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Fretting Hand Specifics
For this installment, I’d like to get back to basics and share with you some tips that address the mechanics of hand technique. We will focus on the fretting hand this time around as we continue to work at developing and refining the way our hands work together.
If you have ever watched a great classical musician perform, you have probably noticed some key elements in his/her playing. World class classical musicians are some of the most disciplined players with respect to technique. Much of the music they perform demands intense focus, dexterity, and consistency. In spite of the excellence demanded of them, however, a great classical musician stays very relaxed and composed, and these traits allow him/her to remain expressive, dynamic, and musical throughout a performance. Regardless of whether or not you are a fan of classical music, it is hard not to appreciate the level of technical mastery demonstrated by its performers.
Obviously, there is a lot to be gained as a bassist if we are to emulate the technical discipline of a classical musician. Interestingly enough, our basic technical approach as an electric bassist virtually mirrors that of a classical guitarist. For example, look at the way a classical guitarist holds his/her hands. Right and left hand positioning is virtually identical to ours. The main difference in the plucking hands is that a classical guitarist plays using his/her fingernails instead of the fingertips. The technique of the fretting hand, however, is basically the same. In this lesson, we will attempt to incorporate the relevant aspects that apply to our fretting hands, specifically.
In most applications, the basic technique of our fretting hand remains unchanged. For example, whether you are using a finger style, slap & pop, or muting approach with the plucking hand, the fretting hand is essentially doing the same thing. I’ve put together a list of 3 general guidelines to follow when working to clean up our fingering
1. Avoid using a “flat fingered” approach.
In other words, try to play more using the tips of the fingers. This involves keeping the fingers of the fretting hand slightly curved. See figure 1:
The reason for this is so you can effectively minimize the surface area coming into contact with the strings and the fingerboard. The result is better intonation and greater accuracy with your fretting hand. To demonstrate this, think about how a fretless bass is played. Playing in tune requires one to pay particular attention to where the string contacts the fingerboard. A move in the slightest direction forward or backward with the fretting finger will pull the pitch out of tune. The more narrow the contact point on our fretting finger, the easier it is to play pitches accurately. Although a fretted bass affords us the room to play in between the frets without fear of pitch variance, this concept is still valid; a flat fingered approach presents a greater risk of our notes “fretting out” if our fingers are too far forward or backward. (Obviously, this rule does not apply if we need to “bar” a chord or some other shape on the bass. In instances like these, it becomes necessary to flatten the fingers at least temporarily.)
2. Keep your thumb generally at the back of the neck.
Whenever possible, try to avoid bringing your thumb over the top of the neck. The higher your thumb is, the more inhibited your reach will be for your fretting fingers, especially when playing the lower pitched strings of your bass. A good place to keep the thumb is somewhere midway at the back of the neck so you can maximize stability and reach. See figure 2:
Although your thumb effectively becomes an anchor for your fretting hand, you DO NOT want to squeeze hard with it! There shouldn’t be any excessive force coming from your thumb when fretting notes on the fingerboard. A good way to test this is to try dropping the thumb off of the neck while your playing. See figure 3:
Ideally, you should still be able to fret the notes using only your other fingers. If you’ve ever felt pain in the thumb joint or palm of your fretting hand, try this test and see just how much you are depending on the squeezing force of your thumb. Just as the plucking hand can benefit from using a movable anchor, so can the fretting hand. While you play, try allowing your thumb to freely slide over the back of the neck in all directions so that it is basically “following” your fretting fingers. This will insure that you are staying relaxed and subsequently offer you maximum reach in all positions.
3. Maintain space between your palm and the back of the neck.
The main purpose of this is to maintain consistency in hand position, regardless of what string you are playing. You will notice that if your palm meets the back of the neck, it naturally pulls your thumb over the top of the neck and turns your fretting fingers to a position less perpendicular to the strings. See figure 4:
This position makes it much harder to play with curved fingers and contributes to a lack of reach because of the raised position of the thumb. To get a feel for a more beneficial hand position, try placing your fretting hand in a relaxed open handed position away from the bass… See figure 5:
…and then simply raise your hand to meet the neck of the bass. As your hand meets the instrument, your thumb should naturally move into position about midway at the back of the neck, and your curved fingers should lay naturally over top of the strings. See figure 6:
This is a great basic hand position to get used to using, and you will want to maintain this position regardless of what strings you are playing on.
Here are a couple of other more general points to keep in mind that will aid you in your technical development as a bass player. (These philosophies can be incorporated into your plucking hand technique, as well):
Avoid sharp wrist angles.
