Bad instructions on slapping everywhere?

[maxgrant]

I try to constrain my slapping to the strings of the bass, and avoid slapping friends, family, and self silly. That's some good advice, IMHO. Take it or leave it.

[EADG mx]

Originally Posted by mutedeity

I would say that you can do some things with one that you can't with the other and that that is true for both techniques. Which is why I disagree with the statement that I highlighted. I'll tell you as someone that uses both techniques that it is a fact that one technique is not the other just as tapped arpeggios are different to playing sweep arpeggios with the thumb and index finger, starting with the fact that they sound different.

ok I understand that but still, I gave you an example of something you can do only with parallel (double thumbing) now can you give me something you can only do with perpendicular?

I know there's a difference in tone but I already addressed that and admitted it was opinion:

I admit there is a difference in tone but imo it's not really worth learning perpendicular just for the slightly different tone.

Saying the change in tone is not worth learning both techniques is my opinion.

So you said "starting with the fact that they sound different."... does this mean you can you give me any other examples? I'm a player of both and I don't notice anything besides tone and the difference isn't really all the noticeable.

Also would you really advocate learning both styles just for that change in tone? Personally I would not

[JLW]

the flea slap just looks way cooler.


Seriously though, I'm not gonna lie. I'm a damn good slapper. I do the 45-degree-angle style.

One thing that you can't do as fast with the parallel technique as opposed to the "Flea slap" is that you cannot go from slapping one string down to the other in rapid succession. The reason why is, since your finger goes THROUGH the string using the parallel method, you are kinda stuck there. You'd have to do an upstroke, therefore not play what you want.

Try it.

here's what I mean

G--------------------
D--------------------
A---0---0---0---0---
E-----0---0---0---0-

using the flea slap for string skipping like this is just way more practical, or at least at high speed it is. After a while, using the parallel method for a line such as this, your thumb would start hitting the string above it on the upstroke. This is obviously the intention for double thumbing, but not for all lines/styles of playing.

I advise that you learn both though.

[mutedeity]

Originally Posted by JLW

the flea slap just looks way cooler.


Seriously though, I'm not gonna lie. I'm a damn good slapper. I do the 45-degree-angle style.

One thing that you can't do as fast with the parallel technique as opposed to the "Flea slap" is that you cannot go from slapping one string down to the other in rapid succession. The reason why is, since your finger goes THROUGH the string using the parallel method, you are kinda stuck there. You'd have to do an upstroke, therefore not play what you want.

Try it.

here's what I mean

G--------------------
D--------------------
A---0---0---0---0---
E-----0---0---0---0-

using the flea slap for string skipping like this is just way more practical, or at least at high speed it is. After a while, using the parallel method for a line such as this, your thumb would start hitting the string above it on the upstroke. This is obviously the intention for double thumbing, but not for all lines/styles of playing.

I advise that you learn both though.

I don't really agree with that either. I actually play sweep arpeggios with my thumb. I think that example could be played equally well with either technique.

I'm not going to give a specific example of what can be done with one technique that can't be done with another, but there are certain things that you can do with the rebound of the bouncing method that you can't do when you play through. This includes certain slap and pop combinations. I would definitely advise learning both techniques and personally I would start with the bounce technique. I think the tonal difference is one of the most important reasons actually, otherwise why slap at all?

[edit] I think you have to be careful here not to make this a beat up on how one technique is better than the other. I think it's a mistake to say learn this way but don't learn the other way. The people with the best advantage are going to be able to use either technique depending on which one sounds right and has the best application. I don't think it's really helpful to discourage learning any given technique. There are as many technichal approaches as there are players out there and every person uses thier own technical approach their own way to give them their own voice. Fair enough if you want to do things one way and not the other, that is your approach. As I said in another thread the only time a technique is bad is when it is potentially injurious to the player.

[Kraken]

I don't think any way is right or wrong, in the words of Victor Wooten, the objective of each technique is to make music. so by all means take a power drill to the strings on your bass...


But for slapping technique I'm finding this very useful...

http://www.youtube.com/watch?v=yXSB0yDlS54

Keep supporting the bottom line my friends

[J.Stone]

Just learn both.

[Jeff Martinez]

Originally Posted by J.Stone

Just learn both.

</thread>



That's, by far, the most useful thing suggested in this thread. Some passages may work better with one, while others will need the other. Work on being comfortable with both, and the right one will happen when it needs to.

[Infernal Affair]

Originally Posted by maxgrant

I try to constrain my slapping to the strings of the bass, and avoid slapping friends, family, and self silly. That's some good advice, IMHO. Take it or leave it.

I've found that the parallel technique is more useful for slapping myself. The bounce technique works well for friends and family.