Beepster
Might be cool for an acoustic, classical or hyper strict no bending jazz but it looks like it would be a bunghole to try and play blues or anything that has even a hint of string bending.

That's what I was thinking. In the second video, the guy covered a Paul Gilbert song and did some bending. Now I don't know if it was just poor technique or the TT neck itself, but the bends were out of tune. He also limited himself to extremely shallow, manic mosquito vibrato. Again, I don't know if this was just his technique, or a deliberate attempt to avoid vibrato-ing over the varied fret spacing.

Desmo808

Beepster
Might be cool for an acoustic, classical or hyper strict no bending jazz but it looks like it would be a bunghole to try and play blues or anything that has even a hint of string bending.

That's what I was thinking. In the second video, the guy covered a Paul Gilbert song and did some bending. Now I don't know if it was just poor technique or the TT neck itself, but the bends were out of tune. He also limited himself to extremely shallow, manic mosquito vibrato. Again, I don't know if this was just his technique, or a deliberate attempt to avoid vibrato-ing over the varied fret spacing.

Some of the frets look like you'd drop almost a quarter tone if you went too far with your bend. To try to learn how to compensate you'd have to do it fret by fret and string by string. Too crazy. A floating bridge would make upward bends more feasible but that just ain't the same and would probably totally defeat the temperament anyway. Those necks with the quarter note frets strategically placed or the ones where the frets fan out would be far easier to play with.
 
But as someone who likes to play crazy chords on an acoustic all over the neck I could see a use for it there. Otherwise... naw.

 
Fascinating stuff.
 
My Kemper Profiling Amp uses its built-in pitch shifting software to accomplish something very similar.
 
From the manual:
Pure Tuning
 
When you press "Pure Tuning", intervals produced by the Pitch Shifter will be slightly detuned from the standard tempered scale to create a so-called "natural" or "pure" tuning. This will avoid harmonic beating, especially when distorted afterwards.

• Choose your favourite distorted rig
• Turn down Gain to clean.- Select the Type "Chromatic Pitch" in one of the STOMP slots
• Turn Mix all the way to the left, and Voice Mix to the middle, so you hear both Pitch Shifter voices
• Choose +16 and +19 for Voice 1 and 2 Pitch to get the third and fifth above the octave

 
Sounds crazy, right? The was never a need for such thin sound.
 
Now turn the Gain up for distortion. You will hear a deep growl, swinging around the original base note that you are playing on your instrument. Not too nice.
 
Now press "Pure Tuning", and you will get a nice, steady fundamental note. Even chords might work. It still sounds like your guitar, but different. It doesn’t even sound like a pitch shifter anymore. You can get different colours by choosing different intervals for a solo sound, for example. Be sure to experiment with different interval settings!
 
What has happened?
 
You might be aware that the third and fifth above the octave are natural harmonics (overtones) to the note you play. They both blend with the fundamental frequency, especially when driven by a distortion. However, intervals tuned to a tempered scale do not reflect the overtones exactly, as they are slightly detuned to fit into the musical scales. This results in heavy beating when mixed in the distortion. "Pure Tuning" solves this issue immediately, allowing the pitch shifter to create sonic colours rather than additional voices.

Zonno
I was under the impression that temperament was different in every key.
In the old days they used to have different "keyboards" for different temperaments
And that is why they invented equal temperature.
 
So with this guitar I need a different necks for Bb, Am, G, F, Em etc????? 

Yes, when I first looked at the frets I was assuming the designer was trying to make a guitar with just intonation, which would seem to require a different guitar for each key. The fret variations look like they may be extreme enough to accomplish that. But the article seemed to indicate it was an attempt to produce a standard (equal temperament) scale accurately.

slartabartfast

Zonno
I was under the impression that temperament was different in every key.
In the old days they used to have different "keyboards" for different temperaments
And that is why they invented equal temperature.
 
So with this guitar I need a different necks for Bb, Am, G, F, Em etc????? 

Yes, when I first looked at the frets I was assuming the designer was trying to make a guitar with just intonation, which would seem to require a different guitar for each key. The fret variations look like they may be extreme enough to accomplish that. But the article seemed to indicate it was an attempt to produce a standard (equal temperament) scale accurately.

So since equal temperature is a compromise that enables you to play in all keys, their guitar is a compromise.
Just as my normal guitar (of which they say it is not exactly equal temperature) is a different compromise.
But my normal guitar may be a better compromise for some of the keys.
(That explains the preferance of some forum members for certain keys (such as Am))

Someone should put those fretwires on this neck.