Axe-Fx II FAQ

INTRODUCTION

This is a FAQ for the Fractal Audio Axe-Fx (AFXII) II. I copied content from forum messages by Fractal Audio, Fractal forum administrators/moderators and other experienced users (Matman, Javajunkie, Bakerman, Jay Mitchell, Scott Peterson, Don Petersen, Rex, GuitarDojo etc.) and added missing stuff.

This FAQ is not officially supported by Fractal Audio.

Note: THIS FAQ IS STILL UNDER CONSTRUCTION! Only content from the forum is added for now. Bulk content will be migrated from the previous How-Tos and adjusted for the AFXII, after distribution of the Axe-Fx II has begun.

Enjoy your Axe-Fx and have fun.

Alexander van Engelen (Yek)

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ABOUT THE AXE-FX II

When will it ship

Not before June 6th. Source

What are the differences with Standard/Ultra

See AFXII Product Brief and Fractal Audio website.

What are the technical specifications

AFXII Product Brief

How do the unit and the circuit board look

1. Circuit board
2. High resolution picture of the front panel
3. High resolution picture of the rear panel

Where is it manufactured

All units are made in USA. Source The units are identical for all global regions and support 100-240V.

What are the dimensions

19" x 3,5" x 14". An inch or two deeper than the Standard/Ultra. Source1 Source2 The depth according to the Product Brief is 12" but this is incorrect.

Which poweramp and speakers are used by Fractal Audio to compare the amp models to the real amps

Cliff: "A Mesa 4x12 with my Carvin F1200 power amp. The patches were dry because I do A/B comparisons using an A/B box. I run the cab stereo and put the amp being modeled into one side and the Axe-Fx II into the other side. I run my guitar to the A/B box. One output to the amp and one to the Axe-Fx. Then I can quickly switch back and forth to verify the model is working properly." Source

What about fan noise

The shipping version will have the fan shock-mounted for improved noise isolation. Source

Are the rack ears removable

Yes. Source

Can I 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 poweramp and/or power conditioner. You can put the rack or bag on a stand such as this or this.

Where do I find video clips and sound samples

1. Fractal Audio website > Media
2. Fractal Audio forum > Recordings
3. Fractal Audio on Facebook
4. Axe-Fx on YouTube
5. Fractal Audio on SoundCloud

Here is a thread with links to sound samples.

Where do I find FAQs for other Fractal Audio products

1. for Standard and Ultra
2. for MFC-101

How do I stay up-to-date

1. Fractal Audio website
2. Fractal Audio forum
3. Axe-Fx Wiki
4. (...) Axe-Fx II manual
5. (...) Firmware release notes
6. Posts from the President of Fractal Audio
7. Technical questions thread
8. Fractal Audio Facebook
9. Twitter

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

STARTER TIPS

How do I experience the factory presets in the best way

Most factory presets are ported from the Ultra. Source1

CONNECTING TO A COMPUTER

Do I need a MIDI interface to connect to a computer

No, USB suffices (MIDI-over-USB). The AFXII itself is an USB-to-MIDI adapter. MIDI connections can still be used and editing over MIDI is still possible.

Do I need an audio interface to record

No. The AFXII already contains the required circuitry to send a digital signal into the computer over USB. If you're monitoring from the AFXII itself there's no latency. When monitoring the signal from the computer, the latency is determined by the host computer.

Which digital I/O connections are supported

1. S/PDIF (RCA coaxial)
2. AES/EBU (XLR)

Can I use the digital input simultaneously with analog inputs and outputs

You can use the digital input with analog Output 1 (and simultaneously digital out). You can use Input 2 and Output 2 while using the digital input. Source

Is the digital sample rate fixed

Yes, at 48kHz. Resampling is handled in software. Source1 Source2 Source3 Source4

How does it use USB

1. The USB is Audio Class 2.0 compliant. On a Mac you don't need to install any drivers but you do need to install the firmware loader for the USB chip (it is a "soft" processor and downloads its code from the host on start-up). On a PC you also have to install the Audio Class 2.0 drivers. The driver supports ASIO, SRC, etc. etc. You can use the USB just for remote control via Axe-Edit if you want. You don't have to use the audio features. Source
2. In the I/O > MIDI menu set "USB ADAPTER MODE" to ON and it functions as a USB-to-MIDI adapter. Source
3. You can edit and simultaneously record through USB. Source
4. It cannot connect to a USB stick. Source
5. The Axe-Fx will respond to MIDI events sent over USB. Source
6. You can update the AFXII over USB. Source

How does the unit show up in a DAW

As a 3-In, 2-Out device. Source

How do I use it for reamping

The 3rd and 4th channels on the USB stream from AFXII to the computer contain the raw data from the Instrument Input. This can be mono or stereo. You record this. You then play this track back into the AFXII and set Input Source to USB. Then tweak until you get the sound you want. When you are happy, record the first two channels which are the processed audio. You can save the raw tracks if you want to go back later and reamp the track again. Source1 Source2

The dry signal level is fixed, and for good reason. When you send that signal back in it is the same as the original signal sent to the grid. This means you don't have to adjust anything when reamping. You simply send the signal back. Source

USING AXE-EDIT

Where do I download Axe-Edit

Axe-Edit product page

Can I use Axe-Edit and the MFC-101 simultaneously

Yes. There's no need (anymore) to use a MIDI Merger.

Where do I find information about the upcoming Axe-Edit 1.0 release

Thread

SYSTEM, FIRMWARE

Where do I download the latest firmware

Fractal Support

How do I update the firmware

You can update it over USB. Source

Do I need to update the presets after updating the firmware

Only if instructed so in the firmware release notes.

Which programming language is used to code the firmware

C and assembly. Source

What happens if Bypass is on

After A/D conversion the signal is routed directly to the D/A converters. Inbetween there's no signal processing. It's like a row of just shunts.

How do backup and restore work

The AFXII contains onboard backup memory.

Does it have a memory slot

No.

Is it bad to switch the power off just like that

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.

CONNECTING THE INPUT / INSTRUMENTS

How do I connect my guitar

The front panel input uses a proprietary circuit and dedicated A/D converter for low noise. Always use the front input for guitar, whether wired or wireless. Source

The front input does not disable the rear input (different from Standard/Ultra). Use the menu to select either the front or the rear for Input 1. You can leave everything plugged in. Source

The front input impedance is 1 Mohm, or less if Input Impdance is adjusted.

All rear analog inputs are balanced like the onboard XLR outputs. The inputs detect whether the incoming signal is balanced or not.

Do not use speaker cable to connect to the 1/4" inputs.

How do I connect a wireless receiver

The same way as with your guitar: to the front input, to take advantage of the front input's "special sauce" for noise reduction. The rear inputs (both 1 and 2) operate at line level, the front input operates at instrument level.

