5 String Technique - Help Please

[Tankdave]

I'm still a bit new to this "B-String" thing, so please be gentle with me. I have a question about the right-hand technique.

First I'll explain how I play a 4-string. I rest my thumb on the E-string and rather automatically, my thumb moves to rest on a pick-up when I need to play the E.

With my 5-string, I now rest the thumb in the B-string unless I'm playing it, so same technique, just a different string OK.

So the issue then... I'm noticing "open E-string" noise now and then, "obviously" because I don't have my thumb resting on it, keeping the sucker quiet.

Do I just modify my technique, so that I still rest my thumb on the E-string? this way the side of the thumb also mutes the B? or am I missing a trick or two here?

Cheers

[lowregisterhead]

This is potentially a bit of a minefield, and no doubt there are recognised techniques for left as well as right hand damping, but personally, I just move my thumb onto the E when I'm playing the A, D or G, and even up to the D on occasion, but whatever works for you, obviously. The string spacing of your chosen 5 will play some part in this too, I reckon, as well as the size of your hands - I play a Lakland DJ5 with wide spacing, but then again I have hands like shovels.

I assume you're well over the hurdle of mistaking the B for an E... when I got my first five 20 years ago, I made the mistake of taking it onstage for a big gig at Alexandra Palace. The first number was in E, and I hit a huge, trouser-flapping B. Didn't go down well!

[deepbass5]

I think you basically have it, I use the B as a rest and move to using the E as a rest when playing higher strings but ensure my thumb nail is also muting the B. on pieces that require quick movement over the EADG I have a fairly good left hand to cover muting on this stuff as Lowreg above.

[louisthebass]

Looking at your description, it might just be a simple case of looking at using either a moveable anchor or floating thumb technique.

I use a 5 all the time, and in my case I use a moveable anchor, whereby when I'm playing the B string, my thumb is resting on the pickup and I move it up & down the strings as appropriate & keep the side of my thumb muting the strings that aren't being played. Your fretting hand muting will also help in the respect of keeping any extraneous open strings under control.

Edited December 26, 2011 by louisthebass

[Coilte]

You could try not resting the thumb on any string, but let it "float" as in the "Floating Thumb Technique". It is perfect, especially for five and six string basses. Todd Johnson demonstrates it here :

http://www.youtube.com/watch?v=PPVMBPmrblU

[visog]

Don't want to hijack Tankdave's thread here but can I extend it by asking about slapping on a 5. Specifically Mark King style with a lot of left hand slaps... How do you damp the 'B' when you're slapping the 'E' with a lot of left hand slaps? Any suggestions? (as I find the left hand slaps set the 'B' ringing..)

[JTUK]

You need to put more time in..
Either rest on the B or E..as applicable, or your left hand fingering needs to be cleaner.

As for slap, a ringing B is no more of a problem that a ringing E... again, your left hand should be able to do it.
It may also just be a question of re-adjustment to a 5 and you need to sort your anchor points..

Time and practice should do it.

[Tankdave]

Thanks for the tips guys, It would seem I pretty much had it sussed out.

Now I know I'm doing the right thing, I'll keep at it.

Ta

Edited December 27, 2011 by Tankdave

[rk7]

Check out Scott Devine video lesson on Right Hand technique.

thank you please

RK

[Happy Jack]

[quote name='Coilte' timestamp='1324850657' post='1478152']
You could try not resting the thumb on any string, but let it "float" as in the "Floating Thumb Technique". It is perfect, especially for five and six string basses. Todd Johnson demonstrates it here :

[media]http://www.youtube.com/watch?v=PPVMBPmrblU[/media]
[/quote]

I like his technique, and I like what he says, but in a world full of guitarists who keep widdling around at rehearsals, why on earth has he chosen to have a guitaist widdling away in the background throughout?

Edited February 15, 2012 by Happy Jack

[Jakester]

I've just made the move from 4 to 5 for a second time. The first time was a total disaster. The second was almost intuitive - I didn't worry about the extra string at all.

My (probably very bad) technique is to use the first two fingers to pluck, with the ring finger muting the lowest string unless I'm playing, and the thumb on the pickup. As I go up to the A, D and G my third finger mutes the lower strings, so I find myself playing more one-fingered on the higher strings, but it seems to work as the D and G can be controlled with the left hand as well.

Does this make sense? Is it completely wrong?

[velvetkevorkian]

One of the nice things about the Todd Johnson technique is that it scales very well past 5 to 6, 7 and probably more strings with very little adjustment, and the plucking hand's position remains the same whatever string you're playing. Jakester, it sounds like your hand changes position quite a lot as you move up the strings- broadly speaking I'd try and avoid that if possible, as it makes it more difficult to play consistently IMO. The way you describe it I find it hard to imagine that it doesn't affect the way you play. Not necessarily a bad thing, and you might find it works for you, but maybe something to be aware of.

[Fat Rich]

[quote name='Tankdave' timestamp='1324836119' post='1478046']
I'm still a bit new to this "B-String" thing, so please be gentle with me. I have a question about the right-hand technique.

First I'll explain how I play a 4-string. I rest my thumb on the E-string and rather automatically, my thumb moves to rest on a pick-up when I need to play the E.

With my 5-string, I now rest the thumb in the B-string unless I'm playing it, so same technique, just a different string OK.

So the issue then... I'm noticing "open E-string" noise now and then, "obviously" because I don't have my thumb resting on it, keeping the sucker quiet.

Do I just modify my technique, so that I still rest my thumb on the E-string? this way the side of the thumb also mutes the B? or am I missing a trick or two here?

Cheers
[/quote]

I often wedge my thumb in between the low B and the E string thus muting them both, then hop it up to the B string if I'm playing E, hop up to the pickup if I'm playing the B.

[quote name='Jakester' timestamp='1329414709' post='1542195']
I've just made the move from 4 to 5 for a second time. The first time was a total disaster. The second was almost intuitive - I didn't worry about the extra string at all.

My (probably very bad) technique is to use the first two fingers to pluck, with the ring finger muting the lowest string unless I'm playing, and the thumb on the pickup. As I go up to the A, D and G my third finger mutes the lower strings, so I find myself playing more one-fingered on the higher strings, but it seems to work as the D and G can be controlled with the left hand as well.

Does this make sense? Is it completely wrong?
[/quote]

But I also do this sometimes, having my spare fingers resting usually on the E and the A (although I would say work on keeping both fingers alternating whichever strings you're playing).

I'm not sure which technique I do where, I've worked on both techniques to the point where I don't think about muting unless I have a problem. I also do a fair bit of left hand muting as a result of trying to play with a pick and the slap technique and finding all my existing muting techniques didn't work, this has also tightened up my fingerstyle playing.

I would say try as many new techniques as possible because there's no wrong or right answer, just what works for you.

Edited February 19, 2012 by Fat Rich