“反转鼓琴”-指弹中国专访美国指弹大师-Preston Reed

海洛因

注意：本帖内容为指弹中国原创出品，未经管理员许可，谢绝转载！谢谢合作~！



% @/ A2 j7 k# J+ [( z7 \( k/ @鸣谢：字幕组 GAKOO 版主Trebor_TTTTT 等等~！
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" t2 P0 e3 `, }* N. I* gPreston Reed几乎颠覆了原声吉他的演奏方式。通过运用了自创的眼花缭乱的演奏方式，Reed将打击技术与旋律交织在一起，音乐感染力在当今吉他界无可比拟。
从古典到原生再到电吉他，Reed对于纯音乐领域的广泛涉猎会彻底颠覆你对一个吉他手的定义。
第一次听到Reed的音乐的人，几乎不能相信那是一个人演奏出来的。Reed在吉他的任何部位敲击，孜孜不倦地寻求他内心所隐匿的交响诗。用手指、拳头、手掌来充当鼓手、键盘手、键盘手和其他一些乐手。
使人印象深刻的事，Reed并不拘泥于自己的技术。他的作品远非纯粹的炫技而已。不借助歌词，他就能营造出生动而引人入胜的音乐氛围。有时更近于拟声化。Reed将视觉刺激通过他的乐器再现，无言的演奏俨然充满了诗歌式的氛围。每一首曲子本身就是一个写意的故事，搭建起了他与听众之间有形的感知桥梁。
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好吧~！今晚就让我们一起走进Preston Reed的女士之夜~！

FC:What are you doing these days?
最近都在忙什么呢？

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PR:I am working on my next record...planning the repertoire, writing music, exploring ideas, etc. I am planning a release in early 2009. It will probably be an acoustic guitar record along the lines of HANDWRITTEN NOTES, METAL, and LADIES NIGHT.
我在做我的下一个录制工作....做曲目安排，创作曲子，探索新的创意等等，我准备在2009年初发行一个专辑。这个专辑会是继Handwritten Notes, Metal, 及Ladies Night之后的又一个原声吉他专辑。

FC:You released your first recordings in late 70's,I think most of the fans of yours haven't  the chance to listen to it,can you introduce some of your masterpieces in your early days?

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你在七十年代末期发行了你的第一张唱片，我觉得大部分乐队可能都无缘听到，能不能给我们介绍一下你早期的一些大作？

PR:My first record came out in 1979. It was called ACOUSTIC GUITAR and contained all original compositions in a fingerpicking style. Back then I wore fingerpicks and played a lot of 12-string guitar. My first five albums were recorded using fingerpicks. The musical influences included blues, rock, bluegrass, and even some compositions composed in a classical style.

我的首张专辑是1979年出来的，名字叫做《原声吉他》，里头包含了所有的拨弦风格的原创作品。然后我戴上指套，用十二弦吉他弹了很多曲子。我的前五个专辑都是用指套录制的。里头可以听到包括布鲁斯，摇滚，蓝草，甚至用古典风格创作的作品。

FC:When did you start to use an ovation guitar instead of the former more "acoustic" guitar?

In 1996.

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你什么时候开始用ovation吉他取代一般吉他的？

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PR：1996年。

FC:did it give you the sound you need?

Ovation 吉他上你找到自己想要的音色了吗？

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PR:Yes. Ovation made me a unique guitar that answered my needs at the time. You can see in my 1994 Homespun instructional video that there are two cords coming out the bck of the Washburn AE-20 I was using at the time. Ovation provided a solution to this awkward dual-cable problem by creating an on-board blender that blended their piezo bridge pick-up and the Seymour Duncan SA-2 Perfect Timbre soundboard transducer which I had been using for several years on my acoustic guitars. With this on-board blender system I no longer needed two cords coming out the back of the guitar.

