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本帖最后由 liweiminwz 于 2013-9-3 06:42 编辑
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三月份时笔者代表指弹中国访问了Kevin Ryan的工坊，当时拍了不少照片并做了一个采访。本来计划是一个星期左右把采访打出来并翻译好然后发到器材版，不过不巧的是随行替我拍照的朋友离开加州时不小心把相机落在了宾馆，和宾馆方面折腾了两三个星期才把相机寄了回来。而那时候开始我也特别忙，周围也发生了不少事情，翻译和整理的事情一直推迟到现在才有时间做，非常不好意思！
Kevin Ryan官网采访翻译：http://www.fsguitar.com/thread-245768-1-1.html
Ryan作坊访问实录 & 几把特殊KRyan琴介绍这几天也会发出
FC: 指弹中国
R:Kevin Ryan
FC:
我先来给你读一篇网上关于Ryan吉他帖子下面的回复：
牛逼
奢侈品
让人窒息的美
神器
真正的艺术品
谁能给我解释一下它为什么这么贵吗（Ryan笑）
我有也不舍得弹，会毁了这么好的琴
Before we start, please allow me to me read you some reply under a post about Ryan guitars:
bully
Luxury
Breathe-takingly beautiful
Sacred ware
True artwork
Anyone explain to me why it is so expensive? (Ryan laughs)
I would not play even if I have one. I’m not qualified to play such a great guitar.
从我刚刚读的回复中你也大概能听出来，Ryan吉他在中国很有名气，也很受大家喜爱，但大家却不太真正了解它，主要是因为大家唯一能接触到的关于Ryan琴的信息只有一些带图的小介绍。所以这个采访的目的是澄清一些谣言并给大家一些Ryan吉他的第一手资料。
As you can tell, Ryan guitars are well-known and well-liked, but not fully appreciated in China because people lacked a clear understanding of really how the guitars are. One primary reason for such phenomenon is that the only accessible information to Ryan fans in China is a few translated short introductions illustrated by some photos. Therefore, this interview aims at clarifying some myths and giving readers a first-hand source on the Ryan guitars.
R:
那太好了
That’s great.
FC:
Ryan吉他有很多琴型： Cathedral(大教堂)，Abby(修道院)，Nightingale(夜莺)等等，他们都是针对那些特定的声音需要而设计的呢？
There are several models of guitars such as the Cathedral, the Abbey, and the Nightingale, what specific kinds of sound are they intended to produce?
图：KRyan的五款琴型
R:
我从我们最受欢迎的夜莺琴型开始说。夜莺一开始就是作为终极的指弹吉他琴型被设计出来的。我想让它有个比较强大的低音，所以它的琴体不小，但也没有J型琴那么大。跟OM型的下半部分差不多宽，但是比OM深很多。它的设计思想是让琴体深度的来提高低音，并同时拥有一个平衡的高音。同时总体来说它抱起来很舒服，你可以发现靠在你腿上的琴腰部分比其他的琴更靠上，所以抱起来的时候吉他会靠右并靠下一点——它的腰身比较细，不像D型琴的腰那么宽。而上面的bevel的设计当然是为了让琴和弹琴的人更亲近，让它抱起来更舒适。
Let’s start with the Nightingale, our most popular model. The Nightingale was originally conceived of as the ultimate fingerstyle guitar. The Nightingale is designed to have not a small body in order to produce a very powerful base - but not a jumble either. It has a width that is about the width of the OM’s lower bow, but has a much deeper body. The idea with such design was to have the base really be a function of the depth of the body and meanwhile have a really balanced width of trebles. And all in a package it was really comfortable to hold. So as you can see on a Nightingale, the waist sets on the player’s lap is much higher on the Nightingale than the other ones, and, in effect, the guitar is moved over to the right and down a little because it also has a somewhat tight waist, unlike a Dreadnought. And, of course, there is the bevel, which makes the guitars very intimate and comfortable to hold.
图：夜莺琴型
Cathedral是我们最大的吉他，它是被设计出来和那些大琴体吉他竞争的。它有着很猛声音、很广的音场和很雄厚的低音。它是一款像D型琴一样很重低音的琴，而不像Paradiso、Mission和夜莺，它们的目标都是平衡。我想让Cathedral有个更强、更广、更开放的低音和共鸣，更好的回馈、更饱满、更大的声音。
The Cathedral, our largest model, is obviously designed to compete with the big jumble instruments. It possesses a big expansion of the sound and a big throaty base. It is probably a base-heavy guitar not unlike a dreadnought. Whereas I wanted the Paradiso, the Mission, and the Nightingale to be more balanced, I want the Cathedral to have a stronger, big, open chord and base, as well as a responsive, rich, and really loud sound.
