Fractal Audio Axe-Fx III User manual

Manual Version 1.0g for Axe-Fx III Firmware 1.x

Inside Front Cover

i
Declaration of Conformity
Manufacturer’s Name: Fractal Audio Systems, LLC
Manufacturer’s Address: 4 Wilder Drive, Plaistow, NH 03865 USA
Declares that the product:
Product name: Axe-Fx III Product option: None
Conforms to the following Product Specications:
Safety: EN60065:2014
EMC: EN55013:2013
EN55020:2007+A11:2011
EN55024:2010
EN61000-3-2:2014
EN61000-3-3:2013
Supplementary Information:
The product herewith complies with the requirements of
the Low Voltage Directive 2006/95/EC
and the EMC Directive 2004/108/EC.
Clifford Chase
President / CEO
January 22, 2018
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.

ii
Legal Notices
Fractal Audio Systems Axe-Fx III Owner’s Manual. Contents Copyright © 2018. All Rights Reserved.
No part of this publication may be reproduced in any form without the express written permission of Fractal Audio Systems.
Fractal Audio, the Fractal Audio Systems logo, Axe-Fx, Humbuster, UltraRes, FASLINK 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 afliated with Fractal Audio Systems, LLC. The names are used only to illustrate sonic and
performance characteristics.
WARNING: To reduce the risk of re or electric shock, do not expose this
appliance to rain or moisture.
CAUTION: To reduce the risk of re or electric shock, do not remove screws.
There are no user serviceable parts inside. Refer servicing to qualied service
personnel.
Important Safety Instructions
1. Obey all warnings on the Axe-Fx III chassis and in this User Guide.
2. Keep away from sources of heat such as ducts, registers or appliances that produce heat.
3. Connect only to a standard grounded AC outlet of 100–240V, 47–63 Hz.
4. Keep the power cord in good condition. Do not kink, bend, or pinch.
5. If the cord becomes damaged, discard and replace it.
6. If not using your Axe-Fx III for extended periods of time, disconnect from AC power.
7. Protect the unit from rain and excessive moisture.
8. Refer servicing to qualied personnel only.
9. Stop operation of the unit and obtain service if:
- Liquids or excessive moisture enter the unit.
- The unit operates incorrectly or performance is inconsistent or erratic.
- The unit has been dropped and/or the enclosure damaged.
10. Prolonged exposure to high volume levels can cause hearing damage and/or loss. The use of
hearing protection in high volume situations is recommended.
A Manual for Online and Print
This manual is intended for use in desktop, tablet, or smart phone readers. It includes clickable links and bookmarks to make
navigation and cross-reference easy. We recommend against printing, because rmware updates tend to make older versions
obsolete. That said, considerations have been taken for those who prefer paper. You are granted permission to print this PDF for
personal use only. A copy center or online printer can print and bind from the PDF le. Hopefully those with screen readers can
forgive the considerations taken for those who prefer paper: all links also include a page or section numbers, page spreads have
extra margins towards the binding edge, and blank pages/white space has been inserted to preserve page and chapter flow.

