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Posts: 176
Location: Denver Colorado | Any comments about the G7th capo? They look interesting, but I haven't seen one for real to see how easy / effective it is to use.
Sally |
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January 2005
Posts: 167
Location: Waxahachie, Tx | First, their are few folks here that have this Capo and are very happy with it. I have one and it has done its job well. But, I ended up purchasing a Dunlop and a Paige. The Dunlop is the spring type you squeeze to engage it and it works great. But the Paige is just simple, small in profile, doesn't weigh much, unlike the G7th
(feels like a counter weight). The Paige style of capo is very traditional not as fast to use as the others but once it's on your good. The actual mechanism on the G7th is different kinda like a sprag clutch very cool, but you know some things are just good the way they were. Check one put in person if you can you will probably like it, i like mine it works, but it weighs a lot. |
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Posts: 4619
Location: SoCal | I got two in May, 2004...have used it for 6 and 12-strings, Martin, Ovation, and Adamas.
It has been used, not overused. With a double bass voice, usually just play the open chords.
For the 12-string, not really usable past the 7th fret. However, now that I have a couple mandolins (and not playing with others), I don't need to turn a 12-str into a "poor man's mando".
As I had a very early one, recently had a problem with it...the problem was identified on their website for specific early models. The company stood by their product and offered immediate replacement. However, my UK dealer (Paul T)told me to send it to him. In a flash, had it back. Great service. |
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Posts: 120
Location: UK - Canterbury Kent | I have one and it has been excellent.
Piers
1778LX
D28
Telecaster |
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February 2002
Posts: 5750
Location: Scotland | We sell tons of them, it's a very elegant design and works well. As Tony pointed out there were some problems with early production but they have that fixed. They've recently introduced a G7 specifically for 12 string as well as a non-cambered version. |
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November 2002
Posts: 1300
Location: Madison, Wisconsin | The G7 is a beautiful piece of equipment and I have one that I use once and a while but I prefer the Kyser due to it's simplicity and ease of use/one handed operation. I can also store the Kyser on the headstock when not in use. |
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Posts: 580
Location: NW NJ | I have a G7, a Kyser, and a Dunlop. What I like about the G7 besides its absolutely elegant design, is that you adjust how hard it bites the neck so if you use lighter strings you can make it tight enough to press the strings firmly against the fret without buzzing, but not so hard that you bend the strings out of tune. What I don't like about it is that, although I can physically place and remove it with one hand, the Kysers and Dunlops are easier to do that with, and consequently easier to move around to change keys once they are on the neck. Since I play with 11's on most of my acoustic guitars, the springs on some of the Kysers and Dunlops that I have are so tight that when I put them on, I occasionally get tuning issues, especially on the high strings. I can avoid that for the most part with the G7. Electrics, with even lighter strings benefit even more from the variable bite strength of the G7 (IMHO).
So which one do I use the most? The G7. I use a capo infrequently - usually if I don't have a chance to rekey tunes before I need to perform them, or if I sit in with another band that has music that needs to be capoed. |
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Posts: 140
| Maybe I'm missing something, but unless you have to use open strings, why have a capo? My teacher told me a long time ago that capos are crutches. |
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Posts: 15678
Location: SoCal | Tell you music teacher that he's a snob.
Sometimes I want those open strings, and sometimes, when playing with another guitar player, I just want to be playing on a different part of the neck from the other player.
There are lots of reasons for using a capo --- none of them bad and all of them good. If your teacher doesn't want to use one, then all the more power to him/her. But don't tell others that they are wrong.... hey, at least they are playing! |
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Posts: 5750
Location: Scotland | Absolutely. You should stay away from any teacher who makes such a small-minded statement. It's true that a capo can be considered a crutch for people who are too lazy or don't have the talent to learn a decent chord vocabulary, though that doesn't necessarily make them bad players. In the hands of a someone who truly understands their capabilites, a capo can be an invaluble and highly creative tool. |
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April 2006
Posts: 972
Location: PDX | Originally posted by moody, p.i.:
Tell you music teacher that he's a snob.
