Fractal Audio Axe Fx Ii Owners Manual 304 User
2017-08-31
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Owner’s Manual Legal Notices Fractal Audio Systems Axe-Fx II Owner’s Manual. Contents Copyright © 2011 All Rights Reserved. No part of this publication may be reproduced in any form without the permission of Fractal Audio Systems. Fractal Audio Systems, Axe-Fx, Axe-Fx II, G2 Modeling Technology (“G2”), Virtual Vacuum Tube (“VVT”) are trademarks of Fractal Audio Systems. Manufacturer names and product names mentioned herein are trademarks or registered trademarks of their respective owners, which are in no way associated with or affiliated with Fractal Audio Systems. The names are used only to illustrate sonic and performance characteristics. Important Safety Instructions WARNING: To reduce the risk of fire or electric shock, do not expose this appliance to rain or moisture. CAUTION: To reduce the risk of fire or electric shock, do not remove screws. There are no user serviceable parts inside. Refer servicing to qualified service personnel. 1. 2. 3. 4. 5. 6. 7. 8. 9. Obey all warnings on the Axe-Fx II and in this User Guide. Keep away from sources of heat such as heat ducts, registers or appliances which produce heat. Connect only to a proper AC outlet of 100–240V, 47–63 Hz. Keep the power cord in good condition. Do not kink, bend, or pinch. If the cord becomes damaged, discard and replace it. If not using your Axe-Fx II for extended periods of time, disconnect from AC mains. Protect the unit from rain and excessive moisture. Refer servicing to qualified personnel only. Do not operate the unit and obtain service if: a. Liquids or excessive moisture enter the unit. b. The unit operates incorrectly or performance is inconsistent or erratic. c. The unit has been dropped and/or the enclosure damaged. Prolonged exposure to high volume levels can cause hearing damage and/or loss. The use of hearing protection in high volume situations is recommended. Doc v3.04 Doc v3.04 i Certificate of Conformity Fractal Audio Systems, USA, hereby declares on its own responsibility that the following product: Axe-Fx II Digital Guitar Preamplifier and Effects Processor - that is covered by this certificate and marked with CE label conforms to following standards: EN60065 (IEC 60065) Safety requirement for mains operated electronic and related apparatus for household and similar use. EN 55103-1 Product family standard for audio, video, audio-visual, and entertainment lighting control apparatus for professional use. Part 1: Emission. EN 55103-2 Product family standard for audio, video, audio-visual, and entertainment lighting control apparatus for professional use. Part 2: Immunity. with reference to regulations in following directives: 73/23/EEC, 89/336/EEC. Issued in May 2011 Clifford Chase, President Fractal Audio Systems EMC / EMI This equipment has been tested and found to comply with the limits for a Class B Digital device, pursuant to part 15 of the FCC rules. These limits are designed to provide reasonable protection against harmful interference in residential installations. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. There is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: Reorient or relocate the receiving antenna. Increase the separation between the equipment and receiver. Connect the equipment to an outlet on a circuit different from that to which the receiver is connected. Consult the dealer or an experienced radio/TV technician for help. About the Author Matt Picone is a music technology product specialist, sound designer, creative director, and musician with over 25 years of experience spanning guitars, amps, effects, synthesizers, software, and beyond. He also works as a consultant to many greats including Dweezil Zappa, Adrian Belew, Steve Vai, Dream Theater, the Edge, Peter Frampton, Neal Schon, King’s X, Scott Appleton (Def Leppard/Rush/etc.) and more. This work is based extensively on the original Axe-Fx manual by Fractal Audio founder and Axe-Fx creator Cliff Chase. Many thanks to our team of awesome beta-testers, preset creators, copy-editors and proofreaders. You may report manual corrections or suggestions in our forum at http://forum.fractalaudio.com ii Doc v3.04 Foreword Thank you for purchasing an Axe-Fx II, one of the most powerful musical instrument processors ever produced. Please take the time to read through this manual to become acquainted with the Axe-Fx II. Thinking back to a date when the first Axe-Fx units rolled off the line back in 2006, it would have been a challenge to predict the scale of what was to follow… that the product would be such a worldwide success that we would have a hard time keeping it in stock; that musicians would rally around the unit, from online “Axe-evangelists” to the world’s most celebrated pro players; that we’d soon be writing the foreword to a manual for the sequel: the Axe-Fx II. Nevertheless, the Axe-Fx II is here. Advances in technology and knowledge, along with the shared insights of our community, have allowed us to design and produce a next-generation product that represents a giant step forward. If you owned a Standard or an Ultra, we think you’ll be very impressed with all the updates, additions and improvements. If you’re new to the Axe-Fx family, this is an incredible place to start. It has been said that the Axe-Fx “restored digital to its rightful place as the superior solution to musical effects processing.” Every aspect of the Axe-Fx II has been designed to deliver the latest word in this commentary. It has twice the power of the Axe-Fx Ultra (while even the older “Standard” still has more horsepower under the hood than the closest competitor). For the player, this means better sound, smarter features, and improved performance. We think that a time traveler from that date back in 2006 would be quite impressed with how things turned out. We are, and we hope you will be too. And now, on to the show… —Fractal Audio Systems, May 2011 Doc v3.04 iii TABLE OF CONTENTS Table of Contents Foreword .......................................................................................... iii Table of Contents .............................................................................. iv What’s New .......................................................................................1 1 Introduction ..................................................................................4 1.1 What is the Axe FX II? .............................................................................. 4 1.2 The Inventory/Grid Concept ..................................................................... 6 1.3 Connectivity and More ............................................................................. 7 1.3.1 My Head Hertz… ....................................................................................................................................7 2 Overview ......................................................................................8 2.1 The Front Panel ........................................................................................ 8 2.2 The Rear Panel ....................................................................................... 10 2.3 Computer Integration ............................................................................ 12 2.3.1 Minimum Requirements ......................................................................................................................12 2.3.2 Software Installation ............................................................................................................................12 2.3.3 Capabilities...........................................................................................................................................13 3 Connections ................................................................................ 15 3.1 Setting Levels ......................................................................................... 15 3.2 The PEDAL Jack ...................................................................................... 16 3.3 System Parameters ................................................................................ 16 3.4 Connection Diagrams ............................................................................. 17 iv 3.4.1 Axe-Fx II into Self-Powered Full-Range Speakers.................................................................................18 3.4.2 Axe-Fx II into Studio Monitors .............................................................................................................18 3.4.3 Axe-Fx II with Power Amp and Guitar Speakers ..................................................................................19 3.4.4 Axe-Fx II Effects Loop ...........................................................................................................................20 3.4.5 Axe-Fx II Digital Audio Interconnection ...............................................................................................20 3.4.6 Axe-Fx II Four Cable Method (“4CM”) .................................................................................................21 3.4.7 Direct to FOH plus Real Amps on Stage ...............................................................................................22 Doc v3.04 TABLE OF CONTENTS 3.4.8 Axe-Fx II as Effects Processor Only (with Guitar Amps) .......................................................................23 3.4.9 Axe-Fx II as a Computer Audio Interface .............................................................................................24 3.4.10 Axe-Fx II and MFC-101 .........................................................................................................................25 3.4.11 Axe-Fx II: One Possible “Big Rig” ..........................................................................................................26 4 Basic Operation and Editing ......................................................... 27 4.1 Presets ................................................................................................... 27 4.2 The Grid ................................................................................................. 28 4.2.1 Inserting and Removing Blocks ............................................................................................................28 4.2.2 Shunts ..................................................................................................................................................29 4.2.3 Connector Cables .................................................................................................................................30 4.2.4 Moving Blocks on the Grid ...................................................................................................................32 4.2.5 Example Presets on the Grid ................................................................................................................33 4.3 Editing Sounds ....................................................................................... 35 4.3.1 Quick Control .......................................................................................................................................36 4.4 X/Y Switching ......................................................................................... 36 4.4.1 X/Y Quick Jump ....................................................................................................................................37 4.5 Bypassing a Block ................................................................................... 37 4.6 Loading Effects from another Preset ...................................................... 37 4.7 Saving Changes ...................................................................................... 38 4.7.1 Swapping the Locations of Two Presets ..............................................................................................38 5 Effects Guide ............................................................................... 39 5.1 Amplifier [AMP] ..................................................................................... 39 5.1.1 Basic Amp Parameters .........................................................................................................................41 5.1.2 Advanced Amp Parameters .................................................................................................................44 5.2 Cabinet [CAB] ......................................................................................... 47 5.3 Chorus [CHO] ......................................................................................... 50 5.4 Compressor [CMP] ................................................................................. 52 5.5 Crossover [XVR] ..................................................................................... 54 5.6 Delay [DLY] ............................................................................................ 55 5.6.1 Mono Delay..........................................................................................................................................56 5.6.2 Stereo Delay .........................................................................................................................................57 Doc v3.04 v TABLE OF CONTENTS 5.6.3 Dual Delay ............................................................................................................................................58 5.6.4 Ping-Pong Delay ...................................................................................................................................59 5.6.5 Sweep Delay.........................................................................................................................................59 5.6.6 Reverse Delay ......................................................................................................................................59 5.6.7 Delay Common Parameters .................................................................................................................60 5.7 Drive [DRV] ............................................................................................ 62 5.8 Effects Loop [FXL] ................................................................................... 64 5.9 Enhancer [ENH] ...................................................................................... 65 vi 5.10 Feedback Send [SND] & Return [RTN].................................................. 65 5.11 Filter [FLT] ........................................................................................... 66 5.12 Flanger [FLG] ....................................................................................... 67 5.13 Formant [FRM] .................................................................................... 69 5.14 Gate/Expander [GTE]........................................................................... 70 5.15 Graphic Equalizer [GEQ] ...................................................................... 71 5.16 Looper [LPR] ........................................................................................ 71 5.17 Megatap Delay [MGT] ......................................................................... 72 5.18 Mixer [MIX] ......................................................................................... 73 5.19 Multiband Compressor [MBC] ............................................................. 74 5.20 Multi Delay [MTD] ............................................................................... 75 5.20.1 Quad Tap Delay ....................................................................................................................................76 5.20.2 Plex Delay .............................................................................................................................................77 5.20.3 Plex Detune ..........................................................................................................................................79 5.20.4 Plex Shift ..............................................................................................................................................79 5.20.5 Band Delay ...........................................................................................................................................79 5.20.6 Quad Series Delay ................................................................................................................................80 5.20.7 Ten-Tap Delay ......................................................................................................................................80 5.20.8 Rhythm Tap Delay ................................................................................................................................81 5.20.9 Diffusor ................................................................................................................................................82 5.21 Tremolo/Panner [PAN] ........................................................................ 83 5.22 Parametric EQ [PEQ]............................................................................ 84 5.23 Phaser [PHA] ....................................................................................... 85 Doc v3.04 TABLE OF CONTENTS 5.24 Pitch Shifter [PIT] ................................................................................ 87 5.24.1 Detune .................................................................................................................................................89 5.24.2 Fixed Harmony .....................................................................................................................................90 5.24.3 Intelligent Harmony .............................................................................................................................90 5.24.4 Classic Whammy ..................................................................................................................................93 5.24.5 Octave Divider .....................................................................................................................................93 5.24.6 Crystals .................................................................................................................................................94 5.24.7 Advanced Whammy .............................................................................................................................95 5.24.8 Arpeggiator ..........................................................................................................................................96 5.24.9 Custom Shifter .....................................................................................................................................97 5.25 Quad Chorus [QCH] ............................................................................. 98 5.26 Resonator [RES]................................................................................. 100 5.27 Reverb [REV] ..................................................................................... 101 5.28 Ring Modulator [RNG] ....................................................................... 104 5.29 Rotary Speaker [ROT] ........................................................................ 104 5.30 Synth [SYN] ....................................................................................... 105 5.31 Vocoder [VOC]................................................................................... 107 5.32 Volume/Pan [VOL] ............................................................................ 108 5.33 Wahwah [WAH] ................................................................................ 109 5.34 Input Noise Gate ............................................................................... 110 5.34.1 Input Impedance ................................................................................................................................110 5.35 Output Mixer .................................................................................... 111 5.36 Common Mix Parameters .................................................................. 112 6 Global Blocks............................................................................. 114 6.1 Introduction ......................................................................................... 114 6.2 Using Global Blocks .............................................................................. 114 6.2.1 Saving to a Global Block .....................................................................................................................115 6.2.2 Loading and Linking a Global Block ....................................................................................................116 6.2.3 Loading Global Blocks without Linking ..............................................................................................117 6.2.4 Unlinking Preset and Global Blocks ...................................................................................................117 7 Modifiers & Controllers ............................................................. 119 Doc v3.04 vii TABLE OF CONTENTS 7.1 Introduction ......................................................................................... 119 7.2 Creating a Modifier .............................................................................. 119 7.2.1 Transformations.................................................................................................................................121 7.2.2 Damping .............................................................................................................................................122 7.2.3 Auto Engage .......................................................................................................................................123 7.2.4 Program Change Reset ......................................................................................................................123 7.3 Control Sources .................................................................................... 124 7.3.1 LFO1 & 2 ............................................................................................................................................124 7.3.2 ADSR 1 & 2 .........................................................................................................................................125 7.3.3 Sequencer ..........................................................................................................................................125 7.3.4 Envelope Follower .............................................................................................................................126 7.3.5 Pitch Detector ....................................................................................................................................126 7.3.6 Manual Knobs ....................................................................................................................................126 7.3.7 External Controllers ...........................................................................................................................127 7.3.8 Modifier Power! .................................................................................................................................127 8 Global Parameters..................................................................... 128 8.1 Configuration Parameters .................................................................... 128 8.2 Output Parameters .............................................................................. 129 8.3 Custom Scales ...................................................................................... 129 9 Input/Output Parameters .......................................................... 130 9.1 Input Parameters ................................................................................. 130 9.2 Audio Parameters ................................................................................ 130 9.3 MIDI Parameters .................................................................................. 132 9.4 Control Parameters .............................................................................. 134 9.5 Pedal Parameters ................................................................................. 136 9.6 X/Y Quick-Jump Assign ......................................................................... 136 10 Utilities ................................................................................... 137 10.1 LCD Contrast...................................................................................... 137 10.2 Preset Utilities ................................................................................... 137 10.3 Status Meters .................................................................................... 137 viii Doc v3.04 TABLE OF CONTENTS 10.4 Reset System ..................................................................................... 137 10.5 IR Capture ......................................................................................... 138 10.6 Firmware ........................................................................................... 139 11 Tuner ...................................................................................... 140 12 Tempo .................................................................................... 141 12.1 Setting the Tempo ............................................................................. 141 12.2 Synchronizing Sound Parameters ...................................................... 141 12.3 Tempo to Use .................................................................................... 142 12.4 Auto Delay ........................................................................................ 142 13 Backing Up and Restoring ........................................................ 143 13.1 MIDI/SysEx Backup and Restore ........................................................ 143 13.1.1 Dumping to a computer .....................................................................................................................143 13.1.2 Restoring from a Computer ...............................................................................................................144 13.2 Onboard ROM Backup and Restore ................................................... 144 13.3 Machine-to-Machine Transfers.......................................................... 145 14 Firmware Updates................................................................... 146 14.1 Firmware ........................................................................................... 146 15 Troubleshooting ...................................................................... 147 16 Appendix ................................................................................ 149 16.1 Shortcuts Overview ........................................................................... 