Fractal Axe-Fx User manual

Axe-Fx
Pre-Amp /
Effects Processor
User’s Manual

Table of Contents
Table of Contents .............................................................................. 1
Foreword............................................................................................ 3
Introduction........................................................................................ 5
What is the Axe-Fx.................................................................................... 5
Concept..................................................................................................... 8
Getting Set Up................................................................................. 10
Rear Panel .............................................................................................. 10
Front Panel.............................................................................................. 11
Example Connections ............................................................................. 13
I/O Configuration..................................................................................... 18
Editing.............................................................................................. 23
Placing Effects......................................................................................... 23
Routing.................................................................................................... 23
Moving Effects......................................................................................... 24
Editing Effects ......................................................................................... 24
Effect Mixer ............................................................................................. 24
Output Mixer............................................................................................ 26
Attaching Controllers............................................................................... 26
Saving Presets........................................................................................ 26
Recalling Presets .................................................................................... 27
The Effects....................................................................................... 28
Noise Gate .............................................................................................. 28
Compressor............................................................................................. 28
Filter ........................................................................................................ 29
Graphic Equalizer.................................................................................... 30
Parametric Equalizer............................................................................... 31
Chorus..................................................................................................... 32
Flanger.................................................................................................... 33
Phaser..................................................................................................... 35
Rotary Cabinet ........................................................................................ 36
Wah-Wah ................................................................................................ 37
Formant Filter.......................................................................................... 38
Pan / Tremolo.......................................................................................... 39
Delay....................................................................................................... 41
Multi Delay............................................................................................... 45
Reverb..................................................................................................... 48
Amp Simulator......................................................................................... 50
Cabinet Simulator.................................................................................... 58
Drive........................................................................................................ 60
Pitch Shifter............................................................................................. 61
Stereo Enhancer ..................................................................................... 64
Effects Loop / Aux. Out ........................................................................... 64

Mixer........................................................................................................ 65
Feedback Send / Return ......................................................................... 66
Controllers and Modifiers................................................................. 67
Tempo..................................................................................................... 67
LFO's....................................................................................................... 68
ADSR's.................................................................................................... 68
Sequencer............................................................................................... 69
Envelope ................................................................................................. 69
Pitch ........................................................................................................ 70
External Controllers................................................................................. 70
Modifiers.................................................................................................. 70
Global Parameters........................................................................... 73
Tuner ............................................................................................... 74
Utilities............................................................................................. 75
LCD......................................................................................................... 75
Preset...................................................................................................... 75
Status...................................................................................................... 76
Reset....................................................................................................... 77
Firmware ................................................................................................. 77
Tips and Tricks ................................................................................ 78
Achieving ultimate tone........................................................................... 78
Using Your Axe-Fx with a Guitar Amp..................................................... 78
Using Your Axe-Fx Live........................................................................... 80
Interference............................................................................................. 80
Maintenance............................................................................................ 80
Warranty Information....................................................................... 81
Specifications................................................................................... 82

1
PORTANT 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. No
user-serviceable parts inside. Refer servicing to qualified service person-
nel.
1. Obey all warnings on the Axe-Fx and in this User’s Guide.
2. Keep away from sources of heat such as heat registers or appliances which produce
heat.
3. Connect only to a proper AC outlet of 100 - 240 V, 47 - 63 Hz.
4. Keep power cord in good condition. Do not kink, bend or pinch. If power cord
becomes damaged discard and replace.
5. If not using your Axe-Fx 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:
• Liquids or excessive moisture enter the unit
• The unit operates incorrectly or performance is inconsistent or erratic
• The unit has been dropped and/or the enclosure damaged
9. Prolonged exposure to high volume levels can cause hearing loss and/or damage.
Use of hearing protection in high volume situations is recommended.
IMPORTANT SAFETY INSTRUCTIONS

2
EN60065
(IEC 60065) Safety requirement for mains operated electronicandrelatedapparatusforhousehold
and similar use.
EN 55103-1 Product family standard for audio, video,
audio-visualandentertainmentlighting control
apparatus for professional use.
Part 1: Emission.
EN 55103-2 Product family standard for audio, video,
audio-visualandentertainmentlighting control
apparatus for professional use.
Part 2: Immunity.
With reference to regulations in following directives: 73/23/EEC, 89/336/EEC
Issued in February 2007
Clifford Chase
President
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 radiofrequency energy and,if notinstalledandused inaccordance withthe
instructions, may cause harmful interference to radio communications. However,
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 into 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.
Certificate of Conformity
Fractal Audio Systems, USA, hereby declares on own responsibility that the
following product
Axe-Fx - Digital Guitar Preamp / Effects Processor
Thatiscoveredbythiscertificate andmarkedwithCE labelconformswithfollowing
standards:

