电容-改造音色的重要手段
最简单、最有效、也是最便宜的改造音色的方式, 要数更换电容(capacitor 下文简称Cap)
在开始讨论这个小家伙的时候, 我们先说一说以下几个问题
[*]什么是电容?它是如何工作的?[*]不同数值的电容会对音色产生怎样的影响?[*]电位器和电容又有什么关联?了解这些问题可以帮助你选择合适的电容、并且尽可能的提高音色的品质.
电容简单说来就是
一种存储电流能量的被动式的电子元件.两个平行的金属板即构成一个电容器。电容也有多种多样，它包括固定电容，可变电 容，电解电容，瓷片电容，云母电容，涤纶电容，钽电容等，其中钽电容特别稳定。电容有固定电容和可变电容之分。固定电容在电路中常常用来做为耦合，滤波， 积分，微分，与电阻一起构成RC充放电电路，与电感一起构成LC振荡电路等。可变电容由于其容量在一定范围内可以任意改变，所以当它和电感一起构成LC回 路时，回路的谐振频率就会随着可变电容器容量的变化而变化。一般接受机电路就是利用这样一个原理来改变接收机的接收频率的
这些看上去很深奥的理论对于吉他手有用吗? 其实一点用也没有, 我们只要记住一点就好了, 就是 电容会改变信号的频率.
数值(uf)越高的电容, 就会令声音越暗. 电容的单位一般称作farad, 法拉, 而一般我们看到的是uF, 读作miu法. 这个是我们选择电容的时候最重要的参数. 另外一个参数则是V, Voltage 伏特. 这个数值只是 标明电容耐压程度. 一般我们可以在吉他上使用非常非常低V的电容, 因为电吉他所产生的电流都是以毫伏计算的. 一般来说V数高的电容体积都会很大, 而有些大到根本装不进吉他的电路仓. 从经验上来讲, 小体积的电容带来的音色相对来说会有轻微的颗粒感, 这个是很细微的感觉, 但是通过与大体积的电容得仔细比较还是可以听得出来的.
在早期的Fender吉他, 多数都是用了.1uF或.05uF的电容. 对于吉他来说, 这个数值可不算低了. Gibson则采用了0.02uF的电容. 大数值的电容会使单线圈拾音器音色变暗, 小数值的电容会使双线圈拾音器音色变亮, 正好说明了他们都是为了获得一种音色的平衡.
当你关小音色旋钮(电位器)的时候, 信号会从音量电位器连接到音色电位器. 随着Tone旋钮的关闭, 一部分高频会接地, 带来的结果就是信号中的高频逐渐消失. 电位器的数值同样影响音色. 一般数值低一些的电位器(比如250k)会比500k或者1M的电位器损失更多的高频信号. 即使你得音量旋钮完全打开的时候, 也会损失掉一部分的高频信号. 另外, 250k的电位器使用起来的效果会感觉更平均、更线性, 而1M的电位器从全打开到全关闭, 你会发现好像只有后1/4有效果.
另外如果你弹过fender的Esquire你会发现, 音色切换档在Lead的位置的音色更加的亮而且生动, 动态也更好. 相比而言在中间位置的时候则要暗淡一些. 这其实正好是一个比较, 同样的拾音器有音色电位器和没有音色电位器的区别.
Ok, 基本上我们有了一些关于电容、电位器、和吉他电路的简单知识， 你可以开始尝试着给你的吉他换一换电容来感受一下不同的设置带来的结果.我建议各位不要尝试大于0.1uF的电位. 因为数值过高的电位器会损失很多高频和动态. 一般来说.1uF的电容的音色会暗淡、温暖, 一般爵士乐手都喜欢这个数值的电容, 或者.047uF的电容(可以得到更多的清晰度, 但是仍然很暗而又不是温暖). .022uF的电容一般最适合Rock, Blues和流行风格. 你可以通过调整音色旋钮得到著名的"Woman Tone". 这个数值的电容对过载音色的表达也是最好的.
此外, 你还可以尝试更小数值的电容, 比如01uF, .0068uF, .0047uF, .0033uF 或者 .001uF. 每一种声音都不一样, 不过要注意的是, 这样的电容出来的音色可能就不是传统的你经常听到的声音了. 因为大多数厂家使用的都是.047和.022的电容. 不过你可以尝试一下, 你会找到最适合自己的.
