Fretboard

PHOTOS: As you look at the sequence above, notice how the frets correspond to the natural movement of my fretting hand. Notice also how the intonation line of the bridge is parallel to the plucking/strumming hand.

The multi-scale layout of the frets is based on the natural movement of the human forearm and wrist.

First, the shoulders want to remain relaxed and level. Second, the fretting arm wants to hang relaxed from the shoulder, with the elbow directly beneath. Third, movement of the wrist is controlled by the elbow, which simply pivots the wrist from end to end of the neck.

Unlike conventional instruments, we do not want to engage the shoulder muscles to position the wrist.

Fourth, the index finger of the fretting hand naturally seeks to pivot as it approaches the torso. We can demonstrate this principle without using a guitar. Hold your fretting hand in barre chord position at the (imaginary) nut. Note your index finger and forearm form a vertical line, parallel to the torso, as seen in the first photo in the sequence.

Next, pivot from the elbow, moving your wrist toward your torso, as if you are playing (imaginary) upper registers. Note your index finger naturally rotates and seeks to point toward the center of your chest, as seen in subsequent photos of the series. Note also, no shoulder or forearm muscles were used in an effort to hold the index finger perpendicular to the centerline of the neck.

Again — unlike conventional instruments — we do not want to engage shoulder or forearm muscles. Both of those large muscle groups slow the movement of the finger tendons when they are contracted. For centuries, guitarists have been struggling with this biomechanical issue.

Considerable thought is invested into these multi-scale fretboard layout improvements. The patent pending TOONE & TOWNSEND hardware I've been developing makes these ergonomic advances possible in headless configuration. Considerable advantages await. This article is first in a series defining capabilities of the new system.

Comments

[Borhane]

It's a real thrill to follow your innovation spree! How I wish some brand was clever enough to integrate them in their mass production!

Keep up the fantastic work!
Borhane

ps: I haven't seen any update on feather in a while, how is that project going?

[Rick Toone]

Borhane — Thank you for your encouragement. I am currently in discussions with several major instrument manufacturers, regarding my technologies. Significant developments are pending.

Feather is on hold at the moment, due to other prototypes with higher priority.

[Jeffrey Collins]

There's a company called Novax that has been making fanned fretboards in their guitars since the mid 90's. Charlie Hunter was one of the first to really utilize the system. It's incredibly cool and am glad others are taking it on for their guitars these days.

[Rick Toone]

Jeffrey — Multi-scale instrument fretboards have actually been around for centuries. Novax "Fanned Fret" system refers to a specific embodiment of the concept.

For certain players, there are advantages to multi-scale. It is exciting exploring the possibilities!

[Jeffrey Collins]

I actually just looked more into it after reading your blog. Quite amazing that this hasn't been passed onto the normal guitar and fretted world yet.

[Timothy Radja]

i don't know if this is the right place to ask but what is your opinion on scalloped fretboards?

on one hand it seems to me from reading that there would be an ergonomic advantage to them similar to the TNP, i.e. you have to use a lighter touch to pitch notes accurately, causing less wasted effort in string bending and chording from pushing against the wood itself.

i havent had a chance to play multiscale, scalloped, or TNP guitars myself but i imagine that a combination of those could be very potent both ergonomically and musically.

having said that, i have heard some people claim that scalloping detracts from the tone of an instrument, what is your opinion there?

[Rick Toone]

Timothy — Scalloping can subtract tone (on a conventional truss-rod neck) simply because it reduces the stiffness of the neck. Fretboards are part of the structure of the neck.

TOONE & TOWNSEND Neck Core greatly reduces that issue.

But, also, tone is subjective. Some players might prefer the sound of a scalloped fretboard neck. Music, and tone, are highly open to interpretation.

Jumbo frets can feel scalloped, but do not negatively impact the structural integrity of the neck. Consider that option as well.