Questions about fanned fret...

Have you ever played a fanned fret (multi-scale) guitar or bass?
 
1.If so, do you know what scale lengths were used? (if experienced with more than one combination, please include)
2.If so, did you notice any big tonal differences between the higher and lower strings?
3.Did you notice significant improvement in tuning and if so what tuning? Standard or otherwise.
 
4.Was it a six guitar or more?
5.Was it a four string bass or more?
6.Did you notice if the nut was tilted?
7.Did you notice what fret was the straightest?
 
8.Was it an acoustic or electric instrument?
 
9. Any comments about ergonomics of fanned fret design?

I've become interested for a few reasons Drew.

The tonal variations and the ergonomics specifically.
I don't find the Moses graphite appealing. I'm currently believing
that the "fan" should be spread. (ergonomics)
And the tonal aspects....I'd love to hear and play one with a Gibson
short scale - 24.625 with a Fender 25.5.

So far it seems the only negative is the visual appeal.

I've become very interested and would build one if I didn't have
a demanding obligation.
I believe it will be my first when I can start again...hopefully by next summer.

The word is; Excellent combination for guitar.

Yes. One doesn't want to much angle at either end.
Location of the parallel fret is considered.
I've read that to much fan in the higher register makes for hard, narrow fingering.

Individual saddles are available. They are expensive too, @35 ea. (ABM ...Allparts has them)

I've thought about just buying saddles and making the rest from wood...seems like
a great idea for sound transfer too.

The Gibson/Fender combination may be a little much...24.625 to 25. may be a best first
shot. ( I'm very new to this...just a few days of considering it)

You lost me Drew.
I don't see how one holding a guitar has anything to do with fanned frets.

I see angle tilt of a neck like the 3 degrees or so of a Les Paul related to ergonomics.

What I was referring to is the angle of the nut in the photo you provided of the Moses neck.
I notice that the nut is extremely angled and the last fret on the neck is straight....that is
not my idea of a good fanned fret neck. I imagine they did it that way so a "normal" type
bridge would work with it.

Now I'm with you.

At any rate...that's the first neck I've seen with all the difference of scale length compensated at the nut. Haven't read about it from any players either.
Good or bad? I don't know. Not how I'd do a fanned fret guitar I'm certain of.
The hand naturally fans out (lower) and fans in (higher) - that neck does not address
the "natural" idea of fanned frets....of course that's not what it's all about anyway.

spacey: The Fretboard Journal has a very interesting interview in the current issue with Charlie Hunter and his luthier (can't recall the name). They discuss the development of Charlie's hybrid 7 string guitar/bass. And they go into some detail about the location of the frets.

You might find it of interest and helpful.

Regards

I've always been curious, but have never played (let alone owned) a neck with fanned frets.  That said, it makes absolutely no sense to me how that Moses fretboard ends with a level fret!  The most angled frets are usually those highest up on the neck and the bridge is also angled.  Maybe theirs is the other way around and you have to have a staggered/angled nut?

I have enough trouble playing a "normal" guitar so I haven't tried a fanned fret (plus they ruin the most important aspect of a guitar - it's looks! ).
 
Joking aside, I'm guessing in reality they help with both the intonation of the guitar as well as the playability when you consider how your hand pivots.  Hmm...  I'll have to try one out someday!

An alternative to the Buzz Fieten system is the Earvana.

Personally, I think I'd like to try a graphite guitar neck - looks like it's very slick!

Craig and Mike, neither of those addresses string tension....They both are mainly to address minor tuning issues.

I prefer to keep my thoughts focused on the very basic or what I consider the very basic
fanned fret "arrangement" and in my thought process comparing two scale lengths with 6 strings seems to be a great starting place. "String tension / Tone" being the main factors.

Most of us realize the main differences between a Les Paul and a Strat....whether or not
the scale length is known or realized. 
Most recognize how much easier to stretch a string on a LP and how much tighter the
strings are on a Strat. Both having a specific tone/sound due directly to the
tension/scale length.

I don't know if a fan-fret guitar using those two scale lengths has been made or played but
I'm very interested in knowing and even more interested in building one.
It would be good to know if the 24.625 - 25.5 is good or to far apart before I do build...could save me some wood.
I haven't been able to pin down information about that specific design and may just have to go for it.

