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RC | 15th Mar 2006, 9:28 PM | 一般 | (916 Reads)

Thank you David for your kind and thoughtful letter. I too appreciate your views on this matter.Things were certainly different in London in the 60's and 70,s- when some readers' mother's milk was scarce dry on their lips!During this period, I measured around 20 early Lot heads (amongst others) from various sources by using an internal spring loaded pair of prongs and a micrometer, and taking 4 cross measurements (later dividing by 4 to get the average) at 25 points along the 150mm length of the head taper. Each head had undergone more than 100 years of denting, sitting on, and general wear, and so the measurements were a little different from each other ...though there was one consistent feature: each head had two small 'bulges' in the taper. It was conjectured by my colleagues that, perhaps Lot had pushed up a ball on the end of a stick (two different diameter balls) up each head, Why? I don't know.I tried to reproduce these 'bulges' (almost undetectable by feeling with the hands or looking up the bore) on a mandrel, but the heads were just the same as other 'normal' headsAge hardening was also looked into as a source of the Lot 'magic' but more recent attempts have shown that this is also a dead end.Later..much later, I have been amused to see 'new patents' appearing at NFA Conventions, such as the verticle headjoint, amusing gadgets which are, as we all know, old inventions.But let people go on reinventing history. Only by trying can we found out new things.
I will add to the article on flute tuning and alteration on my homepage from time to time as memories come back. Cooper and all my London friends have always been willing to share what little we know. No one here ever tried to 'copyright' information. We are, after all, not the owners of this information - or even of flutes - but only the temporary keepers for our short sojourn here...I will also write about Taffanel's No 600 Lot which I have played on for some time.
Someone wrote privately to me that we in London were experimenting with flute scales long before folks in the US were even aware there were scale problems on old and new flutes.Well, we are five hours ahead!

