高频问题与解答

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浮动Petrucci Tremolo(包括)

1。给吉他装上琴弦

2。设置桥板高度。
a.调整内部4(或5)弦，直到在trem系统上施加一定的张力。
i。这将有助于防止琴桥从主螺丝上的“跳脱”，并在其自然的状态上停留。
ii。完全的弦张力，调到精确的音高，是没有必要的。
iii。张力只放置在内部4(或5)弦上，在调整枢轴螺钉时，不会永久地在外弦上划痕。
b.使用枢轴螺钉升降琴桥，直到钢板平整，并与阀体顶部齐平。
i。确保低音和高音部高低基本一致，从琴桥的后面观察。
c.通过颤音的整个运动范围来调整，如果板块的前缘接触到凹槽，把桥抬高，直到它不受阻碍地移动。

3。固定琴桥
a.放置一个物体以阻挡桥板与琴体之间的磕碰。
i。你可以使用任何可以支撑桥梁的拉力，保证琴体不受损坏，用胶带包裹的折叠纸板很好用。
b.将琴桥移动到桥板与琴体的水平位置，由滑轮支撑，并由弹簧上的拉力固定。
c。调整音高，如果桥板开始从凹槽中抬起，则需要更多的弹簧张力。如果必要的话，可以将额外的弹簧(最多5个)加到琴桥上。
i。检查颤音弹簧是通过整个运动范围进行的，如果他们在桥被拉回来时脱离了爪，移开弹簧，重新调整弹簧爪钩。
ii。一般来说，9-42套弦会使用两个弹簧。10-46,11-48和10-52将使用3跟弹簧。在标准调弦中，较重的拉力可以使用4个甚至5个弹簧，但降音调弦，通常会使张力降低到只需要3到4个。

4。按照安装说明，固定琴桥:
首先，用你的左手把最低的(低音)弦按在1品上，然后用右手拇指按住第12品，然后在琴弦中间轻敲，以观察弦与品之间的高度。它不应该超过名片的厚度。如果颈部没有松解，在调整后在颈部(向下)施加一个小的压力，就应该注意了。如果没有，请联系我们，因为有必要把乐器送到工厂。
标准调音时的工厂弦高设置从低音弦2/32“(1.59 mm)到5/64”(1.98 mm)开始，高音弦为3/64“(1.19 mm)至2/32”(1.59 mm)，第12品处，琴弦底部与品顶端的空隙。当你在演奏位置上看弦的时候，弦的顶部构成的弧形应该是与指板弧形想符合的。记住，琴弦高度最终取决于你的偏好和演奏风格。
现在，你已经准备好弹吉他了。如果一根弦上的弦在5品上嗡嗡作响，而没有更高的品出现问题，则需要给琴颈钢筋松一些。如果5品到12品有更多的嗡嗡声，琴颈需要更直一些。每次调整后都应该检查琴弦高度。如果发生的嗡嗡声在整个琴颈,琴弦的高度需要增加。

做一些实验来得到你想要的精确状态。

5。浮动桥
a.颤音仍然处于被固定的状态，调到标准音高。
b.适当加紧琴弦，重新调音。
c.松开琴背后的颤音螺丝，直到琴桥整体比较容易被颤音把手压出。
d。去掉阻止颤音的固定物。
e.此时观察G弦，用调音器为它调音，它可能会走调。
f.调整背后的弹簧爪，使G空弦音准确。当弦到达正确的音高时，琴桥应该回到最初被阻止的地方。
i。如果桥没有正确的浮动，压住颤音把手/弹簧，重新固定琴桥，并重复步骤a-d。

6。再次检查设置!!
a。如果遇到琴弦杂音出现在(1 ~ 4)品处,琴颈钢筋需要放松。如果在琴颈中间出现嗡嗡声( 6~10品)，就需要拧紧琴颈钢筋。
b.如果整个琴颈上都有杂音的感觉，就需要把琴桥抬高。
c.如果在琴桥被浮起后对安装进行调整，可能有必要重新固定并重新设置琴桥。

Music Man Vintage Style Tremolo

1. String the guitar
2. Set the bridge plate
a. Tune up the inner 4 strings (A,D,G,B) until some amount of string tension is placed on the trem system.
i. Having both spring and string tension will help keep the bridge from “jumping” on the pivot screws and closer to its natural resting place while performing the setup.
ii. Full string tension, tuned to exact pitch, is not necessary.
iii. Tension is only placed on the inner 4 strings as to not permanently nick the outer strings while adjusting the pivot screws.
b. Adjust the bass side of the bridge plate using the bass side pivot screw (4mm hex drive) until there is a small gap between the bridge plate and body at the front of the plate (front is nearest the pivot screw).
i. You should be able to slide a Post-It note between the plate (near the pivot screw) and body without it pinching.
c. Repeat step b on the treble side.
d. Adjust the tremolo claw screws in the back to allow both back corners (nearest the intonation screws) of the bridge plate to rest on the body.
i. Tune the outer high and low "E" strings and re-check the inner 4 to make sure all strings are tuned to pitch.
ii. Re-check the bass side screw to ensure there is still a gap between the plate and body, and re-adjust if necessary.
e. Move the trem through its full range of motion. If the front edge of the plate contacts the face of the body near the pivot screws, raise the bridge slightly until it moves unimpeded.
3. Ensure the tremolo springs have enough tension so that when tuned to pitch, the bridge plate doesn't lift off the body.
a. If the plate lifts, tighten the tremolo claw screws to add appropriate spring tension.
4. Follow the instructions for a hardtail guitar setup.

First, check relief in the neck by holding the lowest (bass) string down on the second fret with your fretting hand, then hold it down on the 12th fret with your right thumb and tap on the string in the middle to show how straight the string is. It should be no more than the thickness of a thick business card. If there is no relief in the neck, applying a little pressure in the middle of the neck (downward) after adjusting the truss rod wheel should take care of it. If not, please contact us as it may be necessary to send the instrument to the factory.