iii
TABLE OF CONTENTS
1 INTRODUCTION .........................1
Welcome to the Axe-Fx III ..................1
Feature Summary ........................2
The Setup menu .........................3
Quick Connect Guide .....................4
Setting Levels ...........................5
Humbuster™ Cables ......................6
Mono vs. Stereo .........................6
The Home Page: Presets ..................7
Intro to the Layout Grid....................8
Intro to Scenes and Channels...............9
Grid Editing: Quick start ..................10
Block Editing: Quick start .................10
USB Overview ..........................11
Fractal-Bot & Axe-Edit III..................11
Connecting Pedals Directly................12
Global Expression Pedal Setup.............13
Global Volume Pedal Setup ...............13
2 HARDWARE OVERVIEW ..................14
The Front Panel.........................14
The Rear Panel .........................16
3 USB .................................18
Computer Integration ....................18
USB Inputs and Outputs ..................19
Mac OS X System Audio ..................20
Re-Amping ............................21
4 SETTING UP...........................22
General Principles.......................22
FRFR/Direct. . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
FRFR monitor + FRFR to Front-of-House......24
Power Amp & Guitar Speakers .............25
Power Amp & Cab + FRFR/Direct ...........26
Four-Cable Method (“4CM”) ...............27
FX Processor only (“Post”) ................28
FX Processor only (“Pre”) .................29
Inserting Outboard Gear ..................30
Multi I/O Setups ........................31
5 PRESETS .............................32
Overview ..............................32
The Layout Grid ........................33
Working with Blocks .....................33
Connector Cables .......................35
Block Inventory .........................37
Example Preset Grids ....................38
Editing Effect Blocks.....................39
Saving Changes ........................40
Preset CPU Limits.......................41
6 SCENES & CHANNELS ...................42
Overview ..............................42
Changing Channels......................43
Setting Up Channels ....................43
Selecting Scenes .......................44
The Default Scene. . . . . . . . . . . . . . . . . . . . . . . 44
Selecting Scenes & Channels Remotely ......45
Program Change Mapping ................46
Sending MIDI with Scenes ................46
Scenes, Channels & Modiers .............47
Scene Revert...........................47
7 LEVELING PRESETS .....................48
A Method for Leveling. . . . . . . . . . . . . . . . . . . . 49
Block Bypass Levels .....................50
8 BLOCKS GUIDE.........................51
9 MODIFIERS ...........................99
Creating a Modier ......................99
Modier Tutorial: Wah Pedal..............100
Modier Tips And Tricks.................100
Modier Sources Overview ...............101
Modier Parameters....................102
Internal Controllers.....................105
External Controllers ....................106
Modiers List .........................106
Tutorial: Scene Controllers ...............107
10 TEMPO. . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
Synchronizing Sound Parameters..........109
11 THE TUNER .........................110
Advanced Tuner Functions ...............110
Mini Tuners ...........................110
12 SETUP MENU ........................112
The Foot Controllers Menu ...............112
The Global Settings Menu................112
The I/O Menu .........................114
The IR Capture Utility ...................116
The MIDI/Remote Menu .................117
The Utilities Menu......................120
13 FC PROGRAMMING ...................121
14 IR CAPTURE.........................122
Method 1 Setup: Mic Only................123
Method 2 Setup: Mic + Di ................124
Capturing Impulse Responses ............125
15 ADDITIONAL TOPICS ..................126
Fractal-Bot ...........................126
Backing Up & Restoring .................126
Firmware Updates......................127
Recovery .............................128
Getting Help ..........................128
Loading User Cabs .....................129
Axe-Change...........................130
Frequently Asked Questions ..............131
Shortcuts ............................133
Spillover .............................134
LFO Waveforms & Phase ................135
Tempo Cross Reference .................136
MIDI Reference Tables ..................137
16 SPECIFICATIONS .....................140
MIDI Implementation ...................142
WARRANTY ...........................143
EULA ................................144

iv

1
1 INTRODUCTION
The Axe-Fx III is the latest product in our long line of industry-leading guitar processors, and the world’s most
powerful unit of its kind. Axe-Fx III runs our latest “Ares” amp models, plus UltraRes™ speaker cab simulations
and legendary effect algorithms, all with signicantly more raw power than any previous Fractal Audio Systems
product. Our vision for the new platform was to exceed anything done previously — to create a product that
sounds better, does more, and is easier to use than ever before.
Fractal Audio Systems is known for accurate amp modeling with the sound and feel of real tube amps. The
Axe-FxIII carries this torch high, with all of our current models and room for many new ones to come, all running
on a new platform designed for the future. “Ares” picks up where “Quantum” left off, with improvements and
upgrades coming all the time. Some may ask: “how can it still be getting better after all these years?” In the Axe-
Fx III, we discover that there is always room for improvement and evolution when the commitment to excellency is
real.
The hardware has been completely re-designed around a streamlined new workflow. The centerpiece is a dazzling
new high-contrast full-color display with 30x the resolution of previous products. This display works alongside
ve new endless-rotary push encoders. These “Push-knobs” do different things on different pages, with labels to
show dynamic functions. The end result is a user experience that’s immediately more intuitive. The display also
excels at animation for meters, modiers, and more.
Power and resources are vastly expanded. Two 1-GHz “Keystone” DSPs benchmark at 2.8x the power of the Axe-
Fx II, and there are two additional processors dedicated to graphics and USB. Peripherals include 4Gb of blazing
fast PC1600 DDR3 memory, hundreds of Mb of FLASH memory, a proprietary FPGA and more. The number of
inputs and outputs has more than doubled in comparison to previous products. Routing flexibility has also been
upgraded with dedicated Input and Output blocks for highly flexible preset and rig design. All 1/4" outputs feature
our Humbuster™ technology to help reduce the noise caused by ground loops.
Better sound quality has been achieved through an audiophile-grade signal path. The difference shines through
in lower noise floor, pristine clarity, and better USB audio performance than most dedicated audio interfaces.
Computer audio integration now includes a professional-quality 24-bit/48k 8×8 interface. Record multiple tracks
of processed audio at the same time, plus a DI. The re-amping workflow is improved with independent monitoring
of backing tracks and re-processed guitar tones while you dial in a sound.
Physically, the Axe-Fx III continues our tradition of combining extraordinary design with manufacturing quality
rugged enough to withstand the rigors of life on the road. The unit is housed in a steel enclosure with a one-piece
anodized aluminum faceplate/bezel featuring a glowing Axe-Fx III logo.
Axe-Edit™ III, a fully re-tooled version of our editor for Mac or PC, is packed with great new features including
Quickbuild mode, a Scene Manager, and window scaling on monitors up to 5k and beyond.
Of course the unit features upgradeable rmware, meaning the best is very likely yet to come via our free updates.
We hope you will enjoy using the Axe-Fx III as much as we’ve enjoyed creating (and playing) it.
WELCOME TO THE AXE-FX III
1 INTRODUCTION

