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Axe-Fx-II XL
Getting Started Manual
42 pgs4.14 Mb0
Owner's Manual
211 pgs9.11 Mb0
Table of contents
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Fractal Axe-Fx-II XL, Axe-Fx Owner's Manual

Legal Notices
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.
Fractal Audio Systems Axe-Fx II Owner’s Manual. Contents Copyright © 2011 -2014. 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, G3 Modeling Technology (“G3”), Humbuster, Multipoint Iterative Matching and Impedance Correction (“MIMIC”), UltraRes, Virtual Vacuum Tube (“VVT”), and Quantum and 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
1. Obey all warnings on the Axe-Fx II and in this User Guide.
2. Keep away from sources of heat such as heat ducts, registers or appliances which produce heat.
3. Connect only to a proper AC outlet of 100–240V, 47–63 Hz.
4. Keep the power cord in good condition. Do not kink, bend, or pinch. If the cord becomes
damaged, discard and replace it.
5. If not using your Axe-Fx II for extended periods of time, disconnect from AC mains.
6. Protect the unit from rain and excessive moisture.
7. Refer servicing to qualified personnel only.
8. 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.
9. Prolonged exposure to high volume levels can cause hearing damage and/or loss. The use of
hearing protection in high volume situations is recommended.
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Certificate of Conformity
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.
Fractal Audio Systems, USA, hereby declares on its own responsibility that the following products:
Axe-Fx II Digital Guitar Preamplifier and Effects Processor
Axe-Fx II Mark II Digital Guitar Preamplifier and Effects Processor
Axe-Fx II XL Digital Guitar Preamplifier and Effects Processor
Axe-Fx II XL+ Digital Guitar Preamplifier and Effects Processor
That are covered by this certificate, and marked with CE label, conform to following standards:
with reference to regulations in following directives: 73/23/EEC, 89/336/EEC.
June 2014
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 35 years of experience spanning guitars, amps, effects, synthesizers, software, and beyond. He has worked with artists including Dweezil Zappa, Adrian Belew, Steve Vai, John Petrucci, the Edge, Neal Schon, Periphery, Animals As Leaders, Metallica, 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 dedicated beta-testers, preset creators, copy-editors and proofreaders.
You may report manual corrections or suggestions in our forum at http://forum.fractalaudio.com
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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 any competitor). For the player, this means better sound, smarter features, and improved performance.
In 2015 we introduced the Axe-Fx II XL+, with upgraded/expanded memory and peripherals. We think it is the best of our products ever, and we hope you agree. Now, with the new releases in our latest generation Quantum firmware series, every Axe-Fx II sounds equally great (and better than ever!) with accurate amp models, masterfully created virtual speaker cabs, and effects that truly stand apart. We thank you all for your many contributions, and for choosing Fractal Audio Systems!
—Fractal Audio Systems, January 2017
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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
2 Overview ......................................................................................8
2.1 The Front Panel ........................................................................................ 8
2.2 The Rear Panel ....................................................................................... 10
2.3 Computer Integration ............................................................................ 12
Minimum Requirements ...................................................................................................................... 12 2.3.1
Software Installation ............................................................................................................................ 12 2.3.2
Capabilities ........................................................................................................................................... 13 2.3.3
Fractal-Bot ........................................................................................................................................... 14
2.3.4
Axe-Edit ................................................................................................................................................ 14 2.3.5
3 Connections ................................................................................ 15
3.1 Setting Levels ......................................................................................... 15
3.2 The PEDAL Jack(s)................................................................................... 16
3.3 System Parameters ................................................................................ 16
3.4 Connection Diagrams ............................................................................. 17
Axe-Fx II into Self-Powered Full-Range Speakers................................................................................. 18 3.4.1
Axe-Fx II into Studio Monitors ............................................................................................................. 18 3.4.2
Axe-Fx II with Power Amp and Guitar Speakers .................................................................................. 19
3.4.3
Axe-Fx II Effects Loop ........................................................................................................................... 20 3.4.4
Axe-Fx II Digital Audio Interconnection ............................................................................................... 20 3.4.5
Axe-Fx II Four Cable Method (“4CM”) ................................................................................................. 21 3.4.6
Direct to FOH plus Real Amps on Stage ............................................................................................... 22 3.4.7
Axe-Fx II as Effects Processor Only (with Guitar Amps) ....................................................................... 23 3.4.8
Axe-Fx II as a Computer Audio Interface ............................................................................................. 24 3.4.9
Axe-Fx II XL/XL+ and MFC-101 Mark III ................................................................................................ 25 3.4.10
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Axe-Fx II XL/XL+ & MFC-101 Mark III: One Possible “Big Rig” .............................................................. 26 3.4.11
4 Basic Operation and Editing ......................................................... 27
4.1 Presets ................................................................................................... 27
4.2 The Grid ................................................................................................. 28
Inserting and Removing Blocks ............................................................................................................ 28 4.2.1
Shunts .................................................................................................................................................. 29 4.2.2
Connector Cables ................................................................................................................................. 30 4.2.3
Moving Blocks on the Grid ................................................................................................................... 32 4.2.4
Example Presets on the Grid ................................................................................................................ 33 4.2.5
4.3 Editing Sounds ....................................................................................... 35
Quick Control ....................................................................................................................................... 36 4.3.1
4.4 X/Y Switching ......................................................................................... 36
X/Y Quick Jump .................................................................................................................................... 37 4.4.1
4.5 Bypassing a Block ................................................................................... 37
4.6 Loading Effects from another Preset ...................................................... 37
4.7 Saving Changes ...................................................................................... 38
Swapping the Locations of Two Presets .............................................................................................. 38 4.7.1
5 Effects Guide ............................................................................... 39
5.1 Amplifier [AMP] ..................................................................................... 39
Amp Type ............................................................................................................................................. 39 5.1.1
Amp Preamp Page (“PRE”) ................................................................................................................... 40 5.1.2
Amp Power Amp Page (“PWR”) ........................................................................................................... 41 5.1.3
Amp Speaker Page (“SPKR”) ................................................................................................................ 42 5.1.4
Power Amp Dynamics Page (“PWR DYN”) ........................................................................................... 43 5.1.5
Amp Preamp Dynamics Page (“PRE DYN”) .......................................................................................... 44 5.1.6
Amp Dynamic EQ Page (“DYNEQ”) ...................................................................................................... 45 5.1.7