How do I set the input level(s)

Instead of knobs on the front panel, there are soft Input knobs in the I/O menu. The input levels are controlled via digitally-controlled potentiometer. These work globally, not per preset. The setting doesn't affect the input gain of the Amp and Drive blocks. Source1 Source2

Can I connect a music player

Yes, connect the player to the USB slot. The signal will be mixed into the output signal. Adjust the volume on the player. Source

CONNECTING THE OUTPUT / AMPLIFYING

How do I use it with FR amplification

(tube / ss poweramp)

How do I use it with my own preamp or amplifier (4CM)

The AFXII supports unity gain when settings things up for 4CM: Four Cable Method. To obtain unity gain turn both Output knobs on the front panel fully up. Source

How do I set up two separate output feeds

1. FOH
2. FR
3. speaker cabinet

How do I set the output levels and avoid clipping

1. The XLR outputs are line-level. Source

How does it obtain unity gain

The AFXII has digitally controlled potentiometers before and after the A/D and D/A converters. Therefore it knows what the input and output gains are. It compensates for these gains in the digital path. This allows "unity gain processing". If you set the Output Level knob to maximum you will get out what you put in (assuming the blocks have no gain). So if you were to make a preset with shunts from input to output and you put a 1V signal into the unit you would get 1V out. Source

How do the HumBuster outputs work

The 1/4" outputs have a "remote ground sense" feature. You take a TRS cable and on one end you put a TRS plug and on the other end you put a regular TS plug. On the TS end you tie the ring conductor to ground. Plug the TRS end into the Axe-Fx II. The ground noise of the attached equipment is sensed and added to the output signal thereby cancelling the common-mode noise (hum). This is especially useful when doing the 4CM since that's when you usually get the worst ground loops. Source

How do I adjust the headphones level

Use the Output 1 knob. Source

How do I deal with noise

See Noise Gate.

CREATING AND EDITING PRESETS

How many presets can I use

384.

Can I load Standard and Ultra presets

No. Source1 Source2

How does the DSP load compare to the Ultra

A patch that uses 94% of the DSP on an Ultra will use around 70% on the AFXII. Source

Does it have a Compare function for presets or effect blocks

No(t) yet. Source Alternatively you can set up two presets, use the X/Y function or use Axe-Edit's Snapshot to compare.

How do I use the Quick Control knobs

1. You can use them to quickly scroll through presets instead of using the Value Wheel. Source
2. They can be assigned to any modifiable parameter per patch. Source
3. Or configure them to function as controllers. Source1 Source2

What's the DIR tab on the main preset screen for

It lists preset names and numbers for quick recall. Source

How does Input Impedance work

It is a parameter in the layout menu that affects a hardware switch. It can be set to automatic (detects the appropriate setting based on your first effect) or you can set it manually. Source Its range is 70k - 1Meg. Source The input impedance is selectable from a dozen or so values. It is done right at the instrument input using analog switches. Source It changes based on the amp model, however amps are always 1 Meg. If the first active effect is a Drive, for example, the impedance will change based on the Drive model. Source It can be saved per preset. Source The impedance feature will only have an audible effect if you are plugging your guitar directly in. It operates by loading down the guitar's pickups. If you have anything buffering the guitar then you won't be loading the pickups. Source

What are Global Blocks

An effect block can be saved as a Global Block. It then can be linked to from other presets, just like Global Amps. A change to the "master" will affect all linked blocks.

How do I edit presets on the computer

Use Axe-Edit.

USING PRESETS / PLAYING

How fast does it switch between presets

About 20ms.

Does it support spillover of delay trails and reverb between presets

Yes, in the same way as the 1st-generation units. (...)

How does the X/Y function work

1. You can set up certain effect blocks to switch between two sets of parameters. For example, with Amp blocks you can have 4 configured amps per preset, of which two can be active. Then use the X/Y knob on the front panel, or an IA switch (toggle) on a MIDI foot controller, to switch between the sets. This essentially doubles the number of those blocks within a preset. X and Y can be the same type of effect, say a RAT drive, but with different parameters. There's no transition between the two. Switching occurs at block level using a MID CC, not on preset level. Source1 Source2 Source3 Source4 Source5 Source6
2. Cliff: "The idea behind X/Y is that people often have multiple distortion/chorus/delay/etc. pedals on their board but they rarely have more than one on at a time. So rather than creating more instances of effects, which sucks up CPU, have each instance capable of more than one sound." Source
3. X/Y switching is nearly instantaneous. Source
4. X/Y doesn't support spillover. Source
5. On the MFC-101 X is green, Y is Red. Source
6. The X and Y buttons also double as user-definable Quick-Jump keys, which can be set to open the EDIT menus of any 2 blocks without going through the grid.
7. Values 0-63 for the CC select Y, and 64-128 select X. Source

AMP BLOCK

How many amp models can it hold

Lots. Source Each preset can have two Amp blocks. There's no impact on the DSP capacity because one of the two AFXII DSPs is devoted entirely to amp modeling. Each Amp block can also use the X/Y feature to switch between sets of parameters. The current state is indicated on the front panel display.

Can I rename the amp types

No. Source

How much DSP-capacity does an amp block require

One Amp block uses about 40%. One of the two DSPs is dedicated to Amp blocks. So you can run 2 of those. The other DSP is for other effects. Source

Does the amp modeling differ from Standard/Ultra

1. Yes. It's called G2 and Virtual Vaccuum Modeling modeling. See Fractal Audio website.
2. A part of it has been ported to Standard/Ultra firmware (firmware 11).
3. Cliff: "As you listen to clips from modelers what you start to recognize is a certain "stationary" aspect to the tone compared to the every-changing tonality of a tube amp. Another thing is finger response. With a good tube amp you can vary the tone quite a bit just by how you fret the note and attack it. Modelers tend to make every note sound the same. So I tested some hypotheses and came to the conclusion that it's because a real vacuum tube has a transfer function that is not static. The transfer function is dependent on time, frequency and amplitude. Where you really hear it is in the in-between regions where the tube is just starting to distort. At first I tried some dynamic transfer functions but that was a lesson in futility. So then I created the VVT stuff. In VVT there is an actual vacuum-tube replica in software. You enter the values of the resistors and capacitors on the grid, cathode, etc. and it behaves just like a tube complete with Miller effect, cathode memory, etc. The problem is that it requires an obscene amount of horsepower so the only solution was a dedicated DSP. The other big part of the G2 sound is the output transformer modeling. The OT distorts and as it distorts its inductance decreases which changes the bandwidth and loop characteristics." Source

Where is the 8-band EQ positioned in the Amp block

It's fixed in position at the very output. Source

What are Global Amps

1. (...)
2. Each amp block 10 Global Amps. So there are 10 global amps for Amp1 and 10 for Amp2. With the addition of X/Y this means that per preset up to 40 "pre-saved" amps can be recalled. Source
3. You can save Amp block settings to a Global Amp slot without being in that slot already. Source

Do amps still have negative presence

No. However for amps with no negative feedback (damp at 0) it turns into a Hicut parameter. Source

Are all amp parameters assignable to MIDI controllers

No. Cliff stated it now has the ability to do that for all parameters so maybe down the road. Source1 Source2

How do I use Presence

1. The way Presence works is changed. It's now a traditional Presence control (0-10) for amps that have a Presence control. There's no default, so keep this in mind when changing amp types. Source For amps without Presence, it's changes into a Hi-Cut control.