2
1 INTRODUCTION
FEATURE SUMMARY
Rugged 3U steel chassis with a sleek anodized aluminum
front panel and illuminated “Axe-Fx III” logo.
Two 1-GHz “Keystone” DSPs benchmark
at 2.8x the power of the Axe-Fx II.
4Gb blazing fast PC1600 DDR3 memory, hundreds
of Mb of FLASH memory, proprietary FPGA.
Dedicated processors for graphics and USB.
VALUE knob optical encoder lifespan
rated for 1,000,000+ rotations.
Audiophile-quality signal path yields the best
sound quality, lowest THD, and lowest noise floor
of any product we’ve ever created by far.
Auto-switching front/rear instrument
inputs, both with “Secret Sauce IV”.
Three stereo inputs: 1 with XLR/1/4" combo
jacks, two with balanced 1/4" inputs.
Four stereo outputs: 1 with XLR outs, 1 with
both XLR and 1/4", and 2 with 1/4".
Humbuster technology on all 1/4" outputs
helps reduce noisy ground loops.
Front panel headphones output.
Front panel LED meter bridge for instant visibility of levels.
Easy-to-use interface allows intuitive and efcient editing.
Stunning color display with 30x the
resolution of our previous products.
Animated on-screen metering for every
block, input, output, and more.
5 soft-knobs with on-screen labels
for turn and push functions.
512 Preset memories, each an entire rig
with amp(s), cab(s) and effects.
New 14×6 grid layout allows larger presets.
New “Zoom” view shows the entire grid on one page.
8 nameable “Scenes” per preset store
settings like “presets within a preset”.
Revolutionary new “Channels” concept for fast,
seamless switching of up to four channels per block.
Built-in tools to copy Channels and Scenes within a preset.
Hundreds of accurate amp models with
real tube amp sound and feel.
New Cabinet block with a “Cab-Lab” style
multichannel mixer loads up to four IRs.
2,048 Factory cabs, 189 “Legacy” Cabs (from Axe-Fx
II), 2,048 User Cabs and 16 Scratchpad memories.
Factory IRs from Fractal Audio, AustinBuddy, Celestion, Dr.
Bonkers, ML Sound Lab, OwnHammer, John Petrucci, Chris
Traynor, James Santiago, Valhallir, York Audio, and more.
Presets can now contain up to four of each
Compressor, Drive, and Delay blocks.
New blocks: Plex Delay, Ten-Tap Delay,
Multiplexer, Realtime Analyzer and more.
Effect Types create classic sounds at the
turn of a knob. Types include 37 drives, 44
reverbs, 32 delays, and many more.
New fully modeled analog Tri-stereo Chorus type.
Improved Pitch block with faster pitch detection.
Improved Reverb is even richer and smoother than ever.
New fully parametric “Input EQ” in Amp block.
Fully revamped 5.8 minute stereo Looper with undo.
Tone Matching to clone any tone, now in UltraRes.
Built-in IR Capture Utility shows data in
either Time or Frequency domain.
New Input and Output blocks make
routing more flexible than ever.
Improved and faster Tuner featuring a new interface.
8×8 USB Audio with better audio performance
than most dedicated interfaces.
Dedicated USB Input block for reamping/processing tracks.
MIDI-over-USB between Axe-Fx III and a computer is
10× faster than the same connection on Axe-Fx II.
MIDI IN, OUT and THRU ports.
Rich MIDI implementation allows extensive remote control.
The new “Scene MIDI” block enables each scene to
transmit up to 8 PC/CC messages when loaded.
Optional MIDI PC/Bank transmission
when a new preset is loaded.
Two on-board PEDAL jacks for expression
pedals like the Fractal Audio EV-1 and EV-2.
New FASLINK 2 connector for our next-gen
“FC”Series Foot Controllers.
New “Client-Server” architecture allows multiple FC
series foot controllers and Axe-Edit to control the Axe-
Fx III and update each other seamlessly and instantly.
Daisy-chain FC series foot controllers for a “Mega
Pedalboard” or to allow player and tech to share
switching responsibilities on “cloned” systems.
Future proof: as ever, fully upgradeable rmware
means free updates for years to come.
Built-in backup rmware allows recovery in the
event of complications during update.
And much more.

