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New shape, new sound, new standard参考译文
By Jimmy Nichols
QIQICANO翻译。。版权所有 转载注明！
You think you know Taylor guitars, right? After three decades, Taylor guitars have seeped into the sonic consciousness of acoustic guitarists everywhere. We know the Taylor sound, the Taylor shape, the Taylor vibe. Lots of companies would kill for that kind of acceptance.
你认为你了解TAYLOR 吉他，是吗？ 30年后，TALOR 吉他已全方位渗透进了声学吉他的音色概念。我们知道她的音色，外形，共鸣。许多公司会因为这种标准而头疼不已。
But Bob Taylor wasn’t satisfied. He wanted to build a guitar with a richer, broader sound that projected but was still capable of small, intimate tones. Sound impossible? For most, maybe, but not for Mr. Taylor. This is the man, after all, who in his quest for pure tone introduced a completely new guitar shape to the world in the Grand Auditorium.
但是BOB TAYLOR还是无法满足。他想制造出一把吉他既能发出更丰富、宽广声音，又能胜任轻柔，贴心的音色。听起来不可能？大多数情况可能如此，但却不适用于TAYLOR先生。别忘了他是一个追求纯净音色并向世界推出了一个完全新形吉他的人。（Grand Auditorium）
Now there’s a new Grand on the block: the Grand Symphony, or GS, Series. The Taylor  GS Series is another step in the quest for the perfect acoustic, and it’s a big one. The GS Series also significantly alters previous notions about what a Taylor acoustic is supposed to be. It doesn’t have a cutaway and it doesn’t come with electronics installed (although the Expression System is an option). It’s not small and it doesn’t speak softly. Like the rest of the Taylor line though, the Grand Symphony guitars boast gorgeous looks, premium tonewoods, and smooth playability.
现在有一批新的GRAND系列出炉了Grand Symphony, 或 GS,系列，TAYLOR GS 系列是追求完美声学音色的另一步尝试，并且，她还是个大家伙。GS 系列同样极大地更改了TAYLOR 声学吉他原先的概念：她没有缺角，没有配备电子元件（可选择EXORESSION系统）。她个子不小声音也不轻柔，尽管象其他TALOR系列，GS吉他拥有华丽的外形，珍稀的木料和 舒适的手感。
Grand beginningsAs the use of the name Grand indicates, the Grand Symphony Series was inspired by Taylor’s popular Grand Auditorium guitar. But the resemblance is only passing. While the upper bout on both guitars is nearly the same width, a higher, wider waist changes the length of the bouts on the GS Series. The upper bout becomes shorter and the lower bout becomes longer. The lower bout on the GS design is also distinctly wider than the Auditorium. To my eye, it is the perfect hybrid between the jumbo, dreadnought, and concert guitar shapes.
“伟大的开端” 正如“伟大（GRAND）”所意味的，GS系列灵感取自TAYLOR热门的GRAND AUDITORIUM吉他。但是其相似度只是暂时性的：尽管两个系列的UPPER BOUT（我认为是琴的侧板靠上部的地方，上半腰具体看这个http://www.avandel.co.uk/AGW/slides/Upper%20Bout.html）宽度相当，但更高 更宽的琴腰改变了GS系列BOUTS的长度。上琴腰变的更短而下琴腰变得更长。GS系列下琴腰同样明显比AUDITORIUM更宽。 在我看来，她完美地混合了JUMBO ，DREADNOUNGT，和CONCERT吉他的外形。
The acoustic guitar is a relatively simple machine. Big bodies deliver big sound with big bass response. Smaller bodied guitars are often labeled as more expressive because they have richer midrange and sweeter treble response than their big-bodied brothers. Unfortunately, they often don’t have the volume to project that expressiveness. The right dimensions and the right materials—sprinkled with a little voodoo and magic—should result in the perfect acoustic guitar, or at least a truly exceptional one。
声学吉他是个相对 简单的机器。大琴身的音量大，低音的响应也足。小琴体吉他通常被挂上表现力丰富的标签，因为她们比大个子兄弟拥有更丰富的中音频响，和甜美的高音响应。不幸的是，她们常常没有足够的音量来表达她们的“情感”。正确的度量和材料----加点奇幻诡异的作料----应该能造出完美的，或者至少一把非常杰出的声学吉他Model behaviorThe GS Series is comprised of four different models. These guitars won’t adopt the numbering conventions of the other Taylor shapes with a model in the 300 series, the 400 series, the 500 series, etc. Plus, each model is essentially the same except for the crucial difference of being crafted with a unique combination of high-quality traditional tonewoods.
