Line 6 Stereo Amplifier AXSys 212 User Manual

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Contents

CONTENTS

Chapter 1: Quick Start ............................................................................ 5

Chapter 2: The Guided Tour ................................................................. 6

Overview ........................................................................................................... 6

Unpacking ......................................................................................................... 6

Power Hookup.................................................................................................. 6

Connections....................................................................................................... 7

Powering Up ..................................................................................................... 8

Adjusting Volume Levels................................................................................ 9

Tuning Up ......................................................................................................... 10

Auditioning Sounds......................................................................................... 11

Main Controls ................................................................................................... 12

The AxSys Signal Path..................................................................................... 13

The Effects Tables............................................................................................. 13

Quick Editing Primer....................................................................................... 14

Viewing Each ParameterÕs Setting................................................................. 15

Comparing an Edited Sound to the Original ............................................... 16

Storing Edited Sounds..................................................................................... 16

Foot Pedals ........................................................................................................ 17

Using the Aux Input ........................................................................................ 18

Chapter 3: Description of Features....................................................... 19

What is TubeToneª?....................................................................................... 19

What is a Sound?.............................................................................................. 19

Memory ............................................................................................................. 19

Sound Buffer ..................................................................................................... 20

Parameters......................................................................................................... 21

Input Controls................................................................................................... 21

Input Effects ...................................................................................................... 22

Preamp Controls............................................................................................... 26

Rack Effects ....................................................................................................... 28

FX On/Off ......................................................................................................... 35

Aux Controls..................................................................................................... 36

Global Controls................................................................................................. 37

Appendices ............................................................................................... 39

Appendix I: Troubleshooting ......................................................................... 39

Appendix II: Maintenance & Service ............................................................ 39

Appendix III: Tube Replacement................................................................... 41

Appendix IV: About Audio Cables ............................................................... 41

Appendix V: Using External Speaker Cabinets ........................................... 41

Appendix VI: Specifications ........................................................................... 42

Appendix VII: MIDI Implementation Chart ................................................ 43

Appendix VIII: MIDI Program Change Chart ............................................. 44

Index .......................................................................................................... 45

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Contents

Introduction

WELCOME TO THE AXSYS 212 DIGITAL GUITAR SYSTEM!

The AxSys 212 is the first of its kind Ð a new generation of guitar amp. In

the past, searching for the right ÒtoneÓ meant trying out dozens of amps Ð

each having its own unique, signature sound. If you wanted more than

one sound, you needed more than one amp to cover all the bases.

Now, many of the classic guitar amp sounds are yours at the touch of a

button. Thanks to new technologies and Òphysical modelingÓ, the AxSys

212 can imitate almost any guitar amp on the market today (and plenty of

vintage amps that are no longer made). AxSysÕ unique TubeToneª

design emulates the internal circuitry of various guitar amps, giving you

the tone youÕre looking for Ð without having to buy (or cart around) all

those other amps, or deal with ÒmoodyÓ tubes. Physical modeling also is

used to emulate sounds like spring reverb, and even an acoustic guitar.

And what about all those rack-mount effects and pedal boxes on the floor?

AxSys provides a full complement of state-of-the-art 24-bit simultaneous

stereo digital effects including: noise gate, hum canceller, compressor,

wah, distortion box, multiple EQs, chorus, flange, delay, reverb, cabinet

simulation, and a lot more Ð itÕs all in there! ThereÕs even a digital tuner.

The AxSys 212 is programmable, with 128 presets and 128 user sounds,

that can be selected by MIDI foot pedals, sequencers and computers. Top

it off with twin custom 12" Eminence speakers and 100 Watts of stereo

power, and you have one very powerful system in a portable package.

YouÕre probably anxious to get started and make some music, right? First,

letÕs tell you about how this manual is organized and how best to use it...

About this Manual

This manual will help you get the most out of your AxSys 212 Digital

Guitar System. We suggest you read through the manual once completely.

Then use the Table of Contents and Index for specific topics or features.

If, like the rest of us, you have no patience and require instant gratification,

jump right over to chapter 1 right now.

☞

The manual has been divided into the following sections:

¥ Chapter 1, Quick Start, will get you up and running quickly.

¥ Chapter 2, The Guided Tour, will walk you through the basics of

sound selection and tone shaping.

¥ Chapter 3, Description of Features, explains the features of the AxSys,

and how to achieve the sound youÕre searching for.

¥ The Appendices cover specifications, troubleshooting and maintenance

tips, MIDI implementation, and use of external speakers.

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Quick Start: Chapter 1

CHAPTER 1: QUICK START

To quickly get going with the AxSys 212, follow these steps:

1 Turn the GUITAR, AUX and MASTER knobs all the way down to zero.

2 Plug the power cord into the rear POWER connector and AC power.

3 Connect your guitar to the AxSysÕ GUITAR INPUT jack.

4 Turn on the AxSys by pressing the POWER button on the rear panel.

5 Adjust the volume levels using the following procedure:

a) Select your guitarÕs loudest pickup and set its volume to max.

b) Play your guitar as loud as possible.

c) Slowly turn the GUITAR knob clockwise until the CLIP LED lights.

d) Turn the knob back slightly so the CLIP LED flashes occasionally.

e) Turn the MASTER knob up to a comfortable listening level.

6 Audition the AxSysÕ Preset Sounds using the following procedure:

USER/PRESET

a) Press the

button to select the Preset Bank (P).

If the left-most character in the display reads U or E, press it again.

▲

SOUND BANK

▼

b) Use

to select a Bank from 01 to 32.

SOUND

A _,

C _{, or}

c) Press

to select a Sound

from the current Sound Bank.

7 To tweak a Sound, turn one of the six Control Knobs located in the

middle of the front panel. These Controls are labeled as follows:

MAIN

DRIVE

BASS

MID

TREBLE

GAIN

DELAY/REVERB

•

IMPORTANT!!! The Control Knobs may not appear to function properly at first.

This is because you must ÒcaptureÓ a ControlÕs setting before it will change.

When you turn a Control Knob, its current setting appears in the display.

However, this setting will not change until the Control Knob is turned to

match the stored setting. Once the ControlÕs setting is captured, the

Control Knob will work as you would expect to adjust the ControlÕs value.

8 For now, donÕt worry about the groups of parameters shown on the

front panel. DonÕt even look at Õem! WeÕll discuss these further in

chapter 3. Just start playing!

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Chapter 2: The Guided Tour

CHAPTER 2: THE GUIDED TOUR

Overview

This chapter is meant to provide a detailed guide in the setup and use of

the AxSys 212 Digital Guitar System.

Important Things To Know

There are two very important things you will learn about in this chapter:

¥ Setting input levels. This is something uncommon with analog guitar

amplifiers. However, achieving the best possible tone relies heavily on

input level settings. See page 9 for more information.

¥ Control Knobs. These are used to tweak your sound. Because the

AxSys 212 is programmable, itÕs common to recall a Sound which has

its Drive, Bass, Mid, etc., set differently than where the Control Knobs

are positioned. Instead of turning a knob and having it immediately

alter a setting, the Control Knob must first ÒcaptureÓ the ControlÕs

stored setting before it will change the setting. This may be surprising

at first, but there is a very good reason for it. See page 13 for more

information.

Unpacking

Along with this User Guide and your AxSys 212, you should find a

registration card, a warranty information sheet, a Preset Sounds chart, and

a power cable.

Registration Card

Please take time to fill this out and return it right now. This ensures that

you will be notified of all software and hardware upgrades and new

products as they become available.

Power Hookup

The AxSys works with the voltage of the country it is shipped to, and

comes with a line cord suitable for the destination to which the amp is

shipped.

With the AxSys off, plug the power cord into the AxSysÕ rear panel POWER

socket and into a source of AC power. ItÕs good practice to not turn on the

AxSys until all other cables are connected.

Line 6 cannot be responsible for problems caused by using the AxSys or any

associated equipment with improper AC wiring.

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The Guided Tour: Chapter 2

Connections

Plugging in Your Guitar

Connect your guitar to the AxSysÕ GUITAR INPUT jack.

Auxiliary Input

The AUX INPUT jack is designed for a second audio source, like a

microphone, drum machine, tape player, or acoustic guitar, separate from

the main Guitar input.

Footpedals

The rear panel of the AxSys provides two separate foot pedal jacks labeled

PEDAL 1 (VOLUME) and PEDAL 2 (WAH). These accept a Roland model EV-

5 (or equivalent type) volume control pedal.

You can also connect a standard volume pedalÕs output to either the

PEDAL 1 (VOLUME) or PEDAL 2 (WAH) jacks. However, the scaling may not

be accurate; i.e. youÕll notice that the effect happens too quickly. To

compensate for this, try soldering in a 10k ohm resistor between the tip

and the sleeve at either end of the 1/4" cable you are using to connect the

pedal. This should offset the difference in the pedalÕs pot resistance and

even out its control.

If you have only one pedal, connect it to the PEDAL 1 (VOLUME) jack. It can

then be used to control volume or Wah (see page 17).

Pedal Board

The optional AxSys Pedal Board connects to the PEDAL (REMOTE) multipin

connector (the one that kinda looks like a telephone jack... but itÕs not),

and provides foot control functions including: Volume and Wah pedals,

Effects On/Off switches and Sound select buttons and displays.

Internal Speakers

The two built-in custom Eminence speakers each have a cable attached

which are already connected to the LEFT SPEAKER and RIGHT SPEAKER

rear panel jacks. For information about using external speakers, refer to

Appendix V in the back of this manual.

Headphones

Connect headphones to the HEADPHONE/STEREO LINE OUT jack on the

rear panel. Whenever headphones are connected to the AxSys, the internal

speakers will continue to work, so you can unplug them if you want. This

will not harm the amplifier.

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Chapter 2: The Guided Tour

Stereo Line Out

If you want to connect the AxSysÕ output to another amp, or into a mixing

board, connect a stereo TRS (tip-ring-sleeve) cable to the HEADPHONE /

STEREO LINE OUT jack on the rear panel. This jack provides a stereo line

level output. If you want to use the STEREO LINE OUT without the internal

speakers playing as well, disconnect the speakers.

When you connect a cable to the HEADPHONE/STEREO LINE OUT jack , the

AxSys automatically enables its Speaker Emulator which simulates the frequency

response of the speakers and the cabinet. However, if you leave the AxSysÕ internal

speakers connected while using the HEADPHONE/ STEREO LINE OUT jack , the

speakers will sound noticeably darker.

If you want to turn off the automatic Speaker Emulator when you

use the HEADPHONE/STEREO LINE OUT jack, hold down the Row

Select button labeled GRAPHIC EQ and TREMOLO/CAB while turning on

the amp (we chose that button because it corresponds to the

Cabinet parameters, which makes it easier to remember). The

display will temporarily flash HPn and OFF to indicate that the

Headphone Speaker Emulator has been temporarily disabled. To

enable it again, turn the amp on again without holding any buttons.

TIP

Powering Up

Once all connections are made, turn down the MASTER volume and power

up the AxSys 212 with the POWER switch located on the AxSys rear panel

over the power cord.

The display should look something like this:

P01

This means that Preset Sound Bank 01 is selected.