Amp Advanced Page (“ADV”) .............................................................................................................. 46 5.1.8
5.2 Cabinet [CAB] ......................................................................................... 50
User Cabs ............................................................................................................................................. 53 5.2.1
5.3 Chorus [CHO] ......................................................................................... 54
5.4 Compressor [CMP] ................................................................................. 56
5.5 Crossover [XVR] ..................................................................................... 59
5.6 Delay [DLY] ............................................................................................ 60
Mono Delay .......................................................................................................................................... 61 5.6.1
Stereo Delay ......................................................................................................................................... 62 5.6.2
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Dual Delay ............................................................................................................................................ 63 5.6.3
Ping-Pong Delay ................................................................................................................................... 64 5.6.4
Sweep Delay......................................................................................................................................... 64 5.6.5
Reverse Delay ...................................................................................................................................... 64 5.6.6
Tape Delay ........................................................................................................................................... 65 5.6.7
Delay Common Parameters ................................................................................................................. 66 5.6.8
5.7 Drive [DRV] ............................................................................................ 68
5.8 Effects Loop [FXL] ................................................................................... 70
5.9 Enhancer [ENH] ...................................................................................... 72
5.10 Feedback Send [SND] & Return [RTN] .................................................. 73
5.11 Filter [FLT] ........................................................................................... 74
5.12 Flanger [FLG] ....................................................................................... 75
5.13 Formant [FRM] .................................................................................... 77
5.14 Gate/Expander [GTE]........................................................................... 78
5.15 Graphic Equalizer [GEQ] ...................................................................... 79
5.16 Looper [LPR] ........................................................................................ 80
5.17 Megatap Delay [MGT] ......................................................................... 82
5.18 Mixer [MIX] ......................................................................................... 84
5.19 Multiband Compressor [MBC] ............................................................. 85
5.20 Multi-Delay [MTD] .............................................................................. 86
Quad Tap Delay .................................................................................................................................... 87 5.20.1
Plex Delay ............................................................................................................................................. 89 5.20.2
Plex Detune .......................................................................................................................................... 90 5.20.3
Plex Shift .............................................................................................................................................. 91 5.20.4
Band Delay ........................................................................................................................................... 91 5.20.5
Quad Series Delay ................................................................................................................................ 92 5.20.6
Ten-Tap Delay ...................................................................................................................................... 93 5.20.7
Rhythm Tap Delay ................................................................................................................................ 94 5.20.8
Diffusor ................................................................................................................................................ 95 5.20.9
Quad Tape Delay .............................................................................................................................. 95 5.20.10
5.21 Tremolo/Panner [PAN] ........................................................................ 96
5.22 Parametric EQ [PEQ] ............................................................................ 97
5.23 Phaser [PHA] ....................................................................................... 98
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5.24 Pitch Shifter [PIT] .............................................................................. 100
Detune ............................................................................................................................................... 102 5.24.1
Fixed Harmony ................................................................................................................................... 103 5.24.2
Intelligent Harmony ........................................................................................................................... 104 5.24.3
Classic Whammy ................................................................................................................................ 106 5.24.4
Octave Divider ................................................................................................................................... 106 5.24.5
Crystals ............................................................................................................................................... 107 5.24.6
Advanced Whammy ........................................................................................................................... 108 5.24.7
Arpeggiator ........................................................................................................................................ 109 5.24.8
Custom Shifter ................................................................................................................................... 110 5.24.9
5.25 Quad Chorus [QCH] ........................................................................... 111
5.26 Resonator [RES] ................................................................................. 113
5.27 Reverb [REV] ..................................................................................... 114
5.28 Ring Modulator [RNG] ....................................................................... 118
5.29 Rotary Speaker [ROT] ........................................................................ 119
5.30 Synth [SYN] ....................................................................................... 120
5.31 Tone Matching [TMA] ........................................................................ 121
5.32 Vocoder [VOC] ................................................................................... 122
5.33 Volume/Pan [VOL] ............................................................................ 124
5.34 Wahwah [WAH] ................................................................................ 125
5.35 Input Noise Gate ............................................................................... 126
Input Impedance ................................................................................................................................ 127 5.35.1
5.36 Output Mixer .................................................................................... 128
5.37 Common Mix Parameters .................................................................. 128
6 Global Blocks ............................................................................. 131
6.1 Introduction ......................................................................................... 131
6.2 Using Global Blocks .............................................................................. 131
Saving to a Global Block ..................................................................................................................... 132 6.2.1
Loading and Linking a Global Block .................................................................................................... 133 6.2.2
Loading Global Blocks without Linking .............................................................................................. 134 6.2.3
Unlinking Preset and Global Blocks ................................................................................................... 135 6.2.4
Backing Up/Sharing Presets Containing Global Blocks ...................................................................... 135 6.2.5
7 Modifiers & Controllers ............................................................. 136
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7.1 Introduction ......................................................................................... 136
7.2 Creating a Modifier .............................................................................. 136
Transformations ................................................................................................................................. 138 7.2.1