型号表现 GS系列由4个不同的型号组成。这些吉他 将不采取通常的数字命名如300.400.500系列等等。还有，每个型号基本上相同除了由于高质量的木料组合而产生的重要的制作上的区别。
The lineup consists of the GS Rosewood/Spruce, the GS Maple/Spruce, GS Mahogany/Cedar, and the GS Rosewood/Cedar. Each has a 25-1/2" scale, mahogany neck, and ebony fingerboard. The fingerboard has abalone microdot fret markers and 20 medium-jumbo frets. The bridge is made with ebony as well, and the headstock faceplate overlay is rosewood. All the binding—body, neck, headstock—is ivoroid and the soundhole rosette is abalone. Each piece is applied with the fit and finish you expect from a Taylor. A high-gloss finish completes the vibe. The look is understated, putting the focus where it belongs: on the sound and playability.
这个系列包括GS玫瑰/云杉， GS枫木/云杉， GS桃花芯木/松木（？） GS玫瑰木/松木。 每个型号拥有25-12”的有效弦长，桃花心木琴颈和乌木指板。指板拥有鲍鱼品点标记和20个中大号品丝。琴桥也是用乌木制成，琴头贴面玫瑰木。整个琴的包边---琴体，琴颈，琴头----(ivoroid是啥？)被象牙镶嵌（可能把），音孔周围的玫瑰饰圈是鲍鱼做的。每把吉他都上了合适的如你所愿TALOR吉他的颜色。高光的漆色使共鸣更充分。其外观被淡化了，把注意力集中在她的特性上把：音色和手感。
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Tonal resultsSo does that perfect blend of dimensions and wood result in the perfect tone? Each GS displayed crystal clarity and a balanced sonic temperament: tight, defined bass; open, refined midrange; and smooth, sweet treble. All four displayed remarkable expressiveness. Soft, sustained notes hung in the air with emphasis, and loud notes shot out with authority. The GS guitars are easily much louder than any other Taylor I’ve played—possibly twice as loud as the Grand Auditorium. Most of that comes from that big lower bout. It’s an easy equation: more soundboard equals more air movement equals more sound.
音色结论 那么是否度量和木料的完美混合可以产生完美的音色呢？ 每个GS 呈现了水晶的清澈和均衡的声音气质：紧凑 明确的低音；开放 优雅的中音；平滑 甜美的高音。全四个型号呈现了杰出的表现。轻柔，延音飘渺的音符引人侧耳地荡漾在空气中， 并发出极富感染力的洪亮声响。GS 吉他很容易就能比其他TAYLOR吉他获得更洪亮的声响。我已经玩过拉----她可能两倍响于GRAND AUDITORIUM。大多声响来源于那个大大的下琴腰。这是个简单的等式：更多木头得到更多空气的振动也就是得到了更高的音量。
But as Bob Taylor himself will tell you; tone is a subjective thing. One guitarist’s maple zing is another guitarist’s overpowering treble. Each guitar in the GS Series displays a distinctly different sonic personality owing to the woods used to build it. Playing each one back to back revealed quite a bit about just how much wood type affects the tone of an instrument.
但是作为BOB TAYLOR自己 他会告诉你： 音色是个客观的玩意儿。一个吉他手的枫木的尖细的音色对于另一个人来说可能是无法忍受的高音。每个在GS系列中的吉他显示了由于使用木材特性在音色上明显的区别。依次演奏每把吉他将会显示木料在多大程度上影响了吉他的音色。
The Maple Spruce and Rosewood Spruce easily had stronger high-end than the Mahogany Cedar and Rosewood Cedar. The spruce GS guitars took to fast chords and flat picking like nobody’s business. The cedar models had sumptuously warm and inviting midrange that lent personality and a certain fluidity to finger picking. Each model was rounded out with ringing, piano-like bass.
枫木云杉和玫瑰木云杉比之于桃花心木松木和玫瑰木松木更容易得到更有力，老练的声音。云杉GS吉他玩FAST CHORDS和FLAT PICKING很溜。每个型号都拥有清脆的有如钢琴般的低音。
I wouldn’t recommend any one over the other. It really just depends on which one tickles your fancy and what type of guitar player you are at heart. But I would wholeheartedly recommend a GS for nearly every guitar player. Every acoustic guitarist needs to experience the kind of inviting tone and playability the GS possesses.
我除此之外不再详加介绍了，这完全取决于哪把琴对你的味，或者你是哪类的吉他手。但是我还是全力推荐GS吉他给每个吉他手，每个声学吉他演奏家需要亲手亲耳体验GS拥有的迷人音色和手感！ |
[ 本帖最后由 qiqicano 于 2007-2-8 22:49 编辑 ] |
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发表于 2007-2-8 22:42:51
发表于 2007-2-8 22:51:08