149 16.2 60-Second Edit Guide ........................................................................ 150 16.3 Understanding Preset Size Limits ....................................................... 151 16.4 Signal Flow, Global, and I/O Parameters ........................................... 151 16.5 LFO Waveforms, Duty, and Phase ...................................................... 152 16.5.1 LFO Phase...........................................................................................................................................152 16.6 Tempo Cross Reference ..................................................................... 153 16.7 Mono and Stereo............................................................................... 154 Doc v3.04 ix TABLE OF CONTENTS 16.8 Mixology ........................................................................................... 155 16.9 Humbuster™ Technology ................................................................... 156 16.10 Setting up a Wah Pedal ................................................................... 157 16.10.1 Using the Onboard Pedal Jack .......................................................................................................157 16.10.2 Using an Expression Pedal on an MFC-101 ....................................................................................158 16.11 Setting Up Spillover ........................................................................ 159 16.11.1 Within a Single Preset ....................................................................................................................159 16.11.2 Across Different Presets.................................................................................................................159 16.12 Using Send and Return ................................................................... 160 16.12.1 Creating Feedback Loops ..............................................................................................................160 16.12.2 Extending the Length of Effect Chains ...........................................................................................160 16.13 Loading User Cab IRs....................................................................... 161 16.14 Glossary & Resources ..................................................................... 162 16.15 Axe-Fx II Bank & Preset Numbers Table .......................................... 165 16.16 Factory Default Settings .................................................................. 166 17 Specifications .......................................................................... 168 17.1 Midi Implementation Chart ............................................................... 169 Warranty ....................................................................................... 170 x Doc v3.04 WHAT’S NEW What’s New Three years of R&D at Fractal Audio Systems have yielded our next-generation product, the Axe-Fx II. With twice the power of our former flagship, the Ultra, the Axe-Fx II unveils new state-of-the-art algorithms and an innovative array of great hardware and software features and improvements. This all-in-one preamp/effects processor stunningly recreates great guitar signal chains—stompboxes, amps, cabs, mics, studio effects, and more—with unprecedented power, flexibility, and control. As the successor to what many believe to be some of the bestsounding processors ever created, our new arrival takes "real amp tone and feel" to the next level, offering the latest word in our commentary on restoring digital to its rightful place as the superior solution for guitar processing. Never willing to rest on our laurels, we are proud to present the Axe-Fx II. Twice the Processing Power Our philosophy is to never cut corners on processing power. Our new state-of-the-art algorithms required a powerful platform on which to operate, so the Axe-Fx II features two (count 'em) 600 MHz dual-core Analog Devices TigerSHARC™ Digital Signal Processors working in tandem. One processor is devoted solely to amp modeling while the other handles effects processing and system tasks. An ultra-high-speed bus interconnects the two processors, shuttling data back and forth. Mated to the processors is a high-speed, 64-bit external memory bus and twice the RAM of previous Axe-Fx products. A 200K gate FPGA provides peripheral functionality and system bus management. The Axe-Fx II is by far the most powerful instrument processor ever created, with more raw, real-time audio processing horsepower than anything available at any price. Yet, unlike power-hungry PCs, the Axe-Fx II consumes less than 40W and is nearly silent in operation. G2 Amp Modeling™ with Virtual Vacuum Tube™ Technology All this power would be useless without algorithms to take advantage of it. Years of research have yielded what we call G2 Amp Modeling Technology, comprising major breakthroughs in both preamp and power amp modeling. First, we created our new Virtual Vacuum Tube technology, or VVT. VVT is a complete departure from the static waveshaping technology used by other products. It is a digital replica of a vacuum tube, complete with time, frequency, and level dependencies. Just like a real vacuum tube, our digital replica is truly dynamic and changes with your playing. This creates a level of realism, complexity, and response that other products just can't match. Next, we rewrote the book on power amp modeling. G2 models the entire power amp, including the phase inverter, power tubes, output transformer, power transformer, choke, filter caps, and more. The results are amazing: warm, yet tight bass, powerful midrange, and silky highs. In addition, the Amp block now includes an integrated, 8-band graphic equalizer for additional tone-shaping without extra blocks. The current lineup of Axe-Fx II amp models are the result of incredibly detailed analysis of the actual amps that inspired them. We spent a small fortune searching out and purchasing vintage and modern amplifiers to add to our reference collection. Doc v3.04 1 WHAT’S NEW Improved Speaker Simulation The Axe-Fx II features new dynamic speaker modeling technology in the Amp block. This alone improves the way amp and cab work together for realistic tone and feel. In addition, the Axe-Fx II features a new, higher resolution (2048) convolution cabinet emulator with 70 factory Impulse Responses (IRs) and 50 "USER CAB" memory locations. Factory IRs also include custom creations from the Redwirez and Ownhammer collections, plus contributions from loudspeaker design engineer and Axe-Fx early adopter, Jay Mitchell. Easier-to-Use Front Panel Features A new, custom-designed 160x80 backlit LCD provides improved readability and more spacious screen layouts. In addition to the main VALUE knob, new QUICK CONTROL knobs provide hands-on access to four additional onscreen parameters. Ten block types—Amp, Cab, Chorus, Drive, Delay, Flanger, Phaser, Pitch, Reverb, and Wahwah—are now equipped with two fully independent parameter sets called “X” and “Y.” The X/Y switching feature allows one block to have all of its settings switched at the touch of a button (during editing) or via MIDI remote control (during performance). The X and Y buttons also double as user-definable “quick jump” keys that can be set up to open the EDIT menus of any two blocks without going through the grid. A built in FLASH ROM enables onboard backups of preset banks and system settings. Axe-Fx II/Computer Integration with Onboard USB The new onboard “Audio Class 2.0 compliant” USB interface provides a range of great capabilities for recording and computer integration. You can record high quality 48k/24-bit audio from the Axe-Fx II directly to the computer, play or process audio tracks from the computer through the Axe-Fx II, and use two-way high-speed MIDI rd without a 3 -party interface. On USB 2.0 or better systems, recording capabilities include not only the main processed stereo outs but a pair of dry channels for easy re-amping. New I/O Capabilities and Less Noise All rear analog inputs are now balanced like the onboard XLR outputs. The ¼" unbalanced outputs feature our new Humbuster™ technology, which senses and subtracts the ground noise of equipment connected with a simple stereo-to-mono cable. This can provide up to 20 dB reduction in ground noise without resorting to dangerous "cheater plugs" or expensive isolation transformers. We designed the Axe-Fx II with the “Four-Cable Method” in mind. Special analog processing keeps the noise floor even lower on Output 2, designed to be connected to the front of an amplifier. The front panel input uses a proprietary circuit and dedicated A/D converter for astonishingly low noise. The original Axe-Fx was hailed for its low-noise performance; the Axe-Fx II provides an almost 10 dB SNR improvement with the same pristine quality. A high-quality headphone jack is also provided. Designed for Unity Gain The Axe-Fx II uses digitally controlled potentiometers to operate as a unity-gain device irrespective of the input trim controls. Simply set the input trims with the LED input meters and you are done. Another benefit of this technique is that Amp and Drive blocks are unaffected by trim settings. 2 Doc v3.04 WHAT’S NEW Improved Digital I/O In addition to its USB interface, the Axe-Fx II sports SPDIF and AES input and output connectors. 7-pin MIDI In and a selectable MIDI Out/Thru jack are provided for interconnection with other MIDI-controllable equipment. Built for MFC-101 The Axe-Fx II features an all-new dedicated control port for connecting an MFC-101 MIDI Foot Controller via that unit's EXPANSION port. Readily available CAT5 (Ethernet) cable provides bi-directional communications over lengths of 100 meters or more, PLUS phantom power from the built-in power supply of the Axe-Fx II. (Traditional 5 or 7-pin MIDI and power are still supported for Luddites and 3rd-party pedalboards.) New FX Processing Features and Enhancements The effect processing capabilities of the Axe-Fx II are also greatly enhanced. First, we've made it easier to dial in “all-time favorites” on the Chorus, Delay, Flanger, and Phaser effects, with a TYPE control that instantly makes all other required settings for great sound in seconds. These include tape delay models, analog "bucket brigade" effects, “script" and "block" logo phasers, 'vibe, and many more. The sound and features of these effects have also been upgraded to provide extremely authentic representations of the specific characteristics of classic originals. Many of the effects and algorithms have also been updated and enhanced. A dedicated 60-second looper block is now included. The Delay and Reverb blocks now feature many improvements including integrated parametric equalizers. Chorus, Flanger, and Wahwah modeling has been improved and also now includes optional built-in nonlinearity "circuit overdrive" functions. The Phaser has been expanded. Graphic Equalizers (including Global) are 10-band. There are many new modifier slots. Compressors now use millisecond values for attack and release times. Tempo parameters now offer 64 different rhythmic values. Filters allow far greater resonance. There are simply too many of such improvements to list! Global Blocks Allow Shared Sound Settings Across Multiple Presets Those familiar with “Global Amps” from previous Axe-Fx products will appreciate Global Blocks. The new system has been improved and expanded to every block type in the inventory. Those new to Axe-Fx products will appreciate how this feature allows centralized control of a preset collection. Save any “normal” block to a separate and independent global memory area then load this entry across multiple presets with a "link" to keep it instantly and seamlessly synchronized to the master. You can update the master from any linked instance as desired. Should you choose to remove a link, this leaves both the global and the normal entries fully intact and able to be edited independently of one another again. Improvements and Enhancements, plus More to Come... Aside from the areas mentioned in this overview, there are many more exciting updates, enhancements, improvements, and additions in the Axe-Fx II. And while the Axe-Fx Standard and Axe-Fx Ultra essentially reached maturity in terms of their capacity for further development, the Axe-Fx II is well equipped for a future of free upgrades and updates in the tradition that established our commitment to product evolution. Doc v3.04 3 INTRODUCTION 1 Introduction 1.1 What is the Axe FX II? The Axe-Fx II is an advanced digital preamp and effects processor for guitar, bass, and other musical instruments. It is the highly anticipated sequel to the Axe-Fx Standard and Axe-Fx Ultra. It replaces amps, speakers, microphones, stompboxes, studio processors, and more. It is an all-in-one, end-to-end great tone solution in a single black box. Inside, a virtual environment allows you to “wire up” your dream rig. Choose from an inventory of hundreds of classic and innovative components. Select and arrange things any way you like, limited only by the unit’s ample CPU resources and your imagination. “Dial in” your signature sound using basic controls, or go deeper with advanced parameters, then save presets for instant recall when playing, performing, or recording. The sound is of uncompromising quality, due both to extremely high standards of hardware design and to our advanced proprietary software algorithms. The Axe-Fx II, like its predecessors, asserts that digital has reclaimed its birthright as the superior solution for musical instrument processing. Words fall short. You only need to plug in and play to realize that this is “the real deal.” A Word on Modeling You may have noticed that the Axe-Fx II is not typically described as a “modeler.” This is not to diminish its debt to heritage; on the contrary, we’ve done thousands of hours of deep analysis of the greatest amps, cabs, and effects of all time. In fact, amps and pedals, their vacuum tubes and other components, plus speaker cabs and many effects, are painstakingly replicated to perform exactly like the originals. But while the unit includes emulations based on specific product types, it goes well beyond simply presenting models—with their limited controls, features, and sounds—to offer a do-it-yourself modeling platform. If it’s models you want, we can give them to you, but why stop there? The Axe-Fx II removes limits instead of recreating them. Take our Wahwah effect, for example. You might just plug in and start cryin’, or you could tune the pedal sweep, tweak the resonance, overdrive the circuit, and tailor the sound to your exact wishes. Try the Plexi. Dial it in just right. Then open it up and hear what happens when you drop in the tonestack from a modern Rectifier (all it takes is one turn of a knob to make the change). There are hundreds more ways that the sound can be customized. Rediscover your all-time favorites, or go crazy creating sounds you only wished someone would put in a product. And you don’t need to be an engineer to do so, as the unit is extremely user-friendly. You are not alone in the quest for tone, either. The Fractal Audio online community has amassed a wealth of knowledge and is ready to share expertise on every subject, from the deviling details of differently dated diodes in dilapidated distortions to how to set up your favorite artist’s “exact gear used in the exact order with the exact settings for the first half of the second bridge of the third bonus track off the re-master.” In comparison to its predecessors, the Axe-Fx II in fact has more capabilities like those of a typical modeler. Just as our previous products allowed you to select, for instance, a “TYPE” of Amp, Cab, or Drive, now the Chorus, Delay, Flanger, Phaser and other effects include a control to automatically dial in all-time favorites—settings like “dimension chorus”, “tape delay”, “analog flanger”, “script 90 phaser”, and many more. Once you make a 4 Doc v3.04 INTRODUCTION selection, however, you can again go beyond the model. With deep recreations of the intricacies and interactions behind great tone, we create not only a sample or profile but a multidimensional whole enchilada. Again, just plug in and hear it for yourself. To re-pose the original question then, what is the Axe-Fx II? The Axe-Fx II is the new flagship processor from Fractal Audio, with far more power and many more capabilities than the former heavyweight champion, Axe-Fx Ultra—twice the DSP in fact, allowing it to deliver far more detailed amp modeling, plus numerous other upgrades. It contains our best-ever guitar amplifier simulation and effect technology—state-of-the-art algorithms designed to sound and feel like the real thing. It is a fully routable, fully programmable, real-time controllable, multi-effects processor offering the utmost in sound quality, with unrivaled flexibility and control options. It is a platform upon which you can create any number of incredible guitar tones, and it is able to replace entire rigs of traditional gear with a single black box. Let’s take some of these concepts a bit further: Routable: Place effects freely in any order and layout—series, parallel, or complex networks, including feedback loops and external send and return, at any point in the signal chain. Programmable: Every effect has a full complement of parameters offering desirable features and tremendous range. Gone are the limits of processors with restrictive options or little-to-no depth. Controllable: Many parameters—including all the usual expression pedal suspects and every effect bypass switch—can be operated remotely via MIDI, offering great real-time performance control capabilities. You can map control curves, assign multiple parameters at once, tap powerful global controllers, and much more. Multi-Fx: The Axe-Fx II offers all the classic effects plus a few new ones. The massive “effects inventory” allows any preset to use two or more of almost every effect block type, so you can build huge virtual rigs. In addition, many effects now include X/Y states so you can instantly swap one set of settings for another without changing presets. Almost all the effects in the Axe-Fx II process in full stereo. Utmost Quality: Sound quality is our first-and-foremost criterion for the success of the Axe-Fx II. This shows in the hardware design and in every detail of our proprietary natural processing software algorithms. Many of these replicate patterns that occur in nature (thus our company name of Fractal Audio Systems). The amp simulations use unique, dynamic, non-linearity generators that produce smooth, even-ordered harmonics, giving a depth to the sound that other processors lack. Our effects have been vetted and championed by some of the world’s most demanding and discriminating players. Rig Replacer: Having everything in one box has some great advantages, especially when that box is as powerful and versatile as the Axe-Fx II. In addition to being able to replace big rigs outright, this tightly integrated, unified system offers certain fringe benefits. No longer does changing a drive pedal mean fighting with cables half-an-inch too short. No longer must you labor over which amps your tour’s budget will or won’t allow you to ship or handle. Gone are the headaches and hassles of systems of so many boxes strung together with so many wires, prone as they are to failure and noise. And let’s say a small meteor hits the stage and obliterates your Axe-Fx II: you can literally restore to a new unit during the intermission and be up and running again for the next set. Finally, after you’ve replaced your entire rig, the Axe-Fx II lets you continually re-invent it without ever touching Velcro, rack screws, or your credit card. Doc v3.04 5 INTRODUCTION 1.2 The Inventory/Grid Concept In the real world, we are limited by the equipment we own and by the fact that building a rig requires making commitments. On the Axe-Fx II, these limitations are lifted, with the ability to tap a vast inventory of virtual amps, cabs, effects, mixers, and more. You have the freedom to set them up, dial them in, save them as presets, and then do it all again, as often as you like. Axe-Fx II presets are created by selecting components—like amps, cabs, or effects—from an inventory, and placing them as “blocks” into the slots of a 12×4 “grid.” As with their real-world components, blocks must be connected together using “cables”—virtual ones in this case. Blocks in adjacent columns may be connected directly together, with splits and merges as needed. Passive “shunts” carry signal through otherwise empty grid spaces. Figure 1-1 – The Inventory/Grid Concept (Note: Seven empty columns were removed from the illustration and are represented by •••) The figure above presents a stylized example of an Axe-Fx II preset. The INPUT is routed through a SHUNT to feed a “WAH” block. (The shunt has no effect on the sound and is shown only to introduce the concept of its use.) The WAH block is connected to an “AMP” block (we might set its type to “Plexi Normal”), which in turn feeds a “CAB” (one of the many “4x12” options, perhaps). This is routed to a reverb (“REV”) and then to the OUTPUT. The size of a preset is limited only by the grid structure, block inventory, and total processing power or “CPU”. You’ll be pleased to discover that there is enough CPU power to allow large and complex creations. 6 Doc v3.04 INTRODUCTION The subject of creating and modifying presets on the grid is covered in detail in section 4: Basic Operation and Editing (p.27). The inventory of blocks available to every Axe-Fx II preset is listed below: Amp (×2) Cab (×2) Chorus (×2) Compressor (×2) Crossover (×2) Delay (×2) Drive (×2) Effects Loop Enhancer Filter (×4) Feedback Return Feedback Send Flanger (×2) Formant Gate/Expander (×2) Graphic EQ (×4) Looper Megatap Delay Mixer (×2) Multiband Compressor (×2) Multi Delay (×2) Tremolo/Panner (×2) Parametric EQ (×4) Phaser (×2) Pitch Shifter (×2) Quad Chorus (×2) Resonator (×2) Reverb (×2) Ring Modulator Rotary (×2) 2-Voice Synth (×2) Vocoder Volume/Pan (×4) Wahwah (×2) Shunt (36) In addition to the blocks listed above, each preset also includes a programmable Input Noise Gate (p. 110) and an Output Mixer (p. 111). Of course, having components on the grid is just the beginning. Every block can be edited, with parameters representing all the basic knobs you would expect to find, and advanced menus for deep control. See the Effects Guide (p. 39) for more detail on blocks and their parameters. A powerful new feature of the Axe-Fx II allows you to maintain your own collection of Global Blocks (p.114) that can be inserted and then kept synchronized across multiple presets. Twenty-two different Modifiers & Controllers (p. 119) are provided to automate or remotely control various parameters in any preset. These are LFO 1, LFO 2, ADSR 1, ADSR 2, Envelope, Pitch Detector, Sequencer, Manual A/B/C/D, and External 1–12. 1.3 Connectivity and More The grid and effects inventory may be the centerpiece of the Axe-Fx II, but it is the powerful connectivity and companion features that allow the system to be so much to so many. The hardware itself is covered in Section 2: Overview (p. 8), which also details the new USB features for Computer Integration (p. 12). Rig design is covered in Section 3: Connections (p. 15), where many diagrams are included. Configuration and connectivity on the Axe-Fx II are managed with a number of user-specifiable options, listed and described in Section 8: Global Parameters (p. 128), and Section 9: Input/Output Parameters (p. 130). Meanwhile, Section 10: Utilities (p. 137) can fill out your understanding of functions related to general use and maintenance. Finally, Sections 11 through 14 cover the Tuner (p. 140) and Tempo (p.141) functions, plus the basics of Backing Up and Restoring (p. 143) and Firmware Updates (p. 146). 1.3.1 My Head Hertz… As even this brief introduction demonstrates, the Axe-Fx II contains an entire world of diverse possibilities. Only the precise terminology of audio engineering allows comparably diverse communities of casual and professional players, producers, engineers, and others to use and enjoy this powerful device. In case you want to familiarize yourself with specific audio terms or come up to speed on other topics, the Appendix is filled with useful material, including a Glossary (p. 161). It is followed by Specifications (p. 170) and your Warranty (p. 168). Doc v3.04 7 OVERVIEW 2 Overview The Axe-Fx II has a simple hardware interface with clearly labeled controls and jacks. Review the following to familiarize yourself with the hardware features of the unit. 2.1 The Front Panel Figure 2-1 1. The Axe-Fx II is housed in a powder-coated steel enclosure with an anodized aluminum faceplate. Dual front handles allow easy rack mounting and removal. 2. The POWER Switch turns the unit on or off. 3. The 160 × 80 pixel LCD is where all menu and function screens are displayed. 4. INPUT 1 and INPUT 2 LED meters display the levels of incoming signals. See p. 15 for more detail. 5. STATUS LEDs communicate important events: EDITED – This LED is lit when any change has been made to the current preset. MIDI IN – This LED is lit while data is received at the MIDI IN port. CLIP 1, CLIP 2 – These flash briefly whenever the signal level at the corresponding output causes the D/A converter to clip. Section 3.1 on p. 15 has more information on Setting Levels. 6. In RECALL mode, the VALUE wheel selects and loads presets as it is turned. In edit or menu screens, it changes the value of the selected parameter. 7. The ENTER button executes commands, commits changes, accesses sub-menus, and more. EXIT works for cancel, escape, and various other functions. 8. In RECALL mode, the four NAV buttons select and load presets. Up = +1; Down = -1; Left=-10; Right =+10. In edit or menu screens, these are used to select between on-screen parameters or options. 9. The PAGE buttons step through menu pages, shown as tabs at the top of the display. 