Single-scale vs. multi-scale

[John Link]

Here is the a tune composed by Mau Lao and played by him on two different guitars. The first rendition is on a "normal" single scale Olson SJ. The second is on a Ray Kraut OM multi-scale. While there are obvious differences in the body styles and makers, the comparison suggests to me there may be something important to be gained in the multi-scale approach. Others may not hear it the same.

Olson SJ, single-scale:




Kraut OM, multi-scale:



Both versions are rather nice.

[Dave Bagwill]

Very nice tunes and good sound from both guitars. I'll put the headphones on later and try to hear the subtleties.

[John Parchem]

I like both sounds. The multi-scale guitar seems to have a richer deeper bass sound. I have no multi-scale experience so I am not sure how much to attribute to it. It is interesting same song, same player, and looks like the same recording setup; two very different sounds both good.

[Herman]

Sorry John,
Too much reverb to make a good comparison.
Herman

[ken cierp]

To me it sounds like both clips have a lot of EQ and signal processing. Sound nice but I am unable to compare.

[John Link]

When asked on his Facebook page about the sound in his videos by Chad Fengle, here is Mau Lao's reply:

"Anytime, Chad. FWIW I know nothing about recording. My setup is quite basic -- just two LDC mics and an audio interface. Brands/models don't really matter."

I do wonder. Someone else somewhere else commented that Lao had "just the right amount of reverb".

Myself, I fit the description Lao makes of himself to a "T".

[John Link]

My own reaction to the videos - as presented - was the notes on the fan fret maintained more separation, that is, seemed a little more clear than those on the single-scale. And notes were very clear on the single-scale in the first place. So that is what caught my attention.

In theory, the fan fret approach is supposed to provide an optimal string length for each respective gauge of string, right? Long and loose for bass, short and tight for treble.

I also have heard one must pay a royalty to the guy who holds the patent for fan frets every time you build one. This puzzles me because I didn't know one could get a patent for what looks essentially like a simple application of math. Anyone know the story there?

Can anyone find comparisons that are less manipulated?