WT SUPREME – Fractal Tone Match Presets (Axe-FX III, FM9)


Fractal Axe-FX III and FM9 preset featuring our Matchless Chieftain and Vox AC30/6 amplifiers in stereo. For this preset, we’ve tone matched Axe-FX to the actual amplifiers, resulting in a patch that sounds almost exactly like the amps. Includes scenes to for instant sounds and custom per-preset mapping and overrides for use with the Fractal FC-12. This preset is also perfect for running a stereo board into it.



  1. UPDATE YOUR FIRMWARE: Please upgrade the firmware on your Axe-FX III. and make sure to use the latest version of Axe-Edit III before installing this preset. If your firmware is not up to date, this preset may not load.
  2. FC FUNCTIONALITY BUILT IN: This preset was built to work with the Fractal FC-12 and an external expression pedal plugged into the ‘Pedal 1’ input. See the Per-Preset overrides and FC assignments below.
  3. CYGNUS & CNFB UPDATES: We have updated the amp block for the Cygnus and CNFB firmware updates. You’ll need to be running at least firmware 19.06 for this preset.
  4. TONE MATCH PRESET: This is a “Tone Match” preset, meaning we used the Tone Match feature to ‘profile/capture’ an actual amp. There are special instructions in the Import section about how to import the Tone Match file(s).


  1. WT SUPREME TM (SC)– this preset is voiced for single coils and low-output humbuckers
  2. WT SUPREME TM (HB) – this preset is voiced for more traditional humbuckers

Both presets are the same except for the amp, EQ, and control switch settings. See the ‘Control Switch’ section below for more info.


  1. Connect your Axe-FX to your computer using a USB Cable
  2. Download and instal the ‘Axe-Edit III’ app from Fractal
  3. IMPORT THE PRESETS: In the ‘Axe-Edit III’ app, select ‘Tools’ and ‘Manage Presets’. Drag and drop the folder of presets (or the individual presets) into the browser area, and save them to an open preset slot
  4. IMPORT THE USER CAB(S): In the ‘Axe-Edit III’ app, select ‘Tools’ and ‘Manage Cabs’. Drag and drop the folder of user cabs (or the individual cabs) into the browser area, and save them to an open cab slot
  5. ALTERNATIVE – IMPORT THE BUNDLES: You can also import the preset and cab bundles, which are located in a separate folder with the download. To do this, you must select ‘Preset’ -> ‘Import Preset’  in the Axe-EDIT III app. Then choose the Preset+Cab bundle and import it. You will be asked to select a preset and cabinet slot. NOTE: You do not need to import the same user cabinets twice – just make sure they are mapped correctly in the preset.


After you import the presets and user cabs (these are the tone match cabs), you’ll need to make sure they are assigned correctly in the ‘Cab’ block. This does not happen automatically, so you will need to manually assign the cabs.

  1. Navigate the to Cab block in Axe-EDIT III
  2. In Channel A, assign the following cabs to the correct slots:
    1. Cab 1L: WT AC30 TB Br TM
    2. Cab 2R: WT Chief TM


For this preset, we tone-matched the both Chiefman and A30 TB amp models in the Axe-FX to our Matchless Chieftain and Korg-era Vox AC30/6 Top Boost amps using the Tone Match feature. The Tone Match User Cab files completely transform the sound of the Fractal Amp models – They sound exactly like our Chieftain and AC30.

We chose these two amps because they are our favorite amps to run in stereo with a pedalboard. We’ve also configured the effects to closely mimic Brian’s stereo pedalboard.


