D Tuner什么作用什么原理
问题可能有点低级但是真找不到啊。。。http://bbs.guitarschina.com/attachment.php?aid=1051906&k=4cbcf4f5c3bce64171456db02da3e9f0&t=1267255055¬humb=yes
A：一定得选最好的CUSTOM SHOP
雇德国日本设计师
做就得做最高档的琴
个人签名直接往上打，限量发行
不行最少也得26品
什么贝斯双摇呀,D-TUNER，哇音,模拟呀能安的全给Y安上
控制电路没十个钮儿的不收货
琴桥上有BASSLINE 琴颈上有DIMARZIO
中间儿再给Y横一 fender P STYLE
最后来个FISHMEN
木头当然要原木色 一定要外边没卖的
花纹越乱越好 特NB那种
别人一拿起琴甭管Y懂的多懂的少都得冒一句:
"FENDER WARWICK ALL TMD SHIT"
一口地道中国英语
倍儿有面子
整一个练琴房300平米,摆满地的效果器
箱子最丢人也要用SWR的
什么前级放大器呀,多轨录音器呀,无线信号接收器呀全给伺候着
一年光换琴弦就得小几万块钱
再搞一罗兰的V BASS
二十四小时的踩
B：就一个字 ：贵！！
A：买个拨片都得花个千儿八百的，不然多丢人
周围的哥们不是弹KILLER的就是耍RITTER的
你要是手里拿一蝴蝶都不好意思和人凑一块儿去
啥？牙妈蛤？赶紧藏着吧，别让人看见了牙都笑掉
你说这样的琴一把得多少钱??
B：我觉得怎么着也得五千美金吧
A：五千美金?! 只够买一琴颈!
五万美金起
您别嫌贵 还不打折 没赠品
您得研究发烧友的购物心理
愿意掏五千美金买一琴颈的主
根本就不在乎再多掏四万五
什么叫贝斯手 你知道吗 你懂吗
贝斯手就是买什么贝斯
都买最贵的 不买最好的
所以我们做琴行的口号就是
不求最好 但求最贵
[ 本帖最后由 xjilyf 于 2010-2-27 15:26 编辑 ] 一扳动那个扳手，整个卷线器 就移动了位置，这个位置移动的 正好是你4弦的E降到D的位置 呵呵LZ的很幽默~~~~~~~~~~~~~~~~~~~~ BASS BRIDGE TYPES 贝司桥型
There were a number of different versions of the bass bridges, especially the standard 4 string variety.In addition to the different types, some of them saw minor variations and versions throughout production: 共有桥梁的低音不同的版本数量，特别是各种标准4串。除了不同类型，其中一些小的变化看到了整个生产和版本：
4 String Standard 4字符串标准
Ned's revolutionary design needed a revolutionary tuning bridge.The basic 4 string bridge was obviously offered during the entire production run. 纳德的革命性设计革命性的调整需要一个桥梁。基本4串桥明显 ， 在整个生产运行提供。
http://www.steinbergerworld.com/parts/4bass-v1p.jpg
Early Brooklyn prototype L2 4 string bridge. 早期原型布鲁克林大桥二级4串。
Note the ball ends load through the top plate. 请注意球结束 ， 通过顶板的负载。 The first L's have a two piece bridge whereby the saddle assembly and tuners were physically separate but sat right next to each other on the bass.These bridges were milled in-house by Steinberger out of steel and featured the revolutionary tuning bridge with block style saddles.These first generation bridges are now referred to as the 4 string version 1.0 or simply v1. 第一个L的有两件马鞍桥 ， 即调谐器的组装和物理上独立的 ， 但坐在旁边上的每个低音等。这些桥梁被碾碎在由出钢斯坦伯格房子和特色的革命调谐块式马鞍桥。这些第一代桥 ， 现在称为四串版本1.0或干脆V1的。
http://www.steinbergerworld.com/parts/4bass-v1.jpg
Standard v1 L2 bridge. 二级标准V1的桥梁。
The 3 screws on the top plate are a distinct feature. 在上板的3螺丝是一个鲜明的特点。 When the XL's were introduced to replace the L's, a new v2 one-piece bridge was designed.These also were made at the Steinberger factory.They featured one-piece saddle blocks but intonation was now made by adjusting a set screw at the front of the saddle which in turn is attached to the bridge housing.This allows for precise, stable intonation changes. 当XL的引入 ， 以取代L的，新的2版一体式桥梁的设计。这些也都在斯坦伯格工厂生产的。它们都拥有1件鞍块 ， 但语调现在通过调整在前线集合了螺丝反过来附在房屋马鞍桥。这种对精确，稳定的语调变化允许。
http://www.steinbergerworld.com/parts/4bass-v2.jpg
XP2 bass with v2 Newburgh made bridge. 与2版纽堡XP2低音了桥梁。
Note the one piece saddles. 请注意一件鞍。 One of the main complaints about the v2 bridges is that the one-piece steel saddle wears over time.After prolonged use and tuning the strings can wear a groove into the saddle.This messes with the intonation, and can often cause string breakage when tuning -the outer wraps of the strings get caught on the sharp edges of the groove and the core snaps under the tension. 大约在2版桥梁的主要抱怨之一是 ， 单件鞍钢铁随着时间的推移穿。经过长时间的使用和调整字符串可以穿到马鞍一槽。与语调这个餐厅，而且常常导致破损的字符串时 ， 调谐-外换行的字符串被抓住的凹槽上的尖锐边缘和核心的紧张局势下对齐。 NOTE - To prevent this you can take a small file and round off the worn groove edges.This will keep you from breaking strings while tuning. 注意-为了避免这种情况可以采取的小文件和关闭磨损槽边缘轮。这将避免你在打破字符串调整。 With this knowledge Ned redesigned the bridge again in the mid 80's.At this time Steinberger production was exploding and they contracted the bridge manufacturing to Schaller Germany.These v3 bridges are still milled steel, but feature a saddle block with a channel cut in them.A stainless steel post with a slight groove to guide the string is inserted about 3/4 of the way up through the side.The stainless rod/post does not show through the tops of the saddles.Of all the bridges made these were likely in production the shortest time. 有了这方面的知识 ， 重新设计的内德80年代中期此时斯坦伯格生产爆炸 ， 他们承包的桥梁制造业夏勒博士德国。。这些第三版桥桥再次仍然铣钢，但特色是 ， 在他们的渠道减少一个马鞍块。一个有轻微的不锈钢槽后 ， 引导字符串插入约3 /的方式通过了4方。的不锈钢棒/后并没有显示通过鞍的顶部 ， 在所有的桥梁。使这些人很可能在在最短的时间生产。 http://www.steinbergerworld.com/parts/4bass-v3.jpg
White XL2A bass with v3 Schaller made bridge. 白XL2A低音第三版夏勒博士所作的桥梁。
Note the stainless inserts inside the saddles. 注意 ： 鞍内的不锈钢刀片。 As Steinberger grew and continued to farm out machining operations they entered into an agreement with Zen-On , a Japanese company, to produce their guitar tremolos. Steinberger also decided to use them for their bass bridges as well, and the v4 bridge was designed. 由于斯坦伯格增长 ， 并继续进行农产品加工业务 ， 他们将与禅宗协议上 ，一家日本公司，生产的吉他tremolos。斯坦伯格还决定使用他们自己的低音 ， 以及桥梁，桥梁和4版设计。 http://www.steinbergerworld.com/parts/4bass-v4.jpg
