Best right hand technique

[bobbass]

Hi all,

I am trying to develop a more efficient right hand technique and from watching various players and youtube clips it seems everyone teaches a slightly different method.

At the moment, i plant my thumb on the E string and leave it there using my ring finger to mute the A when playing the G. On 5 string, I rest on the B and 'float' down to the E.

As with any new way of playing, I find the floating thumb trickier, especially on passages with much fast string crossing and octaves.

Any tips?

[thisnameistaken]

Do you feel like your current picking technique is holding you back?

Only it seems 99% of bass players pick exactly the same way you're doing it now and it works for them.

[wotnwhy]

I guess the best way to find out what works for you is to learn all techniques and you'll naturally gravitate towards a particular one.

For me it was floating thumb. For me it seemed to be the most natural way to do it as your hand is in the same shape regardless of which string your on. Whereas when the thumb is anchored your hand is in a different shape for each string, which I found made for more inconsistancies in my playing, especially when dancing around. I also found you no longer need to worry about muting on the lower strings as this is naturally taken care of, another bonus when dancing around.

I've never found jumping strings to be an issue with floating thumb, though i have seen some other people mention this. I guess just time and practice to get used to it as it's a different way of moving around the strings so you have to start from the start, as it were.

If it's any help, i made a short video of me using floating thumb after a request on this forum, there's some string jumping and octaves in it. As it was pointed out at the time, as i'm playing an acoustic sitting down my wrist is at an angle, which it wouldn't be normally, but the focus of the video was on the thumb.

[url="http://www.youtube.com/watch?v=iZFSeNy_GMk"]http://www.youtube.com/watch?v=iZFSeNy_GMk[/url]

Edited October 18, 2010 by wotnwhy

[Faithless]

I used 'Jaco' technique - putting thumb on pickup or E string (if going on higher strings) and muting strings with ring and pinky, but my playing wasn't clean enough, and wasn't comfortable in some cases, so I 'took' some advice from Mr. Todd Johnson (youtube him on floating thumb technique) and switched to floating thumb, and I never looked back since.

It took me a few months (and some pain in the arm!) to get it comfortable but it's ok now.
Whatever you choose, dont hope to learn it in day or two - everything takes more time than that, a lot more.


easy
faith

[Doddy]

I've always recommended using the movable anchor technique. My thumb generally rests on the string below
the one I'm playing. I've caught myself using the floating thumb live a couple of times,but I've never practiced
it-It just feels awkward. In the upper register on a five or six string,my right hand is similar to what John Patitucci
does,in that the ring and little fingers are muting the lower two strings while the thumb is anchored around the
A and D strings. Some people claim that on extended range basses you need the floating thumb to clean things
up,but I've never had a problem.

[bobbass]

Cheers fellas,

Having practised for a couple of hours, I reckon I get a more consistent sound floating the thumb, and a bit of a warmer tone due to the position of my fingers. Definitely has potential. Seems like it changes from player to player.

[solo4652]

I switched from using a thumb rest to floating thumb, mainly to gain the string muting afforded by floating thumb. On balance, I personally prefer floating thumb because of the (relatively) unaltered hand shape you end up with when crossing strings.

However, it has been suggested to me that my plucking has become softer having adopted floating thumb, and this in turn means I have to turn up gain and volume controls, and this in turn emphasises any bum notes I play.

Anybody else experienced this with floating thumb?

Steve

[wotnwhy]

[quote name='solo4652' post='1045060' date='Dec 2 2010, 01:40 PM']However, it has been suggested to me that my plucking has become softer having adopted floating thumb, and this in turn means I have to turn up gain and volume controls, and this in turn emphasises any bum notes I play.

Anybody else experienced this with floating thumb?

Steve[/quote]

Yes, but i see it as a positive thing as the nuance's in your playing a much more pronounced, greater dynamic control etc.

And anyway, it doesn't matter how hard you hit the strings, you'll never be heard un-amplified. So why work harder?

[TKenrick]

[quote name='wotnwhy' post='1045118' date='Dec 2 2010, 02:14 PM']And anyway, it doesn't matter how hard you hit the strings, you'll never be heard un-amplified. So why work harder? [/quote]

I agree with this, up to a point... While I'm definitely in favour of not using too much effort when playing, I find that there has to be a certain level of attack in order to produce what I'd term a 'solid' tone (of course, tone is an entirely subjective thing). Having been to clinics with Todd Johnson and spent numerous hours trying to imitate Gary Willis' right hand technique, I find that the tone generated by floating thumb playing is a tad 'weak' for my tastes. While I appreciate that it has benefits, and lends itself to certain playing situations, I think it lacks a certain something when it comes to playing grooves. Obviously it's a matter of personal opinion, but I find that I produce a stronger, more defined tone from using anchoring and rest strokes.