  1. Input 1 (the Input Noise Gate is turned off to save CPU).
  2. Compressor 1
    1. Channel A: JFET Compressor (1176 Style Comp): set to be somewhat transparent, general use comp.
    2. Channel B: Studio FF Compressor 1: set to be somewhat transparent, general use comp.
    3. Channel C: Dynamicomp (Dynacomp): Lots of compression and squish.
    4. Channels D: Optical Compressor (LA-2A style)
  3. Drive 1  – First Stage OD
    1. Channel A: Tone of Kings – KOT (Yellow side)
    2. Channel B: SSD Preamp
    3. Channel C: FET Boost (set up to mimic a Klon)
    4. Channel D: Timothy Up
  4. Drive 2 – Second Stage OD
    1. Channel A: Maxoff 808
    2. Channel B: Eternal Love – Lovepedal Eternity
    3. Channel C: Bender Fuzz – Dialed in to sound like Brian’s Basic Audio Scarab Deluxe Fuzz
    4. Channel D: Shimmer Drive
  5. Vol/Pan 1
    1. NOTE: The ‘Volume’ parameter is NOT MAPPED. You’ll need to map this parameter to an expression pedal if you’d like to use the volume block
  6. Chorus 1
    1. Channel A : Stereo Tri-Chorus
    2. Channel B: Dimension 1
    3. Channel C: Japan CE-2
    4. Channel D: Analog Stereo
  7. Delay 1:  (Quarter and 8th note delays)
    1. Channel A: Stereo Tape  (1/8 delay) 
    2. Channel B: Analog Stereo (1/8 delay)
    3. Channel C: Stereo Tape  (1/4 delay)
    4. Channel D: Analog Stereo (1/4)
  8. Delay 2: (All dotted eighth note delays)
    1. Channel A: Deluxe Mind Guy
    2. Channel B: Stereo Tape
    3. Channel C: Vintage Digital
    4. Channel D: Stereo BBD
  9. Delay 3: (All dual stereo delays)
    1. Channel A: Deluxe Mind Guy (1/8 and Dotted 8th in stereo)
    2. Channel B: Stereo Tape (Dotted 8th and Quater in stereo)
    3. Channel C: Stereo BBD (Quater and Quater Triplet in stereo)
    4. Channel D: Vintage Digital (Quater and Dotted 8th – huge washy delay for swells)
  10. PanTrm 1
    1. Channel A : Tremolo (basic tremolo)
    2. Channel B: Harmonic Trem
    3. Channel C: Bias Trem – Bradford’s ramping trem settings (based on LFO1a) 
    4. Channel D: Tremolo (1/16 note sync – set for a choppy trem sound)
  11. Pitch 1
    1. Channel A: Dual Detune Delay – Classic 80’s Eventide MicroPitch
    2. Channel B: Dual Chromatic (POG type effect, subtle)
    3. Channel C: Dual Chromatic (POG, more pronounced)
    4. Channel D: Dual Detune Delay – This mimics the MicroPitch with a very ambient modulated delay – sounds more like reverb
  12. Reverb 1: (‘Normal’ verbs)
    1. Channel A: London Plate
    2. Channel B: Recording Studio C
    3. Channel C: Large Hall
    4. Channel D: Medium Plate
  13. Reverb 2: (Big ambient verbs)
    1. Channel A: Ice Castle
    2. Channel B: Deep Space (set up to sound like Eventide BlackHole)
    3. Channel C: Cirrocumulus
    4. Channel D: Nimbostratus (with shimmer)
  14. Amp 1:
    1. Channel A: Class-A 30W TB (only channel A is set up)
  15. Amp 2:
    1. Channel A: Matchbox Chiefman (only channel A is set up)
  16. Cab 1:
    1. Only channel A is set up:
      1. Cab 1 L: WT AC30 TB Br TM (Tone Match User Cab)
      2. Cab 2 R: WT Chief TM (Tone Match User Cab
  17. Volume 2:
    1. Channel A: 1.6 dB volume boost – used in lead snapshots.
  18. OUT


The following scenes are set up for instant access to various tones:

  • Scene 1: CLEAN. Basic clean tone with verb and quarter delay
  • Scene 2: DRIVE. Light Drive (Drive 1A)
  • Scene 3: DRIVE+. Med Drive (Drive A, Control Switch 1)
  • Scene 4: P&W LEAD. Big lead tone with delay and reverb
  • Scene 5: AMBI CLEAN. Clean tone with stereo delay (1/4 + 1/8d) and big reverb.
  • Scene 6: 80’s CLEAN. Clean tone with chorus
  • Scene 7: 80’s DIRT. Rhythm tone with MicroPitch
  • Scene 8: SWELLS. Big ambient tones



All the wet effects (reverbs and delays) are positioned in front of the amplifiers in this patch. This recreates the experience of using a stereo pedalboard into stereo amps. The character of the reverbs and delays is greatly affected by the amps themselves. This is also why there is no ‘amp gain’ functionality in this patch.


Everything after the volume block is in stereo. If you are running mono, you’ll need to sum your signal to mono before going to FOH (if you only use the Left output, won’t hear some of the delays at all).

The easiest way to make this adjustment is in the ‘Setup’ menu:

  • Choose ‘Setup’, and select ‘I/O’
  • In OUTPUT 1 CONFIGURATION (choose the physical output you are using), change the ‘Mode’. Select ‘STEREO’ if you are running in stereo. Select ‘’SUM L+R’ if you are running mono. This will convert your output to mono and sum the stereo image. This will also cause all your presets to output in mono, as it is a global setting.


For almost all blocks, we’ve set up multiple channels to give you different options for any given effect. Feel free to experiment and find the sounds you like best. However, not all blocks have all four channels set up – some have just couple, and some only one. See the Signal Flow section above to see what is set up in what channel for any given block.


