your favorite capo?

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OldSoldier's picture

Martin Gross works great for me!

Joel

KodiakReso's picture

Just a personal use story: I started out using a Shubb, but I clamped it too hard once and it left a permanent mark in the ebony fretboard of my MA6, it bugs me every time I play it. I've been using the Bradley since but I seem to have to re-tune every time I put it on. I really like the idea of a bone/antler/stag/whatever natural capo to mimic the bone nut. It looks like the Martin Gross capo sits on the fretboard but uses a piece of leather to cushion itself, presumably to prevent damage. To my untrained ear they all sound similar, but after studying these instruments I know this isn't the case to most serious players. Like Gregg and others have stated, I try to avoid capo use but to a novice like me their use allows me a little but more freedom in the jam world. When using a capo or not means the difference between playing an acceptable break or experimenting on the fly in a key I don't fully grasp, I'll go for the capo every time. Perhaps this discussion has entered the realm of "Resophonic Engineering"

Greg Booth's picture

Kodiak, I get brass marks on my fret board from the Shubb also, but they have always easily cleaned right off with a cloth. Is your mark impossible to remove? I bet a little lemon oil and a rag or some wet/dry 1600 grit paper would make it like new.

MarkinSonoma's picture

Back to Josh Graves,  and I've seen that 'capo museum' site in the past but flat forgot about the church key, but I also recall hearing a a story or two about him using a kitchen knife - might have been if he misplaced his favorite church key! 

Maybe we'll find out more when we all receive our Josh Graves books in the next few weeks.

the_norm's picture

I think the 'kitchen knife' was used as a slide on a banjo when he was a kid.

Michael Barton's picture

Kodiak - try to loosen the hex screw just slightly on the Bardley. The croos bar that goes under the strings should be a little loose. If too tight it will change tuning.

KodiakReso's picture

Thanks Gregg and Michael. I'll try both your suggestions. I need to polish my frets anyway so I'll buff the fretboard as I change strings.

Webb Kline's picture

Greg Booth:

I think I can usually tell when there is a capo being used on a recording, especially in B. It sounds sort of like you describe, "plinky", like a banjo with a mute on the bridge. I'll add my favorite choice here, the Shubb C6B dobro capo. I'll put it up against all the rest in a showdown, a shootout at the "OKapo" corral. Least tone and volume death, no retuning, and if you have real frets like I do, instant and accurate placement. Although the latest design is ajustable for different string heights, the only knock on it is that it may not fit every squareneck. It fits both my Horn and Leadbetter fine.

Wow, Greg. You made me dig out one of my old Shubbs. It was terrible on my OMI Dobro, so I never even condidered it, but it sounds great on everything else. Clear as a bell. Intonation seems as good as the Beard Wave, nice low pro on top. Doesn't work too well for the Gm7 tuning, but other than that, I really like it.

MarkinSonoma's picture

There's no question the Shubb, if it works for a given guitar  and the adjustment goes quickly instead of being like a delicate surgical procedure, is one of the best capos going, because it has a lot more in common with a standard guitar capo than do the "floaters."

I remember the first time I met Greg Booth, he had fairly recently joined the Kathy Kallick Band and had come down from The Great White North and was playing  a gig in Marin County.  

Greg has the Shubb dialed in for his Scheerhorn, and when you read this Greg, I'm thinking because you were new to the band you didn't have all your dobro parts completely  dialed in yet so you were livin' off this Shubb capo during that show!  

Maybe I should go see Rick Shubb about getting this thing to work better on my Clinesmith - the company is 15 miles down the road from me in Rohnert Park here in Sonoma County.

 

Will Andrew's picture

The Shubb sure has the right notion, by not floating.  I've wondered for some time about a movable bone nut ...

I wonder what I'm doing wrong with the Shubb capo. When I put it on my horn, (fretless), I have to adjust the top rubber part so my high strings do not buzz or mute. I've tried different tensions on the adjusting screw. I still need to tweak the top part. And I noticed a couple small indents on back of the neck from the Schubb. Maybe I had the tension too high. I noticed, with high tension on the adjusting screw, I think the brass is momentarily hitting the back of neck when clamping down.  BTW, This horn is the twin brother to yours Gregg, one number greater.  

I have to line it up by eye as my reso's are fretless. It is clumsier than the Bradley to put on, for me.  Once I have it on properly it does have a little less tone death as the Bradley. I'd use it more often than the bradley except for having to tweak it each time. And the way the Shubb brass has a notch, lining up by eye is not as clear to see as the Bradley.

I love to practice scales. I practice them in a circle of fiths in all 12 keys. It helps in reducing capo use, but for some tunes there is no getting away from a capo, likes a barn burning BG tune.

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