After power-up, the AxSys will recall the Sound that was selected before it

was last turned off. The display will indicate the current:

¥ Mode:

Preset, User or Edited

¥ Sound Bank:

01 through 32

...and one of the four SOUND LEDs (▼) will be lit to indicate the current:

¥ Sound: A, B, C or D

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The Guided Tour: Chapter 2

Example: If, when power was last turned off, the selected mode was Preset

and the selected Sound was 28B, the LED display would now read P28,

and the LED pointer above the SOUND B button would be lit.

If the selected Sound was edited, the display will indicate this by showing

an E to the left of the Sound Bank number, instead of a P or U, like this:

E28

Adjusting Volume Levels

In order to get the best tone, it is really important that you set the input

level as loud as you can before clipping.

CLIP

GUITAR

AUX

•

MASTER

•

To set the volume levels:

1 Turn the GUITAR, AUX and MASTER knobs on the left side of the front

panel down to zero.

2 On your electric guitar, select the loudest pickup.

If your guitar has a humbucking pickup, use it. Otherwise, try the pickup

closest to the neck.

3 Turn your guitarÕs volume and tone controls to max.

4 Play your guitar as loud as possible.

5 Slowly turn the GUITAR input knob clockwise.

Continue playing loudly while adjusting this knob until the CLIP LED lights

up.

6 Turn the GUITAR input knob counterclockwise slightly.

This will set the input level to a point where clipping will only occur

occasionally when playing your guitar hard.

7 Repeat steps 2 and 3 for the AUX input if youÕre going to use it.

Example: If using a microphone, sing loudly into the microphone and adjust

the AUX knob until the CLIP LED flashes occasionally.

8 Adjust the MASTER knob to a comfortable listening level.

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Chapter 2: The Guided Tour

Tuning Up

Before you start checking out the incredible sounds of the AxSys 212, you

may want to tune up your guitar with the on-board tuner.

To use the Digital Tuner:

TUNER

TAP TEMPO

1 Press the

button; its LED will light.

The six LEDs located above the six Control Knobs in the middle section of the

front panel will switch to tuner mode, first displaying the tuning reference

(usually 440), and then the displaying ---.

2 Play a single string on your guitar and let it sustain.

The display will indicate the note you are playing¹and the LEDs located

above the six Control Knobs will indicate whether you are flat or sharp.

❍

✹

❍

✹

❍

✹

❍

Sharp:

In tune:

Flat:

❍

✹

❍

✹

❍

✹

❍

✹

❍

3 Optional: To monitor the guitar while tuning, turn the GAIN Control

Knob to adjust the guitarÕs signal level from 0 to 99.

While in Tune mode, all effects will be bypassed and youÕll only hear your

guitarÕs signal passed through unaltered. Note: This does not affect the tuner.

4 Also optional: Turn the MID Control Knob to adjust the reference.

The tuning reference range is 435 to 445Hz. When the MID Control Knob is

set to the 12 oÕclock position, the tuning reference will be A=440Hz.

TUNER

TAP TEMPO

The

button will not select Tuner mode if the Delay parameters are

being edited. When the Delay Edit Row is selected, this button provides a ÒTap

TempoÓ function, so that the MAIN DELAY TIME parameter can be set by tapping

it at the desired tempo. For more information, see page 31 in chapter 3.

When you use the Tuner, the Aux Input will still work. So if you use the

Aux Input with a microphone, you can talk to your audience while

youÕre tuning up (ÒdonÕt forget to tip your server...Ó).

TIP

Accidentals (sharps and flats) are always displayed as flats. Example: If you play the

note D#, it will be displayed as Eb (Eb).

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The Guided Tour: Chapter 2

Auditioning Sounds

A Sound is a stored setup that instantly recalls a defined tone. The AxSys

212 includes 64 Sound Banks, divided into two sets of 32 (Preset and

User). Each Bank has four Sounds, which adds up to 256 killer tones to

choose from!!

The first 32 Sound Banks are called ÒPresetÓ. These are programmed at the

factory and canÕt be erased. The second set of 32 Sound Banks are called

ÒUserÓ. These are completely modifiable, movable and erasable. Of

course, you can modify a Preset Sound and store it in the User Bank.

To Audition Sounds:

USER/PRESET

1 Press the

button to select either the Preset or User Bank.

Each time the button is pressed, the left-most character in the display toggles

between U (User) and P (Preset).

▲

SOUND BANK

▼

2 Use the

buttons to select a Sound Bank.

The right-side of the display will display the selected Bank number between

01 and 32. Holding down either button will cause the display to scroll

through the Banks quickly. None of the LED pointers ▼ will be lit to indicate

that a new Sound has not yet been recalled.

SOUND

A _,

C _{, or}

3 Press either

to select a

Sound from the current Sound Bank.

An LED pointer ▼ will light up above the Sound button that was pressed.

Whenever you change Sound Banks, the sound youÕre using wonÕt change until

you press one of the Sound A-D buttons.

Because each Bank holds four Sounds (A, B, C and D), itÕs easy to group

Sounds that go together. Example: Sounds that are used in the same song.

Sound A could be used for a songÕs Intro section, Sound B for the Verse (a

little softer, fewer highs and less distortion and reverb), Sound C for the

Chorus and Sound D for the Solo (much louder, maximum distortion and

delay).

Of course, you can change and then store any User Sound. If you want to

keep both the original and edited versions of the Sound, you might want

to store the edited version to a different User location. This will replace the

previous User Sound in that location, so you may want to first designate

which User Sounds are ÒexpendableÓ before choosing a location. The

Compare mode can be used for this as well (see page 16). If you like a

Preset Sound but wish to store it in a modified form, you can store it in a

User Sound.

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Chapter 2: The Guided Tour

Main Controls

The six Control Knobs (in the middle of the front panel) allow you to

tweak any Sound by giving you instant access to the most needed

controls. These knobs are used to adjust all parameters depending on the

Edit Row you select. The Edit Row is indicated by an LED pointer . The

MAIN Row is automatically selected whenever a new Sound is called up.

MAIN

DRIVE

BASS

MID

TREBLE

GAIN

DELAY/REVERB

•

Since the settings for these Controls can change drastically from one

Sound to another, the positions of the Control knobs wonÕt always reflect

the true setting. Instead, the LEDs located next to each Control knob will

get brighter to show the new setting of each knob.

Main Controls

Range

Definition

DRIVE

0 to 99

Controls the volume of the signal going into the

Preamp; use high levels to create distortion.

BASS

MID

TREBLE

-50 to 50

(-12.5dB to

+12.5dB)

Control the level of low, middle and high

frequencies, respectively, of the signal before it is

routed to the digital effects (delay, reverb, etc.).

GAIN

0 to 99

This is the Guitar channelÕs output volume.

DELAY/REVERB

This is a master effects level control for both the

Stereo Delay and Stereo Reverb effects.

The DRIVE control is disabled when the Acoustic Sim Preamp type is selected (you

donÕt really want to distort your acoustic anyway, do you?). See page 28 for more

information about the Acoustic Simulator Preamp type.

To Edit a Main Control:

1 Press the MAIN Row Select button.

The MAIN Row LED indicator should be lit.

2 Turn the knob you want to adjust either direction until it ÒcapturesÓ

the current setting.

Notice the LED located next to the knob will change in brightness to reflect

the parameterÕs setting.

When turning any Control Knob, the parameter being modified shows in

the LED display. Your new setting will remain for a few seconds after

youÕve stopped turning the Control Knob. After which, the display will

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The Guided Tour: Chapter 2

revert back to the currently selected Sound Bank number; notice an E will

appear (instead of a P or U) to indicate that the Sound has been ÒeditedÓ.

IMPORTANT: Since each Control knob is used for lots of parameters, turning

one will not have an instant affect until it Òpasses throughÓ the current setting of

the parameter being edited.

Example: LetÕs say the DRIVE Control Knob is positioned all the way to the

right, and then you select a Sound which has its Drive set to 12 oÕclock

(50%). Turning the DRIVE Control Knob counterclockwise wonÕt have an

immediate affect (its LEDÕs brightness will not change and the display will

read 50). You wouldnÕt want the Drive parameter to suddenly ÒjumpÓ to

the knobÕs position as soon as you touched it. However, if you continue to

turn the Control Knob counterclockwise so that it passes through the 12

oÕclock position, you will then be able to adjust the parameter directly.

Once a Sound has been edited, remember:

¥ An ÒeditedÓ Sound differs from its original, ÒstoredÓ version (what a

concept!).

¥ If a new Sound is selected before storing the edited Sound, the edited

Sound will be lost (what a bummer!).

Once youÕve made adjustments that youÕre happy with, you will want to

store the Sound to save these changes and make them permanent. See

page 16 for information about storing an edited Sound.

The AxSys Signal Path

On the right side of the front Panel thereÕs an illustration of the AxSysÕ

internal signal path. This will help you learn the order the signal passes

through each of the internal digital components. The path is:

Guitar Input ➠ Noise Gate ➠ Compressor ➠ Volume Pedal* (Pre) ➠ Distortion Box ➠

Wah ➠ Preamp EQ ➠ Preamp ➠ Volume Pedal* (Post) ➠ Auto Volume ➠ Graphic EQ ➠

Bass/Middle/Treble ➠ Stereo Tremolo ➠ Stereo Delay ➠ Stereo Chorus ➠ Stereo Reverb

➠ Cabinet Simulator ➠ Speakers

* Note: The Volume Pedal may be placed either before (Pre) or after (Post)

the Preamp section.

The Effects Tables

Directly beneath the signal path diagram are a series of effect tables. These

tables indicate what various parameters mean. Example: When you know

you want to use the Stereo Delay, the DELAY TYPE table tells you to set the

DELAY TYPE parameter to 2.

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Chapter 2: The Guided Tour

Quick Editing Primer

Aside from the six Main Controls (see page 12), many other parameters

are available to you that provide for greater control over your tone. If you

want more detail, check out chapter 3. For now, weÕll give you a quick

way to navigate through the Edit Rows to get to various parameters.

The parameters that make up a Sound are found in the Òparameter matrixÓ

located above the six Control Knobs:

AUX/MIDI AUX INPUT MIX

AUX INPUT BASS

AUX INPUT TREBLE

NOISE GATE DECAY

AUX INPUT REVERB

HUM CANCELLER

MIDI CHANNEL

TRANSMIT SOUNDS

AUX PER SOUND

NOISE GATE NOISE GATE ON/OFF

NOISE GATE THRESHOLD

GATE/HUM PER SOUND

COMP/PEDALS COMPRESSION LEVEL

PREAMP PREAMP TYPE

VOLUME PEDAL ON/OFF

PREAMP BASS

DISTORTION BOX

PREAMP MIDDLE

WAH TYPE

WAH DEPTH

AUTO-VOLUME ATTACK

PREAMP OUTPUT LEVEL

PREAMP TREBLE

BRIGHT SWITCH

GRAPHIC EQ 80Hz

240Hz

750Hz

2200Hz

6600Hz

PRESENCE

TREMOLO/CAB TREMOLO TYPE

TREMOLO SPEED

TREMOLO DEPTH

TREMOLO SHAPE

CABINET TYPE

CABINET STEREO SPREAD

DELAY DELAY TYPE

MAIN DELAY TYPE

CHORUS SPEED

DELAY TIME OFFSET

CHORUS DEPTH

DELAY FEEDBACK

DYNAMIC DELAY

CHORUS SHAPE

DELAY LEVEL

CHORUS CHORUS TYPE

CHORUS FEEDBACK

CHORUS LEVEL

REVERB REVERB TYPE

PREDELAY

REVERB DECAY

EQ ON/OFF

REVERB TONE

REVERB DIFFUSION

DELAY ON/OFF

REVERB LEVEL

FX ON/OFF DISTORTION BOX ON/OFF

DRIVE ON/OFF

TREM/CHORUS ON/OFF

REVERB ON/OFF

MAIN

DRIVE

BASS

MID

TREBLE

GAIN

DELAY/REVERB

The parameter matrix is divided into 11 Edit Rows. The name of each Edit

Row may be found running down the left side of the parameter matrix

(these include: AUX/MIDI, NOISE GATE, COMP/PEDALS, PREAMP, GRAPHIC

EQ, TREMOLO/CAB, DELAY, CHORUS, REVERB, FX ON/OFF and MAIN).

