Nice video with splendid guitar selection. Sonically speaking they all sound too soft with no obvious base notes noticeable. My speakers are really good so not sure why I don’t hear any base. I will say the two capos you showed us are no where near the best selection offered at various music stores. So many unobtrusive light weight capos available for those beautiful guitars. Nice video and excellent guitars, especially the Martin.
All you have to do then is...re-string them, stash them properly, flip them......employ a roadie to do it for you......keep the Good Woman off your back.........wade through forests of the things on stands.......spend the time to learn your twelve string to find out how badly that affects your six-string playing......remember where you put the one you bought for a hi-string and used twice......use your rosewood concert grand for the sublime tones on an instrumental and deploy your jumbo to sing everybody something else on a small stage covered in your guitars.....and cases, cases, cases..............cases........................ It's like crossing the road...look first.
I used a spring-loaded Kyser capo in my early years without thinking about it much but would be left frustrated that I would often have to re-tune the guitar. Later I started using adjustable center-pull capos (with matching radius) like the Elliott and G7th Heritage, and that made an incredible difference for me in both intonation and tone quality. Another major improvement I have found is placing the capo as close to the fret as possible. You are much less likely to pull the strings sharp this way and with an adjustable capo, you apply only the minimum pressure needed. With that setup, I hardly ever need to re-tune after putting it on.
I don’t mind a little string squeak, it gives a human element to the song. I can almost visualize the hand moving across the fretboard as I’m hearing it
Agree. It's what I think about every time I listen to Andy Summers' squeaks in "Every Breath You Take". They squeaks add a sort of beauty to the piece.
@@jltrem Yes, they are Adjustable. But the range of adjustment is not always sufficient to capo far up the neck on some guitars. I have one standard six-string electric and a twelve string that my Shubb doesn’t work well with. (It works well with about 15 others.) Don’t fret though (pun intended), it’ll work fine with any Fender, Gibson, or similar 6-string guitar neck, which is probably 98% of all guitars.
Its also important to choose a capo with a pad matching the radius of the fretboard as closely as possible, or there's the possibility that some strings will be muted. Thalia capos (no affiliation), are supplied with interchangeable pads of various radii to suit all common fretboard radii.
Tried dozens of Capo's, I found Shubb to be the best by far. They are so slim and unobtrusive, they do not get in the way like the bulky G7 or similar. Of course, everything is just an opinion, but Shubb are not expensive, and if you want a Capo that does not get in the way at all, Shubb are by far the ebst option. Strings, I absolutely love Elixer strings, they sound great, they last ages, and they eliminate that horrible squeaky & scratchy string noise. I even use 'Fast Fret' on my Elixer strings, which makes them even less squeaky, less scratchy, and much smoother for slides. Tonewoods, just my opinion, but if you can only afford to own one main guitar, Sitka Spruce is the best all rounder.
@@maxwellfan55 You do realize, Lowden also do solid mahogany guitars, with much better hand built quality, from AAAA+ grade tonewoods ? Nobody would say a mass produced guitar like a Martin is going to be even close to the amazing build quality which equals amazing harmonics and sustain, as a hand made luthier guitar such as a Lowden. Well, nobody who actually knows about guitar building would say that, put it that way.
@@maxwellfan55 Also, the sound of a guitar is subjective to the listener, there is no 'best'. One mans best is another mans worst, and nobody is 'wrong', because sound is a matter of opinion.
I have the Ernie Ball capot similar to yours and I'm sure I read on the packaging that one way is for Radiussed necks and the other is for flat necks. If so assuming that Martin has a radiussed neck you have it upside down. I have an Alverez 12th fretter with a flat neck and always put it handle downwards and the other (handle upwards) for my 314CE. Actually I have the capot in my hand right now and you can clearly see one side is either flatter or less radiussed than the other. EDIT - Just checked and this is what Ernie Ball says - The Ernie Ball Axis Capo’s ergonomic features allow for fast and accurate single-handed key changes. A dual-radius design conforms to flat or curved fretboards, ensuring buzz-free operation on 6 or 7 string electric and acoustic guitars.
What a fun video. The guitar playing was first rate. All the guitars sounded very good. I only use Elixir medium gage phosphor bronze strings. I do have several guitars. I have a martin d18 which is my most expensive, I have a yamaha 830 CE, and I just bought a used Alvarez DY52. I don't use a pick, so I want a guitar with a louder sound, so I always go for dreadnaughts. If you have never used Elixir strings, then I highly recommend them. I won't use any other strings.
Notice at 3:00 and 5:00 how the spring loaded capo pulls the lower strings dramatically out of tune. I strongly prefer models like the Elliott or Paige where the pressure from the device is evenly applied from the center rear of the neck. He doesn't even seem to notice (?)
Martin guitars often have very flat frets. Therefore, they react little to excessive pressure and often they even stay in tune with a Spring loaded Capo. So you may not even notice the problem. But youre absolutely right. I would always recommend a Capo wich allows adjusting the pressure.
The Kyser capo is notorious for that. I don't understand how players don't hear it. I agree about Elliot and Paige, and include Shubbs, because you can adjust the pressure. The fact is that, even with such capos, a player generally needs to adjust one string or another as they change frets, especially depending on the age of your strings! As you get to know your guitar, you get to know what tweaking it needs. Capos like Elliot and Paige minimize the effect of the capo in this scenario.
The soundboard material makes a difference; back and sides a smaller one. In my experience the largest contributors to an instrument’s sound are the combination of top thickness and bracing, along with the overall body volume. Lovely playing and sound.
With a quality adjustable-tension capo you should be able to find the sweet spot where the tension of the capo is no higher than what is necessary to allow the strings to ring freely. This can be different from guitar to guitar which is why adjustability is useful. There is also less need of retuning after applying a capo which is properly tensioned. Although legions of icons and professional players are happy with single-tension capos, there is no doubt that capos that allow tension adjustment offer an advantage. I especially like the "yoke-style" capos which are aligned to the center of the neck and have to protruding pieces which interfere with hand positioning.
