小新吉他館-吉他教學論壇 自學烏克麗麗、吉他網站

[PrinceSir]

Adopt a Guitar!



So, you want to buy a used guitar? You don't know whether the instrument is in good condition? Do you trust the owner or the salesman at the music store? How can you judge whether you're going to wind up with a "real deal" or a "piece of junk" for your money?

Today I would like to give you a crash course in how to buy a used acoustic guitar. If you force yourself to keep on reading, you will be able to make a more qualified buy the next time. It doesn't take long to read and can save you a pile of money. If this turns out to be true, then I would like to ask you to make a donation to the German Aids fund, Arbeitsgemeinschaft deutscher Aids-Stiftung, Account No. 4004, Sparkasse Bonn, bank code number 380 700 59.

The first steps...

Ask about the make and type of guitar, the year it was built, and the original purchasing price. Find out whether the instrument has already been repaired at some time, and if so, what was the reason. Take a look at the repair job. If the repair was done professionally and flawlessly, then it is no reason to try and bargain the price down.

Take a good look...

at the finish. Check the surface for mechanical damage and cracks. Mars and nicks aren't very important. They do not really affect the instrument. As a buyer, you should avoid having these flaws repaired since redoing the finish can be very expensive. Cracks in the finish can, on the other hand, indicate a problem (except in the case of shellac or old nitrocellulose finishes). Either a crack in the wood is hidden under the crack in the finish, or the finish is so brittle that it cannot vibrate along with the wood. In this case, you should be very careful and only decide whether you really want to purchase the guitar after getting an expertise from an expert (a luthier).

at the top and back of the guitar. Take the guitar in your hands and sight along and across the back of the guitar and the top. When the guitar was built, did the maker come up with the idea of building it so that the back of the instrument bellies slightly. Just as in the case of a bridge, the back of the guitar should stabilized symmetrically. This convex curve which curves slightly outwards is more or less pronounced according to the make of guitar and should always be symmetrically formed. If the curve is irregular near the transition from the neck to the body or in the vicinity of the block at the end, something is wrong.

What is even more important is the top of the guitar. At the bridge, corresponding to the type and gauge of strings, the pull on the top amounts to 132 to 176 pounds. Actually if you think about it, it's a miracle that the thing doesn't fly apart. However, every guitar maker has to make certain that the static in the top of the guitar can handle this enormous pull.

Bracing is placed in the inside of the instrument to stabilize it. The guitar can have a slight convex hump, or belly, in the top, just like we found in the case of the back (see the back), which stabilizes the piece of art.

What's that got to do with me, you ask yourself.

Now it's time to sight across the top of the guitar. Squint one of your eyes (right or left, it doesn't matter) and take a look at the edge of the top. If you sight across the top at the height of the bridge, you either think:

a. everything is uniformly flat
b. everything is uniformly slightly curved outwards
c. behind the bridge, the top is somewhat bellied and between the bridge and the soundhole, it is slightly dented inwards;
d. the top looks like a range of hills and valleys and is not uniformly shaped.
If your impression is "a-c," you can already start to be a bit happy about your new used guitar. If you think "d," you have had a "fool's luck" and saved money once again. You should forget the instrument if it is not a valuable guitar which is worth it to you to invest the money in to have it repaired.

at the neck of the guitar. Instead of asking the (still) owner of the guitar whether the neck is warped, you should judge for yourself. It could be that the owner thinks you are referring to him, and that usually causes problems in human relations. How can you find out whether the neck is o.k.? This subject is more complicated than the top (for those readers who are now bored and start to skip, I can only recommend, "Necks, necks, and more necks!").

1. Trust your eyes and sight along the edge of the fingerboard from the headstock in the direction of the body of the guitar. The neck should be straight or show a slight concave bow in the direction of the pull of the strings. From the edge of the body to the soundhole, the fingerboard may be slightly sloped. Any irregularities that you can establish with the naked eye means trouble that can only be corrected by working on the neck or the fingerboard.

