I had a gorgeous, very hard and resonant board of Jatoba that I'd been scheming about for some time now. It was too thin to make a body or wings out of, but just to cut a neck or two from it seemed a waste. And I'd been thinking a lot about design acoustics. If we lose vibration with every joint and material change, what would the possibilities be for an instrument on which both string ends (or both bridge and nut, I guess) were anchored to the same piece of wood? So now I've cut a 34"-scale unibody slab and sized it for a fretless curly purpleheart fingerboard. The body design had to compensate for the width of the original board, which didn't allow for the width I usually prefer across the body. ("big through the hips"?) But I've come up with what I think is an attractive instrument just the same. My concerns are: 1) that the flat neck/headstock transition may not be as stable as a scarf or tilt-back volute. There will also not be the kind of downforce across the nut that I'd need...unless I mounted the tuning machines to the front of the headstock and ran the strings through to the other side, which might weaken the headstock/neck joint anyway? (and wouldn't that look weird?) 2) that, although the neck is awesome, the body is now very thin (Could I just veneer the front and back? Would this counteract the unibody idea?) and 3) for that matter, whether I need a fretboard at all (if I can rout the truss from the rear, skunk-stripe-style...)? I realize this would mean massively 'countersunk' pickups...not to mention a bass that looked like the back of a puzzle piece... Anyway, I have no idea about the feasibility of any of these ideas and design possibilities...although that hasn't stopped me yet. +) Anyone tried something like this? Any advice?