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The information in this book is distributed on an ‘As Is’ basis, without warranty. While every precaution has beentaken in the preparation of the book, the author shall have no liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book. 本书中的信息以“按现状”方式分发，不提供任何保证。尽管在书籍的准备过程中已采取了所有预防措施，但作者对任何因本书中包含的指示而直接或间接造成或声称造成的任何损失或损害，不承担任何责任。
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Hi there 嗨，你好
Welcome to Sketchy Setups. I’m Gerry and I’m the guy who wrote/drew this. 欢迎来到 Sketchy Setups。我是 Gerry，我是写/画这个的人。
I’m going to be your guide through the steps to a great guitar setup. This is easy and straightforward - you don’t seed to wade through massive manuals or try to decide which forum poster actually knows what they’e talking about. 我将引导你完成出色吉他调试的步骤。这很简单明了——你不需要翻阅大量手册或试图判断哪个论坛发帖者实际上知道他们在说什么。
Locking tremolo guitars can be fiddly but this stuff’s not rocket science. 锁定颤音吉他可能有点麻烦，但这并不是火箭科学。
HoweVER… 然而……
Take things slowly and be careful. If youre ever in any doubt, stop. Dont force angthing or do anything that worries you - it’s not worth it. I don’t think it’ll come to that though. 慢慢来，注意安全。如果你有任何疑虑，就停下来。不要强迫自己做任何事情，也不要做让你担心的事情——这不值得。不过我认为不会发展到那种地步。
Treat yourself and your are with care and youll be just fine. 善待自己和他人，你会一切都好。
Follow the steps in order (they’re that way for a reason) and have fun. See you on the other side. 按照顺序执行步骤（这样做是有原因的），并且玩得开心。我们在另一边见。
The ends of unwound guit ar .008^('').008^{\prime \prime} Strings make fantastic feeler gauges. Stick a piece of tape un to label them and use them to check relief or other clearances. 未卷绕的吉他 .008^('').008^{\prime \prime} 弦的末端是绝佳的测量工具。贴上一块胶带来标记它们，并用它们来检查弦高或其他间隙。
The ends of a set of 8s (.008^(''))\left(.008^{\prime \prime}\right) will give some handy sizes - 0.008^('')0.010^('')0.015^('')0.008^{\prime \prime} 0.010^{\prime \prime} 0.015^{\prime \prime}. Check with pals for other sizes. 一组 8 的末端 (.008^(''))\left(.008^{\prime \prime}\right) 将提供一些方便的尺寸 - 0.008^('')0.010^('')0.015^('')0.008^{\prime \prime} 0.010^{\prime \prime} 0.015^{\prime \prime} 。与朋友确认其他尺寸。
Allen/hex wrenches - Ideally a full set of metric & imperial 艾伦/六角扳手 - 理想情况下应有一整套公制和英制工具
Box wrench (if needed for your truss rod) 箱形扳手（如果需要用于你的音梁杆）
Tuner - 调谐器 -
or a tuner app. 或调音器应用程序。
(lip-on tuners are ok （唇上调音器可以）
but plug-in a little better for setup stuff. 但插件在设置方面稍微好一些。
A note on Nut files 关于 Nut 文件的说明
At this point in my other Sketchy Setups guides, In having to tactfully recommend that readers consider buying expensive nut files to get the bert from their setup. 在我其他的 Sketchy Setups 指南中，此时我不得不巧妙地建议读者考虑购买昂贵的螺母锉，以便从他们的设置中获得最佳效果。
But were dealing with locking nuts - big hunks of cast metal. We dont need no stinkin’ nut files. 但我们在处理锁紧螺母——大块铸造金属。我们不需要什么臭螺母锉。
Before you get too cocky though, locking nuts cone with some limitations of their own. More in a litte while… 不过在你变得太自满之前，锁紧螺母锥形也有一些自身的局限性。稍后会有更多信息……
Betore we begin, we measure. 在我们开始之前，我们先进行测量。
Measure the current settings and write them down. This is our insurance policy - if anything goes wrong, we can always get back to our starting point. 测量当前设置并记录下来。这是我们的保险政策——如果出现任何问题，我们可以随时回到起点。
measure action 测量行动 qquad\qquad
DEFINE: ACTION 定义：行动
Put a capo on at the 1^("se ")1^{\text {se }} fret. 在 1^("se ")1^{\text {se }} 品上放一个变调夹。
Measure between the top of the 17^("th ")17^{\text {th }} fret and the bottom of the 1^("st ")1^{\text {st }} string. 测量 17^("th ")17^{\text {th }} 品的顶部与 1^("st ")1^{\text {st }} 弦的底部之间的距离。
Measure the same for the 6^("th ")6^{\text {th }} String. 测量相同的 6^("th ")6^{\text {th }} 字符串。
Always measure action in the 'playing position - Hold the guitar as if you were playing it. 始终在“演奏位置”测量动作 - 像演奏吉他一样握住吉他。
measure relief 测量救济
DEFINE: RELIEF 定义：救济
Relief is the amount of ‘bow’ in the neck 颈部的弯曲度就是弯曲的程度
Capo at the first fret still. 在第一品上夹 capo。
Use your finger to fret a string at the 17^("th ")17^{\text {th }} fret (for 22 -fret guitars) or at the 19th (for 24 -fret necks). 用手指在第 17^("th ")17^{\text {th }} 品（对于 22 品吉他）或第 19 品（对于 24 品琴颈）按压弦。
Use your Super String-End feeler gauges to measure the gap between that fretted string and the top of the 8 th or (maghe) 9th fret - whichever seems the greatest gap. 使用您的超级弦末量规测量该品弦与第 8 品或（maghe）第 9 品顶部之间的间隙 - 以较大的间隙为准。
You also measure reliet in the 'playing position 您还在“比赛位置”中测量舒适度
Try different ganges until one no longer passes through easily and youll have your relief measurement. 尝试不同的量程，直到一个不再轻松通过为止，这样你就会得到你的缓解测量。
If your reliet is more than your largest string-end ganger or less than your smallest, you can still get a pretty good estinate & note that. 如果你的缓解量超过你最大的弦端工人或低于你最小的弦端工人，你仍然可以得到一个相当不错的估计并记录下来。
You can also use a ‘real’ feeler gange although it’s a little trickier - the gange can more easily 'deflect the string & throw off your accuracy. I actually use string ends in my workshop for this reason. Regular feeler ganges are a good backup, though. 您也可以使用“真实”的塞尺，尽管这有点棘手——塞尺更容易“偏离弦线，从而影响您的准确性”。实际上，我在我的工作坊中出于这个原因使用弦线的末端。不过，常规的塞尺是一个不错的备选。
Step 2: ◻\square 步骤 2： ◻\square
Before we do anything else, we set our relief. 在我们做其他事情之前，我们先设定我们的救济。
Relief has a knock-on effect on all the other steps so, it’s first. We set relief using the truss rod. 调音对所有其他步骤都有连锁反应，因此它是第一步。我们使用音杆来调节音高。
There are two likely locations to adjust the truss rod. 有两个可能的位置可以调整托架杆。
ADJUST AT THE HEADSTOCK 在主轴箱处调整
Perhaps under a plastic cover that you unscrew or slide openor, perhaps just an oper access 也许在一个你可以拧开或滑开的塑料盖子下，或者也许只是一个开放的入口
hole* - the truss rod adjustment should be relatively easy to access at the headstock end. 孔* - 在琴头端，调整音梁杆应该相对容易接触。
The Eype and size of wrench reeded will vary. Japanese lbanez unally need a 7 mm box wrench but lbanez from other locations will differ. Likewise other manufacturers. A 4 mm allen wrench is a very good starting point but be prepared to experiment to make sure you have the correct size. 所需扳手的类型和尺寸会有所不同。日本的 Ibanez 通常需要一个 7 毫米的套筒扳手，但来自其他地区的 Ibanez 会有所不同。同样，其他制造商也是如此。一个 4 毫米的内六角扳手是一个很好的起点，但要准备好进行实验，以确保你拥有正确的尺寸。
It is really important that your wrench fits snugly. 你的扳手合适得很重要。
*Occassionally, you’ll have to raise the string retainer bar to access the truss rod. If so, remenber to tune bach to pitch before proceeding. 偶尔，您需要抬起弦保持杆以访问音杆。如果是这样，请记得在继续之前调回音高。
AdJust at the heEl 调整在脚跟处
If not at the headstock, check the heel for truss rod adjustment. The most straightforward possibility is a ‘spoke wheel’ adjustment that will be evident in a slot in the neck begond the last fret. Your guitar may have shipped with a thin metal bar that fits but anything relatively strong should do. A narrow screwdriver blade 如果不是在琴头处，请检查琴颈的底部以进行琴杆调整。最简单的可能性是“辐条轮”调整，这将在最后一个品格之后的琴颈槽中显现。您的吉他可能随附了一根适合的薄金属条，但任何相对坚固的物品都可以。一个窄的螺丝刀刀片。
hex/allen adjustment 六角/艾伦调整
can be pressed into service in a pinch. 可以在紧急情况下派上用场。
The other porsibility is a hex-head adjustment. This will be flush with the end of the neck and - if youre lucky - will have a corresponding access channel in the guitar body. This is usually the case but, if not, you may have to remove the neck in order to make adjustments. 另一种可能性是六角头调节。这将与琴颈的末端齐平，并且——如果你运气好的话——在吉他琴身上会有一个相应的通道。通常情况是这样的，但如果没有，你可能需要拆下琴颈以进行调整。
The latter is a pain as youll probably need to run through the ‘remove seck/adjust/reattach neck/reture/check relief’ cycle a few times before you get things where you want them. Iti relatively rare that this is reeded on superstrat-type guitars but you should be aware, just in case. 后者很麻烦，因为你可能需要多次进行“拆卸颈部/调整/重新安装颈部/检查弦距”的循环，才能将一切调整到你想要的状态。在超弦型吉他上，这种情况相对少见，但你应该知道，以防万一。
So, now we know where to adjust, let’s look at how. 所以，现在我们知道在哪里调整，让我们看看如何调整。
TRUSS ROD ADJUSTMENT 拉杆调整
We tighten the truss rod to decrease reliet (less neck bow) We loosen it to allow more reliet into the neck. 我们拧紧托杆以减少松弛（减少琴颈弯曲），我们放松它以允许更多松弛进入琴颈。
RIGHTY - TIGHTY 右紧左松
STRAIGHTEN NECK 伸直脖子
To reduce relief and straighten the reck, tighten the truss rod. 为了减少松弛并拉直横梁，请拧紧拉杆。
Righty-tighty. 右紧左松。
Turn adjustment clockwise. 顺时针调整。
If we want more relief (or ‘bow’) in the neck, loosen the truss rod. 如果我们想要颈部更多的松弛（或“弯曲”），就松开调整杆。
Lefty - loosey. 左松右紧。
Turn adjustment counterclockwise. 逆时针旋转调整。
LEFTY - LOOSEY GIVE MORE RELIEF 左松右紧，给予更多缓解
DO NOT FORCE IT 不要强迫它
Don’t go nuts here - 1//81 / 8 to 1//41 / 4 of a turn is plenty at a time. Take it in increments and keep checking reliet as you go. If you encounter resistance, STOP. 不要在这里发疯 - 1//81 / 8 到 1//41 / 4 的转动一次就足够了。分步进行，并在过程中不断检查可靠性。如果遇到阻力，停止。
Well, it depends. And therél an added complication when we consider superstrats. We need to make an assumption that the majority of players are a little more ‘shreddy’ than the guitar population at large. In my guides for other guitars, these reliet figures are (mostly) a little higher. For this audience here, I’n erring on the side of ‘slinky’. 好吧，这要看情况。当我们考虑超弦时，会有一个额外的复杂性。我们需要假设大多数玩家比整体吉他人群更“炫技”。在我为其他吉他编写的指南中，这些相关数据（大多数情况下）稍微高一些。对于这里的受众，我倾向于选择“灵活”的一面。
PLAM QuITE HARD PLAM 非常困难
GENERAL SHRED 通用碎纸机
CRAZ SLINky 疯狂的 SLINky
Mostly chords & rhythm 主要是和弦和节奏
Most people fall here 大多数人会在这里跌倒
Insane shred and super- 疯狂的撕裂和超级-
light touch 轻触
0.008^('')0.008^{\prime \prime} to 0.010^('')0.010^{\prime \prime}0.008^('')0.008^{\prime \prime} 到 0.010^('')0.010^{\prime \prime}
0.006^('')0.006^{\prime \prime} to 0.008^('')0.008^{\prime \prime}0.006^('')0.006^{\prime \prime} 到 0.008^('')0.008^{\prime \prime}
0.004^('')0.004^{\prime \prime} to utterly straight. 0.004^('')0.004^{\prime \prime} 完全直。
(0.1mm(0.1 \mathrm{~mm} to straight) (0.1mm(0.1 \mathrm{~mm} 直行)
PLAM QuITE HARD GENERAL SHRED CRAZ SLINky
Mostly chords & rhythm Most people fall here Insane shred and super-
light touch
0.008^('') to 0.010^('') 0.006^('') to 0.008^('') 0.004^('') to utterly straight.