Scale and Offset ................................................................................................................................. 139 7.2.2
Damping ............................................................................................................................................. 140 7.2.3
Auto Engage ....................................................................................................................................... 140 7.2.4
Program Change Reset ...................................................................................................................... 141 7.2.5
7.3 Control Sources .................................................................................... 141
LFO1 & 2 ............................................................................................................................................ 141 7.3.1
ADSR 1 & 2 ......................................................................................................................................... 142 7.3.2
Sequencer .......................................................................................................................................... 143 7.3.3
Envelope Follower ............................................................................................................................. 143 7.3.4
Pitch Detector .................................................................................................................................... 144 7.3.5
Manual Knobs .................................................................................................................................... 144 7.3.6
Scene Controllers ............................................................................................................................... 144 7.3.7
External Controllers ........................................................................................................................... 144 7.3.8
8 Global Parameters ..................................................................... 145
8.1 Configuration Parameters .................................................................... 145
8.2 Output Parameters .............................................................................. 146
8.3 Custom Scales ...................................................................................... 147
9 Input/Output Parameters .......................................................... 148
9.1 Input Parameters ................................................................................. 148
9.2 Audio Parameters ................................................................................ 148
9.3 MIDI Parameters .................................................................................. 150
9.4 Control Parameters .............................................................................. 152
9.5 Pedal Parameters ................................................................................. 154
9.6 X/Y Quick-Jump Assign ......................................................................... 154
10 Utilities ................................................................................... 155
10.1 LCD Contrast ...................................................................................... 155
10.2 Preset Utilities ................................................................................... 155
10.3 Status Meters .................................................................................... 155
10.4 VU Meters ......................................................................................... 156
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10.5 Reset System ..................................................................................... 156
10.6 IR Capture ......................................................................................... 156
10.7 Firmware ........................................................................................... 156
11 Tuner ...................................................................................... 157
12 Tempo .................................................................................... 158
12.1 Setting the Tempo ............................................................................. 158
12.2 Synchronizing Sound Parameters ...................................................... 158
12.3 Tempo to Use .................................................................................... 159
12.4 Auto Delay ........................................................................................ 159
12.5 Metronome ....................................................................................... 159
13 Backing Up and Restoring ........................................................ 160
13.1 Onboard ROM Backup and Restore ................................................... 160
14 Firmware Updates................................................................... 162
Axe-Fx II XL/XL+ Failsafe Firmware .................................................................................................... 162 14.1.1
Firmware Compatibility ..................................................................................................................... 162 14.1.2
15 Troubleshooting ...................................................................... 163
16 Appendix ................................................................................ 165
16.1 Table of Amp Types ........................................................................... 165
16.2 Table of Cab Types ............................................................................ 169
16.3 Loading User Cab IRs ......................................................................... 170
16.4 Shortcuts Overview ........................................................................... 171
16.5 60-Second Edit Guide ........................................................................ 172
16.6 Understanding Preset Size Limits ....................................................... 173
16.7 LFO Waveforms, Duty, and Phase ...................................................... 174
LFO Phase ........................................................................................................................................... 174 16.7.1
16.8 Tempo Cross Reference ..................................................................... 175
16.9 Mono and Stereo............................................................................... 176
16.10 Mixology ......................................................................................... 177
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16.11 Humbuster™ Technology ................................................................ 178
16.12 Setting up a Wah Pedal ................................................................... 179
Using the Onboard Pedal Jack ....................................................................................................... 179 16.12.1
Using an Expression Pedal on an MFC-101 .................................................................................... 180 16.12.2
16.13 Setting Up Spillover ........................................................................ 181
Within a Single Preset .................................................................................................................... 181 16.13.1
Across Different Presets................................................................................................................. 181 16.13.2
16.14 Using Send and Return ................................................................... 182
Creating Feedback Loops .............................................................................................................. 182 16.14.1
Extending the Length of Effect Chains ........................................................................................... 183 16.14.2
16.15 Scenes ............................................................................................ 184
Selecting Scenes ............................................................................................................................. 185 16.15.1
SETTING UP SCENES ....................................................................................................................... 185 16.15.2
SAVING SCENES .............................................................................................................................. 185 16.15.3
SPILLOVER IN SCENES .................................................................................................................... 186 16.15.4
SCENES AND MIDI .......................................................................................................................... 186 16.15.5
MFC-101 Scene Features ............................................................................................................... 187 16.15.6
Table of CC# Values for Scene Select ............................................................................................. 187 16.15.7
16.16 Modifier Power! ............................................................................. 188
16.17 Glossary & Resources ..................................................................... 189
16.18 Axe-Fx II Bank & Preset Numbers Table .......................................... 192
16.19 Factory Default Settings .................................................................. 193
17 Specifications .......................................................................... 195
17.1 Axe-Fx II XL/XL+ Specifications .......................................................... 195
17.2 Axe-Fx II Mark II Specifications .......................................................... 196
17.3 Midi Implementation Chart ............................................................... 197
Warranty ....................................................................................... 198
End User License Agreement .......................................................... 199
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WHAT’S NEW