图： Cathedral琴型
两个grand concert琴型（Mission、Paradiso）比夜莺小一些，它（Mission）是我大约15年前原创的琴型，当时我只做这种琴型。它的设计思想是拥有天生甜美和平衡的声音。它们是理想的指弹吉他，因为它们的面板都不是特别大，所以声音能保持集中，高音也很清澈明亮。
The two Grand Concert models, slightly smaller than the Nightingale, are the original guitars I built probably 15 years ago. By that time, the only model I built was the Grand Concert, which has an inherently sweet and balanced sound. They tend to be the ideal guitars for Fingerstyle - because their soundboard is not too large, the Grand Concerts remain fairly focused, balanced, and crisp in the trebles
图：Mission 和Paradiso属于同一种琴型，区别在于有无bevel。
Mission琴型
2001到2002年的时候我们发展了另外一种琴型（Paradiso），因为慢慢地大家定制的时候都开始要求加bevel和侧音孔，但是我想重新设计一下琴型，因为Mission和这两个设计放一起并不是太好。所以Paradiso当时被设计成和Mission差不多的尺寸，但是形状和它不太一样，这样更适合bevel。它有着和Mission差不多的音域但是不一样的美学设计。
From 2001 to 2002, we redesigned the Grand Concert to develop the Paradisp because almost every client asked for the bevel and the flutes on the Missions, while I did not believe it was a perfect combination. Consequently, the Paradiso was developed to the guitar of the same size but a new shape to accommodate the bevel. It was similar to the Mission in its sonic territory but different in its aesthetic package.
图：Paradiso琴型
Parlor是我们向传统小型吉他致敬的作品。大约是2000到2001年的时候我应朋友的特殊要求做了一把Parlor吉他，在那期间我在那把琴上做了一件没人对Parlor吉他做过的事。一般来说Parlor型的琴弦长是24.5到24.9英尺，偶尔25英尺就算很长了，而我们做了25和25.5英尺两种弦长。当时我们就问自己：为什么从没人做过这种事？——因为真的从没人这样做过。最后我们做出的parlor琴的声音仍然甜美、弹起来如同手足，但音量更大了，我们很喜欢。
The Parlor is out tip of the hat to the little vintage parlor guitars that turned up last century. It started with a special project I did for a friend in 2000 or 2001. Typically parlor guitars would have scale length of maybe 24.5, 24.9, and occasionally 25 inches, which would be outside of the range. We, however, designed the Parlors to accommodate both 25.0, which is more traditional, and 25.5 scales. Such scale lengths were unheard of on parlor guitars. The Parlors we made sounded still sweet and intimate but also louder.
其他的琴弦长都是25.7英尺。大约是1987到1988年当我设计Mission的时候特殊调弦正开始流行，但是当时的琴的设计从没考虑过弦被调到那么松的情况。当弦被调低时他们获得了一些 和好音色，但是也损失了爆发力和音量。所以当时我们就设想如果能把弦长放长一些，即使被调低了琴弦的张力还是不会变。但我们没意料到即便弦没被调松，吉他手们还是普遍喜欢更长的弦距。他们觉得弹的时候右手感受到的弹力更大了，音量和音长也有所提升——Laurence Juber也是这么说的。所以这样做真的只有益处。但是因为这样张力更大了，我们下决心
The other guitars all have a 25.7 inch scale. When I designed the Mission in 1987 or 1988, alternate tunings were starting to gain popularity, but guitars were never tuned down like that. The tunings gain some sonority and some nice timber in the tone, but lack some punch and volume. So we thought if we make the scale length slightly longer, tension of the strings would remain when they are tuned down. What we didn’t expect, however, was that even for guitars that are not tuned down, players just loved the longer scale. The guitars with longer scales had a better bounce in the right hand, according to Laurence Juber, and also more volume and sustain. So we concluded that everything was to be gained from making the scales longer. But because such design also produced slightly more tension, we worked for about seven years to develop a truss rod (?) system so that we could have a low profile and stable neck. And as a result, we heard from people that our long scales play easier than shorter scales.