Trevor Wyewww.trevor-wye.com


RC | 15th Mar 2006, 9:22 PM | 一般 | (1483 Reads)
I did a little research for Terry McGee while at theNFA flute convention in Nashville. He was curious to know what the various wooden instrument makers use or recommend re oils and oiling. He was also curious to know why a particular bore oil manufacturer thinks their oil has merit. I asked quite a few makers, but also some repair people. Some of the makers surveyed wanted me to post my results in hopes that they might start up some discussion about the topic. Here are the results of my survey (Note-Please excuse some of themore elementary points that I'm sure that many of youknow. Many non-makers and non-repair people on thelist may be interested in these points).
Please note that the list is in no particular orderand that all people listed used the same oil on theinside and outside of the flute tubing.
1. BOAZ BERNEY- http://www.berneyflutes.com/
uses raw linseed oil(don't use boiled linseed oil astoo thick)
Notes-DRYING OIL (Tung oil, linseed, etc.)Usage drying oil--goes into wood and dries in wood-oil carefully. not too much or will crystallize inbore and deform bore. Need to wipe away excess.
Advantages drying oil -is easily controlled
NON-DRYING OIL (olive oil, almond oil, peanut oil?etc.)
Usage non-drying oil--let oil soak into wood-stays liquid
Advantages non-drying oil--non-crystallizing
2. ABELL FLUTE COMPANYhttp://www.abellflute.com/
uses almond oil
Notes-Usage of almond oil--just use on surface-how soaks in depends on the temp of the oil and grainstructure of the wood.
Why likes almond oil--a natural nut oil-works better with the ?egetableness?of the wood-less tendency to go rancid over time-thinks nut oil molecules smaller so oil tends to soakin a little more
3. MILES AHEAD INSTRUMENT SALES 7 SERVICE - Hammigfluteshttp://www.milesahead.org/
uses organic oil (thinks it olive or some othervegetable oil, but not sure)
Why likes this oil:-as organic, no petroleum products in it. Ifpetroleum products in it, it doesn absorb as well.
4. YAMAHA
uses linseed oil
Why likes linseed oil-natural material-wood less likely to crack-good for sound-after dries up is harder-other oils too easy to remove-linseed oil more stable.
5. LOU CARLINI
uses a 50% boiled linseed oil and 50% Wilbert lemonoil mix
Why likes--thinner coat-stays more liquid and absorbs faster-doesn get gummy
6. COOPERMAN FIFE AND DRUM COMPANYhttp://www.cooperman.com/
uses Aisyn bore oil fromAerospace Lubricants Inc.1505 Delashmist Ave.Columbus Ohio43212
7. POWELL FLUTES
uses clarified almond oil-To clarify, put about one inch of almond oil in aquart jar. Fill it 2/3rds full of water. Shake. Leave for a day or two. This helps dissolve the crud. Skim off oil and put in container. The Powell representative that I talked to mentionedthat he uses the same oil recipe as was recommended byQuantz.
Why likes-doesn go rancid
Notes--look for high content of oleic acid in oil. Tung oilis best for this.-No oil will stop moisture from getting into the wood-linseed oil is toxic-tung oil is good for preventing moisture, but looksbad and hard to use-Wooden Powell flutes are soaked in the oil and latervarnished with a proprietary product.-more is not better where oil is concerned. Use aslittle as possible.
I was directed to the Powell website for more info:http://www.powellflutes.com/templates/technicalGen.asp?LinkId=108#WoodCare
8. FOLKERS AND POWELL
Uses linseed oil
Why likes-tradition. Used for thousands of years. Not aconcern how penetrates wood thousands of years ago.
Notes-A little more about oiling can be found here on theFolkers and Powell web site:http://www.baroqueflute.com/owners.html
9. HOWELL ROBERTShttp://www.woodwind.dk/FLUTE1rb.htm
uses almond oil
Why likes--goes into wood quickly-doesn smell (linseed smells)-doesn get sticky-good for skin
10. SIMON POLAKhttp://www.earlyflute.com/
uses linseed oil and almond oil
Notes--soak in linseed oil for two weeks. Dry. Rebore.At end uses different finishes.-uses almond oil for nice sheen. You don want wetlinseed oil because will crust
END OF SURVEY
Someone mentioned to me that there is a detailedarticle on bore oil in one of the issues of WoodwindQuarterly:http://www.musictrader.com/wwqindex.htmlI had a quick browse through some of the topics listedat the above web site, but couldn find it.Perhaps someone who knows of the article could directus to the particular issue.
I look forward to any discussion or corrections of mynotes.
Best wishes,Susan
Susan MaclaganWinnipeg, Canada
Let's start from the beginning: drying or non-drying oil? I prefer drying oils as the others just get wiped off. Of the drying oils, the traditional one, at least in the West, is linseed oil, which I used for many years. I now prefer Tung oil, for these reasons:
Tung oil advantages:
1. It dries quickly (in about a day).2. It has an acceptable odour.3. It is non-toxic. (Tung oil is acceptable for use on salad bowls and the like.)4. It provides excellent protection against moisture. (I have it on my dining room table. You can put a hot, wet mug on it and not leave a mark.)
Tung oil disadvantage:
1. It dries to a matt finish
Linseed oil advantage:
1. It dries to a shinier finish
Linseed oil disadvantages:
1. It takes up to a week to dry.2. It stinks. (I don't like my flute to smell like a cricket bat.)3. So-called 'boiled oil' has driers added that may be toxic.4. In my case linseed oil brings up mouth ulcers.
When I did use linseed oil, in the days when I made my living playing the flute, I used to thin it by heating the oil, which thinned it very effectively but made the entire house smell like a cricket bat. In the interests of domestic harmony I took to heating the stuff out of doors.
One day I tried Tung oil, liked it, and have used nothing else since. I use it at room temperature, without thinners, but I apply it in a very, very thin layer. I exaggerate by telling my customers to apply it one molecule thick.
I oil my headjoint when I feel it doesn't respond as it should. When the articulation starts to feel a bit woolly, I oil the headjoint. That always makes it better, and it makes it sound better, too, for reasons I don't fully understand.
Robert.
-- Robert Bigio Robert@bigio.comLondon, England http://www.bigio.com

