Fractal Axe-Fx II XL User manual

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Legal Notices
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
WARNING: To reduce the risk of fire or electric shock, do not expose
this appliance to rain or moisture.
CAUTION: To reduce the risk of fire or electric shock, do not remove
screws. There are no user serviceable parts inside. Refer servicing to
qualified service personnel.
1. 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
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:
EN60065
(IEC 60065)
Safety requirement for mains operated electronic and related apparatus for household and
similar use.
EN 55103-1
Product family standard for audio, video, audio-visual, and entertainment lighting control
apparatus for professional use. Part 1: Emission.
EN 55103-2
Product family standard for audio, video, audio-visual, and entertainment lighting control
apparatus for professional use. Part 2: Immunity.
with reference to regulations in following directives: 73/23/EEC, 89/336/EEC.
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

TABLE OF CONTENTS
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Table of Contents
Foreword ..........................................................................................iii
Table of Contents..............................................................................iv
What’s New .......................................................................................1
1Introduction ..................................................................................4
1.1 What is the Axe FX II? ..............................................................................4
1.2 The Inventory/Grid Concept.....................................................................6
1.3 Connectivity and More.............................................................................7
2Overview ......................................................................................8
2.1 The Front Panel........................................................................................8
2.2 The Rear Panel .......................................................................................10
2.3 Computer Integration ............................................................................12
Minimum Requirements ......................................................................................................................122.3.1
Software Installation............................................................................................................................122.3.2
Capabilities...........................................................................................................................................132.3.3
Fractal-Bot ...........................................................................................................................................14
2.3.4
Axe-Edit................................................................................................................................................142.3.5
3Connections ................................................................................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.................................................................................183.4.1
Axe-Fx II into Studio Monitors .............................................................................................................183.4.2
Axe-Fx II with Power Amp and Guitar Speakers ..................................................................................19
3.4.3
Axe-Fx II Effects Loop...........................................................................................................................203.4.4
Axe-Fx II Digital Audio Interconnection ...............................................................................................203.4.5
Axe-Fx II Four Cable Method (“4CM”) .................................................................................................213.4.6
Direct to FOH plus Real Amps on Stage ...............................................................................................223.4.7
Axe-Fx II as Effects Processor Only (with Guitar Amps) .......................................................................233.4.8
Axe-Fx II as a Computer Audio Interface .............................................................................................243.4.9
Axe-Fx II XL/XL+ and MFC-101 Mark III ................................................................................................253.4.10

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Axe-Fx II XL/XL+ & MFC-101 Mark III: One Possible “Big Rig”..............................................................263.4.11
4Basic Operation and Editing.........................................................27
4.1 Presets ...................................................................................................27
4.2 The Grid .................................................................................................28
Inserting and Removing Blocks ............................................................................................................284.2.1
Shunts ..................................................................................................................................................294.2.2
Connector Cables.................................................................................................................................304.2.3
Moving Blocks on the Grid...................................................................................................................324.2.4
Example Presets on the Grid................................................................................................................334.2.5
4.3 Editing Sounds .......................................................................................35
Quick Control .......................................................................................................................................364.3.1
4.4 X/Y Switching.........................................................................................36
X/Y Quick Jump ....................................................................................................................................374.4.1
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 ..............................................................................................384.7.1
5Effects Guide ...............................................................................39
5.1 Amplifier [AMP] .....................................................................................39
Amp Type.............................................................................................................................................395.1.1
Amp Preamp Page (“PRE”)...................................................................................................................405.1.2
Amp Power Amp Page (“PWR”)...........................................................................................................415.1.3
Amp Speaker Page (“SPKR”) ................................................................................................................425.1.4
Power Amp Dynamics Page (“PWR DYN”) ...........................................................................................435.1.5
Amp Preamp Dynamics Page (“PRE DYN”) ..........................................................................................445.1.6
Amp Dynamic EQ Page (“DYNEQ”) ......................................................................................................455.1.7
Amp Advanced Page (“ADV”) ..............................................................................................................465.1.8
5.2 Cabinet [CAB].........................................................................................50
User Cabs .............................................................................................................................................535.2.1
5.3 Chorus [CHO] .........................................................................................54
5.4 Compressor [CMP] .................................................................................56
5.5 Crossover [XVR] .....................................................................................59
5.6 Delay [DLY] ............................................................................................60
Mono Delay..........................................................................................................................................615.6.1
Stereo Delay.........................................................................................................................................625.6.2