Think of each Edit Row as a different effect in your rack.

TIP

What a Control Knob will do when you turn it depends on the Edit Row

youÕve selected. Five Row Select buttons (located along the left side of the

parameter matrix) let you select any of the Rows. There are two Edit Rows

associated with each Row Select button.

The first time a Row Select button is pressed, the upper Edit Row

associated with that button will be selected. If the Row Select button is

pressed again, the lower Edit Row associated with that button is selected.

Each time the same Row Select button is pressed, youÕll toggle between its

two Edit Rows.

The currently selected Edit Row is indicated by an LED pointer

. Each

Edit Row provides six different Controls which are usually, but not

always, associated with a common function or effect. Example: In the

GRAPHIC EQ Row, the Control knobs let you adjust the various frequency

bands of the Graphic Equalizer module.

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The Guided Tour: Chapter 2

To Edit a Parameter:

1 Locate the Parameter in the chart located above the six Control Knobs.

2 Select that ParameterÕs Edit Row by pressing one of the five Row Select

buttons. If the incorrect Edit Row was selected, press the same Row

Select button a second time.

The LED pointer for that Row will light to indicate it has been selected.

3 Turn the associated Control Knob for that parameter.

The LED above the knob will change in brightness to reflect its setting.

Viewing Each Parameter’s Setting

YouÕve learned that you can view a parameterÕs setting in the display by

simply changing it (i.e. turn a Control Knob and its value instantly

appears in the display). You can also view the LEDs located next to each

Control Knob to get a rough idea of eachÕs setting for the selected Edit

Row Ð a brightly lit LED indicates a high or maximum setting, while a dim

LED indicates a low setting.

Sometimes you may want to view a parameterÕs exact setting without

having to change its setting. Fortunately, you can view all six Control

KnobsÕ settings for a single Edit Row, without having to change their

settings, by holding down the adjacent Row Select button.

To View each ParameterÕs Setting within an Edit Row:

1 Press and hold one of the six Row Select buttons.

While holding the button, the display will cycle through each parameter in the

selected Edit Row and will show the current setting of each in succession.

Only one of the LED indicators located next to each of the six Control Knobs

will be lit to indicate which is the currently displayed parameter.

2 While holding a Row Select button, you can turn any Control Knob to

view its related parameterÕs setting without changing it.

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Chapter 2: The Guided Tour

Comparing an Edited Sound to the Original

If a Sound has been edited (the display reads E), it may be compared to

the original version. In other words, without losing the edited version of a

Sound, you can go into Compare mode and listen to the SoundÕs original,

stored version, then exit Compare mode to listen to the edited version.

To toggle between Edited and Compare modes:

COMPARE

1 Press the

button.

Each time the button is pressed, the left-most character in the display toggles

between E (Edited) and C (Compare).

If a Sound hasnÕt been edited, Compare mode wonÕt do anything, of course.

While in Compare mode, you can move around the parameter matrix (i.e.

press the Row Select buttons and turn the Control Knobs) to examine the

original stored settings, but you wonÕt be able to edit them.

You can use Compare mode to select other Sounds in the User Bank

in order to find a suitable location for the Sound youÕve been

editing. When you change Sounds (A-D) and/or Banks (01-32) while

in Compare mode, youÕll be able to hear the Sound stored in that

location without losing the changes youÕve made to the Sound you

were editing. Once you find a suitable location (i.e., a lame patch)

to store the edited Sound into, just press STORE SOUND twice (see

below) and the edited Sound will be stored into the displayed

location.

TIP

Storing Edited Sounds

Once youÕve made changes to a Sound, you need to store the Sound into

one of the User Banks if you want to keep the changes. The User Banks

hold up to 128 Sounds (01Ð32, AÐD). When you try to store an edited

Preset Sound, the same numbered User Sound location is automatically

selected. In other words, if you edited Sound B of the Preset Bank 12 and

tried to store it, Sound B of User Bank 12 will automatically be the stored

location. If you want to store your Sound to a different location, select a

different Sound (AÐD) and/or different User Sound Bank (01Ð32) before

storing.

To Store an Edited Sound into the same Sound location:

STORE SOUND

1 Press

twice.

No, this isnÕt the button you press to get that sound you heard in the music

store! The display will briefly read Std, to show the Sound has been stored!

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To Store an Edited Sound into a different Sound location:

1 Press ^{STORE SOUND}, and the display will begin to flash:

U32

The Sound Bank and Sound will be identical to the last Sound selected.

▲

SOUND BANK

▼

2 Use the

buttons to select any User Sound Bank

from 01 to 32.

SOUND

3 Press either

, or

to select a

Sound location.

STORE SOUND

4 Press

again to complete the operation.

The display will briefly read Std...to indicate the Sound has been stored.

If you decide you donÕt want to store the edited Sound after all, press any Edit

Row Select button to cancel out of the Store operation before storing.

Foot Pedals

There are three footpedal connectors on the back panel of the AxSys 212,

labeled PEDAL (REMOTE), PEDAL 1 (VOLUME) and PEDAL 2 (WAH). PEDAL

(REMOTE) is designed for use with the optional AxSys pedal board. PEDAL

1 is for volume pedal, and PEDAL 2 is for Wah-Wah.

If the VOLUME PEDAL ON/OFF parameter is set to OFF, PEDAL 1 pedal wonÕt

function; likewise, if the WAH PEDAL TYPE parameter is not set to 1 or 5, PEDAL

2 wonÕt function.

If youÕve got only one pedal, make sure to plug it into the PEDAL 1 jack.

Normally this jack is for volume (when the VOLUME PEDAL ON/OFF

parameter is turned on); but if the WAH PEDAL TYPE parameter is set to 1

or 5, the pedal will automatically switch to Wah-Wah. This means if you

only have one pedal, you donÕt have to switch jacks when you want to go

from a volume pedal to a Wah pedal. Cool, huh?

The WAH PEDAL TYPE parameter picks the type of Wah. When set to 1, the

Wah pedal is used to control the Wah effect. However, the WAH PEDAL

TYPE parameter can also be set to 5 (Mod Assign), which lets you control

other parameters, one at a time, from the PEDAL 2 (WAH) jack. For

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example, you could use the Wah pedal to control the level of reverb or the

delay speed. See page 25 for more info.

Both the Volume pedal and Wah pedal effects may be controlled via MIDI

using controllers 7 (for Volume) and 3 (for Wah). Likewise, the pedals

connected to the PEDAL 1 (VOLUME) and PEDAL 2 (WAH) jacks will

transmit the same MIDI controller messages when used.

If no pedals are connected to either PEDAL 1 (VOLUME) or PEDAL 2 (WAH) jacks

and the WAH TYPE parameter (see page 24) is set to either 1 or 5, the Wah will be

turned off automatically. This means you can have a Sound that uses Wah only

when a pedal is connected, and otherwise wonÕt have the Wah stuck wide-open.

Incidentally, since you can control the Wah via MIDI (using controller 3), the

Wah effect will automatically turn on if controller 3 messages are received by the

AxSys.

Using the Aux Input

The AUX INPUT has its own EQ (Bass and Treble), Mix and Reverb controls.

These can be found in the top-most Edit Row (AUX/MIDI).

The Aux Input parameters are stored with each Sound, letting you

remember different settings and have them recalled with each Sound. Or,

you can have the Aux Input parameters always stay the same when a

Sound is selected. You can choose between these two modes by using the

AUX PER SOUND parameter. This is a global parameter; i.e. it is not stored

with each Sound (see page 37).

Display

Description

Snd

The Aux Input parameters will change when a new Sound is selected

to the stored settings for that Sound.

ALL

The Aux Input parameters will not change when a new Sound is

selected. In other words, the Aux Input parameterÕs current settings

will be used for all Sounds.

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CHAPTER 3: DESCRIPTION OF FEATURES

What is TubeTone™?

TubeTone is the groundbreaking tube emulation technology at the heart of

the AxSys 212. By intricately modeling the subtle characteristics of vintage

tube guitar amplifier circuitry, TubeTone gives you complete control over

a wide range of classic guitar amp tones integrated into a single combo

amp (just look at the list on page 27). We spent a lot of time in the studio

and the lab dissecting amps. We broke down the signal path to its most

essential elements in order to create the building blocks we would need to

develop complete physical models of each of these amps.

Specifically, the AxSys models three types of guitar amp tubes: the 12AX7,

the EL34 and 6L6. The 12AX7 is probably the most famous, since its the

preamp tube responsible for the distortion called ÒoverdriveÓ. The AxSys

accurately replicates the 12AX7Õs response to overloaded signals to create

a signature distortion that is unmistakable. The EL34 and 6L6 are power

amp tubes found in most British and American amps, respectively. They

are responsible for the distortion brought about by high ÒGainÓ levels.

To provide for this, dual digital signal processors are at the heart of the

AxSys 212, each more powerful than most rack mount effects devices. This

dual DSP power provides 24-bit processing and can perform 48 million

instructions per second (mips). In comparison, many signal processors on

the market can only perform between 1 and 6 mips. The AxSys is the first

amp to dedicate this much signal processing to creating perfect guitar

tone, making it unlike any other guitar processor that has come before it.

What is a Sound?

A ÒSoundÓ is a combination of all of the settings of the AxSys 212: a

combination of a particular preamp type, EQ, and other various effects

which can be stored and later recalled.

For example, letÕs say you select a Sound that has a nice tone, but you

want to make a few changes. You boost the Treble, and add more Drive.

By storing the Sound, the new version is kept. The next time you select

this Sound, itÕll be exactly as you saved it.

Memory

The AxSys has enough memory to store 128 User Sounds, along with the

128 Preset Sounds that come preprogrammed from the factory. Almost all

parameters found within the AxSys are remembered when a Sound is

stored into memory. The few parameters which are not stored with a

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Sound are called ÒGlobalÓ parameters. These parameters control how the

AxSys will function regardless of which Sound is currently selected.

The AxSysÕ memory is retained by an internal backup battery when power

is turned off. This battery should last approximately 5 years under normal

conditions. After some time, it may become necessary to replace this

battery in order to retain the Sounds in the User Bank. Contact your local

Line 6 Authorized Repair Center for service.