Zen-On made v4 bridge. 禅学了V4的桥梁。
Note prominence of stainless string inserts and string grooves. 注意不锈钢字符串和字符串槽插入突出。 This latest version of the 4 string bass bridge has similarities to both v2 & v3.The basic shape and design is identical to v2, but the use of stainless steel inserts like in v3 is retained.These inserts differ from the Schaller/v3 variety in that a solid (rather than a channeled) saddle block is used with a larger diameter brushed stainless rod inserted into the side but protruding through through the top as well.A very noticeable U groove is milled into the rod as well. 这4低音提琴桥的最新版本既v2和v3相似。基本形状和设计是相同的2版，但不锈钢刀片一样v3的使用保留。这些插入不同品种中的Schaller/v3一个稳固的（而不是一个渠道）鞍块的大直径用拉丝不锈钢棒插入到一边 ， 但通过最突出的时候了。非常明显ü槽是球磨到棒也。 Notably some of the components on the v4 are not milled steel either.Rather they are hot forged from a zinc based alloy named "zamac".Not known for great musical qualities (it's used because it has a low melting point), some think these Zen-On made bridges kill a bit of tone and sustain.We've found the addition of the stainless inserts counteracts much of this potential deadness. 特别是对V4的部分内容包括钢铁要么不精。而是它们从一个炎热的锌合金伪造的名为“扎马茨”。不为伟大的音乐素质已知（它使用 ， 因为它具有熔点低），有人认为这些禅学杀死了桥位的语气和维持。我们已经找到了另外的不锈钢刀片抵消这种潜力无生气了。 NOTE - Some people think that the v4 stainless insert is actually a roller saddle.This is not the case.The rod is tightly inserted and does not move when the strings are tuned. 注意-有些人认为，V4的不锈钢插入实际上是一个滚鞍。这种情况并非如此。紧密的棒插入不动时 ， 字符串调整。
http://www.steinbergerworld.com/parts/3bassbridges.jpg
From left: v2 Newburgh 4 string, Schaller made 5 narrow, v4 Zen-On 4 string. 左起：2版纽堡4串，夏勒博士了5狭窄，V4的禅月4字符串。
Bass TransTrem 低音TransTrem
Shortly after the introduction of the guitar TransTrem in 1986, Ned went to work on a bass version of this revolutionary bridge.Introduced in early '87 and logically dubbed the "Bass TransTrem" it featured the same ability to transpose strings in tune from low B up to high C. These bridges were actually made by HAZ Labs .Not known as a machine shop, this was done as a favor to Ned from Henry Zajic (HAZ Labs founder & owner). 不久后吉他TransTrem于1986年引进，内德去工作 ， 这个革命性的桥梁低音版本。月初推出87年和逻辑上被称为“巴斯TransTrem”它功能相同的能力 ， 从低转乙调弦到高长 ， 实际上 ， 这些桥梁是由热影响实验室作出。不知道一台机器车间，这是做一个有利于从亨利Zajic的内德（热影响实验室的创始人和所有者）。
http://www.steinbergerworld.com/parts/bassTT.jpg
Bass TransTrem featured on a white XL2TA bass (trem arm not pictured). 巴斯TransTrem特色 ， 放在一个白色XL2TA低音（珍珍手臂不如图）。 Though inspired, demand and interest in the bass version of this tremolo was never very great.Outside of the initial production run, no more were ever made.Best accounts are anywhere between 140 and 200 bass TT's were produced.HAZ Labs recalls it being 2 runs of 100, but actual documentation is non-existent.Steinberger offered the bass TT as an option into the '90's until all existing inventory was gone. 虽然启发，需求和在这个颤音低音版本的兴趣从来没有非常大的。最初的生产运行外，没有更多的人做过。最佳账户之间的任何位置140和200的低音TT的制作了。HAZ组织实验室的记忆被2 100运行，但实际的文件是不存在的。斯坦伯格提供了一个进入'90'选项低音特拧 ， 直到所有的现有库存已经走了。
Though our TransTrem instruction pages are focused on guitars, the same principles of installation, setup and use apply to the bass version as well. 虽然我们TransTrem教学网页在吉他的重点，安装，设置和使用同样的原则适用于低音版本 ， 以及。
Click here for official directions on tuning a TransTrem 点击这里就调整一TransTrem官方指示
Click here for helpful tips on setup and use. 点击这里就安装和使用有用的提示。
DB Tuner 数据库调谐器
Bowing to the lack of consumer interest in the bass TT, Ned realized that most bassists don't necessarily want to transpose all the strings on a 4 string bass; they primarily want to tune down a little.In 1988 the DB Tuner was born. 迫于消费者的低音特缺乏兴趣，内德明白 ， 大多数的贝司手不一定要在4转低音提琴所有字符串，他们主要是想调下来了一点。在1988年的DB调谐器诞生了。
Officially referred to as the "DB Bridge System" it has all of the same features of the standard 4 string bridge (tuners, saddles, etc.) but adds one feature to the E string - a detuning lever.With a flip of this lever you can instantly lower the tuning from E b down to low B.A fine tuner allows this detuned note to be precisely set. 正式称为“桥梁数据库系统”已对标准的4串桥相同的所有功能（调谐器，马鞍等），但增加了一个功能 ， 在E弦-一谐杠杆凭借翻转。这个杠杆您可以立即降低的 E b从低到乙的罚款 ， 调谐器调谐允许此失谐照会精确设定。
http://www.steinbergerworld.com/parts/DBbridge-v2.jpg
DB bridge on a newer XQ2bass. 数据库桥一新XQ2低音。
Note the stainless inserts in DBv2 saddles. 注意DBv2鞍座的不锈钢刀片。 There were two versions of the DB bridge: the first (DBv1) with one-piece saddles (like on the v2 4 string bridge), and a second Zen-On made one with the 4 string v4 type stainless insert saddles (DBv2).Like the narrow 5's these were designed with the same universal 4 string bridge footprint, and can be/were easily interchanged with other bridges. 有两种版本的DB桥：第（DBv1）单件鞍座（如在2版第4串桥），第二禅所取得的4串4版型不锈钢插入马鞍（DBv2）之一。像狭窄5的这些都是相同的通用4串桥足迹设计，而且可以/很容易互换与其他桥梁。
