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March 2002
Posts: 14842
Location: NJ | Hello, my name is Cliff and I play with a capo.
(response: "Hello, Cliff".)
For the past few years I've been using the Kyser "clamp on" capo with much success. It goes on/off and changes position quickly and easily and works fine. - on my CBalladeer.
I bought a 12-string model Kyser for my Ultra (and now my Legend), but it doesn't seem to work as well. It's not very good at clamping both low and high sets of E strings simultaneously (but can do one or the other).
Any suggestions on a suitable replacement?
I always hear rave reviews/opinions here about Shubbs.
Any particular model number(s) that'll work well on an O-12 acoustic?
Any suggestions'd be much appreciated! |
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Joined:
August 2003
Posts: 2246
Location: Yucaipa, California | Hi Cliff!
I have experienced the exact problem... also with my Balladeer 12... the Kyser Capo just isn't long enough nor strong enough... I bought a Shubb 12-string capo and it is PERFECT!(It's a full 2-1/4" long) GO GET ONE! It will solve your problem! I use mine daily and couldn't be more pleased! In fact, I'm currently replacing all my Kyser 6-string capoes with Shubbs... more solidly built, and they have a smaller profile on the neck.... no "Clothespin" look!
tim |
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March 2002
Posts: 15664
Location: SoCal | I have a Kyser capo on all of my 6 strings. They work great. But when I got Big Blue 7 years ago and started playing 12 string, the Kyser for 12 strings just didn't cut it. I went to a Shubb for my 12 strings and they work just fine. I don't like it as much as I like the Kysers in that it has to go on really tight to work and I have to be careful taking it off, but it works. |
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Joined:
March 2002
Posts: 14842
Location: NJ | Cool.
So it's just a "Shubb 12-String Capo".
I thought maybe there was a specific model #.
Looks like a GuitarCenter stop on the way home is in order.
THANKS for the insight. |
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August 2002
Posts: 623
Location: Lake Hiawatha, New Jersey | Cliff-
Schubbs have worked great on all my 12's over the years. They are very reliable and apply even pressure across the neck. I tried a Kysor once with no luck.
I would suggest at gigs, though, that once it's in place, that you just do a quick "test" that all your strings ring out clearly before you start a song-it's important. In my experience, sometimes, due to the different string heights of 12 strings, sometimes capos might need a little tweeking. Schubbs also require a little adjustment in tension depending where on the neck you are-which becomes easy once you're used to it. Still, until you are, you might place it on a little tight, thus throwing the heavier strings out of tune with the added pressure. On the other hand, if it's too loose, some strings may not ring out. Also, if it is not place parallel to the frets, it could affect the string pressure.
You're just safer taking a couple seconds to play each string and make sure you're good to go, cause once you start a song, it's a lil' late to adjust it.
Be well.
Johnny |
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Joined:
March 2002
Posts: 15664
Location: SoCal | The other thing to think about is the placement of the capo on the neck (side to side). Where the part that fits on the back of the neck is placed can play a part in how tight the capo fits. |
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Joined:
August 2003
Posts: 2246
Location: Yucaipa, California | Cliff.... Guitar Center (at least in San Bernardino) is a little lacking in the capo department.... try this link:
http://www.shubb.com/
tim |
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March 2002
Posts: 14842
Location: NJ | Done.
THANKS Tim! (and everyone else, for that matter) |
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December 2001
Posts: 10582
Location: NJ | I bought a couple of capos back in the day. one was a hamilton and the other some bungy thing. Someone told me that I can adjust it to use where my voice sounds the best. ...funny I never found that spot. |
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March 2002
Posts: 14842
Location: NJ | It goes just above your Adam's Apple. |
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March 2002
Posts: 1380
Location: Central Oregon | I still have the package mine came in since I just got it a month or so back. The Shubb you're looking for is Model "C3", "for 12 string guitar or any steel string guitar with an extra-wide neck". That's what it says in the see-through package. In case you're as capo-dumb as I am (was)- it goes on from the top. :rolleyes:
Nils |
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December 2001
Posts: 7222
Location: The Great Pacific Northwest | The Bird of Paradise is I think my favorite Capo. Super simple to use, and easy to move around. It does require a little "familiarization" but like anything else, once you get the hang, it's great. I like that I can place it or drop it with one hand. |
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June 2002
Posts: 147
| Its cheep and fast direct from Shubb.
