Thursday, 14 June 2012

Vintage & Rare Guitar of the Week: Leo Losspennato RadioStar headless doubleneck guitar and bass
This doubleneck from German luthier Leo Lospennato aims to combine vintage styling (the Filtertron pickups and worn orange finish are a definite nod to Gretsch) with a more modern twist in the shape of headless necks and fine tuners behind the bridges.

The headless design would no no doubt eliminate any neck heaviness that doublenecks guitars all too often suffer from, and the body does look to be relatively compact. Personally I find the straight lines of the cut-out area at the base of the body for the fine tuners to be stylistically too harsh; I think curves with rounded over edges would have been more much more elegant and in keeping with the styling of the instrument, but that's just my opinion.

This guitar/bass doubleneck is being offered for sale via Vintage & Rare priced at €2950.

G L Wilson

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  1. Below the guitar side cutaway, there's a port of some kind. Was that for neck alignment or..? While not a fan of X 2 anything I am partial to just about anything German made. But the relief cut to access the fine tuners is bordering on vandalism. IMHO

  2. Nice, but I'd hate to have to play above the 19th fret...

  3. Anonymous11:50 pm

    this is probably one of the most interesting basses i have seen, i really dig it. Hopefully one day I can afford an instrument like this. great post/review keep up the hard work. check these out IStillGotMyGuitar

  4. Anonymous1:28 pm

    Dear all, thanks for the review and the comments! Let me address them with this explanation:
    - This instrument is the first of its model, the original prototype of the first doubleneck, and also the first headless instrument I made. Your comments give me ideas for directions in its "evolution" :)
    - The "port" at the base of the guitar neck is the access to the truss-rod tensor.
    - The "cavity" for the tuners was one way to go; the other way was to directly cut all that section out, but that would have affected the body shape too radically, and would have left the tuner buttons exposed to impact.
    - The straight lines in the "tuners cavity" follow the imaginary straight geometry of the necks, strings, hardware, etc. The other way to go would have been (has G.L. suggests) to carve a more rounded tuners cavity. Definitely possible, I would grab a pencil and start finding curves that harmonize with the rest of the body shape to see how would that work.
    - Finally, for those interested in guitar design, I (not disinterestedly :) suggest this book:

    Thanks again for the comments and the review!
    Kind regards
    Leo Lospennato

  5. oh man... this is just beautiful!



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