Guitars & Gear吉他与齿轮
The favored gear of our lady of jazz guitar.我们的爵士乐吉他女士青睐齿轮。
All the information available related to what she played and preferred in equipment . 所有内容相关的资料和设备，她扮演的首选研究。
Emily recorded at a time in the music industry where not as much emphasis was placed on providing the names of gear and instruments that artists preferred, as it so prevalent with today's sponsorship agenda.刘慧卿记录在音乐行业没有那么多时间，其中的重点是提供了齿轮的名称和艺术家们的首选工具放置，因为它使今天的赞助议程普遍。 All the inserts of her cd's casually list her as just playing on : Guitar.所有她的CD插入的名单只是随便打她：吉他。
But there are mentions of her favorite brands from time to time in articles and interviews and definitely lots of photos of what she constantly had in her hands, and with that we will cover what we know, what we see and hopefully provide a perspective about her gear that you will find nowhere else.但也有不时提到她最喜欢的品牌，在文章和采访，肯定了她不断地在她的手，用我们将介绍我们所知道的，我们看到的，希望提供一探她的很多照片时间齿轮，你会发现别的地方。
Her passion for the Gibson ES-330 is very well documented.她的330激情吉布森的ES -是非常有据可查的。 It's not hard to find out that her brother's 330 is the instrument she started playing on.不难发现，她的哥哥的330是她开始玩乐器。 You will notice it in pictures throughout her career,您将发现在她的整个职业生涯的照片吧， 
it's a marvelous cherry red model but of note Emily's guitar was modified with humbucking pickups which would today be a very rare modification on this particular vintage instrument.这是一个了不起的樱桃红色模式，但值得注意的Emily的吉他与humbucking皮卡这将是一个在今天这个特殊的年份非常罕见的修改工具修改。
Emily's 330 was also fitted with a Gibson Lyre Vibrola tremolo system that is engraved with a Lyre (a harp-like instrument) and the Gibson logo. Emily的330也与一吉布森拉琴Vibrola颤音系统是与一个拉琴（竖琴状仪）刻和吉布森标识器。 The engraving and chrome finish are largely worn away and tarnished but can just be made out on the cover photo of her Transitions album.雕刻和镀铬主要是磨损和玷污，但可以只就她的视线专辑封面照片了。 One can also tell the tremolo arm has been removed.你也可以告诉颤音臂已被删除。 
From the photo and video evidence we have it's clear that around the late 80′s Emily removed the metal bar that attached to the tremolo arm and was designed to rock this very simple tremolo system and fitted a Gibson-style Stop Bar Tailpiece.从照片和录像证据，我们已经很明显，围绕80年代末刘慧卿取消了金属条连接到颤音臂，目的是非常简单的颤音岩本系统，装上吉布森式停止杆补白。
After this modification the tarnished and now defunct Lyre Vibrola tailpiece was left on the guitar and this often causes confusion to those trying to identify Emily's guitar as an authentic vintage 330.此修改后的受损，现已解散的七弦琴Vibrola尾翼被留在了吉他，这经常会导致混乱，那些试图确定为一个真正的老式330 Emily的吉他。 At this same time it appears that the original Gibson tuners were replaced by what seem to be Grover tuners.在这同一时间出现，原来的吉布森调谐器是由什么似乎是格罗弗调谐器取代。 Emily once remarked in an interview that she thought her 330 was a 1962 model but she wasn't sure.刘慧卿在接受采访时曾经说过，她认为她是1962年的330模型，但她不能肯定。 Those serious in owning one will find them periodically on auction sites.那些拥有一个严重的会发现，他们定期在拍卖网站。