Hear here! I would add, let's see that teacher play "Here Come the Sun" at original key without a capo.
____
gh1 |
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May 2003
Posts: 4389
Location: Capital District, NY, USA Minor Outlying Islands | Absolutely, the G7 is a great capo. If you're on a budget, Shubb makes good capos too. Get one of both!
Capoing lets you play chords, that you couldn't otherwise play. I think your teacher miscommunicated, in that, at the beginning you want to become familiar with the fretboard, and then move on up to a capo. Otherwise he looks like a dimwit. |
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Posts: 398
Location: So. Cal. | let's see that teacher play "Here Come the Sun" at original key without a capo. [/QUOTE
While I am in complete agreement with using capo, you should hear John Williams (classical guitarist) play "Here Comes the Sun" on the George M. Beatles album "In My Life". According the notes, GM asked JW if he'd like to play the tune but noting it'd be difficult on a traditional nylon style guitar; JW replied, "No problem!" I love his interpretation and arrangement.
Learning how to play without a capo for the purpose of enriching your knowledge on the fretboard is great. Using the capo for different sounds and tonality is priceless. I have been using Shubb for over 20 years. I like the G7 but I don't own one. PT wouldn't give me one :( |
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Posts: 4903
Location: Phoenix AZ | 99% of all people who poo-poo the use of cappos, drive cars with automatic transmissions. Dave |
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December 2003
Posts: 13996
Location: Upper Left USA | The capo is a tool. So are fingers, plectrums, slides and tunings.
The only right way is the way you make it work at the moment.
And, over 87.4% of all statistics are made up! |
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Posts: 13996
Location: Upper Left USA | The capo is a tool. So are fingers, plectrums, slides and tunings.
The only right way is the way you make it work at the moment. |
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August 2005
Posts: 616
Location: cincinnati, ohio | You can count on one hand the number of songs James Taylor has written that DON'T use a capo; he's an avowed advocate of the capo, and I would say he's done pretty well! You can't get that JT sound without a capo. JT uses the Dunlop trigger capo; he used to use Kysers. I started using the Dunlop after I saw him using it, AND after I had the main spring break on two Kysers in about seven months. I've been using the same Dunlop now for three years and I love it. I tried the G7; it's nice, but it seemed a little clunky for my tastes, and not as quick as the Dunlop or Kyser. That was my experience, but it might not be yours. |
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April 2004
Posts: 13303
Location: Latitude 39.56819, Longitude -105.080066 | I have Schubb, G7, Kyser, and a Paige 12 string.
If I was playing live, I would probably go with the G7, hands down.
If I am messing around the studio, I generally reach for the Schubb and the Paige.
The Kyser is seldom if ever used. |
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February 2002
Posts: 5750
Location: Scotland | Originally posted by playadamas:
I like the G7 but I don't own one. PT wouldn't give me one :( OK Michael, you've shamed me into it. After the loan of the Bose system AND the book Viper for our NAMM booth, a free G7 is the least I can do.
If anyone going to the tour wants to try a G7 let me know and I'll bring some over. With no shipping, tax or import duty involved I'll be able to do a great price. I can order some 12 string versions on request.