FC:
是的，我弹墙上那把Mission的时候明显地感觉到它比我的Lowden和其他任何弹过的琴按得都要轻松，它的弦确实很低。
Yes, I could certainly tell that it was much easier to play than my Lowden and any other acoustic guitar I have ever played when I was trying that Mission on the wall. The strings were indeed very low.
图：在Ryan琴上弹大跨度指法异常轻松，低弦距也丝毫没有影响声音。
啊，这太让我高兴了，非常感谢。
Oh, that made my day, I appreciate that.
R:
我们现在有几个想发展的新琴型。我猜你可以现在向大家宣布一个新消息：我正在准备做一个中音吉他和一个特殊的、“杂交”的十弦琴。我们现在和来自芝加哥的爵士吉他手Eric Lugosch合作来做这个项目。我很兴奋，因为是一个很喜欢新事物、做新设计的人
We now have several models that we want to develop. I guess you can break the news to the world: I’m planning on a baritone guitar and a special, somewhat a hybrid ten string guitar. We are working with Eric Lugosch, a great jazz guitarist from Chicago, on that project. You see, I am very excited because I am a novelty junky, as I always like the idea of having some new projects.
图：Eric Lugosch和他的Ryan Parlor吉他
FC:
说到发展新琴型，你有想过做扇形品吉他吗？
Speaking of developing new models, have you ever considered building a fan-fret guitar?
R:
我想过这件事，但还没真正做过，不过这也不代表我以后不会做。我爱实践自己的想法，或者是受到别人想法的启发之后，在其中加入一些新的原创元素。比如我当时很喜欢Grit Laskin (官网：http://williamlaskin.com/) 在琴上做的臂枕，所以我联系了他去获得他的许可，并做出了bevel这个我原创版本的臂枕。我心里有一点点抗拒做扇品吉他这个事，因为这完全是别人的设计，而在这个设计上我还没得出一些自己的想法。我不知道这样听起来怎么样，不过我认为这可能是对做出扇品琴的人的一种更好的尊重。
I have given it a thought, but I haven’t done it yet. This is not to say that I will not do it. Generally I like to put into practice either my own idea or somebody’s idea by which I can be inspired and draw something new upon. For instance, I loved Grid Aspin’s idea of arm rests, and so I obtained his permission to do my own take on that idea, which is the bevel. So I am SLIGHTLY resistant to the idea of building a fan fret because it is completely someone else’s idea and I have not yet come up with my own thoughts about it. I am not certain how it would sound, but it is probably more respectful for the person who invented the design and licenses it.
图: 扇品（fan-fret）吉他, 更长的低音有效弦长有助于提升低音。
FC:
你做琴时偏好什么木材吗
Do you particularly prefer any wood when building a guitar?
R:
我很偏爱所有的玫瑰木。我们做的85%的琴都是巴西或者玫瑰木——主要是巴西玫瑰木。我们使用巴枚、印玫、可可菠萝——可可菠萝是货真价实的玫瑰木。我现在正在用马来西亚黒木做一把原型琴。这种木材应该不属于玫瑰木家族，不过在密度上和玫瑰木很相近，所以我猜它声音的特性也差不多。我们大概两个月内就能完成那把琴，这让我很兴奋。
I’ m very partial to all the rosewoods. 85% guitar we build is Brazilian or Indian Rosewood – mostly Brazilian. The great rosewoods we use are Brazilian Rosewood, Indian Rosewood, Cocobolo, which is truely rosewood. I am currently preparing to build a prototype guitar with Malaysian Blackwood, which I don’t think is in the rosewood family but is very similar to the rosewoods in its density and, I assume, its acoustic properties. We will finish building that guitar in possibly two months, and I’m very excited about it.
图：Ryan吉他官网中的“Ryan签名琴”选项里会展出目前工坊里存有的高等巴西玫瑰木声材供客户选择，此系列只选用巴西玫瑰木，个别特殊的吉他除外。
面板的话，我本人倾向于那些更轻、强度-重量比更高的木材，所以理想的面板木材是红松、云杉、红木——红木的声音偏暗（不那么清脆明亮，可以理解为厚、重）。我英格曼云杉是我最喜欢的云杉之一，瑞士云杉也很好，还有Stika云杉。我们只买master等级的云杉。
For tops, I myself tend to like the tops that are more lightweight and have a high strength-weight ratio, so the ideal tops for me would be Cedar, Redwood, which has little bit of the dark sound, Engelmann Spruce, which is one of my favorite spruces, Swiss Spruce, also great, Sitka Spruce. We only buy master grade spruces.
