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Does multi-scale even make sense for a 4-string player?

Does multi-scale even make sense for a 4-string player?

  • not at all

  • depends on the player

  • yes, definitely

  • carrot-scale

Results are only viewable after voting.
#21
I'm currently playing a four string fanned fret bass. I find that it does help balance tension/tone/whatever across the strings. I also find that my muscle memory is better; for whatever reason, I spend less time looking down at the neck. I also like medium scale basses, so that 32" G string suits me just fine.

Is it essential or a major "advantage?" Of course not. There are too many parallel-fret basses out there for that argument to hold water.

However, if you want a bass where every detail has been carefully visited and revisited, and where nothing less than perfect craftsmanship is acceptable, then get a Canadian Dingwall. I'll be able to comment on their Chinese line in a couple months, but I don't expect much less.

I still love my Spector and my P basses, though. Fanned frets are definitely not required for a great playing and sounding bass.
 
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#22
Killed_by_Death said:
Been eyeing those Dingwalls & TBH it's difficult to find one that's a 4-string.
Even the nearest dealer only stocks 5-string models.

Please don't post links to 4-string Dingwalls, I know they're out there & more interested in multi-scale in general, for this conversation.
Click to expand...
Regardless of the multi-scale, i'd say check out a dingwall! What Great basses!! Incredible feel and sound.
 
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#24
nostatic said:
In theory it is the way to go, but one does not play a piano the same was as a bass. The problem can be ergonomics depending on how you play. Every design is a compromise of some sort - have to weigh the advantages and disadvantages for you.
Click to expand...

I’ve certainly found that fanned frets make certain positions easier to play in, while other positions get tricky. The middle of the board is generally neutral, since the fanning is less of extreme in that range.
 
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#25
I've got two, long scale 36.25"-34", 4 string Dingwalls. One in BEAD and one in AEAD. For me it makes absolute sense, and for the sound I like it's essential. If I played in standard tuning it'd maybe be less important.

I don't play 5 strings at this time because I don't utilize 5 strings in my playing and writing. For me, 4 strings are more manageable and fun to play on.
 
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#26
I have a medium scale Super P/J 4 and a long scale Z3 5 along with a bunch of parallel fret 4’s.
I can swap back and forth between the parallel 4’s and my S P/J 4 with no issues having to “look” at the fretboard. Not once have I picked up a parallel fret bass and not been able to play the snot out of it after using a DW. And vice versa. For reference, I don’t play chords high up on the neck much.
The Super P/J is my number one bass and I love the Wenge neck on it. I find that the multi scale aspect helps clarity and punch on the higher strings and they have great feel and no dead spots whatsoever. Just a fantastic instrument.
The Z3 is more of an enigma wrapped up in a conundrum for me. It’s also a fantastic instrument but as I’m not a natural 5 er kind of guy, I struggle with it. Having the extra string on top of the scale length difference puts me out of my comfort zone. But the B string is sublime. I could probably live with a long scale 4 “or” a medium scale 5er but not both in the same Bass.
I’m currently attempting to find a suitable trading partner with a Super 5/Wenge combination.
 
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#27
I watched the SBL videos with Nolly and his sound. He tunes A G C F, as in a four string, 1 step down, low A below a low B, with with no E(D) string. Multi scale would certainly make sense for that, and it works for him. It was the first I’ve heard of that tuning.
 
#28
I had a Dingwall AB-2 5 string, and I did like it - it was a very well made instrument that sounded and played great. I know that the multi-scale fanned frets was a big selling point in terms of design, but I didn't find it to be a significant difference maker one way or the other. Basically, because the scale length increases from string to string, so you can use a slightly thinner string on the lower ones and achieve the same tension. This is very helpful if you do a lot of bending or generally like thinner, lower tension strings. I'm kind of the opposite - I like thick, high tension strings. It wasn't difficult to get used to the fanned frets on the fretting hand. Honestly, the strangest thing is that the bridge is also staggered, so if you like to have your plucking hand in the same spot, the top (G) string will be a lot closer to the bridge (and therefore stiffer) than the lower strings (B and E). That was probably the biggest adjustment for me. Anyway, with regard to the original question, in theory, each string is supposedly optimized in the multi-scale setup, so it should work the same for a 4 string as it would for a 5 or 6. It's more whether it would be worthwhile for you, which is subjective.
 
