《何时需要一个buffer？》——来自bjfe论坛的全文翻译第二篇
https://bbs.guitarschina.com/thread-2394677-1-2.html《组效果器板指导》---来自bjfe官方论坛的全文翻译
先附上第一篇翻译的链接，希望对朋友们有帮助，也欢迎各位朋友指点翻译不周的地方，互相学习提高。
虽然此篇标题是关于buffer，其实核心问题是吉他效果器系统的阻抗问题，涉及到线材、truebypass、bufferredbypass、效果器输入阻抗等新手甚至老手也经常搞不清楚的问题。
翻译过程中有好几处翻译不周的地方，希望大家指正完善。
Buffers when wouldone be needed?何时需要一个buffer（缓冲）？file:///C:/Users/nitl/AppData/Local/Temp/msohtmlclip1/01/clip_image001.gifby BJF »Tue Mar 25, 2008 9:18 pmHi,
大伙好，
This with wether a buffer is needed and where it should go if needed and whatthe effects of buffers would be and what kind of buffer would be needed is asubject that pops up now and then and it is a subject with many levels, andbelow are some answers I have given on occations
“是否需要一个缓冲”“缓冲应该放在哪里”“缓冲是个什么效果”诸如此类的话题最近变得很热门，而且这些话题又深浅各异，下面是我有次回答这些问题时给的答案。
Let's start with pick ups.让我们从拾音器开始。
Most guitar pick ups are of the passive kind, made from a coil of wire, and amagnetsystem and some mechanical parts to hold the contraption together大部分吉他拾音器是被动式的，由一个线圈、一组磁棒和一些结构部件组成。
Due to the coil the pick up then gets an impedance that rises with frequency. It'san impedance as it contains several 'ghost' parts as in the wire resistans thatis measured in Ohm's or more often KiloOhms which makes the unit more managableand this is also what one easily can measure with a DVM or VOM, but then itbecomes tricky as there is also an inductance, interwire capacitans, anpossibly metalparts that add to the inductance and so a complex filter isformed: a lowpassfilter with resonans.
由于线圈的作用，拾音器的阻抗随着频率的提高而增大。这个阻抗不仅指线圈的电阻值，这个可以被欧姆表直接测得，更有意思的是，这个阻抗还包括线圈的电感值和金属部件附加的电容值，这一切让拾音器变成一个有共振的低通滤波器。
Now just keeping the last part in mind the peak of the resonans is affected bythe loading it sees.
Loading here means anything that is connected across the poles of the pick upso that means potentiometers tone capacitors, capacitans in the cable thatconnects the guitar to first amplification stage( really this can be a fuzz ora buffer or amplifier input or.......)
前面一段话我们只需要记住最后一句，这个低通的共振峰值会受负载的影响。这里的负载指的是任何连接在拾音器上的东西，像音色调节电容（就是吉他的tone旋钮部分）、吉他和第一个音响部件之间的连线的电容。*讲人话，就是吉他（包括吉他上的tone旋钮）还有吉他到第一个通电的效果器（如果没有效果器，就是吉他到音箱）之间的所有连接线和没通电的效果器，都会影响拾音器的共振峰值，从而影响吉他的tone，只不过tone旋钮是人为主动可调节地吃tone，而过多的效果器链和吉他连接线是被动的不可控地吃tone。In a pedalboard system all capacitans inthe cables add up as the appear in parallell with eachother, like this firstcable 50pF, second cable 50 pF and if we stop here total capacitans is 100pF.