5 String Narrow 5弦窄
From the beginning Ned realized that the strength and rigidity of his graphite neck would allow much more tension on it without bending -much more so than a traditional wood neck anyways.So in 1982 he introduced a narrow 5 string bridge.This bridge had the same footprint as a normal 4 string bridge but accommodated 5 strings (either low B or high C). Steinberger offered this on new basses (dubbed the L-2/5 at the time), but you could also pick up a 5 string narrow bridge and accompanying headpiece to swap on your existing bass. 内德从一开始就意识到 ， 他的实力和石墨脖子僵硬将允许它更紧张的情况下弯曲-程度远远超过了传统的木脖子反正。因此 ， 在1982年他推出了狭窄的5弦的桥梁。这座桥有同样的作为一个正常的足迹4串桥梁 ， 而是容纳5串（或低或高乙丙类）。斯坦伯格提供了新的贝司本（称为的L - 2 / 5的时间），但你也可以拿起5弦窄桥和相应的头盔 ， 以交换在你现有的低音。
http://www.steinbergerworld.com/parts/5narrow-front.jpg
Schaller made 5 string narrow bridge. 沙勒了5串狭窄的桥梁。
Notice the stainless saddle inserts and the sideways jaws. 请注意不锈钢马鞍的侧面插入和下巴。 The L versions of these bridges were made in-house, while the XL versions appear to have been made by Schaller featuring the same 4 string v3 stainless saddle inserts.In actuality, Schaller re-milled standard 4 string bridge parts to use as 5 string narrows.Because some of the attachment screws on the base of the unit were in the way with the narrow spacing, new holes had to be drilled.If you turn one over you can see the original unused holes. 这些桥梁的L版本是在内部，同时加大码版本似乎已夏勒博士提出具有相同的4串第三版不锈钢马鞍插入。实际上，夏勒博士再磨标准的4串桥部分使用5弦缩小。由于对基地的实习单位的一些螺丝的方式是与窄间距，新的漏洞 ， 必须钻探。如果你第一个弯道超过你可以看到原来的未使用的洞。
http://www.steinbergerworld.com/parts/5narrow-back.jpg
Bottom of 5 narrow bridge. 底部5狭窄的桥梁。
Note 3 unused holes towards the bottom. 注3对底部的未洞。
On standard 4 string bridges these are used to attach the bridge top plate to the base plate. 在标准的4串桥 ， 这些是用来连接的桥梁顶板与底板。 It was not feasible to have the intonation screws attach to the bridge in such a small footprint, so the saddles in the narrow 5 must be attached manually (see full bridge pic above).Unlocking the side set screw release the saddles and you then set the intonation for each string by hand. 这是不可行的语调螺丝桥重视在这么小的体积，所以在狭窄5鞍必须附上手动（见全桥峰段）。**一边紧定螺钉释放马鞍和您然后设置每个手串语调。
It's also interesting to note that for some reason (unlike their 4 string counterparts) none of these bridges has the Steinberger name imprinted on the top plate of the bridge.Because of this some folks think that they're not "official" Steinberger bridges.That's not the case. 这也是有趣的是 ， 由于某些原因（与同行的4串），这些桥梁都没有名字的斯坦伯格的桥上面印板。正因为如此的一些人认为他们不是“官方”斯坦伯格桥梁。这并非如此。
http://www.steinbergerworld.com/parts/5narrow-2.jpg
A slightly different version of the 5 string narrow bridge. 阿的5弦版本略有不同 ， 狭窄的桥梁。
The sides are attached rather than part of the base. 双方都重视而不是基础的一部分。 As for playability some love these narrow 5's.But many players (especially finger-style ones) complain that the string spacing is too narrow to adequately play.Keep in mind the 5 narrow bridge reduces the normal string spacing significantly, resulting in much more "cramped" space between the strings.But because of Ned's ingenious design 5 narrow bridges can usually be swapped with a 4 standard counterpart to fit a player's needs. 至于可玩性一些喜欢这些狭窄5的。但很多球员（特别是手指式的）抱怨说 ， 串间距太窄 ， 无法充分发挥。牢记5窄桥降低了正常串间距显着，更造成了“狭窄的“空间之间的字符串。但由于纳德的巧妙设计5窄桥通常可以与对方交换4标准 ， 以适应玩家的需要。
5 String Wide 5弦宽
With the introduction of the Q5 (XQ) bass in 1990, Steinberger offered a true 5 string bass for the first time.This bridge possessed all the general features of the 4 string bridge save one - saddle intonation is set by hand just like the narrow 5. 随着问题5（学琴）于1990年推出的低音，斯坦伯格提供了第一次真正的5弦贝司。这座桥拥有的一切节省1 4串桥的一般特点-马鞍语调是通过手工设置 ， 就像狭窄5。
http://www.steinbergerworld.com/parts/5wide.jpg
Zen-On made version of the 5 string wide bass bridge. 禅所取得的5弦贝司桥宽版。 To differentiate these 5 string bridges from the narrow 5's, they are commonly referred to as "wide 5" bridges.These were featured on the Q5/XQ-25 basses and later on the XL-5W (wide 5 XL).The original Newburgh made basses feature single-piece saddles blocks (5Wv1) while the later ones (5Wv2) have the Zen-On style stainless saddle inserts as seen above. 为了区分5从狭隘的，他们通常被称为这5弦桥为“宽5”的桥梁。这些都是特色的Q5/XQ-25贝司 ， 后来在加大码- 5W（宽5四十）。原纽堡使低音功能 ， 单件鞍座块（5Wv1），而后来的（5Wv2）对风格的禅宗，不锈钢鞍如上所述插入。 It's interesting to note that every wide 5 bridge we've seen has the "Under License" tag you see on the bridge above.These are not aftermarket or clone bridges - they're the real thing.We don't know exactly why this wording is there. 这是有趣的是 ， 每一个宽5桥梁 ， 我们看到有“经许可”的标签你在上面的桥梁。这些都不是售后或克隆桥梁-他们是真实的东西。我们并不确切地知道为什么这措辞是存在的。 Known Prototypes 已知的原型
5 String Wide w/ Piezos 5弦宽瓦特/ Piezos
