All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, without the prior written permilssion of the author, except in the case of brief quotations embodied in crikical reviews and certain other noncommercial uses permitted by copyright law. 保留所有权利。未经作者事先书面许可，不得以任何形式或通过任何手段复制、分发或传播本出版物的任何部分，但在学术评论中的简短引用和版权法允许的某些其他非商业性用途除外。
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. 本书中的信息按 "原样 "分发，不作任何保证。虽然在编写本书时采取了一切预防措施，但作者对任何人或实体因本书中的说明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。
All trademarks are the property of their respective owners, including Fender, Jazzmaster, Jaguar, Mustang’, Jag-Seang, (B), Tune-o-matic (1) 所有商标均为其各自所有者的财产，包括 Fender、Jazzmaster、Jaguar、Mustang'、Jag-Seang、(B)、Tune-o-matic (1)
Welcome to Sketchy Setups. My rame’s Gerry. In the gay who wrote/drew this. 欢迎来到 Sketchy Setups。我叫格里在写/画这个的同志里。
I’ll guide you through the steps to get a great setup. You wont have to wade through a huge manual or try to figure out which forum poster actually knows what they’se talking about. 我将指导您完成所有步骤，以获得出色的设置。你不必翻阅大量的手册，也不必费尽心思去弄清哪个论坛发帖人真正知道他们在说什么。
We’re not studying chaos theory here But… 我们不是在研究混沌理论，但是...
Take things slowly and carefully. If you’re ever in any doubt, STop. 小心谨慎，慢慢来。如有任何疑问，请停止。
Don’t force anything or do anything that worries you. I don’t think that’s going to 不要强迫任何事情，也不要做任何让你担心的事情。我认为这不会
happen but treat yourself and your axe with care. 但要小心对待自己和斧头。
Follow these steps in order - thay’se that way for a reason. 按顺序完成这些步骤--这样做是有原因的。
Have fun and I’ll see you on the other side. 玩得开心，我们另一边见。
STUFF You’LL NEED 所需物品
String cutters or side cutter 剪线钳或侧剪
large flat head Screwdriver 大扁头螺丝刀
Super Sering-End feeler gauges 超级端面塞尺
The cut off ends of unwound guitar strings make great feeler ganges. Label the string-ends with some tape and use 吉他弦未上弦时切下来的两端是很好的手感片。用胶带在弦端贴上标签，然后用
them to check relief or other clearances. 检查溢流或其他间隙。
A set of .008 gange (8s) will give you some handy sizes 一套 0.008 gange (8s) 可以提供一些方便的尺寸 0.010^('')0.010^{\prime \prime}
0. 015^(11)015^{11}
THE NUT - FILE PROBLEM 螺母 - 文件问题
However, they are a fantastic investment if you think youll set up a few guitars. Magbe try splitting the cost with some guitar-playing friends. There really is no good alternative and don’t be tempted by really cheap sets on ebay - they’re truly terrible. Good files or nothing. 不过，如果你想组装几把吉他，它们还是一笔非常不错的投资。Magbe 可以尝试与一些弹吉他的朋友分担费用。真的没有其他好的选择，也不要被 ebay 上非常便宜的套装所诱惑--它们真的很糟糕。要么用好文件，要么什么都不要。
Sorry. 对不起。
Proper nutfiles are pretty ‘specialist’ tools. They’e gauged to cut the perfect slot for each string and they are not cheap. 合适的螺母锉是相当 "专业 "的工具。它们经过测量，能为每根琴弦开出完美的槽，而且价格不菲。
Step 1: ◻\square 步骤 1： ◻\square
Before changing anything, we measure. 在改变任何事情之前，我们都要进行测量。
Think of it as an insurance policy. If anything goes wrong we can put things back 把它当作一份保险。如果出了什么问题，我们可以把东西放回原处
the way they were at the start. Measure the current settings and write them down. 开始时的设置。测量当前设置并写下来。
MEasure action qquad\qquad 测量行动 qquad\qquad
Put a capo on at the 1^("st ")1^{\text {st }} fret. 在 1^("st ")1^{\text {st }} 音格处装上卡弦器。
Measure the gap between the top 测量顶部和底部之间的间隙
DEFWE: ACTION of the 17^("th ")17^{\text {th }} fret and the bottom DEFWE： 17^("th ")17^{\text {th }} 品格和底部的动作
Action is the height of each string from the frots 动作是指每根琴弦距离琴杆的高度
of the lst stsing and write it down. 并写下来。
Measure the same for the 6th ^("th ")^{\text {th }} string 对第 6 个 ^("th ")^{\text {th }} 字符串进行同样的测量
MPORTANT: Always make your action and relief measurements with the guitar in the ‘playing position.’ Hold it as if you were playing it. 重要提示：始终在吉他处于 "演奏位置 "时进行动作和松紧的测量。就像弹奏一样拿着它。
Keep capo in place at first fret. 在第一品格时将卡波保持到位。
Use your finger to fret the bottom string at the 17^("th ")17^{\text {th }} fret. 用手指在 17^("th ")17^{\text {th }} 品处为下弦拨弦。
Keeping the string fretted, use your Super String-End feeler gauges to measure the gap between that string and the top of the 8^("th ")8^{\text {th }} fret. 让琴弦保持空格，使用超级弦端塞尺测量该琴弦与 8^("th ")8^{\text {th }} 音格顶端之间的间隙。
will no longer slip easily through the gap. Now you have your relief measurement. 将不再轻易滑过缝隙。现在，您就可以测量浮雕了。
If your relief is more than your largest string-end gange, or less than your smallest, you can still figure out a good estimate. 如果您的宽松度大于最大的弦端 gange，或小于最小的弦端 gange，您仍然可以算出一个很好的估计值。
Alternatively, you can use your ‘real’ feeler gauges but you need to be careful. The real ganges can ‘deflect’ the string and mess up your accuracy. Use the string-ends if you can swing it. 另外，您也可以使用 "真正的 "塞尺，但必须小心。真弦规会使弦 "偏转"，影响精度。如果可以的话，请使用弦端。
Don’ forget - playing position for measuring. 别忘了--测量的位置。
Step 2: ◻\square 步骤 2： ◻\square
We’ve got to get relief where we want it before we do angthing else. If it’s not done now, it has a knock-on effect on everything else. 在做其他事情之前，我们必须先解决我们想要的问题。如果现在不做，就会对其他事情产生连锁反应。
We set relief using the truss rod 我们使用桁架杆设置浮雕
Fender has two possible locations to access the truss rod. Fender 有两个可能的位置可以接触到拉杆。
ADJUSt AT THE HEADSTOCK 总部的助理总干事
If youre lacky. your truss rod adjustment will be at the headstock. This makes life much easier. 如果你是个乏味的人，你的桁条调节器将位于琴头。这样生活就方便多了。
Adjustment will be with an allen/hex wrench. 使用内六角扳手进行调节。
For a us guitar. you’ll probably use a 1//8^('')1 / 8^{\prime \prime} allen wrench. Import 对于我们的吉他，您可能需要使用一把 1//8^('')1 / 8^{\prime \prime} 内六角扳手。进口
guitars will typically take a 4 mm wrench. Sizes may vary but remember… 吉他通常使用 4 毫米扳手。尺寸可能会有所不同，但请记住...
It is really important that the wrench fits snugly. A poor size match (or a worn wrench) could damage the adjustment nut on your truss rod. 扳手必须紧紧配合，这一点非常重要。尺寸不匹配（或扳手磨损）可能会损坏桁架杆上的调节螺母。
If youre not so lucky, youll have to… 如果您没那么幸运，您将不得不...