(0.2mm to 0.25 mm) (0.15mm to 0.2 mm) (0.1mm to straight)| PLAM QuITE HARD | GENERAL SHRED | CRAZ SLINky |
| :---: | :---: | :---: |
| Mostly chords & rhythm | Most people fall here | Insane shred and super- |
| light touch | | |
| $0.008^{\prime \prime}$ to $0.010^{\prime \prime}$ | $0.006^{\prime \prime}$ to $0.008^{\prime \prime}$ | $0.004^{\prime \prime}$ to utterly straight. |
| $(0.2 \mathrm{~mm}$ to 0.25 mm$)$ | $(0.15 \mathrm{~mm}$ to 0.2 mm$)$ | $(0.1 \mathrm{~mm}$ to straight) |
THE FRET BUZZ ASSUMPTION 品弦噪音假设
The most perfectly made and set-up guitar will buzz if it’s not right for your style. Experiment and remember that buzz you can’t hear through an amp is not a problem. Super-slinky guitars are made to plug in and play loud. If there’s a buzz ‘acoustically’, that may just be the cost of your slinky setup. I will refer to this again when its time to set action. 制作和调校得最完美的吉他如果不适合你的风格也会发出嗡嗡声。尝试一下，并记住你在音箱中听不到的嗡嗡声并不是问题。超灵活的吉他是为了插入并大声演奏而设计的。如果有“声学上的”嗡嗡声，那可能只是你灵活调校的代价。当需要调整弦高时我会再次提到这一点。
Reliet this low is where your Super String-End gauges can let you down. Fall bach to the real feeler gauges or use the string gauges to get close and then estimate the rest of the way. 低于此处的松弛是您的超弦端规可能会让您失望的地方。退回到真实的测量规，或者使用弦规接近，然后估算剩下的部分。
Step 3: 550 步骤 3：550
The main thing you have to keep in mind here: 你需要记住的主要事项是：
Balancing string & spring tension allows the bridge to 'float between the two - where you can pull it up or dive it. 平衡弦和弹簧的张力使桥能够在两者之间“漂浮”——你可以将其拉起或下沉。
The string tension is a factor of string gauge and pitch so it’s ‘set’ for our discussions. Lets’ talk about the springs. 弦的张力是弦的规格和音高的一个因素，因此在我们的讨论中是“设定好的”。让我们谈谈弹簧。
ADJUSTING SPRING TENSION 调整弹簧张力
The springs live in a cavity around the back. Some guitars have access holes but I recommend removing the cover to see what’s going on. In the 弹簧位于后面的一个腔体中。一些吉他有访问孔，但我建议拆下盖子看看里面发生了什么。
‘standard’ trem, a number of springs connect the block (on the botom of the bridge) to a metal claw screwed into the body. “标准”震动，多个弹簧将块（在桥的底部）连接到螺丝固定在主体上的金属爪。
Tightening the screws holding this claw increases spring tension so the bridge pulls back towards the guitar body. Loosening the screws reduces spring tension allowing the strings to pull the bridge in the other direction. 拧紧固定这个爪子的螺丝会增加弹簧张力，使琴桥向吉他琴身拉回。松开螺丝会减少弹簧张力，让琴弦向相反方向拉动琴桥。
By carefully balancing back and forth between strings (while tured to pitch) and adjusting the springs, we balance our trem. 通过在弦之间（调音时）小心地来回平衡并调整弹簧，我们平衡了我们的颤音。
The FloydRose, and the myriad trems it inspired, use this claw screw tightening/loosening method but variants exist… FloydRose 及其启发的众多颤音器使用这种爪螺丝紧固/松动的方法，但也存在变体……
Ibanez tremolo systems like the zero point System modify the spring mounting and include an adjustment thumbesheel. You’ll probably find the cavity cover labelled with a plus( tt ) Ibanez 颤音系统，如零点系统，修改了弹簧安装并包括一个调节旋钮。您可能会发现腔体盖上标有一个加号（ tt ）。
and minus(-) symbol. Turning the thumbwheel in the plus direction increases spring tension, pulling the bridge back towards the body. The minus direction loosens the springs, allowing the bridge float higher. 和减号(-)符号。向加号方向转动拇指轮会增加弹簧张力，将琴桥拉回到琴身。减号方向则会放松弹簧，使琴桥浮得更高。
ToO MUCH SPRING TENSION 过多的春季张力
will pull the bridge towards (or into) the guitar body 将桥拉向（或进入）吉他琴体
TOOLITTLE SPRING TENSION Will let the string tension pull the bridge off’ the guitar body 弦张力过小会导致琴弓将琴桥拉离吉他琴身
Let’s talk floATing 让我们谈谈漂浮
Most manufacturess recommend (and I concur) that these bridger should float so 大多数制造商建议（我也同意）这些桥梁应该漂浮
their base is PARALheL to the guitar body. We’ll discuss variants in a bit but, for now, let’s look at the basics of getting these ‘standard’ trems floating. 它们的底座与吉他琴身平行。我们稍后会讨论变体，但现在先来看看如何让这些“标准”颤音器漂浮的基本知识。
Remember: Locknut string clamps loose or removed throughout. 记住：锁紧螺母绳夹松动或拆除。
Ture all strings to pitch 将所有音频调整为音高
Chech bridgés float angle. 切克桥浮动角度。
If bridge is not parallel to body tighter or loosen claw screws. 如果桥梁与身体不平行，请调整爪螺丝的紧固或松动。
Reture all strings back to pitch. 将所有字符串返回到音高。
Repeat… And repeat… And repeat… 重复……再重复……再重复……
It will probably take a number of adjustment/reture cycles before you get things where you want them. Stick with it. 可能需要经过多次调整/退换循环才能将事情调整到您想要的状态。坚持下去。
If your style demands more up-pull than you can get with a parallel briage, you can set the bridge at an angle off the body. This is rarely necessary though. 如果您的风格需要比平行桥更大的拉力，您可以将桥以一定角度设置在主体上。不过，这种情况很少需要。
Some bridges are installed Nor to fully float, instead only allowing players push-down movement (no up-pull on the trem). This may be achiesed by a ‘stop’ or block in the cavity or by mounting the bridge flat on the surface of the guitar. These just need enough spring tension to keep them pressed against the body or stop block. 一些琴桥并不是完全浮动的，而只是允许演奏者向下按压（在颤音杆上没有向上拉动）。这可以通过在腔体中设置一个“停止”或阻挡物，或者将琴桥平放在吉他的表面上来实现。这些只需要足够的弹簧张力来保持它们紧贴琴身或停止块。
FLOATING VARIANT BRIDGES 浮动变体桥
I’m mostly using the original Floyd Rose style bridge to explain the basic concepts. I’ll use the term ‘variants’ to describe other locking & floating systems. 我主要使用原始的弗洛伊德·罗斯风格桥来解释基本概念。我将使用“变体”一词来描述其他锁定和浮动系统。
For floating, most of our variants will adhere to the same principle. Hanez Zero Point bridges use a thumbwheel to control spring tension but the concept is the same for floating it (we’ll look at the Zero Point 'stop’later). 对于浮动，我们的大多数变体将遵循相同的原则。Hanez Zero Point 桥使用拇指轮来控制弹簧张力，但浮动的概念是相同的（我们稍后会查看 Zero Point 的“停止”）。
However, some lbanez bridges make it difficult to determine the floating angle. 然而，一些伊比利亚桥使得确定浮动角度变得困难。
The floyd base plate is 弗洛伊德底板是
flat - the top of the 平坦 - 顶部的
plate is parallel with the bottom. 板子与底部平行。
