Part 1 of the puzzle

[Cagey]

If you're a bender, you can keep 10s on the strat without having to deal with most of the 25 1/2" scale tension (bending tension in this case, that is) by
setting the trem to float and doing 3 springs in back.  That way, the bridge is already in a "bent" position and takes little pull
strength to bend notes.

You'll only run into more noticeable tension (than a 24 3/4" scale) bending near the top of a full-step (or higher) bend if you set-up this way.

That's not entirely true. The amount of tension it takes to get the strings up to pitch is the same for a given gauge set and length regardless of which bridge you're using or how it's set up. With vibrato bridges, the springs have to at least equal that tension in order for the bridge to balance and maintain position. The reason it might be easier to bend strings on a floater is because the system is truly balanced, whereas if it's set up so the bridge is flush to the body, the springs may well be set to pull harder than the string tension in order to keep the bridge tight to the body unless undue oppositional force is applied. In other words, it's not a balanced setup.

Thing is, if the counterbalance springs allow the bridge to move, then you're changing the stretch curve on the strings. You'll have to push them farther to reach the tension you need to hit the higher note. You get used to that after a while. Then, hardtails or flushed vibratos often feel tighter when what is actually happening is you're stretching the string farther than it needs to go because there's no give.

 

[Superlizard]

If you're a bender, you can keep 10s on the strat without having to deal with most of the 25 1/2" scale tension (bending tension in this case, that is) by
setting the trem to float and doing 3 springs in back.  That way, the bridge is already in a "bent" position and takes little pull
strength to bend notes.

You'll only run into more noticeable tension (than a 24 3/4" scale) bending near the top of a full-step (or higher) bend if you set-up this way.

That's not entirely true. The amount of tension it takes to get the strings up to pitch is the same for a given gauge set and length regardless of which bridge you're using or how it's set up. With vibrato bridges, the springs have to at least equal that tension in order for the bridge to balance and maintain position. The reason it might be easier to bend strings on a floater is because the system is truly balanced, whereas if it's set up so the bridge is flush to the body, the springs may well be set to pull harder than the string tension in order to keep the bridge tight to the body unless undue oppositional force is applied. In other words, it's not a balanced setup.

Thing is, if the counterbalance springs allow the bridge to move, then you're changing the stretch curve on the strings. You'll have to push them farther to reach the tension you need to hit the higher note. You get used to that after a while. Then, hardtails or flushed vibratos often feel tighter when what is actually happening is you're stretching the string farther than it needs to go because there's no give.

Speaking of flush trems, they do feel tighter than floaters.

Another thing to consider is the bridge saddle string contact points do move ever so slightly towards the nut with a floater setup;
(as compared to flush trem) thus slightly shortening the scale length of the string.  We're talking fractions of an inch or smaller here, of course.

Throw in a little loosening of the truss rod so you introduce a slight curve in the neck (action will be higher) and that helps too.

 

[Cagey]

Another thing to consider is the bridge saddle string contact points do move ever so slightly towards the nut with a floater setup;
(as compared to flush trem) thus slightly shortening the scale length of the string.  We're talking fractions of an inch or smaller here, of course.

Throw in a little loosening of the truss rod so you introduce a slight curve in the neck (action will be higher) and that helps too.

It's true that the distance from the nut to the bridge saddle shortens slightly as you stretch the string on a vibrato-equipped guitar, but only as the crow flies. The string itself actually gets longer. Look at it like a triangle, where the nut->saddle distance is the hypotenuse, and the string forms the opposite and adjacent sides. The sum of the opposite and adjacent sides will always be greater than the hypotenuse. The only way this is possible is because the string stretches and so increases in length. So, you have the combination of the bridge movement and string stretch to make that triangle possible.

 

[Stew]

So, puzzle complete ...
http://www.unofficialwarmoth.com/index.php?topic=16454.0

I got so excited that I didn't even take build photos ... I know, my bad!  :laughing7: