Fractal AXE-FX II User manual

AXE-FX II
Amp & Cab
Quick Reference Guide
for Axe-Edit
Amp and cab block parameters explained
Amp and cab descriptions
Amp speaker types matched with Axe-Fx cabs
CC assigments sorted by function & CC
Drive block descriptions
Amp and cab block diagrams
content compiled from the Axe-Fx II manual, Wiki and forum
suggestions, corrections, etc.: send a PM to JMA at the Fractal Audio forum
rmware v11.0 ~ Axe-Edit v3.0 ~ rev. August 30, 2013

INPUT DRIVE (was DRIVE) – In a typical amp this is called various names (Drive,
Volume, Gain, etc). It is the knob closest to the input jack. In many cases it has a
bright cap so the frequency response will be dependent on the knob position.
As the gain increases the tone shifts from a treble and upper mid emphasis to a
bass and lower mid emphasis.
OVERDRIVE – A second drive control for some amp models. It does not have a
bright cap so it only aects the gain. Set Overdrive to 8.00 to get the identical
response to pre-v10.10 rmware for models that have Overdrive.
INPUT TRIM – A clean, linear gain applied at the input to the amp block that
adjusts the relative gain of the preamp. (This is analogous to changing the type
of tube for V1 in an actual amp.) It does the same thing as the BOOST switch,
the dierence being that you can control how much is boosted or cut (+/-20
dB). As a rule of thumb, every 2x multiplier equals +6dB boost. In other words,
Input Trim at 4.0 produces a +12dB boost. Input Trim should be set to 1.00 if
you want to match the actual amp.
BOOST – Toggles the input boost for an additional 12 dB of input gain. Enabling
Boost sometimes works better than turning up preamp gain.
CUT – Reduces the amount of low frequencies into the amp. This can be used
to achieve a tighter tone or to reduce low-end“ub”. This is similar to increasing
LOW CUT (Tone page) while still retaining some low end so it doesn’t get thin.
Provides an easy way to cut the overpowering bass in models such as Recto,
Splawn Nitro, Komet and others.
FAT – Emphasizes midrange“body” by shifting down the tonestack center
frequency. Specically, it alters the tonestack treble capacitor, so the eect
depends on the tonestack’s location (see TONE page).
BRIGHT – A“treble peaker”which functions mainly to compensate for the loss
of highs at low amp volume. The eect may be subtle or quite pronounced,
depending on the amp selected, and it is also aected by the BRIGHT CAP.
SATURATION – Switches in a zener diode clipping stage between the preamp
and the tone stack (the“Arrendondo Mod”) for more aggressive distortion char-
acter which also adds compression and cuts volume. You may have to adjust
the MASTER or LEVEL to compensate.
DYNAMIC PRESENCE – Models the output transformer leakage inductance that
results in a brightening of the tone when the power amp is pushed. Increasing
this value results in a brighter response as the virtual power amp is pushed.
When playing softly or at lower gains, the inuence of this control is lessened.
Note that this only aects the power amp modeling and is dependent on
the degree of power amp overdrive. This control can also be set negative to
cause the tone to darken when playing hard. This control can also be used to
help“dial in”the sweet spot of an amp model. As the MV is increased an amp
becomes more liquid, compressed and easier to play. However, the highs may
get overly compressed causing the amp to sound too dark. The Dynamic Pres-
ence control allows you to get the desired power amp drive and liquid feeling
and then bring the highs back without aecting the rest of the spectrum.
DYNAMIC DEPTH – Analogous to the Dynamic Presence control, this increases
or decreases low frequencies when the virtual amp is being pushed. While real
amps don’t display this behavior, it is a valuable tone-shaping tool.
MASTER VOL TRIM – Can be used to increase (or decrease) the Master Volume
for non-MV amps. If MV is 10 and you set MV Trim to 2.0 then the MV will be 20.
Amp Block
You can also adjust preamp gain globally with GLOBAL AMP GAIN, which
aects every amp and preset. One reason you might do this is to compensate
for the gain dierence when switching to a hotter/quieter guitar.
On the Axe-Fx unit: GLOBAL button > CONFIG > AMP GAIN
Before adjusting the MASTER VOL, be aware that it defaults to 10 for non-
master volume (vintage) amps. If you want more MV on non-MV amps,
increases the MV TRIM.
In most cases, DRIVE, BASS, MID, and TREB are accurate within 10% of the
actual amp.
For most tone stacks, when you set the BASS and TREB to zero, the tone stack
becomes basically“at” and the MID becomes a volume control.
INPUT DRIVE and OVERDRIVE will have a dramatic eect on the response of
the amplier and the personality of your instrument.
See the footnote in the amp description list to quickly nd the amps that
have the OVERDRIVE control.
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COMP – Controls the amount of preamp compression and sets the compression
threshold of the cathode follower. Same as the CATHODE THRESHOLD param-
eter, which is one of three settings that adjust the cathode follower algorithm.
See the Dynamics page for more. Many models default to zero as they do not
have measureable compression.
PRESENCE – Boosts/cuts upper frequencies from the power amp by varying
negative feedback frequency response. Increased presence can help sound cut
through a heavy mix. Decrease it to compensate for overly-bright amps. Pres-
ence is tightly coupled to speaker impedance (HI FREQ, HI RESONANCE).