So, even when it’s recessed into a body cavity, you can see if the bridge is floating parallel to the body. Some lbanez Edge & Lo Pro bridges have an angled top surface. When the bridge sits in a body cavity (most of the time) it’s hard to determine if you have the angle correct. Two tips: 所以，即使它嵌入到一个机身腔体中，你也可以看到桥是否与机身平行浮动。一些 Ibanez Edge 和 Lo Pro 桥有一个倾斜的顶部表面。当桥坐在机身腔体中（大多数时候）时，很难判断你是否调整了正确的角度。两个小贴士：
Look for the knife-edge insert. This is parallel with Knife edge insert the bridge bottom & should be parallel with the guitar. 寻找刀刃插入件。它与刀刃插入件的桥底平行，并应与吉他平行。
Lode for the verticals. If the bridge base is parallel to the guitar body. the verticals must be perpindicular. Not easy as the only trustworthy verticals are short, 垂直线的负载。如果桥座与吉他琴身平行，垂直线必须是垂直的。这并不容易，因为唯一可靠的垂直线是短的。
but a reasonable back-up method. 但一个合理的备份方法。
A NOTE ON zERO PONT SUSTEMS 关于零点系统的说明
The lbanez zero Point system is designed to help the bridge return exactly to its, perfectly balanced, ‘zero point’ position. Ibanez 零点系统旨在帮助琴桥准确返回到其完美平衡的“零点”位置。
The zero Point system adds two smaller springs to the regular two tremsprings. These zero point springs comect to a stop bar that rides in a rail on cither side of the cavity. The springs pull the bar into a recessed ‘stoppoint position’ in the rails. 零点系统在常规的两个弹簧上增加了两个较小的弹簧。这些零点弹簧连接到一个停杆，停杆在腔体两侧的轨道上滑动。弹簧将停杆拉入轨道中的凹陷“停止点位置”。
When the trem is perfectly balanced, the rear of the bridge block should juunust make contact with the bar (at its cail-stop point). In an ideal system, this should be the bridge’s neutral, balanced zero point. Adjust the main trem spring tension to achieve this. 当颤音装置完美平衡时，桥块的后部应该恰好与杆接触（在其停止点）。在理想的系统中，这应该是桥的中性、平衡零点。调整主颤音弹簧的张力以实现这一点。
bar at stop-point but trem Block Not TOUChina 在停靠点的栏杆，但阻止了 TOUChina
Loosen main trem springs 放松主震动弹簧
BLOCK PUSHING BAR BACh 块推杆 BACh
Tighten main trem springs 收紧主震动弹簧
Some playess don’t like the feel of the zero point system and, because it has a set ‘stop’ point between up and down tremolo travel, it does sacrifice some subtlety. I’s casy to remove the stop bar and its two springs if you’d rather convert the bridge to fully float. 有些玩家不喜欢零点系统的手感，因为它在上下颤音行程之间有一个固定的“停止”点，这确实牺牲了一些细腻感。如果你想将桥转换为完全浮动，移除停止杆及其两个弹簧是很简单的。
When perfectly set for zero point balance with the stop bar, some guitars end up with the bridge at a steeper angle around the front - it’s not parallel to the body as youd expect. It’s possible to modify the rails to fix this but it’s definitely a job for a pro. Alternatives are to remove the Zero Point or live with it. 当与停止杆完美设置为零点平衡时，一些吉他的琴桥在前方的角度会更陡——它并不像你预期的那样与琴身平行。可以修改导轨来解决这个问题，但这绝对是专业人士的工作。替代方案是移除零点或接受它。
KAHLER SPRING TENSION 凯勒弹簧张力
Kahler, at various times, seem to have given advice that spring tension adjustment can be used to set the height/angle of the whamny bar. (urrent advice from them (and me) is that this is not the case. Spring tension is adjusted for initial setup and to accommodate different string ganges. If the whammy bar angle feels wrong, consider bending the arm rather than altering spring setup. Kahler 在不同时间似乎曾建议可以通过调整弹簧张力来设置颤音杆的高度/角度。（他们（和我）的最新建议是，这并不是正确的做法。弹簧张力是为了初始设置和适应不同的弦规格而调整的。如果颤音杆的角度感觉不对，考虑弯曲杆子，而不是改变弹簧设置。
REDucE SPRINGTENSION 减少弹簧张力
bAlanced 平衡的
increASE SPRING TENSION 增加弹簧张力
Use an allen wrench (usually 5//64^('')5 / 64^{\prime \prime} ) on the set screw in the centre of the can (between the 3^("rd ")&4^("th ")3^{\text {rd }} \& 4^{\text {th }} strings). Adjust until the block housing the fine tuners is flush with the top of the trem body/base. 使用六角扳手（通常是 5//64^('')5 / 64^{\prime \prime} ）调整罐中央的锁紧螺丝（在 3^("rd ")&4^("th ")3^{\text {rd }} \& 4^{\text {th }} 弦之间）。调整直到细调器的块与颤音主体/底部的顶部齐平。
Step 4: A 步骤 4：A
A recap: Action is the distance from the frets to the strings. It plays a big role in how your guitar feels to play. 回顾一下：琴弦与品位之间的距离称为弦距。它在吉他的演奏感觉中起着重要作用。
Most of our trems mount on two posts. These posts can be moved up and down to adjust the height of the bridge and therefore the action. 我们的大多数琴弦安装在两个支柱上。这些支柱可以上下移动，以调整桥的高度，从而改变弦距。
The treble side and bass side posts can be adjusted individually to allow different action on either side. It’s not usually necessary (or easy) to set the height of each individual string saddle (although we’ll look at exceptions later). 高音侧和低音侧的支柱可以单独调整，以允许两侧有不同的动作。通常不需要（或不容易）设置每根弦马的高度（尽管我们稍后会讨论例外情况）。
Some early models require a flat head screndriver to adjust the bridge posts but most will adjust with an allen wrench - 3 or 4 mm is a good starting point. 一些早期型号需要使用平头螺丝刀来调整琴桥支柱，但大多数型号可以使用六角扳手进行调整 - 3 或 4 毫米是一个不错的起点。
IMPORTANT: Some bridge posts have an internal ‘lock’ screw. You must back this out before lowering the post. Use a 1.5 mm allen wrench. 重要提示：某些桥柱有一个内部“锁”螺丝。在降低柱子之前，必须将其拧松。请使用 1.5 毫米的六角扳手。
If this screw is jammed, try raising the whole post first. 如果这个螺丝卡住了，先试着抬起整个柱子。
A quick word about KNIFE EDGES 关于刀刃的简要说明
The knife edge is the part of the briage that bears off the posts. There’s a little groave in each post where the knife edge seats. Sometimes it can become ‘unseated’ and ride up or down the post (if the guitar gets a knock or if the springs pull the bridge back too far while restringing for instance). It’s not too tricky to re-seat. 刀刃是桥的部分，承载着琴柱。每个琴柱上都有一个小凹槽，刀刃正好嵌入其中。有时它可能会“脱落”，在琴柱上上下滑动（例如，如果吉他受到撞击，或者在换弦时弹簧将桥拉得太远）。重新安置并不太复杂。
I’ve seen conflicting advice on whether it’s ok to adjust bridge posts under string tension. My view is that knite edges are hard and have to stand up to years of furious dive-bomb whamny action - a slight turn of the posts isn’t going to cause a problem. Same goes for the posts themselves. 我看到关于在弦张力下调整琴桥支柱的建议存在冲突。我的看法是，琴弦边缘坚硬，必须经受多年的猛烈冲击 - 支柱稍微转动一下不会造成问题。支柱本身也是如此。
WhAT ACtION IS RIGLT? 什么行动是正确的？
Yes, it depends again. And, again, I’m erring on the side of assuming you want slinky and shreddy. Fed free to raise these values a little if you feel the need. See caveats on rext page. 是的，这又要看情况。而且，我还是倾向于假设你想要的是松弛和撕裂。如果你觉得有必要，可以自由地稍微提高这些数值。请参阅下一页的注意事项。
