The bridge, an impressive Schaller Vintage roller, is placed above one of the routings enabling you to use the tremolo also in extension while keeping it parallel to the plane of the body so as to allow the descent an octave during its maximum compression.

Who makes moderate use of the tremolo bar, can optioned saddles self-lubricating in "synthetic ivory" by Tusq, instead of steel ones with rollers, to further increase the sustain without sacrificing the tuning

Tusk saddles ( self-lubricating in "synthetic ivory" ) are advised for tremolo moderated use, instead of steel ones with rollers, to further increase sustain without sacrification of tuning

Some accurate shapings were designed for the forearm and the chest, both very deep, to provide improved ergonomics for the body and, as a direct consequence, a general feeling of comfort and pleasantness, reducing thus fatigue caused by poor positioning and improper contact.

The spring compartment was not varnished, but only coated with beeswax on the surface, allowing the wood to breathe naturally throughout its service life and everything is left in view in a full transparent plexiglass cover that allows, through special holes, access for string replacement and the tensioner adjustment without having to remove everything to perform these operations.

Here in plain sight, under the steel springs, the body marking stands out boasting its hot-branding seal which certifies, with some originality, the very strict quality control that was passed.

The headstock is parallel to the fretboard but it has a vertical drop which allows the strings to have sufficient angle to give the right pressure on the nut to ensure the proper sustain without using a string tree on the 1st and 2nd string that would increase friction affecting the functionality of the tremolo and especially the tuning tightness.

Its particular shape, next to the joint, where the headstock and the neck meet, alongside the sixth string, allows the head to resist better to greater tension generated in this point, eliminating any potential torsion.

The truss rod is two-way action, with adjustment at headstock, combined with a couple of precious reinforcement bars in carbon fiber pair which run along the full length of the neck.

The effect gained is to increase the overall neck stiffness (by making it less sensitive to climante changes), prevent its torsion, increase the general sustain and allow extreme set-up.

The neck is made of a single piece of flamed maple "quarter sawn" (chosen for its undisputed qualities of stiffness, stability and resonance) combined with an ebony fingerboard; 24.75" Scale length ; Profile "modern C"; Nut width: 43 mm (1.7”) wide; Wide at 12th fret: 53 mm (2.1”) : Thickness at first fret 18,50 mm (0.7”) and 21.50 mm (0.8”) at 12th fret.

The inlays in perloyd all have a 6mm (0.2”) diameter  (perfectly centered between the strings).

The ARROGANTIA project conceived a bolt-on neck to take advantage of the intrinsic qualities guaranteed by this kind of necks, but it also provides a contact area with the body which is larger than the ones normally seen in standard guitars, i.e. (in short) letting the heel of the neck extend and  almost reach the bridge pick-up.

This choice guarantees  a clear and quick "attack" that only a bolt-on neck can give and which is able to generate better sustain.

The surface contact area between the neck and the body is 100% paint-free to ensure a perfect fusion between the natural fibers of the two woods, being the key point for tonal transfer through which vibrations are transmitted (which is the essential condition under which the above mentioned principle properly works and a sort of "identity card"of an instrument truly made with utmost care).

The electronics compartment, the pickup rounding and pickguard are efficiently shielded thanks the use of conductive paints combined with aluminum foil.

The 3-way switch for the selection of the two pick-ups has been positioned to be able to select it with a quick finger movement but away from the strumming area, maybe playing vigorously, avoiding thus the problem of an unwanted switch touch.

Whereas an additional switch positioned between the two potentiometers allows you to switch your Humbucker to single coils.

The nut is a "zero fret" This guarantees the correct height and alignment of the strings above the fretboard; a graphite guide keeps the strings in place at the right distance and on their natural axis, without any deviance, moving onto the self-locking “staggered” Schaller mechanics (thanks to which it is possible to have a regular nut pressure as well as an optimal angle to get a proper sustain)..

The decision to use a fret rather than a more traditional nut was based on the need to create a minimum contact surface area with the string, so that the string could slide with the minimum friction. Furthermore the sound doesn’t change if the string is played open or on any other fret, because the surface is made of the same material as the other frets.

Switches and potentiometers clarification

The body, deliberately designed to be small-sized and drop-shaped is made  of a single piece of mahogany with a flamed maple top (bookmatched).

Its shape provides you with the best spot to attach the guitar strap and at the same time it helps to eliminate the bulkiest part of the body (which is the main cause of a bad feeling if you play it in the sitting position or if you're shouldering it too high. The amount of woody material which was removed, as a result of this choice, was then "redistributed" by increasing the body thickness to 52mm (2"), and enabling the instrument, thanks to this important mass, to stay exactly where we want it to be, without any sudden unwanted movement, slipping forwards or backwards "by it own will".

The upper horn has the right length to attach the second guitar strap exactly where it is needed to guarantee a correct weight balance, while the lower one is designed just to provide proper support in the sitting position without causing any obstruction to the left fretting hand during its performance .

The neck pick-up ( traditionally placed under the 4th harmonic) was put backwards with its axis more slanted than usual to meet the 5th harmonic under the first string, this choice gives the right brightness to the treble tones, and give more thickness to the bass ones. Thanks to this choice, we gained more space on the fretboard and, therefore,  taking advantage of this, we were able create an extra ”middle fret” bringing the total to 25 frets overall (jumbo type): a specific and distinctive feature of  "ARROGANTIA”.

Furthermore, the slanted position of the pick-up also allows a better alignment of its poles under their related strings which, at that point, begin to converge. adjusting their action by slightly reducing the distance.