NancyJohnson

Broken arm/collarbone aside, guitarist/producer still throwing stuff out there:

Gibson have made a statement: “The Firebird X destruction video was an isolated batch of Firebird X models built in 2009-2011 which were unsalvageable and damaged with unsafe components. This isolated group of Firebird X models were unable to be donated for any purpose and were destroyed accordingly.” If the components were unsafe, what about the components in the ones that suckers people actually shelled out $3K for?

Did anyone see this? I know the Firebird X was a bit of a munter, but couldn't these instruments have been distributed to good causes or stripped and retooled? I've no idea how old the footage is, but it does seem horribly wasteful. Even the pickups (Gibson mini-humbuckers) are the same as the ones in regular Firebirds. Maybe it's a way of giving ol' Henry's legacy the finger, but like I said, Gibson just get weirder and weirder.

Back in the day (damn, I hate that expression!) or when all this was fields, weren't Carvin guitars kit built things? Also seem to remember Schecter being the same.

I'll admit we borrowed from Public Service Broadcasting on a sampling level, but musically we're totally different. Umm, the process? We don't write in the construct of a regular band; the guitarist just records and records constantly, I'll pop over to his home studio without the slightest idea of what he's done, he'll loop sections of music of which I'll track bass against on the fly and all the while he's recording everything. We'll cut and paste my content and then I'll rerecord. I'll do a four or five hour session, then go home. A few days later a rough arrangement will arrive. I'll go his studio the following week, we'll fix the recordings of the previous week and then record more. And repeat. At this point it's just guitar/bass/drums (some live, some MIDI, some live loops) and maybe some keyboards. At this juncture, we just start arseing around; guitarist has terrabytes of samples, noises etc. which we'll just start dropping in to complete the music. Once we have this, we decide the subjectmatter, locate voice samples and just drop them in. It's really easier than it actually sounds. On Jonestown, that's actually Jim Jones talking, just prior to giving the instruction to his followers to drink the flavour-aid. It's harrowing.

You're very kind!

I have nothing to really add to the map you've posted. If that's us, then good company. We're definitely called Lutz - we only chose it because we couldn't find anyone else with the same name at the time. There's another (very recent) thread elsewhere on these hallowed boards covering the newer stuff we're in the process of unleashing - there's a Soundcloud link to a new track called Jonestown. We're very close to finishing album/collection #2, but our producer/guitarist broke his left shoulder and upper arm in a motorbike vs. car accident two days ago, so things will stall for a few weeks unless I pick up guitar duties in post.

Please, nobody mention shims.

My mate will be at the Opera House on Friday night with The Members.

Lutz are good. We They have an album on Spotify/Apple, called Nowherebound.

I've never seen anyone put an extension on top of a combo. No reason not to, I suppose...

Just back from the guitarist's house. Said he was moving past stationary traffic on his motorbike and a woman just pulled out of her drive, through a gap in the traffic and hit him full on his left side. He was only about a half mile from home too. He's feeling very fed up, understandably. He hasn't had a poop yet either.

Thing is, most of us have seen said photos many times before...

I've lost count of the different combinations I've gone through and I concur with the OP that Ashdown stuff (irrespective of its reliability and general robustness) weighs a ton. When I had my Hartke deal, I just loved the combination of a 1x15 and a 2x10...it was pretty effortless to get what I wanted out of it, but after winning Alex's Barefaced Big One prototype at the SE Bash (which is a 15/6), I doubt I'd ever want to go back to multiple cabinets or different combinations.

Amazingly, it's just in a sling.

Well, at least he's alive. Left arm broken in two places between his shoulder and elbow, plus he's left handed. He texted me about half hour ago, explaining that while it was hurty and he'd only got three hours kip, his main concern was how he was going to wipe his bottom after a poop.

Rather than everyone posting photos, Bertie old boy, can you remember what you were watching? Channel etc.

Oh, damn. Lutz on hold for a bit. Pete James, our erstwhile guitarist and producer, proved last night that when cars pull out in front of motorbikes, it's always the biker that comes off worse. Ouch.

Where did you hear about this, Trevor?

The bass was a lot more forward in the mix before this one and I actually asked for it to come down. The bit that's at about the 30 second mark (which is very Rush-ish, and repeated elsewhere) could do with being a little louder, but otherwise I'm pretty happy overall. The rest of the new stuff is on par with this track and just general weirdness...we have something called Borodino that should be finished midweek that's best described as polka-metal-electronica.

Thank you! Cheque is in the post. If you pop over to Spotify (or similar) the first first collection has been up for abouteight months. Search on Lutz - Nowherebound.

For about the last six months the new band have been embarking on recording sessions; it's been as weird and experimental as previously...four or five hours a week at times, I'd go in and just record bits, 4 bars of something, another 4 in a different time signature and repeat. Wholly at the behest of the producer/guitarist, no idea what the end product will sound like, I'd wait for him to produce something. A few days later he'd circulate MP3s. So here we are. Jonestown. Link below. I don't actually know who I'm channelling; there's some Geddy in there, for sure. A bit of Stuart Hill. A bit of Le Tigre, NIN. Vocals have been an issue as the singer is flying globally with the new job, so difficult to tie him down. Ahead of whatever qualifies as a release we've circulated this track to radio, BBC Introducing and various music press people. Our singer got this back from a music journalist he sent it to: So anyway, this is where we start:

Just weighing in here. Price and legacy aside, how would John Cruz go about building 60 of these? Building 60 of anything is hard work and monotonous; just think about putting together 60 Billy bookcases. I put seven together once and I was actually thinking suicide would be a better option at one point. Does ol' Cruzy just pop down to the the neck and body blank area in the Fender warehouse, bolt everything together and burn in the custom shop logo on the reverse of the headstock OR does he have a team doing the work for which he takes the credit OR does he in fact build everything from freshly hewn timbers?