对一个效果器系统来说，所有线材的电容相加即可。比如第一根线的电容是50pf（皮法），第二根线的电容也是50pf，如果效果链到此为止，那么总共电容就是100pf。*pf——皮法，电容的最小单位，这个单位非常小，从侧面反映了吉他的tone非常容易受线材和未通电的效果链的电容影响。If all pedals in the system are truebypass,all cable capacitans adds on.如果这个效果链里面所有的效果器都是truebypass，那么这个链里面所有的线材电容均需要相加。*方便码字，下文中truebypass均简称TBP，bufferedbypass均简称BBP
This then appears in parallell with the controls inside the guitar and theinput network on the amplifier.吉他中的控制电路和音箱的输入电路也同理。Often it is desired to tune the resonans ofa pick up. There are examples of guitars with preamps to the pick ups in aneffort to make as pure tone as possible, i.e Les Paul Recording, but musicianstend to want a voice from there instrument. There's another example of theLevin Horseshoe pick up that could reproduce signals up to 40KHz- well it wasthe time of treble guitar maybe this example was for the dogs, as normal humanhearing only extends to about 20KHz if ears are in good condition.通常来说拾音器的共振值是设计在最佳值上的。下面有一个例子，为了尝试获得最纯净的音色，选择吉他直插前级，乐手们倾向于想要一个来自LesPualRecording的声音。还有另一个例子，LevinHorseshoe的拾音器能够发出40KHz的信号，然而这把吉他的高频也许是弹给狗听的，因为普通的健康人耳的极限只有20KHz。*这段有点难，意译了，可能有内容错漏，望指正
I don't know about you, but I'd tend to define treble into useful treble thatis just a bit lower than I actually can hear. There's just this point whereintelligence is affected. Here's an experiment if you compare just the delaysignal of a BOSS DD2 ( most any digital delay would do fine), with the straighttone, do you find that you have lost any treble? Let's for the sake of thediscussion exclude the influence of the buffers and just toggle effect on andoff.对于你来说我不清楚，但是对我来说，我更倾向于把高频定义成有用高频，有用高频比我实际能听到的极限稍微低一点点。这个点就是影响理解的点。这里有个试验，我们对比Boss DD2（大部分数字延迟都可以做这个试验）和直通的tone，你是否发现损失了一些高频？为了方便讨论，我们去除buffer的影响，而仅仅比较效果器开和关之间的高频差别。*即吉他>BOSS DD2>音箱，对比DD2开和关两种状态下的高频差别。
If you'd do the same thing with an analog delay of standard type what do youfind?然后再对比一个模拟延迟或者一个磁带延迟，你会发现什么？
This effect should perhaps be more evident if you'd throw a tapeecho in theretoo.
这个效应也许给你扔掉一个磁带回声（tapeecho）效果器增加了一个理由。
All will affect high treble to some extent, but there may also be a level ofnothing really important lost.
所有这些都会在高频上有不同程度的损失，但是所有这些损失听起来并不重要。
I can say difference between buffered and unbuffered systems can be quitesignificant, and I have also used a 'silent' pedal in my own system for years.It's an old Ibanez that has the 'vandal' switch.我能说一个有buffer的系统和一个没buffer的系统差别是巨大的，但是我也曾经在我的效果链里放一个不出声的效果器很多年，那是一个ibanze的效果器，他有一个vandal开关*就是ibanze的效果器的开关是bufferedbypass，bj本人为了在他的效果链里加buffer，就把这个效果器放在效果链里，但是他从来不开，只是当做一个buffer来用。
Sometimes it flickers or seem hard to turn on but then I use it always onanyway file:///C:/Users/nitl/AppData/Local/Temp/msohtmlclip1/01/clip_image002.gif有时候这个效果器接触不良难以踩亮，然后我就把这个效果器常开。
It has the OP amp buffers and does cut a bit tone, but not harder than that Ican set things fine with the tonecontrols on amp- actually there's a slightloss of high treble, while no loss in signal strength or voltage. This onepedal I've had in the loop of amp for years when uisng ampdistortion and on astring on the floor when using pedals in front of amp.
这个效果器有运放buffer，也确实会吃一点点tone，但是我通过音箱上的tone旋钮把音色设置好并不困难。实际上，这么做虽然会损失一些高频，但是信号的强度和电压没有损失。许多年来，当我用箱头失真时我就把这个效果器（buffer）放在音箱loop里，当我在音箱前有效果器时，我就把这个效果器（buffer）串在效果器链最后。*on a string不太明白什么意思，瞎猜了
When on a string this would be the only buffered pedal I have and that at theend of the string and so what guitar I use would be loaded in bypass by thecable from guitar and interconnecting cables between pedals while the totallength of those is about 1m. The resulting capacitive load on the guitar isthen 760pF- yes I could use a cap in each guitar or to each pick up on eachguitar to tune that and use 6meters of George L with the same result, but thecable I have and use has better dynamics file:///C:/Users/nitl/AppData/Local/Temp/msohtmlclip1/01/clip_image002.gif as in how it folds on thefloor and it's red so I can easily spot it当我把这个效果器放在效果链最后的时候，这个是我效果链里唯一的一个buffer，所以我吉他的负载就是从吉他至效果链末端的所有导线，总长度大约是1米，总负载电容是760pf。我确实可以在每个吉他或者拾音器上按上帽子（？）来调整（电容值），或者使用6mi的George L线也会有相同的结果，但是我用的线有更好的动态，而且因为这根线是红色的，让它在地上折起来的时候我很容易发现。*可能意思是线的功能性除了电容以外也会影响动态As long as the resulting sound is fine.
