Eddie (with detune effect)
 |-
-! colspan="2" style="background:#ffdead;" |Amp: HiWatt
+! colspan="2" style="background:#ffdead;" |amp: Marshall Plexi
 |-
-|70
+|17
-|Run Like Heck (David Gilmour)
+|Cliff’s Of Dover (Eric Johnson)
 |-
-|144
+|44
-|Time (David Gilmour)
+|Hell’s Bells (AC/DC)
 |-
-|331
+|52
-|Mr. Floyd (David Gilmour)
+|Machine Gun (Jimi Hendrix)
 |-
-! colspan="2" style="background:#ffdead;" |Amp: Marshall JTM45
+|95
+|Voodoo Chile (Jimi Hendrix)
 |-
-|354
+|174
-|JTM45 Blues Lead
+|Multicomp Plexi (with multiband compressor)
 |-
-! colspan="2" style="background:#ffdead;" |Organ
+|175
+|Crossover L:Lo R:Hi
 |-
-|61
+|229
-|Organ Grinder
+|Screaming Plexi
 |-
-! colspan="2" style="background:#ffdead;" |Vocoder, Formant
+|259
+|Lounge Lizards (with chorus)
 |-
-|55
+|271
-|Man In The Box
+|Detune Plexi
 |-
-|162
+|275
-|Poltergeist Pig
+|Simple Plexi Rig
 |-
-! colspan="2" style="background:#ffdead;" |Flanger
+|280
+|Full Plexi
 |-
-|50
+|286
-|Unchained (EVH)
+|Yngwie (Yngwie Malmsteen)
 |-
-|131
+|319
-|Jet Flanger
+|So Many Roads
 |-
-|351
+|321
-|Flange-Chorus-Verb
+|Stone in love
 |-
-! colspan="2" style="background:#ffdead;" |Pitch shifting
+|355
+|80’s Clean
 |-
-|23
+|359
-|Down Full Step (dropped tuning)
+|High Landrons
 |-
-|24
+! colspan="2" style="background:#ffdead;" |amp: Marshall JCM800
-|Music Box (89)
 |-
-|37
+|46
-|Gamelan Nights
+|JCM Crunch
 |-
-|54
+|58
-|Lonely Heart Solo (Yes)
+|Still Got The Blues (Gary Moore)
 |-
-|108
+|81
-|Rush Hour
+|Basic Brit 800
 |-
-|151
+|230
-|Ballet Slippers
+|Smokin’ (Deep Purple)
 |-
-|184
+|301
-|Lazy Man’s Arpeggio
+|Evil 800
 |-
-|208
+|315
-|6<sup>th</sup> Stone From Sun
+|Spandex & Hairspray
 |-
-|244
+|321
-|Orient Express
+|Stone in love
 |-
-|249
+! colspan="2" style="background:#ffdead;" |amp: Brown (EVH)
-|Diatonic 3<sup>rd</sup> + Oct.
 |-
-|317
+|7
-|Modern Jazz
+|The Brown Sound
 |-
-|348
+|50
-|China Syndrome
+|Unchained (EVH, with flanger)
 |-
-|350
+|263
-|Stereo Shift + Verb
+|EVH Circa 1982
 |-
-|376
+|270
-|Happy Place
+|Round Lead
 |-
-! colspan="2" style="background:#ffdead;" |Delays
+|298
+|Stratified
 |-
-|19
+! colspan="2" style="background:#ffdead;" |amp: Mesa Boogie
-|Band delays (35)
 |-
-|70
+|00
-|Run Like Heck (David Gilmour)
+|Studio Lead
 |-
-|77
+|5
-|Streets Have No Name (U2)
+|Recto 1
 |-
-|79
+|28
-|Circular Delays (Lukather)
+|Early Carlos (Carlos Santana)
 |-
-|136
+|29
-|Pong Chorus
+|Smooth (Carlos Santana)
 |-
-|142
+|56
-|Flanged Echos
+|Mark IV Lead
 |-
-|160
+|72
-|Chimey Echos
+|Thick Cali Lead
 |-
-|179
+|80
-|Vertigo
+|Super Chunk
 |-
-|191
+|102
-|Rubber Biscuit
+|USA Lead 2
 |-
