Collings DS2H

All been said before. Standouts for me are : beautiful headstock with slotted tunners and nut width - a little more than most dreads.

The tone is where this guitar separates itself from the pack. Very rich and deep-not bassy deep- 3 dimensional deep. Excellent clarity from string to string and piano-like response. The guitar is brand new and the sound is projectional in that-if you face the guitar in a direction, that's where you will hear it. My Martin D42 seems to really envelope you (the player) within the sound as it radiates outward like a cloud of smoke. The Martin seems to have more low end power and more volume in general but that does not make its tone "better". In all fairness, the Collings has not even begun to open up though the D42 played that way from minute 1. For now, the score is a 9 and i'm sure when she opens up, it'll go to 10 (or 11).

Absurdly good. No inlay left unturned. It is as perfect as I could ever imagine a hand made product ever being. One thing I really love is the balance-not of tone per se but the actual physical balance of the guitar as you pick it up and play it. It sits in the sweet spot no matter if you stand or sit. There is a clear sense of stability and strength yet it seems much lighter than my Martins (I'venot weighed them)and what seems like pounds lighter than my Taylor. Not to be rude but I really don't think there can be any sort of comparison of any Taylor to this guitar. It isn't fair/appropriate. The taylor was a fraction of the cost but seems like it is 3 x's the weight and the tone... let's not go there. As for the action, not super low but then again, I don't want that. High enough to let you dig in with pick or fingers (the string spacing is so right on for me) yet low enough to navigate smoothly and quickly. The perfectly precise frets only helps you glide along.

Honestly, I don't yet know about durabilty but common sense dictates this guitar will be around for the long haul. One way or another I'll make sure of that! I'm not giving a score here because I think it unfair as I don't know.

I've been in contact with Collings a few times to ask questions ,etc. Responses via email have been very quick - about a day-and the answers were always what I was looking for. Hope I won't need anything else but thus far, the response has been very good indeed. Conversely, when trying to get through to Martin, I was able to talk to someone right away but I had to jump through several hoops before I could get to the right department. I guess that's what happens when you have a large company. They cannot provide the same level of intimate care that a smaller one can. That's not Martin's fault-quite the opposite as every company's desire is to grow bigger and do more business. Well, when you do, these are the issues you face. Cuts both ways. Collings wins here.

Overall, this is the 1st acoustic I've bought without playing. Huge gamble considering the hefty $ . However, I felt confident in my research and this site helped a lot. I was not disappointed. It has been everything I'd hoped for and more. Clearly, this is not the right guitar for everyone as it a sloped dread and the neck joins at the 12th fret limiting upper register access. Then there is the price. However, it was right for me and I'll buy Collings again. Still love my Martins but Collings is my new sweetheart. There are plenty of great guitars out there for a fraction of the cost and if that is what you want, go for it. However, if you seek something special-try one out. You will not ever rid of it. With regard to Thome's review-as you can tell, his opinion is clearly not in line with the rest. That does not make it invalid of course but it does make one wonder. Perhaps he got a damaged guitar ? I'm not sure but I always think it a good idea to throw out the best and worst ratings and go for the middle of the pack. That's where the meat is.

12 fret (neck joins body at 12th fret)
Dreadnaught
Rosewood back and sides
Herringbone bound

Deep lows, bright highs and more volume and tone then I've heard from an acoustic guitar (even more the Jumbo Gibsons).

I've owned 17 acoustic guitars in my life, and this is one of the best bluegrass and rhythm guitars I've found (and I've got 2 Martin D's from the 50's)

The 12 fret neck affects an elongated body and bracing pattern that adds area to the soundboard. Google David Bromberg for his take on this model.

Flawless except for a few dings (I bought it used)

An expensive instrument, but the quality of materials and workmanship was exceptional.

Not applicable...didn't buy it new.

However I've another Collings (OM3) that Collings was quick to adjust and tweak for no charge (and I wasn't even the original owner)!

After owning many guitars, I'm no longer looking for a better D.

Standard stuff you know.

Made in 2004 in Austin
No controls
Nice TKL case, would have liked a Ceder Creek.
very nice woods

BRIGHT and not much tone. I had a $200 Fender that had a equal if not better sound at a fraction of the cost.

Servere finishing problems

i got rid of this piece quick like.

