Am I not supposed to be palm-muting on my guitars with floating bridges? I've been doing it wrong. Like, 95% of the time.
Am I not supposed to be palm-muting on my guitars with floating bridges? I've been doing it wrong. Like, 95% of the time.
Make sure there's enough room between the bridge plate and the bridge position pickup even when the bar is depressed. Sometimes it's that close.
I dropped it down to see when I had it in place. I had it on top of the pickguard and it was still clearing when fully depressed bar or fretting up towards the 24th fret on the D and G strings so I'd say it's good in that regard.Am I not supposed to be palm-muting on my guitars with floating bridges? I've been doing it wrong. Like, 95% of the time.
Make sure there's enough room between the bridge plate and the bridge position pickup even when the bar is depressed. Sometimes it's that close.
Even then, I don't really see the connection. Except perhaps that you're generally playing harder when you're palm muting, and this can set the bridge in motion and cause unwanted warble. I've always guessed that a heavier trem block would be a solution, if you don't want to sacrifice the expressivity of a floating trem.
That's good news. It'll probably land closer to the bridge than Roland recommends, strictly speaking, but it should be fine. :)
I'm hoping so. We are playing a christmas party on Friday but I don't think I will have time to get it fitted/installed before then.
I remember seeing those handrests now, but I never knew what they were! They're like the '80s equivalent of the old Strat bridge "ashtrays" everyone lost/ threw away in the '50s.I think it largely depends where you place your hand.
Vai was using a bunch of tape/washclothes back in the day to raise his hand above the trem to not lean on it and those very first few JEMs had the metal hand rest on it.
Obviously it’s not a problem for the dude anymore, he hasn’t used one since the 80’s, might have just been a cautionary thing they put on there as I think all his previous guitars had top-mounted Floyds.
I remember seeing those handrests now, but I never knew what they were! They're like the '80s equivalent of the old Strat bridge "ashtrays" everyone lost/ threw away in the '50s.
That second photo OMG. Looks like a field dressing bandage.
OK, so I've never used any of the above. My hand rests (daintily, apparently) on the strings in front of the bridge. I guess I've just adapted to the instrument as-is. That's got to be the norm, considering the number of fully floating guitars in circulation.
Now that you've got me thinking about it, I sometimes have trouble with my pick hitting the neck position pickup, or even the fingerboard itself on some guitars. So I'm definitely not the guy with his hand sitting on the bridge.To be honest; ever since I started using GK equipped guitars; I end up picking closer to the middle pickup are than anything else. My palm muting days were much more aggressively positioned on top of the bridge pickup.
Technique RefinementTM
It's really weird. I've been doing it this way for a LOOOOOOOOOOOOONG time. But I just noticed the fact that I am picking in this location when I got the Strat because the middle pickup was in the way so much I had to crank it down almost flush with the pickguard. The middle pickup of the Ibby is not in my way, for whatever reason.Now that you've got me thinking about it, I sometimes have trouble with my pick hitting the neck position pickup, or even the fingerboard itself on some guitars. So I'm definitely not the guy with his hand sitting on the bridge.
I recently read somewhere that Robert Fripp does the exact same thing (decks his middle position pickup) for the same reason. It was an eye-opener since I chased specifically after his right-hand technique for so many years, and always assumed that my pick whacking (whichever) pickup was an indication that my pick was diving too low (too close to the body) relative to the strings.
Sitting vs. standing as well.I recently read somewhere that Robert Fripp does the exact same thing (decks his middle position pickup) for the same reason. It was an eye-opener since I chased specifically after his right-hand technique for so many years, and always assumed that my pick whacking (whichever) pickup was an indication that my pick was diving too low (too close to the body) relative to the strings.
As for whether I'm near the middle p/u, the neck p/u, or the neck itself... depends on the shape of the body, the number of frets, the passage of music... all kinds of variables.
Our regular soundman who is full blown production nut with INSANE gear saw us here a few gigs back when we were running our own sound. He came up and was like "Who is this person without a flying V?"
I had a good laugh with him about it! I love the Vs but those strat tones are really nice in the context of the band mix.
Tremol-HellYes!
Mandela effect at play…I recently read somewhere that Robert Fripp does the exact same thing (decks his middle position pickup) for the same reason. It was an eye-opener since I chased specifically after his right-hand technique for so many years, and always assumed that my pick whacking (whichever) pickup was an indication that my pick was diving too low (too close to the body) relative to the strings.
As for whether I'm near the middle p/u, the neck p/u, or the neck itself... depends on the shape of the body, the number of frets, the passage of music... all kinds of variables.