-|197
+|106
-|Sweep Band Delay 2
+|Recto 2
 |-
-|202
+|121
-|Walking On The Moon
+|In Your Face
 |-
-|205
+|131
-|Haunting Echos
+|Jet Flanger (with flanger)
 |-
-|207
+|256
-|Ambient Swirl
+|Squashed
 |-
-|209
+|277
-|Echoes From God
+|Comp Clean
 |-
-|217
+|282
-|Wandering Delays
+|Uber Chugga
 |-
-|231
+|284
-|Choral Canyon
+|Recto Lead
 |-
-|245
+|295
-|Echoplex
+|Studio Lead 2
 |-
-|250
+|326
-|S/H Band Delay
+|Squeaky Clean
 |-
-|251
+|327
-|Sweep Band Delay
+|Cranked Recto
 |-
-|272
+|53 / 329
-|Bouncing Echoes
+|Petrucci Rhythm
 |-
-|279
+|336
-|Panning Delays (Lukather)
+|Cranked Recto
 |-
-|281
+|364
-|Dirty Tape Echo
+|Guitar Hero
 |-
-|287
+! colspan="2" style="background:#ffdead;" |amp: Fenders
-|Syncopated
 |-
-|291
+|47
-|Rotary Band Delay
+|Texas Flood (SRV)
 |-
-|293
+|60
-|Bandtaps
+|EJ Clean (Eric Johnson)
 |-
-|294
+|1
-|Shifted Delay Thingy
+|Albert’s Lead
 |-
-|306
+|75
-|2290 Delay
+|SRV Lead
 |-
-|309
+|101,195
-|Flanged Delays
+|Tremolo Tweed (with tremolo)
 |-
-|317
+|103
-|Modern Jazz
+|Stevie’s Rotary (SRV, with rotary effect)
 |-
-|328
+|111
-|Ambient Guitar
+|Riders (with tremolo)
 |-
-|330
+|125
-|TremDelay
+|Tiny Tweed
 |-
-|335
+|129
-|Comb Delays
+|Liquid Chorus (with chorus)
 |-
-|339
+|155
-|Circular Delays 2
+|Screaming Meanie
 |-
-|349
+|172
-|Clock Tower
+|Bond….James Bond (with tremolo)
+|-
+|214
+|Surf’s Up (with tremolo)
 |-
-|356
+|273
-|Vintage DigitalDelay
+|Chicago Blues
 |-
-|361
+|303
-|2290 Delay 2
+|Freeway Jam
 |-
-|371
+|297
-|Rotary Comb Delay
+|Mr. Gilmour Lead (Pink Floyd)
 |-
-|374
+|353
-|Fazed Delayz
+|Brownface Blues
 |-
-|377
+|369
-|Echo Room 2
+|Damage Nexus
 |-
 |380
-|Comb Delays 2
+|Blackface Lead
 |-
 |381
-|Sea Of Tranquillity
+|Sea of Tranquility
 |-
-! colspan="2" style="background:#ffdead;" |Uni-vibe
+! colspan="2" style="background:#ffdead;" |amp: Bogner Ecstasy, Uberschall
 |-
-|52
+|82
-|Machine Gun (Jimi Hendrix)
+|Dirty Capstan
 |-
-! colspan="2" style="background:#ffdead;" |Shimmer
+|115
+|Uber, Shall We? (Uberschall)
 |-
-|134
+|225
-|Crystal Reverb
+|Rock Concert
 |-
-|186
+|232
-|Heavenly Echo
+|Euro Crunch
 |-
-! colspan="2" style="background:#ffdead;" |Chorus
+|318
+|Euro Top Boost
 |-
-|107
+|342
-|Lush Chorus
+|Ex-ta-see
 |-
-|129
+! colspan="2" style="background:#ffdead;" |amp: VHT / Fryette
-|Liquid Chorus
 |-
-|177
+|312
-|Quad Chorus
+|Ned Beatty
 |-
-|199
+! colspan="2" style="background:#ffdead;" |amp: Trainwreck
-|Thick Chorus
 |-
-|259
+|236
-|Lounge Lizards
+|Trainwreck
 |-
-|322
+|240
-|Analog Chorus
+|Wrecked
 |-
-! colspan="2" style="background:#ffdead;" |Clean tones
+|266
+|Beefy Rhythm
 |-
-|21
