Guitars & Gear吉他與齒輪
The favored gear of our lady of jazz guitar.齒輪的青睞聖母爵士樂吉他。
All the information available related to what she played and preferred in equipment . 所有有關資料和她扮演什麼首選設備。
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.劉慧卿記錄的時間在音樂行業，沒有那麼多的重點放在提供裝備和工具的名稱，藝術家的首選，因為它太流行與今天的贊助議程。 All the inserts of her cd's casually list her as just playing on : Guitar.所有插入了她的CD的名單她只是隨便玩：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.但也有提到她最喜歡的品牌，不時在文章中大量的採訪，肯定了她的照片經常在她的手，用我們將介紹我們所知道的，我們看到的，希望她提供一個透視齒輪，你會發現別的地方。
Her passion for the Gibson ES-330 is very well documented.她的熱情為吉布森的ES - 330是非常有據可查的。 It's not hard to find out that her brother's 330 is the instrument she started playing on.不難發現，她的哥哥的330是她開始玩樂器。 You will notice it in pictures throughout her career,你會注意到它的照片在她的職業生涯中， 
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.這是一個了不起的櫻桃紅色模式，但值得注意的Emily的吉他拾音器改性humbucking這將是一個非常難得今天在這個特殊的年份修改工具。
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還配備有一個吉布森拉琴Vibrola顫音系統，刻有一拉琴（豎琴式的樂器）和吉布森的標誌。 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.雕刻和鍍鉻主要是磨損和玷污，但可以只開出了封面照片上，她跳的專輯。 One can also tell the tremolo arm has been removed.你也可以告訴顫音臂已被刪除。 
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.從照片和錄像證據，我們已經很明顯，圍繞 80年代末劉慧卿取消了金屬條連接到顫音臂，目的是非常簡單的顫音岩本系統，裝上吉布森式停止桿補白。
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.此修改後的受損，現已解散的七弦琴Vibrola尾翼被留在了吉他，這經常會導致混亂，那些試圖找出Emily的吉他作為一個地道的老式330。 At this same time it appears that the original Gibson tuners were replaced by what seem to be Grover tuners.在這同一時間出現，原來的吉布森調諧器改為什麼似乎是格羅弗調諧器。 Emily once remarked in an interview that she thought her 330 was a 1962 model but she wasn't sure.劉慧卿在接受採訪時曾經說過，她認為她是1962年的330模型，但她不能肯定。 Those serious in owning one will find them periodically on auction sites.這些嚴重的人會發現它們擁有定期對拍賣網站。
The Gibson ES-330 was intended to be a student instrument when first released.吉布森的ES - 330的用意是一個學生的文書時，首先釋放。 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.這實際上被稱為“窮人的DOT標記”，因為許多業主能夠購買和定制330的規格的頂線 335的在時間，少得多的價格。 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.這是從來沒有作為裝飾，缺少官方主題的主軸箱，P90採用單線圈拾音器，而不是接機，並已加入該組織的指板在第16煩惱不正常的19，這引起了重新定位的橋樑，但作為標一學生吉他並不會影響它的音質或專家建立。 The 330′s superb performance proved to be appealing beyond the novice player. 330的精彩演出之後被證明是有吸引力的新手球員。 And in the end, aren't we all perpetual students when it comes to learning and music anyway?而最後，是不是永遠都當涉及到學生學習和音樂呢？ 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.最大的變化從既定的ES - 335到330 thinline缺席的情況下是塊木頭中心啟用了深刻，全面的吉他聲，那是更常用的更大的健全與聲波 /電動車型。 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.該 tailpieces的早期版本並不完全優雅，但它傳授豐富的色調，舒適的大小，指板的尺寸和可訪問性使它成為理想的角色。
She tried the她試過 Gibson ES-175吉布森的ES - 175 
early on but reported that:但早期報導：
” It was too fat and restricted my right arm in such a way that my picking, which is my strongest point, would get tired. “這是太胖了我的右手臂和限制在這樣一種方式，我的選擇，這是我最有力的部位，會覺得累。 The 330 has a nice thin body, so I don't have the problem.” 330有一個很好的超薄機身，所以我沒有問題。“
