昏昏沉沉睡了一整天，感冒把我搞死了！刚才还死机了一次！数据还恢复不了！我快死了！ 重新写一遍吧…… YoY……
这是10月份国外著名吉他杂志<Premier Guitar>在JOE新专辑发行前对他进行的一次很深入的访问，刚开始看这篇访问的时候真的不觉得会有什么特别的，因为很多媒体的访问来来去去都是一些无关痛痒的问题，看的很无趣，但是这次的不一样了，我带着对新专辑一堆的问题，看完了，我懂了，希望你们看完了之后也会懂。
原文地址：http://www.premierguitar.com/Magazine/Issue/2010/Oct/Interview_Joe_Satriani_Into_the_Wormhole.aspx
PS:这次的访问中JOE提到了很多设备上的东西，我在设备上是个菜鸟，我已经尽量查资料去翻译了，希望不会给你们带来困扰，文中一些设备的名称我会在文章中用红色标注出来，文章最后会附上一个附录，会有这些设备的官网，有兴趣的去看下。翻译过程中发现自己的语文真是学的太烂了，好多知道什么意思但是却说不出来，还得多多加强学习呀……
蓝色：问题
黑色：JOE的回答
绿色：翻译
红色：附录
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How’s it going?
怎么样，近来好吗？
I’m having a good day testing chorus pedals.
我一整天都在测试合唱单块呢，美好的一天。
Find anything good?
有发现什么好东西吗？
I like the newly-made A/DA Flanger, which isn’t really a chorus pedal, but it’s so neat sounding. It kind of covers chorus. I still like the Voodoo Lab Analog Chorus, and for some reason the Boss Super Chorus is also very clean and not noisy. It helps if you’re using distortion. If you’re not using distortion, then TC Electronic’s chorus is pretty good, along with Analog Man and Red Witch pedals. Even the Electro-Harmonix choruses are okay as long as you’re not using any distortion. Once you get gain going in the circuit, some pedals can get kind of noisy, so that always leads me back to the A/DA, the Voodoo Labs, and the Super Chorus.
我很喜欢新出的A/DA Flanger，确切的说他不是一个合唱单块，但是他的声音非常的优雅，它就有点类似可以取代合唱的感觉，我还是喜欢Voodoo Lab Analog Chorus，然后某种意义上，BOSS的Super Chorus是非常的干净的，没有噪音，这个在你用失真的时候非常有帮助。 如果你不是在用失真的话，TC Electronic的合唱就很棒，同样的在这方面Analog Man和Red Witch都很棒，甚至EH的合唱在你不使用失真的时候也还可以，但是有些单块在回路(Loop)里会有噪音，所以这不得不让我用回A/DA,the Voodoo Labs或者BOSS的合唱。
You have to check out those pedals clean as well as dirty or you’ll get a weird surprise.
你必须实验这些单块会不会有噪音，然后你才知道他们能给你什么惊喜是么？
Yeah, basically the old bucket brigade style choruses were very noisy. They cut a lot of low end and high end out. They’ve been sort of upgraded, but as they get cleaner sounding, they lose some kind of soul. When you go from analog to digital, you get the headroom, there’s no distortion, you keep your low end, but it’s not wild and crazy like a foot pedal should be. It’s more like a studio effect. That’s kind of like what you’re always balancing with. They’re all pretty good. They all do their job, but when you’re zeroing in on just a few very important attributes, you start to see that there are some units that are better than others.
是的，基本上老一派的合唱都噪音都很大，他们的把高频和低频都削减的非常厉害，虽然他们都有一些升级的动作，也能有很干净的声音，但是会失去声音的灵魂。(我看到这里把这个理解为动态的问题)。当你从模拟的换回到数字的，这下你就会得到很干净的声音，没有失真，低频表现的非常好，但是又不像是正常的单块那样的野。更像是录音室出来的效果，这也是人们一直追求的东西，两者之间的平衡，他们都很好，他们都表现了出他们应有的特性，但是当你只关注音色上的某一种属性，你想要的音色的时候，你就会开始发现他们都是非常的独一无二的，然后就会产生比较……最后得出的就是你想要的。
What’s been going on since you finished the record?