When using any product that incorporates computer-type memory, it is

always a good idea to make a back-up of its memoryÕs contents just in case

the unexpected happens. Since the Preset Sounds are stored in permanent

memory, they will always be there. But since the User Bank is stored in

RAM, there is always the possibility of accidentally storing a Sound in the

wrong location (thus losing the Sound that was formerly there). Making a

backup of the User Bank can be done by transmitting the information via

MIDI. Your sounds can be stored to a MIDI storage device, such as a

computer running a librarian or sequencer software program.

It is also a good idea to write down the settings of your important Sounds

using the blank Sound Chart located towards the back of this manual. Be

sure to make copies of the chart first and not use the original (unless you

only plan on having one really good Sound thatÕs worth writing down).

Sound Buffer

When you select a Sound, it is copied from the AxSysÕ memory into the

Sound Buffer. This allows you to make changes to the Sound without

permanently changing the original Sound that was selected. Once any

change is made, an E will appear in the display to show that the Sound

has been ÒEditedÓ. Now the Sound in the Sound Buffer is different from

the original Sound. Because the Sound Buffer is separate from the memory

used to store Sounds, we can use the Compare feature to switch back and

forth between the original (unedited) Sound and the new (edited) version.

After making changes, you must store the altered Sound in the Sound

Buffer into one of the 128 User Sound memory locations before selecting

another Sound from memory. This is because when you select a new

Sound, itÕs put into the Sound Buffer. If you made changes and hadn't

saved the modified Sound before selecting a new one, those changes

would be forgotten.

If you make changes to a Sound and want those changes to become

permanent, you must store the edited Sound. If the original Sound is from

the User Bank, you can either store this Sound back into the same location

(thus updating and replacing the original Sound with the new edited

version) or you can store it somewhere else (thus keeping both the original

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Description of Features: Chapter 3

version and the new edited version). If the original Sound resides in the

Preset Bank, you must store it somewhere in the User Bank (which means

you will be replacing an existing Sound with this edited Sound). It is a

good idea to go through all the Sounds in the user Bank and write down

which Sound memory locations you feel you can sacrifice for your own

edited Sounds.

If you edit a Sound and turn off the amp the AxSys retains its memory.

This means that if you edit a Sound and turn off the AxSys before storing

it, it will still be there when you turn it back on again.

Parameters

A parameter is the most basic element of a Sound. There are many

parameters that make up a Sound. The six most common are the Main

controls: Drive, Bass, Mid, Treble, Gain and Delay/Reverb.

Above the Control Knobs you will see a matrix listing the other 56

parameters that make up a Sound. These can be accessed by pressing any

of the Row Select buttons, found on the left side of the parameter matrix,

and changed using the six Control Knobs.

Several of the effects (such as Distortion Box, Delay, Tremolo/Chorus,

etc.) can be turned on and off from the bottom most Edit Row of the

Parameter Matrix (See FX On/Off on page 35). You can still edit an effectÕs

parameters while that effect is turned off, but the display will flash the

word OFF twice after you change a parameter to let you know itÕs off.

Input Controls

CLIP

GUITAR

AUX

MASTER

•

Three input controls are located in the lower left section of the front panel.

They are not programmable, which means their settings are not stored in

each Sound. In other words, you can Òset it and forget itÓ.

Guitar Input Level

This level should be set properly to avoid clipping, while providing the

best signal-to-noise ratio. Clipping occurs when the input signal becomes

too loud (or ÒhotÓ) and overdrives the input. When clipping occurs, the

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CLIP LED next to the GUITAR knob will light. When the Guitar Input level

is set correctly, the Guitar CLIP LED will light only occasionally.

The best way to set the Guitar Input level to the right setting is to turn up

the GUITAR knob while playing your guitar loudly. Once you have raised

the GUITAR level enough so that the Guitar CLIP LED lights steadily, turn

down the GUITAR knob until the Guitar CLIP LED lights only occasionally.

Aux Input Level

This controls the input level of the Aux Input. Follow the same

instructions in the previous paragraph to set the Aux Input level.

Master Output Level

The MASTER knob controls the final output level of both the Guitar Input

and Aux Input. This control comes after the GAIN control and the VOLUME

pedal, and controls the volume of all Sounds without affecting their tone.

Input Effects

Noise Gate & Hum Canceller

These two effects are designed to reduce noise and hum from noisy guitar

pickups and AC lines.

The Noise Gate provides a gate, which controls whether a signal passes

through or not. When you are not playing, the gate is closed, so no noise is

heard. When you play, the gate opens to let your signal through.

The Hum Canceller is a special kind of gate: when the input signal is

below the Threshold, it cancels out hum¹from the AC line.

Parameter Range Description

Noise Gate

On/Off

On, Off

When on, the Noise Gate operates according to the current

settings (see below). When off, the noise gate will allow the

guitar signal to continuously pass through it.

Noise Gate

Threshold

00-99

Sets the Threshold level by which the Noise Gate operates.

When the Guitar input signal exceeds this setting, the Noise

Gate will open and allow its signal to pass through. When

the Guitar input signal falls below the Threshold setting, the

Noise Gate will begin to close at a rate determined by the

NOISE GATE DECAY parameter (see below).

Noise Gate

Decay

Hum Canceller Off,

01 to 99

00-99

Determines how fast the Noise Gate will close once the

signal level falls below the Noise Gate Threshold.

Sets the Threshold level for the Hum Canceller. When the

signal is below the set threshold level, it cancels out

frequencies which are associated with hum.

The AxSys automatically checks for an AC frequency of 60Hz or 50Hz and adjusts the

Hum Canceller accordingly.

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The Noise Gate and Hum Canceller settings can be stored with each Sound.

However, sometimes you may want to use the same settings for all Sounds. To do

this, set the GATE/HUM PER SOUND parameter to ALL(see page 38).

The Noise Gate parameters are disabled when the Acoustic Sim Preamp type is

selected (see page 28). If you attempt to modify them, the display will temporarily

read ---.

Compressor

The compressor ÒsqueezesÓ your sound, so that the softest and loudest

levels are closer together. This creates a more consistent output volume.

The COMPRESSION LEVEL parameter determines the compression ratio. It

can be set to Off or 1 through 5. The various ratios include:

Display

Ratio

Display

Ratio

Display

Ratio

OFF

1:1

2:1

3:1

6:1

1.4:1

Infinity:1

Volume

When the VOLUME PEDAL ON/OFF control is turned on, you can control

volume by connecting a volume-type pedal to the PEDAL 1 jack on the rear

panel (or via MIDI using controller 7). You can set this parameter to

control volume either before it goes into the Preamp (PrE) or as it comes

out of the Preamp (PSt, which stands for ÒpostÓ). For more info on using

pedals, see page 17.

Distortion Box

This provides various types of distortion, such as those commonly found

in pedal boxes. These offer different characteristics than overdriving the

preamp. The DISTORTION BOX parameter lets you choose from the

following types:

Display

Tone

Physical model of...

1-X

2-X

3-X

4-X

5-X

6-X

7-X

8-X

9-X

Bright

Medium

Dark

Tube Screamer

Bright

Medium

Dark

Rat

Bright

Medium

Dark

Big Muff Pi

X can be set from 0 to 9, where 0 is the minimum amount of distortion and

9 is the maximum amount.

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If the DISTORTION BOX ON/OFF parameter is turned off, the Distortion Box effect

will not be heard (see page 35). If you adjust the DISTORTION BOX parameter, the

display will flash OFF twice to indicate it is turned off.

The DISTORTION BOX parameter is disabled when the Acoustic Sim Preamp type

is selected (see page 28). If you attempt to modify it, the display will temporarily

read ---.

Wah

The Wah effect creates a unique tone by sweeping the frequency of a

resonant filter.

Parameter Range Description

Wah Type

Off, 1Ð4,

5ÐX (0-23)

00Ð99

Selects the type of Wah effect (see table below).

Wah Depth

Controls the amount of Wah (see below).

The WAH PEDAL TYPE parameter lets you choose from 5 settings:

Display Wah Type Description

Wah Pedal

Auto-Wah

Rando-Wah

Use an expression pedal connected to the PEDAL 2 jack to

control the wah effect.

Creates an automatic wah by opening the filter in response

to the volume of the input.

Creates an automatic wah by randomly changing the filter

every time a new note is played.

Sample/Hold Creates automatic wah effect by stepping the filter through

various non-contiguous settings.

5-X

Mod Assign

Routes PEDAL 2 to a selected parameter; lets you use your

Wah pedal to control something other than the wah effect.

If no pedals are connected to either PEDAL 1 (VOLUME) or PEDAL 2 (WAH) jacks

and the WAH TYPE parameter is set to either 1 or 5, the Wah will be turned off

automatically. Also, since you can control the Wah via MIDI (using controller 3),

the Wah effect will automatically turn on if controller 3 messages are received by

the AxSys.

The WAH DEPTH parameter determines how prominent the Wah effect is.

When using the Sample/Hold Wah type 4, it controls the speed. When

using the Mod Assign Wah type 5, it controls the depth of the pedalÕs

control over the parameter being modulated. For more information on

using pedals, see page 17.

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The following parameters are available for modulating:

Display Parameter Display Parameter Display Parameter

5-0

5-1

5-2

5-3

5-4

5-5

5-6

5-7

Preamp Bass

Preamp Middle

Preamp Treble

EQ 80Hz

5-8

5-9

510

511

512

513

514

515

Presence

516

517

518

519

520

521

522

523

Reverb Decay

Reverb Level

Drive

Tremolo Speed

Tremolo Depth

Delay Feedback

Delay Level

Bass

EQ 240Hz

Mid

EQ 750Hz

Chorus Speed

Chorus Feedback

Chorus Level

Treble

EQ 2200Hz

EQ 6600Hz

Gain

Delay/Reverb

As you scroll through the available parameters, a pair of LEDs (one in the

Edit Row column, the other above the Control Knobs) will flash to indicate

the selected parameterÕs location in the parameter matrix.

When using Wah type 5 (Mod Assign) it is important that you set the parameter

being modulated to its minimum, or 00 setting. This is because PEDAL 2 will only

provide positive modulation. This means the current setting of the modulated

parameter is the ÒbaselineÓ or starting point of modulation (i.e. when the pedal is

all the way heel down).The WAH DEPTH will determine what the maximum of the

modulated parameter will be when the pedal is all the way forward (toe down).

Down

(Heel)

(Toe)

Down

(Heel)

(Toe)

Pedal Position

When the modulated parameterÕs

setting is at its minimum or 00 value, and

the WAH DEPTH parameter is set to 99,

Pedal 2 takes full control over its effect.

setting is at its minimum or 00 value, and

the WAH DEPTH parameter is set to 50,

Pedal 2Õs control over its effect is limited.

Down

(Heel)

(Toe)

Down

(Heel)

(Toe)

Down

(Heel)

(Toe)

Pedal Position

When the modulated parameterÕs

When the modulated parameterÕs setting

is at its halfway or 50 value, and the WAH

DEPTH parameter is set to 99, Pedal 2Õs

range goes from 50 to 99. However, it

reaches 99 when the Pedal is at its mid-

way point; this means the Pedal has no

effect from mid-way to toe-down.

When the modulated parameterÕs

setting is at its maximum or 99 value,

Pedal 2 will have no control over its

effect, regardless of the WAH DEPTH

parameterÕs setting.

setting is at its halfway or 50 value, and

the WAH DEPTH parameter is set to 50,

Pedal 2Õs range goes from 50 to 99.