Adjust at the heel 在脚跟处进行调整
Vintage (or vintage - style) instruments will often have their truss rod adjustments at the reck heel. 复古（或复古风格）的乐器通常会在后跟处安装调弦杆。
This is a pain in the ass as it means you need to remove your neck just to adjust the truss rod. Worse, during setup, youll probably have to do this more than once. 这很麻烦，因为这意味着你需要卸下琴颈才能调整桁杆。更糟糕的是，在安装过程中，您可能不止一次要这样做。
The usual cycle is to measure relief, slacken strings, unscrew neck bolts, adjust truss rod, re-do nech bolts, tune back to pitch and check relief again. Then, if necessary, go back and do it all again. Yes, it sucks. 通常的周期是测量松弛度、松弛琴弦、拧开琴颈螺栓、调整桁架杆、重新拧紧螺栓、调回音高并再次检查松弛度。然后，如果有必要，再回去做一遍。是的，这很糟糕。
Keeping the capo in place while you remove the reck can help stop the strings getting all tangled but it’s still a hassle. 在取下簧片时，将卡榫固定在原处可以防止琴弦缠绕，但还是很麻烦。
Stick with it. It’s honestly worth the pain. 坚持下去。老实说，痛苦是值得的。
ADJUSTING THE TRuSS ROD 调节横杆
Now we know where to adjust the truss rod, let’s look at how. 现在我们知道了在哪里调整桁架杆，下面来看看如何调整。
Tighten the truss rod to decrease relief (less reck bow) Loosen the rod to allow more reliet into the neck. 拧紧拉弦杆，以减小松弛度（减少弓形）；松开拉弦杆，以增加琴颈的松弛度。
RIGHTy-TIGHTy
StralahteN NECK 颈部
To reduce relief and straighten the neck tighten the truss rod. 为减少松弛并拉直琴颈，应拉紧拉弦杆。
Turn adjustment clockwise. 顺时针旋转调节器。
Righty - tighty.
To allow more relief (or bow) into the neck loosen the truss rod. 为了让琴颈有更多的松弛（或弓形），请松开拉弦杆。
Turn adjustment counter clockwise 逆时针旋转调节器
Lefty-loosey 左撇子
DO NOT FORCE ANYTHING 不要强求
No more than 1//81 / 8 to (1)/(4)\frac{1}{4} of a turn at a time. Work in increments and keep checking 每次不超过 1//81 / 8 到 (1)/(4)\frac{1}{4} 圈。以增量的方式工作，并不断检查 reliet as you go. 边走边看
Well, that depends a lot on your playing style. 这在很大程度上取决于你的游戏风格。
PRETty hard 非常困难 0.012^('')0.012^{\prime \prime} to 0.014^('')0.014^{\prime \prime}0.012^('')0.012^{\prime \prime} 至 0.014^('')0.014^{\prime \prime}
(about 0.3 mm ) (约 0.3 毫米 )
most people 大多数人 0.009^('')0.009^{\prime \prime} to 0.010^('')0.010^{\prime \prime}0.009^('')0.009^{\prime \prime} 至 0.010^('')0.010^{\prime \prime}
(about 0.25 mm ) (约 0.25 毫米 )
Pretty light 很轻 0.007^('')0.007^{\prime \prime} to 0.008^('')0.008^{\prime \prime}0.007^('')0.007^{\prime \prime} 至 0.008^('')0.008^{\prime \prime}
(about 0.2 mm ) (约 0.2 毫米 )
If youre not sure where to ain, start off at ‘nost people’. Try it out and see how it’s working out. You can always adjust up or down if you feel you need it. 如果你不确定该从哪里开始，那就从 "怀旧的人 "开始吧。试试看效果如何。如果您觉得有必要，可以随时进行调整。
I know that’s incredibly 我知道这是难以置信的
annoying if you need to take the reck 恼人，如果你需要采取估计
off each tine you adjust. Patience is a virtue. 每调整一次就会脱落。耐心是一种美德。
Pre-empting some caveats 预先提出一些注意事项
The following chapter starts with some caveats and considerations around short scale-length guitars. you should be aware that the Jaguar and Mustang can sometimes require a little more ‘headroom’ for reliet. Check out what follows and revisit here if reeded. 下一章首先介绍了有关短音阶长度吉他的一些注意事项和注意事项。您应该知道，美洲虎和野马有时需要更多的 "余量 "来保证可靠性。请查看下面的内容，如果需要簧片，请重新查看此处。
Step 3: A 步骤 3：A
Ok, so this guide is mainly about ‘doing’. But, before we get into setting action, I have to shift gears to talk a little theory. 好吧，本指南主要是关于 "做 "的。但是，在我们开始行动之前，我必须换个角度来谈谈理论。
Offset Fenders can have a bad rap: Loose and rattly saddles, screws that vibrate loose, strings that psp out of saddles when you bend - you know what I’m talking about. Offset Fenders（偏置式弯管机）的名声并不好：松动和嘎嘎作响的鞍座、振动松动的螺丝、弯曲时会从鞍座中弹出的琴弦--你知道我在说什么。
For our purposes, we can improve all of these problems by increasing the downward pressure on the bridge. More pressure == less rattling about. 就我们的目的而言，我们可以通过增加对桥梁的向下压力来改善所有这些问题。更多的压力 == 更少的晃动。
To get more of that downward pressure there are two concepts we need to grasp. 为了获得更多的下行压力，我们需要掌握两个概念。
The first is STRING TENSION 第一种是弦张力
For any particular tuning, there are two factors impacting string tension: Scale length and string gauge 对于任何特定的调音，影响琴弦张力的因素有两个：音阶长度和琴弦规格
It’s worth noting that the Jaguar, Mustang, and Jag-Stang (with their shorter scale lengths), will naturally impart less string tension. of course, we can’t actually change scale length so let’s look at the other factor affecting string tension… String gauge. 值得注意的是，捷豹（Jaguar）、野马（Mustang）和捷豹-唐（Jag-Stang）（它们的音阶长度较短）自然会带来较小的琴弦张力。当然，我们实际上无法改变音阶长度，所以让我们来看看影响琴弦张力的另一个因素......琴弦规格。
String gauge. Heavier strings mean more tension and that means more downward pressure on the bridge. 琴弦规格。琴弦越粗，张力越大，对琴桥的下压力也就越大。
If you can stand going up a string gange on your Jazzmaster, youll likely end up with a better behaved guitar. When we talk about the short scale guitars though, string gauge is even more important. 如果您能忍受在 Jazzmaster 上增加一根弦距，那么您将拥有一把性能更好的吉他。不过，当我们谈论短音阶吉他时，弦距就显得更加重要了。
If you play as on your Strat or Tele, you’ll have no problem handling 如果你用 Strat 或 Tele 弹奏，处理起来不会有任何问题。
los or even lls on your Jag. Seriously. In fact, while you can set these up with lighter strings, Id recommend Ils as standard for Jags and 'Stangs. If you’ve never tried them, give them a go. You’ll be fine and your guitar will love you for it. 在你的捷豹上使用 LOS 甚至 LLS。我是认真的。事实上，虽然您可以使用较轻的琴弦，但我还是建议将 Ils 作为 Jag 和 'Stangs 的标准配置。如果您从未尝试过，不妨一试。你会弹奏得很好，你的吉他也会因此爱上你。
The second concept for increasing downward pressure is: 增加下行压力的第二个概念是：
STRING BREAK ANGLE 断弦角
That’s the angle the strings pass over the bridge saddles. 这就是琴弦通过桥码的角度。
Our conceptual bridge AA has the strings pass over at a pretty shallow angle. As break angle becomes more shallow, we lose more of that downward pressure we desperately want. So we raise the bridge, right? Bridge B has better break angle, sure. But it also has higher action and we don’t want to make the guitar unplayable. 我们的概念性琴桥 AA 使琴弦以相当浅的角度穿过。当断裂角度变浅时，我们就会失去更多急需的向下压力。所以我们要提高琴桥，对吗？当然，B 琴桥的断弦角度更大。但它的弦距也更高，我们不想让吉他无法弹奏。
