先謝謝掌門人辛苦地協助編輯，希望這篇訪談除了讓大家增長智識，也能夠有一些啟發。 其實我周遭有許多朋友非常堅持自己的志趣、理想，默默地耕耘、努力，希望有朝一日能有所成就。John 是一個很好的例子但我想，不論是音樂、製琴或各行各業.... 若是都有傑出的當代網友那多好∼ (導演你知道大家有多期待了吧∼呵 ^_^)
小心員外給你一臺普通的銑床加上CNC控制系統...... (員外....別生氣....要CNC....我能想辦法.....) 不過看完Jeff這篇專訪.....真的很感動...... 前前後後Jeff發了不少篇文章..... 都是大家容易忽略的消息..... 感謝Jeff如此貢獻.....
台灣是工具機製造王國, 一直維持在全世界第6名, 前幾名都是德國, 日本, 之類的國家. 台灣的加工廠也很多, 買台二手應該很便宜, 或將外型尺寸公差標好, 木頭選好, 請加工廠去加工, 應該吉他零件都出來了, 只是接來需要吉他製作真功夫. 但買CNC, 需要有一定訂單量才值得投資
真的很棒! 受益匪淺 也不愧是版主才有此能耐 其實我很強烈建議掌門人應該多敦請各版的版主定期發表一些訪談或專業一點的文章 畢竟大家只是互相交流真正較深入的部份可能都是猜想或是矇到的經驗 很怕以訛傳訛。。。況且各版主們偶而出現一下感覺上也比較親切及感受到貢獻不是嗎?
如同上面說的，希望這篇文章能拋磚引玉，也歡迎大家多在當代發表自己的心得。前陣子掌門人回台舉辦講座時也聊到很欣喜這個園地能凝聚這麼多同好，這都是兩年前想不到的。 * 對 Carruthers 琴有興趣的朋友們歡迎到台北的 UD Music 瞧瞧。(忠孝東路四段181巷40號B1, 02-2721-3202)
原來Megadeth的吉他手Chris Poland也用Carruthers Chris Poland interviewed by Chris Steffen The transition from playing jazz fusion to helping found one of the most influential metal bands and back again is a rather rare one, but former Megadeth axeman Chris Poland has pulled it off. After gaining recognition for being part of Megadeth’s earliest recording lineup (filling in for Kerry King), Poland shifted his focus back towards his true passion, playing jazz fusion with his original band. Poland and his band OHM were part of the festivities at Eric Clapton’s Crossroads Guitar Festival, playing after a demonstration put on by none other than Paul Reed Smith himself. Poland spoke with the Dallas Music Guide about his taste for progressive music and his recent work with former band leader Dave Mustaine on reworking Megadeth’s catalogue and making a new record. Dallas Music Guide: This event is a benefit for the Crossroads organization that Eric Clapton founded, which goes towards assistance for drug abuse and such. How does that play into any of your past experiences? Chris Poland: Well, I don’t think that’s why we’re playing here, but we feel great about it. The bass player, Robert Pagliari and I have been sober for – I’ve been sober for sixteen or seventeen years, and he’s been sober for nineteen or twenty years. It’s kind of significant for us that this is why he’s doing it, so we feel great about it. DMG: What you are doing here today is a much different type thing than what most remember you for from your Megadeth days. Marty Friedman’s also off doing his own, different thing – what is it about being in Megadeth that makes people come out of it wanting to do totally different stuff? CP: The thing was, before I was in Megadeth, I was playing fusion with Robbie PPP on bass, and Gar was our drummer for our band. We had a horn section, and we were a fusion band. This was before Megadeth was even a band. What happened was, we shared the same management, and Dave’s band needed a drummer. So Gar [Samuelson] joined the band just until they found somebody – and they never did, so they settled with Gar. He mentioned to me they needed a guitar player, so that’s how I joined. So me and Gar were kind of the jazz fusion kind of end of it, the Mahavishnu [Orchestra], Jeff Beck, Weather Report end of it, and Dave and Dave were the Mercyful Fate, Motorhead end of it. DMG: So when the metalheads see your name on the bill, do they come and get confused sometimes? CP: No, because everybody knew what I was doing, there was a heads-up. The metalheads that did come – some of it I’m sure they didn’t like, but I think a lot of it they liked, because the energy is still the same as Megadeth energy, it’s just…I don’t know how to describe it, but it’s very high-energy, especially the drums and bass along with the guitar. DMG: You’ve been working with Dave on reworking the old stuff, as well as the new record. CP: Dave had remixed “Peace Sells” and the rest of the catalogue, and he gave me a call one day and asked me to come down and do solos on top of his new record, which is either going to be a Megadeth record or a Dave Mustaine solo record, I’m not sure. Vinnie Colaiuta was the drummer, and that really piqued my interest, because Vinnie – I’ve been a long time Vinnie Colaiuta fan. When I got there, I was really impressed with the majority of the new music, I really really liked it, and I had a lot of fun doing it. DMG: Would you ever go back to a situation like that? CP: No. What I’m doing right now – this kind of music is what I love to do. I do something else so that I can play this music, because I don’t make a lot of money doing this. But it’s what I love to do, and I’m not going to do something I don’t like to do, that would make me crazy. DMG: So back in the day, did it make you crazy a bit? CP: Oh, no. I don’t want you to get me wrong on that. The reason why we liked Megadeth was that it was physically challenging to play it, and the music was hard to play, also. Physically running around and doing a whole Megadeth show is really draining, but also musically, it was cutting-edge and progressive, as far as I was concerned. So as long as it was progressive, it was cool with me. And I had Gar in the band – all my learning years were with Gar, so it was really easy to learn that music with him and make it ours. So not for a second, don’t think that I didn’t have fun or that I didn’t enjoy it. This is what I’m pursuing now, and this is all I really want to do. So for me to join Megadeth would really confuse everybody. DMG: What else are you up to besides this right now? CP: Well, to confuse the issue even more, every one in a while Lamb of God calls me up and asks me to come in and do a solo for them. But that’s okay, because as far as I’m concerned, they are the new breed of what Megadeth was fifteen years earlier. When I heard their record, I was like ‘This is way, way cool. I need to give this serious thought on how I’m going to work a solo into this song.’ They dug it, and so Chris [Adler], the drummer, gave me a call again and said ‘Hey, we want you to do another solo,’ and I was like, ‘Okay.’ Granted, that’s not fusion, but it is very very progressive in the same sense that Megadeth was back when we started that band. That’s why I don’t feel like…it’s not too weird of a left field thing to do. DMG: So you’re going to be on the new record they’re working on now? CP: All they do is they send me a disc, and they say ‘This is your time slot, from here to here. Have at it.’ Normally I’ll send them two or three solos to choose from, and they just grab it and do what they will. DMG: Beyond this, what’s coming up for you? CP: We’re thinking about going in and doing a record right after we’re done with this. This is our last show for this leg of – whatever the last record was. I signed my whole catalogue over to Black Note records, which is a subsidiary of Rotten Records, which has D.R.I. and all this really really heavy music. Ron Peterson came to one of our shows, and he was like ‘I’m going to start a label just for your stuff, because I think it’s time.’ So I was like ‘Great,’ and signed my catalogue over to him. We actually signed a deal where we owe him a record now, so that’s what we’re going to do. He’s a great guy, they’re willing to help us out, and a lot of people aren’t willing to do anything with the kind of music we play, because it’s a little more challenging than most, with the guitar instrumental stuff – the drums and bass get to participate a bit more than in most bands, where it’s not just ‘guitar, melody, guitar, solo, song’s over.’ So we’re hoping it will catch on. And if it doesn’t, it doesn’t matter, because it’s what we like to do. DMG: It looks like you’re going to have a good crowd today. CP: We’re hoping it will. Again, it is at 5:45 on Friday, so most people are going home now and just shaking work off. But we don’t mind. We’re sponsored by Yamaha guitars, we’re really happy about that, I love those guitars. I had a whole boatload of guitars, and a friend sold me a Yamaha guitar for real cheap. Every time I’d pick it up, I’d be like ‘Damn, this is smoking my guitars.’ I’d have to set it down, because I’d have just spent $2,200 on a Tom Anderson drop-top guitar. I’ve had Paul Reed Smith guitars and John Carruthers special-made guitars…eventually I said ‘What am I going to do, am I going to play this guitar?’ It’s like if you like a Volkswagen, why are you going to buy a Mercedes? Not that a Yamaha is a Volkswagen, I’m just trying to make a…really bad analogy. (laughs) They play great. I love the SVG neck – where it sits on the body – it’s like perfect for the way I play, so when I found that guitar, I was like ‘Yeah.’ DMG: So who contacted you to play this – was it the promoter? CP: Actually, we brought our live disc to Dave Weiderman over at Guitar Center in L.A., who helped put a lot of this [event] together. We said ‘We need to give you a CD to see if we participate.’ He said, ‘Great, I’ll listen to it,’ and he called us back and said ‘Yeah, I like it.’ So then Yamaha, who is also here, said ‘We’ll pay for you guys to get here.’ It’s a good charity event, so they covered our costs. So luckily, we’re here. DMG: Anyone in particular you’re looking forward to seeing? CP: I can’t stay. I run studios back in L.A., and I was just on the road for thirty days. They said ‘Okay, we’ll let you go do this because it’s a big deal.’ I have my allotted thirty-five days a year that I can leave my job, and until I can pay my bills otherwise, this is the way I do it. I don’t mind, I have a great gig, I have a studio that they give us a great rate at, and that’s where we’re making our record, so it’s pretty nice. DMG: There’s a lot of talk going on and a lot of anticipation for the new Megadeth record. From the one song that’s been released so far, “Kick the Chair,” people are assuming it’s going to be a “Rust in Peace” type record. CP: It’s weird, it’s like “Rust in Peace” meets “Peace Sells,” with a little bit of the first record here and there. Some of the stuff you actually need a slide rule to listen to – there are some songs that are going to take four times [to sink in]. The guitar is really complicated – I can’t even remember what I played, I did like ten solos for each song. They kind of dropped it all into Pro Tools and just said ‘Yeah, we’ll make something out of it.’ Who knows what it’s going to sound like, I don’t know. DMG: So Dave’s all better now from his injury? CP: Yeah, he did physical therapy and got his hand back together. He’s playing great, and he’s got great tone. I took my whole rig up there to use to record with, and I wound up using the fifty-watt Marshall he used. I was just like ‘Let me plug into that,’ played it, and was like ‘Well, I guess I’ll be using this.’ But yeah, Dave’s playing great, he’s writing great, he’s got Vinnie Colaiuta on drums. He wanted to have Dave Ellefson on bass, but I guess they had a disagreement on how they were going to work it out. I know I wasn’t his first choice, because he wanted to get his original lineup back, but he was like ‘Come on, let’s do it, we’ll have fun doing it.’ So I said okay. www.chrispoland.com http://www.dallasmusicguide.com/interviews/chrispoland.htm