+! colspan="2" style="background:#ffdead;" |amp: Budda
-|Funk #49 (James Gang, 42)
 |-
-|60
+|66
-|EJ Clean (Eric Johnson)
+|Pushed
 |-
-|104
+! colspan="2" style="background:#ffdead;" |amp: Matchless
-|Thick Clean
 |-
-|172
+|262
-|Clean Pop Rhythm
+|Brittle Comp Rhythm
 |-
-|274
+|278
-|Dripping Wet
+|New Country
 |-
-|355
+! colspan="2" style="background:#ffdead;" |amp: Metal, Das Metal, Engl
-|80’s Clean
 |-
-! colspan="2" style="background:#ffdead;" |Rotary Cabinet (Leslie)
+|92
+|L.A. metal
 |-
-|103
+|22
-|Stevie’s Rotary (SRV)
+|Crazy Train (Ozzy Osbourne)
 |-
-! colspan="2" style="background:#ffdead;" |Synth
+|283
+|Uber Chugga
 |-
-|91
+|288
-|Synth Lead
+|Liquid Molton Lead
 |-
-|118
+|304
-|Analog Synth
+|Beef Supreme
 |-
-|228
+|308
-|Zamfir?
+|Thor's Hammer + Saw
 |-
-|246,360
+|340
-|Funky Synth
+|Blitzkrieg
 |-
-! colspan="2" style="background:#ffdead;" |Octave Divider
+|372
+|Farvergnugen (Diezel)
 |-
-|119
+! colspan="2" style="background:#ffdead;" |amp: FAS models
-|Wah Octave
 |-
-! colspan="2" style="background:#ffdead;" |Tremolo
+|222
+|Fat Solo Lead 2
 |-
-|101, 195
+|333
-|Tremolo Tweed
+|FAS Lead
 |-
-|111
+|357
-|Riders (The Doors)
+|Cheezy Metal
 |-
-|179
+! colspan="2" style="background:#ffdead;" |amp: Dr. Z
-|Vertigo
 |-
-|187
+|206
-|Tremverb
+|Chicken Pickin’
 |-
-|214
+! colspan="2" style="background:#ffdead;" |amp: Dumble
-|Surf’s Up
 |-
-|215
+|248
-|Flippin’ The Switch
+|That’s MISTER Dumble
 |-
-|227
+|319
-|Bond… James Bond
+|So Many Roads
 |-
-! colspan="2" style="background:#ffdead;" |Wah effects
+|366
+|Cork Sniffers
 |-
-|86
+! colspan="2" style="background:#ffdead;" |amp: HiWatt
-|Touch Wah Boogie
 |-
-|87
+|70
-|Envelope Phaser
+|Run Like Heck (David Gilmour)
+|-
+|144
+|Time (David Gilmour)
+|-
+|331
+|Mr. Floyd (David Gilmour)
+|-
+! colspan="2" style="background:#ffdead;" |amp: Marshall JTM45
+|-
+|297
+|Mr. Gilmour Lead
+|-
+|300
+|Juicy Lead
+|-
+|314
+|Brit Blues
+|-
+|354
+|JM45 Blues Lead
+|-
+|367
+|High-Powered Lead
+|-
+! colspan="2" style="background:#ffdead;" |Organ
+|-
+|?
+|Organ Grinder
+|-
+! colspan="2" style="background:#ffdead;" |Vocoder, Formant
+|-
+|55
+|Man In The Box (talk box)
+|-
+|162
+|Poltergeist Pig
+|-
+! colspan="2" style="background:#ffdead;" |Flanger
+|-
+|50
+|Unchained (EVH)
+|-
+|131
+|Jet Flanger
+|-
+|282
+|In A Fixx
+|-
+|324
+|Triangle Flange
+|-
+|309
+|Flanged Delays
+|-
+|351
+|Flange-Chorus-Verb
+|-
+! colspan="2" style="background:#ffdead;" |Pitch shifting
+|-
+|23
+|Down Full Step (dropped tuning)
+|-
+|24
+|Music Box
+|-
+|37
+|Gamelan Nights (Indonesian gamelan orchestra sounds)
+|-
+|54
+|Lonely Heart Solo (Yes)