If they do work together it should be very cool to hear the tonal qualities which I estimate to be something like  1-3 strings sounding and feel of a LP and the others like a Strat...and of course they transaction from the first to six string...if that makes sense.

The other interests I have with fan-fret design currently are limited to playing....and just
to know that the two scale lengths mentioned do work together. Should it be better to have a combination that isn't as "wide" say, 24.625 to 25. I'd be surprised and wonder if
it would be worth the trouble. 
The "range" and lengths are in direct relation to the gauge and number of strings. Which
is a very important thing to consider and I've determined the gauge and number....so the
fanned fret design for these parameters limits each of the scale lengths.

Hi Spacey,

I'd have to say that I consider my string set to be selected for their string tension... and for a sense of even play ability from fat to skinny and then I go from there.

I've often thought it would be fun to make a project of figuring out what set of string sizes would intonate perfectly. By that I mean where all the bridge saddles line up at the intended scale length. It seems interesting... I'd like to see how whacky that set would be from a players perspective... and I guess that would mean whacky string to string tension comparisons.

I'm gonna back out because your last post shows me that your are thinking very deeply on the subject and I don't have anything to add at this juncture.

I'll be very curious to see where you go with this.

best regards,
mike

Sorry Spacey, I was typing while you were posting.

Now I'm a bit lost, what exactly are you trying to accomplish here???  You can't have any neck that features more than one scale (though you have given me some wild thoughts about a double-neck guitar with two six-strings at different scales!).

The other reason I'm lost is that the fanning effect is only to address intonation issues.  As I'm sure you know, where the frets normally go is based on fractions of the overall scale (e.g., at 50% of the length, at 33.3% and 66.7% of the length, etc.).

Maybe I'm just ignorant (or intentionally I avoid the issue), but I've always used the scale as more of a personal preference with the string tension.  Sure, there are some tonal differences, but for me I've usually associated the Strat with the single-coil tones and the Les Paul with the humbucker tones.  Obviously you can mix 'em up, but for some reason I've always considered that a bit of a compromise (just like that fact that I love a 24th fret, but it moves the neck pickup down just a little which puts it out of the "sweet" spot).  If you have to down-tune then I feel a longer scale is important otherwise you'll be playing strings of rubber!  This is why I chose to standardize all of my customs at 25" (same as PRS) - another compromise.

craigb

Now I'm a bit lost, what exactly are you trying to accomplish here??? 
 
Just trying to gather info here, there and everywhere because I plan on building
a fanned fret guitar.
 
You can't have any neck that features more than one scale (though you have given me some wild thoughts about a double-neck guitar with two six-strings at different scales!).
 
Craig the fanned-fret guitar is based on using two scale lengths. That's why I'm looking at
the Gibson 24.625 and the Fender 25.5.  I may not be able to because I've read some info today
that the difference should be between 1" and 1 1/2"....I'm searching for confirmation...more info
about that.

The other reason I'm lost is that the fanning effect is only to address intonation issues. 
 
Sorry Craig...that's not correct.
 
 
Maybe I'm just ignorant (or intentionally I avoid the issue), but I've always used the scale as more of a personal preference with the string tension.  Sure, there are some tonal differences, but for me I've usually associated the Strat with the single-coil tones and the Les Paul with the humbucker tones. 
 
I kinda think that most probably look at the difference of those two guitars the same as you.
I assure you there is much more to it than pups. The scale lengths are major factors to tone. If it
wasn't we wouldn't need two different guitars....there are also some subtle differences of the guitars that
argueably contribute to their characteristic sounds- for example the titled headstock (LP) to no tilt ( Strat)
The way the necks are attached...but the scale length is the major factor. I know that the Strat style I built for
Steve with a Gibson scale length of 24.625 and tilt head does not sound like a Strat. I'm sure agrees. It also does not feel like one.....at least in playing...it feels like one by holding it. LOL
 
I'll probably build mine using the scale lengths of them so I'll know. Whether or not it works or if there is
any specific differences that really stand out....at least I'll know. Just a few more questions answered and
I'll be ready to give it a go.
 
I do find it interesting from reading....most guitarist don't really seem all that interested and do comment
mostly about the looks...until they play one and that changes everything....probably to Am. :)