How does Input Trim work

Changing the input trim doesn't affect the amount of distortion. This the whole idea. You set the trim to optimize the signal level into the converters. Internally the unit applies the inverse of the trim so that the signal into the grid is constant. In other words, if you put 1V into the input the input to the grid is 1V regardless of the trim setting. Source

What do I need to know about the advanced parameters

1. Saturation switch: it switches in a zener diode clipping stage right before the tone stack. This is the "Arrendondo Mod". Source
2. Warmth and Thump: these Standard/Ultra parameters haven been removed from the Amp block in the AFXII. Source

What about Standard/Ultra amp types that are not in the list (yet)

Cliff: "The amps I haven't ported yet are because I don't have the real amp yet. I could use theoretical values but I would rather not." Source

Javajunkie: "Plexi2 on Ultra = Plexi 1 w/ different bright cap val, xformer hi freq, and presence freq. I have the values written down. You can do the same with the Plexi normal on the II. From what I understand (and Cliff can correct if I am wrong) - Plexi 1 and 2 are the same models with different default values. Source

Cliff: "As for Eggie... It's just a Blues Jr. with no negative feedback." Source

Which amps are modeled

1. Below is the list of confirmed amps models in the AFXII. Source
2. Cliff: "Almost all the amps in the AFXII are based on actual amps. The amps I haven't ported yet are because I don't have the real amp yet. I could use theoretical values but I would rather not." Source

59 BASSGUY

= 1959 Fender Bassman. A low-to-medium gain amp designed for bass but more widely adopted by guitarists

1. Details: 5F6A circuit, tweed era, normal and bright channel
2. Speakers: 4x10" Jensen or Eminence
3. Stock cabinet suggestion: ...
4. Original controls: Volume, Presence, Bass, Middle, Treble. No master volume
5. Bright default: ...
6. For authentic tone: crank the Master volume, use Drive for volume and gain
7. Try with a Treble Booster Drive block
8. Despite the fact that it was originally designed for bass guitars, it was more famous for its use with normal electric guitar
9. Fender website
10. Wikipedia

65 BASSGUY

= 1965 Fender Bassman. The blackface version with a different circuit design

1. Details:
2. Speakers:
3. Stock cabinet suggestion: ...
4. Original controls: ... No master volume
5. Bright default: ...
6. For authentic tone: crank the Master volume, use Drive for volume and gain
7. Despite the fact that it was originally designed for bass guitars, it was more famous for its use with normal electric guitar
8. Cliff: "Definitely not your father's Bassman. Has a pissed-off Marshall vibe to it." Source
9. Fender website
10. Wikipedia

VIBRATO VERB

= Fender Vibroverb. Based on a 40W combo that's great for clear or grinding cleans and gutsy blues

1. Details: 6G16 circuit, Brownface era, normal and bright channel
2. Speakers: 2x10" Oxford
3. Stock cabinet suggestion: ...
4. Original controls: Volume, Bass, Treble. No master volume
5. Bright default: ...
6. For authentic tone: the original amp has a “tapped” treble circuit, meaning that treble is “flat” at setting “5”. Cutting or boosting the treble was possible by turning the knob down (below 5) or up (above 5). Crank the Master volume, use Drive for volume and gain
7. Fender website
8. Wikipedia

DELUXE VERB

= Fender Deluxe Reverb. Great, chimey tone with nice power amp breakup when you push the MASTER

1. Details: AB763 circuit, 22W, blackface era
2. Speakers: 1x12" Jensen C12Q
3. Stock cabinet suggestion: ...
4. Original controls: Volume, Bass, Treble. No master volume
5. Bright default: ...
6. For authentic tone: crank the Master volume, use Drive for volume and gain
7. Fender website
8. Wikipedia

DOUBLE VERB

= Fender Twin Reverb. Based on the “Normal” channel. Known for amazing clean sounds and nice breakup

1. Details: AB763 circuit, normal and vibrato channel, Blackface era, 100W
2. Speakers: 2x12" Jensen C12N / JBL D120 / Oxford 12T6 / EVM-12L
3. Stock cabinet suggestion: ...
4. Original controls for normal channel: Volume, Bass, Middle, Treble, Bright switch (works with Volume below 6). No master volume
5. Bright default: ...
6. For authentic tone: crank the Master volume, use Drive for volume
7. The Fender Twin Reverb is considered a standard model for players seeking a clean sound
8. Fender website
9. Wikipedia

JR BLUES

= Fender Blues Jr. A gutsy little classic with dual EL84s

1. Details: 15W
2. Speaker: 1x12" Jensen C12N or P12R
3. Stock cabinet suggestion: ...
4. Original controls: Bass, Middle, Treble, Gain, Volume, FAT boost (not modelled)
5. Bright default: ...
6. Fender website
7. Wikipedia

CLASS-A 15W TB

= Vox AC-15. The heart of this amp’s tone comes from its power section and no negative feedback

1. Details: 15W, EL84 tubes
2. Speaker: 1x12" Celestion G12M greenback
3. Stock cabinet suggestion: ...
4. Original controls: ...
5. Bright default: ...
6. For authentic tone: crank the master, set Drive to taste
7. Vox website
8. Wikipedia

CLASS-A 30W

= Vox AC-30. A combo that dominated the British Invasion. Gritty character, warm tone, great feel

1. Details: 30W, EL84
2. Speakers: 2x12" Celestion G12M greenback or Alnico Blue or Silver
3. Stock cabinet suggestion: ...
4. Original controls: Volume, Tone. No master volume
5. Bright default: off
6. For authentic tone: Crank the master, set Drive to taste. Leave the tone controls at noon and use Presence (= Cut) to cut treble
7. Try with a Tonebender or Treble Booster Drive block. Try with the Plexi tonestack. Or try the AC30TB tone stack (Bright on)
8. Cliff: "An AC30 has no power amp feedback so it doesn't have presence or depth controls. It has a "Cut" control which is basically an adjustable snubber on the phase inverter. The Presence control becomes the Cut control"
9. Vox website
10. Wikipedia

CLASS-A 30W TB

= Vox AC-30 TBX (Topboost). Created in response to demand for "More Treble." Great highs + slightly reduced bass

1. Details: 30W, EL84
2. Speakers: 2x12" Celestion G12M greenback or Alnico Blue or Silver
3. Stock cabinet suggestion: ...
4. Original controls: Volume, Cut (= Presence), Bass, Treble. No master volume
5. Bright default: on
6. For authentic tone: crank the Master, set Drive to taste, Mid at noon. Use Presence only to cut the treble
7. Cliff: "An AC30 has no power amp feedback so it doesn't have presence or depth controls. It has a "Cut" control which is basically an adjustable snubber on the phase inverter. The Presence control becomes the Cut control"
8. Instead of turning up Drive, try boosting the input signal before the amp, for example with a Tape Dist or FET Boost Drive block
9. Vox website
10. Wikipedia
11. Wikipedia: "The "Top Boost" (or "Brilliance") feature was Vox's optional addition of a circuit that introduced an extra gain stage and tone controls for bass and treble (as opposed to the single "tone" control of early AC30s)."

