【Non-Confined Space 非/密閉空間】首張專輯《Flow, Gesture, and Spaces》Bandcamp已經上架,附上英文版的介紹。
Between the spheres of free improvisation, jazz, trap, and musique concrète, lies Non-Confined Space. The name of this Taipei-based duo – saxophone polyglot Minyen Hsieh and audiovisual electronica experimentalist Ge-Chun Cheng (aka Sonic Deadhorse) – aptly describes their approach to exploring the fertile space they find themselves in. Drawing inspiration from their differing musical approaches and worlds, plus energy from the lively Taiwanese music scene, Non-Confined Space is a bold and future-facing hybrid. Cheng deploys piles of samples alongside Hsieh’s versatile saxophone, resculpting the results into a sublime and boldly experimental debut album of beats and processed improvisations unlike anything you’ve heard before.
Taking its title from a philosophical textbook about free-jazz, Flow, Gesture, and Spaces is a revelatory introduction to the duo, mixing the utterly free improvisations of their live shows (exemplified with spontaneous straight-to-tape takes on two of the album’s ten tracks) with an approach to studio composition inspired by the philosophy of improvisation. Basic outlines – often borrowing chord movements from the likes of Coltrane and Wayne Shorter, or pulling beats from Cheng’s huge library – would be cut loose in studio sessions, later augmented by psychedelic post-production. Utilizing methodology from the eponymous book, Flow, Gesture, and Spaces is nonetheless based on “simple elements” as the duo put it, “rhythm, intervals, timbre, and energy.
As a pairing, Non-Confined Space seem to come from polar opposite ends of the spectrum, musically. Performing professionally since the age of 19, Minyen Hsieh first picked up the saxophone back in high school, going on to study with local jazz musicians, and eventually studying the instrument at Koninklijk Conservatorium in Brussels. He’s since made a vast array of music, from traditional swing to the loosened bop of his debut solo album Firry Path, and collaborations with pianist Shih-Yang Lee and legendary Japanese free-drummer Sabu Toyozumi. Non-Confined Space is Hsieh’s first deep foray into the art of electronic processing.
Ge-Chun Cheng’s primary solo project since 2007 has been Sonic Deadhorse. A sample-hungry outfit blending the “indulgence of the 70s, melancholy of the 80s, nihilism of the 90s, and isolation of the new century”, the project has produced a wide-range of sounds from post-Flying Lotus fusion beats to wild live performances of a club-influenced mix of post-rock, dubstep, and chiptune (documented on a 2016 live set for Boiler Room). Working as something of a one-man band has left autodidact Cheng well prepared to not only match the classically trained Hsieh, but to push his partner into wild new directions. “I can always get organic feedback and responses from Minyen,” explains Cheng. “It makes me want to put more elements and processing into the music, and to change style more often.”
Since first meeting at a jam session in Taipei City, Non-Confined Spaces have evolved into an improv outfit for the 21st century, as indebted to Aphex Twin and Squarepusher as they are to Archie Shepp and Sun Ra. The road to Flow, Gesture, and Spaces has seen the duo play for dance performances, visual exhibitions, and even live-painting. Their own live shows also include various interactive and audiovisual elements, consistently focusing in on those three core elements checked in the album’s title. Non-Confined Spaces is a project far from tied down, flirting with bass-heavy tropicalia on ‘Serotonin Cell’, psychedelic post-Madlib hip-hop on ‘Melodic Gesture’, and noisy electrified free jazz on ‘Entropy’. The latter is one of two live takes featuring drummer Weichung Lin and keyboardist YuYing Hsu – allies from the Taiwan scene – capturing the explosive spontaneity and uncannily wonky sounds of this unique duo reconstructing samples live on the spot. Flow, Gesture, and Spaces is a true journey into the heart of the unknown.
