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Golden Smoghead

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About Golden Smoghead

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    Grasshopper Greensnake
  • Birthday 12/31/1978

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    People's Republic of Maryland

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  1. Having done this many times, I'd just advise to try to sing the vocals as clean as possible. I usually change SOMETHING in the vocals when I am performing live -- which I think is a good thing for shows -- but those really annoy me later on with these projects. Alternate concept: I'm just not a great singer and can never make a great-sounding vocal take live.
  2. Huh. I had no idea that is how that sound is produced, thanks for spelling it out.
  3. Oh come on. You don't know a song that has D / A / G? That's literally all it takes to try out the five-string capo at the second fret. The only, only thing different is strum the bottom string when you play the D. I promise, that is exactly the only thing you have to do different ... but it might get you hearing slightly different. This is why I started the thread, because some of the ideas in here don't sound too hard but get me thinking. (and i do think of this as basically the songwriting / gear forum on the site) Like I've never messed with harmonics other than tuning, but Moss
  4. I like the entry you got! (OK so just another vote that you seem like a good dude doing good things and keep it up.)
  5. A long time ago I was watching a video of Guy Clark playing and saw him use a capo for just five strings. I just copied him, thought it was cool and didn't think much about it. But then in a music store a few weeks ago I was doing this and the instructors there all gathered around to think about it. I was a little surprised, so I am wondering if you guys do anything you thought everyone knows about, but you've gotten questions on. The technique I assumed everyone knows about: It only works with those alligator-clip type of capos, you basically would capo five of the strings at the secon
  6. FWIW, I strongly prefer "bluegrass gauge" strings when I can get them for my acoustics. I seldom strum the top strings (will strum middle or bass sets) so I like how they ring out (sharper with less sustain) when I reach for them with the lighter gauge up there. Also I like having more sustain on the lower strings, especially the E and D strings end up having to hold down roots while I noodle around sometimes. I DO think that different body types / tonewoods / whatever do sound better with different string-types though. So for me I have owned some cheaper guitars that sounded like total g
  7. Just in case folks aren't on their mailing list... There's a presale on for some May and June dates if you join. I will be catching them the Monday after Bonnaroo (in Columbia, MD).
  8. Thanks for those links, very helpful. I didn't realize the M1A was active (duh from the name) hence the confusing DI question. So yeah sounds like you could run the same setup on the post-pre-amp DI since it's just for color. On that note, I am not super-impressed with the Fishman Aura in my Martin as far as sound-shaping goes. I know all electronics are going to sound fake to a degree, but the Aura is just unsatisfactory to my ears, even with all those settings to mess with. I have been wondering if it might be because the Aura is linked into the piezo (and it's really piezos I don't li
  9. Thanks for the tips, man. I don't play solo very often these days, for that part of the question. I play a Marting D-18 with on-board Fishman Aura pickups (where you can blend Aura with piezo) for the most part. However, my second acoustic guitar is a currently-uninmic'ed Seagull which I like a lot. I'm thinking about playing it as my second guitar and installing the Baggs you mentioned. Mostly with it tuned DADGBD, for about four speciality songs I have in that tuning. So I guess what I'm looking for is mostly what you mentioned / what I saw on your soundboard (xciter / how many lines
  10. I'm currently in the final stages of refurbishing (gently) my granddad's 1961 Les Paul (really an SG body type). Had to re-wind one of the humbucker coils and a few other bits of this and that, will re-post when I get some pics ready. I find the toughest thing for me when it comes to gear is really more on the acoustic-guitar side of things. I go back and forth in shows (probably 3/4 electric, 1/4 acoustic) and I always find that my acoustic gear is just so shit-tacular as to sound much worse by comparison. Do you guys have any tips for what are sort of must-have electronics to use for ro
  11. Another vote in favor of this album. I disliked a lot of their previous work, this is very solid to my ears. I think because it's more consistently roots-based. Their old stuff sounded very indie-rock -based and that wasn't a good thing to me.
  12. I'm with those who say "better than their last and let's hope they keep with this trajectory."
  13. I just wanted to go back and visit a topic from a couple pages ago. Coming to Bruce relatively late in his cycle (after 9/11, in my 20s), I actually found BITUSA a lot better than you guys give credit. I had heard the tracks a few times as a kid but thought the song BITUSA was some kind of jingoistic deal and didn't care much for Dancin' in the Dark, so I was surprised by how good that album is overall. I also find Nebraska a bit boring. I know that's sacrilege, but face-to-face, I'd rather listen to Devils & Dust any day of the week. Dunno, different strokes for different folks, b
  14. This is a great track, thanks for pointing it out!
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