Tigerdaisy wrote:dave robinson wrote:Tigerdaisy wrote:I never said the trem wasn't needed and I agree its a big part of 'the sound', I just prefer the early use of it compared to the current 'clinical' technique.
Who's or what current clinical technique ecactly ?
The effect of the trem is lost by overuse, in a similar way on the Hammond where some player have the Leslie on the go all the time- it loses the dramatic effect you get when its just used as a climatic effect. HBM early use of the trem was more selective and aggressive and had attitude whereas now it sounds more like songs on sunday with leather bound bibles and Devon Violets aftershave. That's how it seems to me- just my opinion. In the early days I'd have loved a Strat with a trem, but these days I don't even own a Strat.
Your opinion is valid to a point, as some players do over emphasise the Vibrato arm, mainly wannabees. Hank certainly does not. People who I enjoy listening to such as Chet Atkins, Jeff Beck, Duane Eddy and David Gilmour to name a few, actually use the vibrato arm in a very effective way and without it their music would lack the 'feel' that they gain from it.
I have mentioned 'feel' on this site more times than I care to mention, but it is something that few possess.
The other important factor regarding Hank's use of the vibrato back then compared to today, is the heavy string guages that were only available at that time, on which the vibrato had very little effect compared to the light guages of today, where just a slight touch will detune the strings a great deal. It is this that makes the use of todays players sound excessive, unless of course the are gifted with 'feel', which most players know only allows the slightest touch on the vibrato bar before sounding over done.
As for the use of the Leslie speaker, yes, I too have heard that abused over the years, mainly by organists with no 'feel" as described above. I rid myself of the problem by not listening to them, it's that easy.