HI CUT – On amps with no negative feedback (DAMPING=0), PRESENCE is
replaced with HI CUT, a simple high-shelf EQ at the power amp output.
DEPTH – Boosts low frequencies from the power amp by varying the negative
feedback frequency response. On amps with a xed depth circuit, Depth will
have a preset value. Also called“Resonance”or“Girth”on some amps.
MASTER VOL – Determines the amount of power amp distortion. As it increases,
the tone controls have less inuence on the sound. Amp models default to a
starting Master Volume setting when selected. (Non-MV amps default to 10.)
BASS/MID/TREB –“Passive” tone stack. Can be changed with TONESTACK TYPE.

LOW RES FREQ/RES Q/RESONANCE – Guitar loudspeakers have a low-frequency
resonance, typically about 100 Hz. This shifts up slightly when the speaker
is mounted in an enclosure and is typically lower for open back cabs. This
resonance causes an increase in the power amplier response due to the nite
output impedance of the power amp. The default LF Resonance is based on the
cab most likely to be used with that amp.
HI FREQ – Sets the “corner frequency” of the speaker impedance rise due to
voice-coil inductance. The speaker voice-coil presents an inductive load to the
power amp at high frequencies. This inductive load, in conjunction with the
output transformer capacitance, creates a high-frequency resonance. Typical
guitar speakers have a corner frequency between 1 kHz and 2 kHz. Lower
values give more midrange emphasis.
HI RESONANCE – Similar to HI FREQ but this control only changes the slope
of the resonance. Default value is consistent with typical “semi-inductance”
of speaker voice-coil. Varying this value will change the high-frequency load
presented to the power tubes.
NOTE: The SPEAKER page is not an EQ. It allows you to adjust the impedance
that the virtual speaker presents to the virtual power tubes. In most cases,
the resulting EQ is quite dierent than the impedance curve since nega-
tive feedback attens the response. If you turn DAMPING all the way down
then the EQ will be close to the impedance curve (but still inuenced by the
transformer).
XFORMER LOW/HIGH FREQ – These set the output transformer bandwidth.
SPEAKER DRIVE – Simulates distortion caused by pushing a speaker too far. It
interacts with the MASTER.
Amp Block
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TREMOLO FREQ/DEPTH (bias tremolo) – Works by varying the bias of the virtual
power tubes, resulting in a particularly “organic”sound. Most importantly, the
tremolo is“self-ducking”and decreases at higher signal amplitudes. On some
amps high values of bias trem depth can result in excessive crossover distor-
tion. On others, the tremolo can vary greatly between loud and soft playing.
INPUT SELECT – The Amp block processes audio in mono. This control deter-
mines how incoming stereo signals will be processed.
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DYNAMICS – Simulates the interaction and compressive eects of the power
amp, power supply and speaker when they are pushed hard. Negative values
cause dynamic range expansion, while positive values cause dynamic range
reduction, resulting in a more compressive, bouncier eect.
PICK ATTACK – Controls a sophisticated dynamic range processor that operates
on leading edge transients. Negative values reduce pick attack while positive
values enhance it.
THUNK – Allows adding“weight”to tones by simulating the very low-frequency
interaction of a speaker cabinet with the guitar. Higher values simulate closer
proximity of the guitar to the cabinet.
XFORMER MATCH – One of the most powerful controls in the amp block. It
changes the turns ratio (and therefore the primary impedance) of the output
transformer, which controls how easily power tubes are driven into clipping.
Decreasing causes the power tubes to clip later, the phase inverter and grid
clipping become more predominant, and the speaker resonance will be more
pronounced. This control has more inuence with higher MASTER values and
low gain amps and less inuence with highly compressed amps. Increase
MASTER until desired amount of power amp distortion is achieved, then adjust
XFormer Match for sound’s character: higher = more compressed, lower = more
open. The LF/HF RESONANCE parameters interact strongly with this parameter.
SUPPLY SAG – Controls power supply impedance. Higher settings simulate
higher power supply impedance, causing greater tube plate voltage (B+)
“droop”and giving a more compressed, spongy and looser feel. Sag interacts
with the MASTER: as the power amp is pushed and draws more current from its
power supply, Sag has more eect. Sag values around 2 simulate a solid-state
rectier, 4-6 a tube rectier.
B+ TIME CONSTANT – Associated with SUPPLY SAG. Controls rate of change in
power tube plate supply. “B+” refers to one of the high voltage“taps”or outputs
of the main power transformer. Lower values give a bouncier feel, while higher
values give a tighter, more aggressive feel. The eect of lower B+ is equivalent
to increasing XFORMER MATCH. A lower B+ means the plates clip sooner which
is the same as increasing the turns ratio on the transformer. This is assuming
that you rebias since typically lower the B+ aects the bias.
DYNAMICS TIME – Controls how fast DYNAMICS happens.
BIAS EXCURSION – GRID MODELING parameter that controls how much the
power tube grid voltage droops when the grids conduct.
EXCURSION/RECOVERY TIME – GRID MODELING parameter that controls the
time constants associated with BIAS EXCURSION.