只要出来的声音对
Oh yes, I have had 6 BOSS pedals and someother similar effects in terms ofswitching on a string several years ago and the merits of the switches werethat they were extremely durable and utterly silent while the merits of thebuffers where that only the first cable from guitar to first pedal entered asload and so system was very easily controlled in terms of loading alsointerconnecting cables were dampened by being driven from a low impedancetheoretically but hard to define by this quality alone.
是的，几年前，我的效果链里有6个boss单块和一些其他的有类似开关（bufferredbypass）的效果器，这些开关的好处是他们非常耐用并且没噪音。理论上来说，吉他的负责只有吉他和第一块单块之间的导线，系统之间的导线也都在低阻抗下工作，所以整个系统的负载很容易控制。但是，单单从这个角度来评价系统是困难的。Drawbacks were that signal volage wasdropped a bit by each pedal-notiacble when entering a highimpedance like a tubeamp but the BOSS pedals could drive low impedance loads as in older effects orstudioquality gear that otherwise would muffle the guitar by loading- here thebuffers isolated the load so that the guitar only saw the buffered input andnot the a lot lower impedance of EH and Oberheim et.c effects.
过多buffer的缺点是当信号进入一个像电子管音箱这样的高阻抗设备时，信号电压会随着效果链的增长而降低，但是boss单块和一些工作室等级的设备能在低阻抗环境里依然运行正常，否则（信号电压的降低）会让吉他声听起来像蒙住一样。因为buffer孤立了关注了吉他的负载，而忽略了许多像EH和oberheim这样的效果器有着更低的阻抗。
While the switching was silent and mechanically sound, the headroom andfrequency response of the total system was lowered in bypass maybe most by theCE-2 and the Graphic EQ, both using noisereduction systems.
虽然这些开关是安静的和有机械声的，但是整个系统的headroom和频响会被降低，尤其是当使用CE-2和Graphic EQ这种有降噪系统的单块。
One thing that was devestatingly obvious was that only one gainpedal at a timecould be on or sound would get separated- Yes I had and OD-1 and a DS-1 and wetdreams of what these could do together............but not.........didn't work
有一间特别明显的事情是，增益效果器通常只能单个使用，我以前有个OD-1一个DS-1和一个wet dreams，他们确实能同时开始，但是音色像屎。* wet dreams应该是个增益单块，别去淘宝搜，会搜到奇怪的东西=。=
At the time of arrival of BOSS pedals they were indeed a giant step ahead indurability.不过当时的boss单块在经久耐用上真的是做得非常好。
Even so the Arion and EH pedals et.c had more of an organic sound, while theBOSS pedals and also Ibanez to some extent more of just streamline-'it'll work'type of sound and they still do.虽然arion和eh等品牌的单块能做出更舒服的声音，但是boss和ibanez的单块某种程度上来说已经不单单是流水线产品了，他们的声音更具适应性，并且现在也是。*organic在测评类文章和视频中经常能见到的字眼，不知道怎么翻译合适，希望有大师能指点一下。我自己的感觉是，organic的声音是那种有空腔感共鸣感有厚度的声音，相对于叽叽嘎嘎的那种薄脆感来说的。**it’ll work 作者单独打了引号，个人理解应该指的是单块的适应性，有的单块单独用很好，但是和别的单块或者和箱头一起用的时候非常难用。
It would be hard to say one could not be satisfied with a couple of BOSSes orIbanezes, though I'd lean towards BOSS since they make better mechanic senseand besides one of my early guitarhereos had a BOSS OD-1- great sound.......即使排除这些效果器的机械部件感觉更好和我早年心中的吉他英雄使用boss od-1这两点主观倾向，boss和ibanez的效果器的用户体验通常来说也是相当不错的。
Now it is sometime quoted that there's a plastic quality with the silentswitching pedals,and part of that may be that these are ready and processedsounds.One thing to remember though is that most of these silent switchingpedals are tuned to work with Marshall JCM 800 and JCM 900........
现在这种静音开关有时会被诟病说声音有一种塑料质感，部分原因可能是这些效果器一直处于一种准备发声的状态。即使如此，仍然可以有个小tips，这类静音开关和Marshall JCM 800或者JCM 900一起用通常效果不错。
Would this have anything to do with switching method?开关形式究竟有什么影响呢？
Well as seen above there can be drawbacks in terms of headroom and frequencyresponse, and signal losses.Internally there can be leakage through thepseudoground et.c. and the dynamic range of a J-FET as used as a switch islimited.
