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Right Hand technique question

I am totally a self-taught player. After years of just messing around, I am finally getting the time and motivation to learn this thing the right way. So, a couple of questions. I am not sure if this is a bad habit that needs to be cleaned up or just my way of playing and ok. I see most bassist pluck the A,D and G strings and then bring their plucking finger to rest on the string below it and repeating this motion. This is the way all instruction videos say to play. The way I understand it this downward plucking motion gives the note a deeper, fuller resonance and allows for string muting on the string below it as the plucking finger touches the string below. So it serves a couple of purposes.

But, in my self-taught naivete, my technique is not like that. I taught myself to play in a small apartment where any real amplification would have brought howls of protest from my neighbors. So, I would either have the amp turned way low or playing without amplification at all. I think it taught me bad technique and never learned to mute strings because I wasn't playing at a volume that I could here the other strings ringing out. My plucking fingers scrape across the strings without ever touching the strings below it. Close but not quite. I'm not sure of any compromise in the tone but I have had to learn string muting techniques after all these years of messing around with my bass finally. The technique that I am learning is based on what I have learned from watching Scott's bass lessons. It took awhile but I feel fairly comfortable now with his floating thumb concept. It gets a little more comfortable each day and is pretty effective at muting the strings. But my question is really this. I seem to be the only person plucking a string without having the plucking finger come to rest afterwards on the string below it. Is this faulty technique if I have a legitimate way to mute the strings without using this plucking method. And I watch Scott Devine and it does not appear to me that he is using this pluck-then-make-contact-with-the-string-below method either. I can't tell for sure and I may be completely not seeing it right. But it looks like he isn't following all the way through either...and I idolize him as a bassist and if I were ever a fraction as good as him I would be very happy.

I don't know...I started playing bass by learning songs. Big Maiden fan...and speed was important. Found it easier to scrape across the strings than pluck all the way through and down like everyone says you should be doing. I just learned to play this way because it was easier to play faster. But it is worth it to completely overhaul my technique? Want to become an all-around good bassist. Also, learning to play with a pick and if feels strangely comfortable for some reason. Fingerstyle, I try it, try to pluck through and down to the next string but it feels very awkward and slow. But maybe it is worth the effort. Can someone either convince me that I need to invest time into changing my technique or tell me what I am doing is okay.

Thanks!
 
Really, It's how you want to play. If you're going for a grinding tone then play with a pick. Many bassists have their own method of plucking, like the three finger technique developed by prog bassists and Billy Sheehan. If you're interested in Rush, Geddy Lee plays with the very tips of his fingers and has a flamenco style. But If you want to play with the pluck-then contact-with-string method maybe you should try digging in to the strings more in the middle position.
 
I'd have to see what you are doing to offer any advice. I think how you play depends on the style of music you play. Speed is not a factor in the Country and Praise music I play, so that is not a concern of mine. I came over from rhythm guitar and a pick come over with me. I have since stopped using the pick and use my thumb (as a pick) and like the sound it gives.

At this point in my life I enjoy doing what I do the way I do it. If you are not comfortable with what you are doing, by all means change. Compared to the rest of your life the few months it will take to learn something new will be time well spent.

Of course IMO.
 
The pluck and land on the next string is commonly known as a rest stroke

The pluck and not land on the next string is a free stroke

You can also use rest and free strokes with the thumb or with a pick

Most pick players tend to naturally play free stroke because it is faster

A lot of finger style players will use the rest stroke

The advantage of rest stroke is the damping and the direct move to the next string

The choice of plucking technique then influences muting. Muting can also be achieved with left or right hand ...

So it's not like there is a right or wrong way ... It's more about a number of ways to do it and learning through practice what is comfortable and works for you and the music you want to play.


Rossa
 
Very interesting. Thanks everyone. I guess what I am getting at is that there are a plethora of ways to do this. When I really was able to start playing things amplified to a pretty good level, I was horrified to hear all the open strings ringing out. I had never had to worry about muting before, because it wasn't noticeable with little to no amplification. So, I spent a good deal of time learning a muting technique that worked, between the moving thumb and using the fretting hand. It is still not totally ingrained but I am getting there. But then I started really paying attention to bassists I admired. I watched videos of Geddy and Pino (great video of him doing the rest stroke beautifully as part of the John Mayer trio - I love hearing Pino play). Can't tell what some of them are doing. Steve Harris...have no idea what his technique is other than fast and could see he was using his free-floating plucking hand thumb to mute it seemed like. Scott Devine doesn't seem to do the rest stroke but seems to be one of the few that don't. Or maybe he is and I can't see it. So was so confused.

It sounds like if I have incorporated a quality muting technique, maybe my "free stroke" style is not wrong...just different and may sound different but isn't sounding unique part of the battle when playing? The one thing that I found when practicing (very slowly and deliberately) the rest stroke is the advantages of raking as you descend the strings. I get a sense of how that could really speed up and simplify playing once you get used to it, but still trying to get used to that. That seems to be more of an inherent part of the rest-stroke method and easier to perform using rest-strokes. And much harder to do when "free-stroking". Or maybe just not used to it. Geez, so much to figure out. I guess that is what makes it so much fun.
 
Free stroke is not wrong. However, some passages are easier or cleaner sounding to play using rest stroke.
Also, free stroke playing tends to have a more lyrical, ringing quality, while rest stroke has a stronger, more solid sound. So in general I would recommend for fat groove playing, use rest stroke. For chordal arpeggios, use free stroke.
It's best to learn both techniques so you can use them as appropriate. I used only rest stroke for 20+ years. Recently I've started incorporating more free stroke, especially when I need to play very quiet or sensitive stuff. But when it's time to rock out, it's back to rest stroke for me.
 
Scott doesn't use floating thumb technique although he does teach it. He uses a sort of hybrid that I think a lot of people use including myself whereby you still anchor the thumb on the pickups and strings and use it to mute multiple strings as you move across. I kind of wish I'd learned floating thumb well enough right from the start because it's really good for 5 and 6 string playing but I'm so used to my own way of doing it that it becomes a major hassle trying to stick at it long enough for it to become my natural technique.

As for rest stroke, I was under the impression that the majority of players play this way when anchoring the thumb. 4 finger picking is obviously a little different and uses free stroke, also chordal playing is more suited to free stroke, but rest stroke is really, really useful when muting because you get muting from the picking fingers as opposed to just the thumb or fretting hand.

Don't worry too much about the specific technique, just pick a technique and then try to be aware of muting in general. Muting actually becomes one of the main concerns in live playing because high volume draws so much more attention to the rogue rumbling. I think the majority of players just develop a muting technique from automatically trying to get all that noise under control without consciously thinking about it. I know I did. When I'm teaching certain things I realise my hands are doing so many things automatically that I didn't even realise and it's pretty much always to do with muting.

By the way, I have a video devoted to three finger picking in general (Billy Sheehan style): http://www.talkingbass.net/three-finger-picking-fast-metal-lines/
That might be of some use.
 
Interesting how your environment of where you were learning the bass heavily influenced your technique, you werent able to hear how loud your strings were buzzing so you didnt naturally learn the rest stroke on your own. I did because I practice loud so I hear everything. I naturally figured out to perform the rest stroke. I wonder what things in my environment are causing me to learn bad habits that I otherwise wouldnt have learned in a more suitable environment. I dont think there is the 'perfect' environment but obviously big hitters like playing at very low volume or sitting in a very uncomfortable chair can cause you to form terrible habits. One that I have is I hunch over too much and it hurts my back. I also tend to forget to alternate pluck.