Remember: Capo at 1^("st ")1^{\text {st }} fret, measure at 17^("th ")17^{\text {th }} fret, and guitar in playing position. 记住：变调夹在 1^("st ")1^{\text {st }} 品，量尺在 17^("th ")17^{\text {th }} 品，吉他处于演奏位置。
SETUP caveATS 设置 caveATS
周！
贸
On the left is a cartoon version of me with a Stern look so you know I’m going to chide readers. This is important though so listen up (strict dad mode). 左边是我卡通版的严肃表情，所以你知道我会训斥读者。这很重要，所以请认真听（严格的爸爸模式）。
If we assume your guitar is perfect, then the main limitation to how low we can get your action is you. Your playing style - and your tolerance for any less-than-superclean notes - dictates your action. For really light sweep picking, played through an amp with a little gain… well you’ll get away with a low action. If you’ve a heavier picking hand, maybe not so much. 如果我们假设你的吉他是完美的，那么我们能将你的弦距调得多低的主要限制就是你。你的演奏风格以及你对任何不够干净音符的容忍度决定了你的弦距。对于非常轻的扫弦演奏，通过稍微有点增益的放大器……那么你可以使用较低的弦距。如果你的拨弦手比较重，可能就不太适合。
You need to be realistic about your style and your wish for low action. If your guitar sounds like a mess of choked or buzzing notes, you might have to compromise your style or your setup. 你需要对自己的风格和对低动作的愿望保持现实。如果你的吉他听起来像是一团混乱的窒息或嗡嗡声的音符，你可能需要妥协你的风格或你的设备。
Oh, and remember that this is an electric guitar, intended to be plugged in. Many electrics - especially superstrat-style may sound awful acoustically. That’s fine - they’re built and setup to be plugged in and amplified. 哦，记住这是一把电吉他，旨在插电使用。许多电吉他，尤其是超级超弦风格的，声学效果可能很糟糕。这没关系——它们是为了插电和放大而设计和调试的。
hardware caveat 硬件警告
The more slinky measurements above may hit a snag on some Foud Rose and similar bridges that use a 10^('')10^{\prime \prime} ( 250 mm ) radius. Necks with this tighter/smaller radius may need a higher action to allow clean bends. If your big bends choke out, raise the action a little. 以上更灵活的测量可能会在一些使用 10^('')10^{\prime \prime} （250 毫米）半径的 Foud Rose 和类似桥梁上遇到问题。具有这种更紧/更小半径的琴颈可能需要更高的弦距以允许干净的弯音。如果你的大弯音出现哽塞，稍微提高弦距。
Flatter, or compound radins necks, are more forgiving but do check your bends. 平坦或复合辐射颈更宽容，但请检查你的弯曲。
And since we mentioned it… 既然我们提到了这一点……
BRIDGE AND FNGERBOARD RADIUS 桥和指板半径
As we tonched on earlier, your fingerboard, and therefore frets, have a radius. The first Strats shipped with a fairly tight 正如我们之前提到的，你的指板，因此品位，有一个弧度。第一批 Strat 吉他出厂时弧度相当紧凑。 7(11)/(4)7 \frac{11}{4} radius. Original Floyd Rose bridges expected to mate with a 10^('')10^{\prime \prime} fingerboard and so, are built with that in mind. Super Strat-style guitars often have a much flatter 16^('')16^{\prime \prime} or 17^('')17^{\prime \prime} radius and some will even have a ‘compound’ radius - it changes as you move along the neck (naybe from 10" at the nut to 16" at the last fret) 7(11)/(4)7 \frac{11}{4} 半径。原始的弗洛伊德·罗斯琴桥预计与 10^('')10^{\prime \prime} 指板配合，因此在设计时考虑到了这一点。超级斯特拉特风格的吉他通常具有更平坦的 {{2 }} 或 17^('')17^{\prime \prime} 半径，有些甚至会有“复合”半径——随着你沿着琴颈移动，半径会变化（可能从琴枕处的 10 英寸到最后一个品位的 16 英寸）。
If youre playing, for instance, an lbanez with a factory-fit ZR-2, all of this info is pretty much academic. It may be usetul for other bridges though. It’s not uncommon for Floyd-style bridges to be retrofit or swapped and upgraded. It’s worth knowing that your bridge saddle radius matches your fingerboard. 如果你正在使用一把配有工厂安装 ZR-2 的 Ibanez 吉他，那么这些信息基本上是学术性的。不过，对于其他桥来说，这些信息可能会有用。Floyd 风格的桥被改装、替换和升级并不罕见。了解你的桥马鞍半径与指板匹配是很重要的。
Use radius gange to 使用半径范围来
chech each end of fingerbard. 检查每个键盘的末端。
then chech saddle 然后检查鞍子
radius at briage 桥梁的半径
If your bridge radius disagrees with your fingerboard radius, it can make for inconsistant action across your strings (check the radius note in the Nut chapter for more). You can find floyd Rose saddle shims online and can shim individual saddles to even things up if necessary. 如果你的琴桥半径与指板半径不一致，可能会导致弦的动作不一致（更多信息请查看琴枕章节中的半径说明）。你可以在网上找到 Floyd Rose 琴桥垫片，并可以根据需要为单个琴桥垫片加垫，以使其平衡。
kahler action and radius 凯勒作用和半径
Herés where those radius ganges really come in handy. Kahler bridges allow each saddle’s height be set individually. 这就是那些半径范围真正派上用场的地方。卡勒桥允许每个鞍的高度单独设置。
Each saddle has a height adjustment screw 每个鞍都有一个高度调节螺丝
directly behind the string roller. Youll height adjustment directly behind the string coller. Youll 直接在弦轮后面。您将直接在弦夹后面进行高度调整。您将
" have to lift the string out of the way "\text { have to lift the string out of the way } and then adjust height with a hex/allen wrench. Pop the string back in the roller to check action. 然后用六角扳手调整高度。将弦重新放入滚筒中以检查动作。
Set the 1^("st ")1^{\text {st }} and 6^("th ")6^{\text {th }} string heights where you want and then adjust the remaining saddle heights according to the appropriate radius gange. 设置 1^("st ")1^{\text {st }} 和 6^("th ")6^{\text {th }} 字符串的高度，然后根据适当的半径范围调整其余鞍的高度。
FINAL THOUGHTS ON ACTION 对行动的最终思考
Remember that you should take suggested measurements as a guide only. Try them and see how it feels and sounds. Don’t be afraid to experiment and to find what’s right for you. That’s the whole point of setting up your own guitar. 请记住，您应该将建议的测量值仅作为参考。尝试一下，看看感觉和声音如何。不要害怕尝试，找到适合您的方法。这就是自己调试吉他的全部意义所在。
With one notable exception, locking nuts are much more forgiving to anyone setting up their own guitar. Because the string slots are ‘set’, you just need to worry about overall, side-to-side, height. Before we get to that, though, lets’s see how to assess the current nut height. 除了一个显著的例外，锁定琴枕对任何自己调音吉他的人来说都要宽容得多。因为弦槽是“固定”的，你只需要关注整体的左右高度。不过，在我们讨论这个之前，先来看看如何评估当前的琴枕高度。
For a quick visual inspection, fret a string at the third fret. There should be a small gap between the fretted string and the first fret. This gap (although always small) should ‘graduate’ across the neck so the bass side is slightly higher than the treble. 为了快速的视觉检查，在第三品按弦。按弦的弦与第一品之间应该有一个小间隙。这个间隙（虽然总是很小）应该在琴颈上呈“渐变”状态，使得低音侧略高于高音侧。