This special bridge was created by HAZ Labs in the final year of Gibson production (1998).HAZ built a single unit in an XQ bass to provide Gibson a "proof of concept" prototype. They modified the saddles on the bridge, inserted the piezo crystals, matched the buffers, and installed all of the electronics.It is not known if the prototype bass ever left the factory or if it still lives today. 这个特殊的桥是由热影响实验室创造的吉布森生产（1998年）。焊接热影响区的最后一年建成一个学琴低音一个单位 ， 提供吉布森的“概念证明”的原型。他们修改桥上的马鞍，插入压电晶体，匹配的缓冲区，并安装了电子所有。目前尚不清楚 ， 如果原型低音都离开了工厂 ， 或者如果今天仍然生活。
No circuit board was used in the prototype; all of the piezos and controls were hand wired. "It was a mess inside that cavity" comments Henry Zajic of HAZ. 没有电路板用在了原型;有关piezos和控制都是有线手。“这是一腔里的”烂摊子评论亨利的热影响区Zajic。 "If we would have taken it into production I would have designed a board for it, but didn't bother for just the one." “如果我们将考虑到生产 ， 我会为它设计的电路板，但没有打扰只一个。” Gibson ended up moth-balling Steinberger shortly thereafter so the idea was obviously never carried into production. 吉布森最终蛾合伙人的斯坦伯格此后不久 ， 因此想法 ， 显然是没有进行投入生产。
But the idea didn't die. 但这个想法没有死。
In recent years Stuart Spector bought back his namesake company and began making his own basses again.He designed a new bridge for his instruments that included the same block style saddles as the Steinberger."Yeah, I basically copied Ned's design" Spector admitted.HAZ Labs provides all of the electronics for Spector basses, and when approached about a piezo option recalled their earlier Steinberger work.That same prototype design was modified to fit Spector and is offered on their basses today. 近年来 ， 斯图尔特斯佩克特买回了他的名字命名的公司 ， 并开始制作自己的低音了。他设计了一个为他的工具 ， 其中包括新的大桥同一幢风格的斯坦伯格鞍。“是的，我基本上是复制纳德的设计”斯佩克特承认。焊接热影响区Labs提供的斯佩克特贝司电子所有，当一个压电选择接近回顾了先前斯坦伯格工作。同年原型设计 ， 修改以适应斯佩克特 ， 是他们的贝司今天提出的。
别人一拿起琴甭管Y懂的多懂的少都得冒一句:
"FENDER WARWICK ALL TMD SHIT"
一口地道中国英语
倍儿有面子
呵呵这个厉害 ！
LZ太YM 了 ！ http://www.steinbergerworld.com/tt_how.htm
Click here to download these instructions in Microsoft Word format. 点击这里下载Microsoft Word格式这些说明。
The Steinberger Transposing Tremelo 在斯坦伯格移调颤音
Detailed Instructions 详细说明
Understanding these instructions is essential in order to get the full benefit of this sophisticated mechanism. 理解这些说明是必要的 ， 以便让这一复杂的机制 ， 充分受益。
1. 1。 INSTALLING TREMOLO ARM: To install, spin arm clockwise into threaded hole, a minimum of four full turns. ARM公司的安装颤音：要安装，纺成螺纹孔，4个完整的最低手臂顺时针转。 When arm is screwed in almost to desired position. 当胳膊拧几乎到所需位置。 tighten knurled locking nut firmly down. 加强滚花螺母坚决了。 Tighten both arm and nut together for about 1/8th turn more to lock into position. 收紧手臂和螺母一起约八分之一把更多的锁定位置。
To remove or re-adjust arm, spin arm counter-clockvise until small transposing arm contacts back of pin. Continue turning until arm is free. 要删除或重新调整臂，旋臂反clockvise移调小胳膊 ， 直到接触回针。继续回避 ， 直到手臂是免费的。
To adjust rotational friction of transposing arm, turn set-screw located diagonally under arm on tuner housing. 要调整的移调手臂转动摩擦，反过来又使螺旋角下的调谐器住房臂上。
2. 2。 TO USE TREMOLO: Rotate arm into playing position and use normally. 使用方法颤音：旋转位置和玩弄正常使用手臂。
3. 3。 TO TRANSPOSE: Drop arm down, then turn clockwise to engage D, C, and B tunings. 转置：垂臂下来，然后再顺时针方向进行研发，C和乙调音。 Pull arm up and turn clockwise to engage F# and G tunings. 拉臂和进行顺时针转F＃和摹调音。 To disengage, rotate arm counter-clockwise. 脱离接触，旋转手臂逆时针。
4. 4。 TO TUNE: First lock tremolo in center E position by rotating arm clockwise. 收听：在中心E立场第一顺时针旋转臂锁颤音。 Then tune individual strings with small knobs as you would normally. 然后调整与小旋钮 ， 你通常会个别字符串。 ALWAYS LOCK TO TUNE! 始终锁定收听！
5. 5。 TO ADJUST TREMOLO RETURN: After unit is tuned, as in step 4 above, rotate arm counter-clockwise to disengage center lock. · 调整颤音回报：单位调整后，如上述第4步，旋转手臂逆时针脱离接触中心锁。 If tremolo moves and does not remain in tune, turn SPRING TENSION KNOB at bottom of guitar to adjust to pitch as required. Tremolo should not move or change pitch when going in and out of locked position. 如果颤音举动并没有留在调整，从而在吉他弹簧底部张力旋钮 ， 调整间距要求。颤音不要移动或改变它的音调 ， 当去进出锁定位置。 Additional tremolo positions of Eb and F are possible by further adjustment of the spring tension knob. 电子束附加颤音的立场和F是可能由弹簧张力旋钮进一步调整。
6. 6。 ACTION AND INTONATION: First unlock the saddles with side set screw. 行动和语调：首先解锁方定螺钉的马鞍。
Adjust action (vertical movement) with individual saddle set screws. 调整行动（垂直运动与个别鞍定螺丝）。
For bridge intonation (horizontal movement), push saddles manually, if intonation is sharp at the 24th fret, push saddles back (toward tuning knobs). 桥梁语调（横向运动），推进马鞍手动，如果语调是在第24烦恼尖锐，推回鞍（对调谐旋钮）。 If intonation is flat at the 24th fret, push saddles forward (toward headpiece). 如果语调是在第24烦恼单位，向前推进马鞍（向头盔）。
ALWAYS LOCK side set screws when bridge adjustment is completed. 始终锁定方桥调整时设置完成螺丝。 (1 1/2mm allen wrench required). （1 1/2mm艾伦扳手要求）。