2. Measure the action. Uh oh, you didn't bring a measuring stick? Somewhere in the music store you should be able to find a small steel ruler, or ask the (still) owner (a measuring stick will do in an emergency), and then get to work. You always measure the action at the twelfth fret. You measure the space between the top of the fret and the bottom of the string. The empty space between, got it? At first you measure the treble e-string and then the bass e-string. You can, of course, do it the other way around, if you want!

Now you have a choice once again:

a. the action is approximately 2-2.5 mm at the treble e-string and 2.5-3 mm at the bass e-string.
b. the action is lower,
c. the action is higher.
In the case of "a," you have a correctly adjusted instrument in your hands. In the case of "b," the action has to be raised in order to keep the strings from buzzing against the frets. In the case of "c," the action has to be lowered so that you don't wind up with bloody fingers when trying to play the guitar. The measurements given above are for "light" gauge strings. In the case of thinner strings, the action should be somewhat higher; and in the case of heavier gauge strings, the action should be slightly lower. Adjusting the action, by the way, is not done by readjusting the metal truss rod in the neck, but rather by changing the height of the saddle in the bridge.

at the fingerboard and the frets. Check the fingerboard for signs of playing. If between the frets the fingerboard is worn down a bit, it is not a problem, but deeper grooves can only be repaired at some expense.

The frets of the instrument should be free of grooves and nicks. In the case of older guitars, however, you will often find grooves in the first frets, especially if the former owner preferred to play in D and G. This is easy to repair, but it should be done by a professional.

at the bridge and saddle. Many acoustic guitars have small wood or plastic pins to attach the strings at the bridge. The pins hold the strings in place, and you should be able to remove them with your fingers or the help of a pliers. Between the pinholes and the pins you will sometimes find fine cracks on old guitars. Take a close look. If you can see a crack, the bridge must definitely be repaired or replaced.

Next, check whether the bridge is still glued firmly to the top of guitar. If there is any space between the bridge and the top of the guitar at the lower end of the bridge, then it will be necessary to repair the damage.

The saddle is recessed into a short slot in the bridge and is made of some synthetic material or bone. The strings cross over it in the direction of the soundhole. This saddle should fit tightly into the slot made for it, i.e., not be loose so that it tips forward under the pull of the strings. Furthermore, the saddle has to protrude a bit out of the bridge. This is important for two reasons. In order to press down on the saddle adequately, the strings must cross the saddle at the correct angle. In addition, you have to be able to sand down the saddle in order to lower the action. Since you still have your measuring stick around from measuring the action, you can take measurements once again and be satisfied if the saddle protrudes at least 3 mm out of the slot in the bridge.

at the tuning machines. Yes, those are those things in the headstock which you can tune the guitar with. You, personally, belong to those who can tune a guitar with ease (or have it tuned). In any case, its a pain if the tuning machines don't function properly. They have to turn smoothly. Tuning machines that are not enclosed might need some oil in order to turn easily once again.

at the strings. If the instrument is still strung with old strings, you should take the time to put on new strings, or have it strung for you. Only then is it possible to decide whether the guitar really has the sound you are looking for.

at the price. Wow! Now things are getting really serious! Of course you want to pay as little as possible for a used guitar. Maybe the instrument was responsible for a really bad marital quarrel and is just waiting to do the same thing to you. But someone else wants to charge you a lot of money for the guitar, and I have to admit, "He's right!"

In other words, after you are pretty sure that the instrument is in good condition, sounds good, and will improve your life, its time to establish the price.

The original purchasing price can serve as a point to orient the price you want to pay on. For a guitar in good condition, you can subtract 25% off the original price after one year, and 5-10% for each further year. Of course there is limit to this. After 50% of the original price has been subtracted, that's it as a rule. After all, an instrument is a lasting value. Exceptions to this rule-of-thumb are damaged instruments which, in accordance with the expense of repairing them, lower the selling price considerably, and exquisite, looked-for guitars which can sometimes be as expensive, or even more expensive, when used than when new.