Tristan Bath
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10個幫你選出合適的木吉他弦的建議
還記得你上次換弦是什麼時候的事嗎?換弦之前,先看看以下10個建議幫助你選到最適合你的吉他弦:
#吉他類型
這看起來簡單然而卻是最重要的:先看一下吉他並且決定該替它換哪一種弦。鋼弦民謠吉他、電吉他、還是古典尼龍弦吉他?絕大部分這三類吉他的弦是不能互換的,比方說,你不會把鋼弦裝在古典吉他上,這有可能會毀了這把琴。
看一下吉他的琴橋(bridge),到底是要用有球型尾(ball-end)的鋼弦還是要用手綁起來的尼龍弦。通常鋼弦都裝有球型尾,不過尼龍弦兩種都有(手綁式或球型尾)。
#規格偏好
重點來了。弦線的規格非常多元。規格指的是弦線的直徑,換句話說,也就是粗細大小。弦線的規格會改變彈奏時的手感以及吉他的音色。一般來說,細規格的弦比較好彈,但也較容易斷。粗一點的弦線音色相對飽滿圓潤,音量較大且不大容易斷。所以如果彈奏時喜歡加大手勁做出表情的吉他手,可以考慮選規格較粗的弦。以下是民謠吉他弦常見的分類:
Extra light(極細): .010 .014 .023 .030 .039 .047
Custom light(較細): .011 .015 .023 .032 .042 .052
Light(細): .012 .016 .025 .032 .042 .054
Medium(中等): .013 .017 .026 .035 .045 .056
Heavy(粗): .014 .018 .027 .039 .049 .059
#規格選擇
如何知道最適合自己的弦線規格是什麼?你可以考慮以下幾件事:
琴身大小: 你的吉他是小琴身還是Jumbo?一般小琴身的吉他(例如旅行吉他)用細弦比較合適,聲音也比較好聽。而琴身較大的吉他或是jumbo吉他,用中等甚至粗規格的弦可以讓大琴身超大共鳴的優勢展露無遺。
#音色:規格越粗的弦容易強調吉他音色低頻的部分,而規格較細的弦則展現出高頻的特色且音色較為甜美。
#彈奏風格:你是指彈掛還是刷chord咖?通常細規格的弦較適合指彈吉他手,而刷和弦(尤其是用力刷)的吉他手則比較適合粗規格的弦。如果你兩者都是,中等規格則會是你的選擇。
#樂器年齡:如果你的吉他年紀很大,特別是骨董琴,裝粗規格的弦線要小心,因為規格越粗施加在琴頸的張力就越大。
材質:如果你認為「弦不過就是弦嘛!」錯了!弦線所使用的材質有好幾種,而這些材質對音色與耐用度有蠻大的影響。
Bronze(青銅):青銅是由80%的銅與20%的鋅所組成的,適用於各種演奏風格。其音色清楚、明亮,不過由於它容易氧化青銅材質的弦老的也快。
Phosphor Bronze(磷青銅):磷青銅的弦就是把青銅的弦加上磷的成分。音色仍然偏亮,但比起青銅的弦稍微溫暖也暗一點。不過其壽命比青銅的弦要長一些。
Brass(黃銅):清亮,如銅鈴般金屬感十足的弦線。
Silk(絲加鋼):這類弦線音色輕柔圓潤。張力較小且規格較細,特別適合需要使用這類弦線的骨董琴。其音量較小、較不耐用,不過很好彈。
#那尼龍弦吉他呢?
A. 張力:古典吉他弦有好幾種不同的張力。張力低的弦會以「moderate」或「light」表示,「normal」則用來表示中等張力,而「hard」則表示高張力的弦。張力低的弦比較好彈,不過相對容易產生打弦(弦振動時打到指板)的狀況。中等張力的弦音色表現相對平均。建議試試看不同張力的弦,然後選出自己喜歡的。
B. 材質:高音的尼龍弦(一、二弦,或一、二、三弦)有一體成形(clear)與後加工(rectified)兩種。一體成形的尼龍弦是射出成形前就將規格調教準確,而後加工則是先射出成形然後再研磨至正確的規格。一體成形的尼龍弦表面平滑,而後加工的尼龍弦表面摸得出研磨過的痕跡。高音尼龍弦的材質為碳纖維以及複合材料。低音弦主要是由青銅線或是鍍銀的紅銅線,外面以細絲線纏繞製成的。
#表面塗層(coating)與特殊處理
由於現今科技的進步,弦線也多了好幾種延長耐用度的選擇。這包括了表面塗層處理的弦線,增加了三到四倍弦線的壽命,不過因為塗層處理的關係有時會犧牲掉一些音色上的亮度,或是振動產生的延音效果(sustain)。有些弦線則是採用低溫冷凍的處理,而這種特殊處理方式似乎既可延長弦線的壽命,又不會減損其音色與延音效果。
#換弦
所以到底應該多久換一次弦?或許要比你想像中還要常換。換了新弦之後吉它的聲音會好非常多。希望總是聽到好音色的吉他手會很想經常換新弦。對於彈奏十分頻繁的吉他手而言或許可以每週換一次弦。如果是偶而彈彈自娛娛人的話,一兩個月換一次弦應該就可以。如果彈琴之前會先洗手且擦拭吉他(特別是擦弦)的話,弦的壽命也會稍微延長。
#價格
弦和其他東西一樣也有不同的價格。一般來說青銅弦最便宜,而特殊處理(表面塗層或低溫冷凍)的弦線最貴。吉他弦的價格通常大約在台幣150元到500元左右,大量買在價格上會比單包買來得優惠。也有比這個價格帶更低或是更高的弦,基本上只要買到一般還不錯的弦,音色也差不到哪裡去。
#包裝
這看起來好像沒什麼關係,不過近年來不少廠商也開發出既環保,又能保護弦線不會在還沒裝之前就生鏽的新型態包裝。尤其如果你會大量買弦線的話,要特別看一下廠商的包裝,因為這些弦線相對會有長期保存的需求。
#Try, try again!多試多比較
大部分的吉他手會習慣使用同一品牌、同一規格的弦線,不過有時候還是試一試其他的選擇,特別是有一段時間沒有試新東西。總是會有些新的、很好的弦線,或許是新的特色或規格推出,這時不妨可以試試看,搞不好會有意外的驚喜與發現。
原文:https://www.guitarworld.com/…/acoustic-nation-10-tips-choos…
翻譯整理:Steve
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