Fractal Audio axe-fx ultra User Manual
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Fractal Audio axe-fx ultra User Manual

Pre-amp/effects processor
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Axe-Fx
UL TRA
Pre-Amp /
Effects Processor
UL TRA
User's Manual
Firmware Rev 5.xx

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  • Page 1 Axe-Fx UL TRA Pre-Amp / Effects Processor UL TRA User’s Manual Firmware Rev 5.xx...

  • Page 2: Table Of Contents

    Table of Contents Table of Contents ................1 Foreword.................... 3 About the Ultra Model................4 Introduction ..................5 What is the Axe-Fx? .................. 5 Concept ..................... 8 Getting Set Up ................. 11 Rear Panel ....................11 Front Panel....................12 Example Connections ................14 I/O Configuration ..................
  • Page 3 MegaTap Delay ..................57 Reverb..................... 58 Amp Simulator..................61 Cabinet Simulator..................69 Drive ......................70 Pitch Shifter ..................... 72 Synth ....................... 78 Ring Modulator ..................79 Stereo Enhancer ..................79 Effects Loop / Aux. Out ................79 Mixer......................80 Volume / Pan................... 81 Feedback Send / Return .................

  • Page 4: Table Of Contents

    Keep power cord in good condition. Do not kink, bend or pinch. If power cord becomes damaged discard and replace. If not using your Axe-Fx Ultra for extended periods of time disconnect from AC mains. Protect the unit from rain and excessive moisture.

  • Page 5: Certificate Of Conformity

    Certificate of Conformity Fractal Audio Systems, USA, hereby declares on own responsibility that the following product Axe-Fx Ultra - Digital Guitar Preamp / Effects Processor That is covered by this certificate and marked with CE label conforms with following standards:...

  • Page 6: Foreword

    Furthermore, digital offers the convenience of multiple simultaneous effects, programmability and superior control. With the Fractal Audio Systems Axe-Fx 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.

  • Page 7: About The Ultra Model

    Fractal Audio Systems, Axe-Fx, Ultra 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.

  • Page 8: Introduction

    By familiarizing yourself 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 Ultra What is the Axe-Fx? What is the Axe-Fx? Well, let's start by telling you what it isn't.
  • Page 9 Introduction OK, so what does it do? Well, the Axe-Fx is fully 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.
  • Page 10 Introduction • Formant Synthesizer (1) • Tremolo/Panner (2) • Delay (2) • Multi-Delay (2) • Filter (4) • Pitch Shifter (2) • Drive (2) • Stereo Enhancer (1) • Mixer (2) • Effects Loop (1) • Feedback Send (1) • Feedback Return (1) •...

  • Page 11: Concept

    Introduction 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.
  • Page 12 Introduction 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 feeds the “CAB” block, etc. A second series path has another amp and cab and this path is added to the first path at the input to the chorus (CHO).
  • Page 13 Introduction Figure 3. Output Mixer...

  • Page 14: Getting Set Up

    Getting Set Up 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 INPUT SOURCE ANALOG REAR use these jacks and be sure to set the in the...

  • Page 15: Front Panel

    Getting Set Up MIDI IN POWER 6. MIDI - MIDI interface. Connect your MIDI controller to . The jack provides MIDI IN power on pins 6 and 7 of allowing phantom powering of pedal boards that support this. 7. Pedal / Footswitch - Pedal / footswitch inputs. Connect your expression pedals and/or footswitches here.
  • Page 16 Getting Set Up OUT2 CLIP - OUTPUT2 Lights whenever the signal level at 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. ENTER 2.

  • Page 17: Example Connections

    Getting Set Up 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.
  • Page 18 Getting Set Up 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.
  • Page 19 Getting Set Up chain. If the power amp is a tube amp you may want to bypass the Axe-Fx power amp simulations GLOBAL as well. This can be done via the menu, or per-preset by turning the control fully counter-clockwise.. As a Preamp / Processor Into a Full-Range System In this configuration the Axe-Fx is providing all distortion and tone-shaping.

  • Page 20: I/O Configuration

    Getting Set Up Recording Using the Axe-Fx in the studio is straightforward. Simply connect the main outputs (analog or digital) to a mixer, computer, etc. I/O Configuration Press the button to access the configuration menus. These menus allow you to configure the audio, MIDI and pedals of the Axe-Fx.

