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Unless you're just looking for a backup to what you have of course.
https://www.thefretboard.co.uk/discussion/175295/describe-my-neck-with-accuracy/p1
The chart from @Wolfetone was the closest to quantifiable help that I got.
Hope you can do better
So dunno.
Most factory carved necks traditionally rely on the guy sanding them to be paying attention.
Fender V necks apparently happened because the guy carving them in the late 50's was lazier than the guy who rounded everything over nicely. I had a 30's regal guitar that had a pronounced V shape, but was so thick it was more like a boat keel.
For me, D necks have flat edges either side of the fretboard then round off from there, sometimes flatter down the middle. A C carve is nicely rounded and carries onto the fretboard edges, no flatness down the middle.
A U carve is like a D but thicker, they almost feel under carved. V is where there is an obvious ridge down the middle, even if its just a soft one.
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Don't say I don't contribute to the forum.
I can play any type of neck really, but have tended towards the fatter ones which seem to offer more support to my hand in playing position, and have got used to the Allparts TMO / SMO fat necks on the last few I have built. I think they can best be described as fat D shape, although on the maple ones it could have a slight C feel, this might be all in my mind, but is easier to imagine if you think of the fretboard as an add on, rather than a part of the neck.
Back in the day, fatter necks were seen as a bit crude, and the stories of Jimmy Pages shaved down Les Paul etc must have given rise to the thinner equals speedier myth. I also think that when necks became stiffer due to multi laminate construction, and Steve Vai's influence, the super thin necks became popular.
On my Les Pauls, the story is a bit harder to work out, my favourite feeling neck is on an 04 R7, which are supposed to be huge, but is actually just really comfortable. All the other Gibsons I own have '50's' carves, which just feel slightly thinner and have a rounded 'C' shape, which is comfortable.
I had a 54 style built for me, which I insisted on having a 'huge' neck, and I think it maxes out at 25mm, or rather doesn't taper, and this feels like more of a 'D', and if anything, it just feels newer, because of the binding and the fact that it is newer.
One thing that does stand out to me, is tuning stability and tone. Fatter necks feel a lot more stable, and on some bodies seem to really help with sustain.
I think Gibson styles are much more variable, because in theory they could get REALLY fat, but in practice, I don't think many will be over 25mm, so much like monkeys dicks, every mm counts, but its all about the feel.
Your LTD has the following spec
Thin U contour
Thickness 1st Fret: 20mm
Thickness 2nd Fret: 22mm
Nut width: 42mm
Radius: 350mm
If you've ever played an Ibanez RG the Wizard necks have had different names over the years but they've typically been quite thin
Super Wizard as an example
Thickness 1st Fret: 17mm
Thickness 12th Fret: 19mm
Nut width: 43mm
Radius: 430mm
My guess is for your tastes you won't want to go thinner than the LTD neck, which isn't really thin it's just on the thinner end of standard IMO. Stuff that's around 20-21mm ish at the nut feels pretty 'medium' to me. 22mm and up can feel fatter, 19mm and below can feel thinner, at least to my tastes.
Fender Modern C (converted to metric and rounded to the nearest half mm)
Thickness 1st Fret: 21mm
Thickness 12th Fret: 22mm
Nut width: 42/43mm (depends on model)
Radius: 241mm
Here's a fairly clear diagram explaining the letter shapes as neck carves
A 1991 catalogue... it's written in (I think) Japanese though.
Specs wise, this is the relevant page:
Top paragraph is all the usual fretless wonder and black beauty talk, talking about the history of the P90 version, 3 humbucker version, and then 2 humbucker version.
It's a faithful reproduction of the 1966 model.
Neck:
Mahogany with neck binding. Rosewood fingerboard. 24.75" scale. 22 fret.
Block position marker, 17something pitch peg head??? With Orville by Gibson. Split diamond inlay. Grover type machineheads.
Doesn't say anything about the neck shape.
Thanks wife!!
Fair amount of variation in LP necks I suppose!