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Off center nut

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swarfrat

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I guess this is more properly a technique issue, but I often run out of wiggle room on my high E, but I've grown accustomed to 1 5/8" spacing. Anyone ever seen, made or had made a 1 5/8" spacing on a 1 11/16" nut, leaving the bulk of the extra 1/16" on the high E for vibrato? If so, did it work out like you hoped?

 
That can certainly be done, and it's not difficult or expensive. But, it wrecks a lot of other things to solve a minor problem, so it's not a good solution.

As you correctly identified, this is a technique problem. Fortunately, the solution isn't as difficult as you might imagine. But, it takes two separate steps, and it's not something that'll work overnight, or perhaps not even in a month. It takes <shudder> practice. But, trust me. It always pays off.

What you're looking for is room and when it comes to real estate on the neck, it's like land. They ain't making any more of it. So, it's up to you to make the most of what you've got.

As an exercise, pick a fret, any one past the first will do. Play the note there, then drop back a half step and bend the string up before playing the note, doing your best to bend up to the same note you just played one fret up. This will teach you two things - how to keep from sounding a note until you want to, and how far you have to go to get to it. Ideally, you want to be able to hit the same note one fret down and up, without hearing the bend. Once you get the hang of that, move it around. That is, up and down the neck, half step apart, but hitting the same note. It'll take a while, but given time and practice it'll become second nature.

Another exercise to get your bending accuracy up is to go in the other direction. On the same fret, hit the note you want, then the note a half step up, then the note a full step up, all without sounding the bend. They should sound like 3 discrete notes.

Another thing you'll get from all that is the ability to stretch to a note without hitting/sounding it, then hit it and wind down from it. That's a cool sound that not many guys do without a slide. Start from one note you've stretched to, and drop either a half or whole step.

Why would anyone want to do any of that? So you can wank on a note without pulling it off the neck. If you're already stretched up, you've got all kinds of room to apply vibrato because you're already up a half step. Gives you a good quarter inch or so to goof around, instead of wrecking your nut to gain a 32nd or so and squeezing up the rest of the strings that don't need any more crowding than they already have.

 
It's not me. I've had some excellent teachers. I just wish my left hand would still behave itself.
 
I was getting ready to say - I can handle bending the right way. It's vibrato on unbent notes...  Then I saw you covered that.
 
I could be wrong but I think that is the principle of some of the Floyd Rose locking nuts.

R3 For 1-11/16" Nut width, narrow string spacing (good for necks with binding).  This has the spacing of a 1 5/8 nut with room on the sides.
R4 For 1-11/16" Nut width, standard string spacing

So the concept it not new.  I imagine it can be done with regular nuts too.
 
Sure, it's a setup issue. I have a 1 3/4" scalloped boatneck on my #1 "tele-shaped" guitar, but I made the nut with about 1 11/6" spacing, with all the extra on the high E. I wear a guitar up high ("bib") and my fingers come down fairly straight on the string, rather than the ball-height flapperhand style. There are different families of vibrato, including the violin-type used by Holdsworth and others. Many/most early Fenders were critically short of real estate on the high frets, which is why the modern bridge spacing came about and why Warmoth & USACG offer extra-wide necks, if you prefer the vintage Fender spacing for fingerpicking.

It's intuitive to mount the bridge with equal spacing on both sides of the strings, but I rarely/never push the low E string off - I rarely even play it above the 15th fret. So for me it makes more sense to keep the low string parallel to the fingerboard edge, and use any extra real estate for the high E. On a bolt neck, there is some wiggle room, but you're better off doing your own bridges (and pickup mounts)  if you specifically know what you want. A guitar with strings that fall off the neck or don't even go near the pickup polepieces is a deal-killer to me, and it's amazing how many high-gloss guitar porn shots you see of guitars with seemingly no quality control in that regard. Fender used to be the worst about that, until they noticed that everybody from $300 Ibanez "strats" to $3,000 Suhr, Hahn & Kirn "strats" were actually aligning the strings...
 
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