Let me try to cover all of the...(complaints?) hehe.
1)I don't entirely understand what you're trying to say about the neck. I'm getting the feeling that some of you doubt the structural integrity of the thing, but it seems like you are refering to it as if it were a glue in neck. You must reallize it's a straight through so the size of the heel really doesn't give a good example of the amount of wood holding it on. Also, there will be 2 carbon fiber reinforcement rods that continue from the neck onto the guitar(for about 3/4") underneath the fretboard. I have left the area of the top uncarved(on the inside) for this reason.
2)I agree with your ideas about the inlay, perhaps it will detract from the guitar's elegance. However, I will be doing some type of ellaborate inlay. I only did stars and my signiture on the last one, and I want more practice with inlay. The word practice might scare people, but no worries. I'm thinking of something with curves...hmmm(no vines).
3)As far as the humbucker mounting rings go, I really like the ones I've made. The only change I would make in that category would be to use maple rings made from the same stock as the top. I don't like the whole ringless humbucker look; I can't stand seeing the little mounting brackets on the sides.(not to mention...semihollow guitar, eh?)
This guitar will be recieving a les paul type pick guard(obviously not a stock one). However, I'm going to make it out of plexi glass(the really good type though, forgot the name). It's not an attempt to make it look futuristic. I want a pickguard, but I don't want to stop the flow of the grain.
Oh, and the first guitar is not a baritone. For some reason my image host kind of messed that picture up. Also, the headstock might make the neck seem longer since it's narrower than a gibson headstock.
Geez, I have a big mouth, don't I.