The origin of the instrument is also significant. Guitars built by some luthiers bring a higher price than instruments made by unknown makers. If you want to buy an instrument and need an expertise, go to a guitar expert who can either supply you with the information you need or tell you where you can get it.

Now that you've managed to stay with me so long, it's time for me to say good-bye and wish you all the best for your new guitar. Be faithful to the guitar, whether new or used. You can reach me at any time by fax: 049/0641-491398, or e-mail martin.seeliger@lakewood.de.

Take care. Martin Seeliger
_________________
http://www.meworks.net/page.aspx?id=6434

http://www.im.tv/vlog/personal.asp?memid=290798#

歡迎光臨我的網站，裡面一些我的作品，希望大家會喜歡。

[PrinceSir]

這是LW老闆寫的

關於一些吉他的觀念摟
_________________
http://www.meworks.net/page.aspx?id=6434

http://www.im.tv/vlog/personal.asp?memid=290798#

歡迎光臨我的網站，裡面一些我的作品，希望大家會喜歡。

[janjan]

哇!! 英文的吶!! = =a
_________________
時間只能用來證明愛的深淺...

[頭腦笨笨小肥羊]

圓圓怎麼一下子就下線了呢？
_________________
這世界，有個千年不變的道理，那就是，耶穌愛你^0^
在世上，沒有任何的逼迫患難，能使我們與神的愛隔絕^0^

[路果]

...直接貼到翻譯網站翻譯...翻的有點奇怪就是了=v=...

Adopt a Guitar!
採取一把吉他!

So, you want to buy a used guitar? You don't know whether the instrument is in good condition? Do you trust the owner or the salesman at the music store? How can you judge whether you're going to wind up with a "real deal" or a "piece of junk" for your money?
如此, 您想要買一把被使用的吉他? 您不知道是否儀器是在好情況? 您信任所有者或推銷員在音樂商店嗎? 您怎麼可以判斷是否您結束以"真正的成交" 或破爛物"片斷" 為您的金錢?

Today I would like to give you a crash course in how to buy a used acoustic guitar. If you force yourself to keep on reading, you will be able to make a more qualified buy the next time. It doesn't take long to read and can save you a pile of money. If this turns out to be true, then I would like to ask you to make a donation to the German Aids fund, Arbeitsgemeinschaft deutscher Aids-Stiftung, Account No. 4004, Sparkasse Bonn, bank code number 380 700 59.
今天我希望給您速成班在怎樣買一把被使用的聲學吉他。如果您迫使自己保持在讀書, 您能下次做合格的購買。長期不需要讀和可能保存您一堆金錢。如果這結果是真實的, 那麼我希望要求您做捐贈對德國援助資金, Arbeitsgemeinschaft deutscher 援助Stiftung, 帳戶第4004, Sparkasse 波昂, 銀行編碼號380 700 59 。

The first steps...
第一步...

Ask about the make and type of guitar, the year it was built, and the original purchasing price. Find out whether the instrument has already been repaired at some time, and if so, what was the reason. Take a look at the repair job. If the repair was done professionally and flawlessly, then it is no reason to try and bargain the price down.
詢問它被建立吉他、年, 和原始的購買價的牌子和型。發現是否儀器已經被修理某時, 如果那樣, 什麼是原因。看一看在維修任務。如果修理專業地完成和至善至美, 那麼它是沒有原因嘗試和講價價格下來。