+|-
+|108
+|Rush Hour
+|-
+|151
+|Ballet Slippers
+|-
+|184
+|Lazy Man’s Arpeggio
+|-
+|208
+|6<sup>th</sup> Stone From Sun
+|-
+|244
+|Orient Express
+|-
+|249
+|Diatonic 3<sup>rd</sup> + Oct.
+|-
+|269
+|Traffic Jam
+|-
+|294
+|Shifted Delay Thingy
+|-
+|317
+|Modern Jazz
+|-
+|323
+|Four Detuners
+|-
+|341
+|The Final Frontier
+|-
+|343
+|C Major Shifter
+|-
+|348
+|China Syndrome
+|-
+|350
+|Stereo Shift + Verb
+|-
+|376
+|Happy Place
+|-
+! colspan="2" style="background:#ffdead;" |Delays
+|-
+|19
+|Band delays
+|-
+|70
+|Run Like Heck (David Gilmour)
+|-
+|77
+|Streets Have No Name (U2)
+|-
+|79
+|Circular Delays (Steve Lukather)
+|-
+|136
+|Pong Chorus
+|-
+|142
+|Flanged Echos
+|-
+|160
+|Chimey Echos
+|-
+|179
+|Vertigo
+|-
+|191
+|Rubber Biscuit
+|-
+|197
+|Sweep Band Delay 2
+|-
+|202
+|Walking On The Moon
+|-
+|205
+|Haunting Echos
+|-
+|207
+|Ambient Swirl
+|-
+|209
+|Echoes From God
+|-
+|217
+|Wandering Delays
+|-
+|231
+|Choral Canyon
+|-
+|245
+|Echoplex
+|-
+|250
+|S/H Band Delay
+|-
+|251
+|Sweep Band Delay
+|-
+|260
+|Sweep Echo
+|-
+|269
+|Traffic Jam
+|-
+|272
+|Bouncing Echoes
+|-
+|279
+|Panning Delays (Steve Lukather)
+|-
+|281
+|Dirty Tape Echo
+|-
+|287
+|Syncopated
+|-
+|291
+|Rotary Band Delay
+|-
+|293
+|Bandtaps
+|-
+|294
+|Shifted Delay Thingy
+|-
+|302
+|Forty Miles
+|-
+|306
+|2290 Delay (TC Electronic 2290)
+|-
+|309
+|Flanged Delays
+|-
+|320
+|Pulse Delay
+|-
+|330
+|TremDelay
+|-
+|332
+|Multi-Chorus
+|-
+|335
+|Comb Delays
+|-
+|339
+|Circular Delays 2
+|-
+|344
+|Analog Delays
+|-
+|349
+|Clock Tower
+|-
+|356
+|Vintage DigitalDelay
+|-
+|358
+|Filter Pong Verb
+|-
+|361
+|2290 Delay 2 (TC Electronic 2290)
+|-
+|365
+|Expanding Delay
+|-
+|371
+|Rotary Comb Delays
+|-
+|374
+|Fazed Delayz
+|-
+|380
+|Comb Delays 2
+|-
+! colspan="2" style="background:#ffdead;" |Uni-vibe
+|-
+|52
+|Machine Gun (Jimi Hendrix)
+|-
+|359
+|High Landrons
+|-
+! colspan="2" style="background:#ffdead;" |Shimmer
+|-
+|83
+|Bad (U2)
+|-
+|134
+|Crystal Reverb
+|-
+|186
+|Heavenly Echo
+|-
+|375
+|Diamonique Rain
+|-
+! colspan="2" style="background:#ffdead;" |Chorus
+|-
+|107
+|Lush Chorus
+|-
+|129
+|Liquid Chorus
+|-
+|177
+|Quad Chorus
+|-
+|199
+|Thick Chorus
+|-
+|259
+|Lounge Lizards
+|-
+|302
+|Forty Miles
+|-
+|311
+|Multi-Chorus
+|-
+|332
+|Multi-Chorus (with delay)
+|-
+|322
+|Analog Chorus
+|-
+|351
+|Flange-Chorus-Verb
+|-
+|370
+|Diffuse Chorus
+|-
+! colspan="2" style="background:#ffdead;" |Clean tones
+|-
+|21
+|Funk #49 (The James Gang)
+|-
+|60
+|EJ Clean (Eric Johnson)
+|-
+|104
+|Thick Clean
+|-
+|172
+|Clean Pop Rhythm
+|-
+|274
+|Dripping Wet
+|-
+|256
+|Squashed