XFORMER DRIVE – Sets the amount of core saturation in the output trans-
former, controling how hard the transformer is driven. Higher values simulate a
smaller, more easily saturated transformer.
PREAMP BIAS – Controls the bias point of the last triode (cathode follower not
counted) in the preamp. Depending on the bias points of the previous stages
increasing or decreasing this value can alter both the harmonic content and the
attack characteristics. Typically, if the previous stage has a negative bias then
increasing this value will be more noticeable and vice-versa.
Amp Block
Setting SUPPLY SAG to 0 disables the power amp and turns the MASTER into
a simple level control with a 40 dB range.
In general, the more heavily driven the power amp section is, the more eect
the SUPPLY SAG and DYNAMICS controls have.
Ghost notes are the result of a 120Hz signal plus harmonics getting past the
power supply ltering. High SUPPLY SAG along with low B+ TIME CONSTANT
can cause“ghost notes”when POWER SUPPLY TYPE is AC (as in a real amp).
Lower B+ Time Constant values will make the amp feel“faster” but too low
can cause ghost notes.
To hear what ghosts notes sound like, try the following: take an amp like
Plexi 100W, turn the SAG up and the B+ TIME CONSTANT down, then play
single notes around the 5th fret on the G string. You should hear a tone
unrelated to the pitched note.
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The cathode follower algorithm has three adjustable parameters:
CATHODE THRESHOLD – Same as the COMP parameter. Sets the compression
threshold of the cathode follower. Higher value give more compression.
CATHODE TIME – Sets the attack time of the compressor.
CATHODE RATIO – Sets the maximum amount of compression, with lower
values giving more compression.

PRESENCE FREQ – Alters the center frequency of the amp’s PRESENCE control.
DEPTH FREQ – Alters the center frequency of the amp’s DEPTH control.
GRID MODELING – Replicates grid conduction in the preamp and power amp
stages, which adds“real world”high frequency “zz” or “grit”. Turn it o if this
eect is undesirable. Grid modeling parameters include BIAS EXCURSION and
EXCURSION/RECOVERY TIME.
POWER TUBE TYPE – Allows selecting Tetrode (i.e. 6L6, KT66, etc.) or Pentode
(i.e. EL34, 6BQ5, etc.) power tube types. The type defaults to the appropriate
value when a model is chosen but may be overridden by the user.
POWER TUBE BIAS – Sets the bias point of the power amp. Increase Power Tube
Bias to decrease crossover distortion and vice-versa. Lower values approach
pure Class-B operation. Higher values approach pure Class-A.
DAMPING – Controls the amount of negative feedback in the power amp. The
feedback decreases output impedance, causing the amp to react less to the
speakers (”damping”). Higher values give a brighter, tighter, punchier sound but
can be harsh at very high MASTER levels. Lower values give a smoother, loose
and gritty sound and feel.
TRIODE1/2 PLATE FREQ – Sets the cuto frequency of the plate impedance for
the next-to-last (triode 1) and last (triode 2) triode in the chain, which allows
you to control the buzziness that sometimes occurs with higher gain settings.
The capacitor across the triode’s plate resistor is used to smooth the response
and reduce noise. You can adjust the amount of capacitance, and the resulting
frequency. Lowering the frequencies dials out sharpness and “zz”, making the
tone smoother.
TRIODE HARDNESS – Controls how sharply the triodes enter saturation and can
be used to simulate softer/harder tubes. The eect is subtle and most apparent
at edge of breakup. Lower values give softer saturation, higher values give
a more aggressive breakup. Defaults to an appropriate value when an amp
model is selected.
MV LOCATION – Location of the Master Volume.
PRE-PI – Before the phaser inverter (most amps).
POST-PI – After the phase inverter (AC types).
PRE-TRIODE – Amp types based on Hiwatt models.
POWER AMP LOW/HI CUT – Low/high pass lters placed after the power amp
section that shape the tonal color of the power amp. Note that AMP VOICING
also sets these values. Reduce Hi Cut to remove unwanted“zz”.
Setting DAMPING to 0 disables negative feedback and replaces the
PRESENCE control with HI CUT. DEPTH is also disabled since it only aects
negative feedback.
POWER TYPE – When set to AC, models AC rectication and resulting supply
ripple. High SUPPLY SAG along with low B+ TIME CONSTANT can cause“ghost
notes”when the supply type is AC (as in a real amp). Lower B+ Time Constant
values will make the amp feel“faster” but too low can cause ghost notes.
AC LINE FREQ – Selects the line frequency.
Amp Block
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LOW CUT FREQ – Reduces the amount of low frequency (10-1000Hz) before the
preamp input. Use this is to tighten up a tubby bass end. Somewhere between
10-150Hz is generally where it will sound best for standard guitar tones. Also
see CUT (Basic page).
HIGH CUT FREQ – Reduces the amount of high frequency (2k-20kHz) after the
preamp output. Lower the value to make your top end sound smooth and silky,
raise it to make it brilliant and dened.
DEFINITION – A basic“tilt EQ” located at the amp input. It changes the funda-
mental character of the amp from vintage to modern or vice-versa. Positive
values increase the amount of upper overtone saturation, negative values
reinforce lower harmonics.
