CONN C200

The Conn C-200 has what appears to be a cedar top and brazilian rosewood sides and back (orange and black stiped). There is matching rosewood on the interior of the sides and back but I'm not sure if it is solid wood construction or not. Inlaid rosette and wooden tiles in the bridge. Fretboard and bridge are orange and black striped rosewood, and there is a matching rosewood veneer on the headstock with the CONN logo. Neck is one piece mahogany. Gold colored pearloid tuners. I have no idea of the date of manufacture, but there is a metal foil label with the model number and serial number glued inside the guitar. The guitar has multi-ply binding on the front and back of the body.

I play primarily classical music, some jazz and occasionally folk music (celtic).The sound of the guitar is typical of cedar-topped classical guitars - deep, mellow and full. It is not a powerfully loud guitar, but is very well balanced sonically. It is particularly well suited for sweet sounding madrigals, Bach and renaissance music in general. It can be driven more forcefully for the Spanish composers and flamenco, but lacks the brilliance of a cypress-backed guitar for this music.

I purchased the guitar used. The wood is perfectly bookmatched and the grain on the rosewood of the guitar, including the bridge and on the headstock is high quality. The mosaic rosette is well done and the headstock has a stylish and unique profile. The finish is smooth without blemishes. The guitar is probably thirty years old or more and shows no cracks or flaws. The neck is still set correctly and the action is 3 mm at the twelfth fret, with room to lower the action (I prefer it this level). I wouldn't characterize the style as an ultra-traditional classical one - the guitar was probably meant to appeal to both classical players and folk guitarists.

No problems at all with the guitar after all these years. Construction is very solid. I have used it both live and for recording, but use it primarily as my secong guitar in my vacation home, and for practice.

I don't imagine CONN still supports these guitars after all these years. Never had to contact them about it.

I have been playing 30 years. I also own a Taymar concert-grade classical (built by the Hermanos de Vicente Tatay), and a Gibson L5S solid body. While the CONN is not in the same league as my Taymar (a custom hand built concert grade instrument that cost me 10 times the price of the CONN 20 years ago), I have found the CONN a very satisfying instrument and play it frequently. I use it often to practice my studies, and frequently in ensemble playing where I feel the tonality mixes well.

I bought this Conn (Used, as they don't make guitars anymore), to supplement my Martin BN20WN. (See my Review on the Martin BN20wn). One doesn't want to lug around a $20,000 Martin to friends houses and guitar pulls....

I originally bought the Conn for two reasons. First, I have had a long history with Conn Instruments and have trusted their quality and sound for over thiry years... Conn is a major manufacturer of Brass and woodwind instruments and is considered the best of the Saxophone manufacturers... Secondly, I had owned a Conn Classical previously, and loved it's playability, sound, and craftmanship. I had sold it, because a friend valued it more than I (thought) I did...

After selling it, I began searching again for a replacement. I looked at several. Among the choices considered were Takamine's CD-132 SC. It's a great guitar but, at over $1,000, it's not worth the difference in price over teh Conn. I also looked at various Ramirez,' Yamahas, and an Esteve... Among them the Esteve made most sense and sounded great. It's made by Ramirez... But, I kept going back to the Conn.

The Conn has a Cedar Top, Cedar Neck and Headstock, Rosewood fingerboard, and Rosewood back and sides with an excellent wood inlaid rosette. It has the usual 3 per side gold tuners with pearl buttons, and finally a rosewood tied bridge. ( I use LaBella folksinger #830 Strings, which I consider to be the best classical strings available, because you of the consistency of intonation when transitioning from the "D" to the "G" strings.

Incidentally, as you may or may not know, the Conn is manufactured by Aria. Aria is becoming fairly well know and is roughly in the same class of instrument in my humble opinion as Larrivee and Collings... Well made instruments, at lower prices than those made by Martin and Taylor.

I play mostly country and folk music, with a little bluegrass, blues, and gospel thrown in. (Typically, the music is country with blues or blugrass licks... think Django Rhinehardt & Willie Nelson's styles of music, hence the classical guitar for country with blues licks).
Because of my inability to find a suitable Baldwin Amplifier, I use a Crate CA 250D, with a Boss Compressor and a Boss PS-2 Harmonist pedal. I have fitted my guitar with a Dean Markley Pro-Artist transducer, and I get a very similar raspy sound when playing at the bridge and a wonderful full mellow sound at the "sweet spot" directly in the center of the sound hole. There's nothing that I dislike about this guitar... Just think about it, again, read my review of my Martin BN20WN, and think why a person with a $20,000 guitar would choose a Conn... It must be a great second guitar compared to a legendary guitar, or a wonderful first guitar for anyone not prepared to spend 10 to 20 thousand dollars for the Martin BN20WN...

The guitar was set up well when I received it. I had it tweaked by my luthier.. (the same luthier works with the Allman Brothers as their luthier). But the "tweaking was minor.. This guitar has a couple of very minor dings, which is to be expected on a guitar that's a few years old, but look at Willie's N20, at least the Conn is not a "holy" errrr I mean "holey" guitar. Actually, again for the price, actually even for much more money, this is a very well made, very nicely intoned, very playable guitar.

In my humble opinion, this is a *ver* well made, durable guitar. The fit, finish, and hardware are superb, and it's very well finished as proven by years of having survived and obviously being used. My primary guitar is my gig guitar... This is my backup. It's played while "trigger" is being tuned or strung, and it's a very nice substitute.

Customer support?? hehehe.... They don't *make* guitars any more... But, if you can find one, and it's in good shape, buy it. If it's survived until now, you needn't be concerned about warranty... I've been playing guitar for over forty years, and I've yet to file a warranty claim... But, eveen the people that I know that *have* filed warranty claims, had done so very early in the lives of their guitars... If it is actually a *warranty* claim, it'll show up almost immediately, particularly if electronics are involved.

I've been playing for 40+ years. You name it, I got it... I'm actually a better bass player, and I've played for some names you'd recognize.. I own a Yamaha Nathan East 5 string Bass Guitar, it's awesome.. I am the registered owner of 8 Martin Guitars including a couple of their no longer made electrics, a couple of Takamines, (Yes, I was resistant until I was given one, tried it and like it. Takamines are great, even if they *did* start out in the United States manufacturing Martin's "Sigma" line.) I have a couple of other Yamahas' including the legendary "red labels" that were among the first of the Yamahas to be imported... and Gosh knows what all else, Alvarez, Alvarez-Austin, and just about everything except Ovation products... I *had* one, I gave it away to a kid that had lost everything when her home burned.... Like Chet Atkins said, "Ovations look like they'd make a great Birdhouse." Otherwise, I use Crate Amps, and Crate Pro-sound PA systems exclusively... But, I'm ever in search of that elusive Baldwin Guitar Amplifier... If you see one, please send me a note... Send it to: buddybo9@hotmail.com A million thanks!!