7. 7。 TO ADJUST TRANSPOSING FEATURE: The TransTrem(™) should transpose all strings in tune. · 调整移调特点：TransTrem（™）应在调整转所有字符串。 Starting from regular E tuning, the pattern should be as follows: 起价定期通过电子邮件或调整，该模式应为：
Transposing Chart 移调图
String 字符串Down 向下的
3 steps 3个步骤Down 向下的
2 steps 2个步骤Down 向下的
1 step 1步Center 中心
Notch 缺口Up 向上
1 step 1步Up 向上
2 steps 2个步骤
1st or E 第一或E
2nd or B 第二或B
3rd or G 第三或G
4th or D 第四或D
5th or A 第五或A
6th or E 第六或EB 乙
F# F＃
D Ḏ
A 字母a
E 首页
B 乙|C| | ç |
|G| | G |的
|Eb| |降E |
|Bb| |降B |
|F| | F |
|C| | ç |D Ḏ
A 字母a
F F
C 荤
G 摹
D ḎE 首页
B 乙
G 摹
D Ḏ
A 字母a
E 首页|F#| | F＃|
|C#| | ç＃|
|A| |阿|
|E| |邮箱|
|B| |乙|
|F#| | F＃|G 摹
D Ḏ
Bb 降B
F F
C 荤
G 摹
Adjust TransTrem with these intervals 这些调整间隔TransTrem
If a string does not maintain tune according to this chart, the tuner jaw must be adjusted up or down. Use the key provided, a small screwdriver, or a coin to adjust the screw located just behind each jaw. 如果字符串不保持调整按照这个表，调谐器 ， 缺口必须向上或向下调整。使用的主要规定，一个小螺丝刀或硬币来调整每个颚仅次于位于螺丝。 Turn clockwise to move jaw down, counter clockwise to move jaw up, according to the following procedure: 顺时针移动下颚向下，逆时针移动下巴时，按照下列程序进行：
1) Set transposing arm up 1 step and tune with knobs according to chart. 1）设置移调手臂上涨1步和调整旋钮按图。 (Example: "E" string should be "F#" in the 1st step up position). （例如：“E”类的字符串应该的“F＃”，在弹出的地位第一步骤）。
2) Transpose to 2nd step down and check new pitch with chart. 2）转置的第二下台 ， 查询图新球场。 (Example: "E" string should be "C" in 2nd step down position). （例如：“E”类的字符串应该是在“C”第二下台的立场）。
3) Adjust jaw height in the lower position only. 3）调整在较低的位置下巴高度只。 It pitch is flat, lower jaw by turning the screw (located just behind the jaw) clockwise. 这间距是平坦的，转动的螺丝下颚（位于仅次于下巴）顺时针。 If pitch is sharp, raise jaw by turning the screw counter-clockwise. 如果间距是尖锐，提高转动螺丝逆时针下巴。
4) Repeat steps 1 through 3 until pitch is correct in both positions. 4）重复步骤1到3，直到节距在双方的立场是正确的。 Always use the knobs only to tune in the up position, and the jaw screws only to adjust the pitch in the lower position.All other transposing positions should be automatically in tune when the 1st up and 2nd down positions are properly adjusted. 始终使用旋钮只在调整到位，而下巴调整螺丝只在较低的位置球场。所有其他移调位置应在调整时自动第一和第二的立场是正确向下调整。
NOTE: CALIBRATED transposing strings are required for best results.Improperly calibrated strings will not track well with each other, so the tuning will not be accurate in all positions.This process is greatly facilitated by use of a chromatic electronic tuner. 注意：校准移调字符串所需的最佳效果。不正确校准弦就不会跟踪与对方，因此调整不会在所有位置准确。这个过程是大大的音阶电子调谐器的使用提供便利。 With an electronic guitar tuner with only 6 intervals, find on your transposing chart the steps for each string that are tuned to E,A,D,G, or B and use these intervals to set transposing feature. 一个只有6间隔电子吉他调谐器，找到您移调为每个图表都调整到E，A，D和G或B和利用这些时间来设置字符串移调功能的步骤。 (For best accuracy, use steps that are furthest apart)While this adjustment may be a bit confusing at first, it is really very easy once you get use to it. （为了获得最佳精度，使用的步骤是最远的外）尽管这种调整可能有点混乱在第一，实在是很容易一旦你使用它。
8. 8。 TO REPLACE STRINGS: To remove, loosen tuning knob until string is loose and ball can slide up and out of jaw. 给替换字符串：要删除，放松调节旋钮 ， 直至字符串松散 ， 球可以滑出的下巴和。 ( "B" and "G" string balls are deep in saddles and restricted from upward movement by a small lip. Simply move ball back in jaw and lift to remove). （“B”类和“G”串球深马鞍和向上运动受限的小嘴唇。干脆转移回球在下巴和电梯删除）。
To install strings, align string ball with hole in jaw, and push ball down as far as it will go. 要安装串，同意在下巴细线球，推球下尽可能将到。 (On "B" and "G" strings, balls must be pushed below small internal lip, and should then pull up on lip for most stable operation). （在“B”类和“G”的字符串，必须推球以下小型内部唇，然后才去拉动唇为最稳定的操作）。 After rough tuning, push tremolo all the way up and down several times to set strings, then fine tune and adjust transposing feature as needed. 经过粗略的调整，推动颤音一路向上和向下几次集字符串，然后微调并根据需要调整移调功能。
NOTE: The TransTrem will work with all double ball strings, as well as conventional single ball strings using a STRING ADAPTOR available from Steinberger. 注意：TransTrem将与所有双球字符串，以及传统的单球弦适配器可从斯坦伯格使用一个字符串。 However, the best results will be achieved with CALIBRATED double ball strings designed for the TransTrem, with either threaded ball or non-threaded ball. 然而，最好的结果将实现与校准双球的TransTrem设计的字符串，不论是螺纹球或无螺纹球。 The transposing arm is easily removable by loosening screw on side of arm. 移调手臂的移动很容易通过放松手臂一侧的螺钉。 The transposing pin is removed by loosening set screw. 移调引脚的去除定螺钉松动。
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Reprinted with permission by Ned Steinberger and NS Design 重印由内德斯坦伯格和纳秒设计许可http://www.steinbergerworld.com/images/TTdraw.gif http://www.steinbergerworld.com/logos/tt-small.gif TIPS & INFO
An assortment of helpful tips & background for setup & use.