What’s New

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 recreates complete signal chains—stompboxes, amps, cabs, mics, studio effects, and more—with unprecedented power, flexibility, and control. The Axe-Fx II takes "real amp tone and feel" to the next level, offering the latest word on restoring digital to its rightful place as the superior solution for guitar processing.
Twice the Processing Power
Our philosophy is never to cut corners on processing power. Our state-of-the-art algorithms require a powerful platform on which to operate, so the Axe-Fx II features two 600 MHz dual-core Analog Devices TigerSHARC™ Digital Signal Processors working in tandem. One is devoted solely to amp modeling while the other handles effects and system tasks. Mated to the processors is double the RAM of previous Axe-Fx products. 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, it consumes less than 40W.
Quantum™ Amp Modeling™ with Virtual Vacuum Tube™ Technology and MIMIC™
All this power would be useless without superior algorithms to take advantage of it. Years of research have yielded Quantum Amp Modeling Technology, comprising major breakthroughs in both preamp and power amp modeling. Quantum is the pinnacle of our multi-generational amp modeling and a complete departure from the static waveshaping technology used by other products. It entails digital replicas of vacuum tubes, complete with time, frequency, and level dependencies. This creates a level of dynamic realism in a class of its own. Like our “G3” modeling before it, Quantum™ also models the entire power amp, including the phase inverter, power tubes, output transformer, power transformer, choke, filter caps, and more. The results are amazing: tight bass, powerful midrange, silky highs, plus highly expressive touch sensitivity.
Our amp models are the result of thousands of hours 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. Quantum™ is a significant advancement in amplifier simulation unmatched by any other product at any price point.
Improved Speaker Simulation, On-board IR Capture and UltraRes™
The Axe-Fx II cabinet simulator supports our patent-pending UltraRes™ Impulse Response format, with 170+* factory IRs including creations by Fractal Audio Systems, ML Sound Lab, OwnHammer, RedWirez, Jay Mitchell, James Santiago, TheAmpFactory, and John Petrucci of Dream Theater — plus 1024* "USER CAB" memory locations and built-in tools to capture your own IRs from a real speaker cab. UltraRes™ is a proprietary technique that enhances the spectral resolution of an IR without adding CPU burden or storage requirements.
Tone Matching™ to “Clone” any Tone
The Axe-Fx II features a Tone Matching block with the capability to match the sound of a real or recorded amp. It does this by analyzing the difference between the sound of your preset (the “local” signal) and a “reference” (usually the signal from one or more mics/preamps on a real amp, or a high quality recording.) Tone matching eliminates guesswork to create exact “clones” of your favorite tone. A separate Tone Match Mini-manual is provided.
*The Axe-Fx II Mark 2 has only 130+ factory IRs and 100 user IR slots.
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WHAT’S NEW
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. Many block types including 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 a 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.
Axe-Fx II/Computer Integration with Onboard USB
The new onboard Audio Class 2.0 compliant USB interface provides 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 without a 3rd­party interface. On USB 2.0 or better systems, you can simultaneously record both the main processed stereo outs and a pair of dry channels for easy re-amping.
New I/O Capabilities and Less Noise
All rear analog inputs are now balanced, as are the onboard XLR outputs. The ¼" unbalanced outputs feature our
Humbuster™ technology, which senses and subtracts the ground noise of equipment connected when you use a special Humbuster™ 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 outputs 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. The XL+ has the lowest noise levels yet. 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.
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 and FASLINK™
Both the XL and the Axe-Fx II Mark II feature an EtherCON port for connecting an MFC-101 MIDI Foot Controller via network cables (the original Axe-Fx II has an Ethernet port only). The Axe-Fx II XL and XL+ also feature an onboard FASLINK™ port for connecting an MFC-101 Mark III over a standard XLR cable. FASLINK™ carries power (without the need for a wall-wart) and bi-directional communication between the two units. Don’t worry if you own an MFC-101 original or Mark II—an optional FASLINK™ adapter allows you to use this new connection standard. A MIDI port for use with 7-pin phantom power or 5-pin MIDI cables (for connecting 3rd party MIDI interfaces or pedalboards, for example) is also provided.
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WHAT’S NEW
