You're right Pebber... I am an excuser big time... and I admit it... but it happens that I allways spend money on something more musical for me than I consider a webcam. My bad. Recently I bought some mics and a bass guitar.... before that it was multiefect pedal just for practice, later, singer from my band got pregnant, f*d up situation big time ... and yet, I have a broken hard disc waiting for data recovery, and all of my important music projects are on it, and it's gonna be expensive... what to say... no webcam for me yet... but I'm experimenting right now with my smartphone which have a shitty sound quality, and I'll try to put up some decent video pretty soon if I manage to sync direct amp sound through my computer with smartphone video file in some video editing software... my biggest excuses for 2 years delay.
For muting while trying to attain the Sarod motion, I've tried it at least 3 different ways I can recall at this moment.
Firstly it was to use the base of the palm, and it caused weird wrist angle and noise from strings below the muted ones, and it's hard to manage on floyd rose bridge with high tuners that gets in the way, so I've abandoned that approach pretty soon.
2nd approach was the standard palm mute with the base of the palm, but with different angle. For me, it helps to just brush through the muted area with palm base and never lock in the anchor. Also, the presence of the thumb on lower strings, which I use for filtering out the unwanted noise on lower strings under the one being played, also helps since it gives a different angle and more freedom to rotation motion. And transition from clean to muted tone is just up and down of the palm base. Although, the presence of scalpel and wrist motion is inevitable. I use this approach mostly.
The 3rd approach is underground guitar secret, so I'll pass this secret to my grandson only, when he turns 46.... just joking, this is funny approach, it's weird that I've never seen anybody used this even it's quite simple idea. Muting not with the palm but with pinky or the ring finger curved into the palm. This requires picking closer to the bridge but it's quite fun to do. The transition from clean to muted tone is kinda problem, but it might be good idea for me to practice this approach more.
But I never listened to myself, so if you're impatient like me, try to figure out what detail of your technique approach is causing you the pain. Maybe it's overuse of wrist motion like it was in my case in my pre-sarod period. Or it's overuse of just using the scalpel. But I believe it's wrist overuse. Do the Sarod rotation motion. Analyze it man, and play some good guitar music again ;)
My first humble suggestion would be to try to curve your fingers more, especially your pinky while doing 0-4 trill (open string - pinky). Also, while doing 0-4 trill, try to curve other fingers closer to strings and try to do less "non-sympathetic" motions with other fingers while hammering with the pinky. Also, if you have doubts about the amount of pinky curvature it should mimic the pinky curvature from 1/2/3-4 trill (1st, 2nd and 3rd fingers fretted and trill is happening between the 3rd and 4th finger).
Also, try to fret 1st,2nd and 3rd finger on the string above, or below(for example, if you're on 1st string, fret other 3 fingers on 2nd string, and if you're doing 0-4 trill on second string fret the string above, the 1st string) and try to do a trill, or even fret other fingers 2 strings above, or below... or on 3 different strings above, or below etc... And even more, try to curve other 3 fingers under the neck while doing the trill with your pinky on the 1st string...
On your 1-4 trill your 2nd finger is way outside, but your 3rd finger is doing nice parallel sympathetic motion... also watch that non-sympathetic motion of your ring finger while doing 1/2-4 trill. Also, try to keep the curvature of the fretted fingers steady while doing trills with your pinky.
And yes, it would be very good idea to concentrate on this while you learn your left hand a new habit. And very important... apply this on your overall playing. Try to do all of this way slower than in your video to really let your concentration manage the optimal amount of tension of hammer ons and pull-offs and it's optimal motions. And congratulations man, you started to work on very important thing in your playing.
I know I suck at the English language, so it's easy to misinterpret what I wrote above, even the part about possible answer to that guy was intended as a joke but ok...
I believe that especially you Pebber, as a guitar teacher, face very often with some young student who watched Holdsworth play and had noticed his use of legato mostly, and this student could took an idea about legato technique as granted and nothing else, or some student who has seen Gambale's playing and took only an idea about sweeping from him and nothing else, or some student who has heard Malmsteen and learned harmonic minor scale in one key/position and he thinks he owns the world because of that.
And again why is Holdsworth that good? One of many reasons is probably because, even if he was preferring listening to sax and horn players, he didn't literary copy the technique needed to play wind instrument and applied the blowing technique on a guitar... that would be very interesting to watch.
John Mclauglin Pebber Brown Steve Vai Andy Timmons Carl Verheyen Yngwie Malmsteen Jason Becker Paul Gilbert Rusty Cooley Devin Townsend Frank Gambale Scott Henderson Marshall Harrison Derryl Gabel Muris Varajic Mika Tryyska
Answer that guy that Allan is that good since he didn't put his 20 years of playing into learning alternate picking so he sped up some process while doing legato, and voila, you'll get another shred guy who use legato as a religion to play some nonsense shit...