So, we want a taller bridge for better break angle but we don’t wanc our action to get too high. The potential answer is where our setup becomes a little more involved than other guitars. 因此，我们需要一个较高的琴桥，以获得更好的断弦角度，但又不希望音准过高。与其他吉他相比，我们的设置需要更多的考虑。
SHIM THE NECK 擦拭颈部
Shimming involves inserting something in the reck pocket (between reck and body) to angle the reck back slightly. It allows for a lower action even with a tall bridge. You can see this in the higher actions (exaggerated) drawings. 修整是指在簧片袋中（簧片与琴体之间）插入一些东西，使簧片稍稍向后倾斜。这样，即使琴桥较高，动作也会较低。您可以在高音（夸张）图中看到这一点。
The higher action in the first drawing is corrected by angling 第一幅图中较高的动作可以通过调整角度来纠正
Neck angled back the reck back. 颈部向后倾斜。
Youve probably seen bits of business card, or guitar picks, or similar shoved in the end of the reck pocket as shims. I do not recommend this as a long-term solution. I feel that these ‘short’ shims can contribute, over time, to 你可能见过把名片、吉他镐或类似的东西塞进垫片的方法。我不建议将此作为长期解决方案。我觉得这些 "短 "垫片随着时间的推移会导致
ski-jump neck deformations. If you want, try it this way to confirm that shimming will benefit your guitar but then get yourself to stewmac. con and search for ‘neck shim’. 琴颈变形。如果您愿意，可以尝试用这种方法来确认垫片是否对您的吉他有益，但随后请登录 stewmac.con 并搜索 "琴颈垫片"。
You’ll find a wedge-shaped piece of wood that tapers along the length of the neck pocket. This is what you want for longer term use. 你会发现一块楔形的木头沿着琴颈袋的长度逐渐变细。这是您希望长期使用的木料。
If your budget allows, buy a 0.25^(@)0.25^{\circ} and a 0.5^(@)0.5^{\circ} shim. Your guitar and/or setup may require either. If you can only get one, get the 0.5^(@)0.5^{\circ}. 如果预算允许，请购买 0.25^(@)0.25^{\circ} 和 0.5^(@)0.5^{\circ} 垫片。您的吉他和/或设置可能需要这两种垫片。如果只能买一个，那就买 0.5^(@)0.5^{\circ} 。
I used to make tapered shims and it’s certainly possible to sand a piece of wood so it tapers from about .025^('')(0.6mm).025^{\prime \prime}(0.6 \mathrm{~mm}) to almost nothing along the length of a reck pocket. It’s no fun though. 我曾经制作过锥形垫片，当然也可以打磨一块木头，使其在镗孔的长度方向上从 .025^('')(0.6mm).025^{\prime \prime}(0.6 \mathrm{~mm}) 变细到几乎没有。不过这并不好玩。
And, if youre balking at paying for a thin piece of wood and are tempted by that piece of business card, weigh the cost against a potential fret level 此外，如果您不愿意为一块薄木板买单，却又对那张名片心动不已，那么请权衡一下成本与潜在的音格水平。
to fix a ski-jump. Jo not, my friends, be tempted by the ‘Short shim.’ 来固定跳台。朋友们，不要被 "短垫片 "所诱惑。
Summing it AlC up AlC 总结
Read & digest the rest of this guide before making any definite shim decisions 在做出任何明确的垫片决定之前，请阅读并消化本指南的其余部分
I’n gonna do a recap here because it’s important. 我要在这里做一个总结，因为这很重要。
Your offset will probably benefit from heavier strings. 你的偏移量可能会从较重的琴弦中受益。
Your short scale Jags and 'Stangs will absolutely benefit from heavier strings. 短音阶的 "嶙 "和 "斯坦 "绝对会从更重的琴弦中受益。
Your offset might well benefit from a (proper) neck shim. 使用（适当的）颈部垫片可能会对您的偏移量有所帮助。
Read the rest of this stuff and maybe give it a go. 读一读剩下的内容，也许能试试看。
End Note: Some newer Fenders actually come with angled neck pockets to avoid Shimming 结束语：一些较新的 Fenders 唱片公司实际上配备了带角度的琴颈袋，以避免 Shimming。
Right… Let’s get to some actual setup again. 好了......让我们再来看看实际的设置。
The operation of setting overall bridge height is common across all the offset instruments. 在所有偏置仪器中，设置总桥高的操作是通用的。
At each end of the bridge is a hollow post. An allen head Screw pokes out the bottom. This screw can be adjusted with an allen wrench inserted into the hole in the posts. This allows you to set The height of the bass and treble sides for an overall height adjustment. A 0.050^('')0.050^{\prime \prime} wrench is a good starting point but try other sizes if the fit is not snug. 桥的两端各有一根空心柱子。底部有一个内六角螺钉。用内六角扳手插入柱子上的孔中，就可以调节该螺丝。这样就可以设置低音和高音两侧的高度，从而实现整体高度调节。 0.050^('')0.050^{\prime \prime} 扳手是一个很好的起点，但如果不合适，可以尝试其他尺寸的扳手。
Slacken the strings just a little before adjusting upwards. 在向上调整之前，将琴弦稍稍放松。
If yoúve got a mastang or similar, these two bridge post screws are all you need worry about - your saddle heights are ‘set’. 如果您使用的是 mastang 或类似产品，您只需担心这两个桥柱螺丝，因为您的座垫高度已经 "设置 "好了。
Jags and Jazzmasters have adjustable saddles which makes overall string height a combination of bridge post screws and saddle height screws. Jags 和 Jazzmasters 具有可调琴码，因此整体琴弦高度取决于桥柱螺钉和琴码高度螺钉的组合。
Each saddle has two small allen head height screws. The height of each saddle can be individually adjusted up and down to accommodate different fingerboard radius setups. 每个琴码都有两个小的内六角高度螺丝。每个琴码的高度可以单独上下调节，以适应不同的指板半径设置。
So, let’s talk radius. 那么，我们来谈谈半径。
Your fingerboard isn’t Hat - it has a radius. for a nice, consistent feel, your action should match this radius. 你的指板不是哈特型的，它有一个半径。为了获得一致的手感，你的动作应与半径相匹配。
The mastang saddles are preset to match 马塘鞍座预设为匹配
its radius and they can’t be individually adjusted. 其半径也无法单独调整。
Jazzmasters and Jagnars, we will setup so they match. Jazzmasters 和 Jagnars，我们将进行设置，使它们匹配。
We can use a radius gange to check our fingerboard radius (most of there guitars will be 7(1)/(4^(''))7 \frac{1}{4^{\prime \prime}} or 9^(1//2)9^{1 / 2} ). 我们可以使用半径测量仪来检查指板半径（大多数吉他的指板半径为 7(1)/(4^(''))7 \frac{1}{4^{\prime \prime}} 或 9^(1//2)9^{1 / 2} ）。
During setup, we measure to set action on 1^("st ")1^{\text {st }} and 6^("th ")6^{\text {th }} strings Then we set the ‘radius’ of the other saddles by laging the gange along the tops of the strings. 在设置过程中，我们先测量 1^("st ")1^{\text {st }} 和 6^("th ")6^{\text {th }} 琴弦，然后通过沿琴弦顶部拉动琴弦来设置其他琴码的 "半径"。
The design of these bridges requires a bit of a balancing act between saddle height and bridge height. You want the saddle high enough that the string does not touch off the back of the bridge channel, but not so high that the string touches the front of the saddle intonation screw. It might require some time and patience. 这种琴桥的设计需要在琴码高度和琴桥高度之间取得平衡。你希望琴码足够高，以至于琴弦不会触碰到琴桥通道的背面，但又不希望琴码太高，以至于琴弦触碰到琴码音准螺丝的前端。这可能需要一些时间和耐心。
What action is right? 什么行动是正确的？
This too depends on your playing style… 这也取决于你的演奏风格...