3
1 INTRODUCTION
Throughout this manual, you will be directed to the Setup menu of the Axe-Fx III for a range of options
including I/O, MIDI, global settings, and more. It includes the following areas:
The Foot Controllers menu includes all settings for a connected FC Series controller.
The Global Settings menu includes options which govern the behavior of the Axe-Fx III.
The I/O menu contains settings for all inputs and outputs, including levels, audio options, and
switches or expression pedals connected directly to the Axe-Fx III.
The IR Capture utility is used to create impulse responses for use in the Cab block.
The MIDI/Remote menu contains MIDI settings, plus several pages of remote controller assignments
for the many remote-control functions of the Axe-Fx III.
The Utilities menu contains informative readouts plus a control to adjust screen brightness.
Access and use the Setup menu as follows:
Press HOME.
Push the “E” soft knob for the SETUP main menu.
Use the NAV buttons to select a sub-menu and press ENTER to make a selection.
Use PAGE and NAV buttons to get around, VALUE and knobs A–Eto make changes.
Setting changes under SETUP never need to be stored. All changes take effect immediately.
Press HOME at any time to return home.
Use these links for instant access to the Setup menu topics in this manual:
THE SETUP MENU
SETUP
Foot Controllers Section 13
Global Settings Page 112
I/O Page 114
IR Capture Section 14
MIDI/Remote Page 117
Utilities Page 120

4
1 INTRODUCTION
Perhaps the best and most flexible way to enjoy your Axe-Fx III is through a full-range system such as Studio
Monitors, a high-quality PA, or full range cabinets designed specically for guitar. All of the factory presets are
designed for this type of setup.
The Axe-Fx III is incredibly flexible, however, and many other types of setups are supported, including those
which integrate with tube amps, USB recording, 3rd-party outboard equipment, and much more.
Find additional rig diagrams in Section 4.
The most basic setup instructions appear below:
WHY FULL RANGE?
A Full-Range Flat Response (“FRFR”) system aims to reproduce the entire audio spectrum without compromise.
In comparison, most guitar speakers are narrow range, with no ability to accurately reproduce extended lows
and highs. A 1×12 open-back combo is never going to sound like a 4×12 stack. In comparison, full-range
flat response studio monitors, high-quality PA speakers, and FRFR speakers designed specically for guitar
should be able to reproduce anything you play through them.
qBegin with all level knobs turned down.
Connect your guitar to the front or
rear Instrument input (Input 1).
The Axe-Fx III is also perfect for
bass and other instruments.
wConnect Output 1 to your mixer, studio
monitors, audio interface, PA system, full-
range speakers, power amp inputs, etc.
• For a mono rig, use Out 1 Left.
• For optional stereo, connect Out 1 Right.
• Use XLR outputs to connect to balanced
inputs, or use the 1/4" outputs when
connecting to unbalanced inputs.
• Use Humbuster cables with 1/4" outputs
to reduce hum from ground loops.
eTurn up the front panel OUT 1 knob and adjust the
level on your monitors as desired.
Explore factory presets by turning the VALUE wheel.
Select Scenes within a preset by using NAV Up/Down.
QUICK CONNECT GUIDE
INPUT
1
OUTPUT
1
Use
Out 1 L
for
Mono
FRFR speakers, Studio Monitors
Audio Interface or Mixer
Add
Out 1 R
for
Stereo

5
1 INTRODUCTION
Setting proper levels is critical, but easy, with abundant meters to inform you about levels on the Axe-Fx III.
INPUT LEVELS
The Axe-Fx III comes ready-to-use for the typical guitar or bass, but you should
check that your guitar output level is not clipping the inputs.
Connect a guitar to the Instrument input. Choose your loudest pickup setting and
set all the guitar controls to “wide open.” Play loudly to push the levels as you watch
the front panel INPUT 1 meter LEDs. A red LED indicates that clipping is occurring
or imminent. If you see the input meters clipping, pad the input as follows:
Page to the Input page of the I/O menu under SETUP.
Reduce Input 1/Instrument input levels using the Aknob.
In general, you should set input levels as high as possible without clipping.
Inputs 2, 3 and 4 can be adjusted using the same method. Each has its own Input trim parameter on the
Input page of the I/O menu under SETUP.
You can also monitor all levels on the Meters page of the Home menu.
Except at very low settings (5% or less), input level adjustments do not affect gain levels. As you
adjust the level to the A/D converter, its output compensates accordingly, so your signal remains
exactly the same when it hits the grid and any virtual amps or effects.
SETTING LEVELS
OUTPUT LEVELS
Output levels are very easy to monitor on the front
panel meter bridge, and easy to control using the four
front panel LEVEL knobs. You can also monitor output
levels in higher resolution by paging to the Meters page
from the Home page.
Outputs 1-2 are ready to be connected to consumer
line inputs (-10 dbV). If you are connecting to
professional-grade equipment operating at +4dBu, set
the nominal output levels as follows:
Page to the Audio page of the
I/O menu under SETUP.
Adjust Output 1: Output Level or
Output 2: Output Level to +4dBu.
Learn more about the I/O Menu on “The I/O Menu” on
p. 114.
Every block in every preset also has its own Level
control. Learn more on Page 48.
The Meters page of the Home menu shows all I/O levels.
The Layout also has a Meters view showing block levels.

