THE EVOLUTION OF THE TWANG BAR BY DEAN FARLEY
Over the past few weeks, I’ve been keenly watching how guitarists the world
over are using their tremolo
arms. I’ve observed (and heard)
a major difference in the way
European guitarists use their
tremolo arms as compared to
their American counterparts.
However, before we go deeper
into these differences in technique, we must go back to
where all this fuss began.
In my view, there are basically three main types of tremolo
bars. The first really important
development in this area would
be the Bigsby vibrato unit, which
evolved in the late 1940s. Initially,
this system was intended to imitate the sound of a Hawaiian lap
steel, and I believe its intended
application was to create a
subtle effect. Chet Atkins and the
Gretsch guitars he played were
instrumental in the success of the
Bigsby because Chet used Bigsbys
a lot on his recordings. Just as that
sound was getting embedded in
guitarists’ ears, rock ’n’ roll got
raunchier and more brazen. As a
result, guitarists started using the
Bigsby more physically, producing
wilder sounds with the device.
This was one of many instances
where technique evolved along
with the music of the day.
In 1954, Fender introduced
the revolutionary Stratocaster
model with the new optional
synchronized tremolo system—
the first response to the Bigsby’s
opening salvo and the second
crucial advance in tremolo
design. Buddy Holly used his
Strat’s tremolo arm more like
how guitarists first used the
Bigsby to generate subtle pitch
bends, but it didn’t take long
for guitarists to discover the
Stratocaster’s trem enabled more
extreme pitch changes.
At about that same time,
rockabilly music came along
and inspired even wilder use of
tremolos. As this trend grew,
prominent players like Cliff
Gallup (Gene Vincent and
His Blue Caps), Duane Eddy
(writer of the timeless “Peter
Gunn Theme”), and Eddie
Cochran (“Summertime Blues”)
incorporated the trem into their
twangy sound.
With its factory-installed Bigsby, this Epiphone Casino VS is ready for a
big night of twang-filled fun. Photo courtesy of Epiphone Guitars
buddy holly used his Strat’s tremolo . . . to
generate subtle pitch bends, but it didn’t take
long for guitarists to discover the Stratocaster’s
trem enabled more extreme pitch changes.
Rypdal (listen to his album
If Mountains Could Sing) or
Germany’s Thomas Blug (see
his Flash CD or look him up
on You Tube). I would also
recommend listening to John
McLaughlin play his Bigsby-equipped Gibson Johnny Smith
on The Promise.
By 1977 or so, Adrian Belew
and Edward Van Halen were
emerging and—presto!—change
was looming large once again!
This change was heard via
Talking Heads tunes, where
Adrian Belew was making a
ton of very unorthodox sounds
with his Stratocaster’s tremolo
arm (and with his vast array
of effects pedals). While Belew
went on to become famous
for his animal-like sounds on
King Crimson albums such as
Discipline, a third name would
come to the forefront of vibrato
design—Floyd Rose.
EVH embraced the Floyd very
early on, and once again tremolo
use got even crazier thanks in
large part to his dive-bombing.
This technique ruled for quite
a spell—well into the ’80s.
Toward the end of the decade,
Jeff Beck would surprise the hell
out of everyone with an album
called Guitar Shop. The tones he
produced on “Where Were You”
would prove to be among the
most evocative ever pulled from
a Fender Stratocaster—and that
was because his super-advanced
trem chops allowed him to
mimic the human voice (among
other things).
DEAN FARLEY is chief
designer of Snake Oil
Brand Strings, and his
ideas have had a signifi-
cant influence on contem-
porary string design. He
is also known as a great
source of guitar, amp, and gear lore. For
more information, visit snakeoilstrings.com.
