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Grand Wazoo
Well-known member
+1
I was also going to say Jaco of course, if he didn't play like he did, well he would have just sounded like...poo
cellkirk74
Well-known member
Especially on basses with just one pickup, the right hand position is a big part of the toneshaping. There is no right or wrong, it's just how you want it to sound.
It's the same with how hard you hit or how deep you dig in. Sometimes a soft touch is better for the song, sometimes not.
It is true hat you will need more bass boost when you play at the bridge and want it to sound thumpy.
Try to anchor on the E- or A-string instead of somewhere else, then you'll have the most freedom. If this is what your teacher meant, then he is bad at explaining....
It's the same with how hard you hit or how deep you dig in. Sometimes a soft touch is better for the song, sometimes not.
It is true hat you will need more bass boost when you play at the bridge and want it to sound thumpy.
Try to anchor on the E- or A-string instead of somewhere else, then you'll have the most freedom. If this is what your teacher meant, then he is bad at explaining....
cellkirk74
Well-known member
cellkirk74
Well-known member
I've been playing MM for some years now and I have to say that for me, putting my right hand on the pickup is the best choice, and actually gets me the tone I want: not too trebly but still full with perfectly tight strings. Of course in the beginning I had to get used to it, but now when I use other non-MM basses I always tend to go to the bridge pickup if there's one.
I'm no teacher or anything but I think that in the end you should do what you're more confortable with, as long as it makes the sound YOU want
I'm no teacher or anything but I think that in the end you should do what you're more confortable with, as long as it makes the sound YOU want
Powman
Well-known member
I used to anchor my thumb on the bridge PUP. But now I don't anchor it anywhere at all. Reason being is that once I anchored my thumb on a PUP it who stay there forever.
Now I press my thumb against my palm and if playing the A, D, or G string, I make sure my thumb is touching the string(s) above what I am playing for proper muting.
Also, since I am not addicted to resting on a PUP, I find my self easily changing where I am plucking, even within a song. Eg, I can easily move up towards the neck for more fundamental frequency thump, then move back towards the bridge for more overtones.
Taking my thumb off the PUP was one of the better things I ever did for my technique.
Now I press my thumb against my palm and if playing the A, D, or G string, I make sure my thumb is touching the string(s) above what I am playing for proper muting.
Also, since I am not addicted to resting on a PUP, I find my self easily changing where I am plucking, even within a song. Eg, I can easily move up towards the neck for more fundamental frequency thump, then move back towards the bridge for more overtones.
Taking my thumb off the PUP was one of the better things I ever did for my technique.
keko
Well-known member
I spent some time to discover this "anchoring" matter, than use Google translator ...etc.
I play always around bridge pickup, but don't look at my right hand, usually look to the left side, left hand and fret board! But when I look at my photos and videos of me playing, well... just look at my avatar!
I don't bother with that, just play!
I play always around bridge pickup, but don't look at my right hand, usually look to the left side, left hand and fret board! But when I look at my photos and videos of me playing, well... just look at my avatar!
I don't bother with that, just play!
I agree with some previous postings. Try all positions and become familiar with how they can aid in getting the particular sound for a particular style/song. Being limited to one simply will not work if you are trying to be a professional. The older I get I am gravitating towards using a floating thumb technique to avoid wrist pain. The nice thing about this is that you can use the same technique anywhere to get a huge variety of tones.
In my opinion anyone who "tells" you there is one place for you to anchor is not much of a teacher. The object of teaching to me is to provide guidance and recommendations and for the student to find out what works best for them. I am not advocating developing bad habits, but there are many ways to mute for example and many different styles. If your tracks sound good and you are able to play all the notes required properly then more power to you my friend.
As far as boosting the bass, every room and show will be different. The sound will also change depending on how many people are there on a given night so one room may change the next time you play there. Best advice I can give here is always try to use the best sound man you can. Once you find a good one, find a reason for him to work for you exclusively!
In my opinion anyone who "tells" you there is one place for you to anchor is not much of a teacher. The object of teaching to me is to provide guidance and recommendations and for the student to find out what works best for them. I am not advocating developing bad habits, but there are many ways to mute for example and many different styles. If your tracks sound good and you are able to play all the notes required properly then more power to you my friend.
