Scale and fret width

Recently, I've noticed more attention being given to short scales and narrowed nut width in classical guitars. Traditionally, classical guitars have tended to long scales and wide nut width. I believe that the basis for long scales and wide frets has to do with the historic limitations of strings.

In the old days, nylon strung guitars needed long scales in order to produce enough tension to resonate and that the 25-26" scales were about as far as the arm could reasonably reach. The nut width was wide because in the old days the strings flopped around enough to require a great deal of space.

Now-a-days strings have become an art form of their own. They come in various tensions and materials. I have a short scale nylon string Emerald and it sings. The same guitar has a 48mm nut width and the strings do not interfere with one another.

In short, I think that strings have led to innovation in guitar making. I am testing this thought with the order of a Kremona Sophia S63CW with a short scale (630mm) and a narrow nut width (48mm).

I think we are living in a renaissance of guitar innovation.

[TRose]

Hey EvanB,
I am enjoying my short scale (628/50)Kenny Hill Player Series and I bet you will enjoy your Kremona.
I have been under the impression that classical guitars have wide nuts to allow for the clean fingering of notes- otherwise my chubby fingers interrupt sustain or kill the note altogether. Though nylon string dynamics require higher action do they ( or did they) actually require a wider nut?

Thanks,
Tom

[mountainmaster]

The problem I have with the popular 48mm nut width is that often the string spacing is not taken into account. If it remains at 42mm the high E string will be too close to the edge of the fingerboard, causing it to slip off with heavy legatos. This can get even worse if the neck has a significant radius.

For my new Emerald X20 Nylon I specified a 49mm nut width with a string spacing of 41.5mm and a 20" radius. I expect that will work better for me.

[Mr. Jelly]

Technology has been changing instruments, guitars, and recording along with the music for many, many years. It also can take the focus off the music and be an end to itself.

[esimms86]

The 800 pound gorilla in the room is tradition. Wide, flat fingerboards are something that classical guitar players are so used to that it would behoove a builder to stray from that design. Jazz and pop guitarists looking for that nylon string sound in a configuration that they’re more familiar and comfortable with are the largest market for instruments with thinner nut widths (and more rounded fingerboard radii). In such cases (no pun intended), the “crossover “ guitars tend to live in homes where all of the other guitars have steel strings. TBH, guitarists in general seem to be less interested in stepping outside of the “classic” designs.

I agree 100% that we are in the golden age of guitar making, even with increasing traditional wood scarcities(mahogany, Brazilian rosewood, etc.) taken into account. There have always been that relative minority of players who are willing to step outside the box, commissioning custom instruments that push the envelope and otherwise supporting builders of non traditional instruments.