Worth trying out especially for percussive fingerpicking with hammer-ons and bendings, it is also to tune the guitar down by a half or whole step and then place the capo on the first or second fret. The lower string tension gives the guitar a different sound, more vintage that suits Blues and Country very nicely.
On strings... For many years I've used D'Addario SP strings, which I think are Phosphor Bronze and sound, to my ear, quite good, but I do find they get kind of thunky (a bit dead) sounding in a fairly short time. I have a old Gibson AJ and a Yamaha AC5R (Concert size,solid rosewood/spruce body). I also have several electric guitars on which I use D'Addario NYXL strings (11s) which I think may be the best strings I've ever used on my electrics. I think these are coated strings, but for whatever reason they last for a long long time, stay in tune, just great strings. So I thought I'd try them on my Yamaha, but I would get 12s. They are perhaps a little bit brighter, but I love them and I've had them on the guitar for several months now and they are working pretty much as they do on the electrics.
Thomastik-Infeld KR116 Classical guitar strings tend to minimize the squeak sounds on the lower strings. Also, they give a bright steel string sound to a standard classical guitar.
The example of the capo on the second fret is immediately audible, allowing the guitar to use a different voice, kind of silky. And seriously, that guitar is amazing!
I play the capo upside down when I go up two frets. I leave the low E unfretted, play a D shape ( E) chord, and the low E gives the chord a great bassy sound.
Thanks for a great video! The coated string tip sounds great! A capo on first fret may give lower string action. To put the capo just below the fret makes the capo'ing more in tune. (If a string is a bit too high after capo'ing, trying to pull the string out (away from the guitar) a little bit may bring the string back to tune after capo'ing.) To have he clamp facing upwards gives less problems when playing near the capo.
Thanks for reviewing the different acoustic guitars. BTW, you stated (mispoke) that the Taylor guitar was different, having a redwood rather than a Sitka spruce top. I am pretty sure that is a red cedar soundboard on that guitar!
When I was shopping for my first really good acoustic I wanted a Martin D28. But then I tried them and couldn’t get used to the big body. So, I bought an OM21 and it fits me well.
I like the Kyser capo with the handle up. G7 feels loose to me, not positive enough pressure. Shubb is too fussy. I use the capo to 1. Change keys to fit vocal ranges 2. Avoid playing in unison with other guitarists for added harmonic variety (first guitar in E, second guitar capo 2 plays D shapes) 3. Change keys to use picking patterns I am comfortable with (and have a certain sound or cadence) I don't fancy Elixirs, a little dead for me. Monel strings? Peaked my curiosity. I have to try some. Nice guitars and nice video, thanks. Send me a copy of your magazine so I can check it out 😎
One thing to mention about capos is that depending on the fretboard radius of your guitar, different ones will work better. Mismatch between the fretboard’s curve and the capo’s curve is one reason why it can be hard to get even pressure across the strings, causing sharp notes on some strings and out of tune chords. This is one reason why the G7 is so good. Its design makes it apply variable pressure on each string. It works with any radius.
Make that four things, lift your fingers as you transition between chords and then you don't make those most unmusical squeaks . Don't practice until you get it right, practice until you can't get it wrong. I think Bruce Lee said that.
That particular 'unmusical squeak' was from sliding down that note. Virtually impossible to not make that noise on roundwounds sliding a note like that, however much you practice.
Jamie here - the squeak is from a particular slide in that section of the song. Tried writing it out but didn’t like how it broke the flow of the line. I think however you have a point insomuch as if you do a kind of micro-lift you can attenuate the squeak a bit and still keep the slide. I don’t always succeed but, especially with coated strings, it’s acceptable to me on this piece. Others may feel differently!
Funny but i noticed the squeaks more with the coated strings on the Taylor, maybe since I'm so used to hearing the squeaking sounds they kind of disappear into the overall sound of the Martin
I've always liked JD's considered, balanced videos, and articles (as well as the other writers on Guitarist magazine, which I've been buying for 20 years, the best, bar none).
Good video. Suggestion, though: switching body size & shape, tone woods & (maybe) strings for comparisons: it's hard to know what to attribute changes in sound to. Maybe try to get access to essentially the same guitar (or as close as possible) from the same manufacturer. Changing one thing at a time helps teach viewers what factors influence the sound in specific ways.
Hi Jamie, thanks for your video and presentation. If I may, I'd like to point out that not all capos suit all sortd of fretboard radii, and neck profiles, and as we see at 3:00 spring style capos don't have adjustment capability and can easily bend the strings (see your 6th string) I have a Shubb basic for each of my guitars which work well as they can be set for the individual guitar; to compensate for neck profile/depth. The next comment, which you might feel is picky, or a tad OCD, but the Gibson J45, is not a Dreadnought, it is a Jumbo, and the SJ200 is a Super Jumbo. A "round shouldered /slope shuoldered dread, is the Original, 12 fret Martin dreadnought, Although I accept that Gibson probably took influence from the Original 12 fret dreads for their Jumbo. I know that the marketing people at Gibson and other builders don't help much with this. I guess you must be tired of guitar nerds raising such things., but might be helpful when explaining to folks as a Gibson style Jxx guitars doesn't sound or play like a Martin style Dxx dreadnought, and a SJ is different again.
It's pretty amazing reading these comments regarding strings, capos, woods and choice of one's own preferred sound and looks of guitar but one of the most glaring things to me regarding the "looks" of the guitar was the J-200 guitar. Did anyone else notice the fitment of the pick guard on this beast? The placement looks sloppy, nearly covering a wee bit of the tone hole, cocked a bit out of alignment and appears almost to be an afterthought...just something grabbed off the shelf that was meant for a better fit on a guitar it was designed for. I think this one slipped by the "final inspector". I also know that mics and mic placement influences the tone...if the guitar is being recorded. Obviously, not the main subject matter here and furthermore...what do I know? Thank you for the video...I enjoyed it!
Man that sinker redwood Taylor is a nice guitar. I have a 714 Sinker which I love but yours is stunning. Having said that my go to guitar is a Martin 000-15M Street master. I have a bunch of capo's - I usually get them to throw one in & a strap when I buy a guitar. Best one I have was a five buck Chinese one I bought of ebay. The brand is Meideal. I bought a bunch of them for spares as they were cheap. Enjoyed your vid. Thanks for posting it.
One thing you did not mention is the choice of pick although i guess you may have overlooked this since you are more of a fingerstyle player but pick material and thickness plays a significant part in the tone of a "flat picker" such as myself. For fingerstyle players as you are, I would think that the way you keep your nails would greatly affect your tone (flesh vs. nails, etc.). I guess I am stuck on the dreadnaut style seeing that I now have five acoustics - all dreadnaught!
Like you , I anchor my picking hand by touching the guitar body with my pinky finger. I find this really helps me not to lose my comfort zone/ tone zone. Sadly , that is the only thing we share. Brilliant technique and sound. Well done, this is very interesting as I may be in the market for a new guitar soon.
I went to a guitar store and asked for a plectrum, the last of which I bought 5 decades ago and the store assistant looked dazed until the manager quipped "pick" 🤪
Hard to decide on difference between "coated" and "uncoated" strings, because the "coated" setup sounded "darker", that is, the trebles were reduced, thus making the "squeaking" less pronounced. On another note: lately I discovered the Thomastik brand and their "Spectrum bronze" model. Prior to that, I thought Martin bronze (green package) is as good as it gets, both: the quality of sound and the longevity. Now, this Vienna-based producer is my number 1 when it comes to acoustic metal guitar strings....
Nice playing. I have capos but rarely use them. I do think having multiple acoustics is a good thing. I have a quality Yamaha cutaway one size smaller than my Guild D50 dreadnaught. Strings are important as I use extra light, ease of playing is more important than tone even though both are important.
Jamie here - I’ve tried it both ways and personally I find it slightly worse for access the other way up (I tend to knock it off centre) but that may just be peculiar to me!
I wouldn’t use that style capo on a high end guitar though. I know several people who damaged their neck (indentations and marred finish) using those. The problem is they’re not adjustable and the tension can be too high.
Put light strings on a bjg guitar for a finer fingerpicking sound. Heavy strings wont project the many complex touches so well as light strings. Base can always be emphasised if you want more no matter the strings diameter.
Thank you for a very enjoyable video, and the wonderful playing! You play an extraordinarily beautiful segment of music repeatedly during the first half of the video, for instance, when demonstrating use of capo (@ 5:04) and different strings (@ 10:24). Is that your own composition, or is it a piece available to the public?
Jamie here - thanks very much for the kind words. The two tracks you highlighted are called ‘Away Aloft’ and ‘Swallowtail’ respectively and both are from my debut album ‘Withershins’ which is available on iTunes and Apple Music should you be interested in hearing more (link below) - thanks very much! music.apple.com/gb/album/withershins/1734520759
I have a Thalia that’s a pretty nice capo, but I find them a little heavy and bulky. My favorite are Shubb capo. They are light and thin. They don’t get in the way and easy to attach.
It would be helpful to know what gauge strings are being used. Maybe consider a vid showing the same guitar but using heavy, medium, light, and extra light.
12 string guitars require a special capo to get all the strings properly. Try G7 12 string capo, a good attempt at compensation for different string sizes.
I’d use a Schubb capo on such a beautiful Martin… Sometimes those spring loaded ones can put little dents in a guitar’s neck. If I had such a beautiful guitar I’d protect it
After a while , the capos that depend on a spring , become useless when the spring weakens ..... which usually happens fairly quickly .That's why I use a Jim Dunlop capo . Mine just goes on and on , year after year , and I'm expecting it to outlive the rest of the universe .
Thanks for the tips...Most people have no idea of the differences between acoustic guitars sizes, shapes and wood. Another thing is use of a Capo and why to use one seems to be a total mystery to all the electric guitar lead players. One question I have is what are your views about switching between guitar scale lengths? I've played mostly short shale (Taylor GC3 and a T5), but I also have a Taylor GO with a larger scale length. When playing fingers style or especially using a pick (which I've never really mastered), it becomes a challenge to find the strings due to the different spacing. I'm just an amateur fingerstyle player. I'm guessing its all a matter for dedicated playing time. Plus, I have three Taylor guitars...can always use one more. I really like that Taylor. Great playing.
Jamie here - I personally like slightly shorter scale acoustics (like 000 instead of OM) and a moderately wide but not super wide (like a classical) neck width at the nut. But it’s very much a personal thing! Switching between different guitars sometimes calls for a bit of quick recalibration - a bit like when you get into a hire car and the clutch bites at a different point or the brakes are sharper than you’re used to. You soon adapt. Thanks for the kind words : )
@@guitarist I prefer the smaller sizes for finger style. I started out talking classical guitar lessons growing up. Then I entered military service for 20+ years and hardly played at all. Once I retried I tried to playing with a Yamaha Dreadnought, found it to be laborious...did lot of research and decided to go with the Taylor GC, the difference was instantly apparent. That's how I learned the each guitar was made for a specific purpose. All can really do just about everything but not as well. Thanks Much
I like the 80/20's Phosphor Bronze has too much mid frequencies for my ear. I could see using them for specific recording needs (cut through the mix etc..)
He played the ending of the string-squeak differently at the end of the second rendition. "Three things you should try" but there are more. String squeak. It's noticeable that he's based in a tuning a lot of the time so he's playing predominantly modally (open strings). Slide and bottleneck players do this a lot and there's no squeaking at all - it's slide guitar - but if you are going to base your fingered melodies on open tunings you're asking for it and it goes with the territory. Personally, it doesn't bother me at all - I like his playing, squeaks-and-all. To notice that coated strings are quieter is to acknowledge and accept that they are lossy in the treble. They are also less supple than (say) bronze sets - trade offs and choices to make. To play Spanish tuning (the conventional EBGDAE), all your root "stuff" comes from the numerous three-four chord patterns in the common keys and - squeaks don't enter into it. There were none when he showcased the Gibsons in standard tuning with G-C-D.