RC | 15th Mar 2006, 9:16 PM | 一般 | (446 Reads)

You can hear a recording of two conical bore Rudall and Rose Boehm flutes on Handel: Academy Chamber Ensemble, (Academy of St Martins in the Fields Chamber Ensemble)
Two Trio Sonatas played by William Bennett, Trevor Wye and George Malcolm.
CD: Phillips 412 598-2
We recorded these without letting the Recording company know that we were playing 'unusual' flutes.We played them at A 440...with some difficulty.
We were not aware of anything about pitch when we recorded those trios because we had 5 of these flutes between us, and ended the sessions with one that worked and one that was wonky. We swopped flutes so that whoever had the difficult solo had the better flute. As Bennett plays open G sharp, and I play closed, we were just concentrating on avoiding wrong notes....We both discovered that there is a quite a different technique to playing these ring-keyed flutes and that some practise at firmness of fingers and accuracy was required beforehand.We had both altered the tuning of individual notes with 'Playdo' in the holes to improve the scale, a practise common to both of us with almost any flute.
Trevor


RC | 15th Mar 2006, 9:13 PM | 一般 | (484 Reads)
太子:太傅今日所言所為,學生不懂?
太傅:一國三公九卿百官萬民,你要知誰是忠臣賢士,誰居叵測之心,否則國君操一國之柄,何以成孤家寡人。
太子:那衛鞅與公孫賈之比呢?
太傅:恃才者傲君,無能者逢迎,仁義者亂法,奸惡者殃民,皆為君之所患,國之大害。
太子:那天下豈不是再也沒有好人了?學生今後靠誰?
太傅:好壞,無非因利害而分,利則用之,害則除之,奉天時,順潮流,識時務,知善惡,因勢利道而已。

RC | 15th Mar 2006, 9:11 PM | 一般 | (540 Reads)
  本人在美國名校畢業後在華爾街著名大公司當任金融分析師,年薪二十多萬美金。在曼哈頓中央公園邊第五大道買了壹佰多萬美金的房子。五年前回國經人介紹 娶了一個絕色美女為妻。她來美國後兩年內,本人為她辦了綠卡,也接她的父母來,也生了一個孩子。但是,她和她父母要求越來越多。首先,要到世界各地旅遊。 其次,寄錢給兄弟姐妹和親戚們。然後,她和她父母要回國探親,開列了很長的一個禮單,要我付錢買禮品。我不同意,她們就跟我吵,說沒有這些禮品,回國沒面 子。她們三人輪流向我進攻。最後,兩年多前,我發現她常給國內一個男的打電話。追問之下,她承認他是他以前的男友,責備我上班不理她,她孤獨當然要找安 慰。一怒之下,本人就將她狠狠地揍了一頓。這下更不得了,她說這輩子沒挨過打,決不和我幹休。她打電話叫員警,向法庭申請了保護令,禁止我回家。隨後,她 向法庭要求離婚,要求將平分財產,將房子判給她,要求我支付房子按揭,她的撫養費,孩子撫養費等每月一萬多美金。如果按她的條件,我這輩子就只有給她當奴 隸掙錢供她揮霍了。為此,我花了極高價請了一個最好的離婚律師。

  首先,在律師的安排下,我拒絕離婚。按法律,如果我拒絕離婚,那麼對方就必須等合法分居十八個後才能提出離婚。律師告訴我,這是為以下行動爭取時間。

  第二,在律師的安排下,我邀請父母到美國,告訴他們具體情況,取得他們支援。離婚是十分艱難的戰鬥,我必須得到支持。而父母則是最可靠的後方。在此,本人向所有男同胞說,妻子如衣服,誰也不能保證她會和你過一輩子。只有父母才永遠不會在你最困難的時候拋棄你。

  第三,在律師的安排下,我通過Home Equity Line,取出房子上的所有的資產。並把所有的錢轉到父母的帳戶。這樣本人的淨資產就接近於零。

  第四,在工作中有意出錯,不斷地多算幾百萬美元,或少算幾百萬美元,並把錯誤有意無意地透露給我的競爭對手。他一看,喜出望外,趕緊向老闆表功,說他為公司挽回多少損失。經過多次,老闆就給他加薪並將我解雇。

