tapping as opposed to slapping

[Nun Yerbiznes]

Let’s call it the Entwistle style. When I tap the string around the last few frets of the neck, I get unwanted harmonics. I assume my fingers are lingering too long, as opposed to a fast slap. I find popping a natural thing to do, to emphasize notes. I use 3 fingers to play, and though I know I should be dragging my fingers across the strings, they’re more underneath and so, in a good place to pop effortlessly. Slapping however isn’t my thing. I could put the time into it and get there I’m sure, but it’s not a sound I’m in love with anyway. As amazing as some players I hear are, I see little musical use for shredding slapping/popping.

Slapping the occasional string with my fingertips is something I’d like to pursue however.

Any thoughts on how to get rid of these unwanted harmonics?

 

[Wasnex]

Totally not what I expected. AFAIK most people consider tapping to be a two hand technique where there is no plucking. Rather notes are sounded by using hammer-ons and pull-offs with both hands.


Regarding your question. The location of harmonics are related to the effective length of the string. As you fret notes, the effective string length shortens and the location of the harmonics move. So you may be able to fix the problem by changing the location where you are slapping the strings. Unfortunately, when you get really high in the harmonic series there are lot's of harmonics really close to each other, but some tend to pop out far easier and louder than others.

Here's a short video of Entwistle that shows a range of technique, including what your are describing. Interestingly he also did some actual tapping where the right index finger pushes the strings down and frets notes high on the neck.



AFAIK Entwistle called what you are talking about "typewriter" technique.

Another short video:

 

[Wasnex]

If the harmonics are sounding because your right hand fingers are slightly touch the strings, you need to adjust your technique, or possibly the setup of your bass. The fingers essentially bounce of the fretboard and then must be raised high enough to complete clear the strings.

 

[Les Fret]

Let’s call it the Entwistle style. When I tap the string around the last few frets of the neck, I get unwanted harmonics. I assume my fingers are lingering too long, as opposed to a fast slap. I find popping a natural thing to do, to emphasize notes. I use 3 fingers to play, and though I know I should be dragging my fingers across the strings, they’re more underneath and so, in a good place to pop effortlessly. Slapping however isn’t my thing. I could put the time into it and get there I’m sure, but it’s not a sound I’m in love with anyway. As amazing as some players I hear are, I see little musical use for shredding slapping/popping.

Slapping the occasional string with my fingertips is something I’d like to pursue however.

Any thoughts on how to get rid of these unwanted harmonics?

Your post is a little confusing but I think I understand what you mean. By tapping you mean tapping the string in a percussive way to get a slap like sound like Entwistle, not tapping like the first video in post #2 I guess? Dough Wimbish also does that.

If so, if you get harmonics with that technique if you hit the string at a harmonic spot. You have to move your right hand more the left or right to avoid that spot.

 

[Nun Yerbiznes]

Indeed, I do mean like Entwistle as opposed to tapping along the length of the neck. I need to get some basics down before I move to that.

I understand that where the harmonics are, will change with the length of the string as I fret. I can't imagine keeping track of where to tap as I finger with my neck hand however. It may be time to get around to thumb slapping. I'll take a look at Doug Wimbish too. Thanks everyone.

 

[Wasnex]

Indeed, I do mean like Entwistle as opposed to tapping along the length of the neck. I need to get some basics down before I move to that.

I understand that where the harmonics are, will change with the length of the string as I fret. I can't imagine keeping track of where to tap as I finger with my neck hand however. It may be time to get around to thumb slapping. I'll take a look at Doug Wimbish too. Thanks everyone.

Entwistle's typewriter technique is pretty esoteric IMHO. You might try an alternate technique where you smash the strings in the fretboard with your fingers to see if it helps. For examples, you can probably just review the same Entwistle videos .

 

[Les Fret]

Indeed, I do mean like Entwistle as opposed to tapping along the length of the neck. I need to get some basics down before I move to that.

I understand that where the harmonics are, will change with the length of the string as I fret. I can't imagine keeping track of where to tap as I finger with my neck hand however. It may be time to get around to thumb slapping. I'll take a look at Doug Wimbish too. Thanks everyone.

Do you have a 24 fret bass? If so the harmonic is right above the last fret where you normally slap/tap. So you have move away from that spot.

 

[JimmyM]

Entwistle never cared about throwing frequencies around. Townshend always said that’s what made his sound pop. But it does help to learn how to avoid frets that aggravate it.

 

[Nun Yerbiznes]

The standard open string harmonics of the 5th, 7th, and 12th fret, will appear in the same relative places when the string length is shortened. I've actually been using that phenomenon on purpose lately, but hope to develop a fingertip tap that is fast enough to not invoke them. Do thumb slapping bassists somehow not have this problem?