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Discussion in 'Basses [BG]' started by Ethon, Jul 9, 2005.
Maybe I'm just sheltered, but I've never seen a fretboard like this before?
Anyone care to explain?
This was discussed at one point, i thinkit allows you to play like , out of tune? or something, im not completely sure, i think embellisher or mark knew something about it,
Wow, I've never seen one like that before either. I was expecting to see fanned frets but definetly not that.... Maybe someone will have an answer
perhaps it allows for microtones?
I don't know, but I've been sitting here for like 20 minutes trying to figure out what the hell it would sound like, or even how'd you play some of those notes...
edit: after some google-research (the best kind of research), I think this has something to do with it? I'm just as confused as before, tho
quarter notes (1/4)?
It's a microtonal neck, for sure. There are some variations; 22 tet, 31 tet, etc.
Here's a dude who does some pretty cool stuff with it. Check out "Numerology" and "Revenge of the Inorganic Compounds"
And google microtonal.
I would think that all the frets would need to be the same across all strings for that to work. Just pushing some closer together or farther apart and adding in a few extra between where "normal" frets are.
Edit: Unless someone was really thinking and cut out the parts of the frets on the strings that would produce out of scale notes. So that is probably what they did, just left the frets on for the strings that would have notes in scale. Pretty cool idea actually.
Edit Again: And the more I think about it, it would also make it a hell of a lot easier to fret in some places!
It is indeed a microtonal neck, if I'm in the mood to play that way I'll just use my fretless thank you. LOL
Thanks for making me listen. Now my teeth hurt.
Judging by the name if the picture (warw_th5jintonat.jpg), I'd say it's set up for playing using just intonation in more than one key.
For instance, in the key of C a just-intoned major 3rd (C to E) would need to be a bit flatter than what you'd normally find on a guitar or bass. However, if you moved to the key of A (and left A where it was), that A-E interval (a fifth) would be too flat, and sound very bad.
Just intonation yields what, for stringed instruments, are the most consonant-sounding intervals within one key. But, you can't just shift keys without re-adjusting all the distances. Equal temperament (what guitars, basses, and most everything else these days use) is a system where the just-intoned intervals are all tweaked just a little bit so that it's not perfectly consonant, but it's equally bad in all keys.
Some interesting stuff there - but I'm not sure if the sounds I like are any of the really exotic intervals, or just some familiar ones that are also found in those scales.
Also, his little manifesto sounds like someone who doesn't really understand music theory:
There's a whole lot of subtlety and "in-between" you can get just using the 12-tone scale. Of course, adding more intervals adds more range - I'm not disagreeing with that.
Also, there's a fundamental tie between the timbre of an instrument (the harmonics produced when you pluck the string, for example) and the scale used on it. Some of the music he's written for 22-tet etc may sound much different (perhaps better?) on a different instrument. For example, metallophones used Indonesian gamelan music have a very different overtone series than stringed instruments. They are often tuned in a 9-tone equal temperament, which would sound pretty bad on a stringed instrument but sounds just fine in that context.
Drums are another example. You can tune drums (or cymbals) to 12-tet (Terry Bozzio is only one example) and it sounds OK, but there are other scales out there that fit the overtones better.
Not my cup of tea
Why not email Warwick to see if this was a factory job.
This is a link to a definition of Just Intonation.
This is a link to a couple sound files coupled with .pdf files. The .pdf files are sick. I never want to look at them again!
hrm... it sounds more out of tune than exotic. I can't say I really dig it but I'm sure there are people who do. Couldn't all of this be accomplished on a fretless though?
eastern musicians use microtonal voicings
very subtle changes in tone
our 12 tone scale can be overwelming to them
so what's going on at the lowest 3 'frets' area
is this microtonal to a particular scale
certain notes get more divisions than others
or maybe the fretboard neck is a landing message for aliens
or the solution to the Matrix
i dig it.