在场无一人以吉他英雄作为目标，看来是完了一半了
AlexwildWu 发表于 2017-7-3 22:31
玩乐器要静下心来，花大量时间和精力来学习和练习，然而人越来越浮躁，巴不得今天学，明天就能秀起来，在我 ...
你说的有道理。
为什么现在的流行乐都差不多和没有真乐器（吉他/ bass/ 鼓等 ）了呢，就是都贪方便全部在电脑软件内搞定了。
This music production tool is the reason why all new music sounds the same
Shelby Hartman August 03, 2017
Imagine music as a recipe. Would you be able tell whether it had been made with artificially engineered ingredients or fresh produce from the farmer’s market? Canned tomatoes might work just fine—but maybe you wouldn’t know what you had been missing until you tried the same dish with heirlooms, each beautifully misshapen with unique streaks of sunburst yellow.
Drummer Greg Ellis wants listeners to begin thinking about sound like food—as something they physically ingest that has a quantifiable impact on their wellbeing. These days, he believes most people are consuming the musical equivalent of McDonalds: processed, mass produced, and limited in flavor.
A lot of this aural blandness has to do with technology. It begins with the producer who relies on a computer rather than live instrumentalists and ends with the devices we use to consume our music, which cut out the dynamics captured in the recording studio. Ellis, a session drummer who can be heard in the background of Hollywood blockbusters such as Argo, Godzilla, and The Matrix series, is exploring this phenomena in a forthcoming documentary,
深有同感
回收旧吉他，旧音箱，换盆
不管死不死，不管是什么的时代，我根本都不关心。因为反正我一直都得弹。。。
我甚至都不关心死了会不会便宜，因为反正我也不想再买。。。
不夸张的说，现在确实不是一个吉他英雄的年代
死了好，死了好，最好明天就死，反正我是自娱自乐。
呵呵，谁要是标题的这个心态，那就是：吉他已死，钢琴已死，萨克斯已死，篮球已死，摄影已死，钓鱼已死，赛车已死。。。。反正玩啥啥死，这样闲着啥也不用练多好啊{:5_131:}
看了这个文章我在想，我还要不要花钱收把1万5的二手电吉他，再花2万收个箱头。投入那么多，然后没人欣赏，周围人会不会以为弹电吉他的是奇葩
个人觉得，起码在国内，摇滚名存实亡！太不被大众接受了~而电吉他的话，声音不会死，但琴厂只会更难做，因为太多二手市场和声音模拟了！
欲望号 发表于 2017-7-4 11:51
各行各业都过度消费透支金钱资源概念生命加速度跳崖式投胎麻木赴死终要有一场大变革席卷颠覆全人类畜类菌类 ...
好像蛮有道理的,静观其变吧,唉 现在真有点乱世的感觉
https://www.thestreet.com/story/14280618/1/gibson-guitar-may-default-if-company-can-t-refinance-its-debt.html
如在前文内提到的，大 G 债务问题最近更恶化了，再不出招拯救可能不保了
但应该也没什么招了，之前药石乱投地买了很多不相关的业务，都转型不成，反而给烂船加了负累，可能只能把这些业务再贱价卖出去，卖儿救父吧
不会再有吉他英雄了，业余党自嗨就够了
吉他相伴，路上不再寂寞
确实是 现在年轻人去的是夜店 听的是电音 我也快一年多都没来CG逛了。
乐器是音乐产业的附属产品，目前音乐已经不是大众娱乐消费的首选，连音乐产业都已经没有过去的辉煌，乐器也没法逆流而上，所谓皮之不存 毛将焉附。
85年GIBSON易主就是一个证明，在那个长发金属年代，玩重的都选择BC rich, 玩轻的都选择KRAMER，如果不是SLASH横空出世，GIBSON可能就破产了。
唐门唐甜 发表于 2017-8-16 14:42
不管死不死，不管是什么的时代，我根本都不关心。因为反正我一直都得弹。。。
我甚至都不关心死了会不会便 ...
模仿古龙先生吗?
