The headstock on this guitar pays tribute to D’Angelico with its cutout and ornamental cupola, but the cutout shape is D’Aquisto’s own circular design.

The oval soundhole, while unusual on a post-World War II archtop, actually dates back to Orville Gibson’s guitars in the 1890s and predates the introduction of f-hole archtops by a quarter-century.

The steamlined pickguard shape, the larger bridge, the solid ebony tailpiece, and the inlay-less fingerboard are more than just cosmetic refinements. They were signs of a major change in direction for D’Aquisto.