I have heard that guitars go back to collings and get lost in shuffle and will take upto a year to get fixed. I sold it to a friend at a loss and he's going to try and get things fixed

Marginal at best

if i pay a lot for a guitar i want the service package to go along with it and would like to know shen my guitar would get fixed

I've heard good and bad about this place

I've heard good and bad about their guitars

I had a bad experience but who's to say the next one might be perfect

2001 made in Austin Texas. 12 frets to the drednought body. Beauifully silked Sitka spruce top, with very dark Indian rosewood side and back. Maple neck with a soft v shape, very comfortable, but not small, 1 13/16 at the nut, makes it easy to play fingerstyle. I felt the neck was a bit bulky at first but now I can't imagine going back to something smaller. In fact my Taylor feels tight and cramped. 25.4 scale neck. the Waverly tuners really work, old school but rock solid

I play fingerstyle blues with no picks and I was concerned that the guitar might be so big that the bass and mids might bury the articulation of the notes. Not so, it sounds wonderful, lush and warm. Beautifully balanced. I must say though, that this guitar also really shines with a flat pick. It's just plain huge, I'd love to hear this one with a bluegrass band. Very versatile instrument. You can really dig into this baby, tear the strings right off it and it still shines. I simply can't put it down, it's an extraordinarily beautiful sounding guitar

I had the neck straightend by tightening the truss rod a bit after I got it and I like the slightly softer feel that it has now. I can't hear that it changed the tone a bit from the adjustment. I don't mean to hammer on Taylor because I enjoy mine a lot and it's not nearly as expensive a guitar as the Collings, but when I did a similar truss adjustment the tone really suffered. Seriously, Bob Tayor hit the nail on the head when he said you can't buy a better guitar than a Collings. Flawless, fabulous neck and fretwork, perfectly bookmatched top, gorgeous wood. I'm gushing I know.

I bought the guitar used from John Mock who played it on the Dixie Chicks "Home tour in 2002. So I don't think reliability or durability is an issue.

Talked to Collings once after I got it and found them very friendly and helpful.

I'm a former professional, but now play just for fun. This guitar will see lots of weekend gigs in the future. I tried out new and used Martins, Taylors, Gibsons, Santa Cruz, and other Collings when looking for a new guitar. Many were suitable for my needs and unquestionably fine guitars, this one's versatility, playability, looks and most of all extraordinary sound made it an easy decision. Several of my friends have played it since I got it and concur, this is one fine guitar. If you're looking for the real deal, check out a Collings before you buy anything else.

2003 model, USA made in Dripping Springs, Texas (outskirts of Austin). 12 fret, slotted headstock, etc. Standard features on this guitar.

I bought this guitar because of the incredible tone - period. The volume is huge, which is a need for me because I play straight acoustically for small groups of people and need something that can project without amplification. This baby does the trick. I preferred this to a number of 14-fret model Collings guitars with Adirondack tops and other more expensive woods. This Sitka spruce, Indian rosewood guitar was the best of several D2s I tried and it was the least expensive to boot! How often does that happen?

I've owned a dozen or so Martins over the years and sold my Santa Cruz D/PW to buy this guitar. You will not go wrong buying a Collings even considering the cost.

Action was set high for me from the factory. By the way, if you're ever in Austin you MUST go by the factory. I live about an hour from there and was given an hour-long tour of the place with no appointment one-on-one with a Collings staff person. I mean, I'm a nobody who just happened by and was treated like a VIP. I saw the process of their building guitars first-hand and had to have one. I bought one within a month of the visit.

Guitar is absolutely perfect - period. It's so beautiful, it's like a piece of art. I find myself polishing the thing after every use (just clean cotton cloth, no solvents or anything). My only "complaint" about the build (why it doesn't get a 10) is the aesthetics of the Sitka top.

For the price, I would have expected a tighter grained sitka. This one almost looks like an Adirondack top since the grain is so wide. Frankly, considering the finish and the incredible tone, I didn't care. I was sold from the first strum.

Guitar is built like a tank. No problems so far.

Haven't had the guitar long enough to need much, but considering the people at the factory I've met personally, I expect I would receive great service if it were ever needed. I did take guitar to them to have them set the action for me, which they did with pleasure and put on a new set of strings for me - no charge.

Overall, this is the finest dread I have ever played - hands down. It sounds and looks amazing, but it is not cheap. My only overall problem has been the fact that I am overly careful with it. I'm afraid of messing it up! I just bought a used Taylor 410CE to use outside of the house, to plug in, and so on.

