Whether you love or hate tremolo systems, it’s undeniable that they’ve had a massive impact on the guitar’s ability to express emotion. From David Gilmour’s subtle use in masterpieces such as Comfortably Numb to the dramatic flair of players such as Eddie Van Halen and Steve Vai, to shoegaze maestros such as Kevin Shields' tremolo strumming, the whammy is a thing of beauty that can take guitar playing to another level.

So, let’s find out when it was first used, who invented it, who made it better, and you should be using one, starting with…

The Dawn of the Tremolo System 

The origins of the guitar tremolo system trace back to the 1930s, when innovators attempted to mimic the natural vibrato of the human voice on stringed instruments. The results were crude and pretty unsuccessful; however, by the 1950s, things started sounding a lot better due to improvements in engineering and musical ambition.

Around this time, Bigsby vibrato systems started to gain traction. Paul Bigsby’s design - a simple roller-bar mechanism - had already been in existence for about 10 years, but the world wasn’t ready for trem heaven until the first solid-bodied electric guitars hit the market in the early 50s. It offered smooth pitch shifts and was used by country players of the time, such as Merle Travis.

1953 Gibson Les Paul Goldtop with Bigsby B7

At the forefront of solid-body electric guitars was Leo Fender, who in 1954 introduced the Fender Stratocaster, featuring the first commercially successful synchronized tremolo bridge. The design was a simple spring-loaded system that was anchored in the guitar’s body, which allowed players to raise or lower the guitar’s pitch with a detachable bar. This gave it far better tuning stability than the Bigsby, and it was soon widely used by the pop, rock, and surf guitarists of the time such as Buddy Holly and Dick Dale. However, with heavy use, you could still detune the strings, but nowhere near as easily as with a Bigsby.

1954 Fender Stratocaster Lake Placid Blue with synchronized tremolo and cover

Let’s go Crazy! The 70s and 80s

The evolution of the tremolo exploded in the 1970s and 1980s with countless players from flash meisters such as Eddie Van Halen, Steve Vai, Joe Satriani, and Judas Priest's K. K. Downing to more traditional users, such as Ritchie Blackmore, Jeff Beck, and David Gilmour, pushing sonic boundaries.

1977 brought the next major design breakthrough when Floyd Rose’s double-locking tremolo finally put a stop to the dreaded tuning issues. This brought on the age of extreme dive-bombs and other complex trem techniques that became the mainstay of shred and metal genres. 

1977 Fender Stratocaster modified with a Floyd Rose Trem system

The innovative design clamped the strings at the nut and bridge, which ensured tuning stability even with the most aggressive of players.

Grunge and Alt Rock

By the 90s, the use of the whammy bar was in decline. This was largely due to audiences having had enough of the pomp of bands who were part of movements such as Los Angeles’s hair metal scene. They were looking for something more real, more organic, and less fake.  Seattle had the answer, and grunge and alternative rock took over MTV and the airwaves. 

Although these genres were heavily reliant on guitars, distortion, and noise, the whammy was seen as a ‘metal trick’ by most of these new guitarists, and they didn’t want to be in any way associated with that.

However, there were exceptions. Shoegaze and Noise Pop bands embraced tremolo systems but used them in a new and innovative way. As opposed to constant divebombing, they went for subtlety and beauty, keeping the trem arm in their hand as they strummed. This created an ethereal, sonically complex, textured sound that was the mainstay of the genres. They didn’t use ‘metal’ guitars with big, heavy Floyd Rose systems on them, favoring Fender Jazzmasters and Jaguars to create their bright, dreamy tones.

Fender Jazzmaster

Thrash and Groove Metal guitarists, especially Pantera’s Dimebag Darrell, however, stuck to their guns and continued to use Floyd Rose systems, something that will never change in my opinion.

Turn of the Century

The late 90s and early 2000s brought on a change in metal nu-metal, with acts like Korn, Deftones, and Limp Bizkit - as well as the evolution of prog into progressive metal, featuring bands like Dream Theater. These, once again, embraced the whammy bar for the dissonant dives and expressive wails that were an integral part of the music.

