Difference between revisions of "Yeks How Tos"

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# Select a factory preset and make some noise.
 
# Select a factory preset and make some noise.
  
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Once you've gotten a feel for what you like from the factory presets, you can start to build your own sounds, and are probably a little overwhelmed with all the choices you have. So how do you do effectively dial in your own sounds? Start by playing around with these three key effects:
+
Once you've gotten a feel for what you like from the factory presets, you can start to build your own sounds, and are probably a little overwhelmed with all the choices you have.  Start by playing around with these three key effects:
−
* Amp.  This is the most obvious thing for people to understand. You know what a Marshall sounds like, and you know what a Blackface sounds like (or soon will!). [[Amps|Amps Section]]
+
* Amp.  This is the most obvious thing for people to understand. You know what a Marshall sounds like, and you know what a Blackface sounds like (or soon will!). [[Yeks_How_Tos#Amps|Amps Section]]
−
* Cab.  This is the most overlooked thing for beginners that don't have a deep knowledge in sound engineering.  The Cab and the mic controls on the Cab effect can make your sound range from a bedroom to a concert hall...they really affect the shape of your sound, so get familiar with them before you even think about touching any EQ dials.  Don't worry about building custom Cabs (Impulse Responses) until you've learned and outgrown the stock cabs (if ever).  Start by setting the effect type to Mono Hires, and then play around with two dials - the Cab and the Mic.   [[Cabinets|Cabinets Section]]
+
* Cab.  This is the most overlooked thing for beginners that don't have a deep knowledge in sound engineering.  The Cab and the mic controls on the Cab effect can make your sound range from a bedroom to a concert hall...they really affect the shape of your sound, so get familiar with them before you even think about touching any EQ dials.  Don't worry about building custom Cabs (Impulse Responses) until you've learned and outgrown the stock cabs (if ever).  Start by setting the effect type to Mono Hires, and then play around with two dials - the Cab and the Mic. [[Yeks_How_Tos#Cabinets|Cabinets Section]]
−
* [[Radley_Reverb_Tips|Reverb]].  This page explains the key knobs for dialing sweet reverb in easily.
+
* [[Radley_Reverb_tips|Reverb]].  This page explains the key knobs for dialing sweet reverb in easily.
  
 
'''The rest of the effects and capabilities can come later; these three things are your foundation and are the most important thing for you to understand first.'''
 
'''The rest of the effects and capabilities can come later; these three things are your foundation and are the most important thing for you to understand first.'''

Revision as of 16:28, 21 February 2010

Mail suggestions and corrections here

Contents

Introduction

After ordering my Axe-Fx Ultra I wanted to be prepared. So I read the manual, I digged deep into the wiki and read a heap of forum material. I collected everything I found useful and archived it. Now I’m sharing the results. It's my way to give something back to the community. 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. Please rememeber that I’m just another Axe-Fx user, so this is all “unofficial”. And English isn’t my native language, so there will be spelling errors. Some content is derived from information by experienced Axe-Fx user, wiki contributors and forum administrators, so credit goes to them. And thanks to Ian ("Iaresee") for migrating it all into the wiki. This is a work in progess. Information will be added frequently.

Alexander (a.k.a. Yek)

Read this first!

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 How-To’s below to get started.

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 blasting from your guitar cabinet. The Axe-Fx models the tones of a recorded guitar or a guitar that's amplified through the FOH (Front of House: the main sound system that the audience hears at a live show). To a guitar player that’s a tone that'll take some time getting used to, not for the audience. Nevertheless, it’s still possible to create that “in the room” tone too.

General

How to choose between the Standard and Ultra edition

There are two editions of the Axe-Fx: the basic Standard and the advanced Ultra. The specs are on the Fractal Audio website and in the wiki here and here.

The Standard suffices for switching basic patches and regular effects. You can insert two amps and two cabinets in a patch but that won't leave many resources for additional effects.

The Ultra has a faster processor and more memory. This translates into additional, advanced Ultra-only effects (such as synth, vocoder, multiband compressor, quad chorus, ring modulator, delay looper) and it can run more effects per patch (virtual pedalboard) before reaching the CPU's limits. Of course the Ultra is more expensive too.

How to get started quickly (for new users)

Use the following checklist to set up the Axe-Fx for a first audition. A lot of stuff is explained in detail in separate How-To’s.

  1. Connect the Axe-Fx to your amplifier or mixing table using Output1 at the rear. If you’re using a guitar combo or head, connect Output1 to the Return jack of the amp’s effects loop and make sure that effects loop is switched on.
  2. Plug your guitar in the front input on the Axe-Fx. Verify that “Analog Front” is selected (I/O > Mode).
  3. If you’re using your computer, home stereo, FRFR monitor or mixer with headphones, verify that cabinet simulation and power amp simulation are active (Global > Config). If you’re using your guitar amplifier or a power amp with a speaker cabinet, switch them off.
  4. If the amplification device is stereo and you're using both outputs, set Output1 to “Stereo” (I/O > Audio). If it’s mono, set it to “Copy L>R”.
  5. 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.
  6. Use the Output1 knob at the front to turn up the main output level of the Axe-Fx.
  7. Make sure the Axe-Fx isn’t set to Bypass (the Bypass LED should not blink).
  8. 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, and are probably a little overwhelmed with all the choices you have. Start by playing around with these three key effects:

  • Amp. This is the most obvious thing for people to understand. You know what a Marshall sounds like, and you know what a Blackface sounds like (or soon will!). Amps Section
  • Cab. This is the most overlooked thing for beginners that don't have a deep knowledge in sound engineering. The Cab and the mic controls on the Cab effect can make your sound range from a bedroom to a concert hall...they really affect the shape of your sound, so get familiar with them before you even think about touching any EQ dials. Don't worry about building custom Cabs (Impulse Responses) until you've learned and outgrown the stock cabs (if ever). Start by setting the effect type to Mono Hires, and then play around with two dials - the Cab and the Mic. Cabinets Section
  • Reverb. This page explains the key knobs for dialing sweet reverb in easily.

The rest of the effects and capabilities can come later; these three things are your foundation and are the most important thing for you to understand first.

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

I run through a checklist before gigging, to verify that everything is set up corectly for the night.

  1. Check the volume level and tone control(s) on the amplifier.
  2. Check the cabling between the Axe-Fx and the amplifier (Output1 and if applicable Output2).
  3. Verify that the input source is set to “Analog Front” (I/O > Mode).
  4. Check the audio output mode: mono or stereo (I/O > Audio).
  5. If applicable: check the output mode of the Axe-Fx for monitoring (I/O > Audio).
  6. Check the global settings for cabinet simulation, power amp simulation and spillover (Global > Config).
  7. Check the global EQ and level settings (Global > Out1 / Out2).
  8. Adjust the input and output levels at the front of the Axe-Fx.
  9. Verify that the MIDI foot controller / pedals / switches are operational.
  10. Verify that the Axe-Fx is not set to Bypass or Tuner.
  11. Perform a soundcheck.
  12. Get free beer, talk with girls. Or vice versa.

How to keep your Axe-Fx knowledge up-to-date

You mean, apart from this page? ;-) Well, here they are:

And if you subscribe to this forum thread, you’ll receive notifications of important news (such as the release of new firmware) by mail.

How to experience the factory presets the right way

Some like them, some hate them. Some think they are useless and delete them immediately, some build their own patches upon them. Anyway, the Axe-Fx comes with a lot of pre-built presets. The Standard has 256 presets (Banks A and B, Bank C is empty) and the Ultra has 384 ready-made presets in Banks A, C and C) which is also the memory space for all patches. There are no separate locations for factory presets and user patches on the Ultra. So if you want to save your own patches on the Ultra, you have to overwrite factory presets (you can’t delete a patch, you need to overwrite it). You can always reload the factory presets later on, they are available online. Wish: It would be nice to be able to write-protect patches.

There are a couple of caveats with the factory presets:

  1. Don’t worry about volume level differences, they were programmed by different people.
  2. Remember that presets may not have been optimized for later firmware upgrades.
  3. Some factory presets employ a noise gate at a threshold that may not work well with your guitar. Go to Layout > Gate. Turn the threshold to zero to switch the gate off.
  4. Some of the factory presets contain an ENH block which is the Stereo Enhancer effect. This is designed for stereo use. If you're running the Axe-Fx in mono, and its audio output mode is set to “Sum L+R”, this effect will make the tone hollow, thin and glassy. An issue that's also known as phase cancellation. Disable the Stereo Enhancer or select the output mode “Copy L>R” instead.
  5. Some of the factory presets employ a delay with its Phase Rev parameter (on the Advanced page of the Delay block) switched on. This is also a stereo feature. If you're running the Axe-Fx in mono, and its audio output mode is set to “Sum L+R” you wom't hear any delay trails because of phase cancellation. So wwitch off Phase Rev or select output mode “Copy L>R” instead.

How to find a suitable factory preset for your needs

The wiki contains downloadable lists of all factory presets. They may be a bit outdated though.

I’ve categorized the ones that I found interesting. This lets you find a specific preset quickly. Scroll down to the end of this page for the categorized list.

How to check out the Axe-Fx on YouTube

There are lots of Axe-Fx videos on YouTube. A selection of the ones I find particularly interesting (including demos and tutorials) can be found near the bottom of this page.

How to mount or place the Axe-Fx

The Axe-Fx is a 19” 2U device and can be easily mounted in a rack. If necessary together with a racked power amp and/or a power conditioner. A simple 19" rack powerstrip (example) may suffice instead of a power conditioner. When performing you can put the rack on a stand (example). If you want to see how others deal with this, check this thread or this thread.

Amplification and Plugging In

How to get sound from the Axe-Fx

First read the topics above.

You can use cabling with jack or XLR connections. The Axe-Fx supports balanced XLR cabling for Output1: this will extra output volume, it supports longer distances and you can use the ground lift switch at the rear to isolate the ground and fight ground loop hum.

If you notice some hiss when nothing is connected to the front or rear inputs, don’t worry about it, it’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 line input on the mixer. And don’t mess too much with the Output1 knob at the front, because this has an impact on the signal to the FOH main mixer level as well (use Output2 for your monitor, see separate topic).

Use this list to troubleshoot signal problems:

  1. Verify that the Axe-Fx isn’t set to Bypass by accident.
  2. Check the levels at the front of the Axe-Fx.
  3. Check the levels on the amplifier.
  4. Check the cabling.
  5. Verify that everything is set correctly in the I/O menu.
  6. Verify that the Input is connected to the Output in the patch grid (Layout).
  7. Verify that bypassed effect blocks don't have their Bypass mode set to complete mute.
  8. Check if there’s a Mixer block (or an equivalent effect) connected to an external modifier which is off (but should be on).
  9. Verify that the CAB block doesn’t point to an empty user cab slot.
  10. Verify that the Axe-Fx isn’t set to muted Tuner mode.
  11. If the tone is glassy, thin and hollow, or if there should be delay trails but you can’t hear them, it may be due to phase cancellation. Scroll to the topic about mono and stereo operation.
  12. If the output signal is “choppy”, a noise gate could be the cause. Adjust the threshold or turn it to zero to disable the gate (Layout > Gate). Note that the Ultra edition may have separate Gate blocks in the grid as well.

How to use your FRFR monitor with the Axe-Fx

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. All tone shaping is left to the input device: in this case the Axe-Fx. FRFR advantages are portability, no tone coloring, stage volume, consistent tone, ability to use different cab sims, same tone for gigs as for studio. Read the sticky threads at the top of the Amps and Cabs forum.

To set up the Axe-Fx for amplification by a FRFR monitor:

  1. Connect the Axe-Fx to the FRFR monitor.
  2. Switch on cabinet simulation (Global > Config).
  3. Switch on power amp simulation (Global > Config).
  4. 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.
  5. Select the correct output settings for mono or stereo use (I/O > Audio), see separate topic.

And remember this: for FOH amplification you do not need to put a microphone in front of the FR monitor! Just run a line from Output1 or Output2 to the mixing table (line input).

Fractal Audio has its own FR amplifier range: Atomic Reactor FR. A StandBack or a stand [like this is handy if you want to use the non-wedge edition as a personal monitor. You can put the non-wedge Atomic on its side (to be able to hear it better), as long as the power amp is at the top side. If your guitar pickups sounds microphonic or when they squeal when using a Atomic, check this thread.

How to connect the Axe-Fx directly to a mixing table

Sending the Axe-Fx output signal into a mixing table is the same as amplifying it through a FRFR monitor, so read that topic and the one about mono/stereo operation. Always use a line input.

For digital connections, see that topic.

How to use your own (pre)amp with the Axe-Fx

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

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

  1. 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 of the Axe-Fx and Output1 connects to the amp’s effects loop Return jack.
  2. Set the input source to “Analog Rear” (I/O > Mode).
  3. Set Output1 to one of the mono settings (I/O > Audio).
  4. Disable cabinet simulation and power amp simulation (Global > Config). Or keep power amp simulation switched on if you think it sounds better that way.
  5. Disable AMP and CAB blocks in the patch grid (Layout).

If you want effects behind your preamp, like delay or reverb, and you have separate preamp and power amps, do this:

  1. 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.
  2. Set the input source to “Analog Rear” (I/O > Mode).
  3. Depending on your power amp, set Output1 to stereo or one of the mono settings (I/O > Audio).
  4. Disable cabinet simulation and power amp simulation (Global > Config). Or keep power amp simulation switched on if you think it sounds better that way.
  5. Disable AMP and CAB blocks in the patch grid (Layout).

If you want effects from the Axe-Fx both before and behind your preamp, you must use the “Four Cable Method” (4CM). In this scenario the preamp is made part of the Axe-Fx signal routing by placing it into the effects loop of the Axe-Fx, instead of the other way around. Do this:

  1. Connect your guitar to the Axe-Fx front input.
  2. Set the input source to “Analog Front” (I/O > Mode).
  3. Set Output1 to one of the mono settings (I/O > Audio).
  4. Connect Output2 / Eff.Send to the amp’s main input.
  5. 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.
  6. Connect Output1 on the Axe-Fx to the amp’s effects loop Return jack.
  7. Adjust levels all four front panel knobs on the Axe-Fx.
  8. Add a FXL block (Axe-Fx 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.
  9. Disable cabinet simulation and power amp simulation (Global > Config). Or keep power amp simulation switched on if you think it sounds better that way.
  10. Disable AMP and CAB blocks in the patch grid.
  11. If possible, set the amp’s series effects loop to instrument level.

4CM can cause ground loop hum with certain systems. And if your amp's effects loop is line level only, you'll probably notice loss of volume level and some hiss. Try to get the signal as hot as possible at Eff. Send / Output 2. 4CM also adds AD/DA conversion which adds dB's of noise, partly before the preamp gain so it gets amplified. More information here and here and here.

How to use your own power amp and speaker cabinet with the Axe-Fx

You can use a dedicated power amp and speaker cabinet with the Axe-Fx. Some players prefer this to going direct / FR monitoring, because it sounds more like a real guitar amp on stage, it looks better and it simplifies creating patches.

Set things up like this:

  1. Connect Output1 to the power amp input(s).
  2. Disable cabinet simulation (Global > Config).
  3. Switch off power amp simulation (Global > Config).
  4. 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. The Return jack of the effects loop is the input of the power section (the preamp section will be bypassed). Do this:

  1. Connect Output1 to the amp’s effects loop Return jack.
  2. Set Output1 to one of the mono settings (I/O > Audio).
  3. Disable cabinet simulation and power amp simulation (Global > Config).
  4. Disable AMP and CAB blocks in the patch grid (Layout).
  5. Turn up the level of the series effects loop.

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

You can switch on 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 also switch on/off power simulation per patch 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 power amps that provide their own “thump” (FRFR monitors do not apply here, these are designed to be neutral).

How to use your own guitar amplifier with the Axe-Fx

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

How to configure the Axe-Fx for mono or stereo output

Use the I/O menu (> Audio) to select mono or stereo operation. There’s always a lot of discussion going on about this. The Axe-Fx sounds wonderful in stereo when recording or playing at home. That experience doesn't always translate very well to the stage. Read this for opinions and ways to set up your gear.

The output mode affects the output signal only. The signal of a mono source can be transformed into a stereo signal, and the other way around. These are the choices:

  1. “Stereo”: select this when going direct (no amplification) into a mixing table and when using stereo amplification.
  2. “L+R Sum”: use this with a mono source. The left and right channels are summed and sent through the left and right outputs. While this seems perfect for mono output, there is a caveat: summing signals can cause phase cancellation. Example 1: if a patch contains an ENH block (Stereo Enhancer), it'll make your tone glassy, thin and hollow. Example 2: if a patch contains a delay with its Phase Rev parameter (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!
  3. “Copy L>R”: the signal on the left channel is copied to and replaces the right channel. It’s an nice alternative for L+R Sum and avoids the phase cancellation issue. But there's a caveat here too: you lose the right channel signal with hard-wired stereo effects such as Ping-Pong Delay.

How to configure the Axe-Fx for multiple output signals

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

  1. Enable “Copy Out1 to Out2” in I/O > Audio. This instructs the Axe-Fx to duplicate the signal and send it through Output2 (which connects to another device like your monitor). 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 > 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:
  2. 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).

Alternatively, if you have an Atomic Reactor FR amp you can use its balanced XLR THRU output to send a copy of the signal somewhere else.

How to use the Axe-Fx for effects only (effects processor)

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

How to connect your instrument(s) to the Axe-Fx

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. Inform the Axe-Fx that you're using this input by selecting “Analog Front” (I/O > Mode). This enables the software optimization of the front input, a.k.a. “secret sauce”. If you select “Analog Rear” instead, the software optimization is not applied to the front input and the tone will get harsher (and then there are always people who like just that).

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

There are also left and right Input1 jacks at the rear. These are line level inputs. Use these if you connect your Axe-Fx to a line level input source. Set the operating mode to “Analog Rear” (I/O > Mode). Using the left Input1 jack at the rear will disable the front input jack. The front input can still be used in combination with the right rear input; in this case two input sources will feed the Axe-Fx effects routing.

If you connect an instrument level source to Input1 or Input2, such as a microphone (for example for the Vocoder effect), there will be a level mismatch. This means that you probably need to maximize the input level to get sufficient signal strength.

There’s a second set of inputs: Input2 left and right. These are also line level inputs that you can use to connect another instrument.

  1. Insert the FXL block (Effects Loop) in the patch grid. Make sure nothing connects to its input in the grid. The block must be connected to the grid output.
  2. Connect the instrument to one or two Input2 jacks.
  3. 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.

Connecting multiple guitars simultaneously? This is a way to do it:

[Return]--[FX Loop]--[Gate]--[Drive]--[Amp]--[Cabinet]--[Send]

Plug guitar 1 into Input 1 Left (mono) and plug guitar 2 into Input 2 Left (mono, line level input!). Guitar 1 will be coming out of Output 1, and guitar 2 out of Output 2. More information here and here.

How to make use of the effects loop on the Axe-Fx

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

  1. Connect Output2/Eff.Send to the input of the external device.
  2. Connect the output of the external device to Input2/Eff.Return.
  3. If possible set the external device to operate at line level.
  4. Put the FXL block (Effects Loop) somewhere in the patch grid to make the external device part of the routing.
  5. 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.
  6. 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.

If you don't plug anything into Input2 Left the FX Loop won't run. There is a detector switch on Input2 Left so if you don't have anything plugged into the loop return the loop won't run thereby preventing no sound if you have the FX Loop block in the preset. So if you just plug into Input2 Right you won't hear anything unless you also plug something into Left. (source: Cliff)

How to set the input levels on the Axe-Fx

The Input1 and Input2 knobs at the front 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 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, though the manual indicates otherwise.

It’s important to set the input level correctly, it’s essential for the amount of gain preamp and to keep enough headroom.

  1. Select the loudest pickup on your guitar and strum hard.
  2. 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 (more information) or even never see the red LED blink, depending on your guitar pickups.

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

Use the input level knob to compensate for signal strength differences between guitars, to avoid having to maintain different sets of patches for different guitars.

How to set the output levels on the Axe-Fx

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 patch grid. See the topics about employing the effects loop and outputting multiple signals.

There are other places to control volume levels too.

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

So that’s a lot of places to set the volume level! 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 in the Layout Mixer. The Output1 knob at the front has no effect on clipping. More information

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

  1. Select one of your patches with a clean amp.
  2. Disable all effect blocks except AMP and CAB.
  3. Verify that the CAB’s level is 0dB and select the stock or user cab you always use.
  4. 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. If you use a Null Filter before the amp to add gain, enable it.
  5. Select your loudest pickup and hit the strings hard.
  6. Turn down the AMP’s level until the output signal doesn’t clip anymore.
  7. Turn that level down 6 dB.
  8. 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.

There's a 6 dB difference in volume level between Bypass and not-Bypass. This is by design.

How to use the Axe-Fx 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 or a simple mixer with a headphones output or a small headphones amplifier for this purpose. Common opinion though is that using headphones is not the right way to finetune patch settings or to enjoy the Axe-Fx. More information

How to make a digital connection with the Axe-Fx (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.

How to use the Axe-Fx for reamping

There's a How-To here.

How to mute the Axe-Fx in tuning mode

The output signal of the Axe-Fx can be muted when enabling the 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.

How to adjust the overall tone and volume level of the Axe-Fx

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 patches.

Firmware, System and Software

How to connect the Axe-Fx 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 also 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, alas.

Note that not all interfaces work equally well with the Axe-Fx. More information

How to update the Axe-Fx firmware

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.

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:

  1. Create the connection between the Axe-Fx (MIDI IN) and the computer.
  2. Load the firmware SysEx file into the application.
  3. On the Axe-Fx go to Utility > Firmware, press Enter.
  4. Send the file from the computer to the Axe-Fx.
  5. A progress box should appear on the Axe-Fx. It will take several minutes to transfer the file.
  6. 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.
  7. After a successful update the Axe-Fx will reboot.

Updated firmware may cause changes in your patches. Study the firmware notes and verify the patches.

Major firmware revisions may change the structure of patches. Use Preset Update (Utility > 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.

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.

How to reset the Axe-Fx

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 patches.

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 (see 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! Press Utility > Status to see the current CPU utilization percentage.

Above 95% or so you'll approach the limit of your unit. You may notice the GUI becoming slower at that point (audio has priority).

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 editor to calculate CPU utilization, even if the Axe-Fx itself isn’t connected.

The Ultra edition allows you to run more effects and more complex effects before maxing out the Axe-Fx capacity.

How to save and restore patches

Patches 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 patches (or banks of patches) 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 patch 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 PATCHES ON THE AXE-FX!!!

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

Editing Patches

How to edit patches on your computer

Most of the How-To's 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 patches created by other users

Patchfiles have a .SYX extension. Load these into the Axe-Fx editor on your Mac or PC to view the settings, or to upload them to the Axe-Fx. And don't forget to share your own creations!

You find patches here:

Realize that patches from other users probably have been finetuned for their personal equipment. For example, a patch that's designed for someone's power amp and guitar cabinet will not sound good on your FR monitor or studio speakers. And there's other stuff to check too:

  1. The patch may employ a noise gate set at a threshold that may not work well with your guitar.
  2. The patch may contain the Stereo Enhancer effect (ENH). It can cause phase cancellation when used in mono. See the topic about stereo/mono operation.
  3. The volume levels may not match your guitar's, resulting in output clipping.
  4. The CAB block may point to an user cab slot, resulting in no sound.

How to build a new patch

G66.eu is the Axe-Fx and Atomic amplifier reseller for Europe. They publish a great, easy-to-read 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 patches).

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

How to escape from the menu maze

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 patch select screen.

How to make editing easier

A couple of shortcuts to make editing easier:

  • Hold Enter to automatically add lines or to 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 patches.
  • Press Edit twice to go to the next effect within the patch, while staying in Edit mode.

How to copy and paste effect settings between patches

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

Tip: create one or two patches 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 patch 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 the Depth, Sag and Damp parameters), just reselect 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 (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 patch.

How to use more than 12 effects in a patch

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.

Alternatively use the Feedback Send/Return blocks. Place Send at the end of one row (not the last block!) and Return in another row (not the first block!). Read more about it

How to add an effect to a patch

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

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.

Wish: a page in the Layout menu which displays (without scrolling) a list of all enabled effect blocks in the current patch plus the most important global and I/O settings. A handy checklist before gigs.

How to put effects in a parallel path

Just like in the real world you can put effects in parallel paths. Use a row below or above the main routing. This makes it possible to have, for example, independent delay and reverb paths, and more than 12 effects per patch.

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

When placing effects in parallel you need to avoid double direct signal paths (resulting in unwanted volume increase). So:

  1. Make sure to set the Mix parameter of parallel effects to 100%. With Mix at 100%, use the Level parameter to dial in the required amount of effect.
  2. Select a suitable Bypass mode: Mute Out or Mute In.

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 your own 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 patch. It’s like an universal "un-bypass" knob, an easy quick method to switch between two tones. For example a rhythm tone and a lead tone where pressing the Global Bypass switch would activate Drive, Delay and Reverb effects.

You have to assign the Global Bypass CC (I/O > Ctrl) to a switch or pedal, using “0” for off and “127” for on. More information

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).

  • “Mix=0%”: the direct signal is unaltered, the effect is off, level is at unity gain (0dB). Actually this bypass mode acts 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. It's advisable to change the setting when placing effects in parallel (see separate topic).
  • “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 parallel effects.
  • “Mute Out”: completely muted, no spillover of delays and reverb. Useful for parallel effects.

How to set the volume level of an effect

To adjust the volume of a patch (not that of the Axe-Fx or of an individual effect), use the volume level control in the AMP block or the main patch 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.

Tip: use a decibel meter application on your mobile phone to measure and adjust volume levels of your patches roughly. Finetune during rehearsals or while gigging (see separate topic).

And read the topic about placing effects in parallel paths.

How to adjust the volume level of a patch while playing

The Axe-Fx offers a great way to adjust volume levels of patches while playing: the Volume Increment and Volume Decrement commands (I/O > Ctrl). These let you adjust the main patch level (Layout > Mix) on the fly in 1dB steps. Every change is saved automatically.

Assign both controls to switches on your MIDI footcontroller (I/O > Ctrl), or to directly connected switches (I/O > Pedals).

How to boost the signal for leads

To be able to boost a patch for leads at any moment, add a Filter block to the grid, set it to Null and set its Level at 4, 5 or 6 dB (to your liking). Assign the CC for the filter (I/O > Ctrl) to your MIDI footcontroller or to a directly connected switch or pedal.

You can program your MIDI footcontroller to enable this “Filter boost” simultaneously with activating a Drive effect. Just use the same CC for the filter and the Drive block (I/O > Ctrl). Some users prefer this instead of turning up the Drive effect's level.

Instead of the boosted filter you can use a Mixer block and attach an external controller (pedal).

How to enable delay and reverb spillover

Spillover: delay and/or reverb trails of the current patch will still be audible (carried over) after switching to another patch. The Multi-Delay, MegaTap Delay and Vintage reverb don’t support spillover.

It is enabled globally in Global > Config. Plus: the patch 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:

  1. If you want spillover from the last patch and continue the same delay/reverb: don’t mute or bypass the delay and/or reverb in the second patch. These will inherit the parameters of the previous patch automatically.
  2. If you want spillover from the last patch 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 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. Read more

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

You can define 10 different amps with your favorite settings using the Global parameter in the AMP block. Select a Global slot in the Amp settings, choose an amp and set its parameters. From now on you can select this amp including its settings in any patch using the Global parameter. If you change its parameters in any of these patches, they change accordingly in each patch that uses this global amp.

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 amp (Tube preamp).

How to minimize audible gaps when switching patches

Switching between patches isn’t seamless. But firmware 9.0 has made the gaps very short: 20 ms. And if Spillover is enabled (Global > Config) it's down to 10 ms.

How to print patch settings

The Axe-Fx editor Axe-Edit lets you export patches to another file format which you can load and print.

How to keep your patch layout organized

You can use this checklist to verify the consistency of every patch:

  1. Use preferred default grid whenever possible.
  2. Use effects with preferred settings and levels.
  3. Assign external controllers (MIDI footcontroller, pedals).
  4. Use one of the Global amps.
  5. Use the correct cabinet for the selected amp.
  6. Even if delay won't be used, insert a bypassed Delay block just for spillover
  7. Check the stereo settings.
  8. CAB and Mixer (Layout > Mix) levels at unity gain.
  9. Mix, Level and Bypass parameters set correctly for effects in parallel rows.
  10. Patch level matches other patches and does not clip with Drive and gain/boost Filter enabled.
  11. No phase cancellation.
  12. Noise gate settings.

Click here to see a screenshot of my own default patch layout (this may not be up-to-date all the time). I use this for all patches unless something special is needed. The combination of this layout and the programmability of the Gordius MIDI footcontroller allows it to be used as a virtual pedalboard or as a basis for specific presets. On my Ultra this patch utilizes the CPU for less than 90%. Effect blocks in the parallel rows are set to 100% Mix and a mute bypass mode. The stereo routing is used for sending a signal to FOH and to a FRFR monitor. Below is a short description of the patch. More examples

  1. Vol/Pan: Volume block with an Envelope attached, for (automatic) volume swell effects
  2. Wah, attached to 1st expression pedal, set to auto-engage
  3. Drive block, set to a TS808 or BB preamp, depending on the amp sim
  4. Phaser1 set to MXR Phase 90 settings (slow)
  5. Phaser2 in Uni-vibe mode, Speed parameter attached to 2nd expression pedal
  6. Ring Modulator, for added low octave
  7. Amp: one of the Global amps
  8. Cab: HiRes mono user cab from Red Wirez
  9. Chorus
  10. Rotary Cabinet, Speed parameter attached to 2nd expression pedal
  11. Pitch1 set to Detune
  12. Pitch2 set to Whammy. Pitch parameter attached to 2nd expression pedal
  13. Flanger
  14. "Room" reverb
  15. Pan/Trem: tremolo. Speed parameter attached to 2nd expression pedal
  16. Delay1, set to regular delay
  17. Delay2, set to modulated delay trails
  18. +5 dB Null filter, to boost the volume of leads

You can download a patch with the above settings here.

Effects

How to know which effects the Axe-Fx provides

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.

Amps:

How to know which real amps are emulated by the Axe-Fx

The amp descriptions and the names of the actual emulated amps can be found here.

The FAS models, Fusion, HellBeast, SuperTweed, Big Hair and some others are customized versions of other amps or Fractal's own unique designs.

How to change the tone controls of an amp

The tonestack is the set of tone controls for an amplifier. For each amp the Axe-Fx lets you select between:

  • tone controls that are appropriate for that specific amp type (passive),
  • tone controls from another amp type (passive) or
  • an active EQ instead of the passive tonestack.

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 that amp in the patch.

How to use the Presence control

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

The thing to remember here is that you shouldn't focus on the displayed value or visual position. Just dial it in using your ears. Many users turn presence up quite a bit to make the amp come alive, instead of using the preamp Treble control.

Not all real amps have a presence control, so keep it at its default setting for those to keep it "vintage".

How to set the Drive and Master levels for vintage amps

Vintage amps didn’t have separate gain and master volume controls. To emulate this, dime the Master. Now turn down the Drive to about 3.5 which seems to be about the magic spot. Turning up Drive too high (with the Master dimed) will result in 'farting' low notes and ugly distortion. Try this method with: all Fenders, Vox, Plexi, Wrecker, Hiwatt.

With modern hi-gain amps there's no need at all to crank the Master. In fact you may want to keep it low to avoid power amp saturation.

How to use a Drive block to 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. But Drive doesn't only control gain, there's going on more. You may get better results by inserting a Drive block before the amp:

  • Set it to FET Boost and attach a pedal to its Drive parameter
  • Or use this "old school hard rock trick": add a TS808 with its gain all the way down and its level maxed. This will also tighten up the low end a bit.

How to set the advanced parameters of an amp

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

No restrictions here, do what you like. But common opinion is that firmware 9.0 and higher decreases the need to access these parameters to find good tones. Warmth and Thump default to zero (firmware 9.01 and higher). More information

To reset the advanced parameters of an AMP block (everything on the Advanced page, plus the Bright setting and the Depth, Sag and Damp parameters), just reselect the amp type.

How to use multiple amps in a patch

You can use two amps in a patch. They can share one cabinet or each have their own. The 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 patches, 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 puts a heavy burden on the CPU. It'll take an Axe-Fx Standard pretty much to its limits.

How to set the Bright switch on an amp

The Bright switch is set automatically to its default setting for each 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 default setting of the Bright switch on a Plexi1 makes the tone very harsh. Try switching it off and turning up Treble and/or Presence instead.

How to set the Boost switch on an amp

There's a Boost parameter in each AMP block. This adds 12dB to the input stage of the preamp. Off by default. Sometimes enabling the boost works better than turning up preamp gain.

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’s another way 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.

How to set the Damp parameter

The Damp parameter controls the amount of negative feedback. More information

How to get tight metal tones

For more control over palm-muted heavy tones, add a Filter block before the Amp block. Set it to Highpass and attach the Envelope controller to the Frequency parameter (default settings). Set Scale to 40% and Offset to around 22%. Now you have a dynamic filter that adjusts itself according to how hard you're hitting the strings. (source: Cliff)

How to tame booming bass frequencies

Depending on things like the amp type, the cabinet, the selected microphone and your method of amplification, there may be too much bass in the tone. Here are some methods to deal with this.

  1. Decrease the Bass level in the Amp’s properties. As this is part of the preamp voicing this may affect your tone more than you'd like.
  2. Use the Low Cut Frequency parameter (amp's Advanced page) to drastically cut frequencies below a certain frequency.
  3. Use a parametric equalizer (PEQ block) before or after the cabinet to gradually block low frequencies. More information
  4. Change the cabinet. Some cabinets such as the 4x12 V30 or German cab) have much more bass than others.
  5. Change the microphone. The Royer 121 for example adds a lot of bass (and treble) to the sound.

How to dial in the amps

The Axe-Fx offers a lot of amp emulations. The amp list in the wiki has pointers to clips, cabinets, examples and tips.

Of course, don't forget the factory presets. There's a categorized list at the bottom of this page.

Some users have created banks containing no-frills basic patches for amps with matching cabinets:

Always finetune your amp tones for your type of amplification. If you want gigging material, make sure to test all patches on gigging volume level, with your preferred method of amplification, within a band context. If you want to record instead, optimize the tone for that goal.

Cabinets

How to select the right (stock) cabinet

The Axe-Fx has emulations of many cabinets. 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 emulated cabinets can be found here and here. The lists are not entirely up-to-date.

It’s a matter of personal preference which cab sim to use. There are enormous differences between them. For example there's very little bass in the 4x12 20 watt (very vintage) while the 4x12 V30 and 4x12 German have loads of it. When comparing cabs, don't judge too quickly. Because each time you select a cab, you probably need to adjust the amp settings. More information

Here are some tips to get you started.

4x12 V30, Cali, German (Bogner), Metal, Recto1, Recto2 With high gain amps
4x12 20w, 25w, 30w, With vintage Marshall amps
1x6 Oval Lo-fi
2x12 Black, 2x12 Blue With Fender amps
2x12 Brit, 4x12 Brit With Vox amps
2x12 Gold, 2x12 G12h, 1x12 Open To emulate "far-field" tones

Note: most stock cabinets recreate the tone of a speaker that's recorded with the microphone close to the speaker ("near-field"). This is how amps are recorded or mic’d live in general. A couple of cabs are of the “far-field” type, meaning that the mic was further away from the speaker during the recording. Resulting in a tone that’s more like hearing the amp and the speaker cabinet “in the room”. Far-field has nothing to do with reverb. More information

How to select a microphone to go with the cabinet

You can select a microphone emulation in the Cabinet properties. The microphone types are described here and here. The Royer 121, Shure SM57 and Neumann seem to belong to the favorite ones of many users. "None" doesn't mean that no mic was used; the IR was still recorded using a neutral Earthworks measurement microphone.

Don't underestimate the influcence of themic type on the tone. E.g., adding a R121 for example will ad lots of bass to the tone.

It’s not necessary to select a mic sim though. That doesn't mean that you'll hear the speaker like you are used to, because all cab sims were created using a neutral mic close to the speaker (the far-fields are an exception, see above). If you use 3rd party IRs, it may not be necessary to select a mic at all (select "none"). The Red Wirez IRs for example already include the microphone as part of the IR.

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 (requires 50% of the processing load of Mono HiRes).
  • “Stereo”: stereo, 512 samples.

While the mono HiRes setting offers the best quality (though few people will hear the difference with the 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 (pan AMP1 fully left and AMP2 fully right, sum their outputs into the cabinet block, adjust the left and right cabinet settings). Many factory presets employ a stereo cab, set to two different cab sims. Alternatively you can use two (mono or stereo) CAB blocks in the grid. which increases the processing load.

How to set the Air and Drive cabinet parameters

The Drive parameter in the cabinet properties simulates speaker break-up. It’s not very noticeable unless you push the input of the Axe-Fx very hard.

The Air parameter helps to remove the “boxy” edge of the tone through a cabinet sim. It’s a bit of 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 not always very noticeable but it opens up the sound a bit. Here is a demonstration. More information

How to use an user cab or Impulse Reponse (IR)

An user cab is an external cabinet emulation file (doesn’t come stock with the Axe-Fx). The Axe-Fx has 10 slots to load these. You need a sysex librarian or the Axe-Fx editor to load user cabs into the Axe-Fx. The process is described on this wiki page. 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 a change in the tone for confirmation of a successful load.

Note that the Axe-Fx doesn’t display any information about loaded user cabs, so you need to write it down. If you want to clear an user slot, you can download an “empty” user cab here.

An user cab is an Impulse Response (IR). This is the recorded output of a device (speaker cabinet, effect, etc.) when an impulse (short sound) is played into the input of the device. Free user cabs/IR's are here.

This thread is about specific IR’s for metal tones. This thread contains a tutorial on auditioning user cabs.

How to get good 3rd party IR’s

The IR’s from 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 Red Wirez information You can also mix several Red Wirez IR’s into one HiRes IR. The IR’s are time-aligned to prevent phase issues. More information. This “dB-Percentage”-calculator may be of use.

How to deal with the effects

How to deal with: Chorus and Quad-Chorus

Try the “chorus” presets in the categorized list of presets at the bottom of this page to see if there’s one you like.

The Quad-Stereo Chorus is an Ultra-only effect. It's like switching on four Chorus effects simultaneously . Note that it utilizes a lot of CPU cycles!

Suggestions:

How to deal with: Compressor

A couple of sources for information about using the Compressor effect:

How to deal with: Crossover

This is an Ultra-only effect. It 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

The Axe-Fx has two different types of Delay blocks. The regular Delay is a basic digital delay with enhancements. The second type is a complex Multi-Delay (separate topic).

The regular Delay has 5 modes:

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

The Delay block on the Ultra has an additional mode: Looper (separate topic).

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 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.

Suggested settings:

How to deal with: Detune

See the topic about the Pitch Shifter.

How to deal with: Drive

The Drive block covers a lot of ground: clean boosts, overdrives, distortion, treble boosters, fuzzes, octavia, etc. You can find the real names of the emulated pedals on this page.

Suggestions:

  • The position of the knobs do 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% to increase transparancy and decrease buzziness. You can also attach an expression pedal to the Drive parameter.
  • For hard rock and metal it's very common to insert a DRIVE block 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.
  • Maximizing the Drive’s Level doesn’t satisfy some users. They prefer to boost the volume using a Null Filter boost (using the the same CC for the Drive block and the Filter).
  • Additional information on Drive.
  • Info on the Octave Divider.

A couple of fuzz tips:

How to deal with: Effects Loop (FXL)

This is covered earlier on this page.

How to deal with: Envelope filter

You have to configure the Wah effect to get the envelope filter effect. For vintage envelope filter settings (think Mu-Tron), check the Wiki. And check the categorized list of presets at the bottom of this page.

If you’re looking for a synth sound like as in “Relax Don’t Do It”, read this.

How to deal with: Feedback Send/Return

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

How to deal with: Filter

The Filter is sort of a one-band parametric EQ. You can use it as a high-pass filter, low-pass filter, treble boost, neutral volume boost, etc. The Ultra has four of them (Standard: two).

Suggestions:

  • Read the topic about using the Filter instead of the amp’s Boost switch
  • Filter tips

How to deal with: Flanger

Try the “flanger” presets in the categorized list of presets at the bottom of this page to see if there’s one you like.

Suggestions:

  • 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 non-zero.
  • ADA Flanger
  • Through-zero flanger settings
  • 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

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

How to deal with: Graphic Equalizer

The Standard has two, the Ultra has four.

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 footcontroller.

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 patch. See the topic about adjusting levels. You can also insert a separate MIXER block anywhere in the grid.

How to deal with: Multi-Delay

The 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. The Multi-Delay doesn't support spillover.

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. There's an extensive tutorial on this page.

How to deal with: Noise Gate

Every patch has a "global" noise gate. It’s sort of hidden in one of the pages of the Layout menu so you won't find in the grid. Hold the Bypass button to reset it to its defaults (which is: switched on). Or turn the threshold to zero to switch it off.

The Noise Gate needs quite a lot of CPU cycles, so switch it off if you have no need for it in a patch.

The Ultra edition allows you to add additional noise gate blocks (Gate/expander) to the grid, for example behind the AMP block.

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

This thread explains how to use a EQ to contour your tone and to get rid of excessive highs and lows. A blocking EQ gradually attenuates frequencies instead of cutting them alltogether (shelving EQ).

The Ultra has four PEQ blocks instead of the Standard's two.

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 non-zero.
  • This thread explains how to simulate a MXR Phase 90.

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 for nice detune settings. For very thick detune tones use the Multi-Delay effect, set to Plex Detune.
  • Pitch shifting works 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 mono and poly).

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.

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.
  • PCM70 Concert Hall
  • 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

Check the “reversed delay” preset in the categorized list of presets at the bottom of this page.

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 do a better job than the Pitch Shifter in Fixed Harmony mode.

How to deal with: Rotary Cabinet (Leslie)

You'll find suggested settings here.

In firmware 9.0 the Rotary Cabinet effect (a.k.a. Leslie) has been improved a lot. Check this thread for suggested parameters.

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: Stereo Enhancer

This effect increases the stereo separation between the left and right outputs. This makes 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. See the topic about stereo/mono operation.

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 patches among the factory presets. Try the “tremolo” presets in the categorized list of presets at the bottom of this page to see if there’s one you like.

  • To get different tremolo patterns, attach the Sequencer controller to a parameter. Then go 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: Vibe

There's no dedicated effect block for this effect. It's a special mode of the Phaser effect. Turn its Order parameter fully clockwise to active the Vibe mode. Connect a pedal to control the speed of the vibe.

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.

How to deal with: Vocoder

This is an Ultra-only effect. This page walks you through setting it up for guitar resp. for guitar plus vocals.

How to deal with: Wah

Suggested settings:

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.

Use the Damping parameter in the modifier menu to slow down the response pf the expression pedal a little (like 12 ms).

How to create special sounds

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).

If you just want to apply vibrato to the trails of a delay, use the LFO parameters in the Delay block.

How to get violin tones from your guitar

Amazingly, the Axe-Fx is able to do a great violin simulation. Listen. It’s explained here and here. Don’t forget to install the Acoustic user cab.

How to automate volume swells

To let the volume swell automatically (like the Slow Gear pedal from Boss), use a Volume block with an envelope modifier. Copy the settings from factory preset 257. Or try this or this.

To get 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 an electric guitar to sound acoustic

A couple of threads about getting acoustic tones out of the Axe-Fx with an electric guitar: here and here.

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. Here’s what it sounds like. (source: Javajunkie)

How to get the Exciter effect

This page explains how to get a BBE Exciter-type effect.

How to create U2’s Mysterious Ways sound

This thread and this YouTube clip are about getting close to this Korg A3 effect.

How to let the Axe-Fx handle your acoustic guitar

This thread goes into that.

How to create a flute sound

The Synth effect (Ultra-only) makes it possible to extract flute tones from your Axe-Fx. Listen to the "Zamfir?" preset (categorized list at the bottom of this page).

How to create an organ sound

You can get a unbelievable organ sound using the Pitch Shifter and the Rotary Cabinet. More information

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. There are some nice examples in the factory presets, check the categorized list at the bottom of this page.

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.

The Ultra offers better support for pitchshifted chords. More information

How to do automatic double-tracking (ADT)

How to use Buzz Feiten-style tuning with the Axe-Fx

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 patch, not all patches.

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 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!

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.

More information about controllers and modifiers

Pedals, Switches and Footcontrollers

How to get familiar with MIDI

How to create a virtual pedalboard

Create a patch with lots of effects. Write down the CC’s for each effects (I/O > Ctrl). Program instant access switches on your MIDI footcontroller to enable/disable these effects.

How to configure the Axe-Fx MIDI settings

You can adjust MIDI settings in Layout > MIDI. Things like MIDI channel, handling of Program Changes, MDI mapping, and defaults for external controllers. Normally there will no reason to change anything here.

If you're a MIDI expert, you can use SysEx messages for advanced control of the Axe-Fx. The required informaton is here.

How to handle problems with your MIDI interface

This thread is about issues with specific MIDI interfaces.

How to connect an expression pedal or switch directly to the Axe-Fx

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 > Pedals menu to configure it all, such as selecting pedal or switch and for calibration. 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.

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.

Expression pedals need to be connected via a STEREO cable (stereo jack at each side).

Of course you can also use a fullblown MIDI footcontroller. See pages 19 etc. and 87 of the manual.

How to choose an expression pedal

A couple of suggestions:

How to solve a stuttering expression pedal

If the expression pedal doesn’t perform like it should ("choppy", 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.

How to use an expression pedal as a wah

First, make 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.

How to activate an effect automatically when moving the pedal

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)  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 use one pedal to control different parameters in the same patch

Buy a dual-function pedal from Mission Engineering or use the method described here. The Gordius MIDI footcontroller also allows you to turn your pedal into a dual-function pedal.

How to mute the delay with an expression pedal

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 when muting the delay.

How to use a Boss EV-5 pedal for volume boosts

Assign the EV-5 pedal to Master volume level control (I/O > 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 be quieter (but not muted) than at the toe-down position (maximized). This makes it easy to boost the signal for leads while not influencing the tone. Alternatively, with a regular expression pedal use the Start and End parameters in the Modifier menu.

How to choose a MIDI footcontroller

There are lots of great MIDI footcontrollers. To name a couple: Liquid-Foot, Axess Electronics FX-1, Rocktron All Access and Voodoo Lab GCP. And Fractal Audio is developing its own controller. Personally I favor the Gordius (Big) Little Giant. Very state of the art, advanced, flexible and fantastic customer service. Its user forum is here.

How to make your footcontroller work with the Axe-Fx

The Liquid-Foot footcontroller offers the best out-of-the-box support for the Axe-Fx at this moment. Among others it can download patch names.

Support for the Gordius Little Giant is offered here.

There is useful setup information on this page. If you have questions about other controllers, ask here.

How to power your MIDI footcontroller via the Axe-Fx (phantom power)

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 access patch 128 and higher with your MIDI footcontroller

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.

Or: keep your footswitchable patches below 127 and don’t worry about it.

How to design a handy switch layout on your MIDI footcontroller

This thread contains examples.

  • As an example I'll describe my footcontroller layout, using an Ultra, a Gordius Big Little Giant 2 and 2 expression pedals.

I try to combine flexibility with pre-programmed ease. Switches 1, 2 and 3 (global: in every bank) are my "amp select" switches. With these I switch between Axe-Fx patches that have different amps. Switch 1 calls the Fender Twin, multiple presses will give me the Vox TopBoost and a Twin with more breakup. This is accomplished by using the "Extra patches" functionality of the footcontroller. Switch 2 calls the Bogner XTC Blue (Euro1), resp. JCM800. Switch 3 calls the Bogner XTC Red (Euro2) resp. Cornford. Switch 4 (global) is always my "dry" switch; it isn't assigned to a patch preset but just switches off all stomp boxes within the current patch. Switches 5 - 8 are song-specific patch presets. Switch 9 (global) is assigned to the FILTER1 stomp boxm which is nothing more than an NullFilter at 9.9 dB volume level, placed before the AMP block. This is operates kinda like the Boost control found in the AMP block's properties on the Axe-Fx for adding extra gain. Switch 10 (global) is assigned to DRIVE1 (TS808). Switch 11 (global) is a special one: it activates a "lead" patch preset. This doesn't actually send a PC to switch patches on the Axe but just activates the following stomp boxes: FILTER1 (extra gain), DELAY, REVERB and FILTER2 (volume boost). This lets me create a lead variation of each of my Axe-Fx patches on the fly. Switch 12 (global) switches DELAY1 on/off. Switch 13 (global) does the same for DELAY2. All switches are in the Global bank except the song-specific presets: every song has its own bank with up to 4 specific presets. Since all other switches are in the Global bank (and Direct bank), I can at any time switch quickly to another amp or turn an effect on/off. The first banks on my LG are not tied to songs but contain other patch presets, generic and specific. The DIRECT1 bank contains instant switches for all remaining stomp boxes, like a virtual pedalboard, plus a Tap Tempo switch. The Direct2 bank contains the Tuner on/off switch (using the LG2 display), and switches for the VOL INCR/DECR commands on the Axe-Fx. My 1st pedal is set to auto-enage the Wah on the Axe. My 2nd pedal controls the speed/rate of the Vibe, Rotary cabinet and Tremolo effects, controls the Whammy pitch or is assigned to specific things like an oscillating delay.

How to switch effects on and off with your MIDI footcontroller

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

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 switch between two 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 footcontroller (use the correct CC, plus “127” for one setting and “0” for the other).

How to activate the Axe-Fx tuner with your MIDI footcontroller

Scroll to the tuner CC (I/O > 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.

How to display the Axe-Fx tuner on your MIDI footcontroller

The controllers from Gordius and Liquid-Foot (and possibly 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 > MIDI) by setting it to “Tuner”. Don’t select “All” as this can cause serious data overflow problems.

Of course you also need to connect MIDI OUT on the Axe-Fx to MIDI IN on the footcontroller. However, the 2nd generation Gordius Little Giant and Liquid-Foot MIDI footcontrollers allow full bi-directional MIDI-communication with the Axe-Fx via only one (custom!) MIDI-cable.

To display the tuner data on a 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 1st 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.

YouTube videos (Axe-Fx or Atomic FR Reactor)

Categorized factory presets

I have gone through all factory presets and erased the ones I didn’t care for. I categorized the remaining ones. The following list is not complete but it's my quick'n'dirty lookup list. Note that some of the presets are Ultra-only. The categories are arbitrary, but again, it’s my list ;-)

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

Ambient, extreme pitch shifting, sound effects
2 Crystal Echos (109)
4 Melancholia (96)
8 Emerald Ocean (204)
10 Fifths In Space (105)
16 Night Creatures (168)
24 Music Box (89)
30 Serenity Now! (93)
34 Glass Castles (78)
41 Wood Nymphs (97)
45 Soundtrack (117)
51 A Clockwork Orange
57 Stratosphere
63 Arpeggiator Madness
68 Bouncing Balls
71 Wind Chimes
74 Tumbleweeds
83 Bad
90 The Planets
113 Haunted
116 Atmosphere
124 B-Movie Horror
130 Electro-Sweep
Ambience
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
334 Solar Eclipse
337 Capricorn
338 Underwater
341 The Final Frontier
345 Diffuse Phaser 2
346 Corbomite Maneuver
358 Filter Pong Verb
375 Diamonique Rain
378 Ganymede
381 Sea Of Tranquillity
382 Lunar Eclipse
Amp: Soldano SLO 100
86 Touch Wah Boogie
247 Track Wah
363 SLO Lead
Amp: Vox AC30 / Top Boost
12 B-May Lead (Queen)
73 Whole Lotta Love (Led Zeppelin)
77 Streets Have No Name (U2, 126)
153 Top Boost
Amp: EVH 5150
36 Fat Solo Lead (88)
67 Modern Eddie (with detune effect)
Amp: Marshall Plexi
17 Cliff’s Of Dover
44 Hell’s Bells (AC/DC, 100)
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)
355 80’s Clean
359 High Landrons
Amp: Marshall JCM800
46 JCM Crunch (120)
58 Still Got The Blues (Gary Moore)
81 Basic Brit
230 Smokin’ (Deep Purple)
301 Evil 800
Amp: Brown sound (Eddie Van Halen)
7 The Brown Sound
50 Unchained (EVH, with flanger, 140)
263 EVH Circa 1982
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)
295 Studio Lead 2
327 Cranked Recto
329 Petrucci Rhythm
Amp: Fender
47 Texas Flood (SRV, 122)
60 EJ Clean (Eric Johnson)
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)
297 Mr. Gilmour Lead (Pink Floyd)
369 Damage Nexus
Amp: Bogner Ecstasy, Uberschall
82 Dirty Capstan
115 Uber, Shall We? (Uberschall)
225 Rock Concert
232 Euro Crunch
342 Ex-ta-see
Amp: Blues
1 Albert’s Lead
Amp: VHT / Fryette
312 Ned Beatty
Amp: Trainwreck
236 Trainwreck
240 Wrecked
Amp: Budda
66 Pushed
Amp: Metal, Das Metal
92 L.A. metal
22 Crazy Train (Ozzy Osbourne, 128)
372 Farvergnugen (Diezel)
Amp: FAS
222 Fat Solo Lead 2
Amp: Dr. Z
206 Chicken Pickin’
Amp: Dumble
248 That’s MISTER Dumble
366 Cork Sniffers
Amp: HiWatt
70 Run Like Heck (David Gilmour)
144 Time (David Gilmour)
331 Mr. Floyd (David Gilmour)
Amp: Marshall JTM45
354 JTM45 Blues Lead
Organ
61 Organ Grinder
Vocoder, Formant
55 Man In The Box
162 Poltergeist Pig
Flanger
50 Unchained (EVH, 140)
131 Jet Flanger
351 Flange-Chorus-Verb
Pitch shifting
23 Down Full Step (dropped tuning)
24 Music Box (89)
37 Gamelan Nights (94)
54 Lonely Heart Solo (Yes)
108 Rush Hour
151 Ballet Slippers
184 Lazy Man’s Arpeggio
208 6th Stone From Sun
244 Orient Express
249 Diatonic 3rd + Oct.
317 Modern Jazz
348 China Syndrome
350 Stereo Shift + Verb
376 Happy Place
Delays
19 Band delays (84)
70 Run Like Heck (David Gilmour)
77 Streets Have No Name (U2, 126)
79 Circular Delays (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
272 Bouncing Echoes
279 Panning Delays (Lukather)
281 Dirty Tape Echo
287 Syncopated
291 Rotary Band Delay
293 Bandtaps
294 Shifted Delay Thingy
306 2290 Delay
309 Flanged Delays
317 Modern Jazz
328 Ambient Guitar
330 TremDelay
335 Comb Delays
339 Circular Delays 2
349 Clock Tower
356 Vintage Digital Delay (Electro-Harmonix Memory man)
361 2290 Delay 2
371 Rotary Comb Delay
374 Fazed Delayz
377 Echo Room 2
380 Comb Delays 2
381 Sea Of Tranquillity
Uni-vibe
52 Machine Gun (Jimi Hendrix)
Shimmer
83 Bad
134 Crystal Reverb
186 Heavenly Echo
Chorus
107 Lush Chorus
129 Liquid Chorus
177 Quad Chorus
199 Thick Chorus
259 Lounge Lizards
322 Analog Chorus
Clean tones
21 Funk #49 (James Gang, 99)
60 EJ Clean (Eric Johnson)
104 Thick Clean
172 Clean Pop Rhythm
274 Dripping Wet
355 80’s Clean
Rotary Cabinet (Leslie)
103 Stevie’s Rotary (SRV)
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
Wah effects
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
276 Get Down Syndrome
Reverbs
85 DreamVerb
123 Subway Verb
148 Ultraverb
157 Delay Octoplex
196 Perceptual Reverb
296 PCM70 Hall
305 Vintage Spring
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
Detune
67 Modern Eddie
271 Detune Plexi
Auto swell (slow gear)
157 Delay Octoplex
257 Auto Swell Pongverb
378 Ganymede
Ring Modulator
201 Tracking Ringmod
261 By Your Command
Lo-fi
237 On The Phone
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