This tuning is great for any Irish or Celtic Folk style playing & super for Fingerstyle work. The name is the what you tune to DADGAD. Try it & there's plenty of chord shape charts to use if you don't already know where the finger positions are. One great player to use this is Steve Tillston , listen to Slip Jigs & Reels to hear how nice this tuning can be. Steve will play this with a Capo & with out one if he chooses, both sound very fine. ua-cam.com/video/dNy9aA1JfB0/v-deo.html Fairport Convention covered his song & a fine job they did on it & without Richard Thompson as he was on his own when they recorded the album it's on. Now there's another one of kind guitarist & a true legend. So tune up & give it a try .
Thanks so much! They’re off my new album ‘Withershins’ and if you want to check it out it’s out on iTunes / Apple Music as of this week, just search for Jamie Dickson and there’s a pic of a tree on the album art : )
Interesting video......very helpful info.....000-14 custom is also Interesting.....it looks like mahogany like a usual 000 but has an OM teardrop pickguard? Italian spruce top? It sounds beautiful
♥Michael Hedges sound: 1971 Martin D-28, D'Addario EJ22/XL (Nickle Wound), Sunrise Pickup (S-1), FRAP (Trance Audio Acoustic Lens in some of his guitars after FRAP was no longer made) ➡ua-cam.com/video/dBc6R035deg/v-deo.html 🤗Michael Hedges with Michael Manring ♡1994♡Shriver Hall♡Baltimore
I honestly don't mind a squeak in a recording. Especially with all the programed/Ai music these days. Sounds like a human playing and there is something charming about it.
Thanks. I've been playing for 55 years and string squeak has never been an issue that I've worried about. Just tells me that the guitar is being played. Dull sound, now that's an issue. Or one range brighter than all others. Or worst of all, a dead high end.
Jamie here. Indeed, it’s just something to consider if you happen to be bothered by it - speaking with folk fingerstyle master Martin Simpson recently, he always plays coated for reduced handling noise and actually likes the slight attenuation of high end on a new set of strings as compared to uncoated (and he always plays with a fresh set). But it’s music, so it’s highly subjective and very much down to individual preference. As mentioned, it’s just something to try - whether it’s to your personal taste is another thing again but I’ve found it does make handling noise on fingerstyle recordings less intrusive, personally speaking.
Be aware that the buttons on your jacket could go resonating to the back of the guitar ;+> Question : what kind of microphone and recording equipment did you use. Great sound !
turn capo upside down , handles at top, it still works ok, and doesnt impede on hand as much
Funny that he is telling us how to use a capo when he uses his upside down ???
@@brucew.5177 Exactly!!😂😂
I prefer to use Dunlop capos because they're the least obtrusive... but frankly, today they're about as rare as hen's teeth!
@@theseustoo You're right, I am glad I bought two of them back when they were still widely available.
Nice video with splendid guitar selection. Sonically speaking they all sound too soft with no obvious base notes noticeable. My speakers are really good so not sure why I don’t hear any base. I will say the two capos you showed us are no where near the best selection offered at various music stores. So many unobtrusive light weight capos available for those beautiful guitars. Nice video and excellent guitars, especially the Martin.
All the guitars sound really amazing in this video - props to the player and the sound recorder.
"Three things every acoustic guitarist should try"... one of them is "buy several guitars". Love the suggestion! I couldn't agree more!
All you have to do then is...re-string them, stash them properly, flip them......employ a roadie to do it for you......keep the Good Woman off your back.........wade through forests of the things on stands.......spend the time to learn your twelve string to find out how badly that affects your six-string playing......remember where you put the one you bought for a hi-string and used twice......use your rosewood concert grand for the sublime tones on an instrumental and deploy your jumbo to sing everybody something else on a small stage covered in your guitars.....and cases, cases, cases..............cases........................
It's like crossing the road...look first.
@@socialmeaslesinpartnership1252you are so right. Need a clone , or second life to free up some space and time.
Give consideration to type of capo / strings / body size before you choose I think is the advice, not to have one of each lol
@@socialmeaslesinpartnership1252 🤣🤣🤣
@socialmeaslesinpartnership1252 indeed! That's why we live, breathe and have our being.
I used a spring-loaded Kyser capo in my early years without thinking about it much but would be left frustrated that I would often have to re-tune the guitar. Later I started using adjustable center-pull capos (with matching radius) like the Elliott and G7th Heritage, and that made an incredible difference for me in both intonation and tone quality. Another major improvement I have found is placing the capo as close to the fret as possible. You are much less likely to pull the strings sharp this way and with an adjustable capo, you apply only the minimum pressure needed. With that setup, I hardly ever need to re-tune after putting it on.
Never thought about the radius issue. Thanks
I don’t mind a little string squeak, it gives a human element to the song. I can almost visualize the hand moving across the fretboard as I’m hearing it
Agree. It's real. A good player will always discard the squeaks, as does the listener.
Agree. It's what I think about every time I listen to Andy Summers' squeaks in "Every Breath You Take". They squeaks add a sort of beauty to the piece.
@@maxwellfan55 And a great player will most always play without squeaking, and the listeners enjoy the music to a greater degree.
I love the adjustability of Shubb capos because all necks are different.
I only use Shubb capos!
The Shubb is great, BUT I have a couple guitars with thick necks and the Shubb won’t work above the 7 fret on them.
@@maineb1111 Are the Shubbs adjustable??
@@jltrem Yes, they are Adjustable. But the range of adjustment is not always sufficient to capo far up the neck on some guitars. I have one standard six-string electric and a twelve string that my Shubb doesn’t work well with. (It works well with about 15 others.) Don’t fret though (pun intended), it’ll work fine with any Fender, Gibson, or similar 6-string guitar neck, which is probably 98% of all guitars.
@@maineb1111 I've never found ANY guitar the Shubb doesn't fit. For thinner necks just add some padding to the rubber.