正如前面所说的，BBP开关会劣化headroom和频响、造成信号损失。对内来说，它还会在伪地线上造成泄漏，并且当J-FET用作开关时，它会限制J-FET的动态范围。*伪地上面的泄漏不太懂，意思是会漏电？** J-FET搜索到的是结型场效应晶体管，具体是个啥，用在哪，不太懂……
Ah, there's nothing particurlarly wrong with the typical buffer used in suchpedals except possibly that they'd have a voltagegain less than one, typically96 to 98% of the inputvoltage will remain at the output of just one buffer- nowyou will get current gain, but that's another story...........除了这类buffer可能会降低信号电压以外并没有其他缺点，通常当只有一个buffer的时候，输入电压在输出端可以保留96%~98%。然鹅，（以电压为代价），你增加了电流，当然，那是另外一回事了。
With just one pedal and thus two buffers and considering there may be a load atoutput things may just be a tad better with the circuit in line......guitarsdon't like to drive lineinputs et.c.and so there can be losses due to loadingthat the buffers will isolate from
考虑到输出端的负载而在仅仅在一个效果器前后各串一个buffer仅仅只会改善一点点。吉他系统不适合用线路输入，因为线路输入会在负载上发生损失，而buffer能够隔离这些负载。*line input：线路输入即非平衡线路。相对于平衡线路，非平衡线路会随着线路长度的增加发生信号损失，也就是吃tone。原文中此处并非是让我们把吉他线路都改成平衡线路，只是指出非平衡线路的这种特性，提醒要避免这种损失，因为吉他和效果器和吉他音箱线路天生就是非平衡线路，强制改成平衡线路是不现实的。Anyway if you'd run a system of 6 typicalsuch pedals containing two buffers each at a total of 12 buffers each having avoltage gain less than 1 times you would as an example entering 1Vget at theoutput of the last stage- now assuming a medium gain of 98% this
1Vx0,98x0,98x0,98x0,98x0,98x0,98x0,98x0,98x0,98x0,98x0,98x0,98........roughly785mV
总之，如果你的效果器系统有6个单块，每个单块前后都串一个buffer，那么总共有12个buffer。每个buffer会产生2%的电压损失。那么当输入电压是1V时，输出电压会降低到0.98^12=785mV。
If what you drive is a tubeamp input it will react to voltage........oops;)如果最后你接入一颗电子管箱头，那么这个电压损失对音色绝对会有影响……尴尬
What if you want to drive your amp's input just so it steers out?那么如果你还想照常驱动你的管箱
Oh well, you can always add a booster...........
好吧，你可能需要一个常开的booster……
Oh and it could be a bit worse too, if voltage gain of the buffers were to besay 96%.........and then perhaps more than 6 units are connected...........
但是如果buffer的电压损失是4%又或者效果链大于6个单块，那么这个影响将会更糟糕。
However with 6 silentswitchers in a row losses would be constant and settingson the amp could easily compensate- everybody happy , everybody wins..............
然后6个静音开关并列的损失是固定的，只需要适当调整音箱的设定就能轻松补偿（这个损失），大家都舒服，双赢~
Back to loading in pedalboard systems, the most noticable effect of loading isjust loss of treble.那么我们回到效果器系统里的负载，这个负载会明显的影响的就是高频损失。
Now if there is a level of tolerable or even wanted losses, the use of buffersin such a system may totally depend on user preference.
那么如果我们对这个高频损失有一定的容忍度甚至是希望一部分高频损失的话，在效果器系统里使用buffer则完全取决于使用者的喜好。
Let's assume system with a couple of pedals, that are all truebypass, mediumlenght of cables and desired pick ups in guitar.我们假设一个系统有若干个单块（全部是TBP）、中等长度的连线和装备恰当拾音器的吉他。
Worst case of losses would result when all pedals are bypassed.If there are nodetected losses or let's say nothing troublesome, then a buffer may beredundant.那么对这个系统来说，最不利情况就是全部单块都旁通。如果这时候没有感觉到有什么损失，或者说有损失也没觉得不舒服，那么此时就不需要考虑增加buffer。
Now if sound changes when going through the whole system like described, then abuffer may be needed.那么如果通过上述系统时，声音发生了变化，那么你可能需要一颗buffer。
There can be this scenario that introducing a buffer in a system nulls lossesto such an extent that sound has more treble- sometimes this would bedesirable.
