I can see it for basses, but not so much on a six string! Wouldn’t that be really awkward to chord on?
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First obvious question (probably already asked): Have you played the 37" B string on a Dingwall? Pretty much every bass player who has stops with the questions, sells all his/her other basses, and becomes a member of the Cult of Dingwall.
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I own a Dingwall 5 string and a Stingray 5 string. I love the Stingray however for the same tension I get with the Dingwall I'd need to be playing about a 0.145-0.150 gauge. The Dingwall is 0.127.
For me the difference is pretty obvious. It also just has this built in growl that surpasses even the Stingray growl. I couldn't imagine using another bass as my #1.
For me the difference is pretty obvious. It also just has this built in growl that surpasses even the Stingray growl. I couldn't imagine using another bass as my #1.
Think of all bass lines ever played or recorded on electric bass since say, 1955. Include all the amazing licks that have been posted on YouTube or any other web based media.
What percent of all that was played on multi-scale / fanned fret basses? Who knows, but let's quadruple that percentage. Think we've reached 1% yet? I doubt we have, but the point is that there have been many improvements to the electric bass, each making some impact to the sound, ergonomics, tuning, or playability of the instrument. Fanned frets is just one of those, and so far, it might not be the one that has had the most impact. It is a solution to a problem that has other solutions, and may not be the best solution for that problem. I understand the concept, and very much like the idea, but I'm still not sure it is the Alpha & Omega of fretted instrument string tension inconsistency....
What percent of all that was played on multi-scale / fanned fret basses? Who knows, but let's quadruple that percentage. Think we've reached 1% yet? I doubt we have, but the point is that there have been many improvements to the electric bass, each making some impact to the sound, ergonomics, tuning, or playability of the instrument. Fanned frets is just one of those, and so far, it might not be the one that has had the most impact. It is a solution to a problem that has other solutions, and may not be the best solution for that problem. I understand the concept, and very much like the idea, but I'm still not sure it is the Alpha & Omega of fretted instrument string tension inconsistency....
Those severely slanted pickups are not for me. I don’t think I could ever own a bass, fanned frets or not, with pickups like that.
1) Your criteria regarding recorded bass lines also goes against most anything outside of a Fender Precision or Jazz. Popularity is not a measure of quality; please refer to McDonald's, Walmart, and Justin Bieber for clarity on this concept
.2)As far as string tension inconsistency, it is the omega (not the alpha). The alternative to equalizing tension is increasing the string gauge, and by the time you get equal tension all the way across a 34" 5 string you've got a B string that feels and behaves more like a rod than a string. You can get a B string with better tension at gauges lower than that, which will feel more consistent with the other strings, but it will be lower tension and feel a bit looser. Usable? Sure, maybe, that's a matter of opinion.
2a) String tension is actual physics; you can mathematically calculate the tension of a string that is a specific gauge, tuned to a specific pitch, at a specific scale length. Please don't argue that your 34" .130 gauge B string is just as tight as a 37". It isn't. Really, it isn't. It may sound fine - a stiff neck goes a long way here, as does good solid hardware, electronics, and a good setup.
2b)If you still want to argue the string tension thing, please go argue with the folks that have been making things like pianos and harps for the last few centuries. Multi-scale stringed instruments aren't anything new, it's just something that was only applied to guitars and basses in the last 20-30 years.
3)If scale length doesn't really make that much of a difference, why aren't we all just playing down-tuned Strats and Les Pauls?
Sure, there's always a few people who chime in with "all my 34" B strings are perfect!!". And there's also always people who chime in that they've never encountered a dead spot around 5th fret on the G string of a Fender bass, and everyone else's hearing is defective.
Qualification for all this "in my opinion" stuff - I've got 3 35" Modulus basses, a custom built 36", and a Dingwall AB1. Dingwall's got the most equal tension of them, and the clearest, most consistent B all the way up and down the neck, and it feels exactly like all the other strings. Not even a tiny bit less tight, and totally focused. But the others are very, very good, certainly usable, and have their own strengths. None are for sale
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I mean, I got this 37" ESP, and I can absolutely tell a difference compared to every five string I have ever played. Would love to own a proper Dingwall one of these days too.
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Different strokes for different folks, but like necro, my experience with my more affordable Brice 37"-34" scale fan fret made me stop asking questions:
Yes...I think this more than anything. When ever I've played a 35" scale fretless I found my hands were working really hard to make the stretch. When I've played a 33" scale...everything is easy to reach but a bit short on sustain on the lower strings. So a fanned fret should leverage both benefits...a short scale length where you need it and a decent sustain on the lower strings.
That's quite a large difference actually.
There may be another reason for fanned frets: ergonomics. But for that goal smaller differences in scale would be more appropriate - for example I am currently building a 4 string with 760-780 mm scale.
It’s a solution for those that want an extended scale on the lower strings without having to deal with the problems of an extended scale on the higher strings. In this case, it’s not just all about getting an extended scale on the low strings and calling it a day.