Take a good look... at the finish. Check the surface for mechanical damage and cracks. Mars and nicks aren't very important. They do not really affect the instrument. As a buyer, you should avoid having these flaws repaired since redoing the finish can be very expensive. Cracks in the finish can, on the other hand, indicate a problem (except in the case of shellac or old nitrocellulose finishes). Either a crack in the wood is hidden under the crack in the finish, or the finish is so brittle that it cannot vibrate along with the wood. In this case, you should be very careful and only decide whether you really want to purchase the guitar after getting an expertise from an expert (a luthier). at the top and back of the guitar. Take the guitar in your hands and sight along and across the back of the guitar and the top. When the guitar was built, did the maker come up with the idea of building it so that the back of the instrument bellies slightly. Just as in the case of a bridge, the back of the guitar should stabilized symmetrically. This convex curve which curves slightly outwards is more or less pronounced according to the make of guitar and should always be symmetrically formed. If the curve is irregular near the transition from the neck to the body or in the vicinity of the block at the end, something is wrong.
看一看好... 在結束。檢查表面機械損傷和鎮壓。火星和裂口不非常重要。他們真正地不影響儀器。作為買家, 您應該避免有這些缺點被修理從再做結束能是非常昂貴的。鎮壓在結束可能, 另一方面, 表明問題(除了在紫膠情況下或老硝化纖維素結束) 。或者一個裂縫在木頭掩藏在裂縫之下在結束, 或結束是很易碎的它無法振動與木頭一起。在這種情況下, 您應該非常小心和只決定是否您真正地想要購買吉他在得到專門技術以後從專家(luthier) 。在吉他的上面和後面。採取吉他在您的手裡和看見沿和橫跨吉他和上面的後面。當吉他被修造了, 做了製作商產生大廈想法它以便儀器的後面輕微地鼓起。和在橋梁情況下, 吉他的後面如果對稱地穩定。彎曲輕微地向外的這凸面曲線或多或少發音根據吉他牌子, 應該對稱地總被形成。如果曲線是不規則近的轉折從脖子與身體或在塊的附近在末端, 某事是錯誤的。


What is even more important is the top of the guitar. At the bridge, corresponding to the type and gauge of strings, the pull on the top amounts to 132 to 176 pounds. Actually if you think about it, it's a miracle that the thing doesn't fly apart. However, every guitar maker has to make certain that the static in the top of the guitar can handle this enormous pull.
什麼更加重要是吉他的上面。在橋梁, 對應於串類型和測量儀, 拉扯在上面共計132 到176 磅。實際上如果您考慮, 這是奇蹟, 事分開不飛行。但是, 每個吉他製作商必須弄清楚, 靜止在吉他的上面可能處理這極大的拉扯。

Bracing is placed in the inside of the instrument to stabilize it. The guitar can have a slight convex hump, or belly, in the top, just like we found in the case of the back (see the back), which stabilizes the piece of art.
支撐被安置在儀器的裡面穩定它。吉他可能有一個輕微的凸面小丘, 或腹部, 在上面, 如我們發現了在後面情況下(參見後面), 穩定藝術品。

What's that got to do with me, you ask yourself.
那是什麼被得到做與我, 您要求自己。

Now it's time to sight across the top of the guitar. Squint one of your eyes (right or left, it doesn't matter) and take a look at the edge of the top. If you sight across the top at the height of the bridge, you either think:

a. everything is uniformly flat
b. everything is uniformly slightly curved outwards
c. behind the bridge, the top is somewhat bellied and between the bridge and the soundhole, it is slightly dented inwards;
d. the top looks like a range of hills and valleys and is not uniformly shaped.
If your impression is "a-c," you can already start to be a bit happy about your new used guitar. If you think "d," you have had a "fool's luck" and saved money once again. You should forget the instrument if it is not a valuable guitar which is worth it to you to invest the money in to have it repaired.

