A (Somewhat) Definitive Guide To The Matthew Garrison Technique And Playing Ramps

#84
i COULD KILL MYSELF, FOR I HAD ONE OF THE ORIGINAL PRE-GIBSON WILLIS MODELS WITH THE RAMP. THE PICKUPS WENT DEAD ON ME SO I ENDED UP SELLING IT, BUT MAN THAT BASS PLAYED ITSELF. YOU DEFINATELY NEED A RAMP FOR THIS TECHNIQUE. I'M SURE YOU GUYS HAVE SEEN THE BUDDHA DO THIS TECHNIQUE, I SPENT ALOT OF TIME STUDYING WITH HIM BUT COULD NEVER QUITE GRASP HIS WAY OF DOING IT. I DID HOWEVER WALK AWAY WITH IDEAS FOR MY OWN STYLE OF SIMILAR TECHNIQUES. IT'S DEFINATELY ALOT EASIER ON THE HANDS IF YOU LIKE TIGHT PIZZICATO OVER THE BRIDGE PICK-UP. FUN STUFF=)
 
#85
...I've never taken a bass lesson in my life. So I'm really in the dark as to "proper" technique. But I've always worked on making all five fingers independent, even and effective. In all honesty, usually I just use three (index, middle and ring) but in faster passages I'll add in the other two.

I'm working now on trying to play long strings of 64ths on one pitch using all five fingers - like a percussionist's open roll. Give it a shot.
 
#86
has anyone figured out a way to do this on an ERB? I'm on a 6right now with some delusions of moving to a 7 when I get to be a big kid. I've been trying to use some kind of Garrison technique on my 6 and the muting issue is killing me. Tried a scrunchie and everything. Brian I know you recently got a 6, have you been able to adapt it yet? And if so, can you post vids on how to mute?

thanks!:crying:
 
#87
Someone actually already requested a video showing muting :D I'll be making it soon. I basically do a lot of left-hand muting- I always have, so the number of strings on the bass doesn't matter all that much. I also let my plucking fingers dampen individual strings when their not plucking whenever possible- it's similar to the open position Gary Willis uses when plucking
open1.jpg
 
#88
Bryan R. Tyler said:
Someone actually already requested a video showing muting :D I'll be making it soon. I basically do a lot of left-hand muting- I always have, so the number of strings on the bass doesn't matter all that much. I also let my plucking fingers dampen individual strings when their not plucking whenever possible- it's similar to the open position Gary Willis uses when plucking
open1.jpg
Click to expand...

That was I who requested the vid Bryan, via ebay... I"m waiting with anxiously and hopefully baited breath now that you have a six!

Ammioz
 
#90
Yesterday I finally got around to making a ramp for my 6 string corvette.

I had no spare wood around to use. So I improvised. I took some old blinds made out of some sort of synthetic wood, I took out 4 pieces and glued them in layers to get the right height. Once that was ready today I cut out the ramp size. Than I spent quite a while sanding and checking it to my bass, back and forth until the fit was perfect. I gave it a light layer of black spray paint to match the pick-ups. Than I stuck it on with some scotch double stick foam tape.

I was expecting it to turn out pretty bad since I A: have never done any wood work in my life, and B: was using very poorly planned methods and tools. But it turned out perfect, it feels great, it looks great, and my right hand feels a lot more free with it.

I can't wait to take it to band practice tomorrow. And I'm hoping that I can get the 4 finger technique fluent enough so I can finally match the guitars trem picking.
 
#91
Hey Bryan, thanks a lot for putting this up here. I read this this morning, and have been practicing all day (school holidays), and have got it pretty well (not amazingly fast, but pretty fast and very consistent).
I wanna play something like this (without the insanely hard neck masturbation) for my HSC, so I will hopefully will be able to get it by then:
 
#93
Good for you :) Try to keep up the practice with consistency- it doesn't take long to gain a lot of speed using this technique, but getting each finger to pluck with a proper rhythm is much harder. It's something I still need to work on more.
 
#96
Hey I just wanted to thank Bryan and Mike for there contribution's to this thread. I think this style of playing was meant to be the standard for being able to play the rest of your life without the "unmentionable" problems that occur from chronic playing fatigue. I nearly quit playing years ago from over extending my hands, and didn't really see myself ever getting back to the style of playing that I enjoy. So just a thanks. brian
 
#99
WuvMuffin72 said:
Is there a website that sells ramps? The one with the cheapest ramp with be best, since I havent started trying out this technique yet.
Click to expand...

No, there's not, as prefab ramps would be too difficult as the exact radius, width, length, and height that you need for each particular ramp varies widely. You'll have to contact a luthier about making one for you. I'd suggest Jon Maghini of M Basses or Pete Skjold for a good price. Know the dimensions you want before you contact them and include them in your initial email, as the size of the ramp may alter the price.
 
#100
Hey Bryan. I'm starting to think more seriously about working on this technique and wanted to get your thoughts on different fingering patterns (right hand)...

I've been playing primarily with 2 (since I started playing, about 10 years ago) and then mixing in 3 right hand fingers for faster stuff starting maybe 5 years ago, and I'm pretty comfortable playing fast that way. But with 3 fingers I've always played RMI for 3-note patterns and some other weird variations (that I don't really conciously think about now) for 4-note patterns.

So my question is...do you think there is any benefit to learning 4-finger technique as TRMI TRMI, as opposed to TIMR TIMR? I can imagine that TIMR would be more fluid conceptually, since you're starting with the thumb and moving outward from there. It just seems like it would be so much more work for me personally to reverse the direction I've already taught my 3 fingers to move :p
 
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