Crazy, Unique New

[Music With Marky]

I must say that it plays and sounds amazing.

 

http://www.musicwithmarky.com/files/sp.jpg

[KuruPrionz]

You left it outside and it warped?

 

I haven't played one of these slanted fret guitars yet. I get the concept although it occurs to me that one could simply use different gauges of strings to have the 6th string feel tigher and the first string looser, no?

 

The first thing that occurred to me is on the lower frets near the nut, pulling the low strings downward to stretch them will also cause them to become shorter since the frets are slanted and pushing the high strings upward to stretch them in the lower frets will make them longer. So you are accelerating the low string stretches and retarding the high string stretches. Something you will need to get used to.

 

At the other end of the neck where it joins the body, the opposite is true. Pulling the low strings downward to stretch them will make them longer and pushing the high strings up to stretch will make them shorter. Another, different adjustment needs to be made. Have you noticed any difference similar to what I describe (which is just simple physics)? I've got the feel of my string stretching down, I just play and can do microtones, 2 step bends etc., reliably without any thought whatsoever. I might have to relearn my feels on one of these multi-scale necks.

 

I still want to try one but haven't been shopping at music stores at all for months. I need another guitar like a hole in the head at this point. Cheers, Kuru

[Music With Marky]

You left it outside and it warped?

 

I haven't played one of these slanted fret guitars yet. I get the concept although it occurs to me that one could simply use different gauges of strings to have the 6th string feel tigher and the first string looser, no?

 

The first thing that occurred to me is on the lower frets near the nut, pulling the low strings downward to stretch them will also cause them to become shorter since the frets are slanted and pushing the high strings upward to stretch them in the lower frets will make them longer. So you are accelerating the low string stretches and retarding the high string stretches. Something you will need to get used to.

 

At the other end of the neck where it joins the body, the opposite is true. Pulling the low strings downward to stretch them will make them longer and pushing the high strings up to stretch will make them shorter. Another, different adjustment needs to be made. Have you noticed any difference similar to what I describe (which is just simple physics)? I've got the feel of my string stretching down, I just play and can do microtones, 2 step bends etc., reliably without any thought whatsoever. I might have to relearn my feels on one of these multi-scale necks.

 

I still want to try one but haven't been shopping at music stores at all for months. I need another guitar like a hole in the head at this point. Cheers, Kuru

 

I have several with fanned frets and I generally use it on extended range (7 or 8 string) or on 6 strings that I tune quite low. I don't like heavy gauge strings, so I like the extra length down low to keep string tension consistent. That said, I've got this one tuned standard but it feels pretty darn nice with 9s. It's got kind of a metal players feel, but I keep finding myself getting bluesy on it because the sounds I'm getting out of the PUPs.

[KuruPrionz]

That all makes sense. I haven't tried one yet. Seems like chord shape habits I have would need adjustment. I do that on bass and baritone anyway.

Be an interesting scalloping project too!

[Dannyalcatraz]

Seeeeeeexxxxxyyyyy!

[Larryz]

A very nice back the the future Tele concept guitar. I doubt I could play one but it would be fun to give it a try. I like the slanted single/humbucker concept. Not sure about the slanted bridge and frets. I like the body carve and color/grains. Congrats!

[desertbluesman]

No thanks on the tilted frets, and the color scheme.

[Music With Marky]

No thanks on the tilted frets, and the color scheme.

 

When I do the video review of this, the cover is going to be "I Like Love Ugly Things" and it'll be this guitar next to my pug. =] I have a couple guitars that only a select group of people consider pleasing to the eye and I'm okay with it. I have very unusual taste.

[desertbluesman]

When I do the video review of this, the cover is going to be "I Like Love Ugly Things" and it'll be this guitar next to my pug. =] I have a couple guitars that only a select group of people consider pleasing to the eye and I'm okay with it. I have very unusual taste.

Just not my cup~o~tea amigo, I didn't think it was ugly, just not my style.

