Fractal Audio II Axe-Fx Quick Reference Guide

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 firmware v12.00 ~ Axe-Edit v3.0.3 ~ rev. November 9, 2013

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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. On jumpered amps, this setting’s label changes to TREBLE DRIVE.

OVERDRIVE – A second drive control for some amp models. It does not have a bright cap so it only affects the gain. Set Overdrive to 8.00 to get the identical response to pre-v10.10 firmware for models that have Overdrive. On jumpered amps, this setting’s label changes to NORMAL DRIVE.

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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 difference 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.

You can also adjust preamp gain globally with GLOBAL AMP GAIN, which affects every amp and preset. One reason you might do this is to compensate for the gain difference when switching to a hotter/ quieter guitar.

On the Axe-Fx unit: GLOBAL button > CONFIG > AMP GAIN INPUT DRIVE and OVERDRIVE will have a dramatic effect on the response of the amplifier and the personality of your instrument.

See the footnote in the amp description list to quickly find the amps that have the OVERDRIVE control.

BASS/MID/TREB – “Passive” tone stack. Can be changed with TONESTACK TYPE.

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 “flat” and the MID becomes a volume control.

COMP – Controls the amount of preamp compression and sets the compression threshold of the cathode follower. Same as the CATHODE THRESHOLD parameter, 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. Presence 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 fixed 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 influence on the sound. Amp models default to a starting Master Volume setting when selected. (Non-MV amps default to 10.)

Before adjusting the MASTER VOL, be aware that it defaults to 10 for nonmaster volume (vintage) amps. If you want more MV on non-MV amps, increases the MASTER VOL TRIM.

Most MV amps achieve full volume between 2-4 and then it’s just compression after that. The sweet spot is that point at which the power amp starts to compress. If you want a more “open” sound, be careful not to set the MV too high. You can also lower XFORMER MATCH (a little goes a long way.)

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 “flub”. 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 tone stack center frequency. Specifically, it multiplies the tone stack treble capacitor by four.

Depending upon the type of tone stack, tone control settings, position, etc., the effect can be more or less noticeable. (See TONE page.)

BRIGHT – A “treble peaker” which functions mainly to compensate for the loss of highs at low amp volume. The effect may be subtle or quite pronounced, depending on the amp selected, and it is also affected 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 character 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 influence of this control is lessened.

Note that this only affects 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 Presence control allows you to get the desired power amp drive and liquid feeling and then bring the highs back without affecting 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

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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 amplifier response due to the finite 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.

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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.

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 different than the impedance curve since negative feedback flattens the response. If you turn DAMPING all the way down then the EQ will be close to the impedance curve (but still influenced by the transformer).

Amp Block

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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 effect. Sag values around 2 simulate a solid-state rectifier, 4-6 a tube rectifier.

Setting SUPPLY SAG to 0 disables the power amp and turns the MASTER into a simple level control with a 40 dB range.

DYNAMICS – Simulates the interaction and compressive effects 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 effect.

In general, the more heavily driven the power amp section is, the more effect the SUPPLY SAG and DYNAMICS controls have.

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. You also reduce the power tube compression of the lows and highs. This control has more influence with higher MASTER values and low gain amps and less influence 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.

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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 effect 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+ affects 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 transformer, 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 (the ratio of even/odd harmonics) and the attack characteristics. The further you move away from (roughly) zero the more even harmonics are introduced. It’s an asymmetric transfer function so you have to experiment. Typically, if the previous stage has a negative bias then increasing this value will be more noticeable and vice-versa. Use with TRIODE HARDNESS.

Ghost notes are the result of a 120Hz signal plus harmonics getting past the power supply filtering. 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.

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.

Amp Block

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PRESENCE FREQ – Alters the center frequency of the amp’s PRESENCE control.

DEPTH FREQ – Alters the center frequency of the amp’s DEPTH control.

POWER TUBE TYPE – Selects tetrode (6L6, KT66, etc.) or pentode (EL34, 6BQ5, etc.) This doesn’t change the sound in the same way actually changing tubes would because it only changes the distortion curves, not the transconductance.

In real amps, an EL34 has more than twice the transconductance of a 6L6. This means the plate current will be twice as great for a given grid voltage. This makes EL34s sound “more midrangey” and 6L6s sound “tighter’”or “fuller”.

POWER TUBE BIAS – Sets the bias point of the power amp. Increase it to reduce crossover distortion and vice-versa. Lower values approach pure Class-B operation. Higher values approach pure Class-A.

Increase POWER TUBE BIAS to thicken clean tones; reduce it to add aggression to high-gain sounds. A value of 0.5 or so will run the virtual tubes at around 75% of full power and clean tones will sound warmer but you will lose that sizzle on high-gain tones.

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.

Setting DAMPING to 0 disables negative feedback and replaces the

PRESENCE control with HI CUT. DEPTH is also disabled since it only affects negative feedback.

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TRIODE1/2 PLATE FREQ – Sets the cutoff 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 “fizz”, making the tone smoother.

TRIODE HARDNESS – Controls how sharply the triodes enter saturation and can be used to simulate softer/harder tubes. The effect is subtle and most apparent at edge of breakup. Lower values give softer saturation and will sound softer (naturally) but have less note separation. Triode Hardness at zero gives a smoother distortion with reduced upper harmonics. Higher values give a more aggressive breakup and better note separation. Defaults to an appropriate value when an amp model is selected.

If you are right on the edge of breakup the triode hardness is very powerful as it controls the harmonic series. Higher values will cause the overtone series to have a less steep decay and will increase perceived “sparkle”. Together with

PREAMP BIAS you can control how chimey and “round” the tone is.

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 filters 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 “fizz”.

POWER TYPE – When set to AC, models AC rectification 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 defined.

DEFINITION – A basic “tilt EQ” located at the amp input. It changes the fundamental 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 homomorphic filters”. When playing softly this dynamic filter has little effect on the sound. As the amount of distortion increases, the influence of the filter increases. The Character Frequency control sets the center frequency of the filter while the Character control sets how pronounced the effect 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 effect of the BRIGHT switch. Increase to make the preamp brighter and vice-versa.

MV CAP – Sets the value of the bright cap across the Master Volume pot.

Setting it to 1.0 pF disables it.

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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 tone stack with the selected amp type.

[AMP] – Replaces the default tone stack 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.

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.

Affects POWER AMP LOW/HI CUT values and applies some parametric EQ.

USE MIMIC – Identifies deviations in the response of the simulated amplifier to the actual amplifier 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 different tone stack, the settings remain unchanged.

For a flat tone stack, set the TONESTACK TYPE to Vintage with B/M/T at noon.

This will allow the flexibility of being able to boost or cut bass and treble.

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

TONESTACK TYPES

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

JAZZ 120

BOGFISH

WRECKER 2

SKYLINE DEEP **

* Generally, Blackface amps are cleaner with scooped mids. Brownface amps have more mids and fall in between

Blackface (cleaner) and Tweed (dirtier).

** Deep switch engaged.

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 distortion. On others, the tremolo can vary greatly between loud and soft playing.

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INPUT SELECT – The Amp block processes audio in mono. This control determines how incoming stereo signals will be processed.

MODELING MODE – Varies between “realistic” and “idealized” preamp and power amp modeling.

AUTHENTIC – Replicates a tube amplifier with the utmost accuracy.

GRID COND OFF – Turns off grid conduction modeling in the power amp simulation. This reduces blocking distortion.

SMOOTH – Sets Triode Hardness to the minimum value essentially creating an ideal preamp and turns off grid conduction modeling in the power amp.

This removes most of the “nasty” distortion that tube amps create.

IDEAL – Removes most of the “warts” from the modeling which includes grid conduction, output transformer distortion, bias shifting, and AC power supply modeling. Supply sag, screen voltage effects, and crossover distortion are still modeled.

IDEAL/SMOOTH – Same as Smooth, except it also sets Triode Hardness to its lowest value. This is in essence an ideal preamp plus an ideal power amp.

ADDITIONAL NOTES ON MODELING MODE

The audibility of these settings is dependent upon the particular amp model and various parameters. The use of these modes in conjunction with other parameters can yield idealized tones not achievable with real tube amps.

The first two choices duplicate the previous behavior of the deprecated Grid

Modeling parameter so no changes are required to existing presets.

When IDEAL is chosen, the global Modeling Version parameter is irrelevant.

Grid modeling replicates grid conduction in the preamp and power amp stages, which adds “real world” high frequency “fizz” or “grit”. Grid modeling parameters include BIAS EXCURSION and EXCURSION/RECOVERY TIME.

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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 effect can be used to shift where the tone sits in a mix, or to create dramatic effects. Subtle settings (0.9-1.1) will sound most natural.

MOTOR DRIVE – Models the effect of high power levels on speaker tone.

Simulates the impedance and distortion effects 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.

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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.

LOW/HIGH CUT – Adjusts the cutoff point of first order low/high pass filters.

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 effect 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 filter effects. A common practice in studio recording is to use multiple mics on a speaker at different distances to intentionally introduce it.

The effect is most pronounced when the cabs are summed to mono.

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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 cutoff frequency of the mixed signal. Increase to maximum value for a straight mix.

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

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 significant 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 (CABINET Page - 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.

Cab Block

FACTORY CABINETS

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 AC-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 firmware versions of the same cab. Magenta cabs are far field IRs.

AXE-FX AMP BASED ON DESCRIPTION

1987X Jump . . . . . . . . . . . .