[Mog]

I'm either on the neck pup or the edge of the neck for fingerstyle. Works for me as i find it most comfortable during long sets. Its a matter of finding what works best for you. Where you rest your thumb is only maybe 60% of the battle when playing at high tempos. The rest comes from stamina, dexterity and accuracy. IMO thats why its uber important to have a comfortable hand position.

[thisnameistaken]

I imagine there could be practical benefits to this "floating thumb" technique if you are a studio musician, because surely it would be easier to play very evenly with that technique.

But, serious question: How easy is it to rock the f*** out with your picking arm suspended in mid-air like that, and your thumb "floating" above the bass? Along with playing my bass parts and singing my harmony vocals I also have a responsibility to rock the f*** out throughout our gigs, and I can imagine it would be difficult to do that with this picking technique.

I can imagine for fretboard-gazing prog bands it's a moot point, since no dancing ever happens to that kind of music because it doesn't really appeal to humans.

[wotnwhy]

[quote]I agree with this, up to a point... While I'm definitely in favour of not using too much effort when playing, I find that there has to be a certain level of attack in order to produce what I'd term a 'solid' tone[/quote]

Interesting point, that i've only recently come across since joining a metal band. Before i would have said that it is possible to equal the attack you can achieve from an anchored thumb with floating, and i still think so, but what i've learned is that to do so puts much more strain on your hand. When rehearsing with the band (quietly with an electric kit) i didn't need to play with force, and had no trouble with the pace. But live i needed that 'attack' you speak of, and my hand would show signs of seizing much sooner than in practice. Unfortunatly for me i found the stretch of anchored when playing the top strings just as debilitating. So pick it it!

[quote]But, serious question: How easy is it to rock the f*** out with your picking arm suspended in mid-air like that[/quote]

(In certain gigs) I leap around like a loon, swinging the neck around like i'm trying to swat a wasp, never had any trouble with losing right hand position when doing so, but i've been doing them as long as each other (floating thumb and stupid dancing) so i can't say how easy it would be for a newbie to the float And it has to be said, the advantages i've talked about in previous posts don't apply when leaping about. But then at that sort of gig no one's thinking about nuance, they're too busy 'rocking the f*** out'

[mgibson]

Yeh, here is my two cents worth, rock gig when your playing fingersyle and jumping around etc. anchor your thumb, it still allows in my opinion for a wide enough range of dynamics for the dynamics to have effect but just gives you that much more freedom to really 'get into' the music. If its a jazz gig or something where tone and dynamics will change greatley even from bar to bar, float it to allow that really soft [i][/i]piano[i][/i] part and [i][/i]forte[i][/i] part along with riffs, walking bass lines, high little runs, which is another goof thing anbout floating thumb, rampid movement from string to string, and like, whatevs. to really sing from your bass.

[Dubs]

[quote]Best right hand technique[/quote]





Sorry, I'll get my coat...

[Chris2112]

I have always tended to use a variable of both techniques, and I have developed both to the point where changing between them is as fluid as possible. In fact, I actually had to picture the bass in my head to work out how I do it as it's not something that I think about!

I probably rely more on having my thumb in a "transitional achor" technique, where it's resting on the string above the one I'm playing as it can really help you to get a nice even, powerful pluck on funky 16th note passages. In the end though, I don't think too much time should be spent working on the technique if it does not feel immediately "natural" to you. I could probably play everything I do with both styles, and I think there are much more important things to focus on.

I certainly never dedicated any time to these techniques specifically, unlike I did with say; slap or four finger plucking. In the end, if you're meant to be using a certain right hand plucking technique it will probably develop itself (unless you're thinking of something wild like Billy Sheehan's three finger "rolling" style!)

Edited December 8, 2010 by Chris2112

[mcgraham]

[quote]In the end, if you're meant to be using a certain right hand plucking technique it will probably develop itself[/quote]

I don't agree with this - just 'trusting' you'll find the right technique for you and that you'll do it correctly is nonsense. Nothing else in the world operates in this way, why would bass technique be any different? You might be [i]satisfied [/i]with your technique without working on it, but doesn't mean it's right or correct.

[Chris2112]

[quote name='mcgraham' post='1051463' date='Dec 8 2010, 10:58 AM']I don't agree with this - just 'trusting' you'll find the right technique for you and that you'll do it correctly is nonsense.[/quote]

It worked for me...I realised one day I could do both styles and I'd never gave it any concious though. However, judging by the amount of mugs who play their basses round their ankles, perhaps it takes someone with common sense to benefit from this "natural development" approach.

[mcgraham]

I'd agree that you need to have common sense to progress, but common sense would mean looking at your technique and changing things or consciously adjusting your technique to improve it. I'd say that qualifies as 'dedicating time' and effort towards a technique - you've certainly directed your mind towards improving that technique.

Mark