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Auto Volume Attack

The Auto Volume effect automatically Òramps upÓ the signal level. It

simulates the ÒbowedÓ playing technique in which the volume is turned

down at the beginning of each note so that the attack portion of the signal

is not heard, and then the volume is gradually raised.

Parameter Range Description

Auto-Volume Off, 01-99 Adjusts the rate of the ramping of volume.

Preamp Controls

TubeTone technology is what makes the AxSys so versatile, and allows it

to accurately recreate the classic tone of a variety of guitar amps.

Parameter

Range Description

(see page 27)

Preamp Type

Drive

Selects the type of amp tone.

Controls the volume of the signal going into the Preamp;

use higher levels to create distortion.

00Ð99

Preamp Bass

00Ð99

Adjusts the tone for the low frequency range of the

Guitar signal before it goes into the Preamp.

Preamp Middle 00Ð99

Adjusts the tone for the middle frequency range of the

Guitar signal before it goes into the Preamp.

Preamp Treble

00Ð99

Adjusts the tone for the high frequency range of the

Guitar signal before it goes into the Preamp.

Bright Switch

Presence

Output Level

On, Off

00Ð99

When on, a sharper and brighter sound is produced.

Provides a boost of the high-mid frequencies.

Controls the volume of the PreampÕs output. This sets

the amount of signal passed to the rack effects section.

Drive

This controls the level going into the Preamp. Typically this control allows

you to overdrive the tubes in a typical guitar amp. The AxSys simulates

this phenomenon with astounding accuracy for each of its Preamp Types.

If the DRIVE ON/OFF parameter is turned off, the Drive effect will not be heard

(see page 35). If you adjust the DRIVE knob, the display will flash OFF twice to

indicate it is turned off.

The DRIVE control is disabled when the Acoustic Sim Preamp type is selected. If

you attempt to modify it, the display will temporarily read ---.

Preamp EQ

Equalization, or EQ, provides the ability to control timbre, or coloration, of

an audio signal. Before the GuitarÕs signal goes into the Preamp section, it

passes through the Preamp EQ. Three parameters are available, including:

PREAMP BASS, PREAMP MIDDLE and PREAMP TREBLE.

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The PREAMP BASS, PREAMP MIDDLE and PREAMP TREBLE controls are disabled

when the Acoustic Sim Preamp type is selected. If you attempt to modify these

parameters, the display will temporarily read ---.

Preamp Type

The PREAMP TYPE lets you choose from the following preamp tones:

Display Preamp Type Physical model of...

1-0

1-1

1-2

1-3

2-0

2-1

2-2

2-3

2-4

2-5

2-6

2-7

2-8

3-0

3-1

3-2

3-3

3-4

3-5

3-6

3-7

3-8

3-9

310

311

312

4-0

4-1

4-2

4-3

4-4

4-5

4-6

4-7

5-0

5-1

Clean

AxSys Clean

JC120 Normal

JC120 Bright

JC120 Jazz Tone

Tweed

Fender Bassman Clean

Fender Bassman Crunch

Fender Bassman Overdrive

Fender Twin Reverb Clean

Fender Twin Reverb Crunch

Fender Twin Reverb Overdrive

Matchless Chieftain Clean

Matchless Chieftain Crunch

Matchless Chieftain Overdrive

Marshall JTM45 (ca. 1965) Clean

Marshall JTM45 (ca. 1965) Crunch

Marshall 100-watt ÒPlexiÓ Crunch

Marshall JCM800 Brilliant Ch. Clean

Marshall JCM800 Brilliant Ch. Crunch

Marshall JCM800 Brilliant Ch. Overdrive

Marshall JCM800 w/ Master Vol. Crunch

Marshall JCM800 w/ Master Vol. Overdrive

Vox AC 30 non-Top Boost (ca. 1960) Clean

Vox AC 30 non-Top Boost (ca. 1960) Crunch

Vox AC 30 non-Top Boost (ca. 1960) Overdrive

Vox AC 30 with Top Boost (ca. 1964) Clean

Vox AC 30 with Top Boost (ca. 1964) Crunch

AxSys Vintage

British

Hybrid

Soldano Super Lead Overdrive Crunch

Soldano Super Lead Overdrive Overdrive

Soldano Super Lead Overdrive Lead

Boogie Dual Rectifier Clean/Blues

Boogie Dual Rectifier Crunch

Boogie Dual Rectifier Modern High Gain

Arbiter Fuzz Face

Acoustic Sim

Acoustic #1

Acoustic #2

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Chapter 3: Description of Features

Acoustic Simulator

The AxSys provides two different Acoustic Simulator Preamp types.

These simulate the sound of an acoustic guitar with a pickup or a piezo

transducer in the saddle.

For the best simulation, always select the pickup closest to the

guitarÕs neck. Single coil pickups tend to sound better because of

their bright tone; and a bright, stringy sound is the signature of an

acoustic guitar. If you are using a humbucking pickup, try using a

coil splitter to disable some of the coils and brighten the sound up.

TIP

When either of the Acoustic Sim Preamp types are selected, the following

parameters will be disabled:

Noise Gate On/Off

Preamp Bass

Noise Gate Threshold

Preamp Middle

Preamp Output Level

Rando-Wah

Noise Gate Decay

Preamp Treble

Bright Switch

Distortion Box On/Off

Drive

Distortion Box

Sample/Hold Wah

Drive On/Off

Bright Switch

The BRIGHT SWITCH parameter is your basic brightness booster.

The BRIGHT SWITCH control is disabled when the Acoustic Sim Preamp type is

selected. If you attempt to modify it, the display will temporarily read ---.

Presence

The PRESENCE parameter provides a boost of the high-mid frequencies,

and raises the signal level a bit. It can be adjusted between 00 and 99.

Rack Effects

5-Band Graphic EQ

A graphic EQ is a set of bandpass filters used for general tonal shaping, as

in many home stereos. The 5 bands in the Graphic EQ of the AxSys 212 are

about an octave and a fifth apart at 80Hz, 240Hz, 750Hz, 2200Hz and 6600Hz.

Each of these may be set between -19 and +19 dB, providing a cut or boost,

of their respective frequency range.

Parameter Range Description

80Hz

-19 to 19

Cuts or boosts the frequency range centered at 80Hz.

Cuts or boosts the frequency range centered at 240Hz.

Cuts or boosts the frequency range centered at 750Hz.

Cuts or boosts the frequency range centered at 2200Hz.

Cuts or boosts the frequency range centered at 6600Hz.

240Hz

750Hz

2200Hz

6600Hz

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If the EQ ON/OFF parameter is turned off, the Graphic EQ will not have any effect

on the Sound (see page 35). If you adjust any of the Graphic EQ parameters, the

display will flash OFF twice to indicate it is turned off.

Tremolo

Mono Tremolo²fluctuates loudness, and Stereo Tremolo alternates

loudness in opposite channels. On slow speeds with a soft shape, stereo

tremolo provides continuous panning. At low to moderate depths and

moderate speeds, itÕs like the sound of classic electric piano tremolo.

Parameter

Range Description

Tremolo Type

Off, 1 to 3 Selects the type of Tremolo effect (see below).

Tremolo Speed 00 to 99

Tremolo Depth 00 to 99

Tremolo Shape 00 to 99

Controls the rate at which the sound changes amplitude.

Controls how strong the tremolo will be.

Selects either soft (gradual) or hard (drastic) transitions.

The TREMOLO TYPE lets you choose from the following Tremolo types:

Display Tremolo Type Description

OFF

No Tremolo

Tremolo is disabled.

Mono Tremolo

Provides the classic Tremolo useful in recreating the

sound of older guitar amps.

Stereo Tremolo

at 90°

This two channel Tremolo has the left and right channels

close together; i.e. when one is on, the other is 1/2 on, and

when one is off, the other is 1/2 off.

Stereo Tremolo

at 180°

This two channel Tremolo has the left and right channels

perfectly out of phase; i.e. when one is on the other is off.

100%

50%

100%

Left

Right

Left

Right

Left

Right

Mono Tremolo

Stereo Tremolo 90¡

Stereo Tremolo 180¡

If the TREM/CHORUS ON/OFF parameter is turned off, the Tremolo effect will not

be heard (see page 35). If you adjust any of the Tremolo parameters, the display

will flash OFF twice to indicate it is turned off.

The Tremolo parameters are disabled when the Rotary type of Chorus is selected.

If you attempt to modify the Tremolo parameters, the display will temporarily

read ---.

Some guitar amps mistakenly call this ÒvibratoÓ, but this is incorrect. Vibrato is actually

the fluctuation of pitch, whereas tremolo is a fluctuation of volume.

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Chapter 3: Description of Features

Delay

Delay provides repetition, or echo, of a signal. By adding feedback, the

delayed signal can repeat many times, with each successive repetition

softer than its predecessor.

Parameter

Range Description

Delay Type

1 to 4

Selects the type of Delay (see below).

Main Delay Time 00 to 99

Delay Time Offset 00 to 99

Controls the speed of the delay (see chart on next page).

Offsets the left & right channels (see page 31).

Controls the number of repetitions.

Threshold above which Delay is muted.

Controls the output level of the Delay effect.

Delay Feedback

Dynamic Delay

Delay Level

00 to 99

The DELAY TYPE parameter lets you choose from the following Delay

types:

Display Delay Type Description

Max. Delay

Mono Delay

Stereo Delay

Provides a single delay of signal.

1250 mS

625 mS

Provides two discrete delays; one to the

left channel, the other to the right channel.

This two channel delay has the output of

each channel flowing into the other, going

back and forth like a game of ping-pong.

Provides 5 delays at once, with 10

Ping Pong

Delay

625 mS

n/a

4-0 to Multi Tap

Delay

configurations (see below).

4-9

If the DELAY ON/OFF parameter is turned off, the Delay effect will not be heard

(see page 35). If you adjust any of the Delay parameters, the display will flash

OFF twice to indicate it is turned off.

The Stereo Delay and Ping Pong Delay types will sound even wider

when the CABINET SPREAD parameter is turned on. See page 35 for

more information.

TIP

Multi Tap Delay

This is like having five delays at once, each having a different delay time,

volume and panning. There are 10 Multi Tap configurations (4-0 through

4-9), each with its own rhythm. The MAIN DELAY TIME parameter lets you

control the relative ÒspreadÓ, or tempo, of all taps at once while keeping

the same rhythm. When set to low numbers, the taps are closer together; at

higher values, the taps become spaced further apart. The DELAY FEEDBACK

parameter controls all taps at once, making it easy to adjust the total

number of ÒechoesÓ.