图：红木
FC:
你对胡桃木、红木、Ziricote(一种巴枚的近亲，比黄檀更贵)、乌木这些特殊的背侧板木材怎么看？
What is your take on special tonewoods such as Walnut, Redwood, Ziricote, and Ebony?
R:
我很想用每一种木材上来实验一下，不过因为我们有一个等待名单，我们不总是有时间来做我们想尝试的琴，不过现在这个状况也慢慢有所改变了。比如我现在正在实验性地制作那把马来西亚黒木的原型琴。黒木是种很好的背侧板木材，它能制造很明亮很有力的声音。不过它挺重的，所以黒木的木板得削得比大多数木材都薄。
I would love to experiment with all those woods, but because of waiting list, we don’t always have an opportunity to build what exactly we would like to try, although that situation is slightly changing now. For instance, I am working on that Malaysian Blackwood prototype right now. Blackwood is a great tonewood. It has a very bright and powerful voice. It is very heavy, though, and the plates need to be thinner than most other woods.
图：马来西亚黒木
我对于胡桃木可能没有太多可说的，我好像从没用这种木材做过琴——就算有也是很多年前了，现在记不起来。一般来说热带硬木密度都特别高，相比之下人工栽培的硬木可能开始让人感觉很密，不过跟热带硬木比起来就差太远了。所以我猜胡桃木作为一种热带硬木产出的生硬应该跟其他热带硬木比如洋槐和桃花心木差不多，不过我只是在猜而已
I don’t have too many thoughts on Wulnut. I don’t think I have built a guitar with Walnut – if I ever did, that would be many years ago and that is foggy to me now. Typically tropical hardwoods tend to be particularly dense, whereas the domestic hardwoods feel dense at first but are not even close when compared to the tropical ones. So, I suppose, as a tropical hardwood, Walnut would produce sound similar to that of other tropical woods such as Koa and Mahogany – again, I am merely guessing.
图：胡桃木
我很喜欢Ziricote，这是一种被低估的木材，我计划把它当作一种重点使用的木材。
I like Ziricote very much. It is a very underrated tonewood. I plan on using it more as a go forward.
图：Ziricote
桃花心木和洋槐这样的较轻的木材倾向于发出一种开放、轻快、较干的声音，我挺喜欢这种声音，相比之下各种玫瑰木拥有更丰富饱满、更复杂的声音。总而言之背侧板的选择主要取决于吉他用于演奏的音乐种类，不够我们订单大多要求用玫瑰木。
Light-weight tonewoods like Mahogany or Koa tends to have an open, airy, dry sound, which I like, whereas the rosewoods have a richer and more complex sound. So in conclusion, the choice for tonewood depends on the kind of music one intends to play with the guitar – but most our orders ask for rosewoods.
至于乌木，你是指作为背侧板的选择吗？还是用来做指板和琴码之类？
As for ebony, do you mean as a wood for back and sides? Or just as a wood of choice for fretboards and bridges?
FC:
我在你的官网上看到望加锡（印尼地名）乌木是背侧板的一个选项。我觉得很好奇，因为据我所知乌木一般用来做指板和琴码。
I saw Macassar Ebony on your website as an option for tonewood. I am curious to know how that is used, since according to what I know Ebony is only for fretboards and bridges.
R:
望加锡乌木是一种很讨人喜欢的背侧板木材。这种木材和非洲乌木以及加蓬湾（非洲地名）产的那些纯黑乌木不同，它带有白、棕、黑三种条纹。你是对的，我们不用非洲黒木来做背侧板，只用来做指板、琴桥、琴头贴面、镶边之类。
Oh, Macassar Ebony is a lovely tonewood with great streaks of light wood contrasting with blacks and browns. It is distinct from African or Gaboon ebony which is purely black. You are right, we don't use the African ebony for tonewood, only for fretboards, bridges, headstocks, binding, etc..
图：望加锡乌木
FC:
似乎有两种黒木，一种是你提到的，长得很像玫瑰木，还有看起来像洋槐——如果我没说错的话。他们之间有什么差别？
Also it seems that there are two type of Blackwood - one similar to rosewood which you have mentioned and the other looks somewhat like Koa - if I’m right - what is the difference between them?