你的专辑录制完成之后你过的怎样？
It’s been very busy. As soon as I finished mixing the record in Vancouver, I was back home doing Chickenfoot demos. I handed ten songs off to Sammy, then we did two shows about a week ago. That’ll be it for the rest of the year for Chickenfoot as far as shows go. Then we’re hoping to be in the studio at the end of January when my solo tour takes a break. I’m very excited about it. I think it’s going to be a great record. I can’t wait to see what Sammy decides to sing about.
非常的忙碌，我在温哥华完成了专辑的最后的混音之后就马上回到了Chickenfoot的小样录制中了。我还欠Sammy十首曲子没有录呢，然后之后的一个星期我们又参与了2场演出，这将会是Chickenfoot今年的最后的演出了，然后我们都会进入录音室直至明年的一月，之后就是我的Solo巡回演出了，我对此非常的兴奋，我很期待Sammy会怎么长处这张专辑。
Tell me about how the process began with Black Swans And Wormhole Wizards?
告诉我一些关于你的新专辑是怎么开始的吧
It started with John Cuniberti, my longtime co-producer and good friend. He came over and helped me redesign my studio. We turned my studio around 180 degrees and put up a lot of sound dampening stuff. He did a real professional job with it to get the room to be as dead as possible. I repositioned my desk, I upgraded all my Pro Tools, got a new screen, started using my Meyer HD-1, and I got rid of all my old keyboards and my V-Drum set, which is what I used to build my demos. I started doing everything with Native Instruments and BFD. It really helped my demo process.
这一切的开始都是关于John Cuniberti，我长期合作的制作人和好朋友，他帮我重新设计了我的录音室，我们把我的录音室180度的换了个角度，然后贴了很多的吸音墙的东西。他在这方面非常的专业，以至于让这个房间尽可能的安静。然后我回到我的工作台上，升级了我所有的Pro Tools,有了一个新的显示器，开始用我的Meyer HD-1,我的那些旧的键盘和V-Drum都焕然一新，那些都曾经是我用来做小样的，然后我开始用Native Instruments和BFD的插件，这些都帮助我很好的完成了我的小样。
Coming back from the Experience Hendrix tour in March, I was able to crank out lots of demos really fast. It didn’t slow down my writing process, which was what my old system was doing. The upgrade really helped. The room sounded great. I could work in it for eight or ten hours and my ears would never get tired. I wound up writing a lot of songs and had two months to get all the demos together for the guys. I wound up doing about sixty percent of the guitars or more at home, and some of the keyboard work as well.
从三月Hendix的巡演回来之后，我就开始很快速的但是很粗糙的开始做我的小样，它没有让我写歌的进度慢下来，当时用的是旧的系统，升级之后真的帮助了我很多，新的录音室听起来真的太棒了。我可以在里面工作8-10个小时但是我的耳朵都不会觉得累。我在保持一种很兴奋的状态在这个录音室里面写了很多的歌，同时完成了他们的小样，我差不多在那里完成了我差不多60%的吉他，以及一些键盘上的工作。
Do you carry a little recorder around with you to catch ideas as they come to you, or do you wait until you get to your studio to make stuff up from scratch?
你随身会带一些可以录音的玩意来随时记下当时的灵感吗？还是会回到录音室之后在再重新构思回想？
We’re all surrounded with digital devices now. The demo that we used for the arrangement of “Little Worth Lane” was actually recorded on my iPhone on a backstage piano on the Hendrix tour. That became the blueprint of that song. I’ve got a lot of the Zoom products like the Q3 and H4 for video as well as audio—amazing sounding audio recording device. I use that a lot.
我们现在身边从来都不缺这些的数字设备，"Littleworth Lane"的小样就是我在Hendrix的后台的钢琴上用iPhone录制的，那就变成了这首曲子的开端，我还有用Zoom的Q3/H4来进行一些音频或者视频的录制，它录制出来的声音都很好，我经常用它。
When you have a studio in your house, it’s easy. It takes about two minutes to fire everything up and I’m recording. I record most of the guitars direct and sometimes even go through an amp. That allows me to get unusual performances recorded, and then go into a real studio and re-amp them into as many amps as I want. I can turn them up, get creative with speakers, and things like that.
当然，如果在家的话那就简单的多了，只要花2分钟就能让一切进行起来。我录制大部分的吉他都是直接录音的，有时候会用到音箱，这就能让我在进录音室的时候用我想用的音箱，我只要打开他们，就能达到我想要的。
I ask because the new record, while very melodic, doesn’t sound overly produced like a lot of guitar instrumental records. It breathes and grooves. Does that come from melodies made up in your head or improvising over grooves?
我会这么问是因为这张新专辑，虽然他是很旋律性的，但是不会像一般的乐器类专辑那样非常的突出solo的部分，这次的专辑整张的都非常的有呼吸感，很有律动性，是不是你在录制的时候都很即兴式的把你脑子里面想到的都呈现在整个律动感上，而不是一味的突出solo……
There are a lot of people who should take credit for how the whole thing turned out eventually. The thing about the groove is very important. I always keep a very keen eye on the fact that I’m a rock ‘n’ roll artist and I want to make rock ‘n’ roll records. I don’t want things to sound hastily thrown together, but I don’t want them to sound overly produced. I want it to be fun to listen to. I want people to be able to listen to it over and over again for decades.
这就是很多人都应该会觉得最终出来的效果很好，因为律动感是非常重要的，我会非常的注重我是一名摇滚明星这件事，我想出一张非常摇滚的专辑。我不想让这张专辑听起来很赶，更不想这张专辑经过太过复杂的制作，力求原汁原味。我想它听起来比较有趣，我想它可以让人们不断的去聆听他几十年。
For me, that means that there has to be some kind of looseness and playfulness even if you’re doing a song about a dire situation or something sad. There has to be life in everybody’s performance, which means when you get into the studio with the band, you have to let everybody feel that they can contribute. You gotta listen to what they’re telling you about their parts. As a writer you have it in your mind what you think the song could do—how it could achieve its goal. When you make demos of course, it’s really sort of a pale version of what’s in your mind and in your heart about the song. So I always tell the guys, “Hey, this is just a demo. Some of the parts we’ll use but feel free to explore your parts.”
对我来说，我想让他在你伤心或者不开心的的时候听起来能够更加的放松，更加的有趣味性。就像每个人的生活的一部分，也就是说和乐队进入录音室的时候，可以让每个人都感到每个人通过他们的演奏能够让你感受到他们想表达的，作为一个作者，他们必须是有心出发的“嘿，那只是一个小样而已，但是每个部分都能够让你感到放松，能够开启你心灵的窗口”
I love working with co-producers, because if I’m out there in the music room with my guitar on, I want to be like a crazy guitar player. I’d rather be told to stop going off the wild deep-end and rein it in, rather than somebody saying, “Hey, we need some kind of performance from you.” [Laughing] It’s great to get out of the control room as the co-producer and just put on a guitar, and have somebody like Mike Fraser come out and say, “Joe you can keep going in that direction. Mike [Keneally, keyboard], why don’t we try this, Jeff [Campitelli, drums], let’s change the snare. I love what you’re doing with that beat, can you do that at this other section of the song?” Then talking to Allen [Whitman, bass] about all the cool things he’s doing.
我喜欢和制作人一起工作，因为如果我在录音室的时候，我能够很专心的和我的吉他一起，疯狂的演奏， 当我想控制它的时候我宁可被告知说我应该停止，而不是“嘿，我们需要你的演出”哈哈。就像这样“嘿，JOE，你应该这么的去演奏，Mike，为什么你不试一下这个，Jeff,让我们来换个军鼓试试看。我喜欢你刚才打出来的那种节奏，你可以在这首歌的这个部分这么的打吗？”然后告诉ALLEN说他刚才的演奏非常的酷！(说不定JOE退休了之后会当制作人哦)
It really helps the atmosphere so everybody feels creative. A take is just a take. We’ll do a lot of them so you might as well explore. Sooner or later we’re all smiling at each other because we realize it’s really coming together. It’s way better than what the demo had suggested. We’re off in a new area.