CHARACTER/FREQ – These two parameters control powerful “inverse homo-
morphic lters”. When playing softly this dynamic lter has little eect on
the sound. As the amount of distortion increases, the inuence of the lter
increases. The Character Frequency control sets the center frequency of
the lter while the Character control sets how pronounced the eect is. For
example, to darken the tone when playing harder, one might set the frequency
to 10 kHz and the amount to -5. Setting the amount to +5 will make the tone
brighter when playing hard. (Default = 0.)
BRIGHT CAP – Sets the value of the capacitor which determines the sonic eect
of the BRIGHT switch. Increase to make the preamp brighter and vice-versa.
AMP VOICING – Voices the amp to a variety of tonal styles. Choose“Neutral” for
the raw amp sound or one of the other voicings for a quick “mix-ready”tone.
Aects POWER AMP LOW/HI CUT values and applies some parametric EQ.
Amp Block
TONESTACK TYPE
ACTIVE – Gives each tone control ±12 dB boost/cut making them more
sensitive; they also will not interact with each other.
DEFAULT – Matches the tonestack with the selected amp type.
[AMP] – Replaces the default tonestack with one from another amp.
TONE FREQ – Sets the center frequency of the tone controls. This control works
whether you are using PASSIVE, ACTIVE, or substitute tone stacks.
TONE LOCATION
PRE – Places the tone stack at the input to the preamp.
POST – Places it between the preamp and power amp.
MID – Places it between the last two triode stages.
END – Places it after the power amp (which is impossible with a real amp).
The farther upstream you position the stack, the thinner the sound.
MID will sound chunkiest, with END being rather dark.
USE MIMIC – Identies deviations in the response of the simulated amplier to
the actual amplier and generates corrective data bringing a level of accuracy
that has been heretofore unachievable.
When an amp is selected, the settings on this page are updated accordingly.
If you then select a dierent tone stack, the settings remain unchanged.
For a at tone stack, set the TONESTACK TYPE to Vintage with B/M/T at noon.
This will allow the exibility of being able to boost or cut bass and treble.
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TONESTACK TYPES
BROWNFACE (Vibroverb)*
BLACKFACE (Twin Reverb)*
BASSGUY
TOP BOOST
PLEXI
BOUTIQUE
HI POWER
USA NORMAL
USA FAT
RECTO ORG
RECTO RED
SKYLINE (Dumble)
GERMAN
JR BLUES
WRECKER
VINTAGE
CA3+SE
FREYER D60
MR Z 38 SR
EURO UBER
PVH 6160
SOLO 100
CORNCOB
XTC (Bogner)
CAROLANN
CITRUS
BRIT JM45
USA RHY
RECTO NEW ORG
RECTO NEW RED
SHIVER CLN
CAMERON
BRIT JVM OD1
BRIT JVM OD2
5153 GREEN
5153 BLUE
5153 RED
BRIT SUPER
DIV13 CJ
BADGER 18
ATOMICA
SPAWN
BADGER 30
BRIT SILVER
SUPER VERB
HOT KITTY
VIBRATO-KING
GIBTONE SCOUT
CA3+SE CLEAN
BF FIXED MID
GERMAN V4
VIBRATO-LUX
DIRTY SHIRLEY
PLEXI 100W
ROCKET
CONCOURSE
TRIPTIK LD
TRIPTIK CLN
* Generally, Blackface amps are cleaner with scooped mids. Brownface amps have more mids and fall in
between Blackface (cleaner) and Tweed (dirtier).

EFFECT TYPE
MONO HIRES – mono processing at 2048 resolution (42ms).
MONO LORES – mono processing at 1024 resolution (21ms).
STEREO – stereo processing at low resolution (2 × 1024).
Note that with the stock cabs there is no signicant energy beyond an IR length of 1024. (The high res of 2048
allows for 1024 in stereo.) A mono cab with a non-acoustic IR would typically use Mono Lores (which also uses
less CPU).
LINK (STEREO ONLY) – Sets the left channel parameters as master controls, which set identical values for left
and right. You can still set right channel values independently.
LOW/HIGH CUT – Adjusts the cuto point of rst order low/high pass lters.
Increase the Low Cut if the sound is too“bassy” or “boomy.”Decrease the High
Cut for a darker cab tone. Common settings are 80-150 Hz for high pass, and
5-7 kHz for low pass.
PROXIMITY – Causes an increase in bass or low frequency response as proximity
is increased (closer to speaker). Disabled when MIC is set to none.
PROXIMITY FREQ – This allows tuning the frequency range over which the
proximity eect occurs. NOTE: This parameter appears on the ROOM page for
stereo cabs.
DELAY – Delays the signal up to 1 second. With cab in stereo mode or with
two cab blocks in parallel, delaying one cab relative to the other can achieve
interesting comb lter eects. A common practice in studio recording is to use
multiple mics on a speaker at dierent distances to intentionally introduce it.
The eect is most pronounced when the cabs are summed to mono.
ROOM LEVEL/SIZE – Determines the level and size of room reverb that is built
into the cab block. Increase to add room ambience to the sound.