However, make no mistake. I've played just about every make of high-end dread there is and you WILL NOT REGRET paying a bit more for something as good as a Collings. They do guitars right!

Bought new in 1997 from Elderly Instruments. 12 Fret D-28 Herringbone style rosewood dreadnaught. Slotted headstock with open gear waverly tuners. Gloss finish, very attractive, well figured rosewood body and nice top with oodles of bearclaw. 1 13/16th" wide neck at nut, Ebony fretboard with one piece mahogany bolt on neck with adustable truss rod. Scalloped bracing and small maple bridgeplate in the vintage tradition though doing away with the through saddle, which serves no purpose except to make more difficult its removal. A well thought out guitar.

To be quite honest, when I first got the guitar, it sounded very nice but wasn't as loud as I expected. Tone was very well balanced and far less boomy than the 12 fret Martin Dreadnaught that it was replacing. Over time, the top has opened up and it really sings now. I play a mixture of musical styles and this guitar is very versatile due to it's tonal balance.

This guitar was purchased through Elderly instruments and they set up all of the guitars that they sell. I don't know if it came to me with the original factory setup but it seemed fine to me and upon examining it, my Luthier friend saw no need to make any changes. Bill Collings was once a Machinist/toolmaker and it shows! This guitar came to me absolutely flawless in symmetry with first rate materials and very well done finish. After four years of hard use, it shows some wear but still glows with that new look and there is not a crack anywhere. Pretty good, considering I live in woodstove country!

These guitars are not cheap and there really is no such thing as a bargain priced Collings. There is a reason for this. Absolutely built to perfection, not to a price. Finish will wear, frets will wear out (I just replaced mine after four years) the occasional nick and ding will appear but if you have the good sense to not abuse this fine instrument, It will hold up for a lifetime Of normal professional use, I am sure. I am in no position to judge how well this instrument will stand up to abuse and never intend to be. I am buying aless expensive guitar as a backup but only because I don't want to take my Collings to some of the places where I play. People are always asking to play it while they have a drink in one hand, a cigarette, in another. Enough is enough! I need a guitar that I will feel less protective of!

After I ordered my Collings from Elderly, I contacted the company and corresponded with them a few times while they were building my guitar. Withou going into detail, let me just say, they made me feel very good about buying a guitar from them.

I have been playing guitar for 29 years and have owned quite a few nice ones. Martins, A Gibson, three guilds, a Taylor, etc. etc. I amnot comparing. They were all nice instruments in thier own right. This was simply the guitar of my dreams after years of playing and looking at nice guitars. When the time came to buy my dream guitar, I chose the Collings. A friend had one and I got to try it out and I loved it. Being an ex-machinist, myself, the precision of the workmanship impressed me, not to mention the tone. I have just ordered a Martin 000-15S as my cheaper backup guitar. I am anxious to recieve it. I love Martins and nearly bought a Martin HD-28 VS but the Collings had a wider neck which made me bite the bullet and spend the extra dough. I'm glad I did. If my Collings were stolen, I could not afford to replace it. It would break my heart and I would want to kill someone.

Made Jan 1999 - bought - in london March 1999. Cost App. #2750 (this stuff always costs more in the UK). Geib style case (designed for a 14 fret - they don't bother about special cases for 12 fret dreads.
It's a plain, but extremely well made instrument.
If you're reading this - you will be aware of the specs.

I had an EMG undersaddle piezo fitted but changed to to a British built pick up shortly afterward. ( A Headway).

I am a singwer-songwriter, I play some rollicking avcoustic blues and some bluegrass style flatpicking - I also finger pick a little.
I got this guitar because I couldn't find a good (old) D-28s and /or D-35s - I neededd the wider nut size.

I now have a Martin D35, and a Bourgeois DS-260 but the Collings has the best feeling neck I've ever had.

It is an extremely loud and rather bright guitar, and as I continue to play it every chance I get, the bass is strating to come out quite well. I use D'addario Bluegrass guage - Medium wounds and 16 & 12 B & E.

This instrument has one problem that I have never been able to resolve. The "B" string, and to a lesser extent the "G" have an impurechoked sitarish sound. Manmy luthiers have tried to resolve it - New nuts, saddles, different guage strings, re-dressing the frets - we've tried 'em all but it's still there. Doesn't transfer to the electrified sound so it's fine for performance, but I'll never be able to use it for recording - The Bourgeois gets that gig.