这能够让整个气氛变得非常的有创造性，每录制一轨那只是一次演奏而已，我们会做很多演出让他变得有更多的可能性，而迟早我们会因为觉得我们整体都非常的棒的时候而互相微笑以对，这比我们一开始就设想好该怎么去录制来的更有意思，而不是在新的作品出现之前就停止了。
Give me an example of that.
给我一个例子吧。
“God Is Crying” had a really different beginning in the demo. It was just bass and guitar. I was just hammering out the riff. I never really liked it, but I was kind of waiting for something to happen in the studio. When these guys got together, the chemistry was really good. Every time we would get ready for a song, there’d be all this crazy jamming. We’d have to be told to stop and concentrate on the song at hand.
“God is Crying”有一个和小样截然不同的前奏。它只是bass和guitar。我只是弹奏着一个riff,我不是那么的喜欢它，只是我在录音室的时候希望在我弹奏它的时候能够给我灵感让我去创造出一些新的东西，当我们这帮人能够链接在一起的时候，那个化学反应是非常的棒的，每次我们都为每一首曲子做好准备，那都是很疯狂的JAM,我们都会被告知说，好的，全心全意的去演奏每一首曲子。
I really like that you let Mike Keneally loose on the piano solo to “Wind In The Trees.” It adds so much to the flowing quality of the record.
我非常喜欢MIKE KENEALLY在“Wind In the Tree”中演奏的非常放松的钢琴独奏，这让整张专辑听起来多了很多流动的感觉。
He is a genius. When I started making the demos for the record, I was keen on having keyboards as one of my themes. I’m a chordal player. I don’t really solo or anything, so I started to build into the songs these sections where I wanted somebody to answer me. I wanted somebody to be my foil against the melody. At times I was thinking I wanted to hear a piano stretched out somehow. So I started thinking, “Who do I know who is a great piano player, but understands what a guitar player likes to do?” It came to my mind that Mike Keneally is probably one of the few who can actually understand that concept, and probably the only guy who can really blow on both instruments. He’s just amazing.
他就是一个天才！当我开始准备这张专辑的小样的时候，我就很注重在键盘作为我这次主题很重要的一部分。我是一个和弦的乐者，而不是仅仅是一个独奏者，所以我才会在歌曲中间加入键盘的部分，让一个人来给我答案，演奏出来。我想让这部分成为曲子出彩的部分，所以我很像在当中加入钢琴的部分。所以我开始想，谁能够胜任呢？谁是非常棒的钢琴演奏者呢？但是他又能够明白一个吉他演奏着所做的一切呢？我就想到MIKE KENEALLY是非常合适的人选。他能够在这两者之间有非常出色的演出，他真的是太神奇了。
I was lucky enough to give him a call and find out that he was available for the sessions. I basically left these big holes for him and said, “You just do whatever you want.” Other places I said, “Electric piano.” I’d have him replace parts that I had done where I already had their texture kind of in the ballpark. He became the fourth member, which was extremely important. He didn’t just come and overdub. He was there cutting the basics. He was able to expand upon my ideas beyond where I thought they could go.
然后我我找到了他，然后他也使得这一部分的钢琴有非常合适的演出，我所做的只是帮这一个大空缺留给她就好了，“你只要做你想做的就可以了”，我还说了“是电子钢琴”，然后我就把我弹奏的部分给他听，然后他做的能够让整首曲子听起来更加的有质感，他成为了这个乐队的第四位成员，那是极其重要的。他不是单纯的来完成这件事而已，他所做的超越了我的创意而把它表达的更加的完美。
It sounds like a real band in the same room playing off each other.
那真的很像一直乐队在同一个录音室里面互相的在演奏而融合在一起。
You hit the nail right on the head. He was listening to my weird Auto-Tuned melody guitar, then he’s listening to my Sustainiac pickup solo guitar, and I said, “When it’s your turn, you just go off.” I gave him a lot of measures to just kind of go off and finish the song. Every take he played a brilliant solo. It was so hard to pick one.
