I've decided that it's finally time to take the plunge with the Benson RH technique. As much of a pain in the butt as it is, it gets me closer to the sound and feel I'm looking for than my current (normal) technique. I've experimented with other floating RH techniques and I find them vastly superior, but the problem I ALWAYS run into is sympathetic vibrations from the other unmuted strings. I've experimented with floating my RH using the standard RH setup, and I find that it's still possible to keep the low strings quiet by having some part of my palm gently graze the low strings SOMETIMES. This is enough to keep them in line. However, with the GB technique, regardless of what "school" of RH anchoring you subscribe to, you're going to have your hand anchored (spatially) BELOW the string you're currently playing on. This completely rules out ALL RH muting. My question is this: You guys that have nailed this technique down, how do you take care of this issue? I've been doing a LOT of listening to GB in some pretty exposed situations, and he almost NEVER has any strings ringing from sympathetic vibrations AT ALL. I guess it has to be left hand muting, but, man, how? It doesn't look like he's doing anything special with his left hand, yet his unplayed strings are mostly dead silent. This is NOT the case when I do it, and God help me if I start playing around a position with a lot of harmonics to grab (e.g. around 12th position). I have some experience with Django-style Gypsy techniques too, which also heavily rely on floating the RH. Again, my sound devolves into a wash of unmuted string noise, yet Jimmy Rosenberg's other strings are mostly dead silent. What gives? Any advice will be very appreciated. Thanks!