Main Delay Time

0 is the shortest delay time and 99 is the longest. This range is exponential,

which means that the lower numbers take small steps, and the bigger

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Description of Features: Chapter 3

numbers take bigger steps. The following table shows the equivalent to

each setting of the delay time in milliseconds when using the Mono Delay:

Display

Display mS

0017.0

0021.9

0026.8

0031.7

0036.6

0041.5

0046.4

0051.3

0056.2

0061.1

0066.0

0074.4

0082.8

0091.2

0099.6

0108.0

0116.4

0124.8

0133.2

0141.6

0150.0

0167.3

0184.7

0202.1

0219.4

0236.8

0254.1

0271.5

0288.8

0306.2

0323.6

0334.4

0345.2

0355.9

0366.7

0377.5

0388.3

0399.1

0409.9

0420.6

0431.4

0442.2

0453.0

0463.8

0474.6

0485.4

0496.2

0507.0

0517.7

0528.5

0517.7

0528.5

0539.3

0550.1

0560.9

0571.7

0582.5

0593.2

0604.0

0614.8

0625.6

0636.4

0647.2

0663.3

0679.5

0695.7

0711.9

0728.1

0744.2

0760.4

0776.6

0792.8

0809.0

0825.1

0841.3

0889.9

0906.0

0922.2

0938.4

0954.6

0970.8

0986.9

1003.1

1019.3

1035.5

1051.7

1067.8

1084.0

1100.2

1116.4

1132.6

1146.5

1160.4

1174.4

1188.4

1202.3

1216.3

1230.2

1244.2

1258.1

Note: When using the Stereo Delay, all delay times are halved. Example: If

the MAIN DELAY TIME parameter is set to 62 while using the Stereo Delay,

the delay time would actually be 0323.6 mS.

Tap Tempo

An alternative way to adjust the MAIN DELAY TIME parameter is by

repeatedly pressing the TAP TEMPO button (which also happens to be the

TUNER button). The AxSys will gauge the time between each press and

immediately set the MAIN DELAY TIME parameter to the equivalent value,

and show this value in the display.

The TUNER button will only function as a TAP TEMPO button while you are

editing the Delay parameters (i.e., the Delay Edit Row is selected). Otherwise,

pressing this button will select Tuner mode.

Delay Time Offset

The DELAY TIME OFFSET parameter (00 - 99) provides a different function

depending on the selected Delay Type:

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Chapter 3: Description of Features

Delay Type

DELAY TIME OFFSET Function

Mono Delay

Offsets the panning of the input signal from the delayed signal

between the left and right channels. When set to 0, both signals are

centered between the left and right channels, creating a mono

image; when set to 99, the direct signal is routed to the right

channel, while the delayed signal goes to the left channel.

Offsets the right channelÕs delay signal from the left channel. This

is done by first setting the MAIN DELAY TIME, for example, to

400 mS, and then using Delay Offset to offset the right channel

relative to left. When set to 00, the right side is equal to the left side;

when set to 50, the right side is 50% less than the left side.

Controls the ÒrhythmÓ spacing of the two delay signals. When set

to 50, the rhythm is equal between the right and the left side; when

set to 25, the rhythm sounds as if you were playing on beats 1 and

4 (in 4/4 time, of course).

Stereo Delay

Ping Pong Delay

Multi Tap Delay

Disabled.

Dynamic Delay

The DYNAMIC DELAY parameter adjusts the loudness of the delay based on

how loud you are playing. It is a threshold setting, similar to the threshold

setting of a noise gate. When set to a high value, the delay is softer while

you play, which helps avoid that unwanted ÒmuddyÓ sound. When you

stop playing, it gets louder.

Chorus

Parameter

Range Description

Chorus Type

Chorus Speed

Chorus Depth

1 to 4

00 to 99

Selects the type of Chorus (see below).

Controls the speed of the Chorus effect.

Controls the depth of the Chorus effect.

Controls the amount of the ChorusÕ output being

fedback into its input.

Chorus Feedback 00 to 99

Chorus Shape

Chorus Level

1 to 4

00 to 99

Selects either a Sine wave or Square wave shape.

Controls the output level of the Chorus effect.

The CHORUS TYPE lets you choose from the following Chorus types:

Display Type

Description

Display Type

Description

Chorus

Flange

(see page 41)

(see page 42)

Phase

(see page 42)

Rotary

If the TREM/CHORUS ON/OFF parameter is turned off, the Chorus effect will not

be heard (see page 35). If you adjust any of the Chorus parameters, the display will

flash OFF twice to indicate it is turned off.

Chorus. The Chorus effect produces a pitch detuned version of you guitar,

and combines it with the guitar signal. The amount of detuning is

controlled by the CHORUS DEPTH, and the speed of detuning is controlled

by the CHORUS SPEED. The CHORUS FEEDBACK can emphasize the effect by

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Description of Features: Chapter 3

causing the detuned signal to be re-detuned. CHORUS SHAPE selects

between a sine wave, for smooth sweeping pitch, or a square wave, for a

more abrupt shift in pitch.

In the case of a Stereo Chorus, the left channel is detuned sharp, the right

is detuned flat, and vice versa. This causes the effect to become more

pronounced and dramatic.

Flange. Flanging³produces a Òjet airplaneÓ-like sound. A delayed signal is

mixed with the original sound to produce the ÒswishingÓ or ÒtunnelingÓ

sound. Stereo Flange sweeps one channel up while the other sweeps

down.

When using the Flange type with the Square waveform shape, the Square shape

will actually provide a Triangle waveform shape.

The Stereo Chorus and Stereo Flange types will sound even wider

when the CABINET SPREAD parameter is turned on (see page 35).

TIP

Phase. Another popular effect is the Phase Shifter or Phasor. The Phasor

shifts the phase of different frequencies in different amounts, resulting in a

comb filter effect when combined with the dry signal.

Because the Phase type of Chorus is mono only, the CHORUS SHAPE parameter

can only be set to 1 (Mono Sine) or 3 (Mono Square) when the Phase type is

selected. Also, the Square shape will actually provide a more useful sounding

Triangle waveform shape.

Rotary. This effect was extremely popular during the 1960Õs and was

achieved by mechanically rotating the speakers to produce complex

timbral changes. The Leslie speaker system is best known for its rotary

speaker architecture. It is most often used with Hammond-type organs,

but is occasionally used for guitar amplification as well.

When changing between Sounds that use a slow to fast Rotary

Speed, the Rotary effect will produce authentic ramping between

the two speeds, just like the real thing.

TIP

The CHORUS SHAPE parameter is disabled when the Rotary type is selected. If you

attempt to modify this parameter, the display will temporarily read ---.

First used in the 1960s, flanging was achieved by the use of two tape recorders that

would record and play back the same program in synchronization. By slowing down one

tape machine, and then letting it catch up with the other, different phase cancellations

would occur at different frequencies. Since the slowing down of the tape machines was

done by hand pressure against the flanges of the tape supply reels, the term ÒFlangingÓ

came into being.

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Chapter 3: Description of Features

Reverb

Parameter

Range Description

Reverb Type

Predelay

1 to 5

00 to 99

Selects the type of Reverb (see below).

Controls the delay of the first instance of reverberation,

so that the dry signal stands out from the Reverb effect.

Controls how long it takes for the Reverb to die away.

Controls the ReverbÕs tone.

Reverb Decay

Reverb Tone

00 to 99

Reverb Diffusion 00 to 99

Reverb Level 00 to 99

Determines the ÒthicknessÓ of the reverb (see below).

Controls the output level of the Reverb effect.

Reverb is made up of a large number of distinct echoes, called reflections.

In a natural acoustic space, each reflectionÕs amplitude and brightness

decays over time. This decay is influenced by the room size, the location of

the sound source in the room, the hardness of the walls, and other factors.

The REVERB TYPE parameter lets you choose from these Reverb types:

Display Reverb Type Description

Produces a ringing, resonant sound, which is a

requirement for vintage guitar applications.

Recreates the ambiance of a small room with many

reflective surfaces, but with a dark tone.

Spring

Dark Room

Bright Room

Dark Hall

Similar to Dark Room, but with more high frequencies.

Recreates the ambiance of a large auditorium or concert

hall that has a lot of space to fill, but with a dark tone.

Similar to Dark Hall, but with more high frequencies.

Bright Hall

Diffusion

Diffusion determines the ÒthicknessÓ of the reverb sound by adding more

reflections to the reverbÕs decay. At low settings, you can hear the

individual echoes that make up the overall reverb sound. At higher

settings, the echoes increase and blend, washing out the reverbÕs decay.

DIFFUSION OF 0

DIFFUSION OF 99

TIME

Fewer reflections

More reflections

If the REVERB ON/OFF parameter is turned off, the Reverb effect will not be heard

(see page 35). If you adjust any of the Reverb parameters, the display will flash

OFF twice to indicate it is turned off.

Sorry. Because this is a physically modeled spring reverb, you canÕt get the Òthunder

crashÓ effect when you bump into the amp.

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Description of Features: Chapter 3

Cabinet Type

This effect simulates various types of speaker enclosures. You may choose

among the following enclosure simulators:

# in Display Modeled after...

AxSys 2 x 12"

OFF

1-0

1-1

1-2

2-0

2-1

2-2

3-0

3-1

3-2

4-0

4-1

4-2

2 x 10" Music Man cabinet

2 x 10" Blues cabinet

2 x 10" (Comb filter effect)

2 x 12" Fender Twin Reverb

2 x 12" JC-120

2 x 12" Matchless with Celestion Vintage 30Õs

4 x 10" Fender Bassman

4 x 10" Peavey Classic 50

4 x 10" Custom

4 x 12" Marshall slant cabinet with Celestion ÒgreenbacksÓ

4 x 12" Marshall slant cabinet with Celestion Vintage 30Õs

4 x 12" Custom

Cabinet Spread

This effect is useful for ÒwideningÓ a flat sound to produce more depth

and color. When turned on, it creates the illusion that sound is emanating

in stereo from a pair of speakers placed somewhere around the listener. By

doing so, the sound appears spatially distributed, and takes on a lively

new ambiance.

Cabinet Spread is especially effective when using a stereo effect,

such as the Stereo Chorus, Stereo Flange, Stereo Delay, Ping Pong

Delay and Reverb.

TIP

FX On/Off

These parameters provide a convenient method of turning on and off a

particular effect without having to alter its settings.

Parameter

Range Description

Distortion Box On/Off On, Off

Turns the Distortion Box effect on or off.

Turns the PreampÕs Drive control on or off. When

turned on, the DRIVE controlÕs current setting is

used. When off, it is the equivalent of turning the

DRIVE control all the way down to 00.

Turns the Graphic EQ on or off.

Drive On/Off

On, Off

EQ On/Off

On, Off

Trem/Chorus On/Off On, Off

Turns the Tremolo and Chorus effects on or off.

Turns the Delay effect on or off.

Turns the Reverb effect on or off.

Delay On/Off

Reverb On/Off

On, Off

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If an effect doesnÕt seem to be working, be sure to check if the effect is turned on in

the FX ON/OFF Edit Row. If you adjust any parameter of an effect that is turned

off, the display will flash OFF twice to indicate it is turned off.

Since all of these parameters are the Òon/offÓ type, itÕs easy to see at a glance what

all 6 settings are (i.e. which effects are on or off), since each Control KnobÕs LED

will either be on or off.

TIP

All of the parameters found on the FX ON/OFF Edit Row, are available on the

optional AxSys Remote Pedal Board for easy access.

The DISTORTION BOX ON/OFF and DRIVE ON/OFF controls are disabled when

the Acoustic Sim Preamp type is selected. If you attempt to modify them, the

display will temporarily read ---.

Aux Controls

The Aux Input can be used for a second signal, such as a microphone,

drum machine or acoustic guitar.

Parameter

Range Description

Aux Input Mix

00 to 99

Controls the mix of the Aux Input signal relative to the

Guitar Input signal.

