Playing beyond the fingerboard

Les Fret · #1 11-13-2012, 01:16 AM

Most double bass players play over the fingerboard with the right hand. This can be more the left or to the right/end (from players perspective) of the fingerboard. This is how I play also but lately I have been experimenting with playing beyond the fingerboard. I mean closer to the bridge 1 to 1.5 inches from the end of the fingerboard. I have seen this with a player and it sounded good and different.
Playing beyond the board gives you a more funky electric bass type of sound which can be great for more staccato lines. It also gives you more 'thump' because the string is tighter.
A disadvantage is that is it harder on the fingers because of the higher tension. Also when you are an arco player your fingers can get sticky because of the rosin. It is also more difficult to control in the beginning because the fingers don't fall on the fingerboard and fall in 'emptiness'.

This will not be my default position but it is nice to have an extra sound option for some lines. Are there any (famous) players who use this right hand approach?

Egbert89 · #2 11-13-2012, 01:26 AM

I'd think alot of famous/good players do that, but not exclusively, the position of your right hand is an easy and quick tool to change your sound

I play around with it depending on the song.

Les Fret · #3 11-13-2012, 02:50 AM

I am talking about double bass here not electric bass. I have watched many players right hand technique but I haven't seen so many double players using this. If someone has some good examples or videos that would be helpful.

Egbert89 · #4 11-13-2012, 03:38 AM

Quote:

Originally Posted by Les Fret

I am talking about double bass here not electric bass. I have watched many players right hand technique but I haven't seen so many double players using this. If someone has some good examples or videos that would be helpful.

Sorry i thought you were talking about electric bass. My bad...

Greg Clinkingbeard · #5 11-13-2012, 07:29 AM

Quote:

Originally Posted by Les Fret

................ Are there any (famous) players who use this right hand approach?

When I think of the 'ideal' right hand pizz technique I immediately think of Ray Brown. There are many, many reasons for his big sound but he got a lot of meat on the string and placed his hand at or below the end of the fingerboard.

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

Phil Rowan · #6 11-13-2012, 07:42 AM

Israel Crosby too (skip ahead to 2:05): http://www.youtube.com/watch?v=_Qc3VaXtW5M

jamiroquai · #7 11-13-2012, 08:02 AM

There's a thread on here where people advocate this. I am sorry but do not recall whether it's a thread dedicated to that topic or if it came up in another topic; you might have luck with a google search of this site.

Bruce Lindfield · #8 11-13-2012, 09:34 AM

Around where..?

Phil Rowan · #9 11-13-2012, 02:42 PM

Could this be yet another DB vs BG forum face off?

Les Fret · #10 11-14-2012, 12:23 AM

Quote:

Originally Posted by Greg Clinkingbeard

When I think of the 'ideal' right hand pizz technique I immediately think of Ray Brown. There are many, many reasons for his big sound but he got a lot of meat on the string and placed his hand at or below the end of the fingerboard.

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

That is not exactly what I mean. Ray Brown is playing at the end the fingerboard here which is pretty standard. I am talking about playing 1 to 2 inches away from the board to the bridge side. So your fingers don't fall on the fingerboard at all. This can be done with either one finger or alternating two fingers.

chicagodoubler · #11 11-15-2012, 12:05 PM

Les,

It depends on the length of the fingerboard. Every bass has a sweet spot where one achieves the maximum resonance with the most efficient use of the hand and arm. Ron Carter advocates finding that spot, then marking the position of the thumb with a couple pieces of velcro. The only time I have found this sweet spot off the end of the board is in the case of very short fingerboards. On a longer board, it might be several inches *above* the end of the board.

Bottom line- does it sound good? Does it facilitate comfortable execution?

Tommy el Gato · #12 11-15-2012, 07:58 PM

In most applications I like to play as close to the end of the fingerboard as possible for the exact reasons Les describes in playing beyond the fingerboard. But I won't go beyond the fingerboard because I play a lot of arco and so that area of the string is pretty sticky. In order to compensate for that, I go for the stiffest strings I can get my hands on that still have the sonic characteristics that I think compliment my bass (and indeed, I think stiffer/higher tension strings do tend promote the kind of bright, clear, and punchy sound that I go for).

The moment I start to notice some sponginess, I check my tuning. Usually 4 or 5 cents flat can make the strings feel spongy without me being able to hear that the bass is flat. Luckily, my bass does pretty well in tuning stability. If it turns out I've got that spongy feeling AND my bass is in tune, it's time to turn the adjusters 1/16th to 1/8th of a rotation.

Les Fret · #13 11-16-2012, 12:34 AM

Quote:

Originally Posted by chicagodoubler

Les,
It depends on the length of the fingerboard. Every bass has a sweet spot where one achieves the maximum resonance with the most efficient use of the hand and arm.

Good point. But the exact reason for me to go beyond the fingerboard is to find a 'new' and different sound. So that means going away from the sweet spot.
Playing beyond the sweet spot (more to the bridge side) gives you a more tight almost electric bass type of tone that can be nice for staccato or funky lines.
It doesn't facilitate playing but it sounds good in some situations.
Most players I see stay in the 'safe' zone (or sweet spot as you describe). But I was looking for players or examples who play more to the bridge side to get a different sound.