Fractal AXE-FX II User manual

Owner’s Manual
Also mostly suitable for the Axe-Fx II XL until an update is available in April 2014

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Legal Notices
Fractal Audio Systems Axe-Fx II Owner’s Manual. Contents Copyright © 2011 -2012. All Rights Reserved.
No part of this publication may be reproduced in any form without the permission of Fractal Audio Systems.
Fractal Audio Systems, Axe-Fx, Axe-Fx II, Axe-Fx II Mark II, G2 Modeling Technology (“G2”), Humbuster, Multipoint
Iterative Matching and Impedance Correction (“MIMIC”), Virtual Vacuum Tube (“VVT”) are trademarks of Fractal
Audio Systems. Manufacturer names and product names mentioned herein are trademarks or registered
trademarks of their respective owners, which are in no way associated with or affiliated with Fractal Audio
Systems. The names are used only to illustrate sonic and performance characteristics.
Important Safety Instructions
WARNING: To reduce the risk of fire or electric shock, do not expose
this appliance to rain or moisture.
CAUTION: To reduce the risk of fire or electric shock, do not remove
screws. There are no user serviceable parts inside. Refer servicing to
qualified service personnel.
1. 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 product:
Axe-Fx II Digital Guitar Preamplifier and Effects Processor
That is covered by this certificate, and marked with CE label, conforms to following standards:
EN60065
(IEC 60065)
Safety requirement for mains operated electronic and related apparatus for household and
similar use.
EN 55103-1
Product family standard for audio, video, audio-visual, and entertainment lighting control
apparatus for professional use. Part 1: Emission.
EN 55103-2
Product family standard for audio, video, audio-visual, and entertainment lighting control
apparatus for professional use. Part 2: Immunity.
with reference to regulations in following directives: 73/23/EEC, 89/336/EEC.
September 2013
Clifford Chase, President
Fractal Audio Systems
EMC / EMI
This equipment has been tested and found to comply with the limits for a Class B Digital device, pursuant to part 15 of the FCC
rules. These limits are designed to provide reasonable protection against harmful interference in residential installations. This
equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the
instructions, may cause harmful interference to radio communications. There is no guarantee that interference will not occur in
a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be
determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of
the following measures:
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and receiver.
Connect the equipment to an outlet on a circuit different from that to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician for help.
About the Author
Matt Picone is a music technology product specialist, sound designer, creative director, and musician with over 25 years of
experience spanning guitars, amps, effects, synthesizers, software, and beyond. He has worked with greats including Dweezil
Zappa, Adrian Belew, Steve Vai, John Petrucci, the Edge, Peter Frampton, Neal Schon, King’s X, Scott Appleton (Def
Leppard/Rush/etc.) and more. This work is based extensively on the original Axe-Fx manual by Fractal Audio founder and Axe-Fx
creator Cliff Chase.
Many thanks to our team of awesome beta-testers, preset creators, copy-editors and proofreaders, especially Cooper Carter,
Ian Chesal, Alexander Van Engelen, and Friedlieb Jung-Merkelbach.
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 the closest competitor). For the
player, this means better sound, smarter features, and improved performance.
We think that a time traveler from that date back in 2006 would be quite pleased with how
things turned out. We are, and we hope you will be too. And now, on to the show…
—Fractal Audio Systems, May 2011

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
My Head Hertz… ....................................................................................................................................7
2Overview ......................................................................................8
2.1 The Front Panel........................................................................................8
2.2 The Rear Panel .......................................................................................10
2.3 Computer Integration ............................................................................12
Minimum Requirements ......................................................................................................................12
Software Installation............................................................................................................................12
Capabilities...........................................................................................................................................13
3Connections ................................................................................15
3.1 Setting Levels .........................................................................................15
3.2 The PEDAL Jack ......................................................................................16
3.3 System Parameters ................................................................................16
3.4 Connection Diagrams .............................................................................17
Axe-Fx II into Self-Powered Full-Range Speakers.................................................................................18
Axe-Fx II into Studio Monitors .............................................................................................................18
Axe-Fx II with Power Amp and Guitar Speakers ..................................................................................19
Axe-Fx II Effects Loop...........................................................................................................................20
Axe-Fx II Digital Audio Interconnection ...............................................................................................20
Axe-Fx II Four Cable Method (“4CM”) .................................................................................................21
Direct to FOH plus Real Amps on Stage ...............................................................................................22
Axe-Fx II as Effects Processor Only (with Guitar Amps).......................................................................23
Axe-Fx II as a Computer Audio Interface .............................................................................................24
Axe-Fx II and MFC-101 .........................................................................................................................25
Axe-Fx II: One Possible “Big Rig”..........................................................................................................26

