Fretless Bass Vibrato

[essexbasscat]

Been wondering about this one for a bit

Vibrato technique for a fretted bass is kind of obvious, frets being what they are. But when it comes to fretless ?

If you adopt the fretted technique for the fretless bass, it's a nice way to dig a trench in your fretboard, especially with roundwounds
But some recent reading around technique of the Violin suggests that Vibrato comes from movement of the elbow, with consequent movement of the finger end rolling a small distance up and down the string. What about the fretless Bass ?

Is there a recommended technique or learning approach for Vibrato for the fretless ? Are there varieties of technique ?

Thanks for reading all

[paul_5]

I had the same problem years ago. the 'vibrato' that we use on fretted basses isn't anywhere near as subtle as can be achieved on a fretless. Vbrato on fretted instruments is very quick, small changes in pitch around a fixed point. The only way to fake true vibrato on fretted basses is to wobble the fretted note up and down (vertically), although o matter whether you push the string towards or away from you (again, vertically) you're only [i]sharpening[\i] the pitch (albeit very slightly).

On a fretless I try to keep my finger in the right position for the note to be in tune, then wobble my hand from side to side (different from the vertical technique on fretted basses). This is violin / cello technique, and has the advantage of being able to flatten and sharpen the note, as the movement is latitudinal (along the neck i.e. headstock to bridge), rather than across it. Subtle difference, but enough to matter. Should also eliminate massive grooves in the fingerboard too - bonus.

Hope this helps.

[pantherairsoft]

I agree with the above. I was never 'taught' but the style I've adopted is to effectively 'roll' my finger tip back and forth (as if you were taking a finger print... Not that I'd know) about the note. It works perfectly for me.

Shep

[mep]

Sounds like the nail has been hit on the head straight off.

[essexbasscat]

Ok, there seems to be a consensus developing for rolling of the tip (or pad ? which is usual ? the best ? worse ?) of the finger.
But where does the roll originate from ? is it a movement developed by rolling the arm above the elbow ? (to make a clockface movement with the forearm). Do people roll the finger from movement at different joints / combinations of joints of the arm ?

I'd be wary of rolling the finger alone, as this could potentially damage the ligaments of the finger.

What about the vibrato itself. Do people go for an even slow vibrato, or is it styled for the occasion ?

[Jerry_B]

I'd say it's all in the wrist, and having a relaxed elbow*. Subtlety is the key.





* Mind you, I say that about alot of things...

[Wil]

I move my whole forearm and try and keep my wrist relaxed. I use the pad of my finger too. Although, I tend to enjoy fretless the most by keeping vibrato to a minimum and letting the fingerboard rattle (or that horrible word, mwah) do the talking.

[mcgraham]

A violinist I spoke to years ago said there was three distinct types of vibrato:
(i) from the wrist to the fingers
(ii) from the elbow and forearm to the fingers
(iii) the whole arm moves.

I find I vary between all three depending on the depth and speed of the vibrato I want. E.g. subtle and fast I use the wrist, slow but massively deep I use (iii), medium depth and moderate speed I use (ii).

[mart]

[quote name='mcgraham' post='1149182' date='Mar 4 2011, 07:32 AM']A violinist I spoke to years ago said there was three distinct types of vibrato:
(i) from the wrist to the fingers
(ii) from the elbow and forearm to the fingers
(iii) the whole arm moves.

I find I vary between all three depending on the depth and speed of the vibrato I want. E.g. subtle and fast I use the wrist, slow but massively deep I use (iii), medium depth and moderate speed I use (ii).[/quote]

I think vibrato needs to be tailored to the occasion, so having the range of these different techniques available is useful. Occasionally those classical types do know a thing or two ...

[mcgraham]

Yes indeed!

TBH I don't consciously decide to do one over the others, I just know which they are and have practiced so that I use whichever technique gives me the sound I want in the most efficient manner.

[Bilbo]

Mine comes primarily from the wrist.

[Bloodaxe]

[quote name='essexbasscat' post='1148912' date='Mar 3 2011, 09:01 PM']If you adopt the fretted technique for the fretless bass, it's a nice way to dig a trench in your fretboard, especially with roundwounds [/quote]
This is an oft-stated opinion that I'd like to get to the bottom of...

'Tramlining' runs [i]longitudinally[/i], yet conventional vibrato pulls/pushes the string [i]transversely[/i], so how, exactly, can transverse vibrato cause longitudinal tramlining? Logically it ought to cause an oval 'scallop' around the point of bending.

I've got some lovely trenches at the money end of my fingerboard which I put down to a fairly aggressive left hand technique. My theory is this... As you stop the note (let's say it's Bb on the A) & slide it up to Eb (or D#), the string is stretched slightly along its length, which abrades the board especially with roundwounds. The effect will be less with ground/pressurewounds & minimal/nonexistent with flats. It'll also be mitigated depending on what your fingerboard is made from or treated with.

As an addendum to the above, I just spoke to Martin at the Gallery & he largely agrees with my theory. He also made the interesting comment that in his opinion it's much more important to sound like YOU & to hell with 'correct' technique but accept the consequences. He also said that Jack Bruce has a bad technique & treats his instruments abysmally He didn't know how long JB goes between reshoots though (watch almost any footage of him & you'll see he likes a bend).

Pete.

[essexbasscat]

Thanks for all the replies everyone. I'll be looking into this one for a while and come back to update at some point with findings

cheers

T