So, I've been playing bass for a couple of years now and am finally starting to feel pretty comfortable with my fingerstyle playing, so it seemed like a good time to try to learn how to slap. I've watched a few videos online and tried to integrate it into my normal practice. Whenever I do try to slap, though, the strings rebound off the pickup end of the fretboard, immediately muting them and causing a pretty annoying rattle. Is this a matter of technique, string gauge (my strings are pretty light...E is a .096), action (haven't measured it, but I don't think it's particularly low or particularly high), or what? I don't seem to be able to figure it out on my own.
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Slap question...
- Thread starter jeffreybar
- Start date
The percussive sound you hear in slap comes from the string hitting the last fret. So it's not a bad thing that you're hitting the fret.
I think it's you're technique. Sounds like you're trying to muscle it out instead of being really relaxed.
The weird thing about slapping is it sounds very aggressive but you need to be extremely relaxed to play it.
I think it's you're technique. Sounds like you're trying to muscle it out instead of being really relaxed.
The weird thing about slapping is it sounds very aggressive but you need to be extremely relaxed to play it.
Gotcha. I have been practicing it with my amp at a pretty low volume (my poor upstairs neighbor!), so it could be just that I'm hearing too much of the unamplified sound and not enough of the amplified one. But yeah, I do kinda muscle through it -- I assumed that it was a fairly muscular activity because of the sound, but I guess it's rarely the case that the two correspond like that. I'll try turning the amp up and the muscles down. Thanks.
in slap techniques there are two important things to considering, first the strings action, it's better to have it low than higher, your bass sound will gain more frequencies especially in the middle and in the treble, that usually are just hided with high strings.
Second, you need to take care about your hand approach, is not a big matter of harm than just wrist, try to calibrate it with patience, focus on your sound and you'll get great results! If you need any help just contact me, I'll be happy to help you.
Cheers. Enrico
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Second, you need to take care about your hand approach, is not a big matter of harm than just wrist, try to calibrate it with patience, focus on your sound and you'll get great results! If you need any help just contact me, I'll be happy to help you.
Cheers. Enrico
YouTube
WebSite
- Aug 14, 2008
- 698
- 12
- Disclosures
- Owner and Operator, Xylem Handmade Basses and Guitars
+1, if you are really into the idea of playing slap you might take your bass to a tech or luthier and ask them to lower your action. A lot of the slap tone comes from the strings hitting the frets, and good slap tone (usually) comes from a relaxed technique. If Your strings are way high off the fretboard you'll have to put a lot more muscle into getting the strings to slap right. You want your slapping technique to be subtle.
Higher amp volumes also help. Like you said, a lot of the time you can hear too much of the acoustic sounds of the bass if the amp is low.
I would also recommend experimenting with hitting the strings over (or just behind) different frets, like the last 3 or 4. A lot of basses have a slapping "sweet spot" around the last few frets, you should try finding the one on yours.
scottfeldstein
Roots and fifths and a little extra.
I have a really aggressive playing style, slapping included. As a result, I get a fair bit of rattle. I struggle to be gentler, but mostly I don't worry about it. You want that sound. Just try to be gentle enough to avoid the worst of the big clanks.
There's some good material on slap technique in the Bass Guitar forums here on TB.
And Victor Wooten's Groove Workshop DVD spends some time on slap, too--plus you can watch a few clips in which there are close-ups of his right hand.
+1 to earlier comments on this thread, that low action, a light touch, and a scooped EQ are where you want to go with slapping. IMHO, IME, and YMMV, as always.
And Victor Wooten's Groove Workshop DVD spends some time on slap, too--plus you can watch a few clips in which there are close-ups of his right hand.
+1 to earlier comments on this thread, that low action, a light touch, and a scooped EQ are where you want to go with slapping. IMHO, IME, and YMMV, as always.
I also believe in lowing the action. The height of the action may have a negative effect on some people's playing (Slap) - not everyone;but some. When the string has height and you're working on triplets (an example), depending on your tempo you may try striking the string when it's in a rebounding position & that can throw you off. IMO the less the string bounces in height, the more control you have on the percussive effect.