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是的，ovation为我特制了一把吉他，解决了我当时的需要。你可以在我1994年的Homespun教学视频里看到，在吉他后面有两根线从我当时用的Washburm AE-20牵出来。 Ovation解决了这种令人难受的双接线问题，它在面板上装了一个混音器，将压电琴桥拾音器与我多年来一直用的Seymour Duncan SA-2完美音色声卡转换器整合起来。有了这样了个混音系统，我就不再需要在吉他后面拉两根线了。

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FC:In the homespun video, I saw that you use many effects to provide a great sound of your  acoustic guitar. but in recent years, I saw you use some simple effect pedal on the  stage,such as a BOSS pedal ,e.t.c. What is your regular effect and pick-up system in the  studio and on the stage?在homespun的视频里，我看到你用很多音效来营造很棒的原声吉他音响，但在近几年，你舞台上只是用一些简单的脚踏式效果器，比如你用BOSS之类的牌子等等，你在舞台上或录音棚里，最常用什么样的效果器及拾音系统呢？

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PR:Onstage I use a BOSS RV5 digital reverb pedal for my acoustic guitars, and add a BOSS Chorus Ensemble pedal into the sound for my jazz guitar. I occasionally use a BOSS Digital Delay pedal as well. I find that the BOSS pedals are reliable, compact, easy to use, and sound great.

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In the studio I have used many studio rack-mounted effects over the years including Lexicon digital reverb, TC Electronic digital reverb, Eventide Harmonizer, and other devices depending on the music I am mixing.  

在舞台上我弹原声吉他时用的是Boss RV5电子混音踏板，另加一个Boss合唱效果器连在我的爵士吉他上。

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我偶尔也用Boss电子延迟踏板。我发现Boss踏板很可靠，紧凑而简单易用，而且声音也不错。在录音棚我多年来一直用很多录音棚的组架式效果器，包括Lexicon电子混音器，TC电子数控混音器，Eventide谐音设备及我还会根据音乐需要而用的其他的一些设备。

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FC:From the early records,we think you started as a coutry guitarist,didn't you?

从早期的唱片来看，我们觉得你应该是以一个乡村乐吉他手的身份入行的，是吗？

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PR:No. I was mostly influenced by blues and rock, but I enjoyed writing in all kinds of styles including

jazz-influenced compositions (like "Playing By Ear"), music with a country/bluegrass sound, and music with a classical sound. 不对，我主要受爵士及摇滚乐的影响，但是我喜欢创作各种风格的曲子，包括爵类味的作品（像playing by ear）,乡村蓝草风格的作品，以及古典风格的作品。

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FC:And from the  80's to early 90's your style became more "new age" did you get some idea from the Windham  guitarist such as Alex De Grassi and  Michael Hedges?

从80年代到90年代，你的风格变得更“新时代”，你是否受到Windham公司的吉他手，如Alex De Grassi及Michael Hedges的影响？

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PR:No. Throughout the 80's I deliberately avoided composing in a "new age" style  because so many guitarists were playing that way, and I found almost all of what I heard formulaic and lifeless.

没有。整个80年代我刻意地避免创作“新时代”，因为很多吉他手都这样演奏，而我觉得我听到的大部分的作品都过于模式化，缺乏生命力。

; [8 M$ Z( |0 X6 N3 `1 u# ZMichael Hedges was an exception. I worked with him numerous times at concerts and festivals and admired his powerful composition-driven playing style and exciting live show...but I did never tried to play like him or sound like him.

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I also knew about Jeff Healey and Eddie Van Halen who were playing two-handed on the neck of the guitar.

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Micheal Hedges是一个例外，我与他合作过无数次，一起开音乐会，一起上音乐节。我羡慕他强大的以创作为驱动力的演奏风格及令人振奋的现场演出.....但是我从来没试着像他那样演奏，或者弹得听起来像他那样。我还认识像Jeff Healey及Eddie Van Halen这样用双后弹奏吉他的乐手。

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Then in 1987 Stanley Jordan's first album came out with his two-handed style.

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This compelled me to take off my fingerpicks and start writing and performing in an entirely new, groove-based style incorporating integrated percussion, in many cases with my left hand over the top of the neck as the a leading rhythmic voice in the music. My first composition in this style was "Frequent Flyer" which can be heard on my first major label album INSTRUMENT LANDING.

后来在1987年， Stanley Jordan的第一张专辑出来了，展现了他的双手演奏风格。这个使我放下拨弦弹奏开始创作并演奏一种全新的、以律动为基础的风格。这种风格整合了打击技巧，在音乐中，我的左手在琴颈上很多时候起到一个主导节奏的作用。我创作的这种风格第一个曲子叫“Frequent Flyer(频飞客)”你可以在我第一个签约公司的专辑“Instrument Landing”里听到这个曲子。

+ p& Z; N8 v$ Y- T7 }In 1988 I signed a six-record deal with MCA Records. It was a Nashville label and they expected a jazz/new-age sound, so I did my best on INSTRUMENT LANDING to accommodate that direction while still making the music personal and lyrical (i.e. telling a story), rather than just ambient and atmospheric.

