Fitted as standard, a zero fret terminates the strings over a fret rather than at the nut. A nut is
still used to keep the strings the correct distance apart and to ensure the correct break angle
for the strings over the zero fret. The nuts are hand made from ebony.

The main advantage is the evenness of tone between fretted notes and open strings, it also,
automatically, sets the strings at the exact ( and lowest ) height which improves action and
playability. Additionally, as the string can slide across the zero fret, bending is easier at lower
frets.

All necks with angled, Gibson style headstocks, are constructed with at least three laminates,
with their grain directions reversed and alternated to provide excellent stability and stiffness.

With an electric instrument you are only hearing the sound of a string vibrating- via pickups
and an amplifier. This means every bit of tone available is within the string at the moment of
plucking - the guitar itself can’t add anything to the various frequencies of vibration present at
this moment. Therefore all the guitar can do is act as spring/damper system and absorb the
energy of the vibrating string, each frequency being absorbed at a different rate ( which is
why guitars sound different to each other ).

It makes sense to me to build necks, heads, and bodies as stiffly as possible to maintain the
vibrational energy and allow the player to choose which, if any, frequencies to cut via EQ.

My preferred bass neck combination is Maple and Wenge, which gives a stiff, responsive, neck.
Mahogany and Ebony works very well on shorter scale guitars to bring out more sustain and
clarity while Fender scale guitars can be warmed up a little with the addition of mahogany
laminates to a largely maple neck.

To improve sustain, stability, and reduce dramatically the chance of a broken neck I
use a neck join that employs the whole width of the neck as the tenon, with the tenon itself
extending to the bridge edge of the neck pickup cavity. This ensures the maximum amount
of wood on wood contact and the biggest surface area for gluing and vibration transfer
from neck to body.

My bolt on designs use a similar system, extending as far into the body as the pickup
configuration will allow. You can also see in this picture the two way truss rod I use. This
is essential as often my necks are so solid and stiff that the truss rod is required to put
relief onto the neck rather than reduce it, which is usually the case.

To strengthen and stiffen headstocks, an often overlooked factor in obtaining good tone,
I use a 2-3mm facing of ebony in addition to thicker than average wood at the head.

I favour a heavier headstock but the balance of the guitar has to come first, using a two or three
aside system for the tuners helps keep the length down and thus makes balancing the
guitar easier.

Although classic nitro cellulose lacquer is available my preferred finish is oil and wax.
This gives a natural look and as importantly the wood feels warm and welcoming, necks
are silky and fast. A good instrument should be one you want to touch and pickup and
an oil finish coupled with an organic, ergonomic design goes a long way towards this.

Additionally this finish is easy to repair as knocks and dings can be sanded out and the area
re-oiled and waxed.