Marshall 1987x Vintage Series . . . . .Reissue of the 50w JMP Lead 1987. Features an “essential” mod to the tonestack of this Plexi. Emulates “jumpering the inputs” on a 4-hole amp.

1987X Normal . . . . . . . . . .

Marshall 1987x Vintage Series . . . . .Normal channel.

1987X Treble . . . . . . . . . . . .

Marshall 1987x Vintage Series . . . . .Treble channel.

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.

5F1 Tweed . . . . . . . . . . . . . .

Fender Champ . . . . . . . . . . . . . . . . . . . .5F1 circuit (‘58-’64), single-ended, Class A, 5w. This particular amp exhibits a unique breakup characteristic due to its single-ended design and simple circuit.

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 . . . . . . . . . . . . . .Based around the normal channel of a Vox AC30 and voiced intentionally to be on the dark side. 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.

Bogfish Brown . . . . . . . . . . Bogner Fish preamp . . . . . . . . . . . . . . .Blue 4-channel tube preamp. Brown = fat high gain.

Bogfish Strato . . . . . . . . . . . Bogner Fish preamp . . . . . . . . . . . . . . .Strato = tight high gain.

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 modified 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 preamplifier 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 modified 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). The CAE 3+ SE is basically an OD-100.

CA3+ Rhy . . . . . . . . . . . . . . . CAE 3+ SE preamp (Ch 2) . . . . . . . . . .Channel 2 (Rhythm).

Red amps are non-MV (no Master Volume on the real amp). The MASTER VOL is set to 10 by default.

9

Includes the additional OVERDRIVE control.

b

The 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 affects negative feedback.

AXE-FX AMP BASED ON DESCRIPTION

Cali Leggy . . . . . . . . . . . . . . Carvin Legacy VL100 . . . . . . . . . . . . . .Legacy 1, 100w, EL34. Uses a “James” tone stack which is more like hi-fi tone controls. Based on Steve Vai’s original signature Legacy amplifier. 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 off 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 fine-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.

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 amplifiers.

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 definition 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 riffs.

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 fizzy than the original amp. Also, a virtual choke has replaced the resistor found on the original’s power supply filter. 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.

Red amps are non-MV (no Master Volume on the real amp). The MASTER VOL is set to 10 by default.

9

Includes the additional OVERDRIVE control.

b

The 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 affects negative feedback.

AXE-FX AMP BASED ON DESCRIPTION

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.

Hipower Normal . . . . . . . . Hiwatt DR103 (Normal) . . . . . . . . . . . .Normal channel.

Hot Kitty $ . . . . . . . . . . . . . Bad Cat Hot Cat 30r (Ch 2) . . . . . . . . .30w, EL34, cathode bias, Channel 2. Voted by Guitar Player as “the second best combo of all time.”

Jazz 120 . . . . . . . . . . . . . . . . Roland JC-120 . . . . . . . . . . . . . . . . . . . . .120w (stereo: 2x 60w). The only solid-state-based model in the collection, a quintessential clean tone.

JR Blues . . . . . . . . . . . . . . . . . Fender Blues Jr. . . . . . . . . . . . . . . . . . . .15w. A gutsy little classic with dual EL84s. To get the tone of an Egnater Rebel 20, set the Damping to 0.

Mr Z 38 Sr $ . . . . . . . . . . . . Dr. Z Maz 38 SR . . . . . . . . . . . . . . . . . . . .38w, EL84 tubes. Popular with country and roots players. The quintessential country amp.

Nuclear-Tone b $

. . . . . .

Swart Atomic Space Tone . . . . . . . . . .20w, 6V6. As with the actual amp, the bias tremolo is particularly effective.

ODS-100 Clean . . . . . . . . . . Dumble OD Special (Clean) . . . . . . . .100w “HRM” (Hot Rod Marshall) version, Clean channel. A coveted but rare amp made famous by Robben Ford.

ODS-100 Ld Mid 9 . . . . . . Dumble OD Special (OD) . . . . . . . . . .Lead channel with the “Mid” switch engaged (this switch is sometimes labeled “Deep”).

ODS-100 Lead 9 . . . . . . . . Dumble OD Special (OD) . . . . . . . . . .Lead channel matched with the preamp bypass (PAB) engaged (which bypasses the input tone stack) and the

Drive control at approximately 7.0. Played by the great Larry Carlton and many others!

ODS-100 Lead 2 9 . . . . . . Dumble OD Special (OD) . . . . . . . . . .“Non-HRM” version. Preamp Bypass ON. The default tone stack is neutral (with B/M/T at noon the response is flat.)

ODS-100 Lead 3 9 . . . . . . Dumble OD Special (OD) . . . . . . . . . .“Non-HRM” version. Preamp Bypass OFF.

Plexi 100w High . . . . . . . . .

Marshall Super Lead 1959 . . . . . . . . .1968 model. Classic amp head that gave rise to “the stack.” Great for crunchy rhythm work. As with the real amp, don’t be afraid to turn the bass all the way down or the treble all the way up, or it’s too flubby. Treble channel.

Plexi 100w Jump . . . . . . . .

Marshall Super Lead 1959 . . . . . . . . .Emulates “jumpering the inputs” on a 4-hole amp.

Plexi 100w Nrml . . . . . . . .

Marshall Super Lead 1959 . . . . . . . . .Normal channel.

Plexi 50w High . . . . . . . . . .

Marshall Super Lead 1959 . . . . . . . . .1972 model. Treble channel.

Plexi 50w Jump . . . . . . . . .

Marshall Super Lead 1959 . . . . . . . . .Emulates “jumpering the inputs” on a 4-hole amp.

Plexi 50w Nrml . . . . . . . . . .

Marshall Super Lead 1959 . . . . . . . . .Normal channel.

Prince Tone NR b

. . . . . . .

Fender Princeton (no reverb) . . . . . .Class A, 5w. 5F2-A, AA964 circuits. Modeled after early CBS “Silverface” model, pre-CBS design and components.

Prince Tone Rev b

. . . . . . .

Fender Princeton (‘66 Reverb) . . . . .Same as above. ‘66 Reverb edition.

Prince Tone Twd b

. . . . . .

Fender Princeton (Tweed) . . . . . . . . .Same as above. Tweed version.

PVH 6160 Block . . . . . . . . . Peavey EVH 5150 (Lead) . . . . . . . . . . .120w, 6L6. Rematched against an original block letter Peavey EVH 5150. Lead channel.

PVH 6160 II . . . . . . . . . . . . . Peavey 6505+ . . . . . . . . . . . . . . . . . . . . .120w, 6L6. Identical to the EVH II.

Recto1 Org Norm . . . . . . . Mesa Boogie 2 ch. Dual Rectifier . . .Warmer and less fizzy than the 3 channel model. Orange channel, Normal mode.

Recto1 Red Mdrn $ . . . . . Mesa Boogie 2 ch. Dual Rectifier . . .Red channel, Modern mode.

Recto2 Org Mdrn $ . . . . . Mesa Boogie 3 ch. Dual Rectifier . . .A high-gain masterpiece with crushing power and tighness. Rectos are bassy, fizzy beasts but that tone works great for certain genres. Be careful with Modern mode; if you turn the MV up too high it will flub out quickly.

Recto2 Org Vint . . . . . . . . . Mesa Boogie 3 ch. Dual Rectifier . . .Orange channel , Vintage mode.

Recto2 Red Mdrn $ . . . . . Mesa Boogie 3 ch. Dual Rectifier . . .Red channel , Modern mode.

Recto2 Red Vntg . . . . . . . . Mesa Boogie 3 ch. Dual Rectifier . . .Red channel , Vintage mode.

Ruby Rocket

$

. . . . . . . . .

Paul Ruby Rocket . . . . . . . . . . . . . . . . . .Trainwreck Rocket clone (similar to a Vox).

Shiver Cln . . . . . . . . . . . . . . . Bogner Shiva (Clean) . . . . . . . . . . . . . .90w, KT88. 20th anniv. Clean channel, powerful shimmering cleans. Dark amp, turn up Presence or engage Bright.

Shiver Ld . . . . . . . . . . . . . . . Bogner Shiva (Lead) . . . . . . . . . . . . . . .Lead channel, sweet, rich-sounding amp with aggressive, English-style midrange punch.

Solo 100 Clean . . . . . . . . . . Soldano SLO-100 (Nrml/Clean) . . . .SLO = Super Lead Overdrive, 100w. Normal channel, Clean gain selector.

Solo 100 Lead . . . . . . . . . . . Soldano SLO-100 (Lead) . . . . . . . . . . .Snarling Lead channel. The SLO -100 likes to be run hard, so the Master Volume defaults to a higher setting than

Red amps are non-MV (no Master Volume on the real amp). The MASTER VOL is set to 10 by default.

9

Includes the additional OVERDRIVE control.

b

The 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 affects negative feedback.

AXE-FX AMP BASED ON DESCRIPTION on most other amps. To achieve the best sound, also back off the preamp gain.

Solo 100 Rhy . . . . . . . . . . . . Soldano SLO-100 (Nrml/Crunch) . . .Normal channel, Crunch gain selector. Aggressive rhythm.

Solo 88 Rhythm . . . . . . . . . Soldano X88R preamp (Crunch) . . . .Crunch channel of the Soldano X88R 3-channel preamp.

Solo 99 Clean . . . . . . . . . . . Soldano X99 preamp (Clean) . . . . . .Soldano/Caswell midi-motorized X99 preamp; Clean channel.

Solo 99 Lead . . . . . . . . . . . . Soldano X99 preamp (Lead) . . . . . . .Lead channel.