Foreword 3
Foreword
Shortly after the advent of the electric guitar and the amplifier, guitar players began
to experiment with altering the basic sound of their instruments. Amplifiers soon
began toincorporate springreverb units and then tremolos and overdrive circuitry.
Never satisfied, guitarists yearned for even more sonic possibilities and the effect
pedal was born. These early pedals were based on discrete semiconductors and
consisted of wah-wah,distortion and other simple effects. Although crude, folklore
has exalted these early pedals to the point where some feel they were endowed
with almost mystical properties due to their germanium transistors or the particular
manufacturer of inductors.
With the introduction of the integrated circuit (IC) in the late 1960's designers could
now realize more complicated effects. Notable among these were the operational
amplifier and later on the bucket-brigade delay line, the latter allowing compact
time-basedeffectstobecomeareality. Bythe1970'samyriadofeffectpedalswere
available to the musician from many different manufacturers. Chorus, phaser and
flanger effects became ubiquitous and pervaded the recordings of the time. Many
of these pedals were noisy and lacked fidelity, the analog delay lines contributing
to significant signal degradation.
As technology marched on and IC's became ever denser, a new paradigm was
thrust into the spotlight: digital. Digital effects, it was promised, would offer far
superior performance: zero noise, nearly infinite delay times, pristine reverbs, etc.
Soon the multi-effect was born. In a single rack-mounted unit the guitarist could
have the equivalent of a dozen different effect pedals. Competition was fierce with
each manufacturer trying to one-up the other by cramming more and more into
their boxes. Ultimately, and unfortunately, this has led to digital's demise.
As engineering gave way to marketing, many soon began to question the
Emperor's new clothes. Pricing pressures and cost cutting forced engineers to use
low-grade components and inferior algorithms, and the quality of the effects
suffered. Grainy, cheesy, noisy. No doubt many have heard these terms when
referring to digital effects. Soon, many guitarists rebelled against digital effects and
analog pedals have now enjoyed a renaissance. Old analog pedals are prized and
sought among vintage collectors. Musicians have ditched their rack processors in
favor of a board full of individual effect pedals.
But this is a pity. For digital does not have to carry the stigma that it does. Digital
is, in fact, quite capable of delivering the benefits that were originally touted. And
now, more than ever, can this be realized, as modern Digital Signal Processors
(DSP's) are not only incredibly powerful but relatively inexpensive. The quality of
digital audio is hard to refute. Just witness CD and DVD players, MP3 devices and
computer audio in general all of which use digital processing. Furthermore, digital
offers the convenience of multiple simultaneous effects, programmability and
superior control.

Foreword 4
With the Fractal Audio Systems Axe-FxTM we have hopefully restored digital to its
rightful place as the superior solution to musical effects processing. Every aspect
of the Axe-Fx has been designed to deliver the ultimate in sonic quality. The
convertersare ofthe highestqualityofferinglow-noise, highlinearityanduncolored
performance. The DSP has more raw compute power than many desktop
computers allowing uncompromised processing algorithms. All processing is done
at 32-bit precision yielding uncolored, transparent sound.
We hope you enjoy using the Axe-Fx as much as we enjoyed designing it. Over
three years of development have gone into making what we hope is the
quintessential effects processor.
NOTE:
Fractal Audio Systems, Axe-Fx and Dynamic Response Technology are
trademarks of Fractal Audio Systems. All other product names, trademarks, and
artists’ names are the property of their respective owners, which are in no way
associated or affiliated with Fractal Audio Systems.

Introduction 5
Introduction
Thank you for purchasing an Axe-Fx Pre-Amp / Effects Processor. You’re now the
owner of one of the most powerful instrument processors ever produced. By
familiarizingyourself with this manual you’ll be able to reap the full benefits of your
unit. Please take a moment to read through the sections that follow and acquaint
yourself with the usage of your Axe-Fx.
What is the Axe-Fx
What is the Axe-Fx? Well, let's start by telling you what it isn't.
It'snot amodelerin thestrict sense.Although it has cabinetemulationand different
amplifier "types" itdoes not attempt to model any amplifier or effect exactly. Rather
the Axe-Fx was designed to simply provide the effect as originally intended and
with the utmost quality. All effects can be described in terms of their desired sonic
manipulation. All effect processors, whether "stomp boxes" or otherwise, process
the input signal to get an output signal, simple as that. However, some processors
obviously do better than others. The Axe-Fx approaches effects processing as a
strict set of specifications and implements those specifications.
For example, the wah effect in the Axe-Fx is not intended to model any of the
classic wah-wahs. Instead the input-output relationship of a wah was distilled into
a set of specifications. From there the effect was designed to exactly meet these
specifications. There is no "black magic" or obfuscation. The effect does exactly
what itshould do. Inherent in this approach is a degree of flexibility that you do not
get with other processors. In our wah example this allows you to set the sweep
range, "Q" and other parameters. Most modeling processors do not allow this level
of control.
The Axe-Fx’s amp, drive and cabinet simulations, however, are very faithful
reproductions of the originals, but without the drawbacks of the originals. What this
means is that they sound like the originals but are easier to adjust and provide
more flexibility and a wider range of tones. For example, the Brownface amp sim
sounds remarkably like a particular classic amp however the Axe-Fx contains
working midrange and presence controls. Also the tone controls are much more
responsive providing all the tones of the original plus new tones that the original
could not achieve. Once again the philosophy is practicality and presenting the
“effect” as it was originally intended.
The Axe-Fx does not use any analog processing or any tubes. If you look inside1
the Axe-Fx you will not see any glowing tubes or any of the revered op-amps that
the analog pundits claim offer mystical sonic properties. What you will see are
modern, high-quality components that offer specifications and performance far
exceeding any of the aforementioned devices.
1. Please do not open your Axe-Fx as damage may occur. Refer all servicing to qualified personnel.

Introduction 6
The Axe-Fx does contain, however, very accurate digital replicas of actual vacuum
tubes. We gathered up some classic tubes and measured their transfer functions
and then stored these transfer functions in the Axe-Fx’s massive brain. Our
replicas are so exact that we can reproduce the harmonic spectrum of a real tube
amp with amazing accuracy. Most modelers don’t even come close.
OK, so what does it do? Well, the Axe-Fx isfully routable, fully programmable, real-
time controllable, multi-effects processor. Whew, that's a mouthful. Let's examine
each of these attributes:
Routability: The Axe-Fx allows you to place effects in any order and in series or
parallel. Also, the effects loop is routable as well so if you use your Axe-Fx with a
preamplifier you can place the preamplifier in the effects loop and run effects both
before and after your preamp. Some effects work better when placed before
distortion (which your preamp would provide) and others work better after. By
providing a routable effects loop the Axe-Fx allows unrivaled flexibility.
Programmability: The Axe-Fx allows extensive programmability of each effects
parameters. You are not constrained by the limitations of "one-knob" processors
where little if any editing of parameters is offered. In addition, many effects offer
advanced editing capability allowing in-depth programming. Usability has not been
sacrificed though as most effects have a basic setup page allowing quick access
to the most used parameters.
Controllability: Many of the parameters in the Axe-Fx are controllable in real-time.
Both internal and external controllers can be attached to various parameters
offering dynamic control of an effect. Additionally these controllers allow mapping
the control value to the effect parameter through a transform so even greater
control is afforded.
Multiple Effects: The Axe-Fx has all the classic effects plus a few new ones. And
for most effects you get two instances so you can really create some huge sounds.
The Axe-Fx works on the principle of an "effects inventory". You take an effect out
of inventory and place it in the routing grid and then connect it to other effects and
connect controllers to it (if desired). If an effect has multiple instances you can
withdraw another instance of that same effect from the inventory and place it at
another location in the grid. The effects inventory is listed below along with the
number of instances available:
• Noise Gate (1)
• Compressor (2)
• Graphic Equalizer (2)
• Parametric Equalizer (2)
• Amplifier Emulator (2)
• Cabinet Emulator (2)
• Reverb (2)
• Chorus (2)