吓的我赶紧逛了逛二手板块压压惊，幸好还有这么多卖家等我攒钱。
木琴一时半会还挺好的，电琴已经混的相当惨淡了，现在的小孩越来越浮躁，根本没法静下心来弹琴，只是偶尔可以碰到真心喜欢电吉他的年轻人了。
诚意收二手usaJkv2老琴能干成色无很特殊要求或几斤全新韩产dean死亡天使或韩产BCchuck，有琴加扣扣2606462973私聊kv2要求蓝火首选
boildoctor 发表于 2017-8-24 14:45
看了这个文章我在想，我还要不要花钱收把1万5的二手电吉他，再花2万收个箱头。投入那么多，然后没人欣赏， ...
今年三十多，周围的人都觉的我玩电吉他花那么多钱就是奇葩。是败家！
AlexwildWu 发表于 2017-7-3 22:31
玩乐器要静下心来，花大量时间和精力来学习和练习，然而人越来越浮躁，巴不得今天学，明天就能秀起来，在我 ...
说得很好，这样的年轻人太多了，太肤浅，不是好事
我都二十多了才决定玩电吉他并打算坚持下去，认识一些朋友多是玩软件录音的，看了文章真担心以后升级大G之类的被骂傻瓜。入门这两年感觉玩电的，喜欢现场的真的少了，但我还是坚持信念（练好琴，买好琴好箱子），哪怕在家自己听。只要觉得值得就可以下手……
#迷笛天堂乐队# @天堂乐队官微 最新MV《有人说摇滚已经死了》正式上线，25周年演唱会开始售票！[并不简单]发布了头条文章：《抢头条的年代，有谁在乎摇滚是不是已经死了？》
VPN挂了，没有办法看到全文。。。有没有盆友能发一下原文啊，我愿意做翻译。。。。
这个话题和趋势是我也早就看到的，感觉很现实但是也很符合逻辑。想看看高端的媒体怎么说。
lyon 发表于 2017-10-10 20:33
VPN挂了，没有办法看到全文。。。有没有盆友能发一下原文啊，我愿意做翻译。。。。
这个话题和趋势是我也早 ...
Why my guitar gently weeps
The slow, secret death of the six-string electric. And why you should care.
By Geoff Edgers
June 22, 2017
The convention couldn’t sound less rock-and-roll — the National Association of Music Merchants Show. But when the doors open at the Anaheim Convention Center, people stream in to scour rows of Fenders, Les Pauls and the oddball, custom-built creations such as the 5-foot-4-inch mermaid guitar crafted of 15 kinds of wood.
Standing in the center of the biggest, six-string candy store in the United States, you can almost believe all is well within the guitar world.
Except if, like George Gruhn, you know better. The 71-year-old Nashville dealer has sold guitars to Eric Clapton, Neil Young, Paul McCartney and Taylor Swift. Walking through NAMM with Gruhn is like shadowing Bill Belichick at the NFL Scouting Combine. There is great love for the product and great skepticism. What others might see as a boom — the seemingly endless line of manufacturers showcasing instruments — Gruhn sees as two trains on a collision course.
“There are more makers now than ever before in the history of the instrument, but the market is not growing,” Gruhn says in a voice that flutters between a groan and a grumble. “I’m not all doomsday, but this — this is not sustainable.”
The numbers back him up. In the past decade, electric guitar sales have plummeted, from about 1.5 million sold annually to just over 1 million. The two biggest companies, Gibson and Fender, are in debt, and a third, PRS Guitars, had to cut staff and expand production of cheaper guitars. In April, Moody’s downgraded Guitar Center, the largest chain retailer, as it faces $1.6 billion in debt. And at Sweetwater.com, the online retailer, a brand-new, interest-free Fender can be had for as little as $8 a month.
What worries Gruhn is not simply that profits are down. That happens in business. He’s concerned by the “why” behind the sales decline. When he opened his store 46 years ago, everyone wanted to be a guitar god, inspired by the men who roamed the concert stage, including Clapton, Jeff Beck, Jimi Hendrix, Carlos Santana and Jimmy Page. Now those boomers are retiring, downsizing and adjusting to fixed incomes. They’re looking to shed, not add to, their collections, and the younger generation isn’t stepping in to replace them.