6
1 INTRODUCTION
HUMBUSTER™ CABLES
Use XLR cables between the Axe-Fx III XLR outputs and the XLR inputs of mixers, monitors, and other devices.
When connecting to 1/4" balanced inputs, use an XLR-to-1/4" (TRS) cable or adapter to keep the connection
balanced.
For unbalanced 1/4" inputs on other devices, standard 1/4" (guitar) cables may be used, but there is a better
option. Humbuster technology on all 1/4" outputs of the Axe-Fx III can signicantly reduce unwanted noise due to
the common problem of a ground loop. For this to work, you must use a special Humbuster cable with one TRS
end (like a balanced cable) and one TS end (like a guitar cable). The TRS end connects to the Axe-Fx III. The TS
end connects to your amp.
Humbuster cables are available from http:/www.fractalaudio.com/cables. You can make your own by following
the diagram below. Be sure to use high-quality connectors and shielded cable.
The Axe-Fx III comes pre-congured for stereo but you can connect it in mono with no
issues. If you are NOT running in stereo, you may nd that certain presets or settings produce
unexpected results. For example, a panner sounds like a tremolo when one channel is missing.
A ping-pong delay may ping but never pong. Stereo enhancers or certain types of modulation
may not be apparent at all. Tone may change completely if amps or cabs have been panned.
Here is an overview of several scenarios, with recommended settings for each.
MONO VS. STEREO
Stereo: No special settings required.
Half-Stereo: Leaving the Axe-Fx III in its default stereo conguration but connecting
only one (Left) output results in a “half-stereo” setup. This works ne, aside from the
exceptions mentioned above (ping-pong, panning, etc). No special settings required.
Dual Mono: If you want to force your rig to mono, dual mono is one choice. Sonically, this
is identical to half-stereo, with the same limitations, except that mono signal is produced
at both the left and right jacks so you can connect to two monitors. To switch to dual
mono, open SETUP: I/O: Audio and set Mode for the desired output to “COPY L->R”.
Summed Mono: In this setup, left and right channels are added together resulting in an identical
mono signal at both left and right outputs. This has the advantage of not discarding half of
the sound, but summing has its own issues. For example, short delays or phase differences
between channels can result in strange artifacts or even total cancellation. To switch to
summed mono, open SETUP: I/O: Audio and set Mode for the desired output to “SUM L+R”.
On the Axe-Fx III, a flexible block-based I/O system makes it easy to use different outputs with different
settings for different purposes. See “Input & Output Blocks” on p. 52.
All options of the I/O menu under SETUP are detailed in Section 12.

7
1 INTRODUCTION
Once you have connected your Axe-Fx III you can begin to audition factory preset sounds. Remember that aside
from a few templates, the factory presets are designed for use with full-range speakers / monitors / headphones.
(See Section 4 for details on many other types of setups.)
The Axe-Fx III contains 512 preset memories, each a fully independent rig with its own amps, cabs, effects,
settings, controllers, and more. When you consider everything that is possible with Scenes and new Channels, a
single preset can easily cover an entire song, or even a whole show.
Here’s how to explore the factory presets:
Press HOME to show the Home page,
where you can switch presets.
To change presets, turn the VALUE
knob or use the NAV buttons.
Many factory presets contain extra Scenes.
You can switch between Scenes using the NAV buttons.
See p. 9for an introduction to Scenes.
OTHER HOME MENU FUNCTIONS
The push functions of the ve knobs provide access to other areas:
Tuner (Page 110)
Layout grid (Page 8 and Page 33)
Controllers (Page 105)
Setup (Page 3 and Page 112).
A mini-Tuner appears at the top of the Home page itself!
The Home menu also provides access to the Presets directory page,
listing all presets in a scrolling list sorted by number.
PAGE to Presets for the directory.
To sort alphabetically by name, press the “Sort A–Z” button.
The ENTER key loads the selected preset and returns to the Home page.
The Meters page provides visual indication of all input and output levels, including USB.
THE HOME PAGE: PRESETS
Previous Scene
Previous
Preset
Next
Preset
Next Scene