Introduction 7
• Flanger (2)
• Phaser (2)
• Rotary Cabinet (2)
• Wah-Wah (2)
• Formant Synthesizer (1)
• Tremolo/Panner (2)
• Delay (2)
• Multi-Delay (2)
• Filter (2)
• Pitch Shifter (1)
• Drive (2)
• Stereo Enhancer (1)
• Mixer (2)
• Effects Loop (1)
• Feedback Send/Return (1)
Despite the huge arsenal of effects at your disposal, the Axe-Fx first-and-foremost
emphasizes sound quality. Unique to the processing in the Axe-Fx is our
proprietary natural processing algorithms. Many of the algorithms in the Axe-Fx
replicate patterns that occur in nature (this is where our company name was
derived from). The reverb algorithm replicates the soundof a real room, the chorus
andflangerusespecialvariabledelay algorithms thatare morenaturaland smooth
that any pedal (analog or digital) could ever achieve and 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. Almost all the
effects in the Axe-Fx are full stereo (except for the Amp, Drive, Pitch and Multi-
Delay effects) allowing for rich, full-sounding signal chains. And by using two Amp
blocks you can achieve a true stereo, dual-amp rig for really huge sounds.
Along with our superior algorithms the Axe-Fx uses the finest quality components
available. The op-amps, A/D and D/A converters and passive components are all
of the highest quality. The converters are the same converters used in high-end
studio equipment costing many thousands of dollars. A single op-amp in the Axe-
Fx costs more than all the op-amps combined in many “budget” processors.
Additionally our unique analog topology eliminates any electrolytic capacitors from
the signal path. Only high-quality film capacitors and precision metal-film resistors
are used in the signal path assuring low-noise and low-distortion performance.
These features also allow the Axe-Fx to excel as an general purpose outboard
processor for studio and live use.

Introduction 8
Concept The Axe-Fx works on the concept of an effects inventory and an effects grid.
Figure 1. Axe-Fx Concept
The effects inventory is a virtual stockroom of effects. Effects areremoved from the
inventory and placed into the effects grid. The grid is a four row by twelve column
matrix. Once an effect has been placed in the grid it can be connected to any other
effect in an adjacent column. Routing beyond the adjacent columns is not
permitted. Figure 1 shows the conceptual model along with a somewhat simple
routing. The input feeds the “WAH” block which feeds an “AMP” block which in turn
feedsthe “CAB” block,etc. A second series path hasanotheramp andcab andthis
pathis added tothe first path atthe input tothechorus (CHO). Signal flowis always
left-to-right. We’ll cover routing in more detail later.
Every effect has a common input-output structure. The input sums the outputs of
the effects that feed into the effect. Each effect can have up to four inputs from the
previous column. In turn each effect can feed its output to up to four effects in the
subsequent column.

Introduction 9
Figure 2. Effect Block I/O Structure
The Output Mixer (the block labeled “OUTPUT” in Figure 1) sums the signals from
the four rows. The Output Mixer allows mixing and panning of the four rows and
overall level control.
Figure 3. Output Mixer

Getting Set Up 10
Getting Set Up
Rear Panel
Figure 4. shows the rear panel of the Axe-Fx.
Figure 4. Rear Panel
1. Input1 - Connect line-level input sources to these jacks. If using the Axe-Fx as an
effects processor use these jacks and be sure to set the INPUT SOURCE to ANALOG
REAR
in the I/O menu.
NOTE: The front panel INSTR input is defeated whenever a plug is inserted into this input.
2. Input2 / Eff. Return - If using the effects loop the output of the effect(s) in the loop
are connected here. You can also use this as ageneric input by placing the effects
loop block in the grid but not connecting anything to the block’s input.
3. Output1 - Main outputs. There are two sets of outputs, unbalanced and balanced.
The balanced outputs are intended for use with a mixing board and balanced
cables (mic cables). The unbalanced outputs are intended for connecting to a
power amp or other unbalanced equipment. The GND LIFT switch lifts the shield
ground on the balanced outputs. If you get hum using the balanced outputs flip this
switch to isolate the ground.
4. Output2 / Eff. Send - Connect this to the input of the effect(s) in your effects loop.
You can also use this as an auxiliary output for on-stage monitoring or other uses.
5. Digital I/O - The IN connector provides 24-bit / 48 kHz digital input to the Axe-Fx.
When configured to use the digital input, INPUT1 is defeated and the effects loop
is not active (see I/O Configuration). The OUT connectors provide a digital version
of the audio from OUTPUT1 . The format is 24-bit / 48 kHz.
Digital audio output is provided on both RCA and XLR connectors. Digital in is
provided on an RCA connector. You can connect and AES digital source (XLR
connector) to the RCA digital input jack using commonly available AES to SPDIF
adaptor cables.

