ilovefuzz.com

samzadgan wrote:

AngryGoldfish wrote:Sweet! Thanks, lads. Might finally be able to shift the Matamp. If I lived in Dublin I would have sold it a thousand times over.

Did you put an add on fretboard? I think there was a guy looking for a matamp 2x12

Shipping it to the UK will be too costly. If he wants to pay the shipping, that's cool, but it's probably going to be £50. The cabinet is already a steal, though, at £200, so maybe it's worth a shot. I couldn't find enough packaging material to make my own box that would be secure. I asked me maaa to have a look tomorrow on her way home from town in any of the furniture stores or maybe B&Q. They might have some excess cardboard they can spare.

Actually, looking at the prices of an Orange 2x12 on Fretboard (£290), my cabinet is wellllll below the normal price. But that's the Irish market for you. I have it listed for LOWER than that, even, and yet no one is willing to drive across the country to bag a bargain.

Yes royalties in engineering, mixing and producing are lame. It is really hard to even break even as a band going DIY or even on an independent label. We paid over $3200 to get our vinyl pressed with 3 colors not counting recording cost. We aren't in this to make money, but it is nice not to go broke.

get 4 of the bigest boxes you can
cut down 3 sides in corner
itl just leave one corner intact
take those 4 corners and place on 212
now youul see how much wall your gonna need
i try and use the natural creases of the boxes
i just shipped an amp and had to frankshteen a box
i bought this stuff called strapping tape
its fiber reinforced
if you piece a box together tape the shit out of it with regular tape
then go around with the strapping tape and your golden
just dont try to fold where there isnt already a fold
ends up being a nighmare

AngryGoldfish wrote:

samzadgan wrote:

AngryGoldfish wrote:Sweet! Thanks, lads. Might finally be able to shift the Matamp. If I lived in Dublin I would have sold it a thousand times over.

Did you put an add on fretboard? I think there was a guy looking for a matamp 2x12

Shipping it to the UK will be too costly. If he wants to pay the shipping, that's cool, but it's probably going to be £50. The cabinet is already a steal, though, at £200, so maybe it's worth a shot. I couldn't find enough packaging material to make my own box that would be secure. I asked me maaa to have a look tomorrow on her way home from town in any of the furniture stores or maybe B&Q. They might have some excess cardboard they can spare.

Actually, looking at the prices of an Orange 2x12 on Fretboard (£290), my cabinet is wellllll below the normal price. But that's the Irish market for you. I have it listed for LOWER than that, even, and yet no one is willing to drive across the country to bag a bargain.

I just found the guys WTB add...he wants a 1x12...i thought he wanted a 2x12.

Ill tag you in the ad, and you can float the idea, you never know he may go for it.

For that price i probably would have bought it from you!

KaosCill8r wrote:I'm the same way when it comes to recording mixing. I will even work for weed and beer. I learned all about the different royalty categories and music copyright law when I did a music Diploma course. I don't think its right to take money after you have already been paid for the sessions. And producer contracts are even more of a scam I think. I don't give a fuck if you're George Fucking Martin. I wouldn't sign one.

I take the same opinion about the whole engineering vs producing thing as Steve Albini does. It's about the only philosophy of recording I agree with from him (really like and respect his work though), but most "producing" is pure nonsense horseshit. I already came to that conclusion the last time I paid a "producer" in the studio, before I even started recording other bands seriously. If I'm engineering an album it's already my job to be a collaborator and help translate the band's creative goals to a practical reality. I wouldn't want to work with a band that has no clue what they want anything to sound like and is looking to me to come up with a sound for them. I only really have the luxury to pick who I want to work with because I don't record full time, but it's nice being able to work with bands that have a strong, decisive sense of taste about what they want. I'd even rather work with that and a style I don't like than a style I love and a bunch of indecisive duds with no passionate opinions.

HEY YOU GUYS I FIGURED OUT SOMETHING IMPORTANT.


















I DISCOVERED THE CURE FOR GEAR ACQUISITION SYNDROME.


























IT'S POVERTY.





















EXTREME POVERTY.





















FML.

BUT WE'RE SO HOT RIGHT NOW

I have no words. ??

samzadgan wrote:
Hey Pope...what guitar are you playing now? did you sell the iceman?

Still have my IC400 with Duncans (distortion in the bridge, jazz in the neck).
Had to sell my old school IC350.

Dan: I second everyone's notion of making a Frankenstein box. They work, just get liberal with the packing tape.

Christian: I'm guessing between the piss and vinegar there's a story.
I hope you guys didn't get ripped off or anything.

Also, I've quit fucking around and I emailed Sergio.
Gonna see what's up with that Black Skull Acid Wiz.

Aaaaaaaaaaaaand he just sold it before I emailed him.
Ah well, I'll just wait for Nick to drop those new one knobbers to get my fuzz face fix.

christianatl wrote:BUT WE'RE SO HOT RIGHT NOW

It's time to release your concept album, that is the next step.

Iommic Pope wrote:Aaaaaaaaaaaaand he just sold it before I emailed him.
Ah well, I'll just wait for Nick to drop those new one knobbers to get my fuzz face fix.

If it's any consolation, it'll just be across the ditch...