BRIT JM45

= Marshall JTM 45. Made famous by Clapton and others; actually a modified Bassman design

1. Details: 45W
2. Speakers: 4x12" Celestion greenback
3. Stock cabinet suggestion: ...
4. Original controls: Volume, Bass, Middle, Treble. No master volume
5. Bright default:
6. For authentic tone: keep Bass low, crank the master, use Drive for volume and gain
7. Marshall website
8. Wikipedia

PLEXI NORMAL / TREBLE

= Marshall Super Lead 1959. NORMAL: the classic amp head that gave rise to “the stack.” Great for crunchy rhythm work. TREBLE: treble channel based on the “High Treble” channel of the legendary ’59

1. Details: normal and treble channel
2. Speakers: 4x12" Celestion greenback or G12H30
3. Stock cabinet suggestion: ...
4. Original controls: ...
5. Bright default: ...
6. For authentic tone: ...
7. [ Original manual]
8. [ ... website]
9. [ Wikipedia]

1987X NORMAL / TREBLE

= Marshall 1987x Vintage Series. NORMAL: features what many consider to be an “essential” mod to the tonestack of this Plexi. TREBLE: the treble channel of the 1987x Vintage Series Plexi

1. Details:
2. Speakers: 4x12" Celestion greenback or G12H30
3. Stock cabinet suggestion: ...
4. Original controls: ...
5. Bright default: ...
6. [ Original manual]
7. [ ... website]
8. [ Wikipedia]

BRIT 800

= Marshall JCM800. Based on the vaunted model 2204. Bring the Master up for true 80s tone

1. Details:
2. Speakers:
3. Stock cabinet suggestion: ...
4. Original controls: ...
5. Bright default: ...
6. [ Original manual]
7. [ ... website]
8. [ Wikipedia]
9. Turn up the master volume

BRIT 800 MOD

= Marshall JCM800, modded. The 800 with THE mod, designed by Jose Arredondo

1. Details:
2. Speakers:
3. Stock cabinet suggestion: ...
4. Original controls: ...
5. Bright default: ...
6. [ Original manual]
7. [ ... website]
8. [ Wikipedia]

HIPOWER NORMAL / BRILLINT

= Hiwatt DR103. NORMAL: medium-gain, full sound amp with an unique tone-stack and a chimey, grinding tone. BRILLNT: a brighter model based on the amp’s "Brilliant" channel

1. Details: 100W
2. Speakers: Fane
3. Stock cabinet suggestion: ...
4. Original controls: Volume, Master, Bass, Middle, Treble, Presence
5. Bright default: ...
6. For authentic tone: ...
7. Hiwatt website
8. Wikipedia
9. Cliff: " I have a 1974 Hiwatt DR-103. The model is based on that. It is one of the Harry Joyce, Hylight era models. Still has the original tubes. Closet find and sounds glorious"

USA CLEAN 1

= Mesa Boogie MKIV (Rhythm 1). A somewhat neutral, clean-sounding model that can pushed into warm clipping

1. Details:
2. Speakers: 4x12" Celestion V30
3. Stock cabinet suggestion: ...
4. Original controls: Gain, Volume, Treble, Mid, Bass, Presence, Bright switch. Graphic Equalizer not modeled
5. Bright default: ...
6. Original manual
7. Mesa website
8. Wikipedia1 Wikipedia2

USA CLEAN 2

= Mesa Boogie Triaxis (Green). Based on the “Vintage Fat Rhythm (Mark I, Blackface)” channel

1. Details:
2. Speakers:
3. Stock cabinet suggestion: n/a
4. Original controls: Gain, Volume, Treble, Mid, Bass, Presence, Bright switch. Graphic Equalizer not modeled
5. Bright default: ...
6. Mesa website
7. Wikipedia1 Wikipedia2

USA RHY 1

= Mesa Boogie MKIV (Rhythm 2). Based on THE California crunch rhythm sound. Rhythm Ch. 2 with “Fat” switch OFF

1. Details:
2. Speakers: 4x12" Celestion V30 speakers
3. Stock cabinet suggestion: ...
4. Original controls: Gain, Volume, Treble, Mid, Bass, Presence. Graphic Equalizer not modeled
5. Bright default: ...
6. Original manual
7. Mesa website
8. Wikipedia1 Wikipedia2
9. Turn up Drive, keep Master Volume low (3.50)

USA IIC+ NORM / BRIGHT

= Mesa Boogie Mark II Lead (Normal) / Lead (Bright). NORMAL/BRIGHT: based on a US-made amp famous for its smooth overdrive sound with pull bright OFF / ON

1. Details:
2. Speakers: EVM-12L
3. Stock cabinet suggestion: ...
4. Original controls: Volume, Master, Bass, Mid, Treble, Bright switch pullout. Treble Shift and Gain Boost not modeled
5. Bright default: ...
6. Original manual
7. Mesa website
8. Wikipedia1 Wikipedia2

USA LEAD 1 / LEAD 2

= Mesa Boogie Mark IV (Lead) / (Lead + Treble Shift ON). LEAD 1: this model has a tight, focused, hi-gain sound. Great for fusion and rock leads. LEAD 2: Treble Shift gives this amp a slightly different character with a little more cut

1. Details:
2. Speakers: 4x12" Celestion V30
3. Stock cabinet suggestion: ...
4. Original controls: Gain, Master, Bass, Middle, Treble, Presence, Bright switch. Graphic Equalizer not modeled
5. Bright default: ...
6. Original manual
7. Mesa website
8. Wikipedia1 Wikipedia2
9. Treble Shift: this shifts the range of the Presence control to higher frequencies, it influences the Treble control. In LEAD 1 Treble Shift is off, which works well for recording. In LEAD 2 Treble Shift is switched on, which works well within a band context, but can generate squealing and noise at high volume or gain levels
10. Turn up Drive, keep Master Volume low (3.50). Don't use Bright on higher volume levels

RECTO ORANGE / RED

= Mesa Boogie 2-ch. Dual Rectifier (Orange ch.) / (Red channel). ORANGE: based on the original Mesa Boogie 2-channel Dual Rectifier "Vintage" (Orange) Ch.). RED: based on the Modern (Red) "Lead" channel, this is a high-gain masterpiece with crushing power and tighness

1. Details:
2. Speakers: 4x12" Celestion V30 speakers
3. Stock cabinet suggestion: ...
4. Original controls: Gain, Master, Bass, Middle, Treble, Presence
5. Bright default: ...
6. Original manual
7. Mesa website
8. Wikipedia
9. Keep Master volume low (3.50), use Drive to add gain. Keep Presence low
10. Cliff: "None of the Recto models in the Axe-Fx have the post tone-stack bass boost. If you want to replicate the behavior of a Single Rectifier you need to put an 11 dB bass boost after the preamp model. The Axe-Fx models are based on the Dual Rectifier modes with the bass boost switch off. Single Rectifiers engage the bass boost switch automatically in channel 2"
11. To mimick the bass boost, use a PEQ or low shelf Filter after the Amp block to boost bass by 11 dB at around 120Hz.