Gruhn knows why.
“What we need is guitar heroes,” he says.
He is asked about Clapton, who himself recently downsized his collection. Gruhn sold 29 of his guitars.
“Eric Clapton is my age,” he says.
How about Creed’s Mark Tremonti, Joe Bonamassa, John Mayer? He shakes his head.
“John Mayer?” he asks. “You don’t see a bunch of kids emulating John Mayer and listening to him and wanting to pick up a guitar because of him.”
Guitar heroes. They arrived with the first wave of rock-and-roll. Chuck Berry duckwalking across the big screen. Scotty Moore’s reverb-soaked Gibson on Elvis’s Sun records. Link Wray, with his biker cool, blasting through “Rumble” in 1958.
'Rock is the Devil's Music'
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That instrumental wasn’t a technical feat. It required just four chords. But four chords were enough for Jimmy Page.
“That was something that had so much profound attitude to it,” Page told Jack White and the Edge in the 2009 documentary “It Might Get Loud.”
The ’60s brought a wave of white blues — Clapton, Jeff Beck, Keith Richards — as well as the theatrics of the guitar-smashing Pete Townshend and the sonic revolutionary Hendrix.
McCartney saw Hendrix play at the Bag O’Nails club in London in 1967. He thinks back on those days fondly and, in his sets today, picks up a left-handed Les Paul to jam through Hendrix’s “Foxy Lady.”
“The electric guitar was new and fascinatingly exciting in a period before Jimi and immediately after,” the former Beatle says wistfully in a recent interview. “So you got loads of great players emulating guys like B.B. King and Buddy Guy, and you had a few generations there.”
He pauses.
“Now, it’s more electronic music and kids listen differently,” McCartney says. “They don’t have guitar heroes like you and I did.”
Nirvana was huge when the Black Keys’ Dan Auerbach, 38, was growing up.
“And everybody wanted a guitar,” he says. “This is not surprising. It has to do with what’s in the Top 20.”
Living Colour’s Vernon Reid agrees but also speaks to a larger shift. He remembers being inspired when he heard Santana on the radio. “There was a culture of guitar playing, and music was central,” adds Reid, 58. “A record would come out and you would hear about that record, and you would make the journey. There was a certain investment in time and resources.”
The spell of Hendrix and Santana
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Lita Ford, also 58, remembers curling up on the couch one night in 1977 to watch Cheap Trick on “Don Kirshner’s Rock Concert.” She was 19 and her band, the Runaways, had played gigs with them.
“It was just a different world,” Ford says. “There was ‘Don Kirshner’s Rock Concert,’ Ed Sullivan, Dick Clark, and they would have one band on and you would wait all week to see who that band was going to be. And you could talk about it all week long with your friends — ‘Saturday night, Deep Purple’s going to be on, what are they going to play?’ — and then everybody’s around the TV like you’re watching a football game.”
By the ’80s, when Ford went solo and cracked the Top 40, she became one of the few female guitar heroes on a playlist packed with men, including Stevie Ray Vaughan, Joe Satriani and Eddie Van Halen.
Guitar culture was pervasive, whether in movie houses (“Karate Kid” Ralph Macchio outdueling Steve Vai in the 1986 movie “Crossroads”; Michael J. Fox playing a blistering solo in “Back to the Future” and co-starring with Joan Jett in 1987’s rock-band drama “Light of Day”) or on MTV and the older, concert films featuring the Who and Led Zeppelin on seemingly endless repeats.
But there were already hints of the change to come, of the evolutions in music technology that would eventually compete with the guitar. In 1979, Tascam’s Portastudio 144 arrived on the market, allowing anybody with a microphone and a patch cord to record with multiple tracks. (Bruce Springsteen used a Portastudio for 1982’s “Nebraska.”) In 1981, Oberheim introduced the DMX drum machine, revolutionizing hip-hop.