The importance of this can not be overemphasized. Sharp wrist angles, combined with tension and fatigue, significantly contribute to bass players’ hand injuries, and these injuries can sometimes be irreversible. Although problems such as carpal tunnel syndrome, repetitive stress injury, and tendonitis are beyond the scope of this particular lesson, their prevention is aided by the avoidance of excessive stress on the wrists. In general, you want to keep your bass at a height that allows a moderate wrist angle for both hands. You will find that if your bass hangs excessively low, a sharper angle is incurred by the wrist of the fretting hand. If you wear your bass excessively high, the wrist of your plucking hand will incur the sharper angle. Even if a player wears his/her bass somewhere in between, most end up struggling with wrist tension when they are playing in the lowest register of the bass, closest to the headstock.
The problem is exaggerated when a player tries to maintain a large finger stretch in that area, for example the 5 fret stretch from F to A on the E string. See figure 8:
Figures 7 and 8 are examples of the types of wrist angles you should constantly avoid. An alternative solution to covering this distance with an uncomfortable stretch involves “reaching” into each successive note while maintaining the same fingering. Don’t worry about holding your hand in a stretched position; instead, leave your hand in a relaxed state, and as you play your notes in order one at a time, allow your thumb and hand to slide into the next note. You can still maintain a completely legato feel as long as you reach smoothly and quickly. if you use this approach you will protect yourself from injury while maintaining consistent hand position and proper technique.
Stay relaxed.
The benefits of relaxation should be obvious to us as players. The tensing up of our bodies robs us of our endurance, dexterity, and technical agility. However, staying relaxed while playing is often easier said than done. Relaxation begins with the shoulders. Most players that struggle with tension in their playing usually carry most of their tension in their shoulders. Next time you are performing or practicing, take a moment to analyze the height of your shoulders, as well as the level of tension in your forearms and hands. When you stop to take a break in between songs or exercises, relax and analyze this again. If you discover a significant difference in the way your shoulders, arms, and hands look or feel, you probably are playing with too much tension. The only way to get out of this is to “practice relaxing.” As silly as it sounds to “make an effort to relax,” you’ll find that the key is to simply maintain a constant state of awareness of how much tension you are carrying at any given time. You can put this to work for you immediately by incorporating it into your practice routine. While you are practicing, as soon as you recognize that your shoulders or other parts of your body are tensing up, stop playing immediately. Drop your arms to your sides, relax completely, and then lift your hands to the bass and start playing again. As soon as you feel yourself start to tense up again, stop playing and do the same thing. By doing this, you are teaching yourself to become more in tune with your body while becoming more adept at staying relaxed.
I hope that these points will help you to get to the next level in your playing. Please remember that not all of these skills can be developed overnight. Therefore, it is vitally important that you exhibit patience as you work on these. What we don’t want to do is fall into our old habits out of frustration. Allow yourself the freedom to make mistakes as you are developing, and above all else, make sure to have fun!
Until next time-
Positive Grid launches Spark 2, the next evolution of their cutting-edge smart guitar practice amplifiers and Bluetooth® speakers.
Engineered for acoustic, electric guitar, and bass, Spark 2 delivers an immersive practice and playing experience. Enjoy detailed sound and an all-new upgraded speaker design powered by Positive Grid’s exclusive Sonic IQ Computational Audio technology. With an onboard creative looper, optional battery power, and intuitive AI features for tone exploration and practice, Spark 2 is the gateway to a musical experience that goes beyond expectations.
Proprietary Audio and Advanced Technology
Spark 2 represents a leap forward in amplifier design. It integrates a new DSP amp modeling engine with double the processing power, and at 50 Watts, it packs 25% more volume than the original. Positive Grid’s proprietary Sonic IQ Computational Audio delivers incredibly detailed and dynamic sound. New HD amp models, enhanced by multi-band dynamic range compression and virtual bass augmentation, redefine the sonic landscape.
Equipped with two premium FRFR speakers and reflex ports, Spark 2 offers wide stereo imaging and broader frequency response, ensuring refined bass and clear, immersive sound.
Built-In Creative Looper
Spark 2’s built-in Groove Looper features hundreds of hyper-realistic drum tracks. From basic loops to multi-layered soundscapes or the ultimate jam session, this intuitive tool inspires endless creativity. Onboard amp controls provide quick, on-the-go looping functionality.
AI-Powered Tone and Smart Jam
Spark AI revolutionizes tone exploration. Describe any desired tone in the Spark app – from practical to outlandish – and Spark AI will suggest tones to audition or download. The more it’s used, the smarter it gets, delivering the perfect sound.
Additional smart features make it easy to practice, learn new songs and improve playing skills. Smart Jam listens to the user’s playing style and generates accompanying bass and drum parts, while Auto Chords analyzes any song streamed and displays the guitar chords in real time, to make learning and practicing new songs easier than ever.
