Fractal Audio Axe-Fx II Amp & Cab Quick Reference Guide

AXE-FX II

Amp & Cab

Quick Reference Guide for Axe-Edit

Amp and cab block parameters explained

Amp and cab descriptions

Recommended speaker type for each amp

Cliff’s Gain Controls Guide

NEW

Drive block descriptions

CC assigments sorted by function & CC 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 v18.04 beta ~ Axe-Edit v3.1.8 ~ rev. March 25, 2015

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INPUT DRIVE – Also known as 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.

INPUT DRIVE and OVERDRIVE will have a dramatic effect on the response of the amplifier and the personality of your instrument.

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

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.

PRESENCE – Decreases high frequency negative feedback in the power amp.

Increased Increase it to help sound cut through a heavy mix. Decrease it to compensate for overly-bright amps. It is tightly coupled to speaker impedance

(HI FREQ, HI RESONANCE.)

HI CUT – On amps with no negative feedback (NEG FDBK=0), Presence is replaced with Hi Cut, a simple high-shelf EQ at the power amp output. (Hi Cut control is non-fuctional in Suhr models.)

DEPTH – Boosts low frequencies from the power amp by varying the negative feedback frequency response. Amps with a fixed depth circuit have a preset value. Amps with no depth circuit default to zero (Fenders, most Marshalls, and generally most older designs). Also called “Resonance” or “Girth” on some amps.

NOTE: Depth is non-functional on most of the USA amp models due to the unique topology of their feedback networks.

PRESENCE and DEPTH differ from BASS, TREBLE, and BRIGHT (Tone page) in that they are applied to the power amp as opposed to the preamp. Their effect is dependent on the amount of NEGATIVE FEEDBACK.

MASTER VOLUME – 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.

MASTER VOLUME defaults to 10 for non-master volume (vintage) amps. If you want more MV on non-MV amps, increase MASTER VOL TRIM.

Most MV amps achieve full volume between 2-4. Further increase compresses the bass and treble, thereby adding mids. (Bass and treble are boosted by the speaker impedance curve, so they clip earlier.) 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). You can increase LEVEL to compensate for low MV.

Cliff: The way I dial in the MV is to turn it up until the amp stops getting louder. This is the point at which the power amp is saturating heavily. Then I back it off until I get the right amount of preamp and power amp distortion.

That’s the sweet spot where you get the tone and the dynamics. Too little MV and it’s all preamp distortion and there’s not much dynamics. Too much MV and the power amp is clipping too much and it can get flubby and/or harsh.

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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

BOOST – Toggles the input boost for an additional 12 dB of input gain. Enabling

Boost sometimes works better than turning up INPUT TRIM.

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

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.

DYNAMIC PRESENCE/DEPTH are distortion-sensitive. The more the waveform distorts (the harder you play) the more pronounced the depth or presence boost/cut. If you play lightly (assuming you aren’t using stupid amounts of gain) the controls won’t seem to do much. As you play harder the effect becomes greater.

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/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. The Low Resonance parameter can be used to increase or decrease the amount of “thunk” or “knock”.

Don’t be afraid to turn LOW RESONANCE close to 10. In fact, some Celestion and Eminence speakers are equivalent to about 8-9 on LOW RESONANCE.

This will increase the interaction between the power tubes and the speaker load.

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 FREQ SLOPE – Allows fine adjustment of the high-frequency impedance of the virtual voice coil (which affects the slope of the impedance curve).

Reducing the Slope simulates a speaker that is less inductive, increasing Slope simulates a speaker that is more inductive. Typical speakers range from 3.0 to 4.5 with the median being about 3.7. Lower values yield greater midrange while higher values are more scooped and sizzly.

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.

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.

Use XFORMER MATCH to intentionally mismatch speaker impedance in order to get a different tone. To simulate plugging an 8-ohm speaker into a 4-ohm jack, set it to 2.0. For the other way around, set it to 0.5.

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.

SPEAKER DRIVE – Simulates distortion caused by pushing a speaker too far. It interacts with the MASTER.

The SPEAKER page is not an EQ. It allows you to adjust the impedance that the virtual speaker presents to the virtual power tubes. For a guitar amp with no negative feedback, the voltage frequency response of the power amp will very closely match this since the power amp is basically a current source. For a guitar amp with negative feedback, the resulting EQ is quite different than the impedance curve since negative feedback flattens the response. If you turn NEG FDBK 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.

In general, the more heavily driven the power amp section is, the more effect the SUPPLY SAG has. Setting SUPPLY SAG to 0 disables the power amp and turns the MASTER into a simple level control with a 40 dB range.

CF COMP 1 – Controls the amount of preamp compression and sets the compression threshold of the cathode follower. Many models default to zero as they do not have measureable compression.

CRUNCH – Makes things more crunchy. It controls the distortion texture when you hit a note or chord.

DYNAMICS – Controls a dynamics processor that can be used to alter the dynamic response of the amp algorithms. When set below zero the amp compresses resulting in a smoother, less dynamic sound. When set greater than zero the amp expands resulting in a punchier, crunchier and more dynamic sound. Note that extreme values can have undesirable side-effects such as pumping and clipping.

OUTPUT COMP – Leveling compressor (think LA-2A) specifically tailored to reduce the output dynamic range of the Amp block. It can also be used to simulate the compression you get from a dynamic microphone and/or some mic preamps. The parameter value is the compression ratio, which equals 1 + 3

* comp / 10. Attack and release are fixed.

COMP THRESHOLD – Sets the level at which OUTPUT COMP reduces the amplitude of the audio signal when that level is exceeded.

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.

PREAMP TUBE TYPE – There are three settings:

MODERN – the model used in firmware v18.03 (default setting). This setting replicates a typical modern production tube. The clipping is more aggressive and the linear region is larger.

VINTAGE – the model used in firmware v17.xx. This setting has a smaller linear region and a softer cutoff characteristic.

TEST – a new algorithm that models cutoff behavior more accurately. This setting replicates the behavior of revered “long-plate” tubes.

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PREAMP SAG – OFF replicates the behavior of separate preamp and power amp. ON replicates the behavior of an integrated tube head or combo amp.

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.

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 PREAMP HARDNESS.

PREAMP HARDNESS (was 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.

PICK ATTACK – Controls a sophisticated dynamic range processor that operates on leading edge transients. Negative values reduce pick attack while positive values enhance it.

CATHODE TIME

1

– Sets the attack time of the compressor.

CATHODE RATIO

1

– Sets the maximum amount of compression, with lower values giving more compression.

The cathode “squish” modeling algorithm improves the feel of cathode-biased power amp models (Class-A, Mr Z, etc.) It has two adjustable parameters:

CATHODE SQUISH – Sets the amount of bias shift due to cathode voltage rise.

(Zero defeats the cathode squish modeling.)

SQUISH TIME – Sets the time constant of the cathode network.

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.