Spawn Nitrous . . . . . . . . . . Splawn Nitro (OD) . . . . . . . . . . . . . . . . .100w, KT-88, OD channel. Splawn tone with more saturation and voiced for a bigger low end and low mids.

Spawn Q-Rod 1st . . . . . . . Splawn Quick Rod (1st gear) . . . . . . .100w, Ch 2. Signature Splawn tone with lots of bite, strong mids and 3 gear versatility. 1st gear, “Hot Rod Plexi’”.

Spawn Q-Rod 2nd. . . . . . . Splawn Quick Rod (2nd gear) . . . . . .2nd gear, “Hot Rod JCM 800”.

Spawn Q-Rod 3rd . . . . . . . Splawn Quick Rod (3rd gear) . . . . . . .3rd gear, “Super Hot Rod 800”.

Suhr Badger 18 $. . . . . . . Suhr Badger 18w . . . . . . . . . . . . . . . . . .18w version of this EL84-powered tube rectifier classic. Master Volume is VERY powerful at altering the tone.

Suhr Badger 30 $. . . . . . . Suhr Badger 30w . . . . . . . . . . . . . . . . . .In comparison to the 18w, the 30w features a solid state rectifier.

Super Verb . . . . . . . . . . . . . .

Fender Super Reverb . . . . . . . . . . . . . .Pre-CBS 1964 Blackface version of this 40w amp, AB763 circuit, Vibrato channel.

Supertweed . . . . . . . . . . . .

Fender Tweed series . . . . . . . . . . . . . . .Original SUPERTWEED model from the Axe-Fx Ultra. “Like a vintage Tweed amplifier on steroids.”

Supremo Trem b $

. . . . .

Supro 1964T . . . . . . . . . . . . . . . . . . . . . .Supro 1964T.

SV Bass . . . . . . . . . . . . . . . . . Ampeg SVT . . . . . . . . . . . . . . . . . . . . . . .300w, Super Vacuum Tube bass amp. Used for decades by famous bassists the world over.

Thordendal Mdrn $ . . . . n/a . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Based on Fredrik Thordendal’s specifications.

Thordendal Vint . . . . . . . . . n/a . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Based on Fredrik Thordendal’s specifications.

Trip-Tik Classic 9 . . . . . . . . Carol-Ann Triptik (Classic) . . . . . . . . . .50w, EL34. Classic channel: A little less gain and low end. Produces 70’s and 80’s British rock tones with a very wide and complex sound stage with no buzz or brittle high frequencies.

Trip-Tik Clean . . . . . . . . . . . Carol-Ann Triptik (Clean) . . . . . . . . . . .Clean channel.

Trip-Tik Modern 9. . . . . . . Carol-Ann Triptik (Modern) . . . . . . . .Modern channel: More gain and low end for those more modern heavy rhythm, dropped tunings. Also makes for a superb liquid lead channel with incredible sustain and harmonic bloom.

Tube Pre $ . . . . . . . . . . . . . generic tube preamp . . . . . . . . . . . . . .Completely neutral, low-gain tube preamp useful for “warming up” various sources.

Two Stone J-35 1 9 . . . . . Two-Rock Jet 35 . . . . . . . . . . . . . . . . . . .35w, 6L6. Lead mode, Preamp Bypass ON, which bypasses the input tone stack for a more focused lead sound.

Two Stone J-35 2 9 . . . . . Two-Rock Jet 35 . . . . . . . . . . . . . . . . . . .Lead mode, Preamp Bypass OFF.

TX Star Lead 9 . . . . . . . . . . Mesa Lone Star (Lead) . . . . . . . . . . . . .50/100w, 6L6, Lead channel.

USA Clean 1 . . . . . . . . . . . . Mesa Boogie MKIV (Rhy 1) . . . . . . . . .Somewhat neutral, clean-sounding model that can pushed into warm clipping. Rhythm 1 channel.

USA Clean 2 . . . . . . . . . . . . Mesa Boogie TriAxis preamp . . . . . . .Rhythm Green channel (“Vintage Fat Rhythm” or “old Black Face”).

USA IIC+ Bright 9 . . . . . . . Mesa B. Mark IIC+ (Lead) . . . . . . . . . . .Bright ON.

USA IIC+ Norm 9 . . . . . . . Mesa B. Mark IIC+ (Lead) . . . . . . . . . . .US-made amp famous for its smooth overdrive sound; Bright OFF.

USA Lead 9 . . . . . . . . . . . . . Mesa Boogie MKIV (Lead) . . . . . . . . . .Tight, focused, hi-gain sound. Great for fusion and rock leads. Bright OFF, Mid Gain OFF.

USA Lead + 9 . . . . . . . . . . . Mesa Boogie MKIV (Lead) . . . . . . . . . .Bright OFF, Mid Gain ON.

USA Lead Brt 9 . . . . . . . . . Mesa Boogie MKIV (Lead) . . . . . . . . . .Bright ON, Mid Gain OFF.

USA Lead Brt + 9 . . . . . . . Mesa Boogie MKIV (Lead) . . . . . . . . . .Bright ON, Mid Gain ON.

USA Pre Green 9 . . . . . . . . Mesa Boogie TriAxis preamp . . . . . . .Lead 2 Green mode, medium gain Boogie lead. Modeled with the Hi-Cut control at maximum. Power amp sim active by default (Supply Sag nonzero).

USA Pre Yellow 9 . . . . . . . Mesa Boogie TriAxis preamp . . . . . . .Same as above. Lead 2 Yellow mode, classic Boogie lead (Mark IIC+/Mark IV).

USA Rhythm . . . . . . . . . . . . Mesa Boogie MKIV (Rhy 2) . . . . . . . . .THE California crunch rhythm sound. Rhythm Channel 2 with Fat switch OFF.

Vibrato Lux . . . . . . . . . . . . .

Fender VibroLux Reverb . . . . . . . . . . .1963 Blackface model, 6L6.

Vibrato Verb . . . . . . . . . . . .

Fender Vibroverb . . . . . . . . . . . . . . . . . .40w combo that’s great for clear or grinding cleans and gutsy blues. 6G16 circuit, Brownface era.

Vibrato-King

$

. . . . . . . . .

Fender Vibro-King . . . . . . . . . . . . . . . . .Fender Vibro-King, famous for crystal cleans and powerful overdrive. Modeled with the Fat switch ON.

Wrecker 1 . . . . . . . . . . . . . . .

Trainwreck Express . . . . . . . . . . . . . . . .Trainwreck Express, designed and built by the late, great Ken Fischer.

Wrecker 2 . . . . . . . . . . . . . . .

Trainwreck Express . . . . . . . . . . . . . . . .Based on a real Trainwreck.

Red amps are non-MV (no Master Volume on the real amp). The MASTER VOL is set to 10 by default.

9

Includes the additional OVERDRIVE control.

b

The 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 affects negative feedback.

AXE-FX CAB DESCRIPTION

1 1x6 Oval . . . . . . . . . . . . . . . . . . . . . . . . . . .6” Supro, 6x9 oval speaker used in some early amps (Supro). Combine with a Plexi for some Zep.

2 1x8 Tweed . . . . . . . . . . . . . . . . . . . . . . . . .1x8 Fender Blues Jr. Really thin and cutting for roots blues leads.

3 1x10 Gold . . . . . . . . . . . . . . . . . . . . . . . . .1x10 Chicago Jensen C10N

4 1x10 Blue . . . . . . . . . . . . . . . . . . . . . . . . . .1x10 Alnico Blue

5 1x12 Tweed . . . . . . . . . . . . . . . . . . . . . . . .Fender 1x12 Tweed, based on the original 12” speaker used in an early Fender “Tweed”.

6 1x12 Black . . . . . . . . . . . . . . . . . . . . . . . . .Fender Blackface 1x12

7 1x12 Blue . . . . . . . . . . . . . . . . . . . . . . . . . .Vox 1x12

8 1x12 E12L (RW) . . . . . . . . . . . . . . . . . . . .200w Electro-Voice EVM-12L, housed in a solid mahogany, open-backed cabinet. Firmware 9 version at cabinet 119.

9 1x12 Studio . . . . . . . . . . . . . . . . . . . . . . . .Mesa Studio 22 1x12

10 1x12 EMI Open Back (JM) . . . . . . . . . . .Far field IR (Eminence).

11 1x12 Boogafunk Blue (OH) . . . . . . . . .Boogafunk Thiele 1x12 with Celestion Alnico Blue.

12 1x12 Boogafunk E12L (OH) . . . . . . . . .Boogafunk Thiele 1x12 with Electro Voice EVM-12L Classic.

13 1x12 Tweed Blue (RW) . . . . . . . . . . . . . .Tweed Deluxe narrow panel from 1956 with replacement Celestion Alnico Blue speaker for brighter tone with more high end sparkle.

14 1x12 Tweed Deluxe (RW) . . . . . . . . . . .Tweed Deluxe narrow panel from 1956 with the original Jensen P12R speaker for the purists. Rounder, warmer sound than the Blue.

15 1x12 Brit Blue (RW) . . . . . . . . . . . . . . . . .Celestion Alnico Blue 12”, IR of the speaker without a cabinet.

16 1x12 Brit G12H30 (RW) . . . . . . . . . . . . .Celestion G12H30”, IR of the speaker without a cabinet. Firmware 9 version at cabinet 120.