在1988年，我与MCA唱片公司签了个六张专辑的合约。这个公司在纳什维尔，他们要的是爵士/新时代音乐，所以在Instrument Landing这个专辑上我尽我所能，一方面要达到他们的要求，另一方面又保持乐曲的个人风格及叙述性（如讲述一个故事），避免曲子空泛而言之无物。

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/ N* a* w1 s* k- ^I also debuted my new percussive compositional style with tunes like "Frequent Flyer", "Fifteen Year Reunion" and others.

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我创作的像"Frequent Flyer","Fifteen Year Reunion"这类曲子都是在这个打击风格的专辑里首发的。

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FC:You created a unique guitar style from B L U E   V E R T I G O, you change your style into a  more aggressive-technique ones,did this album change your music career?

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你在Blue Vertigo这个专辑上创造了独特的吉他风格，你将自己的风格演变成一种更加激烈的技术型风格，这个专辑是否改变了你的音乐生涯。

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PR:BLUE VERTIGO was a continuation of what I started in INSTRUMENT LANDING. I got even more into the percussive, multi-voiced style I was developing.

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Blue Vetigo这个专辑是继Instrument Landing后的一个专辑，我加入了更多的打击技巧，以及发展了多声部的风格。

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FC:You like name your music which contains the word "drive", such as "driving school" and  "sunrise drive", do you get music ideas from driving?

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你命名你的音乐时，喜欢用一个词“drive(开车)”，比如"driving school(开车到校)"及"Sunrise Drive"，
: o9 d: @) A9 b' G- n你是不是在开车时得到灵感的？

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PR:Sometimes...but "Sunrise Drive" was actually the name of a street in the neighbourhood where I was grew up.

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有时候吧.....不过“Sunrise Drive”是我老家隔壁一条街道的名字。

FC:Many guitarists have studied your music for quite a long time,  can you recommend us some  new stars in the fingerstyle guitar music world?很多吉他手都一直学习你的曲子，你能不能就指弹吉他音乐领域中推荐一些新星？

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3 N6 q% K( o1 tPR:Andy McKee comes to mind. And Eric Mongrain.

首先想到的是Andy Mckee,还有Eric Mongrain。

FC:Do you once studied drum , percussive instruments or other musical intruments? Did you get  any idea from them?

你学过架子鼓，打击乐器或其他之类的乐器吗？你是不是从这些乐器里获得创意的？

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PR:No. I developed all of my percussive skills on the acoustic guitar itself.  However, I can now play other percussion instruments as a result of this work.

不是，我是在原声吉他上发展出这些技巧的，不过敲多了我现在倒也能在其他打击乐器作演奏了。

FC:You have a duet album with Laurence Juber which is "Grovemasters (1999)", this CD is sound  like a perfectlydesigned "Jamming" music,
FC:how did you write songs together,

你跟Laurence Juber有一个二重奏的专辑“GroveMasters（1999）”，这个CD听起来很相当默契，你们在一起是怎么创作的？

PR:I came to the studio with basic outlines for most of the tunes. Laurence had written one tune ("Private Dick") and I wrote the others. We worked out the arrangements on the spot, in the studio. It was all done very quickly.

大部分的曲子我到录音棚时已经有了乐曲的基本框架。Laurence只写了一个曲子“Private Dick”，其他都是我写的，我们在录音棚现场临时作编曲，所有的曲子都是很快完成的。  

FC:did everthing  was arranged before you two started recording?

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你们录之前，曲子都是做好了的吗？

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PR:No. We used basic outlines for all the music, sometimes modifying the ideas, sometimes adding new sections, and sometimes leaving them as they were.

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. m, m( c6 \! e! Q0 ~( P  _不是，我们所有的曲子刚开始只用一个框架，有时要改变一下思路，有时也加入一些乐段，有时则保持不变。

FC:did you have some funny or unfogetable things  during the recording time?

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在录曲子时有什么有趣难忘的事？

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PR:When we were listening back to one of the more sleezy tunes on the record, Laurence was genuinely shocked by his own playing on the track. He said "It's sooooo dirrrrrrty!!!!!!". It made everyone laugh.