On the alternative scene, post-rock bands like Explosions in the Sky used subtle vibrato for atmospheric swells, as a nod to the likes of My Bloody Valentine. While metalcore and djent pioneers, such as Meshuggah, used synchronized tremolo bridges to produce the tight, low-tuned riffs with occasional pitch-shifting accents, they have become famous for it. 

There were also technical developments, such as the Ibanez Edge system, which had a smoother action than earlier designs and was far easier to maintain.

Ibanez RG550 featuring Ibanez Edge Tremolo System

To the present day, where modern rock and indie artists, such as Tame Impala’s Kevin Parker, have subtly continued the legacy of the early shoegaze bands using his tremolo to create dreamy textures, usually paired with effects pedals. Metal guitarists now combine the precision of the Floyd Rose with digital modeling for in-your-face modern tones. 

Newer manufacturers, like Strandberg and Kiesel, have continued tremolo development with lightweight, ergonomic designs, which have been widely accepted by both metal and progressive players.

This brings me nicely to…

OK, you’ve persuaded me that I need a Tremolo System, what are my options?

There is no shortage of quality guitars at various price points that feature excellent tremolo systems. From Affinity Squier Stratocasters to PRS Custom 24s, if you want a basic tremolo, the choice is huge.

Or, if you are looking for more extreme tone bending, go for a Floyd Rose fitted to anything from a Jackson to an Ibanez to a Dean to a Charvel. Again, endless choices.

However, there is another option… fit a tremolo to a guitar that you already own.

Les Pauls are without a doubt my favorite guitar, but 99% of them don’t have a tremolo. Some are fitted with Bigsbys, which work well apart from the tuning issues with heavy use. Others have been hollowed out to install a Floyd Rose, but unless you really know what you’re doing or go to a professional luthier, that often leads to a bit of a botch job.

However, there are constant advancements in every sector of the guitar industry, and one of those is the Guyker GM85 Tune-O-Matic Bridge with Stop Bar Tailpiece for LP and SG Guitars.

It’s a non-invasive install, unlike either a Bigsby or, worse still, a Floyd Rose, so if you realize in a few months that you’re hardly using your tremolo, you can put the original bridge back on. Check out the following video for installation instructions and review…

The GM85 is available in the usual colors - chrome, black, and gold, to perfectly match your hardware. Or if you want to add a splash of color to your life, go for the gorgeous blue or red options!

It’s a great choice for most Gibson-style guitars - Les Pauls, SGs, 335s, etc. - so if you’re looking for a high-quality tremolo with a smooth action and excellent tuning stability, give it a go.

If you’re looking for a more traditional design to replace or upgrade your current Strat-style tremolo system, check out the Guyker GG2001 Tremolo Bridge Vintage Brass Saddles For ST Electric Guitar 10.5mm string spacing or the excellent Brass PRS Style Tremolo Guitar Bridge Complete Install Kit For Strat Style Guitar, shown below…

Wrapping it Up

That’s it for my in-depth look at the development of guitar tremolo systems, from the '50s surf guitarists with their Bigsbys and early Fender Tremolos to the high-tech Floyd Rose Systems used by guitar showmen from the late 70s up until the present day.

The tremolo was more than an advancement in guitar technology; it reshaped guitar culture, which in many ways, reshaped popular culture. Many of the classic songs we love listening to because of the memories they evoke sound the way they do because of the guitarist's use of the tremolo bar. It’s been used to express every shade of human emotion, from David Gilmour bringing a tear to our eye to Dimebag Darrell's anger-infested wails that make us want to stand up and rebel; there is simply nothing like it.

Regardless of the design, a tremolo is a fantastic addition to the instrument, allowing players to express their creativity and emotions in diverse fashions across genres. Even if you currently favor non-tremolo guitars - I’m looking at all you Les Paul, SG, 335, and Tele players out there - try one out; it could be just what you need to take your playing to the next level. You might even end up buying a tremolo-equipped guitar next or fitting one to a guitar you currently own.

You’ll only know if you need one in your life by taking a tremolo for a test run. So get rid of those thoughts of metalheads divebombing, and play around with one, it just might change the way you play guitar forever.