The first thing you need to do is plunk down money and buy the right strings. Though they may seem like a bargain, you'll need to stay away from the MusicYo brand for TransTrems - they're passable for beginners on the inexpensive R-Trem but totally unacceptable for TT's.
Another necessity is the use of a good chromatic tuner.You don't need a rackmount one, as today's smaller/cheaper units will give you accurate readings.If you don't use a chromatic tuner, small tuning inaccuracies (even if just a few cents) can get magnified when transposing.These days reliable ones can be had for $50 and used rackmount ones for under $100.No excuses not to have one.
The final key to success is the use of "calibrated" strings.
What does the term "calibrated" mean?
When Ned originally designed the TT he had to establish some basic rules of operation.The first of these was that the double-ball end strings needed to be an exact length.This would position the larger ball end at a precise location within the bridge assembly, and provide the ideal rotational angle point (or more accurately the distance of movement) to transpose.
This is the scientific basis for how the TransTrem works.If you'll notice, the pivot points of the bridge are asymmetrical.This makes the bridge rotate at an angle (rather than directly parallel to the strings like on most other trems) when engaged.This slight angle stretches each string a different distance, which results in a varying rate of tension change for each one (more for the low E, less for the high E).This provides the transposing.There were obviously a lot of equations (and trials & errors) in figuring this stuff out.There were attempts thoughout the years to build trems that transposed (it's not a new idea), though none locked in place in the various keys.Ned's overall approach was radical and inspired genius.
This precise transposing action requires exacting specs on the string length.If the strings are too long the transposed notes are flat - too short and they're sharp.The farther you go out from the center unlocked position the worse it gets.Because tension on each string varies (due to construction, gauge & frequency differences) the ideal length of each string is also different for each manufacturer
Ned chose the term "calibrated" to define strings that are the precise length needed to transpose properly.A calibrated string is technically within 1/16" of his specification when tuned; that is within .0625" of it's ideal length.Any more than that and the string won't transpose.Ned did build a "fudge factor" into his bridge - the fine transposing tuners allow you to compensate for any minor, real-world variations in actual length.This term "calibrated" is not trademarked nor proprietary.Ned intentionally shared it to allow any manufacturer to use the term (and the underlying processes to determine it).His hope was that it would offer the widest variety of options to his customers.
Understand that not all double-ball strings are calibrated.The process of determining the calibration spec is different for each maker, depending on their construction techniques.There is an exacting process (usually including lots of testing) to measure.But once the calibration is set for a specific string, the manufacturer can then make thousands of them to that precise length.As long as they don't change any major factors (type of metal, core diameter, wrap diameter, # or wraps, etc.) the spec remains constant.
Ned actually made a custom headpiece that he could use to quickly check the lengths of the strings and tell how far in/out of spec they were.For a time the company regularly tested each manufacturers strings.Once Gibson bought the company this process slowly went away and hasn't been done for many years.Ned still has that headpiece, and just recently has started helping us by testing strings and working with the manufacturers again (most notably D'Addario).Mind you he doesn't get a dime for this - he does it to help those who've come to buy and enjoy his namesakes.
http://www.steinbergerworld.com/parts/ttcalhead-sm.jpg
A close-up photo of Ned's custom calibrating headpiece.
It was not a production piece, so the steel was never coated (hence the rust).
Click on the photo for a detailed view.
So what strings should I buy?
For guitar we know of only two manufacturers who make properly calibrated strings: LaBella (the "official" Steinberger string maker) and D'Addario. LaBella designates "calibrated" on sets designed for use with the TT.If you don't specifically see that word on a LaBella set don't assume they are calibrated - they probably aren't.Unfortunately D'Addario strings don't say calibrated anywhere.But because they have a limited selection of double-ball strings they've decided to make all of their sets are calibrated.We've spoken to the folks at D'Addario about this and expect to see the term "calibrated" printed on their packaging to clear up any confusion in the near future.
The vast majority of reports from experienced TT players indicates these are the only 2 string brands to use.LaBella has a wider variety of gauges and types, but D'Addario's seem to be a little cheaper in price.
For the bass TransTrem, LaBella was the only known source for calibrated TT bass strings.Best guesstimates are only 200 bass TT's were ever made, so the market for these is quite small (and probably shrinking as time goes on).In late 2000 LaBella discontinued production of calibrated bass strings (retailers sold out in mid 2001), and will not accept new orders even on a custom basis.We're currently working with D'Addario to get their bass strings calibrated.
See our Links page for bookmarks to the string manufacturers and recommended retailers.
What gauges of strings can I use?
The TransTrem was originally designed to use .009 sets.To market to a wider owner base (and because the trem could handle it) the use of .080's & .010's was quickly added. Almost all standard sets of .008's, .009's and .010's - regardless of the top string used (.042, .045, .046) - will work properly.
But what if you really love the big tone that 11's provide?The increased tension from these larger gauges causes a major problem: the trem spring (which counteracts the tension of the strings) gets too compressed.This limits the trem's range of motion and often makes transposing to the outer positions impossible.But there is a solution.
An enterprising fellow, Lou Larson, was in this same predicament - he enjoyed playing 11's but couldn't use them on his TT equipped GL's..His father happened to be an engineer.So Larson had his dad do the precise tension calculations that a .011-.050 gauge set produces.From these calculations he had a batch of 100 springs custom made.The original trem spring installed at the factory was/is a standard off-the-shelf medium duty die spring (click here to read more).Actually he over-engineered them by about 5%, that way the trem wouldn't easily go out of tune when bumped.
Larson still has many springs left for sale.Last time we checked (1/02) he was selling them for $15 + shipping.Those who've used them say installation isn't too complicated (if you're handy) and the sonic change is very noticeable.If you really like the meaty tones 11's give we suggest you try one.
Click here to email Lou for an .011 TransTrem spring.
What types of strings can I use?
LaBella makes both stainless and a few nickel sets.D'Addario offers only nickel and has no immediate plans to offer stainless.All of them work fine - choose whichever sounds best to you.