1 cathode follower algorithm parameter

Amp Block

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PRESENCE SHIFT – Only available on Mesa Boogie Mark IV’s with a “Pull Shift” on the Presence knob (USA LEAD and USA RHYTHM). When engaged, it normalizes the amount of high frequencies produced in the power section. PRESENCE will be more effective and will act on a higher frequency range. Note that it may result in volume reduction since the negative feedback is increased which lowers the loop gain.

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 a specific power tube type and sets DYNAMIC

DAMPING. 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”.

DYNAMIC DAMPING – Adjusts the plate characteristics. Defaults to the appropriate value when an amp model or power tube type is selected.

POWER TUBE BIAS – Sets the quiescent operating current of the virtual power tubes. 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.

MV LOCATION – Location of the Master Volume.

PRE-PI – Before the phaser inverter (most amps).

POST-PI – After the phase inverter (AC types). This causes the PI to clip before the grids (if the MV is less than full). This creates a very aggressive and open sound.

PRE-TRIODE – Amp types based on Hiwatt models.

POST-PI MV turns a lot of mid-gain amps into ripping monsters. The only caveat is that, like a real amp, the more you turn the MV down the less effective Presence and Depth become (since the loop gain is reduced).

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NEGATIVE FEEDBACK – 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 NEGATIVE FEEDBACK to 0 disables negative feedback and replaces the PRESENCE control with HI CUT. DEPTH is also disabled since it only affects negative feedback.

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. (Also see HIGH CUT FREQ to reduce “fizz”.)

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.

PWR AMP BIAS – Controls the amount of power tube mismatch by adjusting the offset voltage of the virtual power amp. A value of zero produces nearly symmetrical clipping which will produce very little even harmonics. Higher values will produce increasingly asymmetrical clipping which increases the amount of even harmonics. Small amounts of even harmonics can make the power amp distortion sound “warmer” and more bell-like while higher amounts will give a “fuzzier” tone.

PWR AMP HARDNESS – Controls the hardness of the virtual power tube grid clipping.

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).

In the design of some amps the LOW CUT FREQ is dependent upon the

DRIVE setting. In these cases the LOW CUT FREQ parameter defaults to 10 Hz and the actual low cut filtering is calculated as part of the DRIVE function.

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. (Also see TRIODE PLATE FREQ to reduce

“fizz”.)

BRIGHT – High treble control shelving filter between the preamp and power amp. It may be used to darken or brighten the output of the preamp. It accurately replicates the “Presence” control found in the Mesa Triaxis preamp when set to negative values. (In the Triaxis, it is actually a high frequency cut shelving filter.) Note: this is not to be confused with the BRIGHT switch which engages/disengages a capacitor across the drive pot.

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 TYPE – Selects between a shelving behavior or a peaking behavior.

CHARACTER Q – Controls the bandwidth of the response when the peaking behavior is chosen.

CHARACTER FREQ/AMT – 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 Freq control sets the center frequency of the filter while the Character Amt 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.

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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.

The tone stack is one of the main things that gives an amp its particular voice, as it shapes the frequency response pretty drastically.

For a flat tone stack, set the TONESTACK TYPE to NEUTRAL with B/M/T at noon. This allows the flexibility of being able to boost or cut bass and treble.

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.

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.

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.

SATURATION SWITCH – 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.

AUTH – replicates authentic saturation circuit behavior and lowers the volume out of the virtual preamp.

IDEAL – replicates the idealized behavior from firmware v14.xx and earlier.

SATURATION changes the distortion character. To preserve the distortion character and tone use BOOST or INPUT TRIM instead.

SATURATION DRIVE – Controls the amount of saturation.

AC LINE FREQ – Selects the line frequency.

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.

VARIAC – AC voltage control that sets the relative AC line voltage into the amp simulation implementing a virtual “Variac”. Note that normally the volume would vary with the Variac setting in a real amp but the simulation compensates for the volume change by applying the inverse. This mitigates having to manually compensate using the Output Level.

BOTTOM ROW

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.

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.

AUTHENTIC duplicates the previous behavior of the deprecated Grid

Modeling* parameter.

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.

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.

Amp Block

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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 (NORMAL/HI RES 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. UltraRes IRs do not support size warping, therefore, this parameter is disabled for UltraRes cabinets.

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.

This parameter appears on the ROOM page for stereo cabs.

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

NULL – allows PROXIMITY without a mic

BOTTOM ROW

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. 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.

BOTTOM ROW

INPUT SELECT – Can be used to run two Cabinet blocks in parallel for stereo processing by setting one to Left and the other to Right.

Scott Peterson Tip – When using headphones (I use Audio Technica ATH-

M50) use the Room controls in the cab block to simulate early reflections. It’s a HUGE aspect usually missed with headphones.

Cab Block

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PREAMP TYPE – Preamp simulation menu selections recreate the sound of overdriven channel strips, preamps, tapes, etc.

DRIVE – Controls the gain of the simulation.

SATURATION – Controls the ratio of even/odd harmonics. Turning the knob clockwise increases even harmonics.

BOTTOM ROW

PREAMP MODE – Selects either Economy or High Quality modes. In High

Quality mode oversampling is employed to prevent aliasing but this results in higher CPU usage.

EFFECT TYPE

HI-/ULTRA-RES – Mono processing of Hi Res IRs (2048 samples, 43ms), or

UltraRes IRs (up to 8000 samples, 167ms).

NORMAL RES – Mono processing of normal resolution IRs (1024 samples,

21ms).

STEREO ULTRARES – Stereo processing of UltraRes IRs.

STEREO – Stereo processing at normal resolution (2 × 1024).

To calculate length: 1 millisecond = 48 samples.

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.

UltraRes enhances the spectral resolution of an IR without adding CPU burden.

Cab Block

AXE-FX AMP BASED ON DESCRIPTION

1959SLP Jump

. . . . . . . . . .

Marshall 1959SLP

. . . . . . . . . . . . . . . . .reissuse of a late 60’s 100w Marshall Super Lead model 1959. See PLEXI 100W for the original. Emulates

“jumpering the inputs” on a 4-hole amp.

1959SLP Normal

. . . . . . . .

Marshall 1959SLP

. . . . . . . . . . . . . . . . .Normal channel.

1959SLP Treble

. . . . . . . . .

Marshall 1959SLP

. . . . . . . . . . . . . . . . .Treble channel.

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 100w Blue . . . . . . . . . EVH 5150 III (Blue) . . . . . . . . . . . . . . . . .Blue (rmedium gain/rhythm) channel. 100w, 6L6. Made in collaboration with Fender. Recommended settings.

5153 100w Green . . . . . . . EVH 5150 III (Green) . . . . . . . . . . . . . . .Green (clean) channel.

5153 100w Red . . . . . . . . . EVH 5150 III (Red) . . . . . . . . . . . . . . . . .Red (high gain/lead) channel.

5153 50w Blue . . . . . . . . . . EVH 5150 III (Blue) . . . . . . . . . . . . . . . . .The 50w version has a different input network than the 100w, and as a result has about twice the gain.

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 Nrml

. . . . . . . .