17 1x15 Blues . . . . . . . . . . . . . . . . . . . . . . . . .Peavey Delta Blues 1x15

18 1x15 Thunderbolt (RW) . . . . . . . . . . . .Supro Thunderbolt S6420 cabinet with the original 15” Jensen speaker. Probably a Red Wirez IR. Decent low end for a small, openbacked cabinet, a boost around 550Hz that gives it some mid range “honk”, and crunchy upper mids.

19 2x12 Black . . . . . . . . . . . . . . . . . . . . . . . . .Fender Deluxe/Twin Reverb 2x12

20 2x12 Brit . . . . . . . . . . . . . . . . . . . . . . . . . . .Vox AC30 with 2x12 Alnico Blue speakers.

21 2x12 Doubleverb D120 (RW) . . . . . . .67 Fender Twin Reverb cabinet with vintage JBL D120Fs. The D120s have more low end than the C12Ns and a peak around

3700 Hz, for distinctly edgier upper mids. Firmware 9 version at cabinet 121.

22 2x12 Doubleverb C12N (RW) . . . . . . .67 Fender Twin Reverb cabinet with vintage Jensen C12Ns. A little less bass than the D120s and a peak around 2500Hz which gives it a crunchier sound than the JBLs. Firmware 9 version at cabinet 122.

23 2x12 Blue . . . . . . . . . . . . . . . . . . . . . . . . . .Chicago Jensen P12Q, two classic American 12” speakers with blue labels.

24 2x12 Top Boost Blue (RW) . . . . . . . . . .Vox AC30 with two Vox labeled Celestion Alnico Blues made in the UK. Chimey Vox goodness.

25 2x12 Top Boost Silver (RW) . . . . . . . . .Vox AC30 with two Vox labeled alnico, silver speakers. These are 25 wattish, T1656 frame, Alnico silvers with Pulsonic cones made for the Thomas Organ Company in the 60’s. Slightly less extended upper mids than the blues, same cones as the early greenbacks. Cool speakers in pristine condition.

26 2x12 Boutique (RW) . . . . . . . . . . . . . . . .Matchless ES212, with one custom voiced 30w Celestion G12H and one 25w Celestion G12M.

27 2x12 Jazz (RW) . . . . . . . . . . . . . . . . . . . . .Roland Jazz Chorus JC-120 with Roland 12” speakers. Clean, kinda like a more scooped JBL D120.

28 2x12 Gold 30 Far-Field (JM) . . . . . . . . .Far field IR of a Celestion Alnico Gold.

29 2x12 G12-65 Far-Field (JM) . . . . . . . . .Far field IR of a Celestion G12-65.

30 2x12 Boutique . . . . . . . . . . . . . . . . . . . . .Matchless 2x12

31 2x12 Doubleshow (RW) . . . . . . . . . . . .Fender Dual Showman cabinet with vintage JBL D130s. Firmware 9 version at cabinet 123.

32 4x10 Tweed Bass . . . . . . . . . . . . . . . . . . .Fender 4x10 Bassman

33 4x10 Bassguy P10 (RW) . . . . . . . . . . . . .Reproduction Narrow Panel Tweed Bassman cabinet with vintage ‘57 Jensen P10Qs. Crunchy upper mids, scooped low mids, and tons of low end below 70Hz.

34 4x12 Basketweave G12H30 (RW) . . .68 Marshall Basketweave 4x12 with a matched quad of vintage, 30w, Celestion G12H “blackbacks.” T1281 frames and “444”,

55Hz bass cones from the late 70’s. Unleash your inner Jimi, or Jimmy, if you prefer. Firmware 9 version at cabinet 124.

35 4x12 Basketweave G12L (RW) . . . . . .68 Marshall Basketweave 4x12 with vintage Celestion G12Ls.

36 4x12 Basketweave G12M20 (RW) . . .68 Marshall Basketweave 4x12 with 20w Celestion Heritage G12Ms. Brown sound all around.

37 4x12 Basketweave G12M25 (RW) . . .68 Marshall Basketweave 4x12 with vintage Marshall labeled 25w Celestion G12Ms. These beauties have T1221 frames and

Pulsonic 003 “lead” cones.

38 4x12 1960A G12M (RW) . . . . . . . . . . . .Slant Marshall 1960 with four 25w Celestion G12Ms, aka “Greenbacks”.

In Firmware 10 many of the factory cabs were remixed so as to sound more “in the room”. The (V9) cabs have a more “studio-polished sound”. Far field IRs: cabs 10, 28 and 29.

AXE-FX CAB DESCRIPTION

39 4x12 1960B T75 (RW) . . . . . . . . . . . . . . .Straight Marshall 1960 with four Celestion G12T 75s.

40 4x12 1960B K120 (RW) . . . . . . . . . . . . .Marshall 1960 cabinet with JBL K120s.

41 4x12 1960B V30 (RW) . . . . . . . . . . . . . .Straight Marshall 1960 with four Celestion Vintage 30s. Firmware 9 version at cabinet 125.

42 4x12 Hi-Power (RW) . . . . . . . . . . . . . . . .1975 Hiwatt SE4123 cabinet with four vintage 50w Fane purplebacks.

43 4x12 Recto V30 (RW) . . . . . . . . . . . . . . .Oversized Mesa Rectifier cabinet with four Celestion Vintage 30s. Firmware 9 version at cabinet 126.

44 4x12 Recto V30 (OH) . . . . . . . . . . . . . . .Mesa Boogie Rectifier 4x12 with Celestion Vintage 30s.

45 4x12 Solo V12 (RW) . . . . . . . . . . . . . . . .Soldano 412B with four Eminence Legend V12s. A lot more high end than the S12X version. It’s a front-loaded cab with lots of resonance so you may need to back the mics off a bit more than usual.

46 4x12 Solo S12X (RW) . . . . . . . . . . . . . . .Soldano 412B with four Eminence made S12Xs. S12Xs were stock in the older cabs. Give this one a little more distance than you might normally, the cab resonance is pronounced up close and the speakers have a notch in the upper mids between 4-8KHz.

Nice for taming fizzy guitars.

47 4x12 German V30 (RW) . . . . . . . . . . . . .Bogner or ENGL Pro 4x12 cabinet with four Celestion Vintage 30s. Firmware 9 version at cabinet 127.

48 4x12 German Boutique (RW) . . . . . . .ENGL Pro 4x12 cabinet with four Celestion Vintage 30s.

49 4x12 PVH6160 (RW) . . . . . . . . . . . . . . . .Older model Peavey 5150 4x12 cabinet with four Sheffield 1200 speakers. Firmware 9 version at cabinet 128.

50 4x12 Uber T75 (RW) . . . . . . . . . . . . . . . .Bogner Uberkab, with Celestion G12T 75s + Vintage 30s. This IR features the T-75s. Firmware 9 version at cabinet 129.

51 4x12 Uber V30 (RW) . . . . . . . . . . . . . . . .Same as above. This IR features the V30s. Firmware 9 version at cabinet 130.

52 4x12 Uber T75+V30 (RW) . . . . . . . . . . .Same as above. This IR is a 50/50 mix of both speakers. Firmware 9 version at cabinet 131.

53 4x12 Citrus V30 (RW) . . . . . . . . . . . . . . .Straight Orange 4x12 (PPC412) with Celestion Vintage 30s. Firmware 9 version at cabinet 132.

54 4x12 Mills 12K (OH) . . . . . . . . . . . . . . . .Mills Acoustics Afterburner 4x12 with Celestion G12K-100 speakers.

55 4x12 SLM Blue (OH) . . . . . . . . . . . . . . . .SLM Electronics 4x12 with Celestion Alnico Blue speakers.

56 4x12 SLM G65 (OH) . . . . . . . . . . . . . . . .SLM Electronics 4x12 with Celestion Heritage G12-65 speakers.

57 4x12 SLM H75 (OH) . . . . . . . . . . . . . . . .SLM Electronics 4x12 with Scumback H75 speakers, similar to G12.

58 4x12 SLM M75 (OH) . . . . . . . . . . . . . . . .SLM Electronics 4x12 with Scumback M75 speakers, similar to 1987 G12M (greenback).

59 4x12 SLM V30 (OH) . . . . . . . . . . . . . . . . .SLM Electronics 4x12 with Celestion Vintage 30 speakers.

60 4x12 20w . . . . . . . . . . . . . . . . . . . . . . . . . .Marshall with 4x12 low power 20w Greenbacks.

61 4x12 25w . . . . . . . . . . . . . . . . . . . . . . . . . .Marshall with 4x12 25w Greenbacks, 1970’s.

62 4x12 V30. . . . . . . . . . . . . . . . . . . . . . . . . . .Generic 4x12 with Celestion V30 speakers.

63 4x12 German . . . . . . . . . . . . . . . . . . . . . .Bogner 4x12

64 4x12 30w (Ultra) . . . . . . . . . . . . . . . . . . .G12H30 from the Axe-Fx Ultra (previously in this slot: 4x12 Metal, an Engl 4x12 captured by Jocke Skog of the band Clawfinger).

65 4x12 Cali . . . . . . . . . . . . . . . . . . . . . . . . . . .Mesa Boogie traditional 4x12

66 1x15 L.A. Bass . . . . . . . . . . . . . . . . . . . . . .SWR 1x15 bass amp cabinet

67 4x10 Aluminum Bass (RW). . . . . . . . . .Hartke 4x10” bass cabinet with aluminum drivers.

68 8x10 SV Bass (RW). . . . . . . . . . . . . . . . . .Ampeg SVT 810 Bass cab with stock SVT 10” speakers.

69 4x12 V30 #1 (Kalthallen) . . . . . . . . . . . .4x12 with Celestion V30 speakers.

