Pup distance from bridge + scale length The secret ratios that are often called "tone wood" in electric guitars.

Very interesting you are certainly intro something with these tests you've been doing. Please continue!!

You could also test: Long scale with "thin" strings Vs normal scale with thick strings E.g. where the string tension is kind of the same on both, but the long scale will probably sound clearer

it's crazy how many people will tell you an LP sounds fatter than strat because of it being a 5kg slab of wood and not even think about some more obvious differences. LIKE GODDAMN SCALE LENGTH

yeah, it feels super weird that it's 2024 and most of companies barely offering any good baritones while bands play in like double drop A and stuff. it's a lot better now than 20 years ago, but the market is still super underdeveloped. and not a lot of people understand that they often don't need a 7-8 string guitar, they just need a baritone

This particular test is not full correct , because the thicker strings should be used for shorter scale to keep string tension equal

The string tension is really interesting stuff and way too often overlooked. There's a lot of things to test there if you're willing. Different bridges would be interesting with probably easiest one being trying tremolo bridge in different setups (mainly hardtailing it with too tight springs vs. floating it with "too loose" springs, I generally favor to keep the tails of my Strats bit higher for more sensitive tremolo arm and having "cheap Floyd Rose"). Then there's the headstock; 3L/3R and 6L tuner setups have quite a difference in string lengths (as in complete length, I had to check and my SG and Strat have almost 4" difference from nut to tuner for e string) which may affect the string tension. String trees which is personally interesting for me, because I sometimes free my Strats strings from the trees to play some odd 0-fret bends and have noticed that taking the trees out lowers the note more than half-step but tuning the string without trees and installing them raises the note by less than half-step. Here is probably also the place for fanned frets which while with 8-strings may allow you to use bass strings and really "downtune" the lower strings, generally should actually take out of the dynamics because you are lengthening (brightening) the lower strings while shortening (darkening) the higher ones. Strings themselves have effect on string tension, the gauge directly and drasticly changes the tuning tension (having a C-tuned metal guitar with 13-56 set is nice but it's fun when you just are figuring things out and don't yet know about anything and put that kind of set to a Strat and turn it into a bow by tuning it to E-standard 😅). Material however, I don't think there's at least as huge difference than with gauges, steel creates more tension than nickel and different flexibility but seems rather small difference.

String gauge will affect your tone alot too. Longer scale lenght -> smaller gauge -> brighter tone :) for the same tuning ^^

I've really been enjoying these geeky videos recently. Would love to see more like this. They help me to better understand the tones I want to create and how to achieve them in a much more practical way. Stay nerdy!

An underrated feature and very important for the character of the sound. Great info and video!!! 🤟🤟🤟🤟

One point to consider. You reduce the scale lenght towards the bridge while keeping the pickup fixed. If you keep in mind the proportions, that is equivalent to moving the pickup towards the neck every time you reduce the scale. And I can tell by experience that minimal movement of a pickup position makes a huge difference in bass content. I'd love this experiment done with a piezo pickup under the bridge to eliminate my point from the equation.

Absolutely! And it's pretty easy to check on any guitar playing, for example, the E note on the 2nd fret of the 4th string and on the 7th fret of the 5th string. The first one gonna sound much brighter.

The scale length to use depends on if you play in a band and where each instrument lives in the mix and whether an instrument plays short notes or longer droning notes.

Very interesting this. I have mainly had longer scale guitars for the past 10 years or so, 2 @ 27 inch and 1 @ 26.5 inches and I will have gotten used to their bright sound. They all now have Fishman moderns installed too.. So last year I got another guitar… because Evertune and although this guitar once again was equiped with fisherman moderns it was 25.5 inches in scale. However the difference in tone in this new guitar was very different, much warmer and in some respects it actually sound dull for the cleans despite having the same set of strings on all of the guitars. I did think that among other reasons it was the scale length but this helps to prove that this is one of the factors and that there is nothing wrong with the new guitar!

Killer video series friend! Thank you very much!