Fender Bassman

. . . . . . . . . . . . . . . . . .1965 Blackface version, AB165 circuit which is very crunchy and bright and does not sound like a typical Fender.

65 Bassguy Bass

. . . . . . . . .

Fender Bassman

. . . . . . . . . . . . . . . . . .Bass channel.

AC-20 Dlx 12Ax7

$

. . . . . Morgan AC20 Deluxe

. . . . . . . . . . . . . .Treble channel with the EF86/12AX7 preamp tube switch in the 12AX7 position, EL84 tubes.

Normal/Brilliant switch = Brilliant.

AC-20 Dlx Bass

$

. . . . . . .

Morgan AC20 Deluxe

. . . . . . . . . . . . . .Bass channel with the EF86/12AX7 preamp tube switch in the EF86 position, EL84 tubes.

Normal/Brilliant switch = Normal. Bright OFF + treble booster = Brian May, Bright ON = U2.

AC-20 Dlx Treb

$

. . . . . . .

Morgan AC20 Deluxe

. . . . . . . . . . . . . .Treble channel with the EF86/12AX7 preamp tube switch in the EF86 position, EL84 tubes.

Normal/Brilliant switch = Brilliant.

Angle Severe 1 9 . . . . . . . ENGL Savage 120 . . . . . . . . . . . . . . . . .Rough channel. Contour = OFF: boosts lower midrange around 500 Hz (warm tone.)

Angle Severe 2 9 . . . . . . . ENGL Savage 120 . . . . . . . . . . . . . . . . .Contour ON: boosts from 1200 Hz and cuts lower midrange (more transparency.)

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 Neg Fdbk.

Brit 800 Mod . . . . . . . . . . . . modded Marshall JCM800 . . . . . . . . .Removed the treble peaker , making the amp “heavier” and “less strident”.

Brit AFS100 1 . . . . . . . . . . . Marshall AFD100SCE . . . . . . . . . . . . . .#34/AFD switch set to #34 mode (LED = off), the equivalent of a JCM800 (2203). 6550 tubes.

Brit AFS100 2 . . . . . . . . . . . Marshall AFD100SCE . . . . . . . . . . . . . .#34/AFD switch set to AFD mode (LED = on), adds extra gain stage. 6550 tubes.

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.

Red amps are non-MV (no Master Volume on the real amp). The MASTER VOLUME 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 NEGATIVE FEEDBACK set to zero. PRESENCE is replaced with HI CUT. DEPTH is also disabled since it only affects negative feedback.

AXE-FX AMP BASED ON DESCRIPTION

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 JCM.

Brit JVM OD1 Or . . . . . . . . . Marshall JVM410 (OD1, Orange) . . .OD1 channel, Orange mode, extra gain.

Brit JVM OD1 Rd . . . . . . . . Marshall JVM410 (OD1, Red) . . . . . . .OD1 channel, Red mode, even more gain.

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.

Brit JVM OD2 Rd . . . . . . . . Marshall JVM410 (OD2, Red) . . . . . . .OD2 channel, Red mode, even more gain and lower mids than OD1.

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”. Based on a schematic. See Brit AFS100 1 & 2 for updated models based on the actual amp.

Buttery $ . . . . . . . . . . . . . . Budda Twinmaster . . . . . . . . . . . . . . . .Based loosely on a late 90’s specimen. Relies mostly on power amp distortion.

CA OD-2 9 . . . . . . . . . . . . . . Carol-Ann OD-2 . . . . . . . . . . . . . . . . . . .50W, EL34 or 6L6 tubes. Overdrive channel. Model fine-tuned by the highly respected Alan Phillips.

CA Triptik Cln . . . . . . . . . . . Carol-Ann Triptik (Clean) . . . . . . . . . . .50w, EL34. Clean channel.

CA Triptik Clsc 9 . . . . . . . . Carol-Ann Triptik (Classic) . . . . . . . . . .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.

CA Triptik Mdrn 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.

CA Tucana Cln . . . . . . . . . . Carol-Ann Tucana 3. . . . . . . . . . . . . . . .Clean channel of this 3-channel amp, with Bias monitoring system, KT88 75W tubes.

CA Tucana Lead 9 . . . . . . . Carol-Ann Tucana 3. . . . . . . . . . . . . . . .Lead channel. This is a great lead amp which works well with many speaker/cab combinations. “One of the best amps in the world,” says Cliff.

CA3+ Clean . . . . . . . . . . . . . CAE 3+ SE preamp (Ch 1) . . . . . . . . . .Custom Audio Electronics preamp. The Clean channel is based on a Blackface Fender Twin Reverb 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).

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 Ccv 1A . . . . . . . . Cameron CCV100 (Ch 1) . . . . . . . . . . .An amp its creator Mark Cameron calls “one pissed off amp.” The topology is very similar to a JCM800. Both

Cameron Ccv 1B . . . . . . . . Cameron CCV100 (Ch 1) channels modeled at various settings. The amp was modeled with the Voicing switch in the middle position. The

“Dark” switch is the Negative feedback control. Set Negative Feedback to 3.6 to reproduce the switch in the middle position. Set it to 9.8 to reproduce the switch in the right position. 5.0 for left position (default).

Cameron Ccv 2A . . . . . . . . Cameron CCV100 (Ch 2) . . . . . . . . . . .Ch 2 has Saturation engaged by default. Bright1 switch selects the Bright capacitor, which can be altered with the

BRIGHT CAP setting on the Tone page. This model: Bright1 switch left, Bright2 switch left, Gain Style switch left.

Cameron Ccv 2B . . . . . . . . Cameron CCV100 (Ch 2) . . . . . . . . . . .Bright1 switch left, Bright2 switch right, Gain Style switch left.

Cameron Ccv 2C . . . . . . . . Cameron CCV100 (Ch 2) . . . . . . . . . . .Bright1 switch left, Bright2 switch left, Gain Style switch right.

Cameron Ccv 2D . . . . . . . . Cameron CCV100 (Ch 2) . . . . . . . . . . .Bright1 switch left, Bright2 switch right, Gain Style switch right.

Car Roamer

$ . . . . . . . . . .

Carr Rambler

. . . . . . . . . . . . . . . . . . . . . .Basically a Deluxe Reverb preamp with cathode bias 6L6 power amp and no negative feedback.

Fender-meets-Vox. On the actual amp, a toggle switch engages either the 28w pentode or 14w triode.

Citrus A30 Cln $ . . . . . . . . Orange AD30HTC (Clean) . . . . . . . . . .30w tube head, Clean channel.

Citrus A30 Drty $ . . . . . . . Orange AD30HTC (Dirty) . . . . . . . . . .30w tube head, Dirty channel.

Citrus Bass 200 . . . . . . . . . . Orange AD200B . . . . . . . . . . . . . . . . . . .200w valve bass head, 6550 tubes.

Citrus RV50 . . . . . . . . . . . . . Orange Rockerverb . . . . . . . . . . . . . . .“Dirty” channel of the 50w head known for warmth and rich harmonics.