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4Basic Operation and Editing.........................................................27
4.1 Presets ...................................................................................................27
4.2 The Grid .................................................................................................28
Inserting and Removing Blocks ............................................................................................................28
Shunts ..................................................................................................................................................29
Connector Cables.................................................................................................................................30
Moving Blocks on the Grid...................................................................................................................32
Example Presets on the Grid................................................................................................................33
4.3 Editing Sounds .......................................................................................35
Quick Control .......................................................................................................................................36
4.4 X/Y Switching.........................................................................................36
X/Y Quick Jump ....................................................................................................................................37
4.5 Bypassing a Block...................................................................................37
4.6 Loading Effects from another Preset ......................................................37
4.7 Saving Changes ......................................................................................38
Swapping the Locations of Two Presets ..............................................................................................38
5Effects Guide ...............................................................................39
5.1 Amplifier [AMP] .....................................................................................39
Basic Amp Parameters (TYPE, PRE, PWR, EQ Pages) ...........................................................................40
Amp Speaker Parameters ....................................................................................................................42
Amp Dynamics Parameters..................................................................................................................43
Advanced Amp Parameters .................................................................................................................44
5.2 Cabinet [CAB].........................................................................................48
User Cabs .............................................................................................................................................50
5.3 Chorus [CHO] .........................................................................................51
5.4 Compressor [CMP] .................................................................................54
5.5 Crossover [XVR] .....................................................................................56
5.6 Delay [DLY] ............................................................................................57
Mono Delay..........................................................................................................................................58
Stereo Delay.........................................................................................................................................59
Dual Delay............................................................................................................................................60
Ping-Pong Delay ...................................................................................................................................61
Sweep Delay.........................................................................................................................................61
Reverse Delay ......................................................................................................................................61
Tape Delay ...........................................................................................................................................62

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Delay Common Parameters .................................................................................................................63
5.7 Drive [DRV] ............................................................................................65
5.8 Effects Loop [FXL]...................................................................................67
5.9 Enhancer [ENH]......................................................................................69
5.10 Feedback Send [SND] & Return [RTN]..................................................69
5.11 Filter [FLT] ...........................................................................................70
5.12 Flanger [FLG] .......................................................................................71
5.13 Formant [FRM]....................................................................................73
5.14 Gate/Expander [GTE]...........................................................................74
5.15 Graphic Equalizer [GEQ] ......................................................................75
5.16 Looper [LPR]........................................................................................75
5.17 Megatap Delay [MGT] .........................................................................77
5.18 Mixer [MIX].........................................................................................78
5.19 Multiband Compressor [MBC] .............................................................79
5.20 Multi Delay [MTD]...............................................................................80
Quad Tap Delay....................................................................................................................................82
Plex Delay.............................................................................................................................................83
Plex Detune..........................................................................................................................................84
Plex Shift ..............................................................................................................................................85
Band Delay ...........................................................................................................................................85
Quad Series Delay ................................................................................................................................86
Ten-Tap Delay ......................................................................................................................................86
Rhythm Tap Delay................................................................................................................................87
Diffusor ................................................................................................................................................88
Quad Tape Delay..............................................................................................................................89
5.21 Tremolo/Panner [PAN]........................................................................89
5.22 Parametric EQ [PEQ]............................................................................90
5.23 Phaser [PHA] .......................................................................................91
5.24 Pitch Shifter [PIT] ................................................................................93
Detune .................................................................................................................................................95
Fixed Harmony.....................................................................................................................................97
Intelligent Harmony .............................................................................................................................97
Classic Whammy ................................................................................................................................100

