Yeks How Tos

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Foreword

After ordering my Axe-Fx Ultra I wanted to prepare myself. So I read the manual, digged deep into the wiki and read a heap of forum threads. I collected all information that I found useful on the go and archived it for my own purposes. Now I’m sharing the results. It's my way to give something back. I hope and expect it’ll save new and existing users precious time, because all basic information is in one place, structured and up-to-date. I’m just another Axe-Fx user, this is all “unofficial”. And since English isn’t my native language, there will be errors. The content partly comes from other Axe-Fx users and wiki contributors, so credit goes to them. And many thanks to Ian ("Iaresee") for migrating it all into the wiki. This is a work in progess. Information will be added. Alexander (Yek)

General

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 following How-To’s 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 coming from your guitar cabinet. The Axe-Fx models tones of a recorded or FOH-amplified guitar. To the guitar player who is used to hearing his own speaker cabinet that’s a different kind of tone, although not for the audience. It takes some getting used to. However, it’s still possible to create that “in the room” tone too (explained later on).

How to choose between the Axe-Fx Standard and Axe-Fx Ultra

Currently there are two editions of the Axe-Fx: Standard and Ultra.

The Ultra has a faster processor and has memory. This translates into additional, advanced Ultra-only effects (synth, vocoder, multiband compressor, ring modulator, delay looper, etc.) and it can run more effects per patch before reaching the CPU limit. Of course the Ultra is more expensive too. Here’s a Standard-Ultra feature comparison table.

The Standard suffices for switching basic patches. You need an Ultra for esoteric effect types and to run virtual pedalboards with lots of effects simultaneously.

How to get started quickly with the Axe-Fx

Use the following checklist to set up the Axe-Fx quickly for a first audition. A lot of stuff is explained more 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 amp’s effects loop Return jack and make sure the 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, set Output1 to “Stereo” (I/O > Audio). If it’s mono, set Output1 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.

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

I use the following checklist before gigging, to verify that everything is set up 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 working in good order.
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 knowledge about the Axe-Fx up-to-date

Apart from this page, here are the main sources of Axe-Fx information.

• Axe-Fx Wiki (including video tutorials)
• Fractal Audio website (including audio samples)
• Fractal Audio users forum
• Axe-Fx manual
• Firmware release notes
• Forum posts by Cliff, the Axe-Fx designer

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 all, some use them to build their own patches upon. Anyway, the Axe-Fx comes with 384 pre-built presets which is also the memory space for all patches. There are no separate locations for factory presets and user patches. Which means that if you want to save your own patches, 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. (It would be nice to be able to write-protect patches)

When auditoning factory presets there are a couple of caveats:

1. Don’t worry about volume level differences between factory presets, they were programmed by different people.
2. Some factory presets employ the noise gate at a threshold that may not work well with your specific guitar signal. To adjust the threshold go to Layout > Gate. Turning it to zero will switch it off completely.
3. Some of the factory presets contain an ENH block (Stereo Enhancer). This effect will make the tone hollow, thin and glassy if the Axe-Fx is being amplified in mono and the audio output mode is set to “Sum L+R”. Also known as phase cancellation. Disable the Stereo Enhancer or select the output mode “Copy L>R” instead.
4. Some of the factory presets employ a delay with its Phase Rev parameter (on the Advanced page of the Delay block) switched on. This will make all delay trails disappear if the Axe-Fx is being amplified in mono and output mode is set to “Sum L+R”. Also a case of phase cancellation. Switch off Phase Rev or select output mode “Copy L>R” instead.

How to find a suitable factory preset for your needs

I’ve categorized a number of factory presets for my own use. This enables me to quickly find a specific preset. Scroll down to the end of this page for the list.

How to see and hear the Axe-Fx in action

There are lots of Axe-Fx videos on YouTube. I made a selection of particularly interesting ones (including demos and tutorials). You'll find them near the bottom of this page.

How to mount the Axe-Fx in a 19” rack

The Axe-Fx is a 2U 19” device and can be easily mounted in a rack. If necessary together with a rack power amp and/or a power conditioner. A simple 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.

Amplification and Plugging In

How get sound from the Axe-Fx

First read “How to get started quickly with the Axe-Fx” to get sound from the Axe-Fx.

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

If there’s 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 FOH mixer level as well (use Output2 for your monitor, see other How-To).

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 in muted Tuner mode.
11. If the tone is glassy, thin and hollow, there may be phase cancellation going on. Scroll to the How-To about mono and stereo operation.
12. If there should be delay trails but you can’t hear them, there may be phase cancellation going on. Scroll to the How-To about mono and stereo operation.