You can, and should, experiment with these values. Try higher or lower and then play the guitar for a while to see how it behaves. Some players may want to lower these and for others (especially if they use lighter strings or shorter scale lengths), these may be conservative figures. Play around and see. 您可以，也应该对这些数值进行试验。尝试高一点或低一点，然后弹奏一段时间，看看吉他的表现如何。有些演奏者可能希望降低这些数值，而对于其他演奏者（尤其是使用较轻的琴弦或较短的音阶长度时）来说，这些数值可能比较保守。玩玩看吧。
And remenber the neck shim option here. Set your action and see if the bridge height is enough to give a good break angle. If so, great. If not - and if you still have string & saddle looseness - try shim the neck and then re-adjust your action. The same action setting will now give you a higher bridge position. Don’t be shy about trying this shimming thing. Just promise youll get a ‘full-pocket’ weage shaped shim betore too long. 请记住，这里有琴颈垫片选项。设置好动作，看看琴桥高度是否足以提供良好的断裂角度。如果是，那就太好了。如果不是，而且琴弦和琴码仍然松动，则可以尝试调整琴颈垫片，然后重新调整演奏动作。同样的动作设置现在会让您的琴桥位置更高。不要羞于尝试垫片。只要保证你能得到一个 "全口袋 "形状的垫片，时间就不会太长。
Remember: (hech action in the playing position. Capo at 1^("st ")1^{\text {st }} fret and chech at 17^("th ")17^{\text {th }}. 记住：（在演奏位置上的 "hech "动作。Capo位于 1^("st ")1^{\text {st }} 品格，Chech位于 17^("th ")17^{\text {th }} 品格。
Step 4: 5 st 步骤 4：5 步
A tremolo system exists in a state of balance. Or it should. On a strat, we balance the pull of the strings with the pull of the trem springs to ‘float’ the bridge where we want it. Our offset trems will balance string and spring tension too, but in a slightly different way. 颤音系统处于平衡状态。或者说它应该处于平衡状态。在吉他上，我们平衡琴弦的拉力和颤音弹簧的拉力，使琴桥 "浮动 "在我们想要的位置。我们的偏置三弦琴也会平衡琴弦和弹簧的张力，但方式略有不同。
More in a minute. First, Bridae Dosition 稍后再详述。首先是 Bridae Dosition
Rememberback to our bridge posts with the little height screws poking out the buttom? Well they’e all part of a fiendish plan for tremolo operation. 还记得我们的桥柱上有探出底部的小高度螺丝吗？它们都是颤音操作邪恶计划的一部分。
The idea is that the bridge posts mount in ‘thimbles’ in the guitar body. The bride can the pivot on those height screws, rocking back and forth as the tremolo arm is moved. As the string pitch lowers, the bridge rocks forward and then rocks back as the pitch is raised. Because the strings don’t have to ‘slide’ over the saddles, tuning stability should be improsed. 其原理是将桥柱安装在吉他琴体的 "顶针 "上。新娘可以在这些高度螺丝上转动，随着颤音臂的移动而前后摇摆。当琴弦音高降低时，琴桥向前摇动，当音高升高时，琴桥又向后摇动。由于琴弦不必在琴码上 "滑动"，因此调音的稳定性也会提高。
And, in a well setup guitar, this works pretty well. You probably shouldn’t go dive-bombing but these aren’t bad and many players love the feel. But not all… 而且，在安装良好的吉他中，效果相当不错。你可能不应该去 "俯冲轰炸"，但这并不坏，许多演奏者都喜欢这种感觉。但并非所有人都喜欢...
The ‘rocking’ bridge does require that solid pressure from strings and break angle. A lighter setup can impact the bridge’s return to zero position. 摇动 "的琴桥确实需要琴弦和断弦角的稳固压力。较轻的设置会影响琴桥回到零位。
Some players like to push the bridge back so it contacts the back wall of the thimble and use that position as default. If there’s ever any worry that it’s wandering, it’s easy to nudge it back there quickly. 有些演奏者喜欢将琴桥向后推，使其与顶针后壁接触，并将该位置作为默认位置。如果担心它走偏，很容易将它迅速推回原位。
This works pretty well. The drawbach is that it’s best for only downward trem action - if you pull up, the strings can slide over the saddles and may pull it away from its rearward porition as they then return to pitch. Not always a problem in the real world though, so bry it out, 效果相当不错。不足之处是，它只适用于向下的颤音动作--如果向上拉，琴弦可能会在弦枕上滑动，并可能在恢复音高时将琴弦拉离其向后的位置。但在实际使用中并不总是个问题，所以请放心使用、
Another common mod is to wrap a heap of Gaffer tape around and around the posts unt.l they ‘wedge’ into the thimbles and can’t rock in either direction. This is well worth a try if you have problems with the bridge’s reliability in staying where it should. It has the benefit of being lasily reversed if needed. 另一种常见的改装方法是在柱子周围缠绕大量的 Gaffer 胶带，使其 "楔入 "顶针，不会向任何方向摇晃。如果您的琴桥在固定位置的可靠性方面存在问题，那么这种方法值得一试。这样做的好处是在需要时可以轻易地反转。
If you go this route, my advice is to wrap too much tape on and then remove a little at a time until you have a good fit. 如果采用这种方法，我的建议是先缠上太多胶带，然后每次撕掉一点，直到贴合为止。
Ok, with the bridge taken care of, let’s look at the trems. 好了，解决了桥的问题，我们来看看三弦琴。
Jaguar and jazzmaster tremolo 捷豹和爵士大师震颤器
Too much spring tension 弹簧张力过大
Not enough spring tension 弹簧张力不够
Balance, remember. We can adjust the tension of the tremolo spring to counteract the strings that are pulling the talpiece in the other direction. 平衡，请记住。我们可以调整颤音弹簧的张力，以抵消琴弦对音柱的反向拉力。
We can adjust spring tension using the philips screw in the top of the tremolo plate. Turn counterclochwise to loosen the screw and reduce tension Twn clockewise to increase spring tension. 我们可以使用颤音板顶部的飞利浦螺钉来调节弹簧张力。逆时针旋转螺丝，松开并减小张力；顺时针旋转螺丝，增加弹簧张力。
Watch the tremulo arn as you adjust - it will raise as you increase tension and drop forward as you reduce it. 调整时要注意颤音--增加张力时颤音会上升，减少张力时颤音会下降。
HOW MUCH SPRING TENSION? 弹簧张力有多大？
Many of these trems have a handy way of telling… The Trem-Lock. 许多此类三音管都有一种方便的分辨方法......三音锁。
The tremlock is a sort of set zero-position ‘stop’. The idea is that, should you break a string (which would ordinarily unbalance the system) you could engage the tremlock and get the remaining strings bach in twe. 三向锁是一种设置在零位的 "止动器"。其原理是，如果您弄断了一根琴弦（通常会导致系统失衡），您就可以启动三向锁，让其余的琴弦保持平衡。
And, properly set up, the trem lock is reasonably good at this. It also serves as an indication that were balanced* 如果设置得当，颤音锁在这方面的表现也相当不错。这也是平衡*的标志。