As far as boosting the bass, every room and show will be different. The sound will also change depending on how many people are there on a given night so one room may change the next time you play there. Best advice I can give here is always try to use the best sound man you can. Once you find a good one, find a reason for him to work for you exclusively!
oli@bass
Well-known member
Damn... that means I killed the sound on all my http://www.ernieball.com/forums/music-man-basses/42214-stingray-sound-examples.html.
Joking aside: I agree with Kirby. Wish I had a floating thumb technique but don't. I most often anchor on the upper front corner of the bride pickup.
Joking aside: I agree with Kirby. Wish I had a floating thumb technique but don't. I most often anchor on the upper front corner of the bride pickup.
danny-79
Well-known member
What ever gets it out!!! as long as it sounds how you want it to sound then there aren't any rules
Any teacher who tells you anything as an absolute is probably not the right teacher to have...Honestly, sounds like they are an idiot..there is no right or wrong when it comes to making Music! Sure there may be some things that are useful or even beneficial technique wise but I am absolutely certain that there are absolutely NO absolutes! Tell the Guy he is full of it and move on...I play all over the bass depending on what tone I want at THAT second. I anchor on the PUPS, the B string or float anywhere in between. I also play with a slanted raking motion over about The 20 th fret and roll off some treble to get a semi upright tone at times. I use every single trick I can come up with to make my tone unique and something that sets me apart from the next Guy. Frankly i work so much because i bring something different to the table. For your teacher to stress anything less than that is doing you a tremendous disservice IMO. As has been said, if it sounds AND feels good, it IS good! Rock on and leave him eating your dust...
Peace,
T
Peace,
T
MrMusashi
Well-known member
@cellkirk... look, he is flippin you off
as for technique, ill just join the choir in the chorus: if you think it sounds good, it is good!
MrM
AnthonyD
Well-known member
Time for a new teacher perhaps...
The neck-side of the bridge pick-up right where I call perfect - find your perfect spot based on your fingers, feel and ears.
The neck-side of the bridge pick-up right where I call perfect - find your perfect spot based on your fingers, feel and ears.
TheAntMan
Well-known member
A couple of CFA quotes:
1 - "He claims that it 'kills the tone' or something like that."
2 - "then I strengthened my fingers and started hitting the strings harder at the bridge. Doesn't sound so good way up on the neck."
On quote 1 - the "something like that" part makes me think you are not listening to your teacher's point or explanation and may be missing the lesson.
On quote 2 - sounds like you have limited yourself. You should be able to adjust you touch and feel to play anywhere along the instrument. You have not gained but lost. You should have been able to add playing at the bridge to your ability to play at the neck.
As for all the photos of Jaco, Entwistle, and others, I have seen vids of them playing at various parts of the instrument to achieve various tone to fit the music. Not sure about anyone else's experience, but I have not found that one tone works for every song.
I think versatility is the key and if you are limiting your playing style to a specific 'anchor point' then what happens if you are in a situation where you HAVE to use an instrument that does not have that same anchor point? You can't say, "Hey, I'm not going to play since it does not have my anchor point". Remember, crap happens and you have to be flexible.
My advise, for what little it is worth, would be to learn the way your teacher is showing you and also as many other ways as possible. Again, versatility in techniques is key to having as complete a tool kit as possible.
There are many players who choose to be right in their own minds and wrong in a lot of ears.
Of course, this is just my 2 cents.
Good luck.
--Ant
1 - "He claims that it 'kills the tone' or something like that."
2 - "then I strengthened my fingers and started hitting the strings harder at the bridge. Doesn't sound so good way up on the neck."
On quote 1 - the "something like that" part makes me think you are not listening to your teacher's point or explanation and may be missing the lesson.
On quote 2 - sounds like you have limited yourself. You should be able to adjust you touch and feel to play anywhere along the instrument. You have not gained but lost. You should have been able to add playing at the bridge to your ability to play at the neck.
As for all the photos of Jaco, Entwistle, and others, I have seen vids of them playing at various parts of the instrument to achieve various tone to fit the music. Not sure about anyone else's experience, but I have not found that one tone works for every song.
I think versatility is the key and if you are limiting your playing style to a specific 'anchor point' then what happens if you are in a situation where you HAVE to use an instrument that does not have that same anchor point? You can't say, "Hey, I'm not going to play since it does not have my anchor point". Remember, crap happens and you have to be flexible.