So instead of Hendrix or Santana, Linkin Park’s Brad Delson drew his inspiration from Run-DMC’s “Raising Hell,” the crossover smash released in 1986. Delson, whose band recently landed atop the charts with an album notably light on guitar, doesn’t look at the leap from ax men to DJs as a bad thing.
“Music is music,” he says. “These guys are all musical heroes, whatever cool instrument they play. And today, they’re gravitating toward programming beats on an Ableton. I don’t think that’s any less creative as playing bass. I’m open to the evolution as it unfolds. Musical genius is musical genius. It just takes different forms.”
An industry responds
Tell that to Guitar Center, now $1.6 billion in debt and so fearful of publicity that a spokeswoman would only make an executive available for an interview on one condition: “He cannot discuss financials or politics under any circumstances.” (No thanks.)
Richard Ash, the chief executive of Sam Ash, the largest chain of family-owned music stores in the country, isn’t afraid to state the obvious.
“Our customers are getting older, and they’re going to be gone soon,” he says.
Over the past three years, Gibson’s annual revenue has fallen from $2.1 billion to $1.7 billion, according to data gathered by Music Trades magazine. The company’s 2014 purchase of Philips’s audio division for $135 million led to debt — how much, the company won’t say — and a Moody’s downgrading last year. Fender, which had to abandon a public offering in 2012, has fallen from $675 million in revenue to $545 million. It has cut its debt in recent years, but it remains at $100 million.
And starting in 2010, the industry witnessed a milestone that would have been unthinkable during the hair-metal era: Acoustic models began to outsell electric.
Still, the leaders of Gibson, Fender and PRS say they have not given up.
“The death of the guitar, to paraphrase Mark Twain, is greatly exaggerated,” says Fender’s chief executive, Andy Mooney.
He says that the company has a strategy designed to reach millennials. The key, Mooney says, is to get more beginners to stick with an instrument they often abandon within a year. To that end, in July the company will launch a subscription-based service it says will change the way new guitarists learn to play through a series of online tools.
Paul Reed Smith, the Maryland-based guitar designer, says the industry is just now recovering from the recession that struck in 2009. He points to PRS’s sustained revenue — the company says they’re between $42 million and $45 million a year — and an increased demand for guitars.
“This is a very complicated mix of economy versus market, demand versus what products are they putting out, versus are their products as good as they used to be, versus what’s going on with the Internet, versus how are the big-box stores dealing with what’s going on,” Smith says. “But I’ll tell you this: You put a magic guitar in a case and ship it to a dealer, it will sell.”
Then there’s Henry Juszkiewicz, the biggest and most controversial of the music instrument moguls. When he and a partner bought Gibson in 1986, for just $5 million, the onetime giant was dying.
“It was a failed company that had an iconic name, but it really was on its last legs,” Ash says. “ completely revived the Gibson line.”
Juszkiewicz, 64, is known for being temperamental, ultracompetitive and difficult to work for. A former Gibson staffer recalls a company retreat in Las Vegas punctuated by a trip to a shooting range, where executives shot up a Fender Stratocaster. In recent years, Juszkiewicz has made two major pushes, both seemingly aimed at expanding a company when a product itself — the guitar — has shown a limited ability to grow its market.
In 2014, he acquired Philips’s audio division to add headphones, speakers and digital recorders to Gibson’s brand. The idea, Juszkiewicz says, is to recast Gibson from a guitar company to a consumer electronics company.
There’s also the line of self-tuning “robot” guitars that Gibson spent more than a decade and millions of dollars developing. In 2015, Juszkiewicz made the feature standard on most new guitars. Sales dropped so dramatically, as players and collectors questioned the added cost and value, that Gibson told dealers to slash prices. The company then abandoned making self-tuners a standard feature. You can still buy them — they call them “G Force” — but they’re now simply an add-on option.
Journey’s Neal Schon says he battled with Juszkiewicz when he served as a consultant to Gibson.
“I was trying to help Henry and shoo him away from areas that he was spending a whole lot of money in,” Schon says. “All this electronical, robot crap. I told him, point blank, ‘What you’re doing, Roland and other companies are light-years in front of you, you’ve got this whole building you’ve designated to be working on this synth guitar. I’ve played it. And it just doesn’t work.’ And he refused to believe that.”