  • Page 21: Midi Configuration

    Getting Set Up INPUT SOURCE ANALOG REAR Set the when using the rear-panel input. This input is a generic line-level input and works with any line-level source. Audio Configuration The next page of the menu configures the inputs and main output of the Axe-Fx. Select the desired mode for each of the inputs as follows: INPUT 1 INSTR...
  • Page 22 Getting Set Up SYSEX ID - Sets the System Exclusive ID of the unit. Control Configuration CTRL page configures the external control capabilities of the Axe-Fx. Each item in the list can be controlled by either of the pedals or by a MIDI continuous controller. To set up the control for an item simply turn the value dial to select the MIDI continuous controller number (or desired pedal) that will control that item.
  • Page 23 Getting Set Up When a preset is recalled the effects are in the bypass state that they were stored in. Any that are bypassed may then by activated using either their individual bypass controllers or all may be activated by using the Global Bypass. EFFECT BYPASS - Each effect in the Axe-Fx can be toggled in and out of bypass using a MIDI continuous controller.
  • Page 24 Getting Set Up latching footswitch were connected but the type is incorrectly set to momentary then the preset would only change every other time the pedal was depressed as it would interpret the first press as the pedal being depressed and the second press as the pedal being released. If the pedal type is set to continuous it CANNOT be used to control bypass or preset change.

  • Page 25: Editing

    Editing Editing Eventually you’ll probably want to build your own presets. With the Axe-Fx this is easy and straightforward. There are three basic steps: placement, routing and effect editing. Placing Effects LAYOUT PAGE EDIT Press the button. Use the buttons to get to the page.

  • Page 26: Moving Effects

    Editing Moving Effects PAGE MOVE Effects can be moved once placed. To do this select the page using the buttons. Highlight the desired block (or row or column) to be moved and then select the appropriate move ENTER function using the value dial. Press to execute the function.
  • Page 27 Editing BYPASS mode controls the operation of the effect when the block is bypassed. Effects may contain any or all of the following modes depending upon the effect type: MIX = 0 % : LEVEL • In this mode the control is effectively turned to 0 and the control to 0 dB.

  • Page 28: Output Mixer

    Editing tweaked your patch "MY MONSTER SOUND" in your rehearsal studio and everyone thinks it sounds great. You then get out to the gig and the effects are too prominent because the room has hard floors and tin ceilings. What do you do? One solution is to frantically edit the patch going GLBL MIX through each block and adjusting the mixes.
  • Page 29 Editing The Axe-Fx features and “Effects Recall” function. This allows the parameters of an effect in a EFFECT preset to copied into the edit buffer. To use this feature simply navigate to the tab under RECALL menu. Select the preset that you wish to load from and the effect in that preset that you ENTER wish to load, and then press .

  • Page 30: The Effects

    The Effects The Effects The following sections describe the individual effects and their adjustable parameters. Noise Gate The Noise Gate is not a routable effect. It is always connected directly to the main inputs. To edit GATE LAYOUT the effect go to the page in the menu.

  • Page 31: Gate / Expander

    The Effects Parameters THRSH - Threshold control. The Compressor reduces its gain when the input power exceeds this value. RATIO - Sets the gain reduction ratio. This is the ratio of input power to output power beyond the threshold. For example, if the threshold is -40 dB, the input signal is -30 dB and the ratio is 2.0 the output will be -35 dB.

  • Page 32: Multi-Band Compressor

    The Effects The expander module is sort of a “compressor in reverse”. When the signal level is below the threshold the gain is reduced. The Axe-Fx Ultra Gate / Expander block can be used as a gate or expander (as the name suggests).

  • Page 33: Filter

    The Effects RATIO - Sets the gain reduction ratio. This is the ratio of input power to output power beyond the threshold. For example, if the threshold is -40 dB, the input signal is -30 dB and the ratio is 2.0 the output will be -35 dB.

  • Page 34: Graphic Equalizer

    The Effects Sets the ‘Q’ of the filter. Higher values give sharper responses. GAIN - Sets the gain at the center frequency for the bandpass, notch, low-shelf and high-shelf types. This control has no effect with the other types. LEVEL - Sets the output volume level of the block.