当然, 不同品牌的电容也有不同音色的声音. 常见的牌子有Orange drops, Hovland, Jenson, Bumblebees, Luxe repro, 磁片等等. 如果你想问那个更好更适合你, 我建议你还是自己试试.
[ 本帖最后由 竞霄 于 2009-3-11 17:52 编辑 ] 自杀 自杀 沙发怎么可以不留给我呢！！顶了再看，这回又要长见识了 顶黎明
我想把我的老款大头SQ改个电容
我想的声音是清脆而且温暖的 麻烦黎明帮我提议个uF值是多少！
还有这些电容在普通的音响铺有卖的吗？还是要专门订购的？
谢谢！ 不错，这个很有点意思！学习了！这才是好文章！ 原帖由 CARSONlee 于 2009-3-11 17:33 发表 http://bbs.guitarschina.com/images/common/back.gif
顶黎明
我想把我的老款大头SQ改个电容
我想的声音是清脆而且温暖的 麻烦黎明帮我提议个uF值是多少！
还有这些电容在普通的音响铺有卖的吗？还是要专门订购的？
谢谢！
我回家试试~ 谢谢！
期待答案！ 现在 很学术么~~娃哈哈哈 学习了。不过瓷片，油泡纸，其他电解电容是材质不同，音色自然不同，不是牌子。
请大家看看这篇关于GIBSON的PAF的文章。我想会对想改GISBO的朋友有一定帮助的。
The PAF legend was born during the recording sessions of amazingsongs by Jimmy Page and his PAF equipped 1959 Les Paul, by the bluesbased tones of Mike Bloomfield and Eric Clapton and their Les Paulguitars, by the blazing guitar leads of Eddie Van Halen and his rewoundPAF in his parts guitar, by the blues-based rock of Billy Gibbons of ZZTop and his Pearly Gates flametop with PAFs, as well as other musicartists. The PAF story has a life of it's own. Some of the storiesabout PAFs are true, some myth and some created from outright poorconclusions. Not all original PAFs are made the same. Here's part 1 ofthe PAF story:
The HistoryBy the mid-1950s, Gibson wanted to counter the latest electricguitars introduced by competitors and especially those by Fender. LeoFender had built a company from nothing in the mid-1940s to asubstantial factor in the solid-body guitar market. Gibson believedthey could beat Fender and other rivals for market share by developinga low-noise pickup. Players loved the sound of Gibson's P-90 andFender's single-coil pickups, but they also put up with the 60-cyclehum (noise) inherent in their respective designs.
Gibson's management assigned this important task to one oftheir engineers, the late Seth Lover. Seth's subsequent design andpatent changed guitar playing and music recording history. Let's leavethe heavy technical discussion for another article and understand thebasic design: Seth connected two single coil pickups in series.However, he connected the coils out-of-phase electrically andmagnetically. Thus, the signal is passes through the pickup minus muchof the noise or hum. That is how the pickup Seth designed came to beknown as the humbucker.
http://www.flyingvintage.com/gcmag/graphics/pafPATENT.jpg
Gibson Humbucker Pickup PatentSeth's pickup patent was filed on June 22, 1955. Gibson addedthe new pickups to steel guitars in 1956, and in 1957 on electricsolid-body and arch-top guitars, including the popular Les Paul Model.During 1957, a small black decal with gold lettering was added to theunderside of the pickup. This decal read, "PATENT APPLIED FOR". Later,as the vintage guitar market evolved from savvy recording artists tolocal musicians, these pickups became known as the 'PAF'.
http://www.flyingvintage.com/gcmag/graphics/paf3.jpg
Gibson PAF DecalSeth Lover received his approved pickup patent, #2,896,491, onJuly 28, 1959. By late 1962, Gibson changed the decal to read, "PATENTNO 2,737,842". It is interesting to note that the patent number listedon the decal was not for the pickup design, but for Les Paul's trapezetailpiece. One can assume Gibson was creating a research roadblock forthe competition. Or, was it simply a typo? The competition idea seemsmore credible, but silly, as these new decals appeared 7 years afterthe pickups were first installed on Gibson's instruments.
