Archive for the ‘fret work’ Category

Barrier Cans (Bohlen-Pierce guitar & effects)

Saturday, November 25th, 2017

Barrier Cans (Bohlen-Pierce guitar & effects – behringer Digital Delay DD600 and Strymon El Capistan)

photo by Chris Vaisvil

Epiphone Roadie Bohlen-Pierce Video Performance Pieces

Saturday, December 17th, 2016

performance 1 audio

performance 2 audio

performance 3 audio

The Saharan Pump (22 edo rock)

Saturday, December 7th, 2013


The Saharan Pump
is an indulgence using my DIY refretted 22 edo “First Act” strat copy electric guitar

mistakes in the sunset

Thursday, September 5th, 2013

audio only

download here

A solo with my DIY glued on frets harmonics 24 to 48 (24 notes) – the frets are super glued panacea 18 gauge stem wire #571818

DIY Harmonic Series 24 – 48 guitar refret

Saturday, July 27th, 2013


I am re-fretting my cable tie guitar into a harmonic series guitar by gluing panacea bright 18 gauge stem wire with super glue to the fretboard. This fretting technique was introduced into my xenharmonic community by Dante Rosati and I first saw it in person at OddMusic CU in the work of Andrew Heathwaite. Some of the frets above are obviously at an angle – this was needed to get the proper pitches. (I was matching a piano tuned to the harmonic series segment.)

Here is an example piece using a soundhole pickup.

Cable Tie Guitar Near JI Improvisation

Tuesday, April 9th, 2013


Cable Tie Guitar Near JI Improvisation I don’t shy away from dissonance with this one… – recorded with reverberation and delay – compression added after recording. I tuned the guitar by ear – what I came up with is below.

D#2 +36, G#2 +41, C3 -30, D#3 +36, F#3 +47 measured tuning
1/1 366.00000 677.00000 871.00000 1200.00000 reduced tuning in cents – each fret is ~204 cents (a 9/8 just whole tone)
cents approximate JI interval
366 (16/13 tridecimal neutral third)
677 (40/27 grave fifth)
871 (28/17 septendecimal submajor sixth)


Saturday, January 19th, 2013

Remembrance is a chilled piece in 22 notes per octave using my DIY refretted $50 used “First Act” electric guitar and DIY fretless bass. Additionally there are my vocals, drums and Kontakt flute.

Poem by Evan Harrington

Words are contained in the film – full quality video

Here is an analysis by Andrew Heathewaite:

  • With the exception of a chromatic passing tone, the guitar part seems to be entirely (although maybe I missed something) in Superpyth[5], that is to say, the 22edo pentatonic scale generated by fifths/fourths. The voice sings these notes and a few major thirds to round things out. I take the first note of the voice melody to be tonic, and the chord progression to be more or less a I-V7-I… kind of thing. It’s not meantone, though, since there are two sizes of whole tone — the four-degree step and the three-degree step. To tell you the truth, the melody as you sing it sounds a little twelvey. That’s understandable if you haven’t sung in 22 a lot, since the large/small whole tone distinction is pretty tricky. It’s similar in 15, but even more exaggerated.

    Taking out the passing tone, your 22edo major scale is 4324432. If you treat it as a meantone major scale, you’ll find that the triads don’t work out the same. You’ve got a regular I chord, but the minor ii chord is actually subminor. A regular minor iii chord, but a supermajor IV chord. A regular major V chord but a vi chord with a subminor third and a wolf fifth! And finally, a decent septimal-flavored diminished vii chord. It’s worth mentioning also that the dominant V7 chord has a strong septimal flavor to it, like a tempered version of a 4:5:6:7 otonal chord. You play the seventh a lot in the guitar part, and I think it works nicely that way.

  • DIY 22 note per octave guitar

    Saturday, October 6th, 2012

    Now that I have a reasonable demonstration piece of music I thought I would post this work in progress. I bought a “first act” strat copy at my local guitar center for less than $50 as I remember.

    In this case I followed some advice Ron Sword gave me and removed the fret board by using an iron and a sharp tile prying tool. I defretted the fret board and back filled with plastic wood (enbiggen the pictures above and you can see the back-fill). I then mounted the fretboard on a piece of wood to allow me use my shallow fret saw with my good, but tall, miter box. In here lies a mistake I made – the mounted fret board wasn’t completely square – but much more so than cutting by hand. I proceeded to cut about 30 slots for the new frets. I used Experimental Musical Instrument’s fret calculator for fret placement. Once fretted I went through a few cycles of fret leveling, truss rod adjustment and stringing the guitar. I have to say that letting the guitar sit for about a week after adjusting the truss rod had a very positive effect.