Tips on how to play "Cleaner"

[Lobster11]

I want to record some stuff to show as an example, but basically...Inconsistent volumes or inconsistencies in how I strike the string with my finger. This can be most notable when playing quick 16th notes.

It might be worth taking the time to carefully examine your hand position and physical technique. Simply practicing more won't help much if your technique is fundamentally flawed. A few specific things you might want to consider:

1. If you always anchor your thumb on a pickup, consider learning to use a "floating thumb" or "moveable anchor." A problem with planting your thumb in one place is that you have to change the position and shape of your hand to reach different strings, and your angle of attack can differ from string to string. An advantage of these other methods (in addition to muting) is that your hand shape and plucking angle stay exactly the same no matter which string you're plucking.

2. Is the wrist of your plucking hand severely bent? A lotta folks tend to rest their forearm on the top of the bass body, almost parallel to the ground, and bend their wrists at a 90-degree angle (or more) to reach down to the strings. The wrist-bend saps a lot of the strength and agility from the plucking fingers -- not to mention increasing the risk of injury.

3. Relatedly, having a lot of tension in your plucking hand will similarly sap strength and agility; it needs to be relaxed and tension-free. One of the reasons I personally like the "floating thumb" method is that my hand feels much more relaxed than when I anchor my thumb on a pickup.

4. Are you plucking harder than you need to? Turning up the amp and playing with a gentle touch is another way to keep your hand relaxed and avoid wasting energy. In my own case switching to the "floating thumb" solved this problem at the same time: I find it much easier to pluck softly than when I anchor my thumb.

 

[jallenbass]

One exercise I do for note clarity is to dampen the strings with my left hand and starting with a single string play slow notes alternating my right-hand fingers. What I'm listening for is a nice little pop which can be attained with a light touch. Once I can do that on one string I'll start in on string crossings coming up with various patterns. After that, I'll take a line that I'm working on and do the same. No left-hand, just right. It's made a huge difference in my playing.

 

[herbygardener]

Don't ever forget that 'studio quality' has a lot of things involved with it. Do overs, punch ins, likely higher quality equipment than you'd have on a gig. Given time and money anyone can get a good track down in the studio. It's the players that come from home, a fight with the SO, no supper, a near traffic accident, insults from a drummer, and then lay it down beautifully on the gig that have my respect. That's the goal; to know how to put your mind in a good music place and make it happen.

This applies to so many different discussions, thanks for putting these words down.
You are likely to find yourself being quoted on all or parts of this statement going forward.
Sometimes, the sole reason I pick up the bass is to shut the outside world off for a bit and if it creeps back in just a little, you can almost instantly hear it in my playing. I'm always striving to find that place where you don't just know the notes of the song but you can feel the song enough that it takes you away somewhere like it does for someone who's dancing in front of you. That's where the groove is! IMHO
Cheers!

 

[BassChuck]

This applies to so many different discussions, thanks for putting these words down.
You are likely to find yourself being quoted on all or parts of this statement going forward.
Sometimes, the sole reason I pick up the bass is to shut the outside world off for a bit and if it creeps back in just a little, you can almost instantly hear it in my playing. I'm always striving to find that place where you don't just know the notes of the song but you can feel the song enough that it takes you away somewhere like it does for someone who's dancing in front of you. That's where the groove is! IMHO
Cheers!

On this subject there are two books that are worth considering. The first one is, "The Inner Game of Tennis" by Timothy Galway. It talks about centering your mind on the task at hand and putting your mental energy to work in the most productive way. When this book came out, I was a student at the Cincinnati Conservatory and the bass professor there, Barry Green, totally fell in line with this, in fact he wrote his own book, The Inner Game of Music". You could get either one, no need for both, but the Tennis book is more to the point of the mental issue, sadly Barry's book wonders about and is only really easy to understand if you've read the Tennis book.

It's like that one scene in the movie, "The Last Emperor", where the Tom Cruise character is getting his ass handed to him in practice combat. One of the students runs up to him and says, "Too much mind". And that's it as simple as possible.

 

[JRA]

OP: i think Lobster11 's post should be a big help to you! good luck!

What is 'unclean'?

it's hard to describe but i know it when i see it!

 

[IamGroot]

For very fast 16th s , play closer to the bridge. Rotosounds always seemed easier to play fast passages, while TI Jazz flatwounds are tougher (lower tension)

I remember a worship song with high tempo 16ths and string crossing that crippled me years back. Used a pick but still flubbed it.

 

[DuckSoup]

Thanks for all the feedback in here. There are a lot of good tips from Lobster as well. The biggest thing on that list is I don't do floating thumb, for some reason I just never really got that style of playing down, and I found the more anchored approach to be better for me (Using my extra fingers for muting other strings)