The strings splay out and up over the bridge. It's routed flush into the back of the body and rises up on a slight angle on the top front edge where the strings come out.
I like to design and make my own hardware and the polished aluminum Milano tailpiece was the first thing I came up with. You can see the color of the top around the control knobs. So the volume, tone and three way toggle switch all sit in specific holes in the pickguard with about a 1/16" space around them. I also wanted the pickguard to cover all of the electronic controls, including the LED lights on the coil split buttons, without being attached to any of them.
My friend and local genius Mark Kett, engraved the Milano script into the back of the pickguard. I like the way the light reflects and refracts on the smooth polished radius on the edge, especially when it's back painted. Early on in the design process I felt that the pickguard should be fairly thick plexiglass, 1/8".
#Galanti guitar serial number series#
Q - Describe some of the details which make the Milano unique.Ī - A number of things distinguish this Milano series from my regular electrics, and from other guitars in the market as well. The mahogany one piece body is thinner as well, it measures 1-5/8" and has a generous radius on the back edge of the body, and I contoured the back of the body on an angle at the neck joint. It's been years since I've made one of my electrics as a solid body so I was keen on changing it up. Q - Why did you decide to go with a solid body instead of your usual hollow body electric?Ī - This was Kevin's idea for his electric which I'm now using as the template for the Milano series. I was fine with his requests, in fact I was looking forward to using my established electric guitar shape as an opportunity to do some modifications to an electric format that I designed way back in 1982. His criteria was clear from the beginning 1) it had to have Mojo Dual Foil humbucking pickups, 2) it had to have a solid body (my electrics are hollow), and 3) it had to have a 25-1/2" scale length. So I started to get an idea of what I wanted to see on this prototype guitar for Kevin. The lacquer paint finishes, and pearl plastic coverings were equally outrageous, very flashy and loud. Lots of different plastic details, rocker switches, oddball metal tailpieces and other aluminum and plated metal parts that you would never see on an American made electric in the '60s. What appealed to me about these odd creations were how they used interesting hardware and pickups, and their outrageous material choices. Electrics like Wandre, Eko, Goya Galanti, etc. After the call, the wheels started turning and the electric started taking shape based on the details and idiosyncrasies of electrics made in Europe and Italy in the '60s. I don’t usually do copies of electrics, but in this case, and for Kevin, and the fact that I was already a fan of that model anyway, I was willing to do a version of this guitar for him.Ī few days went by and Kevin called me up to ask me if I would make something like the Premier but use my electric body shape instead. The call was to see if I would be into building an electric guitar in the style of an old Premier electric, one of those funky ones with the scroll on the upper bass bout, model E -781.
Kevin has eight of my instruments, and it's always interesting to hear what he has in mind. Q - What inspired this new Milano series?Ī - Earlier this year I received a call from my friend Kevin Breit, a monster musician, songwriter and guitar player. Questions/answers with Joe Yanuziello, December, 2018
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