Setting up the Trem lock is simple but fiddly. It’ll go a little easier if you understand what’s happhing under the hood. 设置颤音锁很简单，但也很麻烦。如果你了解引擎盖下发生了什么，设置起来就会容易一些。
disengaged engaged 脱离参与
You engage the trem lock by sliding the little disc back (away from the neck). Slide forward to disengage again. Engaging the trem loch (when set up) also converts your trem to ‘down-only’ travel. 将小圆盘向后滑动（远离琴颈），即可锁定颤音锁。向前滑动则再次脱离。接合颤音锁（设置时）还会将颤音转换为 "仅向下 "的行程。
Here’s what’s happening inside as you try get this trem lock sorted. 以下是您在尝试修复这把震颤锁时内部发生的情况。
In scenario A, the spring is too tight. When you try to slide the trem lock back to engage it, it just butts against the trem plate. 在情况 A 中，弹簧太紧。当您尝试向后滑动颤音锁以啮合它时，它只是抵住颤音板。
Scenario CC is the opposite. You can engage the trem lock but it doesn’t contact the trem plate at all. CC 的情况正好相反。您可以啮合颤音锁，但它根本不接触颤音板。
Scenario BB is where we want to be. In this ideal scenario the trem lock just barely touches the tremplate as it engages and it does not impact the guitars tuning. BB 是我们希望的情况。在这种理想情况下，颤音锁啮合时几乎不接触颤音板，不会影响吉他的调音。
I should note that the trem lock gives a balance as Fender intended. If its position is wrong for your style of trem usage, ignore it. It’s a good starting point though and it’s good for most players. 我应该指出的是，颤音锁是按照 Fender 的意图提供平衡的。如果它的位置不适合你的颤音使用风格，请忽略它。但这是一个很好的起点，适合大多数演奏者。
Getting the Jag/Jazzmaster trem balanced takes a number of adjustment and retuning cycles. Every time you change spring tension you throw out the tuning and have to reture… which subtly affects spring tension again. 要使 Jag/Jazzmaster 音箱达到平衡，需要多次调整和重新调音。每次改变弹簧张力都会导致调音失准，必须重新调音......这又会对弹簧张力产生微妙的影响。
Tune guitar to pitch. 调整吉他音高
If you try engage the trem lock but it wont slide all the way back, your spring tension is too tight. Loosen it by turning the spring screw counterclockwise. Retune and recheck. 如果您尝试啮合颤音锁，但它无法完全滑回，则说明弹簧张力太紧。逆时针旋转弹簧螺丝，松开弹簧。重新调整并重新检查。
If you can completely engage the trem lock but can still pull up on the whanny bar, spring tension is too loose. Tighten it by turning the screw clockwise. Retune and recheck. 如果您能完全锁上颤音锁，但仍能拉起扳手，则说明弹簧张力太松。顺时针旋转螺丝将其拧紧。重新调试并再次检查。
This will take a while but, each time, youll get a little closer. 这需要一段时间，但每次都会让你更接近一点。
You’ll know youre there when you can engage the trem lock easily and: 当您可以轻松地锁上颤音锁时，您就会知道自己已经到了目的地：
Have no pull-up movement on the whammy bar and… 在捶击杆上没有上拉动作，并且...
The trem lock engaged position doesn’t cause your tuning to flatten at all. 震颤锁定啮合位置完全不会导致调音变平。
A shortant worth trying: 值得一试
Slacken strings a coup’e of steps and tighten spring tension screw a few turns 将琴弦松弛几步，将弹簧张紧螺丝拧紧几圈
Press arm down, engage trem loch, and ture back to pitch. 手臂下压，拧紧颤音螺母，然后回投。
Disengage trem lock. Your strings will pull sharp. Loosen spring tension screw until tuning returns to pitch. 解除震颤锁定。琴弦会拉得很尖。松开弹簧张紧螺钉，直到调音恢复音准。
You should now be set pretty close, with just a little balance fine-tuning reeded. 现在应该差不多了，只需对簧片的平衡进行微调。
What if there is No TREM Lock? 如果没有 TREM 锁定怎么办？
Not every one of these systems has a trenlock. And that’s okwe can just balance for ‘feel’. A good starting point is to ain to have the collet (that’s the little sleeve where the trem arm is inserted) set around vertical. 并不是每一个系统都有一个趋势锁。没关系，我们可以凭 "感觉 "进行平衡。一个好的起点是将夹头（即插入震颤臂的小套筒）调至垂直。
This stuff’s not set in stone, though, so 不过，这并不是一成不变的，所以
feel free to experiment and play around. 请随意尝试和发挥。
MUStANG AND JAG-StanG TREMOLO 穆斯唐和杰格-斯坦-特里莫罗
For these trems, first we’re going back to childhood. het’s consider what l’d call a seesaw but my American friends might call a teeter-totter. The concept is simple - it’s a lever 对于这些跷跷板，我们首先要回到童年。我把它叫做跷跷板，但我的美国朋友可能会把它叫做跷跷板。它的概念很简单，就是一个杠杆
balanced on a fulcrum or pivot. If you’ve got a weight on each side (let’s say a box of springs and a box of strings) you can easily balance then (A). Shift one weight farther along on one side, though, and things unbalance. 在支点上平衡。如果两边各有一个砝码（比方说一盒弹簧和一盒琴弦），就很容易平衡（A）。不过，如果将其中一边的砝码移得更远，事情就会失去平衡。
The Mustang trem turns the concept on it’s side. Hes the ‘standard’ strings vs springs trenolo balance concept but to adjust the balance, we go back to our playground principle and move either ‘force’ up or down on the teeter-totter. Mustang trem 颠覆了这一概念。它采用了 "标准 "琴弦与弹簧的平衡概念，但为了调整平衡，我们又回到了游乐场的原理，在跷跷板上向上或向下移动 "力"。
attachment point closer or farther from pivot affects balance 连接点离支点的远近会影响平衡
Under the hood, it’s not terribly complicated. 在引擎盖下，它并不复杂。
At each end of the tailpiece (called the cigar) is a pivot post that pokes through the base plate. A spring, anchored at the front of the plate connects to a notch in each post. You’ll need to unscrew and remove the trem from the guitar top to see what’s going on. 在尾翼（称为雪茄）的两端，都有一个枢轴柱，戳穿底板。锚定在底板前端的弹簧与每个支柱上的凹槽相连。您需要从吉他面板上拧下并卸下震颤器，才能看到其中的奥秘。
You’ll see that each post has two (occassionally three) notches. Moving the springs along changes their ‘leverage’ and controls the overall tremolo spring tension. 您会看到每个支柱都有两个（有时是三个）凹槽。移动弹簧可以改变它们的 "杠杆作用"，从而控制整个颤音弹簧的张力。
The usual advice (usually good) is to set both springs in the notch farthest from the post pivot. This tends to give the best balance for heavy strings (you are using heavier strings, right?). If youre playing lighter strings, you might find the 通常的建议（通常很好）是将两个弹簧都设置在离琴柱枢轴最远的凹槽内。对于重型琴弦（您使用的是重型琴弦，对吗？）如果您使用的是较轻的琴弦，您可能会发现
