Eliminating String-Pick Buzz

Rick Myrland · From: New Orleans

Iâ€™m using a Memphis vamp on strings 8 and 10. Due to the repetitive picking of string 8 with a metal fringer pick the rattle/buzz created is particularly pronounced. Iâ€™m experimenting with ways to deaden or reduce it and found setting my 3rd finger onto string 8 at the same time as the pick really helps. But, I foresee a ton of practice to get the exact tone/sound each timeâ€”and even then itâ€™s a crap shoot.

Any one else try this? Is there a better way? Usually the rattle/buzz isnâ€™t as obvious because your playing other notes in quick succession, but the repetitive picking of the low stings with a metal pick is almost cringe-worthy.
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Donny Hinson · From: Glen Burnie, Md. U.S.A.

Pick buzz is usually a sign that you're picking too softly or not fast enough. Picking with more authority will usually eliminate the problem. Smile

Kevin Fix · From: Michigan, USA

Attack for sure....

Jacek Jakubek · From: Mississauga, Ontario, Canada

If you are using pick-blocking, maybe try harder palm-blocking instead.

Here's an interesting (and controversial) Jeff Newman quote I just read a couple of days ago: Each note is muted with the fatty edge of the left hand. It is not done with the picks. Pick blocking is noisy no matter how good you are ate it. It makes clinks and sizzles. Don't do it.

If you haven't yet mastered your pick-blocking, that's what may be happening.

Gene Tani · From: Pac NW

Another possibility is that you're picking with edge of fingerpick blade rather than down the middle, due to hand positioning.
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Ian Rae · From: Redditch, England

Jacek, in that Newman quote do you mean the edge of the left hand? It's behind the bar. If it were the right hand, that would describe palm blocking as most people understand it.

I use a metal thumb pick as well, and because I play a 12-string I get stuck into the wound strings a lot with no problems, so Rick, what others have said about manner of attack is worth noting.

Jeff's Right Hand Alpha course helped me. Of course there are times you have to pick block, for instance if you want to let one note ring while you play two others on different strings. So when he said "don't do it" that was his typically assertive way of saying that in his conservative view, palm blocking should always be the primary means.

In real life you end up using both.
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Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

Dave Mudgett · From: Central Pennsylvania and Gallatin, Tennessee

If you [editorial "you"] think that the general approach to blocking used by Paul Franklin, frequently called "pick blocking", involves only the picks, I think you would find it useful to look at this post (with commentary and videos) on Paul's blog - https://paulfranklinmethod.com/tackling-blocking/

Well, anyway - I found it useful and enlightening.

Donny Hinson · From: Glen Burnie, Md. U.S.A.

Quite true, Dave! Jeff's comment about avoiding pick blocking was probably based on his own limitations and lack of success with the technique. Jeff, while being a very good player and instructor, was never known as a speed-picker.

I find it curious that some players narrow in on someone else's recommendation or opinion (often taken out of context), and then accept that as gospel, forsaking anything else. Techniques can sometimes vary from one player to another, and it's important to keep in mind that not all players are equally capable in all areas, or that there's only one way to do things.

And, you're right Rick. Doing anything really well on this instrument requires a ton of practice. Winking

Jacek Jakubek · From: Mississauga, Ontario, Canada

Ian: Yes, that Newman quote says "right" hand. Good catch. My mistake.

I mentioned the quote is controversial because as people already said, Paul Franklin Jr. and many others can do pick blocking cleanly. I think the main takeaway is that pick blocking is more likely to sound noisy than palm blocking if not mastered yet, since it's a more advanced technique. But, if you can play what you want with palm blocking, why resort to the more difficult pick blocking that is more likely to sound noisy? I think that was Jeff's point.

