Muting technique for pick bass

[haybik_gibon_31]

I'm trying to start practicing using a pick because I really enjoy the punchy attack (and because I'm playing a lot of Tool). I want to start out strong and build good habits from the get go. I've found a good pick that I like after trying out a few (Tortex Triangle 1mm) but I've been struggling with muting. I've looked around youtube/TB but couldn't find something that I really liked so I've decided to make a thread.

Now switching from middle/index plucking, left hand muting is more or less similar when I'm playing on the high strings; I fret with the tip of my fingers and mute all of the higher strings. However, going up on the strings, it's a bit challenging trying to mute the A string while playing on the D string, where's if I was using my fingers I'd probably have my thumb on A or the plucking finger would come to rest on it. Should I try to extend my left hand fingers upward while trying to not touch the strings I'm playing on? Should I rest the base of my palm on the lower strings? I've tried it and it kinda sorta works for E but it's hard to mute A with the base/side of my hand while playing on D.

I've studied some of the Carol Kaye threads for the general technique and ergonomics but didn't see any particular info about muting. Thanks!

edit: Found this video: and it gave me a bit of insight. Weirdly enough he uses his pinky to mute the immediately above (by pitch, immediately below by spatial location) and looks like when he's playing on DG he's using the base of his palm to mute E and A.

 

[Kyle_S]

When I play with a pick, I find myself using a left-hand muting technique I always used to use on guitar. I fret notes with the pad of my finger and use the tip of the same finger to mute the string below it. This is pretty much a necessity for me on five-string when playing notes on the G. There's just no way to mute the B, E, A, and D strings with my palm while maintaining a practical hand position, so the left hand has to help out.

 

[Zbysek]

I am using both hands to mute…

 

[Sam Evans]

I just observed myself to see how I do things.

When I'm picking the D string, I have the pad on the outer side of my picking hand (see below, area in red) touching the E and A strings lightly. My picking hand pinky is touching the G string.

 

[Diplock]

Necessity is the mother of invention so be inventive. A lot of players who mute incredibly well have to stop and look at what they're doing to be able to tell you how it's happening. Muting is a great thing to consciously work on but it's also something that tends to evolve semiconsciously over many years as your concept of articulation evolves.

A few things I've tried some of which are obvious, some maybe not as much. Some stuck, some didn't. Some led to others.

• Lifting the fretting finger to play the note short
• Using a non fretting finger on the fretting hand to mute à la Rocco Prestia
• Lifting the entire fretting hand off the strings during a position shift and catching the ringing note(s)
• Playing right on top of the fret with some of your finger tip overhanging it to mute
• Muting with your palm
• Playing a note with the thumb and catching it with a finger or vice versa (Janek Gwizdala and Joey Spampinato)
• Muting with the picking hand fingers that aren't usually doing the picking
• A foam bridge mute or fret wrap at the nut.

 

[Zbysek]

I just observed myself to see how I do things.

When I'm picking the D string, I have the pad on the outer side of my picking hand (see below, area in red) touching the E and A strings lightly. My picking hand pinky is touching the G string.

View attachment 5154113

+1

 

[Watchootognbout]

While the right edge of the hand is muting the unplayed strings,the left hand fingers are muting unplayed strings above the picked strings.

 

[thedovewarlord]

For me muting is constant coordination between both hands. I use a big Clayton Triangle .80.

It's a bit second nature for me by now, but it all started with guitar where I had the edge of my hand on the bridge. Start there, vary your pressure and you will get the hang of it. Do simple alternate picking (up/down) excersises and don't rush.

Once you get the feel of that, start breaking away from the bridge. begin to vary your right hand location. When picking close to the bridge, use the technique that @gebass6 demonstrated so excellently with photos! When I move my hand closer to the neck, I continue to use the edge of my hand and even my pinky. It'll take time to develop touch with regard to pressure. Lastly keep your hand RELAXED and be adaptable, Im sure there are times when I am picking the D/G where the front edge above the knuckle gets involved and mutes the E/A. Good luck and report back what works and what doesn't.

{EDIT} PS these muting techniques are useful on both the unplayed strings and the string you are actually picking notes.

 

[Kerry Brown]

I think this is one place where coming from playing guitar with a pick is an advantage. After playing guitar for many years I switched to bass. Palm muting with my picking hand and where I place my fretting fingers in relation to the fret just came naturally when I switched to bass. My fingers on my fretting hand that aren't playing a note rest on non played strings combined with how hard I press and when I slowly release pressure on fretted notes along with my palm on the picking hand are my method.

 

[DrBnz]

I practice all the above.... one item I've been paying attention to during practice that I believe has some merit is the magic pinky finger. Subconsciously it does some amazing things. So I've been trying to train it to do those things at the right times. Two items particularly. One being the pinky reaching out and hooking the lower string. So its muting and making that hand very stable. Good for some things..... but not all things. The other being the floating pinky. Meaning I curl the pinky close into a fist and it rests on the strings above where I'm picking. It works real well for slower stuff. But when you get going real quick then it kinda gets in the way. So you can see that these are all just tools you "could" use if you've practiced and refined them. But you do need to be familiar with most all of them. I suppose that's one of the aspects of having the right "touch".

 

[thedovewarlord]

I think this is one place where coming from playing guitar with a pick is an advantage. After playing guitar for many years I switched to bass. Palm muting with my picking hand and where I place my fretting fingers in relation to the fret just came naturally when I switched to bass. My fingers on my fretting hand that aren't playing a note rest on non played strings combined with how hard I press and when I slowly release pressure on fretted notes along with my palm on the picking hand are my method.

Bingo!

I practice all the above.... one item I've been paying attention to during practice that I believe has some merit is the magic pinky finger. Subconsciously it does some amazing things. So I've been trying to train it to do those things at the right times. Two items particularly. One being the pinky reaching out and hooking the lower string. So its muting and making that hand very stable. Good for some things..... but not all things. The other being the floating pinky. Meaning I curl the pinky close into a fist and it rests on the strings above where I'm picking. It works real well for slower stuff. But when you get going real quick then it kinda gets in the way. So you can see that these are all just tools you "could" use if you've practiced and refined them. But you do need to be familiar with most all of them. I suppose that's one of the aspects of having the right "touch".

100%. When it comes to my right (picking) hand, if it's not the edge of my palm, it's my pinky. I'm continuously practicing my pizzicato and not sure if it's correct, but I use my pinky for the muted thump as I alternate index & middle.