MIC SPACING – Increases delay times inside the room reverb by simlating the
distance of the room microphone from the sound source.
AIR - Mixes some of the signal going into the Cab block with the signal leaving
the Cab block.
AIR FREQUENCY – Sets the cuto frequency of the mixed signal. Increase to
maximum value for a straight mix.
Cab Block
CAB – Loads a cabinet impulse response (IR). The older FAS and RW cabs were
recorded with neutral mics. OH, Kalthallen, and the Mix/Producer Pack series
have matching mics included in the IR.
SPEAKER SIZE (MONO CAB ONLY) – “Scales” the IR to simulate shrinking or
enlarging of the speaker. This eect can be used to shift where the tone sits in
a mix, or to create dramatic eects. Subtle settings (0.9-1.1) will sound most
natural.
MOTOR DRIVE – Models the eect of high power levels on speaker tone.
Simulates the impedance and distortion eects that occur when the speaker is
pushed hard. Be aware this setting adds a little compression as you increase it.
NOTE: This parameter appears on the ROOM page for stereo cabs.
MIC – Don’t feel that you have to add a mic unless you want to add EQ, which
is basically what you would be doing.
MIC TYPES
57 DYN – Shure SM57
58 DYN – Shure SM58
421 DYN – Sennheiser MD 421 II
87A COND – Shure Beta 87A
U87 COND – Neumann U87
E609 DYN – Sennheiser e609 Silver
RE16 DYN – Electro-Voice RE16
R121 COND – Royer Labs R-121
D112 DYN – AKG D112
67 COND – Neumann U67
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1 1x6 Oval
2 1x8 Tweed
3 1x10 Gold
4 1x10 Blue
5 1x12 Tweed
6 1x12 Black
7 1x12 Blue
8 1x12 E12L (RW)
9 1x12 Studio
10 1x12 EMI Open Back (JM)
11 1x12 Boogafunk Blue (OH)
12 1x12 Boogafunk E12L (OH)
13 1x12 Tweed Blue (RW)
14 1x12 Tweed Deluxe (RW)
15 1x12 Brit Blue (RW)
16 1x12 Brit G12H30 (RW)
17 1x15 Blues
18 1x15 Thunderbolt (RW)
19 2x12 Black
20 2x12 Brit
21 2x12 Doubleverb D120 (RW)
22 2x12 Doubleverb C12N (RW)
23 2x12 Blue
24 2x12 Top Boost Blue (RW)
25 2x12 Top Boost Silver (RW)
26 2x12 Boutique (RW)
27 2x12 Jazz (RW)
28 2x12 Gold 30 Far-Field (JM)
29 2x12 G12-65 Far-Field (JM)
30 2x12 Boutique
31 2x12 Doubleshow (RW)
32 4x10 Tweed Bass
33 4x10 Bassguy P10 (RW)
34 4x12 Basketweave G12H30 (RW)
35 4x12 Basketweave G12L (RW)
36 4x12 Basketweave G12M20 (RW)
37 4x12 Basketweave G12M25 (RW)
38 4x12 1960A G12M (RW)
39 4x12 1960B T75 (RW)
40 4x12 1960B K120 (RW)
41 4x12 1960B V30 (RW)
42 4x12 Hi-Power (RW)
43 4x12 Recto V30 (RW)
44 4x12 Recto V30 (OH)
45 4x12 Solo V12 (RW)
46 4x12 Solo S12X (RW)
47 4x12 German V30 (RW)
48 4x12 German Boutique (RW)
49 4x12 PVH6160 (RW)
50 4x12 Uber T75 (RW)
51 4x12 Uber V30 (RW)
52 4x12 Uber T75+V30 (RW)
53 4x12 Citrus V30 (RW)
54 4x12 Mills 12K (OH)
55 4x12 SLM Blue (OH)
56 4x12 SLM G65 (OH)
57 4x12 SLM H75 (OH)
58 4x12 SLM M75 (OH)
59 4x12 SLM V30 (OH)
60 4x12 20w
61 4x12 25w
62 4x12 V30
63 4x12 German
64 4x12 30w (Ultra)
65 4x12 Cali
66 1x15 L.A. Bass
67 4x10 Aluminum Bass (RW)
68 8x10 SV Bass (RW)
69 4x12 V30 #1 (Kalthallen)
70 4x12 V30 #2 (Kalthallen)
71 4x12 V30 #3 (Kalthallen)
72 4x12 V30 #4 (Kalthallen)
73 4x12 G12T75 #1 (Kalthallen)
74 4x12 G12T75 #2 (Kalthallen)
75 1x8 Champlier Mix
76 1x8 Vibrato Champlier Mix
77 1x10 Prince Tone Black Mix
78 1x10 Prince Tone Silver Mix
79 1x12 Junior Blues Mix
80 1x12 Deluxe Verb Mix
81 1x12 Deluxe Tweed Mix
82 1x12 Vibrato Lux Mix
83 1x12 Class-A 15w Blue Mix
84 1x12 Division 13 Mix
85 1x12 Hot Kitty Mix
86 1x12 Hawaii Mix
87 1x15 Tweed Pro Mix
88 1x15 Empire Mix
89 2x10 Super Tweed Mix
90 2x10 Vibrato Lux Mix
91 2x12 Double Verb Mix
92 2x12 Pro Verb Mix
93 2x12 Class-A 30w Blue Mix
94 2x12 Class-A 30w Silver Mix
95 2x12 Supremo Mix
96 2x12 Santiago EJ1250 Mix
97 2x12 Santiago Altec Mix
98 3x10 Vibrato King Mix
99 4x10 Bassguy Mix
100 4x10 Super Verb Mix
101 4x12 Basketweave Green Mix
102 4x12 Basketweave AX Mix
