Right-Hand Shortcomings

So over the past year I've thought a lot about right-hand technique for the bass. When I started playing in Bikers' Church, I realized that I always descended strings with my index finger, and always ascending strings with my middle finger. Hammer-ons and pull-offs raking with my index finger came easily and unconsciously for me. Rapid three note per string ascending scales while plucking every note are difficult for me because I can't seems to ascend with my index finger automatically. I don't have the muscle memory in that regard required to play at high speeds. The basic three-finger galloping came easy, but the sixteenth notes were harder. Billy Sheehan, Alex Webster, and John Myung repeat 321 in a polyrythm of sorts, but that requires automation and flies into chaos if you try to think about it. I think that it would take a ton of practice to not have to think about string skipping at all while using that method. Alex says to practice it until you can't tell the sonic difference between finger, which pretty much means build up a comparable callous on your ring finger. I have yet to do that. I need to try playing with 1 and 3 more, because John Myung suggested doing that on his VHS that I watched on YouTube. No wonder he practices for six hours a day; he practices one thing with an infinite variety of variations (redundant language) like left and right hand fingerings.
I started using the Steve DiGiorgio/Sean Malone method (both fretless metal bassists, although Sean is a composer and Phd) for sixteenth notes, which is 1232. I started with 3212, but that got old. In between this technique and the 321 approach, I tried 123 repeating like Stephen Fimmers (or it could be 132, I shuld check YouTube). Firefox isn't spellchecking for some reason, as you have already detected. Before all that, I tried Matt Garrison/Hadrien Freud/modern jazz virtuoso version, which uses the thumb and first three fingers. Honestly, I prefer 4321, but it becomes a problem because of varying tone and string tension within the last few inches of the string. Also I'm practicing double-thumbing, but only so I can use it in metal. I don't even call this slap, and I don't like the way Victor and Marcus use it. After three tracks on a Marcus Miller CD I got from the library, I was sick of "slap" bass. Speaking of which, I'm not even gong to try to slap publicly (good thing I proofread!) anymore, because I don't hold my thumb parallel to the string. I did this so I could do some muting, but it looks like I'll just do left-hand muting.
Just for fun: I can play decently with a pick, but I can pick way faster using a fake pick like Bernard Edwards.
So that's that. I think I'll work on sixteenth note triplets using double-thumbing and all fingers. Also I'll work on using 23, 24, 2343, 431, and 124.
Boring post for non-bassists.