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当我们回放录制的一支舒缓的睡眠曲时，Laurence真的被他自己的弹奏吓了一跳。他说：“it's sooooo dirrrrty!(这太脏了)，大家都笑了起来。

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FC:Who is your guitar hero?你有没有崇拜的吉他偶像？

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PR:I don't have a "guitar hero", although one of the best guitar performances I have ever seen was Albert Lee at the Kirkmichael Guitar Festival three years ago.

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我没有吉他偶像，不过我见过最棒的演出是三年前Albert Lee在Kirkmicheal 吉他音乐节上的。

I do have musical heroes including some guitarists:

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音乐偶像我倒是有，里面包括一些吉他手：

John Coltrane, Bill Evans, Herbie Hancock, Paul Desmond, Chet Baker, Pat Metheny, Jaco Pastorius, Charles Mingus, Jim Hall, Thelonius Monk, Miles Davis, Mike Stern, John Scofield, Wes Montgomery, Charlie Parker, McCoy Tyner, Elvin Jones, Tony Williams...and many others

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! w9 v. D5 k$ K* HFC:Can you give us your "great-fingerstyle-guitar CD list"?能不能列一列将你心中“伟大的指弹CD清单”？

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) U1 }8 ]+ ]1 G" C" gPR:I have never listened to much fingerstyle guitar, partly because I have not wanted to be influenced by other players' ideas and techniques, and partly because, in general, I see the guitar as a platform for my own composing, not a favorite instrument to listen to. So I cannot offer an opinion about fingerstyle guitar CD's.

我不是很常听指弹吉他曲，部分原因是我不想被其他的吉他手及技巧所影响，还有一部分是因为我觉得吉他只是我创作音乐的一个平台，而不是我最喜欢听的乐器。所以我没办列这个指弹吉他CD的清单。

/ ^5 ?6 |* h7 uHowever, these are the three most important records I learned from when I was a teenager:

不过，下面是我在孩童时代学习过的最重要的三个唱片

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6 d# q" R: T- S- H  B9 P6 {" ^9 IThe first (acoustic) Hot Tuna album, HOT TUNA

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Leo Kottke, 6 AND 12 STRING GUITAR

John Fahey, AMERICA

FC:You use some distortion effect on your song "metal" I can hear the acoustic and distorted  sound at the same time, did it come from one guitar and you just used two same signal trackswith one distortion effect?

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你在你的曲子“metal”里面用到了一些失真，我可以同时听到原声及失真的音效。这个是从一把吉他发出来的吗？你是不是用到了两个音轨和一个失真效果？

PR:No. This was added in the studio during the mix. The device we used was an Eventide Harmonizer. The name of the sound patch was "Screamer". When I re-issued METAL on my own label (Outer Bridge Records) in 2002 I had the tune "Metal" remixed. I removed the distortion effect because I thought the track sounded better without it.

不对，这是在混音的时候另加上去的。我们用的设备叫做“eventide　Harmonizer”。这种失真声效的名称是“screamer（尖叫）”，当我自己的唱片公司(ourter Brigdge唱片公司)2002年重新发行Metal时，我重新混音了一下，把失真效果去掉了，因为我觉得曲子还是没有失真好听些。

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FC:Did you ever use other interesting effects in your music (flanger, wah-wah etc)?

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你是否用过其他有趣的效果比如Flanger,哇音等？

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PR:Only digital reverb, chorus, and occasionally delay.

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只用数字化混响，合唱有时用点延迟音效。

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( @/ B  d% j3 BFC:Do you have any other hobbies when you are not with your guitars?

不弹琴时，你有没有其他的爱好？

* k  y: a* R1 m( C" Q: g; JPR:Mountain biking, walking, swimming, cooking, travel, art museums, food and wine, whisky, cigars, photography, languages.

玩山地自行车、散步、游泳、烹饪、旅行、参观艺术馆、好吃喝，喜欢威士忌、雪茄、摄影、外语。

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FC:When writing songs, you write them base on the tuning, or write them first then choose the appropriate tuning?

在你写歌的时候，你是先有调弦，还是先有曲子，再定调弦？

PR:Both. The tunes are usually created on the guitar in a particular tuning that I am used to writing in. However, I originally invented almost every tuning I use to accommodate a musical idea, which in turn led to a new composition and continued use of that new tuning for subsequent compositions.

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两种情况都有。我以前创作时，时常一个曲子是在某种调弦的基础上创作的。不过，我起初是创造一个调弦来达成音乐的想法，后来又反过来使用这个调弦来创作新的作品，并且后面的作品也一直用这个调弦。

FC:Would you just explain to us with the alternative tuning you use mostly?

