Need advices on tremolo bridge adjustment!

  • 25 1/2 and 22 frets is very strat like! It should work I assume... As I said I have no problem at all with any starting point, even without the angle springs, to get the correct intervals once I pull the trem bar to get the G string bend to Bb when the bridge reach the top of the guitar.

  • I can get the G-string exactly a minor third up to A#

    not trying to be an ass, but I'd like to point out, that a third of some kind of g (natural, sharp, flat, double sharp, etc...) will always be a b of some sort (natural, sharp, flat, double sharp, etc...)
    the interval dictates the note letter.


    sorry, but this always bothers me, especially since the system behind it is so logical. ;)

  • No, I don't have big tuning problems but I was curious if I can get the intervals on G-, B- and e-string. But I can't. If I have the G to Bb interval on the G-string the intervals on B- and e-string are always sharp, no matter what I do. I've found a detailed instruction and another video from Carl Verheyen himself on the net. Both say that if you get this G to Bb interval the rest will follow automatically. This may be true for a strat but not for a Music Man Luke II. Also he suggests on point 2 (see below) to adjust only the spring on the bass side after getting the G to Bb interval. If I do this on the Luke the intervals on the three treble strings are changing too and I can't imagine that they don't do this on a strat. Anyway...here are the instructions and a link to the video (hear especially what he says at 3:02):


    "I have worked on this concept for many years and I have found it is all about equalizing and balancing the tension between SPRINGS AND STRINGS. Here follows the information sent with my signature "Balanced Bridge" strings made by Thomastik-Infeld in Vienna, Austria.
    Verheyen Stratocaster Full Floating Tremolo Bridge Setup


    For the last 20 years the Fender Stratocaster has been my main guitar. When working with the bridge setup I always strive for the most musical and in-tune mechanical operation I can find. I’ve asked hundreds of players about their setup and over the years I’ve come up with my own method that always returns to pitch and has many musical benefits as well. The method described works best when the tuners are working properly, the nut has been properly cut so string don’t bind, the neck truss rod properly adjusted and the six (or 2) mounting screws that fasten the bridge plate provide proper freedom of movement.


    At the heart of the setup is balancing spring tension with string tension by adjusting the two long spring tension adjusting screws at the “claw” to which the tremolo springs are attached to the steel tremolo block. Use 3 springs from the tremolo block to the claw: furthest position left, furthest position right and center; do NOT set the outside springs at an angle.
    1) Begin by adjusting the 2 screws of the claw so that when you pull UP on the tremolo arm and the bridge is in contact with the body the G string pulls up a minor 3rd. This will make the B string rise a whole step and the E string a half step. The mechanics of the system should first make musical sense. You will end up with an “Angled Claw” which is exactly what you’re looking for.
    2) Next, adjust the screw on the bass side of the claw (closest to the low E string) so that when you pull up on the tremolo arm and the bridge is in contact with the body, the A and D string when fretted at the 5th fret (D and G) rise a whole step to E and A.
    3) You may have to go back and forth a few times between the two adjusting screws until the bridge is stable and the intervals described are true. And you’ll need to correct the intonation by adjusting the bridge saddles.
    4) When all is right and balanced between springs and strings, the Am7 barre chord on the 5th fret should sound like it is descending musically to an Abm7 when the bar is slightly depressed. It won't be perfect but it's a very musical sound you're after and should achieve. This effect is ideal for “shaking” chords and applying a manual tremolo to your voicings.
    5) I use a Teflon lubricant (sold in electronic shops) under the strings at the nut slots and where the strings contact the string tree(s). You only need to use a little lube; wipe away any excess.
    6) I try to use the minimum windings on the string posts, preferring just one if possible. My bass strings leave the post at the top; my trebles wind down and leave the post at the bottom.
    7) There is a short video of me explaining the whole process at
    VIDEO Carl Verheyen's Strat set-up 1.01 It was recorded a few years back in Amsterdam …….it may also help!


    All the best,


    Carl Verheyen"


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    I could have farted and it would have sounded good! (Brian Johnson)

  • Thanks Kempermaniac for this link!


    It is what I acheived with my strats and, with less success, with my PRS SE. Once I got the correct intervals I had to play between the two springs until the guitar would stay in tune. What I don't understand is why you can't get these intervals on your guitar?

  • I have no clue! But with your PRS you had less success too, which tells me that this Verheyen-thing isn't made for any guitar with a vintage vibrato.

    I could have farted and it would have sounded good! (Brian Johnson)

  • With the PRS I can reproduce the intervals but it doesn't stay in tune as well as with the strats for which this procedure is almost a miracle. So, yes, most probably a design matter for your Musicman.

  • but it doesn't stay in tune as well as with the strats


    That could be because the strings are binding in the nut - my CU22 started to eventually do that, after I used it for many, many gigs. Sometimes smoothing the slots is enough. But, if the guitar has been played enough, the nut will eventualy need to be replaced to stay in tune with trem use.