Its also important to choose a capo with a pad matching the radius of the fretboard as closely as possible, or there's the possibility that some strings will be muted. Thalia capos (no affiliation), are supplied with interchangeable pads of various radii to suit all common fretboard radii.
After trying several other brands, I finally got a Thalia. Now I own 3 and they’re all I use.
Such a treat listening to this guy play. Helpful video too. Thanks for sharing
I was about to send you this video dude lmao you beat me here
Yes. I've been playing acoustic guitar with different body shapes in the last few decades. It's the beer, mainly. Very useful video... thank you.
Tried dozens of Capo's, I found Shubb to be the best by far. They are so slim and unobtrusive, they do not get in the way like the bulky G7 or similar. Of course, everything is just an opinion, but Shubb are not expensive, and if you want a Capo that does not get in the way at all, Shubb are by far the ebst option.
Strings, I absolutely love Elixer strings, they sound great, they last ages, and they eliminate that horrible squeaky & scratchy string noise. I even use 'Fast Fret' on my Elixer strings, which makes them even less squeaky, less scratchy, and much smoother for slides.
Tonewoods, just my opinion, but if you can only afford to own one main guitar, Sitka Spruce is the best all rounder.
That's an opinion I share. Shubb capos are absolutely recommended. Since I got one, I've been using it exclusively.
@sternensegler61 alright... you guys have talked me into it... just ordered a custom Thalia
Agree and disagree. Best all round tone wood for guitar is an all mahogany Martin.
@@maxwellfan55 You do realize, Lowden also do solid mahogany guitars, with much better hand built quality, from AAAA+ grade tonewoods ?
Nobody would say a mass produced guitar like a Martin is going to be even close to the amazing build quality which equals amazing harmonics and sustain, as a hand made luthier guitar such as a Lowden.
Well, nobody who actually knows about guitar building would say that, put it that way.
@@maxwellfan55 Also, the sound of a guitar is subjective to the listener, there is no 'best'.
One mans best is another mans worst, and nobody is 'wrong', because sound is a matter of opinion.
I have the Ernie Ball capot similar to yours and I'm sure I read on the packaging that one way is for Radiussed necks and the other is for flat necks. If so assuming that Martin has a radiussed neck you have it upside down. I have an Alverez 12th fretter with a flat neck and always put it handle downwards and the other (handle upwards) for my 314CE. Actually I have the capot in my hand right now and you can clearly see one side is either flatter or less radiussed than the other.
EDIT - Just checked and this is what Ernie Ball says - The Ernie Ball Axis Capo’s ergonomic features allow for fast and accurate single-handed key changes. A dual-radius design conforms to flat or curved fretboards, ensuring buzz-free operation on 6 or 7 string electric and acoustic guitars.
Thanks for doing this video. J-45 is definitely the sound I am looking for.
What a great discussion/demo. Well done. Beautiful playing !! Thank you!
Shubbs are the best and I’ve tried them all, well nearly all.
What a fun video. The guitar playing was first rate. All the guitars sounded very good. I only use Elixir medium gage phosphor bronze strings. I do have several guitars. I have a martin d18 which is my most expensive, I have a yamaha 830 CE, and I just bought a used Alvarez DY52. I don't use a pick, so I want a guitar with a louder sound, so I always go for dreadnaughts. If you have never used Elixir strings, then I highly recommend them. I won't use any other strings.
Notice at 3:00 and 5:00 how the spring loaded capo pulls the lower strings dramatically out of tune. I strongly prefer models like the Elliott or Paige where the pressure from the device is evenly applied from the center rear of the neck. He doesn't even seem to notice (?)
Martin guitars often have very flat frets. Therefore, they react little to excessive pressure and often they even stay in tune with a Spring loaded Capo. So you may not even notice the problem. But youre absolutely right. I would always recommend a Capo wich allows adjusting the pressure.
I heard that sixth string being out of tune before I noticed that is was clearly visible that the capo was the cause.
The Kyser capo is notorious for that. I don't understand how players don't hear it. I agree about Elliot and Paige, and include Shubbs, because you can adjust the pressure. The fact is that, even with such capos, a player generally needs to adjust one string or another as they change frets, especially depending on the age of your strings! As you get to know your guitar, you get to know what tweaking it needs. Capos like Elliot and Paige minimize the effect of the capo in this scenario.
Its handy to be able to attach a capo to you guitar and It’s good for the ear to retune after applying Capos. Inevitable in open tunings
The soundboard material makes a difference; back and sides a smaller one. In my experience the largest contributors to an instrument’s sound are the combination of top thickness and bracing, along with the overall body volume. Lovely playing and sound.
With a quality adjustable-tension capo you should be able to find the sweet spot where the tension of the capo is no higher than what is necessary to allow the strings to ring freely. This can be different from guitar to guitar which is why adjustability is useful. There is also less need of retuning after applying a capo which is properly tensioned. Although legions of icons and professional players are happy with single-tension capos, there is no doubt that capos that allow tension adjustment offer an advantage. I especially like the "yoke-style" capos which are aligned to the center of the neck and have to protruding pieces which interfere with hand positioning.
Capo's with the spring mechanism, I find are less intrusive to hand movement when the mechanism is placed on the top of the fret board.
Worth trying out especially for percussive fingerpicking with hammer-ons and bendings, it is also to tune the guitar down by a half or whole step and then place the capo on the first or second fret. The lower string tension gives the guitar a different sound, more vintage that suits Blues and Country very nicely.
Great playing. I love the mention of Martin Carthy.
On strings... For many years I've used D'Addario SP strings, which I think are Phosphor Bronze and sound, to my ear, quite good, but I do find they get kind of thunky (a bit dead) sounding in a fairly short time. I have a old Gibson AJ and a Yamaha AC5R (Concert size,solid rosewood/spruce body). I also have several electric guitars on which I use D'Addario NYXL strings (11s) which I think may be the best strings I've ever used on my electrics. I think these are coated strings, but for whatever reason they last for a long long time, stay in tune, just great strings. So I thought I'd try them on my Yamaha, but I would get 12s. They are perhaps a little bit brighter, but I love them and I've had them on the guitar for several months now and they are working pretty much as they do on the electrics.