Citrus Terrier $ . . . . . . . . . Orange Tiny Terror . . . . . . . . . . . . . . . .7w or 15w, EL84 tubes. The actual amp has no tone stack (neutral in Axe-Fx) and a single Hi-Cut tone control.

Red amps are non-MV (no Master Volume on the real amp). The MASTER VOLUME 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 NEGATIVE FEEDBACK set to zero. PRESENCE is replaced with HI CUT. DEPTH is also disabled since it only affects negative feedback.

AXE-FX AMP BASED ON DESCRIPTION

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 Hot

$

. . . . . .

Vox AC-30 HW

. . . . . . . . . . . . . . . . . . . .30w, EL84 tubes. Hot/Cool switch in the Hot position.

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

. . . . . . . . . . . . . . . . . . . . . . . . .EL34 tubes.

Comet Concourse

. . . . . . .

Komet Concorde

. . . . . . . . . . . . . . . . . .EL34 tubes. Similar to Trainwreck amp. Response switch = “Fast”. To replicate “Slow” reduce INPUT TRIM to 0.25”.

Concert 6G12

. . . . . . . . . . .

Fender Concert 6G12

. . . . . . . . . . . . . .1959-1963 4x10 brownface, 40w.

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.

“60’s hippie rock in a bottle,” says Cliff.

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.

Div/13 CJ $ . . . . . . . . . . . . Divided by 13 CJ 11 . . . . . . . . . . . . . . .11w, bassy amp, works best with single coils. High-performing “Tweed” meets “EL34” meets “Master Vol” 1x12.

Div/13 FT37 Hi

$ . . . . . . .

Divided by 13 FTR 37

. . . . . . . . . . . . . .Divided by 13 FTR 37, 37w, Class-AB, two channels, 6V6 tubes. Gain Boost ON.

Div/13 FT37 Lo

$ . . . . . . .

Divided by 13 FTR 37

. . . . . . . . . . . . . .Gain Boost OFF.

Dizzy V4 Blue 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 Blue 3 . . . . . . . . . . Diezel VH4 (Ch 3) . . . . . . . . . . . . . . . . . .Channel 3, the favorite channel for most users, with higher gain but still big dynamic range.

Dizzy V4 Blue 4 . . . . . . . . . . Diezel VH4 (Ch 4) . . . . . . . . . . . . . . . . . .Channel 4, newer version of Das Metall. A monster of gain which still has great definition and authority.

Dizzy V4 Slvr 2 . . . . . . . . . . Diezel VH4 (Ch 2) . . . . . . . . . . . . . . . . . .Silver-faced version of the Diezel VH4.

Dizzy V4 Slvr 3 . . . . . . . . . . Diezel VH4 (Ch 3) . . . . . . . . . . . . . . . . . .Silver-faced version of the Diezel VH4.

Dizzy V4 Slvr 4 . . . . . . . . . . Diezel VH4 (Ch 4) . . . . . . . . . . . . . . . . . .Silver-faced version of the Diezel VH4.

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 Bass . . . . . . . . . . . . . . . . n/a . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Custom Fractal bass model. This amp uses an active tone stack so the Fat switch will have no effect.

FAS Brootalz . . . . . . . . . . . . ENGL Savage 120 / SLO 100 . . . . . . . .ENGL Savage model with the input stage (and possibly power amp) from an SLO100.

FAS Brown . . . . . . . . . . . . . . Van Halen’s Marshall . . . . . . . . . . . . . . .Original BROWN model from the Axe-Fx Standard/Ultra.

FAS Class-A

$ . . . . . . . . . .

Carr Rambler

. . . . . . . . . . . . . . . . . . . . . .A “Blackface” preamp into a cathode-biased 6L6 power amp with no negative feedback. This was a happy accident when originally modeling the Carr Rambler in the beta version of firmware v12.03.

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 Modern III . . . . . . . . . . high gain rhythm + lead hybrid . . .Similar to a Recto, but with tighter bass and a cathode-based power amp.

Red amps are non-MV (no Master Volume on the real amp). The MASTER VOLUME 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 NEGATIVE FEEDBACK set to zero. PRESENCE is replaced with HI CUT. DEPTH is also disabled since it only affects negative feedback.

AXE-FX AMP BASED ON DESCRIPTION

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 9 . . . . . . . . . . . . . . Fuchs Overdrive Supreme-50 . . . . . .Dumble clone. Overdrive channel, 50w, 6L6 tubes. Preamp Bypass (PAB) active.

Fox ODS Deep 9 . . . . . . . . Fuchs Overdrive Supreme-50 . . . . . .Deep switch ON.

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.

Friedman Sm Box . . . . . . . Friedman Small Box (Ch 2) . . . . . . . . .50W, EL34. Channel 2 is the modern/high gain channel.

Fryette D60 L 9 . . . . . . . . . Fryette D60 (Less) . . . . . . . . . . . . . . . . .60w, KT88 or 6550 tubes. “Deliverance Sixty”. “Less” mode.

Fryette D60 M 9 . . . . . . . . Fryette D60 (More) . . . . . . . . . . . . . . . .“More” mode.

Gibtone Scout

$

. . . . . . .

Gibson Scout

. . . . . . . . . . . . . . . . . . . . .1964 GA17RVT Scout, 17w, vintage clean tones. No tone controls on the real amp.

Herbie Ch2+ . . . . . . . . . . . . Diezel Herbert (Ch 2+) . . . . . . . . . . . . .3-channel 180w, called “looser” and “more “familiar” than the VH4. Channel 2+ gets you into Diezel VH4 territory.

Herbie Ch2- . . . . . . . . . . . . . Diezel Herbert (Ch 2-) . . . . . . . . . . . . .Set Ch 2- at 35% gain for a cranked Plexi tone, 60% for a JCM800 tone.

Herbie Ch3 . . . . . . . . . . . . . Diezel Herbert (Ch 3) . . . . . . . . . . . . . .Channel 3.

Hipower Brillnt . . . . . . . . . . Hiwatt DR103 (Brilliant) . . . . . . . . . . . .1974 Harry Joyce/Hylight model. Medium-gain, full sound with unique tone-stack and chimey, grinding tone.

Hipower Jumped . . . . . . . Hiwatt DR103 (Normal/Brilliant) . . .Emulates “jumpering the inputs” on a 4-hole amp.

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 Neg Fdbk to zero.

JR Blues Fat . . . . . . . . . . . . . Fender Blues Jr. . . . . . . . . . . . . . . . . . . .FAT switch engaged.

Matchbox D-30

$ . . . . . .

Matchless DC-30

. . . . . . . . . . . . . . . . . .Matchless DC-30, 30w, Class-A, EL84s. A “better sounding” AC-30.

Mr Z Hwy 66

. . . . . . . . . . . .

Dr. Z Route 66

. . . . . . . . . . . . . . . . . . . . .32w, KT66, EF86 and 12AX7.

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

Mr Z MZ-8 $ . . . . . . . . . . . Dr. Z MAZ 8 . . . . . . . . . . . . . . . . . . . . . . .8w, EL84 tube. A popular low-wattage, single-ended amp. The actual amp can be run in Pentode or Triode mode.