Enhanced Hardware Design and Portability
Spark 2 allows for storing up to eight customizable presets directly on the amp for quick access to favorite sounds. Perfect the tone with large, visible onboard controls for looper, EQ, gain, reverb, and more.
Designed for convenience, an optional rechargeable battery provides up to 12 hours of playtime for on-the-go sessions. The new double-thick strap and durable build ensure easy and secure transport. Spark 2 is also Bluetooth® ready, allowing for music streaming and jamming along with favorite tracks anytime, anywhere.
Multiple Outputs and Advanced Features
Spark 2 offers versatile connectivity with a headphone out for private practice, stereo line outs for external audio sources, and a USB-C port which enables it to function as an audio interface. WiFi-enabled, Spark 2 allows convenient over-the-air firmware updates, keeping the amp up to date with the latest features and improvements.
“I’ve used a ton of practice amps while touring the world for over 38 years and it was always just a technical, bland exercise,” says guitar virtuoso, singer-songwriter and producer Nuno Bettencourt. “Spark 2 is like taking Madison Square Garden wherever you go – epic and versatile.”
Color Options
Available in Pearl or Black finish with a dark weave grille and premium finish.
Special Event, Upgrade Pricing & Availability
Join the special live premiere event featuring Nuno Bettencourt and surprise guests on August 1, 2024, at 8:00 am PT/11:00 am ET. Visit positivegrid.com/pages/livestream for more details and to sign up for a reminder.
Regularly USD $299, Spark 2 will be available at special early bird pricing during the pre-order period. Registered Spark 40 owners can also receive exclusive upgrade pricing.
For more information and to sign up for pre-order alerts, visit positivegrid.com/products/spark-2.
A review of the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Disclaimer: This pedal was kindly provided by Joyo for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
Introduction: The Joyo Gloam is a sub-octave fuzz pedal specifically designed for bass players, combining modern sub-octave effects with rich fuzz tones. With two independently controlled circuits, the Gloam aims to provide a versatile range of sounds, from deep, aggressive fuzz to Moog-like synth effects. This review will explore the Gloam’s specifications, controls, and overall performance, highlighting both its strengths and areas for improvement.
Specifications:
- Dimensions: 130 * 110 * 50 mm
- Weight: 403g
- Working Voltage: DC 9V
- Controls: The Joyo Gloam features a comprehensive control set designed to provide bassists with a wide range of tonal options:
- Dry Tone: Adjusts the tone of the clean signal.
- Dry Volume: Controls the volume of the clean signal.
- Sub Octave Volume: Adjusts the volume of the sub octave signal.
- Gain: Controls the amount of gain in the fuzz circuit.
- Fuzz: Adjusts the intensity of the fuzz effect.
- Bass: Controls the bass frequencies in the fuzz circuit.
- Treble: Adjusts the treble frequencies in the fuzz circuit.
- Fuzz Mode Switch: Switches between two different fuzz modes.
- Dry Tone Frequency Switch: Selects between two different frequency points for the dry tone.
Performance: The Joyo Gloam excels in its dual-circuit design, offering both a sub octave and a fuzz channel that can be controlled individually. However, it’s important to note that the octaver cannot be used without the fuzz circuit activated; the only way to solo the octaver is by turning down the fuzz while both channels are engaged.
Fuzz Circuit: The fuzz circuit includes standard controls such as gain, volume, bass, and treble, along with a fuzz mode switch that toggles between two distinct fuzz modes. While one of the fuzz modes is highly usable and delivers a rich, aggressive tone, the other mode falls short and is less practical for most applications.
Octaver Circuit: The octaver circuit features controls for sub octave volume, clean volume, and clean tone, along with a dry tone frequency switch that provides two different frequency options. This allows for significant tonal versatility, enabling bassists to fine-tune their sound to match their preferences. Despite its limitation of being tied to the fuzz circuit, the octaver produces a deep, balanced sound that stands out.
Combined Effect: When used together, the fuzz and octaver circuits create a wide range of sounds, from classic, aggressive fuzz to synth-like tones reminiscent of a Moog synthesizer. This combination makes the Gloam a powerful tool for bassists seeking to experiment with their sound and achieve unique, textured tones.
Pros:
- Versatile Controls: Extensive control options for both fuzz and octaver circuits.
- Rich Tones: Delivers deep, aggressive fuzz and balanced octaver sounds.
- Sturdy Construction: Durable build quality ensures reliability.
- Wide Range of Sounds: Capable of producing everything from classic fuzz to synth-like effects.
Cons:
- Unusable Fuzz Mode: One of the fuzz modes is less practical.
- Dependent Octaver: Octaver cannot be used independently of the fuzz circuit.
