b'Truss Rods and NecksWhen I started out, Martin Guitars used a steel T section to reinforce their necks. To my engineering mind, it made no sense at all, the T shape was completely wrong. I machined an aluminium bar to what I thought would be the perfect shape, and then realised that it was almost exactly a model railway line, so that is what I used for a long time, and two of them in a twelve string.None of the necks from that time ever caused any problems, in fact they were so straight that it was easy to see where distortion did take place, in the structure where the neck joined the body, not the neck or the joint, but the wooden heel and the soundboard around the soundhole. This has lead me to lots of conclusions which I cant explain here, and I dont want this book to cause too many fights.To get the neck depth and weight down I designed my own section, which used the fingerboard as part of an engineering beam. It worked well, but was subject to changes in climate, so eventually I started to make my own slimline adjustableI have developed the neck attachmentstop development and change, its part design, which I am now incorporatingover time. The truss rod and heelof what I enjoy in this combination of into the neck attachment. This started inreinforcement are closely bondedwoodwork, engineering and music. 1981 in the first guitar I made for Miketogether within the neck, and I have plans English. that I hope will improve the design still further. I do not foresee a time when I will 202'