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 Ford 1 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 Ford 2 9 . . . . . . . Dumble OD Special (OD) . . . . . . . . . .“Non-HRM” version. Preamp Bypass OFF.

ODS-100 Ford Md 9 . . . . . Dumble OD Special (OD) . . . . . . . . . .The same as ODS-100 Ford 1 with the Mid switch engaged.

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

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

b

. . . . . . . . . . .

Fender Princeton (Tweed)

. . . . . . . . .Class A, 5w. 5F2-A, AA964 circuits. Modeled after early CBS “Silverface” model, pre-CBS design and components.

Prince Tone NR

b

. . . . . . .

Fender Princeton (no reverb)

. . . . . .No reverb.

Prince Tone Rev

b

. . . . . . .

Fender Princeton (reverb)

. . . . . . . . .1966 reverb.

PVH 6160 Block . . . . . . . . . Peavey EVH 5150 (Lead) . . . . . . . . . . .120w, 6L6. An original block letter Peavey EVH 5150. Lead channel. It sounds way better than most 5150s partly

Red amps are non-MV (no Master Volume on the real amp). The MASTER VOLUME 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 NEGATIVE FEEDBACK set to zero. PRESENCE is replaced with HI CUT. DEPTH is also disabled since it only affects negative feedback.

AXE-FX AMP BASED ON DESCRIPTION due to the fact that this one has a bias mod so it’s biased a bit warmer than a stock version.

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

Recto1 Org Mdrn $ . . . . . Mesa Boogie 2 ch. Dual Rectifier . . .Orange channel, Modern mode. Presence control now operates like the actual amp in all Recto models. For those

models where there is no negative feedback, the Presence control is part of the tone stack (not a Hi Cut control.)

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

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

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

Recto2 Org Vntg . . . . . . . . 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

. . . . . . . . . . . . . . . . . .Paul Ruby Rocket is based on a Trainwreck Rocket but with some notable differences (also similar to a Vox AC30).

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. This amp likes to be run hard, so the MV defaults to a higher setting than on most other amps (high MV helps thicken up the mids). 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 Lead . . . . . . . . . . . . Soldano X88R preamp (Rhythm) . . .Lead resp. rhythm channel of a Soldano X88R preamp, 6L6

Solo 88 Rhythm . . . . . . . . . Soldano X88R preamp (Rhythm) . . .Rhythm channel.

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 Rod OD1-1 . . . . . . Splawn Quick Rod (1st gear) . . . . . . .100w, EL34. Signature Splawn tone with lots of bite, strong mids and 3 gear versatility. 1st gear, “Hot Rod Plexi’”.

Spawn Rod OD1-2 . . . . . . Splawn Quick Rod (2nd gear) . . . . . .2nd gear, “Hot Rod JCM 800”.

Spawn Rod OD1-3 . . . . . . Splawn Quick Rod (3rd gear) . . . . . . .3rd gear, “Super Hot Rod 800”.

Spawn Rod OD2-1 . . . . . . Splawn Quick Rod (1st gear) . . . . . . .1st gear; OD2 switches in a cathode bypass cap which increases the gain of that stage.

Spawn Rod OD2-2 . . . . . . Splawn Quick Rod (2nd gear) . . . . . .2nd gear; same as above.

Spawn Rod OD2-3 . . . . . . Splawn Quick Rod (3rd gear) . . . . . . .3rd gear; same as above.

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 6G4

. . . . . . . . . . . . . .

Fender Super 6G4

. . . . . . . . . . . . . . . . .1960-1963 2x10 brownface, 40w.

Super Verb

. . . . . . . . . . . . . .

Fender Super Reverb

. . . . . . . . . . . . . .Pre-CBS 1964 Blackface version of this 40w amp, AB763 circuit, Vibrato channel. To simulate the Blackface Pro

Reverb model AA165, set Tonestack Type = Blackface and set Mid = 7-8 to emulate the fixed 6.8K mid resistor.

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.

Tremolo Lux

. . . . . . . . . . . .

Fender AA763 Tremolux

. . . . . . . . . . .6L6, high and low inputs, Normal and Vibrato channels.

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

Two Stone J35 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 J35 2 9 . . . . . . Two-Rock Jet 35 . . . . . . . . . . . . . . . . . . .Lead mode, Preamp Bypass OFF.

TX Star Clean . . . . . . . . . . . Mesa Lone Star (Clean) . . . . . . . . . . . .Clean channel, 50/100w, 6L6. Try with a BB Pre drive block.

Red amps are non-MV (no Master Volume on the real amp). The MASTER VOLUME 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 NEGATIVE FEEDBACK set to zero. PRESENCE is replaced with HI CUT. DEPTH is also disabled since it only affects negative feedback.

AXE-FX AMP BASED ON DESCRIPTION

TX Star Lead 9 . . . . . . . . . . Mesa Lone Star (Lead) . . . . . . . . . . . . .Lead channel.

USA Bass 400 1 . . . . . . . . . . Mesa Bass 400 . . . . . . . . . . . . . . . . . . . .Bass Shift OFF.

USA Bass 400 2 . . . . . . . . . . Mesa Bass 400 . . . . . . . . . . . . . . . . . . . .Bass Shift ON.

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

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 Mark IV (Lead) . . . . . . .Tight, focused, hi-gain sound. Great for fusion and rock leads. Bright OFF, Mid Gain OFF.

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

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

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

USA Pre Clean . . . . . . . . . . . Mesa Boogie TriAxis preamp . . . . . . .Rhythm Green channel (“Vintage Fat Rhythm” or “old Black Face”), 6L6.

USA Pre Ld1 Red 9 . . . . . . Mesa Boogie TriAxis preamp . . . . . . .Lead 1 Red mode (TX-4 board.)

USA Pre Ld2 Grn 9 . . . . . . Mesa Boogie TriAxis preamp . . . . . . .Lead 2 Green mode (Mid Gain Mark IV Lead.)

USA Pre Ld2 Red 9 . . . . . . Mesa Boogie TriAxis preamp . . . . . . .Lead 2 Red mode (shred.)

USA Pre Ld2 Ylw 9 . . . . . . Mesa Boogie TriAxis preamp . . . . . . .Lead 2 Yellow mode (Classic MKII Lead.)

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

USA Sub Blues

. . . . . . . . . .

Mesa Subway Blues

. . . . . . . . . . . . . . .20w, EL84.

Vibra-King

$

. . . . . . . . . . .

Fender Vibro-King

. . . . . . . . . . . . . . . . .Fender Vibro-King, famous for crystal cleans and powerful overdrive.

Vibra-King Fat

$

. . . . . . . .

Fender Vibro-King

. . . . . . . . . . . . . . . . .Fat switch ON.

Vibrato Lux

. . . . . . . . . . . . .

Fender Vibrolux Reverb

. . . . . . . . . . . .1963 Blackface model, 6L6. Early Dire Straits tone.