Conclusion: In conclusion, the Joyo Gloam sub-octave fuzz pedal offers a versatile and powerful option for bassists looking to expand their tonal palette. Despite some flaws, the Gloam delivers impressive sounds and flexibility. Its combination of rich fuzz and deep octaver tones, coupled with a sturdy construction, makes it a valuable addition to any bassist’s pedalboard. For those seeking a modern bass distortion with the added depth of sub-octave effects, the Joyo Gloam is a compelling choice for a very compelling price.
Visit online at joyoaudio.com/product/281.html
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Behind the Strings – Jim’s Corner…
D’Addario & Co. proudly announces the launch of “Jim’s Corner,” a captivating new YouTube series telling the 400-year-old story of the D’Addario family creating the world’s largest music accessories company. This series features Jim D’Addario, Founder and Director of Innovation at D’Addario and Co., sharing his family’s remarkable journey from 17th century Italy to a 21st century global enterprise.
In the first four episodes now available, Jim D’Addario takes viewers back to the beginning, making strings from animal guts and knotting ukulele wire as a family around the television. Countless generations carried the passion forward until the 1970s when the company made it official and never looked back. Jim recounts the creation of strings that inspired legendary riffs, including one by The Who, the launch of Darco strings, the merger with Martin Guitars and the company’s humble beginnings with his wife, Janet and brother, John. Jim D’Addario’s firsthand accounts provide an intimate and personal perspective on the milestones and challenges that shaped D’Addario into the revered brand it is today.
Episode Highlights:
- Episode 1: The Early Days in Italy and the Move to America
- Episode 2: Inspiring Iconic Riffs and Legendary Partnerships
- Episode 3: Launching Darco Strings and Merging with Martin Guitars
- Episode 4: Building the D’Addario and Co. Legacy
Watch & Subscribe Now:
Join us in celebrating this incredible legacy by watching the first four episodes of “Jim’s Corner” on YouTube. New episodes will drop every month so please subscribe to our channel to ensure you don’t miss any future episodes and exclusive content from D’Addario & Co.: www.youtube.com/@daddarioandco
Gear News
Gear News: Aguilar Amplification Unveils Limited Edition NYC Gold Skyline Tone Hammer Preamp
Aguilar Amplification announces the release of the Limited Edition NYC Gold Skyline Tone Hammer Preamp pedal. Hand serialized 1-100, this exclusive edition celebrates Aguilar’s deep roots in New York City with a tribute to its iconic landmarks and vibrant spirit.
Born in the heart of NYC and raised on the road, the Tone Hammer Preamp DI has been an indispensable tool for bassists seeking inspiring tone and versatility. The new Limited Edition Gold NYC builds on this legacy with striking custom graphics encapsulating the essence of New York City. Featuring iconic landmarks from the Statue of Liberty to the Empire State Building, this pedal is not just a tool, but a piece of art embodying the soul of the city. Each unit features a sharp platinum silkscreen over a stunning matte gold sparkle finish, that is as visually captivating as it is sonically powerful.
The Tone Hammer is an essential preamp/direct box for every bassist’s toolbox. The Tone Hammer features fully sweepable midrange frequencies in addition to bass and treble controls. With the Tone Hammer’s pristine D.I. players are set for either studio or stage. To give this tone shaping unit the ultimate flexibility we introduce our proprietary Adaptive Gain Shaping circuitry (AGS). AGS allows the player to kick in an additional gain structure and EQ with the “stomp” of a button. You can go from modern slap sounds to vintage or overdriven. 18-volt operation gives the Tone Hammer plenty of headroom to reproduce the most dynamic playing styles. Separate gain and master controls allow players to dial in just the right gain structure for any instrument.
Aguilar Amplification’s Jordan Cortese adds, “With only 100 hand-numbered units available, this third iteration of our NYC edition Tone Hammer is a collector’s dream. “It’s a homage to our city’s monumental influence on music and culture and celebrates the craftsmanship and the story of Aguilar”.
Street price: $299.99 For more information, please visit www.aguilaramp.com
Gear News: Future Impact V4 Guitar & Bass Synth Now Available in the U.S.
Interview With Barker Bass’s Inventor and Writer Lee Barker
Working-Class Zeros: Episode #4 – Boutique and Vintage Basses, Dress Code for Summer Gigs
Gear News: Ibanez & Graph Tech Launch Multi-Scale Bass with Cutting-Edge Tuning
Album: John Entwistle, Rarities Oxhumed – Volume Two
July 22 Edition – This Week’s Top 10 Basses on Instagram
Gear News: Positive Grid Launches Spark 2
Gear Review: Exploring the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Alberto Rigoni On Unexpected Lullabies
