The idea of a Danelectro that doesn’t have lipstick pickups makes me a little nervous. Those pickups are the hook I hang my hat on when it comes to this brand. I’ve spent too many hours thinking—and at times preaching—about how rad these low-cost, lo-fi pickups can be, how they’re absolute vibe setters, and how everyone probably needs to consider adding one to their collection.
So, I have a Dan O. Mano sitting here with me while I write this. It’s the P-90-loaded offering from Danelectro’s new DANO line, which includes a pair of models that come with a set of lipsticks. It looks familiar: The body shape and semi-hollow construction is there. There’s a rosewood bridge (though it also comes with a 6-saddle bridge to swap out if you’d prefer). And it feels familiarly resonant. But without those silver capsules, my brain has some work to do. Ultimately, the question is: How does the Dan O. Mano hold up as a Danelectro? Is it a fun new addition to the company’s long history, or just a tangent?
Ringing and Resonant
Let’s put electronics aside for a moment. Playing the Dan O. Mano unplugged, my hands know where to go and they know what they’re holding. This is a resonant instrument that feels great, and that means a lot. Strumming away, I can feel the vibrations I’m looking for when I grab one of these guitars. The neck is familiar, though modern. I don’t have another similar model nearby, just a Danelectro Baritone, but Danelectro says the neck is essentially the same as earlier '59-style models.
“It sounds delightfully retro in its profile. I worked my way to some fake Peter Buck-isms and realized this is, in fact, a twang machine.”
There are vintage touches that jump out. This line features a bell-shaped headstock with skate-key tuners that I really dig. The bold lettering spelling “DANO” is a strong move, and although I do prefer the 1950s—1960s Danelectro logo personally, it’s in the vintage spirit. The gold logo also matches the P-90 covers, pickup-switch tip, and the oversized control knobs, which I like. The knobs don’t just look cool, they’re also easy to manipulate.
Electric Chime
Appreciating the aesthetics is just a precursor to the real test, which is plugging in the Dan O. Mano. At first strum, I couldn’t identify that Danelectro flavor I’m so used to. P-90s are very different from lipstick pickups—more midrange focused and more compressed. But different isn’t bad. The Dan O. Mano’s pickups have a lot of character. And the more I played, the more I could hear the sonic hallmarks of a Danelectro, with new elements added in. Sure, these P-90s are hotter and thicker sounding than a set of lipsticks, but nobody is going to confuse this with a Les Paul.
As I arpeggiated my way around the neck, I started to sink into the semi-hollow body’s chime. Chords ring out and single-note lines twang, especially in the bridge position. The neck pickup offers a new kind of warmth that I don’t normally expect from Danelectros. No, it’s not a vintage Danelectro sound, but it’s not a modern sound, either. It’s like an alternate-universe take on things that could have been, and it still sounds delightfully retro in its profile. I worked my way to some fake Peter Buck-isms and realized this is, in fact, a twang machine.
That’s not the only place where the Dan O. Mano excels. Single-note leads are thicker and more pronounced with the P-90s. And the added heft of these pickups plays well with dirt pedals. Dousing my leads with a heap of gain, the hollow twang remained, as did the vintage vibe, and I felt like Link Wray. Objective attained!
The Verdict
Even as the modern guitar player I sometimes claim to be, Danelectro style remains one of the things I’m particular about—it’s a struggle to accept anything new as some kind of improvement. So, let’s not! This doesn’t have to be an improvement; it’s just a step in a new direction. And for that, I am grateful. The Dan O. Mano stands on its own feet, pointing the way to a new brand of twangy Danelectro tone.
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