I'd imagine it's because they're short, and the strings cannot leverage the wood as easily. If you picture the string as the lever and the nut as the fulcrum, there's just not that much distance that can multiply the string's tension to the point where it can warp the headstock.
Binding on the nut can make it go flat as well, if you bend the string; the binding will prevent the slack from returning, lowering the sounding pitch.
When all you can do is name-call, you've shown your true colors.
When I first started demoing my originals, the desire to get it "perfect" interfered with my ability to go with the flow, because I was intent on stamping the song with exactly what I wanted to hear. That deafened me to the happy accidents that often take the song somewhere beyond what I'd...
Binding-bleed's been an issue with Gibsons I've held in the last ten years or so. Sorry yours has it too, but thankfully it doesn't affect the sound, right?
Also, almost every oil sold for guitars has a mineral-oil base. Go to Lowe's and get a lifetime (fifetime?) supply for the same six...
I don't like staying in one part of the neck. I bore myself when I do that. I use the diagonal scales you mentioned, and I will also do hammer-and-pull down a string to get to another part of the neck.
I don't think my dreamer has been built: 'hog body and 3-piece neck, ebony fretboard, binding on neck and headstock, no fretboard inlays, 490R in the neck, Duncan JB in the bridge spot.
I do love the look of CG's korina, though. Good lord, that's pretty.