也可以有这样的想法：在一个系统里增加buffer来减少损失一些损失来达到提升一部分高频的效果。有时候效果还挺好的。
Buffers are problem solvers, but if you don't have a loading problem a bufferis just a piece of electronics.
buffer是为了解决问题，如果你没有负载问题，那么buffer对你来说就仅仅是个摆设。
As I see it strings to speakercloth and what's in between is the instrument andyou may tune all buildingblocks to your ear and vision, not by an exact rule.
但是总的来说，如何去搭建一个效果器系统还是根据你的耳朵和想法来，不要去照搬某个规则。*意译了，前半句看不懂
It is actually a good question wether a buffer needs to be a dedicated unit.Any pedal run always on becomes a buffer, though it also may do other things.For instance if you run a compressor always on, perhaps set mildly, theneverything downstream from the compressor will be driven by the compressor,while your guitar sees the input of the compressor, so in that case a dedicatedbuffer would be redundant.( that's if the compressor does not need a buffer towork it's best, which would be highly unlikely).
实际上是否需要专门在效果链里串一个buffer是个好问题。虽然效果器各有用途，但是只要某个效果器开启就能充当buffer。举个栗子，如果你有一个常开的压缩，可能设置的比较温和，那么所有在这个压缩下游的效果器都会由这个压缩来驱动，吉他只是看做压缩的输入。在这种情况下，单独设置一个buffer是多余的，除非这个压缩需要一个buffer才能工作的比较好，然而这种情况不太可能发生。Most compressors have high enough inputimpedance to make negliable load on pick ups, this would be all pedalcompressors I can think of, though there are rack mount compressors thatactually may require a buffer to be used with guitar.我能想到的压缩单块大部分都有非常高的输入阻抗来让拾音器负载变得可以忽略，虽然确实有一些机架式的压缩是需要一个buffer的。
In most cases though a buffer will not be needed ahead of a compressor and if abuffer is used in such a position it needs to have really low noise as thecompressor cannot distinguish noise from useful signals.
大部分情况下，压缩前面并不需要一个buffer，如果确实需要在压缩前放一个buffer的话，这个buffer需要非常低噪，因为压缩并不能识别信号中的噪音（而放大噪音变得不易操作）。
Placement of buffer depends on where the undesirable loading takes place.
在哪里放buffer取决于你不需要的负载出现在哪里。
An example:举栗子：
You'd like to use a Maestro Phaser. This is an older unit with rather low inputimpedance and it will degrade your sound if left hanging as well as when on.你喜欢用Maestro Phaser，但是因为这个相位效果器的输入阻抗相当低，所以无论它是否开启，只要它存在在你的效果链里，它就会对音色产生负面影响。
Placing a buffer just a head of the Maestro reduces the loading and makes itnegliable. Hm, so then the rest of the system has short cable runs and no otherlosses are present. The buffer may then make sound a little brighter if left inchain......one solution can then be to place a buffer inside the Maestro orplace the Maestro driven by an external buffer in a truebypass loop.
这个时候我们可以放一个buffer在这个相位前面来减少负载到可以忽略，酱紫以后，系统里其他线都用短线，那么就没有其他信号损失了。留这个buffer在效果器链里可能会让音色亮一点点，所以一个办法是在这个相位里植入一个buffer或者把这个相位和buffer一起放在一个TBP loop里。
Again if a compressor or other pedal like an eq is on at all times there shouldbe little chance of loading as either would also act as buffer when on.
再简单总结一下，如果你有一颗常开效果器比如压缩或者EQ之类的，那么它就可以充当一个buffer，我们也不太可能会有负载问题。
Hm, you might want to be cautious with using a buffer at the beginning of asystem if at least one of your effects capatilizes on loading the pick ups forbest effect...........again if you hear no losses you can't stand then allwould be fine.如果你的某个效果器需要在拾音器负载下才是最佳工作环境，那么在效果链最前端设置buffer时候需要小心，不过还是那个原则，只要你听不到什么不能忍的损失，那怎么弄都没毛病。Hm, well you can't clean up all 'sins' at theend of chain. Losses happen along the way and sometimes you really want themtoo: if you'd play Hendrix system with George L's you'd have one shrill tone
当然，你不能排除所有的信号损失，因为信号损失在系统每处都在发生，有时候你甚至还希望有一些信号损失：假如你用George L’s的线串hendrixsystem效果器，那么你会得到一个很尖锐的音色。（这个意思是举反例，不要这么搞，线材和buffer一样要根据音色需求考量，无脑用贵的不一定会得到想要的音色）*dunlop出过一套hendrix system效果器，此处可能指的是这个，也可能指的只是去用hendrix形式的效果器组合The loading your guitar sees would be thefirst cable and if all effects are bypassed also the cables between the pedalsand then if a buffer is last pedal that will be the final piece of loading tothe guitar and if there's no buffer at the end then with all pedals bypassedalso the cable to the amplifier and finally the input of the amplifier becomesa part of the load.
