muting when jumping across strings

[Aloe]

Hey,

Let's say I want to play an F# on the E string and next very quickly move to the D string like F#-E-F#. On a 4-string I just mute the E with a thumb, but on a 5-string that doesn't work, so the open E rings when I take my finger off it. It's not that loud, but lately I notice more and more that I have a problem mainly with open E and A strings ringing.

If that would be a A string next, I would mute the open E with my plucking hand and again this won't be much an issue. But that's not the next string.

What should be my approach to proper technique here?

Thanks

 

[LBS-bass]

You mute with your right thumb or your left?

You can mute the B and E strings by placing your right thumb between and touching both of them. Being able to move your right thumb around to a good muting position is a helpful skill but you'll need to get away from resting the thumb on a pickup or ramp or something other than a string.

 

[Aloe]

You mute with your right thumb or your left?

usually on a 4-string I do it with a left thumb. I do sometimes move the anchor on the right hand from the pick-up to the thickest string, but not further (like to the E string in this case; oh, and my open A also rings in similar cases).

You can mute the B and E strings by placing your right thumb between and touching both of them.

so, basically either a floating thumb or moving the anchor to the E string, right?

what do I do if the next note is again on the E string and it's all very fast? just train to move/float the anchor very fast?

 

[LBS-bass]

what do I do if the next note is again on the E string and it's all very fast? just train to move/float the anchor very fast?

Yep, that's what I do, anyway. My hands are small so I have not had the luxury of muting the B with my left hand (though I do it all the time on my 4 string - well, the E in that case). It can take a little time to get the timing right. Another alternative if you just want open notes to not ring is to use a scrunchy at the first fret, tied around just tight enough to keep the open strings from ringing but not to keep them from sounding if they are played. That's a bit of a cheat but if you only have one or two songs where muting is a problem, it might be a simpler solution. I used to use this myself for one song where I'm playing octaves across strings quickly and it's just a pain to worry about all that muting, though lately I'm using a combination of thumb and palm to make it work. Just takes practice.

 

[Aloe]

thanks @LBS-bass! I suspected that those two alternatives are the way

actually my problem with adapting the floating thumb is that somehow I think that my notes do sound better when my thumb is firmly anchored. and when I use the moving anchor and put it on the A string, my B string starts to ring.

but maybe there's some third approach to this as well? I believe, Jaco used fixed thumb only, how did he manage around this without floating thumb or a scrunchy?

 

[Al Rivera]

I use my palm to mute,especially on a 5 string. I prefer the floating thumb technique.

 

[Aloe]

I use my palm to mute,especially on a 5 string.

even palm, not thumb? like the right side of it (the one that's used for the palm muting when playing with a pick)?

 

[SteveCS]

Mainly a combination of a clean lift off with the left and floating thumb with the right.
YMMV.

 

[Aloe]

Mainly a combination of a clean lift off with the left and floating thumb with the right.
YMMV.

clean lift is great, but it seems like when it's faster, it doesn't work as nice for me.

that's just practice? or on speed relying on clean lift without thumb muting is not enough?

 

[SteveCS]

...
that's just practice?
...

I would say so, yes. Lift quickly and far enough to let the string up from the board or fret whilst keeping contact long enough to kill it off.

 

[Snarf]

Foot muting. You mute the open string with the heel of your left foot.

 

[Carl Hillman]

Hey,

Let's say I want to play an F# on the E string and next very quickly move to the D string like F#-E-F#. On a 4-string I just mute the E with a thumb, but on a 5-string that doesn't work, so the open E rings when I take my finger off it. It's not that loud, but lately I notice more and more that I have a problem mainly with open E and A strings ringing.

If that would be a A string next, I would mute the open E with my plucking hand and again this won't be much an issue. But that's not the next string.

What should be my approach to proper technique here?

Thanks

Left hand muting...

If I was playing those notes in those locations, I'd play the F# with 1 and the E with 2 and I would leave both fingers in place, just lifting enough to stop the note from ringing when playing the other note.

 

[cheapbasslovin]

Left hand muting...

If I was playing those notes in those locations, I'd play the F# with 1 and the E with 2 and I would leave both fingers in place, just lifting enough to stop the note from ringing when playing the other note.

This. Even if you need to slide up higher leaving the 1 loose on the e string will do your muting job.

Floating thumb is also doable, but I think I'd be using my left index for the muting.

 

[LBS-bass]

Yeah, I often forget left hand muting since it is so second nature for me. My left hand muting techniques do not work when I am quickly hitting octaves across strings. Left hand only works for me when I'm pulling off a string that I have just played. My fingers are too busy, otherwise. That being said, I do mute with the left hand quite a lot.

 

[Rip Van Dan]

Hey,

Let's say I want to play an F# on the E string and next very quickly move to the D string like F#-E-F#. On a 4-string I just mute the E with a thumb, but on a 5-string that doesn't work, so the open E rings when I take my finger off it. It's not that loud, but lately I notice more and more that I have a problem mainly with open E and A strings ringing.

If that would be a A string next, I would mute the open E with my plucking hand and again this won't be much an issue. But that's not the next string.

What should be my approach to proper technique here?

Thanks

You know this is where that floating thumb technique comes in handy. If you have your thumb resting on the B string when you move to the D on the A string instead of stretching your fingers down to play there your thumb will mute both the B and E strings. Move you entire hand so your thumb is resting on the E and B string. If you need to play on the D string, move your hand down farther. The thumb of your right hand ends up muting more and more strings the farther down you move your hand.

The way the technique works easiest is when you move your hand, you move it by moving your elbow up or down. That way you don't need to contort your hand by stretching or twisting it to get it in the right position. So with your 5'er rest part of your thumb on the B string while plucking the E string. Then move your elbow straight down to get access to the A string and your thumb naturally mutes the E and A. Move your elbow straight down a bit more to get to the D and then on to the G. Usually you can easily mute 3 strings easily with your thumb just by using that floating technique.

 

[JeezyMcNuggles]

Hey,

Let's say I want to play an F# on the E string and next very quickly move to the D string like F#-E-F#. On a 4-string I just mute the E with a thumb, but on a 5-string that doesn't work, so the open E rings when I take my finger off it. It's not that loud, but lately I notice more and more that I have a problem mainly with open E and A strings ringing.

If that would be a A string next, I would mute the open E with my plucking hand and again this won't be much an issue. But that's not the next string.

What should be my approach to proper technique here?

Thanks

Thumb, fretting hand fingers. At the same time. Great muting takes a combination of both hands.

 

[devnulljp]

Mute with both hands as needed

 

[Michael4bass]

I use my third and fourth fingers to mute the E and A strings.

Bassically, Michael

 

[jimmydean]

Just have your roadie do it .

 

[Papageno]

Floating thumb (plucking hand) does the job cleanly. Fretting hand can assist in muting too.

I am aware many players use their fretting hand thumb for fretting or muting, like the OP does. So it must work for them, but for me this is a big no-no. Keeping the left-hand thumb behind the neck keeps my left hand in a consistent and relaxed shape. I find this to be essential for me, in terms of mobility and intonation (fretless).