closer notch better but start farther out and see how it goes. 越近越好，但要从远处开始，看看效果如何。
With the springs sorted and our overall or ‘gross’ balance set, we can tune up and work on the finer balance using talpiece height. 弹簧调整好了，整体或 "总 "平衡也设定好了，我们就可以利用塔杆高度来调整和实现更精细的平衡。
screws 螺丝
Lower the cigar to allow more spring pull and angle the trem back. 将雪茄放低，让弹簧的拉力更大，并将颤音向后调整角度。
Raise the cigar to allow more string pull and angle the trem forward 将雪茄抬高，让雪茄绳有更大的拉力，并将颤音器的角度调前
Every time you make an adjustment, you will have to retune and check again. There will be a bit of back and forth here. 每次调整后，都必须重新调整并再次检查。这中间会有一些反复。
When adjusting the cigar, keep both sides at the same heights. Adjust each end by the same amount and recheck occassionally. 调整雪茄时，要保持两边的高度一致。两端的调整量相同，并不时地重新检查。
The default balanced position is when the tailpiece is at 90^(@)90^{\circ} to the base plate. 默认的平衡位置是尾板与底板之间的 90^(@)90^{\circ} 位置。
If your whamay bar doesn’t sit at the angle you want after balancing, you can adjust the balance until it does or you can bend the arm to a more comfortable angle. I recommend the latter. 如果平衡后捶杆没有达到您想要的角度，您可以调整平衡直到达到为止，或者将手臂弯曲到更舒适的角度。我建议采用后者。
the ANNOyING PARt 宣布部分
All of that earlier stuff about strings touching the back of the bridge channel is probably even more of a pain for 'stangs. Sometimes you may have to compromise cigar height to avoid this (which then affects trem balance and feel). 之前提到的琴弦触及琴桥通道后部的问题，对于 "stang "琴来说可能更加麻烦。有时，你可能不得不牺牲雪茄的高度来避免这种情况（这会影响颤音的平衡和感觉）。
This bridge height us. tailpiece height thing can be infuriating. If youre at your wits end, my advice is to work on the trem and bridge stuff while ignoring what it’s doing to your action up at the neck-end. Then, when things seem good at the bridge, assess action and consider whether it’s worth adjusting neck angle with a shim. 琴桥高度与尾板高度之间的关系可能会令人恼火。如果你一筹莫展，我的建议是先解决颤音和琴桥的问题，同时忽略琴颈部分的动作。然后，当琴桥的情况看起来不错时，再评估动作，并考虑是否值得用垫片调整琴颈角度。
Yes, this is utterly unscientific and a terrible example of user-friendly design. Welcome to the wonderful world of almost all guitars. 是的，这完全不科学，是用户友好型设计的糟糕范例。欢迎来到几乎所有吉他的奇妙世界。
first, the bad news: I do not recommend you try to adjust your nut slots unless you have a set of proper nut files. 首先是坏消息：我不建议您尝试调整螺母槽，除非您有一套合适的螺母锉。
And I should also mention that those things on ebay for fifteen bucks a set don’t count. Those are dreadful. It’s incredibly easy to ruin a nut 我还得提一句，ebay 上那些 15 美元一套的东西不算。那些东西太可怕了。毁掉一个螺母简直易如反掌
even if you have the right tools, so don’t go at it with the wrong ones. 即使你有正确的工具，也不要使用错误的工具。
Having said all of that, we should still chat about nuts… 说了这么多，我们还是应该聊聊坚果......
If a nut slot is too low, that string will buzz when it’s played open. Tho usual fix is a rew nut. 如果螺母槽太低，琴弦弹开时就会发出嗡嗡声。通常的解决办法是重新调整螺母。
If a nut slot is too high, that string will be more difficult to play in the first few positions - it^(')||li t^{\prime} \| l have a stiffer feel around the lower frets. The tuning in these areas may also sound sharp. 如果螺母槽过高，那么该琴弦在前几个位置演奏起来就会比较困难-- it^(')||li t^{\prime} \| l 在低音品附近会有较硬的感觉。这些区域的调音也可能听起来比较尖锐。
Fret a string at the 3^("rd ")3^{\text {rd }} fret. 在 3^("rd ")3^{\text {rd }} 品格处给一根弦定音。
You should see a tiny gap between the string and the top of the 1^("st ")1^{\text {st }} fret. The gap should increase slightly from 1 ist to 6^("th ")6^{\text {th }} strings. 您应该看到琴弦与 1^("st ")1^{\text {st }} 品的顶部之间有一个微小的间隙。从 1 音格到 6^("th ")6^{\text {th }} 音格，间隙应略有增大。
This visual inspection is fine for a quick check or assessing a guitar but I know it’s not fantastic for teaching you about nuts. I learned this slotting purely by eye but you don’t want to wait years for all that hard-won experience. 这种目视检查对于快速检查或评估一把吉他是没有问题的，但我知道它对于教授你如何制作螺母并不理想。我完全是靠目测学会开槽的，但你也不想为了这些来之不易的经验等上好几年吧。
So let’s talk actual measurements. 那么，让我们来谈谈实际测量结果吧。
If youre adjusting nut slots, aim for approximately: 如果您要调整螺母槽，则应调整到大约：
6th string clearance at 1^("st ")1^{\text {st }} fret OPEN string: 0.020^('')(0.5mm)0.020^{\prime \prime}(0.5 \mathrm{~mm}) 1^("st ")1^{\text {st }} 音格 OPEN 琴弦上的第 6 根琴弦间隙： 0.020^('')(0.5mm)0.020^{\prime \prime}(0.5 \mathrm{~mm})
Other strings should ‘graduate’ between these figures. 其他字符串应在这些数字之间 "毕业"。
Measurements are for open strings and not fretted as we did for visual assessment 测量的是开放弦，而不是我们为目测评估所做的指法
If you have a set of decent fret files, you can carefully (oh, so very carefully) lower the nut slots. 如果您有一套像样的音格锉，您可以小心地（哦，非常小心地）降低螺母槽。
Pick a file to match the string size (or one very slightly larger). 选择一个与字符串大小相匹配的文件（或稍大一点的文件）。
Move string out of slot. 将字符串移出插槽。
File a little, replace string and recheck clearance at ist fret. 稍微锉一下，更换琴弦，然后重新检查音格处的间隙。
TiPs:- Strings at pitch when checking. 提示：- 检查时琴弦处于音高状态。
Don’t ‘rock’ the file. Make straight front-to-back strokes. 不要 "摇晃 "锉刀。要前后笔直。
Angle file very slightly towards headstock. 将锉刀向机头稍微倾斜一点。
Go really slowly and check often - it’s really easy to ruin a nut. 慢慢来，经常检查--很容易弄坏螺母。
Step 6: B 步骤 6：B
I usually start this section by warning that most players have their pickups too high. And this still appies for the 'stang players. Jazzmaster and Jaguar players might well have the opposite problem though - well get to that in a minute… 在这一部分开始时，我通常会警告大多数演奏者拾音器的位置太高。这仍然适用于 "stang "演奏者。不过，Jazzmaster 和 Jaguar 的演奏者可能会遇到相反的问题--这个问题稍后再谈......