If the output signal is “choppy”, a noise gate could be the cause. Adjust the threshold or turn it to zero to disable the gate (Layout > Gate). Note that the Ultra edition can 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. This means that all tone shaping is left to the input device: the Axe-Fx. FRFR advantages are portability, no tone coloring, stage volume, consistent tone. 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 How-To.

Fractal Audio has its own FRFR amplifier: Atomic Reactor FR. A StandBack is very handy if you want to use it as a personal monitor. And the Atomic fits into this RockBag.

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 How-To and the How-To on mono or stereo operation.

For digital connections, see that How-To.

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

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

If you just 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 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 just want effects after the preamp, like delay or reverb, and you have a preamp and a power amp, 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 Axe-Fx’s effects both before and after 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 the preamp 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 (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.

Note: 4CM can cause ground loop hum and/or hiss with certain systems, and mismatch of levels. Read this and this and this.

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, 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 the Return jack of its series effects loop to amplify the Axe-Fx. The Return jack actually is the input of the power section (the preamp section is bypassed). 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 to plug in a dummy jack into the effects loop Send to make the effects loop work. More information on power amps

You can keep power amp simulation on the Axe-Fx switched on if you think it sounds better that way. Especially when using solid-state power amps. Note that, instead of globally, you can also switch on/off power simulation per patch by turning the SAG parameter down to zero.

Apart from “on” and “off”, power simulation can be set to “On-no thump” as well (Global > Config). This setting is meant for 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

Check the How-To about using your own (pre)amp.

How to set up 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. Playing the Axe-Fx in stereo is wonderful when recording but less so when playing live. 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 vice versa. These are the choices:

1. “Stereo”: select this when going direct (no amplification) into a mixing table or when using a stereo amplifier.
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 are caveats. Summing signals will cause phase cancellation in some cases. Example 1: if a patch contains an ENH block (Stereo Enhancer), this mode will make your tone strange, thin and hollow. Example 2: if a patch contains a delay with its Phase Rev parameter (Advanced page) set to on, this mode will make all delay trails disappear. A lot of factory presets employ either the Stereo Enhancer or the delay with Phase Rev set to on.
3. “Copy L>R”: the signal on the left channel is copied to and replaces the right channel. It’s an alternative for L+R Sum and avoids the phase cancellation issues. But there's an issue here too: you lose the right channel signal with hard-wired stereo effects such as Ping-Pong Delay!

How to set up the Axe-Fx for multiple output signals

The Axe-Fx sends its main signal through Output1. This goes into an amplifier, into a mixing table etc. You may want to enable a second output signal (Output2), for example to feed your personal monitor during a gig. There are several ways to accomplish this.

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 an amplifier). This method requires that your patches don’t contain a FXL block (Axe-Fx’s effects loop)! Duplicating takes place before the global EQ is applied, so you can each output differently (Layout > 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).
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 an exact copy of the main output signal somewhere else.

How to use the Axe-Fx for effects only

Check the How-To 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. For the best tone, instruct the Axe-Fx to use this input by selecting “Analog Front” (I/O > Mode). This enables the software optimization of the front input, a.k.a. “secret sauce” J. If you choose “Analog Rear” instead, the software optimization is not applied to the front input and the tone will get more harsh (and then there are people who like just that).

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

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 line level inputs too which 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 but 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? Read this and this.

How to insert a device in the effects loop of the Axe-Fx

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

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.

How to set the input levels on the Axe-Fx

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

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

1. Select the loudest pickup on your guitar and strum hard.
2. First turn up the level to make the red input LED blink while strumming. Then turn it down a bit so that the red LED blinks only occasionally (there is a quite a range between orange and red).

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

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

If you use the input level knob to compensate for volume level differences between guitars, you don’t need to maintain different sets of patches for different guitars.

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 How-To’s about employing the effects loop and outputting multiple signals.

There are other places to control volume levels.

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 volume level controls!

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. More information. The Output1 knob at the front has no effect on clipping.

It can be quite tricky to avoid clipping altogether. 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.
5. If you use a Null Filter at the end of the grid for volume boosts, activate it.
6. Select your loudest pickup and hit the strings hard.
7. Turn down the AMP’s level until the output signal doesn’t clip anymore.
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.

How to use headphones with the Axe-Fx

The Axe-Fx doesn’t have a dedicated output for headphones. Output1 and Output2 won’t do the job either. Connect the Axe-Fx to a DAW, a simple mixer or a headphones amplifier for this purpose.

Note: the manufacturer doesn’t recommended using headphones to fine-tune patch settings, because there’s no interaction between guitar and amp.

Headphones recommendations

How to create a digital connection with the Axe-Fx

The Axe-Fx supports digital connections (SPDIF). A digital connection skips the A/D D/A conversion process. The digital sampling rate of the Axe-Fx is fixed at 48kHz (24-bit), so digitally connected devices must use the same sampling rate.

Connections:

• IN: RCA (digital coax) input. Select “Digital” in I/O > Mode to enable it. This will disable Input1 and the effects loop.
• OUT: 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 set up the Axe-Fx for reamping

It's explained here.

How to mute the Axe-Fx while tuning

The output signal of the Axe-Fx can be muted automatically when the tuner is active (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 How-To 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 editing 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. Instead of the editor, MIDI librarian software such as MIDI-OX or Bome’s SendSX (PC) or SysEx Librarian (Mac) can be used.

The software must communicate with the Axe-Fx, so a MIDI interface is also required. You can also use an USB-to-MIDI interface (e.g. Edirol) to turn an USB port on your computer into a MIDI interface. The Axe-Fx doesn’t support USB directly, alas… Note that not all interfaces work equally well with the Axe-Fx, check the sticky thread at the top of this forum for 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, so check that How-To.

How to update:

1. Create the physical connection between the Axe-Fx (MIDI IN) and the computer.
2. Load the firmware SysEx file into the program.
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. So it’s good advice to audition them.

And major firmware revisions may bring changes to 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 via Utility > Reset. This will reset all global settings, the MIDI configuration data and the settings of continuous controllers and pedals.

Resetting the Axe-Fx 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 MIDI librarian software and an operational MIDI connection with the computer (see separate How-To).

How to avoid overloading the CPU

The processing tasks of the Axe-Fx cost CPU time. The Ultra edition of the Axe-Fx allows you to run more effects and more complex effects before reaching the upper limit than the Standard.

Press Utility > Status to see the current CPU utilization percentage. Above 92% or so you're approaching the upper limit. Note: even bypassed effect blocks cost CPU time!

The Axe-Fx 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.

How to save and restore patches

Patches on the Axe-Fx can be saved to a computer. This requires the use of MIDI librarian software and an operational MIDI connection with the computer (see separate How-To). Go to Utility > Preset and select one of the “Dump” commands.

Loading patches (or banks) from a computer into the Axe-Fx has the same requirements. It’s not necessary to ready the Axe-Fx for this, it’s always available to receive MIDI data. After receiving the patch you still have to save it on the Axe-Fx. 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 the separate How-To on user cabs.

Editing Patches

How to take advantage of efforts by other users

Watch the forums for patches created and published by other users.

The final Axe-Fx editor (if or when it will be released) will feature a patch exchange facility.

How to build a new patch

G66.eu is the Axe-Fx / Atomic 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, alas).

Try to keep the grid layout in all your patches the same, whenever possible. It will make editing easier and switching between patches faster.

How to escape from the depths of the menus

Don’t know anymore where you are in the menu structure? Press Recall > left Page and you're back at the patch select screen.

How to make editing easier

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

How to copy and paste effect settings

You can copy the settings from an effect in another patch and apply them to 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 equivalent effect block in your current patch.

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

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 check afterwards that you didn’t set the entire patch to “ bypass” by accident!

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

How to adjust the overall effects level or master reverb level

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

There’s a separate master level control just for Reverb. If you need to adjust the global reverb level, you can use this parameter instead of editing each patch.

How to use more than 12 effects in a patch

You may think you can use a maximum of 12 effects because there are 12 horizontal blocks. You can use more by placing effect blocks in other rows (parallel paths). Or by using the Feedback Send/Return block (separate topic).

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.

P.S. I wish the Layout menu had a page that displays (without scrolling!) a list of the enabled effects in the current patch plus an overview of the most important global and I/O settings. A handy checklist before gigging.

How to put effects in a parallel path

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

Note that you don’t want to put 100% “wet” effects, like a tremolo or a compressor, in a parallel path because there will still be dry signal going through the main path too (unless you use a Volume block in the main path to mute the direct signal, a.k.a. “dry kill”).

Important:

1. Make sure to set the Mix parameter of parallel effects to 100%. Otherwise there will be two dry signal paths, which results in a undesired volume raise. With Mix at 100%, use the Level parameter to dial in the required amount of effect.
2. For the same reason select a Bypass mode for parallel effects that has no dry signal going through: Mute Out or Mute In.

How to put effects before or after your own preamp

You can keep using your own preamp and put Axe-Fx effects before it, after it or both. See the topic about using your own preamp.

How to create a virtual ‘master bypass’ switch

The Global Bypass feature enables you to activate all effects blocks which are initially set to bypass in the patch. It’s like an universal de-bypass knob, which makes for an easy and quick way to switch between two tones. For example a rhythm tone and a lead tone: pressing the Global Bypass switch would activate Drive, Delay and Reverb effects. You have to assign the Global Bypass CC (I/O > 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 setting instructs the Axe-Fx how to mute an effect when it’s bypassed.

“Mix = 0%”: the direct signal is unaltered, effects are off, and level is at unity gain (0dB). Actually this is the same as using a shunt, or in the real world a true bypass pedal. This is the default Bypass mode for an effect and useful for effects like chorus. You need to change it when placing effects in parallel (see other How-To)!

“Mute FX Out”: the direct signal is unaltered, effects are off, but the volume can be adjusted using the Mix and Level parameters.

“Mute FX In”: like Mute FX Out but with spillover of delay trails and reverb.

“Mute In”: everything is muted, except spillover of delay trails and reverb. For dramatic endings of songs perhaps. Useful for parallel effects.

“Mute Out”: everything is completely muted. No spillover of delays and reverb. Useful for parallel effects.

How to set correct effects levels

Set the volume level at the position where the volume level is the same when bypassed and when enabled. Unless desired otherwise of course.

Read the How-To on parallel placed effects.

How to adjust the volume level of a patch

Read the How-To on output levels first. To adjust the volume of an entire patch, use the volume level control of the AMP block or the main patch control in Layout > Mix.

You can use a decibel meter application for your mobile phone to measure and adjust volume levels of your patches roughly. Fine-tune later on during rehearsal or while gigging (see separate How-To).

How to adjust the volume level of a patch while playing

The Axe-Fx has dedicated controls to adjust the volume levels of patches while playing: Volume Increment and Volume Decrement (I/O > Ctrl). These controls let you adjust patch levels on the fly while playing. A press will change the main patch level (Layout > Mix) in steps of 1dB and save the setting automatically each time! Assign both controls to switches on your MIDI footcontroller (I/O > Ctrl), or to switches which are connected directly to the Axe-Fx inputs at the rear (I/O > Pedals).

How to boost the volume level of a patch while playing

To be able to instantly boost the volume of the patch for leads, add a Filter block to the grid, set it to Null and set Level at 4, 5 or 6 dB (to your liking). Assign the CC for the filter (I/O > Ctrl) to your MIDI footcontroller or to a switch or pedal that’s connected directly to the rear of the Axe-Fx.

You can also program your MIDI footcontroller to enable a “Filter boost” simultaneously when switching on a Drive effect. Just use the same CC for the filter and the Drive block (I/O > Ctrl). Some prefer this to turning up the Drive level.

How to enable spillover of delay and reverb

Spillover means that delay and/or reverb trails of the current patch will still be heard (carried over) after switching to another patch.

Spillover is enabled globally in Global > Config. But you need to do more! To make it work, the patch you’re switching to has to contain a Delay and/or Reverb block. There are some caveats though:

1. If you want spillover of delay/reverb trails from the last patch, without starting a new delay/reverb. Set the Delay block’s Input Gain to 0 in the 2^nd patch. You can put the Delay and Reverb blocks in the last row on their own for example, without an input, as long as they are connected to the output.
2. If you want spillover of delay/reverb trails from the last patch and continue the same delay/reverb:
   • Don’t mute or bypass the delay and/or reverb in the 2^nd patch. These will inherit the parameters of the previous patch automatically.
3. If you want spillover of delay/reverb trails from the last patch and start a new delay/reverb:
   • That’s a bitch, check the Wiki.
4. 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.
5. The MultiTap and MegaTap Delay effects and Vintage reverb don’t support spillover.

Since it’s so much trouble to set things up, I’ve given up on configuring Spillover. It’s one of the few areas where there’s room for improvement of the Axe-Fx I think. I keep the global setting switched on though, because it makes overall preset switching faster, even when not using spillover.

How to save and recall favorite amp settings

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

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

How to keep your patches consistent

I have a checklist in my head that I use to verify the settings of each patch. It’s kinda like this:

1. Is my default grid used, if possible?
2. Are all effects set to my preferred settings and levels?
3. Are my external controllers (MIDI footcontrollers, pedals) assigned correctly?
4. Is a Global Amp used?
5. Is the correct cabinet for that amp selected with the right settings?
6. Is the patch saved with everything bypassed except AMP and CAB?
7. Lead patches: is the patch saved with everything bypassed except AMP, CAB, boost Filter, Delay and Reverb?
8. Are the following levels at unity gain: CAB, Mixer (Layout > Mix)?
9. Are the Mix, Level and Bypass parameters set correctly for effects in parallel rows?
10. Does the patch level match my other pacthes (and does it not clip with Drive and a boost Filter enabled)?
11. Is there no phase cancellation?
12. Is the noise gate set correctly?

Below is a diagram of my default patch layout. I use this for all patches unless something special is needed. The combination of this layout and the programmability of my Gordius MIDI footcontroller makes that I can use it as a virtual pedalboard or a a basis for specific presets. On my Ultra this patch utilizes the CPU for about 90%. Effects blocks in the parallel rows are set to 100% Mix and bypass mode Mute Out. The routing is used for sending a signal to FOH and to a FRFR monitor.

                  PHR1                     CHO                REV
                 /    \                   /   \              /   \
VOL > WAH > DRV1 >(RES)> AMP > CAB > PEQ > ROT > PIT2 > FLG > PAN > FIL2
                 \    /                   \   /              \   /
                  PHR2                     PIT1               DLY1
                                                              DLY2

Explanation

Vol: Volume block with an Envelope attached, for auto swell effect

Wah pedal (1st expression pedal, set to auto-engage).

Drive1: TS808 or FET Boost, depending on the amp.

Phaser1: Uni-vibe.

Phaser1: MXR Phase 90 settings.

(Res): reserved

Amp.

Cab (HiRes Red Wirez IR).

PEQ, blocking EQ to remove too much high/low end.

Chorus.

Rotary Cabinet.

Pitch1: Detune.

Pitch2: Whammy (2^nd expression pedal, set to auto-engage).

Flanger.

Reverb.

Delay1: regular delay.

Delay2: modulated delay.

Tremolo.

+5 dB Null Filter, for volume boosts.

Effects

How to know which effects the Axe-Fx provides

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

How to configure an amp

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

Read it in the Wiki.

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:

1. The tone controls that are appropriate for that specific amp type (passive).
2. The tone controls from another amp type (passive).
3. 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 in the AMP block’s properties to select another type.

How to set the Drive and Master parameters for vintage amp

Vintage amps didn’t have separate gain and master volume controls. To emulate this, set Master somewhere between 9 en 9.41. This will turn the Drive parameter into the volume control. Turn it up to make the amp push the power tubes really hard, virtually of course

How to use a Drive block to add gain to an amp

Each amp has a Drive parameter which controls the amount of preamp gain. However, in some cases it works better to keep the Drive parameter pretty low and add a separate Drive block before the AMP in the grid. For example, add a TS808 with its Gain control all the way down and its Level maxed. This helps to add gain. It also decreases the low end in the signal.

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 go all the way to recreate “their” tone.

No restrictions here, do what you like. Since firmware 9.0 it’s been advised to turn the Warmth and Thump parameters all the way down to zero (more information).

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

How to use multiple amps in a patch

The Axe-Fx allows the use of two AMP blocks simultaneously. These can share a cabinet or have their own. The simultaneous use of multiple amps can thicken the tone (like two high gain amps), or make it more transparent (combination of a high gain amp with a clean type) etc. You can also set up a patch with two amps and “morph” between them, without the need for two separate patches.

Using two amps and cabinets (and no effects) will pretty much take a Standard Axe-Fx to its limits.

How to set the Bright switch of an amp

When you select an amp, its Bright switch is set automatically to its default setting for that amp. If you don’t remember the default setting, just reselect the amp type. To switch the Bright switch on or off, scroll to Treble and press Enter.

How to set the Boost switch

Each amp type has a Boost setting. This is a 12dB boost at the input stage, off by default. Sometimes the boost works better than turning up preamp gain.

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

You cannot assign an instant switch to Boost. But there’s another way to get the same result: add a Filter block before AMP, set to Null with Level at 12dB. You can even assign the Filter’s Level to an expression pedal and control the gain gradually.

How to get tight metal tones

For more control over palm muting, add a Filter before the AMP block. Set it to Highpass and attach the Envelope controller to the Frequency parameter, using the default Envelope settings. Set Scale to 40% and Offset to around 22%. You’ll have a dynamic filter which adjusts itself according to how hard you're hitting the strings.

How to tame low end frequencies

Depending on the amp type and your method of amplification, there may be too much low end (bass) in the tone. Turning down the Bass control in the Amp’s properties isn’t always the right way.

The Low Cut Frequency parameter (Advanced page of the AMP block) lets you cut frequencies below a certain frequency.

Another approach is to use a parametric equalizer (PEQ block) to cut lows after the AMP and CAB blocks. This thread offers some valuable information on this.

How to dial in specific amps and signature sounds

The Axe-Fx offers a lot of amp emulations. I’m collecting setup information about some of them:

Marshall Plexi	here and here and here
Marshall JCM800	here
Fenders	here and here and here
Mesa Boogies	here and here and here
Matchless	here and here
Dr.Z	here
CAE 3+ SE	here
Bogner Ubershall	here and here and here
Dumble	here
Bogner Ecstasy	here
Budda	here
Vox	here and here
Cornford	here and here and here
Steve Vai’s For The Love Of God
SRV

Also check the factory presets of course (see the list at the bottom of this page). And you can download a ready-made bank that contains basic patches with all amps and matching cabinets here.

And don’t forget to finetune your amp tone for the right amplification. If you want gigging material, make sure to audition all your patches on gigging volume level, with your preferred method of amplification and within the band context. If you want to record instead, optimize the tone for that goal.

How to configure a cabinet

How to select the right (stock) cabinet

The Axe-Fx offers a lot of specific cabinet emulations. These simulate the influence that speaker cabinets have on the tone. A cab sim is also referred to as an IR (Impulse Response). The Wiki contains two (slightly different) lists with the real names of the cabinets that are emulated: here and here.

It’s a matter of personal preference which cab sim to select. Here are some tips to get you started.

4x12 V30, Cali	high gain amps
4x12 20w, 4x12 25w, 4x12 Green	vintage Marshalls
1x6 Oval	lo-fi
2x12 Black, 2x12 Blue	Fender
2x12 Brit	Vox
2x12 Gold, 2x12 G12h, 1x12 Open	far-field tones

Note: most of the stock cabinets recreate the tone of a speaker that’s recorded with a microphone close to the speaker. That’s how amps are often recorded or mic’d live. A couple of the stock cabs are “far-field” simulations, which means that the mic was placed further away from the speaker during the recording. That will result in a tone that’s more like hearing the amp and the speaker cabinet “in the room” (more information). Far-field has nothing to do with reverb.

How to select the right microphone for the cabinet

You can select a microphone emulation in the Cabinet properties. The Wiki explains the types of microphones. The Royer 121 and Neumann belong to the favorites. It’s not necessary to select a mic sim though if you prefer to hear the speaker in its natural state. And it’s not necessary at all when using the Red Wirez IR’s (separate topic) because the microphone is already part of the IR.

How to choose between a stereo or mono cabinet?

The cabinet sim operates in one of three modes:

• “Mono HiRes”: mono, 1024 samples.
• “Mono LoRes”: mono, 512 samples (but requires 50% of the processing load of Mono HiRes).
• “Stereo”: stereo, 512 samples.

While the mono HiRes setting offers the best quality, the stereo setting has its own thing going. It lets you combine two cab sims in one block with either one or two amps. Alternatively you can use two (mono or stereo) Cab blocks in your grid, but this costs extra CPU time. A lot of factory presets use a stereo cab, set to two different cab sims.

How to set the Air and Drive cabinet parameters

Drive: this parameter simulates speaker break-up. It’s not very noticeable unless you push the input of the Axe-Fx very hard.

Air: this parameter helps to remove the “boxy” edge of the tone through a cabinet sim. It’s a low-pass filtered direct signal that gets mixed with the processed signal. Set it around 3500 Hz or higher and dial it in the mix as you like. The effect is also not always very noticeable but it opens up the sound a bit. Here is a demonstration and here’s more information.

How to use an “user cab”

An user cab is a cabinet emulation (IR) that doesn’t come stock with the Axe-Fx. The Axe-Fx has 10 slots to load these “custom” cabs. You need a sysex librarian or the Axe-Fx editor to load user cabs into the Axe-Fx. The process is described in the Wiki. There’s no visual confirmation that the process is done, except for a small MIDI IN light blink at the end of the process. Listen to the tone change to confirm that the load was successful.

Note that the Axe-Fx doesn’t display any information on loaded user cabs, you need to write it down. If you want to clear an user slot, you can download an “empty” IR from this thread.

You can find free IR’s in this forum.This thread is about specific IR’s for metal tones. This thread contains a tutorial on auditioning user cabs.

How to get good 3^rd 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 information on the Red Wirez IR’s is here.

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 use a Noise Gate

Every patch has a noise gate. It’s hidden in one of the pages of the Layout menu. Hold the Bypass button to reset it to its defaults (which is: switched on). Or turn the threshold to zero to switch it off completely.

The Ultra edition allows you to insert additional gates in the grid.

How to use a Compressor

Read the Wiki for recommended compressor settings. This thread also contains valuable information on using two of them in series to get the desired results.

How to use a Parametric Equalizer

This thread explains how to use the PEQ block to contour your tone and to get rid of excessive highs and lows.

How to use a Reverb

This thread explains how to get ambience and rich reverb using the correct reverb parameters.

Also, audition “reverb” presets in the ordered list of presets at the bottom of this page.

How to use a Chorus

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

How to use a Flanger

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

How to use a Phaser

This thread is about simulating a MXR Phase 90.

How to use a Rotary Cabinet (Leslie)

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. 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 use a Wah-Wah

The Wiki suggests settings for emulating a Clyde or a Morley Bad Horsie. And here’s info on the Budda.

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.

How to use a Formant Synthesizer

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

How to use a Tremolo

Audition “tremolo” presets in the ordered list of presets at the bottom of this page to see if there’s one you like.

How to use a Delay

The Axe-Fx has two different types of Delay blocks. The regular Delay is a basic digital delay with a few enhancements. The second is a complex Multi-Delay. The regular Delay has 5 modes:

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 provides a low-cut and high-cut filter to simulate old analog delays. There are also two delay time modulators for modulated delay trails (there’s no specific modulated delay in the Axe-Fx). For better resultst put the delay in a parallel path and add a modulation effect (chorus, flanger) after it.

You can create a delay “loop” and insert effects (more information).

Here’s a great dub Delay patch.

How to use the Multi-Delay

(no information)

How to use the Filter block

The Filter is a one-band parametric EQ. See the How-To about using the Filter instead of the amp’s Boost switch.

How to use the Pitch Shifter

(no information)

How to use the Drive effect

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

1. Some people like turning down the effects’s Mix level to 80% to increase transparancy and decrease buzzy tones.
2. Maximizing the Drive’s Level doesn’t satisfy some people. They prefer to boost the volume using the same CC for the Drive block and a Null Filter boost.
3. This thread contains additional information on the Drive effect.

How to use the Stereo Enhancer

This effect increases the stereo separation between the left and right outputs to make a stereo track appear wider. As explained earlier phase cancellation can occur when using this effect in a mono setup with the left and right channels summed.

How to use the Mixer block

The Layout menu contains a final Mixer for the four rows of the grid. You can also insert a Mixer block somewhere in the routing.

How to use the Effects Loop (FXL)

This is covered earlier on this page.

How to use the Feedback Send/Return effect

Several applications for this effect are explained in the Wiki.

How to use the 16-band Classic Vocoder

Here’s how to set up the Vocoder (Ultra-only) for guitar only, or for guitar plus vocals.

How to use the Multiband Compressor

The Multiband compressor (Ultra only) can be a valuable asset if you want single notes to stand out and keep note definition in distorted chords.

How to use the Crossover effect

The Crossover effect (Ultra-only) enables you to split high and low frequencies. There’s a Crossover preset among the factory presets which sends the highs to one side and the lows to the other.

How to use the MegaTap Delay

(no information)

How to use the Quad-Stereo Chorus

Audition “chorus” presets in the ordered 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, and utilizes a lot of CPU time.

How to use the Ring Modulator

The ordered list of presets at the bottom of this page contains a couple of Ring Modulator presets.

I like to use the Ring Modulator for punchy (monophonic) bass tones.

How to get the Uni-Vibe effect

You need the Phaser effect for this. Turn the Order parameter fully clockwise to active the Uni-vibe mode. Connect a pedal to control the speed of the vibe.

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 get a violin tone 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 obtain the auto swell effect (like the Slow Gear pedal from Boss), use a Volume block with an envelope modifier. Copy the settings from factory preset 257.

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 get a 12-string guitar tone

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.

How to get U2’s Mysterious Ways sound

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

How to get the Axe-Fx to handle your acoustic guitar

This thread goes into that.

How to get synthesizer sounds from the Axe-Fx

Check the ordered list at the bottom of this page for some examples of the 2-voice Synth effect in the Axe-Fx (Ultra).

If it sounds too sterile, add an amp, a cab or a Drive block after it.

How to get a flute sound from the Axe-Fx

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

How to get a “shimmer” effect

The shimmer effect is an effects where notes are pitchshifted higher and higher and reverberated in a parallel path. Used over and over again by U2’s The Edge.

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

How to get a seek wah (random wah) effect

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

How to use a reversed delay

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

How to get the envelope filter effect

You have to configure the Wah-Wah effect to get the envelope filter effect.

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

For vintage envelope filter settings (think Mu-Tron), check the Wiki.

Also check the ordered list of presets at the bottom of this page.

How to use the Axe-Fx as a looping device

Isn’t there a looper in the Axe-Fx? Yes, if you have an Ultra! It’s an extra Delay mode on the Ultra with 16 seconds of delay time. Go to I/O > Ctrl to assign the looper controls (such as Play and Record) to switches on your MIDI footcontroller.

How to 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.

How to simulate a Z.VEX Fuzz Factory

Read this thread for advice about turning a Drive block into a Z.VEX Fuzz Factory.

How to use Buzz Feiten 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.

Using Pedals, Switches or Footcontrollers

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 minimize gaps between patch switching

Switching between patches isn’t seamless. But firmware 9.0 has made the gaps very short, especially if the Spillover parameter is enabled (Global > Config).

How to configure the Axe-Fx MIDI settings

[To be added, MIDI IN LED, PROG CHANGE, MAPPING, MIDI CHANNEL, MIDI > CTRL: external control. Turn or Learn. Attach max. 8 external controllers to pedal/MIDI. value 0 = off, > 0 = on.]

