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Collings O2HG

Collings O2HG

Price: $--SOLD

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hardshell case included

Small is beautiful. Especially in this case. This Collings O1 is such a comfortable body size, you want to pick it up and start playing. Once you do, it’s hard to put down. The shorter scale length, 1 3/4” nut width and small body just make it so easy to make beautiful music. Another reason you’ll want to keep playing? Even though it’s small, the sound is well, big. It’s well balanced, focused, rich and clear and honest.

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CRAIG'S POV

Small is beautiful. Especially in this case. This Collings O1 is such a comfortable body size, you want to pick it up and start playing. Once you do, it’s hard to put down. The shorter scale length, 1 3/4” nut width and small body just make it so easy to make beautiful music.

Another reason you’ll want to keep playing? Even though it’s small, the sound is well, big. It’s well balanced, focused, rich and clear and honest. There’s none of the boominess that you sometimes get in larger bodied instruments. Just fine, handmade acoustic guitar goodness.

I truly love this guitar. It’s the guitar I’d choose to play if I went to a gig. It’s that good.

It has beautiful Sacha rosewood back and sides, and a sweet, comfy neck.

So you know, “Sacha” rosewood is actually not rosewood. Sacha rosewood is from Peru. Sacha means “looks like”. The graining and color reminds me of Madagascar rosewood. The sound, though is no imitation. It’s got a beautiful tonal palette that, to me, sounds like a cross between mahogany and rosewood. It has the breathy woodiness of mahogany, coupled with the strong fundamentals and balance of Madagascar or Brazilian rosewood.  It’s a very seductive sound.

My friends at Collings highly recommended I carry this great little beauty. It’s a favorite of theirs, and as you can probably tell, a real favorite of mine, too.

Pick it up, lay out a couple of blues licks, and you’ll agree that in the hands of the craftsmen at Collings, small can be beautiful, too.

If you'd like to find out more about this item, just call or e-mail me. It would be my pleasure to talk to you about it.

ABOUT COLLINGS GUITARS
Bill Collings moved from Ohio to Texas in the mid 1970’s. Spurred by a lack of interest in medical school, this move enabled him to combine lifelong interests in both guitars and tools into the challenge of stringed instrument building and repair. After a couple of years in Houston, several guitars and a few banjos later, he headed west to southern California. Making it only as far as Austin, where he shared shops with fellow luthiers Tom Ellis and Mike Stevens. From there, he set up his own small shop in a wooden "one car" garage. His reputation for outstanding quality and meticulous attention to detail quickly spread. In 1989, he rented a 1000 square foot space and hired two helpers. Fast forward to present day where Collings craftsmanship is respected by professional and amateur musicians alike…anyone on the quest for quality. Some of these include artists; Keith Richards, Lyle Lovett, Pete Townshend, Emmylou Harris, Andy Summers, David Crosby, Chris Hillman, Joni Mitchell, Don Felder, John Sebastian, Lou Reed, John Fogerty, Tim O'Brien, Pete Huttlinger, Kenny Smith, Brian May, Joan Baez, John Prine, Nigel Tufnel of Spinal Tap, and Steven Spielberg to name a few. You owe it to yourself to try one.

Serial #22434
TopGerman spruce
BodySacha rosewood back and sides
Body depth4 1/8"
Lower bout width13 7/16"
Bindingtortoise with walnut backstrip
Bracingpre-war scalloped
Rosettestandard 2 style
Pickguardtortoise style
Finishnatural nitrocellulose lacquer
NeckHonduran mahogany with ebony fingerboard
Scale length24 7/8"
Truss rodfully adjustable
Nutbone
Nut width1 3/4"
Fingerboard markersabalone diamond square
Peghead overlayebony
TunersWaverly nickel
Logomother of pearl
Saddledrop in
Bridge / end pinebony
CaseCollings custom hardshell
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