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Octave Divider ...................................................................................................................................100
Crystals...............................................................................................................................................101
Advanced Whammy...........................................................................................................................102
Arpeggiator ........................................................................................................................................103
Custom Shifter ...................................................................................................................................104
5.25 Quad Chorus [QCH] ...........................................................................105
5.26 Resonator [RES].................................................................................107
5.27 Reverb [REV] .....................................................................................108
5.28 Ring Modulator [RNG].......................................................................111
5.29 Rotary Speaker [ROT] ........................................................................112
5.30 Synth [SYN] .......................................................................................113
5.31 Tone Matching [TMA]........................................................................114
5.32 Vocoder [VOC]...................................................................................115
5.33 Volume/Pan [VOL] ............................................................................116
5.34 Wahwah [WAH] ................................................................................116
5.35 Input Noise Gate ...............................................................................118
Input Impedance................................................................................................................................118
5.36 Output Mixer ....................................................................................119
5.37 Common Mix Parameters..................................................................120
6Global Blocks.............................................................................122
6.1 Introduction.........................................................................................122
6.2 Using Global Blocks..............................................................................122
Saving to a Global Block.....................................................................................................................123
Loading and Linking a Global Block....................................................................................................124
Loading Global Blocks without Linking ..............................................................................................124
Unlinking Preset and Global Blocks ...................................................................................................125
Backing Up/Sharing Presets Containing Global Blocks ......................................................................126
7Modifiers & Controllers .............................................................127
7.1 Introduction.........................................................................................127
7.2 Creating a Modifier ..............................................................................127
Transformations.................................................................................................................................129
Scale and Offset .................................................................................................................................130

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Damping.............................................................................................................................................131
Auto Engage.......................................................................................................................................131
Program Change Reset ......................................................................................................................131
7.3 Control Sources....................................................................................132
LFO1 & 2 ............................................................................................................................................132
ADSR 1 & 2 .........................................................................................................................................133
Sequencer ..........................................................................................................................................133
Envelope Follower .............................................................................................................................134
Pitch Detector ....................................................................................................................................134
Manual Knobs ....................................................................................................................................135
External Controllers ...........................................................................................................................135
Modifier Power!.................................................................................................................................180
8Global Parameters.....................................................................136
8.1 Configuration Parameters ....................................................................136
8.2 Output Parameters ..............................................................................137
8.3 Custom Scales ......................................................................................137
9Input/Output Parameters..........................................................138
9.1 Input Parameters .................................................................................138
9.2 Audio Parameters ................................................................................138
9.3 MIDI Parameters..................................................................................140
9.4 Control Parameters..............................................................................142
9.5 Pedal Parameters.................................................................................145
9.6 X/Y Quick-Jump Assign.........................................................................145
10 Utilities ...................................................................................146
10.1 LCD Contrast......................................................................................146
10.2 Preset Utilities...................................................................................146
10.3 Status Meters....................................................................................146
10.4 Reset System.....................................................................................146
10.5 IR Capture .........................................................................................147
10.6 Firmware...........................................................................................148
11 Tuner ......................................................................................149

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12 Tempo ....................................................................................150
12.1 Setting the Tempo.............................................................................150
12.2 Synchronizing Sound Parameters ......................................................150
12.3 Tempo to Use ....................................................................................151
12.4 Auto Delay ........................................................................................151
12.5 Metronome.......................................................................................151
13 Backing Up and Restoring........................................................152
13.1 MIDI/SysEx Backup and Restore........................................................152
Dumping to a computer.....................................................................................................................152
Restoring from a Computer ...............................................................................................................153
13.2 Onboard ROM Backup and Restore ...................................................153
13.3 Machine-to-Machine Transfers..........................................................154
14 Firmware Updates...................................................................155
14.1 Firmware...........................................................................................155
15 Troubleshooting......................................................................156
16 Appendix ................................................................................158
16.1 Table of Amp Types ...........................................................................158
16.2 Table of Cab Types ............................................................................161
16.3 Loading User Cab IRs .........................................................................162
16.4 Shortcuts Overview ...........................................................................163
16.5 60-Second Edit Guide ........................................................................164
16.6 Understanding Preset Size Limits.......................................................165
16.7 Signal Flow, Global, and I/O Parameters ...........................................165
16.8 LFO Waveforms, Duty, and Phase......................................................166
LFO Phase...........................................................................................................................................166
16.9 Tempo Cross Reference .....................................................................167
16.10 Mono and Stereo............................................................................168
16.11 Mixology.........................................................................................169

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16.12 Humbuster™ Technology ................................................................170
16.13 Setting up a Wah Pedal...................................................................171
Using the Onboard Pedal Jack .......................................................................................................171
Using an Expression Pedal on an MFC-101 ....................................................................................172
16.14 Setting Up Spillover ........................................................................173
Within a Single Preset....................................................................................................................173
Across Different Presets.................................................................................................................173
16.15 Using Send and Return ...................................................................174
Creating Feedback Loops ..............................................................................................................174
Extending the Length of Effect Chains ...........................................................................................175
16.16 Scenes ............................................................................................175
Selecting Scenes.............................................................................................................................177
SETTING UP SCENES.......................................................................................................................177
SAVING SCENES..............................................................................................................................177
SPILLOVER IN SCENES ....................................................................................................................178
SCENES AND MIDI ..........................................................................................................................178
MFC-101 Scene Features ...............................................................................................................179
Table of CC# Values for Scene Select .............................................................................................179
16.17 Glossary & Resources .....................................................................180
16.18 Axe-Fx II Bank & Preset Numbers Table ..........................................184
16.19 Factory Default Settings..................................................................185
17 Specifications..........................................................................187
17.1 Midi Implementation Chart ...............................................................188
Warranty .......................................................................................189

