Excellent info!!!
It's not so much about string tension- though that is a part of it- as it is, scale-length and the way that effects the ratio of fundamental-note to harmonic-overtones.
The longer a string, the greater the amount of harmonic-overtones, including increased odd-order harmonic-overtones, as well as even-order harmonic-overtones. The longer the string, the more 'breathing room' there is to allow these overtone sub-divisions of the vibrating pattern to bloom and sustain and be heard along with or over the fundamental note.
The shorter the scale-length, the more predominant the fundamental-note will be, with subtler overtones.
For example, note the way that a Strat or Tele will have a twangier, wranglier tone, particularly on the low strings, less mud, more akin to the low keys on a grand piano; more harmonic-overtone 'swirl'. The treble-strings will be brighter, more biting, a bit thinner and edgier.
Whereas shorter scale-length guitars like Les Pauls or shorter scale-length Fenders, etc., will have plonkier bass-strings, plumper mids, and rounder, warmer, fatter treble-strings- more fundamental, less overtones. Think, higher keys on a baby grand piano, or upright piano, as opposed to the grand piano.
Or compare longer scale-length basses to short scale-length basses.
These multi-scaled, fanned-fret arrays bring crisper tones with more harmonic overtones to their bass-strings, and rounder, warmer tones to their treble-strings than there would be if the design had the same scale-length for all of the strings across the fretboard.
Though, yes, these also allow more appropriate string-tension for the lower strings, tuned very low; while allowing more agreeable tension for the higher strings, with less likelihood of their being prone to breaking when tuned up to pitch.
Not too different from when I went from a very short-scaled axe with a fixed bridge, to a Strat-stylee with a floating whammy; and THEN to a Les Paul! I really had to adjust my bending technique and feel!