Vibrato Verb

. . . . . . . . . . . .

Fender Vibroverb

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

Vibrato Verb AA

. . . . . . . . .

Fender Vibroverb

. . . . . . . . . . . . . . . . . .AA763 circuit.

Vibrato Verb AB

. . . . . . . . .

Fender Vibroverb

. . . . . . . . . . . . . . . . . .AB763 circuit.

Wrecker Express

. . . . . . . .

Trainwreck Express

. . . . . . . . . . . . . . . .Trainwreck Express.

Wrecker Lvrpool

. . . . . . . .

Trainwreck Liverpool

. . . . . . . . . . . . . .Trainwreck Express preamp with a Trainwreck Rocket power amp. EL84 tubes.

Wrecker Rocket

. . . . . . . . .

Trainwreck Rocket

. . . . . . . . . . . . . . . . .Trainwreck Rocket.

Red amps are non-MV (no Master Volume on the real amp). The MASTER VOLUME 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 NEGATIVE FEEDBACK set to zero. PRESENCE is replaced with HI CUT. DEPTH is also disabled since it only affects negative feedback.

FACTORY CABINETS

1 1x6 Oval

2 1x8 Tweed

3 1x10 Prince Tone At4047 (UR)

4 1x10 Prince Tone M160 (UR)

5 1x12 Brown M160 (UR)

6 1x12 Black Sm57 (UR)

7 1x12 G12T R121 (UR)

8 1x12 E12L (RW)

9 1x12 Studio

10 1x12 EMI Open Back (JM)

11 1x12 Bludo Mix (UR)

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 TX Star M160 (UR)

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 Fuzzbomb M160 (UR)

28 2x12 Gold 30 Far-Field (JM)

29 2x12 G12-65 Far-Field (JM)

30 2x12 Boutique R121 (UR)

31 2x12 Doubleshow (RW)

32 4x10 Bassguy M160 (UR)

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

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 TV Mix C1 (Ck)

59

4x12 TV Mix C4 (Ck)

60 4x12 Fractal Gb M160 (UR)

61 4x12 Fractal V30 At4047 (UR)

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 Pre-Rola Gb (UR)

70

4x12 Beatle Gb (UR)

71

4x12 D120 (UR)

72

4x12 Sorcerer (UR)

73

4x12 Ck USA Trad 57-121 (UR)

74

4x12 Ck USA Trad 906-421 (UR)

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 M160 (UR)

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 AC-20 Dlx Mix (UR)

120

1x12 Roamer Mix (UR)

121

1x12 Triptik Mix (UR)

122

2x12 Class-A Mix (UR)

123

2x12 Double Verb Mix (UR)

124

4x12 5153 Mix #1 (UR)

125

4x12 5153 Mix #2 (UR)

126

4x12 Citrus Mix (UR)

127

4x12 Lerxst Mix (UR)

128

4x12 Cali Mix (UR)

129

4x12 Recto Mix (UR)

130

4x12 Recto New Mix (UR)

131

4x12 TV Mix #1 (UR)

132

4x12 TV Mix #2 (UR)

Red cabs

are UltraRes IRs. Blue cabs are UltraRes IRs captured using the Mic+DI technique.

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 . . . . . . . . . . . . . . . . . . . . . . . . .Fender Blues Jr. Really thin and cutting for roots blues leads.

3 1x10 Prince Tone At4047 (UR) . . . . . .Fender Princeton with Audio-Technica AT4047 mic.

4 1x10 Prince Tone M160 (UR) . . . . . . . .Fender Princeton with Beyer M160 mic.

5 1x12 Brown M160 (UR) . . . . . . . . . . . . .1962 Fender Vibrolux with Beyer M160 mic. This is the same amp model used on Dire Straits’ debut album.

6 1x12 Black Sm57 (UR) . . . . . . . . . . . . . .Fender Deluxe Verb with SM57 mic.

7 1x12 G12T R121 (UR) . . . . . . . . . . . . . . .Marshall G12T-75 with Royer 121 mic.

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

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

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

11 1x12 Bludo Mix (UR) . . . . . . . . . . . . . . . .Dumble dual port closed-back cab with an 8-ohm Blackhawk WGS Alnico speaker, similar in tone to an EVM-12L.

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.

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 TX Star M160 (UR) . . . . . . . . . . . . .Mesa Lonestar with Beyer M160 mic.

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.

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.

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 Fuzzbomb M160 (UR) . . . . . . . . .Earcandy Buzzbomb

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 R121 (UR) . . . . . . . . . . .Matchless

31 2x12 Doubleshow (RW) . . . . . . . . . . . .Fender Dual Showman cabinet with vintage JBL D130s.

32 4x10 Bassguy M160 (UR) . . . . . . . . . . .Fender Bassman with Beyer M160 mic.

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.

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”.

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

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

AXE-FX CAB DESCRIPTION

41 4x12 1960B V30 (RW) . . . . . . . . . . . . . .Straight Marshall 1960 with four Celestion Vintage 30s.

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.

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.

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

49 4x12 PVH6160 (RW) . . . . . . . . . . . . . . . .Older model Peavey 5150 4x12 cabinet with four Sheffield 1200 speakers.

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

51 4x12 Uber V30 (RW) . . . . . . . . . . . . . . . .Same as above. This IR features the V30s.

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

53 4x12 Citrus V30 (RW) . . . . . . . . . . . . . . .Straight Orange 4x12 (PPC412) with Celestion Vintage 30s.

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 TV Mix C1 (Ck)

. . . . . . . . . . . . . . . .Marshall 1960TV Slant Cab with G12M‐25 Greenbacks (Cab Pack 8).

59

4x12 TV Mix C4 (Ck)

. . . . . . . . . . . . . . . .Marshall 1960TV Slant Cab with G12M‐25 Greenbacks (Cab Pack 8).

60 4x12 Fractal Gb M160 (UR) . . . . . . . . .Friedman cab with Greenbacks, with Beyer M160 mic.

61 4x12 Fractal V30 At4047 (UR) . . . . . . .Friedman cab with V30s, with Audio-Technica AT4047 mic.

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 Pre-Rola Gb (UR) . . . . . . . . . . . . . .Marshall with Pre-Rola greenbacks (Cab Pack 6).

70

4x12 Beatle Gb (UR)

. . . . . . . . . . . . . . . .Vox Beatle 4x12 cabinet with greenbacks (Cab Pack 6).

71

4x12 D120 (UR)

. . . . . . . . . . . . . . . . . . . .4x12 cabinet with JBL D120s (Cab Pack 6).

72

4x12 Sorcerer (UR)

. . . . . . . . . . . . . . . . .Wizard 4x12 (Cab Pack 6).

73

4x12 Ck USA Trad 57-121 (UR)

. . . . . .Mesa Recto Traditional Straight Cab with V30’s (Cab Pack 7).

74

4x12 Ck USA Trad 906-421 (UR)

. . . . .Mesa Recto Traditional Straight Cab with V30’s (Cab Pack 7).