If your pickups are too near the strings, the magnets can pull on them and cause a number of weird problems. Don’t go too high. 如果拾音器离琴弦太近，磁铁会对其产生拉力，从而导致一些奇怪的问题。不要太高。
Of cousse this only applies if you can actually adjust your pichups that high. Beneath Jag and Jazzmaster pickups is a piece of foam. Over time, this becomes fatigued and may not push enough to allow you to set the pickupi height where you want. 当然，这只适用于您能将拾音器调到那么高的情况。在 Jag 和 Jazzmaster 拾音器下面有一块泡沫塑料。随着时间的推移，这块海绵会变得疲劳，可能无法让您将拾音器的高度调到您想要的位置。
Replacement foam should sort this out. 更换泡沫后，问题就会迎刃而解。
Google for “pickup height foum” and youll find the stuff you want. This is a denser, stronger foam that pushes back more than something like packing foam or weather-sealing foom. 在谷歌上搜索 "拾取高度泡沫"，就能找到你想要的东西。这是一种密度更大、强度更高的泡沫，比包装泡沫或耐候密封泡沫更能向后推。
Unscrew your pickups and replace the saggy, tired foam. If you have to (it’s rare but ithappens) you can cut foam down to stack a full and partial piece for additional height. 拧下拾音器，更换下垂、疲惫的泡沫。如果有必要（这种情况很少见，但确实存在），您可以将泡沫裁剪下来，将整块和部分泡沫堆叠在一起，以增加高度。
Setting pickup Heigut 设置海古特
Start at the BRIDGE pickup. 从桥拾音器开始。
Freet the 15^(5t)15^{5 t} and 6^("th ")6^{\text {th }} strings at the last fret. 在最后一格松开 15^(5t)15^{5 t} 和 6^("th ")6^{\text {th }} 琴弦。
Measure the gap between the top of the pickup and the bottom of each string. 测量拾音器顶部与每根琴弦底部之间的间隙。
Adjust height on each end of picku. 调节支架两端的高度。
Jaguar 捷豹
7//64^('')7 / 64^{\prime \prime}
2.8 mm 2.8 毫米
Jazzmaster 爵士大师
6//64^('')6 / 64^{\prime \prime}
2.4 mm 2.4 毫米
Mustang 野马
6//64^('')6 / 64^{\prime \prime}
2.4 mm 2.4 毫米
Humbuckers 谐振器
4//64^('')4 / 64^{\prime \prime}
1.6 mm 1.6 毫米
Jaguar 7//64^('') 2.8 mm
Jazzmaster 6//64^('') 2.4 mm
Mustang 6//64^('') 2.4 mm
Humbuckers 4//64^('') 1.6 mm
| Jaguar | $7 / 64^{\prime \prime}$ | 2.8 mm |
| :--- | :--- | :--- |
| Jazzmaster | $6 / 64^{\prime \prime}$ | 2.4 mm |
| Mustang | $6 / 64^{\prime \prime}$ | 2.4 mm |
| Humbuckers | $4 / 64^{\prime \prime}$ | 1.6 mm |
| | | |
Use these figures as a starting point and listen through an amp. Adjust heights to ensure the pickup is balanced from one string to the sext. Move bass and treble sides until your ears are happy there are no weird volume jumps or dips. I’d generally advise against going much closer than these figures. however. 以这些数字为起点，通过放大器进行聆听。调整高度，确保拾音器从一根弦到六根弦之间保持平衡。移动低音和高音两侧，直到你的耳朵觉得音量没有怪异的跳跃或骤降。不过，我一般建议不要比这些数字更接近。
With two screws on each side, the Jazzmaster’s pickups can be adjusted side-to-side and some players like to match their ‘string angle’. Of coure the angle changes depending on where you’re fretting so I generally set parallel to the body. Jazzmaster 的拾音器两侧各有两个螺钉，可以左右调节，有些演奏者喜欢配合他们的 "琴弦角度"。当然，角度的变化取决于您指法的位置，因此我一般将其设置为与琴身平行。
When yourre happy with the bridge pickup, it’s on to the NEck 当您对桥拾音器感到满意时，就可以使用 NEck 拾音器了。
$No measurements this time. Trust your ears. 这次不用测量。相信你的耳朵。
Switch back and forth between bridge and reck pickups Adjust the reck height so its output balances with that of the bridge. You want these set so that, when you switch pickups you dont get a big volume change. 在琴桥和拾音器之间来回切换 调整拾音器高度，使其输出与琴桥平衡。您需要这样的设置，这样当您切换拾音器时，音量就不会有太大的变化。
Don’t expect the pickup heights to look the same. Use your ears to balance - not your eyes. 不要指望拾音器的高度看起来都一样。用耳朵来平衡，而不是用眼睛。
THE JAG-StANG ExCEPtION JAG-StANG ExCEPtION
Theres always an exception, isn’t there? 总有例外，不是吗？
The problem with the Jag-Stang is its got a humbucker and a single coil. Jag-Stang 的问题在于它有一个双线圈和一个单线圈。
Balancing humbuckers and single coils is always an execcise in compromise. 平衡双线圈和单线圈始终是一个折衷的过程。
If you want an actual balance, reverse the instructions above and start with the neck pickup. Follow up and set the humbucker to match that, This will probably result in a pretty low humbucker. 如果您想要一个真正的平衡，请反过来按照上面的说明，从琴颈拾音器开始。这样做的结果可能是双线圈的音量非常低。
I suspect that most players will see the humbucker as their ‘primary’ pickup. In that case, set up the humbucher and don’t try forcing a match with neck pickup output. This will avoid retting the neck too close in an attempt to get balance. Compromise with the reck. 我猜想大多数演奏者会将双线圈拾音器视为 "主要 "拾音器。在这种情况下，设置双线圈拾音器，不要强行与琴颈拾音器的输出相匹配。这样可以避免琴颈拾音器过于靠近琴颈以试图获得平衡。与拾音器妥协。
Step 7: A10 *\cdot 步骤 7：A10 *\cdot
Almost there now. Intonation is the last step because everything else has to be right first. 现在差不多了。音调是最后一步，因为其他一切都要先做好。
And it’s a good time to install fresh strings. Intonation is less certain with older strings and, if you’ve been tuning them up and down. 这也是安装新琴弦的好时机。旧琴弦的音准不太稳定，如果你一直在上下调音，那么就会影响音准。
taking off necks and what not, they won’t be in great shape. 如果把脖子之类的东西取下来，它们的形状就不会很好。
Pop on a fresh set and tune up to pitch. Then… 换上一套新的，调整好音调。然后...
