I started out with an electric guitar and most boogie & blues rhythms use palm muting. it's one of the first techniques you learn.
Max
Poll: How long did it take you to master palm muting?
I knew I'd missed some options!
Well like:
- 'it's all rock 'n roll to me..., or boogie and blues take your pick/plectrum
'
- 'I'll tell you when I get there'
- 'time's a trip man....'
- 'it's all relative'
- 'it was so long ago I can't remember - I think I was wearing furs and carrying a club'
- 'huh? it's so easy...what's the problem anyway?'
- 'it was the seventies dude...it's all a bluuurrrrrr'
- 'if I ever had a problem with it I've erased it from my grey cells'
- 'stop whining and post a video already '
Thanks for your responses. It seems like the last option above was the proper course of action here.
i've actually found it really interesting to see your responses. Andy now that I know how easy it is, the world is my oyster and muting is my pebble to be snatched as soon as I adopt the right attitude/a can do state of mind (with an open palm of course).
Thanks all!
Shel
Well like:
- 'it's all rock 'n roll to me..., or boogie and blues take your pick/plectrum
'- 'I'll tell you when I get there'
- 'time's a trip man....'
- 'it's all relative'
- 'it was so long ago I can't remember - I think I was wearing furs and carrying a club'
- 'huh? it's so easy...what's the problem anyway?'
- 'it was the seventies dude...it's all a bluuurrrrrr'
- 'if I ever had a problem with it I've erased it from my grey cells'
- 'stop whining and post a video already
'Thanks for your responses. It seems like the last option above was the proper course of action here.
i've actually found it really interesting to see your responses. Andy now that I know how easy it is, the world is my oyster and muting is my pebble to be snatched as soon as I adopt the right attitude/a can do state of mind (with an open palm of course).
Thanks all!
Shel
http://www.totallyguitars.com/target-so ... esson#song
Does this help? Neil explains his technique for this particular song. His hand bounces on and off the strings. (I have seen it practiced where the hand is just planted). The way I learned it was slightly different from Neils version. Put your hand at the bridge in a karate chop position and curl your thumb and first finger holding pick to hit muted base notes. I think to do Neils technique you just bounce, but the rest is the same. Short strokes. You probably have it by now with all the other advice you received already.
Tom N.
Does this help? Neil explains his technique for this particular song. His hand bounces on and off the strings. (I have seen it practiced where the hand is just planted). The way I learned it was slightly different from Neils version. Put your hand at the bridge in a karate chop position and curl your thumb and first finger holding pick to hit muted base notes. I think to do Neils technique you just bounce, but the rest is the same. Short strokes. You probably have it by now with all the other advice you received already.
Tom N.
Thanks Tom and Marc.
Today and yesterday I've watched Neil's lessons for Cow Girls in the Sand (right hand technique -1st time) and Old Man ( http://www.totallyguitars.com/target-so ... .html#song ), as well as WMGGWs. That combined with the great advice I've received today, and from responses to my recent threads, is making the palm-muting puzzle fall into place, in my head at least if not in my hand properly yet.
This morning I found it almost impossible to hold the pick (as Neil recommends - the wrap, not the fingertip pinch) and open out my other fingers completely. The rest of my finger still want to curl. But, I can open my hand a lot more (so I'm no longer making a fist) and get more palm in contact with the saddle and still have my fingers a bit curved. I notice that this is the form of Neil's hand too.
It's funny how you can watch these videos and try it yourself, but it's sometimes not until others see you playing and you indeed see yourself (through your and their eyes) that it really all makes sense.
Thanks again.
Shel
Today and yesterday I've watched Neil's lessons for Cow Girls in the Sand (right hand technique -1st time) and Old Man ( http://www.totallyguitars.com/target-so ... .html#song ), as well as WMGGWs. That combined with the great advice I've received today, and from responses to my recent threads, is making the palm-muting puzzle fall into place, in my head at least if not in my hand properly yet.
This morning I found it almost impossible to hold the pick (as Neil recommends - the wrap, not the fingertip pinch) and open out my other fingers completely. The rest of my finger still want to curl. But, I can open my hand a lot more (so I'm no longer making a fist) and get more palm in contact with the saddle and still have my fingers a bit curved. I notice that this is the form of Neil's hand too.
It's funny how you can watch these videos and try it yourself, but it's sometimes not until others see you playing and you indeed see yourself (through your and their eyes) that it really all makes sense.
Thanks again.
Shel
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Hydroman52
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- Joined: Sat Apr 11, 2009 7:52 am
- Status: Offline
Hey Michele,
After thinking about this a little more, I might compare it (loosely) to playing harmonics. Sort of a "touch the string and let it ring" concept. I think that may be why we are getting the bouncing off the strings suggestions. With harmonics, I'm looking for clear bell like tones. With palm muting, I am usually looking at muffling the beginning of the note, and then letting the end part of the note ring. The way that you treat the beginning of the note affects the tone, volume, and duration of the end of the note. The exception would be a complete muting for a percussive effect.
So, here is my take on variables to contour my palm muting :
Palm touching closer to the saddle = less muting
Palm touching closer to the sound hole = more muting
Less time palm is touching string = less muting
More time palm is touching string = more muting
Lighter palm pressure = less muting
Heavier palm pressure = more muting
Pick string lighter (or use lighter pick) = decreased note volume and duration
Pick string harder (or use heavier pick) = increased note volume and duration
If you hadn't asked about this, I wouldn't have thought so much about it. Just do it. Maybe it will help someone else.
Hydroman52
After thinking about this a little more, I might compare it (loosely) to playing harmonics. Sort of a "touch the string and let it ring" concept. I think that may be why we are getting the bouncing off the strings suggestions. With harmonics, I'm looking for clear bell like tones. With palm muting, I am usually looking at muffling the beginning of the note, and then letting the end part of the note ring. The way that you treat the beginning of the note affects the tone, volume, and duration of the end of the note. The exception would be a complete muting for a percussive effect.
So, here is my take on variables to contour my palm muting :
Palm touching closer to the saddle = less muting
Palm touching closer to the sound hole = more muting
Less time palm is touching string = less muting
More time palm is touching string = more muting
Lighter palm pressure = less muting
Heavier palm pressure = more muting
Pick string lighter (or use lighter pick) = decreased note volume and duration
Pick string harder (or use heavier pick) = increased note volume and duration
If you hadn't asked about this, I wouldn't have thought so much about it. Just do it. Maybe it will help someone else.
Hydroman52
Hydro - Gosh you're a man with a sensitive gauge to the subtleties of playing. You really know your stuff and can explain it well when you start thinking about how you perform the magic tricks you do. Good for us you don't swear by the magicians' code. Thanks for the observations. I'll look out for all of that. Who knew that so much variation was possible. Well I suppose those of you in the 'other' category for starters. I always love it when you put your guitar analysis hat on. thanks
Chas - watch out for the splinters!
thanksChas - watch out for the splinters!