The Gibson ES-330 was intended to be a student instrument when first released.吉布森的ES - 330的用意是一个学生的文书时，首先释放。 It was in fact referred to as the “poor man's dot marker” because so many owners were able to buy and customize the 330 to the specs of the top line 335′s at the time, for far less the price.这实际上被称为“穷人的DOT标记”，因为许多业主能够购买和定制的330至335的前行的规格的在时间少得多的价格。 It was never as ornamented, missing the crown motif on the headstock, used single coil P90 pick ups instead of humbuckers, and had the fretboard join the body at the 16th fret not the normal 19th, which caused a repositioning of the bridge, but being labeled a student guitar didn't effect it's sound quality or expert build.这是从来没有作为装饰，缺少对启闭冠主题，采用单线圈拾音器，而不是挑选P90窗口，并有指板在16日参加身体不正常的烦恼19，造成了桥的重新定位，但作为标一学生吉他并不会影响它的音质或专家建立。 The 330′s superb performance proved to be appealing beyond the novice player. 330的精彩演出被证明是超越了新手玩家的吸引力。 And in the end, aren't we all perpetual students when it comes to learning and music anyway?而最后，是不是永远都当涉及到学生学习和音乐呢？ The biggest change from the well established ES-335 to the thinline 330 was the absence of the wooden center block that enabled a deep, full sound from the guitar that was more commonly associated with the bigger bodied acoustic/electric models.最大的变化从既定的ES - 335的thinline 330是该中心块木制没有这使深，从已较为普遍较大健全声/电吉他模型相关完整的声音。 The tailpieces of the early releases were not exactly elegant, but the rich tone it imparted, the comfortable size, fretboard dimensions and accessibility made it a dream to play.早期发布的tailpieces并不完全优雅，但它传授丰富的色调，舒适的大小，指板的尺寸和可访问性使它成为理想的角色。
She tried the她试过 Gibson ES-175吉布森的ES - 175 
early on but reported that:但早期报道：
” It was too fat and restricted my right arm in such a way that my picking, which is my strongest point, would get tired. “这是我太胖，限制权利的方式，这样我的手臂在采摘，这是我最有力的部位，会觉得累。 The 330 has a nice thin body, so I don't have the problem.” 330有一个很好的超薄机身，所以我没有问题。“
Emily's 330 is showcased on her very first two albums, Firefly and Take Two, and again later you will see it in the promo photos for Transitions and is pictured in the inserts for This Is Me, so she never traded it in, from the beginning to the end, the 330 was clearly one of her favorites. Emily的330是展示了她的第一两张专辑，萤火虫和吃两，再后来，你会看到在转型的宣传照片，并在插入照片，因为这是我，所以她从来没有成交资讯，从一开始到年底，330显然是她的最爱之一。
The first we see of the Ovation acoustic was around the mid 80′s.首先我们看到的Ovation声是围绕80年代中期。 Emily was gearing up for her recording with Larry Coryell in Charlottesville, Virginia and Ed Deasy took several black and white photo's showing her in trance with a 1984 Collectors Series Ovation (some of my absolute favorite images of her).埃米莉是资产负债迪希注册埃德她录制和拉里科耶尔在夏洛茨维尔，弗吉尼亚州花了好几个黑白照片的显示）她在恍惚与1984年的收藏家系列的Ovation（某些自己喜爱的图片我绝对她。 Indeed, the credits for the album, Together , lists Larry playing a '67 circa Gibson Super 400 electric and Ovation Adamas acoustic and Emily playing the Ovation Adamas acoustic and Borys B120 electric.事实上，这张专辑的学分，携手并肩，列出了大约67年的拉里吉布森扮演一个超级400电动和Ovation阿达姆斯声和埃米莉玩的Ovation阿达姆斯声学和电鲍里斯塔拉B120。 She also used that Ovation for the 3 standout solo performances captured on The Guitar Show JazzMasters series.她还用3个突出，为在吉他独奏系列显示JazzMasters抓获表演鼓掌。