R:
看起来像洋槐的那个品种跟洋槐差不多。大家叫它澳洲黒木，不过我觉得它与夏威夷洋槐几乎是一个品种。
The kind that looks like Koa is pretty much Koa. It is known as Australian Blackwood, but I think it is nearly the same species as Hawaiian Koa.
图：澳洲黒木，高君老师弟子阿兰的Lowden
笔者当初也是因为一把ryan琴而结识阿兰，而阿兰现在已经离我们远去，在ryan工坊里时心里一直想着他，祭奠
FC:
你怎么看阿达朗迪克云杉？它在制琴师和吉他手之间很流行，不过你似乎不太常实用它。
What do you think about Adirondack Spruce? It is very popular among luthiers and players currently, but it seems that you don’t use it very frequently.
阿达朗迪克云杉对于D型琴或者J型琴的那种传统的声音非常适合。不过我不常在我的琴上用这种木材，因为我的设计更适合轻一些的面板，而轻而硬的阿达朗迪克云杉很难遇见，当我能碰到这样的一块板材时我也会非常乐意把它用在我的琴上。不过很多人还是认为这种木材对于一些特定的琴型来说非常好。
Adirondack is a great wood for a traditional sound on a Dreadnaught, or a jumbo. For my guitars, I don't use it very much because my designs favor very light tops, and it is difficult to find Adirondack that is very light and stiff. When I can find such a piece, I really like it for my instruments. But for certain guitar designs it is considered by many to be very good.
图：阿达朗迪克云杉，最明显的特点是木纹粗大，图中琴为Lowden Pierre Bensusan新签名款。
FC:
据传你的工坊一年能产出七十二把琴，这个数字准确吗？定做琴的等待时间有多长？
Purportedly, your workshop produces about seventy-two guitars annually, is it accurate? And how long is the waitlist?
R:
不不不，七十太多了，一般是三十到三十五把。这个数字可能在以后会有变化，不过这些年我们一直只做三十出头。
Oh no, seventy is way too high. The number is about thirty to thirty-five. It may change in the future, but we have been producing a little more than 30 guitars annually for a number of years.
等待时间，是27年。——哈哈开玩笑的。一般是六个月，有时短一点。
The waiting list is 27 years - no just kidding. It is about six months – sometimes a little less.
FC:
你觉得油漆对声音影响多大？你用什么油漆，虫胶漆还是硝基漆？
By how much do you think the finish influences the sound? What finish do you use, lacquer or nitrocellulose?
R:
一把理想情况下的琴是没有油漆的，因为油漆从不会改善琴的声音，只会限制声音。不过制琴师们照样使用油漆，否则吉他很容易受损伤。所以理想的油漆应该是保护性很强，同时在声学上是“透明的"，意思是它不会渲染琴的声音。我知道古典吉他的制琴师中有使用虫胶漆的传统。虫胶漆是一种很美的油漆，它也曾是最耐用的油漆，不过现在不再是了。钢弦琴的传统是使用最耐用的油漆，所以我们用的涂料是一种紫外线处理的聚酯，我们觉得它是世上最好的涂料。相比虫胶漆它有很多优势。（拿起身边的琴）这是红木，我可以用我的手指在上面划过而不留下任何划痕。同时，因为它非常硬，我们觉得它是世界上最接近于声学透明的涂料，与之相比传统的涂料比如虫胶漆即使干了也从来不会太硬。所以我们认为就硬度和声学特性上，这个聚酯材料强过虫胶漆
An ideal guitar would have no finish at all because the finish never improves but always detracts from the sound of a guitar. But nevertheless luthiers use finish because the guitar would be easily damaged without it. So an ideal finish has to be both protective and acoustically transparent, which means it should not color the sound. I know there is a tradition in classical guitars to use French polish, which is a beautiful finish and was the most durable but no longer. For steel strings, the tradition has been to have a durable finish, so we use a kind of Ultra-Violet-cured polyester, which we feel is the best material in the world and has many advantages to traditional lacquer. This is redwood (holding a guitar), and I can scrap across with my nails and not leave any scratch on the finish. Also, because it is so hard, I feel it is the finish that is the closest to being acoustically transparent in the world, whereas other finishes such as lacquer are never quite hard even when they are dry. Therefore, we believe that as far as acoustic transparency and protectiveness are considered, this polyester is superior to lacquer.