If a slot is too low (or touching the first fret in our visual inspection) that string will choke or buzz nastily when played open. 如果琴槽太低（或在我们的视觉检查中触碰到第一个品），那么当空弦弹奏时，那根弦会发出刺耳的噪音或杂音。
If the slots are too high, fretting at the first few frets will be more difficult and the tuning in these positions may be sharp. 如果琴槽太高，前几个品位的按弦会更困难，并且这些位置的调音可能会偏高。
ADJISTING LOCkING NUT HEIGHT 调整锁紧螺母高度
Top mount 顶部安装
Height adjustment is done by adding or removing shims between the bottom of the nut and the reck. 高度调整是通过在螺母底部和支架之间添加或移除垫片来完成的。
Rear mount 后置安装
First we have to loosen or remove the nut. Some nuts are secured to the neck by two small wood screws from the top. Under the string clamps, youll see two philips head screws that are easy to remove or loosen. 首先，我们必须松开或拆下螺母。有些螺母通过两个小木螺钉从顶部固定在颈部。在弦夹下方，您会看到两个易于拆卸或松开的十字头螺钉。
The other possibility is a rear-mounted nut. Around the back of the reck youll find two hex-head screws wainting for an allen wrench. 另一种可能性是后置螺母。在机壳的后面，你会发现两个六角头螺丝在等待一个内六角扳手。
Be careful loosening the nut as any shims already installed can slip out. It’s not the end of the world but it’s nice to know What and where each shim (or stack of shims) was when youre adding or removing shims. 小心松开螺母，因为已经安装的垫片可能会滑出。这并不是世界末日，但在添加或移除垫片时，知道每个垫片（或垫片堆）的具体位置和数量是很重要的。
About NUT SHIMS - These are pretty Simple - just pieces of sheet 关于垫片 - 这些非常简单 - 只是一些薄片
full shim 全垫片
partialshim 部分垫片
steel or brass cut to shape. They come in a selection of thicknesses & can be stacked to achieve different heights. Partial shims are handy to better dial in side-to-side height but you can cut the big ones if needed. They’re easy to find online but - in a pinch kitchen foil can be used (if you have to). 钢或黄铜切割成形状。它们有多种厚度可供选择，可以堆叠以达到不同的高度。部分垫片方便更好地调整左右高度，但如果需要，可以切割较大的垫片。它们在网上很容易找到，但如果急需，可以使用厨房铝箔（如果必须的话）。
By careful stacking and removing of differently sized shims it should be possible to get pretty close to your ideal nut height. 通过仔细堆叠和移除不同大小的垫片，应该可以接近理想的螺母高度。
So what is the ideal nut height? Again, it depends. I learned this stuff by assessing that ist fret gap but I know that’s not terribly scientific or easy to convey. With that in mind, here’s a rough starting point. This should be good for most players & guitars. 那么理想的琴枕高度是多少呢？这又要看情况。我通过评估第一品的间隙来了解这些，但我知道这并不是特别科学或容易传达。考虑到这一点，这里有一个粗略的起始点。这对于大多数玩家和吉他来说应该是合适的。
Important to note that these measurements are between the first fret and the OPEN string (donk freet the string like we did for the visual assessment). 重要的是要注意，这些测量是在第一个品和开放弦之间（像我们进行视觉评估时那样敲击弦）。
Now we reed to have a word on that ‘notable exception’ I mentioned earlier. 现在我们需要谈谈我之前提到的“显著例外”。
If the nut is too high and there are no (or no more) shims, things get complicated. The shelf where the nut sits has to be lowered and that’s not something that’s easily done at home. Without experience, a router, and good "igs’, it’s easy to screw up. I recommend leaving this one for your friendly guitar tech. 如果螺母太高而没有（或没有更多）垫片，事情就会变得复杂。螺母所在的架子必须降低，而这在家里并不容易做到。没有经验、没有路由器和好的“igs”，很容易出错。我建议把这个留给你友好的吉他技术人员。
RETAINER BARS 保持器条
If your guitar is fitted with a string retainer bur. you need to consider that in your setup too 如果你的吉他装有弦固定器，你也需要在调音时考虑这一点。
It’s important that the strings lie ‘flat’ across the width of the nut. That is, the strings seed to be 重要的是琴弦在琴枕的宽度上要“平坦”地排列。也就是说，琴弦似乎需要
String lies flat from front to back 字符串从前到后平放
in contact with the nut’s top surface all the way across. If there’s ary gap, when you tighten the string clamps, the pressure will pull that string’s tuning sharp. 与螺母的顶部表面完全接触。如果有任何间隙，当你收紧弦夹时，压力会使那根弦的音调变高。
Angled guitar headstocks generally take care of this on their own but if you’ve a retainer bar, adjust its height so the strings ‘junumust’ contact the nut to pp all the way from front to back. 倾斜的吉他琴头通常会自行处理这个问题，但如果你有一个保持杆，请调整其高度，以便琴弦“必须”从前到后完全接触到琴枕。
Nut radius 坚果半径
nut slot radius *\cdot Your fingerboard isn’t flat - it has a radius. The string slots in your nut should match fingerboard radius but they don’t always. A mismatched radius could leave some strings closer and some farther from the frets. When setting 琴枕槽的弧度 *\cdot 你的指板不是平的 - 它有一个弧度。琴枕中的弦槽应该与指板的弧度匹配，但它们并不总是匹配。不匹配的弧度可能会导致某些弦离品格更近，而某些弦则更远。在设置时
your nut height by measuring the ‘outside’ strings ( 1^("st ")1^{\text {st }} and 6^("th ")6^{\text {th }} ) also check clearances on the middle strings ( 3^("rd ")3^{\text {rd }} and 4^((4))4^{(4)} ). If these have ended up too low for clean playing, you might have to compromise and raise the nut. 通过测量“外侧”弦（ 1^("st ")1^{\text {st }} 和 6^("th ")6^{\text {th }} ）来调整你的琴枕高度，同时检查中间弦（ 3^("rd ")3^{\text {rd }} 和 4^((4))4^{(4)} ）的间隙。如果这些弦的高度过低，导致演奏不干净，你可能需要妥协并提高琴枕。
Step 6: 5 步骤 6：5
A lot of guitarists set their pickups two high. They’re on a quest for more power and output and err too high with their pickup setup. 很多吉他手把拾音器调得太高。他们追求更强的音量和输出，但在拾音器的设置上调得过高。
The problem is, when pickups are too high, the magnets can pull on the strings and cause all sorts of weird and unwanted nastiness. Don’t set them too high. 问题是，当拾音器太高时，磁铁会拉扯琴弦，导致各种奇怪和不必要的麻烦。不要把它们调得太高。
Now, with that warning out of the way, many are going to have the opposite problem. Since direct-mount pickups (screwed right into the guitar body) became a popular, pointy-guitar thing, builders haven’t been fantastic at allowing them be casily adjustable. At best, the only option is the one Leo fender used in the '50s - a bit of foam between the pickup and guitar. 现在，警告说完了，许多人将面临相反的问题。自从直接安装的拾音器（直接固定在吉他琴身上）成为流行的尖头吉他配件以来，制造商在让它们易于调整方面并不出色。最好的选择是莱奥·芬德在 50 年代使用的那种——在拾音器和吉他之间放一块泡沫。