Getting Set Up 11
6. MIDI - MIDI interface. Connect your MIDI controller to MIDI IN . The POWER jack
provides power on pins 6 and 7 of MIDI IN allowing phantom powering of pedal
boards that support this.
7. Pedal / Footswitch - Pedal / footswitch inputs. Connect your expression pedals
and/or footswitches here. Each jack is a ¼" stereo jack capable of supporting an
expression pedal or a footswitch (either momentary or latching).
When connecting an expression pedal the pedal data can be used to control
various parameters continuously such as volume, rate, drive, etc. A footswitch
would normally be used to control bypass or preset recall. See the I/O
Configuration section for more information on pedal types and configuration.
8. A/C In - Mains power. Connect to a grounded AC receptacle.
Front Panel
Figure 5 shows the front panel of the Axe-Fx.
Figure 5. Front Panel
1. Status / Warning Indicators - These four LED's consist of:
EDITED - Lit if the current preset has been edited, reminding you to save your
changes.
MIDI IN - Lights whenever MIDI data is received.
OUT1 CLIP - Lights whenever the digital signal level at OUTPUT1 has exceeded
that which is representable by 24-bits. Internally the Axe-Fx uses 32-bit floating-
point numbers so clipping is virtually impossible. These values are then converted
to 24-bit fixed-point numbers prior to being output. If the converted value is greater
than that which can be represented by a 24-bit fixed-point number, this will cause
clipping of the D/A converter and clipping of the digital output. If the clipping is
severe audible distortion may result. Reduce the output level by either turning
down the level in one or more of the effect blocks or by turning the master output
level down in the layout mixer.

Getting Set Up 12
OUT2 CLIP - Lights whenever the signal level at OUTPUT2 has exceeded that
which is representable by 24-bits. Reduce the output level by either turning down
the level in one or more of the effect blocks or by turning the master output level
down in the effects loop mixer.
2. Value / Enter / Exit - The value dial is used to adjust values of various parameters.
The ENTER button is used to commit effects to a block, attach controllers and
various other activities. The
EXIT button cancels dialogs and escapes fromvarious
states
3. Navigation - The four navigation buttons allow movement within a page. The
PAGE buttons switch between pages.
4. Menu Pressing a menu button brings you to that menu instantly:
LAYOUT - This is the effects grid placement and routing menu. There are four
pages: EDIT, MOVE, GATE and MIX . The EDIT page is used to place and route effects.
The MOVE page allows moving an effect once it's been placed. The GATE page
contains the adjustable parameters for the Noise Gate.The MIX page allowsoverall
mixing and panning of the four rows in the grid as well as overall output level
adjustment.
EDIT - To edit anindividual effect, highlight that effect in the LAYOUT>EDIT menu and
press EDIT . This brings up the edit pages for that effect. Pressing EDIT again
switches to the next effect in the grid.
CONTROL - Pressing CONTROL brings up the menu pages for the internal
controllers. These are TEMPO, LFO1, LFO2, ADSR1, ADSR2, ENV and MODS . These are
discussed in more detail in the controllers section.
EFF. BYP - To bypass and individual effect, highlight theeffectandpress EFF. BYP.
The outline of the effect in the grid will change to a dotted line indicating the effect
has been bypassed. Pressing the button again will restore the effect.
GLOBAL - This brings up the Global parameters menu. There are three pages:
OUT1, OUT2, and MIX . These are discussed in more detail in the Global section.
TUNER - Pressing this button brings up the tuner display.
I/O - This button brings up the I/O Setup menu. This menu allows you to configure
the various audio and control options of the Axe-Fx. See the I/O Section for more
details.
UTILITY - This menu contains various utility functions. See the Utility section for
more details.
RECALL - Brings up the Recall display and allows you to recall presets using the
value dial.
STORE - Enters the Store menu allowing naming and saving of the current preset.