你说到重点了。他听着我的Auto-Tune吉他，然后是Sustainiac拾音器的吉他然后我对他说“只要你想变，你就去吧！”我给了他很多方法去完成这些歌曲，每次的录音他都有非常出色的独奏，非常难从中挑选一个出来，因为都太棒了。
Did you use Auto-Tune on the solos to “Light Years Away” and “Pyrrhic Victoria?”
你在“Light Years Away”和“Pyrrhic Victoria”中有用到Auto-Tune吗？
No. Those are two different sounds. On “Light Years Away” it’s just a straight-ahead guitar.
哦，没有，那是两首完全不同音色的曲子，“Light Years Away”就是在一把标准的吉他上面演奏的。
It sounds like there’s a subtle octavia sound going on.
它听起来好像有一点点很细微的八度音的音色，
You might just be hearing upper harmonics. Mike Fraser is an amazing mixer and he makes everything sound very rich. That’s actually the guitar tone I got here at my home studio. On “Pyrrhic Victoria,” that’s one of the solos that we cut live with the band. On that one I think I was using a Fulltone Deja Vibe or something like that. That basically gives a frequency shift. It makes the guitar sound a bit like an organ or like an old Hendrix tone.
你可能听到的只是一些上层的和声，Mike Fraser是很帮的混音师，他让每样东西都听起来那么的丰富。那实际上只是在我家的录音室里出来的吉他的音色。而"Pyrrhic Vicroria"我只是很直接的和乐队一起演奏，我用到的是一个Fulltone Deja Vibe，他出来的音色仅仅是一些频率上的改变，他让吉他的音色听起来像风琴或者是Hendrix的音色。
With the Auto-Tune thing, we used it as an effect only on that one song, “Wind In The Trees” as a melody. What it does is, it doesn’t allow the guitar to stray. Not only out of tune, but out of key. I’ve used it before on a techno album called Engines Of Creation, but it really just made the guitar sound like a keyboard so it wasn’t very interesting.
然而Auto-Tune，我只有在“Wind in the Tree”中的一段旋律中有用到这种音色，他所出来的效果就是让吉他的不会变味儿，不仅仅是让吉他保持音准，还能让吉他不会跑调。我在之前的《Engines of Creation》的专辑中有用到过，他能够让吉他的音色听起来像是键盘，而它并不是非常的有趣。
I realized that I had been using it in the wrong way. I hadn’t been using it like a guitar player does with chorus pedals or wah-wah pedals, where you plug into it and then you react to what you hear. I thought, I’ll set up something where I’m going to only be listening to what it sounds like coming out of the Auto-Tune. I realized if I played like a drunken idiot, that the program would work so hard to get me in tune, that it would create this other sound—which was this sort of vocal quality. The software was working hard to pull me back into the key. It started to sound really interesting. So if I did a wild vibrato bar bend going Wwrrrrrrrrrr, it would go Wrrddddddd, and make sure every stop along the way was in the key that I had programmed it. I thought it was the funniest thing ever. It was like guitar player’s revenge. [Laughing]
我发现我使用它的时候走进了错误的误区，我听到的反应是用他就像一般的吉他手那样和合唱和哇音一起使用，我想，我应该把它最原始的音色表现出来，所以我想当我像一个醉汉一样的演奏的话，这个效果器就会很难让我额可以保持在一定的音调上，那么就会产生一些其他的声音，就像人的人声一样，软件会很难让我推到原有的调上，那样整个就开始变得有趣了，如果我很用力的使用摇把的话，他就会出来我想要的效果，而每次的暂停就会回到我设定的音准上，我想这是最最有趣的东西，我就像一个吉他复仇者一样（意思就是非要让吉他听起来不对劲，哈哈）
Did you use the Saturator or the Ice Nine pedals at all?
你是不是一直都在用Saturator或者Ice 9 呢？
I believe the Saturator was used for the solo in “Light Years Away.” That would have been through an old [Marshall] 6100 amp and then probably through my old Millennia FTP 1 which functions just like a light compressor and a DI, and went straight into Pro Tools. That was done at home. I don’t think I used the Saturator on anything else. Everything else was just basically the Marshall JVM amp for 90 percent of the work, and some Wizard amps for a couple of songs. I have a specially-made custom reverb by Two-Rock they made for me early in the year that sounds really nice.