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 Axe-Fx II unveils new state-of-the-art algorithms and an innovative array of great
hardware and software features and improvements. This all-in-one preamp/effects processor stunningly recreates
great guitar signal chains—stompboxes, amps, cabs, mics, studio effects, and more—with unprecedented power,
flexibility, and control. 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 new state-of-the-art algorithms required 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 twice 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.
G2 Amp Modeling™ with Virtual Vacuum Tube™Technology and MIMIC™
All this power would be useless without algorithms to take advantage of it. Years of research have yielded what we
call G2 Amp Modeling Technology, comprising major breakthroughs in both preamp and power amp modeling.
First, we created our new Virtual Vacuum Tube technology, or VVT. VVT is a complete departure from the static
waveshaping technology used by other products. It is a digital replica of a vacuum tube, complete with time,
frequency, and level dependencies. This creates a level of dynamic realism other products just can't match.
Next, we rewrote the book on power amp modeling. G2 models the entire power amp, including the phase
inverter, power tubes, output transformer, power transformer, choke, filter caps, and more. The results are
amazing: tight bass, powerful midrange, silky highs, plus highly expressive touch sensitivity. In addition, the Amp
block now includes an integrated graphic equalizer for additional tone-shaping without extra blocks.
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. Firmware Version 10.0 introduced our revolutionary Multi-point Iterative Matching and
Impedance Correction (MIMIC™) technology, a significant advancement in amplifier simulation unmatched by any
other product at any price point. For more on this, see the white paper on the support section of our web site.
Improved Speaker Simulation, On-board IR Capture and UltraRes™
The Axe-Fx II cabinet simulator supports both High-Res (2048) and UltraRes™formats, with 130+ factory Impulse
Responses (IRs) —including creations by Fractal Audio Systems, RedWirez, OwnHammer, Kalthallen, Jay Mitchell,
James Santiago, and John Petrucci of Dream Theater —plus 100 "USER CAB" memory locations and the built-in
tools required to create your own Axe-Fx II User Cab 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.

WHAT’S NEW
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Tone Matching to “Clone” any Tone
The Axe-Fx II features a new 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 mini-manual is provided.
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. Ten block types—Amp, Cab, Chorus, Drive, Delay, Flanger, Phaser, Pitch, Reverb, and
Wahwah—are now equipped with two fully independent parameter sets called “X” and “Y.” The X/Y switching
feature allows one block to have all of its settings switched at the touch of a button (during editing) or via MIDI
remote control (during performance). The X and Y buttons also double as user-definable “quick jump” keys that
can be set up to open the EDIT menus of any two blocks without going through the grid. A built in FLASH ROM
enables onboard backups of preset banks and system settings.
Axe-Fx II/Computer Integration with Onboard USB
The new onboard Audio Class 2.0 compliant USB interface provides 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 like the onboard XLR outputs. The ¼" unbalanced outputs feature our new
Humbuster™ technology, which senses and subtracts the ground noise of equipment connected with a simple
stereo-to-mono cable. This can provide up to 20 dB reduction in ground noise without resorting to dangerous
"cheater plugs" or expensive isolation transformers.
We designed the Axe-Fx II with the “Four-Cable Method” in mind. Special analog processing keeps the noise floor
even lower on 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. 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.