Factory string setting for standard tuning starts at the bass side 2/32" (1.59 mm) to 5/64" (1.98 mm) and the treble side is 3/64" (1.19 mm) to 2/32" (1.59 mm) measured from the 12th fret to the bottom of the strings. The top of the strings should have the radius of the fretboard when you are looking at the strings in the playing position and by rotating the instrument while at the same time bringing strings into view one at a time. Remember, string height is ultimately determined by your preference and playing style.

Now, you are ready to play your guitar. If a string buzzes on an open string to the 5th fret and no higher, more relief is needed. If there is more buzz from the 5th to the 12th fret, the neck needs to be straighter. You should check the string height after every adjustment. If the buzzing happens throughout the neck, the string height needs to be increased.

Experiment a little to get the exact action you want.

5. Dial in the tremolo spring claw for the appropriate tension for your preference.
a. From the factory, the tremolo is set to remain flat on the body if a note is bent a full step or less.
b. Bend the G note at the 12th fret to an A, and check if the bridge is lifting.
c. Adjust the spring claw so the bridge begins to lift when this note is bent beyond an A.
6. Double check the setup and enjoy!!

压电拾音器使用晶体，当你拨动弦时产生一个信号。我们的压电拾音器内置在每个琴弦鞍座上。压电换能器通过拾取鞍座上的弦的振动而产生一种声学音调。

我们的一些乐器颈部，有光泽的或哑光聚酯漆涂装。这些琴颈可以用类似于乐器的抛光布来清洁和保养。

然而，我们很多的琴颈并不是这样的，他们用松油和火药制成的蜡做成光滑的自然感觉。

对于这些颈部的常规护理和清洁，我们推荐Ernie Ball Wonder Wipes Fretboard护理液。

如果这些神奇的护理液是不可用的，试着使用优质的柠檬油。它可以用于枫木，紫檀木和乌木上使用。如果颈部很脏，你可以用少量的Murphy牌油皂，用水稀释3倍，清洗干净。请记住，如果泥土进入了木材，除了打磨它，它是不能被除去的，我们不推荐这种方式。最好在一开始就保持清洁。洗手首先有帮助!

在枫木的琴颈上，在玩了好几个小时后，有些颜色会变是很正常。

每年(大约)剂量的tru油和喷蜡将有助于颈部的保持;我们使用并推荐Birchwood-Casey Tru-oil。

< a href = " https://youtu。be/24yWr2LRmJY" target="_blank">点击这里观看how-to视频。

Birchwood-Casey产品在大多数体育用品商店都能买到，现在你可以直接订购了。他们的网址是http://www.birchwoodcasey.com。

当使用任何油或蜡时，务必遵循所有制造商建议的安全预防措施。

这种东西被称为补偿上枕，我们有这个设计的专利。

这个新上枕设计的目的是提高所有的音符的准确性。这一点在较低的品上最为明显。

不需要特殊的卷弦器，设置，或音调要求。

这个螺母是所有Music Man吉他和Bass的标准配置(当然除了配备Floyd Rose颤音系统的吉他)。

这个补偿上枕已经被设计用来提高你的音乐演奏的潜力，使你的音乐完美地在琴弦下方的指板上呈现。每一根弦都有一个单独的音调补偿缺口，它稍微改变了有效的弦长，这使得传统上演奏的音符更加和谐。

该设计已经针对标准的调弦和特殊调弦进行了优化，但在使用交替调弦、弦量规和演奏风格时将会有好处。

夏勒锁定调谐器:

去除旧的琴弦后，松开您将要更换的琴弦后面的固定螺丝，把琴弦穿过琴桥，一直延伸到正确的弦钮。重新拧紧拇指轮螺丝，以确保琴弦被固定在弦钮上。用一把好的钢丝钳，剪断多余的琴弦。调弦到您想要的音高。当调谐到音高时，在卷弦轴上有少于一圈的琴弦，是最理想的。

双锁的震音:

当给一把双锁的颤音系统吉他来更换琴弦时，很重要的一点是，琴桥应该与琴体平行，以免造成损坏。建议每次更换1-2根琴弦，避免将所有拉力都集中在一根琴弦上，在琴桥的后面放一块软毛巾或布来保护漆面，是不错的办法。

In factory, our technicians use a clean and dry instrument microfiber cloth free of debris to gently remove any build up of dust, oil or moisture. Keep in mind that matte and satin finishes will buff into gloss as they are rubbed and handled over time.

我们在所有吉他上使用的Ernie Ball弦如下:

Silhouette, Silhouette Special, Silhouette Gold Roller: RPS-9 Slinkys(9-42)目录编号#2239。

Silhouette Double Neck: 6弦使用RPS-9 Slinkys(9-42)目录#2239; 12弦使用EB镍缠绕12弦light 编号#2233。

Axis: RPS-9 Slinkys(9-42)目录#2239。

Axis SuperSport with DiMarzio humbuckers: RPS-9 Slinkys(9-42)目录#2239。

Steve Morse和Steve Morse Y2D: 10-13-16(所有RPS)-26-32-42，仅在单弦上可用。

Albert Lee:10-13-16(所有的RPS)-26-36-46只能在单弦上使用。

Luke, Luke 3, BFR Luke, BFR Luke 3: RPS-9 Slinkys(9-42)目录#2239。

John Petrucci 6 (Including BFR, JPX, JPXI, JP12, JP13, JP15 and Majesty):RPS-10 Slinkys(10-46)目录#2240。

The John Petrucci 7-string guitar (including BFR 7, JPX 7, JPXI 7, JP12 7, JP13 7, JP15 7 and Majesty 7)： Slinkys(10-46)，加上0.56的低B弦。要构建此集合，请使用目录#2240并添加目录#1156。

