Slapping Thumb: Angled, Down, or Parallel To Strings?

witness66

witness66

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May 25, 2016
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#1
I know that each player has his/er own techniques in regards to slapping finger position. What I curious about is this: What is the proper, if one exists at all (unlikely), text-book technique for thumb position when slapping? Would it be with the slapping thumb pointed upward across the strings, pointed upward across the strings or with the thumb sitting parallel over the E-string?

Some time ago I was told by another bassist (with demonstration) that she considered sitting the thumb parallel to the E-string would be the best position. She told me that not only will this technique produce a cleaner and more forceful (if a louder spike is desired) sound, but that that specific way of slapping would also allow the player to better access to the higher strings for popping.

Again, this is just what was told me, I do not have an opinion on the matter. I am just curious.

Thanks for your input/advice!

BTW: I totally suck at slapping/popping so I need (truly) to know your points before I concentrate on drills.
 
#3
Can't help, subbed though. I may just be the only person on here who slaps worse than you! :roflmao: I still don't quite understand the basic motion involved - either that or my thumb / wrist are just incapable. Anyone know of an ultra-slow motion "proper slapping technique" demo?
 
#4
Playing parallel allows you to play notes that are bouncing off the string, playing through the string or double thumbed.

Playing not parallel allows you to comfortably wear your bass at a wider range of heights. If you are playing fingerstyle/pick 90% or more of the time and you have a preferred bass height for that which is awkward for parallel playing that might be a big deal. It also allows you to hit more than one string at a time.

They are similar enough that I imagine most people end up figuring out how to do it the other way after learning one of them. What I didn't appreciate for quite a while was that slap is actually many different little techniques all grouped together. There are lots of ways to hit and pop the strings, different songs use different methods and some of them use many methods. There is probably a song out there somewhere that mixes parallel double thumbing with non parallel multiple note slaps. Its not really a case of "learn slap"->"learn pop"->"speed up"->"play anything".
 
#5
I don't think this is something that has ever been codified into "proper technique". If you watch different instructional videos you'll see different approaches. Personally I keep my thumb more or less parallel to the strings. I tend to agree with the woman noted in the first post: it improves my ability to incorporate "pops".

I learned many years ago. The production values are (hilariously) dated now, but I still recommend checking out the Alexis Sklarevski "Slap Bass Program" video.
 
#8
The fact is that anyone has a different approach on the bass when we are talking about slapping, somebody use to have the thumb perfect in line with the strings, other prefer to have it a bit angle with the nail up, other the inversion with the nail pointed down, somebody plays to the last fret, somebody to the neck pickup.. so it's really personal feeling. The important question is the tone, if your slap is producing a clean, bright and with good attack tone, than you're playing correctly following the most natural position of your hand, even if in that' moment you're thumbing on the headstock :D
So check always your tone with your ear, especially if you play without amp, it will be the judge and path to follow.
Let me know if you need more help ;).
 
#10
I do it parallel to the string for both Traditional Slap and Double Thumping.....the more parallel, the more accuracy is the general rule of thumb (pun totally intended :D ), ...however, it should be noted that each player should do whatever is most comfortable for that player: if you are comfortable slapping with your thumb perpindicular to the string, get accuracy that way and not strike other strings you arent aiming for then, by all means, have at it
 
#11
Parallel is "proper".

Here is a great video where, towards the beginning, he walks you through a good frethand mute and thumb vamp that you can use to work on your own technique.

Try to get that vamp going and then move your hands around a little until you get the best sound and confortable feel.

 
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#12
Would like to jump in for questions. When you slap...do you bounce your thumb onto the string or rest the thumb on the adjacent string after the slap motion is done?

I find that sometime people bounce the thumb off and sometime they rest the thumb on adjacent string. So kinda confused which one is correct.
 
#13
I love slapping (I know it is not proper around here). When I started, I kept my thumb parallel to the string. As I started being comfortable with more advanced techniques like double thumping, triplets, and slap/pop on the same string, my thumb angle changed around the parallel position depending on what I am playing.
on a double thumb, the movement of thumb is at an angle compared to rhe plane of the string. So the thumb start at an up angle, strike the string, continues under the string to pull it back on the way up.
On triplets (double thumb+pop), I tend to play the whole movement with my thumb slightly upward.
On a slap and pop of the same string (e.g.: A string), I tend to slap with my thumb down to keep my index and thumb on the same string.

Conclusion: Parallel is a great way to start but with time and more complex combinations of slap and pop, your thumb position will vary. There is really no right or wrong. There just is what works for you and your hand.
 
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#14
One more thing. Slapping is all about repetition and muscle memory. You just have to do it over and over, thousands of times. It sounds sloppy at the beginning but with time, you will learn to clean it (muting and stuff). Just be patient.
 
#15
foudufafa said:
I love slapping (I know it is not proper around here). When I started, I kept my thumb parallel to the string. As I started being comfortable with more advanced techniques like double thumping, triplets, and slap/pop on the same string, my thumb angle changed around the parallel position depending on what I am playing.
on a double thumb, the movement of thumb is at an angle compared to rhe plane of the string. So the thumb start at an up angle, strike the string, continues under the string to pull it back on the way up.
On triplets (double thumb+pop), I tend to play the whole movement with my thumb slightly upward.
On a slap and pop of the same string (e.g.: A string), I tend to slap with my thumb down to keep my index and thumb on the same string.