I think you need to take into account the string gauge you'd normally use.I built my own 28.625" scale from scratch but I use a heavier strings so that would change your test. I wrote my own application to calculate the frequency and fret distances based on guitar scale length, the mass of the string and the tension. The mass (which related to the gauge) then varies for each fret (the string gets shorter for example). The argument with anti-nodes and where the pickup is placed is undone by the fact that as you fret the string, the length changes, the mass changes and so the position of the anti-nodes along the string change with each fret. Also there's not one wave on the string either - your pick actually creates a travelling wave and this creates a very complex waveform as it reflects back and forth between the nut and bridge until it dies out. The pickup would pick that up too. The tension difference and mass of the string also changes this standing wave between the different guitars too. The key bit here is there's not a single answer that fits all. There is a mathematical formula that shows the relationship.

Clicked on video, thumbs up already.

So fascinating. Also applies to bass. Fender PJ Bass and the P Bass should sound exactly the same if you turn off the bridge pickup on the PJ, right?

While scale length appears to change the tonality, I suspect it to be indirectly. If the distance between the bridge and pickup is fixed across all guitars, then changing the scale length would technically place the pickup at different relative of the string, in terms of how (amplitude) the string vibrates at any point. Just like changing intonation alters how the perfect pitch of a note lines up with a fret, physically. Same and only reason why a neck position pickup sounds different; it registers a part of the string that vibrates with a higher amplitude, thus darkening the sound. On a 27" scale (again - same distance between bridge and pickup) the pickup would register a lower amplitude than on a 24" scale as relatively, the pickup is closer to the bridge-end of the strings.

Valuable info for a guitar builder, thanks!

Me playing A# on 24.75 (with evertune)

I think this is why my multi scale guitar is my favorite guitar. I tune super low and the low strings have clarity and bite while the higher strings are warm and great for leads.

Perfect clarity without loosing the "guitar feeling" is 27" I've got my guitars in Drop C in a 27" scale. I find 28" guitar have a more bass guitar feeling and the stretch you have to make to noodle on the top frets is to much hassle

I think placement of the pickups adjusted to the same overtones according to the scale difference ratio would have been suitable as a baseline. Also did you change string thicknesses to have the tension similar? Other than that thank you for undertaking this.

I've never heard about this or thought about it. Good stuff, thanks.

i think though interesting this is a flawed train of thought, you're just going slightly to a more neck pickup sound the higher in frets you go, objectively speaking the longer the scale the darker it sounds, that's why violins are small and cellos are big despite of tuning, there's also the fact that more tension usually translate to higher harmonics being heard more that's why it's said that shorter scales sound "warmer" which it's a fancy way of saying rolled off high end anyway i still this doesn't matter a guitar still sounds like a guitar, just get the most comfortable(string tension and playability) and best looking one(the best metric there is in guitar)

So shorter scale adds harmonic undertones or removes harmonic overtones, or...changes timbre? Isn't the standard range 82hz to 1397hz with a fundamental of 740hz? A2 @ 440hz is A2 regardless of scale. also, would the appropriate string gauge (tension) change these timbres as well? The proper string tension on actual scale length instruments, that your trying to represent here, may bring back brightness or certain harmonic overtones that are lost in your experiment. The tension lessens with each down tuning in the experiment. That has to have some impact on the harmonic overtones as well.

Since strats and tele's sound better tuned a half step down, ie with lower string tension, does it follow that they would also benefit from shorter scale length?

I have 2 Strandbergs exact same pickups / body , Only difference is one has maple fretboard and the other has ebony, Big difference in sound, Ebony is darker and maple is bright. Maybe that's something to test ? 🤔

To me scale length gives the most difference to playing feel and tone than anything else

Wait. I believe you said shorter scale gives you more lows but only talk about the higher frequency (3k or 4k or whatever). So did you measure what lower frequencies were more present in shorter scale lengths?

What is the point of testing scale length on the thick strings of a baritone guitar????

It definitely is. I just got my first fan fret in late Janurary, a Goliath 7 from Orsmby. They have one of rhe most extreme multiscales/fanning of frets, it goes 25.5-27.8" for a 7 string(27.5" for 6, and 28.3" for 8). I ordered their headless Metal V 7 soon after, and man its amazing. I got it in D-G-C-F-A#-D-G tuning, they picked me the guages and did a setup, using 13, 17, 32w, 42, 52, 68, 80. It doesnt have much pitch drift, even at this SUPERLOW tuning.

