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how to avoid clanky noises when pushing the strings onto the frets?
- Thread starter JPK_DK
- Start date
3mm is mighty high in my book. I lean more towards 2.5mm myself.
String gauge, and hence the tension of the string might matter a bit. If the string is too stiff you have to use too much force to push down. If it is too loose it will hit the fret harder when you fret the note.
I have never personally run into this particular problem, but I have always liked a lot of articulation in my tone. Maybe work on getting your left and right hand in sync for plucking and fretting notes? Learning the right about of force to use in your playing is pretty important too. You don't need to strangle the neck.
String gauge, and hence the tension of the string might matter a bit. If the string is too stiff you have to use too much force to push down. If it is too loose it will hit the fret harder when you fret the note.
I have never personally run into this particular problem, but I have always liked a lot of articulation in my tone. Maybe work on getting your left and right hand in sync for plucking and fretting notes? Learning the right about of force to use in your playing is pretty important too. You don't need to strangle the neck.
Fret on, or right behind, the fret, and don't come down so hard. Mainly, don't come down so hard.
String height should not be a major factor. I use what most bass players call high strings: about 4–5mm at the 12th fret. I don't set my strings by measurement, but that's where they end up when they feel "right" to me. No clank unless I want it. I always play pretty much right on the frets, or slightly behind, so that the edge of my finger is over the fret. (Habit developed from learning on fretless, and playing classical guitar). More high end if slightly behind, high end attenuated if playing right on the fret; your finger acts as a sort of mute in that case. Plus I use high tension strings, which fight back a bit, so they're harder to slam down with excessive force.
String height should not be a major factor. I use what most bass players call high strings: about 4–5mm at the 12th fret. I don't set my strings by measurement, but that's where they end up when they feel "right" to me. No clank unless I want it. I always play pretty much right on the frets, or slightly behind, so that the edge of my finger is over the fret. (Habit developed from learning on fretless, and playing classical guitar). More high end if slightly behind, high end attenuated if playing right on the fret; your finger acts as a sort of mute in that case. Plus I use high tension strings, which fight back a bit, so they're harder to slam down with excessive force.
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Jeez folks - LPF isn't about fixing technique issues.
This is simply about playing accurately and carefully. We all have this happen at times, but the more you work on fingering on the fret, not behind the fret, and the more accurate your timing between your hands, and the more careful your left hand position shifting, the more control you're have over this.
For me, lower action and lighter touch help a ton. But some people find the exact opposite.
This is simply about playing accurately and carefully. We all have this happen at times, but the more you work on fingering on the fret, not behind the fret, and the more accurate your timing between your hands, and the more careful your left hand position shifting, the more control you're have over this.
For me, lower action and lighter touch help a ton. But some people find the exact opposite.
I embrace all advice about technique/touch/timing - it's true. Clank can also be a tool - I sometimes cultivate it as an alternative form of attack on notes for which I want a chime-like kind of attack, kind of like a hard left-hand hammer, simultaneous with the right-hand pluck. That said, my goals often outstrip my technique and I can get unwanted clank. With roundwound strings on frets, I often favor a pretty deep cut in the upper mids, generally between 1800 and 2200 Hz. Aside from neutralizing clank, I believe this is a useful dip in the band mix - IIRC, some of Duke LeJeune's Audiokinesis cabinets are designed to incorporate a similar dip, with the belief that it reduces frequency contest with guitarists.
I was listening to a practice recording of myself playing the Bach Cello prelude that everyone likes to do on bass, and that hammer-on sound was *very* distracting, so I went and compared to Mark Smith's youtube video, because I didn't remember hearing the clank there:
And, in fact, you *can* hear it, but it mostly coincides with the beginning of each note, which is less distracting.
So, I've been trying to better synchronize fretting and plucking. Among other things.
And, in fact, you *can* hear it, but it mostly coincides with the beginning of each note, which is less distracting.
So, I've been trying to better synchronize fretting and plucking. Among other things.
Thanks all again for the great input - some very interesting insights!
I guess, like often, it is a combination of things that causes my "issue" - deficits in my technique foremost, but certainly also aspects of the bass set up, the strings I use, and probably also how I "hear" myself.
I guess, like often, it is a combination of things that causes my "issue" - deficits in my technique foremost, but certainly also aspects of the bass set up, the strings I use, and probably also how I "hear" myself.
Yes you can hear lots of extraneous noises, but just because it is Mark doesn't make it OK. IMHO, those noises are just one of the many flaws in this particular rendition. I think offering it as an example to aspire to is not really doing any favours. YMMV, as always.
Yes - get it under control and it is a genuine addition to the tonal arsenal.
I didn't see this example as something to aspire to - I saw it more as an example that even professionals still struggle with similar issues, albeit at a very different level.
But, yes, I see your point - this could potentially offer me "an easy (easier) way out"...