8
1 INTRODUCTION
Behind every Axe-Fx III preset is the Grid, a matrix of rows and columns that is the key to unlocking the true
potential of this unit. In the world of traditional gear, our options are limited by budget, space, weight, and the
limits of the equipment itself. Building a rig means hard choices. With the Axe-Fx III however, a limited selection
of gear is instead replaced by a vast, ever-growing “inventory” of virtual amps, cabs, effects, and more. Every
preset gives you the flexibility to design a unique rig composed of different components.
Let’s lay out the terms of preset creation. To create a preset, virtual pieces of gear are selected from the
inventory and placed as blocks into the slots of the layout grid. Each block represents a different component like
a wah pedal, amp, or reverb unit. Blocks are then connected together using virtual cables. You can create splits,
merges or multiple parallel paths as needed. Passive shunts carry signal through otherwise empty spaces on the
grid. Special input and output blocks connect to the various jacks and USB signals of the Axe-Fx III.
The following illustration shows the inventory concept with several items placed on the grid as blocks.
INTRO TO THE LAYOUT GRID
Let’s review what is happening above. Signal flow begins at the Input block on the left. It is then routed to a
Wah block, which in turn feeds a shunt. The shunt has no effect on the sound and is shown only to introduce the
idea of how it carries signal from one location to another. The shunt is connected to an Amp block (we might
set its type to “Plexi 100W High”), which in turn feeds a Cab (one of the many “4×12” options, perhaps). This is
connected to a Reverb and then to an Output block. In this limited example, many grid spaces are empty, and only
half of the columns are actually shown! The size of a preset is limited only by the grid structure, block inventory,
and total processing power (“CPU”). You will nd that you can create very large virtual rigs with multiple amps,
cabs, and effects.
A new “ZOOM” feature shows the whole grid at once. Look for the ZOOM button on Layout menu pages.

9
1 INTRODUCTION
Imagine a rack system like the ones used by guitar players over the past 35+ years. In this system, various effect
pedals, amps, and rack units are connected with a central switching system, which places other components in or
out of the signal path. Some of the effects may also have settings that the switcher can control remotely—like the
channels on an amp, or preset selection on a delay. Using the switcher, you would set up different combinations
and settings and then save each as a preset: Clean, Rhythm, Lead, etc.
If (as discussed on the previous page) each Axe-Fx III preset is like an entire rig, then Scenes are similar to the
presets of the system described above. A Scene stores whether each block is engaged or bypassed, and which
of up to four “channels” it should be on. A Channel is like a preset within a block. Each block has up to four
channels, and each channel has fully independent parameters. For example, Channel A of a Drive block might
be a “clean boost”, Bcould be a “screamer” type with low gain and medium level, Ccould be that same screamer
“dimed”, while Dis a super-saturated fuzz. That’s four different sounds from just one block, and almost every
block has four channels! By combining different blocks and channels, Scenes offer an incredibly powerful way to
create sounds.
Scenes also offer a big advantage over presets in that when you change scenes, the Axe-Fx III doesn’t need to
reload an entire rig. Instead, it just instantly sets the blocks and channels as needed for the new scene. Reverb
and delay effects are easy to set up for “spillover” so tails can ring out. On the Axe-Fx III, scenes even have their
own names, which is especially helpful.
INTRO TO SCENES AND CHANNELS
IN 1 CMP 1
ADRV 1 AAMP 1 ACAB 1 ACHO 1 ADLY 1 AOUT 1
Here is our preset. The Input 1 block feeds a Compressor followed by a Drive, then into an Amp and Cab,
followed by Chorus and a little Delay, ending up at the Output 1 block.
SCENE 1 – “Clean”: For scene 1, the Drive and Delay blocks are bypassed. We dial in the Compressor, Amp,
Cab, and Chorus for a classic clean tone. Notice that the amp says “1A”. This means we are using Amp 1, set
to channel A. Let’s imagine it as the “ODS-100 Clean” model. We name the scene “Clean”.
SCENE 2 – “Crunch”: To create scene 2, we bypass the Compressor, Chorus and Delay and engage the Drive.
The Channel of the Amp block is changed from “A” to “B”, which we dial in as a “Euro Blue” model. Remember,
each channel has a totally independent set of settings, so we can dial in every amp parameter exactly as we
wish for this scene: Drive, Treble, Mid, Bass, Master, and many, many more. We dial in Channel “A” on the drive
block with a good “screamer” sound by selecting the “TS808 OD” type. Let’s name this scene “Crunch”.
SCENE 3 – “Lead”: Here’s our soaring lead. The Chorus is bypassed. We’ve changed the compressor to
Channel “B” and dialed it in for sustain. The amp is the same as the “Crunch” scene but Drive changes to “B”,
which we’ll make a “Fat Rat”. The Delay is on channel “B” dialed in with higher mix and feedback.
Learn more in “Scenes & Channels” on p. 42
DRV 1
ADLY 1 A
CMP 1
ACHO 1 ADLY 1 A
CHO 1
A
SCENES AND CHANNELS: A VISUAL EXAMPLE