at the neck of the guitar. Instead of asking the (still) owner of the guitar whether the neck is warped, you should judge for yourself. It could be that the owner thinks you are referring to him, and that usually causes problems in human relations. How can you find out whether the neck is o.k.? This subject is more complicated than the top (for those readers who are now bored and start to skip, I can only recommend, "Necks, necks, and more necks!").
現在是時間看見橫跨吉他的上面。斜眼看您的眼睛的當中一個(正確或左, 它不問題) 並且看一看在上面的邊緣。如果您看見橫跨上面在橋梁的高度, 您或者認為: a. 一切是一致地平的b. 一切是一致地輕微地的彎曲的向外c. 在橋梁之後, 上面鼓起有些並且在橋梁和soundhole 之間, 它輕微地造成凹痕在內; 上面看起來像小山和谷的範圍和不是一致地形狀的d. 。如果您的印象是"a-c," 您能已經開始有點兒愉快關於您的新被使用的吉他。如果您認為"d," 您再次有"傻瓜的運氣" 和被存金錢。您應該忘記儀器如果這不是值得它對您投資金錢安排它被修理的一把可貴的吉他。在吉他的脖子。而不是要求吉他的(仍然) 所有者是否脖子翹曲, 您應該判斷為你自己。它能是, 所有者認為您提到他, 並且通常造成問題在人際關係。您怎麼可以發現是否脖子是好? 這個主題比上面複雜的(為乏味和現在開始跳的那些讀者, 我能只推薦, "脖子、脖子, 和更多脖子!") 。

1. Trust your eyes and sight along the edge of the fingerboard from the headstock in the direction of the body of the guitar. The neck should be straight or show a slight concave bow in the direction of the pull of the strings. From the edge of the body to the soundhole, the fingerboard may be slightly sloped. Any irregularities that you can establish with the naked eye means trouble that can only be corrected by working on the neck or the fingerboard.

2. Measure the action. Uh oh, you didn't bring a measuring stick? Somewhere in the music store you should be able to find a small steel ruler, or ask the (still) owner (a measuring stick will do in an emergency), and then get to work. You always measure the action at the twelfth fret. You measure the space between the top of the fret and the bottom of the string. The empty space between, got it? At first you measure the treble e-string and then the bass e-string. You can, of course, do it the other way around, if you want!

Now you have a choice once again:

a. the action is approximately 2-2.5 mm at the treble e-string and 2.5-3 mm at the bass e-string.
b. the action is lower,
c. the action is higher.
In the case of "a," you have a correctly adjusted instrument in your hands. In the case of "b," the action has to be raised in order to keep the strings from buzzing against the frets. In the case of "c," the action has to be lowered so that you don't wind up with bloody fingers when trying to play the guitar. The measurements given above are for "light" gauge strings. In the case of thinner strings, the action should be somewhat higher; and in the case of heavier gauge strings, the action should be slightly lower. Adjusting the action, by the way, is not done by readjusting the metal truss rod in the neck, but rather by changing the height of the saddle in the bridge.

at the fingerboard and the frets. Check the fingerboard for signs of playing. If between the frets the fingerboard is worn down a bit, it is not a problem, but deeper grooves can only be repaired at some expense.
1. 信任您的眼睛和看見沿指板的邊緣從床頭櫃在吉他的身體的方向。脖子應該是平直的或顯示一把輕微的凹面弓在串的拉扯的方向。從身體的邊緣對soundhole, 指板也頂晰L地傾斜。您能建立與肉眼的所有不規則性意味可能被從事只改正脖子或指板的麻煩。2 。測量行動。Uh oh, 您沒有帶來一根測量的棍子? 某處在音樂商店您應該能發現一個小鋼統治者, 或要求(仍然) 所有者(一根測量的棍子將做在緊急狀態), 和然後得到工作。您總測量行動在第十二苦惱。您測量空間在苦惱的上面和串的底部之間。空的空間之間, 得到它? 起初您測量高音e 串和然後低音e 串。您能, 當然, 做它另一方式, 如果您要! 現在您再次有一個選擇: a. 行動是大約2-2.5 毫米在高音e 串和2.5-3 毫米在低音e 串。b. 行動是更低, 行動是更高的c. 。在"a 情況下," 您有一臺正確地被調整的儀器在您的手裡。在"b 情況下," 行動必須被上升為了保留串從嗡嗡叫反對苦惱。在"c 情況下," 行動必須被降下以便您不結束與血淋淋的手指當設法彈吉他。測量被測量以上是為"輕的" 測量儀串。在更加稀薄的串情況下, 行動應該是有些更高的; 並且在更重的測量儀串情況下, 行動應該是輕微地更低。調整行動由改變, 順便說一句, 不做由重調金屬捆標尺在脖子, 而是寧可馬鞍的高度在橋梁。在指板和苦惱。檢查指板演奏的標誌。如果在苦惱之間指板被佩帶在位元下, 這不是問題, 但是更加深刻的凹線可能只被修理為了貶低一些。