One of the very best and informative guitar videos I’ve ever watched. Thank you so much.
I'm a fan of phosphor bronze strings. If you can't afford a Martin then I recommend Faith brand acoustic guitars.
Thomastik-Infeld KR116 Classical guitar strings tend to minimize the squeak sounds on the lower strings. Also, they give a bright steel string sound to a standard classical guitar.
The example of the capo on the second fret is immediately audible, allowing the guitar to use a different voice, kind of silky. And seriously, that guitar is amazing!
Lovely touch you have.
I play the capo upside down when I go up two frets. I leave the low E unfretted, play a D shape ( E) chord, and the low E gives the chord a great bassy sound.
Thanks for a great video! The coated string tip sounds great!
A capo on first fret may give lower string action.
To put the capo just below the fret makes the capo'ing more in tune. (If a string is a bit too high after capo'ing, trying to pull the string out (away from the guitar) a little bit may bring the string back to tune after capo'ing.)
To have he clamp facing upwards gives less problems when playing near the capo.
Fantastic! Great suggestion! Thank you. Beautiful guitars!
Thanks for reviewing the different acoustic guitars. BTW, you stated (mispoke) that the Taylor guitar was different, having a redwood rather than a Sitka spruce top. I am pretty sure that is a red cedar soundboard on that guitar!
When I was shopping for my first really good acoustic I wanted a Martin D28. But then I tried them and couldn’t get used to the big body. So, I bought an OM21 and it fits me well.
I like the Kyser capo with the handle up. G7 feels loose to me, not positive enough pressure. Shubb is too fussy. I use the capo to 1. Change keys to fit vocal ranges
2. Avoid playing in unison with other guitarists for added harmonic variety (first guitar in E, second guitar capo 2 plays D shapes)
3. Change keys to use picking patterns I am comfortable with (and have a certain sound or cadence)
I don't fancy Elixirs, a little dead for me. Monel strings? Peaked my curiosity. I have to try some.
Nice guitars and nice video, thanks. Send me a copy of your magazine so I can check it out 😎
One thing to mention about capos is that depending on the fretboard radius of your guitar, different ones will work better. Mismatch between the fretboard’s curve and the capo’s curve is one reason why it can be hard to get even pressure across the strings, causing sharp notes on some strings and out of tune chords.
This is one reason why the G7 is so good. Its design makes it apply variable pressure on each string. It works with any radius.
Make that four things, lift your fingers as you transition between chords and then you don't make those most unmusical squeaks . Don't practice until you get it right, practice until you can't get it wrong. I think Bruce Lee said that.
That particular 'unmusical squeak' was from sliding down that note. Virtually impossible to not make that noise on roundwounds sliding a note like that, however much you practice.
Jamie here - the squeak is from a particular slide in that section of the song. Tried writing it out but didn’t like how it broke the flow of the line. I think however you have a point insomuch as if you do a kind of micro-lift you can attenuate the squeak a bit and still keep the slide. I don’t always succeed but, especially with coated strings, it’s acceptable to me on this piece. Others may feel differently!
Funny but i noticed the squeaks more with the coated strings on the Taylor, maybe since I'm so used to hearing the squeaking sounds they kind of disappear into the overall sound of the Martin
The nice thing about the Ernie Ball Capo is one side is flat and the other has a slight radius. I find it works well on multiple types of necks.
I've always liked JD's considered, balanced videos, and articles (as well as the other writers on Guitarist magazine, which I've been buying for 20 years, the best, bar none).
Thank you, sir - very much appreciated on all counts
The tips in the videos are very useful. But JEEZ the guitar playing is so dang musical and flowing. Bravo
Jamie here - I take that very kindly, thank you indeed 🙏
@@guitaristdo you have any music of yours to listen to anywhere?
Really helpful. Thanks for sharing!
Great, informative video, and hands down, The Best guitar magazine along with Fretboard Journal out there !
Thank you! 🙏
Thank you for this very informative video. I love that custom J45!
Thx alot, cool advises and wonderful playing 👍😀🎸🙏
Good video. Suggestion, though: switching body size & shape, tone woods & (maybe) strings for comparisons: it's hard to know what to attribute changes in sound to. Maybe try to get access to essentially the same guitar (or as close as possible) from the same manufacturer. Changing one thing at a time helps teach viewers what factors influence the sound in specific ways.
Conversely I quite like the squeak of a guitar being played, adds to authenticity, just my thoughts 😊😊😊
Many thanks for the video. Any chance to get a "Travelling Light" tutorial😊?
Maybe one day if there's enough interest! Thank you : )
Very well done and helpful. Thank you
Hi Jamie, thanks for your video and presentation. If I may, I'd like to point out that not all capos suit all sortd of fretboard radii, and neck profiles, and as we see at 3:00 spring style capos don't have adjustment capability and can easily bend the strings (see your 6th string) I have a Shubb basic for each of my guitars which work well as they can be set for the individual guitar; to compensate for neck profile/depth.
The next comment, which you might feel is picky, or a tad OCD, but the Gibson J45, is not a Dreadnought, it is a Jumbo, and the SJ200 is a Super Jumbo. A "round shouldered /slope shuoldered dread, is the Original, 12 fret Martin dreadnought, Although I accept that Gibson probably took influence from the Original 12 fret dreads for their Jumbo. I know that the marketing people at Gibson and other builders don't help much with this.
I guess you must be tired of guitar nerds raising such things., but might be helpful when explaining to folks as a Gibson style Jxx guitars doesn't sound or play like a Martin style Dxx dreadnought, and a SJ is different again.
In flamenco, the capo or cejilla in Spanish is not really used to change key - it is a way to change the timbre and feel of the guitar part.
Here's a secret, changing key or pitch changes timbre and feel.
Very much enjoyed the video, Thanks Jamie.
You’re welcome!