Getting Set Up 13
BYPASS - Pressing this button bypasses the Axe-Fx. The LED on the button is lit
indicating the bypass state. Press the button again to defeat the bypass. Pressing
this button twice in rapid succession restores all parameters of the selected effect
to their default values.
TEMPO - Tap the song tempo using this button. The LED on the button flashes at
the tempo that was tapped in. The tempo is saved with the preset but may be
overridden at any time. Recalling a preset loads the tempo of that preset. Any
effects set to use tempo will adjust their dependent parameters to the current
tempo.
5. Level Controls
INPUT1/2 - These controls set the input levels to the A/D converters. For best
signal-to-noise ratio adjust the levels until the top red LED just barely lights on the
strongest peaks. For example, adjust INPUT1 so that when you strum your guitar
loudly with its volume all the way up the red LED should light only occasionally.
Settingthe level controls toohigh may resultin clipping oftheinput causing audible
distortion. For guitars with humbucking pickups the INPUT1 control will normally
be around the 2:00 position. For singlecoils you may wish toset thiscontrol slightly
higher.
For best results when plugging line-level devices into an input set the controls at
midpoint and adjust the output level of the device so that the red LED barely lights
on the strongest signal peaks.
The LED’s indicate the signal level at the A/D converter. When the red LED lights
the signal into the A/D is 6 dB below full-scale (6 dB headroom).
OUTPUT1/2 - Thesecontrolssettheoutputlevelofthe Axe-Fx.Adjustthesetosuit
the equipment connected to the outputs. Setting the levels too high may result in
clipping of the attached equipment. The Axe-Fx is capable of delivering about +18
dBu maximum with level controls at full.
6. Instr - Plug your guitar into this jack. This input is conditioned especially for use
with your guitar. Plugging a line-level device into this input is not recommended as
this may cause clipping of the input amplifier. Be sure to set the INPUT SOURCE to
ANALOG FRONT in the I/O menu. If a plug is inserted into the INPUT1 LEFT/MONO
jack on the rear panel this input is defeated.
Example Connections
Below are examples of the Axe-Fx in various configurations along with
explanations and tips on usage.

Getting Set Up 14
As an Effects Unit with Separate Preamp and Power Amp
The Axe-Fx can be used as an effects processor along with a dedicated preamp
and power amp. In this configuration the preamp provides the primary distortion
and tone shaping while the Axe-Fx provides effects. By using the preamp in the
Axe-Fx’s effects loop you can place effects both before and after the preamp.
Certain effects, like wah and phaser, tend to work better before distortion, whereas
time-based effects such as delay, chorus, reverb, etc. sound best after distortion.
This configuration also allows you to use the Axe-Fx amp simulations as well. In
this way you can use the outboard preamp for certain sounds, and the Axe-Fx for
others. Be warned, however, after using the Axe-Fx’s amp sims you may find your
preamp redundant and just adding unnecessary weight to your rack!
Of course you can always use the Axe-Fx between the preamp and power amp, if
desired, in the classic post-distortion configuration.

Getting Set Up 15
As an Effects Unit with a Combo Amp (or Head and Cab)
Below are two possible configurations for using the Axe-Fx with a combo amp (or
head and cabinet). In the first configuration the Axe-Fx is simply used in the effects
loop of the amp. The second configuration is more complicated but allows effects
both before and after the amp’s preamp stage. In this configuration you are using
the amp in the Axe-Fx’s effects loop.
As a Preamp / Processor Into a Power Amp and Guitar Cabinet(s)
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The
output of the Axe-Fx is connected to a power amp and cabinets equipped with
guitar speakers. Since the cabinets are not full-range, the cabinet simulation in the
Axe-Fx should be defeated. This can be done globally via the GLOBAL menu, or per-
preset by bypassing the cabinet block or removing it from the signal chain. If the
power amp is a tube amp you may want to bypass the Axe-Fx power amp
simulations aswell.Thiscanbedoneviathe GLOBAL menu,orper-presetby turning
the SAG control fully counter-clockwise.

Getting Set Up 16
.
As a Preamp / Processor Into a Full-Range System
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The
output of the Axe-Fx is connected to a full-range sound reinforcement system.
Since the system is full-range the Axe-Fx’s cabinet simulation should be active.
The configuration shown would be typical of using the Axe-Fx straight into a FOH
mixer. Your sound man would then send you your sound back into your stage
monitor(s).
Youcan alsouse this configuration withoutthe mixer as astagerig. Simply connect
the Axe-Fx into a power amp and full-range speakers for the ultimate in tonal
flexibility.

Getting Set Up 17
Recording
Using the Axe-Fx in the studiois straightforward. Simply connect the main outputs
(analog or digital) to a mixer, computer, etc.