103 4x12 Basketweave TV Mix
104 4x12 Cali Lead 80s Mix
105 4x12 Rumble EV12L Mix
106 4x12 Rumble EV12S Mix
107 4x12 PVH6160 Mix
108 4x12 Petrucci V30 Mix
109 1x15 SV Bass M88 Mix
110 1x15 SV Bass Subkick Mix
111 4x10 SV Bass M88 Mix
112 4x10 SV Bass Subkick Mix
113 4x10+Tweeter SV Bass M88 Mix
114 1x12 Class-A 20 Dlx Mix
115 1x12 Nuclear Tone Mix
116 1x12 Scumtone 25W Mix
117 2x12 Boutique Mix
118 2x12 SV Legend Mix
119 1x12 E12L (V9)
120 1x12 Brit G12H30 (V9)
121 2x12 Doubleverb D120 (V9)
122 2x12 Doubleverb C12N (V9)
123 2x15 Doubleshow (V9)
124 4x12 Basketweave G12H30 (V9)
125 4x12 1960B V30 (V9)
126 4x12 Recto V30 (V9)
127 4x12 German V30 (V9)
128 4x12 PVH6160 (V9)
129 4x12 Uber T75 (V9)
130 4x12 Uber V30 (V9)
131 4x12 Uber T75+V30 (V9)
132 4x12 Citrus V30 (V9)
Blue and red indicate multiple rmware versions of the same cab. Magenta cabs are far eld IRs.
FACTORY CABINETS

1987x Normal...........Marshall 1987x Vintage Series .....Features an “essential” mod to the tonestack of this Plexi. Reissue of the 50w JMP Lead 1987.
1987x Treble ............Marshall 1987x Vintage Series .....Treble channel of the 1987x Vintage Series Plexi.
5153 Blue...............EVH 5150 III (Blue) .................Blue (rhythm) channel of the 100w 6L6 model, made in collaboration with Fender. Recommended settings.
5153 Green .............EVH 5150 III (Green) ...............Green (clean) channel.
5153 Red ...............EVH 5150 III (Red) .................Red (high gain/lead) channel.
59 Bassguy .............Fender Bassman ..................1959, Tweed era, 5F6-A circuit. Low-to-medium gain amp designed for bass but widely adopted by guitarists.
65 Bassguy .............Fender Bassman ..................1965 Blackface version, AB165 circuit which is very crunchy and bright and does not sound like a typical Fender.
AC-20 Dlx Bass $.......Morgan AC20 Deluxe..............EL84. Normal/Brilliant switch = Normal. Bright OFF + treble booster = Brian May, Bright ON = U2.
AC-20 Dlx Treb $.......Morgan AC20 Deluxe..............Normal/Brilliant switch = Brilliant.
Atomica High ...........Cameron Atomica.................A “brown sound”100w amp, high gain channel.
Atomica Low............Cameron Atomica.................Low gain channel.
Band Commander ......Fender Bandmaster ...............1968 Silverface Fender Bandmaster with the AB763 circuit.
Big Hair.................80’s metal.........................Mids without mud. Revive the 80s metal scene. (Spandex not included.)
Blanknshp Leeds b $ ..Blankenship Leeds 21 .............EL84 tubes. Boutique version of an 18w Marshall with a big sound at low power. Mercury Magnetics transformers.
Bludojai Clean ..........Bludotone Ojai (Clean) ............Reported to be an exact clone of Robben Ford’s Tan Dumble. Clean mode modeled with preamp boost (PAB)
engaged as the owner prefers this. To disengage PAB change the tonestack type to Skyline.
Bludojai Lead 9.........Bludotone Ojai (Lead) .............Lead mode.
Boutique 1 $...........Matchless Chieftain ...............Medium-gain amp, thick, yet crisp, with a fair amount of power amp breakup. Based on a Vox circuit.
Boutique 2 $...........Matchless Chieftain ...............Added Boost for more gain and high-frequency emphasis.
Brit 800 .................Marshall JCM800 ..................Model 2204. Bring the Master up for true 80’s tone. To soften the attack, lower Triode Freq and increase Damping.
Brit 800 MOD ...........modded Marshall JCM800 .........Removed the treble peaker , making the amp “heavier” and “less strident”.
Brit Brown ..............Van Halen’s Marshall...............Faithful recreation of the legendary “Brown Sound” – The modded “#1”Marshall.
Brit JM45 ...............Marshall JTM45 (Ch 1) .............Made famous by Clapton and others; a modied Bassman design. Try with a Tonebender or Treble Booster.