8 Doc v3.04 OVERVIEW 10. The 12 main front panel menu/function buttons are listed below. LAYOUT – This menu contains four pages: EDIT, MOVE, GATE, and MIX. EDIT contains the grid, where presets are created by inserting blocks and cables (p. 27). MOVE has various utilities for moving preset components on the grid (p. 32). INPUT/GTE contains parameters for the Noise Gate and Instrument input impedance (p. 110). OUTPUT page contains a mixer for overall level control of a preset (p. 111). EDIT – Select any block on the layout grid and press this button to open its EDIT menu. Press repeatedly to cycle through the EDIT menus of all blocks in the preset (top-to-bottom, left-to-right). CONTROL – This menu contains pages for seven of the internal controllers available to every preset, plus a Modifiers overview screen. See Modifiers & Controllers on p. 119 for details. FX BYPASS – This button toggles the bypass state of the currently selected block (p. 37). Double click BYPASS in any block EDIT menu to access the SAVE/LOAD GLOBAL BLOCKS screen (p. 114). GLOBAL – This menu contains four pages: CONFIG, OUT1, OUT2, and SCALES. See p. 128 for details. CONFIG contains parameters that globally affect the sound of all presets. OUT1 and OUT2 each hold a 10-band graphic EQ and master GAIN control for the given outputs. SCALES allows the creation of custom harmonies for use with the pitch shifter block. TUNER – Engages the tuner (p. 140) and displays its menu. Press EXIT or RECALL to close. I/O – Contains five pages used to configure the various input and output options of the Axe-Fx II. See p. 130 for details. INPUT is used to set input levels for front and rear jacks. AUDIO contains various settings and switches used to configure the signal path. MIDI contains settings related to basic MIDI connectivity, preset changes, and SysEx. CONTROL is where MIDI CC numbers or the pedal jack are assigned globally to various functions. PEDAL allows you to configure the onboard pedal jack for various types of external hardware. UTILITY – This menu contains various utility functions. See p. 137 for details. RECALL – Enters RECALL mode, the main operating mode for use during musical performance. The Axe-Fx II always defaults to RECALL mode when you power it on. STORE – Enters the STORE menu where you can save, rename, or swap presets. See p. 37 for details. BYPASS – Bypasses the Axe-Fx II, routing the output of the A/D directly to the input of the D/A converters, defeating all processing functions and lighting the BYPASS LED. Press again to un-bypass. Double-clicking the BYPASS button in any block EDIT menu initializes that block to default settings. TEMPO – Flashes the current tempo on its built-in LED. You can also tap this button once to enter the TEMPO menu, or two or more times to set a new tempo. The tempo can also be entered using a remote switch or set via MIDI. See p. 141 for more information about Axe-Fx II tempo control. 11. X/Y – On the Axe-Fx II, many effects offer two sets of parameters, called X and Y. These buttons select between them while editing. The X/Y state can be then switched remotely during performance for dual function blocks (see p. 36). Outside of editing, X and Y can be individually set up to instantly display your choice of EDIT menus for quick adjustment. Doc v3.04 9 OVERVIEW 12. QUICK CONTROL – The four knobs marked A, B, C, and D each serve two different functions. While editing, they are used like the VALUE wheel to adjust parameters. Mapping is dynamic and indicated by a small A,B,C, or D next to the onscreen parameter. See p. 36 for details. In RECALL mode, these knobs work as “Manual knob” modifier sources, allowing control of assigned parameters right from the front panel. See p. 126. 13. OUTPUT LEVEL – These controls set the output levels of OUTPUT 1 and OUTPUT 2 (“FX Send”). See section 3.1 on p. 15 for information on setting levels. OUTPUT 1 also controls headphone jack levels. 14. HEADPHONES – Connect stereo headphones here to monitor OUTPUT 1 L+R. 15. INSTR – Plug your instrument into this Instrument Input Jack, designed specifically for use with electric, acoustic, and bass guitars. Plugging a line-level device into this input may cause clipping of the input amplifier and is not recommended. 2.2 The Rear Panel Figure 2-2 16. INPUT 1 Left/Mono and Right, Balanced (1/4” Tip-Ring-Sleeve) Jacks – Connect line-level input sources to these jacks, being sure to set the INPUT 1 LEFT SELECT to REAR in the I/O menu (p. 130) 17. INPUT 2 – Left/Mono and Right, Balanced (1/4” Tip-Ring-Sleeve) Jacks (“FX RETURN”) – Connect to the output(s) of outboard equipment when using the FX Loop block (p. 64). You can also use this as an auxiliary input to any point in the signal chain of any preset using the FX Loop block. 18. OUTPUT 1 – This section includes the Left and Right Output 1 unbalanced (1/4”) Jacks, Balanced (XLR) jacks, and XLR Ground Lift Switch. The main processed output of the Axe-Fx II appears at these jacks. Use the XLR jacks to connect to balanced inputs, employing the provided ground lift switch if necessary to reduce unwanted 60-cycle hum. Use the 1/4” unbalanced outputs to connect to unbalanced inputs, such as those on some guitar power amps or other devices. 19. OUTPUT 2 – Left/Mono and Right, Unbalanced (1/4”) Jacks (“FX SEND”) — The output from Connect to the inputs(s) of outboard equipment when using the FX Loop block (p. 64). You can also use this as an auxiliary output to tap any point of the signal chain for any preset using the FX Loop block. New Humbuster™ technology, featured on Left and Right Output 1 and Output 2 unbalanced (1/4”) Jacks uses a simple TRS-to-TS cable to significantly reduce ground hum. See Section 16.9 on p. 156. 10 Doc v3.04 OVERVIEW 20. DIGITAL I/O – This includes both S/PDIF and AES/EBU format Input and Output Jacks. Only one or the other pair of jacks can be active at any time depending on the setting of the SPDIF/AES SELECT parameter in the I/O:AUDIO menu (p. 130). These jacks transmit and receive at a fixed rate of 48k. 21. USB – This provides the means to connect the Axe-Fx II to a PC or Mac, enabling a great range of twoway audio and MIDI capabilities. See section 2.3 on p.12 for details. Like the digital jacks, USB Audio operates at 48k. 22. MIDI IN and MIDI OUT/THRU jacks – The Axe-Fx II has a MIDI IN port for connecting a legacy MIDI Controller or Interface, plus a MIDI Out/Thru combo jack that transmits or forwards MIDI signals to other devices. 23. MIDI PHANTOM POWER Jack – When using the MFC-101 MIDI Foot Controller over a 7-pin MIDI cable, connect the supplied AC Adapter to this jack to provide power to the floor unit via pins 6+7. Some other MIDI controllers also support the use of phantom power on pins 6+7. 24. MFC Control Port – This RJ-45 jack allows you to use a standard CAT5/Ethernet (non-crossover) cable to connect the Axe-Fx II and a Fractal Audio Systems MFC-101 MIDI Foot Controller. The cable used to connect the Axe-Fx II and MFC-101 carries two-way data communication and phantom power without needing an external “wall wart” adapter. Warning! Connect the MFC jack only to the EXPANSION port of a Fractal Audio Systems MFC-101. Do not connect to an Ethernet device such as a computer, hub, switch, or router, as damage to one or both units could occur! 25. PEDAL Jack – This jack is used to connect an external expression pedal or switch to control various functions of the Axe-Fx II. See p. 16 for more information on this function. 26. Main Power Input – Insert the supplied power cable and connect the other end to a grounded AC power receptacle. Doc v3.04 11 OVERVIEW 2.3 Computer Integration USB provides the Axe-Fx II with a “host” of great features. 2.3.1 Minimum Requirements Windows Minimum Requirements: OS: Windows XP SP3 (x86 or x64), Vista SP2 (x86 or x64), Windows 7 SP1 (x86 or x64). CPU: Intel Core 2 @1.6 GHz or better, or AMD equivalent. Memory: 1GB minimum. USB 2.0 support required Mac Minimum Requirements: OS X: 10.5.7 or later CPU: Intel Processor Memory: 512MB minimum USB 2.0 Support required 2.3.2 Software Installation Although the Axe-Fx II drivers are fully class-compliant, software installation is still required on all platforms. Step-by-step instructions are included with the installer. Both Mac and Windows versions can be downloaded from our web site at http://www.fractalaudio.com/support. Figure 2-3 – Windows and Mac driver installers 12 Doc v3.04 OVERVIEW 2.3.3 Capabilities The USB 2.0 class-compliant driver provides two channels of 48k/24-bit audio from the computer to the Axe-Fx II, up to four channels from the Axe-Fx II to the computer, and two-way MIDI-over-USB. All features can be used simultaneously. Figure 2-4 – USB Features Audio and MIDI ports (shown in the lower half of the dotted-outline box above) have different names on different systems. In many applications, you can also assign “friendly names” to audio and MIDI ports. Two Simultaneous Channels of 48k/24-bit Audio from the Computer to the Axe-Fx II Two outputs, typically called OUT 0 and OUT 1, allow audio to be sent from the computer to the Axe-Fx II where it can be mixed with processed signal at the main outputs or routed through onboard effects. To pass unprocessed computer audio through the Axe-Fx II, set the MAIN INPUT SELECT (p. 130) to “ANALOG (IN1)” (the default setting) or “SPDIF/AES.” This allows you, for instance, to play along with backing tracks or use the Axe-Fx II as a high quality “soundcard.” To process computer audio with the onboard effects, set the MAIN INPUT SELECT to “USB.” Signals received will arrive at the grid INPUT. This allows you, for instance, to re-amp a dry track, or use the Axe-Fx II to process other audio or plugin tracks. It is possible to simultaneously record the processed output on the computer using the AxeFx II audio inputs (0/1). Doc v3.04 13 OVERVIEW Four Simultaneous Channels of 48k/24-bit Audio from the Axe-Fx II to the Computer Four outputs, typically called IN 0, IN 1, IN 2, and IN 3, allow audio to be routed from the Axe-Fx II to the computer, recorded, processed, or monitored. The signal source for the first pair of outputs is selectable. The USB/DIGI OUT SOURCE parameter of the I/O:AUDIO menu (p. 130) determines what is sent to the computer’s AXE-FX II ASIO DRIVER IN 0/1 inputs. Selecting OUTPUT 1 L+R sends the main processed output of the Axe-Fx II to the computer. The same signal is, of course, still routed normally to the rear XLR and unbalanced jacks. Selecting OUTPUT 2 L+R sends the output of the FX loop block (p. 64) to the computer. Selecting MAIN INPUT sends the source selected under MAIN INPUT SELECT (p. 130) to the computer. The same result can be obtained by using OUTPUT 1 with a “shunts-only” preset (p. 29). Switching INPUT 1 LEFT SELECT (p. 130) to “REAR” allows you to record the line level outputs of a microphone preamp, keyboard, or any other sound source via the rear INPUT 1 L/R jacks. The second pair of channels, available only on systems supporting USB 2.0 (see Minimum Requirements above), always provides a way to simultaneously record a “dry” track for reamping. The source for these channels is the unprocessed signal from the main input (i.e. the front INSTR jack or the rear INPUT1 L/MONO jack, depending on both what is selected under INPUT 1 LEFT SELECT (p. 130)) and the rear INPUT1 R jack). Warning: As with all input/output systems, certain routing configurations can result in audio feedback loops. Please exercise care not to route active outputs to active inputs, or damage could occur to connected amps, speakers, or your hearing. Two-way High-Speed MIDI Communication MIDI enables the Axe-Fx II and the computer to communicate and synchronize, with capabilities for program change, parameter automation, tempo sync, SysEx dump/receive, firmware update, and more. MIDI over USB is 1 considerably faster than “legacy” MIDI , and allows two-way communication with the computer over a single cable. rd Axe-Edit, our free companion editor/librarian, can now be used without a 3 -party MIDI Interface or drivers, a cause of common problems. 1 The transfer rate for the new connection is roughly faster than standard MIDI. Keep in mind that new preset, bank, and firmware sizes have also increased considerably. Despite this, there is a net increase in the speed of computer interaction when compared to previous products. 14 Doc v3.04 CONNECTIONS 3 Connections Before making connections, be sure to turn down the volume of your amps and switch off all power. Take extreme care NEVER to connect the SPEAKER outputs of an amplifier to any jack on the Axe-Fx II as this will damage one or both devices. If you’re not sure, don’t do it! 3.1 Setting Levels For the Axe-Fx II to work properly, it is important that input and output levels be configured correctly. INPUT LEVELS are set with “soft-knobs” on the INPUT page of the I/O menu. Adjust according to the level of input source material until “hot” signals “tickle” the red LEDs on the front panel INPUT meters. The red LED lights at -6 dB (below clipping). Some sources may not reach ideal levels but can still be used with no problems. All inputs are normalized, allowing the Axe-Fx II to operate with unity gain irrespective of the trim settings. The sole purpose of the input trims is to optimize A/D drive level for the best signal-to-noise ratio and distortion performance. Each input has its own dedicated A/D. The INSTR input jack parallels the rear inputs for improved signal-to-noise performance. The front panel OUTPUT LEVEL1/2 knobs independently control the volumes at these rear panel jacks. Output 1 also adjusts the headphones level. Optimal levels will depend on what the Axe-Fx II is connected to. To operate with unity gain, simply set the Output Level knobs to maximum. If you then route shunts from the input to the output you will get out exactly what you put in. If levels result in clipping of attached equipment, turn down the front panel OUTPUT LEVEL1/2 knobs. At the minimum setting, volume is reduced but not silent. NOTE: The Axe-Fx II uses digital potentiometers to adjust the output levels. These actually contain hundreds of tiny resistors and switches. As such, some noise may be generated while adjusting the knobs. If the OUT1 or OUT2 CLIP LEDS light while you use the Axe-Fx II, the problem is not trim settings but levels in the digital domain. Chances are the effects in your preset—many of which can increase gain significantly—are simply too hot. Reduce the output of one or more blocks (the AMP or CAB might be a natural starting point) or adjust the main GAIN slider of the preset’s output mixer (p. 111). When you need to adjust the level of all of your presets at once because some are clipping, you can also use the GAIN slider on the OUT1 or OUT2 global graphic equalizer to make a global adjustment. Clipping can also be caused if you have increased the BOOST/PAD setting for one of the converters and can be reduced if you adjust this setting to be closer to 0 dB (see p. 130). Block or preset adjustment may still be required. Doc v3.04 15 CONNECTIONS 3.2 The PEDAL Jack The onboard PEDAL jack of the Axe-Fx II allows you to connect an expression pedal or footswitch for controlling sound functions. To use a pedal or switch at this jack, you must first configure its TYPE and, for continuous-type expression pedals, perform a simple calibration routine. See section 9.5 on p.136 for details on how to use the PEDAL page of the I/O menu. Any type of external switch can be used, as long as its contacts make and break the connection between tip and sleeve on a regular 1/4” guitar cable. Expression pedals should have a linear resistance taper and max resistance between 10kΩ and 100kΩ, and must be used with Tip-Ring-Sleeve cables. To control sound parameters, you must first assign the PEDAL jack to an “EXTERNAL CONTROLLER” and then set up a “MODIFIER.” This topic is covered in section 7: Modifiers & Controllers on p. 119, with a section specifically about External Controllers on p. 127. 3.3 System Parameters As you can see, the Axe-Fx II is equipped with a flexible array of input/output connector jacks. The diagrams above cover the layout of the hardware, but seeing a few complete setups can also be helpful as you decide how to connect other equipment. The following section illustrates some typical setups, some of which require that certain “System Parameter” settings be made. For example, when “real,” physical guitar cabs are used, the global “Speaker Simulation” switch will likely need to be set to “OFF.” In addition to the short introductions provided with the diagrams below, system parameters are detailed in section 8: Global Parameters, and section 9: Input/Output Parameters. In the PDF version of this manual, available on our web site, you’ll also find a diagram attached at the end showing inputs, routing, outputs, and the effects of system parameters. Many of the basic setups shown here can be easily combined or expanded. Mono setups might be made stereo or vice versa. The MFC-101 MIDI Foot controller can be added for intelligent remote control. Computer connectivity, for example, can be added to any other setup, enabling you to use Axe-Edit™, our free software Editor/Librarian for the Axe-Fx II. Countless combinations are possible. 16 Doc v3.04 CONNECTIONS 3.4 Connection Diagrams Familiarize yourself with the capabilities of inputs, outputs, and control connections through this overview. The diagrams that follow in sections 3.4.1 through 3.4.10 illustrate several real-world applications. Figure 3-1 – I/O Overview Doc v3.04 17 CONNECTIONS 3.4.1 Axe-Fx II into Self-Powered Full-Range Speakers COMPONENTS: Guitar Axe-Fx II Self-Powered Full Range Speaker(s) Headphones (opt.) Global Settings: Default I/O Settings: Default Notes: With its built-in amp and speaker simulations, the Axe-Fx II can be played directly into P.A. or other selfamplified, full-range, flat-response (FRFR) speakers. Externally amplified (passive) FRFR speakers are equally wellsuited. This might just as easily be a Front-of-House system with floor or in-ear monitors. In this configuration, the Axe-Fx II creates all aspects of the end-to-end guitar chain for the ultimate in tonal flexibility—stompboxes, amps, cabs, post effects, and more. Optional headphones provide an alternate way to listen when cabs are not present or are switched off. Balanced (XLR) or unbalanced (1/4”) jacks and cables can be used to connect the Axe-Fx II, with the former providing the advantage that less noise will be picked up over longer cable runs. If only one speaker is used, set OUT 1 MODE in the I/O menu (p.130) to one of the mono options. 3.4.2 Axe-Fx II into Studio Monitors COMPONENTS: Guitar Axe-Fx II Mixer (opt.) Studio Monitors Headphones (opt.) Global Settings: Default I/O Settings: Default Notes: This is essentially identical to the diagram shown above for Self-Powered FRFR speakers. The point to take away here is that any system intended for full-range monitoring or sound reinforcement—from small computer speakers to the P.A. at a huge arena—represents a suitable counterpart to the capabilities of the Axe-Fx II. 18 Doc v3.04 CONNECTIONS 3.4.3 Axe-Fx II with Power Amp and Guitar Speakers COMPONENTS: Guitar Axe-Fx II Power Amp and Guitar Speakers -ORAmp Head/Combo with FX RETURN jack (power amp input) and Guitar Speakers ` Global Settings: Power Amp Simulation ON or OFF (see below), Speaker Cabinet Simulation OFF I/O Settings: Set OUT1 MODE (p.130) as required for stereo or mono. Notes: Depending on the character of the amplifier being used, Power Amp Simulations may need to be ON or OFF for this type configuration. Power Amp simulations should be turned ON when using a “neutral-sounding” power amp that does not color the tone or create a pronounced effect on the feel or dynamics. Solid State amps typically fit this bill. Power Amp simulations turned OFF when using the RETURN of the effects loop of a head or combo amplifier, or a more “guitar oriented” standalone power amp that adds noticeable sag/saturation/tonal color. In either case, it is completely safe and reasonable to try both setting ways to see which you prefer. Whenever you use the Axe-Fx II with traditional guitar speaker cabinets (whether open back or closed, small or large, alone or in pairs) it is best to turn Speaker simulations OFF in the CONFIG page of the GLOBAL menu (p. 128). Guitar speakers differ from full-range speakers in that they are voiced to focus on traditional electric guitar sounds: mids tend to be prominent, highs rolled off, etc. In any case, the settings required for this setup are not ideally suited for monitoring through the Axe-Fx II headphone jack, as what you hear through headphones will not sound like what you will hear through the speakers. Switching Power Amp and Speaker sims on and off, however, is a simple matter and can be done on an as-needed basis. Doc v3.04 19 CONNECTIONS 3.4.4 Axe-Fx II Effects Loop COMPONENTS: Guitar Axe-Fx II, connected as desired to monitors/mixers/amps/ etc. (see other diagrams for setup ideas) Outboard Processor or Preamp Global Settings: See Below I/O Settings: See Below Notes: The Axe-Fx II has a stereo FX Loop that allows you to insert outboard gear such as preamps or processors at almost any point in the signal chain of any preset. You’ll learn more about editing presets in section 4, and the Effects Loop block is detailed on page 64. For now, just be aware that custom presets are required for the Effects Loop to be used. The Effects Loop configuration above is compatible with other setups that do not utilize INPUT2 or OUTPUT2 for other purposes. Global and I/O options should be set accordingly. 3.4.5 Axe-Fx II Digital Audio Interconnection COMPONENTS: Guitar Axe-Fx II Mixer, recorder, computer, etc. with digital (S/PDIF or AES/EBU) inputs and/or outputs Global Settings: Default I/O Settings: See below. Notes: The digital connector jacks on the Axe-Fx II allow it to interface with a variety of devices with S/PDIF or AES/EBU I/O. You can connect to the inputs of a digital mixer, for example, or process the signal from another unit with a digital output, avoiding an unnecessary D/A:A/D roundtrip. The required clock rate for both input and output signals is 48k. The onboard digital outs can monitor OUTPUT1, OUTPUT2, or the main INPUT, as specified in USB/DIGI OUT SOURCE on the AUDIO page of the I/O menu (p. 130). The MAIN INPUT SOURCE must be set to “SPDIF/AES” for digital inputs to be connected to the grid. A valid signal must be present at the selected digital input or the Axe-Fx II will display “NO INPUT CLOCK!” 20 Doc v3.04 CONNECTIONS 3.4.6 Axe-Fx II Four Cable Method (“4CM”) COMPONENTS: Guitar Axe-Fx II Guitar Amp with a series 1 effects loop and built-in or separate Guitar Speaker(s). Second Amp for Stereo (opt.) Global Settings: Defaults OK, since special 4CM presets should not have AMP or CAB blocks! I/O Settings : Set OUT1 MODE as required for stereo or mono. Adjust the two OUTPUT BOOST PAD parameters to lower the noise floor. See p.130 for details on these parameters. Otherwise, default settings. Notes: This highly integrated setup places the Axe-Fx II simultaneously “in front of” an amplifier’s preamp section, where it replaces traditional stompboxes, and inside its effects loop, where many effects work best. Although a head and separate cab are shown, some combo amps also offer an onboard effects loop and can be used as well. To use the 4CM, you will need to create special presets where AMP and CAB blocks are replaced by the FX LOOP block (p. 64). Signal hits the Axe-Fx II first, into any effects that you want in front of the amp—compressor, drive, wah, and the like. Then, the FX LOOP block is used to “insert” the preamp of the actual amplifier on the grid. Output 2 of the Axe-Fx II has an all-new, extremely low-noise design that is well-suited for feeding the front of an amplifier. The signal makes a “roundtrip” to the amp’s preamp, and returns to the grid, where it is then processed by additional blocks—maybe chorus, delay, reverb, pitch shifter, etc. The final routing is via Axe-Fx II OUT1/L to the Return (Power Amp Input) of the amplifier and the cabs. To extend this configuration for optional stereo, connect OUT1/R to the RETURN of a second amplifier, bypassing that unit’s preamp altogether. The new Boost/Pad functions are designed to help run the OUT1 and OUT 2 D/A converters at optimum levels, padding their outputs for even lower noise. To find the right setting, adjust either of these controls upwards until you light the respective OUT CLIP LED on the front panel, then back off a few dB to prevent further clipping. You’ll actually hear the noise floor drop as you make these adjustments. Humbuster™ technology (p. 156), featured on all 1/4" outputs of the Axe-Fx II, can also provide a significant reduction of ground hum when simple stereo-to-mono cables are used to connect to an amp or other device. The no-amp/no-cab presets required for this setup are not well-suited for headphone monitoring, as what you hear in the headphones will not include any power amp or speaker simulations. 1 Note: If your amp’s effects loop is the PARALLEL type, the chain of post-FX-loop blocks should output a wet-only signal. Doc v3.04 21 CONNECTIONS 3.4.7 Direct to FOH plus Real Amps on Stage COMPONENTS: Guitar Axe-Fx II Guitar Amp with Guitar Speaker Front-of-House P.A. Global Settings: Default I/O Settings: Set OUT1 MODE and OUT 2 MODE as required for stereo or mono Notes: This setup is similar to others in which the Axe-Fx II is used direct into full-range speakers. Here, however, specially designed “dual-chain” presets also feed on-stage or “backline” amps. The first chain contains a fully simulated signal path. The second chain shares some effects with the first (those in front of the amps) but diverges from there. The “backline” chain differs from the direct chain in several ways. First, its Amp has the SAG parameter set to “0.00” to disable power amp simulation in that block only. Since real guitar speakers are being used, no CAB block is inserted. Duplicates of effects which follow the amp in the direct chain follow. The chain ends in an FX LOOP block, which is routed via OUTPUT 2 to the FX Return of a tube amp. If a solid state or very neutral tube amp were used, the SAG of that second AMP block might be set higher for simulated tube power amp tone and dynamics. An example of the type of preset used in this scenario appears below as it would appear in Axe-Edit. Figure 3-2 – A Dual Chain Preset 22 Doc v3.04 CONNECTIONS 3.4.8 Axe-Fx II as Effects Processor Only (with Guitar Amps) COMPONENTS: Guitar Axe-Fx II Guitar Amplifier with built-in or separate speaker cabinet Global Settings: Defaults OK, since special presets required should not have AMP or CAB blocks! I/O Settings: Change INPUT 1 LEFT SELECT to “REAR” if using the Axe-Fx II in an effects loop as shown above, left. Leave the default setting of “FRONT” if you are connecting a guitar to the Axe-Fx II, as shown above, right. Notes: Although it was designed for complete guitar signal path simulation, the Axe-Fx II can also be put to superb use as a standalone FX processor. As such, it can be placed between guitar and amp to replace stompboxes or in an amp’s effects loop where a rack processor would normally appear. To use either setup, you will need to create custom presets without AMP or CAB blocks. For operation inside an amp’s effects loop, use the REAR input(s) and set INPUT 1 LEFT SELECT (section 9.2) accordingly. Presets in this case will likely contain only those effects that sound best after a preamp: chorus, EQs, delays, reverbs, certain types of pitch shift and modulation, et al. For the best-case scenario when running in front of an amp, recognize that Output 2 of the Axe-Fx II has an all-new, extremely low-noise design that is well-suited for this purpose. Effects-only presets should terminate in an FX LOOP block to route signal to OUTPUT2. (In this case, nothing would be connected to the FX RETURN of the Axe-Fx II.) The new Boost/Pad functions are designed to help run the OUT1 and OUT 2 D/A converters at optimum levels, padding their outputs for even lower noise. To find the right setting, adjust either of these controls upwards until you light the respective OUT CLIP LED on the front panel, then back off a few dB to prevent further clipping. You’ll actually hear the noise floor drop as you make this adjustment. Humbuster™ technology (p. 156), featured on all 1/4" outputs of the Axe-Fx II, can also significantly reduce ground hum when simple stereo-to-mono cables are used to connect to an amp or other device. It is easy enough to extend each of the above configurations for use in stereo. With the Axe-Fx II in a loop, connect OUT1 R to the RETURN of a second amp, bypassing that unit’s preamp altogether, or run fully within the loops of two separate amps using IN1 L/R and OUT1 L/R. With the Axe-Fx II between guitar and amp, connect a second amplifier to OUT2 R. The no-amp/no-cab presets required for the scenarios in this section are not well-suited for headphone monitoring. Doc v3.04 23 CONNECTIONS 3.4.9 Axe-Fx II as a Computer Audio Interface COMPONENTS: Guitar Axe-Fx II Computer meeting minimum requirements (p. 12) Powered Monitors Headphones (opt.) Global Settings: Default I/O Settings: See below Notes: The Axe-Fx II offers great features when connected via USB to a computer. Pair this system with headphones, studio monitors, or any other full-range listening system. Simultaneously record stereo processed guitar and dry tracks for reamping. 