Incidentally Michael, after the Bose guys saw us using your L1 at NAMM they came up with the deal they promised and I now have an L1 with 2 bass units, and it's amazing. |
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October 2005
Posts: 803
Location: Avondale, AZ | The capo is a tool but it has draw backs. it weighs a lot. Is tex's testimony. Thsy also take time and limit the amount of neck that is accessable. They make no sense for electric guitars because necks are thinner and bar chords are more versitile. I don't use them but own one and don't look down on those that do use them. I just don't need them. |
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January 2005
Posts: 4903
Location: Phoenix AZ | DUH. NOW I GET IT. I finaly figure it out. I've been avoiding trying one of these G7 cappos because, errr, well, I actually play chords OTHER than just G7. What If my song had C's and F's in it? Could I actually get the cappo on and off quick enough to make the changes? Now, I see that what you call the G7 cappo is really just a name of a cappo and you can actually use it for ANY chord, right? Dave |
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October 2005
Posts: 803
Location: Avondale, AZ | 99% of all people who poo-poo the use of cappos, drive cars with automatic transmissions. Dave
I drive a stick. |
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February 2002
Posts: 5750
Location: Scotland | Originally posted by OldLiverJones:
bar chords are more versitile. Utter nonsense. As a concept bar chords are nothing more that a "finger capo" and are no more or less versatile than any other musical technique.
I've played acoustic rhythm guitar on countless recording sessions where the vocalist needed to sing in keys like G#, Bb, Eb or F. If I'd used bar chords rather than reaching for a capo the producer would have thought I was a hack and never hired me again. As a professional you need to get a professional sound. How you get it is not really important as long as it works, you get paid and get hired again. Read Tommy Tedescos studio Logs in back issues of guitar player, they are a revelation. He had no fear of capos or a million other alleged "cheats" like tuning a mandolin in guitar intervals or having the session leader transcribe the bass guitar parts into the treble clef so he could read them and get paid double scale. |
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October 2005
Posts: 803
Location: Avondale, AZ | By versitile I meant bar chords can be move from position to position without any trouble. The difference between us is you are a professional and play acoustic. Try playing amaturish electric and you will notice that the first finger is all the capo you need. |
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February 2002
Posts: 5750
Location: Scotland | Actaully, the bulk of the work I get paid for is on electric guitars, mostly slide. I rarely use capos, except whem I'm demoing for G-band, I am just very aware of their value and do not consider thier use as a cheat. |
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Posts: 15678
Location: SoCal | And I'm an amature (who can't spell) and play acoustic.
The bottom line is it's just silly to limit yourself as to what you will and won't do when playing (ok, I won't play naked in church, so I do have limits).
To this day, Glen Campbell will be the first one to tell you that using a capo got him into the studios. Up until the early 60's, it was mostly jazz players in the studios, but Campbell, when doing demos, would use a capo and the producers wanted that ringing sound that he could get when playing in Eb, and other off keys.
Don't be a snob. And don't limit yourself. |
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March 2002
Posts: 14842
Location: NJ | In my GigBag I've got a Kyser for the six and a Shubb for the 12. I've got a G7 here in my MusicRoom, but it stays here as it's always handy, and I don't wanna lose it at a gig as it was a gift from MasterTempleman (y'gotta marinade him in a good ChileanRed before y'get anything outta him, Michael ;-)
(He's lucky this Viper of his I've got isn't a nylon, or else he'd be going home to Ol' Blighty with his thumb up his arse . . .) |
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Location: SoCal | Just be carefully that Temp don't spill the ChileanRed on the carpet...... it's a waste of wine and a waste of a drunk Temp... |
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Posts: 5750
Location: Scotland | That was CalifornianRed, I'm a lot more careful with Chilean. Did you ever get that stain out? |
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Posts: 15678
Location: SoCal | Yup. But Jerrie's going to make you drink from a children's sippy cup next time you're out here. |
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Posts: 5750
Location: Scotland | Just like home, and I live alone! |
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Posts: 398
Location: So. Cal. | Moody, I actually scared PT so much taking him back to the hotel that night, he'll never forget not to spill anything on your carpet. He damn near spilled his p** in my car!