The concept of a "sweet spot" is (again IMO) very significant. The density of the neck insertion point plays a strong role in that. I want the densest part of the end of the neck to be the part I am striking. It will help with the "feel" of the slap; similar to practicing on a solid table of other solid object.
Too many people get it right and then stop & move forward to other material. I found it was very important to keep practicing those few things that are "marginal". If I don't have real control over the sound, I'll hit that one bar or less until I'm completely comfortable with it. It's not always fun: but it makes a real difference than getting it right only on occasion.
The concept of a "sweet spot" is (again IMO) very significant. The density of the neck insertion point plays a strong role in that. I want the densest part of the end of the neck to be the part I am striking. It will help with the "feel" of the slap; similar to practicing on a solid table of other solid object.
Too many people get it right and then stop & move forward to other material. I found it was very important to keep practicing those few things that are "marginal". If I don't have real control over the sound, I'll hit that one bar or less until I'm completely comfortable with it. It's not always fun: but it makes a real difference than getting it right only on occasion.
I'm in the same boat as you, Jeffrey. It's kinda paradoxical, but as mentioned before, the more muscle you put into it, the worse it typically sounds. I'm still struggling to be totally relaxed and just "let it flow", so to speak, but I have gotten more relaxed with my slap technique, and it already sounds worlds better than it did before.
Another thing to think about is that when you get into more complex slapping, the more muscle you put into it, the harder it's gonna be to get complex/fast stuff up to speed. That's what tipped me off to the fact that I needed to ease up and relax; I was fine playing simple root/octave stuff slowly, but when I sped up, I just fell flat on my face.
I equate it to a golf swing. If you get up there and try to hammer the ball with all your might, yeah, it might go pretty far, but it's gonna slice so hard your ball will end up on the next green. If you dial back and focus on having a relaxed, fluid swing, that ball will sail a lot longer and straighter.
Just my $.02. You should also hit up Anthony Wellington on the Ask A Pro section of this board. He's a slap MONSTER, an incredible teacher, (the way he explains things has opened my eyes to SOOO many things) and a heck of nice guy to boot!
Another thing to think about is that when you get into more complex slapping, the more muscle you put into it, the harder it's gonna be to get complex/fast stuff up to speed. That's what tipped me off to the fact that I needed to ease up and relax; I was fine playing simple root/octave stuff slowly, but when I sped up, I just fell flat on my face.
I equate it to a golf swing. If you get up there and try to hammer the ball with all your might, yeah, it might go pretty far, but it's gonna slice so hard your ball will end up on the next green. If you dial back and focus on having a relaxed, fluid swing, that ball will sail a lot longer and straighter.
Just my $.02. You should also hit up Anthony Wellington on the Ask A Pro section of this board. He's a slap MONSTER, an incredible teacher, (the way he explains things has opened my eyes to SOOO many things) and a heck of nice guy to boot!
Another thing that is crucial is to have is new or newer strings. If you've had the same strings on for months and you practice alot, it'll be hard to get that good sound. All the other advice applies just as much, especially finding the sweet spot. Remember that when you slap, you want your thumb to come down on top of the bottom of the frets/fretboard with your plucking fingers just below where the fretboard ends. That's what you need to practice alot on so that it becomes second nature to go to that exact position naturally. It takes alot of practice but at least you know you can do it.
Thanks for all the advice. Lots of good stuff here. I plan to integrate all of this as I go along...right now trying to just be patient for a few days and see if I can work out the feel from muscle feedback and see if that helps (with a bit more amp and a bit lighter touch). Then, more troubleshooting.
- Aug 14, 2008
- 698
- 12
- Disclosures
- Owner and Operator, Xylem Handmade Basses and Guitars
I'll have to disagree with you just a little on that point Session. Newer strings definitely give slapping a bit more of a metallic and/or bright tone, and I would also definitely recommend them to beginner slapper who isn't happy with the tone he's getting.
BUT, I feel like once you get good at slapping (and have a well set up bass) you don't have to keep new strings on your bass all the time. I haven't changed my strings in probably two years and I still really like the slap tone I'm getting out of my bass (somewhere between Les Claypool and Victor Wooten's tones). Of course, I have set the action really low on my bass and have been playing slap-style for years...
Happy slappin'!
To the OP or anyone: why do you think the tone generated from a slap event comes from the string hitting just the last fret?