http://www.flyingvintage.com/gcmag/graphics/paf5.jpg
Patent Number DecalThe Making of a PAFBetween 1959 and 1960, Gibson made PAF pickups with white and blackplastic bobbins. Prior to this point in time, both of the bobbins wereblack. These oblong bobbins are exposed when the pickup's metal coveris removed. Thus, some PAFs are referred to as double black (two blackbobbins), zebra (one black and one white bobbin) and double cream (twowhite bobbins). Because collectors and players want the rarest possibleinstruments, amps, parts, etc… vintage double cream and zebra PAFscommand higher prices that the more common double black pickups. Thesevariations of PAF pickups with cream bobbins are also in their primeperiod of construction from 1956-1960. The bobbin's color does notinfluence the sound of the pickups. It's purely cosmetic, but creates avery cool image.
http://www.flyingvintage.com/gcmag/graphics/paf1.jpg
Double Cream PAFFrom 1956 until sometime in 1961, Gibson used different Alnicomagnets in their PAFs. Alnico magnets (composed primarily of the alloysALuminum, NIckel, and CObalt) come in a variety of grades based ontheir magnetic strength. Gibson used the same magnets (size and grades)available for their P-90 pickups. It seems Gibson randomly used Alnico2, 3, 4 and 5 grade magnets in PAFs until 1961. The higher the magnet'snumber, the higher the magnetic strength. By 1961, Gibson beganconsistently using a smaller size Alnico 5 magnet. Generally speaking,decreasing the flat (top) side size of these magnets decreases thepower of the pickups.
As for wiring, Gibson used a braided shield wire for connectionto the control pot. The pickup bobbins were wound with #42 (plainenamel) wire. The bobbin wire appears purple versus later versions thatappear reddish. Gibson eventually switched to polyurethane coated wirearound 1963. The capacitance of the coating is determined by thicknessand material composition, and this influences the sound of the pickup.When coatings change, the sound signature of the pickup can change.
The amount of wire (and coating) wound on each bobbindetermines the DC resistance and other factors, including soundcharacteristics. When the bobbins are wound with more than a nominalamount of wire, the more power they exhibit, thereby sounding fatter inthe midrange with less treble. The resonant peak of the pickup changesas more or less wire is used. Due to human intervention and thewide-tolerance of the winding machines and the test equipment used byGibson from 1956-1961, PAF pickups during these years usually measurebetween 7.5 - 9.0 thousand ohms (K ohms). I have measured an original,unaltered 1960 PAF in the neck position of an ES-335 guitar at 10.0 Kohms! After 1961, almost all PAF and patent number decal pickups seemto measure 7.5 K ohms +/- .25 K.
http://www.flyingvintage.com/gcmag/graphics/paf2.jpg
PAF Magnet and WiringA Talk With Lindy FralinNow that we have a handle on the basics, let's discuss variousconclusions this information implies. I asked pickup guru Lindy Fralinto help us decipher some of the mysteries and the myths of the PAFpickup. Lindy Fralin runs Lindy Fralin Pickups, a company based inRichmond, Virginia. Lindy is a passionate pickup scientist who hasspent countless hours trying to understand how all types of pickupswere designed and constructed. He can discuss the entire technicalsubject spectrum about resistance, inductance and all the other pickupcharacteristics. In 1998, Lindy's PAF humbucker was chosen as the bestsounding pickup versus five other PAF-type models in a magazine producttest. Let me relate to you some of Lindy's thoughts on the subject ofPAFs.
Lindy said that many of the original PAF pickups from 1956-1960sound different depending on the magnet and the amount of wound wire.His preference is for the PAFs that used an Alnico 4 magnet, withapproximately 8.0 K ohms. He said they sound a bit more robust with abetter defined high-end. So Lindy uses the Alnico 4 in his version ofthe PAF humbucker. Lindy admits that theories regarding degraded wirecoatings and micro-cracks in the wire of original PAFs have beendiscussed. However, these ideas have not been fully quantified as tothe effect on the sound signature of original PAFs versus PAF-typepickups made today.
Lindy stated that the 1961-1963 PAF and the 1963-1975 patentnumber decal pickups are very consistent in sound and resistance at 7.5K ohms nominally. They have the smaller Alnico 5 magnet and some havedifferent bobbin wire. They sound different when compared to early PAFswith more high-end and less warmth, especially in the mid-range.Although some players prefer the sound of the later patent numberhumbuckers, including Michael Schenker of UFO and MSG. Michael's 1971Medallion and early 1975 Flying V guitars included these patent numberpickups as standard equipment originally.
