DanTravis62
Moderator
Moderator
So one of the things I get compliments on alot is my vibrato
And the reason it's "expressive" and wide is because I play on a LP/24.75 scale guitar - I literally cannot do it on a fender scale guitar
Dean is correct that your gear has a massive influence on shit you wouldn't think it has influence on
And the reason it's "expressive" and wide is because I play on a LP/24.75 scale guitar - I literally cannot do it on a fender scale guitar
Dean is correct that your gear has a massive influence on shit you wouldn't think it has influence on
Solarflares
Banned
Well-known member
I can nail it for you quite simply.
Once you begin to apply vibrato to a fixed unbent note, it should never return to it’s correct pitch.
The micro-shift in pitch, and anchoring around it, is what creates the drama. Usually, the note is halted after, or the finger slides up or down the string.
Same micro-pitch thing with bent notes, except that you have the option to return to the unbent note below, which is quite common.
The wider the vibrato - the less you need to think about the micro-pitch anchoring. But by that point, it’s less musical, and more of a circus trick.
It’s always nice to come back to Paul Kossoff when thinking about vibrato technique.
Now, he has a nervous, fast vibrato. Not my thing, but he creates drama for sure, and is exciting to listen to. But vibrato should be generally slower, unless it’s really wide.
This particular solo is absolutely Stonking.
His low E was always a bit muddy, but listen to those open A and D and E chords man. That’s the sound you Friedman/Soldano guys should be demanding of your gear.
Another one is Zal Cleminson. Now he’s taken the Paul Kossoff nervous, fast thing, and added subtlety and variation to it. Almost non-committal - like he doesn’t mean to do it sometimes. When he does mean it - watch out. But there’s no denying the impact the opening notes have on this short solo at 1.48.
Your experimentation should include slow narrow vibrato - going into a faster, wider vibrato, and back to slower. This will teach you the anchor points better than anything. If it sounds bad, then the anchor points are incorrect for the speed.
The other thing is ‘fleeting’ vibrato. Here we will just make two or three quick movements away from pitch. This creates excitement in your solo, and if you work at it, it becomes second nature, and will correct your more studious approaches to vibrato in general.
Once you begin to apply vibrato to a fixed unbent note, it should never return to it’s correct pitch.
The micro-shift in pitch, and anchoring around it, is what creates the drama. Usually, the note is halted after, or the finger slides up or down the string.
Same micro-pitch thing with bent notes, except that you have the option to return to the unbent note below, which is quite common.
The wider the vibrato - the less you need to think about the micro-pitch anchoring. But by that point, it’s less musical, and more of a circus trick.
It’s always nice to come back to Paul Kossoff when thinking about vibrato technique.
Now, he has a nervous, fast vibrato. Not my thing, but he creates drama for sure, and is exciting to listen to. But vibrato should be generally slower, unless it’s really wide.
This particular solo is absolutely Stonking.
His low E was always a bit muddy, but listen to those open A and D and E chords man. That’s the sound you Friedman/Soldano guys should be demanding of your gear.
Another one is Zal Cleminson. Now he’s taken the Paul Kossoff nervous, fast thing, and added subtlety and variation to it. Almost non-committal - like he doesn’t mean to do it sometimes. When he does mean it - watch out. But there’s no denying the impact the opening notes have on this short solo at 1.48.
Your experimentation should include slow narrow vibrato - going into a faster, wider vibrato, and back to slower. This will teach you the anchor points better than anything. If it sounds bad, then the anchor points are incorrect for the speed.
The other thing is ‘fleeting’ vibrato. Here we will just make two or three quick movements away from pitch. This creates excitement in your solo, and if you work at it, it becomes second nature, and will correct your more studious approaches to vibrato in general.
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