Collings OM-2H

This ia a 1996 model bought used in 2000, has an engelman top as an option. Standard neck, all stock, no strap button on the neck heal. Very classic look, others have listed the features here.

I wanted a nice small body guitar to play for pleasure and record and the Collings does the job very well. This OM is very responsive and refined in a complex way. Beyond the beautiful depth of tone and they way it plays (like butter) there is a feeling of high quality materials, fit and finish. And a calling to step up to the plate and play or sit your butt down.

Excellent, all the way up and down, and across. Even volumes anywhere on the fingerboard, any string.

Not going to play this guitar out, I have a Larrivee LS-05 w/ sunrise for that. The Collings OM2H has a timeless feel. Solid, but delicate.

Bought used from the Buffalo Bros (buffalosbros.com). They had the largest selection of used Collings (on the internet) I could find. Also a dealer. Gave me a great trade price on a strat even. The bridge started coming up just a couple hrs after it got here, BBros said they'd pay for repair or take it back, I called Collings to find someone to do the job and they were surprised, asked about shippping, and said even though not under warranty, they would pay for the repair. It's back and all's great. Everyone gets ten stars.

Been playing 40 something years. Currently own the Collings, (I'd certainly try to replace it if need be). Larrivee LS-05, Guild 12 string, Gibson ES 446s, single coil guitar is a one-of s.talkovich semi-hollow mesquite top 3 pickup (fralins) t-style guitar. For amps, a matchless Chieftian 1-12, Bluesland Bluesmaster 3-10, a Holland Bassman style 2-10 and a SWR California Blonde acoustic amp. Also use a reissue Fender reverb.

I just prchased a Collings OM2H, with a sunburst finsh in lefty.

Bill Collings has been making guitars in Texas since 1973. He has a special interest in the great vintage instruments of the 1930's, and does a superb job of reproducing the details of style and workmanship that have set these guitars apart from all others. The bracing and internal construction are reminiscent of 30's Martins, while the body designs reflect Bill's own aesthetic vision. For sound, he aims for the kind of balance and strong midrange with the sparkle and clarity that many players prefer.

All models feature the Collings logo inlaid in mother of pearl in the headstock, tortoise pickguard, and Waverly vintage-style open gear tuners. Necks are 1 11/16" at the nutmine is 1/34) A lifetime warranty to the original owner from the builder. All prices given are list prices and include a hard shell case.

The Orchestra Model (OM) guitar is an interpretation of the Martin short run of instruments made between 1929 and 1933. These feature a 000 size body with a long, 25 1/2" scale length. All OM series guitars also feature: 15" body width, 19 1/4" length, 4 1/8" depth, and 39 1/2" overall length. OM-2H: East Indian rosewood back and sides, select spruce top, grained ivoroid binding, prewar scalloped bracing, crosscut grained ivoroid and black/white nitrate strip purfling, herringbone border, crosscut grained ivoroid and wood strip rosette, tortoise style pickguard. Other features include a gloss-finished mahogany neck with ebony fingerboard and bridge, rosewood peghead overlay with mother of pearl Collings logo and a traditional diamond and square inlay and nickel Waverly tuners.

A custom "Charles White" (Dalmation style) pickgurad was also ordered.

I am a fingerstyle guirist, or at least tryinhg to become one. I discarded the big awkward size of a dreadnaught for this guitar. The Collings OM is a perfect size for fingerstyle guitars. This guitar is smaller than either a dreadnought or a jumbo but you'd never know it from playing it. THIS is what a fingerstyle guitar should sound like. Superbly balanced, lots of separation between each individual note throughout the entire length of the fingerboard, and plenty of sustain.

Talk about a chord monster! This has it!! Power, power, power, yet has a delicate touch too, when you need to have those lead lines be heard. This guitar easily lends itself to fingerstyle playing, yet it can be flatpicked up against any dreadnought.

The nicely shaped V-neck is very comfortably radiused to allow a real ease of playing.

