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floating thumb techniqe

#161
Really depends on the situation. If I were to pick one or the other I expect it would be rest strokes 80% to 90% of the time.

I play very close to the strings with both hands. I mute with everything I have available and seldom lack contact with the strings. As such I will almost always end my stroke with that finger resting against the next string even if I am going to hit it with another finger shortly after.

It's just my habit to cut notes very short (or at least be in a position after the stroke to accomplish a new mute with that finger or thumb). As far as the thumb that also is mostly a rest strokes but obviously you can work into the up and down on a string and, unless you are doing a double thumbing kind of deal, you don't necessarily have to rest on the next string prior to coming back up with the opposite side of your thumb.

Again I don't present myself as either an instructor or even any kind of expert. Just someone who uses this technique and sees a lot of benefits in its use.

Spin
 
#163
spindizzy said:
Interesting page from Warwick. I love the little typo where they attempted to indicated that players who employ floating thumb "...like the freedom of it, but will admit that they can play with a lot of power..." which I think they meant to say "can't".

This is blatant misinformation in my opinion as power is not an issue for someone who is experienced in utilizing FT.

Spin
Click to expand...

+1

I caught that too and thought the exact same thing. I can play with a good range of levels of force, and think that playing real light will always be harder than plucking real hard. I still do have issues playing consistently when plucking hard on my lowest string though (on 4 and 5 stringers).

Anyway since I haven't posted in this thread in a long time my update is that floating thumb is working quite well for me and is really second nature. One thing I love about it is that playing a 4 string (I'm used to a 5'ver with tight spacing) is so much easier with FT.
I've also started incorporating the thumb for plucking sometimes, which is a good trick I would never have thought of that really isn't available for fixed or movable anchor methods (or is at least much more of a hassle switching to/from). I thank Spin for that, as well as all the helpful posts on this thread he and others have made.
 
#166
i used to only play with my thumb resting on a pickup. i wouldent even look at a bass if the pickups diddnt make a good thumb rest. then i got really into 6 strings, and had to adapt the floating thumb- its easy to get used too, and is much easier to get a good sound
 
#168
I am so glad this thread came to my attention about a month ago, and all the comments I have found extremely useful, again Talkbass provides :D

When I first picked up bass I went for what I now know to be called anchored thumb.
I felt comfortable with floating thumb technique after a few days practicing it with what I learnt in this thread, and am delighted with the results!

We played a gig a week later and I did find myself having to correct occassionally from anchored thumb to floating thumb, although I knew that would likely happen!

I did find in a couple of riffs there was still noticeable ringing from the unplayed strings, despite also muting them most of the time with my left hand fingers that weren't playing notes. I learnt about doing this at the same time as floating thumb. I'm not sure if it was this thread as I haven't read back just now. Again it's all work in progress, but going well :)
I am going to try using part of the palm of my right hand too and see what it's like to try and prevent this.

Thanks to everyone for sharing!
 
#169
freakonaleash - You are right that FT is not the only approach or tool you should have for silencing noisy strings. I regularly employ FT, left hand and palm muting. In fact, as I have stated in early posts, I play tight to the strings with generally some effort made to keep in contact with all the strings at all times.

I think about this like a piano with the strings dampened by default and sustain being employed only deliberately (like stepping on the sustain peddle).

As I also use my thumb in conjuction with my index, middle and ring fingers to play with so it isn't always available to mute and other techniques need to be employed. Add to that my occasional bouts with the dreaded plectrum (which is just another device to me) and I need to have other methods for muting.

Keep practicing you have ADDED an important technique and now need to learn to coordinate it with other techniques to meet your musical goals.

Spin
 
#170
spindizzy said:
freakonaleash - You are right that FT is not the only approach or tool you should have for silencing noisy strings. I regularly employ FT, left hand and palm muting. In fact, as I have stated in early posts, I play tight to the strings with generally some effort made to keep in contact with all the strings at all times.

I think about this like a piano with the strings dampened by default and sustain being employed only deliberately (like stepping on the sustain peddle).
Click to expand...

That's very useful to me, thankyou spindizzy :)

spindizzy said:
As I also use my thumb in conjuction with my index, middle and ring fingers to play with so it isn't always available to mute and other techniques need to be employed. Add to that my occasional bouts with the dreaded plectrum (which is just another device to me) and I need to have other methods for muting.

Keep practicing you have ADDED an important technique and now need to learn to coordinate it with other techniques to meet your musical goals.

Spin
Click to expand...

This is all great, cheers!

I hear ya about the plectrum!
For now I have put my varied selection down (bought in an effort to find one that worked for me!) and am happy to continue working on incorporating all the finger techniques I know and am really enjoying learning and applying them to our songs :D
 
#171
Hello,

I have made the transition of 4 string fretted to 6 string fretless and the floating thumb was easily incorporated, however, the strings do not ring by themselves but my thumb make the strings ring in a higher harmonic of the string, I can't do anything about it because my thumb is already lying on the strings.
I hear some people use velcro on their neck that dampen the open strings so that the harmonics won't ring but, it seems to me it only really dampens the high C and the Low B.

Any help?

Thnx
 
#173
I use the floating thumb almost all the time and, for the most part, it works great. However, I have a problem when I'm really digging into the high strings (i.e. D, G) and/or playing fast notes on the high strings. My thumb inadvertently presses the E string into the exposed pickup magnet (Fender P bass) and it makes a big click in the speaker.

Has anyone else experienced this problem?

I could get pickups without exposed magnets but I don't really want to do that. I'm wondering if tapewound strings would help. Any ideas? I tried modifying my playing style but that didn't cut it; it seems I need my hand secure against the bass to get those really fast high notes.
 
#175
No matter what get that thumb off the pickup!

I play thumb, index and middle for most things and throw in the ring finger to make four digits when bursts of speed are needed. When you are only playing with two fingers (or three if you use the ring finger more often) that thumb should still be floating free and assisting with muting.

If you are incorporating the thumb as a playing digit and if you are realizing a speed or expression advantage I think you are on the right track. Planting that thumb anywhere is IMHO something to avoid.

Spin
 
#180
This floating thumb technique worked really well for me.

It was really worth the hard work, even though it took me quite a long time to become reasonably good at it. My timing and technique has become much smoother and relaxed then it used to be.

A silly question I know, but can anybody name some famous bass player that uses this technique?
 

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