+|-
+|326
+|Squeaky Clean
+|-
+|355
+|80’s Clean
+|-
+! colspan="2" style="background:#ffdead;" |Rotary Cabinet (Leslie)
+|-
+|103
+|Stevie’s Rotary (SRV)
+|-
+|264
+|Slow Rotary
+|-
+! colspan="2" style="background:#ffdead;" |Synth
+|-
+|91
+|Synth Lead
+|-
+|118
+|Analog Synth
+|-
+|228
+|Zamfir
+|-
+|246, 360
+|Funky Synth
+|-
+! colspan="2" style="background:#ffdead;" |Octave Divider
+|-
+|119
+|Wah Octave
+|-
+! colspan="2" style="background:#ffdead;" |Tremolo
+|-
+|101, 195
+|Tremolo Tweed
+|-
+|111
+|Riders (The Doors)
+|-
+|179
+|Vertigo
+|-
+|187
+|Tremverb
+|-
+|214
+|Surf’s Up
+|-
+|215
+|Flippin’ The Switch
+|-
+|227
+|Bond… James Bond
+|-
+|310
+|Bayou Country
+|-
+|330
+|TremDelay
+|-
+! colspan="2" style="background:#ffdead;" |Wah effects/Filter
+|-
+|86
+|Touch Wah Boogie
+|-
+|87
+|Envelope Phaser
+|-
+|95
+|Voodoo Chile (Jimi Hendrix)
+|-
+|98
+|Randomized
+|-
+|114
+|Seek Wah
+|-
+|119
+|Wah Octave
+|-
+|185
+|Frenetica
+|-
+|247
+|Track Wah
+|-
+|258
+|Random Wah
+|-
+|260
+|Sweep Echo
+|-
+|276
+|Get Down Syndrome
+|-
+|316
+|Opposed Notches
+|-
+! colspan="2" style="background:#ffdead;" |Reverbs
+|-
+|85
+|DreamVerb
+|-
+|123
+|Subway Verb
+|-
+|148
+|Ultraverb
+|-
+|157
+|Delay Octoplex
+|-
+|196
+|Perceptual Reverb
+|-
+|274
+|Dripping Wet
+|-
+|292/285
+|Cavernous
+|-
+|296
+|PCM70 Hall
+|-
+|299
+|Bright Plate
+|-
+|305
+|Vintage Spring
+|-
+|313
+|Long Verb
 |-
-|95
+|325
-|Voodoo Chile (Jimi Hendrix)
+|Dreamverb
 |-
-|98
+|352
-|Randomized
+|Echo Room
 |-
-|114
+|358
-|Seek Wah
+|Filter Pong Verb
 |-
-|119
+|362
-|Wah Octave
+|Chorused Reverb
 |-
-|185
+|373
-|Frenetica
+|Jump Gate
 |-
-|247
+|377
-|Track Wah
+|Echo Room 2
-|-
-|258
-|Random Wah
-|-
-|276
-|Get Down Syndrome
-|-
-! colspan="2" style="background:#ffdead;" |Reverbs
-|-
-|85
-|DreamVerb
-|-
-|123
-|Subway Verb
-|-
-|148
-|Ultraverb
-|-
-|157
-|Delay Octoplex
-|-
-|196
-|Perceptual Reverb
-|-
-|296
-|PCM70 Hall
-|-
-|305
-|Vintage Spring
 |-
 ! colspan="2" style="background:#ffdead;" |Crossover
@@ Line 2,039: / Line 3,063: @@
 |171
 |Phaser + Rotary
+|-
+|307
+|Diffuse Phaser
+|-
+|345
+|Diffuse Phaser 2
+|-
+|368
+|Modulation Mayhem
+|-
+|374
+|Fazed Delayz
 |-
 ! colspan="2" style="background:#ffdead;" |Detune
 |-
 |67
-|Modern Eddie
+|Modern Eddie (EVH detuned signature tune)
+|-
+|255
+|Detune Slap
 |-
 |271
 |Detune Plexi
 |-
-! colspan="2" style="background:#ffdead;" |Auto swell (slow gear)
+! colspan="2" style="background:#ffdead;" |Auto swell ('slow gear')
 |-
 |157
 |Delay Octoplex
+|-
+|206
+|Stringlike
 |-
 |257
@@ Line 2,070: / Line 3,112: @@
 |-
 |237
-|On The Phone
+|On The Phone (lo-fi)
 |}