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Dual Delay............................................................................................................................................635.6.3
Ping-Pong Delay ...................................................................................................................................645.6.4
Sweep Delay.........................................................................................................................................645.6.5
Reverse Delay ......................................................................................................................................645.6.6
Tape Delay ...........................................................................................................................................655.6.7
Delay Common Parameters .................................................................................................................665.6.8
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....................................................................................................................................875.20.1
Plex Delay.............................................................................................................................................895.20.2
Plex Detune..........................................................................................................................................905.20.3
Plex Shift ..............................................................................................................................................915.20.4
Band Delay ...........................................................................................................................................915.20.5
Quad Series Delay ................................................................................................................................925.20.6
Ten-Tap Delay ......................................................................................................................................935.20.7
Rhythm Tap Delay................................................................................................................................945.20.8
Diffusor ................................................................................................................................................955.20.9
Quad Tape Delay..............................................................................................................................955.20.10
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 ...............................................................................................................................................1025.24.1
Fixed Harmony...................................................................................................................................1035.24.2
Intelligent Harmony ...........................................................................................................................1045.24.3
Classic Whammy ................................................................................................................................1065.24.4
Octave Divider ...................................................................................................................................1065.24.5
Crystals...............................................................................................................................................1075.24.6
Advanced Whammy...........................................................................................................................1085.24.7
Arpeggiator ........................................................................................................................................1095.24.8
Custom Shifter ...................................................................................................................................1105.24.9
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................................................................................................................................1275.35.1
5.36 Output Mixer ....................................................................................128
5.37 Common Mix Parameters..................................................................128
6Global Blocks.............................................................................131
6.1 Introduction.........................................................................................131
6.2 Using Global Blocks..............................................................................131
Saving to a Global Block.....................................................................................................................1326.2.1
Loading and Linking a Global Block....................................................................................................1336.2.2
Loading Global Blocks without Linking ..............................................................................................1346.2.3
Unlinking Preset and Global Blocks ...................................................................................................1356.2.4
Backing Up/Sharing Presets Containing Global Blocks ......................................................................1356.2.5
7Modifiers & Controllers .............................................................136

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7.1 Introduction.........................................................................................136
7.2 Creating a Modifier ..............................................................................136
Transformations.................................................................................................................................1387.2.1
Scale and Offset .................................................................................................................................1397.2.2
Damping.............................................................................................................................................1407.2.3
Auto Engage.......................................................................................................................................1407.2.4
Program Change Reset ......................................................................................................................1417.2.5
7.3 Control Sources....................................................................................141
LFO1 & 2 ............................................................................................................................................1417.3.1
ADSR 1 & 2 .........................................................................................................................................1427.3.2
Sequencer ..........................................................................................................................................1437.3.3
Envelope Follower .............................................................................................................................1437.3.4
Pitch Detector ....................................................................................................................................1447.3.5
Manual Knobs ....................................................................................................................................1447.3.6
Scene Controllers...............................................................................................................................1447.3.7
External Controllers ...........................................................................................................................1447.3.8
8Global Parameters.....................................................................145
8.1 Configuration Parameters ....................................................................145
8.2 Output Parameters ..............................................................................146
8.3 Custom Scales ......................................................................................147
9Input/Output Parameters..........................................................148
9.1Input 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 ....................................................................................................16214.1.1
Firmware Compatibility .....................................................................................................................16214.1.2
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...........................................................................................................................................17416.7.1
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 .......................................................................................................17916.12.1
Using an Expression Pedal on an MFC-101 ....................................................................................18016.12.2
16.13 Setting Up Spillover ........................................................................181
Within a Single Preset....................................................................................................................18116.13.1
Across Different Presets.................................................................................................................18116.13.2
16.14 Using Send and Return ...................................................................182
Creating Feedback Loops ..............................................................................................................18216.14.1
Extending the Length of Effect Chains ...........................................................................................18316.14.2
16.15 Scenes ............................................................................................184
Selecting Scenes.............................................................................................................................18516.15.1
SETTING UP SCENES.......................................................................................................................18516.15.2
SAVING SCENES..............................................................................................................................18516.15.3
SPILLOVER IN SCENES ....................................................................................................................18616.15.4
SCENES AND MIDI ..........................................................................................................................18616.15.5
MFC-101 Scene Features ...............................................................................................................18716.15.6
Table of CC# Values for Scene Select .............................................................................................18716.15.7
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

WHAT’S NEW
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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.

WHAT’S NEW
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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 on-
screen 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 3rd-
party 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.

WHAT’S NEW
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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 Axe-
Fx 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.

INTRODUCTION
4 Doc Q7.0
1Introduction
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

INTRODUCTION
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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.

INTRODUCTION
6 Doc Q7.0
The Inventory/Grid Concept1.2
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.

INTRODUCTION
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The subject of creating and modifying presets on the grid is covered in detail in section 4: Basic Operation and
Editing (p.27). The inventory of blocks available to every Axe-Fx II preset is listed below:
Amp (×2)
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)
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 More1.3
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).

OVERVIEW
8 Doc Q7.0
2Overview
Review the following to familiarize yourself with the hardware features of the Axe-Fx II.
The Front Panel2.1
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).