muting when jumping across strings

[Just go for it]

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

This can help

 

[Al Rivera]

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

Yes that is correct. Just takes lots of practice.

 

[micguy]

If you have a problem muting the E string on a 5, I’d question why you don’t have a problem muting the A string on a 4 - it’s the same geometry.

When moving from playing 4’s to 5’s, I did experience some awkwardness with muting for a while, but it seems to have fixed itself. If you have good muting instincts on a 4, with a bit of practice and some time, adding a string isn’t a big deal - it’ll work itself out.

 

[slareman]

The title is clickbait, but this section of the video specifically talks about muting technique, and is applicable to 5 string as well:

 

[sawzalot]

Have two techniques. One is that I can keep my left index and/or middle finger on the E string while reaching up an octave to the D string and that works fine. Another is that my right thumb may move up to rest on the E and the pickup when I play the D and G strings, depending on how fast I need to jump back to the E string. Between those two I can keep those lower strings quiet.

 

[Rich Fiscus]

Whatever techniques you use, being able to mute with both hands is important. In fact, one of the constants throughout my time playing bass is occasionally finding a song that requires me to either figure out a new muting strategy or clean up my existing muting technique.

Personally I use floating thumb, which I just sort of fell into when transitioning from all pick to mostly finger style playing. If felt unnatural to anchor my thumb, and it just naturally rested on the strings that needed the most muting. That doesn't mean floating thumb is the only option. If your thumb is anchored, and you're playing with 2 fingers, that still leaves 2 fingers free for muting. It may require some adjustment to your plucking technique to get your ring finger and/or pinky in the right position, but it's definitely possible.

 

[Artman]

thanks @LBS-bass!
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?

Jaco used the right pinky finger to mute the open E string, and his right third finger to mute the open A string.

Much like the floating thumb technique, his right hand muting method works best if plucking with a very light touch most of the time, allowing you to anchor for the occasional digging in moments. That is a big part of where his right hand speed came from.

 

[dbsfgyd1]

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

I believe that belongs in the What’s the Best Bass for a Contortionists sticky.

 

[mrcbass]

I have an unusual muting method that works pretty well for me. I don't think I'm the only one in the world who does it in this manner, but believe I'm in the minority by a long shot.

Edit - Just read a post above and it seems that Jaco did it this way. (I wish the rest of my playing could imitate him so well!)

First, for whatever reason I don't do well with floating thumb or palm muting. I still work a lot with floating thumb plucking, and sometimes will unconsciously apply the moveable anchor (thumb rests on B string). Constantly moving up and down strings to anchor doesn't work for me and my thumb is shaped so that I don't get much muting benefit with a floating thumb.

Self taught, I began using my pinky and ring finger on plucking hand to mute the B and E strings. It's probably very awkward if you've established "proper" plucking techniques, but it works for me.

I use a fret wrap to help tame strings when using a pick or slapping.

There's no right or wrong - there's what works for you and I encourage you to try everything.

 

[BarfanyShart]

Floating thumb is the orthodox technique. I pluck with my thumb and other fingers so muting the low strings is generally done with the meaty part of my hand at the base of my right hand thumb. The high strings usually get muted with my left hand, or if necessary with the pinky or ring finger of my right hand.

 

[Thumpin6string]

I have always sucked at muting. I've tried different techniques, but could never get comfortable with them. I finally gave up and went this route. It works well and can be used in other ways when playing.

 

[SteveCS]

...
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.
...

Likewise - I really don't know how folks do that thumb-over mute thing without crippling left-hand mobility. I can just about get my thumb over a 1.5" 'J' neck but I get almost instant shooting pain in the back of my left hand as my fingers start to cramp up. On my wider 1.75" 'Ray necks there is no chance.

 

[Aloe]

Likewise - I really don't know how folks do that thumb-over mute thing without crippling left-hand mobility.

ugh, on a really small neck this starts to happen itself. I didn't ever practice this, but noticed this after I developed this habit.

I do sometimes intentionally do that on a guitar though. does this really cripple the hand? well, compared to a Gypsy 7-string thumb usage -- not really (it's very common to fret the thickest 1-2-3 strings with a thumb when chording there).

I do see however how it's a problem with a fretless.

 

[Papageno]

I do see however how it's a problem with a fretless.

On a fretless, correct intonation results (among other things) from a relaxed and reliable hand shape, with consistent spacing among fingers and fingers perpendicular to the neck axis. You cannot maintain a consistent hand shape when your thumb comes over the neck to fret or mute the E string. That's my personal experience. I cannot exclude it works differently for other people.

 

[bigjames]

On a fretless, correct intonation results (among other things) from a relaxed and reliable hand shape, with consistent spacing among fingers and fingers perpendicular to the neck axis. You cannot maintain a consistent hand shape when your thumb comes over the neck to fret or mute the E string. That's my personal experience. I cannot exclude it works differently for other people.

Agreed on this point re: fretless. I mute on my fretless 6 with both hands, using techniques described in previous posts. Right thumb on B and E, left hand fingers muting higher strings. I have been trying to emulate Gary Willis' light touch and that leaves my left hand very relaxed.

 

[Drummerboy2]

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

I did/do this still sometimes. I'm starting to learn how to use my thumb for a 5 string. 4 string problem.

 

[coy garcia]

I use my thumb on right hand to mute anything lower than the string I'm playing. My left hand mutes anything above the string i'm playing. When jumping strings my plucking finger will mute the string below it. However if you are a pick player I have no idea how they do it.

 

[smeet]

Muting on bass is hard. You have to maintain your fingering technique while also touching the strings you are not fingering. This multitasking can compromise your playing technique if you are not careful.

I had been using floating thumb for years, and it works pretty well for muting. But I have noticed that it takes away from the power of a note, a little like a free stroke sounding weaker than a rest stroke pluck.

I’ve been doing Joe Hubbard’s lessons, and he dislikes floating thumb for this same reason. Instead he advocates a moving anchor (anchor on the string below the string you are plucking). So I’ve been drilling on that. It works well for the most part, and gives a strong tone. But there are drawbacks.

If you are playing on the G string, you can’t mute the B string with a movable anchor. I like a bright sound, so I sometimes get harmonics ringing on the low strings even when I’m not touching them. And, fast playing that jumps around and skips strings a lot requires more thought and coordination than I like.

So, I’m trying to adopt a hybrid muting style where I use a movable anchor whenever I can (for a fatter tone), and floating thumb when I need to (or I’m too lazy to move the anchor around).

 

[Rich Fiscus]

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

If I could mute with my feet, I would. There's no such thing as too many options for muting.

 

[Trilobita]

Like most people who replied I would also mute the E string using floating thumb. The muting would happen almost naturally in the situation you are describing: I would play the low E with the side of my thumb (just above the joint, slightly towards the tip of the finger) resting against the low B, and as soon as I reach for the D string my thumb is resting across both the B and the E strings, with the joint now perfectly over the low B and the fleshy part beside the nail bed resting against the low E.