  • Page 35: Crossover

    The first and last bands have a selectable filter type. This parameter selects between the three available types. Crossover The Axe-Fx Ultra contains two, two-way stereo crossovers. These crossovers contain 4th-order Linkwitz-Reilly filters. You can combine the two crossovers to form a three-way crossover with a little imaginative routing.

  • Page 36: Resonator

    Sets the panning of the right input highpass filter. Resonator The Axe-Fx Ultra Resonator is four resonant comb filters in parallel. By tuning the comb filters a metallic or resonant timbre can be achieved from normally non-musical signals. The Resonator works best on transient signals like speech or percussion but can also be used to add unique character to musical inputs.

  • Page 37: Chorus

    The Effects Parameters MODE - Selects between the two modes of operation: manual and chordal. INGAIN - Sets the level into the effect. Since the filters are very resonant overload can occur. This control can be used to reduce the levels. MASTER FREQ - Scales all the frequencies.

  • Page 38: Basic Parameters

    The Effects channel in the chorus can have from one to four voices. Increasing the number of voices increases the fullness of the effect. For classic chorus sounds use two voices (one per side). For thick, full chorus effects use four or more voices. Basic Parameters VOICES - Sets the total number of voices used in the effect.

  • Page 39: Quad Chorus

    Adjusts the depth of the secondary LFO. Quad Chorus The Axe-Fx Ultra Quad Chorus is the ultimate chorus effect. Four independent chorus units are modulated by four separate LFO’s. The result is an incredibly lush and liquid chorus sound. It takes a little while to program but the effort is well worth the investment.
  • Page 40 The Effects Master Parameters TIME - The time delay of each chorus unit is set to a percentage of its programmed value by this parameter. This can be used to adjust all the delay times simultaneously or further modulate the choruses.

  • Page 41: Flanger

    The Effects LFO1 MASTER - LFO1 If this is set to , the rate of LFO’s 2 and 3 are locked to LFO1 and the RATE MULT parameter controls the first three LFO rates. LFOn TYPE - Selects the type of LFO for each LFO. LFOn RATE MULT - Sets the rate of the LFO as a multiple of the master rate.
  • Page 42 The Effects FEEDBK - Sets the amount of wet signal fed back to the input. Increasing the feedback can give the Flanger a metallic quality as it produces sharp resonances in the frequency response. Note that excessive values can result in marginal stability and may even cause oscillation. Decrease the feedback if this occurs.

  • Page 43: Phaser

    The Effects Phaser A phaser works by cascading a series of "allpass filters" and then mixing the processed signal with the input. The allpass filters cause phase shift and at certain frequencies the amount of phase shift will be exactly out of phase with the input so the mixed signal will have notches at those frequencies.

  • Page 44: Rotary Cabinet

    The Effects TEMPO - Locks the rate to the global tempo. For example, if the global tempo is 120 bpm and the tempo is set to a quarter note (1/4) then the LFO rate will be 2 Hz (120 bpm / 60 seconds = 2). To NONE ignore the global tempo set the tempo control to Advanced Parameters...

  • Page 45: Wah-Wah

    The Effects HDEPTH - Sets the modulation depth of the "rotor". To simulate a rotating drum only cabinet reduce this. HLEVEL - Sets the output level of the "rotor". Use this to balance the level between the drum and rotor. TEMPO - Locks the rate to the global tempo.

  • Page 46: Formant Filter

    The Effects TRACK - Sets the ‘Q’ tracking of the filter. As the frequency is increased the resonance will be decreased by an amount proportional to this value. If this is zero the resonance of the filter will be constant at all frequencies. Classic wah pedals usually have a resonance that decreases with frequency due to design limitations.

  • Page 47: Vocoder

    EXTERN1 controller (i.e. Vocoder The Axe-Fx Ultra has a digital recreation of the classic analog Vocoder. The Vocoder, created by Homer Dudley, was originally designed as means of compressing human speech for transmission over narrow-band carrier channels. Impressive amounts of compression can be achieved while still rendering speech intelligible.
  • Page 48 The Effects Parameters INSEL - Selects the input to use for the synthesis (carrier) channel. This is the input to use for your guitar or other instrument. The other input is then the analysis channel and is typically used for vocal input.