Unfortunately, the term "Scale length" actually defines the measurement distance between intervals, and not string tension and resonance, etc. It is total "String Length" from the fixed/connections of the strings, usually the Tuners, and where the Ball Ends strings are fastened, that define tension and pitch for a particular string gauge. Because Scale length and String Length tend to be related, they are often used interchangeably, but this is incorrect. To get a good pitch performance from a string, it needs to be at a certain tension, and that tension is achieved through a proper String Length and String Gauge. This is why Short Scale Basses require very heavy guage strings so they can achieve a string Tension that sounds decent at a Standard Pitch. If you understand this, you can understand why things like headstock design, such as 3 on a side, 6 on a side, reverse headstock, and headless make a difference. As do fixed bridge, tied and pinned bridges, various types of tailpieces, Tremolo units, string through body, and locking nuts and saddles.

Are you sure it’s scale length and not string tension? I know they’re related but consider this: the scale length adjusts the string tension and the position of where the harmonics vibrate along the string. In your experiments you changed the position of harmonic resonance on the string, but the string tension couldn’t stay the same. I’d be interested in the same test, but where you restring each time to keep the string tension as close to the same as possible. Thick strings on a 24” scale length could alleviate some of the muddiness

Excellent Video Mikko

Sorry but that experiment is kinda faulted cuz everytime you shorten the scale, the pickup always stays in the same position but, in relation to the scale length, it's like you're moving it towards the neck actually, so it's no surprise you get a darker tone. If there was a way to move it proportionally to the scale length and also narrow down its magnetic aperture, you'd realize that tone doesn't change that much due to the scale length alone, if at all. I recently made a video on my youtube channel that talks about this too, if you want to check it (I'm not allowed to post the link here, the title is "Why do different guitars sound different? Pickup, scale length, nodes and harmonic series")

Mikko, there was a post on Nolly's instagram about this a while back that proposed the idea that changing scale length with a normal sized humbucker may be changing something we aren't accounting for. I'll leave the quote here to hopefully not misrepresent it. "The longer the scale length, the more spread apart the overtones are along the string, so your pickup sees a narrower range of harmonics. If you think about it, it's a bit like shrinking the pickups on a regular scale instrument. Shorter scale lengths will mean the pickup sees a broader range of harmonics."

Would've been nice to see average spectrograph, since string length should emphasize the fundamental frequency more, not less. We can be fooled by harmonics, hearing more prominent 2nd and 3rd can create an illusion of stronger fundamental frequency too. Specially when distortion is added, which does give way more harmonics than fundamental. The harmonics of a shorter neck should be more complex, not less. Less complex give more fundamental, which should give more low. But of course, it does reflect to both directions, up and down when the fundamental is "choked", and more clarity, simpler harmonics when it is the right length. There is "worlds longest piano" videos here in youtube that has the sound of a piano with "proper" string lengths and it is quite harsh and way less complicated than a "truncated" piano that is the piano we know. So, we expect more harshness with longer strings at the low note, and less "being broken", whereas shorter strings have to be more complicated, "sweeter".

I'm gonna use this on my girlfriend as an excuse for buying even more guitars thanks buddy 😊

All wood vibrates differently, and tone is vibration. the different density of the pulp between the rings, the shape and thickness of the rings. I will never not be amused by the grapefruit-level intellects who will be "skeptical" of tonewood just because it requires a bit of abstract thinking to understand; but will push the importance of minutia to compensate. valley arts strats (which had gibson scale lengths) were no less bright than fender ones, just easier to play. What then: you don't care, it's about looking like a "kid who reads" not actually being reasonable. grapefruits will start talking about the make of frets and pickguard material determining tone, but categorically deny the vibration and stability of THE MATERIAL THAT 90% OF THE GUITAR IS MADE OF just because "believers" (LOL) recognize that wood has physical properties as well.

Invalid test procedure here. You are ignoring the effect of using string not tuned to there intended tension. You are cultivating an aura of rational analysis but in three videos from you that I have watched the reasoning is faulty.

Next is evertune vs fixed bridge please!

Jim Lill debunked this one