I see these LaBella "threaded" ball end strings.What are they?Do I need them?
The first version of the TransTrem (now known as a Type1) was designed to use threaded ball ends in the bridge.This allowed for the fine tuning of the transposing feature, as screwing the ball in or out moved the string up or down and thus varied the string length.But with the luxury of hindsight, even Ned admits that it was not the most graceful solution
http://www.steinbergerworld.com/parts/tt-type1.jpg
Front on view of a Type1 TransTremThe biggest complaint about this design came during string changes.Once the trem was set up it worked great.But the fine tuning part (the ball end) had to be removed and then reset again each time you changed a string.
http://www.steinbergerworld.com/parts/tt-type1-closeup.jpg
Close-up of the the threaded ball inserted in a Type1 TTAfter a few years Ned redesigned a version 2.0 trem (known as a Type2).A major change was the addition of fine tunings jaws which separated the transposing adjustment from the ball end itself.This allowed the use of regular ball ends for the manufacturers, and meant the fine transposing settings would remain set when the string was removed.Retuning after string changes became much easier. This Type2 TT was introduced in the late 80's, and all instruments manufactured up until production ended in 1998 featured this upgraded design.
http://www.steinbergerworld.com/parts/tt-type2.jpg
A Type2 Zen-On made TransTremFor previous owners Type 1 owners frustrated with threaded ball end strings Steinberger offered an upgrade.You shipped your guitar (or just the bridge) to the factory, and they replaced the jaws and either re-milled or replaced the bridge top plate.Bridges that have been upgraded are said to have the "trem retro mod".For some this offers the best of both worlds: the milled steel components of the Type1 trems add tone and sustain and the Type2 intonating jaws ease the hassle of string changes.Most trems were upgraded, and it's estimated perhaps less than a hundred original unmodified Type1 trems are still out there.Since the plant is closed Gibson no longer offers the upgrade for older unmodified Type1 trems.
http://www.steinbergerworld.com/parts/ttretro.jpg
A Type1 retro bridgeThe pictures in this section should be a guide to what bridge you own.If it's a Type2 or a Type1 "trem retro" then you've got the newer jaws and the standard sets of calibrated strings are what you order.If you still have the original factory unmodified Type1 TT, then you must order threaded double ball-end calibrated strings.Only LaBella makes these.
How do I start?
As mentioned before the key to transposing is the slight movement of the ball end, which in turn stretches each string with a different amount of tension.If you look closely at the jaws you'll notice that they are not all exactly the same.Some have the ball placed more at the top of the jaw (high E), the bottom (B and G even deeper) or more in the middle (low E, A & D).This ball-end placement is a refined part of the engineering equations for transposing each string.
NOTE - If you ever need to buy a replacement TT jaw, you'll need to know which string it's for.Installing the wrong jaw will prevent the trem from transposing properly on that string.
What's also interesting to note is that each jaw is designed to have it's own "home" - that is there's a pattern to where each one should be for a correctly set up TT.Knowing these points can give you a head start when first setting up and make the process go much faster.
We asked for Ned's help on this and he supplied several digital pics from one of his own guitars.This TT pictured below was configured by "the man" himself for ideal operation.Feel free to use the following pictures as a guide when setting up yours.What should be noted here is the both the vertical (up/down) and, perhaps more importantly, the horizontal (front/back) position of the jaws.First place them in the approximate vertical positions you see below to speed up the tuning process.
http://www.steinbergerworld.com/parts/tt-ned2thumb.jpg
Angled view of the jaws.
Click on pic for close-up view. http://www.steinbergerworld.com/parts/tt-ned3thumb.jpg
Nearly front on view; more helpful for reference.
Note the up/down location of each jaw.
Click on pic for close-up view.When you get the jaws roughly set up according to the pics above, put the strings on and follow the formal tuning instructions next.When the strings are on and tuned to pitch with the regular bridge tuning knobs (at the bridge end) it should look like the following:
http://www.steinbergerworld.com/parts/tt-ned1thumb.jpg
Overhead shot of the entire bridge.
Note the front/back position of each jaw.
Click on pic for close-up view.This is how it should look right before you get to the actual transposing adjustment in the directions.The picture above is crucial.Though you can obviously look at the jaws themselves, noticing the stainless adjustment screws gives a little better contrast for reference.Note that the low E, A & D string jaws are all basically in a line, a little forward of middle position.Next the G is way back, the B a little in front of that and finally the high E is way up front.If your jaws don't line up in this general pattern it's likely that the ball end will be in the wrong place, and the string won't transpose properly.If any one string is way out of whack, replace it with a new one from another set.Once it looks like this move on to the detailed transposing directions.NOTE - Once you have your TransTrem calibrated, changing strings usually requires only minor corrections.However if this is a new instrument (or used and therefore new to you), if it's been a long time between string changes, or if you change the type or gauge of string you're using, you'll probably need to start from scratch and reference these photos.
Make sure you follow the directions!
Click here for the latest official & revised directions for correct TransTrem tuning & adjustment.These were created by Ned himself and were copied from his current company's website.If you want a version to save & print for later, click here to open, save and/or print an MS Word 97/2000 version (hit cancel if prompted for a username and password).
The key to success is following the general principles outlined.Yes there are a few ways of doing this but all seem to follow the same general principles.Novices would be wise to stay on the beaten path we show here. However, if you've found some helpful hints not included on this page please email us to share them.
IMPORTANT NOTE - The instructions you link to above may look identical to ones elsewhere, particularly on the Ed Roman / World Class Guitars website.DO NOT USE THOSE!Mr. Roman's are not complete.If you study this official version side-by-side with his you'll notice he leaves out one key step - how to properly adjust the transposing feature!It's the most involved step and is crucial to making it work properly.It's this specific type of selective "misinformation" on the web we started this site to address.
It's not working. . .
We have to admit, usually we're able to re-string a set in no time flat.But sometimes there was that one string that just won't transpose properly.We'd spend 15 minutes or more trying to get it right, adjusting back and forth, and still no luck.
You know what it is?It's usually a bad string.
Even with all of the quality control and automation at a plant one bad string (either too long or too short) can still get out once in a while.If the situation above sounds familiar, take a new string from another set (you always keep several news sets on hand don't you?) and try it.In 80% of the instances the problem disappears right away and the string tunes right up.Feel free to either throw the string out, or better yet contact the manufacturer and/or retailer about a replacement.