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 M160 (UR)

. . . . . . .Fender Blues Junior with Beyer M160 mic.

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).

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).

AXE-FX CAB DESCRIPTION

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.”

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

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

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

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

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

114 1x12 Class-A 20 Dlx Mix . . . . . . . . . . . .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 . . . . . . . . . . . . . . . . .Matchless cabinet (Producer Pack).

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

119

1x12 AC-20 Dlx Mix (UR)

. . . . . . . . . . . .Morgan AC20 Deluxe cabinet (Cab Pack 4).

120

1x12 Roamer Mix (UR)

. . . . . . . . . . . . . .Carr Roamer cabinet (Cab Pack 4).

121

1x12 Triptik Mix (UR)

. . . . . . . . . . . . . . .Carol-Ann Triptik cabinet with Scholz Classic speaker (Cab Pack 5).

122

2x12 Class-A Mix (UR)

. . . . . . . . . . . . . .Vox AC-30 cabinet (Cab Pack 4).

123

2x12 Double Verb Mix (UR)

. . . . . . . . .Fender Twin Reverb cabinet (Cab Pack 4).

124

4x12 5153 Mix #1 (UR)

. . . . . . . . . . . . . .EVH 5150 III cabinet (Cab Pack 5).

125

4x12 5153 Mix #2 (UR)

. . . . . . . . . . . . . .EVH 5150 III cabinet (Cab Pack 5).

126

4x12 Citrus Mix (UR)

. . . . . . . . . . . . . . . .Orange cabinet with V30s (Cab Pack 5).

127

4x12 Lerxst Mix (UR)

. . . . . . . . . . . . . . .Mojotone Lerxst ported cabinet with greenbacks, works well with Marshall Silver Jubilee (Cab Pack 5).

128

4x12 Cali Mix (UR)

. . . . . . . . . . . . . . . . . .Mesa cabinet with Classic 80 speakers (Cab Pack 4).

129

4x12 Recto Mix (UR)

. . . . . . . . . . . . . . . .Mesa Rectifier vintage cabinet (Cab Pack 5).

130

4x12 Recto New Mix (UR)

. . . . . . . . . . .Mesa Rectifier standard cabinet (Cab Pack 5).

131

4x12 TV Mix #1 (UR)

. . . . . . . . . . . . . . . .early 70’s Marshall 1960 TV angled tall cabinet with four 12” speakers (Cab Pack 5).

132

4x12 TV Mix #2 (UR)

. . . . . . . . . . . . . . . .early 70’s Marshall 1960 TV angled tall cabinet with four 12” speakers (Cab Pack 5).

AXE-FX AMP SPEAKER TYPE

1959SLP . . . . . . . . . . . . . . . G12M, G12H, G12L

1987x. . . . . . . . . . . . . . . . . . G12M, G12H, G12L

5153 . . . . . . . . . . . . . . . . . . . G12-EVH (G12H30)

59/65 Bassguy . . . . . . . . . 4x10, 2x12

5F1 Tweed . . . . . . . . . . . . . 8” speakers

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

Angle Severe . . . . . . . . . . V30

Atomica . . . . . . . . . . . . . . . G12H

Band-Commander . . . . . 2x12 (Jensen C12N)

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

Bludojai . . . . . . . . . . . . . . . G12-65, EVM 12L

Boutique . . . . . . . . . . . . . . G12M + G12H

Brit 800/Silver . . . . . . . . . . G12M, G12H, V30, T75

Brit AFS100/Super . . . . . V30

Brit Brown . . . . . . . . . . . . . G12M, G12H, EVH

Brit JM45 . . . . . . . . . . . . . . G12M, G12H, G12L

Brit JVM . . . . . . . . . . . . . . . V30 + G12H

Brit Pre . . . . . . . . . . . . . . . . (preamp)

Buttery . . . . . . . . . . . . . . . . G12M, G12H

CA OD-2 . . . . . . . . . . . . . . . EVM 12L or Celestion Classic Lead 80

CA Tucana . . . . . . . . . . . . . G12-65, V30, G12-75

CA3+ . . . . . . . . . . . . . . . . . . (preamp)

Cali Leggy . . . . . . . . . . . . . V30

Cameron . . . . . . . . . . . . . . G12H

Car Roamer . . . . . . . . . . . . 12” Eminence Elsinore

Citrus A30, Terrier . . . . . . G12H

Citrus RV50 . . . . . . . . . . . . V30

Class-A 15w/30w . . . . . . . Alnico Blue, G12M

Comet . . . . . . . . . . . . . . . . . Greenbacks, G12H, V30

Concert 6G12 . . . . . . . . . . 4x10 Jensen P10R, P10Q, C10R

Corncob M50 . . . . . . . . . . 60w V30

Das Metall . . . . . . . . . . . . . V30, G12K100

Deluxe Tweed . . . . . . . . . . Jensen P12R, C12N, Alnico Blue

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

2x10 (Jensen C10N, C10Q, P10R)

Dirty Shirley . . . . . . . . . . . V30, G12M, G12H

Div/13 CJ . . . . . . . . . . . . . . G12M

Div/13 FT37 . . . . . . . . . . . . Alnico Blue + G12H30

Dizzy V4 . . . . . . . . . . . . . . . V30, G12K100

Double Verb . . . . . . . . . . . 2x12 (Jensen C12N, JBL D120, EVM-12L)

Energyball . . . . . . . . . . . . . V30, custom V60

Euro Blue/Red . . . . . . . . . V30

Euro Uber . . . . . . . . . . . . . . V30 + G12T75 (Uberkab)

Fox ODS . . . . . . . . . . . . . . . G12-65, EVM 12L

Friedman . . . . . . . . . . . . . . G12M, G12H, V30

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

Gibtone Scout . . . . . . . . . 1x10

Herbie . . . . . . . . . . . . . . . . . V30, G12K100

HiPower . . . . . . . . . . . . . . . 4x12 Fane

Hot Kitty . . . . . . . . . . . . . . . Bad Cat proprietary Celestion

Jazz 120 . . . . . . . . . . . . . . . 2x12 “silver” Roland

JR Blues . . . . . . . . . . . . . . . . Jensen C12N, P12R

Matchbox D-30 . . . . . . . . G12H30 + G12M

Mr Z Hwy 66 . . . . . . . . . . . V30 + G12H

AXE-FX AMP SPEAKER TYPE

Mr Z MZ-38, MZ-8 . . . . . . G12H

Nuclear-Tone . . . . . . . . . . G12M

ODS-100 . . . . . . . . . . . . . . . G12-65, EVM 12L

Plexi . . . . . . . . . . . . . . . . . . . G12M, G12H, G12L

Prince Tone . . . . . . . . . . . . Jensen C10N

PVH 6160 . . . . . . . . . . . . . . Sheffield 1200

Recto . . . . . . . . . . . . . . . . . . V30

Ruby Rocket . . . . . . . . . . . Alnico

Shiver . . . . . . . . . . . . . . . . . V30, G12M

Solo 88 Rhythm . . . . . . . . (preamp)