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#29
I can't understand the people who are saying multiscale makes sense only if you tune down.
Pianos and harps use multiscale for a reason: The physics just MAKES SENSE.
REGARDLESS of the number of strings on the instrument, the advantages are, in top-down order of importance and value:
1. Much more similar timbre across the strings
2. Uniform string tension with less extreme differences in string gauge from string to string (and yes, this advantage becomes EXTREMELY significant when you can have a fatter/looser C string and a thinner/tighter B string, but it is still a noticeable advantage even for an EADG bass.)
3. More natural ergonomics because your left (fretting) arm hinges at the elbow, thereby allowing your left forearm, and by extension your fingers, to always be closely aligned with the frets.

The net result, from a practical perspective:
1. It sounds better than monoscale
2. It feels better than monoscale

The one major disadvantage (for me anyway):

It can get awkward playing chords, expecially barre chords or any chord with 3+ notes, above the 15th fret. You really have to retrain yourself for this. Luckily, it's not that important to play chords up there for most people.
 
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#31
The same advantages seen when downtuning are still experienced in standard tuning, albeit to less exaggerated extent. You can use thinner strings for the lower notes, which improves harmonics and clarity, and the balanced feel and response between all strings is a nice quality of life improvement. Not necessary but definitely appreciated.

Ergonomically it is better reaching for the lower notes in first position. To demonstrate this, hold your left hand in front of you with the palm facing you. Now rotate your hand over into playing position. Your fingers naturally angle away from you, in a similar way to how the frets are angled on most fan fret instruments. This makes it easier on the wrist to play in these positions. Chords higher on the neck can be a bit harder / different to play, so if you play lots of high chords or double stops it make take some getting used to.

I am not nearly as skilled as some of the players on this forum, but I still find it very easy to switch between my fanned and non-fanned basses. It took me under a week to feel comfortable on my Dingwall NG2 when I bought it.

I would recommend you try a Dingwall and see what you think. Their D-Roc standard is based on the Thunderbird design and is most commonly available in a 4 string. The NG2 or Combustion seem to be more popular in 5 string due to the metal / hard rock scene, but there are a decent number of 4s out there too.

There are definitely unlined fanned fretless basses available. I am told that if you have good ear training on fretless, it does not take long to adjust.
 
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#33
I voted for "depends on the player". I've had basses of various scales over the years. Outside of intentionally wanting something different at points (i.e. a Mustang), I never got on with anything that wasn't 34" for very long. All of my basses sans one are the same scale, same number of frets, similar setups, etc. Having to adjust and have muscle memory across different basses was a PITA. I can pick up any of my basses and not worry at this point. YMMV, of course.
 
#35
Mantis Tobaggan said:
what’s multiscale
Click to expand...
Any instrument on which the open strings are not all the same length.
The lower notes are longer strings, thus allowing the strings to be thinner than they would otherwise need to be, so they are able to sound clearer and more "piano-like".
The higher notes are thicker strings than normal, thus allowing the notes to have more heft since there is more string mass.
A piano and a harp are multiscale instruments.
So called "fan fret" or "fanned fret" guitars and basses are also multiscale.
Dingwall is one of the pre-eminent makers of multiscale basses (that is ALL they make), but several other companies are also starting to see the value in having multiscale models.
 
#37
I love the idea of fanned frets. But I can't deal. I do OK with the first 12 frets, but beyond that I'm completely lost. But kudos to Sheldon Dingwall for sticking with it when he had so many people telling him he should do regular basses, too. It paid off in the end.
 
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#38
Consider that if you like "to sell" instruments on the second hand market, they have less potential buyers.
I think that they are really interesting instruments, but I'm happy with standard equipment.

If someone sells (or has sold) millions copies with a std P or std J, then it's enough for me to use them just as they are.
My personal view.
 
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#39
Killed_by_Death said:
Been eyeing those Dingwalls & TBH it's difficult to find one that's a 4-string.
Even the nearest dealer only stocks 5-string models.

Please don't post links to 4-string Dingwalls, I know they're out there & more interested in multi-scale in general, for this conversation.
Click to expand...

I think it could be useful if I was doing a lot of sight reading and the passages had me playing across all strings in a high position. Those high notes on the E string do get a bit flubby. In general though, while I notice the difference between strings it isn't enough to bother me. On a 4 string.

On 5 it drives me nuts.
 

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