So why fanned frets?

[InhumanResource]

I don't understand the piano reference.
is it that the thick strings are longer and the thin strings are shorter?

Yes. A nice long scale is helpful for a tight and clear low B string. At the sane time, you may not want or need the same scale length for the other strings. The other strings have less material/thickness and may sound inconsistent if everything is the same length. So if you adjust the scale length for each string with B as the longest and G as the shortest with all the others incrementally "in between" you should be able to get them sounding nice and even. That's the idea anyway.

People say they are more comfortable to play on the left hand too, but I can't speak to that.

 

[mobdirt]

i can tell you why not in fact i can give you 3500 - 5500 reasons why i wouldn't

 

[spiritbass]

All of the advantages of multi-scale have been pretty much covered. To expand on the fundamental advantage of optimum string tension giving all of your strings the same timbre, this allows the player to EQ for the room instead of EQ'ing the bass...

 

[Anders Barfod]

On a lot of 34" scale 5 string basses I tried, the EQ balance could be a bit difficult to handle.. I would need to cut a lot of lows or the low B string would just rumble too much but then the D an G string would be thin sounding.
Maybe a low cut filter is always needed on most cabs when you are playing a 5 string bass...

 

[NathOBX]

5) You will no longer be unheard and ignored by your audience

Every bassists dream

 

[micguy]

I think Dingwall makes cool basses. But the justifications are a bit of a stretch - most of what they talk about is easily solved by a balanced tension set of strings. I think they're on their most solid ground when they talk about making a good low B string - I'll give them that, the rest you don't need fanned frets for IMHO.

 

[twocargar]

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:

View attachment 3002168

I played an Ibanez 6 string fan fret a couple months ago and now I'm gassing for one. This is the one I've got my eye on: Link Removed

 

[Sixgunn]

Ya'll got it wrong! You fan the frets to keep them from overheating!!!!

 

[dmac1961]

Fanned frets are not the goal, they are the solution. They provide even tension string to string, and each note speaks evenly, everywhere on the fretboard. If you haven't played one, don't be so quick to call it snake oil. On top of that, Dingwall just flat out makes very high quality basses. Not off the shelf parts, everything is built in house or by top shelf manufacturers to Dingwalls specifications. They really are all that and a bag of chips!

 

[DiMarco]

I am still not convinced and think the low B quality on a Dingwall *MIGHT* simply be caused by just the pickup placement.

This is the bass I have, and the 34" low B on it is just as clear, growly and sustainy as any of the other strings.
I really honestly still think it is simply a case of design and build quality along with clever pickup placement.

 

[lz4005]

I am still not convinced and think the low B quality on a Dingwall *MIGHT* simply be caused by just the pickup placement.

This is the bass I have, and the 34" low B on it is just as clear, growly and sustainy as any of the other strings.
I really honestly still think it is simply a case of design and build quality along with clever pickup placement.

Pickup placement doesn't change how strings work.
Longer scale length lets you have the same tension with a thinner string, or more tension with the same string. It is basic physics.
There's a reason mandolin strings are short and uprights are long.

 

[DiMarco]

Cool, but 34" is clearly more then enough for a tight, ringy low B.
Any extra inches are obsolete.

 

[singlemalt]

Well, ok. Guess that settles it.

 

[BruceWane]

I am still not convinced and think the low B quality on a Dingwall *MIGHT* simply be caused by just the pickup placement.

This is the bass I have, and the 34" low B on it is just as clear, growly and sustainy as any of the other strings.
I really honestly still think it is simply a case of design and build quality along with clever pickup placement.

LOL. Yeah, that video certainly proves it.

A few hundred notes worth of higher register wanking, and less than a dozen random staccato eighth notes on the B string before he goes to the inevitable slap demo.

In approximately 6 minutes total playing time, he mostly demonstrates what a great thumbrest a 34" B string makes.

 

[gazzatriumph]

Never played a Dingwall but to me look weird and ugly. I'll stick with the Warwick

 

[BruceWane]

Really need to post a poll here to find out how many folks believe that string-through-body makes for a tighter B, but longer scale length doesn't really matter.

 

[dmac1961]

Never played a Dingwall but to me look weird and ugly. I'll stick with the Warwick

I have played a Warwick, but to me look weird and ugly. I'll stick with the Dingwall.

 

[groovaholic]

Fanned frets either appeal to you or they don't -- and it'd be silly and pointless to try to talk anyone out of their preferences in terms of tone, feel, or aesthetics.

But the science of string tension is pretty unambiguous, and if consistent tension from string to string appeals to you, fanned frets are a great way to get there.

The cheapest way to try it out is to buy a balanced-tension set of strings; if you like the feel better, you might appreciate the evenness of fanned frets.

If it feels wrong to you, you're probably better sticking with parallel frets.

 

[lfmn16]

I am puzzled. No low B ever sounded tighter and more inline with the other strings then that of a Warwick Thumb NT or Dolphin Pro1, and those are 34" scale.

Please explain to me why fanned frets are an improvement for their purpose eludes me right now.
I want to experience GAS for a Dingwall.

Have you tried one?

If not, go try one.

 

[phillipkregg]

I may be old school, but I just have never been able to get comfortable with fanned fret necks.

Most people like to point out that when you open your hand, your finger fan out naturally. So it accommodates the natural structure of your hand.

My problem with that is that you don't play with your hand open like that. When you are fretting your curl your fingers which make them fan back in the other direction - exactly the opposite of the fret board. This becomes really apparent for me when I'm trying to make chords up high on the neck. I have to completely change the shape that I'm used to making with my hand.