Correct Metal vibrato

[Nebulous]

I'd like to get some feedback on this as I've had conversations with people in the past but just can't agree on the correct/ popular width of modern and neo- classical shred vibrato. My ears and eyes tell me half tone, but I seem to be told otherwise.
So we're talking; Malmsteen, Loomis, ect
NOT talking Hammett, etc..

So what is it suppose to be, prefered or most common- half tone (one frett) or whole tone (2 fretts)?

 

[colonel kurtz]

neither and/or both

totally depends on the song, the specific passage being played, etc

 

[Jind]

neither and/or both

totally depends on the song, the specific passage being played, etc

I have to agree with colonel kurtz on this one - there is no right or wrong when it comes to a question like this - it's totally dependent on the song and the desired effect. We need another option - neither and/or both

 

[John_C]

Whatever sounds good in the context. Often i'll build the vibrato from small to large, fast to slow, all over the place. There's no way you're gonna be expressive on an instrument if you follow a preset "metal" formula for every note you play

 

[Jaymz]

I vote, bend it 'till it sounds good

 

[cloy26]

the steve vai circular vibrato.


edit: or is it EJ?

 

[K Odell]

Like the Amott brothers and or Loomis.

Not like Hammett

/thread


Edit: in all seriousness though. It really depends on the scale patter/key of the song. Also what the player is going for, as stated above. I prefer big wide vibrato myself.

 

[Brandon E.]

I go for the next note in the scale, whether it be a half step, whole step, or 1 1/2 if its harmonic minor or something...

at least i think I do, i don't really consciously think about it

 

[Nebulous]

I go for the next note in the scale, whether it be a half step, whole step, or 1 1/2 if its harmonic minor or something...

at least i think I do, i don't really consciously think about it

That's something I thought of on the way to work this morning.

I guess given all the replies I will work on it myself to see what I prefer in different situations.

Thanks for all the input!

 

[Lasse Lammert]

Whatever sounds good in the context. Often i'll build the vibrato from small to large, fast to slow, all over the place. There's no way you're gonna be expressive on an instrument if you follow a preset "metal" formula for every note you play

this..

 

[_Protoss_]

Addicted to Chris Amott/Peter Wichers kind of phrasing and vibrato here...not really fan of KH playing

 

[Notuern]

Ive found that i tend to bend the string up to the nearest note within the scale.. but it all depends really.

 

[Harry Hughes]

"NOT talking Hammett, etc.."
Well that should be a given on any topic about good vibrato technique
Or well, in good technique in general

Really, as long as it's in tune, it should be fine.
As you've probably witnessed from me playing, I tend to take my vibrato cues more from guys like Mikael Akerfeldt, Fredrik Akesson, Michael Amott and Chris Amott and Adam D and Joel from Killswitch Engage than say a more shallow width vibrato like Satch.
Of course I'm not as good as any of them yet at vibrato, but I try

 

[TheDriller]

Bend it way out of tune and hold.

Grin.

Release.

 

[CatharsisStudios]

Chriss Amott, Peter witchers, loomis

or get the fuck out

 

[The Unavoidable]

Zakk Wylde would be a good example of using presets, since his vibrato sounds killer in heavy shredding solos but he does the same thing for slower melodic solos and then it just sounds out of place.

 

[Force666]

Chriss Amott, Peter witchers, loomis

or get the fuck out

Skolnick, Oli Herbert, Yngwie

or eat a dick

 

[006]

Just don't do Hammett vibrato for the love of fucking god I hate that shit.

 

[Nebulous]

Just don't do Hammett vibrato for the love of fucking god I hate that shit.

That's the plan!

 

[lordtech]

define hammett's vibrato? in which songs is it obvious to b heard? heheh

i like zakk and dimebag \m/