Why aren't there more scalloped guitars?

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Yeah I know they're ugly and you can't play them in tune and if you play a scalloped neck you can't play an unscalloped neck . . . blah blah blah.

Every time I pick up my old mongrel partscaster with the Squier tele neck that I scalloped with a rat tail file a decade ago I got lost in how amazing it feels. The total control over the string, the incredible smoothness of no wood contact, the ease of great vibrato - scallops make it all super easy.

Scallops give you absolute control over the strings. You can completely dominate bends with full confidence that the string is going to do exactly what you tell it to do. Vibrato is easier and more accurate since you never touch the fretboard. Chords to my ears ring a bit clearer and the sound seems to be a smidgen brighter but in a good way. I can play decently without scallops but for most things I prefer them.

Scallops also force you to relax your left hand. After playing scalloped guitars for a while I have far less fatigue and I tend to fret more accurately since there’s no fretboard to stop your finger. It’s not faster really but it feels faster. You can feel your left hand playing more fluidly and comfortably. After a while that extends to all of your playing.

The only downsides are that you can bend things out of tune if you have a kung-fu grip. That’s a bad habit that scallops will break immediately. I started out trying to imitate Yngwie with 8s tuned down a half step and it did take me a week or so to play in tune. But that’s a pretty gnarly setup. Personally now I run 9s tuned to E standard and E flat with no issues at all.

As far as playing both scalloped and non-scalloped guitars the only thing that I feel when I transition to my regular guitars is an annoying fretboard. Hahaha. It’s no problem at all. It’s actually improved my playing on non-scalloped guitars considerably because of a more relaxed left hand.

Why aren't more guitars scalloped? Is it just the dreaded "guitarists are a bunch of nancies that hate change" issue?

My scalloped partscaster. Like the Millennium Falcon she's ugly but she's got it where it counts.

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The body is from an old Strat FSR that I didn’t like the sound of so I used it to practice stripping poly finishes. It was a disaster - it’s a mid 90s Fender 12 piece body with really terrible routing and zero resonance. I was painting a body for my wife so I just threw a couple of coats on this one randomly so my wife could see the color before i painted her real guitar. The finish is rough and the neck pocket is loose as a $10 hooker.

The neck is from an experiment trying to make my own scalloped neck about a decade ago. I took it off of a Squier tele probably 14 years ago that was never quite right. It’s been setting in the garage with no frets literally holding up one end of a workbench. I pulled a set of old Fender frets out of the parts box and pressed them in. I hit the fret ands with my rounding file and did a quick level but I never really took the time to tweak this one.

The electronics, the bridge, the knobs and pretty much all the other parts are literally out of my junk box. The bridge has parts in it from 3-4 guitars - it’s a mix of metric and imperial screws for goodness sake.

But man this guitar just freaking rules. Of course having a set of BKP Trilogy Suites in the pickguard doesn't hurt. Holy fricking crap they are great!

Anyway - why aren't more guitars scalloped from the factory?
 
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I know what you mean. One issue is no beginner would stand a chance getting anything in tune and the other biggie is it would add a lot of cost to production .
I have a Blackmore strat that I refretted with stainless 58118 (dunlop 6000 size) Jescar and it is amazing for control.
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Its quite hard to go from my usual 57110SS with a flat 16" radius straight to this with the 7.25" but it had this already and I just refretted it . In hindsight I could have changed the radius but it plays very well anyway and it would have made for a very complex job.
 
With modern CNC it really shouldn't be very complex to add scallops. Once it's fretted you level and polish like any other guitar. If I made more than three or four personally I would do the scallops pretty quickly on my ShapeOko CNC. Cutting them manually is a bit of a drag for sure.

Other than the smallest builders everyone uses CNC now. You'd be crazy not to.
 
I got a scalloped neck lying about that I intended to put onto a guitar. It never came of it but I keep it around as a handy template for measuring and fitting while building guitars. I should build one because it does seem to feel nice to the touch.

Why aren't more guitars scalloped? Is it just the dreaded "guitarists are a bunch of nancies that hate change" issue?

You do realize that guitarists are by en large more rabidly conservative then ISIS or Al Qaida, right? That Leo Fender and Les Paul got it right from the start and that everything else since has been HERESY!!!
 
Yeah I know they're ugly and you can't play them in tune and if you play a scalloped neck you can't play an unscalloped neck . . . blah blah blah.

The only downsides are that you can bend things out of tune if you have a kung-fu grip. That’s a bad habit that scallops will break immediately.

Why aren't more guitars scalloped? Is it just the dreaded "guitarists are a bunch of nancies that hate change" issue?

Anyway - why aren't more guitars scalloped from the factory?
I think you pretty much answered your own question. :p

Well, that and this...