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能不能说说，你最常用的变换调弦？

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9 X4 A+ o( a5 z: u7 kPR:CGDGGD. This tuning works great for my groove-based percussive music. Tthe low strings (4,5 and 6) form the bass voice in the music while the high strings (1,2 and 3) form a syncopated voice in a different register  playing against it.

CGDGGD，这个调弦用在我以律动为基础的敲击乐上是再好不过了。在乐曲中低音弦（4，5，6弦）组成低音，而高音弦（１，２，３弦）在不同音域里的形成切分音。

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FC:'Ladies Night' is one of our favourite songs. When practising, however, we usually feel something lacking, without your feelings. Please give some advices for us on the song, Thank you.

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“Ladies Night（女士之夜）”，是我们最喜欢的一个曲子之一。不过当我们练习时，总是觉得少了什么，没有像你那样的感觉。能不能对学习这首曲子的人提供一些建议？

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PR:Start with a strong groove. It is most important to be very comfortable with the tune rhythmically. Imagine that you are the drummer in a rock band. Make it rock. Start with that feeling then add in everything else.

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开始弹的时候，要有强烈的律动感。最重要的是在节奏方面要很舒服。想像一下你是一个摇滚乐队的鼓手，摇滚起来，在加入其它东西前都用这种感觉去弹。

+ R% S7 p+ w6 G" M0 }FC:Have you recorded some teaching video DVDs?>>Would you recommend them to us?

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你录制了哪些教学视频？能不能给我们推荐一下。

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; J, s  N5 f2 y7 t" `* X9 OPR:Only the Homespun video THE GUITAR OF PRESTON REED: EXPANDING THE BOUNDARIES OF ACOUSTIC PLAYING, which is now available on DVD.

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只录了一个Homespun教学视频。名称：Preston Reed吉他教学，原声吉他乐界拓展演奏。现在有DVD出售。
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& `% n' \9 _5 bOver the years I have heard many positive comments from guitarists about my Homespun video. I would recommend it to anyone looking for an introduction to the main concepts of my playing style.多年来我的Homespun教学在吉他手中广受好评。我会将它推荐给任何一位在寻找学习我的风格入门教材的琴友。

   
FC:Most friends like your music, do not know how to purchase, please tell us how to buy your videos or songbooks.

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很多朋友都喜欢你的音乐，但不知道怎么去购买，能否告诉我们一下？

6 t% a) `7 H+ \4 x4 M, V" R" B2 YYou can purchase my CD's, individual downloadable tunes, DVD's, and my transcription book GUITAR IMPACT via links from my website <<www.prestonreed.com>>.

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你可以买我的CD，单曲下载，DVD等，还有我的曲谱书Guitar Impact。这些都可以在我的网站上找到www.prestonreed.com。

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: }. P. }6 R5 h$ eFC:Like many guitarists we have ever interviewed, we know you were also present at the show of 'All Star Guitar Night', share with us the good memories of the night.

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像很多我们采访过的吉他手一样，我们知道你在“吉他全明星会”上有做过表演，能不能跟我们谈一下这个美好的经历？

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PR:I met many players for the first time that night...the great solo jazz guitarist Jimmy Bruno , Tommy Emmanuel, Stanley Jordan, the top Nashville electric player Brent Mason, and others.

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那个晚上我见了很多吉他手，都是第一次见面....伟大的爵士吉他独奏家Jimmy Bruno，还有Tommy Emmanuel, Stanley Jordan,还有纳什维尔电吉他第一人Brent Mason，还有其他的一些人。

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I shared the dressing room with Jimmy Bruno. I played my tune "First Summer Without you" for for him. He loved it and we became friends...Tommy Emmanuel was clowning around during my second tune and played drums on my guitar...I spoke with Stanley Jordan after the show and thanked him for his innovative contribution to guitar playing. I was surprised by how shy and soft-spoken he was...Brent Mason said nice things to me about my playing when we were all onstage together for the finale. I was honored.

