Hye Mike--
I'm only doing Europe this summer. What are you building?

Hello Mike,
The neck on that particular guitar (fluted-back, 66cm SL) is of some other wood (can't really identify it ...), which is very similar in density (if not even heavier) to bubinga but not that interesting in appearance so I decided not to use it any more. My bubinga is more towards brown-red in colour (plus also darkening when finished in oil) and I'd say it combines with maple body and / or ribs rather well. My first experience of solid, heavy wood neck (ebony) was when I made my first reproduction of the Dias vihuela. And it does make the difference, no question about it!
Alexander

Thank you, Mike. I've just added my more-in-depth answer about the roses to the thread that you've started earlier. As for the bubinga neck, I forgot to mention that this wood is as stable as others, provided of course that it's seasoned up properly, or kiln-dried at least to start with.

Hi Michael,

About the bridge coming off the guitar...
As you've read on my blog I'm an amateur at building instruments, so I presume I could learn more from you then vice versa but will gladly share my experiences.

I can't exactly reproduce the circumstances.
My 'workshop' is in the basement of our house. It's rather humid so I keep my tools and wood and instruments under construction elsewhere.
For jobs like glueing the top, glueing the bridge etc. I work in our living room, thus at 'room temperature' of around 19 degrees Celsius. Both times it was around April when I put on the bridge so I guess the heating was on resulting in low relative hunidity. I guess the thickness of my glue could be comparable to yours (thin cream...).
After the last time - having worked very clean - I tend to think that maybe I apply to much pressure, thus pressing the glue away into the soft woold of the top. (Bridge is was pear on both instruments).