Maple necks have ski ramps too, wish they didn't but we see the ski ramp on likely any Fender style, bolt-on neck.
For your earlier question the beam that you have is a bit long for how we level and induce fall away. So what you need is a beam that spans 1 - 12 and is perfectly level. Then you need another beam that spans 12 through the last to mill in the fall away.
Now I use a beam most of the time that will span the entire neck so you could use the one that you have as well so long as it's perfectly flat. Ours are checked and corrected on a certified surface plate.
The process in a nut shell is to adjust the truss rod so the neck is as straight as possible. We use red magic marker on the fret tops to see where we are hitting. Often if not usually the beam will be hitting some of the last frets preventing it from making full contact with all frets. This is the ski ramp and a visual indicator of it's existence.
This is when I deploy the short beam with 80 grit on it and a piece of masking tape on one end that rides on the 12th fret not removing material from the 12th. I mill away frets over the body until remarking all of the frets with marker and using the long beam the long beam no longer hits the 13th through the last.
Next you use the long beam again with marker until you are making contact with all frets 1 - 12, no exceptions. Hitting the 13, 14 etc. is no biggie either so long as you now have a gradual, progressive "fall-away" after the 12th.
I use 80 grit for major material removal such as the extension/body frets then I follow-up with 120 and lastly 220 so as to remove most if not all of the scratches from the fret tops. This means changing paper on the beam or having more dedicated beams.
At this point the frets are recrowned and you can use marker again. The goal is to create a gentle and uniform crown but not hit the marker on the very top of the fret so as to not lose the level set that we achieved. What you will see when crowning is a line forming that represents the top of the fret crown and this line needs to be preserved for the level set to be preserved.
Next I shape my fret ends and if the board is nasty I scrape it with a single edged razor. If the board is maple and has finish on it no scraping and the entire board needs to be taped off for the entire process to protect the finish.
Now comes the old school method of using 320 folded 4 times and pointed downward like that old playing card that we clipped in our bike spokes....
to make motor sounds. You want to be sanding the sides of the frets to remove scratches and hit the ends too to remove scratches.Then comes the 400, 600, 1000, etc to get the polished look. We have a one of a kind fret buffer that Dave Collins designed so after 320 grit we take the neck to the "wheels" and in a few minutes have a super high polish.
Hope something here helps. The tighter radius Fender necks can choke out bends but it's more often the case that the fret plane is not as I am describing with fall-away and/or the set-up is too low for the quality of the level set of the neck.
By the way this method creates a compound radius, a desirable thing, and further reduces the perils of the tight radius neck.
Congrats to you too on what you are trying to accomplish and how you went at it. You are doing great!