How to handle problems with your MIDI interface

Check this thread for information about issues with certain 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 specifying pedal/switch and to calibrate, and don’t forget to use the handy Learn feature: press Enter and move the device (such as a switch on your MIDI controller) to make the Axe-Fx recognize which device is in control of that parameter.

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 using 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

I like the ones from Mission Engineering, Yamaha, Ernie Ball, Visual Sound.

How to solve a stuttering expression pedal

If the expression pedal doesn’t perform like it should, try setting the Damping parameter in the Modifier menu to 4 or 8 ms. The Damping parameter is meant to make a pedal operate more smoothly by slowing down the response rate.

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

Yes. 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 it into a dual-function pedal.

How to gradually slow down or speed up an effect with a switch

The Rotary Cabinet (Leslie) effect often features two speed settings: slow and fast. Switching between those gradually slows down or speeds up the effect. This can be simulated by using the Damping parameter on the Modifier page of the Rate parameter. This isn’t necessary anymore since firmware 9.0: the gradual speed change is now an intrinsic part of the effect itself.

How to control the delay effect level 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 while 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 quieter (but not muted) than at the toe-down position (maximized). This makes it possible to easily boost the signal for leads for example. It doesn’t influence the tone.

How to choose a MIDI footcontroller

There are lots of great MIDI footcontrollers. Among the favorites are Liquid-Foot, Axess Electronics FX-1, Rocktron All Access and Voodoo Lab GCP. And Fractal Audio is developing its own controller. I favor the Gordius (Big) Little Giant above any other controller. 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 Axe-Fx forum has tutorials for MIDI footcontrollers from GCP, Behringer, Midimate. The Liquid-Foot footcontroller offers the best out-of-the-box support at this moment; for example it can download patch names. Support for the Gordius Little Giant is offered here. 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 create a handy switch layout on your MIDI footcontroller

This thread contains examples.

[@ Add my own controller layout]

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.

Here’s a list of all controllable parameters.

How to switch between two effect settings using one switch on your MIDI footcontroller

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’s display

The controllers from Gordius and Liquid-Foot (and possibly some others) can graphically display the Axe-Fx tuner data on their displays. To do this: enable real-time MIDI SysEx communication on the Axe-Fx (I/O > 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 2^nd generation Gordius Little Giant and Liquid-Foot MIDI footcontrollers allow full bi-directional MIDI-communication with the Axe-Fx over just one (custom!) MIDI-cable.

Gordius Little Giant: add the Gordius-specific TunerDisplay message to your tuner stompbox (or momentary) patch to switch on the tuner display. Note that the 1^st 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

• Violin simulation
• Clean Fender tones
• Demonstration of many presets (multiple videos) (patches are here)
• U2 tones
• U2 organ and shimmer tones
• Sam Hill plays the Axe-Fx (multiple videos)
• (R)evolution of Rock Guitar (multiple videos) (patches are here)
• Peter Autschbach demos (multiple videos)
• Bernd Kiltz tutorials (multiple videos)
• Axe-Fx Ultra Looper and Vocoder
• Enzo Sutera recordings
• U2 Guitar Tutorials (multiple videos)
• Axe-Fx tutorials (multiple videos)
• A peek inside the Axe-Fx
• Atomic Reactor FR demonstration
• Videos on g66.eu

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 I find it handy to look up specific presets. Note that some of these are Ultra-only. The categories are arbitrary, but hey it’s my list. ;-)

P.S. The number behind the name of some of the presets is for my own purposes.

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
41	Wood Nymphs
45	Soundtrack
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)
153	Top Boost
Amp: EVH 5150
36	Fat Solo Lead
67	Modern Eddie (with detune effect)
Amp: Marshall Plexi
17	Cliff’s Of Dover
44	Hell’s Bells (AC/DC)
52	Machine Gun (Jimi Hendrix)
95	Voodoo Chile (Jimi Hendrix)
174	Multicomp Plexi (with multiband compressor)
175	Crossover L:Lo R:Hi
229	Screaming Plexi
259	Lounge Lizards (with chorus)
271	Detune Plexi
275	Simple Plexi Rig
280	Full Plexi
286	Yngwie (Yngwie Malmsteen)
355	80’s Clean
359	High Landrons
Amp: Marshall JCM800
46	JCM Crunch
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 (with flanger)
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)
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)
131	Jet Flanger
351	Flange-Chorus-Verb
Pitch shifting
23	Down Full Step (dropped tuning)
24	Music Box (89)
37	Gamelan Nights
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 (35)
70	Run Like Heck (David Gilmour)
77	Streets Have No Name (U2)
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 DigitalDelay
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
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, 42)
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