Buzz Feiten矯正調(diào)音系統(tǒng)介紹
Buzz Feiten的朋友Greg Back在加利福尼亞州立大學(xué)學(xué)習(xí)了一門叫做“音樂物理學(xué)”的課程。這門課程包括了對(duì)古希臘數(shù)學(xué)家畢達(dá)哥拉斯理論的描述,它的理論決定了品絲定位的由來。根據(jù)畢達(dá)哥拉斯的模型,弦的拉力是一定的,由此可以計(jì)算得出品絲安裝在什么位置能購(gòu)得到十二平均律的準(zhǔn)確定律。但是這個(gè)模型顯然忽略了一個(gè)問題,即按下不同品位的弦對(duì)拉力的改變是不同的,例如按下12品音顯然要比按下1品音省力的多。這樣就直接影響了音準(zhǔn),所以前幾品的音總是略高。Buzz Feiten根據(jù)他的這個(gè)理論作了大量的實(shí)驗(yàn),形成了一套矯正調(diào)音系統(tǒng)。他把琴枕向一品方向略微移動(dòng)了一點(diǎn),并對(duì)指板做了其他一些修正。更進(jìn)一步,Buzz Feiten對(duì)不同品數(shù)的電吉他、鋼弦木吉他、尼龍弦木吉他等等都做了相應(yīng)的系統(tǒng)修正。Buzz Feiten為他的研究成果申請(qǐng)了專利。
對(duì)吉他廠商推廣這種新的修正系統(tǒng)顯然是十分困難的。當(dāng)初Floyd Ross推廣他的浮動(dòng)琴橋的時(shí)候就被許多人排斥,甚至拿他當(dāng)神經(jīng)病看待。而Buzz Feiten要做的是告訴已經(jīng)生產(chǎn)了無數(shù)把吉他的廠家它們以前的所有琴的音準(zhǔn)都有毛病,只有他自己的新系統(tǒng)才是正確的,即使那些大廠家能忍著聽完了Buzz 的說明不把他趕出去,即使他們能夠同意Buzz的理論,他們也不可能不顧面子采用新的修正過的系統(tǒng),因?yàn)楦緵]辦法跟顧客交待。
在得到Steve vai,joe satriani,F(xiàn)rank Gambale, Scott Henderson等人的認(rèn)可后,Buzz Feiten系統(tǒng)的推廣有了起色。Tom Anderson牌子的吉他首先把新系統(tǒng)作為了標(biāo)準(zhǔn),而后著名的Washburn也開始全線推廣這種新系統(tǒng)。
作者:趙洪波








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