It's a gorgeous, dark walnut finish guitar with a leaf motif around the soundholes.这是一个华丽，与周围黑暗的核桃叶序完成的soundholes吉他。 ADAMAS II Models were introduced in 1981 with the standard Ovation neck and bridge, and was available as acoustic electric only.阿达姆斯II型号介绍了1981年标准的Ovation颈部和桥梁，并为电声只可用。 The Collectors Series followed in 1982 with the wood-top Adamas prototypes named Elite, and labels that were marked with N-19-82WTSL ( the WTSL for Wood Top Super Legend).随后一系列收藏家与木顶阿达姆斯1982年命名为优秀的原型和标签被用N - 19 - 82WTSL（对木材的热门超级传奇WTSL）标记。
2,637 were made for that year and if you are patient, you can still find them up for sale now and again. 2637这一年提出了，如果你有耐心，你仍然可以找到他们了，并出售了。 The collectors series was a super shallow body, spruce top with an ebony fretboard, inlaid at the 12th fret with hard maple and the year 1984 contrastingly set into that.收藏家系列是超浅埋身体，云杉与乌木指板镶嵌在第12，顶硬枫木和1984年进入该设置，截然不同的烦恼。
It has a beautiful acoustic sound plugged in, with the classic ovation overtones and the super low action coupled with wide frets gives it an electric fretboard feel.它有一个美丽的声音响插在欢呼与经典色彩和超低品位具有广泛的行动相结合，赋予它一个电动编曲的感觉。
She really played it to all it's perfections in the JazzMasters show.她真正起到它所有它的完美性在JazzMasters表演。 You can check a few of those solos out on the Em-cast page.您可以检查这些独奏数列于新兴铸页。
Korocusci Classical Guitar Korocusci古典吉他
If you ever heard Emily playing some of her Brazilian style jazz (and it's very apparent on her version of Afro Blue) and thought hey, that sounds like a nylon string guitar, it was.如果你听过她的演奏艾米莉巴西风格的爵士乐一些（而且很明显对她的非洲蓝版）和思想嘿，这是个尼龙弦吉他的声音，它是。 This is the least searchable of all her guitars but she does talk about it in a few articles around '80 – '81 , where she says:至少这是她所有的吉他搜索，但她不说话了几篇关于在它周围'80 - '81，她说：
” I recently bought a new Japanese classical guitar called a Korocusci. “我最近买了一个新的日本古典吉他称为Korocusci。 I got it because I do a lot of work with Astrud Gilberto, and she does a lot of bossa nova tunes.我知道了，因为我与艾斯特吉芭托了很多工作，她做了很多波萨诺瓦音乐。 So the classical guitar is a necessity.因此，古典吉他是必要的。 I used to borrow one every time I worked with her, but because we were going into the Brecker Brothers' club, Seventh Ave.我曾经借一个我每次与她工作，而是因为我们被纳入Brecker的兄弟俱乐部，第七大道去。 South, I wanted a new guitar for the job. ”南，我想要一个新的吉他的工作。“
It appears to be a virtually unknown guitar model name or manufacturer so I have no further info to offer, but if you know this guitar or have pictures, feel free to use the contact page and share your knowledge.这似乎是一个鲜为人知的吉他型号名称或制造商，所以我没有进一步的信息提供，但如果你知道这个吉他或有图片，随时使用联系网页，分享您的知识。
Could this be a picture of the elusive Korocusci ??难道这是一个难以捉摸的Korocusci图片？？ 
Peroria, Illinois, 1981 Emily, Monty Alexander & Paul Berner Peroria，伊利诺伊州，1981年刘慧卿，蒙蒂亚历山大＆保罗伯纳
Casio PG-380 Synth Guitar 卡西欧指引380吉他合成器
Early on, Emily leaned toward being a traditional player with a straight ahead, hard bebop style and no desire to alter those pure tones.在早期，艾米莉是一个有向正前方，硬波普风格，也没有希望改变这些传统的纯音播放器倾斜。 She had a great respect for the music she was trying to convey from such Masters as Clifford Brown, Sonny Rollins, Wes Montgomery and Bobby Timmons, and felt it would be wrong to “wash” the delivery of their songs with any guitar or amplifier effects.她曾经对她的音乐所要表达的是克利福德布朗，桑尼罗林斯，韦斯蒙哥马利和鲍比蒂蒙斯等大师崇高的敬意，并认为这将是错误的“洗”了他们的歌声或吉他放大器与任何影响交货。 