It's pretty amazing reading these comments regarding strings, capos, woods and choice of one's own preferred sound and looks of guitar but one of the most glaring things to me regarding the "looks" of the guitar was the J-200 guitar. Did anyone else notice the fitment of the pick guard on this beast? The placement looks sloppy, nearly covering a wee bit of the tone hole, cocked a bit out of alignment and appears almost to be an afterthought...just something grabbed off the shelf that was meant for a better fit on a guitar it was designed for. I think this one slipped by the "final inspector". I also know that mics and mic placement influences the tone...if the guitar is being recorded. Obviously, not the main subject matter here and furthermore...what do I know? Thank you for the video...I enjoyed it!
Fretted notes has different tone to unfretted. Therefore capo act as fingers. Even and balanced tone is more pleasing to discerning player.
The difference between open string and fret is largely caused by the nut material. Guitars with a zero fret don't suffer that problem.
Man that sinker redwood Taylor is a nice guitar. I have a 714 Sinker which I love but yours is stunning. Having said that my go to guitar is a Martin 000-15M Street master. I have a bunch of capo's - I usually get them to throw one in & a strap when I buy a guitar. Best one I have was a five buck Chinese one I bought of ebay. The brand is Meideal. I bought a bunch of them for spares as they were cheap. Enjoyed your vid. Thanks for posting it.
Beautiful guitars you have there! I really like the way the j200 sounds and looks
Spent yrs playing elixirs.. now playing retro/flatwounds... totally cool.
Try a D'Addario PW-CP-18 capo. There's no going back! Very similar to the MUCH more expensive Elliott capos
Love the Taylor. Sounds like a symphony to me.
One thing you did not mention is the choice of pick although i guess you may have overlooked this since you are more of a fingerstyle player but pick material and thickness plays a significant part in the tone of a "flat picker" such as myself. For fingerstyle players as you are, I would think that the way you keep your nails would greatly affect your tone (flesh vs. nails, etc.).
I guess I am stuck on the dreadnaut style seeing that I now have five acoustics - all dreadnaught!
Love this video. Working dad powering through and giving us a great video. We’ve all been there.
❤
Definitely would suggest trying elixir strings, they are fenomenal (the coated ones)
phenomenal. You're welcome.
That opening bit sure sounds like Michael Gurley!
Like you , I anchor my picking hand by touching the guitar body with my pinky finger. I find this really helps me not to lose my comfort zone/ tone zone. Sadly , that is the only thing we share. Brilliant technique and sound. Well done, this is very interesting as I may be in the market for a new guitar soon.
Thanks for the kind words - I’m sure we share a love of acoustic guitar too and more besides!
An easy fourth idea to try, especially for strumming is different picks or plectrums if you like the fancy terminology.
I went to a guitar store and asked for a plectrum, the last of which I bought 5 decades ago and the store assistant looked dazed until the manager quipped "pick" 🤪
I amazed that he didn't say that.
Or even angling the pick
Hard to decide on difference between "coated" and "uncoated" strings, because the "coated" setup sounded "darker", that is, the trebles were reduced, thus making the "squeaking" less pronounced.
On another note: lately I discovered the Thomastik brand and their "Spectrum bronze" model. Prior to that, I thought Martin bronze (green package) is as good as it gets, both: the quality of sound and the longevity. Now, this Vienna-based producer is my number 1 when it comes to acoustic metal guitar strings....
To stop string squeak dab abit of chalk dust or talc on fingertips. just a tad . Also its good if you sweat alot on fingers . As some people do .
Nice playing. I have capos but rarely use them. I do think having multiple acoustics is a good thing. I have a quality Yamaha cutaway one size smaller than my Guild D50 dreadnaught. Strings are important as I use extra light, ease of playing is more important than tone even though both are important.
Wouldn't reversing that capo (in Tip #1) by placing the handle/lever above the neck allow better access?
Nice video, thanks.
Jamie here - I’ve tried it both ways and personally I find it slightly worse for access the other way up (I tend to knock it off centre) but that may just be peculiar to me!
I wouldn’t use that style capo on a high end guitar though. I know several people who damaged their neck (indentations and marred finish) using those. The problem is they’re not adjustable and the tension can be too high.
Thank you so very much!
You’re a great finger style player my friend
Put light strings on a bjg guitar for a finer fingerpicking sound. Heavy strings wont project the many complex touches so well as light strings. Base can always be emphasised if you want more no matter the strings diameter.
Excellent video guys. I wish I had this information years back - it would have helped a lot. Thanks
In DADGAD, the Capo "Muted" and slightly "Threw Off" the intonation.
I'd really recommend trying to capo a 12 string further up the neck - they really sing out if you capo at the 7th fret :-)
Well presented.
Thank you for a very enjoyable video, and the wonderful playing! You play an extraordinarily beautiful segment of music repeatedly during the first half of the video, for instance, when demonstrating use of capo (@ 5:04) and different strings (@ 10:24). Is that your own composition, or is it a piece available to the public?
Jamie here - thanks very much for the kind words. The two tracks you highlighted are called ‘Away Aloft’ and ‘Swallowtail’ respectively and both are from my debut album ‘Withershins’ which is available on iTunes and Apple Music should you be interested in hearing more (link below) - thanks very much! music.apple.com/gb/album/withershins/1734520759
Thank you sir for the tips. And thank you for a fantastic publication
You’re most welcome - thanks for the kind words
Nice lesson. I agree, some capos aren't a good "fit" with some guitars. Thanks.
I have a Thalia that’s a pretty nice capo, but I find them a little heavy and bulky. My favorite are Shubb capo. They are light and thin. They don’t get in the way and easy to attach.
It would be helpful to know what gauge strings are being used. Maybe consider a vid showing the same guitar but using heavy, medium, light, and extra light.
I think there 12-54 as on box
12 string guitars require a special capo to get all the strings properly. Try G7 12 string capo, a good attempt at compensation for different string sizes.
OK, so now I have to get a J45. Thanks Jamie...lol. Great video, great tips and great playing. Thank you.
J 50 is the same guitar, just not sunburst.
