Similar to, but slightly bigger than most tenor banjo necks

A rare example, could also be used as an octave mandolin

A very slim neck popular amongst people who play mostly electric guitars

A shorter scale length and thicker than a similar period OM

Narrow and slim with a slight V shape

Narrower but thicker than its modern equivalent

Similar to S1.639 but a bit bigger all the way around

Similar in width to a modern Martin but slightly thicker and more V shaped

The modern standard for bluegrass

Distinctly asymmetrical

A fairly narrow semicircular neck, particularly good for bar chords

Works well for Tommy, who has his action set very low with no neck relief

A very strong radius on fingerboard makes it excellent for bar chording

Similar to, but thicker and wider, than its modern equivalent

Strong V shape with wide string spacing at the bridge

A good example of what modern finger style players prefer

A good generic neck, comfortable with a variety of playing styles

The holy grail of finger style guitars with a very slight V shape

A stronger V shape than its predecessor

A popular guitar and an even more popular neck

Slightly wider than most at the bridge

Rounder profile than the Martin™

Slightly wider and slimmer than S1.770

A touch wider than most Goodall's™ with a shorter scale

Wider than most at the nut; particularly good for modern finger style

Fairly thick and wide neck good for those with extra large hands

A typical Martin neck just before the advent of truss rods

One of the slimmest 12 string necks on the market

The strongest V shape in the entire collection, great if you like to fret the bass string with your thumb

A touch wider than the Larivee at both the nut and the bridge

Slim D shape, hybrid electric nylon string

Rounder than the Taylor, with similarly radiused fingerboard, hybrid jazz classical

Thinner and narrower than most concert classicals; this guitar was originally owned by Paco de Lucia

Slimmer and rounder than most concert classicals, very slightly radiused fingerboard

Traditional D shape, flat fingerboard

Big neck with an extra long scale for big hands - it worked for Segovia

Another big neck but with a rounder profile and a normal scale by one of Mexico's premier luthiers

Extra bass string, string spacing similar to his Pearl Model

Extra treble and bass string, with slightly narrower string spacing than his 7 string

Humongous neck, bass strings are tuned diatonically like a theorbo and rarely fretted

Much shorter scale and narrower than a Fender, good for small hands

A touch narrower and thinner than most Fenders

Considered by some to be the most versatile neck ever made

Thicker than most Strats, especially at the nut end

Rounder profile than a Fender, with a shorter scale

More D shaped profile than a Les Paul

Similar to a Les Paul but a touch wider

Very thin and flatter on the back than a Fender™

Bigger all around than most electrics, a true acoustic/electric

4 neck contours @ frets # 1, 4, 5, & 15  - excellent example of a traditional bluegrass banjo

3 neck contours @ frets # 1, 5, & 15 - slightly bigger all the way around than B1.187 for a more contemporary feel

4 neck contours A frets # 1, 4, 5, & 14 -excellent example of a modern clawhammer style banjo

Narrow by modern standards with an almost flat fingerboard

Thinner than the Loar with a strongly radiused fingerboard

Wider string spacing @ the bridge than the Loar, radiused fingerboard

Stronger V shape than the Loar with slightly wider string spacing, radiused fingerboard

Significantly wider string spacing @ the bridge and rounder than a Gibson

Very strong V shape and flat fingerboard

Flat fingerboard, extra long scale

Radiused fingerboard, wider string spacing than the Trinity College version

Wider @ the nut but narrower @ the bridge than the Anderson, V shape