But near the end of her career, as she was establishing her own style and playing with the new technology of the times, she did begin to venture into the electronic side of jazz music and her instrument of choice was the Casio PG-380 Synth Guitar.但接近她的职业生涯结束，因为她正在建立自己的风格和时代的新技术玩，她开始把她的爵士音乐和电子仪器的首选方企业是卡西欧指引380吉他合成器。 The only commercial album that featured her Casio was her last, This Is Me , and is so prominently displayed on the song, Simplicidaje, but you will immediately notice that the entire album has a different feel and attitude from her previous releases, due in part from the inclusion of her new found special effects.唯一的商业专辑，内容是她的卡西欧是她最后一次， 这是我 ，是如此突出Simplicidaje上显示的歌曲，但你会立即发现，整个专辑都有不同的感受和态度，从她以前的版本中，部分是由于在从她的新发现列入特殊效果。
It's too bad for us that most of her playing and experimenting with this guitar's limitless sounds was done in her home studio without the benefit of a recorder but some of her friends remember enjoying many jams and soloing out of the Casio that we will unfortunately never know.这对我们来说是坏，她的演奏，并与这把吉他的无限声音实验最多的是在她家里的工作室做没有录音机的利益，而是她的一些朋友记得享受许多果酱和独奏的卡西欧指出，我们将很不幸永远不会知道。 
Casio PG-380 卡西欧指引380
Initially released in 1987, this series of synth guitars were based on a “Strat” style Ibanez design and featured an easy transition from normal electric vocals to well over最初在1987年发行，这一连串的吉他合成器是基于一个“开始”的风格和特色伊瓦涅斯设计一个简单的过渡到正常的电声远远超过
60 preset sounds 60个预设的声音 . 。
Casio introduced five MIDI guitar models in '87: The MG-500 and MG-510, and the PG-300, PG-310, and PG-380 that were part of their second generation of professional instruments (which also included the VZ-series synthesizers and the FZ-series samplers).卡西欧推出'87五的MIDI吉他机型：的MG - 500和MG - 510，和PG - 300，前列腺素- 310和PG - 380是为他们的第二代专业仪器（其中也包括域思部分系列合成器和FZ型系列采样器）。
The guitars themselves were produced under contract for Casio by Fuji Gen Gakki, who also built the Roland and Ibanez MIDI guitars.本身是根据合同生产的卡西欧富士根Gakki，谁也建立了罗兰和伊瓦涅斯的MIDI吉他吉他。
The PG-380 was Casio's top of the line guitar listing for about $1500 and sported an Alder body longer than a Strat's and without the tummy cut and armrest contouring of a Strat, due to the numerous cavities routed in the body to accommodate the electronics.在PG - 380是卡西欧的约1500美元线吉他列表顶部，配备桤木的身体长于Strat的，没有肚子削减和扶手一开始轮廓，由于在体内，以适应电子击溃了许多蛀牙。 The neck and bridge pickups were both a single-coil humbucker splittable by a push-pull switch on the tone control and a Gotoh Floyd Rose-style locking vibrato.颈部和桥梁皮卡都是一个单线圈humbucker通过对音调控制和五岛弗洛伊德玫瑰式锁定颤音推挽开关裂。 The neck was made of maple with a 22-fret ebony fingerboard and locking nut.颈部是用枫木与22乌木指板和烦恼锁紧螺母。
It gets very good reviews from current owners and is one of those guitars that will pop up from time to time on auction sites for less than half of it's original price.它会从目前的业主非常良好的评语，是那些吉他弹出，将适时对拍卖网站的时间不到一半人的原价。
The beloved B120 HollowBody Electric was maybe her favorite choice toward the end of the 80′s.敬爱的B120 HollowBody电气是也许她的80个最喜爱的选择走向战争的结束。 It appears in many of the pictures you can find of her, and most notably on her two excellent lesson videos, Bebop & Swing Guitar and Advanced Latin & Jazz Improvisation .它出现在很多的图片，您可以找到她，和她的两个最显着的优秀影片的教训， 波普＆秋千吉他和高级拉丁舞及爵士即兴 。 It is also mentioned as her electric choice for the Together album with Coryell and you can see in Ed Deasy's photo's of the Charlottesville sessions, it was already her guitar of choice before recording the duo album.它也提到她的电动选择与科耶尔一起专辑，你可以看到在埃德迪希的照片会的的夏洛特维尔，已经是她的选择吉他录音前二人专辑。
