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#31
11-20-2015, 05:24 PM
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I think the string width at the 12th and then at the bridge also has a lot to do with this, 'ya think?
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1973 Takamine F-360 2012 Martin OM-28V 2016 Martin 000-18 2022 Fender Eric Clapton "Blackie" Stratocaster 
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#33
11-20-2015, 06:10 PM
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Now, though, I'm looking at a '37 Authentic one of these days. And I've played 'em and know most 1 3/4" necks aren't that annoying and I could even get used to it, but...
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#34
11-20-2015, 06:20 PM
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Anyway, put me in the 1 3/4" mod c low profile with PA taper camp. And exactly why I just got a new D-18 Ambertone... now if I can figure out how to post pics, I'll make an NGD thread. Really digging this new baby!
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#36
11-20-2015, 07:00 PM
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Quote:
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#38
11-21-2015, 04:01 AM
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The only time I feel the difference between 1 3/4 and 1 11/16 is with a micrometer. What I'm I to know i only play Takamine and no others. Very satisfied with my choice.
While jamming one night I went on stage with a D45 and D15 and when i was doing a sound check with my FP340S a well know picker owning a $3000 Taylor jumped up from his seat and approached me and said. Where did you get that pickup it's exactly the sound an acoustic guitar should sound plugged in. I answered my guitar is surely not for sale but I can get you one at a great price. He wanted to replace the pickup on his electric Taylor for the 4th try for better acoustic sound plugged in.
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1994 EF261SAN Solid Cedar Top 1992 FP340S Solid Spuce top 1977 F340 Solid Spuce top 1982 F309 All Mahogany
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#39
11-21-2015, 05:11 AM
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Nut - widths - the purpose of differing sizes.
Surely it might help if we look back on the development of steel strung guitars to better understand this common variance.
I have a 1924 Martin catalogue wherein the largest guitar available was the 000 12 fret. At that time all but the model 2 had 1 & 7/8" nut widths. Why ? Because they were making instruments primarily for fingerstyle users. Most classical and flamenco (OK - European design) guitars were and still have 2" nut widths. This it pretty much continued until 1929 when a banjo player challenged Martin to make a guitar , essentially, with a banjo sized neck as a rhythm instrument in dance/jazz bands. The skinny neck width - of 1 & 11/16" was essentially designed for closed chording/rhythm, and NOT for intricate fingerstyle. For simple strumming the skinny neck suits many, and a shallow neck will probably work for those that started their journey on electric guitars - but that is a very different instrument and played differently. As we progress in our playing styles, many find that the string spacing of rhythm necks restricts clear playing - especially in the flat-picking style which evolved some time after the guitars on which it was played. In (and slightly before) 1931, Martin bought out the dreadnought - 12 fret, wider neck (see modern 111 and '31 Authentics) but they were not popular as they were , perhaps before their time. In '34 they adjusted it in line with the 000 changes to OM, again, to make it appealing as a rhythm guitar for dance bands...it didn't sell! Now with many types of Martin dreads from Martin and many more from other makers we have a wide (sic) choice of nut widths and profiles. If a skinny neck fulfills your needs without ever fluffing a note, then all is plain sailing. If however your fingers requires a little more string spacing then 1 & 3/4" or, 1& 13/16" (my preference) and "even" 1 & 7/8" (i.e. the one time standard) might prove more comfortable than many would believe (until they try them). This is why my journey for an ideal neck led me to the 12 fret dread. Once I found my ideal proportions (in a Collings DS2h) I discovered the many other advantages of the design over the modern 14 fretter - the bridge placement placing my pick exactly on the sweet spot, the distance (with a standard scale) from left shoulder to nut being slightly less means less left arm extension and less bend on wrist. Slotted headstocks point the tuners exactly at the left hand without the need for rotation of the shoulder,elbow and wrist for tuning. Anyone with joint issues (anyone NOT suffer from these?) should investigate the 12 fret geometry. I digress - in summary - investigate wider than skinny nut widths - don't make a 30 second decision, work with one for ten minutes or so. You might discover something, as did I!
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Silly Moustache, Just an old Limey acoustic guitarist, Dobrolist, mandolier and singer. I'm here to try to help and advise and I offer one to one lessons/meetings/mentoring via Zoom!
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#40
11-21-2015, 07:01 AM
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Nut width definitely makes a difference to feel but I think string spacing at the right hand makes more difference. Its interesting that the nut width issue crops up so much more often than RH spacing. Having said that, I used to play narrow spacing and spent years thinking that the narrow spacing was limiting my playing. Eventually I got both and it made nowhere near as much difference to my playing as I thought it would. In fact I think I used to play better before, although that's probably just age!
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