This is the body/neck joint on one of my Moroccan models.  You can see several important aspects of my construction and design processes here.

The "contour map" of colors is the result of using dyed through laminate plywood custom ordered with my pattern.  The top and back panels of bloodwood (or other tone woods) are laminated onto this core after I have removed large portions of the interior space.  The result is to create a more reactive Torsion Box body that resonates more openly than a solid slab would.

Additionally, there are extensive relief carves that allow every part of your hand to access the upper frets without edges and corners to contend with, as well as adding comfort for your belt line, picking wrist and forearm.

Lastly, a HAND SHAPED laminated neck from heel to headstock logo that can hold up to a "face plant" and expect to survive.  I use recessed screws to attach my necks. No thick plate to add even MORE body thickness, and in case something DOES happen, neck and body swaps are easy. No need to suffer with the costly choice between a re-glued headstock, or buying a new guitar.

I recently built an amplifier from a kit whose designer coined a wonderful phrase about his component selection. He said he "looked for the best quality he could find without paying for Unicorn Breath". There are lots of ways to drive an instrument's price up exponentially by using components that ARE top shelf, but don't give you that much more for what they cost (Almost never wholesale pricing on these, thank you). Will I use them if you want them? OF COURSE, but I'll be sure to ask you if you'd like an alternative.

What you can't see in the photo is the two way truss rod that I incorporate into every neck I make. Any PH guitar can have its neck relief set exactly as you'd like it.

What you can see is the attention I give to my selection of wood combinations for tone and visual effect, the ergonomics of my neck to headstock transition, and my preferred headstock angle for good string tension over the nut. My personal preference for neck woods are figured maple with a center laminate for strength and color coordination to the body. I use maple and ebony fingerboards because they've been proven to have the widest and most balanced tonal response. (Thank you Taylor Guitars for that research). Neck finishes can be Glossy, Satin, or Polymerizing Oil.

This photo and the next display how the same instrument can be totally different as an end product.  This travel guitar uses exactly the same woods as the amber PAF model.  What is different is the obvious choice of hardware and color.

This little beast has a neck contour that feels much like a Telecaster (don't forget that's copyrighted, please), and a sound that matches....except you'll notice that I put in a reproduction '59 P-90 for the neck.

There is also a nice perspective of the neck to body joint that helps clarify how I strive to make that transition as close to "invisible" to the hand as possible. Notice also that each fret end is nicely rounded.

Here you can see the obvious color difference from the previous photo, but also the very different final result in tonal choices as an end product.

Nearly all of my instruments (to date) utilize humbuckers with coil tapping to increase sonic options.  This instrument, however, is loaded with Reproduction '59 PAFs with the "50's wiring".  The result is a somewhat warmer version of a "typical" classic humbucker instrument.  The sealed hollow box constructions makes these airline friendly guitars sound much bigger and rounder than any travel instrument I've tried.  All my travel guitars are fully stage capable.

Most players have a range of tones that they use for different songs, sometimes within one song.  Some players bring an arsenal of guitars or lug enormous pedal boards to get these tones.  I've learned that the difference between being "lazy" and being "efficient" is that you still accomplish something by being efficient.  SO...by having a single guitar with a minimal number of switches still capable of 6 different tones ** before you even roll back the volume for "cleans" or touch the tone knob, you get an efficient stage friendly circuit with the ease of utilizing one guitar. 

** Most of my circuits utilize moderately hot, coil tapped humbuckers with a 3 way switch.  I can, however, use any pickups and circuit you would prefer.

It should be noted that the pictured guitar is capable of 15 distinct tones thanks to the Seymour Duncan P-Rails/ 3 way mini switch for coil selection, plus pan knob circuit.

There's a disturbing trend these days for manufacturers to price their instruments without a case. For Shame!  Case prices can vary greatly with no difference in quality.  The added hassle of shopping and paying for an item that is necessary (no quality instrument should "live" in a gig bag) just insults my personal sensibilities. 

All my guitars have a good quality hardshell case to protect your investment.  I shop for the best bang for the buck for you. 

My only exception to the hard case rule applies to my travel guitars. Airlines have become more strict about overhead compartment rules, and the only way to keep these stage ready instruments out of the cargo hold was to equip them with a padded gig bag designed for lap steel guitars.