And it’s fine really. Some builders are adding two wide springs to a section of foam to give a little 'push-back. This is in’t a bad idea as foam compresses over time and loses its springiness. 而这其实没问题。一些建筑商在一段泡沫上添加了两个宽弹簧，以提供一点“反弹”。这并不是一个坏主意，因为泡沫随着时间的推移会压缩并失去弹性。
If your pickups suffer from saggy foam, or if you have no foam at all, you can find some easily enough. Google for “pickup height toam” and you’ll get a dense foam with good push-back. Packing foam and weather-sealing foam is usually too light to work well for any length of time. 如果你的拾音器有下垂的泡沫，或者根本没有泡沫，你可以很容易找到一些。搜索“拾音器高度泡沫”，你会找到一种具有良好回弹性的密泡沫。包装泡沫和天气密封泡沫通常太轻，不适合长时间使用。
HSS & HSH HSS 和 HSH
We’re about to look at balancing pickup output but before starting we have to consider a limitation. 我们即将研究平衡拾音器输出，但在开始之前，我们必须考虑一个限制。
Single coil pickups typically have less output than humbuckers. In most HSS and HSH guitars you might have to consider a compromise. If you try increase the single coil output too much, you may adjust it too close to the strings and introduce other problems. On the other hand, setting the single coil just where you want it first, means the humbuckers will now end up too low in order to match the single coil’s volume/ontput. 单线圈拾音器的输出通常低于双线圈拾音器。在大多数 HSS 和 HSH 吉他中，您可能需要考虑一个折衷方案。如果您试图将单线圈的输出提高得太多，可能会将其调整得离弦太近，从而引发其他问题。另一方面，首先将单线圈设置到您想要的位置，意味着双线圈拾音器的音量/输出将不得不调得太低，以匹配单线圈的音量/输出。
It’s frequently impossible to have all pickups in their sweet spots with a H/s mix gurtar. My advice is to setup for your ‘primary’ sound - your most-played selection and compromise with output on the others. For most of you, the humbuckers will generally win and I’ll proceed on that assumption. 在使用 H/s 混合吉他时，通常很难让所有拾音器都处于最佳位置。我的建议是为你的“主要”音色进行设置——你最常演奏的选择，并在其他音色上做出妥协。对大多数人来说，双线圈拾音器通常会占上风，我将基于这个假设继续。
AdJusting Pickup HEIGHT 调整拾音器高度
Start with the bridge pickup 从桥拾音器开始
Fret the 1^("st ")1^{\text {st }} string at the last fret. 在最后一个品格上按下 1^("st ")1^{\text {st }} 弦。
Measure from the top of the pickup to the bottom of that string. 从拾音器顶部测量到那根弦的底部。
Adjust pickup height on that side. 调整那一侧的取货高度。
Repeat with 6th string. 重复第六根弦。
When setting the height of the bridge pickup, use the following measurements as starting points (although you probably shouldn’t adjust too much closer than these). 在设置桥拾音器的高度时，使用以下测量值作为起点（尽管您可能不应该调整得比这些更近）。
Plugged in and bridge pickup selected, now play each string. Listen to the output/volume of each. The adjustable * pole pieces will let you balance this string - to - string output. 插入电源并选择桥接拾音器，现在弹奏每根弦。听听每根弦的输出/音量。可调的*磁极将让你平衡每根弦的输出。
Use a medium flat head screwdriver or an allen wrench to raise or lower the screw-head pole pieces and adjust relative string volume. 使用中号平头螺丝刀或六角扳手来升高或降低螺丝头极片，并调整相对弦音量。
It’s counter-intuitive but the unwound strings can have more output than the wound. The 3^("rd ")(G)3^{\text {rd }}(G) string top of pickup typically has most output of all six. When balancing, I’ll often lower that pole piece below the cover to get things sounding how I like. 这听起来违反直觉，但未缠绕的弦可以产生比缠绕的弦更多的输出。拾音器的 3^("rd ")(G)3^{\text {rd }}(G) 弦顶部通常是六根弦中输出最多的。在平衡时，我通常会将那个极片降低到盖子以下，以使声音达到我喜欢的效果。
My pickups most often look like the drawing above. 我的接送通常看起来像上面的图画。
Occassionally, you’ll find a pickup that looks adjustable but the poles just won’t go up or down. That’s fine - leave them be 偶尔，你会发现一个看起来可调的拾音器，但杆子就是无法上下移动。没关系 - 让它们保持原样。
Some pickup poles won’t adjust lower than the pickup top. That’s fine too - keep the above pattern in mind and trust your ears. 有些拾音杆无法调低到拾音器顶部以下。这也没关系 - 请记住上述模式，并相信你的耳朵。
Now move on to the neck pickup. 现在转到颈部拾音器。
No measurements for this one - keep switching back and forth between reck and bridge, listening to the output of each as you do. Get the overall volume balanced by raising or lowering each side of the neck pickup. 没有这个的测量 - 在 reck 和 bridge 之间来回切换，听每个的输出。通过提高或降低颈拾音器的每一侧来平衡整体音量。
Then set the poles of the neck humbucker until youre happy with its string-to-string output too. That done, it’s a good idea to rechech overall balance between bridge and reck again-just in case. Play some churds, riffs, lichs in different positions. There should be no big volume drops or jumps between pickups and between individual strings 然后调整颈部双线圈拾音器的高度，直到你对每根弦的输出感到满意。完成后，最好再次检查一下琴桥和琴颈之间的整体平衡，以防万一。尝试在不同位置演奏一些和弦、旋律和音型。拾音器之间以及各根弦之间不应有明显的音量下降或跳跃。
3) your ears are the most important tools for this job. 你的耳朵是这项工作的最重要工具。
This advice was based on two humbuckers. If you have a HSH guitar, now set the middle pickup. The output for middle is probably going to be lower but be aware of the risks of setting that pickup too high. Single coils (because they have a ‘tighter’ magnetic field) generally have to be kept even farther from the strings than humbuckers. Same compromises exist for HSS guitars. Sorry. Make a call - Hors priority and set for that. 这个建议是基于两个双线圈拾音器。如果你有一把 HSH 吉他，现在设置中间拾音器。中间拾音器的输出可能会更低，但要注意将该拾音器设置得过高的风险。单线圈拾音器（因为它们的磁场更“紧凑”）通常需要比双线圈拾音器离弦更远。HSS 吉他也存在同样的妥协。抱歉。做个决定 - 优先考虑 Hors 并为此设置。
It’s rare l’d recommend setting single coils closer than around 6//64^('')(2.4mm)6 / 64^{\prime \prime}(2.4 \mathrm{~mm}) to the strings. 我很少建议将单线圈拾音器设置得离弦太近，通常不低于 6//64^('')(2.4mm)6 / 64^{\prime \prime}(2.4 \mathrm{~mm}) 。
Step 7: but [0) 步骤 7：但是[0)
We’re almost there. We leave intonation until last because everything else must be right first. 我们快到了。我们把语调放在最后，因为其他一切必须先正确。
Now is a good time to pop on fresh strings. Intonation work doesn’t appreciate old or worn-out strings. Restring, tune up, and give them a bit of a stretch. 现在是换上新弦的好时机。音准工作不喜欢旧的或磨损的弦。重新上弦，调音，并稍微拉伸一下。
After restringing, double check your trem balance. If youre using the same brand and gange, it should, be exactly as it was but it’s worth checking this first time. 重新弦后，仔细检查你的颤音平衡。如果你使用的是相同品牌和型号，它应该和之前完全一样，但第一次检查这个是值得的。
