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Collings O3 MR G

Collings O3 MR G

Price: $--SOLD

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hardshell case included

Small is beautiful. Especially in this case. This Collings O3 MR G 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 O3 MR G 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 a beautiful set of figured Madagascar rosewood back and sides, married to an exquisite German spruce top along with a sweet, comfy mahogany neck.

On this particular guitar the Madagascar looks and sounds remarkably like Brazilian. It has the presence and touch of “reverb” that both fine woods possess, quite special and a choice that is becoming more and more a rarity these days.

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 tunes or 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
BodyFigured Madagascar rosewood back and sides
Body depth4 1/8"
Lower bout width13 7/16"
Bindingivroid with 3 style backstrip
Bracingpre-war scalloped adirondack
Rosettestandard 2 style
Pickguardtortoise style (on side)
Finishnatural nitrocellulose lacquer
NeckHonduran mahogany with ebony fingerboard
Scale length24 7/8"
Truss rodfully adjustable
Nutbone
Nut width1 3/4"
Fingerboard markersnone
Peghead overlayMadagascar Veneer
TunersWaverly nickel
Logomother of pearl
Saddledrop in
Bridge / end pinebony
CaseCollings custom hardshell
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