The frets of the instrument should be free of grooves and nicks. In the case of older guitars, however, you will often find grooves in the first frets, especially if the former owner preferred to play in D and G. This is easy to repair, but it should be done by a professional.

at the bridge and saddle. Many acoustic guitars have small wood or plastic pins to attach the strings at the bridge. The pins hold the strings in place, and you should be able to remove them with your fingers or the help of a pliers. Between the pinholes and the pins you will sometimes find fine cracks on old guitars. Take a close look. If you can see a crack, the bridge must definitely be repaired or replaced.
儀器的苦惱應該免於凹線和裂口。在更舊的吉他情況下, 然而, 您經常將發現凹線在第一苦惱, 特別是如果前所有者喜歡演奏在D 和G 。這容易修理, 但它應該由專家做。在橋梁和馬鞍。釵h聲學吉他有小木頭或塑料別針附有串在橋梁。別針拿著串到位, 並且您應該能取消他們與您的手指或幫助鉗子。在針孔和別針之間您有時將發現美好的鎮壓在老吉他。採取仔細的審視。如果您能看裂縫, 橋梁必須被修理或確定地被替換。

Next, check whether the bridge is still glued firmly to the top of guitar. If there is any space between the bridge and the top of the guitar at the lower end of the bridge, then it will be necessary to repair the damage.
其次, 檢查是否橋梁在吉他上面牢固地仍然被膠合。如果有任一空間在橋梁和吉他的上面之間在橋梁的末端, 它然後將是必要修理損傷。

The saddle is recessed into a short slot in the bridge and is made of some synthetic material or bone. The strings cross over it in the direction of the soundhole. This saddle should fit tightly into the slot made for it, i.e., not be loose so that it tips forward under the pull of the strings. Furthermore, the saddle has to protrude a bit out of the bridge. This is important for two reasons. In order to press down on the saddle adequately, the strings must cross the saddle at the correct angle. In addition, you have to be able to sand down the saddle in order to lower the action. Since you still have your measuring stick around from measuring the action, you can take measurements once again and be satisfied if the saddle protrudes at least 3 mm out of the slot in the bridge.

at the tuning machines. Yes, those are those things in the headstock which you can tune the guitar with. You, personally, belong to those who can tune a guitar with ease (or have it tuned). In any case, its a pain if the tuning machines don't function properly. They have to turn smoothly. Tuning machines that are not enclosed might need some oil in order to turn easily once again.

at the strings. If the instrument is still strung with old strings, you should take the time to put on new strings, or have it strung for you. Only then is it possible to decide whether the guitar really has the sound you are looking for.

at the price. Wow! Now things are getting really serious! Of course you want to pay as little as possible for a used guitar. Maybe the instrument was responsible for a really bad marital quarrel and is just waiting to do the same thing to you. But someone else wants to charge you a lot of money for the guitar, and I have to admit, "He's right!"
馬鞍被隱藏入一個短的槽孔在橋梁和由一些綜合性材料或骨頭製成。串橫渡它在soundhole 的方向。這副馬鞍應該緊緊適合入槽孔被做為它, 即, 不是寬鬆以便它打翻今後在串的拉扯之下。此外, 馬鞍必須推出位元在橋梁外面。這是重要為二個原因。為了充分地按下來在馬鞍, 串必須橫渡馬鞍在正確角度。另外, 您必須能鋪沙在馬鞍下為了降低行動。因為您仍然有您測量逗留從測量行動, 您能再次需要測量和是滿意如果馬鞍推出至少3 毫米在槽孔外面在橋梁。在定調的機器。是, 那些是那些事在您能定調吉他的床頭櫃。您, 親自, 屬於那些能容易地定調吉他(或安排它被定調) 。在任何情況下, 它痛苦如果定調的機器適當地不起作用。他們必須順利地轉動。不是附上的威力需要一些油為了再次容易地轉動的定調的機器。在串。如果儀器仍然被串起與老串, 您應該需要時間投入新串, 或有它被串起為您。然後只是它可能決定是否吉他真正地有您尋找以價格的聲音。哇! 現在事得到真正地嚴肅! 當然您想要儘可能少支付一把被使用的吉他。可能儀器負責對真正地壞婚姻爭吵和是正義等待做同樣事對您。但別人想要充電您很多金錢為吉他, 並且我必須承認, "他正確!"