2 Route stereo audio from the computer through the Axe-Fx II, simultaneously using all the regular processing capabilities for your guitar so that you can play along with tracks. Send audio from the computer to the Axe-Fx II for processing (and send it back to record the result). Use the Axe-Fx II rear inputs to record other line-level audio sources, with or without Axe-Fx II processing. Use two-way, high-speed MIDI over USB for control/automation or Axe-Edit, the companion Editor Librarian for the Axe-Fx II. See section 2.3 for full details on USB audio and MIDI capabilities. rd The Axe-Fx II can also be used in conjunction with any 3 -party audio/MIDI interfaces. 2 USB 2.0 required for more than two simultaneous channels from the Axe-Fx II to the computer. 24 Doc v3.04 CONNECTIONS 3.4.10 Axe-Fx II and MFC-101 COMPONENTS: Guitar Axe-Fx II Ethernet Cable (CAT5) MFC-101 MIDI Foot Controller Global Settings: Determined by how the Axe-Fx II is to be used with other connected amps/speakers/etc. I/O Settings: Determined by how the Axe-Fx II is to be used with other connected amps/speakers/etc. Notes: The Axe-Fx II provides a significant advantage over its predecessors in that the Fractal Audio MFC-101 MIDI foot controller can be connected to the new, dedicated rear-panel MFC control port. A single Ethernet (CAT5, noncrossover) cable carries bidirectional communications to support the many powerful features of MFC-101 “Axe-Fx Mode,” including automatic preset name and tuner display on the floor, “preset-aware” tri-state Instant Access Switch LED support, and much more. Although it utilizes innovative connectors, the MFC-101 still transmits/receives MIDI to/from the Axe-Fx II, which can then forward messages to other devices via its MIDI THRU port. (Note: MIDI THRU is disabled by default. Turn it ON in the I/O menu under MIDI.) IMPORTANT: Do NOT connect the MFC-101 power adapter to the MFC-101 or to the Phantom Power jack of the Axe-Fx II while using the MFC Control port connector to connect the two units. The Axe-Fx II provides required power from its internal power supply and transmits it over the Ethernet cable. Doc v3.04 25 CONNECTIONS 3.4.11 Axe-Fx II: One Possible “Big Rig” Here the Axe-Fx II is the centerpiece of a “big rig,” combining the capabilities of several other diagrams shown above. The main outs feed a pair of powered FRFR cabs, so you can design and monitor sounds and play live with the same sound. Meanwhile, USB provides all of the usual computer audio and MIDI integration features, with fullrd range studio monitors connected to a 3 -party audio interface for monitoring and playback. We’ve added an outboard processor in the FX LOOP (so you can clone its settings and put it on eBay ;) 26 Doc v3.04 BASIC OPERATION AND EDITING 4 Basic Operation and Editing Once you have set up your Axe-Fx II with speakers/amps/monitors or a pair of headphones, you can begin to audition the factory preset sounds and learn to make changes by following this detailed guide to basic operation. For a super-condensed version, see the 60-Second Edit Guide on p. 150 of the Appendix. 4.1 Presets Each factory preset is a complete, pre-wired, pre-programmed setup for “end-to-end” sound—a guitar-in/stereoout path with amps, cabs, and effects—perfectly mixed and possibly even equipped with one or more “modifiers” for automation or remote control. In the sections that follow, you’ll learn to view, edit, and create presets from scratch. To begin, let’s look at the ways to load the presets saved in the Axe-Fx II. Figure 4-1 As stated in the illustration, you can load presets sequentially with the VALUE wheel or use the NAV buttons. The new PRESET DIRECTORIES allows direct access to all 384 presets in an ordered list. To open the directory, press RECALL and use the PAGE buttons to select the “DIR” (numeric) or “A-Z” (alphabetical). To use the directory, just turn the VALUE wheel or use the NAV buttons to select the desired preset and press ENTER to load. You will be returned automatically to the main RECALL PRESET screen. Presets can also be loaded using MIDI program change commands. Although it isn’t indicated in the display, the 384 presets are organized into three banks. Bank A contains presets 0–127, B contains 128–255, and C contains 256–383. MIDI Bank Select (CC#0) and Program Change commands allow you to specify/load any of the onboard presets remotely. (The MFC-101 MIDI Foot Controller, in fact, comes pre-programmed to select all 384 Axe-Fx II presets.) See p. 165 for a cross-reference on banks/program changes and preset numbers. Any preset can be edited and saved at any time to any memory location. Let’s look at how to make changes. Doc v3.04 27 BASIC OPERATION AND EDITING 4.2 The Grid The grid, located on the EDIT page of the LAYOUT menu, is a 12 × 4 matrix into which effect “blocks” can be inserted and then connected together to build presets. The INPUT appears at the left, the OUTPUT at the right. The display can fit a 5 × 4 section of the 12 × 4 grid at any one time, with the ability to scroll to off-screen areas using the NAV buttons. A bottom scrollbar indicates where you are in the overall left-to-right layout. Figure 4-2 – In this image of an empty grid, off-screen areas are grayed. 4.2.1 Inserting and Removing Blocks As explained in “The Concept” on page 6, the Axe-Fx II grid must be populated with blocks—components pulled from a large inventory of amps, cabs, stompbox, studio effects, mixers, and more. The insertion, modification, or removal of blocks happens at the grid cursor, a filled rectangle controlled with the NAV buttons. Figure 4-3 To INSERT a BLOCK into an empty space… Use the NAV buttons to select the desired empty grid location. Turn the VALUE wheel. Available block names (AMP 1, CAB 1, etc.) will be displayed on the screen in alphabetical order, and the selected block (if visible) will flash. When the desired item is found, press ENTER to insert it into the grid. To cancel, press EXIT instead. As detailed above in The Inventory/Grid Concept (p. 6), every preset draws from its own complete inventory of available blocks. As you place them on to the grid, they are removed from the inventory. 28 Doc v3.04 BASIC OPERATION AND EDITING The total number of blocks you can insert in any one preset is dictated by the fact that CPU utilization must not exceed 98%. Each block has a “cost,” and when the sum of all blocks reaches the limit, a warning message prevents you from adding additional blocks. The Axe-Fx II is extremely powerful, and most presets do not come close to the limit. See Understanding Preset Size Limits on p. 151 for more on this subject. To CHANGE the type of an existing BLOCK… Use the NAV buttons to select the desired block. Turn the VALUE wheel. Available block names (AMP 1, CAB 1, etc.) will be displayed on the screen in alphabetical order, and the selected block (if visible) will flash. The Axe-Fx II offers multiple instances of most block types (ex: 2 Amps, 4 Graphic Equalizers, etc.) To keep the list manageable, only the “next-in-line” instance is shown as you cycle through the insertion menu, so AMP 2 is hidden until you have placed AMP 1. When the desired block is shown, press ENTER. To cancel without making changes, press EXIT instead. To REMOVE an existing BLOCK… Use the NAV buttons to select the block you wish to remove. Turn the VALUE wheel until NONE is displayed and press ENTER, or press EXIT to cancel. Shortcut! To remove any block except a Shunt, select it and press EXIT, ENTER, EXIT, ENTER 4.2.2 Shunts A shunt is a passive connector—a utility block that carries signal through otherwise empty grid locations. Shunts are required because, although you may only wish to have a few components in your chain, signal does NOT flow through an Axe-Fx II preset unless you completely connect the INPUT to the OUTPUT. A single Axe-Fx II preset can contain up to 36 shunts. Figure 4-4 – Shunts are used to span distances between INPUT, BLOCKS, and OUTPUT. In the figure above, a shunt connects the Input to the WAH, and five shunts connect the Delay [DLY] to the Output. Empty grid locations are indicated by dotted outlines and the absence of a three-letter abbreviation or thru-line. Doc v3.04 29 BASIC OPERATION AND EDITING To INSERT a SHUNT into an empty grid location… Use the NAV buttons to select the desired empty grid location. Turn the VALUE wheel once to the right. “SHUNT” will be displayed in a popup, and the selected grid space will flash if not hidden. Press ENTER. To cancel without inserting, press EXIT instead. To CHANGE any other block type into a SHUNT… Select the desired block. Press EXIT. “SHUNT” will be displayed in a popup, and the selected space will flash if not hidden. Press ENTER. To cancel without inserting, press EXIT instead. 4.2.3 Connector Cables As mentioned above, a preset’s INPUT must be connected to its OUTPUT in order for that output to produce any sound. Blocks (including shunts) create the components of a chain, but these still need to be connected to one another for signal to “flow.” This is done using routing connectors, commonly referred to as “cables.” Figure 4-5 – Two otherwise identical presets shown WITH and WITHOUT connector cables between the blocks. The second example above would produce NO SOUND as nothing is “wired up” to pass signal to the output! If a preset is unexpectedly silent, inspect it carefully for one or more missing cables. The Rules of Axe-Fx II Cables No cables = No sound. Even one missing link will break the entire chain. Signal flows from LEFT to RIGHT. A cable MUST originate from a BLOCK or a SHUNT. Empty locations are not viable origins. 30 Doc v3.04 BASIC OPERATION AND EDITING If you try to connect to an EMPTY location, a SHUNT will be created there. You can ONLY connect to blocks in the next column to the right. The represents the origin of a connector cable. The shows valid possible destinations. The symbol shows destinations that are illegal/unavailable. Any columns farther left or right would also be illegal/unavailable. If the were in a different ROW, every would still be in the same place. Cables are created AUTOMATICALLY between the INPUT and any blocks in the first column. Cables are created AUTOMATICALLY between the OUTPUT and any blocks in the last column. You may freely SPLIT or MERGE the signal up to four ways at any point. This is sonically transparent and there is zero risk of inherent phase or other problems in the split/merge itself. CROSSING is also possible. Figure 4-6 – Cables can CROSS one another without issue. Routings can be as COMPLEX as required. To Create a Connector Cable… Use the NAV buttons to select the block where you wish the cable to BEGIN. You can’t start from an EMPTY grid space! The first and last grid columns are automatically connected to the INPUT and the OUTPUT. Press ENTER. The selected block and its neighbor to the right will alternately flash as “selected.” Use the UP or DOWN NAV buttons to select the desired destination block. Remember that you will be prevented from trying to select blocks in other columns. It is possible to select an empty location, but a shunt will be added automatically at the destination if you complete the cable. Be sure to select a destination that is not already connected to the origin block, or you will REMOVE that cable (see below). Press ENTER. To cancel without connecting, press EXIT instead. To Remove a Cable Connector… Cables are removed in much the same way as they are created. Select the block where the cable begins. Doc v3.04 31 BASIC OPERATION AND EDITING Press ENTER. The selected block and its neighbor to the right will alternately flash as “selected.” Use the UP or DOWN NAV buttons to select the “other end” of the cable you wish to remove. Press ENTER. To cancel without removing, press EXIT instead. A Shortcut for Spanning Empty Spaces This shortcut allows you to span multiple empty grid columns with a series of automatic shunts and cables. This technique is especially useful when you have placed your last effect block and need to wire it to the output or if you want to fill an empty row with shunts. Select any block that is followed by a series of empty spaces. PRESS and HOLD the ENTER button. The intervening spaces will be automatically filled with shunts and connected with cables. You can also use this shortcut for small “runs” to connect any blocks with one or more columns of empty space between them, but be careful: any existing cables encountered along the way will be REMOVED by the process! A Word on Shunts and Cables In the real world, cables and connectors can have an impact on the tone of a guitar rig. In the Axe-Fx II, nothing could be further from the truth. Shunts and connectors, whether long, short, split, merged, or crisscrossed in a huge mess, have absolutely no sonic properties whatsoever. They do not impart color, add latency, suck tone, create load, invite hum, develop shorts, or get tangled up in the road case. A word of advice: merging identical copies of a split signal will result in additive level increase and should be avoided in favor of simply increasing one or another gain or level parameters. 4.2.4 Moving Blocks on the Grid The LAYOUT menu also includes a MOVE page with tools to move individual blocks or entire rows or columns UP, DOWN, LEFT, or RIGHT. When a block or a grid row/column is moved, it changes places with the item in the space it is moved to. This can result in certain connector cables being modified or removed, so be sure to observe how the elements of your preset are interconnected before proceeding with a MOVE operation. Press LAYOUT. Use the PAGE buttons to select the MOVE tab. Select a function with the VALUE wheel: EFFECT LEFT/RIGHT/UP/DOWN COLUMN LEFT/RIGHT ROW UP/DOWN Use the NAV buttons to select the target effect block or row/column you wish to move. Look for the SOLID square(s) in the grid representation on the screen. Press ENTER to execute the move. 32 Repeat this step to move the same target again in the same direction. Doc v3.04 BASIC OPERATION AND EDITING 4.2.5 Example Presets on the Grid Four sample presets are shown below as visualized in Axe-Edit, the companion software editor to the Axe-Fx II. Review the diagrams to get a sense of how presets are constructed and how they appear on the grid. EXAMPLE 1: Simple Amp Tone – In this extremely simple preset, an AMP and a CAB are combined for a straightahead tone. Shunts and connectors (which appear in Axe-Edit almost as one continuous cable), connect the INPUT to the AMP, the AMP to the CAB, and the CAB to the OUTPUT. Figure 4-7 – Amp/Cab Preset EXAMPLE 2: Long Pedal Chain – Here, effects are strung together to create a giant virtual rig. Compressor, Volume, Wahwah, Whammy, Tremolo, Overdrive, Phaser, and Flanger are all connected to an AMP/CAB combination, followed by Delay and Reverb. As you can see, the Axe-Fx II supports a great number of simultaneous effects; this preset uses just a portion of the unit’s total CPU power, leaving considerable room for more effects on other rows. Figure 4-8 – A Pedal Chain Doc v3.04 33 BASIC OPERATION AND EDITING EXAMPLE 3: Dual Amp Preset – This preset shows a dual-amp rig. A series of effects (Wahwah, Drive, Phaser) begins the chain, then the signal is split into two amps and two cabs. (Note: A single, stereo CAB block might also have been used, as shown in Figure 5-4 on p. 48, but here, the decision was made to use each CAB block in “high resolution mono.”) Signal is panned hard left and right with CAB block BALANCE controls and then merged to feed stereo post effects. A Multiband Compressor helps balance dynamics, while spaces in the chain leave plenty of room for future expansion. Figure 4-9 – Dual Amp Preset EXAMPLE 4: Complex Routing – The program below demonstrates a more intricate routing scenario. The signal is split and merged at various points between the input and the output, with various effects appearing before and after two independent amps. Notice the complex feedback-loop routing in parallel with the “dry” signal feeding the amps, and the reverb at the end of the chain running in parallel (its level controlled by an envelope for a “ducking” effect). Figure 4-10 – Complex Preset MORE EXAMPLES… The presets in this section represent only four examples of the nearly limitless possibilities that can be created using the GRID, BLOCKS, and CONNECTORS of the Axe-Fx II. In addition to reviewing these diagrams, you can gain valuable insight and ideas by exploring the factory presets or by discussing techniques with other members of the Fractal Audio community. Visit forum.fractalaudio.com and join the discussion. 34 Doc v3.04 BASIC OPERATION AND EDITING 4.3 Editing Sounds The blocks of the Axe-Fx II represent diverse types of real-world equipment. In the same way that such hardware devices are equipped with different controls, blocks also typically have many adjustable settings called parameters. Parameter settings determine precisely how an effect will sound. These are arranged on PAGES in the display of the Axe-Fx II. The system of parameters and pages for any block is referred to as its EDIT menu. To Open the EDIT Menu for Any Effect Block… With a preset loaded in normal RECALL mode… Press LAYOUT to display the GRID. If the GRID is not shown at first, press PAGE to reach the EDIT tab. Use the NAV buttons to select the desired block. Press EDIT to display the EDIT menu. NAV buttons select parameters on the page. The name of the selected parameter will be displayed in .inverse. with “VAL” shown above if it is a knob, or “>” shown to its left in text menu pages. In scrolling menu pages, the sidebar has an indicator to show relative position. Figure 4-11: Press EDIT with any block selected on the Grid The VALUE wheel changes the selected parameter. Changes can be auditioned in real-time by playing while you edit. For effect blocks with multi-page menus, the PAGE buttons select between them. Press LAYOUT to return to the grid, or press RECALL to go back to play mode. Pressing EDIT repeatedly will step through the EDIT menus for all blocks in a preset, sparing you a return trip to the grid. You can also press EDIT without entering the grid to go directly to editing a selected block in any preset. Figure 4-12 – Three Typical EDIT menu pages: The above figure shows three pages of typical EDIT menus (from the AMP block). Notice the tabbed labels near the top: PG1, PG2, EQ, ADV, and MIX. Select between these using the PAGE buttons. The third example shows a text-only menu. Some blocks, like the Graphic EQ (p. 70), Parametric EQ (p. 84), and others, have specialized graphical displays designed to provide rich, intuitive editing experiences. Doc v3.04 35 BASIC OPERATION AND EDITING 4.3.1 Quick Control The QUICK CONTROL A,B,C, and D knobs on the front panel are dynamically 1 mapped to four parameters in almost every block EDIT menu page , whether knob or textbased. The current mapping is indicated by the appearance of a small A,B,C, or D above or to the left of the parameters on the screen. Assignments change dynamically as different parameters are selected for use with the VALUE wheel. Turn the corresponding lettered encoder knob to adjust a parameter. The quick control knobs can also be used as Modifier SOURCES (see section 7 on p. 119). Their function in this capacity is disabled while editing as it might otherwise compete with menu operations. 4.4 X/Y Switching One of the new features of the Axe-Fx II is X/Y switching, available on 10 different effect block types: Amp, Cab, Chorus, Delay, Drive, Flanger, Pitch Shifter, Phaser, Reverb, and Wahwah. Each instance of these blocks is equipped with two fully independent sets of parameters, “X” and “Y,” making it possible to have two completely different settings for one block. X or Y can be recalled instantly and seamlessly at the touch of a front panel button (while editing) or by using MIDI remote control (during performance). Each block with X/Y may be saved with either state selected. The benefits of X/Y Switching are considerable. You might simulate amp channel switching (X as an American Clean and Y as a British Crunch). This won’t require the CPU overhead of two separate amp blocks! Another application is mode switching effects. Instead of painstakingly tuning modifiers (p. 119), you can just dial in X, dial in the Y, and switch between them at will. Imagine a delay that can be switched at will from pristine dotted-eighth-note echoes with light feedback to one with saturated, modulated quarter-note echoes under heavy feedback. It is important to understand that MODIFIERS (see p. 119) are SHARED between X and Y states. To Use X-Y Switching Open the desired block for editing. All blocks default with the X state selected. Dial in all parameters for the X state. Press Y and dial in all parameters for the Y state. Save the preset (see below). 2 Each available X/Y switch has its own dedicated global MIDI CC# assignment for remote switching . This option is found in the I/O:CONTROL menu. See p. 134 for details. X-Y / Y-X Copying You can copy all of the settings from X to Y, or Y to X, by double tapping the button for the one you want to copy to, and then pressing ENTER to confirm. If you accidentally double tap when you don’t want to copy, press EXIT to cancel. So, to copy X to Y, double-tap Y and then press ENTER. 1 2 Exceptions: Quick control functions work in PEQ blocks, but letters are not shown. Mixer type blocks do not support Quick Control. As noted in the section which covers I/O parameters, X is in fact the “ON” state for these CC switches (64-127) and Y is the OFF (0-63). 36 Doc v3.04 BASIC OPERATION AND EDITING 4.4.1 X/Y Quick Jump The X and Y buttons also double as user-definable Quick-Jump keys. These allow quick access to the EDIT menus of your two favorite blocks from almost any screen without needing to “drill down” through the grid. You might, for instance, set “X” to jump to AMP1, while “Y” might be assigned to bring up the PHASER1 menu. Quick-Jump is disabled if you are already in the EDIT menu of another block (including Global Blocks or Modifier sub menus), or if you are in the process of SAVING (where X and Y are used for quick character entry). Quick Jump settings are assigned in the X/Y page of the I/O menu, detailed on p. 136. 4.5 Bypassing a Block Can you imagine a stompbox that can’t be stomped? Neither can we. Any 3 effect on the Axe-Fx II can be bypassed (or engaged) in three different ways: 1. Press the front panel FX BYP button while the block is either selected in the grid or open to edit. Note that accidentally double tapping or holding FX BYP will enter the Global Blocks menu instead (see p. 114). Press EXIT and try again if this happens. 4 2. Use a MODIFIER (section 7) attached to the block’s BYPASS MODE parameter. 3. By remote control via the block’s global remote bypass function, which may be set to “PEDAL” or to any MIDI CC# on the CTRL page of the I/O menu (p. 130) A bypassed block is shown on the grid with a dotted outline. When you bypass any block, one of several things can actually happen depending on how its BYPASS MODE parameter is set. For more on this, see the section on Common Mix Parameters beginning on p.112. 4.6 Loading Effects from another Preset The Recall Effect function makes it possible to load block settings directly from one preset to another. Select the EFFECT tab of the RECALL menu using the PAGE buttons. Select the preset and block that you want to load from and press ENTER. “EFFECT RETRIEVED!” will be displayed, and the “local” block (whether or not it is already on the grid in the current preset) will be updated with all settings from the “retrieved” block. If the block you are trying to load is not found in the preset you try to load it from, “EFFECT NOT FOUND” will be shown instead. 3 4 The MIXER, FB SEND, and SHUNT blocks have no bypass functions. The ENHANCER has no BYPASS MODE parameter. Doc v3.04 37 BASIC OPERATION AND EDITING 4.7 Saving Changes After making various changes, you will undoubtedly want to save the results of your edits. To store a sound in place, without changing its name or location… Press STORE to show the STORE screen. Press ENTER to initiate the process, and ENTER again to confirm. The message “STORED!” is displayed when the operation completes. To store a sound to a new location or with a new name… The Axe-Fx II has 384 numbered preset memory locations. It is possible at any time to save any preset into any location. It is also possible to change the NAME of a preset before you store it. Press STORE to show the STORE screen. Use the NAV buttons to select between the two available functions: The LOCATION parameter selects where the preset will be stored: The VALUE wheel selects numbered memory locations. NAV left/right skip by 10. The NAME parameter allows you to edit preset names before saving: Turn the VALUE wheel to change characters. Press X or Y to cycle through points along the series of letters/symbols (0, A, N, a, n). Use NAV to move the cursor from one position to the next. You can use up to 23 characters in a preset name. Press ENTER to Store. Press ENTER to Confirm. The message “STORED!” is displayed when the operation completes. 4.7.1 Swapping the Locations of Two Presets The Axe-Fx II has a new feature that allows you to SWAP the locations of two saved presets. This is useful, for instance, if you want to re-order the factory presets without overwriting any of them, or if you need to move a “keeper” preset to a different location so you can overwrite its previous location with a newer entry. To SWAP two presets: Press STORE and PAGE to the right to the SWAP page. Use NAV keys and the VALUE wheel to select the two presets whose locations you want to switch. Press ENTER to Store. Press ENTER to Confirm. The message “SWAPPED!” will briefly appear when the operation completes. 