Quote:
Originally Posted by JonPR
If I was playing that line, I'd probably fingerpick it (so no strings need muting).
But if I thought it sounded better strummed - I'd lay a spare fret hand finger (or two) across the 3rd and 4th strings. E.g, I'd fret the top strings with index and pinky, leaving middle and ring able to touch the other strings. Of course when strumming I'd aim the pick at just the top 2 strings anyway (not all 6!), but it's hard to avoid hitting at least the 3rd string, hence the fret muting.
I wouldn't palm mute, because it's awkward to only palm mute lower strings and leave the top 2 free to ring. However, the palm mute position does enable more precise picking of the top strings, avoiding the pick touching the neighbouring strings. But I still find I'd instinctively fret mute the 3rd string at least. The other advantage of the palm-on-bridge position is that that top strings can also be damped, to give a suitable "steel pan" effect.
BTW, the open D string should sound fine on the first bar, because it's the root of the chord. In the second bar (same top strings riff) the chord is G, so technically both 3rd and 4th strings could ring open and it ought to sound OK. But I can appreciate they can sound too loud in comparison with the lead line. (And when the riff moves up, the chord is A, so both 3rd and 4th strings will definitely sound wrong.)
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I have some time here in a bit and I'll look at using my fret hand to calm down those strings.
And you are right, it does sound good on the first bar but then gets a bit distinctive as I go.
And for some background, the guy is showing a simple version to play the song without a cutaway. It does sound a bit odd but so does the recording so I think it will do it justice. Though I'm always up for a "Hey, try it this way" I thought I'd take the opportunity to figure out what to do in situations as I go forward.
Thanks for the advice, I'll check it out in a bit.