图：
红木面板吉他
Ryan使用的油漆
FC:
我们都对“蜻蜓”这把琴有所了解，并且对它那惊人的火焰桃花心木以及火焰云杉印象很深，是否还有如此独特的琴呢？
We’ve learned about the guitar Dragonfly – you know, the crazy, flamed mahogany and spruce and all that, can you think of any other guitar that is equally unique?
图：Ryan“蜻蜓”
R:
这个可能很难找到了，因为它上面的木材极其稀有——那颗桃花心树、那火焰云杉声材。我从没指望过找到这么厉害的声材。不过我们还有几套来自同一棵树的板材来复制这把琴，我也用了其中一套火焰英格曼云杉来做你刚刚见到的那把Lindisfarne.
That might be difficult to find – simply because all the wood used on that guitar were extreme rare – the mahogany tree, and the flamed Engelmann Spruce soundboard. I don’t even expect to find another set of those great materials. However, we do have a few more sets of wood replicate it, and we used one set of the flamed Engelmann Spruce to build the guitar Lindisfarne you just saw (http://robinsoninlays.com/Lindisfarne/).
图：Ryan Lindisfarne
有时候巴西玫瑰木会呈现一些了不起的纹路，所以只要我们得到一套非常特别的巴枚声材，我想到的第一件事就是基于它来做一把琴了，藉此强调这套木材。我们明年将完成的一把琴就是这样的一把琴。我们还有一种新的镶嵌材料让我很兴奋，因为它之前绝对是无人涉猎，我们可能会在八月Hilbert吉他节初次展出它。
Sometimes Brazilian Rosewoods exhibit some extraordinary features, so whenever we get a very unique set of Brazilian Rosewood, it would first occur to me that I want to build a guitar around it to accentuate the wood. And we have a few Brazilian guitars coming out next year or so that would do so. We also have a new kind of inlay material which I am very excited about because it is definitely uncharted water. It will probably debut in August in the Hilbert Guitar Festival.
图：KRyan巴西玫瑰木吉他
FC:
你对双面板和双背板怎么看？
What is your take on double tops and double backs?
R:
我很欣赏双面板这个想法，不过有几年我心里对它有些抗拒，因为我不想根据传统的双面板做法来做——一般把Nomex(也称芳纶1313)这种蜂窝状芳纶材料夹在两块面板之间。这个技术是又两位德国制琴师发展出来的，后来美国的一些制琴师也采用了它。
I appreciate the idea but resisted it for few years because I did not want to do what was traditionally done with double top – that is, to use Nomex the aromatic honeycomb material. This technique was developed by two German luthiers and was also adopted by some American builders later. I wish I have remembered their name because I want to give them credit.
图：Nomex材料
双面板
很多制琴师把双面板作为一种声学设计来使用，它的声音的确不错，很独特地反应了面板的材料，不过我还是想要一种更有机、木味的声音，所以我更倾向于把双面板作为一种结构上而不是声学上的选择，因为他们在减轻吉他重量的同时也能很大地加强面板的硬度。所以我对双面板结构进行了自己的修改并做出了这个“声学双平行板”。我把它放在这个“声学新月区”（琴码下方，如图）里，所有的小音梁都集中在这里。这样一来，我不用在整块面板上都使用双面板，但还是能得到双面板的结构优势和有机、木味的声音。
Many luthiers see and use the double tops as an acoustic thing, and they indeed make a sound that is great and uniquely reflective of those materials, but I still want a more organic, wooden sound. So I think of the double top in purely structural rather than acoustic terms, since they are also used to render phenomenal stiffness while keeping the guitar light-weight. As a result, my take on the double top was the Acoustic Double-Parallel Plate, which I place at this acoustic crescent area where all the twork(?) of the bridge is concentrated. Without extending all over the soundboard, this Acoustic Double-Parallel Plate gives all the mechanical advantage of the double-top structure and still maintains a wooden, organic sound.
图：KRyan的声学双平行板结构
FC:
提到双面板，我了解到你和两年前首位做出真正双面板刚弦琴的Cornerstone制琴师Peter Marreiros私交很好，能向我们介绍一下他吗？
Speaking of double top, I have learned about the relationship between you and the Cornerstone luthier Peter Marreiros who built the first genuine double top acoustic guitar two years ago, could you tell us something about him?