You do realize that guitarists are by en large more rabidly conservative then ISIS or Al Qaida, right? That Leo Fender and Les Paul got it right from the start and that everything else since has been HERESY!!!
 
Companies normally"make" what sells. I don't mean that sarcastically, it is a fact!~
The point is if people got the chance to try them they would see that there is some serious advantages. Obviously many people would still not want them but almost nobody's has ever played a guitar with them IME.
 
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The point is if people got the chance to try them they would see that there is some serious advantages. Obviously many people would still not want them but almost nobody's has ever played a guitar with them IME.
I understand that Andy. I just was pointing out "why" they don't make more. I have tried and not liked at all. But I get that's just me.
 
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I understand that Andy. I just was pointing out "why" they don't make more. I have tried and not liked at all. But I get that's just me.
Oh I know, but I think the problem is they feel alien for too long to just try one out. You need to commit to giving it a proper trial. Only when you get used to the very different feel do you even start to get in to what that has to offer over a regular fingerboard . This is the reason that curved fingerboard radiuses are still here in spite of being neither ergonomic nor functional. The very same thing with vintage fret sizes and nickel. All these should have gone.
 
On the subject of stainless steel frets and flat radius fingerboards;
I get a lot of people come to me and say that they can hear stainless steel frets so I fretted a strat neck and every three frets I changed from steel to nickel guess what? When everything else is the exact same you can't hear anything different. People hear with their eyes and expectations. The other aspect of this is people think they sound modern and clinical but that is usually because they are on modern guitars that are very far from vintage spec in other areas and attribute all the difference to the fret. IME fret mass change is hearable going from a 6230 to 6100 ( vintage fender to jumbo) but the strat players that most people like the tone of had already done this to their guitars. I can't think of a player that is known for using a strat that plays one with stock radius and fret size. Even the conservative ones are on 10" with 6105. Regarding radius;
The rule for function is quite simple the flatter the better. The closer you get to dead flat the more next fret clearance you get at the same action on anything other than a perfectly matched compound radius and even that starts to go when you bend or vibrato.
On the ergonomics;
Why is a curve a better match for bar chords? your finger is no more suited to either flat or curved so the function becomes the driver. Now add that the action can be lower with tall frets and a flat fingerboard and still get the exact same next fret clearance and the ergonomic advantage of less finger pressure required and the curve starts to look bad. I have got quit a few die hard vintage players playing replica vintage but with 16" radius and stainless steel 6100 size. They play better and sound better now because they have a better control and that gives them the confidence to progress.
 
On the subject of stainless steel frets and flat radius fingerboards;
I get a lot of people come to me and say that they can hear stainless steel frets so I fretted a strat neck and every three frets I changed from steel to nickel guess what? When everything else is the exact same you can't hear anything different. People hear with their eyes and expectations. The other aspect of this is people think they sound modern and clinical but that is usually because they are on modern guitars that are very far from vintage spec in other areas and attribute all the difference to the fret. IME fret mass change is hearable going from a 6230 to 6100 ( vintage fender to jumbo) but the strat players that most people like the tone of had already done this to their guitars. I can't think of a player that is known for using a strat that plays one with stock radius and fret size. Even the conservative ones are on 10" with 6105. Regarding radius;
The rule for function is quite simple the flatter the better. The closer you get to dead flat the more next fret clearance you get at the same action on anything other than a perfectly matched compound radius and even that starts to go when you bend or vibrato.
On the ergonomics;
Why is a curve a better match for bar chords? your finger is no more suited to either flat or curved so the function becomes the driver. Now add that the action can be lower with tall frets and a flat fingerboard and still get the exact same next fret clearance and the ergonomic advantage of less finger pressure required and the curve starts to look bad. I have got quit a few die hard vintage players playing replica vintage but with 16" radius and stainless steel 6100 size. They play better and sound better now because they have a better control and that gives them the confidence to progress.
My Suhr Modern Custom (in my avatar) is exactly that ... 16" radius with stainless steel jumbo frets (.057 x .110), so maybe even a little taller than 6100s.

I can't claim to play or sound better on this guitar compared to my others, but I really like the feel.
 
That basically describes the last solid body I custom ordered: jumbo stainless steel frets, scallops and flat radius. My most recent was a jazz archtop, for which I ditched the scallops but kept the rest. (bends and vibrato not being a big feature of jazz guitar).
 
I do wonder what is the best technique to create a good scalloped fretboard. I've only seen the guy from Crimson Guitars do one in one of his vids and he only did it partially. Up from the 12th fret and then for the high strings only. And leaving a very rough texture cause he's obviously more about form them function.
 
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