Capo

Because most guitars don't have a "zero" fret, a capo on an acoustic actually changes the tone dramatically. I really like capo'ing at the 3rd fret and when you finger an open "E" it's about the best sounding "G" to me. Also, my Taylor sounds like crap when mic'd up EXCEPT when capo'ed.

I enjoy throwing a capo somewhere on the neck of an electric to generate new ideas.

I have around six of the clamp type like yours and don't have a problem with them getting in the way- I just reverse it if I am bumping against it

Using a capo with an open G or open D tuned guitar is great fun too.
 
Mickster said:
Ok...this is gonna give you a laugh on me. I've tried using a capo but you know what my real problem was? The dot markers are all off from what I got visually used to for so many years. Believe it or not......it throws me off up and down the neck. I can play most barre chords so no big deal.

Mick
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Actually that isn't too far off of why I don't mess about with the capo. Once I have gotten use to a "key" pattern, taking it off or moving it requires relearning the fret board. Anyway, I get your reasoning.
 
The real purpose of the capo (besides the obvious 'change the key but play the same chords'), is the difference in sound you get playing open chords. A Bb major played with no capo - bar first fret A-style, or bar 6th fret E-style - does not sound the same as capo on 3, play a G chord (now Bb). Yes, I can bar on the 3rd fret and play a G-style chord, but it can be sloppy and not easy to move to or from.
Partial capoing is also a great tool. Capo the A through high E strings on the 2nd fret, leaving the low E alone. You are now in essentially 'Drop E' tuning. And play all your standard chords without changing fingering, except when you want that low E string to be F# (use a thumb wrap for that). Capo those 5 strings on the 4th fret, play the C chord shape - it's now an E major with that low E note still there.

I have G7th Performance capos I use when recording - instead of spring pressure, they clamp down using your finger pressure, so no over-tightening. And that means the strings aren't pushed out of tune as much. Live I still use the standard spring-clamp style, as they are quicker to use.
 
I can see where capo positions and specific string applications can make a lot of difference when fingerpicking an acoustic.
 
I almost never use a capo on electric guitar unless I'm using moveable open chords and need to up the key a couple frets. On acoustic I will occasionally use one to change the key and maintain open chords but I more often use it to rearrange the open chords on a different area of the neck. This works well when I double the acoustic and want a different sound on each track.
 
markmann said:
I almost never use a capo on electric guitar unless I'm using moveable open chords and need to up the key a couple frets. On acoustic I will occasionally use one to change the key and maintain open chords but I more often use it to rearrange the open chords on a different area of the neck. This works well when I double the acoustic and want a different sound on each track.
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I've seen/heard that done a lot, get a different sound to go with the base acoustic.
 
Mickster said:
Ok...this is gonna give you a laugh on me.
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I’m much the same way. I can find any chord you want. I can tune up or down from standard and still find my way around. Put a capo on, and I’m immediately lost. Also like I can generally figure out what somebody else is playing by looking at their hands, but not if they’re using a capo. My brain just shorts out for some reason.
 
When we started developing a lot of our own material, our main songwriter and I would go unplugged in his living room with him on a Martin and me on my Hofner. This was my favorite way of working as I would be improvising while watching his fretting hand. He never used a capo, but if he had I would have had to go by ear which would have resulted in more hesitations and missed notes on my part, requiring several run-throughs.
 
I have one for my FG335 (Yamaha) that just clamps on, almost identical to the one you got except black. Quick, easy, reasonable. When I bought my 254ce (Taylor) I needed something a little stiffer, so got one of the cradle type. Was recommended by several guitarists that the Taylor would sound and play best tuned to D and capo 2... Only problem is that I do a lot of capo 4 (which becomes capo 6 on it), and I don't like the sound when it's clear up there... It is nice for dropping to Eb or D though. Still plays well open.
 
By the way: Something I wasn't told that made sense after I figured it out. When you capo, you shorten the strings, which moves all the harmonics. Got to re-find those as well.
 
BroKen_H said:
By the way: Something I wasn't told that made sense after I figured it out. When you capo, you shorten the strings, which moves all the harmonics. Got to re-find those as well.
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That was something that came as something of a surprise to me ! I thought my touch {such as it was} had gone.
 
When I use one, which is rare, it's a schubb. Recording I may at times use without on one track, and with on another. I don't know, maybe gives it a Nashville tuning type sound.

My nephew uses one a lot, leaving it in place for long periods of time. He experiences quite a bit of fret wear, dented frets. When he plays my guitars(which for some reason do not have the same amount of fret wear), I constantly have to remind him to remove the capo when he's done. He's a whipper snapper and plays much more than I, so who knows. I still think it is a good idea to remove the capo before setting the instrument to rest so as not to potentially cause fret wear/dented frets.
 
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