嗯，請問你要換什麼東西的琴？ 吉他？貝斯？豎琴？還是...;p 起碼把你琴長得什麼樣描述一下人家才知道 你的問題在哪唷。 我覺得你不如下次買弦的時候帶著琴去給樂器行的 人換吧，人家換旁邊看不懂問，絕對會比在網路上的文字敘述清楚有用
嗯...我也是學樂器行換的方式... 不過上次給別人看到他說要轉兩圈再打個小結... 這樣比較不容易走音... 所以... 我也是很納悶... 到底怎樣的換弦方式好... 我的是strat... p.s:也想順便了解大搖要怎換..~_^"
這是從kinman網站偷過來的 Keeping it in TUNE. There are a few secrets to keeping your Strat with a traditional bridge (and twin pivot bridges) in tune and I'm going to pass these along to you here (some aspects also apply to Telecasters). Many players blame the bridge for failure to return to pitch when actually it's more likely to be the fingerboard nut to blame. When you bend notes or use the Vibrato bridge the strings must be able to slide freely through the 6 little grooves in the nut. If there is any friction in those grooves then there is a strong likelihood they won't return to the correct pitch when you have finished the bend or Vibrato. Same applies to the String guide (or string tree). The properties of the material itself is the primary cause but tight grooves can also contribute to the problem. Also, the modern roller and ball bearing nuts are just as troublesome as the old plastic (bone) ones. The rollers or balls seize and stop rolling causing string drag. To prove the point with conventional nuts melt a little bit of candle wax into the grooves with the strings pulled to one side. For a good job use a soldering iron (not very hot) to make sure it has penetrated into the grooves thoroughly. Re-tune your guitar and try bending or Vibratos again. If the pitch return is better then you have the answer. Unfortunately candle wax is only a temporary solution. For a permanent fix I favor the use of Nylatron (A tough plastic that is used as an engineering bearing material in Industrial applications - Nylatron 1/8" GS cut strip) because it lasts practically forever BUT is difficult to fashion nuts and string guides from. In America Nylatron (Natural color) can be obtained from http://www.interstateplastics.com/ >materials >Nylatron GS > scroll down to Order Form and Select Qty: 1, Thickness: .125", Sheet size: 12 x 12 In, Type: Natural. Cost is $8.30 (US Dollars). Alternatively Graphtech make nuts and string guides that work quite well but are very soft and will not last such a long time. Remember that the nut grooves will be optimized for a specific string gauge so if you decide later to go to a heavier gauge then the grooves may have to be widened. Also keep in mind that excessive angle of strings as they pass over the nut causes inherent friction so keep the angle to a minimum with the string tree. Next is the way the strings are terminated around the tuner shafts. Basically you need to keep the turns around the shafts to a minimum. In 1984 I developed a way of limiting this to half a turn and with no slippage, provided you have the split shaft tuners such as Klusons or Gotoh (my favorites because the split in the shaft allows you to lock the string on with an absolute minimum of turns). Many players believe that wrapping all of the excess string around the tuner shafts will prevent slippage but actually the reverse is true. All those overlapping turns provide a lot of scope for slippage and sudden re-seating. Same goes for tying strings onto the tuner shaft. First step, cut the E & A strings 25mm (1") past the corresponding shaft and poke the end into the hole at the bottom of the split. Then, after bending the string sharply out of the slot and with the string pulled tight with your fingers (see daig 3 and 4 below), wind the string around the shaft and up to pitch. Second step, cut the D, G, B & E strings cut 40mm (1 -5/8") past the respective shafts (shown in diagram 1 below). Poke the end into the hole and wind tightly around the shaft for 1 full turn, then lead it back through the slot again (for a second time) and continue winding up to pitch. Take care to ensure