泰勒Taylor 重新发明吉他音梁【中英字幕】

For more than a century, guitar makers have used the same basic internal architecture to voice the steel string acoustic guitar,and yet generations of builders have all been limited by this design,forced to compromise between two important acoustic properties——Volume and Sustain.

一个多世纪以来，制琴者一直使用相同的内部构造来塑造钢弦原声吉他的声音，直到现在，一代又一代的琴匠仍受限于此设计，被迫在音量和延音这两个截然相反属性上，做出权衡妥协。

You can’t increase one without decreasing the other,until now…Sometimes in order to make an impactful change, you have to consider an entirely different approach,Introducing V-class bracing…

你不可能在加强二者之一的同时，而不损减另一者，直至今日……有时，为了真正的改变，不得不做出颠覆性的反思，V型音梁呼之欲出......

I inherited the X-brace when I made my first guitar,it was…it was how you made a guitar,curiously, every guitar that I played out there in the world also used X-braces,curiously, every guitar that I played out there in the world also used X-braces.

当我制作我的第一支吉他时，我沿用了X型音梁， 这就是…..这就是制作吉他本应采用的方式，很巧的是，我在世界其它地方弹过的吉他，也都采用X型音梁。

and there was this really wide-variety of tones,the way the guitar has been braced in an X-pattern, there’s always a compromise really between the stiffness and the flexibility,we tend to say: volume and sustain.

这种音梁结构，确实具有多种多样的音色，采用X型音梁设计的吉他，总是不得不在坚固性和弹性二者之间，做出取舍，抑或，我们称之为：音量和延音。

and I know that bothered Andy.

我知道，这让Andy(Taylor首席制琴师)抓狂。

At the end of the day, there’s only so much you can do,there you go, okay well I kind of feel like I’m at the cul-de-sac, I’m at the end of this idea,

到最后，我能做的只有这么多，我感觉我走到了死路，我感到无计可施。

and we have this, this tradition of taking problems and replacing them with solutions.and I believe that’s when he started thinking about this idea that involved, abandoning this way of making a guitar in favour of a new way,

这就是我们处理此类问题的传统方式，从那时开始，他就开始思考，采用一种全新的方式，来替代这种制琴方法。

I can see that I need to make something very strong to make the notes last a long time,and on the other hand I need something really flexible so that it can produce volume,and so I thought I need something that is both strong and flexible,

我知道我需要制造一种非常坚固的东西，来使琴声得以延长，而另一方面，我又需要极具弹性的设计来保证音量，我需要的是某种兼具坚固和弹性的东西。

but how can one thing be two?how can I have two different characteristics?Unless I divided it in some way.

但怎样做到一石二鸟呢？怎样做到兼顾两种不同的特性？除非我把它们分开考虑。

the V-class idea fundamentally changes the characteristic of a top,you could have stiffness parallel to the strings,to get the sustain and the rigidity that you wanted,you could have flexibility on the either side to get the air movement that you wanted,and in doing that you could create so much order and so much responsiveness that the whole range of guitar had like,there was no chaos, there was no fight.

V型音梁的思路，彻底改变了面板特性，你可以获得与琴弦的刚度并联，获得你一直追求的延音和刚性的结合，获得你一直追求弹性带来的声波振荡，你可以创造出如此多的风格，如此敏感的响应，没有混乱，没有纠结。

there was no fight between the notes that we play and the way the guitar would respond,there was no internal friction, the intonation got really good,the power got good,the sustain got good,the touch sensitivity got good,the projection got good.

没有你弹奏的琴声和琴体响应方式之间的斗争，没有内部冲突，音调变得更好，音量变得更好，延音变得更好，触感变得更好，反射变得更好。

once we got rid of that fight,what you get is—— balance.

一旦你摆脱那种纠结，那你获得的就是——均衡。

with the fit class bracing that really makes the guitar 100% Taylor,it’s interesting when you see something happen for the very first time,and you look at it for a while and think about it,and when you’re done, you think: well, yes, of course I could have thought of that, but I did.

有了这种“合身”的音梁，使得Taylor更像Taylor,初见它会非常有趣，我看着它一会，然后想了一下，末了，你会想：是的，我可以那么想，但我做了。

Imagine rigidity as equating to sustain,take a Les Paul will solve all the body electric guitar with big thick neck,it’s got this really rigid body and strings anchored really solidly to it，you pluck that note and yeah, it has a lot of sustain, it goes for a really long time.