RECTO NEW ORNGE / NEW RED

= Mesa Boogie 3-ch. Dual Rectifier (Orange ch.) / (Red ch.). ORANGE: based on the modern version of the Dual Rectifier amp. Circuit changes made this version more aggressive. RED Red Channel version of the Dual Rectifier amp

1. Details: 100W
2. Speakers: 4x12" Celestion V30 speakers
3. Stock cabinet suggestion: ...
4. Original controls: Master, Gain, Bass, Middle, Treble, Presence
5. Bright default: ...
6. Original manual
7. Mesa website
8. Wikipedia
9. Keep Master volume low (3.50), use Drive to add gain
10. Cliff: "None of the Recto models in the Axe-Fx have the post tone-stack bass boost. If you want to replicate the behavior of a Single Rectifier you need to put an 11 dB bass boost after the preamp model. The Axe-Fx models are based on the Dual Rectifier modes with the bass boost switch off. Single Rectifiers engage the bass boost switch automatically in channel 2"
11. To mimick the bass boost, use a PEQ or low shelf Filter after the Amp block to boost bass by 11 dB at around 120Hz

EURO BLUE / RED

= Bogner Ecstasy Blue Channel / Red Channel. BLUE: based on the 20th Anniversary model. OD channel w/ BOOST + STRUCTURE OFF. RED: same as above but with OD channel w/ BOOST + STRUCTURE ON

1. Details:
2. Speakers: 4x12" Celestion V30
3. Stock cabinet suggestion: ...
4. Original controls: Gain, Master, Bass, Middle, Treble, Presence, Bright switch
5. Bright default: ...
6. Original manual
7. Bogner website
8. Wikipedia
9. Blue: the model is very low gain and dark. Try with Boost and Bright (or turn up Presence)
10. Red: the model is very dark. Try Bright (or turn up Presence)
11. Quote Cliff: "My actual XTC has a Log10 pot for the treble which is an odd choice. Treble pots are usually linear and the Axe-Fx model uses a linear pot. The problem with a log-taper pot is that the treble does almost nothing for the first 50%. So you can't use your eyes if you want to copy the tone. 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"

SHIVER CLN / LEAD

= Bogner Shiva Clean Channel / Lead Channel. CLEAN: based on the 90W anniversary model. Powerful shimmering cleans. LEAD: based on a sweet, rich- sounding amp with aggressive, English- style midrange punch

1. Details: 20th Anniversary model, KT88 tubes, 90W
2. Speakers: 2x12" Celestion V30
3. Stock cabinet suggestion: ...
4. Original controls for clean channel: Bass, Treble, Volume, Master, Presence, Bright switch (less to none effective the higher Drive is set)
5. Original controls for lead channel: Bass, Middle, Treble, Volume, Master, Presence, Bright switch (less effective the higher Drive is set but still noticeable)
6. Boost, Mode and Shift controls on the original amp are not modeled
7. Bright default: ...
8. Original manual
9. Bogner website
10. Wikipedia

EURO UBER

= Bogner Uberschall. Based on "High Gain" channel of this 120W head. Heavy grinding lows and insane gain

1. Details: EL34
2. Speakers: 4x12" Celestion V30 and G12T75
3. Stock cabinet suggestion: ...
4. Original controls: Gain, Master, Bass, Middle, Treble, Presence
5. Bright default: ...
6. Original manual
7. Bogner website
8. Wikipedia
9. Bogner: "One of the most unique items is our "Presence" control. It's an amazing combination of a midrange-presence control. As you sweep through its range you will notice an incredible variety of tones this one control allows. For an extremely aggressive sub-harmonic bass and scooped-midrange sound, keep the presence off or very low. A huge 3-dimensional tone can be found by running the presence around 2 o'clock. Pushing the "Presence" control to maximum will allow you to cut a sonic path through the mix by reinforcing your midrange and slightly rolling off the sub-bass. Trust us: REALLY check out the presence control to unleash the hidden secrets of the UBERSCHALL. The "Midrange" control is very interactive with all the other tone controls, you can go from a hollow scooped-mid setting to an aggressive in your face and on your throat kind of intensity. The "Bass" control allows almost a sub-harmonic low-end to be added, at high volumes be sure to keep the bass down a bit to keep your tone focused like a laser beam"

SOLO 99 CLN

= Soldano X99 Preamp (Clean). Based on the clean channel of a Soldano/Caswell midi-motorized preamp

1. Details:
2. Speakers: n/a
3. Stock cabinet suggestion: n/a
4. Original controls: ...
5. Bright default: ...
6. Soldano website
7. Wikipedia

SOLO 100 RHY / LD

= SoldanoTM SLO-100® (Normal Ch.) / (OD Ch.). NORMAL: based on SLO-100, noted for its hot-rod chrome chassis and aggressive rhythm tone. OD: based on the snarling lead channel of the above amp

1. Details: 100W
2. Speakers: 4x12" Eminence Legend V1216
3. Stock cabinet suggestion: ...
4. Original controls: Gain, Bass, Middle, Treble, Master, Presence. Bright switch only on normal channel
5. Bright default: ...
6. For authentic tone: keep the Master volume low (3 -4). It's a very bright amp, keep Presence and Treble low
7. Soldano website
8. Wikipedia
9. Cliff: "The SLO100 is the loudest amp I've ever used. It feels like there's a small nuclear explosion going off inside when ever you hit a power chord. It's a wicked amp but not something I would recommend for anything but large gigs. If you like the SLO 100 model you might want to try the Recto models too. It's not widely known but the Rectifier preamp is a derivative of the SLO100. Some minor changes but the basic topology is identical"

FRIEDMAN BE / HBE

= Friedman Brown Eye / Hairy Brown Eye. BE: what many call “the ultimate modded Plexi” by Dave Friedman of Rack Systems. HBE: the BE amp’s alternate voicing with a gain boost. A killer hi-gain tone in your arsenal

1. Details: EL34, one channel with two voicings, 50 or 100W, used to be called "Marsha"
2. Speakers:
3. Stock cabinet suggestion: ...
4. Original controls: Gain, Master, Bass, Middle, Treble, Presence
5. Bright default: ...
6. Website

PVH 6160

= Peavey EVH 5150. Based on the high- input lead channel of an amp named after the criminally insane

1. Details: block letter model, hi input, 6L6, 120W
2. Speakers: 4x12" Sheffield 1200 speakers
3. Stock cabinet suggestion: ...
4. Original controls: pre- and post-Gain, Volume, Bass, Mid, Treble, Presence, Resonance, Bright switch (rhythm channel only)
5. Bright default: ...
6. Original manual
7. Peavey website
8. Wikipedia
9. Cilff: "I have a block letter 5150 that I based the model on." Source
10. Cliff: "The hi-input on the Lead channel is modelled. It has lots of gain. Even at noon it's already very saturated"

MR Z 38 Sr

= Dr.Z Maz 38 SR. Based on an amp popular with country and roots players

1. Details: EL84 tubes, 38W
2. Speakers: Alnico Blue with G12H30 or Celestion V30/G12H30
3. Stock cabinet suggestion: ...
4. Original controls: Volume, Master, Bass, Middle, Treble, Cut (turn up for chime)
5. Bright default: ...
6. Original manual
7. Dr.Z website
8. Wikipedia
9. Cliff: "It's a low output amp. Turn up the Master"
10. Amp settings database

CA3+ RHY / LD

= CAE 3+ SE (Ch 2) / (Ch 3). CH.2: channel 2 (Rhythm) of a preamp designed by the great Bob Bradshaw. CH.3: ch 3 (Lead) of the same

1. Details:
2. Speakers: n/a
3. Stock cabinet suggestion: n/a
4. Original controls: Gain, Volume, Bass, Middle, Treble, post EQ (punch, presence), Bright switch for each channel
5. Bright default: ...
6. Original manual
7. CAE website
8. Cliff: "Channel 1 isn't modeled because it's very similar to a Fender Twin (Double Verb model)"

WRECKER 1

= Trainwreck Express. Based on the Trainwreck Express—designed and built by the late, great Ken Fischer

1. Details:
2. Speakers:
3. Stock cabinet suggestion: ...
4. Original controls: Volume, Bas, Mid, Treble, Presence, Bright switch. No Master volume
5. Bright default: ...
6. For authentic tone: crank the Master volume, use Drive for volume and gain
7. FAQ
8. Trainwreck website
9. Cliff: "The Trainwreck depends on power amp distortion. The OT has a high impedance which causes the power tubes to enter clipping early. I would not recommend using that model as preamp."