Solo 99 . . . . . . . . . . . . . . . . (preamp)

Solo 100 . . . . . . . . . . . . . . . 12” Eminence

Spawn . . . . . . . . . . . . . . . . . G12M, G12-65, V30

Suhr Badger . . . . . . . . . . . V30

Super 6G4 . . . . . . . . . . . . . 2x10 Jensen P10R, P10Q, Oxford 10K5

Super Verb . . . . . . . . . . . . . 4x10 Jensen C10R, C10Q, P10R

Supremo Trem . . . . . . . . . 6” oval speaker, 12” or 15” Jensen

SV Bass . . . . . . . . . . . . . . . . 8x10

Tremolo Lux . . . . . . . . . . . 2x10

Tube Pre . . . . . . . . . . . . . . . (preamp)

Two-Stone J35 . . . . . . . . . G12-65

TX Star Lead . . . . . . . . . . . Mesa C90 (a modified CL80)

USA IIC+ . . . . . . . . . . . . . . . EVM 12L

USA Pre . . . . . . . . . . . . . . . . (preamp)

USA Sub Blues . . . . . . . . . 10” Eminence Black Shadow

USA (all others) . . . . . . . . Mesa C90 (a modified CL80)

Vibra-King . . . . . . . . . . . . . 3x10

Vibrato Lux . . . . . . . . . . . . 2x10 (Jensen C10Q), Oxford 1x12

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

2x10 (Jensen C10Q)

Wrecker . . . . . . . . . . . . . . . G12M

Understanding All the Different Gain Controls

The amp block in the Axe-Fx has a variety of gain controls that change depending upon the amp model selected.

These controls are:

Input Drive

Input Trim

Overdrive

Master Volume

These various controls are located at fixed points in the virtual amplifier circuit as follows:

BRIGHT

CAP

MV

CAP

INPUT BUFFER

WITH

INPUT TRIM

GAIN

STAGE

GAIN

STAGE(S)

GAIN

STAGE(S)

MASTER

VOLUME

TRIM

POWER

AMP

INPUT

DRIVE

OVERDRIVE MASTER

VOLUME

(PRE-PI) flow chart by PacoCasanovas

Input Drive

This is the modeled amp’s gain, drive, volume, etc. control. It adjusts the attenuation at the input to the amplifier gain stages after the input buffer. On a Marshall Plexi, for example, it is the “Loudness” control. On a typical Fender amp it is the “Volume” control. On many high-gain amps it is called either “Gain” or “Drive”.

On a real amp this is implemented using a variable resistor (potentiometer). Many amps include a “bright cap” on the drive control which is a small value capacitor placed across the terminals of the pot that bleeds treble frequencies through as the gain is reduced. Sometimes this bright cap is switchable via a switch on the amp. Sometimes it is fixed.

Input Trim

The Input Trim control adjusts the input attenuation without changing the frequency response. If you turn down the

Input Drive and the model has a bright cap the amp will get brighter. Now you may like the brighter tone but wish there were more gain. Input Trim allows you to increase the gain without changing the tone. Conversely you may like the darker tone with Input Drive set high but wish there were less gain. In this case you can lower Input Trim.

Most real amps do not possess an Input Trim control. Instead they usually have a switch or two input jacks that select between a high-gain and low-gain input. Almost invariably the difference between these two jacks is 6 dB. All the

Axe-Fx amps are modeled using the high-gain input or switch position (if any). To simulate the low-gain input set the

Input Trim to 0.5 which is 6 dB less.

Overdrive

Some amps possess an attenuation control between the later gain stages. Examples of the are the Mesa/Boogie Mark series, Dumble ODS and others. This control allows the user to vary the gain staging. The Input Drive can be turned up and the Overdrive turned down so that the earlier stages distort more and the later stages distort less and vice-versa.

Master Volume

The Master Volume (MV) controls how much signal level is sent to the power amp. Many vintage amps have no MV control and the power amp runs “wide open”. Modern amps often get their distortion from the preamp and the Master

Volume then allows the user to control the volume of the amp.

The Master Volume in the Axe-Fx II, as well as on real amps, is probably the singular most powerful control in the amp block. As the Master Volume is increased the virtual power amp begins to distort. The virtual power amp also begins to sag and all sorts of beautiful magic occurs. The tone becomes more focused, the dynamic response changes, the note attack is accentuated, etc.

The key to crafting the ultimate tone involves understanding these controls and learning how to balance them.

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

FET Preamp . . . . . . . . .

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

Ruckus . . . . . . . . . . . . . Suhr Riot Distortion

SDD Preamp . . . . . . . .

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

* based on the Tube Screamer

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

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

CC ASSIGNMENTS

sorted by function

Function CC

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

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

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

Function CC

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 1 X/Y . . . . . . . . . . . . . 125

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

Rotary 2 X/Y . . . . . . . . . . . . . 126

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 Tap . . . . . . . . . . . . . . . 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

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

CC ASSIGNMENTS

sorted by CC

Function CC

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

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

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

Function CC

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

Rotary 1 X/Y . . . . . . . . . . . . . 125

Rotary 2 X/Y . . . . . . . . . . . . . 126

REVISION HISTORY

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

2015-03-25 – Firmware 18.04 beta update.

2015-03-20 – Firmware 18.03 update, Axe-Edit 3.1.7 update. Character parameters reinstated by popular demand.

2015-03-16 – Axe-Edit 3.1.6 update.

2015-03-15 – Firmware 18.01 update.

2015-03-12 – Firmware 18.00 update, Axe-Edit 3.1.5 update. Parameters removed: Pwr Amp Low Cut/Hi Cut, Character Type/Q/

Freq/Amt, Amp Voicing.

2015-01-17 – Added Cliff’s gain controls guide with flow chart by PacoCasanovas.

2014-12-24 – Firmware 17.03 update.

2014-12-14 – Firmware 17.02 update, Axe-Edit 3.1.4 update.

2014-12-04 – Firmware 17.00 update, Axe-Edit 3.1.3 update.

2014-11-11 – Firmware 16.04 update, Axe-Edit 3.1.2 update.

2014-10-15 – Firmware 16.02 update, Axe-Edit 3.1.1 update.

2014-07-18 – Firmware 15.03 update.

2014-06-24 – Firmware 15.02 update, Axe-Edit 3.0.11 update.

2014-06-20 – Firmware 15.00 update, Axe-Edit 3.0.10 update.

2014-04-15 – Firmware 14.02 update.

2014-04-03 – Firmware 14.00 update, Axe-Edit 3.0.7 update.

2014-03-01 – Firmware 13.07 update, Axe-Edit 3.0.6 update.

2014-02-08 – Firmware 13.01 update, Axe-Edit 3.0.4 update.

2014-01-09 – Firmware 12.03 final.

2014-01-05 – Firmware 12.03 beta 5 update.

2013-12-23 – Firmware 12.03 update.

2013-11-09 – Axe-Edit 3.0.3 update with higher resolution screenshots more suitable for printing.

2013-11-08 – Firmware 12.00 update.