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Paige are also good, and Elliott - well, great quality, but hugely expensive.
Kyser? They do the job but tension wise they are what they are.
They don’t even seem to mind different fingerboard radii - I use mine on various acoustics and electrics, perfect on every one.
The key is to fit them exactly along the back of the fret crown, which is simple when you get used to doing it.
NB, the cheap lookalike Kyser copies are *not* as good. I tried one.
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Just because I don't care, doesn't mean I don't understand." - Homer Simpson
just because you do, doesn't mean you should.
Trading feedback: Previous (+18) and Current
just because you do, doesn't mean you should.
b) the "classic" G7th doesnt clamp well on all necks - Ive had real problems with them on "thinner" necks The nashville I got the other week, Ive found is much better than the performance ones - quite surprised TBH as Im not a fan of sprung ones.
just because you do, doesn't mean you should.
For a different artistic interpretation:
https://www.ebay.co.uk/itm/354101106115
Trading feedback: Previous (+18) and Current
just because you do, doesn't mean you should.
just because you do, doesn't mean you should.
Me neither. Fiddly and awkward, needs two hands and constant adjusting between different fret positions if the neck has any significant taper. I put up with them for years because I'd always been told they were 'the best', but when I accidentally acquired a Kyser (which I'd never heard of until then) I couldn't believe how much simpler and better it was! Gave away my Shubbs.
Personally I didn't like the G7th either - I found it harder to set exactly right, still needs two hands to take it off, and possibly worst of all it's just such a slippery thing it flew out of my hand several times - really what you don't want on stage.
But, each to their own. I do understand that there are people who don't like the Kyser, although I can't really understand why. For me it's the perfect zero-fuss capo, it doesn't have a single thing wrong with it, and it even looks good clipped to the end of the headstock.
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Just because I don't care, doesn't mean I don't understand." - Homer Simpson
So, for me, the Paige capo is by far the best. BUT it's important to get the right model for your neck.
tho now after some time with the G7 Nashville, I do agree the "mechanism" works well
just because you do, doesn't mean you should.
Agreed - if I move the Shubb up from the 2nd fret to the 5th I usually have to adjust the tension wheel half a turn but I don't find that a problem.
The thing I like about the Shubb is that it never makes my strings sharp!
Horses for courses. I'm sure most capo varieties function well enough, it's just down to personal preferences.
I have a friend who uses one of those old original folksy capos - you know those D shaped ones with a swingarm top bar and a wadge of felt on the underside, knurled nut adjuster. When I say most function well enough......this could be the exception. It must work for him though!
@danishbacon ; just go for one. It's not like laying out mega money on a new guitar. (Unless you go for a Thalia!)