Donny: I agree about not following any advice blindly. But I usually give Jeff Newman's advice extra attention, because his instructional material is so good. His most important teaching is: Don't make your bar vibrato sound Hawaiian Smile

Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

I learned a lot from Jeff Newman. I was pretty much a pick blocker before I attended one of his seminars. Right from the gate he was preaching that pick blocking was wrong (even got my knuckles whacked by him). So I learned to use ONLY Jeff's methods for blocking (palm, fingers of the left hand, and bar tipping. It wasn't until Paul Franklin became such a big player that it was OK to pick block again. The one thing I learned about Jeff was, he was pretty convinced that his way was they only way. He wasn't always right. Having learned all of the blocking techniques has improved my playing immensely.
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Ian Rae · From: Redditch, England

Even in my brief and limited career it has become obvious that you need to master both.
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John McClung · From: Olympia WA, USA

What Rich Sinkler said...

I use pretty much every technique that can help my sound, tone and articulation. Turns out I even started doing finger blocking almost exactly like Paul Franklin does at some point. And kind of like Emmons did. It just sort of happened, no plan to do it, and I now unconcsciously blend all forms of blocking.
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Daniel Morris · From: Westlake, Ohio, USA

Franklin · Posted 31 Dec 2019 1:05 pm

Rick,

Buddy Emmon's cleaned up the sound of technique. I give Buddy full credit for leading the charge... It was his tone, his expressive single note phrasings, and he could play them at really fast tempos...That sound and control inspired me...

By the early to mid 60's Buddy had evolved his technique away from palm blocking into a "3 Element technique"...You can hear the tone change once he did...Early on it was almost impossible to tell him from Jimmy, another palm blocker....Buddy's 3 Element Technique changed and refined everything he played.

Buddy used 1) the palm for ascending strings,
2) the folded under ring fingertip for descending strings
3) and the picks to block the same strings when they are played repetitively....

The 3 Elements provides the least amount of motion to accomplish perfect blocks.
Watching anyone who has mastered the 3 elements is like watching a Pro Quarterback throw....No wasted motion...Watching Tommy White or Buddy play is like poetry in motion.

That's it..That is all you would ever need to block that lick, or fast single note playing, or to sound beautiful playing ballads.

Use the 3 Elements to gain the technique needed to play as fast, as beautiful, as dynamic, and as precise and clean as Buddy, Tommy, and other masters play.....And what is really great about the right hand technique blocking it all - it leaves the left hand totally free to do its job - intonate and emote the soul in musicianship.

1) I use the backside of the thumb area for ascending strings,
2) I use the webbed ring & pinky fingertips folded under for blocking the descending strings..
3) I use the picks for blocking strings that are picked repetitively

Tommy White uses 1) the pinky curled under 2) the picks 3) The Palm...

Hal Rugg used the same in the late 70's...On the Wilburn brothers he was a palm blocker...His ambition and desires as a musician prompted the change into using the 3 Elements ... His "Altered Ego" Cd was how he dreamed of sounding...Once he had the technique the record was made....I admire him so much for switching streams to chase his dream.

I advise everyone seeking out that clean precise expressive sound that Buddy first gifted us with, to choose a hand position and then began adapting the 3 elements for blocking. That is your best shot! And its totally doable for anyone. It's not some gift that any of that greats had...Its simply a choice they made, and now it's yours to contemplate....

Happy New Year
Paul Franklin

Rick Myrland · From: New Orleans

All great ideas and suggestions, but Gene’s had the biggest immediate impact. I learned to play with my right hand as if it were holding a ball—I think that’s a Jeff Newman thing. So naturally the edge of my metal picks are ticking on the heavy lower strings. By changing the angle of attack it instantly cleaned up the sound—not perfect, but much cleaner. With some more testing I couldn’t believe the tonal difference in using the edge of the picks vs. the flat part, but of course I’m too far into it to change my hand angle now, I’ll just have to do it when trying to clean up vamps and whatnot.

Having said all that, I still need to work on both pick and especially palm blocking. Seems I can only palm block when I “bounce” my right hand, which I know it not good form,
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