70 4x12 V30 #2 (Kalthallen) . . . . . . . . . . . .4x12 with Celestion V30 speakers.

71 4x12 V30 #3 (Kalthallen) . . . . . . . . . . . .4x12 with Celestion V30 speakers.

72 4x12 V30 #4 (Kalthallen) . . . . . . . . . . . .4x12 with Celestion V30 speakers.

73 4x12 G12T75 #1 (Kalthallen) . . . . . . . .4x12 with Celestion G12T75 speakers.

74 4x12 G12T75 #2 (Kalthallen) . . . . . . . .4x12 with Celestion G12T75 speakers.

75 1x8 Champlier Mix . . . . . . . . . . . . . . . . .Fender Champ with 8” speaker (Producer Pack).

76 1x8 Vibrato Champlier Mix . . . . . . . . .Fender Vibro Champ with 8” speaker (Producer Pack).

77 1x10 Prince Tone Black Mix . . . . . . . . .Blackface Fender Princeton with 10” speaker (Producer Pack).

78 1x10 Prince Tone Silver Mix . . . . . . . . .Silverface Fender Princeton with 10” speaker (Producer Pack).

79 1x12 Junior Blues Mix . . . . . . . . . . . . . .Fender Blues Junior with 12” speaker (Producer Pack).

80 1x12 Deluxe Verb Mix . . . . . . . . . . . . . .Fender Deluxe Reverb with 12” speaker (Producer Pack).

81 1x12 Deluxe Tweed Mix . . . . . . . . . . . .Fender Deluxe Tweed with 12” speaker (Producer Pack).

In Firmware 10 many of the factory cabs were remixed so as to sound more “in the room”. The (V9) cabs have a more “studio-polished sound”. Far field IRs: cabs 10, 28 and 29.

AXE-FX CAB DESCRIPTION

82 1x12 Vibrato Lux Mix . . . . . . . . . . . . . . .Fender Vibrolux with 12” speaker (Producer Pack).

83 1x12 Class-A 15w Blue Mix . . . . . . . . .Vox AC-15 with 12” Alnico Blue (Producer Pack).

84 1x12 Division 13 Mix . . . . . . . . . . . . . . .Divided By 13 CJ 11 with 12” G12M (Producer Pack).

85 1x12 Hot Kitty Mix . . . . . . . . . . . . . . . . .Black Cat Hot Cat 30R with 12” proprietary Celestion speaker (V30) (Producer Pack).

86 1x12 Hawaii Mix . . . . . . . . . . . . . . . . . . .Ohau cabinet (Producer Pack).

87 1x15 Tweed Pro Mix . . . . . . . . . . . . . . . .Fender Pro with 15” speaker (Producer Pack).

88 1x15 Empire Mix . . . . . . . . . . . . . . . . . . .15” Eminence speaker (Producer Pack).

89 2x10 Super Tweed Mix . . . . . . . . . . . . .Fender Super Reverb with two 10” speakers (Producer Pack).

90 2x10 Vibrato Lux Mix . . . . . . . . . . . . . . .Fender Vibrolux with two 10” speakers (Producer Pack).

91 2x12 Double Verb Mix . . . . . . . . . . . . . .Fender Twin Reverb with two 12” speakers (Producer Pack).

92 2x12 Pro Verb Mix . . . . . . . . . . . . . . . . . .Fender Pro Reverb with two 12” speakers (Producer Pack).

93 2x12 Class-A 30w Blue Mix . . . . . . . . .Vox AC-30 with two 12” Alnico Blue speakers (Producer Pack).

94 2x12 Class-A 30w Silver Mix . . . . . . . .Vox AC-30 with two 12” Alnico Silver speakers (Producer Pack).

95 2x12 Supremo Mix . . . . . . . . . . . . . . . . .Supro with two 12” speakers (Producer Pack).

96 2x12 Santiago EJ1250 Mix . . . . . . . . . .12” Eminence EJ1250 50w speaker in a Fender closed-back cabinet (Producer Pack).

97 2x12 Santiago Altec Mix . . . . . . . . . . . .12” Altec 417-8H speaker in a x12 half-open cabinet (Producer Pack).

98 3x10 Vibrato King Mix . . . . . . . . . . . . . .Fender Vibro-King with three 10” speakers (Producer Pack).

99 4x10 Bassguy Mix . . . . . . . . . . . . . . . . . .Fender Bassman with four 10” speakers (Producer Pack).

100 4x10 Super Verb Mix . . . . . . . . . . . . . . .Fender Super Reverb with four 10” speakers (Producer Pack).

101 4x12 Basketweave Green Mix . . . . . . .Marshall cabinet with four 12” G12M (greenback) speakers (Producer Pack).

102 4x12 Basketweave AX Mix . . . . . . . . . .Marshall 1960AX (angled front) with four 12” (probably greenbacks) speakers (Producer Pack).

103 4x12 Basketweave TV Mix . . . . . . . . . .Marshall 1960TV angled tall cabinet with four 12” (probably greenbacks) speakers (Producer Pack).

104 4x12 Cali Lead 80s Mix . . . . . . . . . . . . .Mesa cabinet from the 80s with four Classic Lead 80 speakers (Producer Pack).

105 4x12 Rumble EV12L Mix . . . . . . . . . . . .EVM 12L speakers in a 4x12 12L/12S Dumble cabinet (Producer Pack).

106 4x12 Rumble EV12S Mix . . . . . . . . . . . .EVM 12S speakers in a 4x12 12L/12S Dumble cabinet (Producer Pack).

107 4x12 PVH6160 Mix . . . . . . . . . . . . . . . . .EVH 5150 cabinet (Producer Pack).

108 4x12 Petrucci V30 Mix . . . . . . . . . . . . . .John Petrucci’s Mesa 4x12 cabinet with V30s (Producer Pack). Adam Cook: “The Petrucci V30 Mix is pretty dark but that is the way he mics his cabs. It’s a two mic blend and neither mic is particularly close to the center of the cab. I compared the Petrucci V30 Mix to some IR’s we captured at a previous session and they are very similar.”

109 1x15 SV Bass M88 Mix . . . . . . . . . . . . . .1x15 bass cabinet, Beyerdynamic M88 microphone (Producer Pack).

110 1x15 SV Bass Subkick Mix . . . . . . . . . .1x15 bass cabinet, subkick (Producer Pack).

111 4x10 SV Bass M88 Mix . . . . . . . . . . . . . .4x10 bass cabinet, Beyerdynamic M88 microphone (Producer Pack).

112 4x10 SV Bass Subkick Mix . . . . . . . . . .4x10 bass cabinet, subkick (Producer Pack).

113 4x10+Tweeter SV Bass M88 Mix . . . .4x10 bass cabinet, M88 microphone (Producer Pack).

114 1x12 Class-A 20 Dlx Mix . . . . . . . . . . . .1x12 Morgan AC20 Deluxe cabinet (Producer Pack).

115 1x12 Nuclear Tone Mix . . . . . . . . . . . . .Swart Atomic Space Tone cabinet, open back, 1x12 Mojotone British Vintage Series BV-25m speaker (Producer Pack).

116 1x12 Scumtone 25W Mix . . . . . . . . . . .Cas Azera Tone-Tools detuned 1x12 cabinet with Scumback H55 (Producer Pack).

117 2x12 Boutique Mix . . . . . . . . . . . . . . . . .2x12 Matchless cabinet (Producer Pack).

118 2x12 SV Legend Mix . . . . . . . . . . . . . . . .Carvin Legacy 2x12 cabinet, closed back (Producer Pack).

119 1x12 E12L (V9) . . . . . . . . . . . . . . . . . . . . .

Firmware 9 version of cabinet 8.

120 1x12 Brit G12H30 (V9) . . . . . . . . . . . . . .

Firmware 9 version of cabinet 16.

121 2x12 Doubleverb D120 (V9) . . . . . . . .

Firmware 9 version of cabinet 21.

122 2x12 Doubleverb C12N (V9) . . . . . . . .

Firmware 9 version of cabinet 22.

123 2x15 Doubleshow (V9) . . . . . . . . . . . . .

Firmware 9 version of cabinet 31.

124 4x12 Basketweave G12H30 (V9) . . . .

Firmware 9 version of cabinet 34.

125 4x12 1960B V30 (V9) . . . . . . . . . . . . . . .

Firmware 9 version of cabinet 41.

In Firmware 10 many of the factory cabs were remixed so as to sound more “in the room”. The (V9) cabs have a more “studio-polished sound”. Far field IRs: cabs 10, 28 and 29.

AXE-FX CAB DESCRIPTION

126 4x12 Recto V30 (V9) . . . . . . . . . . . . . . . .

Firmware 9 version of cabinet 43.

127 4x12 German V30 (V9) . . . . . . . . . . . . .

Firmware 9 version of cabinet 47.

128 4x12 PVH6160 (V9) . . . . . . . . . . . . . . . . .

Firmware 9 version of cabinet 49.

129 4x12 Uber T75 (V9) . . . . . . . . . . . . . . . . .

Firmware 9 version of cabinet 50.

130 4x12 Uber V30 (V9) . . . . . . . . . . . . . . . . .

Firmware 9 version of cabinet 51.

131 4x12 Uber T75+V30 (V9) . . . . . . . . . . . .

Firmware 9 version of cabinet 52.

132 4x12 Citrus V30 (V9) . . . . . . . . . . . . . . . .

Firmware 9 version of cabinet 53.

