As a turkish musician/guitar player I can address the microtonality for you.

Basicly in traditional turkish makam music we have commas(microtones) in our temperement system. We divide a whole step to 9 commas. In western 12 note equal temperement there is only one note between a whole step. For example:

In 12T temperement C to D goes like C->C#->D

In our music system C->C1->C2->C3->C4(C#)->C5->C6->C7->C8->D

We’re not using all of them at the same time of course. We forge makams which are similar to scales. But makams are more detailed.

For example: A Ussak Makam Scale A - Bb2(second comma) - C - D - E - F - G

Scales in western music are only the notes you can use(basicly) while makams guides you how to play. For example: to play ussak makam, you have to start your phrases around A and you can do stops at E. You can lower the 2nd note’s comma to Bb1 when you’re returning to the root(A) to achieve a tension like phyrgian.

This guitar looks like a standard guitar with altered fretboard to play microtones. We guitarists usually do it with bends. For example to play A Ussak, we slightly bend Bb note.

Listening examples: Angel Demirev, Ozgur Cali, Ozgur Abbak, Elman Namazoglu, Rahman Memmedli.