The John Petrucci Baritone: 12(RPS)-16(RPS)-22p- 34-46-62只能在单弦上使用。

Reflex and Reflex Game Changer:RPS-10 Slinky(10-46)目录#2240。

Benji Madden: 12-16-(RPS) - 24w-32-42-52只在单弦上可用。

SUB-1吉他:RPS-9 Slinkys(9-42)目录#2239。

Axis/Non-Floating Locking Tremolo

Notes:
The Axis guitar is designed for the tremolo to sit flat on the body, and only allow movement in the dive-bomb direction.
Because the bridge is limited in its adjustability via the pivot screws, the string height is primarily adjusted by adding or removing shims from the neck pocket. If you are not comfortable with removing the neck from your guitar, do not attempt to re-shim the neck. Instead, take your guitar to a qualified tech or contact Music Man Customer Service to arrange for your guitar to be sent to the factory for a setup.
If adjusting the intonation, it's recommended to use full-size hex drivers, preferably with a T-handle. It's easiest to set the intonation using one 2.5mm driver to loosen/tighten the intonation screw, while simultaneously using a second driver to move the saddle with some amount of string tension still on the saddle.
Keep in mind that the entire Axis setup mainly amounts to the truss rod adjustment and the shim in the neck pocket. This guide may seem overly extensive, but it is intended to explicitly describe the processes needed to take the neck on and off, work with the mechanics of a locking tremolo, etc. The bulk of this guide is intended to check all the metaphorical boxes of settings that should already be correct on most guitars and not require any adjustment.

1. String the guitar
a. Cut the ball end off each string, insert the cut end into its respective saddle, and clamp the string in place with the lock screw.
b. Remove the clamping blocks/screws from the nut and set aside.
c. String the guitar normally.
2. Adjust the fine tuners on the bridge to sit in the center of their overall travel.
a. Completely loosen one tuner, and completely tighten the next. Set a third tuner in the center of these two, and adjust the others to match the centered one.
3. Set the bridge plate
a. Tune up the inner 4 strings (A,D,G,B) until some amount of string tension is placed on the trem system.
i. Having both spring and string tension will help keep the bridge from “jumping” on the pivot screws and closer to its natural resting place while performing the setup.
ii. Full string tension, tuned to exact pitch, is not necessary.
iii. Tension is only placed on the inner 4 strings as to not permanently nick the outer strings while adjusting the pivot screws.
b. Adjust the pivot screws until the bridge sits flat and level on the face of the body.
i. There is a small retainer plate on the underside of the main bridge plate. This plate is what contacts the face of the body. The bridge should sit flat across the back edge of this plate.
ii. By raising and lowering the pivot screws, the back corners of the plate will either:
1. lift straight off the body by raising the pivot screw on the same side
2. lift by being levered off the body by raising the opposite pivot screw
iii. The only points the bridge should contact are the two pivot screws, and the back edge of the small retainer plate.
c. Move the trem through its full range of motion and check that it moves smoothly and unimpeded.
4. Tune to pitch.
5. Ensure the tremolo springs have enough tension so at full tension, the bridge plate doesn't lift off the body.
a. If the plate lifts, tighten the tremolo claw screws to add appropriate spring tension.
6. Adjust truss rod – This step is critical; all other adjustments will be affected to some extent when the amount of neck relief is altered.
a. Hold down the low “E” string at the first and last frets. You will effectively be using the string as a straight edge to see the amount of relief in the neck.
b. Visually gauge the space between the bottom of the string and top of the 7th fret wire, if there is any. If there is no gap, loosen the truss rod adjustment wheel until one appears.
c. Tighten the truss rod until the neck is flat, then loosen slightly so there is a small amount of space between the string and 7th fret. You can check the amount of relief by tapping on the string while fretting, and viewing its movement in relation to the frets.
d. Perform the same visual check and adjustment on the high “e” string to ensure there is some amount of bow on both sides of the neck.
7. Check the string height at the nut.
a. The locking nut height is set using metal shims under the nut. It's unlikely the height will need to be adjusted, but it's not unwise to confirm the height is correct.
b. Press down any string between the 2nd and 3rd frets to effectively fret the string at the 2nd fret from the nut side.
c. Tap on the same string over the 1st fret wire and observe the gap between the string and fret.
d. This gap should be as small as possible without the string actually touching the 1st fret, while the 2nd fret is being held down.
i. The nut can be set higher to prevent open string buzz, especially on the bass side.
e. If necessary, un-screw the nut from the neck and add or remove shims from underneath the nut to achieve the correct height.
i. The factory shims are either brass (Used with 1st and 2nd generation Axis/EVH models with Gotoh tremolos), or stainless steel (current generation, used with OEM Music Man tremolos). The thicknesses used are .1mm and .3mm (.004” and .012”, respectively). While factory shims are recommended, any material of the same shape and thickness can work.
8. Set the string height/action.
a. The action is set at 4/64” (1.6mm) across all open strings, measured at the 12th fret.
b. Using a 6” (150mm) ruler, measure from the top of the 12th fret wire to the bottom of each string. The 4/64” line should be just visible under each string.
c. If the action is high, a thicker shim is needed in the neck pocket. If low, a thinner shim is needed. Minor height adjustments (less than 1/64”/.4mm) can be made using the bridge pivot screws.
i. The bridge can be raised slightly off-level to tilt back toward the end pin, but it cannot be lowered to tilt toward the pickups. (When the bridge is set too low, it can wedge between the pivot screws and body. This can cause the bridge to bind and not return to the correct pitch after using the tremolo.)
ii. The factory shims are plastic strips placed between the neck screws closest to the pickups, color-coded to the following thicknesses:
1. Brown - .010”
2. Pink - .015”
3. Yellow - .020”
iii. Moving one size up or down will generally adjust the action slightly more than 1/64”, and slightly less than 2/64”.
1. e.g., If the action is measured to be 5/64” with a pink shim, a yellow shim will usually put the action slightly under 4/64”. Install the yellow shim and adjust the bridge pivot screws slightly higher to get to 4/64”.
iv. While it's recommended to use factory shims, any material of the same shape and thickness can be used to shim the neck.
d. To remove the neck:
1. Place a folded piece of cardboard between the bridge's string lock screws and body. The cardboard should fit snugly; it's purpose is to keep the bridge from popping off the saddles when the string tension is removed.
2. De-tune all strings. Optionally, a small amount of tension can be left on the strings to hold the neck and body in place when the neck screws are removed.
3. Remove all five neck screws and the neck plate.
4. Lay the guitar down flat, facing up.
5. Gently lift the neck out of the pocket, taking care to not delaminate or chip the finish off the body around the pocket.
6. Remove the installed shim and replace with one of an adequate thickness.
e. To replace the neck:
1. Gently lower the neck back into the pocket (with the correct size shim installed)
2. Holding the entire neck joint firmly together, flip the guitar over onto its face. The neck should be placed onto an elevated surface or neck rest/caul. Elevating the neck causes the heel to lever into the body pocket, especially with some amount of tension left on the strings.
3. Replace the neck plate and insert the neck screws back into the body.
4. Grasp the neck, body and plate firmly in one hand and hold the guitar on end, balanced on the end pin.
5. Fully drive the neck screws back in.
1. Start with the center screw on the flat side of the neck plate, followed by the opposite screw on the contoured edge, and finish with the outside three. (This order minimizes the risk of cracking the finish at the corners of the plate.)
ii. Ensure the neck screws do not thread in the body. This can prevent the neck from seating properly. i.e., When removing the screws with a powered screwdriver or drill, the screws should thread out of the neck, but spin in the body. If the screws are threading, the holes through the body can be reamed out to a #19 wire gauge drill size diameter (.166” or 4.25mm).
9. Set the tremolo spring claw
a. From the factory, the tremolo is set to remain flat on the body if a note is bent a full step or less.
b. Bend the G note at the 12th fret to an A, and check if the bridge is lifting.
c. Adjust the spring claw so the bridge begins to lift when this note is bent beyond an A.
10. Set the intonation.
a. Tune string to pitch using the 12th fret harmonic.
b. Check the pitch of the same note at the 12th fret, but fretted.
c. If the fretted note is sharper than the harmonic, the string length is too short and the saddle needs to be moved back in the direction of the endpin. If the fretted note is flat, move the saddle forward in the direction of the neck.
i. The locking tremolo's saddles are held in place by 2.5mm hex drive screws at the front of the saddle. To adjust a saddle's location, loosen the screw, and the saddle will move freely. Move the saddle to the desired location and re-tighten the screw.
d. Check the note again and re-adjust saddles as necessary.
11. Stretch the strings.
12. Install the clamping blocks/screws onto the nut and tighten fully.
13. Move the tremolo through it's range of motion and adjust the tuning with the fine tuners on the bridge. If necessary, unlock the nut, re-tune with the standard tuners, and repeat.
14. Double check the setup and enjoy!!
a. If experiencing fret buzz on the first few frets (1~4), the truss rod needs to be loosened. If experiencing buzz in the middle of the neck (frets 6~10) the truss rod needs to be tightened.
b. If experiencing fret buzz across the entire neck, the overall string height needs to be raised.