Aux Input Bass

-50 to +50 Provides a boost or cut of low frequencies to the Aux

Input signal.

Aux Input Treble -50 to +50 Provides a boost or cut of high frequencies to the Aux

Input signal.

Aux Input Reverb 00 to 99

Controls the amount of Aux Input signal going to the

Reverb effect.

Aux Input Mix

This controls the mix of the Aux Input signal relative to the Guitar Input

signal. It can be set between 0 and 99. When set to 0, the Aux Input signal

is not heard at all. When set to 99, the Aux Input signal is mixed with the

Guitar Input signal at maximum volume.

Aux Input Bass

This is a low frequency cut or boost control for the Aux Input signal. It can

be set between -50 and 50. Negative values decrease the bass, while

positive values increase them; a setting of 0 leaves the bass response flat.

Aux Input Treble

This is a high frequency cut or boost control for the Aux Input signal. It

can be set between -50 and 50. Negative values decrease the treble, while

positive values increase them; a setting of 0 leaves the treble response flat.

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Aux Input Reverb

This controls the amount of reverb that is added to the Aux Input signal.

When set to 0, no reverb is added and the Aux Input signal is ÒdryÓ. When

set to 99, the reverb is added at its maximum level and the Aux Input

signal is ÒwetÓ.

Global Controls

The following four controls are found on the far right end of the first top

two Edit Rows. As their name ÒGlobalÓ implies, these four parameters are

set once for all Sounds; i.e. their settings are static and do not change from

one Sound to another.

Parameter

Range

Description

MIDI Channel

01 to 16

Selects the basic MIDI channel.

Transmit Sounds 01A to 32D, Lets you transmit one or all User Sounds via the

Edit, All

MIDI OUT connector.

Gate/Hum Per

Sound

Snd, All

Determines whether the Noise Gate and Hum

Canceller parameters will change when a new Sound

is selected.

Aux Per Sound

Snd, All

Determines whether the Aux Input parameters will

change when a new Sound is selected.

MIDI Channel

The MIDI CHANNEL parameter determines which of the 16 available MIDI

channels is used to send and receive program changes and controller

messages (controller 7 for Volume, controller 3 for Wah). It can be set

between 1 and 16.

Transmit Sounds

The TRANSMIT SOUNDS parameter lets you transmit either a single User

Sound or all User Sounds in memory via the MIDI OUT connector. This

information can be sent to a MIDI storage device, such as a computer

running a sequencer or editor/librarian software, or to another AxSys 212.

Display

Transmitted via MIDI

01A to 32d

Edt

Any single Sound in the User Bank (01-32, A-D)

The current Sound being edited

ALL

All 128 Sounds in the User Bank

Use the TRANSMIT SOUNDS parameter to select what you want to transmit.

You can choose any User Sound from 01A to 32d, or Edt (the current

Sound in the edit buffer) or ALL (all Sounds in the User Bank). Once

youÕve made your selection, press the STORE button to execute the

transmission; the display will temporarily read trA.

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Gate/Hum Per Sound

This function determines whether the Noise Gate and Hum Canceller

parameters will change when a new Sound is selected. These parameters

include: NOISE GATE ON/OFF, NOISE GATE THRESHOLD, NOISE GATE DECAY,

and HUM CANCELLER. If you want to use the same settings for these

parameters, regardless of which Sound you use, set this parameter to

ALL. If, however, you have stored different settings for these parameters

within certain Sounds and would like those settings to be recalled

whenever those Sounds are selected, set this parameter to Snd.

Display

Description

Snd

The Noise Gate and Hum Canceller parameters will change when a

new Sound is selected to the stored settings for that Sound.

ALL

The Noise Gate and Hum Canceller parameters will not change when a

new Sound is selected. In other words, the Noise Gate and Hum

Canceller parametersÕ current settings will be used for all Sounds.

Aux Per Sound

This function determines whether or not the Aux input parameters will

change when a new Sound is selected. These parameters include: AUX

INPUT MIX, AUX INPUT BASS, AUX INPUT TREBLE, and AUX INPUT REVERB. If

you would like to use the same settings for these parameters, regardless of

which Sound you use, set this parameter to ALL. If, however, you have

stored different settings for these parameters within certain Sounds and

would like those settings to be recalled whenever those Sounds are

selected, set this parameter to Snd.

Display

Description

Snd

The Aux Input parameters will change when a new Sound is selected

to the stored settings for that Sound.

ALL

The Aux Input parameters will not change when a new Sound is

selected. In other words, the Aux Input parameterÕs current settings

will be used for all Sounds.

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Appendices

APPENDICES

Appendix I: Troubleshooting

If you are experience problems while operating the AxSys 212, please use

the following table to locate possible causes and solutions before

contacting Line 6 customer service for assistance.

Symptom

Cause

Solution

Check that the power cable is

plugged in properly.

The display does not light No power.

when the POWER switch

is turned on.

No sound.

Speakers are not

connected to amp.

Connect the speaker cables to

the rear panel LEFT

SPEAKER and RIGHT

SPEAKER jacks

Bad cable.

Check your guitar cables;

replace if necessary.

Volume is turned down. Raise the MASTER knob.

Control Knobs wonÕt

Compare mode is turned Press COMPARE to exit

change parameter settings. on (C appears in display) Compare mode.

Appendix II: Maintenance & Service

Cleaning

Disconnect the AC cord, then use a damp cloth to clean the ampÕs metal

and plastic surfaces. For heavy dirt, use a non-abrasive household cleaner

such as Formula 409 or Fantastik. DO NOT SPRAY THE CLEANER

DIRECTLY ONTO THE FRONT OF THE UNIT AS IT MAY DAMAGE

THE LUBRICANTS USED IN THE SWITCHES AND CONTROLS! Spray

onto a cloth, then use the cloth to clean the unit.

Maintenance

Here are some tips for preventive maintenance.

¥ Periodically check the AC cord for signs of fraying or damage.

¥ Place a dust cover over the AxSys 212 when it is not in use.

Refer All Servicing to Line 6

We believe that the AxSys 212 is one of the most reliable amps that can be

made using current technology, and should provide years of trouble-free

use. However, should problems occur, DO NOT attempt to service the

amp yourself. The full AC line voltage, as well as high voltage/high

current DC voltages, are present at several points within the chassis.

Service on this product should be performed only by qualified technicians.

THERE ARE NO USER-SERVICEABLE PARTS INSIDE.

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Appendices

Obtaining Repair Service

Before contacting Line 6, check over all your connections, and make sure

youÕve read the manual.

Customers in the USA:

If the problem persists, call Line 6 at (310) 390-5956 and request the

Product Support department. Talk the problem over with one of our

technicians; if necessary, you will be given a Return Authorization (RA)

number and instructions on how to return the unit. All units must be

shipped prepaid and COD shipments will not be accepted.

For prompt service, indicate the RA number on the shipping label. If you

do not have the original packing, ship the amp in a sturdy carton, with

shock-absorbing materials such as styrofoam pellets (the kind without

CFCs, please) or Òbubble-packÓ surrounding the unit. Shipping damage

caused by inadequate packing is not covered by the Line 6 warranty.

Tape a note to the top of the unit describing the problem, include your

name and a phone number where Line 6 can contact you if necessary, as

well as instructions on where you want the product returned. Line 6 will

pay for standard one-way shipping back to you on any repair covered

under the terms of this warranty. Next day service is available for a

surcharge.

Field repairs are not normally authorized during the warranty period, and

repair attempts by unqualified personnel may invalidate the warranty.

Service address for customers in the USA:

Line 6 Product Support

11260 Playa Court

Culver City, CA 90230

Customers outside the USA:

Contact your local Line 6 dealer for warranty assistance. The Line 6

Limited Warranty applies only to products sold to users in the USA and

Canada. Customers outside of the USA and Canada are not covered by

this Limited Warranty and may or may not be covered by an independent

distributor warranty in the country of sale. Do not return products to the

factory unless you have been given specific instructions to do so.

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Appendices

Appendix III: Tube Replacement Schedule

Yeah, right!! You gotta be kidding!!!

Appendix IV: About Audio Cables

The connection between your electric guitar and the AxSys are your

musicÕs lifeline, so use only high quality cables. These should be low-

capacitance shielded cables with a stranded (not solid) internal conductor

and a low-resistance shield. Although quality cables cost more, they do

make a difference. Observe the following precautions:

¥ Do not place audio cable on or near AC power cords.

¥ Avoid running audio cable near sources of electromagnetic

interference such as transformers, monitors, computers, etc.

¥ Do not place cable where it can be stepped on. Stepping on a cable may

not cause immediate damage, but it can compress the insulation

between the center conductor and shield (degrading performance) or

reduce the cableÕs reliability.

¥ Avoid twisting the cable or having it make sharp, right angle turns.

¥ Never unplug a cable by pulling on the wire itself. Always unplug by

firmly grasping the body of the plug, pulling directly outward.

¥ Although Line 6 does not endorse any specific product, chemicals such

as Tweak and Cramolin, when applied to electrical connectors, are

claimed to improve the electrical contact.

Appendix V: Using External Speaker Cabinets

As an alternative to the AxSysÕ built in pair of 12" speakers, you may

connect external speakers to the rear panel LEFT SPEAKER and RIGHT

SPEAKER jacks. These jacks are designed for use with 8 ohm speakers only.

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Appendices

Appendix VI: Specifications

Guitar Input Effects:

Noise Gate; Hum Canceller; Compressor; Wah;

Auto-Wah; Rando-Wah; Sample/Hold Wah;

Volume Pedal; Distortion Box Type

Preamp:

Bright Switch; 3-Band Pre EQ; Drive; Preamp

Type Select (Clean, Tweed, British, Hybrid,

Acoustic Simulator); Preamp Model Select; 5-

Band Graphic EQ; Bass/Middle/Treble Tone

Controls; Presence

Effects Processor:

Auto-Volume; Mono/Stereo Chorus;

Mono/Stereo Flange; Phasor; Stereo Rotary

Speaker; Mono/Stereo Tremolo; Mono/Stereo

Ping-Pong and Multi-Tap Delay; Dynamic

Delay, Tap Tempo Delay; Room, Hall and

physically modeled Spring Reverb; Stereo

Spread; Amp Gain; Cabinet Simulator; Built-in

Guitar Tuner.