that on the second pass through the slot that the string exits the slot underneath the first loop of string, not on top of it (see diag 2 below). This helps to maintain more break angle over the nut by providing a steeper exit angle behind the nut. Diag 1. Diag 2. Diag 3. Keep the string taut during terminating and winding the string. Diag 4. Keep the string taut AND angled down while winding If your guitar is fitted with Gotoh heads you will now have about 1/2 turn of string around the shaft at concert pitch. If you have Klusons you will have about 1 complete turn. Either is satisfactory for the purpose. Don't be alarmed, this is a tried and tested method and I have recommended it with great success on my Blueprint series guitars since 1984. Lastly the bridge itself. As long as it pivots freely on the 6 mounting screws without any binding or friction then it is best adjusted so that it floats off the body by about 3mm (1/8") at the rear of the bridge plate. This is the ideal position to allow Vibrato and facilitate returning to pitch since it reduces saddle-top friction by lessening the string break angle over the saddle. A floating bridge will return the strings to pitch better than if it is flat on the body. If it binds on the screws then obviously there is a problem that needs to be remedied by a good quality guitar repairer (see Links page) who should be aware of the next section dealing with bridge installation. Finally a few words about managing the system. Tune up to pitch string by string. Stretch new strings a little bit by gently pulling them sideways at mid point along their length. Repeat tuning until all strings are stabilized. Push the vibrato arm down almost to the body and let return. Check the tuning again and if any strings are sharp simple detune to pitch, do not go below pitch and then tune back up (this defeats the purpose) If any strings are flat then tune up to pitch, do not over shoot the mark. If you accidentally do overshoot and find the pitch is too high start the process over. It's important to sneak the string directly to pitch from either the sharp or flat positions. Overshooting is a No No. Now you'll see why I like Gotoh tuners. Having accomplished that step press the vibrato arm again as before and repeat the string tuning process. This may have to be done up to 3 times. If it takes more than 4 times to stabilize then there is something wrong in the system, perhaps a tight nut groove. When it's stabilized you should be able to deck the arm and have the strings return to pitch satisfactorily. Now when bending strings, particularly the plain G, they will return flat, but don't panic. Simple press the vibrato arm again, as you did before, and presto the G will pop back into tune as if by magic. So you have to remember that when bending the G (and to a lesser extent the B & E) it will always return flat so just remember to press the arm and continue playing. The severity of the push is dependent on the severity of the bend. This method works on practically all Strats irrespective of whether Traditional bridge or a modern Twin Pivot bridge is fitted.
哎唷~~你也是拿GIBSONㄉㄚ... 我也是ㄋ...我是拿GIBSON LES PAUL STANDARDㄉ日落紅... 再過兩ㄍ月要買GIBSON LES PAUL CUSTOMㄉ琴... 廢話不多提ㄌ... 大搖桿ㄉ琴大致上跟小搖桿是一樣ㄉ... 只是要先把弦ㄉ尾端先剪掉(就是沒有繞圈ㄉ地方)讓弦整體ㄉ粗細一樣... 然後先把弦從吉他ㄉ弦鈕孔穿過鎖在大搖桿上... 然後預估一下長度把弦調緊...最後再多於ㄉ弦剪掉... 安ㄋㄟ某...
web page 我想這頁正巧符合你的需求 裡面介紹蠻清楚的,還有8度音準的調法, 其他的諸如吉他手故事,錄音技術等介紹 都能深入淺出,蠻適合英文普普的朋友們! 不過這個web是同一人做的,說法難免會帶點主觀. 老實說馬堤po的那篇簡直超詳盡..必看!! (換弦是個重要課題呢!!應該沒人會看輕拉....)
樓上的大哥說滴沒錯，換弦的步驟很重要 因為如果沒有較為正確的步驟，可能會導致妳的琴頸彎曲 小弟在這邊大致說一下大搖桿的換弦法。 １.先從第一弦，就是細的那條先換，最好是裝好一弦再拆下一弦，因為要保持琴頸對弦適應的張力。 ２.在弦鈕固定地方的位置，用手把弦往上拉緊，距離指版約一個半拳頭高，大約就有兩圈了。這時開始猛力極速轉緊弦鈕，直到你的手也跟著弦一起拉近指板時，約達原本張力時放手，最好每調一條弦就 掑@次音，這個重點是在於保持跟原來一樣的音調，弦的張力才會相近符合琴頸所原來瘦的張力，不至於彎曲。 ３.再來你可以選擇打結或不打結 ４.大搖桿琴頸上的固定弦的壓釦先不要上，過一天等琴頸完全適應新弦在鎖上。 ５.如鎖上後還有些音調偏差，在用搖桿座上的微調調音即可。 以上是小弟粗略大概的解說，如有疑惑請指教~~^^"