Sterling是由Ernie Ball Music Man授权的另一种乐器，由Praxis Musical制作。你可以在他们的官方网站http://www.sterlingbymusicman.com了解到更多关于Sterling的信息。

这一系列的乐器并不能与我们在加州圣路易斯奥比斯波生产的Sterling和Sterling 5相混淆。

Luke Tremolo Setup

NOTES:
The Luke tremolo is set floating at an angle off the body. This angle is set to bend the open G string exactly 1.5 steps to an A# note when the bridge is pulled back.
This tremolo does not necessarily have to be set floating. If you do not require the bridge to float, follow instructions for the Music Man vintage style tremolo.
If setting the bridge flat on the body per the vintage style instructions, the shim in the neck pocket of your Luke may need to be removed or changed to a different thickness.
This setup only works with 9-42 gauge strings. Using a different string gauge can cause the bridge to sit too high or too low to perform well at this specification.
If a floating bridge is desired using a different string gauge, you can still follow the instructions for setting a rough angle and floating the bridge (through step 6-e), but it will not be set up to bend to a specific interval. It will also require more than the two springs described below.

1. String the guitar
2. Install 2 springs in the back cavity, arranged in a “V” shape.
a. On the springs, the bridge side hooks will use the outer two mounting holes on the bridge block, and the claw side loops will use tabs 2 and 4 on the spring claw.
3. Set the bridge plate
a. Tune up the inner 4 strings (A,D,G,B) until some amount of tension is placed on the trem system.
i. Having both spring and string tension will help keep the bridge from “jumping” on the pivot screws and closer to its natural resting place while performing the setup.
ii. Full string tension is not necessary.
iii. Tension is only placed on the inner 4 strings as to not permanently nick the outer strings while adjusting the pivot screws.
b. Raise or lower the bass side of the bridge plate using the bass pivot screw (4mm hex drive) until there is a small gap between the bridge plate and body at the front of the plate (front is nearest the pivot screw).
i. You should be able to slide a Post-It note between the plate (near the pivot screw) and body without it pinching.
c. Repeat step b on the treble side.
d. Adjust the pivot screws to allow both back corners (nearest the intonation screws) of the bridge plate to rest on the body.
i. Continue adjusting the treble side pivot screw and observe the corners of the plate.
ii. When the treble side screw is tightened into the body, it will reach a point where it levers the bass side corner upward. When the screw is raised out of the body, it will begin to lift the treble side corner.
iii. Adjust the treble screw to where both corners of the plate rest firmly on the body.
iv. Re-check the bass side screw to ensure there is still a gap between the plate and body, and re-adjust if necessary.
e. Move the trem through its full range of motion. If the front edge of the plate contacts the face of the body near the pivot screws, raise the bridge slightly until it moves unimpeded.
4. Block the bridge.
a. Dive the tremolo forward and wedge an object under the back of the bridge plate so the bridge is angled upward.
i. The bridge will be resting on this object throughout the setup, held in place by the spring tension.
b. Use something that won't damage the finish (a folded piece of cardboard wrapped in masking tape works well).
c. The bottom of the bridge plate should sit ~4/32” (3.18mm) off the body, measured at the 90 degree bend near the intonation screws.
d. This measurement is not an exact specification, just a starting point. The final angle will vary based on the results of the setup on your particular guitar.
e. When tuned to pitch, the bridge should be resting on the block. If the block falls out or is easily removed, tighten the spring claw to provide sufficient tension to keep the block in place.
5. Follow the instructions for a hardtail guitar setup
6. Float the bridge
a. With the tremolo still blocked, tune to pitch.
b. Stretch the strings and retune.
c. Loosen the trem claw screws until the bridge block pulls out easily.
d. Pluck the G string, and observe its pitch on a tuner. It will likely be out of tune.
e. Adjust the trem claw to bring the G note back to the correct pitch. When the G is back in tune, the bridge should be back to where it was originally set when blocked.
f. Again, pluck the open G string and pull the trem all the way back until it meets the body.
g. Observe the pitch of the G string with the trem pulled back. It should be near an A#.
h. Adjust the spring/string tension until the open G yields a perfect A# with the bridge pulled back.
i. Make sure all the strings are at the correct pitch before observing the G-to-A# bend.
ii. If the A# note is flat, the bridge plate needs to be higher/more angled off the body. Loosen the spring claw slightly and re-tune.
iii. If the A# note is sharp, the bridge plate needs to be lower/less angled off the body. Tighten the spring claw slightly and re-tune.
iv. It will likely take several attempts to get the bridge at the correct angle to achieve a perfect 1.5 step bend. It is a fine balance between the string and spring tension, and adjusting either one will cause the other to go out of adjustment. Moving the bridge in small, methodical, observable increments is easier in the long run than attempting to make large adjustments.
v. If the adjustment seems to be getting too far off one way or another, tighten the spring claw, re-block the bridge, and reset the angle from the initial base measurement of 4/32” off the body.Factory string setting for standard tuning starts at the bass side 2/32" (1.59 mm) to 5/64" (1.98 mm) and the treble side is 3/64" (1.19 mm) to 2/32" (1.59 mm) measured from the 12th fret to the bottom of the strings. The top of the strings should have the radius of the fretboard when you are looking at the strings in the playing position and by rotating the instrument while at the same time bringing strings into view one at a time. String height is determined by your preference and playing style.

If a string buzzes on the open note to the 5th fret and no higher, more relief is needed in the neck. If there is more buzz from the 5th fret to the 12th fret, the neck needs to be straighter (less relief). Check the string height at every adjustment. If buzzing is present throughout the neck, the string height needs to increase. After every adjustment it is necessary to re-tune the guitar.

