Doc Watson called the capo a "cheater"...
but he used it.
I think it's got a lot to do with style. If you're playing jazz, where all the chords are based on movable forms and tightly damped with no chiming, ringing strings, the capo is definitely out.
If you're playing bluegrass, with powerful rhythm chords and perhaps not as much up-the-neck stuff, the capo is certainly in.
If I am the sole accompaniest for a singer, and I want a full, lush sound for a song that's in Bb, well, the capo is IN for me.
Capos are tools. They have limitations and uses.
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