Wow! You can cover a lot of sonic ground with those two beauties!
Congrats and enjoy!
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Wow! You can cover a lot of sonic ground with those two beauties!
Congrats and enjoy!
- Feb 3, 2005
- 7,331
- 10,198
- Disclosures
- Endorsing artist: Bergantino Audio Systems and GHS Strings
Ohhhhhh man... this bass is so beautiful it hurts! I mean, I want a Sadowsky Vintiquity very badly, but I won't have the budget for it until next year. Congrats on an amazingly beautiful bass! Excellent choices.
OBTW, is that a Brazilian board? Regardless, it's perfect.
Your Modern is nice too, but I'm a vintage kinda guy.
notejung
Commercial User
Chef
In Memoriam
notejung
Commercial User
- Nov 4, 2003
- 11,943
- 3,137
- Disclosures
- Endorsing artist- Suhr basses, PedalTrain, GHS, Ultimate Ears
Done......Will Lee will be in my hands in the next day or so. (the bass, not Will himself- that would be weird......)
Chef
In Memoriam
- Nov 4, 2003
- 11,943
- 3,137
- Disclosures
- Endorsing artist- Suhr basses, PedalTrain, GHS, Ultimate Ears
That would be weird!
Congrats on the new bass
Only thing weirder would be Rob playing a Mike Lull......
I think he may be the only other person who has owned more Sadowsky's than me...I'm up to about 14 now I think. (I don't own that many CURRENTLY, just the number over the years...)
- Feb 3, 2005
- 7,331
- 10,198
- Disclosures
- Endorsing artist: Bergantino Audio Systems and GHS Strings
- Nov 4, 2003
- 11,943
- 3,137
- Disclosures
- Endorsing artist- Suhr basses, PedalTrain, GHS, Ultimate Ears
Will (no pun intended) you be maybe offering an option on the WL bass for them? Or just staying with the singles now?
That is it, though sometimes it is good to drive the string into the frets if you want that grindy pseudo-slap percussive sound. But for "normal" fingerstyle, I really like how even sounding your tone gets when you play more parallel to the board, and you mute the lower strings with your thumb laying lightly across the strings and the higher strings with your fretting hand (most typically) so it works out really nicely. The key is developing the arm technique so you essentially don't really need an "anchor" anymore. That's the challenge IMHO.
Yest it would. Floating thumb literally means just that. You're only lightly touching the string... JUST enough to mute it. If you're pushing the string down enough to have the same issues, you're not doing it right. It's not an easy technique to learn for someone who's used to anchoring, which is my challenge (as well). FWIW.Floating thumb technique wouldn't solve the problem as there would then be even less of a barrier between the B string and the fretboard (by resting my thumb on the B I can prevent the string from moving at that particular point). But regardless, given that I haven't had this issue with any of my other 5 string basses I wouldn't be willing to totally readjust what is a perfectly functional technique. I'll just try some different strings and go from there.
Here's my right hand technique for floating:
The worst thing "you" (I) can do is depend on laying your forearm on the bass. This limits freedom of movement & float the thumb.
The best way to rectify that is to 1-DROP your right shoulder so it's completely RELAXED while keeping 2-the right elbow FORWARD. BOTH points have to be incorporated.
This provides ease of movement of your right hand in ANY direction. Since your right forearm is clear of the bass MOST of the time, the right wrist is relaxed with less angular tension. The sensitivity of touch is magnified & the right thumb can gently feather the E string & move onto the A string & simultaneously dampen the E when pulling on the D&G strings - AND move forward or backward for tonal variation.
It'll take a change of habit - that's all.
B.
The worst thing "you" (I) can do is depend on laying your forearm on the bass. This limits freedom of movement & float the thumb.
The best way to rectify that is to 1-DROP your right shoulder so it's completely RELAXED while keeping 2-the right elbow FORWARD. BOTH points have to be incorporated.
This provides ease of movement of your right hand in ANY direction. Since your right forearm is clear of the bass MOST of the time, the right wrist is relaxed with less angular tension. The sensitivity of touch is magnified & the right thumb can gently feather the E string & move onto the A string & simultaneously dampen the E when pulling on the D&G strings - AND move forward or backward for tonal variation.
It'll take a change of habit - that's all.
B.
When I rest my thumb on my B string it is helping to immobilize the B string - much more so than with a "floating" thumb technique (a technique I'm not particularly fond of). So touching the string lightly wouldn't help solve my problem with the B string movement - it would actually make it more difficult to control the B. Thanks for the suggestion though.