[Winston Psmith]

No thanks on the tilted frets, and the color scheme.

 

When I do the video review of this, the cover is going to be "I Like Love Ugly Things" and it'll be this guitar next to my pug. =] I have a couple guitars that only a select group of people consider pleasing to the eye and I'm okay with it. I have very unusual taste.

 

I've been curious about multi-scale ERG's for a while now, and I find that one very striking! If you ever get tired of it . . .

 

In all seriousness, maybe when the world gets back to level, I'd love to consult with you about a good, affordable MS ERG. In the meantime, enjoy that one for me, too!

[Music With Marky]

When I do the video review of this, the cover is going to be "I Like Love Ugly Things" and it'll be this guitar next to my pug. =] I have a couple guitars that only a select group of people consider pleasing to the eye and I'm okay with it. I have very unusual taste.

Just not my cup~o~tea amigo, I didn't think it was ugly, just not my style.

 

It's cool. My bandmates have been teasing me about it incessantly now. =] My skin aint thin a bit.

[Caevan O’Shite]

I haven't played one of these slanted fret guitars yet. I get the concept although it occurs to me that one could simply use different gauges of strings to have the 6th string feel tighter and the first string looser, no?

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.

 

 

The first thing that occurred to me is on the lower frets near the nut, pulling the low strings downward to stretch them will also cause them to become shorter since the frets are slanted and pushing the high strings upward to stretch them in the lower frets will make them longer. So you are accelerating the low string stretches and retarding the high string stretches. Something you will need to get used to.

 

At the other end of the neck where it joins the body, the opposite is true. Pulling the low strings downward to stretch them will make them longer and pushing the high strings up to stretch will make them shorter. Another, different adjustment needs to be made. Have you noticed any difference similar to what I describe (which is just simple physics)? I've got the feel of my string stretching down, I just play and can do microtones, 2 step bends etc., reliably without any thought whatsoever. I might have to relearn my feels on one of these multi-scale necks.

Very astute observations and questions! Not too different a situation 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! I'd like to try one of these multi-scaled 7 or 8 strings out, and see! MANY years ago, I did get to do a little playing on a totally custom guitar that a guy had designed and made for himself, that had the fanned-fret/multi-scale arrangement; if I recall correctly, I believe that it was a six-string. I don't think I had it in my hands quite long enough to do much bending...

[Scott Fraser]

How is barring on the upper frets? Any change in wrist angle required?

[Music With Marky]

How is barring on the upper frets? Any change in wrist angle required?

 

Nope not at all. You don't even notice it when you're playing.

[Music With Marky]

Excellent info!!!

 

I haven't played one of these slanted fret guitars yet. I get the concept although it occurs to me that one could simply use different gauges of strings to have the 6th string feel tighter and the first string looser, no?

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.

 

 

The first thing that occurred to me is on the lower frets near the nut, pulling the low strings downward to stretch them will also cause them to become shorter since the frets are slanted and pushing the high strings upward to stretch them in the lower frets will make them longer. So you are accelerating the low string stretches and retarding the high string stretches. Something you will need to get used to.

 

At the other end of the neck where it joins the body, the opposite is true. Pulling the low strings downward to stretch them will make them longer and pushing the high strings up to stretch will make them shorter. Another, different adjustment needs to be made. Have you noticed any difference similar to what I describe (which is just simple physics)? I've got the feel of my string stretching down, I just play and can do microtones, 2 step bends etc., reliably without any thought whatsoever. I might have to relearn my feels on one of these multi-scale necks.

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!

[Caevan O’Shite]

Excellent info!!!

Thanks! Likewise; you certainly post a lot of in-depth, informative material.

 

(FWIW, please note that I'd edited in just smidge more at the very end of my post above, than what appears in your quote.)

[Chip McDonald]

It's like it's going forward into the future inside an old barn.

[Caevan O’Shite]

It's like it's going forward into the future inside an old barn.