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是展示了她的第一兩張專輯，螢火蟲和Take Two，並再次以後你會看到它在宣傳照片進行轉場，並描繪在插入，因為這是我，所以她從來沒有成交資訊，從一開始到年底，330顯然是她的最愛之一。
The first we see of the Ovation acoustic was around the mid 80′s.首先我們看到的Ovation聲是圍繞 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).埃米莉是緊鑼密鼓地為她錄製拉里科耶爾在夏洛茨維爾，弗吉尼亞州和埃德迪希了幾黑白照片的顯示她在恍惚與1984年的收藏家系列的Ovation（一些我喜愛的圖片絕對的她）。 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.事實上，學分的專輯，攜手並肩，列出了大約67年的拉里吉布森扮演一個超級400電動和Ovation阿達姆斯聲和埃米莉玩的Ovation阿達姆斯聲學和電鮑里斯塔拉B120。 She also used that Ovation for the 3 standout solo performances captured on The Guitar Show JazzMasters series.她還用這 3個突出的Ovation的獨唱表演捕捉到吉他JazzMasters系列。
It's a gorgeous, dark walnut finish guitar with a leaf motif around the soundholes.這是一個華麗，黑暗的核桃完成吉他與葉圖案周圍 soundholes。 ADAMAS II Models were introduced in 1981 with the standard Ovation neck and bridge, and was available as acoustic electric only.阿達姆斯 II型號介紹了1981年標準的Ovation頸部和橋樑，並可以作為電聲只。 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).隨後一系列收藏家在1982年用木頂阿達姆斯原型名為精英，被標記的標籤，與 N - 19 - 82WTSL（木材熱門的WTSL超級傳說）。
2,637 were made for that year and if you are patient, you can still find them up for sale now and again. 2637這一年提出了，如果你有耐心，你仍然可以找到他們，現在又出售。 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.收藏家系列是超淺埋機構，雲杉頂部，一烏木指板，鑲嵌在第十二屆煩惱硬楓木和1984年，截然不同的設置成的。
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.它有一個美麗的聲音響插入，與經典鼓掌色彩和動作，加上超低品位賦予其廣泛的電動編曲的感覺。
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.你可以檢查一些獨奏出這些新興市場上鑄頁。
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.如果你聽過她的艾米莉玩巴西風格的爵士樂（而且很明顯，她的版本非洲藍）和思想嘿，這聽起來像一個尼龍弦吉他，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:這是最搜索她的所有吉他，但她不談論它在一些文章圍繞 '80 - '81，她說：
” I recently bought a new Japanese classical guitar called a Korocusci. “我最近買了一個新的日本古典吉他稱為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，因為我做了很多工作艾斯特吉芭托，她做了很多的Bossa Nova音樂。 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.我以前每次借一我曾與她，但因為我們要去到Brecker的兄弟俱樂部，第七大道。 South, I wanted a new guitar for the job. ”南方，我想要一個新的吉他這項工作。“
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.這似乎是一個鮮為人知的吉他型號名稱或製造商，所以我沒有進一步的信息提供，但如果你知道這個吉他或有圖片，隨時使用聯繫網頁，分享您的知識。
Could this be a picture of the elusive Korocusci ??難道這是一個圖片的難以捉摸 Korocusci？？ 
Peroria, Illinois, 1981 Emily, Monty Alexander & Paul Berner Peroria，伊利諾伊州，1981年劉慧卿，蒙蒂亞歷山大＆保羅伯納
Casio PG-380 Synth Guitar 卡西歐指引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，艾米莉俯身向著成為一個傳統的玩家，具有直行，硬波普風格，也沒有希望改變這些純音。 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.她有一個很尊重她的音樂所要表達這樣的主人從克利福德布朗，桑尼羅林斯，韋斯蒙哥馬利和鮑比蒂蒙斯，並認為這將是錯誤的“洗”的歌曲，交付與任何吉他或放大器的影響。 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.但接近她的職業生涯的終結，因為她正在建立自己的風格和演奏技術與新的時代，她也開始冒險進入電子爵士音樂一邊和她的文書的選擇是卡西歐指引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.唯一的商業專輯，內容是她的卡西歐是她最後一次， 這就是我 ，是那麼顯眼的歌曲，Simplicidaje，但你會立即發現，整個專輯都有不同的感受和態度，從她以前的版本中，部分原因從她的新發現列入特殊效果。