I've recently reduced this overtone effect by sp[litting the saddle into three and putting a piece of cardboard (yes !) undre the B & E strings - yucchh - shouldn't have to do this sort of thing on an instrument like this. I'm told Bill Collings isn't interested in the problem. I've heard a similar problem with other Collings.

All that notwithstanding - I get a lot of compliments about the sound.

There can be no criticism in the build of Collings guitars, and yes it was perfectly set up upon receipt. The rosewood is not exciting and one of my luthier friends found something to moan about in the grain on the neck - but he had to look really hard to find something to moan about.

I assume that the guitar's resonance and loudness implies that it is lightly built. I have played it in a lot of differeing venues including open air concerts. I think it will outlast me - and I'm certainly NOT lightly built !

I have only had messages relayed between some-one who knows Bill Collings and sees him at trade fairs etc. Evidently my problem was mentioned and he was not interested.

However, at the time I bought it, the Shop (Acoustic Centre) tried very hard to resolve the situation and to satisfy me. Seamus Brady was still there at the time and offered a straight swap with the next instrument that came in - I went to see it and heard a similar problem with the b string although it was not well set up. I kept my original and bought back my Bourgeois.

I have been playing acoustic guitars for , oh, thirty years. I have owned a procession of Guilds and Martins and others.
The afore mentioned 12 fret guitars were accumulated when I discovered that a standard nut width was cramping my style and I was fluffing hammer-ons & pull-offs.

I would probably try to find another collings - same model.
No two guitars are the same. I have the Collings, the Marting (1973) and the Bourgeois (1996?) All are good instruments and essentially the same design, but with different characteristics, however the neck of the cpollings happens to "Fit" me perfectly.

There is no such thing as a perfect instrument - I've come to realsie that. However I "hate" that "b" string noise and if anyone has any suggestions I'd love to hear them.

Comparison - When I bought it I had a Santa Cruz,k a new Martin D28s re-issue, my bourgeois, and and the Collings - all 12 fret dreadnaights. The Collings came out easily ahead.

This is a slot head 12 fret dreadnought guitar. Sitka top, with rosewood back and sides - mahogany neck. Herringbone inlay on top, diamond and square inlay on fret board, abalone "Collings" inlay on headstock. The tyners are Waverly. Neck is 1 13/16". The body is extended to the 12th fret using a slope shoulder, which increases the volume of the air to be moved around. This is a big guitar. However the resultant sound is much more dynamic than possible in a 14 fret D. It really begs the question as to why these guitars ever went out of fashion - they have so much to offer.

My style splits 50/50 - folk fingerstyle/folk, blue, bluegrass flatpick. I have always liked a big guitar. I have always liked the Martin sound. I have always wanted something that would cover my fingerstyle needs as well. My first introduction to Collings was a 000 2H (12 fret OM). I thought that this was the holy grail, and it was never a matter if "if" but "when". This guitar is everything the 000 2H was and then some. Big bass without being boomy. Balanced with a clear and shimmering top end. Sounds 20 years old right out of the box. Three dimensional harmonics. Responsive , even to the lightest touch. Enough headroom to really dig in and be heard.

This is a Collings, what can I say. I will mention that I looked at a number of them via the internet and found that there was quite a range in the grain of the woods used. Mine has a medium-wide grained top, heavily cross silked, with no bear claw. The back is light and dark chocolate with a few red highlights, no blond streaks. My preference goes to a wider grain on top, for this size of instrument. Fit, finish, neck, action - all are perfect to my taste.

Too soon to tell. I really do not expect any problems in the next 25 years.

I phoned them to register the purchase. They were great - and had time to talk. I do find it odd that they have this policy of not issuing any paperwork issued with their guitars. But their warranty policy is pretty simple, and well advertised in the industry. Realistically, I paid for a warranty that will never be used. Would love to see an email address.

I had the pleasure of testing new and vintage Martin, Collings, Santa Cruz, Lowden and Bourgeois back to back. To my ear, Collings won out in all comparisons - although my '56 D-18 and the '60 D-28 stood their ground, in their own way, very nicely. The 12 fret is superb in either 000 or D size. Being larger than most normal human beings I prefer a bigger guitar. But size aside, sonically I prefer what the DS2H does with its extra size, over the punchy 000 2H (which remains my number two choice).