Mike
Shubb S3 |
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August 2003
Posts: 4619
Location: SoCal | Just ordered a couple...under remarks gave credit to OFC forum discussion...not expecting that it makes any difference but you never know. |
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May 2002
Posts: 3005
Location: Las Cruces, NM | What a bunch of cheaters, you people are almost reveling in the use of capos. Where is Les Paul, or Django? Oh well, what the heck, a little capo on the tiny fret wouldn't be so bad. Why is Gabriel blowing that horn so loud (Note the I before E in his name, without a C to be after)
All those with capos are required to wear a fig leaf, this order comes from the big guy, innocences is no excuse. |
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May 2003
Posts: 69
Location: UK | Bailey
I know your post is in jest but there really is a case to consider the capo as a legitimate extension of the guitar, in exactly the same way one would consider a slide or a tremelo.
You might say this post is "in defence of the capo as a legitimate tool of the fingerstyle guitar player".
To argue the case I can think of a number of songs where the capo is not used for cheating but actually used to enhance the song. For example, that effective, clawhammer style on Dylan's original version of "Don't Think Twice" is definitely played futher up the neck using a capo. Similarly, I was close enough to watch Lyle Lovett as he played "If I Had A Boat" when he was last in London and he gets that instantly recognisable "almost-Mandolin" like intro by using a capo, on the 4th.
I actually wrote some songs, many years ago using the same technique because capo'd on the 4th you can get some beautiful ringing fingerstyle and passing notes around C,F,G or G,D,A shapes.
Most of my early musical education was by listening to 60s and 70s folk performers on both sides of the Atlantic - and nearly all the chord phrasing was 3-chord variation on C,D,F or G,C,D or A,D,E. That's not to say that the meoldic finger style around the songs wasn't sophisticated. Anyway, the only way to adjust Tom Paxton, Bert Jansch, Ralph McTell, James Taylor or many others to your own voice register was to use a capo. Trying to transpose some of the fingerstyle by using alternate shapes just would not have worked, imho.
I absolutely agree that for Jazz, Blues, Rock and other styles based largely around scales rather than chord phrasings that transposition is the way to go (i.e without a capo). I mean, one of things I really feel cool about is using the whole unfettered range of the neck playing Jazz.
So, while some styles do not benefit from a capo (and therefore its use is a convenience - possibly a "cheat") for others you can actually create a sound which is dependent on the capo or only preserve the integrity of the original music by using a capo.
Don't mean to lecture but I figured the "good ol' shubb" needed some defending!
Cheers
BigLouis |
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August 2003
Posts: 2246
Location: Yucaipa, California | From the Bird of Paradise Capo web site (I couldn't agree more):
"Capos have been in use since the 18th Century when music was composed for higher position playing. A lot of music was written for the "Terz Guitarre" written in the key of A, but played at the third fret in the key of C. (Check out Mauro Giuliani's Concerto, Opus 70 with Pepe Romero, guitarist.)
ALL Spanish Flamenco guitarists use a capo or "cejilla" to accompany singers or to just make the guitar sound brighter. (The cejilla is really cool. It is simply a bar across the strings held in place by a cord tightened with a violin tuning peg.)
Some people call the capo a "cheater" but such reknowned guitar masters as Julian Bream, Christopher Parkening and Paco de Lucia use them without shame. (Article- A Capo Ain't a Crutch by Jake Kelly, Gig magazine June 1998. " |
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Capononymous