New FX Processing Features and Enhancements
The effects-processing capabilities of the Axe-Fx II have been vetted and endorsed by some of the most discriminating players in the world. The sound and features of our effects provide extremely authentic representations of many classic originals, plus the range to take you where no tone has gone before. Now, with a TYPE control to instantly set all other parameters, it is easier than ever to dial in classic settings on many effect blocks. “Types” include tape and analog "bucket brigade" delay effects, “script" and "block" logo phasers, “dimension” chorus, jet flanger, vibe phaser, many classic wah pedals, whammy, and too many more to list here.
Share Settings Across Multiple Presets with Global Blocks
Those familiar with “Global Amps” from previous Axe-Fx products will appreciate Global Blocks. Those new to Axe­Fx products will appreciate how this feature allows centralized control of a preset collection. You can save any effect “block” to a special memory area, then load it into multiple presets with a "link" to keep all copies synchronized to the master. You can even update the master from any linked instance. Should you choose to remove a link, this leaves both the original and the new copy fully independent of each other.
Axe-Fx II XL/XL+ New Features
This manual covers both the Axe-Fx II Mark II and the newer Axe-Fx II XL and XL+. All Axe-Fx II units have the same DSP and amp modeling capabilities, but the XL offers the additions of expanded memory and peripherals as detailed below:
Built-in FASLINK™ port for connection to MFC-101 Mark III over conventional XLR cables. Dedicated MIDI IN, OUT, and THRU jacks (vs. shared OUT/THRU in the Mark II). Two onboard PEDAL jacks (vs. one in the Mark II). Primary VALUE entry via optical encoder with a lifespan of 1,000,000+ rotations. “Secret Sauce III” instrument input features an even lower noise floor. 128 Mb of non-volatile Super-FLASH memory allows for storing 768 presets and 1024 user cabinets, plus
copious memory reserves for future expansion (384 presets and 100 cabs on the original/Mark II)
Double-capacity preset size allows for expanded functionality including X/Y switching on more blocks and
possible future implementation of more effect instances per preset.
Built-in backup firmware allows recovery in the event of complications during update. Backward compatibility with Axe-Fx II Mark I/II presets via Axe-Edit software. The XL+ has an even lower noise floor and a sharper, brighter display.
Improvements and Enhancements, plus More to Come...
Aside from the many features covered in this brief introduction, there are many more things in the Axe-Fx II that we hope will make it one of the most exciting and rewarding products you have ever owned. The upgradeable firmware of our products means that we are able to offer free updates in the form of easy-to-install downloads. These include exciting improvements to amp modeling quality, new models, cabs, effects, and more.
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INTRODUCTION

1 Introduction

What is the Axe FX II? 1.1

The Axe-Fx II is an advanced digital preamp and effects processor for guitar, bass, and other musical instruments. 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 build your dream rig (hundreds of them, in fact). 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 things 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 has some great new capabilities as an effects 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
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“dimension chorus”, “tape delay”, “analog flanger”, “script 90 phaser”, and many more. Once you make a selection, however, you can 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 modeling platform upon which you can create any number of incredible guitar tones—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 deciding 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.
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INTRODUCTION

The Inventory/Grid Concept 1.2

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.
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Amp (×2)
Filter (×4)
Mixer (×2)
Reverb (×2)
Cab (×2)
Feedback Return
Multiband Compressor (×2)
Ring Modulator
Chorus (×2)
Feedback Send
Multi-Delay (×2)
Rotary (×2)
Compressor (×2)
Flanger (×2)
Tremolo/Panner (×2)
3-Voice Synth (×2)
Crossover (×2)
Formant
Parametric EQ (×4)
Tone Matching
Delay (×2)
Gate/Expander (×2)
Phaser (×2)
Vocoder
Drive (×2)
Graphic EQ (×4)
Pitch Shifter (×2)
Volume/Pan (×4)
Effects Loop
Looper
Quad Chorus (×2)
Wahwah (×2)
Enhancer
Megatap Delay
Resonator (×2)
Shunt (36)
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:
In addition to the blocks listed above, each preset also includes a programmable Input Noise Gate (p. 125) and an Output Mixer (p. 128). 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.131) that can be inserted and then kept synchronized across multiple presets.
Twenty-two different Modifiers & Controllers (p. 136) 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.