  • Page 49: Pan / Tremolo

    The Effects Pan / Tremolo The Axe-Fx Pan/Tremolo provides, as the name would imply, panning and tremolo effects. A panner moves the sound left/right in the stereo field while a tremolo varies the volume. Tremolo can be used to get that classic "surf" sound especially when used with some spring reverb. Parameters EFF TYPE - Chooses between the tremolo and panner.

  • Page 50: Delay

    The Effects Delay The real strength of digital processing was first exhibited with the original digital delay processors. Before that delay processing was done using analog delay devices or tape-based techniques. These methods suffered from poor frequency response, noise, and in the mechanical versions, reliability concerns.

  • Page 51: Common Parameters

    The Effects The first and third pages of the Delay menu are the same for all types. The second page of the edit menu changes based on the type of delay selected. Common Parameters TYPE - Selects between the various delay types available. INGAIN - Sets the input level into the delay lines.
  • Page 52 The Effects FEEDBACK L - Sets the amount of delay feedback for the left channel. The left feedback control is the “master” and will automatically set the right feedback to the proper amount so that both channels decay at the same rate regardless of the ratio. The right channel feedback control can be used to override this if desired.
  • Page 53 The Effects TEMPO L/R - Locks the delay time to the global tempo. For example, if the global tempo is 120 bpm and the tempo is set to a quarter note (1/4) then the time will be 500 ms (one echo per beat). NONE To ignore the global tempo set the tempo control to FEEDBK L->L/R-.R -...
  • Page 54 The Effects LOCUT FREQ - Sets the cutoff frequency of the lowcut filter. Higher values remove more low frequency content from the delayed signal. HICUT FREQ - Sets the cutoff frequency of the highcut filter. Lower values remove more high frequency content from the delayed signal.

  • Page 55: Multi Delay

    The Effects RECORD - When record is activated the Looper records the audio input. Pressing record again stops recording and immediately begins playback. PLAY - Toggles the playback state. If recording, pressing play immediately stops recording and starts playback. ONCE - This control plays the phrase one time only and then stops.
  • Page 56 The Effects Plex Delay / Plex Detune / Plex Shift Band Delay...
  • Page 57 The Effects Quad-Series Delay Parameters MASTER TIME - Scales all the delay times. Attach a controller to this for real-time control of the delay times. MASTER LEVEL - Scales all the output levels. Attach a controller to this for real-time control of the echo levels.
  • Page 58 The Effects TIME - Sets the delay time of the tap. TEMPO - Locks the delay time to the global tempo. For example, if the global tempo is 120 bpm and the tempo is set to a quarter note (1/4) then the time will be 500 ms (one echo per beat). To NONE ignore the global tempo set the tempo control to LEVEL -...
  • Page 59 The Effects Ten Tap Delay The Ten Tap Delay is a special kind of delay that allows you to precisely control the repeats. It is implemented essentially as 10 delays in series. You can control the exact number of repeats, up to 10, along with the decay, level and panning.

  • Page 60: Megatap Delay

    Sets the feedback level for each diffuser. For maximum diffusion set to 100%. MegaTap Delay The Axe-Fx Ultra MegaTap Delay is a 2.5 second, 40-tap delay line with parametric control of time, amplitude, and panning. This effect can be used to create interesting delay patterns or as a “density increaser”...

  • Page 61: Reverb

    The Effects FINE TIME - Sets the fine delay time of the last tap. NUMBER OF TAPS - Sets the number of taps (repeats) on the delay line. TIME SHAPE - TIME Sets the spacing of the delays as a function of tap number. This along with the ALPHA parameter can be used to control the tap spacing.
  • Page 62 The Effects The Room reverb type simulates an actual room. It is the type to use when you want the most natural, realistic reverb. Also great on vocals and percussion. The Hall reverb type is similar to the Room reverb but simulates a concert hall. It is a little less smooth and has some response peaks lending it a unique character.
  • Page 63 The Effects INLVL - Sets input level to the reverb. Primarily for use with a controller to control the reverb and allow the reverb to continue to sound. Set to 100% normally. Attach a controller to vary the reverb level without disturbing the mix. LOCUT - Decreases the low-frequency content of the wet signal HICUT -...