CORNCOB M50

= Cornford MK50II. Based on a boutique British amp. Plexi-Meets-Modern tone with big cojones

1. Details: 50w, 6L6/5881, 1 channel
2. Speakers: Celestion V30
3. Stock cabinet suggestion: ...
4. Original controls: Volume, Gain, Bass, Middle (500Hz), Treble, Volume, Presence, Resonance
5. Bright default: ...
6. Original manual
7. Cornford website

CAROLANN Od-2

= Carol-Ann OD-2r. The celebrated OD2r. Model fine-tuned by the highly respected Alan Phillips himself!

1. Details: overdrive channel, 50W, EL34 or 6L6
2. Speakers: EVM-12L or Celeston Classic Lead 80
3. Stock cabinet suggestion: ...
4. Original controls: Master, Gain, Bass, Middle, Treble, Presence, Bright switch (clean and overdrive channel), Shift switch
5. Bright default: ...
6. Original manual
7. Carol-Ann website
8. Alan Phillips: "In the real world the OD2 is very very fussy on speaker choice too. The real world speakers of choice are EVM12L in a 1x12 rear ported and 2x12 with Celestion Classic Lead 80's. I found the 12L emulation did a pretty good job. Some of the others sounded so artificial with that model. Like a rockman. Coupled with the right cab the emulated model does a good job of representing the basic tonal signature of the amp". And: "It's not a competitive model, it's a live demo of an OD2 as tweaked by me. Damn sight better than sound clips for auditioning to guys that haven't got the ability to get to a Dealer. Clearly it doesn't give you the full experience of the full amp, but is a good tonal taster. I repaired a Soldano SLO for him one day and when he came over my house to pick it up we just decided it would be a good idea to put a CA model in there. Having the actual builder involved kind of closes the loop fully. I'm happy to endorse that model because I put a lot of hours testing it and putting together a ton of technical information, fourier analysis graphs, frequency response graphs, schematics etc that would make validation of a mathematical model much easier. In reality even though the power amp and the preamp are modelled the pre-amp got the most effort. As I said in another thread, I tuned that by putting the axe in to the actual power amp of an OD2 and running that side by side with a full OD2. The final tweaks were made like that using parametric eq blocks that were hard coded in to the model. You could call that the icing on the cake and basically put the same level of tuning in to the model as I do with a actual OD2. The only difference was I was using a GUI, not resistors and capacitors."

FRYETTE D60 L / M

= Fryette D60 (Less) / (More). Based on the Fryette Amplification D60 in the "Less" resp. "More" mode

1. Details: 60W, KT88 or 6550
2. Speakers: 2x12"or 4x12" Eminence P50E
3. Stock cabinet suggestion: ...
4. Original controls: Gain, Volume, Bass, Middle, Treble, Presence, Depth, More/less switch
5. Bright default: ...
6. Original manual
7. Fryette website
8. Wikipedia

BROWN

= "The Brown Sound". A faithful recreation of the pure, raw "Brown Sound"—The Modded “#1” Marshall

1. Details:
2. Speakers: 4x12" Marshall with greenbacks
3. Stock cabinet suggestion: ...
4. Original controls: Volume, Bass, Middle, Treble. Bright cap
5. Bright default: ...
6. For authentic tone: ...
7. Marshall website
8. Wikipedia

CITRUS RV50

= Orange Rockerverb. Based on the "dirty" channel of the 50W head known for warmth and rich harmonics

1. Details: EL34
2. Speakers: Celestion V30
3. Stock cabinet suggestion: ...
4. Original controls on dirty channel: Volume, Gain, Treble, Mid, Bass
5. Bright default: ...
6. Original manual
7. Orange website
8. Wikipedia

JAZZ 120

= Roland JC-120 120. The only solid-state-based model in our collection; a quintessential clean tone

1. Details: 120W (stereo: 2x 60)
2. Speakers: 2x12"
3. Stock cabinet suggestion: ...
4. Original controls: Volume, Bass, Mid, Treble. No master volume
5. Bright default: ...
6. Original manual
7. Roland website
8. Wikipedia

ENERGYBALL

= ENGL Powerball. Very high-gain German model. Lots of bass. Great for aggressive, drop-tuned riff work

1. Details: lead channel, 100W, 6L6
2. Speakers: 4x12" Celestion V30 (or custom V60)
3. Stock cabinet suggestion: ...
4. Original controls: Gain, Volume, Bass, Middle, Treble, Presence, Depth, Bottom, Open/Focused mode, Bright switch for low gain channels only
5. Bright default: ...
6. Original manual
7. Engl website
8. Wikipedia

ODS-100 CLEAN / LEAD

= Dumble OD Special (Clean) / (Drive Ch.). CLEAN: based on the Clean channel of a coveted but rare amp made famous by Robben Ford. DRIVE: the same amp. OD channel. Also played by the great Larry Carlton and many others!

1. Details:
2. Speakers:
3. Stock cabinet suggestion: ...
4. Original controls: ...
5. Bright default: ...
6. [ Original manual]
7. [ ... website]
8. [ Wikipedia]

FAS RHYTHM

= Created by Fractal Audio Systems. Combines the best features of the British and USA crunch models

1. Details:
2. Speakers:
3. Stock cabinet suggestion: ...
4. Original controls: n/a
5. Bright default: ...

FAS LEAD 1

= Created by Fractal Audio Systems. Neutral high-gain lead with a tight midrange

1. Details:
2. Speakers: n/a
3. Stock cabinet suggestion: ...
4. Original controls: n/a
5. Bright default: ...

FAS LEAD 2

= Created by Fractal Audio Systems. Hot-rodded British lead sound with a tonestack by the one and only Bob Bradshaw

1. Details:
2. Speakers: n/a
3. Stock cabinet suggestion: ...
4. Original controls: n/a
5. Bright default: ...

FAS MODERN

= Created by Fractal Audio Systems. A high-gain hybrid. Equally well-suited to modern rhythm and lead work

1. Details:
2. Speakers:
3. Stock cabinet suggestion: ...
4. Original controls: n/a
5. Bright default: ...

DAS METALL

= Diezel VH4. Based on a high-gain, boutique amp famous for its powerful, heavy, aggressive sound

1. Details: 4 channels, 6550 tubes (or EL34 or 6L6)
2. Speakers: 4x12" Celestion G12K100 or V30
3. Stock cabinet suggestion: ...
4. Original controls: Gain, Volume, Bass, Mid, Treble, Presence (4kHz), Deep (80Hz)
5. Bright default: ...
6. Original manual
7. Diezel website
8. Wikipedia

