16EDD Fretboard is based on the formula (Scale_Length/(2^(x/16))). Although the disputes generated by the presumption of advocate the best way for visualize a worthy 16EDD fretboard, defending for place, in contranatura, the same old 12EDD 'sketch' over the 16EDD fingerboard, in essence, Armodue dotguide is the most suitable and consistent way for visualize a Hexadecaphonic fretboard.
WHY?
Because 2 worlds about theory referent to 16EDD show us a same conclusion: David S. Goldsmith 16EDO Theory and Armodue Esadecafonia Theory designs a layout of 9 white keys and 7 black keys for piano. What's mean? Means that each parallel conclusions in different times and different locations are summarized under the same scheme for graphics with the better intention their ideas and renew the "Unmovable (or abominable ;) 12EDD universal music language", that actually is, still, overestimated and extremely SPENT!
Goldsmith, in summarized accounts, declaims the use of 16EDD with a Notation based in the first 9 minuscules letters of the Greek alphabet, with their correspondents distribution of the accidental symbols and applying it over 2 hexagrams (a Bass hexagram and a Treeble Hexagram, like a it homologous duodecatonic transcription on pentagrams).
Armodue, on the other hand, declaims the use of 16EDD with a notation based in 9 Numbers (obviating the number 0), with their respective distribution of the accidental symbols and applying it over Tetragrams distributed by 'Decaves' (Ditaves/'Octaves'), making of this last, the most EASY for transcription. But, BOTH are driven under the same Piano scheme: LLLsLLLLs (7L2s): 2 2 2 1 2 2 2 2 1 (2;1), called Superdiatonic or Mávila9.
With respect to the Hexadecaphonic fretboard, this is a first way:
16EDD DotGuide, Goldsmith/Armodue
The dots denote clearly the 16Piano layout transposed to the fretboard, visualizing the 'black keys' in the dots and the 'white keys' in the blank spaces. Denotes too, the interval of 6th (blown 5th) with 2 dots, the 'Decave' ('Octave') with 3 dots, for differentiate 6ths and 10ths, making by logic the tuning on 7th fret by intervals of 5ths (Acute 4ths). A simplification for this dotguide is:
16EDD DotGuide, simplified form
The dots are in the places 3· 5· 7· 9· 11· 13· 16: 19· 21· 23· 25· 27· 29· 32: & 35· NOT LOSING THE CONSISTENCY with the superdiatonic scheme, and this is the better orientation for somebody that is beginning in the Goldsmith/Armodue theories over 16EDD string Instruments, denoting a scale of 2L5s 3;2 Relation, 3 2 2 2 2 2 3 (aka Mávila7 or simply Antidiatonic).
Step (form 1)
Purdal size
Cent size

Step (form 2)
Purdal size
Cent size
01
618,75
75

01
618,75
75
02
1237,5
150

02
1237,5
150
03·
1856,25
225

03·
1856,25
225
04
2475
300

04
2475
300
05·
3093,75
375

05·
3093,75
375
06
3712,5
450

06
3712,5
450
07·
4331,25
525

07·
4331,25
525
08
4950
600

08
4950
600
09··
5568,75
675

09·
5568,75
675
10
6187,5
750

10
6187,5
750
11
6806,25
825

11·
6806,25
825
12·
7425
900

12
7425
900
13
8043,75
975

13·
8043,75
975
14·
8662,5
1050

14
8662,5
1050
15
9281,25
1125

15
9281,25
1125
16\0···
9900\0
1200\0

16\0:
9900\0
1200\0
Another way for a 16EDD dotguide is like this:
16EDD DotGuide, alterned form
The dots are in the places 3· 5· 8· 11· 13· 16: 19· 21· 24· 27· 29· 32: 35· denoting a consistent scale of 4L2s 3;2 Relation, 3 2 3 3 2 3, concluding with the total symmetry that 16EDD have in its internal structure.
A last dotguide for 16EDD is it that FabrizioFulvioFaustoFiale puts on his 'Esadekachitarra', using the 4EDD subset for that:
DotGuide for 16EDD instruments
16EDD Fretboard is based on the formula (Scale_Length/(2^(x/16))). Although the disputes generated by the presumption of advocate the best way for visualize a worthy 16EDD fretboard, defending for place, in contranatura, the same old 12EDD 'sketch' over the 16EDD fingerboard, in essence, Armodue dotguide is the most suitable and consistent way for visualize a Hexadecaphonic fretboard.
WHY?
Because 2 worlds about theory referent to 16EDD show us a same conclusion: David S. Goldsmith 16EDO Theory and Armodue Esadecafonia Theory designs a layout of 9 white keys and 7 black keys for piano. What's mean? Means that each parallel conclusions in different times and different locations are summarized under the same scheme for graphics with the better intention their ideas and renew the "Unmovable (or abominable ;) 12EDD universal music language", that actually is, still, overestimated and extremely SPENT!
Goldsmith, in summarized accounts, declaims the use of 16EDD with a Notation based in the first 9 minuscules letters of the Greek alphabet, with their correspondents distribution of the accidental symbols and applying it over 2 hexagrams (a Bass hexagram and a Treeble Hexagram, like a it homologous duodecatonic transcription on pentagrams).
Armodue, on the other hand, declaims the use of 16EDD with a notation based in 9 Numbers (obviating the number 0), with their respective distribution of the accidental symbols and applying it over Tetragrams distributed by 'Decaves' (Ditaves/'Octaves'), making of this last, the most EASY for transcription. But, BOTH are driven under the same Piano scheme: LLLsLLLLs (7L2s): 2 2 2 1 2 2 2 2 1 (2;1), called Superdiatonic or Mávila9.
With respect to the Hexadecaphonic fretboard, this is a first way:
The dots denote clearly the 16Piano layout transposed to the fretboard, visualizing the 'black keys' in the dots and the 'white keys' in the blank spaces. Denotes too, the interval of 6th (blown 5th) with 2 dots, the 'Decave' ('Octave') with 3 dots, for differentiate 6ths and 10ths, making by logic the tuning on 7th fret by intervals of 5ths (Acute 4ths). A simplification for this dotguide is:
The dots are in the places 3· 5· 7· 9· 11· 13· 16: 19· 21· 23· 25· 27· 29· 32: & 35· NOT LOSING THE CONSISTENCY with the superdiatonic scheme, and this is the better orientation for somebody that is beginning in the Goldsmith/Armodue theories over 16EDD string Instruments, denoting a scale of 2L5s 3;2 Relation, 3 2 2 2 2 2 3 (aka Mávila7 or simply Antidiatonic).
The dots are in the places 3· 5· 8· 11· 13· 16: 19· 21· 24· 27· 29· 32: 35· denoting a consistent scale of 4L2s 3;2 Relation, 3 2 3 3 2 3, concluding with the total symmetry that 16EDD have in its internal structure.
A last dotguide for 16EDD is it that FabrizioFulvioFaustoFiale puts on his 'Esadekachitarra', using the 4EDD subset for that: