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What are fanned frets?

#25
I never understood where the whole idea that fanned frets give you better intonation came from. If you take each string individually, it's just like a normal bass - the low B (whole system, I mean nut, fret/string contact points and bridge saddle) on a Dingwall for example shouldn't be different than the low B on a 37" scale bass, like the G string is like the G string on a 34" scale bass. I don't know if Sheldon has made any slight changes to the fret positions in order to make the intonation better, but even if he has then it doesn't have anything to do with the fanned frets and it should be possible to apply to parallel fretted instruments as well.

Anyway, no, you can't fix the tension with different string gauges, especially on a 5-string. And what does a fretless have to do with the string tension, the tension is the same either if there are frets or not. Anyway, the biggest positives of this design are the even (well, almost, unless the fanning is more extreme than I've seen so far) string tension and string-to-string tone. The clarity and detail of a 37" low B is a thing of beauty, especially when matched with great pickups (like the Dingwall FD-3s or Villex).

Personally, I joined the fanned fret crowd a few months ago and I really can't see me going back. Which is a shame because for example I often think that I'd like to get a cheap bass and do some upgrades, but I know that, even if it ends up being a great instrument, I won't be playing it because of the parallel frets. Fanned frets, for me, are simply the next level, other basses feel a little primitive in comparison.
 
#27
spade2you said:
IMHO, not much of a point in fanning a fretless. Your intonation isn't fixed and getting even tension is as easy as grabbing different gauges of strings.
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I play chords on my fretless 6, I think there's a chance that intonation could be better on a fanned scale fretless. Many chords you have to intone two strings at exactly the same place on the neck, which is tough with my big fat mitts, and may be easier if the fingers can be staggered. Plus those minor thirds would be easier to reach.
 
#28
Dragonlord said:
Anyway, no, you can't fix the tension with different string gauges, especially on a 5-string. And what does a fretless have to do with the string tension, the tension is the same either if there are frets or not. Anyway, the biggest positives of this design are the even (well, almost, unless the fanning is more extreme than I've seen so far) string tension and string-to-string tone. The clarity and detail of a 37" low B is a thing of beauty, especially when matched with great pickups (like the Dingwall FD-3s or Villex).
Click to expand...

Can and did. If you look at conventional bass strings, the tension is horribly unbalanced. Simply put, the D and G have much more tension than the B, E, and A. If you doubt me, take a gander at the D'Addario string tension charts. Fanned frets can take those same strings and essentially make the tension even. What Rob does is simply mess with the string diameter until they all have roughly the same tension throughout. If he didn't, the volume per string would be very inconsistent since a piezo is much more sensitive to tension than a conventional magnetic pickup.

Someone explained to me why the fanned frets make the instrument have better overall pitch, but the details are boring. If you make chords on a fanned bass, it should sound more even than a parallel fret bass. Still, frets aren't perfectly in tune, which is why orchestral stringed instruments don't feature frets.

Again, fretless....pitch is up to you, so really there's no advantage to doing it that way.

Philbiker said:
I play chords on my fretless 6, I think there's a chance that intonation could be better on a fanned scale fretless. Many chords you have to intone two strings at exactly the same place on the neck, which is tough with my big fat mitts, and may be easier if the fingers can be staggered. Plus those minor thirds would be easier to reach.
Click to expand...

I chord a 5 and will be doing the same when my 6er arrives. Perhaps the lines are more accurate, but I have no problem with chords on my unlined single scale bass.
 
#29
Yes, you can put a thicker low B for example... but you still can't make it very even, it would be as thick as a pencil (or the G too thin). Then you lose definition with thicker strings - it's just not the same. You get a much more balanced (both feel- and tone-wise) result with fanned frets.
 
#31
Dragonlord said:
Yes, you can put a thicker low B for example... but you still can't make it very even, it would be as thick as a pencil (or the G too thin). Then you lose definition with thicker strings - it's just not the same. You get a much more balanced (both feel- and tone-wise) result with fanned frets.
Click to expand...

Try out a Rob Allen. I talked to him about this once, but it's more of an issue of fixing what ain't broken. The piezos don't lie. Had the strings been uneven, a piezo will definitely show it before a mag will.

Again, I have no doubt fanned frets works on a fretted instrument, but you don't see every fretless player jumping ship for a reason. We've been enjoying even response AND better pitch forever.
 
#34
RevengeGoose said:
I remember when rickenbacher tried slanted frets, not fanned

didn't work out too well

is it comfortable to play those fanned necks tho?
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I can only give my personal experience with the Dingwall. The only time it was uncomfortable was the low C and C# were a littile bit of a strech compared to a 34" scale 5er. It is no more uncomfortable than the extra reach on a 35" scale 5er IMO and not the big a deal. Other than that little, tiny issue, the neck on a Dingwall is far more comfortable and less fatiguing to the left hand, especially over the course of a long gig, than any other bass I've ever played. YMMV.
 
#35
So, while I've yet to actually play one (but I've cut the fret slots and put the neck together for my first one), I did get to talk to Ralph Novak about the idea a couple of times in the early 90's. His big point was to get clear tight (sounding) low strings while having the high strings sound sweeter and thicker than they do with a longer scale. The even tension and "in tuneness" were nice bonuses rather than the main point, at least in the couple of brief chances I had to talk to him. Makes sense to me- my 35" basses have nicer B and E strings and thinner sounding G than my 34"'s to my ears, and generally I think short scale basses have muddy low strings and really nice fat highs. I've never felt like uneven string tension has been a problem for me, and intonation issues are much worse on guitars than basses (for my mediocre ears). I'm hoping for a more pleasing balance in tone.
 

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