Another interesting fact Lindy mentioned was that when hemeasured original PAFs, many times, each side of the pickup'sdouble-coils exhibit a different value due to the manufacturing issuesmentioned previously. For example, one side might read 3.5 K ohms andthe other 4.5 K ohms. He said this often contributes to better sound,not worse. With slightly mismatched coils, certain frequencies arecancelled and others are phase-shifted. This results in a pleasingsound according to Lindy. Since Jimmy Page and Billy Gibbons won't letyou tear apart their pickups for analysis, we can only wonder if thesehistorically significant guitars have mismatched PAFs. This is gettinginteresting.
Lindy believes so strongly in the mismatched coils idea thathe created a new pickup called the UNBUCKER. He said this design wasdeveloped because of the lack of clear high end on the wound strings ofmost side-by-side two coil pickups. The sound from a humbucking pickupis created by string vibration being sensed in two places (two coils)rather than one. He says the UNBUCKER creates a humbucker that looksnormal but sounds brighter on the wound strings.
The other point Lindy mentioned concerns the pickup'sefficiency. If a pickup design is efficient, it will capture most ofthe frequencies the guitar is producing and be loud. The trick for allpickup designers is to make an efficient pickup with a pleasingfrequency spectrum.
http://www.flyingvintage.com/gcmag/graphics/paf4.jpg
Zebra PAFExploding A Few PAF Myths1) All PAFs sound the same - Definitely not. The changes inconstruction and materials ensure that some PAF pickups were madeoutside of the normalized average. PAF pickups will sound different indifferent guitars as well. Various wooden guitars absorb certainfrequencies and resonate others.
2) Higher resistance PAFs sound better - Not necessarily. Otherfactors affect the sound, including capacitance, inductance and pickupefficiency. Also, higher resistance pickups tend to have lower highfrequency response.
3) PAFs sound better because the magnets have weakened - Guitarmagazines articles in the past have reported that the ageing of themagnets over 40 years has changed them and produced a better soundingPAF. However, magnet manufacturers report that these Alnico magnetsonly lose 0.2 - 2.0 % of their strength over 100 years. It's notweakened magnets. Beck, Clapton, Page, Gibbons and the other PAF guitarplayers made a bunch of great music with these instruments in the late1960s when the pickups were only 10 years old. If the ageing story madesense, 1970s Gibson humbucker pickups should sound wonderful with 20+years of ageing, but they still exhibit less warmth with more high-endthan PAFs.
Just buying a PAF won't ensure you sound like Jimmy Page, EddieVan Halen or Billy Gibbons. Other factors play a part, including theaforementioned players great talent. Also, the amplifier, string gauge,action set-up and the resonance of a particular guitar also factor intothe equation.
Seth Lover's humbucker pickup is an efficient and beautifuldesign. Yes, some of the wiring and coatings are made different todayand don't replicate the processes of the 1950s. Still, I think theleaders of the replacement pickup market, including Lindy Fralin,Seymour Duncan, Tom Holmes and others make great PAF-like pickups thatprobably get you 80-90% of the sound of the original PAF for 10% orless of the cost of a vintage pickup. However, there will always beindividuals that will pay for the real PAF because they want the thingeveryone is copying. You decide which pickup fits your needs andbudget.
In Part 2 of the PAF Story, we will discuss how pots andcapacitors change the sound of your pickups. How your sound changes byremoving the pickup cover. Also, how the set-up (action and pickupheight) changes the tone. We will also discuss the T-Top patent numberpickups that followed the PAFs. Stay tuned!
Thanks to Lindy for his help with the article. Please visit his website at:http://www.fralinpickups.com/ In Part 1 I discussed the origins of the PAF pickup and exposed some of the more prevalent myths. Next, I want to explain a few of the adjustments that can be made to humbucking pickups, including the guitar's controls and set-up to influence the amplified sound. Also, I'll discuss the T-Top pickups that came after PAFs.
Volume Control Pot - Changing the volume pot (potentiometer) resistance value can marginally enhance the high-end response. A higher K Ohm value will make the pickup sound a bit brighter. Conversely, a lower value will enhance the mids and lows by reducing the treble sound signature. For PAF humbuckers, Gibson used a 500K Ohm pot and Fender used a 250K Ohm pot for most of their single-coil pickup guitars.