Brit JM45 Jump .........Marshall JTM45 (Ch 1) .............Emulates “jumpering the inputs”on a 4-hole amp.
Brit JVM OD1 GN ........Marshall JVM410 (OD1, Green).....OD1 channel, Green mode, hot-rodded.
Brit JVM OD1 OR ........Marshall JVM410 (OD1, Orange) ...OD1 channel, Orange mode, extra gain. For Red mode, enable Boost or increase the Input Trim parameter.
Brit JVM OD2 GN ........Marshall JVM410 (OD2, Green).....OD2 channel, Green mode, lower mids than OD1.
Brit JVM OD2 OR ........Marshall JVM410 (OD2, Orange) ...OD2 channel, Orange mode, more gain and lower mids than OD1. See above for Red mode.
Brit Pre .................Marshall JMP-1....................Rack-mount preamplier version of the Brit 800. OD2 channel. Crunchy“ZZ” tone.
Brit Silver ...............Marshall Silver Jubilee.............100w Marshall Silver Jubilee (2555), commemorative“25/50”model. Slightly darker and higher gain than JCM800.
Brit Super...............Marshall AFD100 ..................100w dual-mode head with 6550 tubes, believed to be a modied 1959 Tremolo. Used by Slash on “Appetite for
Destruction”. AFD mode adds an extra gain stage, 34 mode is based on Slash’s modded JCM 800 (2203).
Buttery $..............Budda Twinmaster ................Based loosely on a late 90’s specimen. Relies mostly on power amp distortion.
CA3+ Clean .............CAE 3+ SE preamp (Ch 1) ..........Custom Audio Electronics preamp. The Clean channel is based on a Blackface Fender preamp.
CA3+ Lead..............CAE 3+ SE preamp (Ch 3) ..........Channel 3 (Lead).
CA3+ Rhy...............CAE 3+ SE preamp (Ch 2) ..........Channel 2 (Rhythm).
Cali Leggy ..............Carvin Legacy VL100 ..............Legacy 1, 100w, EL34. Uses a“James”tone stack which is more like hi- tone controls. Based on Steve Vai’s original
signature Legacy amplier. To get a Steve Vai tone, keep Treble low, Bass high and not too much Gain.
Cameron Ch 1 ..........Cameron CCV100 (Ch 1) ...........An amp its creator Mark Cameron calls“one pissed o amp.”
Cameron Ch 2 ..........Cameron CCV100 (Ch 2) ...........Higher gain tone. On Channel 2, Saturation is engaged by default, no Presence (set it to 0).
Carolann OD-2 9. . . . . . . . Carol-Ann OD-2r ..................50W, EL34 or 6L6 tubes. Overdrive channel. Model ne-tuned by the highly respected Alan Phillips.
Citrus RV50 .............Orange Rockerverb ...............“Dirty” channel of the 50w head known for warmth and rich harmonics.
Class-A 15w TB $.......Vox AC-15 Top Boost ..............15w, EL84 tubes. The heart of this amp’s tone comes from its power section and no negative feedback.
AXE-FX AMP BASED ON DESCRIPTION
Red amps are non-MV (no Master Volume on the real amp). The MASTER VOL is set to 10 by default.
9Includes the additional OVERDRIVE control.
bThe actual amp has a control labeled“Tone”which corresponds to TREB on the Axe-Fx. For a more realistic simulation, leave BASS and MID at noon.
$Amps with no negative feedback, created by setting DAMPING to 0. PRESENCE is replaced with HI CUT. DEPTH is also disabled since it only aects negative feedback.

Class-A 30w $..........Vox AC-30.........................30w, EL84 tubes. Combo that dominated the British Invasion. Gritty character, warm tone, great feel. For
authentic tone, leave the tone controls at noon and use Hi-Cut to cut treble
Class-A 30w TB $.......Vox AC-30 Top Boost ..............30w, EL84 tubes. Created in response to demand for“more treble”. Great highs and slightly reduced bass.
Comet 60 ...............Komet 60 .........................
Comet Concourse.......Komet Concorde ..................EL34 tubes. Similar to Trainwreck amp. Response switch =“Fast”. To replicate “Slow” reduce INPUT TRIM to 0.25”.
Corncob M50 9.........Cornford MK50 II ..................Boutique British amp. Plexi-meets-modern tone with big cojones.
Das Metall ..............Diezel VH4 (Ch 4)..................EL34 or 6L6 tubes. High-gain, boutique amp famous for its powerful, heavy, aggressive sound. See Dizzy V4 4.
Deluxe Tweed b $ .....Fender Tweed Deluxe .............Fender Deluxe (5E3) from the 50’s, 15w. The earliest and most popular of the so-called Tweed ampliers.
Deluxe Verb.............Fender Deluxe Reverb.............1965 Blackface, 22w, AB763 circuit. Great, chimey tone with nice power amp breakup.
Dirty Shirley ............Friedman Dirty Shirley.............40w, 6L6. Designed to be an ultra-fat, sweet-sounding, classic rock amp. Based on a JTM45.
Division13 CJ $........Divided by 13 CJ11................11w, bassy amp, works best with single coils. High-performing “Tweed” meets“EL34”meets “Master Vol” 1x12.