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.這太糟糕了，我們的大部分她的演奏和實驗靠這把吉他的無限聲音做是她的家庭工作室沒有受益的記錄，但一些她的朋友還記得享受許多果醬和獨奏出了卡西歐，我們將很不幸永遠不會知道。 
Casio PG-380 卡西歐指引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最初發布於 1987年，這個系列的吉他合成器是基於一個“開始”的風格和特色伊瓦涅斯設計一個簡單的過渡到正常的電聲遠遠超過
60 preset sounds 60個預設的聲音 . 。
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).卡西歐推出五款車型在87年的MIDI吉他：MG型- 500和MG - 510，和PG - 300，前列腺素- 310和PG - 380是有一部分是他們的第二代專業儀器（其中也包括域思，系列合成器和FZ型系列採樣器）。
The guitars themselves were produced under contract for Casio by Fuji Gen Gakki, who also built the Roland and Ibanez MIDI guitars.自己的吉他製作了根據合同由富士卡西歐根Gakki，誰也建立了羅蘭和伊瓦涅斯的MIDI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是卡西歐的頂線吉他，列出了約 1500美元，留著一榿木琴身長度超過一Strat的，沒有肚子削減和扶手輪廓的一開始，由於眾多腔路由在體內，以適應電子產品。 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.頸部和橋樑皮卡都是一個單線圈 humbucker裂由推拉開關的音調控制和五島弗洛伊德玫瑰式鎖定顫音。 The neck was made of maple with a 22-fret ebony fingerboard and locking nut.頸部是用楓木與 22烏木指板和煩惱鎖緊螺母。
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.它得到很好的評價，從目前的業主，是其中的一個，將彈出吉他不時在拍賣網站不到半年它的原價。
The beloved B120 HollowBody Electric was maybe her favorite choice toward the end of the 80′s.敬愛的B120 HollowBody電氣是她最喜歡的選擇也許對結束的80年代。 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 .它出現在很多的圖片，您可以找到她，她的兩個最顯著的優秀影片的教訓， 波普＆鞦韆吉他和高級拉丁舞及爵士即興 。 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.它也提到她的電動選擇與科耶爾在一起的專輯，你可以看到埃德迪希的照片的夏洛特維爾的會議，它已選擇在她的吉他二重奏專輯的錄製。
Even without seeing the inlaid name in the head stock, you will always know a即使沒有看到鑲嵌在頭名的股票，你將永遠知道 Borys鮑里斯塔拉 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).非常薄的和角接後衛（Emily的是用深色木材，無論是核桃或一個熱帶魚，但是這可能是一個額外的選項）。 He began building guitars in 1974 in Burlington, Vermont, eventually evolving to a series of guitars with jazz musicians in mind.他於 1974年開始建設吉他伯靈頓，佛蒙特州，最終演變為一個系列的吉他與爵士樂音樂家在心。 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.肯阿姆斯特朗開發了一種特殊拿起只是對他們來說，這引發了從高音豐富的色調明快的優勢，同時保留在低音。 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.他們想出了烏木 pickguards和旋鈕，珍珠母標記和更精細的調整之一，是能夠改變琴弦的張力通過提高或降低尾一塊實心黃銅。 It's a beautiful guitar and the tone speaks for itself.這是一個美麗的吉他和音不言自明的。
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.鮑里斯塔拉學徒與 Jimmy德Aquisto體夾層板，並提出對吉米的爵士電吉他（吉姆館 - 德Aquisto吉他）到1990年的。 The BG series was designed in collaboration with Jimmy D'Aquisto and Barry Galbraith, hence the “BG” in the name. BG系列設計的合作與 Jimmy德Aquisto和巴里加爾布雷思，因此用“保函”的名字。
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.我知道羅傑鮑里斯塔拉仍然是建設（有限的生產）和修理吉他，但他的手術，從北方轉移到霍博肯佛蒙特州，新澤西州。 After all this time they are still made by hand, one at a time.畢竟這一次他們仍然手工製作，一次一個。 Visit his website -訪問他的網站 - RogerBorys.com RogerBorys.com for more information.獲取更多信息。 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.祝你好運找到一個使用的模型在經典吉他網站或eBay，如果你這樣做，希望打開你的錢包稍微寬於正常。