我想我只是在“Light Years Away”的独奏中有用到Satchurator，然后几乎都是在用Marshall 6100的音箱和我一个很老的MillenniaFTP1，他是作为一个很轻的压缩和DI，然后直接进入到PRO TOOLS里，那是在家里的录音，我想我不是什么东西都会用到Satchurator.几乎90%的录音用到的是JVM系列的音箱，然后还有一些曲子用到了Wizard的音箱，然后我还有用到一个custom的混响，是Two-Rock他们早年为我定制的，音色非常的好！
Was there any residual Chickenfootness that you brought to the record?
专辑中有没有一些CHICKENFOOT式的，或者类似的东西带到了这张专辑中呢？
[Laughing] I spent quite a lot of time recording, going on tour, and doing the live DVD with Chickenfoot. During the writing sessions I started to get the sense that I was really enjoying the process of being with a band, seeing where the band can really morph your ideas rhythmically, and how something can play out. In the studio I put it to Mike Fraser that I really wanted the album to have a band sound. I wanted everybody to feel like they had room to inject some of their own ideas into the songs, and I wanted the guitar to have this emotional impact that we had never yet achieved.
哈哈~ 我在录制专辑，巡演，和CHICKENFOOT的现场DVD里花了很多的时间，而在我写歌的时候我发现我真的非常享受在乐队的整个过程。让我在写歌的时候注重到怎么让我的创意能够融合到乐队中去，然后是真的能够是好的！然后我把这个想法告诉了Mike Fraser，我想这张专辑能够听起来非常的有乐队的感觉。而不是我个人。我想每个乐队的成员都能够在这张专辑中听到他们各自的想法，然后我的吉他的部分能够使这些情绪能够表现的更加的出彩。
Mike and I have been doing records together since ’96 – ’97, so we’d done a lot of work together. He mixed the Chickenfoot album as well, so I think he understood what I was going for. Since he had mixed the Chickenfoot Get Your Buzz On live DVD, he had a good handle on what I meant by trying to capture a live feel. So I think that was the Chickenfootedness that spilled over.
Mike和我从96-97年就开始合作了，我们有非常多的工作都是一起完成的，他也是Chickenfoot专辑的混音师，所以我想他肯定明白我想要的是什么。自从他完成了GET YOUR BUZZ ON的现场DVD之后，我想他更加的能够抓住我的想法，我想那也是为什么这张专辑会听起来有Chickenfoot的感觉的原因。
Have you stopped using the Peavey JSX amps completely?
你是不是完全不用JSX音箱了？
I haven’t used the JSX amps since the Chickenfoot tour started over a year ago. We did that first club tour through the U.S. back in May of last year. When I got back, I met Sammy at his studio. We both plugged into some Marshalls that we had and we thought, “We gotta go back to playing Marshalls!” We knew what Chickenfoot really needed. He was playing is own Crate model before that. Just like that, the two of us switched to Marshall. The next week we flew to Vienna and Marshall had a bunch of amps waiting for us. Then I started trying to figure out how to use the JVMs, and I’ve had a lot of fun with those amps. They’ve been really amazing sounding on the Chickenfoot tour, and they wound up having a great presence on my new solo record.
我自从Chickenfoot的巡演开始之后的一年多以来就没有用过JSX了，自从去年的5月份的一次乐迷演奏会开始的吧。当我回去的时候，我在录音室里面见到了Sammy,我们都同时用到了Marshall,然后我们都觉得“我们是时候要回到Marshall了”。我们也知道Chickenfoot确实是需要这样的声音，他之前用的是Crate。然后我们都选择回了Marshall,下个我们就回到了Vienna那里有非常多的Marshall在等着我们，然后我就开始寻找，最后选定了JVM系列的音箱，然后我用这些音
箱的过程中有非常多的乐趣，他们在Chickenfoot的巡演中表现出了非常出色的音色，然后在我的新专辑中也有非常棒的表现。
They’re so articulate, which is so unusual when you’re looking for an amp that can handle lots of levels of gain. The engineer Santiago Alvarez at Marshall figured out a way to get them to be big and ballsy. They have a way of being very articulate, which really helps me out when I’m trying to concentrate on phrasing. I want people to hear every little nuance of my picking.