38 Doc v3.04 EFFECTS GUIDE 5 Effects Guide The Axe-Fx II offers 33 different basic block types that can be combined freely up to the limit of available DSP resources to create your own presets. An alphabetical listing of block types follows. 5.1 Amplifier [AMP] The Amplifier block reproduces the sounds of an impressive array of vintage and modern guitar and bass amplifiers, with 60+ different “types” based on stock, custom and hybrid models. In the same way you can operate a real amp without understanding its advanced inner workings, so too can you get great amp sounds from the AxeFx II using only the basic drive and tone controls on PG1 and PG2 of the amp edit menu. Advanced parameters offer deeper control, but don’t be put off by these if you don’t understand them at first: their values are “set right” for all models by default. That said, a deeper understanding of the AMP block offers deeper control, putting more tones at your fingers and enabling “mods” that would require a seasoned tech in the real world. (Even he/she would be unable to achieve many of the options possible with the virtual amps in the Axe-Fx II). It may be best if you can listen to the effects of the various controls while you read this section. The right amp with the right settings is the heart of the right tone. Note: The Cab block (p. 47) is vital in creating an overall sound; if you’re not getting the sound you’re expecting from an amp, try different cab settings. The “heart” of the amp is its capacity for ultra-realistic distortions, created using our proprietary dual-stage nonlinearity generators. The preamplifier stage emulates the type of distortion generated by classic tube preamplifiers. The power amplifier stage emulates the type of distortion generated by a tube power amplifier and uses our proprietary G2 Modeling Technology™. The Axe-Fx II Amp also integrates a new built-in, 8-band graphic equalizer for additional tone control without extra blocks. Each Axe-Fx II preset can use two fully independent Amplifier blocks. Figure 5-1 – A simplified diagram of the AMP block The AMP block processes audio in mono. The INPUT SELECT and BALANCE parameters (see below) allow flexibility when combining the AMP with stereo effects. Amp X/Y Channel Switching Each instance of the Amplifier block stores two fully independent sets of parameters called X and Y. Selecting between these allows you to change all block settings—instantly—at the touch of a switch or button (excluding current Bypass State and any Modifier assignments). See X/Y Switching on p. 36 for more information. Doc v3.04 39 EFFECTS GUIDE Amp Types The following table details the different AMP types of the Axe-Fx II. Manufacturer names and product names mentioned below are trademarks or registered trademarks of their respective owners, which are in no way associated with or affiliated with Fractal Audio Systems. The names are used only to illustrate sonic and performance characteristics of the Fractal Amplifier TYPES, which have been created by incredibly detailed analysis of the actual amps that inspired them AMP TYPE 59 Bassguy 65 Bassguy Vibrato Verb Deluxe Verb Double Verb Jr Blues Class-A 15w TB Class-A 30w Class-A 30 TB Brit JM45 Plexi Normal Plexi Treble 1987x Normal 1987x Treble Brit 800 Brit 800 Mod Hipower Normal Hipower Brillnt USA Clean 1 USA Clean 2 USA Rhy 1 USA IIc+ Norm USA IIc+ Bright USA Lead 1 USA Lead 2 Recto Orange Recto Red Recto New Ornge Recto New Red Euro Blue Euro Red Shiver Cln Shiver Ld Euro Uber Solo 99 Cln Solo 100 Rhy Solo 100 Ld Friedman BE Friedman HBE PVH 6160 Mr Z 38 Sr CA3+ Rhy CA3+ Ld Wrecker 1 Corncob M50 Carolann Od-2 Fryette D60 L Fryette D60 M 40 BASED ON 1959 Fender® Bassman® 1965 Fender® Bassman® Fender® Vibroverb® Fender® Deluxe Reverb® Fender® Twin Reverb® Fender Blues Jr. Vox® AC-15® Vox® AC-30® Vox® AC-30TBX® Marshall® JTM45® Marshall® Super Lead 1959® 1959® Treble Channel Marshall® 1987x Vintage Series 1987x Treble Channel Marshall® JCM 800® Marshall® JCM 800®, modded Hiwatt® DR103 (Normal)® Hiwatt® DR103 (Brilliant)® Mesa Boogie™ MKIV™ (Rhythm 1) Mesa Boogie™ Triaxis™ (Green) Mesa™ Boogie MKIV™ (Rhythm 2) Mesa Boogie® Mark II™ Lead (Normal) Mesa Boogie® Mark II™ Lead (Bright) Mesa Boogie™ MKIV™ (Lead) MKIV® (Lead + Treble Shift ON) Mesa Boogie™ 2 Ch. Dual Rectifier® (Orange Ch.) Mesa Boogie™ 2 Ch. Dual Rectifier® (Red Ch.) Mesa Boogie™ 3-Ch. Dual Rectifier® (Orange Ch.) Mesa Boogie™ 3-Ch. Dual Rectifier® (Red Ch.) Bogner® Ecstasy Blue Channel® Bogner® Ecstasy Red Channel® Bogner® Shiva Clean Channel Bogner® Shiva Lead Channel Bogner® Überschall Soldano® X99® Preamp (Clean ) Soldano™ SLO-100® (Normal Ch.) Soldano™ SLO-100® (OD Ch.) Friedman Brown Eye Friedman Hairy Brown Eye Peavey® EVH® 5150™ Dr. Z Maz 38 SR® CAE 3+ SE® (Ch 2) CAE 3+ SE®(Ch 3) Trainwreck™ Express Cornford MK50II® CarolAnn OD2r® Fryette D60® Fryette D60® NOTES A low-to-medium gain amp designed for bass but more widely adopted by guitarists. The blackface version with a different circuit design. Based on a 40W combo that's great for clear or grinding cleans and gutsy blues. Great, chimey tone with nice power amp breakup when you push the MASTER. Based on the “Vibrato” channel. Known for amazing clean sounds and nice breakup. A gutsy little classic with dual EL84s. The heart of this amp’s tone comes from its power section and no negative feedback. A combo that dominated the British Invasion. Gritty character, warm tone, great feel. Created in response to demand for “More Treble.” Great highs + slightly reduced bass. Made famous by Clapton and others; actually a modified Bassman® design. The classic amp head that gave rise to “the stack.” Great for crunchy rhythm work. Based on the “High Treble” channel of the legendary ’59. Features what many consider to be an “essential” mod to the tonestack of this Plexi. The treble channel of the 1987x Vintage Series Plexi. Based on the vaunted model 2204. Bring the Master up for true 80s tone. The 800 with a collection of the most popular mods to the amp. Medium-gain, full sound amp with a unique tone-stack and a chimey, grinding tone. A brighter model based on the amp’s “Brilliant” channel. A somewhat neutral, clean- sounding model that can pushed into warm clipping. Based on the “Vintage Fat Rhythm (Mark I, Blackface)” channel. Based on THE California crunch rhythm sound. Rhythm Ch. 2 with “Fat” switch OFF. Based on a US-made amp famous for its smooth overdrive sound. This model has the pull bright OFF. Based on a US-made amp famous for its smooth overdrive sound. This model has the pull bright ON. This model has a tight, focused, hi-gain sound. Great for fusion and rock leads. Treble Shift gives this amp a slightly different character with a little more cut. Based on the original Mesa Boogie 2-channel Dual Rectifier “Vintage” (Orange) Ch. Based on the Modern (Red) “Lead” channel, this is a high- gain masterpiece with crushing power and tightness. Based on the modern version of the Dual Rectifier amp. Circuit changes made this version more aggressive. Red Channel version of the Dual Rectifier amp. Based on the 20th Anniversary model. OD channel w/ BOOST + STRUCTURE OFF. Same as above but with OD channel w/ BOOST + STRUCTURE ON. Based on the 90W anniversary model. Powerful shimmering cleans. Based on a sweet, rich- sounding amp with aggressive, English- style midrange punch. Based on “High Gain” channel of this 120W head. Heavy grinding lows and insane gain. Based on the clean channel of a Soldano/Caswell midi-motorized preamp. Based on SLO-100®, noted for its hot-rod chrome chassis and aggressive rhythm tone. Based on the snarling lead channel of the above amp. What many call “the ultimate modded Plexi” by Dave Friedman of Rack Systems. The BE amp’s alternate voicing with a gain boost. A killer hi-gain tone in your arsenal. Based on the high- input lead channel of an amp named after the criminally insane. Based on an amp popular with country and roots players. Based on Channel 2 (Rhythm) of a preamp designed by Custom Audio Electronics®. Channel 3, (Lead) of the same. Based on the Trainwreck Express—designed and built by the late, great Ken Fischer. Based on a boutique British amp. Plexi-Meets-Modern tone with big cojones. The celebrated OD2r. Model fine-tuned by the highly respected Alan Phillips himself! Based on the Fryette Amplification D60 in the “Less” mode. Based on the Fryette Amplification D60 in the “More” mode. Doc v3.04 EFFECTS GUIDE Brown Citrus RV50 Jazz 120 Energyball ODS-100 Clean ODS-100 Lead FAS Rhythm FAS Lead 1 FAS Lead 2 FAS Modern Das Metall Brit Pre Buttery Boutique 1 Boutique 2 Cameron Med Cameron High SV Bass Tube Pre FAS Brown Big Hair Solo 99 Lead Recto Org Mdrn Tx Star Lead FAS Wreck Prince Tone Brit JVM “The Brown Sound” Orange® Rockerverb® Roland® JC-120® ENGL Powerball® Dumble OD Special® (Clean) Dumble OD Special® (Drive Ch.) Created by Fractal Audio Systems Created by Fractal Audio Systems Created by Fractal Audio Systems Created by Fractal Audio Systems Diezel™ VH4® Marshall® JMP-1 Preamp® Budda® Twinmaster Matchless Chieftan® Matchless Chieftan® + Boost Cameron CCV100 Cameron CCV100 Ampeg SVT® Studio Tube Preamp “The Brown Sound” FAS Original Soldano® X99® Preamp (Lead) Mesa Boogie™ Dual Rectifier® Mesa Boogie® Lonestar™ Trainwreck™ Express Fender® Princeton® Marshall® JVM 800® A faithful recreation of the legendary “Brown Sound” —The modded “#1” Marshall®. Based on the dirty channel of the 50W head known for warmth and rich harmonics. The only solid-state-based model in our collection; a quintessential clean tone. Very high-gain German model. Lots of bass. Great for aggressive, drop-tuned riff work. Based on the Clean channel of a coveted but rare amp made famous by Robben Ford. The same amp. OD channel. Also played by the great Larry Carlton and many others! Combines the best features of the British and USA crunch models. Neutral high-gain lead with a tight midrange. Hot-rodded British lead sound with a tonestack by Custom Audio Electronics. A high-gain hybrid. Equally well-suited to modern rhythm and lead work. Based on a high-gain, boutique amp famous for its powerful, heavy, aggressive sound. Based on a rack-mount preamplifier version of the Brit 900. Crunchy “ZZ” tone. Based loosely on a late 90s specimen. Relies mostly on power amp distortion. A medium-gain amp: thick, yet crisp, with a fair amount of power amp breakup. Based on the same amp but with a boost for more gain and high-frequency emphasis. An amp its creator Mark Cameron calls “one pissed off amp.” Another of the “hot-rodded tones” of the CCV. Based on a head used for decades by famous bassists the world over. A completely neutral, low-gain tube pre useful for “warming up” various sources. The original BROWN model from the Axe-Fx Ultra. Mids without mud. Revive the 80s metal scene. (Spandex not included.) Based on the lead channel of a Soldano X99 preamp. Based on the Modern channel of a new Dual Rectifier with voicing set to Modern. This model is based on the lead channel of a Mesa Lonestar. The original WRECKER 1 model from the Axe-Fx Ultra. Based on a single-ended Fender Princeton with a single-ended power section. Based on the JVM410, channel OD1, Orange mode. New amp types will be added from time to time. Please check our web site for owner’s manual updates. 5.1.1 Basic Amp Parameters TYPE – Selects the amplifier simulation. The simulations are, for the most part, based on classic and modern amps, but they also include some hybrids and wholly original types that we created. For a complete list of current amp types provided, see table above. DRIVE – Sets the preamp gain for more or less preamp distortion. Used in conjunction with the MASTER (see below), the DRIVE control and the amp DRIVE determine whether the sound will be clean, slightly broken up, moderately overdriven, or completely distorted. The Axe-Fx II faithfully reproduces the sound of the treble peaker circuit on the DRIVE control found on many amps. This can be heard when the low frequencies are attenuated more than the highs when the DRIVE is turned down (and vice versa). To make the most of this capability, place a DRIVE block in front of the AMP. Adjust the DRIVE control of the amp to achieve the desired amount of input treble peaking, and then adjust the DRIVE and LEVEL of the block out front to achieve the desired effect. BOOST – Toggles the input boost for an additional 12 dB of input gain. Use this to add more gain to the amp simulation. To turn the BOOST switch ON or OFF, use the NAV keys to select the TYPE knob while editing an amp and press ENTER. The letters “BOOST” appear beneath the knob to indicate that the boost is engaged. The symbol < > appears when this setting is OFF. (See BRIGHT below for an illustrated example). BASS, MID, TREBLE – While many amp sims use simple filters to approximate amp tone controls, the AxeFx II exactly replicates the frequency and phase response of a classic passive tonestack. Use your ears to set each control to the desired position. Doc v3.04 41 EFFECTS GUIDE Some of the amps simulated on the Axe-Fx II do not have the full complement of tone controls. Some, for example, have no mid control. To faithfully simulate the configuration of the original, set any superfluous controls to noon (or “0.00” if you are using the “ACTIVE” tonestack type; see below). Of course, you may still adjust to achieve tones the original amp does not have. Extreme tone settings along and high gain can cause pickup squealing or excessive noise. This is especially true with the TONESTACK TYPE (p. 54) set to “ACTIVE.” BRIGHT – Many amplifiers contain a “treble peaker” on the volume control. On some amps this switch is included as a pull switch on the volume control or toggle switch. On others, the circuit is hard-wired. Every amp TYPE on the Axe-Fx II includes a bright circuit. If the original amp has no bright circuit, the default state is off but BRIGHT can be turned on to apply circuit values most suited to an amp of that general type. If the amp has a hard-wired treble peaker, the default BRIGHT state is on. The effect may be subtle or quite pronounced, depending on the amp selected, and is also affected by the BRIGHT CAP setting (p.54). To turn the bright switch ON or OFF while editing an amp, use the NAV keys to select the TREBLE knob and press ENTER. The letters “BRT” appear beneath the knob to indicate that the bright circuit is engaged. The symbol < > appears when the bright switch is OFF. BRIGHT switch ON (“TREB BRT”) BRIGHT switch OFF (“TREB < >”) POWER AMP VOICING – Voices the amp to a variety of tonal styles, taking the guesswork out of mix engineering by automatically adjusting the overall tone. Choose “Neutral” for the raw amp sound or hoose one of the other voicings for a quick “mix-ready” tone. PRESENCE/HI-CUT – Boosts (or cuts) the upper frequencies from the power amp simulator by varying the negative feedback frequency response. Increased presence can help a sound cut through a heavy mix. Amps with no negative feedback circuits in their design cannot utilize a presence circuit. If DAMPING (which determines the amount of negative feedback) is set to “0.00,” PRESENCE becomes a simple high-shelf equalizer at the output of the power amp, and its label changes to “HI-CUT.” This allows you to control the high-frequency response of the power amp for models that don’t have any negative feedback. When changing to a model with no negative feedback (i.e. Class-A, Mr.Z, Recto Red), be sure to check your presence settings as settings higher than zero might darken the sound undesirably. Note: Unlike previous Axe-Fx models, the virtual presence circuit on the Axe-Fx II now operates from 0-10 instead of +/-5. Set it as you would on a regular amp. DEPTH – Boosts low frequencies from the power amp simulation by varying the negative feedback frequency response. The DEPTH control is set by default to an appropriate value when the amp TYPE is selected, but this setting may be overridden. 42 Doc v3.04 EFFECTS GUIDE SPEAKER DRIVE –This parameter simulates distortion caused by pushing a speaker too far. It interacts with the MASTER, which determines how hard the actual power amp is pushing. MSTR – The almighty Master Volume is a very important control. It determines the amount of distortion contributed by the power amp simulator, and its setting is key to an amp’s sound. As the Master is turned up, the entire character of the amp will change. The tone controls will have less influence on the sound, and the sound will have more “bloom” and touch sensitivity. With a little experimentation on your favorite Axe-Fx II amps, you will learn to appreciate the qualities of different DRIVE and MASTER settings and how to find the great tones offered by different combinations. If a real amp doesn’t have a Master, begin with the Axe-Fx MASTER at or close to maximum when using that TYPE. Lower settings can also be used, and can sometimes reduce “harshness.” For “Cranked Amp” sound, set the MASTER at around 3 o’clock and then slowly bring the drive up until the desired tone is achieved. At high Master settings, less drive is usually required, especially for highgain types. If the Master Volume is set high, reducing the drive control is usually required for “best” results. Amps designed for preamp distortion sounds will typically sound better with the MASTER set low to prevent the tone becoming muddy or excessively noisy. This includes the USA Lead types, SOLO 100, and others. Amps with negative feedback (damping greater than zero) tend to have a “crunchier” power amp distortion, which can get “raspy” if driven too hard. You can experiment with the interactivity of DAMPING (see Advanced Parameters, below) and MASTER to achieve desired power amp distortion timbres. Setting SAG (see below) to zero will disable Power Amp simulation, at which point the MASTER becomes a simple level control with 40 dB of range. LEVEL – This is a copy of the LEVEL control on the MIX page for easy volume adjustment without pageflipping. It has no effect on the inherent sound of an amp. Amp Speaker Impedance Page These parameters shape the virtual speaker impedance curve and the resulting resonances in the virtual power amp. Amp- Speaker interaction causes an increase in power amplifier response at certain frequencies, affecting the tone. Note that the power amp frequency response will not equal the speaker impedance if the DAMPING is greater than 0. This is because negative feedback flattens the response curve. LF RESONANCE, LF RES FREQ, LF RES Q – Guitar loudspeakers have a low-frequency resonance, typically about 100 Hz. This shifts up slightly when the speaker is mounted in an enclosure. This resonance causes an increase in the power amplifier response due to the finite output impedance of the power amp. MID RESONANCE, MID RES FREQ, MID RES Q – While most speakers don’t have a third resonance, this parameter allows you to fine-tune the edge-of-breakup profile for “hyper-realistic” tones. For authentic response, set MID RES flat (0.00). HF RESONANCE, HF RES FREQ, HF RES Q – A loudspeaker voice-coil presents an inductive load to the power amp at high frequencies. This inductive load, in conjunction with the output transformer capacitance, creates a high-frequency resonance. Doc v3.04 43 EFFECTS GUIDE Amp EQ Page The amplifier includes a built-in, 8-band graphic equalizer, eliminating the need to follow the amp with a separate EQ block for additional tone-shaping. 5.1.2 Advanced Amp Parameters INPUT SELECT – The AMP block processes audio in mono. This control determines how incoming stereo signals will be processed. Options include inputting only LEFT or RIGHT channels or SUM L+R (the default setting). INPUT TRIM – Allows you to adjust the relative gain of the preamp. Increasing the value will cause the amp to have more gain than designed and vice versa. It is simply a linear gain applied at the input to the block. You can use it to give a typically clean amp a bit more oomph or decrease the gain of a very high-gain amp. Note that this is different than the Drive control because the Drive control interacts with the surrounding circuitry and changes the frequency response as it is varied. LOW-CUT FREQ – This control allows you to reduce the amount of low-frequency content at the input to the amp simulator. This parameter defaults to a value for each type but can be overridden if desired. HIGH-CUT FREQ – This control sets the cutoff frequency of a low-pass filter at the very end of the preamp simulation. It defaults to a preset value for each amp type but can be overridden if desired. Experiment with this to fine-tune your tone. For example, some of the higher-gain amp types are characterized by fairly heavy filtering after the preamp stage. You can increase the high-cut frequency to achieve a brighter tone. Conversely you can reduce this value to achieve a darker or less brittle tone. BRIGHT CAP – Sets the value of a virtual capacitor to determine the sonic effect of the BRIGHT switch (above). Increasing this will make the preamp brighter and vice versa. TONESTACK TYPE – The BASS, MID and TREBLE controls operate by default as “passive” controls. That is, they simulate exactly the frequency and phase response of the classic passive tonestacks found in the original amplifiers our simulations are based on. The TONESTACK TYPE control lets you change this behavior from PASSIVE to ACTIVE, or to substitute the passive tonestack of another amp type. Selecting the “ACTIVE” type gives each tone control +/- 12 dB boost/cut operation for up to twice the range of a typical amplifier. Since the active tone controls are more sensitive, small adjustments have bigger effects, and less extreme settings still achieve pretty extreme sounds. For example, full PASSIVE treble for a high-gain British amp would be equivalent to only +5.0 dB ACTIVE, leaving 7 dB of additional headroom! Active tone controls do not interact like those of a typical amplifier, so when you adjust the treble, the mid and bass are not affected. This can make dialing in a certain tone easier and quicker than it might be with a PASSIVE tonestack. Selecting a SUBSTITUTE tonestack allows you to mix and match amps and tone stacks to create your own hybrids. This allows you to use, for example, a Plexi-type tonestack on a Blackface amp model, or a modern German tonestack in a British Preamp. The default TONESTACK TYPE is governed by a global parameter (see section 8 on p. 128) 44 Doc v3.04 EFFECTS GUIDE TONESTACK FREQ – Sets the center frequency of the tone controls to determine their effect on the sound. This control works whether you are using ACTIVE, PASSIVE, or substitute tone stacks. This parameter defaults to an appropriate value whenever you change the amp TYPE, but it can then be changed as desired. However, if you subsequently change the TONESTACK TYPE, the TONESTACK FREQUENCY will not necessarily be correct anymore. TONE LOCATION – This control lets you change the location of the tone stack. “PRE” places the tone stack at the input to the preamp, “POST” places the stack between the preamp and power amp. “MID” places it between the last two triode stages, and “END” places it after the power amp (which is physically impossible with a real amplifier). This parameter defaults to an appropriate value whenever you change the amp TYPE, but it can then be changed as desired. PRESENCE FREQ – Alters the center frequency of the amp’s PRESENCE control. This parameter defaults to an appropriate value whenever you change the amp TYPE, but it can then be changed as desired. DEPTH FREQ – Alters the center frequency of the amp’s DEPTH control. This parameter defaults to an appropriate value whenever you change the amp TYPE, but it can then be changed as desired. POWER TUBE BIAS – Sets the bias point of the virtual power amp. Lower values approach pure Class-B operation. Higher values approach pure Class-A operation. DAMPING – This controls the amount of negative feedback, or damping, in the power amp simulation. Higher values give a tighter and brighter sound but can sound harsh at very high master volume levels. Lower values give a loose and gritty sound and feel. Like many other power amp parameters, DAMPING is set to an appropriate value whenever you change the amp TYPE, but it can then be changed as desired. For example, you might dial in some negative feedback on a “Top Boost” to give the power amp a more “American” sound while still retaining the preamp voicing. MAINS IMPEDANCE (SAG) – This controls power amp dynamics. Higher settings simulate higher power supply impedance, and thus greater tube plate voltage “droop,” for a more compressed feel. This control interacts with the Master and will have little effect if the power amp is not being pushed. As the power amp is pushed and draws more virtual current from its virtual power supply, the Sag control will have more effect. IMPORTANT: Turning this control fully counterclockwise defeats power amp simulation for an individual AMP block so you can use it as a PREAMP into an external tube power amp without globally disabling power amp simulation (see section 8.1 on p. 128 or the “FOH + Real Amps” diagram on p. 22. B+ TIME CONSTANT – Controls the rate of change in the power tube plate supply. Lower values give a bouncier feel, while higher values give a tighter feel. TRIODE1 PLATE FREQ, TRIODE2 PLATE FREQ – This parameter sets the cutoff frequency of the plate impedance for the next-to-last triode in the chain. Many amps have a capacitor across this triode’s plate resistor. This capacitor is used to smooth the response and reduce noise. You can adjust the amount of capacitance, and the resulting frequency, using this parameter. The triode 2 plate capacitor is also exposed. TRANSFORMER LF, TRANSFORMER HF – These set the output transformer bandwidth. Doc v3.04 45 EFFECTS GUIDE TRANSFORMER DRIVE – Controls how hard the virtual output transformer is driven. Higher values simulate a smaller, more easily saturated transformer. TRANSFORMER MATCH – This is an extremely powerful parameter that sets the relative output transformer primary impedance which in turn controls how easily the power tubes are driven into clipping. The higher the Master Volume setting the more pronounced the effect of this parameter. Decreasing the matching causes the power tubes to clip later and therefore the phase inverter and grid clipping becomes more predominant. Increasing the matching causes the power tubes to clip sooner. At lower settings the speaker resonance will be more pronounced, at higher settings the speaker resonance will be less pronounced. For optimum results bring up the MASTER until the desired amount of power amp distortion is achieved, then adjust matching until the character of the distortion is as desired. The various LF and HF resonance parameters interact strongly with this parameter so be sure to experiment with those as well when crafting a tone. MV LOCATION – Sets the location of the Master Volume. Most amps have the Master Volume before the phase inverter (“Pre PI”). On some amps (like the AC types) the Master Volume is after the phase inverter (“PI”). A third option, “pre-triode,” is the default for amp types based on Hiwatt® models. SAT SWITCH – The Saturation Switch engages a popular mod between the preamp and the tonestack for more aggressive distortion character. PRESENCE/DEPTH TYPE – Selecting “PASSIVE” models the typical passive circuit used in actual tube amps. “ACTIVE” types use an idealized circuit that may be less authentic but useful in some circumstances. POWER TUBE HARDNESS – This parameter controls how sharply the triodes enter saturation and can be used to simulate softer or harder tubes. The default value is 5.0 and is set to this value whenever the type is changed. The effect of this is subtle and most apparent at edge of breakup. Lower values give softer saturation, higher values give a more aggressive breakup. POWER AMP LO CUT, POWER AMP HI CUT – These filters are provided for shaping the tonal color of the virtual power amp. Note that in addition to applying a voicing filter, the POWER AMP VOICING parameter (Basic Amp Parameters, beginning on p. 41) will also automatically set values for POWER AMP LO and HI CUT. AMP Mix Page The Amplifier block also has a MIX page with LEVEL, BALANCE, and BYPASS MODE parameters. See Common Mix Parameters on p. 112 for more information. AMP block Resolution Presets which use a single amp block run in high-resolution mode, utilizing an entire processor. This provides greater fidelity and resistance to aliasing. This mode is automatic and is selected whenever there is only amp block in the layout grid. Adding a second amp block will revert both to normal resolution. Note that switching between presets with differing number of amp blocks may introduce an additional delay as a “soft reset” of the amp blocks must be done whenever changing the resolution. 