The neck size is similar to a 60"s Les Paul and C shaped. The non carved top in my opinion probably leads to a more uniform top but a less responsive top.
Un-Amplified it's tone is round and has a nice dark tone (guitar was tested with Ti-flat wounds). However, I have have only qualitative data and thus this is my own opine.
Perhaps this was in response to the Strombergs building a similar sized guitar. All of these are lovely instruments that feature exquisite pearl inlays on the head stock and the bound fret boards as well as quadruple binding around the body.
Each D'Angelico guitar was built by hand and took several months to build.
D’Angelico also produced some customized guitars, which included an Excel sized guitar (17”) with New Yorker features for Johnny Smith, some D’Angelico necks fitted onto bodies that customer’s owned.
D'Aquisto's version had all the features of his Solo model, along with the fin.
In 2007 luthier extraordinaire John Monteleone begqn his version and even added extra flairs, but making a scroll design on the upper bout that is similar to the design on a Gibson F-5 mandolin.
These marvelous guitars had a carved arched top and back and f-shaped sound holes.
Though his production was robust in the 1930’s, his shop was only producing around 35 instruments each year. Much of his day to day work involved repairs of guitars, mandolins and violins.