The standard float height is measured at 1 1/2 steps on the G-string. If you set this first at 440 tuning, it may make it easier to keep the bridge close to the same angle while making all of the other adjustments. You may want a different amount of float - many players prefer 1/2 or only 1 step of float.

After each adjustment, return to step one, and start again.

Floating Locking Tremolo (Morse Y2D)

1. String the guitar
a. Cut the ball end off each string, insert the cut end into its respective saddle, and clamp the string in place with the lock screw.
b. Remove the clamping blocks/screws from the nut and set aside.
c. String the guitar normally.
2. Adjust the fine tuners on the bridge to sit in the center of their overall travel.
a. Completely loosen one tuner, and completely tighten the next. Set a third tuner in the center of these two, and adjust the others to match the centered one.
3. Set the bridge plate height
a. Tune up the inner 4 (or 5) strings until some amount of tension is placed on the trem system.
i. This will help keep the bridge from “jumping” on the pivot screws and in its natural resting place while performing the setup.
ii. Full string tension, tuned to exact pitch, is not necessary.
iii. Tension is only placed on the inner 4 (or 5) strings as to not permanently nick the outer strings while adjusting the pivot screws.
b. Raise or lower the bridge using the pivot screws until the plate is level and flush with the top of the pickguard.
i. This is only a starting point; the final height will be determined by the action as measured off the 12th fret.
c. Move the trem through its full range of motion. If the front edge of the plate contacts the recess (usually at the end of the dive bomb motion), raise the bridge until it moves unimpeded.
4. Block the tremolo
a. Place an object to block the bridge between the bridge plate and body.
i. You can use anything that will support the bridge under tension and not mar the finish. A folded piece of cardboard wrapped in masking tape works well.
b. Maneuver the bridge and block to where the bridge plate sits level with the body/pickguard, supported by the block and held in place by the tension on the springs.
c. Tune to pitch. If the bridge plate begins to lift out of the recess, more spring tension is needed. An extra spring (up to five) can be added to the rear trem cavity if necessary.
i. Check that the trem springs are engaged through the entire range of motion. If they disengage from the claw when the bridge is pulled back, remove a spring and readjust the claw.
ii. Generally, 9-42 string sets will use two springs. 10-46, 11-48, and 10-52 will use three. Heavier gauges in standard tuning can use four or even five springs, but drop tuning will usually lessen the tension to only require three or four.
5. Adjust truss rod – This step is critical; all other adjustments will be affected to some extent when the amount of neck relief is altered.
a. Hold down the low “E” string at the first and last frets. You will effectively be using the string as a straight edge to see the amount of relief in the neck.
b. Visually gauge the space between the bottom of the string and top of the 7th fret wire, if there is any. If there is no gap, loosen the truss rod adjustment wheel until one appears.
c. Tighten the truss rod until the neck is flat, then loosen slightly so there is a small amount of space between the string and 7th fret. You can check the amount of relief by tapping on the string while fretting, and viewing its movement in relation to the frets.
d. Perform the same visual check and adjustment on the high “e” string to ensure there is some amount of bow on both sides of the neck.
6. Set the string height/action. The action is set at 4/64” (1.6mm) across all open strings.
a. Using a 6” ruler, measure from the top of the 12th fret wire to the bottom of each string. Adjust the bridge pivot screws using a 4mm hex wrench until all strings sit just above the 4/64” line of the ruler.
b. There is no individual saddle height adjustment on the locking bridge.
c. There is no exact specification on the bridge height in relation to the body or pickguard; the setting is based solely on the string height measured from the neck.
d. The bridge may not be perfectly level from the bass to treble side.
7. Float the bridge
a. With the tremolo still blocked, check that the plate is still level with the body. Readjust if necessary.
b. Tune to pitch.
c. Stretch the strings and re-tune.
d. Loosen the trem claw screws until the bridge block pulls out easily.
e. Remove the block.
f. Pluck the G string, and observe its pitch on a tuner. It will likely be out of tune.
g. Adjust the trem claw to bring the open G back in tune. When the string reaches the correct pitch, the bridge should return to where it was originally set when blocked.
i. If the bridge is not floating correctly, tighten the trem claw/springs, re-block the bridge, and repeat steps a-d.
8. Set the intonation.
a. Tune any string to pitch using the 12th fret harmonic.
b. Check the pitch of the same note at the 12th fret, but fretted.
c. If the fretted note is sharper than the harmonic, the string length is too short and the saddle needs to be moved back in the direction of the endpin. If the fretted note is flat, move the saddle forward in the direction of the neck.
i. The locking tremolo's saddles are held in place by 2.5mm hex drive screws at the front of the saddle. To adjust a saddle's location, loosen the screw, and the saddle will move freely. Move the saddle to the desired location and re-tighten the screw.
d. Check the note again and re-adjust saddles as necessary.
e. If adjusting the intonation, it's recommended to use full-size hex drivers, preferably with a T-handle. It's easiest to set the intonation using one 2.5mm driver to loosen/tighten the intonation screw, while simultaneously using a second driver to move the saddle with some amount of string tension still on the saddle.
9. Stretch the strings.
10. Install the clamping blocks/screws onto the nut and tighten fully.
11. Move the tremolo through it's range of motion and adjust the tuning with the fine tuners on the bridge. If necessary, unlock the nut, re-tune with the standard tuners, and repeat.
12. Double-check the setup and enjoy!!
a. If experiencing fret buzz on the first few frets (1~4), the truss rod needs to be loosened. If experiencing buzz in the middle of the neck (frets 6~10) the truss rod needs to be tightened.
b. If experiencing fret buzz across the entire neck, the bridge saddles need to be raised.
c. If making adjustments to the setup after the bridge has been floated, it may be necessary to re-block and re-float the bridge.