  第五,在解雇後,在律師的安排下,我停止支付房子按揭,汽車分期,並開始領取失業保險。半年後,我的房子,汽車被拍賣,她和父母和孩子被趕出房子,也失去賓士車。

  第六,她父母簽證到期,因無經濟擔保,無法延簽證,被迫回國。她開始打工。

  第七,我的失業保險到期,我開始領取食品卷和社會救濟。

  第八,分居達十八月,我向法庭申請離婚。離婚獲准。因我身無分文,且無任何收入,依靠父母和社會救濟生活。她沒有得到一分財產,也沒有得到一分撫養費。

  第九,因她無任何工作技能,且相貌絕色,一貫養尊處優,被人寵愛,不能吃苦。她不斷被打工解雇。同時,大家知道她把丈夫趕出家門,沒人敢娶她。但是,由於面子關係,她又不願回國。後來,她就在世界日報上登廣告賣淫為生。

  第十,我通過朋友知道此事,和律師討論後,向警察局和移民局匿名告發。她被捕並遣送回國。小孩留下歸我。

  第十一,我重新在華爾街另一金融公司找到工作,年薪二十幾萬美金。重新曼哈頓中央公園邊買了房子,和父母生活在一起。

   第十二,我把她在美國賣淫被抓,遣送回國的事告訴當初的介紹人和其他朋友。她回國後,無臉見人。她去見她的前男友,她的前男友打了她一耳光,罵了她一 句:“不要臉的妓女。”就走了,不理她了。有一些不好的,喜歡看人笑話的人總問她,你不是嫁到美國華爾街當百萬富婆了嗎,怎麼去賣淫被遣送回國?問的多 了,她心理承受不了,就得精神病了。見人就說:“我不是賣淫被遣送回國的。”她父母後來把她送到精神病院。她這輩子可能就在精神病院了。

RC | 15th Mar 2006, 9:03 PM | 一般 | (386 Reads)

4月 14日 星期四 05:05 更新

【明報專訊】最近全國多處地方爆發大規模的反日示威遊行,如果不是當局三令五申不讓事件擴大化,則民間蓄勢已久的反日情緒有可能一發不可收拾。

在 中日關係上,中國對日政策可以說是仁至義盡。戰後從蔣介石的「以德報怨」方針,到毛澤東的「嚴格區分日本軍國主義和日本人民」的政策,可見不論國 共兩黨,中國人民都對日本的侵華罪行採取了寬恕包容的態度,不但主動放棄戰爭賠償,而且倡導兩國人民要「世世代代友好下去」。為了播下世代友好的和平種 子,中共前總書記胡耀邦更有邀請3000日本青年訪華之創舉。姑不論此舉實際效果如何,中國希望與這個鄰邦建立睦鄰友好關係之情溢於言表。

令 人遺憾的是,日本對中國的橄欖枝並不領情。這也許是我們對日本民族性缺乏足夠的了解,很多時自作多情地單方面討好日本,「將心比心」地以為這樣日 本就會相應採取友好姿態。但結果我們失望了。筆者有時候很不解地問日本朋友,為什麼你們捱了美國兩隻原子彈,至今仍然被迫接受美國變相的軍事佔領(美國自 戰後至今一直在日本駐軍),卻甘心對美國俯首稱臣,但對寬恕了你們長達100多年的侵略罪行(從甲午戰爭開始算)的中國,卻連一句像樣的道歉都如此吝嗇。

筆 者對這個問題一直不解,直到參觀(當然不是參拜)了靖國神社,特別是該神社內的「遊就館」,算是了解了什麼是「大和魂」,才知道日本民族敬重強 者、鄙視弱者的民族心理,令他們可以捱了原子彈後依然敬重美國(這從廣島的原爆紀念館居然沒有半句譴責美國的說話可以看出),卻對中國的寬大嗤之以鼻。 從「大和魂」的角度看,落後固然要捱打,忍讓同樣要捱打,他們不會因為中國的厚道寬懷而尊重中國人。

