Shubb makes a banjo capo that works for mandolin, mandola, octave mandolin. They even make a banjo capo for radiused fretboards.
On Thu, Nov 19, 2009 at 3:08 AM, Val Mindel <[email protected]> wrote: > Well stated, Mike. Going for the sound you want is all there is, and > of course being honest. I've never tried a mandolin capo, but guitar > capos give me fits ... and I've tried lots of different kinds, > techniques for putting them on. I just can't seem to get the same > clear string sound on the capoed (is that a word) bass strings as I do > on fingered or open strings. Probably operator error, but that's why > I've never ventured into capoland for the mandolin. I have enough > trouble getting a clean sound without adding another factor. v. > > On Nov 18, 8:53 am, mistertaterbug <[email protected]> wrote: >> If anyone cares to, go to "Remember the Cross" and "That Home Above" >> by the Monroe/Flatt/Scruggs/Wise/Rainwater band. One is clearly B, the >> other B flat. But, they are both clearly played out of A. There are a >> number of other noteworthy cuts, "The First Whippoorwill" for one, >> that are played out of one key but are clearly not pitched in that >> key. So, did fucking Bill Monroe (to quote fucking Gaudreau) tune up >> or capo up? It's not tape drag. As Terry Bullin once said,"Well, maybe >> he did it in the studio but surely he wouldn't have done it out in >> public." It's just silly. If the situation requires a different voice >> and the capo provides it, use it. When did it become against the rules >> to use the tools? >> >> I started using a capo now and then due to saving time and aggravation >> in the studio. Also, open tunings. I'd really love to use more open >> tunings. Listen to the cut on Dr. Ralph's recording of "Lift Him Up". >> That's tuned open, but there were a few songs where we tuned open only >> to have TBone say that he'd like to go up a half step. Now, retuning 8 >> strings on a mandolin every which way and expecting it to settle down >> in a few minutes is just unreasonable. Slapping on a capo is not, >> especially when time is money. >> >> As for working up solos and improvising... >> I think that maybe we can go back to "the Father" one more time and >> consider this approach. Over the years, if I listen to songs that >> Monroe did over a number of decades, such as "Uncle Pen", "On and On", >> "Bluegrass Breakdown", etc, what I hear is a script, a framework over >> which variations are applied. I'm not talking about the construction >> of the song so much as I am the construction of his solos in the song. >> It seems that he worked out a solo that served as the basic pattern to >> follow, but changed small aspects of it occasionally as his whim >> dictated. But the basic "script" was predominantly the same. This may >> be helpful, maybe not. Just thought I'd throw it out there. >> >> I had a short conversation with Russ Barenburg the other day and the >> subject of improvisation came up. He said that he occasionally has >> people ask him about improvising, as do I. It's really an individual >> learning experience and there doesn't seem to be any one way to >> approach it or teach it. He said that to him it is ridiculous to >> assume that it is possible to whip out an improvised solo that rivals >> something that requires one sitting down and working it out and >> learning it over the course of say, several months. But that seems to >> be what some people assume they will be able to do with a few >> "rules". I think that it is easy to overlook the fact that the sound >> our heros have/had did not just appear overnight but took sometimes a >> lifetime of blood, sweat, and tears to acquire. There is too much >> impatience in us all. >> >> I think that Eric has a valid point, that being each song deserves a >> look to see what the best approach is. I agree with Eric too (Who is >> this Eric guy? He seems to know a lot of stuff...) regarding using >> tunings and capos, if a person wants a specific sound, go where it is >> regardless of how you need to get there. As John Hartford used to say >> (and I know I've quoted him saying this before...), "This is art and >> there ain't no damned rules." >> >> Be bold, be yourself, be honest. The audience can spot a phony from >> the back row. >> >> Puhtater >> >> On Nov 17, 6:46 pm, [email protected] wrote: >> >> >> >> >> >> > Ron Spears tells a very good Jimmy Gaudreau capo story. At a gig >> > somewhere, Jimmy put a capo on his mandolin and Ron >> > gave him the "hairy eyeball" as only Ron can do and Jimmy got right in >> > Ron's face and says "I ain't fucking Bill Monroe." >> > Might even be true. >> >> > Clyde Clevenger >> > Just My Opinion, But It's Right >> > Salem, Oregon >> > Old Circle >> >> > ----- Original Message ----- >> > From: "Don Grieser" <[email protected]> >> > To: [email protected] >> > Sent: Tuesday, November 17, 2009 4:36:23 PM GMT -08:00 US/Canada Pacific >> > Subject: Re: Thinking more outside of a Jam >> >> > I saw Jimmy Gaudreau use a capo on his mandolin at a bluegrass >> > festival. It sounded great. It's a tool. Use it for a certain sound or >> > effect but not because you're too lazy to learn to play in Bb or B. >> > Monroe style players play out of closed positions anyway even when >> > they don't have to, right? > > -- > > You received this message because you are subscribed to the Google Groups > "Taterbugmando" group. > To post to this group, send email to [email protected]. > To unsubscribe from this group, send email to > [email protected]. > For more options, visit this group at > http://groups.google.com/group/taterbugmando?hl=. > > > -- You received this message because you are subscribed to the Google Groups "Taterbugmando" group. To post to this group, send email to [email protected]. To unsubscribe from this group, send email to [email protected]. For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=.