首先，用你的左手把最低的(低音)弦按在1品上，然后用右手拇指按住第12品，然后在琴弦中间轻敲，以观察弦与品之间的高度。它不应该超过名片的厚度。如果颈部没有松解，在调整后在颈部(向下)施加一个小的压力，就应该注意了。如果没有，请联系我们，因为有必要把乐器送到工厂。
标准调音时的工厂弦高设置从低音弦2/32“(1.59 mm)到5/64”(1.98 mm)开始，高音弦为3/64“(1.19 mm)至2/32”(1.59 mm)，第12品处，琴弦底部与品顶端的空隙。当你在演奏位置上看弦的时候，弦的顶部构成的弧形应该是与指板弧形想符合的。记住，琴弦高度最终取决于你的偏好和演奏风格。
现在，你已经准备好弹吉他了。如果一根弦上的弦在5品上嗡嗡作响，而没有更高的品出现问题，则需要给琴颈钢筋松一些。如果5品到12品有更多的嗡嗡声，琴颈需要更直一些。每次调整后都应该检查琴弦高度。如果发生的嗡嗡声在整个琴颈,琴弦的高度需要增加。

做一些实验来得到你想要的精确状态。

The Silent Circuit ™（静音回路）是Music Man的一个专属系统，可允许很大的电流通过单线圈拾音器,几乎可以消除60周期噪声，通常与单线圈拾音器搭配。

压低颤音臂。从下方的背带钉方向往上看，在右侧的颤音模块内，你会发现一个1.5mm的hex调整螺丝。你可以在那里调整手臂的摆动。

不可以，您不可以给现有的Music Man乐器加装拾音器。

我们的很多吉他都配有电池，但并不是所有的都是为了“主动电路”。
我们用主动拾音器做的唯一的吉他是Luke和BFR Luke，这是由Steve Lukather的精确规格制作的，包括EMG拾音器。
Luke3,JP13, JP15和Majesty都有主动的放大电路，由电池供电。
Game Changers都有由电池供电的电路。
The Albert Lee and Silhouette Special 特别配备了静音电路™,这将允许单线圈拾音器听到没有60周期的嗡嗡声。这些吉他的电池是无声的，但是吉他没有电池也能运转。
Petrucci吉他与压电式的拾音器，需要电池来驱动压电。

压电式拾音器的工作依靠在弦枕内的传感器所受的压力，获得必要的振动以使压电片接收信号。当使用颤音时，压力就会释放出来，所以至少暂时地，压电片没有任何信号。

有一个合格的技术人员使弦枕槽稍微宽一些。不这样做会给弦枕带来额外的压力，这可能导致螺母开裂，尤其是在低音的弦上。如果您打算自己尝试，一定要使用适当的工具。同时也要确保不要把插槽弄得太宽，或者把它们弄得更深。

如果你的吉他装备了一个颤音系统，你可能需要通过收紧背面的弹簧固定螺丝/或增加一个额外的弹簧来增加颤音弹簧的张力。

您还应该检查音高，这可能需要调整。这是另一个常见问题。

小心地将控制钮压向琴体，以免刮伤。注意不要撕裂握柄。旋钮上有个(5/64)的固定螺丝将暴露出来。松开固定螺丝，拆卸旋钮，然后从旋钮上取下钮帽。

使用压电的Music Man模型被设计用来运行到两个独立的系统。这就是我们认为最好的选择——磁性拾音器被连接到一个专用的电吉他平台，而压电输出被连接到专用的音响设备，或者可能是pa。要做到这一点，你既可以同时使用两个输出，也可以使用单线电缆，也可以从“磁/立体声”输出中运行一个单一的立体声电缆，并使用一个立体声到mono分配器。然后，你把每一个各自放到该去的地方。或者，你可以先使用声学放大器，然后再把它运行到家里的电源插座上，而不是在家里的电源上运行压电信号。