Tone Control Capacitor - Changing the capacitor connected to the tone pot effects the treble response of the pickup. Different cap values roll-off the treble at different frequencies. A higher value cap will reduce more of the pickup's treble response. Vintage Fender guitars used caps from 0.1mfd to 0.05mfd. Gibson used different cap values with 0.02mfd and 0.01mfd being popular choices.
Removing the Pickup Cover - Removing the metal humbucking pickup cover will marginally brighten the pickup. Be aware that removing the cover improperly may damage the windings on the coils and make your pickup useless. If a pickup is damaged in this manner, one or both coils will have to be rewound.
Setting the String Height - Raising the action (string height) of the guitar's strings will generally allow for a clearer and cleaner amplification of the notes and especially chords. Also, the string gauge affects the guitar's amplified tone. Higher gauge strings have more mass and ultimately change the frequency response, overtones and sustain.
Setting the Pickup Height - Raising the pickup close to the strings will increase the output (sound louder). The downside is that a strong pickup magnet may dampen string energy (reduce sustain) and may pull the string slightly out-of-tune. Lowering the pickup may produce a clearer and cleaner signal with less output. Remember, the neck pickup will sound louder than the bridge pickup (given the pickups are the same output specs and the same distance from the strings). You can adjust the pickup height to equalize this output difference if you switch between the neck and bridge pickups while playing live on stage and want similar sound levels.
T-Top Patent Number Pickups -The T-Top patent number decal pickups followed the non-T-Top patent number decal pickups that followed the original PAFs. The patent number decal pickups were produced from 1962 until 1975. During 1975 Gibson stamped the patent number into the bottom of the pickup's base and these markings lasted until the early 1990s.
By 1967 Gibson added a mold mark on the top of the pickup bobbins in the form of a 'T', with and additional small number. The T-Top humbuckers, as they are called, sound very similar to Gibson humbuckers made from 1961-1967. Most of these pickups measure a resistance of 7.5 K Ohms nominally. The existence of T-Top humbuckers helps to determine if the pickups are original equipment for a particular guitar. Vintage guitar dealers assign more value to non-T-Top pickups made before 1967 than T-Top or later pickups.
These T-Top pickups have the smaller Alnico 5 magnet and sound different when compared to early PAFs with more high-end and less warmth. Many players prefer the sound of the later patent number humbuckers, including Michael Schenker. Gibson's 1971 Medallion and early 1975 Flying V guitars included these patent number T-Top pickups as standard equipment originally.
This is the end of the first Gibson humbucker pickup primer. Flying Vintage Publications hopes this information helps you make great music.
By Larry Meiners 看明白的没几句！ 黎明的帖子都是图文并茂...
Jensen电容里面据说是橄榄油 太专业了 期待黎明牌或者陶瓷清爽牌的设备
大家都是爱好者而已。分享一下资源挺好的。
LUXE的给GIBSON和FENDER用的CAP很多
种类和规格都不同。
根据你需要的声音，琴的电路与规格，还有声音的年代选择才对。
多说一句，FENDER和GIBSON在量产琴上配的电容都是质量较次，误差较大的瓷片电容（按凝固的话讲，就是小蚂蚁）。
大家可以在国内的电子市场上找找VQ的电解电容，不一定非要PIO的。
然后换上试试，因为不用什么大成本，操作也没有一定的危险性。所以可以试试。
比换PU简单多了。
买这种由乐器商提供的电容，价格已经翻了几十倍甚至上百倍了。不值得。 请问如何衰减中频？？？
我用的是7VEVO拾音器音色太肥了！！！ 又一个二手科学家诞生了 原帖由 生存与毁灭 于 2009-3-11 22:06 发表 http://bbs.guitarschina.com/images/common/back.gif
请问如何衰减中频？？？
我用的是7VEVO拾音器音色太肥了！！！
推高低频 降低增益
就不肥了
还是从琴以外的设备上下手吧 请观赏国产的山寨魔术电容!!! 原帖由 伤感吉普车 于 2009-3-11 19:57 发表 http://bbs.guitarschina.com/images/common/back.gif
请观赏国产的山寨魔术电容!!!