國 際上很多研究中日關係的專家學者,不論其觀點是否反共反華,他們在分析近年來兩國關係惡化的眾多原因時,都不約而同地指出中國的崛起令日本產生嚴 重的不安感,這是一個很共通的看法。換言之,即使中國沒有採取任何對日本不友好的措施,但只要她不斷發展,從日本的角度看,這本身就是對日本的最大威脅, 這本身就會導致中日關係惡化。中國真是無辜﹗

日本有些學者就比較誠實地提出,在東亞近300年的歷史上,從來沒有出現過兩國並強的局面。明治維新以前,日本基本上臣服中國,典章制度無不學諸中 國。明治維新以後,力圖「脫亞入歐」,開始主宰中國。換言之,在過往300多年,東亞只能夠有一個強國。1979年後這種格局開始有變,隱然出現兩強並列 的局面,這對日本的心理狀態帶來很大的衝擊,這就不可避免地引起兩國不斷的衝突。這種意見比較客觀而又委婉地指出,近年來中日兩國關係的惡化,責任不在中 國這一方面。

筆者時常奉勸日本人要重視3個事實。

第一是地理事實。不管他們喜歡不喜歡中國,中國將永遠是他們的近鄰。既然如此,何必要為自己製造一個緊張的鄰居關係﹖

第二是歷史事實。在長達3000多年的人類文明史上(筆者以可供比擬的歷史為準),中國絕大多數時期都是處於世界領先地位的。只有在最近300多 年 來才因為制度以及思維不能及時更新而處於暫時的落後。現在世界上目睹的中國的崛起,不過是中華民族恢復她在過去歷史上的地位和發展軌迹而已,因此這個民族 復興事業,是一定會出現的,出現後對世界的影響,也將是巨大而積極的,就如她過去曾經對人類文明做出巨大而積極的貢獻一樣。因此日本沒有必要為中國要實現 民族振興而過分擔心,乃至採取措施去破壞這個進程。日本不是侵略中國凡100多年嗎,結果如何﹖日本充其量只能拖慢中國的崛起,卻不能遏止她的復興。

第 三個是種族事實。 不論日本心理上如何想「脫亞入歐」,他們種族上作為黃種人的事實是改變不了的。在戰後史上只有南非在白人種族主義政策高潮的時 候,日本是唯一黃種人國家在南非取得白種人地位。筆者實在覺得沒有必要為了心理上「脫亞入歐」而對亞洲國家採取鄙視的態度。日本慨嘆他們在東南亞的投資遍 地開花,可就是得不到當地人民的尊重。究其原因,還不是他們這種「脫亞入歐」的心態在作祟。筆者奉勸日本人去研究一下靖國神社內的「遊就館」,是如何教導 日本人去鄙視同為黃種人的中國和東南亞人民。日本人自己不去清算這種教育,她將永遠處於一種痛苦的掙扎﹕自己明明是黃種人,但受到的教育卻恰恰是否定黃種 人,這不令自己痛苦死才怪。

日本不正視這3個事實,她與亞洲各國的相處將永遠是一個問題。

鍾國仁-資深傳媒人

 


RC | 15th Mar 2006, 1:35 PM | 一般 | (509 Reads)
阿爾及爾之戰:如果炸彈能解決一切

 

2003年06月17日16:26:42 網易娛樂 楊彤

《阿爾及爾之戰》La Battaglia di Algeri
英文:The Battle of Algiers
義大利、阿爾及利亞 1965年
導演:吉洛·龐提柯沃Gillo Pontecorvo
主演:布拉希姆·哈吉亞奇Brahim Haggiag
片長:117分鐘
獲得威尼斯電影節金獅獎、FIPRESCI獎,奧斯卡最佳外語片、最佳導演、最佳原創編劇提名

  《阿爾及爾之戰》這部半紀錄片獲得了1966年威尼斯電影節金獅獎。影片以阿爾及利亞爭取獨立為背景,講述了在阿爾及爾這座城市裏,地下運動組織——民族解放陣線同法國人的戰鬥。