I’d use a Schubb capo on such a beautiful Martin… Sometimes those spring loaded ones can put little dents in a guitar’s neck. If I had such a beautiful guitar I’d protect it
Coincidence....User name fits the comment?
After a while , the capos that depend on a spring , become useless when the spring weakens ..... which usually happens fairly quickly .That's why I use a Jim Dunlop capo . Mine just goes on and on , year after year , and I'm expecting it to outlive the rest of the universe .
Thanks for the tips...Most people have no idea of the differences between acoustic guitars sizes, shapes and wood. Another thing is use of a Capo and why to use one seems to be a total mystery to all the electric guitar lead players. One question I have is what are your views about switching between guitar scale lengths? I've played mostly short shale (Taylor GC3 and a T5), but I also have a Taylor GO with a larger scale length. When playing fingers style or especially using a pick (which I've never really mastered), it becomes a challenge to find the strings due to the different spacing. I'm just an amateur fingerstyle player. I'm guessing its all a matter for dedicated playing time. Plus, I have three Taylor guitars...can always use one more. I really like that Taylor. Great playing.
Jamie here - I personally like slightly shorter scale acoustics (like 000 instead of OM) and a moderately wide but not super wide (like a classical) neck width at the nut. But it’s very much a personal thing! Switching between different guitars sometimes calls for a bit of quick recalibration - a bit like when you get into a hire car and the clutch bites at a different point or the brakes are sharper than you’re used to. You soon adapt. Thanks for the kind words : )
@@guitarist I prefer the smaller sizes for finger style. I started out talking classical guitar lessons growing up. Then I entered military service for 20+ years and hardly played at all. Once I retried I tried to playing with a Yamaha Dreadnought, found it to be laborious...did lot of research and decided to go with the Taylor GC, the difference was instantly apparent. That's how I learned the each guitar was made for a specific purpose. All can really do just about everything but not as well. Thanks Much
I like the 80/20's Phosphor Bronze has too much mid frequencies for my ear. I could see using them for specific recording needs (cut through the mix etc..)
I haven't seen anyone holding G chord with 3rd and fourth finger swiched before!
He played the ending of the string-squeak differently at the end of the second rendition.
"Three things you should try" but there are more.
String squeak. It's noticeable that he's based in a tuning a lot of the time so he's playing predominantly modally (open strings). Slide and bottleneck players do this a lot and there's no squeaking at all - it's slide guitar - but if you are going to base your fingered melodies on open tunings you're asking for it and it goes with the territory. Personally, it doesn't bother me at all - I like his playing, squeaks-and-all.
To notice that coated strings are quieter is to acknowledge and accept that they are lossy in the treble. They are also less supple than (say) bronze sets - trade offs and choices to make.
To play Spanish tuning (the conventional EBGDAE), all your root "stuff" comes from the numerous three-four chord patterns in the common keys and - squeaks don't enter into it. There were none when he showcased the Gibsons in standard tuning with G-C-D.
Thanks for this. Curious about the tuning…😎
It’s just DADGAD
This tuning is great for any Irish or Celtic Folk style playing & super for Fingerstyle work. The name is the what you tune to DADGAD. Try it & there's plenty of chord shape charts to use if you don't already know where the finger positions are. One great player to use this is Steve Tillston , listen to Slip Jigs & Reels to hear how nice this tuning can be. Steve will play this with a Capo & with out one if he chooses, both sound very fine. ua-cam.com/video/dNy9aA1JfB0/v-deo.html Fairport Convention covered his song & a fine job they did on it & without Richard Thompson as he was on his own when they recorded the album it's on. Now there's another one of kind guitarist & a true legend. So tune up & give it a try .
wow great playing
I like the Paige capos
Nice playing. You didn't broach the first things that I would consider. They are string gauges and string height,or action.
Jamie here - fair enough, good reason for a second video perhaps!
Is that a 000-18 ?? Thanks , great video
Great tips, but even greater playing. I'd love to know what the tunes are that Jamie is playing here, and if he's recorded them. -Tom
Thanks so much! They’re off my new album ‘Withershins’ and if you want to check it out it’s out on iTunes / Apple Music as of this week, just search for Jamie Dickson and there’s a pic of a tree on the album art : )
Interesting video......very helpful info.....000-14 custom is also Interesting.....it looks like mahogany like a usual 000 but has an OM teardrop pickguard? Italian spruce top? It sounds beautiful
It's my experience that phosphor bronze give a brighter sound and 80/20, which is just brass, are the softer sounding.
♥Michael Hedges sound: 1971 Martin D-28, D'Addario EJ22/XL (Nickle Wound), Sunrise Pickup (S-1), FRAP (Trance Audio Acoustic Lens in some of his guitars after FRAP was no longer made) ➡ua-cam.com/video/dBc6R035deg/v-deo.html 🤗Michael Hedges with Michael Manring ♡1994♡Shriver Hall♡Baltimore
ua-cam.com/video/07GJnOn46v4/v-deo.html 🎬Oracle:The Life & Music of Michael Hedges ♡ Trailer 💜
I honestly don't mind a squeak in a recording. Especially with all the programed/Ai music these days. Sounds like a human playing and there is something charming about it.
Can you please tell me the Model of Taylor you have in this Video. Thank you
Thanks. I've been playing for 55 years and string squeak has never been an issue that I've worried about. Just tells me that the guitar is being played. Dull sound, now that's an issue. Or one range brighter than all others. Or worst of all, a dead high end.
Jamie here. Indeed, it’s just something to consider if you happen to be bothered by it - speaking with folk fingerstyle master Martin Simpson recently, he always plays coated for reduced handling noise and actually likes the slight attenuation of high end on a new set of strings as compared to uncoated (and he always plays with a fresh set). But it’s music, so it’s highly subjective and very much down to individual preference. As mentioned, it’s just something to try - whether it’s to your personal taste is another thing again but I’ve found it does make handling noise on fingerstyle recordings less intrusive, personally speaking.
Be aware that the buttons on your jacket could go resonating to the back of the guitar ;+> Question : what kind of microphone and recording equipment did you use. Great sound !
Thanks good observation - AKG C414s