婕拉
Hollow-body carved-top electric guitar with horn components and tailpiece.
Appearing quite early in my practice (2021), ZYRA is a guitar that taught me a lot in terms of design - and about the creative process in general:
-It was first commissioned by a Montreal guitarist and collector, who clearly stated that he wanted something he had never seen.
-The asymmetrical shape and oval theme were first developed in the first week of drawings. The oval shape is repeated both at the lower-bout, at the waist on each side of the guitar, but also around the neck joint in the double-cut erea. This went well - after two weeks of work, I was almost done.
All that remained was to join the tips (horns) but the idea of creating something new in this place was going round in circles... Here no volute, nor square-ends or Strat-style anything would work, and I didn't see precisely how to achieve something never seen before, literally, as ordered.
The acoustic-type horn such as on clarinet and trumpet, etc. must have appeared by itself:
图片来源：Nassim Aboutanos
婕拉——
空心电吉他，2001 - Andre Instruments no 12
尺寸：101 x 37.5 x 8.5 厘米
标尺长度：648mm
颈宽@螺母 44mm
琴弦间距@琴桥 52mm
总身长 : 53.15 cm
音板：糖枫，真空干燥
背侧板：洪都拉斯桃花心木
琴颈：洪都拉斯桃花心木，2向可调桁架杆
指板：加蓬乌木，漂白驼鹿角镶嵌
琴头：加蓬乌木，带珍珠母-Z-镶嵌
Bridge：漂白的驼鹿角
尾管：加蓬乌木，带钢丝
调音机：Schaller
坚果和马鞍：漂白牛骨
完成： 桐油和柯巴清漆
拾音器：K&K pure mini、Seymour Duncan Stack Strat
Strings：达达里奥 EXL110，镍和钢
Collection Teti，新罕布什尔州，美国
Zyra 可能是关于吉他设计或一般设计信息最多的吉他。
它最初是由一位蒙特利尔吉他手和收藏家委托制作的，他明确表示-他想要一些他从未见过的东西。-
不对称的形状和椭圆形的主题首先得到了解决，但 -horn- 的想法是偶然出现的，或者工作：
不知从何而来，或者运气不好，塑料椭圆形模板就在纸上的正确位置被发现，与被部分擦除的部分图画融合在一起。还有……-轰-。这一切都已经到位，就像事先没有预料到的那样。
这个现在声学号角（字面意思）的主题将跟随安德烈，因为他目前的项目Echoes of Time显然受到了 Zyra 制作的影响。
So recently, when designing my -Blue Guitar- entitled -Blueprint- for the Archtop Foundation, I allocated myself more than a month to first put it on paper, and then I went on and produced two other variations - to finally dissect the whole, simplify...and draw an archtop guitar which will merge elements from this trio of drawings.
The difference between the creation of Zyra (2001) and Blueprint (2024) is that today, much like any musician (or composer) I should say, I recognize the process, I do not look at success from the end but rather focus on building my design step by step - establishing its solid foundation - and work with confidence : -The process doesn't get any easier, just without moments of panic - and recognizing the key role of the trash-bin... it's now more integrated to throw away and redo quickly, without fuss.
婕拉2最近画的：
它的新轮廓虽然与原版非常接近，但具有更宽的车身、更开放的切面通道和更紧密的绕圈曲线，以增加人体工程学。
它专为箱内更多空气而设计，因此可以更像真正的拱顶吉他。
所有的可能性在这个上仍然是开放的。