10
1 INTRODUCTION
GRID EDITING: QUICK START
Learn more about the grid in Section 5. Meanwhile, here’s a very quick primer:
From the Home page, press LAYOUT (knob C) or ENTER to show the grid (the Edit page of the Layout
menu). Note that the “push” function of the main VALUE knob also serves as a shortcut to Layout.
Use the NAV buttons to move the cursor around the grid.
Turn the VALUE knob to cycle through the inventory of blocks. When you nd the
block you want, press ENTER to conrm. Press EXIT to cancel changes.
On the grid, “push” functions of the B, C, and Dknobs allow you to toggle a block’s Bypass state,
Delete a block, or create/remove a connector Cable between any two blocks in adjacent columns.
To save any changes, press STORE, ENTER, ENTER.
Block Name and Number Menu Pages (Tabs) I/O Meters
Block Type
Current
Parameter
Highlighted
Inactive Row
is dimmed
(NAV Up/Down
to change rows
)
Push Functions
(A—E)
Current
Parameter
Value Box
TunerCurrent Scene/Channel
Resets
this Block to
defaults
Bypass or
Engage this
block
Adds a Modifer
to the current
parameter
A yellow dot
shows Modifier
capability
Reveals the
Scene/Channel
Selector
BLOCK EDITING: QUICK START
Learn more about editing blocks in Section 5. Meanwhile, here’s a very quick primer:
On the grid, select the desired block and press EDIT to open its menu.
Use the PAGE buttons to navigate menu pages.
Many blocks have a TYPE page, which allows you to dial in classic settings instantly. Examples
include setting an amp to “USA Lead+”, a drive to “Face Fuzz”, or a reverb to “Large Spring”.
Use the A, B, C, D, and E knobs to edit on-screen parameters. From
any block’s Edit menu, press EXIT to return to the grid.
To save any changes, press STORE, ENTER, ENTER.
The stylized diagram below shows a typical edit menu page with annotations:

11
1 INTRODUCTION
In addition to providing audio and MIDI capabilities, connecting the
Axe-Fx III to a computer via USB allows you to use companion software
applications Fractal-Bot and Axe-Edit III.
Fractal-Bot is a small, simple program used to update the Axe-FxIII when
new rmware is released. It includes tools to backup or restore presets
and other custom settings, and can be used to install downloaded presets
or cabs.
Axe-Edit III is a full-featured software editor/librarian for the Axe-Fx III.
If you are comfortable with audio software or plug-ins, you will probably
enjoy using this program to work with the Axe-Fx III. While every function
of the Axe-Fx III can be operated from the unit’s front panel, Axe-Edit III brings a new level of convenience,
including some “power-user” routines that aren’t possible on the unit itself (e.g. Block Library and Scene Swap). It
also provides great tools for managing presets and banks, installing Cab Packs, and more.
You can download Axe-Edit III for Mac or Windows at http://www.fractalaudio.com.
FRACTAL-BOT & AXE-EDIT III
USB OVERVIEW
USB provides the Axe-Fx III with a host of great features. A 16-core, 500 MHz microcontroller provides 16
channels of flawless USB audio (8 in, 8 out) allowing the Axe-Fx III to be the center of your music workstation. The
audiophile-grade signal path components and converters provide better audio performance than most dedicated
USB audio interfaces. With 8×8 channels you can record multiple tracks of processed audio and DI signals,
monitor backing tracks, audition stereo re-amps in real-time, and more. A USB audio sound source can even be
placed on the grid for processing via the dedicated USB Input block.
USB is also required to use Axe-Edit and Fractal-Bot, the companion software products for the Axe-Fx III.
See Section 3: USB, on p. 18 for full details on the USB capabilities of the Axe-Fx III.

12
1 INTRODUCTION
Each of the two local Expression jacks of the Axe-FxIII allows you to connect one expression pedal or one
external footswitch. A connected pedal or switch can change effect parameters, or operate any of a long list of
global functions. Many factory presets are ready for use with one or more pedals.
TO CONNECT & CALIBRATE AN EXPRESSION PEDAL...
Expression pedals for the Axe-Fx III should have a linear resistance taper and must have a maximum resistance in
the range of 10–100kΩ. Expression pedals must be used with Tip-Ring-Sleeve (TRS) cables!
Connect your expression pedal to the desired jack with a TRS cable, then follow these instructions to calibrate:
Page to the Pedal page of the I/O menu under SETUP.
Ensure that Pedal Type is set to “CONTINUOUS”.
Navigate to the Calibrate Pedal function and press the ENTER button.
Follow the on-screen instructions to perform calibration.
TO CONNECT A SWITCH...
Follow the instructions above and simply set Type to “MOMENTARY” or “LATCHING” based on what you’re
connecting. (If you’re not sure, check with the switch manufacturer or try both settings to see which works
better.) Calibration is not required. You can use a normal guitar cable (TS) for switches.
THE EV-SERIES EXPRESSION PEDAL
The Fractal Audio Systems EV series of expression pedals are perfect for use with all Fractal Audio Systems
products. The EV-1 is a full-sized expression pedal. The EV-2 is a compact version. These pedals feature rugged
cast metal casings, a high quality 100kΩ potentiometer, and built-in analog volume pedal capability. Learn more
at https://www.fractalaudio.com.
CONNECTING PEDALS DIRECTLY
WHAT IS TRS? “TRS” stands for TIP-RING-SLEEVE and describes the
conguration of a 1/4" end plug or jack with three connectors. Normal guitar
cables are “TS” (Tip-Sleeve) since they lack the ring required for a third contact.
Expression pedals require TRS cables because full control voltage is transmitted to
them on one contact (the tip), while less than full voltage is returned to on another
(the ring) so the host device is able to sense and utilize the pedal position. The
third contact (sleeve) is connected to ground.
This section is for pedals connected to the local “Expression” jacks of the Axe-Fx III.
For pedals connected to a connected via MIDI or an FC Series controller, see the next page.

