| Author | Message | ||
| biobassman
New Username: biobassman Post Number: 1 Registered: 5-2003 |
Hi, Last weekend I bought my first Alembic bass = an Essence 5-string (built in '92)... a real eye (& EAR ! ) opener after many years of enjoying my '69 Fender P-bass (& more recently a 5-string Squire 'Pro Tone' which I bought last year to figure out if I could get into playing a 5 string). Normally when playing the 5-string I keep my thumb resting on the E-string (when plucking on A,D or G strings), moving it up to B-string when plucking the E-string, & up to top of front pickup when plucking the B-string. However, the alembic seems so responsive that I can detect a steady/slight drone from the undampened B-string when I have my thumb resting on the E-string (while plucking A, D or G strings). This became more apparent while recording with my band last night. I'm a finger style player & I would appreciate advice from the experts on best ways to dampen B versus E-strings on the Alembic or similar 'high end' active basses. thx, willy p.s. my rig includes Eden Highwayman WT-500 head, DBX compressor, Eden 115T & 210XLT cabs. | ||
| paul_boulet
Junior Username: paul_boulet Post Number: 24 Registered: 8-2002 |
Ok – I’ll take a stab at it! The opinions expressed here are my own and I’m not expecting the necessary agreement of anyone else who may chime in… I add the disclaimer because this bridges the 4 vs. 5+ string debate so I’ll just provide my own experience and go from there. I play predominately 6 string fretless, with occasional 5 string fretted after having played typical 4 sting for many years. Accounting for sympathetic string noise is the significant playing style difference that becomes required when you add on that additional sting. For the six-stringed animal, I had to completely change my right hand style to dampen string w/o pushing toward Carpal Tunnel. For the low B end, I have learned to drop my thumb between the B & E to dampen both simultaneously. Then, when playing in the upper register on the higher strings, I shift my right hand position so the right edge covers all of the strings that I’m not playing. I do this for my 5 sting now out of habit but I’m sure it’s required just to a lesser extent. I have also had a ramp installed on my instruments so I can base right handed shifts on an elevated position. If you never seen one of these there’s an absolutely beautiful example of a Rogue 5 for sale on eBay right now that has one. http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2534735197&category=4713 I find this very helpful for pulling tonal variation from right-hand shifting while also offering a little assist for dampening as well. I realize that this was more of an answer than first asked but that’s just me when I get started. I hope it helped for what it’s worth. -Paul (Leo) | ||
| biobassman
New Username: biobassman Post Number: 2 Registered: 5-2003 |
Paul (Leo), many thx for your input & advice; very much appreciated -> As you point out, avoiding 'sympathetic overtones' on undampened strings seems to be a critical aspect of the 5 & 6 string bass technique. I'll try out your combined B/E string damping technique this p.m. Also, I had never heard of (or seen) elevated 'ramps' btwn pickups... quite interesting. take care, willy | ||
| paul_boulet
Junior Username: paul_boulet Post Number: 25 Registered: 8-2002 |
Willy: Gary Willis is the notable player of the day who has taken the whole ramp concept to furthest extent I’m aware of. I’m a real big fan of his playing and it was his example/instruction that turned me on to using them myself. Here’s a link to his web site where he goes into detail on his setup and how he uses it. http://www.garywillis.com/pages/bass/bassmanual/theramp.html -Paul (Leo) BTW: There are a lot of Paul’s around here so we all have our little parenthetical unique identifier – in case you were wondering… | ||
| bigredbass
Intermediate Member Username: bigredbass Post Number: 117 Registered: 9-2002 |
After coming from a four string, the one thing most people don't bring up (after moaning about finding the perfect B-string, their old amp ain't up to this, the fingerboard's too wide/narrow, etc.) is this mostly left-hand problem of the 'extra' string(s) ringing until you learn to mute them effectively as part of your now-expanding technique. This is why the 'classic' neck taper was good for me: The string spacing was close and the neck wasn't very wide. I live close to a SamAsh store who's had a John Pattitucci Yamaha in stock for a very long time. Aside from the awful pickups, I'm convinced it's because it's the widest fingerboard I've ever tried, and I have big hands. I use a variation on what you do: I tend to rest my thumb BETWEEN the E and B, the A and E, etc., instead of upon a string singly. I had to learn to pluck more across than 'into' the strings, as well. I come from a piano background, so the idea of lifting out of each stroke is ingrained, as well as not letting anything keep 'ringing' that's not part of the passage at hand. I hope this is useful. J o e y | ||
| davehouck
Member Username: davehouck Post Number: 62 Registered: 5-2002 |
Speaking of Pattitucci; if I recall correctly he uses his fourth and fifth fingers to mute the E and B stings. |
