Vito Bratta Appreciation and a Question

Discussion in 'Guitars in General' started by Gas Hed, Jan 23, 2015.

  1. Gas Hed

    Gas Hed Member

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    This guy is good, I forgot how good (yes, I'm an 80s child). Question though - what do I have to do to make it smooth on the tapping like Vito (check out 4:15 and on). Compressor? Pickups? Fingers?

    https://www.youtube.com/watch?v=LqSsIHW0NWg
     
  2. Matt L

    Matt L Supporting Member

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    Fingers


    Vito was such a MUSICAL player. That wasn't always a requisite with shredders, but is what set him apart, and why we still talk about him. He hasn't done ANYTHING in over 20 years, and only played on 4 albums(?).....that says something about how good he was. I'm hoping he shocks us someday, and returns to playing.
     
  3. Sean French

    Sean French Supporting Member

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    I 100% agree with the above post. Vito was/is a great player that stood out during the shed era. His note choices were far more musical than most back then. IMO he was one of the best tappers and soloist back then.
    It's all in the technique for his smoothness.
    All I can say is practice, practice and more practice.
     
  4. kselbee

    kselbee Member

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    Loved him back in the day and he inspired me to buy a steinberger. Man how I miss hearing players like that.
     
  5. HoboMan

    HoboMan Silver Supporting Member

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    He said in an interview that he constructed his solos as if they were a vocal line.
    He also said that he had severe damage (tendon?) in his hand which has prevented him from playing.
     
  6. sixesandsevens

    sixesandsevens Member

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    That's such a shame. Count me among those who aspires to write lines as well as VB did.
     
  7. deadbeat son

    deadbeat son Member

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    Ha! I think I still have this on VHS somewhere.
     
  8. HoboMan

    HoboMan Silver Supporting Member

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    He talks about his hand injury in this interview around the 23:18 mark.
    He also touches on the subject of him leaving the music biz to take care of his sick dad.

     
  9. t3oi

    t3oi Silver Supporting Member

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    Thanks for posting. I was a huge fan of Vito back in the day and loved his solos. Little Fighter is still probably my favorite song of his.

    Alas, the essence of this seems to be lost of late.
     
  10. sws1

    sws1 Member

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    He also used an ADA MP-1 preamp, if I remember correctly, which is pretty compressed already. I used to have one of those.

    The unanswered question for me about his tone (and some others) is that, how can he have so much gain, yet the lead tone sound so clean? It's almost like there is some magic eq which pulls out all the 'buzz' you hear in a distorted amp. Could be he has his tone control down to just the exact spot, where the buzz comes out, but it doesn't get too dark. Thinking out loud...this tells me there is some magic eq going on somewhere.
     
  11. Gas Hed

    Gas Hed Member

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    I've been searching for that lead tone and can't find it. So smooth. Wish I knew the tricks.
     
  12. Gas Hed

    Gas Hed Member

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  13. OotMagroot

    OotMagroot Supporting Member

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    I have a Guitar World mag that has an interview with VB where he discusses buying the Strat in this video.

    Always liked Bratta.
     
  14. HoboMan

    HoboMan Silver Supporting Member

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    He definitely had some magic sauce in there that the never revealed.
    Would love to know what it was.
     
  15. yacht_rocker

    yacht_rocker Member

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    I'm sure I'm wrong, but I remember reading in several interviews saying that he doubled/ layered his tracks with the cleans from a Roland JC120. Not sure if that was for his rhythms or everything.
     
  16. blong

    blong Supporting Member

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    Early in his career (Fight to Survive album), Vito used Leslie West's old Marshall Plexi, paired with one of the first Tube Screamers to get his dirty sound. His clean sound came from a Roland Jazz Chorus 90.
    However, the classical Vito Bratta sounds come from the old ADA (yes, the same company that built the legendary flanger) MP-1 preamp, a BBE Sonic Maximiser (this one is important when using a ADA MP-1. Actually, Vito liked it so much he was talking to ADA and BBE about offering is as a signature Vito Bratta combo. Sadly, grunge stopped his plans), a Carvin poweramp, and an old Marshall cabinet. This was basically his whole rig (the MP-1 has built in chorus and compression, which is the only effects he use, except for an echo, which I have no clue about. Reverb is probably added in the studio). The ADA preamp deserves a little attention. While ADA was shut down in the early 90s, there still is a large fanbase for the pre-amp, based around the webpage www.adadepot.com. Here, mods for these preamps are offered, and you can pretty much find anything else you are wondering about regarding ADAs products. In one of the old Trendz magazines (Number 2 or 3), Michael Wagener (White Lions producer) discusses the MP-1 patches he used for White Lion and Skid Row. I would guess that the Steinberger pathes are the ones Vito used.

    Copied from a run over of his gear.

    Bob
     
  17. Jonny Hotnuts

    Jonny Hotnuts Member

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    I worked this solo out note for note back in the day. I have seen COUNTLESS 'how to' vids on how to play this solo but every single one gets the 'impossible' tapped pitch harmonic wrong (*the one in the tapped run before the picked triplets at the end) in regards to technique.

    Make no mistake Vito often missed this live but it can be done fairly easily once you get the hang (and know what he was doing!).

    If anyone has the stones to work this out and is having problems with this ask and I will tell.

    Also.....

    Vito has a real 'tone' to his rig make no mistake however I feel his sound is far more fluid technique as apposed to gear. I still play this solo every now and again (however not as well as I did in the 90s!). Even on a strat with 10s and 90% clean and it sounds pretty good and not too far from how the record sounds.

    -I think people would be surprised how little distortion is in his solos; a testament to how really good he was.

    ~JH
     
  18. Spungewurthy

    Spungewurthy Member

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    Dug out one of my crusty old GFTPM mags from storage. May 1988 right from the man himself. Enjoy!


    [​IMG]
     
    Last edited: Jul 20, 2015
    johan likes this.
  19. superstratjunky

    superstratjunky Member

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    Each one of those guys back then pretty much stuck with a Marshall flavor of some sort & it was just their styles that distinguished them. Meaning, it was their fingers & the amount of gain they used, both pre & power amp gain. The secret to getting those tones is & was compression & EQ, both parametric & graphic from a programmable preamp/effects processor. A BBE Sonic Maximizer was a frequency booster & Vito used one with the ADA if you read the above magazine article in the pic above.

    I had a Peavey Tube-Fex which had the EQs built in. It had two 12x7s & was incredible sounding, even though a Marshall 8008 SS poweramp. I didn't like cranking things & had to rely on the preamp gain. With the TF, I could nail any Marshall tone I heard, given the time. I lived in front of the thing & loved editing. I'd spend hours doing it. The only drawback to the TF was the switching. Peavey didn't isolate their programmable pots & if the tubes became microphonic, you heard them clicking to their pre-programed spots. It was worse the farther the gain was apart from the last patch. Everything else was seamless. With Vito, he was just that much better & could flat out play. He didn't need all that much gain.
     

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