Even without seeing the inlaid name in the head stock, you will always know a即使没有看到库存的头部镶嵌的名称，你将永远知道 Borys鲍里斯塔拉 by the unusually thin and angular pick guard (Emily's was made of a dark wood, either walnut or one of the tropicals, but this was probably an extra option).非常薄的和角接后卫（Emily的是用深色木材，无论是核桃或热带鱼之一，但是这可能是一个额外的选项）。 He began building guitars in 1974 in Burlington, Vermont, eventually evolving to a series of guitars with jazz musicians in mind.他开始在建设佛蒙特州伯灵顿1974年吉他，最终演变为一个爵士乐手与心吉他系列。 Ken Armstrong developed a special pick up just for them, that induced a rich tone from the trebles while retaining a crisp edge in the bass.肯阿姆斯特朗开发了一种特殊拿起只是为了他们，诱导的三倍，同时保留了丰富的音在低音清晰的边缘。 They came with ebony pickguards and knobs, mother of pearl markers and one of the finer adjustments was the ability to change string tension by raising or lowering the solid brass tail piece.他们想出了乌木pickguards和旋钮，珍珠标记和更精细的调整之一的母亲是有能力改变通过提高或降低了坚实的黄铜片字符串尾部的张力。 It's a beautiful guitar and the tone speaks for itself.这是一个美丽的吉他和音不言而喻。
Borys apprenticed with Jimmy D'Aquisto and made laminated body plates for Jimmy's jazz electric guitars ( the Jim Hall – D'Aquisto guitar) into the 1990′s.鲍里斯塔拉学徒与Jimmy德Aquisto并提出了Jimmy的爵士乐（吉姆馆 - 德Aquisto吉他），电吉他层压板体到1990年的。 The BG series was designed in collaboration with Jimmy D'Aquisto and Barry Galbraith, hence the “BG” in the name.该BG系列在设计上与Jimmy德Aquisto和巴里加尔布雷思，因此用“保函”的名义合作。
I understand Roger Borys is still building (with limited production) and repairing guitars but has moved his operation from northern Vermont to Hoboken, New Jersey.我知道罗杰鲍里斯塔拉仍然是建设（有限的生产）和修理吉他，但提出他的行动，从霍博肯北部佛蒙特州，新泽西州。 After all this time they are still made by hand, one at a time.毕竟这一次他们仍然手工制作，一次一个。 Visit his website -访问他的网站 - RogerBorys.com RogerBorys.com for more information.获取更多信息。 Good luck in finding a used model at vintage guitar sites or ebay and if you do, expect to open your wallet a little wider than normal.找到一个经典吉他在易趣网站或使用的模型，如果你做的好运气，期待你的钱包，打开一点点比正常宽。
see the见 special collections page页的特别收藏 for more vintage Borys brochures and literature.欲了解更多葡萄酒鲍里斯塔拉手册和文献。
Of interest, in one interview Emily spoke of owning an有趣的是，在一次采访中谈到拥有一刘慧卿 Ibanez GB-10伊瓦涅斯的GB - 10 
(early on in her New Orleans experience ) , a signature series George Benson model, which is a little like the Gibson ES-175, Here's what she had to about it. （早在她的新奥尔良的经验），一个签名系列乔治班森模型，它是像吉布森的ES - 175一点点，下面是她对它。
It was good because it was thin enough, but I found that it was good only if you wanted to sound like George Benson.这是很好的，因为它是足够薄，但我发现这是很好的，如果你只想要的声音听起来像是乔治班森。 the top strings were very chinky and trebly, the low strings were warm and bassy, but they didn't sustain at all.顶弦非常chinky和trebly，低弦是温暖和低音太过，但他们并不能维持的。 It got a very percussive sound, like the way George plays.它有一个非常撞击声，像乔治的方式播放。 It was perfect for me in some ways, but I wanted a guitar that I could use for rock work, and it was terrible for that.这对我来说是完美的，在某些方面，但我想要一个吉他，我可以用岩石的工作，这对可怕。
