I can't tap

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Well I can a little bit, like doing a simple repeating pattern with loads of distortion like on the solo to One by Metallica but my lack of tapping ability hasnt really bothered me until now as Im not keen on the shreddy stuff anyway.

However I've written a song that needs me to play a high octave note in the middle of a clean arrpegio by tapping a single note per phsare, what I'm finding is im really struggling to get a decent articulation with such a clean sound.

The other thing is even when i do get a decent articulation the ringing lower strigns really drown it out since the tap is a lot quieter.

Any tips?
ဈǝᴉʇsɐoʇǝsǝǝɥɔဪቌ
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Comments

  • mike_lmike_l Frets: 5700
    Try tapping with the side of your pick.

    Ringleader of the Cambridge cartel, pedal champ and king of the dirt boxes (down to 21) 

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  • RockhopperRockhopper Frets: 99
    edited November 2013

    It's the shoes.....

     

    +1 for the side of your pick. Also many people 'tap' with their fingers pushing downwards (This is where I get told most pull off upwards.. but ho hum!) however I generally tap with my finger (Middle, annular or pinky) then pull upwards into my hand. (I use my index to hold the pick!)

     

    If you have a load of distortion you may also be 'trying' too hard. Just let the previous not ring then place your 'tapping' finger onto the fret of choice, the sustain from the note will probably be enough to continue it then just remove (Pushing down or pulling upwards.) Just try to make sure you are within the fret boundary and slowly at first.

     

    Ok Sorry for the explanation if it sounds like gibberish.


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  • BidleyBidley Frets: 2912
    I rest my right hand on the lower strings to stop them ringing out, use my middle finger to tap (holding my pick between my index and thumb) and I pull off by pushing my index away (downwards) from the neck. The key is to get a solid contact on the initial tap.
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  • mike_lmike_l Frets: 5700

    I flick the string with my middle finger, so downwards movement. This effectively gives a pull-off from the tap.

     

    Tapping with the side of my pick works well (for me) when using low gain/clean tones.

    Ringleader of the Cambridge cartel, pedal champ and king of the dirt boxes (down to 21) 

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  • Y'see I do tap weird...... pulling up into my hand I knew it....

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  • Col_DeckerCol_Decker Frets: 2188
    edited November 2013
    Take your time and try not to faucet. I'll get my coat

    Ed Conway & The Unlawful Men - Alt Prog Folk: The FaceBook and The SoundCloud

     'Rope Or A Ladder', 'Don't Sing Love Songs', and 'Poke The Frog'  albums available now - see FaceBook page for details

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  • CatthanCatthan Frets: 355
    The tapping section of One is a very useful workout indeed!.

    here's how I'd practice tapping based on it:

    1.Try to slow it down first. And relax the fretting hand, tips to shoulder.
    2. Once it's slow, relaxed, clean and fluent, change the sequence a bit but keep the same notes.
    3. After the new sequence is slow, relaxed, clean and fluent, change it again. 
    4 . Learn X permutations (all need to be slow, relaxed, clean and fluent)
    5. Alternate between permutations
    6. 5+ changing strings, notes.

    Then you can follow a similar approach for new tapping sequences, your own or other's but it will take much less time.

    As with any shred thing, it requires maintenance and the playing to be,,,

    slow, relaxed, clean and fluent!!!


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  • mike_lmike_l Frets: 5700
    outside of technique, which from you saying you can play the One solo, sounds like it's ok, maybe a compressor with fairly high settings would help the note stand out. 

    Ringleader of the Cambridge cartel, pedal champ and king of the dirt boxes (down to 21) 

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  • PolarityManPolarityMan Frets: 7273
    edited November 2013
    I can do the bibblybibblybibbly thing with high gain, its fast enonugh that the volume from the pulloff kinda masks the fact that the tap wasnt perfect, plus the tap is louder cos of the compression effect.

    What i need to do here is a single note in a slow clean phrase so its really painfully obvious when its not clean.

    FWIW the phrases is an A (minor?) Arpeggio


    |-------------------5----------12p5-------------5--|
    |----------------5----5----5----------5------5-----|
    |------------2-----------2----------------2--------|
    |--2h3p2-------------------------------------------|
    |--------------------------------------------------|
    |--------------------------------------------------|
    
    Then the same pattern for a D-minor and C arpeggio with the tapped note descending 12, 10, 8. I did try using the side of my pick but that's even quieter than using my finger.

    So I guess what im saying is this isnt a slow it down and practice kinda thing, this is a "improve the mechanics of my actual tap" kinda thing.
    ဈǝᴉʇsɐoʇǝsǝǝɥɔဪቌ
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  • mike_lmike_l Frets: 5700

    That looks more like A5.

    I'd try the side-of-pick tap and see how you get on. Literally turn the pick a little, so you hit the string near the tip.

    Ringleader of the Cambridge cartel, pedal champ and king of the dirt boxes (down to 21) 

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  • I wouldn't use the side of the pick for a single tapped note, it adds an unnecessary complication to proceedings. The technique tends to work better for a trill, ala Satriani. 

    Try and practise just the tapped note first, then you can introduce the pull off to the next note (treat it the same way you would a fretting hand pull off, you have to generate good volume!).

    As someone mentioned, a compressor will help a little too, but I'd try it unplugged with nowhere to hide, you'll know if you are getting it then :-)
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  • Steve Vai talks about building up a tapping lick:



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  • vizviz Frets: 10647
    edited December 2013
    Love him, and love the solo in that song it's just wow.
    Roland said: Scales are primarily a tool for categorising knowledge, not a rule for what can or cannot be played.
    Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
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  • vizviz Frets: 10647
    2:47 onwards. And the ending is pretty spectacular too. Go on watch the whole thing.
    Roland said: Scales are primarily a tool for categorising knowledge, not a rule for what can or cannot be played.
    Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
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  • I must have seen him live 6 times, Sex and Religion being the first… phenomenal player.
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  • vizviz Frets: 10647
    Yep he's a laugh live all right.
    Roland said: Scales are primarily a tool for categorising knowledge, not a rule for what can or cannot be played.
    Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
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  • Drew_TNBDDrew_TNBD Frets: 22445
    It's just down to practice. I couldn't really tap until I wrote our song called 'Duggah' and then I bloody well had to learn!
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  • CatthanCatthan Frets: 355
    Why did he had to get his hand above the neck though?
    Is there smth involved in the mechanics which I don't get or being the good businessman that he is he wanted smth flashy looking to accompany the flashy lick?
    I don't mean this in bad way, I respect him very highly, just curious.

    (I don't really like his music but the gtr work in WS now you are gone shows what a huge player he is, tasteful, skilled and multi-faceted)


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  • It's a much easier angle to play a prolonged lick like that, gives the fingers more room to move. More like playing a piano angle-wise. Wears your arm out though, hence the resting :-)
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  • vizviz Frets: 10647
    And you can't do certain bits in the solo conventionally - it hurts the wrist.
    Roland said: Scales are primarily a tool for categorising knowledge, not a rule for what can or cannot be played.
    Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
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