Details: DISTORTION BOXES
6•3
Compression is often expressed in ratios, like 2:1 or 5:1. The higher the ratio, the less
difference there is between your softest and loudest playing. The AX2 compression
ratios are:
1 = 1.4:1 2 = 2:1 3 = 3:1 4 = 6:1 5 = *:1
*That figure eight on its side is the infinity sign, meaning an infinite amount of compression,
which is basically the same thing as a limiter.
DISTORTION BOXES
The same TubeTone technology that made the AX2 Amp Models was used to create
emulations of popular distortion/overdrive pedals for your AX2. The choices available
are listed in the second one of the Option Lists ( ) at the right side of the AX2
panel, and the Distortion Box is controlled from the COMP/PEDALS Edit Row (third
from the top).
In order to use the distortion boxes, you’ll need to be sure the Distortion Box On/Off
setting on the FX ON/OFF Edit Row (that’s the one just above the MAIN Row) is set
to On. If you adjust the Distortion Box setting while the Distortion box is turned off,
the Distortion Box will automatically be turned on for you, since, obviously, you want
to use it. You can also kick distortion on and off from the Floor Board foot controller.
Four different distortion/overdrive pedals were modeled for the AX2:
1, 2, 3: OVERDRIVE
The Bright, Medium, and Dark Overdrive effects model the sounds of a vintage Ibanez
Tube Screamer. This is a great effect to add in front of a fairly clean amp model to push
it just over the edge. More extreme settings will give more dramatic results. As with all
the distortion/overdrive options, the three flavors of Overdrive come in ten different
tone variations, from 0 = mellowest to 9 = most aggressive. Press the COMP/PEDALS
Edit Row select button to get the red arrow lit for this row (the third one down from
the top). Turn the Control Knob under the Distortion Box setting, and you’ll see you
get a choice of 1.0 to 1.9, 2.0 to 2.9, and so on. 1.0 would be the mellowest Bright
Overdrive setting, and 2.9 would be the most aggressive Medium Overdrive setting.
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