46 Doc v3.04 EFFECTS GUIDE 5.2 Cabinet [CAB] The Speaker Cabinet Simulator (“Cab” for short) block recreates the tonal characteristics of a variety of speaker and cabinet configurations. The Axe-Fx II contains 70 built-in “factory” cabinet simulations, plus 50 memory locations into which you can load custom Impulse Response (“IR”) files. More than just a simple filter, the Cab block actually recreates the subtle frequency response variations inherent in a real guitar speaker. It also offers the ability to apply room and microphone simulations, plus tone-shaping of low and high frequencies. rd Factory cabs include custom creations by Fractal Audio System, selections from 3 -party libraries by RedWirez and Ownhammer, and contributions from loudspeaker design engineer and Axe-Fx early adopter, Jay Mitchell. Visit http://www.redwirez.com and http://www.ownhammer.com for more information or to purchase additional IRs you can load into your Axe-Fx II. Each Axe-Fx II preset can use two fully independent Cab blocks. Cab X/Y Channel Switching Each instance of the Cab block stores two fully independent sets of parameters called X and Y. Selecting between these allows you to change all block settings—instantly—at the touch of a switch or button (excluding current Bypass State and any Modifier assignments). See X/Y Switching on p. 36 for more information. Cab Parameters MODE – Selects between “MONO HI-RES,” “MONO LO-RES,” and “STEREO” modes. In MONO HI-RES mode, the processing is monophonic, and resolution is at maximum (2048). In MONO LO-RES mode, processing is monophonic, and resolution is halved (1024) to reduce CPU load. In STEREO mode, the processing is stereo, and the resolution is lo-res (2 × 1024). Figure 5-2 – The Mono Cab Sim Figure 5-3 – The Stereo Cab Sim Doc v3.04 47 EFFECTS GUIDE To use a stereo Cab block with two amps, set the balance control for AMP 1 fully left, the balance control for AMP 2 fully right, and set the Cab block MODE set to “STEREO.” Figure 5-4 – Two amps into a CAB block set to STEREO mode CAB (TYPE) – Sets the cabinet type by selecting from 70 “FACTORY” and 50 “USER” IRs. Cabinet types are listed in the table below. Those marked (OH) are exclusive “blends” created from selections in the Ownhammer collection. Those marked (RW) are exclusive “blends” created from selections in the RedWirez collection. Those marked (JM) were created by Jay Mitchell. Those not marked are creations of Fractal Audio Systems. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 1×6 Oval 1×8 Tweed 1×10 Gold 1×10 Blue 1×12 Tweed 1×12 Black 1×12 Blue 1×12 EVL (RW) 1×12 Studio 1×12 EMI Open Back (JM) 1×12 Boogafunk Blue (OH) 1×12 Boogafunk E12L (OH) 1×12 Tweed Blue (RW) 1×12 Tweed Deluxe (RW) 1×12 Brit Blue (RW) 1×12 Brit G12H30 (RW) 1×15 Blues 1×15 Thunderbolt 2×12 Black 2×12 Brit 2×12 Doubleverb D120 (RW) 2×12 Doubleverb C12N (RW) 2×12 Blue 2×12 Top Boost Blue (RW) 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 2×12 Top Boost Silver (RW) 2×12 Boutique (RW) 2×12 Jazz (RW) 2×12 Gold 30 Far-Field (JM) 2×12 G12-65 Far-Field (JM) 2×12 Boutique 2×12 Doubleshow (JM) 4×10 Tweed Bass 4×10 Bassguy P10 (RW) 4×12 Basketweave G12H30 (RW) 4×12 Basketweave G12L (RW) 4×12 Basketweave G12M20 (RW) 4×12 Basketweave G12M25 (RW) 4×12 1960A G12M (RW) 4×12 1960B T75 (RW) 4×12 1960B K120 (RW) 4×12 1960B V30 (RW) 4×12 Hi-Power (RW) 4×12 Recto V30 (RW) 4×12 Recto V30 (OH) 4×12 Solo V12 (RW) 4×12 Solo S12X (RW) 4×12 German V30 (RW) 4×12 German Boutique (RW) 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. 64. 65. 66. 67. 68. 69. 70. 4×12 PVH 6160 (RW) 4×12 Uber T75 (RW) 4×12 Uber V30 (RW) 4×12 Uber T75+V30 (RW) 4×12 Citrus V30 (RW) 4×12 Mill 12K (OH) 4×12 SLM Blue (OH) 4×12 SLM H65 (OH) 4×12 SLM H75 (OH) 4×12 SLM M75 (OH) 4×12 SLM V30 (OH) 4×12 20W 4×12 25W 4×12 V30 4×12 German 4×12 Metal 4×12 Cali 1×15 L.A. Bass 4×10 Aluminum Bass 8×10 SV Bass (RW) reserved reserved When the MODE of the CAB block is set to “STEREO”, independent CAB L and CAB R type parameters appear. User Cabs rd The Axe-Fx II allows you to load up to 50 cabinet IR files of your own choosing. A variety of 3 -party libraries exist, and it is possible (though not a trivial endeavor) to create your own. For step-by-step instructions on loading User Cab IRs, see section 16.13 of the Appendix on p. 161. You can also create your own User Cab IRs, using a built in utility. See IR Capture on p. 138 for details. 48 Doc v3.04 EFFECTS GUIDE As you scroll through user cabs by their numbers in the Cab TYPE parameter, NAMES will appear in the bottom of the display. These names come from within the data of the user cab SysEx file. Names can be changed before the file is loaded into the Axe-Fx II (using Axe-Edit or a 3rd-party SysEx utility), but not after. CAB SIZE – This control “scales” the IR to simulate shrinking or enlarging the virtual speaker. This effect can be used to shift where the tone “sits” in a mix, or to create dramatic effects. Subtle settings (0.9-1.1) will sound most natural. When the MODE of the CAB block is set to STEREO, CAB SIZE is not offered. MIC (TYPE) – Selects the microphone simulation type used. There are eight different types based on classic guitar cabinet microphones. When the MODE of the CAB block is set to STEREO, independent MIC L and MIC R parameters appear. Manufacturer and product names mentioned below are trademarks or registered trademarks of their respective owners, which are in no way associated or affiliated with Fractal Audio Systems. The names are used only to illustrate sonic and performance characteristics of the Axe-Fx II MIC TYPES. 57 DYN (based on the Shure® SM57®) 58 DYN (based on the Shure® SM58®) 421 DYN (based on the Sennheiser MD 421 II®) 87A COND (based on the Shure® Beta 87A®) U87 COND (based on the Neumann® U87®) E609 DYN (based on the Sennheiser® e609® Silver) RE16 DYN (based on the Electro-Voice® RE16®) R121 COND (based on the Royer Labs® R-121®) D112 DYN (based on the AKG® D112®) 67 COND (based on the Neumann® U67®) It is also possible to set the MIC TYPE to “NONE.” When the MODE of the CAB block is set to “STEREO”, independent MIC L and MIC R type parameters appear. PROXIMITY – Available only when the Cab MODE is set to “STEREO”, simulates the classic proximity effect, causing an increase in bass or low frequency response as proximity is increased. LEVEL L, LEVEL R – Allows independent control over left and right output channels. These parameters appear only when the Cab MODE is set to “STEREO”. PAN L, PAN R – Allows independent control over left and right output pan. Adjust this control to obtain the desired amount of stereo separation. These parameters appear only when the Cab MODE is set to STEREO. LINK – Available only when the Cab MODE is set to “STEREO”, LINK turns the LEFT channel parameters into master controls, which set identical values for LEFT and RIGHT parameters. You can still override the right channel parameters values if desired. ROOM LEVEL, ROOM SIZE – These controls determine the level and virtual size of a room reverb simulation that is built into the cab simulator block. Increase to add room ambience to the sound. MIC SPACING – Increases delay times inside the room reverb simulation by simulating the distance of the room microphone from the sound source. LOW-CUT/HI-CUT – Adjusts the cutoff points of first order high-pass and low-pass filters. Increase the lowcut if the sound is too “bassy” or “boomy.” Decrease the high-cut frequency for a darker cab tone. Cab Mix Parameters The Cab block also has a MIX page with LEVEL, BALANCE, and BYPASS MODE parameters. See Common Mix Parameters on p.112 for more information. Doc v3.04 EFFECTS GUIDE 5.3 Chorus [CHO] A chorus unit creates one or more delayed copies of the input signal and modulates each of these to create the layered effect of different voices. Used subtly, the effect can be ambient and liquid, while more extreme settings can produce a vibrato or “Leslie” effect. The Axe-Fx II offers a high-quality, multi-voice stereo chorus capable of producing anything from exceptionally smooth ensemble effects to a wildly detuned warble. Each Axe-Fx II preset can use two fully independent Chorus blocks. Figure 5-5 – The Chorus Block Chorus X/Y Channel Switching Each instance of the Chorus block stores two fully independent sets of parameters called X and Y. Selecting between these allows you to change all block settings—instantly—at the touch of a switch or button (excluding current Bypass State and any Modifier assignments). See X/Y Switching on p. 36 for more information. Basic Chorus Parameters TYPE – This control instantly sets other Chorus parameters for different useful sound settings. Types include: DIGITAL MONO, DIGITAL STEREO, ANALOG MONO, ANALOG STEREO, JAPAN CE-2, WARM STEREO, 80’S STYLE, TRIANGLE CHORUS, and 8-VOICE STEREO. Rate, Depth, Level, Balance, Bypass Mode, and Global Mix are not affected. NUMBER OF VOICES – Each stereo channel in the chorus can have from one to four voices. Increasing the number of voices increases the fullness of the effect. Use two voices for a vintage chorus effect, or use up to eight for a lush, multi-layered ensemble. RATE – This controls the speed at which the chorus oscillates. Use low settings with higher depths for slowmoving sounds. Increase the rate and depth for vibrato effects. Set fully counterclockwise to sync the chorus LFO to global LFO1. When RATE is shown in parenthesis, it is being set automatically by the TEMPO parameter (see below). Set the TEMPO to “NONE” for manual control. DEPTH – Sets the delay modulation, which determines the amount of detune heard from each voice. Tip: Rate and depth are usually used inversely (high rate/low depth or low rate/high depth), but other settings can also produce “interesting” effects. For precise control of depth, turn the AUTO DEPTH parameter on the ADVANCED page to OFF. 50 Doc v3.04 EFFECTS GUIDE MIX – Sets the ratio of wet and dry (duplicated from the MIX page). A setting of 50% produces the most prominent effect. Try setting the mix to 100% for vibrato effects. TEMPO – Sets the chorus rate in rhythmic relation to the global tempo. For example, if the tempo is set to “1/4” and the global tempo is 120 BPM, the chorus modulation rate will automatically be set to 2 Hz (BPM/60 = Hz). To ignore the global tempo, set the tempo control to NONE. Advanced Chorus Parameters DELAY TIME – Adjusts the minimum delay time from 1.0–20.0 ms. Lower values create a more unified sound while higher values approach the feel of double tracking. LOW CUT – Adjusts the cutoff frequency of a high-pass filter at the output of the processed signal. This control removes bass frequencies and can be useful to create chorus effects designed for bass guitar. HIGH CUT – Adjusts the cutoff frequency of a low-pass filter at the output of the processed signal. Decreasing this value creates a darker chorus effect reminiscent of an age when typical effects were unable to reproduce the full frequency spectrum. Some might say “warm.” LFO PHASE – Adjusts the phase differential between left and right LFO waveforms, which creates a noticeable effect on the stereo width of the chorus. LFO TYPE – Sets the “shape” of the modulation. Sine is the most commonly used waveform, but the trapezoid waveform is also of interest as it was used in a classic “dimension” chorus processor. Set the LFO phase to 90 degrees to duplicate the sound of this particular unit. Note: Whenever the number of voices is set to more than two, the LFO type will be changed automatically to “SINE.” If the number of voices is greater than two and the LFO type is changed to something other than “SINE,” the number of voices will be reset to two. See section 16.5 on p.152 for more information on LFO waveform shapes and phase. AUTO DEPTH – Scales DEPTH to create a consistent sound at any RATE. This control simplifies dialing in “musical” results. For precise control or wild sounds, you may wish to turn it OFF. PHASE REVERSE – Allows Left, Right or both channels of the effect to be phase inverted. DRIVE – This control allows you to simulate the gentle distortion produced by overdriving an “analog bucket brigade” delay chip of the type used in many vintage chorus effects. Set to zero for “pristine clean.” WIDTH – Widens the sound, creating a difference between left and right delay times by scaling the right downwards from the value set (see DELAY TIME, above) toward 1 ms as width goes from 0–100%. LFO2 RATE – Adjusts the rate of the secondary LFO. This LFO modulates the primary LFO and can be used to create more interesting effects. LFO2 DEPTH –Adjusts the depth of the secondary LFO. STEREO SPREAD – Controls stereo width by setting the pan position of the two delays from hard-panned (100%) to dead center (0%). Doc v3.04 51 EFFECTS GUIDE The Chorus block also has a MIX page with LEVEL, BALANCE, and BYPASS MODE parameters. See Common Mix Parameters on p.112 for more information. 5.4 Compressor [CMP] A compressor reduces the difference between loud and soft sounds by reducing the level of—or compressing— loud signals. The reduction is triggered when the input signal exceeds a set threshold. While a compressor reduces the volume of loud sections, it can simultaneously boost overall level for greater perceived sustain. In guitar pedalboards, a compressor is often placed at the start of an effects chain (though using the effect in front of high-gain distortion can increase noise or squealing). In the recording studio, a Compressor is typically placed towards the end of a signal chain to smooth irregular levels. The Axe-Fx II provides both pedal and studio-type compressors (detailed below). Each Axe-Fx II preset can use two fully independent Compressor blocks. Pedal-Type and Common Compressor Parameters TYPE – The Axe-Fx II contains two different compressor types: STUDIO and PEDAL. The STUDIO type simulates the behavior of popular high-end “Feed Forward” stereo studio compressors. The PEDAL type simulates classic stompbox “Feedback” compressors. Figure 5-6 – The Compressor Block's "Pedal" Type Figure 5-7 – The Compressor Block's "Studio" Type 52 Doc v3.04 EFFECTS GUIDE AUTO – Turns the Dynamic Attack filter on or off. Turning this switch ON automatically varies the ATTACK rate according to the program material; the compressor will respond to faster transients with a faster attack. LOOK AHEAD – Despite fast attack times, a compressor can fail to “catch” very fast transients. Look Ahead introduces a short audio delay so the compressor’s gain control stage has sufficient time to respond to the detector, which is side-chained with no delay. Look ahead can reduce “popping,” especially when heavy compression is used on very percussive sources. MIX – Sets the ratio of wet (compressed) and dry sounds. This should normally be set to “100%.” THRSH – (Threshold) Sets the level at which automatic volume reduction will occur. When input power exceeds the threshold, the compressor reduces output volume as set by the RATIO. (When the TYPE is set to “PEDAL”, the THRESHOLD is hidden and automatically set to “minus infinity”). SUSTAIN/RATIO – In “PEDAL” type compression, SUSTAIN increases compression amount as the knob is turned clockwise. In “STUDIO” type compression, SUSTAIN is replaced by RATIO, which sets the input-to-output ratio for signals above the THRESHOLD. A ratio of 2.00 (2:1) means that an input that is 10 dB over the threshold will increase the output by only 5 dB. A ratio of 10.00 (10:1) means that an input that is 10 dB over the threshold is reduced to a mere 1 dB above. Setting the RATIO to “INFINITY” turns the compressor into a “limiter,” reducing any level above the threshold to the threshold, applying a sort of “ceiling” or “brick-wall limiting” above which nothing can rise. ATT – Attack rate sets how fast the Compressor reduces the volume once the threshold is exceeded. For guitar, a fast attack rate often works best. REL – Release rate determines how quickly the output volume returns to normal once the input level falls below the compressor’s threshold. Fast release rates can produce a snappy attack, but a setting that is too fast can cause distortion if used in conjunction with fast attack times and high compression ratios. Slow release times can keep the entire signal quiet, reducing the gain of passages even though they are below the set threshold. In general the release rate should be set slightly faster than the natural release rate of the program material. An easy way to set the release rate is to strum a chord, watch the gain reduction meter (on PG2 of the EDIT menu) and set RELEASE rate so the decay observed is slightly faster than the natural decay of the instrument. LEVEL – Sets the output level of the compressor. Studio Compressor Parameters When TYPE is set to “STUDIO”, the following additional parameters appear: KNEE – The knee control “softens” the operation of the threshold and the ratio, introducing gain reduction gradually as signals approach the threshold. With high compression ratios, a hard knee may produce abrupt gain changes. A soft knee produces a more “transparent” effect since it causes the compressor to engage gradually. MAKEUP – Automatic Makeup gain, when turned ON, compensates the output level to maintain perceived loudness at the current threshold and ratio. The LEVEL control can then be used for fine control. Doc v3.04 53 EFFECTS GUIDE DETECT – Selects whether the compressor will use RMS (“Root Mean Square”), PEAK, or RMS + PEAK detection. RMS detection is smoother and generally used to even out the level of the program material over a long period of time. Peak detection, commonly used with guitar, is useful for fast limiting. RMS + Peak combines the best attributes of both: the speed of a peak detector and the smoothness of an RMS detector. FILTER – Sets the frequency of a high-pass filter on the input of the compressor’s detector stage. Raising the filter frequency can help prevent low frequencies from “pumping” the entire mix. Does NOT affect the tone. SCSEL – Selects between sources for the compressor’s input level detection stage. NONE is the normal setting and selects the compressor’s input (sum of the rows feeding the block). Other settings allow isolating a single row as the sidechain input, while remaining rows are summed to the compressor’s input for gain reduction as usual. You can also choose either of the main inputs as sidechain sources, i.e. INPUT 1 or INPUT 2. By using a sidechain input you can create ducker or de-esser effects. 5.5 Crossover [XVR] This two-way stereo crossover contains 4th-order Linkwitz-Reilly filters. Each Axe-Fx II preset can use two crossover blocks. You can create a threeway crossover by feeding one output of the first to the input of the second. Each Axe-Fx II preset can use two fully independent Crossover blocks. XOVER FREQ – Sets the crossover frequency of the filters. FREQ MULTIPLIER – When set to “×10,” the crossover frequency is multiplied by ten. LEFT LOW LEVEL – Sets the level of the left input low-pass filter. LEFT HI LEVEL – Sets the output level of the left input high-pass filter. RIGHT LOW LEVEL – Sets the output level of the right input low-pass filter. RIGHT HI LEVEL – Sets the output level of the right input high-pass filter. LEFT LOW PAN – Sets the panning of the left input low-pass filter. LEFT HI PAN – Sets the panning of the left input high-pass filter. RIGHT LOW PAN – Sets the panning of the right input low-pass filter. RIGHT HI PAN – Sets the panning of the right input high-pass filter. Crossover Mix Parameters The Crossover block also has a MIX page with LEVEL, BALANCE, and BYPASS MODE parameters. See Common Mix Parameters on p.112 for more information. 54 Doc v3.04 EFFECTS GUIDE 5.6 Delay [DLY] The Axe-Fx II Delay block lets you create classic, modern, and innovative echo effects. A “delay” records an input and then plays it back later in time, creating the effect of an echo...echo…echo. Modified tape recorders were once used for this purpose, but these had sound quality, noise, and reliability concerns. Solid-state (“analog”) delays provided an alternative to tape but had shortcomings of their own. The advent of digital technology paved the way for delays with pristine sound, longer times, and superior flexibility, plus the ability to use additional processing to simulate the favorable “nostalgic” qualities of tape, analog, and even lo-fi digital predecessors. Each Axe-Fx II preset can use two fully independent Delay blocks. Don’t forget the additional two Multi Delay blocks (p. 75), the one Megatap Delay block (p. 72), and the new Looper block (p. 71). Delay X/Y Channel Switching Each instance of the Delay block stores two fully independent sets of parameters called X and Y. Selecting between these allows you to change all block settings—instantly—at the touch of a switch or button (excluding current Bypass State and any Modifier assignments). See X/Y Switching on p. 36 for more information. Delay Common Parameters TYPE – The Delay TYPE control sets various parameters of the delay block to achieve popular delay effects instantly. See the table below for a listing of DELAY block types. CONFIG – The delay configuration determines which one of several base delay algorithms is used. Depending on the configuration you select on PG1 of the delay block, PG2 is configured with different parameters. The purpose and parameters of each configuration are listed below. Table 1: Delay Block Types and Configurations TYPE Configuration Digital Mono Analog Mono Mono Tape Vintage Digital 2290 w/ Mod Full-range, a pristine modern delay (Default Mono). Frequency response and character of an analog delay. Frequency response and character of a tape delay. Uses bit-depth reduction for a lo-fi vibe. Based on a former industry-standard unit. MONO DELAY Digital Stereo Analog Stereo Stereo Tape Ambient Stereo Ducking Delay Full-range, a pristine modern delay (Default Stereo). Frequency response and character of an analog delay. Frequency response and character of a tape delay. Ultra-wide echoes. “Ducking” automatically lowers delay volume when you play harder, resulting in a less “cluttered” mix. STEREO DELAY Dual Delay A default setting for the dual delay. DUAL DELAY Ping-Pong Delay A default setting for the ping-pong delay. PING PONG Sweep Delay A default setting for the sweep delay. SWEEP Reverse Delay A default setting for the Reverse delay. REVERSE Doc v3.04 55 EFFECTS GUIDE INPUT GAIN – Sets the input level into the delay lines. This lets you to attach a controller (e.g. pedal) to the delay level input level for operation similar to that of an “Aux Send.” In other situations this control should be set at 100%. MSTR FDBK – Master Feedback scales any and all feedback parameters on PG2 of the Delay. Note that the range of this control is 0–200%, making it possible (easy, in fact) to “overload” the feedback loop. MIX – This is a copy of the LEVEL control on the MIX page, placed here for easy adjustment of the wet/dry balance without page-flipping. LEVEL – This is a copy of the LEVEL control on the MIX page, placed here for easy adjustment of the overall volume without page-flipping. 5.6.1 Mono Delay The Mono Delay can be used for a variety of great sounding standard and exotic delays. This configuration sums the inputs into a single delay line. Figure 5-8 – The Mono Delay Block TIME – Sets the time of the delay line (time between repeats). When TIME is shown in parenthesis, it is being set automatically by the TEMPO parameter (see below). Set TEMPO to “NONE” to regain manual control. FEEDBK – Sets the amount of delay feedback (a.k.a. regeneration) to determine the number of repeats. ECHO PAN – Controls the placement of the “wet” signal (the echoes) in the stereo image. Note that this is different than the MIX page BALANCE control, which acts on the mix of both wet and dry. REPEAT HOLD – This switch defeats the inputs of the delay and “captures” the current feedback loop, which plays infinitely, as long as the REPEAT HOLD switch remains ON. TEMPO – Sets the TIME parameter in rhythmic relation to the global tempo. For example, if the global tempo is 120 BPM, and TEMPO is set to “1/4” (one echo per beat), time will be 500 ms. To ignore the global tempo, set to “NONE.” DRIVE – Determines the amount of distortion created by a drive model in the delay path. Use this to simulate the way cascading feedback overloads a tape or analog delay. BIT REDUCTION – This control makes it possible to create the lo-fi sounds of vintage digital delays. The number shown is the number of bits to be subtracted from 24-bit full scale. To create a 16-bit delay, for example, set BIT REDUCTION to “8” (24 – 8 = 16). Bit Reduction is often used with high-frequency rolloff. 56 Doc v3.04 EFFECTS GUIDE Please be aware that because the MONO delay contains only one delay line, the two LFO PHASE parameters on its MOD page have no effect. Similarly, the LFO TARGET parameters must be set to “LEFT” or “BOTH” for modulation to occur. 