This driver is able to be used for the AX-Synth Shoulder Synthesizer, too. This is the AX-Synth Editor for Microsoft(R) Windows(R) XP and Microsoft(R).

Nba 2k14 2015 draft class. Fractal Audio's Axe‑FX is the guitar processor with '80s looks and 21st‑century power! This is the first product I've tried from Fractal Audio Systems, and it's one of a pair of guitar amp and effect simulators built by the company. The Axe‑FX Ultra and standard Axe‑FX are similar but the former, reviewed here, has a faster processor and more memory, which equates to the ability to run more effect models at the same time. The Ultra also includes additional effect algorithms, enabling it to create more abstract guitar sounds, including an arpeggiator, synth effects, vocoder, looper, multi‑band compressor, ring modulator, quad chorus, diffuser, resonators, crossovers, and more sophisticated delay and pitch‑based effects. My first impression is that if the designers of the Lexicon PCM80, Peavey's ReValver and the Line 6 Pod X3 got together with no budget restrictions, this is somewhere close to what they'd come up with.

Like the standard version, the Axe‑FX Ultra is packaged in a 2U steel case and is powered directly from the mains. Its black front‑panel design is somewhat utilitarian, but the rear view reveals a comprehensive range of I/O options to meet both stage and studio requirements. There's a reasonably large display window, which shows both values and graphical control panels, and navigation is accomplished by the now familiar matrix of dedicated buttons, cursor and page buttons and a data wheel.

Power amp, microphone and cabinet simulations may be enabled or disabled on a per‑patch basis, so the user can set up some patches for live performance and others for studio use. The Axe‑FX's cabinet emulations are based on Impulse Responses, or IRs, taken from real speaker and mic setups, a technique that generally produces very accurate results, and Fractal Audio say that their tube amp algorithms model aspects of the original circuit down to the component level, reproducing the dynamic way in which the frequency response of the amp being modelled varies under playing conditions. Power‑amp damping, rectifier sag and transformer characteristics are all modelled and can be adjusted by the user. They've gone into this level of detail for over 50 amplifier types teamed with 39 speakers, 10 microphone types and a host of stomp‑boxes and rack effects. However, the designers also point out that many of their modelled effect devices are designed for optimum playability rather than as copies of specific devices — some users will view this as an improvement, while others may feel differently! There are also sophisticated features such as intelligent harmony generation and the ability to swap tone stacks between amp models. Fractal Audio Systems are also keen to point out that they take the technical sound quality of the unit very seriously.

They use 24‑bit Cirrus Logic converters, and their analogue front-end and output‑stage circuitry employs no electrolytic capacitors in the signal path. Analog Devices op‑amps are used in the analogue sections and a noise floor of better than ‑105 dB is quoted. The maximum analogue output level from the unit is around +18 dBu. The Axe‑FX Ultra's dual‑core floating‑point processor gives the unit enough power to run two different rigs at the same time, as some software plug‑ins now also allow, and is claimed to have enough horsepower to give some of today's desktop computers a run for their money. The process of editing Axe‑FX patches will be familiar to anyone who's used a typical rackmount effects unit.