Vibrato again

Greg Vincent · From: Folsom, CA USA

Hi folks,

Well I'm still sick of my vibrato. I've tried rolling and sliding, slow and fast, wide and narrow, sharp first and flat first --nothing seems to work consistently.

Every once in a while it sounds good for a few seconds and, as far as I can tell, it's usually when my left hand is really relaxed and holding the bar loosely.

Is THIS the key to a pleasant-sounding, lyrical vibrato?

-Nanny goating in L.A.

[This message was edited by Greg Vincent on 28 April 2005 at 09:26 AM.]

Rick Garrett · From: Tyler, Texas

From a green horns perspective the "Key" is in practice and hearing closely to what your sound is like. After just a little while you'll find yourself getting more comfortable with it and the touch will improve. Good luck!

Rick

Gerald Menke · From: Stormville NY, USA

Hi Greg,

I think about this all the time, but I think one of the most important things to keep in mind is the old adage of playing the note totally in tune, and then adding the vibrato, just like a singer does. Otherwise, it can sound like you haven't really established the pitch properly before applying the vibrato. Listen to lots of other steel players, and check out how their vibrato changes from song to song, even how it can change within a song. Lloyd Green uses very little most of the time, Curly Chalker used a lot on some songs.

Set your metronome to about 90 bpm and try getting your vibrato in time at that tempo. Set it faster and try it there. Try a dotted rhythm against the metronome. I try to vary the "depth" of my vibrato too, sometimes on a slow song, a deep slow vibrato can be very effective, on fast songs I avoid using it at all, of course.

Also, try practicing with no vibrato at all, just some single note scales or harmonized ones. When I started out, I used this ridiculous, hysterical-sounding vibrato, which is certainly worse than none at all. Now I try to just roll the bar just a bit, after making sure I've really got the note in tune.

I recommend checking out Bob Hoffnar's intonation CD, as you can really practice vibrato well against a fixed tone, and really hear how much you're going flat and sharp each time you roll the bar. I hope some of this has been helpful.

Gerald

Glenn Suchan · From: Austin, Texas

Great advice, Gerald!

Keep on pickin'!
Glenn

Larry Bell · From: Englewood, Florida

Never forget that NO VIBRATO is a choice.
(kinda like NOT PLAYING is also a choice -- e.g. laying out on all the verses)

Vibrato can really make a player sound smooth or like a rank amateur VERY EASILY. I have met few newbie steel players who DON'T overuse vibrato. It's a good way to spot one in a moment and a good indicator of growth when a player learns to use it effectively.

Vibrato is very easy to do but can take a lifetime to perfect doing PROPERLY. Listen to other infinitely variable pitch instruments -- classical violinists or VOCALISTS for that matter. Most will begin by establishing the pitch with NO VIBRATO, then begin with a light vibrato at a rate that's about the same as the tempo of the song. The longer the note the more opportunity to sculpt the vibrato. Other than for a special effect (a la Paul Franklin 'bar shiver'), there's little reason to use vibrato on a note shorter than a half note (somewhat depending on the tempo). Vibrato sort of says "Look, I'm SUSTAAAAAAAAINING" and does it in a way that makes the note come alive if done right.

Listen to Jimmy Day and Buddy Emmons. Two masters of bar technique who went about it in different ways, both lending emotion and finesse to their playing -- especially on ballads and slow songs.

------------------
Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro, Standel and Peavey Amps

Howard Tate · From: Leesville, Louisiana, USA, R.I.P.

There have been a lot of solos that were spoiled for me by too much vibrato. If the vibrato is very deep it sounds out of tune to me.

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Howard, 'Les Paul Recording, Zum S12U, Vegas 400, Boss ME-5, Boss DM-3
http://www.Charmedmusic.com

Donny Hinson · From: Glen Burnie, Md. U.S.A.

Learning to play is first.

Learning vibrato is second.

Combining the two is third.

Travis Bernhardt · From: Vancouver, British Columbia, Canada

Yep, relaxation is key, but focused listening is also very important. When learning to make very subtle movements, I find I have to really, really focus on what I'm doing. It can be a real chore, because really concentrating on what I'm doing makes practicing a lot more difficult.

If you occasionally hear yourself making vibrato that you like, you'll have to do your best to hear that vibrato as clear as you can in your head while you practice. Stay as relaxed as possible. If you're totally relaxed, of course, no vibrato will happen, so there's going to be a certain amount of tension involved. But let the relaxed hand position be the "base" and only add as much tension as you feel you need to get the sound you're looking for.

I rarely get the vibrato that I really like, but being relaxed and really listening is the only way I ever get close.

-Travis

Bill Miller · From: Gaspe, Quebec, Canada

I agree with Travis about relaxing and focusing. If I'm not completely focused my vibrato will run away with me. In a performing situation where nerves are involved I'll suddenly realize that my vibrato is so fast it's sounding completely ridiculous. It takes every ounce of concentration I have to keep it at the frequency it should be.

Greg Vincent · From: Folsom, CA USA

Great stuff, folks! -GV

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