图：Cornerstone创始人Peter Marreiros
R:
对，Peter就住在附近，几公里外。他是我很好的一个朋友。我认为他正在做一种非常聪明双面板结构，我觉得世界上没有别的人正在这么做：他把整块面板都做成双面板结构，但是这个结构是全木的。我认为这是一个很好的想法，而他的吉他声音也很棒
You are right. Peter is local here, just a few miles away. He is a very good friend of mine. He is doing something, I think, that is really clever with the double top structure which I don’t think anyone else in the world is doing. He is making a double top extending all over the soundboard, but it is all wood, which I think is an awesome idea, and his guitars sound phenomenal.
图：Cornerstone Zion,第一把双面板刚弦吉他。
FC:
正如你所见，加州有如此之多的优秀琴坊以及制琴公司——比如KRyan, Cornerstone, 泰勒等等。你觉得加州的哪点如此吸引杰出的制琴师们呢？
As you can see there are so many great guitar workshops and companies here in California – for example, Ryan Guitars, Cornerstone, Taylor, etc. What is it about California that is so attractive to great luthiers?
图: R. Taylor吉他
R:
我认为有两个原因。首先，加州，尤其是北加州和旧金山，似乎是钢弦吉他制作的复兴中心。制琴家们渐渐地在这里创造了这么一个传统，而这个传统又吸引了其他的对制琴有兴趣的人。这些人之后又自立门户开了自己的工坊。就像是几个世纪以前很多伟大的小提琴制琴师比如Marti、Guarnerius都聚集在Cremona地区一样。另外一个原因是加州一直是无数创新出现的地方——硅谷、好莱坞等等。它带有一直独特的先锋事物的诱惑，这种诱惑刚好就吸引这样的人来到加州。
I think there are two reasons. First of all, California seems to be the place where the renaissance of steel guitar building began, mostly in the north around San Francisco. And I think there was a tradition that luthiers were building which attracts other people who think guitar building is a cool thing. And those luthiers later went on to start their own business. In a way, it was similar to the period when great violin makers like Marti, Guarnerius gathered around the small Cremona area. I think the same thing is happening here.The other reason is that California has been the state where so much innovation takes place – the computers, the Hollywood. It has the allure of cutting-edge things, which draws just the right kind of person to California.
图：意大利Cremona地区，此处16~17世纪时曾聚集了大批名声响彻古今的小提琴制琴师，包括Stradivarius。
FC:
你在你官网上的访谈里提到James Olson (官网：http://www.olsonguitars.com/) 给了你很多启发，能否向我们讲述你和Olson的相遇？
You mentioned in your interview on your website that Olson has inspired you a great deal, can you tell us more about your encounter with Olson.
图：James Olson
R:
好的。很早以前当我决定制作吉他的时，Olson……也不能说他还在树立自己的名声，他当时已经给Phil Keaggy和James Taylor做过琴了。我当时很喜欢他的SJ琴型。所以有一天我给Jim(Olson的外号)通了个电话，告诉他我很喜欢的他做的琴，而且因为我刚开始做琴也有一些问题想问他。他对我真的非常慷慨。
Yes. In the early days when I first decided that I wanted to build guitars, Jim was almost... Well I can’t say he was getting established because he had already built guitars for Phil Keaggy and James Taylor. But I loved the shape of his SJ model. One day I called Jim and told him that I loved his guitars and had some questions for him as I was going to start doing this thing. He was very gracious to me.
图：Olson吉他
他在做琴方面的事迹很鼓舞人，而同时他对我的帮助也很让我受鼓舞。而且那些沟通也全都是通过电话进行的，我都没有见过他。他住在几千英里以外的明尼苏达州。后来在25年前他坐飞机来到加州之后我们终于见了面，他和我以及我的妻子一起玩了些天，我们这些年来也成为了很好的朋友。他的做的琴真的太棒了。
He was definitely an inspiration in what he was doing, but meanwhile he was just an inspiration helping me by getting me started. And it was all by phone and I did not even meet him. He lived in Minnesota which is a few thousand miles from here. When we finally met, it was him that flew out to CA and spent some time with my wife and I – we became really good friends over the years. Perhaps about 25 years. His guitars are just phenomenal.
图：Olson吉他
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发表于 2013-8-22 05:13
发表于 2013-8-22 05:29
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