WHAT’S NEW
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Improved Digital I/O
In addition to its USB interface, the Axe-Fx II sports SPDIF and AES input and output connectors. 7-pin MIDI In and a
selectable MIDI Out/Thru jack are provided for interconnection with other MIDI-controllable equipment.
Built for MFC-101
The Axe-Fx II features an all-new dedicated control port for connecting an MFC-101 MIDI Foot. Readily available
CAT5 (Ethernet) cable provides bi-directional communications over lengths of 100 meters or more, PLUS phantom
power from the built-in power supply of the Axe-Fx II. (Traditional 5 or 7-pin MIDI and power are still supported for
Luddites and 3rd-party pedalboards.)
New FX Processing Features and Enhancements
The effect processing capabilities of the Axe-Fx II are also greatly enhanced.
First, we've made it easier to dial in “all-time favorites” on the Chorus, Delay, Flanger, and Phaser effects, with a
TYPE control that instantly makes all other required settings for great sound in seconds. These include tape delay
models, analog "bucket brigade" effects, “script" and "block" logo phasers, 'vibe, and many more. The sound and
features of these effects have also been upgraded to provide extremely authentic representations of the specific
characteristics of classic originals.
Many of the effects and algorithms have also been updated and enhanced. A dedicated 60-second looper block is
now included. The Delay and Reverb blocks now feature many improvements including integrated parametric
equalizers. Chorus, Flanger, and Wahwah modeling has been improved and also now includes optional built-in
nonlinearity "circuit overdrive" functions. The Phaser has been expanded. Graphic Equalizers (including Global) are
10-band. There are many new modifier slots. Compressors now use millisecond values for attack and release
times. Tempo parameters now offer 64 different rhythmic values. Filters allow far greater resonance. There are
simply too many of such improvements to list!
Virtually Allow Shared Sound Settings Across Multiple Presets
Those familiar with “Global Amps” from previous Axe-Fx products will appreciate Global Blocks. The new system
has been improved and expanded to every block type in the inventory. Those new to Axe-Fx products will
appreciate how this feature allows centralized control of a preset collection. Save any “normal” block to a separate
and independent global memory area then load this entry across multiple presets with a "link" to keep it instantly
and seamlessly synchronized to the master. You can update the master from any linked instance as desired. Should
you choose to remove a link, this leaves both the global and the normal entries fully intact and able to be edited
independently of one another again.
Improvements and Enhancements, plus More to Come...
Aside from the areas mentioned in this overview, there are many more exciting updates, enhancements,
improvements, and additions in the Axe-Fx II. And while the Axe-Fx Standard and Axe-Fx Ultra essentially reached
maturity in terms of their capacity for further development, the Axe-Fx II is well equipped for a future of free
upgrades and updates in the tradition that established our commitment to product evolution.

INTRODUCTION
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1Introduction
1.1 What is the Axe FX II?
The Axe-Fx II is an advanced digital preamp and effects processor for guitar, bass, and other musical instruments. It
is the highly anticipated sequel to the Axe-Fx Standard and Axe-Fx Ultra. It replaces amps, speakers, microphones,
stompboxes, studio processors, and more. It is an all-in-one, end-to-end great tone solution in a single black box.
Inside, a virtual environment allows you to “wire up” your dream rig. Choose from an inventory of hundreds of
classic and innovative components. Select and arrange things any way you like, limited only by the unit’s ample
CPU resources and your imagination. “Dial in” your signature sound using basic controls, or go deeper with
advanced parameters, then save presets for instant recall when playing, performing, or recording.
The sound is of uncompromising quality, due both to extremely high standards of hardware design and to our
advanced proprietary software algorithms. The Axe-Fx II, like its predecessors, asserts that digital has reclaimed its
birthright as the superior solution for musical instrument processing. Words fall short. You only need to plug in and
play to realize that this is “the real deal.”
A Word on Modeling
You may have noticed that the Axe-Fx II is not typically described as a “modeler.” This is not to diminish its debt to
heritage; on the contrary, we’ve done thousands of hours of deep analysis of the greatest amps, cabs, and effects
of all time. In fact, amps and pedals, their vacuum tubes and other components, plus speaker cabs and many
effects, are painstakingly replicated to perform exactly like the originals. But while the unit includes emulations
based on specific product types, it goes well beyond simply presenting models—with their limited controls,
features, and sounds—to offer a do-it-yourself modeling platform. If it’s models you want, we can give them to
you, but why stop there?
The Axe-Fx II removes limits instead of recreating them. Take our Wahwah effect, for example. You might just plug
in and start cryin’, or you could tune the pedal sweep, tweak the resonance, overdrive the circuit, and tailor the
sound to your exact wishes. Try the Plexi. Dial it in just right. Then open 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 in fact has more capabilities like those of a typical modeler. Just as
our previous products allowed you to select, for instance, a “TYPE” of Amp, Cab, or Drive, now the Chorus, Delay,
Flanger, Phaser and other effects include a control to automatically dial in all-time favorites—settings like
“dimension chorus”, “tape delay”, “analog flanger”, “script 90 phaser”, and many more. Once you make a