  • Page 64: Amp Simulator

    Parameters GLBL - The Global Amplifier selector is a Fractal Audio exclusive. This unique parameter allows assigning up to ten “global amplifiers” that are stored in non-volatile memory. Whenever a global amplifier is selected the parameters for the amp block are loaded from memory. If a parameter is changed and the preset is then stored, the parameters are written back to memory.
  • Page 65 The Effects TYPE - Selects the amplifier simulation. The simulations are based on classic and modern amps as well as some hybrids and completely original types that we concocted. The following types are available: Tube Pre • - A completely neutral, low-gain tube pre-amp simulation. Useful for warming up vocals and other instruments.
  • Page 66 The Effects Brit 900 • - The successor to the 800 series was the 900 series. This amp had basically the same power amp but a new preamp with more tone shaping, more gain, and a solid-state clipping circuit that gave it a raspier sound. This amp was designed to get more of it’s distortion from the preamp than the earlier models but you can still keep the drive low and turn up the Master for more power amp distortion.
  • Page 67 The Effects Spec. OD 1 • - Based on a coveted but rare lead head that was made famous by Larry Carlton and others. Another amp with a very strange tone-stack, this amp has a singing voice and is great for modern blues/fusion work. This is the clean channel. Spec.
  • Page 68 The Effects Energyball • - Based on a very high-gain German amplifier. Lots of bass, great for aggressive, drop-tuned riff work. HAD ODS 1 • - Based on a very rare amp used by the likes of Larry Carlton and Robben Ford. Wrecker 1 •...
  • Page 69 The Effects Also, the active tone controls do not interact like a typical amplifier. So when you turn the treble control the midrange and bass are not affected. This makes dialing in a certain tone easier and quicker than with a typical tone stack. This does not affect the voicing of the simulation in that the frequency response of the original circuit is always achieved however the exact setting of the controls will be somewhat different.
  • Page 70 The Effects ENTER DEEP - DEPTH DEEP Selecting the control and then pressing toggles the state of the DEEP switch. When the switch is active the negative feedback around the power amp is modified and the power amp will have enhanced low-frequency response adding depth and punch to the tone. This control defaults to off whenever a new amp type is chosen.
  • Page 71 The Effects If the power amp simulation is off (Sag at zero) this control then becomes a simple level control. This control has 40 dB of range. A setting of ‘5’ is therefore 20 dB less than maximum. LOWCUT FREQ - This control allows you to reduce the amount of low frequency content at the input to the amp simulator.

  • Page 72: Cabinet Simulator

    The Effects Cabinet Simulator The Axe-Fx contains 20 cabinet simulations. These simulations recreate the tonal characteristics of a variety of different speaker and cabinet configurations. More than just simple filters, the cabinet simulator actually captures the subtle frequency response variations inherent in a real guitar speaker.

  • Page 73: Drive

    The Effects 4x12 Brit • - Based on the sound of modern British cabinets equipped with “vintage” mid-power drivers. 4x12 20w • - Captures the essence of the early British 4x12 speaker cabinets with their low- power drivers and unique response. 4x12 25w •...
  • Page 74 The Effects Parameters TYPE - Selects the type of drive effect. The fuzz types are based on a hard-clipping distortion and give a raspy sound. The overdrive (OD) types are based on a cold-cathode tube model and give a warm, mellow overdrive tone. The boost types don’t distort much unless the drive is set quite high and are primarily tone-shaping and overdrive devices.

