The vibrato bar . . . arm? The tremolo? The whammy bar? Whatever you call it, we’re going to talk about it — at least, the three key versions all guitarists need to know, that is!
Turning back the clock, some of the earliest and most primitive designs of this device date back almost a century to the Kauffman Vibrola mechanism of the 1930s, originally optioned on lap steel, archtop, and Spanish guitars. The main objective? To alter the sustained pitch of the instrument’s strings by slightly moving the tailpiece, the bridge, or both to mimic a natural vocal vibrato. Achieving this vibrato effect, which is actually a modulation of pitch, not volume, is why the early labeling of the mechanism as a “tremolo system” (volume modulation) brought on decades of confusion that remain an accepted and often unaltered titular flaw to this day. Nevertheless, all guitarists know what we’re talking about!
Since then, three largely commercialized appliances have sprouted and remain steadfast examples of the vibrato bar: Bigsby-style, synchronized, and locking devices. This trio covers everything from twangy, country/Western accenting to subtle, surfy pitch dips to full-blown metal dive-bombs. And suppose you’re looking for an upgrade, building your own axe, or simply taking a gander at guitars that already come outfitted with one of the aforementioned vibrato bars. In that case, you can trust the resources at Sweetwater — we’ll help you find the right fit for your sound, budget, and application!
Okay — let’s dive in! . . . See what we did there?
- What Is a Bigsby-style Vibrato (Non-synchronized)?
- What Is a Synchronized Tremolo?
- What Is a Locking Tremolo?
What Is a Bigsby-style Vibrato (Non-synchronized)?
The Bigsby-style vibrato tailpiece was a trailblazing design that emerged in the early 1950s and really ignited the forthcoming heavy commercialization of vibrato systems on electric guitars. The Bigsby essentially offered a longer, wider, and arguably more handsome-looking version of previous vibrato bars and could swivel and stay in place to meet the preferences of the performer. It’s a prime example of a non-floating vibrato system — a bar that only allows for downward pitch adjustment as opposed to the bidirectional (pitch down and up) floating mechanisms that emerged later on.
Bigsbys were and still are some of the most popular and widely used versions of non-floating vibrato systems, and their design has been cloned over the years by guitar manufacturers like Guild, Vox, and others. Gibson’s Maestro Vibrola tailpiece is a great example of another famous non-floating system. As a younger cousin to the Bigsby, the Maestro Vibrola is not entirely the same but does operate similarly enough.
As a tailpiece, the Bigsby is a separate component from the bridge, resting just behind it and anchoring each string in place. As a result, the bridge simply remains, well, a bridge! Much like on an orchestral instrument or archtop guitar, the bridge ends up having very little impact on creating the vibrato effect. This led to the Bigsby’s later label as a “non-synchronized” mechanism — a vibrato bar that did not also move the bridge in addition to the tailpiece.
The Bigsby was originally designed for the earliest Les Paul electric guitars and found additional success as an option for the Telecaster. However, it was ultimately grandfathered as a stylish and fittingly functional accomplice for Gretsch hollowbody guitars in the mid-1950s. Since then, but before Fender purchased the Bigsby patent in 2019, Gretsch had acquired the Bigsby name after decades of conjunctive usage with their guitars, which tells you all you need to know about the Bigsby-Gretsch duo! Today, you can find individual Bigsby and Bigsby-style vibratos of varying strengths and sizes available on a wide range of electric guitars.
What Is a Synchronized Tremolo?
Devised by Leo Fender in the mid-1950s for the Stratocaster, his final venture, the synchronized-tremolo bridge materialized with a mission to provide more pitch-fluctuating freedom. This was done by “syncing” the movement of both the bridge and tailpiece by way of a spring-anchored tailpiece block mechanism found in the body of the guitar. This invention essentially created the term “floating bridge” because it allowed for bidirectional movement of the bar and bridge, enabling guitarists to bend notes upward more easily instead of only downward. And because the bar attached to the guitar’s bridge, the bar allowed for the direct shortening and lengthening of the strings. This, in turn, vastly improved the overall range of pitch change, thus furthering the synchronized tremolo’s performance versatility. As you can probably imagine, this revolutionary design was heavily copied throughout the ensuing decades of guitar building, but it all started with the ’54 Strat.
From base-model Squiers to Custom Shop creations, it’s no surprise we most often see the synchronized tremolo on Stratocasters. In fact, the “Strat tremolo bridge” title is the synchronized tremolo’s more common name these days, and rightfully so. Most other tremolo-equipped Fender models of the past and present, including models like the Jazzmaster and Jaguar, do not feature this synchronized tremolo system, making the Stratocaster even more of a time-tested fan favorite for versatility.
Of course, the synchronized tremolo’s design has changed slightly over the years — you may even have heard of 2- and 6-point tremolo bridges. Those numbers refer to the number of adjustable screw points where the mechanism meets the body. Traditional 6-points are found frequently on vintage and reissue Strats, while the smooth-acting 2-point versions appear on modern Strat models.
The amount of pitch movement you’d like to achieve depends on how high or low you decide to set up the bridge using these points. The extraordinarily versatile Fender synchronized tremolo bridge brought the world of electric guitar vibrato to new heights (and depths!).
What Is a Locking Tremolo?
Upward and downward pitch movement with maximized adjustability is all well and good, but how about its tuning stability? Well, in the mid-1970s, guitarist Floyd D. Rose sought to extinguish this issue with yet another revolutionary design: the Floyd Rose double-locking bridge.
Essentially, this multi-part system clamped the strings at both ends of the guitar (the bridge and the nut) to strategically freeze or “lock” the guitar’s tuning in place. Not only did this improve the overall tuning stability, but it also opened new doors for an increasingly intense usage of the vibrato bar — which was a good thing, considering the ever-evolving nature of rock music and the forthcoming metal scene waiting in the wings.
Today, Floyd Rose locking mechanisms are available in a selection of calibers, colors, and costs, affording guitarists the freedom to safeguard their instrument of choice for reliably intonated performances.
When guitarists talk about “dive-bombs,” a Floyd Rose locking setup is typically the tool at hand! Some greats who have wielded Floyd Rose–equipped axes include Eddie Van Halen, Steve Vai, and Kirk Hammett. From full-bend soloing to full-blown pitch plunges, a locking Floyd Rose can easily handle it all. For this reason, it’s an increasingly popular piece of hardware for touring professionals and heavy-handed guitarists. And, since the mechanism isn’t manufacturer-exclusive, licensed Floyd Rose systems adorn a huge range of electric guitars, including brands like Jackson, Ibanez, Schecter, Gibson, and others.
What’s Your Vibe?
Regardless of the style or genre of music you play, vibrato bars can easily work their way into just about any musical situation and guitar setup. This is great news if you’re looking to experiment! Did you see some hardware or an axe that caught your eye? Want to take the next step toward mastering the vibrato vibe? Give your Sweetwater Sales Engineer a call at (800) 222-4700, and they’ll get you set up with the perfect piece of gear at the right price.