他们真的非常的有力而清晰，那是其他音箱所不能比拟的，在那样一个失真度上还能有这么好的表现，Marshall的工程师Santiago Alvarez让他们都变得非常的庞大而有力！
I saw you on the Chickenfoot tour right after the switch. Your sound was a lot more rugged.
我是在Chickenfoot的巡演上开到了你的改变的，你的音色变得更加的颗粒了！
It was much bigger. There’s no substitute for turning up loud and using an all tube amplifier. The EQ was passive, whereas the JSX had an active EQ. Part of the problem I had with Peavey is that after the amp initially came out, the changes that I wanted to see made to the amp were way too slow in coming. During the production of the Chickenfoot album we were working on a 50-watt head, and there was just no progress. It was grinding to a halt and I was wondering, “What is going on with you guys? How come there isn’t an engineer working on this stuff for me?”
音色上面的更加磅礴了，那不同于把一个全管音箱开打音量的效果，EQ变的更加的主动，尽管JSX也有这类的EQ设定，我用JSX遇到的问题是在音箱出来之后的信号过于的缓慢（啥意思？），在CHICKENFOOT的专辑用到的是50瓦的音箱头，而这并没有取得什么进步，而它开始停滞不前了，所以我开始想，这些家伙都是怎么了？为什么工程师不能给我我想要的呢？
If an artist is going to endorse a product, they have to get support from the company. If they don’t, then they give up too much by always having to play this thing that their name and face are attached to. Peavey makes a lot of great things, but at the time it seemed like the engineer they had was not really responding to me or the other artists enough. I either needed to not be endorsed by somebody, or go to a company where they really did want to help me out quickly, and make changes as changes were needed.
如果一个艺人开始对于设备有些要求的时候，那家公司应该给予相应的支持，如果他们不能的话，那么他们就会在使用这些设备的时候重视的只是这个牌子而不是音乐本身了（这句有点不太懂，这个是我这么理解的翻译出来的）。Peavey有许多非常棒的东西，但是与此同时，他们的工程师似乎对于我或者其他的艺人没有做出他们应有的回应和给予。我并不需要去拥护某个人或者某个牌子的公司，或许这些公司想很快速的帮我解决我所遇到的问题和随遇而变的东西。
Any surprises for the upcoming tour?
接下来的巡演会给我们带来什么样的惊喜呢？
I think the whole tour is going to be a surprise. As I look at the set list, we’re playing a lot of the new album, and we’re pulling out a lot of songs that either I’ve never played live before, or haven’t been in the set list for years. For those people who’ve seen us live, they’re gonna see a lot of surprises.
我想整个巡演都是充满惊喜的。当我看到演出歌曲的列表的时候，当中有许多新专辑的曲子，而且我们在巡演中会演出许多曲子我从来没有在现场演出里面演奏过的，或者很久没有演奏过的，那么观众就会在我们的演出过程中看到非常多的惊喜！（如果真的能来中国该有多好！）
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V-Drum http://www.roland.com/V-Drums/
BFD http://www.fxpansion.com/index.php?page=1
Native Instruments http://www.native-instruments.com/#/en/
Zoom Q3/H4 http://www.zoom.co.jp/english/products/q3/
Auto-Tune http://www.antarestech.com/products/auto-tune-evo.shtml
Sustainiac http://www.sustainiac.com/
Fulltone Deja Vibe http://www.fulltone.com/DV2.asp
Millennia FTP 1 http://www.mil-media.com/
Marshall JVM http://www.marshallamps.com/product.asp?productCode=JVM210H
Marshall 6100 http://www.marshallamps.com/heritage/anniversary/30_anniversary.asp
Wizard amp http://wizardamplification.com/
Electro-Harmonix Choruses http://www.ehx.com/browse/chorus-phase-shifters-flangers
TC Electronic Choruses http://www.tcelectronic.com/SCF.asp
[ 本帖最后由 尼古丁小指 于 2010-10-10 09:25 编辑 ] | 
发表于 2010-10-9 21:42:39
发表于 2010-10-10 12:11:06