see the見 special collections page特藏頁 for more vintage Borys brochures and literature.欲了解更多葡萄酒鮑里斯塔拉手冊和文獻。
Of interest, in one interview Emily spoke of owning an有趣的是，在一次採訪中談到擁有一劉慧卿 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. （早在她的新奧爾良的經驗），一個簽名系列喬治班森模型，它是有點像吉布森的ES - 175，下面是她不得不一下。
It was good because it was thin enough, but I found that it was good only if you wanted to sound like George Benson.這是很好的，因為它是足夠薄，但我發現這是很好的，如果你只想要的聲音聽起來像是喬治班森。 the top strings were very chinky and trebly, the low strings were warm and bassy, but they didn't sustain at all.頂弦非常chinky和trebly，低弦是溫暖和低音太過，但他們並不能維持的。 It got a very percussive sound, like the way George plays.它有一個非常撞擊聲，像喬治的方式播放。 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.對我來說這是完美的，在某些方面，但我想要一個吉他，我可以用岩石的工作，這是可怕的了。
Other Gear其他齒輪
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 .名單上的安培艾米莉是已知有喜歡有： 羅蘭合唱，沃爾特伍茲，音樂人，复調探微和擋泥板 。 Besides of course the tone, one of her biggest considerations for an amp was related to the weight.此外，當然了口氣，她的一個最大的考慮是與一個放大器的重量。 When you schlep your own gear, how much you have to lug is a factor.當你自己的拖帶裝備，你有多少要挑著是一個因素。
” I owned a Polytone, which is kind of like a Fender Twin Reverb, except the Twin is much too heavy for me. “我擁有的复調探微，這是有點像擋泥板孿生混響，除了Twin是太沉重了。 I can't pick one up, so I use the Polytone. 我不能選一個，所以我用的是复調探微。 I'd much rather use a tube amp, though. 我寧願使用電子管功放，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.” 我買放大器，我可以拿起，否則我得從街頭陌生男人幫我把它記下了車。“
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，她是一個值得驕傲的擁有人一兔大眾，大眾汽車美國總部設在工業方面，她的家鄉，恩格爾伍德。 Try stuffing a Twintube into the back of that!嘗試把餡一Twintube回了！
Strings 弦樂
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.我唯一的字符串贊同碰到了她的前空翻一周半的德達達里奧，她說她不挑剔的準確掌握和評估將使用.011的最上端，但並沒有在意其餘的演奏者。 The advertisement below says it best.該廣告下面說最好。 She also mentions later to leaning toward D'Addario Jazz Lights and loved them because they were free.她還提到後來達達里奧傾向德燈光和喜愛爵士樂，因為他們是自由的。
Half round guitar strings are round wound with 430 stainless steel, then precision ground, leaving the outer surface semi-smooth.半圓吉他弦是圓的傷口與 430不銹鋼，然後精確地，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.他們保留的靈活性和音調弦的圓形傷口，但提供了順暢的感覺。
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.由於她的球迷都知道劉慧卿發揮了她的風格大部分沒有一個選秀權，從而比較韋斯蒙哥馬利的使用她的拇指。 She was masterful with it.她熟練它。 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，當她想她會口音帶頭搶挑她一直固定著她的牙齒，隨便使用了幾分鐘，然後再儲存。
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.埃米莉是惱火，尤其是在一個突出的批評家誰曾反對（印刷），以她的習慣，間歇性地抱著吉他在她的嘴接轉的時候，她裸露的手指玩。 The critic confessed that he preferred to look away whenever she was doing this, to which Emily testily replied:評論家承認，他寧願把目光移開時，她在做，對此艾米麗暴躁地回答說：
Good ! 好！ I wish he'd look away the whole time and picture me as John Coltrane ! 我希望他把目光移開了我的全部時間和圖片作為約翰柯川！
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…”.唯一的選擇是她提起過的Fender使用超重一點二一毫米之前，她指出，“我用位特百惠碎木頭 ...”。
Enough said.不用多說了。
