I have arrived at my current state from two directions; as a listener/player and as a craftsman.
我朝著兩種不同的方向前進、不論是身為一個聽眾者、彈奏者、或是工匠
I remember as an early teenager being surprised by the sound of a classical guitar playing music that caught me completely off guard. I actually stopped and listened transfixed (for a teenager, that's something!) And I remember this moment 50 years later as clearly as if it were yesterday. The music was the Recuerdos and the guitarist was Segovia. To this day, it still remains my favorite music in spite of the fact that it has been recorded by every man woman and child with a guitar since
我記得一位十多歲彈古典吉他的少年、我被他所彈奏的音樂完全的勾住我的心房。
雖然是50年前的事情、但扔然記憶猶存仿如昨日，所彈奏的曲子是Recuerdos而彈奏者是Segovia.
直到今天，我仍然保留我最愛的音樂，即使它已經被所有男女及小孩子記錄（演奏)
My youngest son, Corey, lives in Sacramento and he had always tinkered around with guitar making starting with electrics and straying into archtop guitars and lately classicals. So with my son as my mentor, I began to develop ideas about becoming a Luthier. It was natural for me to consider the classical guitar. I soon learned there was a long tradition honoring the Spanish guitar as well as several makers who were pioneering new ideas. It seemed also that unlike other acoustic guitar worlds, the classical guitar and its music was healthy and growing at the grassroots level.
我的小兒子Corey 他從製作吉他開始就朝著一些古典名著做修補
我開始有了成為製琴師的想法、所以我的兒子是我的導師、於是我很自然地考慮了古典吉他，我很快的了解西班牙吉他的悠久傳統，以及具有新構想的幾個廠商，這不同於木吉他世界、古典吉他的音樂發展是著重在於基礎的成長上。
So I began to study instrument design and found several structural ideas that I thought I could bring to the craft from other fields. In addition, there were expert commentators in the classical guitar world suggesting some acoustic shortcomings of the guitar, and I wondered about solving them. After playing as many fine concert guitars as I could, it seemed there were opportunities for expanding the quality of sound and I began to build.
於是我開始研究模具的設計並將其他工藝領域上的想法結合起來。
此外，有在古典吉他界專業評論家暗示的吉他聲的一些不足之處，我想解決這些問題。我盡所能的在演奏會發揮，在製作吉他上開始有了擴大聲音質量的機會。
Acoustically, there exists a lot of scientific and anecdotal data relative to guitar making most of which was non-conclusive and contradictory. It turns out that the guitar has too many variables to be modeled by science based predictive programs and that the best guitars are made by Luthiers using intuitive, traditional methods. Of course, I know the previous two sentences are simplifications but coming out of several years of intensive research, I'll stick by my opinions. In essence, the fine guitar is a product of the vision and experience of Luthiers and players. Additionally, a great guitar must be made of great materials, and so I began to acquire the highest quality of seasoned woods.
聲學，存在很多相對於吉他製作科學和傳聞的數據大部分是無定論和矛盾。事實證明，吉他有太多的變數，基於科學的預測方案進行建模和最好的吉他通過使用直觀的，傳統的方法製作。當然，我前面兩個句子簡化，經過幾年的深入研究，我將我的意見堅持下去。從本質上來說，一把精美的吉他經驗豐富的製琴師、與彈奏者來完成。此外，一把精美的吉他還必須使用質量好的材料，所以我開始朝這方面前進。
My mission began to take shape. I thought that the level of craftsmanship among luthiers was very high and that while I could achieve that level, one couldn't excel enough to stand out. I decided that the use of beautiful woods and shapes would be my path to competing in the craft. Acoustically, I concluded that the guitar needed to be louder for reasons of interpretation. The ability to play louder or softer wasn't part of the guitarist's technique. Part of the power recipe was sustain, enough to allow the artist to bring in vibrato slowly and effectively and enough to make important notes ... well, important. I also observed that many guitarists played in very hostile environments along their way to fame and fortune and a powerful guitar would be quite the ally. The biggest problem was to make a guitar louder without losing sonority
我的任務初見端倪。我認為，制琴師具備的工藝水平需高，雖然我能達到這個水平，但卻無法脫穎而出，我決定用美麗的樹林和形狀、這將是我在製琴工藝上的競爭。聲學，我總結出吉他的聲音響亮是需要解釋的。吉他彈奏的響亮或更柔順佔吉他手的技術的一部分，如何讓聲音具爆發力部分更維持，足以讓藝術家在顫音帶來緩慢而有效、這是一個重要的提示。另外我還觀察到，很多吉他手靠著自己的技術在惡劣的環境下讓吉他彈奏的更響亮名利自己。最大的問題是使一個吉他響亮而不失真。
The typical classical guitar seems to lose strength and clarity of tone above the seventh fret on the treble side and I set about to find design techniques that could improve treble sustain and character. What I hear from players so far seems to suggest that my guitars have a lot of power and there is a brilliance and clarity that project very well in this register particularly in the Double Top. There are many good luthiers who are advancing the state of the classical guitar and it is invigorating to be playing a part in such dynamic work.
典型的古典吉他似乎失去了對高音邊第七把位的聲音強度和音調的清晰度，而我開始尋找可以提高高音維持的方式。至今為止我聽從各種演奏者的建議，讓我的吉他的聲音更響、更亮、更細緻，尤其是在雙單板(double top)上更為出色。還有許多不錯的製琴師們前往這裡、並充滿熱情的熱中製琴上、彈奏上。
I enjoy being a Luthier and I feel good about the development progress in my work so far. While there is much work to be done and when I sit down to play the classical guitar I realize that thanks to Luthiery, I never will have a decent set of nails.
我很陶醉在製琴上，我對我工作的發展迄今取得的進展感覺很良好
當我不斷的工作後我坐下來彈琴認到，由於製琴師(Luthier)身份關係、我沒有一個好的指甲、但是我很感謝他(身為製琴師)
歡迎蒞臨鑑賞
托雷斯樂器股份有限公司 代理歐丶美丶澳丶日丶韓手工古典吉他 管絃丶中西樂器 台北市延平北路三段37號二樓 02-25993455 0917181277 Torres musical instruments co., ltd Handcrafted classical guitars Orchestra instruments Chinese national instruments 2F., No.37, Sec. 3, Yanping N. Rd., Datong Dist., Taipei City 103, Taiwan (R.O.C.) 886-2-25993455 886-917181277
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