通常来说，你的吉他负载是指插在吉他上的那根线；如果你的所有效果器都旁通的话，那负载还需要包括效果器之间的连线；又如果在效果链最后是个buffer，那么这个buffer是吉他的最后一个负载；再如果你连这个buffer也没有，那么从吉他到效果器到音箱的所有连线包括音箱的input都会变成负载（造成吃tone）Now most likely the longest cable in yoursystem is the one that leads from board to amplifier and any loading that giveswould be isolated if there's a buffer in the chain driving that cable or thecable becomes a part of total load .一般来说你系统里最长的线是从板子到音箱的那根线，要么在效果链里串一个buffer来孤立这根线的负载，要么这根线会成为负载的一部分。I think you would know if you need a bufferand most notably by missing treble as in a dull sound- then your guitar mayneed less loading.我想你可能应该知道你是否需要一个buffer了，最明显的是丢失高频把音色变闷，又或者你的吉他需要减负了。You can select your cables so there isminimum loss and in fact 'hifi' is rarely wanted in guitar systems你可以仔细选择线材来最小化各种信号损失，但是实际上“hifi”概念在吉他中并不总是适用*其实bj一直在强调不要无脑用保真线材，可能用意是线材也是音色的一部分，在塑造音色上来说，应该整个系统去考虑，关注的是出来的音色好不好，而不是线材是否高保真。Note that some drives and fuzzes et.c thathave a lot of gain also have a low inputimpedance to minimize stray noise andmaybe also as a filter effect and such pedals may be quite bright if drivenfrom a buffered output.需要注意的是，一些效果器比如fuzz等，有很高的增益和很低的阻抗来最小化杂音，一个滤波效果器也可能是类似的。这些效果器如果放在buffer之后可能会显得音色过于脆亮。Yes the input impedance will have greataffect on the pick ups（效果器的）输入阻抗会很大程度上影响拾音器。A few examples a Fuzz Face style pedal willhave an input impedance in the range of a couple of Kilo Ohms and this loads ane.g, strat pick up so that a lowpassfilter is formed, something that makes thistype of pedal much denser in the bass then in the treble.举栗子，fuzz face类型的效果器的输入阻抗在几千欧姆之间，这个负载和st琴型的拾音器（可能就是指单线圈拾音器）一起组成一个低通滤波，使得这类效果器会让低频比高频糊的多。The lowinput impedance will also load thetaper of the volume control making a rapid control range.......这个低输入阻抗还会锐化吉他的音量控制旋钮，使得音量旋钮的控制变得很陡峭。*可能指的是fuzz的clean up玩法，很多人用吉他音量钮来控制fuzz度，可以在不改变效果器设定下获得clean到overdrive到distortion到fuzz各种音色，我个人也乐此不疲=3=Anything lower as a load than 500K Ohm'swill affect the resonance of the pickups notably in conjunction with the guitarelectronics.任何和吉他连接的小于500K欧姆阻抗的部件会显著影响拾音器共鸣（此处的影响显然指的是恶化，需要极力避免）If load is as low as 10K Ohm's about all ofthe resonant peak of a standard guitar pick up is flattend-- could be an asseton the bridge pick up of a strat.....如果负载阻抗在10K欧姆左右将会抹平一个标准吉他拾音器的谐振峰，比如一个st吉他的琴桥拾音器。Have fun祝大家都有好音色BJ
相当的好文，直通、缓冲放大的特点和用途，包括线材电容值的影响，整体的音色系统协调。 楼主辛苦!感谢楼主分享! slash-7 发表于 2017-12-14 15:41
相当的好文，直通、缓冲放大的特点和用途，包括线材电容值的影响，整体的音色系统协调。 ...
谢谢，沙发君 119000 发表于 2017-12-14 16:18
楼主辛苦!感谢楼主分享!
谢谢朋友啦，我再去物色物色有意思的文 潇潇童鞋 发表于 2017-12-14 16:45
谢谢朋友啦，我再去物色物色有意思的文
挺好的希望能多翻译 关于BJ老爷子的~
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