Wow...those offsets are pretty extreme.
I agree. While I like that the OP started this conversation, I'm sorry, but I'm not going to try any offsets that, 1) don't have both E strings the same, especially that far apart, 2) any offset that in which
every string is
lower. Why not raise all of them until one string is not changed?, and 3) I like my offsets just fine. Every chord I play sounds great, so any change I'd make might make one chord shape sound better, but it would be at the expense of a different one sounding worse. Imo.
As a test, when I play the final riff in
Barracuda with distortion (the one on the 1st 2 strings up in the 12th position), all those diads sound great.
Another chord I use as a test is an open E played in the 4th position, as an open C chord shape, either with an open B, or fretted at the 5th fret, doubling the high E. There's no way any chord that uses both E strings on the same fret, or those Alex Lifeson open chords, could sound good with the OP's offsets.
Maybe certain offsets work for certain people, due to how "fat-fingered" they are when fretting certain strings (i.e., bending strings slightly, out of habit), but I work hard not to introduce another variable into things, and strive to fret each note without bending, or using more pressure than necessary, with one exception: Unison/chordal bends on a floating trem guitar. Maybe that large offset on the low E helps if you bang the shit out of that string when you play, causing it to go sharp, I dunno. (Or is it the other way around?
)