Connectivity and More 1.3

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. 145), and Section 9: Input/Output Parameters (p. 148). Meanwhile, Section 10: Utilities (p. 155) can fill out your understanding of functions related to general use and maintenance.
Finally, Sections 11 through 14 cover the Tuner (p. 157) and Tempo (p.158) functions, plus the basics of Backing
Up and Restoring (p. 160) and Firmware Updates (p. 162).
My Head Hertz…
As even this introduction shows, the Axe-Fx II contains a world of possibilities. Only the precise terminology of audio engineering allows the very communities of musicians, engineers, and others to use and enjoy this powerful device. In case you want to familiarize yourself with pro audio terms and jargon, the Appendix is filled with useful material, including a Glossary (p. 184). It is followed by Specifications (p. 198) and your Warranty (p. 195).
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OVERVIEW

2 Overview

Review the following to familiarize yourself with the hardware features of the Axe-Fx II.

The Front Panel 2.1

The front panel shown is that of the Axe-Fx II XL. It is functionally identical to that of the Axe-Fx II Mark II.
Figure 2-1 – The Axe-Fx II Front Panel
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 Switch turns the unit on or off.
3. The 160 × 80 pixel LCD is where all menu and function screens are displayed.
4. and LED meters display the levels of incoming signals. See p. 15 for more detail.
5. LEDs communicate important events:
– This LED is lit when any change has been made to the current preset.  – This LED is lit while data is received at the MIDI IN port.  , – 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 wheel selects and loads presets as it is turned.
In edit or menu screens, it changes the value of the selected parameter.
7. The button executes commands, commits changes, accesses sub-menus, and more.
works for cancel, escape, and various other functions.
8. In RECALL mode, the four 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 buttons step through menu pages, shown as tabs at the top of the display.
10. The 12 main front panel menu/function buttons are listed below.
– 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).
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INPUT/GTE contains parameters for the Noise Gate and Instrument input impedance (p. 125). OUTPUT page contains a mixer for overall level control of a preset (p. 128).
– Select any block on the layout grid and press this button to open its EDIT menu.
Press repeatedly to cycle through EDIT menus of all blocks in the preset (top-to-bottom, left-to-right).
– This menu contains pages for seven of the internal controllers available to every preset,
plus a Modifiers overview screen. See Modifiers & Controllers on p. 136 for details.
– This button toggles the bypass state of the currently selected block (p. 37).
Double click BYPASS in any block EDIT menu to access SAVE/LOAD GLOBAL BLOCKS (p. 131).
– This menu contains four pages: CONFIG, OUT1, OUT2, and SCALES. See p. 145 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.
– Engages the tuner (p. 157) and displays its menu. Press or to close.  – Contains six pages used to configure the various input and output options of the Axe-Fx II.
See p. 148 for details.
– This menu contains various utility functions. See p. 155 for details.  – 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.
– Enters the STORE menu where you can save, rename, or swap presets. See p. 37 for details.  – Bypasses the Axe-Fx II, routing the input directly to the output, defeating all processing,
lighting the BYPASS LED and showing a flashing on-screen warning. Press again to un-bypass.
Double-clicking the BYPASS button in any block EDIT menu initializes that block to default settings.
– 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. 158 for more information about Axe-Fx II tempo control.
11. – On the Axe-Fx II, certain effects offer two fully independent sets of settings, called “X” and “Y”.
Think of them like two different “channels” for a given amp or effect. You can switch between X and Y to
access different sound settings without changing presets (see p. 36).
and buttons perform other functions as well. See section 4.4 on p. 36
12. – The four Quick Control knobs, A, B, C, and D, perform different functions depending
on what Axe-Fx II screen or menu is shown. See section 4.3.1 on p. 36 for more information.
13. – 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. – Connect stereo headphones here to monitor OUTPUT 1 L+R.
15. – 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.
The Axe-Fx II Mark II features “Secret Sauce II” instrument input for a low noise floor.
The Axe-Fx II XL/XL+ features “Secret Sauce III” instrument input for an even lower noise floor.
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OVERVIEW

The Rear Panel 2.2

The following section details the rear panel of the Axe-Fx II. Please note differences between the Mark II and XL models in numbered areas 22 (MIDI), 24 (MFC and FASLINK™) and 25 (PEDALS).
Figure 2-2 The Rear Panel of the Axe-Fx II XL+
Figure 2-3 The Rear Panel of the Axe-Fx II Mark II
16. 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. 148).
17. – Left/Mono and Right, Balanced (1/4” Tip-Ring-Sleeve) Jacks (“ ”) – Connect to the
output(s) of outboard equipment when using the FX Loop block (p. 70). 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. – 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. – Left/Mono and Right, Unbalanced (1/4” Tip-Sleeve) Jacks (“ ”) — The output from
Connect to he inputs(s) of outboard equipment when using the FX Loop block (p. 70). 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 16.11 on p. 178.
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20. – 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. 148). These jacks transmit and receive at a fixed rate of 48k.
21. – This provides the means to connect the Axe-Fx II to a PC or Mac, enabling a host of two-way audio
and MIDI capabilities. See section 2.3 on p.12. Like the digital i/o, USB Audio operates only at 48k.
22. jacks – The Axe-Fx II XL/XL+ has separate dedicated MIDI IN, MIDI OUT and MIDI THRU jacks.
Unlike a shared/soft MIDI THRU, the XL’s dedicated MIDI THRU jack adds no latency, but it is "hard-wired" to the MIDI IN PORT, and therefore does not pass signals from other MIDI inputs. For THRU functionality when using an MFC-101 at the FASLINK™ or MFC port of an Axe-Fx II XL/XL+, MIDI OUT can be made to work as a soft THRU by setting MFC ECHO TO MIDI OUT to "ON" (on the MIDI page of the I/O menu).
The Axe-Fx II Mark II has a MIDI Out/Thru combo jack that transmits or forwards MIDI signals to another device. MIDI THRU is disabled by default but can be enabled on the MIDI page of the I/O menu).
23. 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.
WARNING! Do not connect an AC adapter with a rating higher than 1A to the Phantom Power jack. Doing
so will damage your Axe-Fx II.
24. Control Port – This RJ45 jack allows you to use a standard (non-crossover) CAT5/Ethernet cable to
connect the Axe-Fx II to 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. High quality Ethernet/EtherCON cables are available via http://www.fractalaudio.com/cables. (Axe-Fx II “Original Version” supports only Ethernet, not EtherCON.)
WARNING! DO NOT connect the MFC jack to an Ethernet device such as a computer, hub, switch, or
router, as damage to one or both units could occur! Damage of this type leaves tell-tale signs on the motherboard and is NOT covered under warranty.
Always ensure that the Axe-Fx II power is OFF before inserting/removing Ethernet/EtherCON cables.
Be careful not to insert other types of connectors such as USB or guitar cables into the MFC port of the Axe-Fx II, as doing so can damage your unit, leaving tell-tale damage NOT covered under warranty.
The connector of the Axe-Fx II XL/XL+ allows you to connect to the FASLINK™ port of an MFC­101 Mark III. The standard XLR cable used for a FASLINK™ connection powers the MFC without an external “wall wart” adapter, and carries 2-way communications. An optional XA-2 FASLINK™ Adapter allows you to connect the Axe-Fx II XL/XL+ to an earlier MFC-101.
The optional XA-1 FASLINK adapter adds a FASLINK port to the Axe-Fx II Mark II.
Find FASLINK™ adapters at http://shop.fractalaudio.com
25. 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.
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OVERVIEW

Computer Integration 2.3

USB provides every Axe-Fx II with a host of great features.

Minimum Requirements 2.3.1

Windows Minimum Requirements:
OS: Windows 8.x, Windows 7 SP1, Windows Vista SP2 (All versions compatible with 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: 10.6.8 for MIDI over USB (Fractal-Bot, Axe-Edit, Cab-Lab, etc.)
10.9 or later required for USB audio. An issue in older versions causes audio pops.
CPU: Intel Processor Memory: 512MB minimum USB 2.0 Support required

Software Installation 2.3.2

Although the Axe-Fx II is fully class-compliant, software installation is still required on all platforms. Without drivers installed, USB capabilities will not work correctly. Both Mac and Windows versions can be downloaded from our web site at http://www.fractalaudio.com/support. Step-by-step instructions are included with the installer.
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Capabilities