Other Gear其他齿轮
Amplifiers 放大器
On the list of amps Emily is known to have liked are: Roland Chorus, Walter Woods, Music Man, Polytone and Fender .喜欢名单上有安培艾米莉是已知的有： 罗兰合唱，沃尔特伍兹，音乐人，复调探微和挡泥板 。 Besides of course the tone, one of her biggest considerations for an amp was related to the weight.此外，当然了口气，她的最大的一放其中一个考虑因素是有关的重量。 When you schlep your own gear, how much you have to lug is a factor.当你自己的拖带装备，你有多少要挑着是一个因素。
” I owned a Polytone, which is kind of like a Fender Twin Reverb, except the Twin is much too heavy for me. “我拥有的复调探微，这是混响有点像挡泥板双，除了Twin是我太沉重了。 I can't pick one up, so I use the Polytone. 我不能选一个，所以我用的是复调探微。 I'd much rather use a tube amp, though. 我宁愿使用电子管功放，但。 I buy amps that i can pick up, otherwise I have to get strange men from the street to help me take it out of the car.” 我买放大器，我可以拿起，否则我得从街头陌生男人帮我把车出来了。“
Of note, she was a proud owner of a VW Rabbit, Volkswagen of America headquarters was located on the industrial side of her hometown, Englewood.值得注意的是，她是一个大众兔，大众汽车美国总部的骄傲的主人是在她的家乡，位于恩格尔伍德工业方面。 Try stuffing a Twintube into the back of that!尝试塞进了该回Twintube！
Strings 弦乐
The only strings I've ran across her endorsing were D'Addario Half Rounds of which she said she wasn't fussy about the exact gauge and would use .011 gauge for the top but didn't care what the rest of the strings were.在我只在她的赞同弦德达达里奥半跑了大红大紫，她说她不挑剔的准确掌握和会使用的顶级0.011计，但并不在乎什么，其余的弦，其中。 The advertisement below says it best.该广告下面说最好。 She also mentions later to leaning toward D'Addario Jazz Lights and loved them because they were free.她还提到后来对德达达里奥爵士灯学习和爱他们，因为他们是自由的。
Half round guitar strings are round wound with 430 stainless steel, then precision ground, leaving the outer surface semi-smooth.半圆吉他弦是圆的伤口与430不锈钢，然后精确地，留下半的外表面光滑。 They retain the flexibility and tonal characteristics of round wound strings, but provide a smoother feel.他们保留的灵活性和全面伤口字符串音调，但提供了顺畅的感觉。
Right Down To The Pick 一直到接
As her fans know Emily played a majority of her style without a pick, thus the comparison to Wes Montgomery for the use of her thumb.由于她的球迷都知道刘慧卿比赛没有接她的风格多数，因此，比较韦斯蒙哥马利为她的拇指使用。 She was masterful with it.她与它巧妙。 But when she wanted to accent a lead she would grab a pick she had been holding between her teeth and casually use it for a few minutes, then store it again.但是，当她想口音带头作用，她将她接抢她的牙齿之间已经举行和随便使用了几分钟，然后再储存。
Emily was especially annoyed at a prominent critic who had objected (in print) to her habit of intermittently holding the guitar pick in her mouth whenever she switched to bare-finger playing.埃米莉是恼火，尤其是在一个突出的批评家谁曾反对（印刷），以她断断续续地抱着吉他在她的嘴接转的时候，她裸露的手指打习惯。 The critic confessed that he preferred to look away whenever she was doing this, to which Emily testily replied:评论家承认，他宁愿把目光移开时，她在做，对此艾米丽暴躁地回答说：
Good ! 好！ I wish he'd look away the whole time and picture me as John Coltrane ! 我希望他把目光移开的全部时间和约翰柯川图片我作为！
The only pick she ever mentioned using was the Fender Extra Heavy 1.21mm and before that she states, ” I used bits of Tupperware and pieces of wood…”.唯一的选择是她提起过的Fender使用超重一点二一毫米之前，她指出，“我用特百惠比特和木材...件”。
Enough said.不用多说了。
