Over the course of the last few years,天使维瓦尔第’s name has become more well known outside of the US that has championed his formidable abilities, as the smoke from this progressive-metal-fusion player’s fiery technique starts finding its way to these shores.
Such is the high regard for Vivaldi’s chops, Charvel recently afforded a place for Angel on its signature artist roster, and currently remains the only artist to have a signature seven-string model with the brand. After a few spins of his latest album,突触，凭借其交织的旋律和技术壮观的艺术性，您将开始听到为什么备受瞩目的公司希望与他联系。
我们与Angel坐下来讨论他的吉他设计方法，掌握技巧以及如何撰写器乐概念专辑。
How did you end up with Charvel guitars?
“I left伊巴内斯八年后，鲨鱼有一种在水中闻到血液的味道！我得到了DK24 6弦，坠入爱河……剩下的就是我们继续写它的历史。”
You started off with the DK24 as the basis for your signature model; what were the first changes you needed to make to accommodate your own playing style?
“第一件事是将底角轮廓化，以减少对更雄心勃勃的演奏风格的侵略性。我一直讨厌RG，RGD或RGA的底角如何在宽阔的伸展运动中撞到我的左手顶部，同时挡住了更高的FRET访问。
“第二是颈部轮廓。我是我的节奏吉他手，第二个吉他手，因此，对我的脖子舒适，对我来说绝对至关重要。Charvel两者都杀了。”
在设计过程中，您对建造和设计吉他有什么了解？
“I learned that you simply cannot make a seven-string version of a six-string guitar and vice versa. They are both their own entities and have to be treated as such, especially when it comes to neck profiles.”
使用铅线，您似乎主要使用颈部拾音器；你不喜欢铅桥吗？
“我喜欢饱满，更温暖的饱和度，而不是鲜明/精确的效果。我觉得如果不正确使用高增益设置，这可能会磨擦。我想说的是脖子和桥梁之间的65/35比例。大部分时间使用脖子上的拾音器时，敲击和腿部听起来更加流畅。两者都对动态和技术的反应有所不同，这对我来说是吉他手传达情感的重要方法。音符在桥梁的拾音器上唱歌与通过颈部拾音器飙升不同，这影响了我的颤音速度和风格。两者都在混音中占有一席之地。”
Your last album, Synapse, was released in 2017. Are there plans to record another studio album?
“Yes, I have a ton of new music in the works which includes the follow-up release用言语，第2部分它将在2020年发布。[一条新曲目，三螺旋(feat. Cole Rolland), is just released – Ed.] It’s always taken me a while to write music. Instrumental material is非常很难编写，比人声要困难得多，大多数乐器演奏家都会同意100％的同意。由于没有歌词，还有更多的责任记录到注释，吸引听众的注意力，同时表达有笔记的心情。
“I used to really beat myself up for taking a while in between releases, but as I get older I’m much more accepting of myself. A lot of people like beer on tap and that’s great, nothing wrong with that. However, my music has much more in common with winemaking – it takes a while and is a long process but is so much better as time goes on. My legacy is important to me and I’d never rush a release because that’s what kids want these days. Whether it’s music, food or sex it’s all about quality over quantity for me.”
您的发行通常是概念专辑。为什么？
“有两个原因。我一直受到Björk等艺术家的启发，九寸钉, Tori Amos and Michael Jackson because they all put an immense amount of thought into their artistry in very different ways. With a concept, I can visualise what I want the feel of the album cycle to be, what I want my videos, photos, artwork wardrobe all to look like, etc.
“Lastly, writing to the restriction of the concept is helpful for me. Keeping to a concept gives me that much more incentive to story-tell through my phrasing and how I structure and arrange the music. Otherwise I’m going to sit there like an over-caffeinated squirrel just blasting senseless notes because I have the technique to do so. Nobody wants that noise! (laughs). Well maybe some do, but I sure don’t.”
您如何着手传达乐器音乐中的情感？
“I do it in a variety of ways, concept records being one of them. Beyond that I feel being well versed in many styles has also benefited in properly conveying an array of different emotions. If you listen to the same kind of music over and over you’re likely bound to emulate that in your writing. Different emotions have different dynamics, different colours. Painting with the same red after a while gets old and boring, so I’m more inclined to create something with a ton of colours. Being an instrumentalist can be limiting in a sense… but doesn’t have to be.”
您是否曾经开始使自己的风格可识别？
“如果您足够长的时间，那就与每位艺术家及时发生。我认为我的风格是可识别的，因为当一部分音乐使我感动时，我总是会检查为什么这样做。吉他手是如何从一个部分动态过渡到另一部分的？是填充吗？旋律的紧张局势在哪里，解决了多么聪明？当您找到动机的东西时，他们会下意识地进入您的比赛。
“如果您想作为原始艺术家为自己起名字，那么最好最好相信您需要在吉他手的阵容中识别！”
您是否绝对痴迷于掌握技术？
“从铅方面，我想起初我从观看中得到的legatosatch- 而我的敲击方法来自vaiand哈米特early on.”
Did you make a conscious effort to combine technique practise with melody?
“The way to exploring more unusual phrasing patterns that suit a particular section of a song is to know your muscle memory and just know to do something different. You can’t quite analyse what the different thing is, but things like exercises or learning licks from your favourite players are good gateways into exploring options.”
What was your practice regime, and do you have any advice for guitarists wishing to develop both their technique and songwriting abilities? What was the most important lesson you felt you learned?
“Technique is easy. Do something properly a million times over and over and, boom – you’ve achieved technique. There’s no shortage of YouTube videos explaining technique. It’s what you do with the technique that will captivate and inspire others. Very few will care that you can play fast and thank god for that.
“了解自己 - 了解您的野心/奉献精神，了解您的意图，知道自己的优势和缺点。如果您努力写完整的歌曲，也许在协作乐队中会更好。如果您的视野非常强大，那么也许走上独奏的路线更适合您。一个并不比另一个要好，您只需要纪念自己的过程。如果您不喜欢自己，请寻求创造性的方法来改变生活和吉他后面。首先成为自己最好的版本 - 永远！”
三螺旋现在可以通过angelvivaldiofficial.com