  • Page 75: Pitch Shifter

    The Effects Pitch Shifter The Axe-Fx Ultra Pitch Shifter has ten modes of operation: Detune, Fixed Harmony, Intelligent Harmony, Classic Whammy, Octave Divider, Crystals, Advanced Whammy, Arpeggiator, Custom TYPE Shifter and Auto Pitch. The mode is selected with the parameter on the first page.
  • Page 76 The Effects PITCH SOURCE - Selects the source of the pitch information. See description above. Detune The Detune mode creates two voices that are slightly detuned from the input. The amount of detuning is adjustable between -50 and +50 cents. This mode is useful for creating double-tracked sounds or chorus-like effects.
  • Page 77 The Effects PITCH TRACK - Setting this to instructs the pitch shifter to track the pitch of the input. For single note work this provides improved results. For chordal work this should be set to as the pitch tracker obviously cannot determine the pitch of simultaneous tones. TRACK ADJUST - This control allows fine-tuning the pitch shifter “splice length”.
  • Page 78 The Effects NOTEn - TONIC These are the notes of your custom scale relative to the tonic set by . Set these to define the scale degrees. Classic Whammy The Whammy mode allows control of the pitch shift via a control knob (normally you would connect this knob to a controller such as an expression pedal).
  • Page 79 The Effects VOICE1,2 SHIFT - Sets the shift amount of the voice in half-steps. The range of shift is +/- 12 half- steps. VOICE1,2 LEVEL - Sets the volume level of the voice. VOICE1,2 PAN - Sets the panning of the voice. VOICE1,2 DELAY - Sets the delay time of the voice in milliseconds.
  • Page 80 The Effects STOP - Sets the stop pitch shift amount in semitones. This is the amount of pitch shift when the CTRL knob is in the maximum position. Arpeggiator The Arpeggiator is a 16-stage sequencer that controls the pitch shift. Complex arpeggio patterns can be created just by playing a single note.

  • Page 81: Synth

    All parameters for the Auto Pitch mode are described under the Intelligent Harmony mode. Synth The Axe-Fx Ultra contains two dual-voice monophonic synthesizers. These are classic oscillator- based synthesizers and can be used to do synth leads with your guitar or other instrument input.

  • Page 82: Ring Modulator

    The Effects Ring Modulator The Ring Modulator is a double-sideband modulator that can be used to create harmonically unrelated tones from the input. The Axe-Fx Ring Modulator differs from the classic effect in that the frequency can be controlled by the pitch of the input. Parameters FREQ - Sets the frequency of the oscillator.

  • Page 83: Mixer

    The Effects Note that the effects loop is before the cabinet. The main output would then be fully processed including the cabinet simulation. If you were to send this signal to an amp/cabinet combination it would probably be excessively muddy. If your on-stage monitoring equipment is full-range then you can place the effects loop after the OUTPUT1 cabinet or simply use the un-balanced...

  • Page 84: Volume / Pan

    The Effects The controls are linear (as opposed to logarithmic like most other gain controls). This makes setting up cross-fades much easier. Volume / Pan The Volume / Pan block is a simple level and pan control block. It allows you to insert level and pan controls at any point in the routing matrix.

  • Page 85: Controllers And Modifiers

    Controllers and Modifiers Controllers and Modifiers The Axe-Fx allows control over many of the various effect parameters. In essence a controller is like a robot that turns a knob for you. There are two basic types of controllers: internal and external. Internal controllers are automatic controllers that are generated by the Axe-Fx based on various parameters and conditions.

  • Page 86: Lfo's

    Controllers and Modifiers AUTO DELAY - When set to ON, any delay blocks that are bypassed will become active whenever a new tempo is input. This allows recalling a preset with a delay block bypassed and then automatically activating the delay when tapping in a new tempo. LFO's The Axe-Fx contains two Low Frequency Oscillators (LFO's) that can generate various low- frequency waveforms for use in parameter modulation.

  • Page 87: Sequencer

    Controllers and Modifiers THRSHLD - The threshold level in dB. When the signal crosses this value the sequence is triggered. Sequencer The Sequencer generates a sequence of values. When the last stage of the sequence is reached the sequence starts over. The Sequencer can be used to generate repetitive patterns in time with the beat of the song.

  • Page 88: External Controllers

    Controllers and Modifiers Pitch The Axe-Fx has a fast built-in Pitch detector. It is completely automatic and has no adjustable parameters. The value from the pitch detector is proportional to the frequency of the note played, higher notes give a higher value. If multiple notes are played at once the pitch detector will attempt to find the lowest pitch but may not be able to lock onto it.
  • Page 89 Controllers and Modifiers ENTER To remove a modifier select the parameter with the navigation buttons and press . Set the source to none then press exit. This will remove the modifier and restore the parameter’s value to its stored value. Parameters SOURCE - This is the controller that will be used to control the parameter.
  • Page 90 Controllers and Modifiers The damping control is also effective when using an expression pedal to control a parameter. It can help smooth out the pedals response, especially if the pedal’s potentiometer has gotten “scratchy”. AUTO ENG - When set to , automatically engages the target effect block when activity occurs on the connected controller.