想象一下，坚固等同于延音，看看Les Paul, 用又大又厚的琴颈解决一切，它有十分坚硬的琴体，琴弦结结实实地固定在上面，你猛拨一下琴弦，它就会有非常长的延音。

and then on the other end of that spectrum, you think of the need for volume,and that’s all coming from air movement.

而另一方面，你又想得到音量，而这完全来自于空气震荡。

To do that, I need something very flexible,so if I had a Les Paul on this side, then I can think of a banjo on this side,you have string sitting on this super flexy drumhead,that make an enormous amount of volume with a note that lasts like this long right?

为了达到目的，我需要某种极具弹性的东西，如果我这边有一直Les Paul, 那我另一边就想要一直班卓琴，你将琴弦装在一个超弹的鼓膜上，那它一定具有超大的音量，但延音就只有这么一点点，对吗？

and that’s the world the guitar makers tend to live in.

这就是世界上的制琴师所纠结的东西。

we have to compromise between these opposing forces,well if I don’t want to a compromise and both of these are good qualities,I don’t want to have to compromise them,unless it was divided.

我们不得不在截然相反的两种力量之间做出取舍，但如果我不想妥协呢？这两种东西都是非常好的，我就是不想妥协啊，除非把它们分开。

if I divide it, then something can have opposing characteristics,you could have stiffness parallel to the strings, to get the sustain and the rigidity that you wanted,you could have flexibility on either side to get the air movement that you wanted.

如果我把它们分开，那我就可能同时获得这两种相反的特性，我就可以获得琴弦的刚度并联，获得你想要的延音和坚固，获得你想要的弹性而带来的空气震荡。

so a lot of conventional guitars,the way the top is moving is really all over the place,and we think of it wanting to move like a speaker cone but that’s not really how it moves in real life.

with this guitar its motion inclined towards order.

对于很多传统的原声吉他，面板的振动是每一处都有的，我想让它如扬声器纸盆那样震动，但这不是现实中它的振动方式。这种吉他的振动呈斜坡式规律。

when I think of sour notes, the common experience is a guitar that isn’t quite in tune,if you think of intonation and think of what the word means, it’s in tune,the “in tune” is of those notes that’s where the word intonation comes from,somethings just can’t be in tune.

当提到刺耳音符时，我通常感觉就是一支吉他在音调上“不安静”，当提到声调这个词含义时，我的感觉就是，一支吉他“在调子上”，“在调子上”就是指来自于音调这个词的那些音符，有些东西本来就无法“在调子上”。

and that’s because the notes that we actually play are a little bit wrong,they’re a little off and when they’re a little different, there’s a little friction there,the kind of rub and it comes across as a little bit of disharmony.

这是因为我们弹奏的有些音，本来就是有些小瑕疵的，它们有点儿不对劲，像是一点小小的摩擦，类似一种破损，像是有一点点不和谐的感觉。

between the notes that we’re playing and what the guitar is actually capable of delivering,in some ways you could call with a new sonic engine or a new sonic driver.

这种差异存在于我们实际弹奏的音和吉他所发出的音之间，某种程度上，我们可以称之为“声学引擎”或“声学驱动”。

but it changes the way we hear our guitar,

that’s really what’s going on here is it’s producing notes in different ways,

you can take away some of the chaos, the friction, the conflict what you get is balance,is every note has the same power, the same quality of character,

这改变了我们听吉他的方式，实际上，这是吉他发声方式的改变，避免了一些紊乱，摩擦，纠结，你获得的是平衡，是每个音都有近似的音量，近似的音色质感，

so now as a player rather than you know hitting a big open position chord,and just hearing and appreciating the power of that one,the whole guitars register has that level of responsiveness。

作为一个演奏者，你弹奏一个开放大和弦，去聆听和品味它洪亮饱满的质感，感受整支吉他的高水平响应.

where you could play high on the fingerboard and enjoy the same powerful expression everywhere,I think of the volume and the sustain and the projection, the intonation in balance, all of these things add up to freedom for a musician.

你可以弹奏高把位，享受同样洪亮饱满的音，取得在音量，延音，反射，音调变化上的平衡，所有这些，给乐手带来一种自由。

freedom of expression that we haven’t heard in our guitars.

自由的表达，那些我们从未在自己吉他上听到过的。

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