当然，你也可以用mono电缆将“压电/mono”输出到你的普通吉他音箱中，但是为了充分发挥压电桥的潜力，我们推荐使用上面描述的独立系统来运行它。

对于 Majesty:
为了选择mono或立体声输出，按下并压住压电音量旋钮，信号将静音和返回，输出将在单声道和立体声之间交替。当信号返回时，电池盒上的LED灯将会为单色或两倍蓝色的立体声信号脉冲蓝色。(这种“脉冲”也会发生在每次插电的时候，所以用户知道启动时的输出设置，先是琥珀色然后是蓝色)。

这里的诀窍是保持按住旋钮。从最初的按压，到静音，再到有信号的长度大约是7-10秒，而且在现场演奏中，这段时间很长，所以这个功能不会被意外激活。

如果在信号返回之前释放了旋钮，仪器就会在没有对输出做出任何改变的情况下退出该功能。

在Mono模式下，你可以通过一个单线的电缆连接到一个放大器的压电和磁性电缆。

在立体声模式下，你可以使用从女王陛下到另一个设备的TRS或立体声电缆，这将允许你将信号分割为两个单根电缆，一个用于压电，一个用于磁性。

琴桥 Humbuckers 拾音器会在几乎所有 Music Man F-Spaced 吉他上，除了 Steve Morse 和 Armada.

琴颈 Humbuckers 拾音器在 Music Man 吉他上为标准距离。

它不需要是任何特定的工具——事实上，我们有目的地将它定位到你可以用几乎任何东西来调整它，比如一个小螺丝刀，六角扳手，甚至一个钉子。在工厂，我们通常使用3mm大小的六角扳手。

首先，检查琴颈的曲度，用你的左手将最低音弦按在第2品上，然后，用右手的某一手指按住那根弦的12品，再用拇指在这根弦的长度的中间轻轻按压，在琴弦和品之间的距离不应该比名片厚度更大。如果这项数值几乎为0，那么可通过调节钢筋来调整琴颈曲度。
标准的弦规是0.45至0.100英寸，如果有5弦低音B的话，会是 0.130英寸。如果你决定降低音调，通常你会以半音为单位向下调整，这将使大部分品上的弦高都降低一些。
4弦Bass的工厂弦高是:低音弦3/32“至7/64”，高音弦:5/64“到7/64”，从第12位的顶部到弦的底部。其余的琴弦，当你看弦的顶部时，应该有它的直径，(当你从E弦方向看去时，A弦是被遮挡着的，其他同理)。当然，“正确”的弦高最终取决于您的演奏风格。
同样适用于5弦的bass，但低音B弦应被设置为7/64。
对于Bongo 6弦Bass，将C弦高设置为2/32。
如果你有一个单一的拾音器，将拾音器的高度设置为，从塑料的拾音器盖顶端到G弦的底部为6/32，调整拾音器的低音部分与琴面或护板平行。
如果你有一个双拾音器，将靠近琴桥的拾音器设置在以上的规格，按照同样的步骤进行靠近琴颈的拾音器高度调节，但将其设置为8/32。
对于三组拾音器，您需把靠近琴桥的拾音器和靠近琴颈的拾音器，设置为以上的规格。中间的拾音器设置为7/32。
如果空弦到5品出现打品现象，则琴颈需要更多的放松（向琴弦方向曲度）。如果在5 到 12品处有打品，则琴颈需要更直(稍微顺时针转动一下钢筋调节螺栓)。如果它发生在整个颈部，那么琴弦的高度需要增加(通过逆时针方向旋转钢筋调节螺栓来实现)。
八度音: 比较第12品处的泛音和按弦音高，如果按弦音稍高的话，你需要通过顺时针旋转弦枕调节螺丝来延长弦的长度，同理反之。确保这些弦是直线从弦枕顶端延伸出来的，而不是曲线，每次调整后必须重新检查所有测量值。

我们的一些乐器颈部有光泽的或哑光聚酯漆涂装，这些脖子可以用类似于乐器的抛光布来清洁和保养。
然而，我们还有很多乐器的颈部并不是这样的，他们用松油和枪油制成的蜡做成光滑的自然感觉。
对于这些颈部的常规护理和清洁，我们推荐Ernie Ball Wonder Wipes Fretboard护理液。
如果这些神奇的湿巾是不可用的，试着使用优质的柠檬油，可以在枫木，紫檀木和乌木上使用。如果颈部很脏，你可以用少量的Murphy牌油皂，用水稀释3倍，清洗干净。请记住，如果泥土进入了木材，除了打磨它，它是不能被除去的，我们不推荐这种方式。最好在一开始就保持清洁。洗手是非常有帮助的!
在枫木的琴颈上，在玩了好几个小时后，有些颜色会变，这是很正常的。
每年(大约)剂量的tru油和喷蜡将有助于保持颈部的状态;我们使用并推荐Birchwood-Casey Tru-oil，但任何优质的机油都可以使用。
< a href = " https://youtu。be/24yWr2LRmJY" target="_blank">点击这里观看指导视频。

Birchwood-Casey产品在大多数体育用品商店都能买到，现在你可以直接订购了。网址是http://www.birchwoodcasey.com。
当使用任何油或蜡时，务必遵循所有制造商建议的安全预防措施。

The 4弦 bass 装载的是 Ernie Ball Super Slinky Bass 琴弦 (item # 2834) 在出厂的时候. 琴弦直径分别为45w-65w-80w-100w.
The 5弦 bass 使用琴弦同上， 但增加了 .130. 这是我们的 Regular Slinky Bass 5's (item # 2836).
The 6弦 Bongo 装载的是我们的 Slinky 6 String Bass 套装 (item # 2838). 琴弦直径分别为 32w-45w-65w-100w-130w.