  • Page 91: Global Parameters

    Global Parameters Global Parameters GLOBAL The Axe-Fx Global Parameters menu is accessed by pressing the menu button. The Global Parameters allows you to set the overall tone and mix of the Axe-Fx. These settings are stored independently of the presets and restored at each power-on. CONFIG, OUT1, OUT2 There are four pages: OUT1...
  • Page 92 Global Parameters Global Scales The Axe-Fx Ultra has the ability to define up to 32 custom scales. A custom scale is an arbitrary table of pitch shift values that need not conform to any conventional definition of a scale. Custom scales can be used to create harmonic counterpoint using the Custom Shifter mode of the Pitch block or other non-standard harmonic relationships.

  • Page 93: Tuner

    Tuner Tuner TUNER Pressing the button brings up the Axe-Fx tuner display. There are three pages. The first page is the basic tuner display. The second page allows you to configure the tuner and the third page allows you to enter custom tuning offsets. CAL - This sets the reference frequency for the tuner.

  • Page 94: Utilities

    Utilities Utilities LCD, PRESET, STATUS, RESET FIRMWARE The Utilities menu consists of the pages. On this page you can adjust the contrast of the LCD. Preset Preset Dump These functions allow you to save presets to a MIDI librarian (or MIDI librarian software on a PC). MIDI OUT Connect to the MIDI librarian device.

  • Page 95: Status

    Utilities Status STATUS page allows you to monitor the input levels and CPU usage of the Axe-Fx. If programming a VERY complicated preset you may run out of CPU power. The Axe-Fx has enough horsepower to run at least 10 effects simultaneously. If the CPU utilization is approaching 90% you may not be able to add a desired effect to the preset.

  • Page 96: Tips And Tricks

    Tips and Tricks Tips and Tricks Achieving ultimate tone Ultimate tone is the Holy Grail for guitar players and is a combination of many factors. To help you achieve the sound you are looking for follow these guidelines: Choose the amplifier type carefully The amp types all have their own unique voicing and certain types are better suited to particular tones than others.

  • Page 97: Using Your Axe-Fx Live

    Tips and Tricks If you are connecting the Axe-Fx to a tube power amp as well, then once again the signal is effectively passed through a power amp twice (once in the Axe-Fx, once in the external tube amp). For this reason the Axe-Fx allows you to defeat the power amp simulations and the cabinet simulations.

  • Page 98: Maintenance

    Tips and Tricks to maximize the distance between the guitar and these sources. If you are working at a computer consider using an LCD monitor as these do not generate the high-intensity magnetic fields that CRT monitors do. Maintenance Your Axe-Fx was built using the highest quality components available. No routine maintenance is required.

  • Page 99: Warranty Information

    This warranty only applies to products sold and used in the USA and Canada. Fractal Audio Systems shall not be liable for damages or loss resulting from the negligent or intentional acts of the shipper or its contracted affiliates.

  • Page 100: Specifications

    Specifications Specifications Front Panel Input Connector:1/4” phone jack, unbalanced. Impedance:1 Mohm Max. Input Level:+12 dBu (conditioned for guitar use) Rear Inputs Connector:1/4” phone jack, unbalanced. Impedance:1 Mohm Max. Input Level:+18 dBu A/D Conversion Bit Depth:24 bits Sample Rate:48 kHz Dynamic Range:> 105 dB Frequency Response:20 - 20kHz, +0 / -3 dB Crosstalk:<-60 dB over full bandwidth Analog Outputs...
  • Page 101 Specifications Finish:Powdercoated steel chassis with anodized aluminum faceplate LCD:128x64 dot matrix graphic display Dimensions:19” x 3.5” x 12” (483 x 88 x 305 mm) Weight:10 lbs 4.5 kg) Input Voltage:100 to 240 VAC, 47 - 63 Hz (universal input) Power Consumption:< 10 W Backup Battery Life:>...

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