INTRODUCTION
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selection, however, you can again go beyond the model. With deep recreations of the intricacies and interactions
behind great tone, we create not only a sample or profile but a multidimensional whole enchilada. Again, just plug
in and hear it for yourself.
To re-pose the original question then, what is the Axe-Fx II?
The Axe-Fx II is the new flagship processor from Fractal Audio, with far more power and many more capabilities
than the former heavyweight champion, Axe-Fx Ultra—twice the DSP in fact, allowing it to deliver far more
detailed amp modeling, plus numerous other upgrades. It contains our best-ever guitar amplifier simulation and
effect technology—state-of-the-art algorithms designed to sound and feel like the real thing. It is a fully routable,
fully programmable, real-time controllable, multi-effects processor offering the utmost in sound quality, with
unrivaled flexibility and control options. It is a 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 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 v14.00
1.2 The Inventory/Grid Concept
In the real world, we are limited by the equipment we own and by the fact that building a rig requires making
commitments. On the Axe-Fx II, these limitations are lifted, with the ability to tap a vast inventory of virtual amps,
cabs, effects, mixers, and more. You have the freedom to set them up, dial them in, save them as presets, and then
do it all again, as often as you like.
Axe-Fx II presets are created by selecting components—like amps, cabs, or effects—from an inventory, and placing
them as “blocks” into the slots of a 12×4 “grid.” As with their real-world components, blocks must be connected
together using “cables”—virtual ones in this case. Blocks in adjacent columns may be connected directly together,
with splits and merges as needed. Passive “shunts” carry signal through otherwise empty grid spaces.
Figure 1-1 –The Inventory/Grid Concept
(Note: Seven empty columns were removed from the illustration and are represented by •••)
The figure above presents a stylized example of an Axe-Fx II preset. The INPUT is routed through a SHUNT to feed a
“WAH” block. (The shunt has no effect on the sound and is shown only to introduce the concept of its use.) The
WAH block is connected to an “AMP” block (we might set its type to “Plexi Normal”), which in turn feeds a “CAB”
(one of the many “4x12” options, perhaps). This is routed to a reverb (“REV”) and then to the OUTPUT.
The size of a preset is limited only by the grid structure, block inventory, and total processing power or “CPU”.
You’ll be pleased to discover that there is enough CPU power to allow large and complex creations.

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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. 118) and an
Output Mixer (p. 119). 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.122) that
can be inserted and then kept synchronized across multiple presets.
Twenty-two different Modifiers & Controllers (p. 127) are provided to automate or remotely control various
parameters in any preset. These are LFO 1, LFO 2, ADSR 1, ADSR 2, Envelope, Pitch Detector, Sequencer, Manual
A/B/C/D, and External 1–12.
1.3 Connectivity and More
The grid and effects inventory may be the centerpiece of the Axe-Fx II, but it is the powerful connectivity and
companion features that allow the system to be so much to so many. The hardware itself is covered in Section 2:
Overview (p. 8), which also details the new USB features for Computer Integration (p. 12). Rig design is covered in
Section 3: Connections (p. 15), where many diagrams are included.
Configuration and connectivity on the Axe-Fx II are managed with a number of user-specifiable options, listed and
described in Section 8: Global Parameters (p. 136), and Section 9: Input/Output Parameters (p. 138). Meanwhile,
Section 10: Utilities (p. 146) can fill out your understanding of functions related to general use and maintenance.
Finally, Sections 11 through 14 cover the Tuner (p. 149) and Tempo (p.150) functions, plus the basics of Backing
Up and Restoring (p. 152) and Firmware Updates (p. 155).
My Head Hertz…
As even this brief introduction demonstrates, the Axe-Fx II contains an entire world of diverse possibilities. Only
the precise terminology of audio engineering allows comparably diverse communities of casual and professional
players, producers, engineers, and others to use and enjoy this powerful device. In case you want to familiarize
yourself with specific audio terms or come up to speed on other topics, the Appendix is filled with useful material,
including a Glossary (p. 175). It is followed by Specifications (p. 189) and your Warranty (p. 187).

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8 Doc v14.00
2Overview
The Axe-Fx II has a simple hardware interface with clearly labeled controls and jacks.
Review the following to familiarize yourself with the hardware features of the unit.
2.1 The Front Panel
Figure 2-1
1. The Axe-Fx II is housed in a powder-coated steel enclosure with an anodized aluminum faceplate.
Dual front handles allow easy rack mounting and removal.
2. The 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.