My advise, for what little it is worth, would be to learn the way your teacher is showing you and also as many other ways as possible. Again, versatility in techniques is key to having as complete a tool kit as possible.
There are many players who choose to be right in their own minds and wrong in a lot of ears.
Of course, this is just my 2 cents.
Good luck.
--Ant
Powman
Well-known member
I agree with this, Antman. During this past year, I have learned to coax more sounds out of my bass by varying where and how I pluck the strings. Its great to be able to get different tones, simply by varying your technique.
AnthonyD
Well-known member
Good points. I am a firm and true believer from the school of "your sound comes from your fingers".
While your certainly can coax a wide variety of tones from simply moving the placement of your right hand (no offense Chuck), that's not to say you shouldn't have a "regular" spot. Consistency in your tone and performance will come from having consistent hand placement whether it be over the pick-up, at the bridge, at the base of the neck, etc..
That being said, and back to the original posting, I am also a firm believer of personal choice and each player finding what's right for him/her.
While your certainly can coax a wide variety of tones from simply moving the placement of your right hand (no offense Chuck), that's not to say you shouldn't have a "regular" spot. Consistency in your tone and performance will come from having consistent hand placement whether it be over the pick-up, at the bridge, at the base of the neck, etc..
That being said, and back to the original posting, I am also a firm believer of personal choice and each player finding what's right for him/her.
TheAntMan
Well-known member
I agree with both of you. A consistent tone "signature" or "voice" is something that each musician should strive for but at the same time one needs to be able to shift to fit the music. It will get you more gigs and keep you growing.
I don't think limiting is the key but having options. This I think may have been the initial point of the lesson. I have my own sweet spot and it is different on each of my instruments. But I find songs many times dictate where I play. The EQ can help dial in a tone but the coloring of the same tone is in the hand technique and the placement on the instrument.
Looking at vids of players like Stanley Clarke, Victor Wooten, Jaco, Rocco, Dave LaRue, Tony Levin, and on and on, you will see that they have a sweet, my tone spot but vary their playing positions from time to time. Flexibility and adaptation = growth. Sometimes you see a band letting a player go and it could be due to lack of growth even if they don't come out and state it.
Hmmm, think I put a whole nickel in that time
--Ant
Musicman Nut
Well-known member
My teacher is convinced that anchoring on the Bridge P/up on a Stingray is a stupid thing to do. He claims that it "kills the tone" or something like that. Has anyone here ever experienced this? Also, I was told tonight by him that the sound coming of the stage sucked until the bass was boosted on the board a bit. I assume he means EQ, is there any reason why I couldn't have just done that using the on board EQ? My bass was up about 1/8th of the way, by his recommendation....
Anyways, long story short, I've been told Anchoring on the Bridge P/up is not a good idea and kills tone. Suggestions/Opinions/Thoughts?
First Off who Makes him the Genius, Play whatever way works, there are many Famous bass players will horrible tone but it works for them and they make a lot of money with bad tone so who's to say., you have to find what works for you and go for that, if your phone don't ring than try something else.
The Phone never lies, if it don't ring it's for a reason.
drTStingray
Well-known member
My teacher is convinced that anchoring on the Bridge P/up on a Stingray is a stupid thing to do. He claims that it "kills the tone" or something like that. Has anyone here ever experienced this? Also, I was told tonight by him that the sound coming of the stage sucked until the bass was boosted on the board a bit. I assume he means EQ, is there any reason why I couldn't have just done that using the on board EQ? My bass was up about 1/8th of the way, by his recommendation....
Anyways, long story short, I've been told Anchoring on the Bridge P/up is not a good idea and kills tone. Suggestions/Opinions/Thoughts?
On a Stingray, it is certainly possible to get a bassy, hollow sound by playing over the end of the neck - if that's the tone you want. But to say that's the only tone on a Stingray is just wrong. Flea oftens plays next to the bridge saddles - and gets a very aggressive sound - my guess is you'd get major fret rattle if you play that hard over the end of the neck.
A certain Mr Pastorius, in his instruction DVD, talks about position for string plucking and explains he played over the bridge pick up to get his sound ( with some criticism in his early days apparently) - he goes on to explain that the closer you pluck to the bridge, the more string tension there is, and the easier it is to play fast passages.
Just a few more views for the melting pot
I alternate between both pick up and neck positions, sometimes in the same song - dependent on what I'm playing - works for me!