5.6.2 Stereo Delay This stereo-in/stereo-out delay has the convenience of common controls for most L-R parameters. Figure 5-9 – The Stereo Delay Block TIME – Sets the left delay time in milliseconds (time between repeats). When TIME is shown in parenthesis, it is being set automatically by the TEMPO parameter (see below). Set TEMPO to “NONE” for manual control. RATIO – Sets the right channel time as a percentage of the left. 100% results in both channels having equal delay time. Settings close to 100% (e.g. 99.6%) will subtly widen the echo sound, while ratios corresponding to whole number relationships like 7:8 (87.5%), 3:4 (75%) or 1:2 (50%) will create interesting “grooves.” SPREAD – Controls stereo width by setting the pan position of the two delays from hard panned (100%) to dead center (0%) to swapped hard pan (-100%). REPEAT HOLD – Defeats the inputs of the delay and “captures” the current feedback loop. FEEDBACK L – Sets the amount of feedback for the left channel to determine the number of repeats. FEEDBACK R – Sets the amount of delay feedback for the right channel. To preserve “tail” balance, this control will be adjusted automatically when RATIO is changed. You may override automatic settings by setting a new value here manually. TEMPO – Locks the TIME parameter in rhythmic relation to the global tempo. DRIVE – Sets the amount of distortion in the delay path. BIT REDUCTION – Sets the number of bits to be subtracted (from 24 bits), enabling lo-fi effects. Doc v3.04 57 EFFECTS GUIDE 5.6.3 Dual Delay This is a stereo-in/stereo-out delay with fully independent controls for most L-R parameters. Figure 5-10 – The Dual Delay Block TIME L, TIME R – Dual parameters to set the time of the left and right delay lines. When TIME is shown in parenthesis, it is being set automatically by the TEMPO parameters (see below). Set TEMPO to “NONE” to regain manual control. LEVEL L, LEVEL R – Dual parameters to independently set the volume levels of the dual delay lines. MASTER PAN – The panning of each voice is multiplied by this value. A value of 100% will result in each voice being panned as set in the individual pan controls. A value of 0% will result in both voices being panned to center. A value of -100% will reverse the position of the voices. You can use a modifier on this parameter to move the voices around the stereo field in real time. TEMPO L, TEMPO R – Dual parameters to lock the independent TIME L and/or TIME R parameters in rhythmic relation to the global tempo. See the TEMPO section under the MONO DELAY type (p.56) for more about the relationship between BPM and delay time in milliseconds. FEEDBK L->L, FEEDBK R->R – Dual parameters to independently set the amount of feedback for the left and right channels, determining the number of repeats heard. FEEDBK L->R, FEEDBK R->L – Dual parameters to independently set the amounts of cross feedback for the delay lines. This controls how much of the left delay line is fed back into the right and vice versa. PAN L, PAN R – Dual parameters to independently set the pan positions of the dual delay lines. DRIVE – Sets the amount of distortion in the delay path. BIT REDUCTION – Sets the number of bits to be subtracted (from 24 bits), enabling lo-fi effects. 58 Doc v3.04 EFFECTS GUIDE 5.6.4 Ping-Pong Delay The echoes of this easy-to-use Ping-Pong Delay alternate between left and right channels in stereo. The Ping-Pong Delay uses the same algorithm as the Mono Delay (above, p. 66), except the ECHO PAN parameter is replaced by SPREAD. SPREAD – Controls stereo width by setting the pan position of the delay outputs from hard pan (100%) to mono (0%) to swapped hard pan (-100%). 5.6.5 Sweep Delay The Sweep Delay uses the same algorithm as the Stereo Delay (above, p. 67), but adds an LFO-driven stereo bandpass filter after the outputs of the delay. START FREQ, STOP FREQ – These controls set the range of the filter sweeps. RESONANCE – Sets the resonance of the filter. Some might describe this as an “intensity” control. SWEEP TYPE – Sets the waveform of the LFO that controls the sweeps. See section 16.5 on p. 152 for more information on LFO waveform shapes and phase. SWEEP RATE – Sets the speed of the sweeps. SWEEP TEMPO – Locks the SWEEP RATE parameter in rhythmic relation to the global tempo. SWEEP PHASE – Adjusts the phase differential between left and right sweep LFO waveforms. 5.6.6 Reverse Delay The Reverse Delay simulates the impossibility of a performance from the future being heard backwards in the present. It does so by using a delay line to first record for a set time period and then to play that recording backwards. While the first recording plays, the next snippet is being recorded so that reverse playback appears to continue seamlessly. If you can think of your performance as a train, this is like individually reversing each car in place instead of flipping the whole thing from front-to-back. To hear only the backwards sound, make sure MIX is set to “100%.” The Reverse Delay uses the same layout as the Mono Delay (5.6.1, above) except as noted below: TIME – Sets the length of time that the delay line will “record” before reverse playback begins. When TIME is shown in parenthesis, it is being set automatically by the TEMPO parameter (see below). Set TEMPO to “NONE” for manual control. FEEDBK – Sets the amount of feedback to add additional repeats to the reversed snippets. ECHO PAN – Controls the placement of the wet (reverse playback) signal in the stereo field. Note that this is different than the MIX page BALANCE control, which affects both wet and dry. Doc v3.04 59 EFFECTS GUIDE RUN – When this is turned ON, the reverse playback process is active and can be heard. Turning RUN to OFF will mute playback (though any samples in the buffer will still silently run out). This switch can be remotely operated with a modifier (attached, for example, to a footswitch) to stop and start playback. TRIG RESTART – When this is set to “ON” the reverse playback restarts when triggered via the RUN control. If set to “OFF,” playback continues from the current position. The combination of RUN+TRIG RESTART can be used to precisely align reversed passages to certain moments in a performance or to re-align tempo-based reversing to the groove. Tip: If you’re working with a sequencer, assign an EXTERNAL controller and re-trigger this every few bars to keep sync. TEMPO – Locks the TIME parameter in rhythmic relation to the global tempo. See the TEMPO section under the MONO DELAY type (above) for more about the relationship between BPM and delay time in milliseconds. XFADE TIME – Sets the crossfade time between reverse audio snippets. When the playback position approaches the delay time, a new snippet begins playback at time zero. The crossfade time controls how long it takes for the old snippet to fade out and the new one to fade in. You can achieve interesting and rhythmic variations by setting a long crossfade time. For classic reverse delay sounds, set this at or near its minimum value. 5.6.7 Delay Common Parameters Delay Modulation Parameters Modulation systematically changes delay time, resulting in Doppler-like changes to the speed and pitch of the echoes. This can create chorus effects, the “wow and flutter” of a worn tape delay, or extreme “Ray Gun” sounds. LFO1 TYPE, LFO2 TYPE – Sets the “shape” of the modulation. See section 16.5 on p. 152 for more information on LFO waveform shapes. Remember that the shift in pitch is determined by the slope of the LFO, so a TRIANGLE waveform actually creates a sound that you might expect from a SQUARE waveform. LFO1 TARGET, LFO2 TARGET – Sets whether the LEFT, RIGHT, or BOTH delay line(s) will be modulated. (MONO, PINGPONG, and REVERSE configurations use only the LEFT delay line). LFO1 RATE, LFO2 RATE – Sets the delay time modulation speed. When any RATE is shown in parenthesis, it is being set automatically by a TEMPO parameter (see below). Set the TEMPO to “NONE” for manual control. LFO1 TEMPO, LFO2 TEMPO – Sets the LFO rate in rhythmic relation to the global tempo. For example, if the tempo is set to “1/4” and the global tempo is 120 BPM, the LFO rate will automatically be set to 2 Hz (BPM/60 = Hz). To ignore the global tempo, set these controls to NONE. LFO1 DEPTH, LFO2 DEPTH – Sets the depth of delay time modulation. LFO1 DEPTH RANGE, LFO2 DEPTH RANGE – Sets the range of delay time modulation to LOW or HIGH. LFO1 PHASE, LFO2 PHASE – Sets the LFO phase offset for the right delay line. See section 16.5 on p. 152 for more information on LFO phase. 60 Doc v3.04 EFFECTS GUIDE The MOD page also contains the ducking controls. Ducking causes the “wet” level to be lowered automatically when the level of your playing goes above a set threshold. Then, when you play more quietly or pause, the effect volume increases so that the echoes fill the spaces. DUCKER ATTEN – Attenuation sets the amount by which the effect volume will duck (decrease). A setting of 20 dB, for example, will decrease the echoes by 20 dB when the input level is above the threshold. Set to 0.0 to defeat the ducker. DUCKER THRSHLD – Sets the trigger level of the ducker. If the input signal exceeds this value, the delayed signal will be reduced by the amount set with the ATTENUATION control. DUCKER REL TIME – Sets how long it takes for the delay signal to return to normal when the input goes below the threshold. A short value here causes the ducked echoes to return to full volume the moment you stop playing. Longer times cause the levels to swell back more gradually. Finally, the MOD contains some cool parameters that didn’t fit anywhere else. DIFFUSION – Sets the amount of echo diffusion. This causes the echoes to get “blurry” and can be used to smooth the sound. DIFF TIME – Sets the delay time for the diffuser. PHASE REV – Allows the Left, Right, or Both delay line outputs to be phase inverted. Delay EQ Parameters The delay features a powerful equalizer inside the feedback loop. LOW CUT – Sets the frequency of the low-cut filter. Increase for thinner sounds. HIGH CUT – Sets the frequency of the high-cut filter. Decrease for darker sounds. SLOPE – Sets the filter slopes, in dB per octave, of the high and low-cut filters. Q – Sets the resonance of the high and low-cut filters. High values create boosted peaks at the cutoff points. FREQ 1, GAIN 1, Q 1 – Controls for one of two peaking filters. Select the frequency to boost or cut, and set Q to determine the width of the effect. FREQ 2, GAIN 2, Q 2 – Controls for the second peaking filter. Delay Mix Parameters The Delay block has a MIX page with LEVEL, BALANCE, and BYPASS MODE parameters. See Common Mix Parameters on p.112 for more information. A Word on “Spillover” The Axe-Fx II Delay is capable of “spillover,” which means that effect tails ring out when the effect is bypassed or when you change presets. For more on this subject, please see Setting Up Spillover on p. 159. Doc v3.04 61 EFFECTS GUIDE 5.7 Drive [DRV] The Drive block replicates 22 different, classic stompbox effects, ranging from sublime to intense. The overdrive (“OD” or “DRIVE”) types are based on a cold-cathode tube model and give a warm, mellow overdrive tone. The BOOST types don’t distort much unless the drive is set quite high. BOOST types are primarily tone-shaping devices useful for “pushing” an amp. Distortion types (“DIST”) are based on a variety of tube and solid-state models and give classic distortion tones. The fuzz (“FUZZ”) types are based on a hard-clipping distortion and give a raspy sound. Drive effects include the basic controls you will find on their real world equivalents: tone, drive amount, and level, plus advanced controls like SLEW, BIAS, CLIP TYPE, and more, enabling you to create drives with custom gain and tone-shaping. Each Axe-Fx II preset can use two fully independent Drive blocks. Figure 5-11 – A stylized block diagram of the DRIVE block Drive X/Y Channel Switching Each instance of the Drive block stores two fully independent sets of parameters called X and Y. Selecting between these allows you to change all block settings—instantly—at the touch of a switch or button (excluding current Bypass State and any Modifier assignments). See section 4.4 on p. 36 for more about X/Y switching. Drive Parameters TYPE – Selects the type of drive pedal or effect. A complete list follows. Manufacturer names and product names mentioned below are trademarks or registered trademarks of their respective owners, which are in no way associated with or affiliated with Fractal Audio Systems. The names are used only to illustrate sonic and performance characteristics of the Fractal Drive TYPES, which have been created by incredibly detailed analysis of the actual amps that inspired them. TYPE NOTES Rat Dist PI Fuzz Tube OD Super OD Treb Boost Mid Boost T808 OD Fat Rat T808 MOD Octave Dist Plus Dist Hard Fuzz FET Boost Based on the ProCo™ Rat Distortion. Based on the Big Muff® Pi Fuzz. Based on the Chandler™ Tube Driver that actually contained a 12AX7. Based on the Boss™ Super Overdrive. Based on a classic Treble Booster. A custom mid-boost overdrive. Based on the Ibanez™ TS-808® Tube Screamer. A modified version of the Rat Dist. A bit fuller and smoother. Captures the most popular 808 mods. An octave distortion based on the Tycobrahe® Octavia®. Based on the MXR™ Distortion Plus. A hard-clipping, 60s-style fuzz. A gentle, smooth clipping booster with tone controls. 62 Doc v3.04 EFFECTS GUIDE Tape Dist Full OD Blues OD Shred Dist M-Zone Dist Bender Fuzz BB Pre Face Fuzz Master Fuzz Bit Crusher Simulates the clipping of an overdriven reel-to-reel tape deck. Based on the Fulltone™ Fulldrive OD Pedal. Based on the Marshall™ Bluesbreaker®. Based on the Marshall™ Shredmaster®. Simulates the Boss™ Metalzone™, popular for extreme gain settings. Based on the classic Tonebender circuit. Based on the Xotic® Pedals BB Preamp®. Based on Dallas Arbiter Fuzz Face®. Based on the Maestro Fuzztone, aka Satisfaction fuzz. Based on a black box we found lying in the trash outside Studio Harshclip. DRIVE – Sets the amount of gain/overdrive/distortion/fuzz/boost. Note: A high-gain drive before a high-gain amp can cause noise and squealing to occur. TONE – Determines the high/low character of the drive simulation, just as the tone knob on a pedal would. LEVEL – Sets the output level. Even a clean-sounding drive can be used to “push” an amp to more distortion. MIX – Controls the ratio of dry to wet. This should normally be set to “100%.” BAL – Sets the left/right output balance of the block. LOW CUT – Controls the frequency of the input high-pass filter. Increase to prevent "flubby" distortion. HIGH CUT – Controls the frequency of the output low-pass filter. Lower this for a darker sound. CLIP TYPE – Controls the type of clipping circuit used for the distortion generation. SLEW LIMIT – Limits the large-signal frequency response. Turning up this control simulates the limited highfrequency response inherent in drive pedals using early op-amps. This parameter defaults to an appropriate value when a type is selected. BIAS – Sets the bias point for the clipping circuit. Varying this setting controls the relative amount of even and odd harmonics. Set very high or very low for a unique “sputtering” effect. Use caution, as setting this too high or too low with certain clipper types can render the block inaudible. BIT REDUCE – Creates digital distortion by reducing the resolution of the audio signal. The number shown is the number of bits that will be subtracted from 24-bit full scale. To create 4-bit audio, for example, set BIT REDUCE to “20.” Bit Reduction is often used in conjunction with audio filtering like that which is possible using the HI CUT, LO CUT, and EQ parameters of the drive block. Tip: It is supposed to sound nasty! INPUT SELECT – The Drive block processes audio in mono. This control determines how incoming stereo signals will be processed. Options include inputting only LEFT or RIGHT channels or SUM L+R (the default). BYP MODE – Sets the bypass mode of the block to MUTE or THRU. See Common Mix Parameters on p.112. BASS/TREBLE – These adjust the low-end and high-end of the built-in equalizer from +/- 12 dB. MID, MID FREQ – Sets mid-boost or cut (+/- 12 dB) and frequency for the built-in equalizer. Doc v3.04 63 EFFECTS GUIDE 5.8 Effects Loop [FXL] The Axe-Fx II has a full-stereo effects loop that can be used to insert outboard hardware anywhere in the signal chain of a preset. Any signal at the input of the [FXL] block is passed to the physical OUTPUT 2 (“FX SEND”) on the Axe-Fx II. Any signal received at the physical INPUT 2 (“FX RETURN”) appears at the outputs of [FXL]. Figure 5-12 – Effects Loop Routing The Effects Loop block is frequently used to insert the preamp section of a head or combo. The main output of the Axe-Fx is then routed to the effect loop input of the real amp. See the diagram on p. 21 for more on “the four cable method” of setting up the Axe-Fx II. Alternate Use as an Auxiliary Output or Input The FX Loop Block doubles as a means to provide an auxiliary output or Input. Feeding signal to the [FXL] block routes signal directly to the OUTPUT 2 jacks. This is useful, for instance, to send a fully processed mix to the front-of-house while simultaneously feeding a (real) onstage power amp and speaker cabs. See the example on p. 22 for more details. Alternatively, you might use the INPUTS and not the OUTPUTS so the [FXL] block allows a second input signal to enter the grid at any point. Instruments with more than 2 outputs (rare but not unheard of) can thus be utilized. The FX Loop block has a MIX page with LEVEL, BALANCE, and BYPASS MODE parameters. See Common Mix Parameters on p. 112 for more information. Each Axe-Fx II preset can use one FX Loop block. 64 Doc v3.04 EFFECTS GUIDE 5.9 Enhancer [ENH] The Enhancer delays the right channel by a very small amount to increase the apparent stereo separation between the left and right channels. It also provides individual left and right phase and pan controls. You can use these with or without WIDTH settings as a “channel converter” to reduce width, merge to mono, switch L/R channels, or perform other types of manipulation. Each Axe-Fx II preset can use one Enhancer block. WIDTH – Sets a delay for the right channel from 0–20 ms. Adjust until the desired effect is achieved. Certain frequencies may cancel each other out at various settings, and effects can vary based on the position of the listener. INVERT – Allows phase inversion of the left or right channel (or both). Use in conjunction with the width control to adjust apparent widening. PAN L, PAN R – Independent parameters to control the pan positions of the left and right output signals. BAL – The Balance control changes the relative volumes of the left or right outputs. Sometimes the enhancer effect will cause a shift in the apparent stereo placement of sound. The balance control may be used to compensate for this. The Enhancer has no mix parameters or bypass mode modifier switch. 5.10 Feedback Send [SND] & Return [RTN] The Feedback Send and Feedback Return blocks allow you to route sound from any point in the preset routing to any other point, bending the rule that signal may only flow from left to right. No connector will be visible between the two blocks, but signal nonetheless flows from the output of the SEND to the input of the RETURN. Both blocks must be used for either to function. The primary function of the Send and Return blocks is to allow effects to be inserted inside of a “feedback loop,” almost invariably involving some type of delay. The MIX of the delay in the loop is normally set to “100%,” since direct signal recirculation results in instability and undesirable phase issues. Warning: Use caution with the Feedback blocks, as you can easily program an unstable loop and cause internal clipping and/or very high sound levels, which may damage your hearing. With the RETURN block MIX at 100%, set its LEVEL control to minus 80 dB and bring it up slowly. If you start to hear squealing or other signs of instability, return the LEVEL control to minimum and analyze your routing for possible causes of instability. See Using Send and Return on p. 160 for creative application ideas. Each Axe-Fx II preset can use one FB Send and one FB Return block. The Feedback Send block has SEND LEVEL and OUTPUT LEVEL controls. The latter controls the amount of signal that passes through the block. The Feedback Return block has MIX, LEVEL, BALANCE, and BYPASS MODE parameters. See Common Mix Parameters on p. 112 for more on these. Doc v3.04 65 EFFECTS GUIDE 5.11 Filter [FLT] The stereo Filter block can be used for simple or spectacular sound shaping. It allows a variety of different effects with real-time control of useful parameters. It can also be used as a “boost” by setting the TYPE to NULL or as a treble (or mid) booster with greater programmability than the ones in the DRIVE block. The Filter block is equipped with individual left and right pan controls. These allow you to adjust the placement of the left and right output signals in the stereo field. You can use these controls to turn a stereo signal into two mono outputs (set both to 0.0) or to reduce the stereo separation, or you can use them as general stereo manipulation tools. The filter is stereo-in/stereo-out. Each Axe-Fx II preset can use four fully independent Filter blocks. Parameters TYPE – Sets the type of filter. All the standard filter types are available. A NULL type has a flat frequencyresponse characteristic and can be selected if you want to use the block as a simple gain element. FREQ – Sets the center frequency of the filter. ORDER – Selects different filter slopes. 2nd = 12 dB/ octave, 4th = 24 dB/ octave Q – Sets the “Q” of the filter. Higher values give sharper responses. GAIN – Sets the gain at the center frequency for the bandpass, notch, low-shelf, and high-shelf types. This control has no effect with the other types. LEVEL – Sets the output volume level of the block. BAL – Sets the output balance of the block. PAN L, PAN R – These controls allow you to adjust the placement of the left and right output signals for stereo width adjustment or stereo-to-mono conversion. BYP – Sets the bypass mode of the block. See Common Mix Parameters on p.112 for more information. 66 Doc v3.04 EFFECTS GUIDE 5.12 Flanger [FLG] The sound of a Flanger can range from subtle chorusing, to swooshing jet plane, to robotic drainpipe. The effect was intended to duplicate the sweeping comb-filter sound created when one of two tape decks playing synchronized material is shifted out of time by pressing a finger on the “flange” of the tape reel (hence the term). A great example of tape flanging can be heard in Figure 5-13 - The Flanger Block the bridge of the Doobie Brother's song "Listen to the Music." The flanger effect has evolved through countless variants, but almost all of them have a “feedback” control (sometimes called “regeneration” or “intensity”) which returns some of the output signal to the input and intensifies the characteristic sweep. A regenerative flanger is a real attention-getter. Each Axe-Fx II preset can use two fully independent Flanger blocks. Flanger X/Y Channel Switching Each instance of the Flanger block stores two fully independent sets of parameters called X and Y. Selecting between these allows you to change all block settings—instantly—at the touch of a switch or button (excluding current Bypass State and any Modifier assignments). See X/Y Switching on p. 36 for more information. Basic Parameters TYPE – This control instantly sets other Flanger parameters for useful sound settings. Types include: DIGITAL MONO, DIGITAL STEREO, ANALOG MONO, ANALOG STEREO, THRU-ZERO, and STEREO JET. TIME – Adjusts the nominal delay time of the delay line. This changes the character of the effect. Low values give a phaser-like sound whereas high values are more metallic. Adjust to taste. RATE – Controls the frequency of the Low Frequency Oscillator, which varies delay time to create the sweep. Use low settings rate with high depths for slow-moving sounds. Increase the rate for vibrato effects. Set fully counterclockwise to sync the Flanger LFO to global LFO1. When RATE is shown in parenthesis, it is being set automatically by the TEMPO parameter (see below). Set the TEMPO to “NONE” for manual control. DEPTH – Sets the maximum delay variation. Higher depths increase the amount of detuning. Usually, the rate and depth settings should be varied inversely, so an increase in rate warrants a decrease in depth. Unique sounds can also be obtained by ignoring this convention and using other combinations of rate and depth. FDBK – Feedback sets the amount of wet signal fed back to the input. Extreme values give the flanger a more intense quality as it produces sharp resonances in the frequency response. With negative FEEDBACK values, the wet signals are out of phase with the dry, creating sounds with a different character than those created using positive feedback. Note that extreme feedback at minimum flanger DRIVE settings will cause a siren-like ringing oscillation. Doc v3.04 67 EFFECTS GUIDE MIX – Sets the ratio of wet and dry (duplicated from the MIX page). TEMPO – Locks the flanger rate in rhythmic relation to the global tempo. For example, if the tempo is set to “1/4” and the global tempo is 120 BPM, the rate will automatically be set to 2 Hz (BPM/60 = Hz). To ignore the global tempo set the tempo control to NONE. Advanced Parameters THROUGH ZERO – Setting this to ON adds a delay to the dry path equal to half the sweep depth. This can emulate true tape-deck flanging, where one of the two tapes is first ahead of, and then behind, the other. PHASE REVERSE – Controls the phase of the wet output signal. Either or both channels can be inverted. Use to increase the effect of through zero flanging. HIGH CUT – This filters the wet portion of the effect signal, gently rolling off treble at the set frequency with a slope of 6db. Set to lower values for a “darker” flanging sound. LOW CUT – Adjusts the cutoff frequency of a high-pass filter in the flanger’s feedback loop, gently removing bass frequencies as the value is increased for a “thinner” flanging sound. DRIVE – This control allows you to simulate the gentle distortion produced by overdriving an analog “bucket brigade” delay chip of the type used in many vintage flanger effects. Set to zero for “pristine clean.” LFO PHASE – Adjusts the phase difference between the left and right LFO waveforms. For maximum stereo spread, set this to 180 degrees. For mono flanging, set this to zero. LFO TYPE – Sets the “shape” of the modulation waveform. See section 16.5 on p.152 for more information on LFO phase and waveform types. LFO HICUT – Lowering this control filters the LFO waveform, rounding sharp turns in its shape. Certain waveform types (saw, square, random) otherwise have “discontinuities,” which can cause clicks or pops as their values jump from one extreme to another. Lowering the LFO HICUT frequency will mitigate this. AUTO DEPTH – Scales DEPTH to create a consistent sound at any RATE. This control simplifies dialing in “musical” results, but for precise control or wild sounds you may wish to turn it OFF. STEREO SPREAD – Controls stereo width by setting the pan position of the two delays from hard panned (100%) to dead center (0%). Flanger Mix Parameters The Flanger block also has a MIX page with LEVEL, BALANCE, and BYPASS MODE parameters. See Common Mix Parameters on p.112 for more information. 