13
1 INTRODUCTION
GLOBAL VOLUME PEDAL SETUP
The Axe-Fx III allows remote control of the volume at all input and output blocks. If you have a second pedal, or if
you want to use one pedal for global volume instead of expression, follow the instructions below to set it up.
Adjusting Input volume affects gain/distortion and the behavior of level-dependent blocks like the compressor or
gate. Adjusting Output volume does not affect level-dependent blocks, but scales everything you hear including
effect tails. For all other volume options, you can insert a Volume block anywhere in your preset and control it
with a pedal as described in “Modiers” on p. 99.
First ensure that you have an expression pedal connected and ready to use. Then:
1. From the Home page, open SETUP: MIDI/Remote: Other.
2. NAV to the entry for the volume you want to control: Input 1, 2, 3, or 4, or Output 1, 2, 3, or 4.
3. Turn the Aor VALUE knob to assign a controller to your selected entry.
Select “PEDAL 1 or PEDAL 2” for the onboard Expression jacks
Select “FC__ PEDAL __” for a pedal connected via an FC series controller.
Select a number if your pedal is transmitting a MIDI CC#. For example, by default, the Fractal Audio
Systems MFC-101 transmits CC#11 for XP1 and CC#16 for XP2.
4. Test and EXIT when nished.
Learn about other options for global remote control in “The MIDI/Remote Menu” on p. 117.
GLOBAL EXPRESSION PEDAL SETUP
Once you have connected and calibrated a pedal according to the instructions on the previous page, or if you are
using a MIDI or FC-connected pedal, you can globally assign it as “External 1”. Numerous factory presets are set
up to respond to this global controller.
To set up “External 1” to respond to your connected pedal:
1. From the Home page, open SETUP: MIDI/Remote: External.
2. NAV to External 1.
3. Turn the Aor VALUE knob to assign the external controller to your selected entry:
Select “PEDAL 1” or “PEDAL 2” for the onboard Expression jacks.
Select “FC__ PEDAL __” for a pedal connected via an FC series controller.
Select a number if your pedal is transmitting a MIDI CC#. For example, by default, the Fractal Audio
Systems MFC-101 transmits CC#11 for XP1 and CC#16 for XP2.
4. EXIT when nished. Most of the rst 100 Factory Presets contain a Wah block you can test with.
Learn more about assigning pedals and switches to sound parameters in Section 9: Modiers.

14
2 HARDWARE OVERVIEW
THE FRONT PANEL
qChassis — The Axe-Fx III is housed in a rugged 3U steel chassis with a sleek anodized aluminum front panel.
A pair of high-strength handles make the unit easy to manage.
w
Power Switch — The front panel power switch turns the Axe-Fx III on or off and features pop suppression.
e
Color Display — A large 800×480 color display features 30x the resolution of our previous models. This new
display is optimized for readability in the most difcult conditions, with greater brightness and contrast than
“off-the-shelf” displays.
A, B, C, D, and E knobs — Five endless rotary push-encoders perform different functions depending on which
page is shown in the display. Most Edit pages show one or two rows of ve knobs for easy 1:1 operation. On
vertical menu pages, knob functions are indicated on-screen by labels (“A” through “E”).
The Push functions of the ve knobs are shown on-screen as buttons.

HOME Button — This button shows the Home menu—a convenient starting point for loading or editing
presets, and accessing the tuner, controllers, metering, and global setup options.

EDIT Button — This button opens the Edit menu for a block selected on the Layout grid. You can also tap
EDIT sequentially to step through all blocks in the current preset (top-to-bottom, left-to-right). See “Presets”
on p. 32 for more on editing presets.
STORE Button — Enters the Store menu where you can save presets and enter names for presets or scenes.
See “Saving Changes” on p. 40.
TEMPO Button — Tap this button once to show the Tempo page of the Controllers menu, or tap 2+ times to
set a new tempo. The tempo can also be entered using MIDI or a remote switch. After setting the tempo,
press EXIT to go back to back to wherever you were. See “Tempo” on p. 108.
2 HARDWARE OVERVIEW