This small hint will save you lots of time and frustration if it happens to you.It took some time and discussion for a collective light bulb to go off over our heads on this one.So don't feel bad if it wasn't obvious to you either.
It's still not working. . .
Even after trying several sets of strings you still find you can't get the bridge to transpose properly.At this stage we often hear of a what we'll call a "return to zero" issue.This is when after transposing the trem will not "float" in tune.Often it "rides rough" when transposing or regularly comes back sharp or flat.Reports add that tapping the arm a bit usually brings it back in tune.
The first thing to check are the saddle rollers.These often can get gummed up or for other reasons just not roll properly.Remove the strings and see if all of the rollers move freely by hand.If you can't tell by hand, use a rubber band or piece of plastic or other material to run over them.There should be no sticking at any point along each roller's travel.If there is, try lubricating it then running it back and forth a bunch of times to work it in.If it's still not rolling freely you'll need to buy new saddles, have a specialist repair them, or try to fix/burnish them yourself.We won't go into that process here.
So you've checked the rollers.They work fine but the trem is still sticking.At this point some people think the spring might be worn out.In fact the spring is pretty heavy duty and is unlikely to be the first part on your unit to wear out.
A more likely culprit are the bearings.
The two pivot points of the TT consist of a bearing and shaft assembly that fit into milled holes in the bridge base and tremolo assembly.These are very small bearing units - only 10 mm in diameter x 4 mm wide.Like all bearings they have a tendency to wear over time.The bearings in a TransTrem (and the similarly designed non-transposing S-Trem) are especially prone to it.Most owners don't know the bearings even exist (they haven't ever taken the trem apart to see them) and rarely (or never) clean and/or lubricate them as is recommended for any bearing.
Another factor in the bearing wear is that technically it's the "wrong" component to use in this type of application.Bearings are primarily designed for rotational (around and around) use rather than the small back and forth arc the TT operates in.This limited movement keeps the ball bearings in a small path and they tend to wear grooves faster.The two signs of bearing wear are the behaviors we noted before -1) the trem rides rough and/or 2) doesn't return to zero.It's one of the limitations of the design, but can be easily fixed.A pair of new bearings only costs about $4.
Click here for directions on finding and replacing your TransTrem bearings.
Can I lubricate my trem?What should I use?
If you replace your bearings with the sealed variety we recommend in the link above, then there's no way to lubricate them.For shielded or open bearings (and the other moving parts on your trem) we recommend the following products:
Tri-Flow - An industrial lubricant with Teflon added.Resistant to moisture in addition to it's lubricating properties.Can be found at most full service hardware and auto supply stores.
Click here to go to the Tri-Flow website
Hoppes Gun Oil - Designed for guns, this product will lubricate and protect the exposed metal on tremolos and internal moving bridge parts just as well.Can be found at local gun/hunting or sporting goods shops in addition to various online sources.They also offer a variety of other petroleum and polymer based lubricants.
Click here to go to the Hoppes website
White Lightning - Can be found in most local bike specialty shops.It's a "self-cleaning" polymer based lubricant designed for bike chains.The lubricant is held in a suspension with a wax, which provides long-term lubrication and protection from harsh moisture and dirt conditions.Some guys don't care for the waxy build up, but it does provide excellent long-term protection.Also good for other moving bridge parts (tuners, rods, jaws, etc.).Price is between $4 and $6 for a 4 oz. bottle which should last many years.
Click here to go to the White Lightning website.
Each of these manufacturers has links on their respective sites to both traditional brick-and-mortar and online retailers where their products can be purchased.STAY AWAY FROM WD-40!Technically it's not a lubricant and won't provide the long term lubrication the bearings and other parts need.We've spoken with folks who've been using the three specific products we've mentioned above on their 'bergers for years.Choose whichever you prefer.Since you don't need to use much, even the smaller bottles will provide you a supply for many years.
One last string tip - solder those wraps!
One final tip we'd like to leave you with can save you lots of aggravation. . .and maybe even some money.
It's not uncommon for the high E strings (and sometimes the B) to break - often right after re-stringing.LaBella includes two high E's in their sets because of this very thing. From what we can tell there seems to be some weakness in the wrap area right at the ball end.Since LaBella are the most popular, we see it with those more often.But it's been reported on other brands too.
The most common result of this flaw is that the string simply breaks at the ball end when the trem is raised.A less common outcome is that the trem will work fine when set up, but the next time you take it out of the case the high E will be flat and the others sharp.In this latter instance the wraps seem to be actually loosening a tiny bit.
To combat both issues, we suggest you put a drop or two of solder on the wraps of the unwound strings prior to installing them. It doesn't have to be the neatest work, so long as you reinforce the wraps a little. It only takes a few minutes, and can save you loads of aggravation (and high E strings!) if you get into the habit.
Conclusion
We hope these tips make the maintenance and use of your TransTrem enjoyable and hassle free.If you're having some additional problems not listed here, or have some other specific questions join our Yahoo! Group.There's a bevy of knowledgeable Steinberger owners there with lots of experience who'll readily answer your queries. 楼主淫才了~全部金山快译啊~ 琴弦松了，音就低了。。。 据说装了这个对琴8好 我自己的琴里其中一把是原厂配的hip-shot d-tuner。。。但是截止到目前我都没有用到过一次（当然跟我另外还有5弦贝斯有关）。。。理由是：1 无论是hip-shot 的d-tuner还是gotoh和steinberger都发表过的bridge with drop-d，都有一个问题是通过调整琴弦张力来改变音高，但是同时带来的问题是，当一条琴弦张力改变，那么琴颈的受力会改变，然后琴颈对其他琴弦的张力会改变，那么其他三根琴弦的张力会改变，于是其他三根琴弦都会有一点点的跑音，虽然大部分人的耳朵其实分辨不出（所以也可以忽略这个问题）。。。2 需要专门去联系D-A-D-G上面音程关系的指法（你不能在不熟练的情况下去弹吧），当然我也因为装有D-tuner专门去练过一阵子，最后发现我已经有5弦贝斯练这个太没必要了。。。
所以最科学的是kubick-factor 的那个所谓“智能降D装置”，可以解决上述两个问题。。。因为当它启动的时候，是通过增加弦长和品格数来降D，可以不用改变原先琴弦张力以及指法。。。可惜对kubick那种没脑袋琴完全没有弹奏的兴趣。。。 我是看了楼主后半段来的，强的一塌糊涂
回复 13# bluesnblood 的帖子
啊 谢谢版主如果要是在 力方面能做到配平就好了。。。。。
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