68 Doc v3.04 EFFECTS GUIDE 5.13 Formant [FRM] Although the wah effect was originally intended to mimic the sound of the human voice, it obviously falls a little short in this regard. The talk-box, a system which plays guitar sounds through a tube into a real human mouth, comes far closer to the sound of actual speech, but is considerably more unwieldy than a wah pedal. The AxeFx II Formant Filter makes "talk-box" effects possible without the fuss and muss. A formant filter is an extension of the wah principle but operates with a far more vocal quality. Formants represent particular resonances of instruments, or in this case, of the human vocal tract. The human vocal tract generates a handful of formants to produce the vowel sounds we recognize. For example, the vowel sound "eee" can be reproduced with a bank of narrow bandpass filters with various frequencies and amplitudes. The Axe-Fx II Formant Filter can be set statically or blend dynamically between START, MID, and END vowels. The CONTROL knob sweeps across this range, gradually changing from one vowel to the next between positions. For example, we can program the Formant Filter to go "III – AAA – OOO" for a “yoww” sound as a pedal is moved. The Formant Filter usually sounds best when placed after distortion, although there are no hard and fast rules. Each Axe-Fx II preset can use one Formant block. Parameters START – Sets the start vowel sound. Vowel Example MID – Sets the mid vowel sound. AAA EEE bat mate END – Sets the end vowel sound. III feet OHH toe RES – Sets the resonance of the filters. Higher resonance can yield a more dramatic OOO soon effect. EHH bet AHH pot AWW fault UHH gun ERR girl CTRL – Controls morphing between vowel sounds. The start vowel is generated with the knob counterclockwise, the mid vowel at 12 o’clock, and the end vowel at fully clockwise. Formant Mix Parameters The Formant block has a MIX page with MIX, LEVEL, BALANCE, BYPASS MODE, and GLOBAL MIX parameters. See Common Mix Parameters on p.112 for more information. Doc v3.04 69 EFFECTS GUIDE 5.14 Gate/Expander [GTE] The downward Expander module is sort of a “reverse compressor” that increases the difference between loud sounds and soft sounds by lowering the volume of soft sounds even further. When set up to completely silence incoming signals below a certain threshold, the expander is called a gate. Each Axe-Fx II preset can use two fully independent Gate/Expander blocks. Figure 5-14 – The Gate/Expander Block THRSH – (Threshold) Sets the level below which automatic volume reduction will occur. When input level is lower than the threshold, the expander reduces output volume as set by the RATIO. RATIO – Sets the gain expansion ratio to determine how greatly signals below the threshold will be reduced. For example, when a ratio of “2” is chosen, for every dB the input signal falls below the threshold, the output signal will drop by 2 dB. ATT – Attack time. Sets how quickly the Gate/Expander restores the gain once the threshold is exceeded. REL – Release time. Sets how quickly the Gate/Expander reduces the gain once the signal has fallen below the threshold. HOLD – Sets how long the Gate/Expander holds the gate open once the threshold has been exceeded. SCSEL – Selects the sidechain input source. NONE is the normal setting and selects the block input (sum of the rows feeding the block) as the sidechain source. The other settings allow isolating a single row or main input as the sidechain input. The other rows are summed as usual. By using a row or main input as the sidechain input, you can use the Gate/Expander as a ducker or de-esser. You can also choose either of the main inputs as sidechain sources, i.e. Input 1 or Input 2. LOWCUT/LOCUT – These sets the frequency of low- and hi-pass filters on the sidechain input. The filters only shape the signal which goes to the detector; they do not affect the tone of the signal at the outputs. Mix Parameters The Gate/Expander block has LEVEL, BALANCE, and BYPASS MODE parameters, detailed on p.112. 70 Doc v3.04 EFFECTS GUIDE 5.15 Graphic Equalizer [GEQ] The Graphic Equalizer is a 10-band equalizer with band centers at 31, 63, 125, 250, 500, 1000, 2000, 4000, 8000, and 16,000 Hz. Each band can boost or cut up to 12 dB. Simply select the desired band with the NAV buttons and use VALUE to vary the gain. Each Axe-Fx II preset can use four fully independent Graphic Equalizer blocks. The AMP block (p.39) has a built-in, 8-band graphic equalizer at its output, making it unnecessary to follow it with a separate GEQ. There is also a global, 10-band graphic equalizer on each output (p. 129), which can be used to modify the sound of all presets at once. The Graphic Equalizer is stereo-in/stereo-out. Its LEVEL, BALANCE, and BYPASS MODE parameters are covered in additional detail on p.112. 5.16 Looper [LPR] The Looper is a 60-second phrase sampler which allows you to create multi-layered performances in real time. To operate the pushbutton controls of the Looper, select the desired function onscreen and press ENTER. The main Looper controls may be given MIDI CC# assignments on the CONTROL page of the I/O menu (p. 134). This allows remote operation with a foot controller or other MIDI device. RECORD – When RECORD is activated, the Looper records the audio input. Pressing record again stops recording and immediately begins playback. PLAY – Toggles the playback state. Pressing play immediately stops recording and starts playback. ONCE – This control plays the phrase one time only and then stops. If the phrase is already playing, the phrase continues playing until the end and then stops. If the playback is stopped, pressing this plays the phrase one time. Pressing this again while the phrase is playing resets playback to the beginning allowing for “stutter” effects. STACK – Overdubs audio on the existing loop. Pressing it again stops the addition but playback continues. The existing audio is faded every time through the loop. REV – Pressing this reverses the direction of the loop playback. Each Axe-Fx II preset can use one Looper block. Looper Mix Parameters The Looper has a MIX page with LEVEL, BALANCE, and BYPASS MODE parameters. See Common Mix Parameters on p. 112 for more information. Doc v3.04 71 EFFECTS GUIDE 5.17 Megatap Delay [MGT] The Megatap Delay is a 2.5 second, 40-tap delay line with parametric control of time, amplitude, and panning. This effect can be used to create interesting sonic patterns or to increase “density” before reverberant effects. Each Axe-Fx II preset can use one Megatap block. Figure 5-15 – The Megatap Delay Block Parameters INPUT GAIN – Sets the input level to the effect. The primary purpose of this is to allow you to attach a controller (e.g. pedal) to the delay level input level for operation similar to that of an “Aux Send.” In other situations, this control should be set at 100%. MASTER LEVEL – Controls the overall level of the delay. TIME – Sets the delay time of the last tap. The echoes will be distributed between zero and this time. NUMBER OF TAPS – Sets the number of taps (repeats) on the delay line. TIME SHAPE – Specifies how the time between taps changes as they progress. 72 CONSTANT – The time between taps will not change, regardless of the TIME ALPHA setting. INCREASING – The time between taps will increase. DECREASING – The time between taps will decrease. UP / DOWN – The time between taps will increase and then decrease. DOWN / UP – The time between taps will decrease and then increase. SINE – The time between taps will decrease and then increase repeatedly in a sinusoidal progression. Higher alpha increases the number of sine cycles. Doc v3.04 EFFECTS GUIDE TIME ALPHA – Sets the acceleration of the rate of time change across the taps. A setting of 0% results in no effect, while 100% results in an extreme effect. Ex: Decreasing, Moderate Alpha Ex: Decreasing, Higher Alpha AMPLITUDE SHAPE – This specifies how the volume increases or decreases from tap to tap. AMPLITUDE ALPHA – Sets the acceleration of the rate of volume change across the taps. A setting of 0% results in no effect, while 100% results in an extreme effect. PAN SHAPE – This specifies how the pan changes from tap to tap as they progress. PAN ALPHA – Sets the acceleration of the rate of pan change across the taps. A setting of 0% results in no effect, while 100% results in an extreme effect. TIME RANDOMIZE – Controls how much the tap spacing is randomized. Megatap Mix Parameters The Megatap block has a MIX page with MIX, LEVEL, BALANCE, BYPASS MODE, and GLOBAL MIX parameters. See Common Mix Parameters on p. 112 for more information. 5.18 Mixer [MIX] The Mixer block contains a simple, linear mixer able to combine up to four stereo signals into either one stereo mix or one mono mix. The mixer lets you fine-tune level blends or use modifiers (p. 119) to crossfade between different effects or chains. Each pair of gain and balance controls corresponds to a row in the grid. For a more thorough description of how Axe-Fx II mixers work, see section 16.8, Mixology, on p. 155. Page 1 Parameters GAIN 1 – Sets the level for the incoming signal from a block in row 1 of the column left of the mixer. BAL 1 – Sets the balance between left and right signals of the block in row 1 of the column left of the mixer. GAIN/BAL 2, 3, 4 – These pairs of controls respectively set the level and balance of incoming signals from the blocks in rows 2, 3, and 4 of the column left of the mixer. Page 2 Parameters LEVEL – Sets the level of the output mix. OUTPUT MODE – Specifies whether the outgoing mix should be stereo or summed to dual mono. Doc v3.04 73 EFFECTS GUIDE Each Axe-Fx II preset can use two fully independent Mixer blocks. 5.19 Multiband Compressor [MBC] The Axe-Fx II contains a three-band compressor that is great for mastering or compressing a mix. It also works as a tone-shaping tool, providing independent level and dynamics control over low, mid, and high frequencies. The basic principle of the Multiband Compressor is that the input is divided into three component signals using a crossover. Compression is applied to the bands individually before they are recombined. The MBC lets you isolate frequency bands of the input material and apply different types or amounts of compression to each. Multiband compression is a de-facto mastering tool and can greatly improve a final mix or a complex guitar sound. Each Axe-Fx II preset can use two fully independent Multiband Compressor blocks. Parameters FREQ1 – Sets the crossover frequency between bands 1 and 2 from 50–500 Hz. FREQ2 – Sets the crossover frequency between bands 2 and 3 from 1000–10000 Hz. Each compressor section has its own menu page with the following parameters: THRSH – Sets the threshold above which output compression starts to occur. RATIO – Sets the input-to-output ratio for signals Figure 5-16 – Stylized view of the Multiband Compressor above the THRESHOLD. A ratio of 2.00 (2:1) means an increase of 2 dB is needed at the input to produce an increase of 1 dB at the output. ATT – Attack rate. Sets how long it takes for compression to occur once the signal exceeds the threshold. Slower values allow more of the loud signal to punch through before the compressor can reduce it. REL – Release rate. Sets how long it takes for the level to return to normal after the signal falls beneath the threshold. Slower times can cause the compressor’s gain reduction to remain in effect even after a loud signal has given way to a quieter section. LEVEL – Sets the output level of the selected band. DET – Determines whether the selected band will use RMS (“Root Mean Square”), PEAK, or RMS + PEAK detection. RMS detection is smoother and is generally used to even out levels over a long period of time. Peak detection, commonly used with guitar, is useful for fast limiting. RMS + Peak combines the best attributes of both: the speed of a peak detector and the smoothness of an RMS detector. 74 Doc v3.04 EFFECTS GUIDE MUTE – Mutes the output of the band. By muting two bands, you can solo the third. By muting one band, you can focus on its contribution to the overall mix. 5.20 Multi Delay [MTD] The Multi Delay is a rhythmic multi-tap delay block. Each Axe-Fx II preset can use two fully independent Multi Delay blocks, each of which may be set to any one of nine sub-algorithms: Quad Tap, Plex Delay, Plex Detune, Plex Shift, Band Delay, Quad Series, Ten-Tap, Rhythm Tap, and Diffusor. These types are detailed below. Multi Delay Common Parameters Every Multi Delay TYPE shares a common set of PAGE 1 parameters. The TYPE control selects which of the abovementioned sub-algorithms to use, and INPUT GAIN determines the amount of signal fed to the effect. Master Parameters Most types have one or more “MASTER” parameters, summarized here. Not all MASTER parameters appear in every type; those that do are at the top of menu PAGE 2. MASTER parameters scale the effects of other controls and can be controlled with a modifier for interesting real-time changes. MASTER TIME – Scales all the delay times in the block. MASTER LEVEL – Scales the output levels of all taps at once. MASTER PAN – Scales all tap pan amounts, essentially acting as a width or spread control. Negative values will reverse pan placement in left and right channels. MASTER FEEDBACK – Scales the feedback amounts of all taps or diffusors. MASTER FREQ – Scales the frequency values for the filters of all four taps from 0.316–3.162×. You can create dynamic filter effects by using a modifier to change this parameter in real-time, but be sure not to set Q values too high or too low, or the result will be difficult to hear. MASTER PITCH – Scales the values for all shift parameters in the block. MASTER DETUNE – Scales the values for all detune parameters in the block. MASTER Q – Scales the Q values of all four taps from 0.1–10.0× MASTER RATE – Scales the rate of all LFOs in the block. MASTER DEPTH – Scales all the depths of all LFOs in the block. Mix Parameters All Multi Delay types share a common MIX page with MIX, LEVEL, BALANCE, BYPASS MODE, and GLOBAL MIX parameters. See Common Mix Parameters on p.112 for more information on these controls. Doc v3.04 75 EFFECTS GUIDE 5.20.1 Quad Tap Delay The Quad Tap Delay offers four “taps,” each of which extracts a signal from any point in the delay line. It is useful for cool creative and rhythmic effects. Each tap has its own level and pan controls, plus a bandpass filter with adjustable frequency and Q. Four feedback controls are provided, but the sum of the four feedbacks may not exceed 100%. Notice that feedback from all four taps is summed at the input, so even if its output level is reduced to 0%, a tap with any feedback value greater than zero will still be heard the next time another tap plays. Figure 5-17 – The Quad Tap Multi Delay Block Parameters TEMPO 1,2,3,4 – Sets the corresponding TIME parameter in rhythmic relation to the global tempo. For example, if the global tempo is 120 BPM, and TEMPO is set to “1/4” (one echo per beat), time will be 500 ms. To ignore the global tempo, set to “NONE.” TIME 1,2,3,4 – Sets the time when the selected tap will be heard, from 0-2000 ms. When any TIME is shown in parenthesis, it is being set automatically by the corresponding TEMPO parameter (see below). Set TEMPO to “NONE” for manual control. LEVEL 1,2,3,4 – Sets the level at the output of the selected tap. PAN 1,2,3,4 – Sets the pan for the selected tap in the stereo mix. FEEDBACK 1,2,3,4 – Sets the level of the selected tap in the overall feedback blend. Note that the sum of the four feedback values cannot exceed 100%. FREQ 1,2,3,4 – Sets the center frequency of the bandpass filter for the selected tap. Q 1,2,3,4 – Sets the width of the bandpass filter for the selected tap. Higher values result in a narrower range of frequencies passing through. DIFFUSION – Sets the mix level of the diffuser block that precedes the delay line. Diffusion “smears” transients and can be used as a type of reverb for creating interesting ambience effects. DIFFUSION TIME – Longer times will smear transients over a longer period. 76 Doc v3.04 EFFECTS GUIDE DUCKER ATTEN – (Ducker Attenuation) Sets the amount by which the effect volume will duck (decrease). A setting of 20 dB, for example, will decrease the echoes by 20 dB when the input level is above the threshold. Set to 0.0 to defeat the ducker. DUCKER THRSHLD – (Ducker Threshold) Sets the trigger level of the ducker. If the input signal exceeds this value, the delayed signal will be reduced by the amount set with the attenuation control. DUCKER REL TIME – Sets how long it takes for the delay signal to return to normal when the input drops below the threshold. A short value here will cause the ducked echoes to “pop back” into the sonic forefront the moment you stop playing. Longer times will cause the level to swell back in more gradually. LFO 1 AS MASTER – Locks the rates of the LFOs for taps 2, 3, and 4 to the settings for LFO1. LFO 1,2,3,4 RATE – Sets the rate of modulation for the selected tap. Remember that while LFO1 is set as the master, the controls for 2, 3, and 4 will have no effect on the sound. When any RATE is shown in parenthesis, it is being set automatically by the corresponding TEMPO parameter (see below). Set the TEMPO to “NONE” for manual control. LFO 1,2,3,4 TEMPO – Synchronizes the rate of the LFO for the selected tap in relation to the global tempo. For example, if the tempo is set to “1/4” and the global tempo is 120 BPM, the LFO rate will automatically be set to 2 Hz (BPM/60 = Hz). To ignore the global tempo, set these controls to NONE. LFO 1,2,3,4 DEPTH – Sets the modulation depth for the selected tap. Remember that while LFO1 is set as the master, the controls for 2, 3, and 4 will have no effect on the sound 5.20.2 Plex Delay In terms of delay effects, a multiplexor, or “plex,” is a feedback network through which each of several delay lines is fed back to itself and all the others. The result is a very smooth, reverb-like effect. When combined with modulation, the result is a huge and lush-sounding space effect that can have qualities of echo, reverb, and chorus all at once. The Plex Delay uses four delay lines. Figure 5-18 – The Plex Delay Multi Delay Type Doc v3.04 77 EFFECTS GUIDE Parameters DECAY TIME – Sets the amount of time required for the echoes to fade by adjusting the coefficients of the feedback matrix. Use caution, as high decay times can result in instability. DIFFUSION – Sets the amount of cross-coupling between delay lines. Higher values increase the density of the echoes and result in a more reverb-like sound. TEMPO 1,2,3,4 – Sets the corresponding TIME parameter in rhythmic relation to the global tempo. For example, if the global tempo is 120 BPM, and TEMPO is set to “1/4” (one echo per beat), time will be 500 ms. To ignore the global tempo, set to “NONE.” TIME 1,2,3,4 – Sets the time before the selected tap will be heard, from 0-2000 ms. Setting these values to prime numbers will result in a dense array of repeats. When any TIME is shown in parenthesis, it is being set automatically by the corresponding TEMPO parameter (see below). Set TEMPO to “NONE” for manual control. LEVEL 1,2,3,4 – Sets the level at the output of the selected tap. PAN 1,2,3,4 – Sets the pan for the selected tap in the stereo mix. FEEDBACK 1,2,3,4 – Sets the level of the selected tap in the overall feedback blend. Note that the sum of the four feedback values cannot exceed 100%. FREQ 1,2,3,4 – Sets the center frequency of the bandpass filter for the selected tap. Q 1,2,3,4 – Sets the width of the bandpass filter for the selected tap. Higher values result in a narrower range of frequencies passing through. LOW CUT, HIGH CUT – Sets the cutoff frequency for gentle high and low-pass filters in the feedback loop of the delays. These controls affect all four taps simultaneously. DUCKER ATTEN – (Ducker Attenuation) Sets how greatly the volume can be reduced by the ducker. A setting of 20 dB, for example, will decrease the echoes by 20 dB when the input level is above the threshold. Set to 0.0 to defeat the ducker. DUCKER THRSHLD – (Ducker Threshold) Sets the trigger level of the ducker. If the input signal exceeds this value, the delayed signal will be reduced by the amount set with the attenuation control. DUCKER REL TIME – Sets how long it takes for the delay signal to return to normal when the input drops below the threshold. A short value here will cause the ducked echoes to return to full volume the moment you stop playing. Longer times will cause the level to swell back gradually. LFO 1 RATE – Sets the rate of modulation. When RATE is shown in parenthesis, it is being set automatically by the TEMPO parameter (see below). Set the TEMPO to “NONE” for manual control. LFO 1 TEMPO – Synchronizes the rate of the LFO in relation to the global tempo. LFO 1 DEPTH – Sets the modulation depth. Increasing modulation adds a chorus effect to the Plex Delay. 78 Doc v3.04 EFFECTS GUIDE 5.20.3 Plex Detune The Plex Detune is based on the Plex Delay (5.20.2 above) but adds four high-quality pitch shifters with a range of +/- 50 cents to the output of the delay taps. Like the LFOs of the Plex Delay, these shifters help create layered effect tails rich with pitch variations. With the following exceptions, the Plex Detune is identical to the Plex Delay. Figure 5-19 – Plex Detune (and Plex Shift) Multi Delay Type CROSSFADE – Sets the amount of overlap used in the granules of the pitch shifters. Lower settings give a “grainy” sound, while higher values smooth the sound. DETUNE 1,2,3,4 – Sets the amount of detune within a range of +/- 50 cents. Small values create a subtle shimmer; higher settings create descending or ascending cascades. In comparison to the Plex Delay, the Plex Detune has no LFO or modulation parameters. 5.20.4 Plex Shift The Plex Shift is nearly identical to the Plex Detune, which is itself very similar to the Plex Delay. Its pitch shifters, however, are granted a two-octave range with SHIFT parameters. This sub-algorithm has the same parameters as the Plex Detune (5.20.3, above) with two exceptions: DIRECTION – This determines whether small granules of audio in the pitch shifter are played back forward or reversed. To understand how this works, imagine a word whose individual letters have been mirror-imaged but are still in the correct left-to-right order (“ ”). In this case, the letters are very short snippets of audio. These are reversed (and possibly pitch-shifted) but are played back in the order in which they were recorded. The length of the snippets depends on the TIME setting of the tap. SHIFT 1,2,3,4 – This sets the amount of pitch shift applied at the output of each tap within a range of +/- 24 semitones. 5.20.5 Band Delay Aside from the fact that its four delay lines are parallel to one another, and that it lacks a diffusor, the Band Delay Multi Delay type is identical to the Quad Tap (5.20.1, above). Doc v3.04 79 EFFECTS GUIDE Figure 5-20 – The Band Delay Multi Delay Type 5.20.6 Quad Series Delay The delay lines of the Quad Series Delay are connected end-to-end so that their times are compounded as the signal travels from one to the next. Each line has its own output tap, however, so the output of any line can also be heard as it enters the next delay in the series. If you then set each delay time to 100 ms, you would hear echoes at 100, 200, 300, and 400 ms after the input. Figure 5-21 – The Quad Series Multi Delay Type The parameters of the Quad Series Delay are identical to those of the Quad Tap delay (5.20.1 above), except for the absence of the diffusor block controls, the FEEDBACK SEND and RETURN parameters, and the single FEEDBACK control. FDBK SEND – Specifies which delay output (1–4) should be tapped to feedback to the input. FDBK RET – Specifies which delay input (1–4) the feedback tap should be returned to. FEEDBACK – Sets the amount of feedback from the send to the return. 5.20.7 Ten-Tap Delay The Ten-Tap Delay provides a unique way to control the time, pan, and spacing of one to ten separate echoes. Instead of feedback, it uses an innovative DECAY control to determine how the level of the ten taps changes over 80 Doc v3.04 EFFECTS GUIDE time. The levels of individual delay taps can also be adjusted from -80 to +20 dB. Pan is set as a SHAPE that can change automatically as the taps progress. MONO/STEREO – Sets the mode of the Ten-Tap Delay. In mono mode, twice as much delay per tap is possible. DELAY TIME – Sets the time between delay taps. When TIME is shown in parenthesis, it is being set automatically by DELAY TEMPO (below). Set DELAY TEMPO to “NONE” for manual control. DELAY TEMPO – Sets the DELAY TIME in rhythmic relation to the global tempo. NUMBER OF TAPS – Sets the exact number of repeats. DECAY – Sets how rapidly the volumes of the repeats decay over time. SHUFFLE – Sets the amount of time-offset for the odd taps to give a shuffle feel to the repeats. SPREAD – In stereo mode, this sets the spread of the repeats. At maximum, the left channel is panned fullleft and the right channel full-right. RATIO – Sets the ratio of the left-to-right delay time in stereo mode. PAN SHAPE – Controls the shape of the panning as a function of tap number. The repeats can move slowly from one side to the other (“increasing” or “decreasing”), stay “constant,” or move back and forth (“sine”). Dynamic pan effects are disabled if the Ten-Tap Delay is set to “STEREO” mode. PAN ALPHA – Controls how quickly the repeats move as a function of tap number and pan shape. Higher values produce a more pronounced effect. To alternate left-to-right, set the PAN SHAPE to SINE and the PAN ALPHA to maximum. LOW CUT – Sets the cutoff point of the high-pass filter. Higher values produce a thinner sound. HIGH CUT – Sets the cutoff point of the low-pass filter. Lower values produce a darker sound. TAP LEVEL (1–10) – Sets the relative level of the selected tap. 5.20.8 Rhythm Tap Delay The Rhythm Tap Delay uses the same algorithm as the Ten-Tap Delay but allows you to create a custom rhythm of repeats. You can enter the rhythm in three ways: 1. 2. Doc v3.04 By specifying milliseconds between each tap and the previous. By specifying some number of quantized time units (“divs”) between each tap and the previous. 81 EFFECTS GUIDE 3. By tapping a rhythm with the ENTER button and the LEARN function. The parameters for the Rhythm Tap Delay include those of the Ten-Tap Delay (5.20.7 above) plus the following: FEEDBACK – Sets the feedback level from the final repeat to the input of the delay line. You can use this in conjunction with the decay to control the overall decay behavior. If you set decay to zero and feedback to a moderate value, the pattern will repeat, getting quieter each time through. QUANTIZE – Quantizes the tap times to the entered note value. This can be used to aid in tapping in a rhythm. The tap times will be rounded to the nearest multiple of the note duration. You can change this value even after you’ve tapped in your rhythm. Figure 5-22 – The concept of Rhythm Tap "divs" LEARN – Use this function to enter a rhythm by tapping. For LEARN to work, QUANTIZE must be turned OFF. Use the NAV keys to select the LEARN Parameter Turn the VALUE wheel clockwise until “” is displayed. Tap the rhythm you want using the ENTER button. Be sure to include a tap for the original (dry) signal. When finished tapping, turn the VALUE wheel to “
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