Adverbs for emphasis usually sound better when they're absent.
The problem with adverbs outside of emphasis, though, is that they're telly.
He walked quietly. Solid sentence. But what's the context? Am I painting a picture with action in it?
The security guard stopped to admire himself in the glass. Fussing with his tie, the strangest sensation of dread overcame him. He turned, but saw nothing in the room behind him. Nonetheless, remembering the ghost story his friend had told him earlier, he walked quietly out of the room.
See-- I built that around an adverb, and its a really weak paragraph, particularly at the ending, because I'm telling the audience how he left--and the adverb is a part of that. At the same time, Blacbird's minimalism won't work in an example like this, because it changes the meaning too much.
So you zoom the camera in.
The security guard stopped to admire himself in the glass. Fussing with his tie, the strangest sensation of dread overcame him. He glanced behind him; nothing moved. It was still a room full of paintings. But that stupid ghost story wouldn't get out of his head, and he spent the rest of his shift walking as though the floor would crack if he put his feet down too hard, and wondering how his pulse wasn't tripping a noise alarm.
It's still rough draft quality, but it's MUCH closer to a scene that would mostly survive revision.
Blacbird is right; 99% of all adverbs you put into a work are going to be rubbish, and here's why.
But if I have something like...
Leroy swung.
Devoid of context, that leaves a number of question--and one of them is how did he swing? Adverbs answer that question.
So a revised version with a good adverb would be:
He swung hard.
If your adverb isn't answering a question, you don't need it.
...unless you happen to need it. It happens. It's rare, but it happens.
) 