Conclusion: Parallel is a great way to start but with time and more complex combinations of slap and pop, your thumb position will vary. There is really no right or wrong. There just is what works for you and your hand.
Click to expand...

Kinda agree that there is no 1 best technique and that we should try what's comfortable for us. But I believe, there is a technique which is "better" in general than the rest because it probably eliminates unnecessary movement, saves energy, etc.

foudufafa said:
One more thing. Slapping is all about repetition and muscle memory. You just have to do it over and over, thousands of times. It sounds sloppy at the beginning but with time, you will learn to clean it (muting and stuff). Just be patient.
Click to expand...

How can we define we are comfortable with a technique? Is it like...if we manage to do a technique for straight 3-4mins (or for maybe 9-10 repetition) at certain tempo without making a mistake and without feeling strained?
 
#16
I'm no expert, but as a long-time observer of the technique(s), there are some patterns I've noticed, although there is plenty of variation in every style and sound.

Straight funk (Marcus Miller) is usually done with the bass up high and the thumb angled up across the strings. The joint of the thumb is bounced off the string. This produces a clean clear sound with a quick attack.

Rock/funk (flea for instance) is often done with the bass slung lower, with arm/hand/thumb pointed downwards across the strings. This makes a bigger wider sound with more grit to it. Again, the thumb bounces off the string.

Acrobatic modern double thumbing is often done with the thumb parallel to the strings. The thumb can either bounce or strike through the string. The sound is part-way between the other two techniques.

But of course YMMV.
 
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#17
smeet said:
Straight funk (Marcus Miller) is usually done with the bass up high and the thumb angled up across the strings. The joint of the thumb is bounced off the string. This produces a clean clear sound with a quick attack.

Rock/funk (flea for instance) is often done with the bass slung lower, with arm/hand/thumb pointed downwards across the strings. This makes a bigger wider sound with more grit to it. Again, the thumb bounces off the string.

Acrobatic modern double thumbing is often done with the thumb parallel to the strings. The thumb can either bounce or strike through the string. The sound is part-way between the other two techniques.

But of course YMMV.
Click to expand...

This is the style that I want to copy the most. The sound & the right hand posture are what I imagined of what a slap should be like. I practice only slap on and on but cannot get that slap tone Marcus Miller has. It's always too light or too boomy or too noisy.
 
#18
addicted said:
This is the style that I want to copy the most. The sound & the right hand posture are what I imagined of what a slap should be like. I practice only slap on and on but cannot get that slap tone Marcus Miller has. It's always too light or too boomy or too noisy.
Click to expand...
Marcus has been doing it for 40 years. Dont expect to get there quickly. How long (in years) have you been practicing? It took me 3 years of practice to become good enough that it sounds good in a band situation. And I am no Marcus.

A compressor can help you mask inconsistencies in volume so it is strongly recommended for slap. You may have to play with the attack in your compressor to not kill the punchiness of the slap

In my case, I play high and try to minimize movement. I also dont hit/pull the strings very hard. In fact I often need to crank my volume up a bit when I slap during gigs. But again, thats me. Look at Flea, and Louis Johnson and they just hammer the strings. No economy of movement in their style.
 
#19
foudufafa said:
Marcus has been doing it for 40 years. Dont expect to get there quickly. How long (in years) have you been practicing? It took me 3 years of practice to become good enough that it sounds good in a band situation. And I am no Marcus.

A compressor can help you mask inconsistencies in volume so it is strongly recommended for slap. You may have to play with the attack in your compressor to not kill the punchiness of the slap

In my case, I play high and try to minimize movement. I also dont hit/pull the strings very hard. In fact I often need to crank my volume up a bit when I slap during gigs. But again, thats me. Look at Flea, and Louis Johnson and they just hammer the strings. No economy of movement in their style.
Click to expand...

I guess I have tried slapping for 2 years or so. It's not all slapping because I don't really need this style in my band so if we put all the hours of practicing, it's probably 6months in total.

I don't expect to get that kind of Marcus speed and groove of course. But just want to get that tone in a slower speed and hoping to speed up over time.
 
#20
Technicality said:
What I didn't appreciate for quite a while was that slap is actually many different little techniques all grouped together. There are lots of ways to hit and pop the strings, different songs use different methods and some of them use many methods.
Click to expand...
To integrate with fingerstyle, I've developed several approaches for different tone, attack, grit, etc to suit the song. It can vary from bass to bass, song to song, and volume/intensity required.

foudufafa said:
Parallel is a great way to start but with time and more complex combinations of slap and pop, your thumb position will vary. There is really no right or wrong. There just is what works for you and your hand.
Click to expand...
Several types of thumb slap, each building in fullness of tone.
- without fretboard zing (i.e. strike over pickups), a gentle, subtle slap.
- with zing but muted/short sustain (i.e. over end of fretboard), restrained hybrid-style.
- with zing and long sustain (cleaner, defined) similar to Marcus = Hardest to master.
- to cross-string slap aka Abe Laboriel style (half-thumb picking down stroke, half slap).
- gritty slap, Flea style. Using more elbow/arm motion, easier to control when jumping around on stage. Also how to slap certain flat wound strings.
 
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