Difference between revisions of "Yeks How Tos"

Latest revision as of 15:10, 7 August 2011

Contents

GENERAL

How to keep your knowledge up-to-date

How to get started quickly (for new users)

How to make sure it is set up correctly (gig checklist)

How to try the factory presets

How to find the right factory preset

How to view and hear the Axe-Fx in action

How to mount it in a rack or rackbag

AMPLIFICATION AND I/O

How to switch it on and off

How to get sound (basics)

How to use it with a FR monitor

How to connect it directly to a mixing table

How to integrate your own (pre)amp

How to use it with your own power amp and speaker cabinet

How to use it with your own guitar amplifier

How to set it up for mono or stereo output

How to get multiple output signals

How to use it for effects only (effects processor)

How to connect your guitar(s)

How to use its effects loop

How to set the input levels

How to set the output levels and avoid clipping

How to use it with headphones

How to make a digital connection (Spdif)

How to use it for reamping

How to mute the signal in tuning mode

How to adjust the overall tone and volume level

How to deal with noise

FIRMWARE, SYSTEM, SOFTWARE

How to connect it to a computer

How to update the firmware

How to reset it

How to prevent overloading the CPU

How to save and restore stuff

How to replace the battery

CREATING AND EDITING PRESETS

How to edit presets on your computer

How to use other users' presets

How to create a new preset

How to create your first preset

How to escape from the menus

How to make editing easier

How to copy and paste effect settings between presets

How to reset an effect to its default settings

How to adjust the global effects level or the master reverb level

How to insert more than 12 effects in a preset

How to add an effect block to a preset

How to deal with effects in a parallel row

How to put Axe-Fx effects before or after your own preamp

How to create a master bypass switch

How to run an effect in stereo or mono

How to set the correct bypass mode for an effect

How to set the volume level of an effect

How to adjust the volume level (per preset) while playing

How to boost the signal for leads

How to avoid clipping

How to decide where to put the Cab block

How to enable delay and reverb spillover

How to enable global control of any effects block

How to save and recall favorite amp settings (Global amp)

How to minimize gaps in the signal when switching presets

How to print preset settings

How to keep your presets organized

How to insert an external pedal in the routing

EFFECTS

How to know which effects the Axe-Fx provides

AMPS:

How to know which real amps the Axe-Fx models

How to dial in amps on the Axe-Fx

How to set the Drive and Master controls

How to use the amp tone controls (tonestack)

How to set the Bright switch

How to set the Boost switch

How to use the Presence control

How to set Damp, Sag, Depth and advanced parameters

How to split the preamp and poweramp sections of the amp sim