PT, what kind of deal did Bose offer you? BTW, I was kidding about the G7, but a pair of 6 and 12 would be nice :) |
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March 2006
Posts: 1634
Location: Chehalis, Washington | I've found much merit in using capos. Right now I have two Kysers, the 6-string and the Cut-capo (tunes you to Esus open). I never used to use one, as I got the impression that it was a "cheat" that a REAL guitarist would never use. As it happens, many of the songs I do for church each week work best in keys like F and G#, where getting full, resonant chords can be a lot trickier on an acoustic than using standard non-fretted chords. In particular, I've taken to using a lot of open-fingered chords in E and capoing to the right octave, as it just sounds incredible.
Also, with the cut-capo, you actually get a completely different phrasing to all your chords. The trick is you have to learn new fingerings for each chord, but the added benefit is that on virtually every chord, the highest two strings on the guitar ring open and consistent, allowing for very smooth chord transitions and a very strong open acoustic sound.
One of these days I'll get around to picking up a G7 and trying that too. I've found that rather than a crutch, a capo is more like an assist - it has really freed me up to focus more on style, rhythm and phrasing, rather than chunking through barchords when I'm leading worship. |
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August 2005
Posts: 616
Location: cincinnati, ohio | If you're looking for some real versatility in partial capoing, check out this excerpt from an article I wrote for guitarnoisenews.com:
"The Third Hand Capo Co. was started in Nashville in 1979 by fingerstyle guitar virtuoso Harvey Reid and his partner, Jeff Hickey. I've got two of these little beauties myself, and the possibilities for finding tuning-like effects are limited only by your imagination. If you want the math, the folks at Third Hand say there are 756 ways to put their capo on a 12-fret neck, and over 40,000 musically different ways to put TWO capos on your guitar-- and that's just in standard tuning. If you alter your tuning to start with, the possibilities become endless. That's the beauty of it; you can get all these incredible open-tuned sounds without touching a machine head.
The Third Hand Capo is a lot like a standard Russell-style 12-string guitar capo with two elastic straps. Instead of a solid rubber capo bar, however, there are six separate rubber eccentric cams. Rotate the cam down toward the fretboard, and the flat spot of the cam clamps the string. Rotate it up and away from the fingerboard, the strings ring open. You can clamp any combination of strings to get an open-tuned sound without retuning your guitar. As an added bonus, you don't change chord and scale patterns the way you do when use an actual altered tuning because you're essentially still in standard tuning.
A perfect example of this is a capo configuration called Dropped "E." Place the partial capo at the second fret. Clamp strings 1 through 5, but rotate the cam over the sixth string upward so that the string rings open. If you wanted to spell out the "tuning" your guitar is in from bass to treble, it is EBEAC#F#. This is essentially the humble Dropped "D" tuning, but raised a step. Play a standard first-position D chord. The bass string has that nice, booming, ringing sound a la Dropped "D;" it's just a full step higher. And you didn't have to touch the tuning peg.
Now comes the sweet part. When you go to play a "G" chord in "real" Dropped "D," you have to slide your hand so you fret the 6th and 5th strings on the 5th fret, and the 1st (high "E") string on the third fret. Not impossible, but awkward. Why work so hard? With a partial capo in the Dropped "E" configuration, you just play your normal 1st position "G" chord. Piece of cake!
You can also configure the capo to a Double Dropped "E." With the capo still on the second fret, rotate the cam over the first string up and away from the fingerboard, leaving the string ringing open. With the top and bottom strings open and the rest of them clamped, you get a dangerous, ringing, droning sound. This is an analog to the tuning that Neil Young uses on "Cinnamon Girl," among others, only a step higher. If you play solo, this tuning effect can make you sound like a full band. I use it often to play songs in the key of G to get a nice, full sound. To do this, I put a partial capo (still configured to Double Dropped "E") on the fifth fret and a standard capo on the third fret. Now I'm playing in the key of "G" while using "D" fingerings. This works really well on the Eagles' "Take It Easy" and Mellencamp's "Pink Houses."
If you'd like to check out the rest of the article, go to:
http://www.guitarnoise.com/article.php?id=450 |
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G7th Capo