Dizzy V4 2 ..............Diezel VH4 (Ch 2)..................High-gain boutique amp with heavy, aggressive sound. 6550, EL34 or 6L6. Channel 2,“gritty funk, dynamic clean.”
Dizzy V4 3 ..............Diezel VH4 (Ch 3)..................Channel 3, the favorite channel for most users, with higher gain but still big dynamic range.
Dizzy V4 4 ..............Diezel VH4 (Ch 4)..................Channel 4, newer version of Das Metall. A monster of gain which still has great denition and authority.
Double Verb ............Fender Twin Reverb ...............100w, 1966 Blackface, AB763 circuit. Known for amazing clean sounds and nice breakup.
Energyball ..............ENGL Powerball ...................100w Lead channel, 6L6 tubes. Very high-gain German model. Lots of bass. Great for aggressive, drop-tuned ris.
Euro Blue ...............Bogner Ecstasy (Blue)..............20th Anniv. model. Dark amp, turn up Presence or engage Bright. Blue channel, Structure switch =‘V’ (Vintage).
Euro Blue Mdrn .........Bogner Ecstasy (Blue)..............Blue channel, Structure switch =‘M’(Modern).
Euro Red................Bogner Ecstasy (Red) ..............Red channel, Structure switch = ‘V’ (Vintage).
Euro Red Mdrn..........Bogner Ecstasy (Red) ..............Red channel, Structure switch =‘M’ (Modern).
Euro Uber...............Bogner Überschall ................120w, EL34. High Gain channel. Heavy grinding lows and insane gain. Sweep Presence for a wide variety of tones.
FAS 6160. . . . . . . . . . . . . . . . Peavey EVH 5150..................Alternative version of the PVH 6160, more open and less zzy than the original amp. Also, a virtual choke has
replaced the resistor found on the original’s power supply lter. This results in a bouncier feel.
FAS Brown ..............Van Halen’s Marshall...............Original BROWN model from the Axe-Fx Standard/Ultra.
FAS Crunch .............ultimate British amp...............More dynamic and open than a Plexi, but with more gain.
FAS Lead 1 ..............Mesa Boogie TriAxis (presumed) ...Neutral high-gain lead with a tight midrange.
FAS Lead 2 ..............Mesa Boogie TriAxis (presumed) ...Hot-rodded British lead sound with a tonestack by Bob Bradshaw (Custom Audio Electronics).
FAS Modern. . . . . . . . . . . . . high gain rhythm + lead hybrid....High-gain hybrid. Equally well-suited to modern rhythm or lead work. Loosely based on a Recto with tighter bass.
FAS Modern II ...........high gain rhythm + lead hybrid ...Tighter version of the popular FAS Modern model with a 5150-style bass boost in the tone stack.
FAS Rhythm.............British + USA crunch ..............Combines the best features of the British and USA crunch models.
FAS Wreck ..............Trainwreck Express ................Original WRECKER 1 model from the Axe-Fx Ultra.
Fox ODS I 9.............Fuchs Overdrive Supreme-50 ......Overdrive channel, 50w, 6L6 tubes. Mid switch ON.
Fox ODS II 9............Fuchs Overdrive Supreme-50 ......Mid switch OFF.
Friedman BE ............Friedman Brown Eye ..............50w or 100w, EL34. What many call “the ultimate modded Plexi”by Dave Friedman (Rack Systems).
Friedman HBE...........Friedman Hairy Brown Eye.........BE amp’s alternate voicing with a gain boost. A killer hi-gain tone in your arsenal.
Fryette D60 L 9.........Fryette D60 (Less) .................60w, KT88 or 6550 tubes.“Deliverance Sixty”. “Less”mode.
Fryette D60 M 9........Fryette D60 (More) ................“More”mode.
Gibtone Scout $.......Gibson Scout .....................1964 GA17RVT Scout, 17w, vintage clean tones. No tone controls on the real amp.
Herbie Ch2+ ............Diezel Herbert (Ch 2+).............3-channel 180w, called“looser” and “more “familiar” than the VH4. Channel 2+ gets you into Diezel VH4 territory.
Herbie Ch2-.............Diezel Herbert (Ch 2-) .............Set Ch 2- at 35% gain for a cranked Plexi tone, 60% for a JCM800 tone.
Herbie Ch3 .............Diezel Herbert (Ch 3) ..............Channel 3.
Hipower Brillnt..........Hiwatt DR103 (Brilliant)............1974 Harry Joyce/Hylight model. Medium-gain, full sound with unique tone-stack and chimey, grinding tone.
Hipower Jumped .......Hiwatt DR103 (Normal/Brilliant) ...Emulates “jumpering the inputs”on a 4-hole amp.
AXE-FX AMP BASED ON DESCRIPTION
Red amps are non-MV (no Master Volume on the real amp). The MASTER VOL is set to 10 by default.
9Includes the additional OVERDRIVE control.
bThe actual amp has a control labeled“Tone”which corresponds to TREB on the Axe-Fx. For a more realistic simulation, leave BASS and MID at noon.
$Amps with no negative feedback, created by setting DAMPING to 0. PRESENCE is replaced with HI CUT. DEPTH is also disabled since it only aects negative feedback.