In Firmware 10 many of the factory cabs were remixed so as to sound more “in the room”. The (V9) cabs have a more “studio-polished sound”. Far field IRs: cabs 10, 28 and 29.

AXE-FX AMP SPEAKER TYPE AXE-FX CAB SUGGESTION

1987x. . . . . . . . . . . . . . . . . . G12M, G12H, G12L . . . . . . . . . . . . . . . . . . . . . . . . . . see G12M and G12H footnotes; 35 (G12L)

5153 . . . . . . . . . . . . . . . . . . . G12-EVH (G12H30) . . . . . . . . . . . . . . . . . . . . . . . . . . 49, 107, 128 (5150); G12Hs

59/65 Bassguy . . . . . . . . . 4x10, 2x12 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32, 33, 99 (4x10)

5F1 Tweed . . . . . . . . . . . . . 8” speakers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2, 75, 76

AC-20 Dlx . . . . . . . . . . . . . . Alnico Blue, G12H, Greenback . . . . . . . . . . . . . . . 114

Atomica . . . . . . . . . . . . . . . G12H . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16, 34, 57, 64, 120, 124 (G12H)

Band-Commander . . . . . 2x12 (Jensen C12N) . . . . . . . . . . . . . . . . . . . . . . . . . 19 (1x12); 21, 22, 91, 121, 122 (Twin)

Blanknshp Leeds . . . . . . . 2x10 Jensen C10Q, Alnico Blue . . . . . . . . . . . . . . see Alnico footnote

Bludojai . . . . . . . . . . . . . . . G12-65, EVM 12L . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29, 56 (G12-65), G12-65 from Mad Oak Cab Pack ; see EVM footnote

Boutique . . . . . . . . . . . . . . G12M + G12H . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26, 30, 117 (Matchless); 84, 116 (1xG12M)

Brit 800/Silver . . . . . . . . . . G12M, G12H, V30, T75 . . . . . . . . . . . . . . . . . . . . . . . see G12M, G12H, and V30 footnotes; 39, 50, 73, 74, 129 (G12-T75);

Brit 800 from Mad Oak Cab Pack

Brit JM45 . . . . . . . . . . . . . . G12M, G12H, G12L . . . . . . . . . . . . . . . . . . . . . . . . . . see G12M and G12H footnotes; 35 (G12L)

Brit JVM . . . . . . . . . . . . . . . V30 + G12H . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . see V30 and G12H footnotes

Brit Pre . . . . . . . . . . . . . . . . (preamp). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . n/a

Brit Super . . . . . . . . . . . . . . V30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . see V30 footnote; Brit 800 from Mad Oak Cab Pack

Buttery . . . . . . . . . . . . . . . . G12M, G12H . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . see G12M and G12H footnotes; 84, 116 (1xG12M)

CA3+ . . . . . . . . . . . . . . . . . . (preamp). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . n/a

Cali Leggy . . . . . . . . . . . . . V30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118; other V30s, G12Ms

Cameron . . . . . . . . . . . . . . G12H . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . see G12H footnote

CarolAnn OD-2 . . . . . . . . . EVM 12L, Celestion Classic Lead 80. . . . . . . . . . . see EVM footnote; 104 (Classic Lead 80)

Citrus RV50 . . . . . . . . . . . . V30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 (Orange); see V30 footnote

Class-A 15w/30w . . . . . . . Alnico Blue, G12M . . . . . . . . . . . . . . . . . . . . . . . . . . . see Alnico and G12M footnotes; 114

Comet . . . . . . . . . . . . . . . . . Greenbacks, G12H, V30 . . . . . . . . . . . . . . . . . . . . . . see G12M, G12H, and V30 footnotes

Corncob M50 . . . . . . . . . . 60w V30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . see V30 footnote

Das Metall . . . . . . . . . . . . . V30, G12K100 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . see V30 footnote; 54 (G12K100)

Deluxe Tweed . . . . . . . . . . Jensen P12R, C12N of Alnico Blue . . . . . . . . . . . . 14 , 81 (Deluxe); see Alnico footnote; 5, 6, 19 (1x12)

Deluxe Verb . . . . . . . . . . . . 1x12 (Jensen C12Q, EVM 12L, JBL D120),

2x10 (Jensen C10N, C10Q, P10R) . . . . . . . . . . . . . 3, 5, 6; see EVM footnote; 21, 22, 121, 122 (Twin); 80, 81 (Deluxe)

Dirty Shirley . . . . . . . . . . . G12M, G12H . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . see G12M and G12H footnotes

Division13 CJ . . . . . . . . . . G12M . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 (1x G12M)

Dizzy V4 . . . . . . . . . . . . . . . V30, G12K100 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . see V30 footnote; 54 (G12K100)

Double Verb . . . . . . . . . . . 2x12 (Jensen C12N, JBL D120, EVM-12L) . . . . . 21, 22, 91, 121, 122 (Twin); see EVM footnote; 6, 19

Energyball . . . . . . . . . . . . . V30, custom V60 . . . . . . . . . . . . . . . . . . . . . . . . . . . . see V30 footnote

Euro Blue/Red . . . . . . . . . V30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . see V30 footnote; G12Ms

Euro Uber . . . . . . . . . . . . . . V30 + G12T75 (Uberkab) . . . . . . . . . . . . . . . . . . . . 50, 51, 52, 129, 130, 131 (Uberkab)

Fox ODS . . . . . . . . . . . . . . . G12-65, EVM 12L . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29, 56 (G12-65), G12-65 from Mad Oak Cab Pack ; see EVM footnote

Friedman . . . . . . . . . . . . . . G12M, G12H, V30. . . . . . . . . . . . . . . . . . . . . . . . . . . . see G12M, G12H, and V30 footnotes

Fryette D60 . . . . . . . . . . . . Eminence P50E . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ?

Gibtone Scout . . . . . . . . . 1x10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3, 4 (1x10); 84, 115, 116 (1xG12M)

Herbie . . . . . . . . . . . . . . . . . V30, G12K100 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . see V30 footnote; 54 (G12K100)

HiPower . . . . . . . . . . . . . . . 4x12 Fane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 (Hiwatt)

Hot Kitty . . . . . . . . . . . . . . . Bad Cat proprietary Celestion . . . . . . . . . . . . . . . . 85 (Bad Cat)

Jazz 120 . . . . . . . . . . . . . . . 2x12 “silver” Roland . . . . . . . . . . . . . . . . . . . . . . . . . 27 (Roland)

JR Blues . . . . . . . . . . . . . . . . C12N, P12R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 (JR Blues)

Mr Z 38 Sr . . . . . . . . . . . . . . Alnico Blue + G12H . . . . . . . . . . . . . . . . . . . . . . . . . . see Alnico and G12H footnotes; 114

Nuclear-Tone . . . . . . . . . . G12M . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 (1x G12M)

Alnico cabs: 7, 11, 13, 15, 20, 24, 25, 28, 55, 83, 93, 94

EVM cabs: 8, 12, 105, 106, 119

G12H cabs: 16, 34, 57, 64, 120, 124

G12M cabs: 36, 37, 38, 58, 60, 61, 101, 102, 103

V30 cabs: 41, 43, 44, 47, 48, 51, 53, 59, 62, 63, 65, 69, 70, 71, 72, 108, 125, 126, 127, 130, 132

Fractal Audio Cab Pack IRs are highlighted in red . Amps not listed have neither speaker types nor suggested cabs in the Axe-Fx II Wiki.

AXE-FX AMP SPEAKER TYPE AXE-FX CAB SUGGESTION

ODS-100 . . . . . . . . . . . . . . . G12-65, EVM 12L . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29, 56 (G12-65), G12-65 from Mad Oak Cab Pack ; see EVM footnote

Plexi . . . . . . . . . . . . . . . . . . . G12M, G12H, G12L . . . . . . . . . . . . . . . . . . . . . . . . . . see G12M and G12H footnote; 35 (G12L)

Prince Tone . . . . . . . . . . . . Jensen C10N . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 (1x10); 77, 78 (Princeton)

PVH 6160 . . . . . . . . . . . . . . Sheffield 1200. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49, 107, 128 (5150); G12Ms, G12Hs

Recto . . . . . . . . . . . . . . . . . . V30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . see V30 footnote; 104 (Classic Lead 80)

Ruby Rocket . . . . . . . . . . . Alnico . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . see Alnico footnote; 114

Shiver . . . . . . . . . . . . . . . . . V30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . see V30 footnote

Solo 88 Rhythm . . . . . . . . (preamp). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . n/a

Solo 99 . . . . . . . . . . . . . . . . (preamp). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . n/a

Solo 100 . . . . . . . . . . . . . . . 12” Eminence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45, 46 (Soldano); see EVM footnote

Spawn . . . . . . . . . . . . . . . . . G12M, G12-65, V30 . . . . . . . . . . . . . . . . . . . . . . . . . . see G12M footnote; 29, 56 (G12-65), G12-65 from Mad Oak Cab Pack ; see V30 footnote

Suhr Badger . . . . . . . . . . . V30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . see V30 footnote; 85 (1xV30)

Super Verb . . . . . . . . . . . . . 4x10 Jensen C10R, C10Q, P10R . . . . . . . . . . . . . . 89, 100 (Super)

Supremo Trem . . . . . . . . . 6” oval speaker, 12” or 15” Jensen . . . . . . . . . . . . 18, 95 (Supro)

SV Bass . . . . . . . . . . . . . . . . 8x10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66, 67, 68, 109, 110, 111, 112, 113 (bass cabs)