BRIT PRE

= Marshall JMP-1 Preamp. Based on a rack-mount preamplifier version of the Brit 900. Crunchy “ZZ” tone

1. Details: MIDI
2. Speakers: n/a
3. Stock cabinet suggestion: n/a
4. Original controls: Volume, Gain, Bass, Mid, Treble, Presence, Bass shift
5. Bright default: ...
6. Original manual
7. Marshall website
8. Wikipedia

BUTTERY

= Budda Twinmaster. Based loosely on a late 90s specimen. Relies mostly on power amp distortion

1. Details:
2. Speakers:
3. Stock cabinet suggestion: greenbacks (4x12 20w / 25w), 4x12 30w or anything that resembles Eminence Legend
4. Original controls: Bass, Treble, Volume. Bright cap on the Volume control (Bright switch)
5. Bright default: ...
6. For authentic tone: turn up the Master volume, use Drive for volume and gain
7. Original manual
8. Budda website
9. Wikipedia
10. Cliff: "I did the Buttery model by ear. I listened to some clips of Buddas (Matchbox 20, remember them?) and tweaked the model until I thought it sounded like one. Screwed around a little with the tube bias points until it had the right balance of harmonics and called it a day

SV BASS

= Ampeg SVT. Based on a bass head used for decades by famous bassists the world over

1. Details: Super Vacuum Tube bass amp, 300W
2. Speakers: 8x10" speakers
3. Stock cabinet suggestion: ...
4. Original controls: ...
5. Bright default: ...
6. Ampeg website

Cameron Med

= Cameron CCV100. Based on what its creator Mark Cameron calls “one pissed off amp"

1. Details:
2. Speakers:
3. Stock cabinet suggestion:
4. Original controls:
5. Bright default: ...

CAB BLOCK

How many cab slots does it have

1. 64 factory (stock) cabs.
2. 50 user cab slot for external IRs.
3. Each Cab block can also use the X/Y feature to switch between sets of parameters. Source

Which new parameters are added to the cab block

Room Level, Room Size, Mic Spacing, Low Cut and High Cut. Source

What are 2048-point IRs good for

Cliff: "Depends on the cab. Certain cabs benefit more than others. I started out with 8192 but didn't hear any difference so couldn't justify wasting all that space and CPU. You can hear it with room mics but the room simulation sounds nearly identical. There are a couple reasons for 2048. Probably most important is that it allows 1024 in stereo mode. To be able to do stereo 1024 requires a 2048 convolution engine. Secondly, some IRs benefit from longer IRs. Better to have the ability and not need it than the converse." Source1 Source2

A stereo cab (LoRes) now uses two 1024 IRs (instead of 512 on Standard/Ultra). Source

Jay Mitchell's comments on 512-, 1024- and 2048-point IRs: Source1 and Source2 and Source3 and Source4.

It's no use converting 1024-point IRs to 2048 since they don't contain the necessary data. You need a WAV-file to convert to 2048. Use AlbertA's conversion utility to convert WAV files into 2048-point IRs.

Where do I find 3rd-party IRs

Sources for 3rd-party IRs:

• Ownhammer
• RedWirez

These companies create and sell high-quality IRs for Standard/Ultra as well as AFXII. You can load these IRs into the user cab slots using Axe-Edit. Some of their IRs are included with the AFXII as stock cabs.

Also included are IRs by Jay Mitchell.

Where is the Drive parameter in the cab block

This parameter has been removed from the Cab block in the AFXII. Instead, the Amp block has dynamic speaker modeling in the Amp block. Source

Does it have a cab type for acoustic guitar

No. But there's a thread on the forum that contains Fishman Aurex IRs (1024-point). And there's an IR available of an acoustic body that has been converted to 2048 points.

How do I manage the user cab slots

User cab slots is another name for external cab blocks, or impulse responses (IRs). (...)

Can I rename cabs in the user cab slots

Yes, using Axe-Edit. The AFXII uses the name contained in the sysex data of the IR-file to show on its display with a maximum of 32 characters. Source1 Source2

Can I make it sound more like an amp in the room

1. Select a farfield cab type (not close-mic'd).
2. Set the Mic Type to none, to keep tone colorizing by the mic away.
3. Use the room simulation controls in the Cab block. These can be used with any IR. It's a special reverb algoritm.

Why are two cab blocks louder than a single one

Bakerman: "It depends on how you're panning. Assuming a mono signal sent to cabs: Stereo cab w/ Pan L and Pan R fully left & right will be the same output level as 2 mono cabs w/ balance L & R. If pans/balances are centered the 2 mono cabs will be 6 dB louder. Balance elsewhere would be between 0 and 6 dB louder, and balance doesn't correspond 1:1 to pan L/R for the same placement. Balances will need to be further toward -50 or 50. Source

THE OTHER EFFECTS

About Global EQ

It's always on. Source The 10-band frequencies are: 31, 63, 125, 250, 500, 1k, 2k, 4k, 8k, 16k. Source

About CHORUS

1. Chorus blocks: 2.
2. Supports X/Y function.
3. Offers fixed types: digital mono, digital stereo, analog mono, analog stereo, japan ce-2, warm stereo, 80s style, triangle, 8-voice stereo.
4. The Chorus block of the AFXII models bucket-brigade delay lines (BBD). Source

About COMPRESSOR

1. Blocks: 2.

About CROSSOVER

1. Blocks: 2.

About DELAY

1. Blocks: 2.
2. Supports the X/Y function.
3. The AFXII adds improvements to the Delay block: a two-band parametric EQ for the wet signal with low-cut and high-cut with adjustable slopes for the cut filters. The EQ stuff is on a separate GUI page with a graphical display. Source
4. Delay blocks now have a master feedback that goes to 200% for oscillating delay effects. Source
5. Offers fixed types: digital mono, digital stereo, analog mono, analog stereo, mono tape, stereo tape, ping-pong, dual, reverse, sweep, ducking, vintage digital, 2290 w/ mod, ambient stereo. The tape delays model the preamp too. Source
6. Reverse delay: (...).
7. Matman: "Axe-Fx II leaves the Ultra in the dust for delay flexibility. ALL your sounds are in here. Bit reduction. 4-band parametric EQ in the loop Hi and Low Cut... 12/24/48 db slope... Q control. 2 mid bands with selectable Q, gain, freq. HOLD switch. Master feedback goes over 100%. 60+ different tempo settings. Better TIME parameter resolution. Plus all the original flexibility of the Ultra/Standard." Source

About DRIVE

1. Blocks: 2.
2. No hopes for more Drive blocks. Source
3. Supports the X/Y function.
4. There's a bit crusher effect now. Source
5. Cliff: "I improved all the drives." Source

About EFFECTS LOOP (FXL)

1. Blocks: 1.

About ENHANCER

1. Blocks: 1.

About FEEDBACK SEND/RETURN

1. Blocks: 1. Source
2. This block can be used to route the signal. A common use is to extend the possible number of effects (have more than 12 blocks) by routing the signal from row to row.

About FILTER

1. Blocks: 4.

About FLANGER

1. Blocks: 2.
2. Supports the X/Y function.
3. The Flanger block of the AFXII models bucket-brigade delay lines (BBD). Source
4. Offers fixed types: digital mono, digital stereo, analog mono, analog stereo, thru zero, stereo jet.

