I will report back. I've heard his recorded clips of the thing, which sound awesome, but have not heard it in person or played through it yet. We'll see how this goes.

I am doomthudbassing today.

My interest in the snaxfx has moastly waned to zero of late. If they were half or less what they cost, i would be interested in them more. A lot more. But, as much as it sounds like some corksniffy tubedork, i have really come to realize that i can hear the snaxfx-ness of just about everything that i have heard recorded with them. I think that i probably get too much enjoyment from fighting(or playing along with) my real live inconsistent tubesounds too much to ever use the thing as much more than a stopgap demo making tool(i.e. glorified Pod) or an FX processor(and i don't really use that kind of shit that much either).

I am curious as to what you find though. I like the idea that they keep on updating and adding new toys to it, for sure. As a concept, for the financially stable, it is a neat one, IMO.

Line 6 has their new HDs out now.

They seem interesting.

FWIW, most of the "comparisons" were done by guys who had already dropped a couple grand on their Snax, and defended it's toaneyness to the death. Something tells me they may be a bit biased in their effort to make one sound betrar then the other.


I would most likely use the Snax similarly to how would use the M9.

Gimme your delays, your reverbs your modulations, but leave the amp/dirt sims at home.

Snax FX (as in, the FX from a Snax FX) -> Nice amp = awesome IMO. But, for the money you are spending it seems a little, exorbitant. For the price of a Snax FX, you could get a healthy collection of FXual pedals.

Truth is though, I will most likely never know. Far too pricey for my tastes.

For what i use for fx, i don't even think i would be able to make much use of the snax.

I am kind of oddly lo-fi/simplistic for fx stuff. Boosts, distortions, tube spring reverb units, simple tremolo circuits, and ideally, a tape echo. That is all i have the desire for. I like shit that responds semi-unexpectedly to various input. I like the slightly random give and take of analog means.

I used to be rather minimalist with my FX.

Shit, not counting the Ibby CF-7 I bought on teh cheaps from tor, all I have in my chain is a LPB-2 clone into a Big Muff clone. However, I am writing stuff where I am like, "Hrmm a delay would sound cool here." So, I plug into my AD30VT and mess with the delay (it has a tap tempo, which IMO was a rather smart feature for a set of built-in fx) a bit and like what I hear.

BUT (like, big ol black booty butt), there is only one knob to control any of the fx. So, while I can cop a pretty decent delayed noise, it is usually far off from my "ideal" sound.



Though, I am finding myself to be a bit more on the digital side of things these days. Chances are, I will move back to more analog FX in the future, budget permitting. But for the time being, digital fx just give me so much band for my buck.

Though I do like digi-delays.

They're intriguing devices for sure but for my needs all I require are dirt pedals and an amp turned up too loud.

In my brief experience playing on the thing, it responds, at least for how he set the thing, like a real map and not a Pod. My immediate reaction upon first jamming on it- wanting to listen to its faults- was "modeler fizz, still, everything else is cool though". Then I rolled down the volume on the guitar- an EMG-85 loaded custom shop Gibson Explorer- and that disappeared and I remembered "wow, he runs waaaaaaaayy more gain than I'd ever use for anything ever, that's just high gain fizz". And then ripped some metal and was suitably impressed. For those, I wouldn't kick the thing out of bed. As good as anything else, better than most.

I'm not sold on the thing at all, really, for anything I'd use it for, as all the patches I've been through are ubergain or superclean + awesome effects. The effects are pretty snazzy though, at least for ambient trippyshit. Very clean and pristine sounding. My general preference is for something a bit grittier, and there's stuff on my board (Geiger Counter, Mothership) that does things the can't- or anything else can't- do. The delay that sounds like it's coming from fucking behind you or off to the side is sweet as fuck though. The violin patch played with an Ebow?

-FX, Crybaby rack wah, 2:90, Recto 4x12 is a legit rig though. It sounds and feels like a real map. And is one of the best high gain tones I've heard in person. I have heard said player- who generally sounds pretty fantastic- on several Dual Recs, a Rectoverb (he bought the one I wanted but got a Mark IV instead), Triaxis, Studio Pre, Stiletto, Engl, Diezel, Mark V, Randall modular setup and Marshall JVM. I prefer the for his toan.

Probably not for me. Need moar nastiness, methinks, but for slicker toans it... does what it says on the tin. I'm pretty shocked, actually.

I think it comes down to if you're someone who is forever tweaking shit or not. I used to be bad for that, swapping preamp tubes every song at rehearsal to find the ubertone and everyone else looked at me like i was wrong in the head. I just turn on and riff out these days - I just wouldnt have the energy to sit and dial a snax in and I guess with all the million of options its going to be easy to make one sound bad.

I recently turned one of my friends on to the g-major for adding a little bit of magic to his tone and he loves that. Works well with the VH100R.

This is totally That Guy. Chris from my band and I have been pushing the upon him for a longass time. He loves the thing and is... forever tweaking it. Perfect.

Myself, I could give a rat's ass.



I want one sound. If I want to change it, I alternately plug in a Strat/Tele/LPish-thing. Roll back the volume to clean up, not that it's superdistorted to begin with. Slam it with pedals- which I enjoy tweaking, but prefer knobs to menus- to make fuck'd-up noise.

It's a cool-ass effects box though.

This is pretty much me. I will say I ;ove 2 channels. One very clean that will stay that way and one that starts kinda Honky Tonk Women dirty with the volume pegged on the guitar, This way I can roll back volume for a bit of clean without ultra clean and hit some pedals for teh dirt. But tjen, I am in a few cover bands so this is out of necessity for variable tones. I'm sure a Snax would be great for cover band shit, I just am not into the programming my guitar tones anymore.

There is a Snax for sale on Craigslist here for $1800.