2.3.3
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. Note that even though the Axe-Fx II is fully class-compliant, you must still install the drivers found at http://fractalaudio.com/support .
Figure 2-4 – USB Features
Audio and MIDI ports (shown in the top dotted-outline boxes 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 output channels allow audio to be sent from the computer to the Axe-Fx II where it can be processed by the unit or simply played back to OUTPUT 1.
To process computer audio with the onboard effects, set the MAIN INPUT SELECT (p. 148) to “USB.” Computer audio will be routed to the grid INPUT. This allows you to re-amp a dry track, for example, 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 Axe-Fx II audio inputs (0/1).
To pass unprocessed computer audio through the Axe-Fx II, set the MAIN INPUT SELECT (p. 148) to “ANALOG (IN1)” (the default setting) or “SPDIF/AES.” Computer audio is mixed with the regular output of the Axe-Fx, allowing you to play along with backing tracks or use the Axe-Fx II as a high quality “soundcard.”
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OVERVIEW
Four Simultaneous Channels of 48k/24-bit Audio from the Axe-Fx II to the Computer
Four outputs, typically numbered 1–4, allow audio to be routed from the Axe-Fx II to the computer and recorded, processed, or monitored.
USB/DIGI OUT SOURCE in the I/O:AUDIO menu (p. 148) determines what is sent to the first pair of USB outputs:
Selecting OUTPUT 1 L+R sends the Axe-Fx II main output to the computer. The same signal is, of
course, still routed normally to the rear XLR and unbalanced jacks. Use this to record your fully­processed guitar.
Selecting OUTPUT 2 L+R routes output 2—typically the FX loop block (p. 70) —to the first two outs. Selecting MAIN INPUT routes the main input (see MAIN INPUT SELECT p. 148) to the first two outs.
A similar result can be obtained by using OUTPUT 1 with a “shunts-only” preset (p. 29).
Remember to turn off the Input Noise Gate and set Output levels to 0.0
Switching INPUT 1 LEFT SELECT (p. 148) 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 USB Outputs always outputs the raw, dry, unprocessed signal from the main input (i.e. the front
jack or the rear jack, depending on both what is selected under INPUT 1 LEFT SELECT (p.
148)) and the rear jack). These require USB 2.0 support (see Minimum Requirements above).
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-over-USB enables the Axe-Fx II and the computer to communicate back and forth. You can edit, perform updates, send program changes from a sequencer, synchronize the tempo, automate sound changes, and more. MIDI-over-USB is considerably faster than “legacy” MIDI, and allows two-way communication with the computer over a single cable.

Fractal-Bot 2.3.4

Fractal-Bot, available from http://www.fractalaudio.com/fractal-bot.php is a powerful, lightweight MIDI Utility for the Axe-Fx II. Use Fractal-Bot for firmware updates, backing up your Axe-Fx, restoring backups, managing User Cabs, and more.

Axe-Edit 2.3.5

Axe-Edit is a full-featured software editor for the Axe-Fx II. It provides a large, easy-to-use graphical interface that allows you to create and edit sounds. Learn more at http://www.fractalaudio.com/axe-edit
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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!

Setting Levels 3.1

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.
Changing input levels will NOT affect what you hear. Inputs are compensated, meaning that as you lower trims to optimize signal-to-noise ratio going into the converters, the output of the converters is adjusted inversely
so “what you hear” (and what reaches the signal processor) always remains the same.
Each input has its own dedicated analog-to-digital converter. The input jack parallels the rear inputs for improved signal-to-noise performance.
The front panel and knobs independently control the volumes at the corresponding rear panel jacks. The output knob simultaneously controls XLR and ¼-inch jacks, and the unit’s headphone jack level. Optimal levels will depend on what the Axe-Fx II is connected to.
To operate with unity gain, 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 you’re not using the Axe-Fx in the loop of a tube amp, unity gain is likely not relevant.)
If levels result in clipping of attached equipment, turn down the front panel knobs. At the minimum setting, volume is reduced but may not be 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 or LEDS light while you use the Axe-Fx II, the problem is not trim settings but levels in the digital domain. Chances are that 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 block OUTPUT LEVEL is usually a good starting point) or adjust the main GAIN slider of the preset’s output mixer (see p. 128).
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 graphic equalizers to make a global adjustment. (p. 146)
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. 148). Block or preset adjustment may still be required.
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The PEDAL Jack(s) 3.2

Note: the Axe-Fx II XL+ and XL have two onboard jacks. The Axe-Fx II original and Mark II models have one.
Connect an expression pedal or footswitch to the pedal jack to control sound functions. You must first configure the TYPE, and perform a simple calibration routine when using an expression pedal. See section 9.5 on p.154 for 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. 136, with a section specifically about External Controllers on p. 144.

System Parameters 3.3

As you will discover, the Axe-Fx II has a range of flexible input/output options. The hardware descriptions cover the basics, 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 specific “System Parameter” settings. For example, when using a real, physical guitar cab, the global “Speaker Simulation” switch should 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.
Many of the basic setups shown in the following pages can be easily combined or expanded. Make a mono setup stereo. Add an MFC-101 MIDI Foot controller for intelligent remote control. Connect a computer to run Axe-Edit, our free software editor. Combine multiple Axe-Fx II units into a single rig. Countless combinations are possible, and creativity and experimentation can be as valuable here as when you are creating tones or dialing in effects.
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Connection Diagrams 3.4

This overview will help familiarize you with the various inputs, outputs, and control connections of the Axe-Fx II. The diagrams that follow in sections 3.4.1 through 3.4.10 illustrate several real-world applications.
Note that the Axe-Fx II Mark II has a shared MIDI OUT/THRU, and that MIDI THRU must be enabled in the I/O:MIDI
menu. The Mark II also does not have a FASLINK™ port, so an MFC-101 would be connected via MIDI, Ethernet/EtherCON or a FASLINK™ adapter.
Figure 3-1 – I/O Overview
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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 self-
amplified, 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.148) to one of the mono options.
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.

Axe-Fx II into Self-Powered Full-Range Speakers

3.4.1

Axe-Fx II into Studio Monitors 3.4.2

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