Tuning stability : nut, trees, saddles and nut files.

[dsuigdsf]

On a regular non locking trem. I watched years ago a luthier teach that you bend all the strings for a return point.
Assuming the nut is cut correctly. You would strat by stretching in your strings real good. Then at each saddle just ahead of were the string exits push the string down good a couple tines to sharpen that bend. Then push down real good on both sides of the nut real good. Then were the strings exit the tuner capstan bend the string sideways to sharpen the exit bend were tge string comes off the capstan. Do all strings.
This creates a return point for each string to return to. After whammy diving etc if the guitar goes out a little just pull up the bar it goes right back in.
The luthier was doing shit with that bar that looked like one of Blackmores temper tantrums...then hed pull the bar up and nice in tune. Ive tried it for what little trem I use and it worked.

I know what you talking. Actually, I started doing this recently, having learned it from a luthier. The first time I did this was on my bass. It turned out that after putting new strings on, my action was higher. The new string was pushed up through the nut. I simply pressed it in that spot and it bent into the correct position.
And Blackmore also stayed in Strat tuning. Apparently, there are many subtleties worth paying attention to, and you can stay in tune. I've never liked the sound of Floyd Rose/Edge guitars. There are guys who think it sounds great, but I always preferred my hardtail or vintage tremolo.

 

[marcello252]

The best tuning stability is with a double locking trem system

Undoubtedly, but , for example, I don't like double locking for several reasons:
1. You need tools for changing strings, not for me, I want to be free to do it on the fly without thinking 'did I took the Allen key??' Or loosing 15 minutes in finding it in the guitar case or in a pocket
2. I often detune the E, it's a mess unless you have that evh tool but it doesn't seems it always work perfectly
3. The bridge block is always much lighter than standard vintage fender type, I clearly hear a difference in terms of sustain and tone, is it psychoacoustics? Maybe, but I don't think so
4. The fretboard must have exactly the same radius of the bridge, I don't know if I'm just unlucky but I've never had a guitar with a Floyd type perfectly matched, and I had several
5. The detuning of the double locks I had was always too much aggressive and deep even with a good setup, it's very difficult to obtain the same smoothness of a well setup fender type (and jazzmaster level is simply impossible to obtain)

 

[Chistopher]

4. The fretboard must have exactly the same radius of the bridge, I don't know if I'm just unlucky but I've never had a guitar with a Floyd type perfectly matched, and I had several

You use shims under the saddles to set the radius

 

[uOpt]

You use shims under the saddles to set the radius

Yeah, but the nut also has a radius, and the locking nut is non-adjustable per string.

As far as blocks are concerned, they certainly make an audible different by material. By size, I haven't tested, but I assume yes as well.

 

[Chistopher]

I mean with a 10" and 12" radius option, you have to have a really funny neck for it not to work

 

[uOpt]

I mean with a 10" and 12" radius option, you have to have a really funny neck for it not to work

16" all the way through?

 

[ehdwuld]

View attachment 6327235
I mean these.

Looking more closely at mine
And you may be on to something

I never noticed that