A relentless seeker of tone, playability, and function, Allan Holdsworth cycled through his share of guitars during his nearly 40-year career. Holdsworth’s quest wasn’t one of hallowed boutique “unobtanium” or musty old pawnshop finds, however. No way, Jose. Holdsworth wanted an instrument that facilitates his approach, which, if you’ve ever heard a single note the man played, is one of the most frighteningly original and unique approaches on any instrument. His left-hand legato style coupled with a pianistic right-hand attack that eschews strumming in any way, shape, or form, took the guitar to dizzying, decidedly inspirational, un-guitar heights.
From a Gibson SG on through to a variety of Super Strats, Holdsworth certainly played more “traditional” instruments, but he officially split the trad world in the late ’80s with various headless (and non-headless) instruments, from Steinbergers to chambered guitars crafted by the outstanding luthier Bill DeLap. Eventually Holdsworth hooked up with Carvin, lending his turn-ons and turn-offs for a variety of different models. 15 years on, that relationship produced the HH2, a headless wonder that continues the Holdsworth ethos.
Out of the case, the HH2 shimmers with an insanely figured, deep green top that is flawlessly finished. In fact, all of the HH2’s construction appointments are dialed in: expertly installed and dressed frets, a rock-solid neck joint, and excellent hardware. Two major components of the HH2’s vibe are its extremely light weight and excellent balance, so it’s no wonder that, although it’s perfectly fine to play sitting down, the HH2 is actually more comfortable to play standing up. Plugged into a variety of Fender combos, Marshalls (master and non-master volume models), as well as a Vox AC30, the HH2 beams with a loud-yet-musical evenness and clarity. And the chambered body adds a whole other dimension to the guitar’s tones, such as