Quite awhile ago I posted about a thumb rest (1/4" x 3/4" x 4") I made for the end of my fingerboard - I wanted a smooth/soft surface for my thumb. Initially I liked the smooth surface for pizz but I found my right hand would move up the harder/longer I played. I really like the percussive sound Ray Brown is known for, to get that sound you have to pluck the string at the end of the fingerboard where the string tension is high. I recently filed a groove in the thumb rest and smoothed it out. Now my thumb is securely positioned in the ideal spot to get that percussive sound. At first I got index finger pain - the increase in string tension took some time to get used to. Now that I've been using it for several weeks I don't have any pain. I am very pleased with the modification, my thumb is anchored in a good spot and I can pull exceptionally hard (if I want) and w/great feel control. I highly recommend jazz players try this modification. It is very easy to fabricate - I started out using double sided tape so that I could easily take it off to modify it orif I didn't like it. I eventually glued it on, now it is permanent.
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Double Bass Thumb Rest
- Thread starter powerbass
- Start date
If the edge of the fingerboard is too sharp, I round it a bit and then playing is easy.
I was thinking of that for my EUB where the fingerboard was rounded as much as possible, so no height at the side of the fingerboard at the end of the board. But after some playing I could even adopt to that slightly rounded edge.
I was thinking of that for my EUB where the fingerboard was rounded as much as possible, so no height at the side of the fingerboard at the end of the board. But after some playing I could even adopt to that slightly rounded edge.
It's an interesting concept that I've thought about before but never done. In my case, it's because I hook the RH thumb under the board there so that the resulting callus is between the two big knuckles of the thumb. My hand is used to it now, but I've always wondered if there's a right hand counterpart to the issue that basses with thin necks have regarding cramping in the left hand.
Cool idea!
I will say, that was the first thing I noticed when I first played my Upton. They round off that edge to make a more comfortable rest for you thumb. I don't know why they didn't do that like 100 years ago.
I will say, that was the first thing I noticed when I first played my Upton. They round off that edge to make a more comfortable rest for you thumb. I don't know why they didn't do that like 100 years ago.
Note that Ray Brown didn't have such a thumb rest. So, it's a matter of setup and technique. Given a properly thick fingerboard, string height adjusted accordingly, and good right-hand technique, one can achieve a powerful, percussive sound on any string. One doesn't need "Ray Brown-level" or even pro-level skills to do it-- just a good teacher. 
Okay, you're likely not going to sound like Ray, but... At least, that's how it worked out for me and I sure don't have such skills. I suppose, if one can't get to or chooses not to have a luthier take care of things, then such an attachment could be beneficial. IMO, it's a jerry-rigged solution. I tend to be a traditionalist with regard to such matters. Hey, if it works for you, then enjoy! Different strokes... YMMV, IME, TEHO.
As for a sharp edge on the end of the fingerboard where the thumb rests, that can be quite annoying... and painful! The edge on my Upton fingerboard is not rounded but is sufficiently smoothed so that it's never been an issue. I trust that any decent luthier could achieve that on any decent fingerboard. It's a matter of attention to detail.
Okay, you're likely not going to sound like Ray, but... At least, that's how it worked out for me and I sure don't have such skills. I suppose, if one can't get to or chooses not to have a luthier take care of things, then such an attachment could be beneficial. IMO, it's a jerry-rigged solution. I tend to be a traditionalist with regard to such matters. Hey, if it works for you, then enjoy! Different strokes... YMMV, IME, TEHO.As for a sharp edge on the end of the fingerboard where the thumb rests, that can be quite annoying... and painful! The edge on my Upton fingerboard is not rounded but is sufficiently smoothed so that it's never been an issue. I trust that any decent luthier could achieve that on any decent fingerboard. It's a matter of attention to detail.
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I had a thumb rest put on a bass when I developed hand pain. I thought its thin fingerboard and resulting "closed" position of my hand, when compared to my other bass, were contributing to the pain and I was right. The thumb rest worked great. Later, I had a thick board installed and didn't need it anymore.
Seems to fit right in with my view. Once the setup was improved, you were good to go. Thanks for sharing.
As stated in my original post the benefit of the thumb rest w/groove is a comfortable, secure placement of the right thumb with provides an "index" for thumb placement for enhanced pizz tone production. Electric bassists employ thumb rests or place their thumb securely on a pickup, they also utilize ramps too, all these strategies facilitate finger style playing.
Proper upright bass technique involves developing muscle memory and precise placement of the left hand/fingers; half position, first position etc. to ensure proper intonation. Proper bow placement on the string is essential for best tone production - bow position changes (closer/farther from bridge) relative to string tension and left hand placement. Good pizz tone is also dependent on right hand function: comfort, positioning, ease of motion/dexterity. The jazz tradition of "pulling a big sound" out of a bass requires good command of all these features to achieve a percussive pizz sound - it's not easy. For me at least the addition of the thumb rest facilitates better command of my right hand.
I understand the traditionalists don't like adding something new to their bass. For those like me who have struggled w/pizz technique you might want to try making your own thumb rest and giving it a go to see if it works for you.
Proper upright bass technique involves developing muscle memory and precise placement of the left hand/fingers; half position, first position etc. to ensure proper intonation. Proper bow placement on the string is essential for best tone production - bow position changes (closer/farther from bridge) relative to string tension and left hand placement. Good pizz tone is also dependent on right hand function: comfort, positioning, ease of motion/dexterity. The jazz tradition of "pulling a big sound" out of a bass requires good command of all these features to achieve a percussive pizz sound - it's not easy. For me at least the addition of the thumb rest facilitates better command of my right hand.
I understand the traditionalists don't like adding something new to their bass. For those like me who have struggled w/pizz technique you might want to try making your own thumb rest and giving it a go to see if it works for you.
If the side of the fingerboard is too pointy, lots of practice will yield a nice callus on your thumb and will eventually wear away that sharp edge.