All drive blocks increase in gain as you go up, so Drive 1 is lower gain than Drive 2, etc. Within each drive block, all four channels are set up to give you different flavors of the same gain structure The main drives we like with this patch are Drive 1A, Drive 2A, Drive 2B, and Drive 2 C. Every guitar reacts differently with drives (and amps), so it’s good to have options. We’ve chosen our personal favorites within each block and left them in Channel A, but feel free to experiment with your setup to find what you like best.


We’ve used all four channels of three delay blocks (that’s 12 different delays!) . Each delay block runs in parallel with the others so the delays don’t run into each other. 

Delay blocks are separated into different delay times. For example, Delay 1 is all quarter or 1/8th note delays. Delay 2 is all dotted 8th noted delays, and Delay 3 is all stereo dual delays. Delay three is a bit different because each channel will give you different rhythmic delays, and Channel D is set to give you a huge wash for swells.

The delays run between the amp and cab to simulate an effects loop in an amp. This means the cabinet will filter the tone of the delays, making them a bit less clean/pristine (we prefer the way they sound this way). Feel free to move them all after the cab (but before the verbs) to experience them in a different way.


We’ve set up reverbs the same way as delays – each reverb block contains four versions of the same type of reverb (normal and big).

Reverb blocks 1 and 2 give you ‘normal’ and ambient reverbs respectively.


This preset integrates with the Fractal FC-12. We’ve set up Per-Preset overrides for both effects and scenes, and we’ve mapped them to Layouts 7 (Perform 1) and 8 (Perform 2).  If you have an FC-12, the following assignments should be plug-and-play. Layout 7 will be your scenes and Layout 8 will be individual effects, plus swells.


PP1: Scene 1 – Layout 7 Button 2

PP2: Scene 2 – Layout 7 Button 3

PP3: Scene 3 – Layout 7 Button 4

PP4: Scene 4 – Layout 7 Button 5

PP5: Scene 5 – Layout 7 Button  8

PP6: Scene 6 – Layout 7 Button 9

PP7: Scene 7 – Layout 7 Button 10

PP8: Scene 8 – Layout 7, Button 11

PP9: Drive 1 – Layout 8, Button 2

PP10: Drive 2a – Layout 8, Button 3

PP11: Delay 1 – Layout 8, Button 8

PP12: Delay 2 – Layout 8, Button 9

PP13: Delay 3 – Layout 8, Button 10

PP14: Reverb 1 – Layout 8, Button 5

PP15: Reverb 2: Layout 8, Button 6

PP16: TremPan 1 – Layout 8, Button 12

PP17: Chorus 1 – Layout 8, Button 11

PP18: Pitch 1 – Not assigned to a button

PP19: Drive 2b – Not assigned to a button

PP20: Drive 2c – Layout 8, Button 4

PP21: Tap Tempo/Tuner – Layouts 7  & 8, Button 1 (displays BPM for Tap, Press & hold for tuner)

PP22: Layout switch (layouts 7 and 8) – Layouts 7 & 8, Button 7

PP23: Preset Inc +1 – Layout 7, Button 12

PP24: Preset Dec -1 – Layout 7, Button 6


If you’d like to change any of these assignments (either the Per-Preset Assignments or the Overrides), you can do so in the ‘CONTROLLERS’ menu on the Axe FX III. Press ‘CONTROLLERS’ from the Home screen, then select ‘Per-Preset FC Settings’ and make changes.

If you would like to go back to your default settings for Layouts 7 and 8, you can reset the Overrides from the ‘Overrides’ menu in the ‘Per-Preset-FC Settings’ section.



All guitars are different, so you may want to make changes to suite your playing style and guitar. To adjust the preset for your guitars, the primary controls to adjust would be:

  • Input Drive (and/or Input Trim). If the clean sounds from this preset are too dirty, lower the input drive and/or trim. Do the opposite if you want more gain. This preset is meant to be on the edge of breakup at it’s cleanest settings (otherwise the drives won’t stack properly).
  • EQ settings (amp block – basic). Once the desired gain staging is set, the next adjustment would be the amp EQ settings.
  • Output EQ settings (amp block). The Graphic EQ on the amp block is a great way to make final EQ adjustments. We’ve set it to ‘Post P.A.’, which means the EQ settings will not be affected by the Power Amp section.


The Axe FX III offers very useful tools to check overall level of individual presets and blocks. In the Output block you can monitor the overall output level. You can also monitor levels of each block individually from the front screen of the Axe FX. 

We’ve set this preset up so that the loudest settings peak around 0db (or a bit above). If you’d like to adjust the level up or down (to match it with other presets), we recommend adjusting one of the following:

  • Level (amp block – basic). This will adjust the overall level of the preset up/down. Avoid using the ‘Master Volume’ control, as this will change the tone of the amp.
  • Level (cab block). This will also adjust the overall level of the preset up/down.


Version 1.0 – 2022-05-29


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