Good question. Im struggling with this also.
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I see what you mean, for me this is particularly evident in ascending figures (e.g. a penta scale). For the phrase you posted however, I would simply play all the notes with fingers 2 3 4, and lay the left-hand index flat on the strings to mute them.
Or if you are not using open strings for the tune, a good old sock tied around the 1st fret will do the job… the stinkier the better obviously 
EDIT: Actually in the lick you posted you can probably even avoid the floppy-barre thing I was proposing, and simply fret the notes with flatter fingers to mute the strings below. In general, if there’s nothing to stop the low strings they will inevitably resonate when you hit certain notes, there is not much you can do about it I think.
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…then you need to be left-hand muting!
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DAMN! you make it sound so good. thanks for taking the time to do this \m/ \m/
Troy’s death metal album to land any day now
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it’s actually from the Transformers G1 cartoon series, I just turned those notes into tremelo picked ones and plan on putting blast beats behind them, but regardless, I think I would pay for Grady DM album!
I’m not your guy, but Brendon Small is! Great interview with him coming up. In the mean time, here’s his new video which is damn beautiful. All the ships are actual physical models, like the original Star Wars:
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I should have brought this up yesterday also, but look at this player:
It seems like he might be doing DWPS but maybe his right hand is close enough to the strings so that when he ascends, his pick hand is lightly muting the strings? really clean playing…
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I started working on some of the beautiful Marty Friedman lines from the MofM interview. A muting nightmare 
I highly recommend to work on those!
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and did you mute with the palm of your right hand as you ascended scales? were you DWPS also?
Hey, I didn’t say I solved it . But those Marty Friedman lines definitely put this muting challenge into focus.
Looking at how Marty holds his pick for this kind of licks (zero palm muting), it seems that left hand muting is the way to go. Which is a technique I haven’t mastered yet.
But I love the fact that I can work on this technique while playing something really melodic. Which is why I recommended the interview.
Cheers \m/
But what if i am ascending with a 3 note per sting style of pattern, for example just going 1 2 4 finger wise through all strings. I won’t have a spare finger to mute lower strings to mute with, or at least I think I would not.
I never got my DWPS to work but with the help of a guide to a picking motion my UPWS is developing quite good (thank you for that Troy!) but I am still trying to do something with DWPS and muting is really a problem. I can get some kind of DPWS happening if I oversature it but then I can’t mute lower strings at all. So how you downward pickslanters deal with it in these kinds of patterns?
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yes, this is what I meant, you just wrote it more efficiently!
Here’s a crash course on why your open strings ring even when you’re not touching them. This was pretty helpful to me and Uncle Ben makes a note of Marty Friedman’s style here.
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thanks. this is going to be more difficult than I originally had thought!
Yes, it takes a lot of work. I actually changed my entire right hand posture a few years ago for this very reason. I went from a MAB-style pinky anchoring thing with nothing near the 6th string to resting the base of my thumb (the thenar eminence) on the bridge just where the 6th string meets the bridge (a bit like that guy in the video). I don’t always use this position, because in some situations I find it can actually create noise if it bumps the string and then lets it ring free. I also find it slows me down a bit on faster runs compared to the pinky anchoring. You also need to work on left hand muting too, as Troy suggested, but experiment with your right hand position to see what works best for you. You may find your right hand anchoring point needs to track across the strings too, so that also takes practice.
As my general technique has improved I’ve found the muting thing has improved too, no doubt partly because I’m less likely to hit the wrong string at the wrong time.
One thing I find useful is to sometimes play using the highest gain, noisiest setting I can find on my amp modeller and use the bridge pickup so it accentuates any noise and lets you work out when you aren’t muting properly.
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yeah man. You are looking at at least a couple weeks of experimenting and then habit-building practice. But it’s worth your while in the long run.
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that’s a really good idea, albeit probably a frustrating one. wish me luck
Yep, it made me sound terrible, but short term pain for long term gain. Good luck!
@element0s, that video was really helpful. It made me realize that I have poor left hand muting technique. It is a bit hard to unlearn the way I’ve been fretting notes for years. Working on it.
Coming back to right hand muting. I have been trying to play some melodic lines from Andy Timmons lately. When muting the lower strings, I realized that using UWPS works well because I can use the back of my thumb for muting. But that also means I am a bit limited in terms of lines.
Is Andy an UWPS or is there a better right hand muting technique for melodic playing. Or is it more related to amp/pedal settings? I know that Andy uses the clean channel of his Mesa Boogie but puts a tube screamer (or similar) and a booster in front to achieve his beautiful saturated tone.
I hope I am not drifting away from the topic.
Cheers \m/
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