How to adjust a saddLE for intonation 如何调整琴桥以达到音准
At the front of each saddle, a little aller-head screw secures the saddle ‘fork’ to the briage base. This keeps it incredibly Secure in use but makes it a pain in the butt to adjust. This saddle screw (or intonation screw) has to be loosened to slide the soddle forward or back. Then it has to be tightened again before checking the result of your adjustment (otherwire string tension will pull the saddle all the way to the end of its travel). 在每个马鞍的前面，一个小的调节螺丝将马鞍“叉”固定在桥座上。这使得在使用时非常稳固，但调整起来却很麻烦。这个马鞍螺丝（或音准螺丝）必须松开才能将马鞍向前或向后滑动。然后在检查调整结果之前，必须再次拧紧（否则弦的张力会将马鞍拉到行程的尽头）。
A 2 mm or 2.5 mm hex wrench will do the trick for most bridges. Just make sure it’s a snug fit to avoid damaging the screw heads. 大多数桥梁使用 2 毫米或 2.5 毫米的六角扳手就可以了。只需确保扳手合适，以避免损坏螺丝头。
The basic intonation steps are: 基本的语调步骤是：
Play the 1 st string open and check tuning. 弹奏第一根弦空弦并检查调音。
Fret that string at the 12^("th ")12^{\text {th }} fret and check that note’s tuning. 在第 12^("th ")12^{\text {th }} 品上按弦，并检查该音符的调音。
If the 12^("th ")12^{\text {th }} fret tuning is flat (compared 如果 12^("th ")12^{\text {th }} 品的调音偏低（与
to the open string) move the saddle forward - towards the reck. 将鞍向前移动 - 朝向开弦。
If the 12^("th ")12^{\text {th }} fret note is sharp. move the saddle back a little. 如果 12^("th ")12^{\text {th }} 品的音符是升音，请将马鞍稍微向后移动。
Retune and recheck. Keep at it until the 12^("th ")12^{\text {th }} fret tuning matches the open string. 重新调整并检查。继续努力，直到 12^("th ")12^{\text {th }} 品的调音与空弦匹配。
Repeat for the other strings. 对其他字符串重复此操作。
That all sounds annoying enough but we’ve got added complications: 这听起来已经够烦人的了，但我们还有额外的复杂情况：
After checking open and 12^("th ")12^{\text {th }} fret tuning. loosen that string right down and unlock the intonation screw. 检查开放和 12^("th ")12^{\text {th }} 品的调音后，松开那根弦并解锁音准螺丝。
Nudge the saddle a little in the required direction (a medium flat bladed screwdriver is good for nudgingl. 轻轻将鞍向所需方向移动一下（使用中等平头螺丝刀很适合推动）。
Tighten the intonation screwagain. Retune string and recheck. 再次拧紧音调螺丝。重新调弦并重新检查。
intonation screw positions 语调螺丝位置
Sometines the ideal saddle location won’t accommodate an intonation screw position. Maybe you can’t get enough forward travel before the saddle butts the screw or maybe the screw barely catches the saddle fork. If so, completely back out the screw and move it to the next screw hole forward or back. 有时理想的鞍座位置无法容纳音调螺丝的位置。也许在鞍座碰到螺丝之前，你无法获得足够的前移，或者螺丝刚好勾住鞍座叉。如果是这样，请完全拧出螺丝，并将其移动到下一个前或后螺丝孔。
A RAY OF INTONATION LGGHT 一缕语调的光芒
Some newer lbanez trems include an intonation adjustment bolt to help a little with this job. Screwed into the bass side ‘Wing’ of the trem base youll find a knurled screw head. Back it out and insert it into the appropriate hole at the rear of the bridge. 一些较新的 Ibanez 颤音器包括一个音准调整螺栓，以帮助完成这个工作。在颤音器底座的低音侧“翼”上，你会发现一个带有花纹的螺丝头。将其拧出并插入桥后部的适当孔中。
Tighten it until it stops. Now, when you loosen your saddle intonation screw, you can use this intonation adjustment bolt to more easily shift the saddle back and forth. You don’t need to constantly slacken the string each time (although dumping the trem a little will help). 拧紧它直到停止。现在，当你放松鞍音调螺丝时，你可以使用这个音调调整螺栓更轻松地前后移动鞍。你不需要每次都不断放松琴弦（尽管稍微放松颤音会有所帮助）。
A tool called The Key is available to similarly assist setting intonation on the Original Floyd Rose, and an lbanez intonation tool-catchily called 'EJK 1000 ’ - does Similar for original Edge, Lo-Pro Edge and Edge-Pro. These are not essential by any means. so don’t feel you have to rush out to buy them. 一种名为 The Key 的工具可用于帮助调整 Original Floyd Rose 的音准，而一种名为 'EJK 1000' 的 Ibanez 音准工具则可以对原版 Edge、Lo-Pro Edge 和 Edge-Pro 进行类似的调整。这些工具并不是必需的，所以不要觉得必须急着去购买它们。
ק It’s ok to lay your guitar down/flat to 可以把吉他放平/平放
make adjustments but always hold it in the plaging position to check tuning & intoration. 进行调整，但始终保持在演奏位置以检查调音和音准。
Double-check trem balance after intonation. If the saddles noved a lot, there’s a chance the balance may need to be tweaked. 在调音后再次检查颤音平衡。如果马鞍移动很多，平衡可能需要调整。
INTONATION ON THE KAHLER 凯勒上的语调
Intonation is relatively straightforward on the Kahler. 在卡赫勒上，语调相对简单。
Each saddle has an intonation screw locking the forward (string roller) section in place. Move the string out of the way and loosen this screw. Youre then free to rudge the saddle forward and back as needed. When it’s correctly positioned, lock down the screw again. Easy. 每个马鞍都有一个音调螺丝，用于锁定前面的（弦滚轮）部分。将弦移开并松开这个螺丝。然后你可以根据需要前后移动马鞍。当它正确定位后，再次锁紧螺丝。很简单。
Because Kahler saddles sometimes sit at a steep angle, moving them forward or back can change their height subtly It’s a good idea to recheck action after any intonation adjustments. 因为凯勒鞍有时会以陡峭的角度放置，前后移动它们可能会微妙地改变它们的高度。在进行任何音调调整后，重新检查动作是个好主意。
That’s it. Youre done. Hurrah! 就这样。你完成了。好极了！
If it were me, I’d have a nice cup of tea to celebrate but, you know, you do you-probably melt people’s faces with insane shred or something. Either way… 如果是我，我会喝一杯好茶来庆祝，但你知道，你就做你自己——可能用疯狂的吉他演奏融化人们的脸。无论如何……
Great job. 干得好。
You can wear a smug, ‘I did it myself’ grin because setting up these things can really test your patience. Well done. 你可以带着一种自鸣得意的“我自己做的”微笑，因为设置这些东西确实会考验你的耐心。做得好。
I really hope you’ve enjoyed this and have gotten something useful from it. Thank you for checking it out. 我真的希望你喜欢这个，并从中获得了一些有用的东西。谢谢你查看它。
If you got this from me at Haze Guitars (my site), youll have had a chance to sign up for my newsletter. I think youll find it useful - it’s got heaps of great info. And, if you ‘found’ this guide somechere else, mabbe yound still like to sign up - it’s good, 1 promise. It’s at hazeguitars.com/subscribe 如果你在 Haze Guitars（我的网站）上收到了这个，你就有机会注册我的新闻通讯。我认为你会觉得它有用——里面有很多很棒的信息。而且，如果你在其他地方“找到了”这个指南，也许你仍然想注册——它很好，我保证。请访问 hazeguitars.com/subscribe。