FLAT FORWARD 平直前进
Play the 1^("st ")1^{\text {st }} string oper and check tuning. 弹奏 1^("st ")1^{\text {st }} 弦操作并检查调音。
Fret that string at the 12^("th ")12^{\text {th }} fret and check tuning of that note. 在 12^("th ")12^{\text {th }} 品位上拨动该弦，检查该音的调音。
If the 12^("th ")12^{\text {th }} fret tuning is flat (compared to the open string), use a philips screwdriver to move that saddle forward - towards the neck. 如果 12^("th ")12^{\text {th }} 品的调音是平的（与开弦相比），则使用十字螺丝刀将琴码向前移动--朝向琴颈。
If the 12^("th ")12^{\text {th }} fret is sharp. move the saddle back - away from the neck. 如果 12^("th ")12^{\text {th }} 音格尖锐，请将琴码向后移动，远离琴颈。
Reture & recheck. Repeat until 12^("th ")12^{\text {th }} fret matches the open string. 保留并重新检查。重复上述步骤，直到 12^("th ")12^{\text {th }} 音格与开弦一致。
Repeat on the other strings. 在其他弦上重复上述步骤。
If you have set your bridge ‘floating’ in the middle of its thimbles, cemember to make sure it stays put as you adjust the intunation screws. It’s not hard to accidentally shove it offkilter as you work. 如果您已经将琴桥 "浮动 "在顶针的中间位置，请记住在调整音调螺丝时一定要确保琴桥固定不动。在工作过程中，不小心将其推离 "浮桥 "并非难事。
And, before we round up this guide, we reed to talk about one final design annoyance. Intonation screws on the Mustang/Jag-Stang 在结束本指南之前，我们还想谈谈最后一个设计上的烦恼。Mustang/Jag-Stang 上的音调螺丝
These screws are really difficult to get at. Stupidly difficult. 这些螺丝真的很难弄。难得要命。
If you have one, a right-angle screwdriver can help, as can a small ratchet-wrench with a screwdriver bit (although both are still awkward). 如果有的话，直角螺丝刀和带螺丝刀头的小型棘轮扳手都能帮上忙（不过这两种工具都很笨拙）。 rarr\rightarrow Many playess flip the bridge around so the screws face forwards. Or. Some patient souls repeatedly loosen strings to lift the bridge & access the screws. rarr\rightarrow 许多演奏者把琴桥翻转过来，使螺丝朝前。或者。一些有耐心的人反复松开琴弦，以抬起琴桥和接触螺丝。
Some intunation tips 一些音调提示
Always chech tuning & intonation in the playing position. It’s cool to lay the guitar down to make adjustments but playing position only for checking stuff. 一定要在演奏位置上检查调音和音准。将吉他平放下来进行调整很酷，但演奏位置只能用来检查。
Play like you play. If you typically play pretty hard, don’t baby the thing when youre setting intonation. 像演奏一样演奏。如果你通常弹得很用力，那么在设置音准时就不要把它当宝贝。
Step 8 : 步骤 8 ：
In recent years, fender has broken with tradition a little on some offset models, fitting them with ‘non-traditional’ pickups and bridges. Pickups, you’ll figure out from the into in that chapter. Bridges, though… 近年来，Fender 在一些偏置型号上稍稍打破了传统，为它们配备了 "非传统 "拾音器和琴桥。拾音器，你可以从那一章的介绍中了解到。但琴桥...
HARD TAIL BridMES 硬尾桥
Just ignore all the stuff about tremolo. Set Saddle heights individually for action and radius. Adjust saddles for intoration at the end. Done! 忽略所有关于颤音的内容。根据动作和半径分别设置琴码高度。最后调整琴码，以达到最佳效果。完成！
Tune-o-matic
Gibson-style tune-o-matic bridges are Straightforward Adjust height overall with bass & treble side thumbwheels. Set saddles for intonation. Done! Gibson 式自动调音琴桥操作简单，可通过低音和高音侧的指轮调节整体高度。为音准设置座板。完成！
STRAT - STULE TREMOLO BRDLLE
Your standard spring Us. String balancing act to get it floating where you want. 标准弹簧通过绳索平衡，让它浮在你想要的位置。
trem claw screws. 震颤爪螺钉。
Tighten or loosen the claw anchor screws (in the cavity around the back) to adjust spring tession. Then its the same cycle of adjust/tune/recheck so you can either… 拧紧或拧松爪式固定螺丝（在背面的空腔内），以调整弹簧的张力。然后是同样的调整/调试/重新检查循环，这样您就可以...
OR 或
Float the back of the bridge at about 6//64^('')(2.4mm)6 / 64^{\prime \prime}(2.4 \mathrm{~mm}) off the body. This allows up &\& down trem travel. 将琴桥后部浮于琴身 6//64^('')(2.4mm)6 / 64^{\prime \prime}(2.4 \mathrm{~mm}) 处。这样就可以实现向上 &\& 向下的颤音行程。
Set the bridge flat against the body. Youll have better tuning stability but downwards trem only. 将琴桥平放于琴身上。您将获得更好的调音稳定性，但只能向下震颤。
the jaguar string mute 美洲豹弦乐静音器
… Because I suppose someone must use it. ... 因为我想总得有人用它。
This is a slightly quirhy piece of equipment and, if youre going to use it, it reeds to be properly set up. The mute is a shaped plate that installs under the bridge. A bolt in the middle protruder into a hole in the body. In the hole is a spring and a metal disc/ short cylinder. Two wood screws mount the plate to the body. 这是一个略显怪异的设备，如果您要使用它，就必须对其进行适当的设置。消音器是一块安装在琴桥下方的异形板。中间的螺栓伸入琴体上的一个孔中。孔中有一个弹簧和一个金属圆盘/短圆柱。两个木螺钉将板安装到琴体上。
The bolt pressing against the ‘spring-loaded’ disc acts like aa, sort of, two position lock. It can lock back, out of the way. or forwards where the toan pad presses against the strings. 压在 "弹簧 "圆盘上的螺栓就像 aa ，有点像两个位置的锁。它可以向后锁紧，不碍事，也可以向前锁紧，使音垫压在琴弦上。
Adjusting the two wood, mounting scress changes the mute height. This takes some bach and forth to balance so that the foam jununst tanches the strings - enough to mute then but not so much it pashes the tuning sharp. Of course, the bridge has to be lifted out in order to access the screws so another helping of patience is required. 调整两个木制安装架可以改变静音高度。这需要来回调整以保持平衡，使泡沫塑料与琴弦贴合--足以使琴弦静音，但又不至于使音调变尖。当然，必须把琴桥抬起来才能拧上螺丝，所以还需要耐心。
Adding to the patience requirements, if the briage is too low, it will sit on the mute screw heads - that’s no good. Mute setup is usually easier if the reck’s been shimmed and there’s some more ‘room’ between bridge and body. 除了需要耐心之外，如果琴桥太低，就会压住静音螺丝头--这可不好。如果琴桥和琴身之间有更多的 "空间"，那么安装静音装置通常会更容易。
The best setup approach is to get your bridge height right and then install your mute. Serew it right down and test. Raise in increments until correct. 最好的安装方法是先调整好琴桥高度，然后再安装静音装置。将其调低并进行测试。逐步提高，直到正确为止。
And youre done. That’s it. Yay! 你就大功告成了。就是这样。耶
I’d recommend making a nice strong cup of tea to celebrate because the little quirchs of these instruments has driven many a player (and repairer) to the edge of insanity. 我建议大家泡一杯浓茶来庆祝，因为这些乐器的小毛病已经让许多演奏者（和维修者）到了精神错乱的边缘。
gREAT Job! 很棒的工作！
Sticking with a setup on these takes grit - you are more entitled than most to wear your smug ‘I did it myself’ grin. 在这种情况下，坚持安装需要勇气--你比大多数人更有资格露出 "我自己做的 "的得意笑容。
I really hope yoúve enjoyed this and that youve gotten something useful from it. Thank you for checking it out, 我真心希望您喜欢这篇文章，并从中获得有用的东西。感谢您的阅读、
If you got this guide from me at the Haze Guitars site, youll have had a chance to sign up for my newsletter. I think you’ll like it - it’s got lots of useful info. And, if you ‘found’ this guide somewhere else, maybe you’d still like to sign up. lt’s good, I promise. It’s at hazeguitars.com/subscribe 如果您从我的 Haze Guitars 网站上获得了这份指南，那么您一定有机会订阅我的时事通讯。我想您会喜欢的，里面有很多有用的信息。如果您在其他地方 "发现 "了这本指南，也许您仍然愿意注册。请访问 hazeguitars.com/subscribe 网站。
reliet as you go. 边走边看
