Inside picking with dbx

I see a lot of discussion about outside vs inside picking, but it’s often not specified whether we’re talking about usx, dsx, or dbx. Do other dbx players find inside or outside significantly easier? I find outside much easier and am trying to smooth out the inside stuff. Inside picking situations are the ones where my hand hops. I think I’m making progress on equalizing them, but I find it difficult to understand why one is easier. My analysis indicates that the hand has to make figure-8 motions for each, but in reverse directions. Thanks for any input.

haha i guess i got busy talking on the phone and didnt realize i revived an old thread sorry!

well even with my own playing i think one is harder because we are more fluent in only one of the one way escapes like for myself i am fast with usx so i never dsx anything. so its the opposing musically descending dsx upstroke that is why my inside picking is just non existent simply because i never pick with dsx on anything.

I’ve always found inside picking wayyyyyyyyyyyy easier across the board haha

I had only just gotten started on DBX when you made this thread, so I wasn’t qualified to respond. I’ve made some good progress over last year though.

For me, it depends on the pattern. That could indicate I don’t have a totally smooth motion yet, BUT…amazing dbx players like Wood and Oparin seem to have certain patterns where they have a specific ‘coordination’ they use that differs from their more “bread and butter” dbx motion. The best example I can think of is the rotation they introduce on inside string changes. To me that indicates there isn’t a one-size-fits all DBX motion.

Now, I think this can be subtle-to-non-existent based on what follows the inside change and if there are skipped strings. Ex: a forward roll – no problem. There’s a Bach piece I play that has inside changes with a skip on both changes:

(start on a down stroke, alternate picking throughout)
(rhythm is all 16ths, 3/4 time)

When I play that, I feel exactly like you’ve indicated here:

Also, when I see Oparin do really wide string skips, I uses this sort of “scooping” motion that seems pretty similar to what I feel I’m doing in the Bach example.