Sterling by 是由Ernie Ball Music Man授权的另一个乐器品牌，由Praxis Musical生产制造。你可以在官方网站http://www.sterlingbymusicman.com了解到更多关于Sterling的信息。

这一系列的工具并不能与我们在加州圣路易斯奥比斯波生产的Sterling 或Sterling 5 款型相混淆。

所有尺寸都是从一根弦的中心线到另一根弦的中心线
Stingray 4, Bongo 4, Sterling 4, Big Al 4, Reflex 4, Classic Sabre - 3/4"
StingRay 5, Sterling 5, Bongo 5, Big Al 5, Reflex 5 - 11/16"

调节杆螺栓是这样设计的，任何Music Man乐器都可以轻松地对颈部进行轻微的调整。任何工具，如六角扳手、钉子、小螺丝刀等，都可适用于调节轮。把轮子转四分之一圈，然后弹奏一下您的Bass来检查调节效果，顺时针会使指板拱起。

您在任何琴颈调节的时候都要带着琴弦的拉力来进行，这样您可以实时的来检验其演奏性，切记，不要松掉琴弦再调节琴颈。

碱性电池的平均寿命为6个月。我们推荐使用Duracell电池作为替换，主要是由于电池制造商之间的尺寸不一致。当您不使用的时候，不要把您的Bass处于插线状态，因为这会让你的电池更快地耗尽。电池续航时间取决于你演奏的频率和时间。当你的Bass的声音失真，就说明该准备好一个新的电池了。

我们不建议用可充电电池代替音乐人乐器，原因有二:

1。他们没有输出足够的电压(至少8.4伏特)来正确运行仪器。NiCad和NiMh“9伏”的电池，即使充了电，也只能达到7.2伏特。

2。即使他们确实工作，充电电池只可使用1-3个月。碱性电池，新鲜的时候可以用6个月甚至更长时间。我们推荐Duracell的产品。

我们不推荐锂电池的原因，它们更倾向于有稍微高的电压。

对于Silhouette Bass，可能最好的描述应该是混合Bass和吉他。

它有一个29 5 /8的有效弦长，几乎介于吉他和Bass弦长之间。它的调谐E-E，比吉他低了一个完整的八度，并使用琴弦从 .20到 .90。在某些应用情景中, 它不能用相同的方式作为一种长期6弦Bass来使用, 但在10个不同的切换配置它确实有一个非常广泛的色调特征，从一个漂亮的Bass音色到一个降低调弦的吉他。它甚至适合演奏一些和弦。它的音调像吉他一样，只有八度音阶，它也可以作为中音吉他，由a - a调音。

虽然这并不常见，但我们确实看到一些使用者的汗液会导致磁极上的镍生锈。要想去掉磁极上的锈，试着用一个磨砂垫来处理，不要过度用力擦洗，以免再次生锈。为了不让锈迹再次出现，用点点指甲油，它不会影响Bass的音色。

这种新的弦枕叫做补偿弦枕，我们拥有这个设计的专利。

这个新弦枕设计的目的是提高所有的音高的准确性，这一点在较低的品位中最为明显。

没有特殊的调音器，设置，或八度要求。

这个弦枕可使所有Music Man吉他和Bass达到标准，甚至是 SUB品牌乐器。

这个补偿弦枕已经被设计用来提高你的音乐表现的潜力，使你的音乐完美地在指板上演奏。每一根弦都有一个单独的八度缺口，它稍微改变了有效弦长，这使得传统上演奏的音符更加和谐。

该设计已经针对标准的弦规和调弦进行了优化，甚至是使用特殊调弦、特殊弦规和演奏风格时。

在过去的15年里，我们只使用了ash(除非bass是限量版)。在过去，我们使用了白蜡树、白杨和赤杨。

你可以用你喜欢的任何一种，和平卷弦相比，圆卷弦更容易磨损指板。尽管如此，许多乐手还是喜欢用圆卷弦，为了得到更好的高频音色。

想要一个满意的中频，不妨试试Ernie Ball Slinky Flatwound。

是有的，在 3,5,7,9,12,15,17,19,21品处都有，点状标记的位置就是有品乐器的品的所在位置。

由于许多原因，将乐器置于温度或湿度的极端或突然变化不是一个好主意。它会导致结构和外观方面的问题，所以采取一切预防措施来避免它。我们会竭尽全力建造一种非常坚固的乐器，但是木头就是木头，它会在突然的加热/冷却和紧张的情况下变形，而热对于粘合接头来说是非常糟糕的。它的温度越高，它停留的时间越长，就越有可能出现问题。

如果你在一个非常炎热、寒冷、干燥或潮湿的环境中碰巧离开乐器，你会想让它慢慢适应正常的温度/湿度。把乐器留在箱子里，让它适应。不要把它放在空调或加热器前，不要对乐器进行任何剧烈的调整，直到它冷却下来，检查它。如果没有明显的损害迹象，可能很好，没有必要担心。如有问题，请联系客服。

这是一个早期版本，它有一个完全固态的前置放大器和一个电子管功率放大器的设计，同时有一个12AX7A作为一个相位变频器/驱动管用于输出部分的四个EL34输出。这种情况只能在早期版本中进行调整，以后的版本中非常罕见。

1984年，Ernie Ball收购了MUSIC MAN公司，当时的决定是不生产音箱。
我们确实得到了数量有限的部分，(我们已经把它卖给了Mojo音乐供应，(800)927-6656)和大部分的电路原理图，其中很多都可以在我们的网站上找到:http://www.music-man.com/techinfo_old/。
此项业务没有授权的服务中心，维修事宜最好找一个合格的amp维修技师，最好是熟悉这些放大器的。

The foot switch is a simple circuit similar to a 60's Fender amp circuit - but uses two independent shielded cables for the vibrato and the reverb circuits and SPST Push button switches to "open" or "short" each cable.
这种脚踏板是一个简单的借鉴60年代Fender音箱内核的电路回路，但是使用了两组带独立屏蔽的线缆为Vibrato和Reverb回路，还有SPST按钮，用来打开和关闭没一个通道。

这种晶体管对2n6488晶体管的交叉引用，通常在电子商店中被发现。

试着调整内部的微调罐，调整颤音电路的强度。有可能存在一个有缺陷的输出放大电路。(LM307H)