Tube Pre . . . . . . . . . . . . . . . (preamp). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . n/a

Two-Stone J-35 . . . . . . . . G12-65 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29, 56 (G12-65), G12-65 from Mad Oak Cab Pack ; see EVM footnote

TX Star Lead . . . . . . . . . . . Mesa C90 (a modified CL80) . . . . . . . . . . . . . . . . . see V30 and EVM footnotes; 104 (Classic Lead 80)

USA IIC+ . . . . . . . . . . . . . . . EVM 12L . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . see EVM footnote; 104 (Classic Lead 80)

USA Clean 2/Pre . . . . . . . (preamp). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . n/a

USA (all others) . . . . . . . . Mesa C90 (a modified CL80) . . . . . . . . . . . . . . . . . see V30 and EVM footnotes; 104 (Classic Lead 80)

Vibrato-King . . . . . . . . . . . 3x10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 (Vibro-King)

Vibrato Lux . . . . . . . . . . . . 2x10 (Jensen C10Q), Oxford 1x12 . . . . . . . . . . . . 82, 90 (Vibrolux); EVM 12L

Vibrato Verb . . . . . . . . . . . 1x15 (Jensen C15N, JBL D130, Eminence),

2x10 (Jensen C10Q) . . . . . . . . . . . . . . . . . . . . . . . . . 18, 31, 87, 88, 123 (1x15)

Wrecker . . . . . . . . . . . . . . . G12M, G12H . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . see G12M and G12H footnotes

Alnico cabs: 7, 11, 13, 15, 20, 24, 25, 28, 55, 83, 93, 94

EVM cabs: 8, 12, 105, 106, 119

G12H cabs: 16, 34, 57, 64, 120, 124

G12M cabs: 36, 37, 38, 58, 60, 61, 101, 102, 103

V30 cabs: 41, 43, 44, 47, 48, 51, 53, 59, 62, 63, 65, 69, 70, 71, 72, 108, 125, 126, 127, 130, 132

Fractal Audio Cab Pack IRs are highlighted in red . Amps not listed have neither speaker types nor suggested cabs in the Axe-Fx II Wiki.