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我与Jimmy Bruno共用一个化妆间。我为他弹的曲子是First summer without you(没有你的第一夏)。他很喜欢这个，然后我们成了朋友...Tommy Emmanuel在我弹第二曲的时候，一直在那嘻嘻哈哈逗乐，还在我的吉他上敲鼓点。演出后我与Stanley Jordan谈话，感谢他对吉他技法创新的贡献。他很害羞，轻声细语，我感到很惊讶。 Brent Mason说了我很多好话，说我在最后与他一起演奏的时候弹得很好。我真的很荣幸。

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FC:I noticed "blasting cap" was very hot and performed by many people on Youtube. Is there anyone make your eyes brightened with his performing? (I remember Andy Mckee played this song just beside me at Shanghai musical instrucment exhibit in 2006 and it's the most powerful i have ever seen).

我注意到“Blasting cap（风帽）”这个曲子很火，在Youtube上有很多人翻弹这个，你觉得有没有人翻弹得让你眼睛一亮的人？（我记得Andy Mckee在2006年上海乐展的时候，就在我旁边弹这个曲子，是我见过最带劲的翻弹）

# x! H6 ]: A3 c7 G9 L# M: pPR:I am flattered that so many players are studying my music and performing it on Youtube and elsewhere. I am also grateful that players like Andy McKee have said such kind things about the influence of my music on theirs.

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youtube上有这么多的人学习并翻弹我的作品我真的感到很受宠若惊。我也很感激Andy Mckee说的一些话，比如他说我的音乐对他们产生的影响。

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9 w: ?) |  t* f7 N# z; @5 D1 p9 ]FC:I want to know the story behind the song.

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我想知道这个曲子后面的故事是什么？

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PR:I wrote "Blasting Cap" around 1993. It is the first tune on my CD METAL. It was partly inspired by the Nirvana hit "Smells Like Teen Spirit" which I enjoyed listening to on the radio at the time...but I took "Blasting Cap" in a very different, more frenetic, uptempo direction.

我在1993年创作了这首Blasting Cap。它是我CD Metal的第一首单曲。它的灵感来自于内华达一首热门曲“Smells like teen spirit”,我那时很喜欢在广播里听这首歌。
但是在Blasting Cap中，我的演绎方式很不一样，它更激烈，更富于节奏感一些。

最后感谢您在百忙之中抽出时间来接受我们采访~！

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- @( }$ k. ~/ u0 a[ 本帖最后由 海洛因 于 2008-12-12 20:55 编辑 ]

海洛因

Preston Reed 女士之夜

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http://www.56.com/n_v139_/c29_/13_/19_/heroin-_/120529413969x_/266000_/0_/30629700.swf
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Preston Reed Rainmaker



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Preston Reed - Ladies Night (With Asim Can Gunduz)
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Preston Reed - Tribes
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# l, G' w: x2 [$ n% Q# o& `4 K以上贴出几个视频~！
如果喜欢请访问以下地址观看所有视频~！
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http://www.56.com/w22/album-aid-5049782.html

[ 本帖最后由 海洛因 于 2008-12-12 20:50 编辑 ]

qiqicano

终于出来了 呵呵  辛苦:) : :

rambler0

看来以后两个指弹高手就能顶替一个乐队了

usher878787

LADIES NIGHT太经典了~~~可是一直找不到谱子。。。

很玄的东西

终于看到这个采访了，感觉我们的热情还是少了一些。呵呵，这位也是敲击派的前辈，希望大家以多关注。。。

零下一度

辛苦了，辛苦了，很经典哦。喜欢！

记住的遗忘

精彩啊  太神奇了   简直是出神入化~！

gaozihaha

支持··       ·                        :Q

芬芬7609

路过支持一个！   呵呵~


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别和我谈理想,戒了!红孩子西游Q记问道斗地主F1

贝小芬

这个, 除了动作猥琐点外...
其他的都很喜欢.!
顶.

bqqwf

太精彩了，高手啊！

01980320

这么全肯定找的很辛苦  顶顶顶

FeedFrenzy

芳歌吉它手工工作室：北京海淀航天城，专业手工制作原声吉它，联系电话：13621134597，QQ：280897933
& l2 h/ K0 A6 i+ K芳歌吉他网站：fangegt.com
芳歌吉他56视频：http://www.56.com/h54/uv.index.php?user=fanggeyueqi

gimraker

新的风格。 很炫。。。。。

yefei124124

真是好贴  长见识咯

linlo316

感覺Preston的性格好強硬，很直很men~呵呵~

slash_vai

吉他太神奇了.取代钢琴乐器之王的封号吧!!!

椰子琴调

好多的大师都是不懂的

qwer5288

难以想象！！！！！！！！！！！！