Aux Input:

Converters:

DSP:

Aux Level; Bass EQ; Treble EQ: Reverb

Amount

Dual 20-bit Linear 64 times oversampling A/D

Dual 20-bit Linear 8 times oversampling D/A

Dual DSP architecture with True 24-Bit Stereo

Processing at 48 MIPS (millions of instructions

per second)

Connections:

Guitar input; Aux input; Wah pedal input;

Volume pedal input; Input for optional remote

pedal; Stereo line out/headphone; Left and

Right speaker outputs; MIDI In/Out

Memory:

128 Presets, 128 User Sounds in battery-backed

RAM

Power Amplifiers:

Speakers:

100 Watts Ð Stereo, 50 Watts RMS per channel

Dual custom designed 12" Eminence Speakers

Dimensions:

21-1/2" H x 28-1/2" W x 11" D

(546mm H x 724mm W x 279mm D)

Weight: 56 lbs. (25.4 Kg)

AxSys 212 UserÕs Manual

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Appendices

Appendix VII: MIDI Implementation Chart

Function

Default

Transmitted

1 Ñ 16

Recognized

1 Ñ 16

Remarks

Basic

Channel

Changed

Default

Messages

Altered

* * * * * * * *

Mode

* * * * * * * *

Note

Number

Velocity

True Voice

Note On

Note Off

KeyÕs

* * * * * * * *

After

Touch

Pitch Bender

Control Change

ChÕs

Wah=3, Volume=7

Bank Select=0

Prog

0 Ñ 127

Change

System Exclusive

System

Common

True #

0 Ñ 127

* * * * * * * *

Song Pos

Song Sel

Tune

System

Realtime

Aux

Clock

Commands

Local On/Off

All Notes Off

Active Sense

Reset

Messages

GM On

Notes

: Yes

: No

AxSys 212 UserÕs Manual

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Appendices

Appendix VIII: MIDI Program Change Chart

The following chart can be used to identify the exact Sound that will be

recalled for any of the 128 different MIDI program change numbers that

can be received by the AxSys 212.

The Sound that is recalled will be from either the Preset Bank or the User

Bank, depending on which is selected at the time.

Note: If sending MIDI program change commands from a device or

software program which begins with the number 0 instead of 1, subtract 1

from the number in the MIDI PROGRAM CHANGE column to locate the

correct AxSys Sound that will be recalled.

MIDI

AxSys

MIDI

AxSys

MIDI

AxSys

MIDI

AxSys

Program Sound

Change

Program Sound

Change

Program Sound

Change

Program Sound

Change

01A

01B

01C

01D

02A

02B

02C

02D

03A

03B

03C

03D

04A

04B

04C

04D

05A

05B

05C

05D

06A

06B

06C

06D

07A

07B

07C

07D

08A

08B

08C

08D

09A

09B

09C

09D

10A

10B

10C

10D

11A

11B

11C

11D

12A

12B

12C

12D

13A

13B

13C

13D

14A

14B

14C

14D

15A

15B

15C

15D

16A

16B

16C

16D

17A

17B

17C

17D

18A

18B

18C

18D

19A

19B

19C

19D

20A

20B

20C

20D

21A

21B

21C

21D

22A

22B

22C

22D

23A

23B

23C

23D

24A

24B

24C

24D

25A

25B

25C

25D

26A

26B

26C

26D

27A

27B

27C

27D

28A

28B

28C

28D

29A

29B

29C

29D

30A

30B

30C

30D

31A

31B

31C

31D

32A

32B

32C

32D

100

101

102

103

104

105

106

107

108

109

110

111

112

113

114

115

116

117

118

119

120

121

122

123

124

125

126

127

128

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Index

INDEX

AC ........................................................ 6, 22

Acoustic Simulator ................................ 28

Audio Cables .......................................... 41

Auto Volume .......................................... 26

Aux ............................................................ 9

Aux Input ........................................... 7, 18

Bass .................................................... 36

Level .................................................. 22

Mix ..................................................... 36

Reverb ............................................... 36

Treble ................................................ 36

Aux Per Sound ................................. 18, 38

Cabinet Spread ...................................... 35

Cabinet Type .......................................... 35

Capture ................................................. 5, 6

Chorus ..................................................... 32

Depth ................................................. 32

Feedback ........................................... 32

Level .................................................. 32

Shape ................................................. 32

Speed ................................................. 32

Type ................................................... 32

Cleaning .................................................. 39

Clip LED ......................................... 5, 9, 22

Compare ........................................... 16, 20

Compressor ............................................ 23

Control Knob ......... 5, 6, 12, 13, 14, 15, 21

Delay ....................................................... 30

Delay Time Offset ..................... 30, 31

Dynamic Delay .......................... 30, 32

Feedback ........................................... 30

Level .................................................. 30

Main Delay Time ............................. 30

Tap Tempo ....................................... 31

Type ................................................... 30

Mono Delay ................................ 30

Distortion Box On/Off ................... 24, 35

Drive On/Off ................................... 26, 35

DSP .......................................................... 19

Edit Row ..................................... 12, 14, 15

Effect Tables ........................................... 13

EQ On/Off ....................................... 29, 35

External Speakers .................................. 41

Flange ...................................................... 33

FX On/Off .............................................. 35

Gain ......................................................... 10

Gate/Hum Per Sound .................... 23, 38

Global Controls ...................................... 37

01A to 32d ......................................... 37

Aux Per Sound ................................. 37

Gate/Hum Per Sound .................... 37

MIDI Channel .................................. 37

Transmit Sounds ............................. 37

Graphic EQ ............................................. 28

Guitar ........................................................ 9

Guitar Input ......................................... 5, 7

Guitar Knob .............................................. 5

Headphone ............................................... 7

Hum Canceller ....................................... 22

Input Controls ........................................ 21

Input Level Settings ................................ 6

Main Controls ............................ 12, 14, 21

Maintenance ........................................... 39

Master ................................................. 9, 22

Master Knob ............................................. 5

Mid .......................................................... 10

MIDI .................................................. 18, 23

Implementation Chart .................... 43

Program Change Chart .................. 44

MIDI Channel ........................................ 37

Mod Assign ............................................ 24

Noise Gate .............................................. 22

Decay ................................................. 22

Threshold .......................................... 22

Overdrive ............................................... 19

Parameter ............................................... 21

Pedal ................................................. 1 7, 17

Pedal ................................................. 2 7, 17

Multi Tap Delay ......................... 30

Ping Pong Delay ........................ 30

Stereo Delay ............................... 30

Delay On/Off ................................... 30, 35

Digital Tuner .......................................... 10

DISTORTION BOX ............................... 23

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Index

Phase ....................................................... 33

Power ........................................................ 5

Preamp..................................................... 26

Bass .................................................... 26

Bright Switch .............................. 26, 28

Drive .................................................. 26

Middle ............................................... 26

Output Level .................................... 26

Presence ...................................... 26, 28

Treble ................................................ 26

Type ............................................. 26, 27

Acoustic Sim .............................. 28

Preset Bank ............................................. 21

Preset Sounds ........................................... 5

Remote ................................................ 7, 17

Reverb ...................................................... 34

Diffusion ........................................... 34

Type ................................................... 34

Bright Hall .................................. 34

Speed ................................................. 29

Type ................................................... 29

Mono Tremolo ........................... 29

Stereo Tremolo at 180° .............. 29

Stereo Tremolo at 90° ................ 29

Troubleshooting .................................... 39

Tube Replacement ................................. 41

TubeTone ................................................ 19

User Banks ......................................... 16,20

Volume Levels ......................................... 9

Volume Pedal ............................. 17, 18, 23

Wah .................................................... 17,24

Auto-Wah ......................................... 24

Mod Assign ................................ 24, 25

Rando-Wah ...................................... 24

Sample/Hold ................................... 24

Wah Depth ....................................... 24

Wah Pedal ........................................ 24

Bright Room ............................... 34

Dark Hall .................................... 34

Dark Room ................................. 34

Spring .......................................... 34

Reverb On/Off ................................ 34, 35

Rotary ...................................................... 33

Row Select .............................................. 15

Servicing ................................................. 39

Signal Path .............................................. 13

Sound .......................................... 11, 19, 20

A, B, C and D ................................... 11

Banks ................................................. 11

Buffer ................................................. 20

Edited ................................................ 20

Sound Banks ........................................ 5,11

Sound Buffer .......................................... 20

Speaker ...................................................... 7

Speaker Emulator .................................... 8

Specifications ......................................... 42

Stereo Line Out ........................................ 8

Store ......................................................... 16

Tap Tempo ............................................. 31

Transmit Sounds ................................... 37

Trem/Chorus On/Off .............. 29, 32, 35

Tremolo ................................................... 29

Depth ................................................. 29

Shape ................................................. 29

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LINE 6 LIMITED WARRANTY INFORMATION

It’s important to LINE 6 that we take care of our customers. Sending in your warranty

allows us to register key information so that we may handle problems faster and inform

you of advance information, upgrades, and applications. Thank you in advance for

filling out your warranty card and sending it to us. Good luck in your music!

LINE 6, a division of Fast Forward Designs, Inc., warrants this product when purchased at an Authorized LINE 6

Dealer in the United States of America, to be free of defects in materials and workmanship for a period of one year

from the date of original purchase only upon completion and return of the LINE 6 Warranty Registration form

within 30 days from date of purchase.

During the warranty period LINE 6 shall, at its option, either repair or replace any product that proves to be

defective upon inspection by LINE 6.

LINE 6 reserves the right to update any unit returned for repair, and reserves the right to change or improve the

design of the product at any time without notice.

This warranty is extended to the original retail purchaser and to anyone who may subsequently purchase this

product within the applicable warranty period. Final determination of warranty coverage lies solely with LINE 6.

This is your sole warranty. LINE 6 does not authorize any third party, including any dealer or sales representative, to

assume any liability on behalf of LINE 6 or to make any warranty for LINE 6.

LINE 6 may, at its option, require proof of the original date of purchase in the form of a dated copy of the original

authorized dealer’s invoice or sales receipt.

Service and repairs of LINE 6 products are to be performed only at the factory (see below) unless otherwise

authorized in advance by the LINE 6 Service Department. Unauthorized service, repair or modification will void this

warranty.

To obtain factory service:

Contact LINE 6 at (310) 390-5956, 9AM to 5:30 PM Monday through Friday (Pacific Time) and request the

Product Support department. If necessary, you will be given a return authorization (RA) number .

Products returned without an RA number will be refused.

Pack the product in its original shipping carton and attach a description of the problem along with your

name and a phone number where LINE 6 can contact you if necessary. Ship the product insured and

freight prepaid to:

LINE 6 Product Support

11260 Playa Court

Culver City, CA 90230

DISCLAIMER AND LIMITATION OF WARRANTY

THE FORGOING WARRANTY IS THE ONLY WARRANTY GIVEN BY LINE 6 AND IS IN LIEU OF ALL

OTHER WARRANTIES. ALL IMPLIED WARRANTIES, INCLUDING WARRANTIES OF MERCHANTABILITY

AND FITNESS FOR ANY PARTICULAR PURPOSE, ARE HEREBY EXCLUDED. UPON EXPIRATION OF THE

APPLICABLE EXPRESSED WARRANTY PERIOD (1 YEAR), LINE 6 SHALL HAVE NO FURTHER WARRANTY

OBLIGATION OF ANY KIND, EXPRESSED OR IMPLIED. LINE 6 SHALL IN NO EVENT BE OBLIGATED FOR

ANY INCIDENTAL OR CONSEQUENTIAL DAMAGES THAT MAY RESULT FROM ANY DEFECT OR

WARRANTY CLAIM, EXPRESSED OR IMPLIED. Some states do not allow the exclusion or limitation of

incidental or consequential damages or limitation on how long implied warranties last, so some of the above

limitation or exclusion may not apply to you. This warranty gives you specific legal rights, and you may also have

other rights which vary from state to state. This warranty only applies to products sold and used in the United

States of America.

LINE 6 shall not be liable for damages or loss resulting from the negligent or intentional acts of the shipper or his

contract affiliates. You should contact the shipper for proper claims procedures in the event of damage or loss

resulting from shipment.

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