Function CC

Amp 1 Bypass . . . . . . . . . . . . 37

Amp 1 X/Y . . . . . . . . . . . . . . 100

Amp 2 Bypass . . . . . . . . . . . . 38

Amp 2 X/Y . . . . . . . . . . . . . . 101

Bypass . . . . . . . . . . . . . . . . . . 13

Cab 1 Bypass . . . . . . . . . . . . . 39

Cab 1 X/Y . . . . . . . . . . . . . . . 102

Cab 2 Bypass . . . . . . . . . . . . . 40

Cab 2 X/Y . . . . . . . . . . . . . . . 103

Chorus 1 Bypass . . . . . . . . . . 41

Chorus 1 X/Y . . . . . . . . . . . . 104

Chorus 2 Bypass . . . . . . . . . . 42

Chorus 2 X/Y . . . . . . . . . . . . 105

Compressor 1 Bypass . . . . . . 43

Compressor 2 Bypass . . . . . . 44

Crossover 1 Bypass . . . . . . . . 45

Crossover 2 Bypass . . . . . . . . 46

Delay 1 Bypass . . . . . . . . . . . . 47

Delay 1 X/Y . . . . . . . . . . . . . 106

Delay 2 Bypass . . . . . . . . . . . . 48

Delay 2 X/Y . . . . . . . . . . . . . 107

Drive 1 Bypass . . . . . . . . . . . . 49

Drive 1 X/Y . . . . . . . . . . . . . . 108

Drive 2 Bypass . . . . . . . . . . . . 50

Drive 2 X/Y . . . . . . . . . . . . . . 109

Enhancer Bypass . . . . . . . . . . 51

External Control 1 . . . . . . . . . 16

External Control 2 . . . . . . . . . 17

External Control 3 . . . . . . . . . 18

External Control 4 . . . . . . . . . 19

External Control 5 . . . . . . . . . 20

External Control 6 . . . . . . . . . 21

External Control 7 . . . . . . . . . 22

External Control 8 . . . . . . . . . 23

External Control 9 . . . . . . . . . 24

External Control 10 . . . . . . . . 25

External Control 11 . . . . . . . . 26

External Control 12 . . . . . . . . 27

CC ASSIGNMENTS

sorted by function

Function CC

Filter 1 Bypass . . . . . . . . . . . . 52

Filter 2 Bypass . . . . . . . . . . . . 53

Filter 3 Bypass . . . . . . . . . . . . 54

Filter 4 Bypass . . . . . . . . . . . . 55

Flanger 1 Bypass . . . . . . . . . . 56

Flanger 1 X/Y . . . . . . . . . . . . 110

Flanger 2 Bypass . . . . . . . . . . 57

Flanger 2 X/Y . . . . . . . . . . . . 111

Formant 1 Bypass . . . . . . . . . 58

FX Loop Bypass . . . . . . . . . . . 59

Gate/Expander 1 Bypass . . . . 60

Gate/Expander 2 Bypass . . . . 61

Graphic EQ 1 Bypass . . . . . . . 62

Graphic EQ 2 Bypass . . . . . . . 63

Graphic EQ 3 Bypass . . . . . . . 64

Graphic EQ 4 Bypass . . . . . . . 65

Input Volume . . . . . . . . . . . . . 10

Looper Bypass . . . . . . . . . . . . 33

Looper Dub . . . . . . . . . . . . . . 31

Looper Half . . . . . . . . . . . . . . 120

Looper Once . . . . . . . . . . . . . 30

Looper Play . . . . . . . . . . . . . . 29

Looper Record . . . . . . . . . . . . 28

Looper Rev . . . . . . . . . . . . . . . 32

Looper Undo . . . . . . . . . . . . 121

Megatap Delay Bypass . . . . . 66

Metronome . . . . . . . . . . . . . 122

Multiband Comp 1 Bypass . . 67

Multiband Comp 2 Bypass . . 68

Multi Delay 1 Bypass . . . . . . . 69

Multi Delay 2 Bypass . . . . . . . 70

Out 1 Volume . . . . . . . . . . . . 11

Out 2 Volume . . . . . . . . . . . . 12

Parametric EQ 1 Bypass . . . . 71

Parametric EQ 2 Bypass . . . . 72

Parametric EQ 3 Bypass . . . . 73

Parametric EQ 4 Bypass . . . . 74

Phaser 1 Bypass . . . . . . . . . . 75

Function CC

Phaser 1 X/Y . . . . . . . . . . . . 112

Phaser 2 Bypass . . . . . . . . . . 76

Phaser 2 X/Y . . . . . . . . . . . . 113

Pitch 1 Bypass . . . . . . . . . . . . 77

Pitch 1 X/Y . . . . . . . . . . . . . . 114

Pitch 2 Bypass . . . . . . . . . . . . 78

Pitch 2 X/Y . . . . . . . . . . . . . . 115

Quad Chorus 1 Bypass . . . . . 79

Quad Chorus 2 Bypass . . . . . 80

Resonator 1 Bypass . . . . . . . . 81

Resonator 2 Bypass . . . . . . . . 82

Reverb 1 Bypass . . . . . . . . . . 83

Reverb 1 X/Y . . . . . . . . . . . . 116

Reverb 2 Bypass . . . . . . . . . . 84

Reverb 2 X/Y . . . . . . . . . . . . 117

Ring Modulator Bypass . . . . . 85

Rotary 1 Bypass . . . . . . . . . . . 86

Rotary 2 Bypass . . . . . . . . . . . 87

Scene Increment . . . . . . . . . 123

Scene Decrement . . . . . . . . . 124

Scene Select . . . . . . . . . . . . . . 34

Synth 1 Bypass . . . . . . . . . . . 88

Synth 2 Bypass . . . . . . . . . . . 89

Tempo . . . . . . . . . . . . . . . . . . 14

Tone Matching . . . . . . . . . . . . 99

Tremolo/Panner 1 Bypass . . 90

Tremolo/Panner 2 Bypass . . 91

Tuner . . . . . . . . . . . . . . . . . . . 15

Vocoder Bypass . . . . . . . . . . . 92

Volume Decrement . . . . . . . . 36

Volume Increment . . . . . . . . 35

Volume/Pan 1 Bypass . . . . . . 93

Volume/Pan 2 Bypass . . . . . . 94

Volume/Pan 3 Bypass . . . . . . 95

Volume/Pan 4 Bypass . . . . . . 96

Wahwah 1 Bypass . . . . . . . . . 97

Wahwah 1 X/Y . . . . . . . . . . . 118

Wahwah 2 Bypass . . . . . . . . . 98

Wahwah 2 X/Y . . . . . . . . . . . 119

Function CC

Input Volume . . . . . . . . . . . . . 10

Out 1 Volume . . . . . . . . . . . . 11

Out 2 Volume . . . . . . . . . . . . 12

Bypass . . . . . . . . . . . . . . . . . . 13

Tempo . . . . . . . . . . . . . . . . . . 14

Tuner . . . . . . . . . . . . . . . . . . . 15

External Control 1 . . . . . . . . . 16

External Control 2 . . . . . . . . . 17

External Control 3 . . . . . . . . . 18

External Control 4 . . . . . . . . . 19

External Control 5 . . . . . . . . . 20

External Control 6 . . . . . . . . . 21

External Control 7 . . . . . . . . . 22

External Control 8 . . . . . . . . . 23

External Control 9 . . . . . . . . . 24

External Control 10 . . . . . . . . 25

External Control 11 . . . . . . . . 26

External Control 12 . . . . . . . . 27

Looper Record . . . . . . . . . . . . 28

Looper Play . . . . . . . . . . . . . . 29

Looper Once . . . . . . . . . . . . . 30

Looper Dub . . . . . . . . . . . . . . 31

Looper Rev . . . . . . . . . . . . . . . 32

Looper Bypass . . . . . . . . . . . . 33

Scene Select . . . . . . . . . . . . . . 34

Volume Increment . . . . . . . . 35

Volume Decrement . . . . . . . . 36

Amp 1 Bypass . . . . . . . . . . . . 37

Amp 2 Bypass . . . . . . . . . . . . 38

Cab 1 Bypass . . . . . . . . . . . . . 39

Cab 2 Bypass . . . . . . . . . . . . . 40

Chorus 1 Bypass . . . . . . . . . . 41

Chorus 2 Bypass . . . . . . . . . . 42

Compressor 1 Bypass . . . . . . 43

Compressor 2 Bypass . . . . . . 44

Crossover 1 Bypass . . . . . . . . 45

Crossover 2 Bypass . . . . . . . . 46

Delay 1 Bypass . . . . . . . . . . . . 47

CC ASSIGNMENTS

sorted by CC

Function CC

Delay 2 Bypass . . . . . . . . . . . . 48

Drive 1 Bypass . . . . . . . . . . . . 49

Drive 2 Bypass . . . . . . . . . . . . 50

Enhancer Bypass . . . . . . . . . . 51

Filter 1 Bypass . . . . . . . . . . . . 52

Filter 2 Bypass . . . . . . . . . . . . 53

Filter 3 Bypass . . . . . . . . . . . . 54

Filter 4 Bypass . . . . . . . . . . . . 55

Flanger 1 Bypass . . . . . . . . . . 56

Flanger 2 Bypass . . . . . . . . . . 57

Formant 1 Bypass . . . . . . . . . 58

FX Loop Bypass . . . . . . . . . . . 59

Gate/Expander 1 Bypass . . . . 60

Gate/Expander 2 Bypass . . . . 61

Graphic EQ 1 Bypass . . . . . . . 62

Graphic EQ 2 Bypass . . . . . . . 63

Graphic EQ 3 Bypass . . . . . . . 64

Graphic EQ 4 Bypass . . . . . . . 65

Megatap Delay Bypass . . . . . 66

Multiband Comp 1 Bypass . . 67

Multiband Comp 2 Bypass . . 68

Multi Delay 1 Bypass . . . . . . . 69

Multi Delay 2 Bypass . . . . . . . 70

Parametric EQ 1 Bypass . . . . 71

Parametric EQ 2 Bypass . . . . 72

Parametric EQ 3 Bypass . . . . 73

Parametric EQ 4 Bypass . . . . 74

Phaser 1 Bypass . . . . . . . . . . 75

Phaser 2 Bypass . . . . . . . . . . 76

Pitch 1 Bypass . . . . . . . . . . . . 77

Pitch 2 Bypass . . . . . . . . . . . . 78

Quad Chorus 1 Bypass . . . . . 79

Quad Chorus 2 Bypass . . . . . 80

Resonator 1 Bypass . . . . . . . . 81

Resonator 2 Bypass . . . . . . . . 82

Reverb 1 Bypass . . . . . . . . . . 83

Reverb 2 Bypass . . . . . . . . . . 84

Ring Modulator Bypass . . . . . 85

Function CC

Rotary 1 Bypass . . . . . . . . . . . 86

Rotary 2 Bypass . . . . . . . . . . . 87

Synth 1 Bypass . . . . . . . . . . . 88

Synth 2 Bypass . . . . . . . . . . . 89

Tremolo/Panner 1 Bypass . . 90

Tremolo/Panner 2 Bypass . . 91

Vocoder Bypass . . . . . . . . . . . 92

Volume/Pan 1 Bypass . . . . . . 93

Volume/Pan 2 Bypass . . . . . . 94

Volume/Pan 3 Bypass . . . . . . 95

Volume/Pan 4 Bypass . . . . . . 96

Wahwah 1 Bypass . . . . . . . . . 97

Wahwah 2 Bypass . . . . . . . . . 98

Tone Matching . . . . . . . . . . . . 99

Amp 1 X/Y . . . . . . . . . . . . . . 100

Amp 2 X/Y . . . . . . . . . . . . . . 101

Cab 1 X/Y . . . . . . . . . . . . . . . 102

Cab 2 X/Y . . . . . . . . . . . . . . . 103

Chorus 1 X/Y . . . . . . . . . . . . 104

Chorus 2 X/Y . . . . . . . . . . . . 105

Delay 1 X/Y . . . . . . . . . . . . . 106

Delay 2 X/Y . . . . . . . . . . . . . 107

Drive 1 X/Y . . . . . . . . . . . . . . 108

Drive 2 X/Y . . . . . . . . . . . . . . 109

Flanger 1 X/Y . . . . . . . . . . . . 110

Flanger 2 X/Y . . . . . . . . . . . . 111

Phaser 1 X/Y . . . . . . . . . . . . 112

Phaser 2 X/Y . . . . . . . . . . . . 113

Pitch 1 X/Y . . . . . . . . . . . . . . 114

Pitch 2 X/Y . . . . . . . . . . . . . . 115

Reverb 1 X/Y . . . . . . . . . . . . 116

Reverb 2 X/Y . . . . . . . . . . . . 117

Wahwah 1 X/Y . . . . . . . . . . . 118

Wahwah 2 X/Y . . . . . . . . . . . 119

Looper Half . . . . . . . . . . . . . . 120

Looper Undo . . . . . . . . . . . . 121

Metronome . . . . . . . . . . . . . 122

Scene Increment . . . . . . . . . 123

Scene Decrement . . . . . . . . . 124

DRIVE BLOCK DESCRIPTION

BB Pre . . . . . . . . . . . . . . Xotic Pedals BB Preamp

Bender Fuzz . . . . . . . . Classic Tonebender circuit

Bit Crusher . . . . . . . . . . A black box we found lying in the trash outside Studio Harshclip

Blues OD . . . . . . . . . . . Marshall Bluesbreaker

Esoteric ACB . . . . . . . . Xotic AC Boost

Esoteric RCB . . . . . . . . Xotic RC Boost

Eternal Love . . . . . . . . Lovepedal Eternity

Face Fuzz . . . . . . . . . . . Dallas Arbiter Fuzz Face

FAS LED-Drive . . . . . . LED diodes have a higher voltage drop than silicon diodes

Fat Rat . . . . . . . . . . . . . . Modified version of the Rat Dist; a bit fuller and smoother

FET Boost . . . . . . . . . . . Gentle, smooth clipping booster with tone controls

Full OD . . . . . . . . . . . . . Fulltone Fulldrive OD Pedal

Hard Fuzz . . . . . . . . . . . Hard-clipping, 60s-style fuzz

M-Zone Dist . . . . . . . . Boss Metalzone, popular for extreme gain settings

Master Fuzz . . . . . . . . . Maestro Fuzztone, aka Satisfaction fuzz

Mid Boost. . . . . . . . . . . Custom mid-boost overdrive

Octave Dist . . . . . . . . . Tycobrahe Octavia

PI Fuzz . . . . . . . . . . . . . . Big Muff Pi Fuzz

Plus Dist . . . . . . . . . . . . MXR Distortion Plus

Rat Dist . . . . . . . . . . . . . ProCo Rat Distortion

Shred Dist . . . . . . . . . . Marshall Shredmaster

Super OD . . . . . . . . . . . Boss Super Overdrive

T808 MOD . . . . . . . . . . Captures the most popular 808 mods

T808 OD . . . . . . . . . . . . Ibanez TS-808 Tube Screamer

Tape Dist . . . . . . . . . . . Simulates the clipping of an overdriven reel-to-reel tape deck.

Treble Boost . . . . . . . . Classic Treble Booster

Tube Drv 3-Knob . . . . Chandler/Butler Tube Driver with a 12AX7, 3-knob version

Tube Drv 4-knob . . . . 4-knob version

Zen Master . . . . . . . . . Hermida Zendrive

REVISION HISTORY

Red text in a parameter description highlights a new function not yet accessible in Axe-Edit.

2013-11-09 – Axe-Edit 3.0.3 update.

2013-11-08 – Firmware 12.00 update.

2013-10-10 – Firmware 11.04 update.

2013-09-05 – Firmware 11.02 update, Axe-Edit 3.0.1 update.

2013-09-02 – Firmware 11.01 update. Added 1987X Jump amp model and MV CAP parameter in the Amp block.

2013-08-30 – Updated the description of the COMP parameter. Added setting changes specific to jumpered amps.

2013-08-28 – Firmware 11.0 update. Axe-Edit 3.0 update. Added footnote icon to amp list noting amps with no negative feedback.

2013-07-21 – Firmware 10.12 update.

2013-07-14 – Added CC assignment list, sorted by function and CC.

2013-07-08 – Firmware 10.11 update. Added Cab Pack recommendations from the Wiki to the cab suggestion list. Added footnote symbols to the amp description list to make it easier to spot specific amp features.

2013-07-03 – Firmware 10.10 update. Added a few informative “Cliff notes”.

2013-06-29 – Updated the cab suggestion list to include the new factory cabs introduced in firmware 10. The list now accurately reflects the information on the Axe-Fx II Wiki. Also gave it a badly needed overhaul to make it more readable.

2013-06-22 – Firmware 10.09 update.