The benefits of having a 37” scale B string and 36” scale E string on a Dingwall are self explanatory. There’s almost no 37” scale parallel fret basses, but 36” scale parallel fret basses do exist. If you play a 36” scale parallel fret bass (and most of you haven’t), you’ll find that the D and G strings will be sort of stringy and strident sounding, and stiff feeling. You can hear this on recordings where a 36” parallel fret is used. The D and G on a 34” scale sound and feel much better. The 37” to 34” scale Dingwall fanned fret system allows for the best of both worlds in that regard.
The benefits of having a 37” scale B string and 36” scale E string on a Dingwall are self explanatory. There’s almost no 37” scale parallel fret basses, but 36” scale parallel fret basses do exist. If you play a 36” scale parallel fret bass (and most of you haven’t), you’ll find that the D and G strings will be sort of stringy and strident sounding, and stiff feeling. You can hear this on recordings where a 36” parallel fret is used. The D and G on a 34” scale sound and feel much better. The 37” to 34” scale Dingwall fanned fret system allows for the best of both worlds in that regard.
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I have not done the calculations but i think to get a really even superb balance from the high G string to the low B you need an even larger variation than the 34" to 37" a dingwall gives you.. but it is not practical,, The "problem" with a regular 36" scale bass is that the G and to some extent the D starts sounding "tinny".
What is the strenght of short scale 30" bass.. In my opinion it is the two upper string (the D and G). They sound warm and fat but the low A at the 5 fret (E string) can be very tubby and not super clean especially with rounds....
In my opinion flats go on a 30" scale bass. The low E simply do not have enough scale lenght to pull out the clarity and harmonics of a roundwound string.
What is the strenght of short scale 30" bass.. In my opinion it is the two upper string (the D and G). They sound warm and fat but the low A at the 5 fret (E string) can be very tubby and not super clean especially with rounds....
In my opinion flats go on a 30" scale bass. The low E simply do not have enough scale lenght to pull out the clarity and harmonics of a roundwound string.
Funny you say that. I said the same thing about low b strings when I was playing 34” scale basses, i happen to know a little bit about thumb basses also
I had a standard 25.5 scale 8 string guitar, and the low f# was a flubby inarticulate mess, due to the normal scale length.
I did some research and learned that if you want articulation down there, you want a longer scale.
So I traded that and bought an 8 string guitar with a 27” scale. Non-fanned frets.
The difference was dramatic! f# and b strings were way more articulate and non-floppy.
But that caused a new problem: the high strings on the 27” now sound too harsh and spikey, due to the extended scale length. They’re also harder to bend. So I solved the low string problem and created a high string problem. Doh!
That was my “aha” moment for why fanned frets makes sense, at least on guitar. Meaning long scale plays and sounds better for low strings, and shorter standard scale sounds and plays better on high strings. So fanned fret 8 strings are the solution to create ideal tension for both.
Though truth be told, I don’t see the need as much for bass, but then again, I haven’t tried one.
I did some research and learned that if you want articulation down there, you want a longer scale.
So I traded that and bought an 8 string guitar with a 27” scale. Non-fanned frets.
The difference was dramatic! f# and b strings were way more articulate and non-floppy.
But that caused a new problem: the high strings on the 27” now sound too harsh and spikey, due to the extended scale length. They’re also harder to bend. So I solved the low string problem and created a high string problem. Doh!
That was my “aha” moment for why fanned frets makes sense, at least on guitar. Meaning long scale plays and sounds better for low strings, and shorter standard scale sounds and plays better on high strings. So fanned fret 8 strings are the solution to create ideal tension for both.
Though truth be told, I don’t see the need as much for bass, but then again, I haven’t tried one.
I've never complained about the B string on my 34" Carvin.
When I played a Dingwall for the first time, It offered a clarity in the lowest notes that simply was not there in the Carvin's lower registers. This was kind of mind-blowing.
I do own a fan fret 5 string now, and after getting it, I realized that playing it is a breeze, I needed about two minutes to get comfortable on it. The only thing that needs my attention is picking chords on the high end of the fretboard.
What I realized a bit later was, to me, a lot more interesting: The string tension across the strings, that is much more even on the fanned fret instruments. I like to play with my right hand somewhere between the neck PU and the 20th fret. I use to compensate for the lack of tension on the thicker strings by moving my hand more towards the bridge when playing them. I never realized I was doing this until I played the fan fret where this is not necessary at all.
When I played a Dingwall for the first time, It offered a clarity in the lowest notes that simply was not there in the Carvin's lower registers. This was kind of mind-blowing.
I do own a fan fret 5 string now, and after getting it, I realized that playing it is a breeze, I needed about two minutes to get comfortable on it. The only thing that needs my attention is picking chords on the high end of the fretboard.
What I realized a bit later was, to me, a lot more interesting: The string tension across the strings, that is much more even on the fanned fret instruments. I like to play with my right hand somewhere between the neck PU and the 20th fret. I use to compensate for the lack of tension on the thicker strings by moving my hand more towards the bridge when playing them. I never realized I was doing this until I played the fan fret where this is not necessary at all.
