Are Multiscale (Fanned-Fret) Guitars Worth It? An Honest Take From the Bench

Short version: if you play standard-tuned six-string in E, a multiscale guitar solves a problem you probably don't have. If you tune low, play in drop tunings, or you're stepping into seven- and eight-string territory, fanned frets are one of the few "innovations" that actually earn their keep. Everything in between is a matter of taste — and I'll tell you exactly where I think the line is.

I've had a handful of these on the bench over the years. They're not witchcraft, and they're not a gimmick either. They just do one specific thing, and how much you value that thing depends entirely on how you play.

What a multiscale guitar actually is

On a normal guitar, every string is the same scale length — the distance from the nut to the bridge saddle. A Gibson is 24.75", a Fender is 25.5", a PRS splits the difference at 25". One number, all six strings, frets running straight across the board.

A multiscale guitar gives each string its own scale length: longer on the bass side, shorter on the treble side. Because the strings are different lengths, the frets can't run straight anymore — they fan out. One fret in the middle of the neck stays perpendicular (the "neutral" fret), and everything angles away from it.

"Fanned fret" and "multiscale" mean the same thing. Fanned-Fret is actually a trademark, which is why the big manufacturers all say "multiscale" instead.

Where the idea came from

This isn't a new fad. Luthier Ralph Novak filed the patent in 1988 and it was granted in 1989 — the same year he founded Novax Guitars. His goal was simple: he wanted the sweet, warm treble of a short scale and the tight, piano-like bass of a long scale on the same instrument. Jazz player Charlie Hunter's eight-string Novax hybrids were the design's most visible early ambassadors.

For two decades it stayed a boutique curiosity, mostly because Novak held the patent. When it expired in 2008, the floodgates opened, and multiscale went from custom-shop novelty to something you'll now find on production seven- and eight-strings from most of the metal-leaning brands.

What fanned frets actually do well

They even out string tension

This is the real payoff, and it's not marketing. A longer scale means more tension at a given pitch. On a standard guitar tuned to E, that's fine — the string gauges are already balanced around one scale. But the moment you tune the low string way down, it goes floppy. Give that low string a longer scale and it firms right back up, without you having to hang a fence cable off the sixth string. Meanwhile the high strings keep a shorter scale, so they stay easy to bend.

The practical version: a multiscale lets you play low tunings with off-the-shelf string gauges and still get a tight, articulate low end. That's why they took over the extended-range world. A floppy low B or F# is miserable to play and impossible to keep in tune, and a longer bass-side scale fixes it cleanly.

Truer intonation and, for some, better ergonomics

Even tension across the strings also nudges intonation in the right direction, especially down low where standard guitars struggle most. And a lot of players find the fanned layout follows the natural angle of their fretting hand — your wrist doesn't sit square to the neck, so slightly angled frets can feel more relaxed once you're used to them. That part is genuinely subjective. Some players feel it immediately; others never notice.

What they don't do — the honest part

Here's where I push back on the hype.

On a standard-tuned six-string, the benefit is marginal. Regular guitars in standard E already have reasonably balanced tension. Bolt a fan onto that and you've mostly added complexity for a difference you'd struggle to hear or feel. If you're not tuning down and you're not going extended-range, you're paying the tax without collecting much of the reward.

Bends take an adjustment. This is the one real learning curve. Because the fret sits at an angle under your finger, the string travels a little differently when you push it. It's not hard — most players are past it in a week or two — but it's the thing people actually notice on day one, not the tone.

Neutral-fret placement matters a lot. Where the builder puts the straight fret changes how the whole neck feels. Around the seventh to ninth fret tends to feel natural. Push it up to the twelfth and the fan near the nut gets steep enough that first-position chords can cramp your hand. If you're shopping used, this is worth knowing before you buy — two multiscale guitars can feel very different depending on that one choice.

Parts and service are less plug-and-play. Nuts, bridges, and saddles are all angled and often model-specific. A standard Tune-o-matic or a drop-in Strat bridge won't fit. Nothing a good tech can't handle, but it's not the same as walking into any shop for a standard part.

So who should actually buy one?

Buy a multiscale if you tune to drop C or lower, if you live in seven- or eight-string land, or if you've played one and the ergonomics just clicked for you. In those cases it's not a novelty — it's the right tool, and going back to a straight-fretted baritone or extended-range feels like a downgrade.

Skip it if you play standard-tuned six-string and you're chasing "better tone." That's not what this design is for, and you'll spend the money for a difference that mostly lives on a spec sheet. There's no shame in a 24.75" or 25.5" scale that's worked for seventy years.

A used-market reality check

Worth saying plainly: multiscale is overwhelmingly a modern, extended-range phenomenon. In the world of used Gibsons, Fenders, and PRS — the guitars we see most on this bench — it's rare. If you're set on one, you'll mostly be looking at the metal-focused brands, and the used market for them is thinner, so condition and neutral-fret placement matter even more before you commit.

If you're honestly on the fence, my advice is the same as it is for any big feel-based decision: play a standard-scale guitar that fits your hands first. You can browse what we currently have in stock here. Nine times out of ten, the thing that makes a guitar feel great isn't the fret angle — it's a proper setup, the right neck profile, and string tension that suits your tuning. A multiscale is one way to get there for low tunings. It is not the only way, and for most players it isn't the first thing I'd reach for.

Frequently asked questions

Do multiscale guitars stay in tune better?

They can intonate more cleanly, especially on low strings, because the tension is more balanced. But tuning stability day to day still comes down to the nut, the tuners, and your string-winding — the same as any guitar. A fan won't rescue a badly cut nut.

Are fanned frets hard to play?

Chords and single notes feel almost immediately normal. Bends are the one thing that takes practice, and most players adjust within a couple of weeks. Steeper fans (a high neutral fret) take a little longer to get comfortable with near the nut.

Can I put a standard bridge or nut on a multiscale guitar?

No. The nut, saddles, and often the bridge are angled and model-specific. Replacement parts need to match the design, so factor that in on a used purchase.

Is a multiscale worth it for standard tuning?

For most players, no. Standard-tuned six-strings already have fairly even tension, so the practical gain is small. The design earns its money in drop tunings and on seven- and eight-string guitars.