http://bbs.guitarschina.com/attachment.php?aid=816079&k=b320878f44665411b140d3574f518d2c&t=1236799984&noupdate=yes
哈哈 陶瓷第一个被雷翻 ~~~ MASTER
MASTER 刚去了DIY版
发现那里有很多真正的好贴
大家可以去多看看 学习到了！！！顶起！ 一般的金属琴适合的电容数值大概多少合适？？？ http://www.dinosguitars.com/uploads/pics/pearlyhovland.jpg
http://www.dinosguitars.com/uploads/pics/pearlypaf.jpg
http://www.dinosguitars.com/uploads/pics/pearlyhovland_01.jpg
http://www.dinosguitars.com/uploads/pics/pearlypafbridge.jpg
0.022 um / 1000V !!?? .022uF/1000V
很合适亚
V数没什么意义, 只不过那个cap会巨大罢了 哦…… V是耐压。电吉他上的电压很小，几乎不用考虑。 原帖由 伤感吉普车 于 2009-3-12 02:57 发表 http://bbs.guitarschina.com/images/common/back.gif
请观赏国产的山寨魔术电容!!! 816079
这个太牛了！ 看了这个帖子 首先要承认 学到一些东西 感谢前辈们指点
其次 我赞同陶瓷的意见 我们都是摇滚族的非主流
人家说好 花再多钱 也要追
我的2把tak用的就是2种不同电容
黄色的LP是“黄蜂” 红色的双缺角是“蚂蚁”
我每次弹红色Tak的时候 跟黎明兄同一个感受
尤其是带耳机练琴 听到那刺耳的声音简直就想转洞里剁起来
我试着调节效果器上的高频 以及Tone旋钮
刺耳声音不见了 我想要的音色也不见了
我痛骂Tak联手Gibson欺骗消费者
痛恨我自己上当受骗
。。。
突然有一天
我看了一个专门研究Tak设备的大阪人的Blog
他说是故意这样选择电容的
突然想起陶瓷以前说的“Tak近年音色接近Vai”
也许就是因为这块电容的关系
音色里有了一种“扎人”的味道
再想想 一个人拥有N把同一品牌同一形状的琴
如果不改变电路元件 难道只为新鲜感而换个颜色不成？
尤其是像Tak这种对音色极其认真的人
这样做肯定是有道理的
另外多插嘴一句 我发现
改变弹片拨弦的角度 和弹片上触弦的位置
能消除这种刺耳声音
音色各种各样 每个人的喜好都不同
随着对设备的深入研究 累积了知识 却换来了烦恼
买的琴越来越贵 买来的遗憾却越来越多
很怀念当初 我把我的第一把Gibson领进家门的时候
那时我啥都不懂 就知道Gibson牛掰
。。。
[ 本帖最后由 冰冻吉他 于 2009-3-13 09:43 编辑 ] 原帖由 冰冻吉他 于 2009-3-13 09:21 发表 http://bbs.guitarschina.com/images/common/back.gif
看了这个帖子 首先要承认 学到一些东西 感谢前辈们指点
其次 我赞同陶瓷的意见 我们都是摇滚族的非主流
人家说好 花再多钱 也要追
我的2把tak用的就是2种不同电容
黄色的LP是“黄蜂” 红色的双缺角是“蚂蚁”
...
恩, 你说的太正确了
其实音色这种东西, 如何搭配组合完全是看个人的喜好. 磁片电容带来的穿透感和颗粒感更强. 黄蜂就软很多.
Tak的音色我觉得应该属于磁片这种, 很钻, 很Hot, 加上bogner爆裂的声音, 相当好听.
所以反之, 如果谁用gibson想出来更烈更hot的音色, 真的不妨更换一对磁片的电容上去, 也许会非常的惊喜. 原帖由 凝固的黎明 于 2009-3-13 09:32 发表 http://bbs.guitarschina.com/images/common/back.gif
磁片电容带来的穿透感和颗粒感更强. 黄蜂就软很多
普死的感觉穿透感和颗粒感就没有用了黄蜂的Reissue强，如果换黄蜂的话穿透感和颗粒感会更弱么？ 长见识了，谢谢 原帖由 竞霄 于 2009-3-13 10:32 发表 http://bbs.guitarschina.com/images/common/back.gif
普死的感觉穿透感和颗粒感就没有用了黄蜂的Reissue强，如果换黄蜂的话穿透感和颗粒感会更弱么？
你说的这个问题是普死木头本身的问题
其实主要问题出在Clean上,玩失真的话两者的差距会小一些.
我觉得如果按价钱排列以下 给音色打分的话 10分满分
Tokai+bb拾音器 普死 R9
失真 5 7 10
Clean 1 5 10
大概是这样