About FORMANT

1. Blocks: 1.

About GATE/EXPANDER

1. Blocks: 2.
2. There also is a global Noise Gate in the Layout menu. These separate Gate blocks are available for additional noise control.
3. You can use SCSEL (SideChain Select) to select the signal the gate is working with. If the gate is the first block in the routing there's no need to use SCSEL. But if the gate is placed after other blocks in the routing, it can be useful to use SCSEL to set an optimal source signal. Source

About GRAPHIC EQ

1. Blocks: 4.
2. It's a 10-band EQ. Frequencies: 31, 63, 125, 250, 500, 1k, 2k, 4k, 8k, 16k. Source

About LOOPER

1. Blocks: 1. It's a dedicated block (instead of a Delay mode as on the Standard/Ultra).
2. The same features as on the Ultra (with stack and reverse) but with 60 seconds loop time. Source

About MEGATAP DELAY

1. Blocks: 1.

About MIXER

1. Blocks: 2.

About MULTIBAND COMPRESSOR

1. Blocks: 2.

About MULTI-DELAY

1. Blocks: 2.

About TREMOLO/PANNER

1. Blocks: 2.

About PARAMETRIC EQ

1. Blocks: 2.

About PHASER

1. Blocks: 2.
2. Supports the X/Y function.
3. Offers fixed types: digital mono, digital stereo, script 45, script 90, block 90, classic vibe, stereo 8 stage - plus vibe mode.

About PITCH

1. Blocks: 2.
2. Supports the X/Y function.
3. The Pitch block has a Learn function. Turn it on, play a note, hold it. The AFXII now sets the key according to the note you played. Source1 Source2

About QUAD-CHORUS

1. Blocks: 2.

About RESONATOR

1. Blocks: 2.

About REVERB

1. Blocks: 2.
2. Supports the X/Y function. Source1 and Source2
3. The AFXII adds improvements to the Reverb block: there are improvements in the tail decay plus a two-band parametric EQ for the wet signal with low-cut and high-cut. The EQ stuff is on a separate GUI page with a graphical display. Source

About RING MODULATOR

1. Blocks: 1.

About ROTARY CABINET

1. Blocks: 2.

About SYNTH

1. Blocks: 2.
2. It has two voices.

About VOCODER

1. Blocks: 1.

About VOLUME/PAN

1. Blocks: 4.

About WAH

1. Blocks: 2.
2. Supports the X/Y function.
3. The Wah block of the AFXII models the Fasel Inductor. Source
4. Seek wah: (...).

SPECIAL SOUNDS AND ROUTINGS

Does it have a (Uni)Vibe effect

Yes, see Phaser.

Does it have a Detune effect

Yes, see Pitch.

Does it have an Envelope Filter (Autowah) effect

See (...).

Does it have a Freeze or Hold effect

Yes, it's built into the Delay effect. Source

Does it have a Bit Crusher effect

Yes. Source

How do I create the Vibrato effect

See Chorus.

How should I set up a preset for my acoustic guitar

1. (magnetic)
2. (piezo)

What's a good way to simulate a drop-tuned guitar

See Pitch.

CONTROLLERS, MODIFIERS

How do I use internal controllers and modifiers

1. The internal controllers in the AFXII are the same as in the Standard/Ultra. The LFOP range is slightly greater. Source

How many external controllers can I use

12.

How many steps does the Sequencer have

16.

Can a modifier be set to min and max values

In the AFXII there are MIN and MAX values. These are the actual parameter values. For example, if you want to change the delay time from 500 ms to 700 ms, you simply set MIN to 500 ms and MAX to 700 ms. So 0% corresponds to 500 ms and 100% corresponds to 700 ms. Source

Can it act a MIDI source for MIDI Clock to other devices

No. Source

PEDALS, SWITCHES, FOOT CONTROLLERS

Where do I find tips and tricks for the Fractal Audio MFC-101

MFC-101 HowTos

Can I use the Quick Control knobs as pedals

Yes. Source

What's the purpose of the Rj45 port

Use this to connect the MFC-101, instead of using a MIDI cable. It uses a regular CAT-5 network cable and a propietary protocol. This supports bidirectional communication and phantom power. Source

When using the CAT-5 cable a 9V adapter is no longer needed to provide phantom power. Source1 Source2

When switching off the AFXII, the MFC-101 also switches off. Source

All four pairs are used. The two normally unused pairs are used to carry power and ground. Source

Does it support a future MFC-101 expansion unit

Yes. Source

How many pedals can be connected directly

One.

Can I use phantom power over a MIDI cable to power my MIDI foot controller

Yes. You need a 7-pin cable. Pins 6 and 7 carry phantom power.

Axe Fx II SysEx Information

Set G2 Impulse Response

The Axe Fx II supports 2040 point impulse responses that are packaged for download in a series of 66 MIDI SysEx messages, as follows:

MIDI_START_IR_DOWNLOAD

Prepare the Axe-Fx II to receive impulse response data

Message Format:

0xF0 sysex start

0x00 manufacturing ID byte 0

0x01 manufacturing ID byte 1

0x74 manufacturing ID byte 2

0x03 model number

0x7A

0x20

0x00

0x10

0xdd checksum

0xF7 sysex end

MIDI_G2_IR_DATA

There are 64 sysex messages, each containing 32 chunks of data. Each chunk consists of five bytes and can holds either four text characters or one IR data point.

The first data message sent includes 8 chunks of text that specify the 32-character IR name, and 24 chunks of IR data. The subsequent 63 data messages each contain 32 data points for a total of 2040 points.

Message Format:

0xF0 sysex start

0x00 manufacturing ID byte 0

0x01 manufacturing ID byte 1

0x74 manufacturing ID byte 2

0x03 model number

0x7B function ID

0x20

0x00

0xdd data chunk byte 0

0xdd data chunk byte 1

0xdd data chunk byte 2

0xdd data chunk byte 3

0xdd data chunk byte 4

--- 31 additional five byte data chunks ---

0xdd checksum

0xF7 sysex end

MIDI_CLOSE_IR_DOWNLOAD

Terminate the IR download sequence

Message Format:

0xF0 sysex start

0x00 manufacturing ID byte 0

0x01 manufacturing ID byte 1

0x74 manufacturing ID byte 2

0x03 model number

0x7C function ID

0xdd encoded checksum byte 0 for IR data

0xdd encoded checksum byte 1 for IR data

0xdd encoded checksum byte 2 for IR data

0xdd encoded checksum byte 3 for IR data

0xdd encoded checksum byte 4 for IR data

0xdd checksum

0xF7 sysex end

Data Chunk Encoding Scheme

The data encoding scheme translates four octets into five septets. Each septet occupies the lower seven bits of a byte, with the most significant bit set to 0.

# octet is chunk data in octets
# septet  is a byte array of chunk data in septets

# organize four bytes of input data in reverse order
octet = (data[3] & 0xFF )<< 24 | (data[2] & 0xFF )<< 16 | (data[2] & 0xFF )<< 8  (data[0] & 0xFF;

# convert four octets to five septets
septet[0] = octet & 0xFF;
septet[1] = octet >> 7 & 0xFF;
septet[2] = octet >> 14 & 0xFF;
septet[3] = octet >> 21 & 0xFF;
septet[4] = octet >> 28 & 0xFF;