The reason I advocate throat vibrato is that the oboists I most admire use throat vibrato (John Mack, Elaine Douvas, Richard Woodhams, etc.). There are good oboists that use a diaphragm vibrato as well, but I prefer the sound of a good throat vibrato.

I`m in the US. As some more background, my teacher studied with Harold Gomberg and Ray Still.

oh, as as far as my notation about the 10c +/-, that`s when you`re doing a vibrato excercise - you exagerate the "bounce", when doing it in actual playing, it`s much more subtle. It`s kinda like running with ankle weights on practice runs but then when you actually race you leave them off.

Here`s how diaphragm vibrato works:
"The abdominal and diaphragm muscles work in opposition and, when under proper tension, contract alternately to cause a recurring intensity wave in the tone" -the art of oboe playing
I`ve been taught to use this kind of vibrato because its smoother and warmer, and doesn`t get in the way of breathing.
The way I learned vibrato was first by pulsing my breath slowly from my stomach, and gradually increasing the speed with a lot of practice. hope this helps.