In other words, after you are pretty sure that the instrument is in good condition, sounds good, and will improve your life, its time to establish the price.

The original purchasing price can serve as a point to orient the price you want to pay on. For a guitar in good condition, you can subtract 25% off the original price after one year, and 5-10% for each further year. Of course there is limit to this. After 50% of the original price has been subtracted, that's it as a rule. After all, an instrument is a lasting value. Exceptions to this rule-of-thumb are damaged instruments which, in accordance with the expense of repairing them, lower the selling price considerably, and exquisite, looked-for guitars which can sometimes be as expensive, or even more expensive, when used than when new.

The origin of the instrument is also significant. Guitars built by some luthiers bring a higher price than instruments made by unknown makers. If you want to buy an instrument and need an expertise, go to a guitar expert who can either supply you with the information you need or tell you where you can get it.
換句話說, 在您是相當肯定之後的儀器是在好情況, 聲音好, 和將改進您的生活, 它的時刻建立價格。原始的購買價可能擔當點安置您想要支付的價格。為一把吉他在好情況, 您能減去25% 原價在一年以後, 和5-10% □更加另外的年。當然有極限對這。在50% 原價被減去了之後, 那是它概括來說。終究, 儀器是持久的價值。這種概測法的例外是, 與費用修理符合他們, 可觀地降低售價的損壞的儀器, 並且精妙的, 看為像昂貴可能有時是的吉他, 甚至更加昂貴, 當使用比當新。儀器的起源是還重大的。吉他由一些luthiers 修造帶來一個更高的價比儀器由未知的製作商做。如果您想要買儀器和需要專門技術, 去能或您把資訊供給您需要或告訴您的吉他專家何處您能得到它。

Now that you've managed to stay with me so long, it's time for me to say good-bye and wish you all the best for your new guitar. Be faithful to the guitar, whether new or used. You can reach me at any time by fax: 049/0641-491398, or e-mail martin.seeliger@lakewood.de.

Take care. Martin Seeliger

即然您設法和我呆在一起很長, 是時間為我說再見和祝願您最一切順利您的新吉他。對吉他是忠實的, 是否新或使用。您能到達我任何時候用電傳: 049/0641-491398, 或電子郵件martin.seeliger@lakewood.de 。小心。馬丁·Seeliger

[路果]

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[PrinceSir]

雖然翻譯內容怪怪的，不過大致上還可以看得懂。

很感謝大大您熱心幫忙啊 ！！

這樣不會英文的朋友就可以看懂了。
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http://www.meworks.net/page.aspx?id=6434

http://www.im.tv/vlog/personal.asp?memid=290798#

歡迎光臨我的網站，裡面一些我的作品，希望大家會喜歡。

[大頭翔]

我怎麼覺得好像在說購買機械ㄉ原則= =
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←Do As Infinity 大無限樂團
簡單的說...我中了他們的毒了..= ="

[頭腦笨笨小肥羊]

好多喔……= =
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這世界，有個千年不變的道理，那就是，耶穌愛你^0^
在世上，沒有任何的逼迫患難，能使我們與神的愛隔絕^0^

[PrinceSir]

[PrinceSir]