Juszkiewicz says that one day, the self-tuning guitars will be recognized as a great innovation, comparing them with the advent of the television remote control. He also believes in the Philips purchase. Eventually, he says, the acquisition will be recognized as the right decision.
“Everything we do is about music,” Juszkiewicz says. “It doesn’t matter whether it’s the making of music with instruments or the listening of music with a player. To me, we’re a music company. That’s what I want to be. And I want to be number one. And, you know, nobody else seems to be applying for the job right now.”
The search for inspiration
If there is a singular question in the guitar industry, it’s no different from what drives Apple. How do you get the product into a teenager’s hands? And once it’s there, how do you get them to fall in love with it?
Fender’s trying through lessons and a slew of online tools (Fender Tune, Fender Tone, Fender Riffstation). The Music Experience, a Florida-based company, has recruited PRS, Fender, Gibson and other companies to set up tents at festivals for people to try out guitars. There is also School of Rock, which has almost 200 branches across the country.
On a Friday night in Watertown, Mass., practice is just getting started.
Joe Pessia runs the board and coaches the band. He’s 47, a guitarist who once played in a band with Extreme’s Nuno Bettencourt and has worked at School of Rock since 2008.
Watching practice, it’s easy to understand why.
With Pessia presiding, the school’s showcase group blasts through three songs released decades before any of them were born.
The Cars’ “Bye Bye Love” blends quirky, new-wave keyboards and barre chords. Journey’s “Stone in Love” is classic ’80s arena rock punctuated by Schon’s melodic guitar line. Matt Martin, a 17-year-old guitarist wearing white sneakers, jeans and a House of Blues T-shirt, takes the lead on this.
The band’s other Stratocaster is played by Mena Lemos, a 15-year-old sophomore. She takes on Rush’s “The Spirit of Radio.”
As they play, the teenagers dance, laugh and work to get the songs right. Their parents are also happy. Arezou Lemos, Mena’s mother, sees a daughter who is confident and has two sets of friends — the kids at School of Rock and her peers at Newton South High School.
“There are a lot of not-easy times that they go through as teenagers,” she says, “and having music in her life, it’s been a savior.”
Julie Martin says her son Matt was a quiet boy who played in Little League but never connected with sports. She and her husband bought him his first guitar when he was 6.
“It was immediate,” she says. “He could play right away. It gave him confidence, in the immediate, and I think long term it helps him in every aspect of his life.”
She remembers her own childhood in working-class Boston.
“I know exactly what he could be out doing,” Martin says. “That enters my mind. We are so lucky to have found School of Rock. He’s there Thursday, Friday and Saturday every week, all year.”
Rush’s prog-metal is not for beginners, with its time shifts and reggae twist.
“They’ve never played this before,” Pessia says, turning to whisper in awe. “The first time.”
So who are these kids? The future? An aberration?
It’s hard to know. But Matt Martin didn’t need to think long about why he wanted to play a Strat as a kid.
“Eric Clapton,” he says. “He’s my number one.”
To Phillip McKnight, a 42-year-old guitarist and former music store owner in Arizona, the spread of School of Rock isn’t surprising.
He carved out space for guitar lessons shortly after opening his music store in a strip mall in 2005. The sideline began to grow, and eventually, he founded the McKnight Music Academy. As it grew, from two rooms to eight, from 25 students to 250, McKnight noticed a curious development.
Around 2012, the gender mix of his student base shifted dramatically. The eight to 12 girls taking lessons jumped to 27 to 59 to 119, eventually outnumbering the boys. Why? He asked them.
Taylor Swift.
Nobody would confuse the pop star’s chops with Bonnie Raitt’s. But she does play a guitar.
Andy Mooney, the Fender CEO, calls Swift “the most influential guitarist of recent years.”
“I don’t think that young girls looked at Taylor and said, ‘I’m really impressed by the way she plays G major arpeggios.’ ” Mooney says. “They liked how she looked, and they wanted to emulate her.”