  阿爾及利亞是法國的殖民地,二戰後開始試圖脫離法國的統治;如同發生在印度支那的故事一樣,法國人悲傷地發現,他們就像一個出了洋相的魔術師,本來只該變出一隻鴿子的,他們的帽子裏卻飛出了一窩鴿子,而他們完全無法控制事態的發展。如果說擁有“日不落”稱號的英國終於看到了太陽落山的話,那麼法國人的60年代幾乎就是進入了深夜。

  表面上,阿爾及利亞人仍然順從著法國人的統治,而民族解放陣線已經滲透到這個城市的每個角落,更重要的是,他們得到了民眾的支持。一個叫阿裏的首領用一種嚴密的組織方式開展著他們針對法國人的暗殺行動,這個組織的每一個人只有一個上司和他發展的兩個下線,這樣,一旦某個鏈條出了問題,整個組織卻不會被根除,因為你只認識三個人,其他的人你都不認識。在行動中你會得到不認識的人暗中相助,他們會悄悄塞給你一支手槍或是一個炸彈。這個被法國人稱為“無限增長的蟲子”的組織讓佔領者吃夠了苦頭。員警被暗殺、酒館被炸,而法國人根本找不到兇手。因為他們就是那些纏著頭巾的女人,他們就是那些懵懂的孩子,他們就是那些本分的果農,他們都是,但他們又都不是,他們拿起槍就是戰士,放下槍就是平民。

  攝影機平靜地掃過每個血腥的場面,只有在急促的鼓點中我們可以預感到又一個暗殺和爆炸即將開始。影片貼著真實的場面速寫著、記錄著、切換著,這裏沒有主角,它更像是一個紀錄片,至少是半紀錄性的,只有法國方面的最高行政長官佈置如何捉拿阿裏的情節才顯得像一部故事片。

  特別是在幾個爆炸的場面上,導演的功力顯得爐火純青。有三個預謀的爆炸案,三個女人從容地通過了法國人的檢查站,然後分別在兩個酒吧和一個機場就位。在酒吧裏,人們正在隨著音樂起舞,沒有死亡來臨的先兆,女人平靜地將藏有炸彈的包移到桌下、移到吧台邊。周圍,是正在吃冰激淩的孩子的臉,是正在說著情話的男女的笑聲,是好色男人曖昧的眼光和挑逗的神情。我們能感受到一種希區柯克式的懸念,但是那裏至少有Last minutes rescue,或是007中邦德的出現。這裏沒有。炸彈響了,生命粗暴的結束。街對面另一個酒吧的人們沖了出來,也許是習慣了這樣的慘案,他們說了句:“我們還是回去繼續跳舞吧。”旋有轉身回去,未幾,在另一聲巨響中,他們也跟隨著前一波人搭乘最新的衝擊波去了天堂。

  導演不喜歡用長鏡頭來停留觀眾的注意力,總是在你想回味某個場面的時候,他不由分說地就切到另一個場景中;同樣,他也反對用快速地剪切來加快整個事件的進程,這使我們至少在中途可以去上一趟廁所。

  阿裏的藏身之處被發現,他拒不投降,法國人下令炸掉那個地方。在外面圍攏的人群裏,分明是妻子的淚水,分明是母親的絕望。阿裏死了。法國人得到了兩年多的平靜。然而就像一個註定要獨立的人一樣,沒有了阿裏,但決不等於沒有了情緒的繼承者,1962年,阿爾及利亞人再次掀起了波瀾,實拍把我們直接領到現場,去見證磚頭、石塊、坦克、子彈、硝煙、鮮血和淚水。

  阿爾及利亞人最終勝利了。邱吉爾曾宣稱殖民地的人民尚未成熟到可以自己管理自己的地步,因此拒絕承認民族國家的獨立是進步的潮流,他認為,這只會導致更多的衝突、流血、貧窮。半個世紀就快過去,我們無奈地發現,邱吉爾的觀點至少不是錯的,有幾個殖民地能像香港那樣的幸運呢?



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