When McKnight launched a video series on YouTube, he did an episode called “Is Taylor Swift the next Eddie Van Halen?” He wasn’t talking about technique. He was talking about inspiring younger players. The video series, in the end, grew faster than guitar sales or lessons. Earlier this year, McKnight shut down his store.
The videos? He’ll keep doing them. They’re making money.
Guitar videos by Erin O’Connor / The Washington Post filmed with assistance from Arlington County Fire Department. Design and development by Matthew Callahan.
Hendrix-HK 发表于 2017-10-10 21:11
Why my guitar gently weeps
The slow, secret death of the six-string electric. And why you shoul ...
谢谢，收到，我这两天就翻出来。
楼主看一篇报道就说吉他死了，我还可以给一堆报道说吉他销量在增长呢，至于吉他英雄时代，早死了十几年了，现在还拿来说是不是有点太火星了。
我TM弹我的琵琶，你们这群吃瓜群众爱听不听，管你们屁事！不过确实小众啊，浮躁的人太多，不指望娱乐他人，娱乐自己就好
版主你好，我把全文翻译完了，另外发了一个帖子在本版。有空可以看下，谢谢
我就听桶哥，管你什么玩意！桶哥就是我心目中的的吉他英雄！
资本不允许有英雄，吉他死不了。
本帖最后由 Hendrix-HK 于 2017-10-22 19:00 编辑
Gibson 继续衰落，变卖 Memphis的厂房 。
http://cdn.mos.cms.futurecdn.net/bEETiaxCSkTMvSfx5Bwn45-970-80.jpg
Gibson is set to sell its Downtown Memphis factory after 18 years.
According to Memphis Daily News, the guitar company is putting its current factory on the market and seeking to relocate to a smaller premises in the area.
The Memphis factory is predominantly used to produce Gibson’s semi-hollow and hollowbody instruments, and recently announced a relatively small range of new models for 2018.
Gibson’s current Memphis factory measures 127,620 square feet, and also houses a large entertainment venue, as well as a 330-space parking lot. The price? A snip at $17 million.
The company hopes to stay in the current facility for another 18 to 24 months while a new location is found.
Presumably it’s hoped that the sale will go some way to paying off Gibson’s debt, which reportedly approached $520 million in August.
今天微信发这个了~
Hendrix-HK 发表于 2017-8-6 22:10
为什么现在的流行乐都差不多和没有真乐器（吉他/ bass/ 鼓等 ）了呢，就是都贪方便全部在电脑软件内搞定了 ...
那也很好，电脑电音同质化泛滥后。又会追求个性化，差异化。 人工手工又会崛起
jintian235 发表于 2017-7-4 12:17
木吉他传承历史悠久，生命力还是要强一些。电吉他也许一两百年就消失了。 ...
不可能的 除非音乐 消失在地球上 ，只要有音乐就会有电吉他 比如 流行音乐的编曲现在流行音乐 可以没有钢琴 但是必须得有吉他
我觉得G这些吉他大场 的衰落虽说和音乐衰退 有关但和美帝经济大环境更有关吧 一度照相机的出现 使很多人认为绘画将消失 但实际那结果大家都看到了
的确现在 小孩很浮躁但热爱吉他的小孩也不少最少我身边很多 而且家庭条件好了买的吉他更好了很多小孩已入手就万元以上而且很刻苦 所以 目前觉得只是吉他一个低谷 还会反弹 人 谁还没走过背字儿啊吉他场也一样
Hendrix-HK 发表于 2017-10-22 18:59
Gibson 继续衰落，变卖 Memphis的厂房 。
我的天哪，这可不是个好兆头啊
这个东西应该会随着时代的变迁发生改变吧！就像过去的时候古筝、二胡、笛子、琴瑟、琵琶，随着新事物的出现，现在这些东西学习的都少了都变成文化遗产，变的更专业了。现在电子技术的出现，是的电声乐队，逐渐的退出主流，最终电声这一些乐器也就只能变为业余爱好者才会学习的东西。相信数码电子乐等等，在世代变迁中也会逐渐退出，被新鲜事物取代。