This guitar is flawless. Bill Collings has developed a reputation of building spurb guitars with endless attention to details. This one is no exception.

The Indian rosewood is very reminiscent of straight grained Brazillian rosewwod used in pre-war models, and the very dark cherry red stain on the neck is just awesome.

The guitar can be played for hours on end without any re-tunig, which I have never experienced before.

I don't plan on any live playing, so I can't answer how it would hold up to that.

I dealt with the company as the guitar was being built. I had several discussions regarding the color of the sunburst I wanted (it was not their "standard" sunburst) and they were incredible to work with.

Haven't had any other customer service issues with them.

I have been playing guitar for over 25 years, more in the last 2 years. I have owned many Taylors, a few Martins, and a Goodall. None of them can compare to the Collings OM. I would never seel this guitar. It is absolutely a piece of art, a joy to play and a trhill to own. Evrytime I open the case, I am excited to look at it, to hold it and play it. I would definately order another one if it were lost or stolen and I know that Collings would make it every bit as good as this one. Collings Guitar Co. is rapidly becoming one of the greatest, if not the best, of luthiers today making guitars, and there are lots of good ones out there. I would recommend this guitar to someone who wants to play the very best.

Collings OM2H (s/n 424) made Oct 1991, purchased new the following month. It's standard OM (non-cut) natural finish, and it still has the older (Gotoh) Kluson style tuners and the standard (not the wider OM) width nut.

I play varied genres of music, both flat and finger picked, and this guitar is adaptable, but the principal strengths of this guitar (as I see it) in order, are:
1) The dry, resonant, overtones, particularly in the upper register
2) Instantaneous noted string to table response.
3) Excellent sustain
4) Good Volume for its size

Action/craftsmanship/materials are also 1st rate.
There are no fit or finish flaws of any sort.

I quit doing subway gigs with it months ago.

I have had no need for service and I don't think I would ship it to Texas for a repair if it did because of the transportation.

I've played 33 years and am fortunate to own numerous high quality guitars. This is one I always come back to play when in a more reflective or serious mood.

This is a Collings OM-2H. It is new (November '99) and made in Texas. It is a smaller, concert style steel-string guitar. The features are as follows (which I just copied from the website for Collings guitars): East Indian rosewood back and sides, select spruce top, grained ivoroid binding, prewar scalloped bracing, crosscut grained ivoroid and black/white nitrate strip purfling, herringbone border, crosscut grained ivoroid and wood strip rosette, tortoise style pickguard. Other features include a gloss-finished mahogany neck with ebony fingerboard and bridge, rosewood peghead overlay with mother of pearl Collings logo and a traditional diamond and square inlay and nickel Waverly tuners.

(my words now) The only way to describe the look of this guitar is "elegant". The finish, the bindings, and the inlays are very simple, not flashy, and extremely classy.

The guitar comes with a great case. It is so packed with padding that I literally have to push the guitar into the case.

I am a liturgical guitarist. For those of you who don't know what that means - my gig is Sunday Catholic Mass. I play for two choirs - an adult contemporary choir and a children's choir. I usually play ensemble with piano, percussion, and wind. Catholic music has grown by leaps and bounds over the last 15 years. I play all kinds of music - country, blues, classical, latin, folk, celtic,etc. I don't like to amplify a guitar with a pick up. I feel the best sound of an acoustic guitar comes from the front of it, so I mic from the front with an AKG C1000. I play with a flatpick or a thumbpick and fingernails. I have used fingerpicks in the past, but generally don't care for them.

The sound of this little Collings is awesome. I cannot believe the powerful sound that comes in this small package. The bass is not as deep as a Martin D35, but the higher strings are very bright. The balance between the bass and high notes is just right for me when playing fingerstyle. What stands out the most in my mind is the ring this guitar has. It seems as though it just plays on it's own. I will strum a chord and it continues to ring for quite a long time. When playing up the fretboard, the sound is crisp and clear. Slides sound smooth and sweet. My only wish would be for a bit of a richer bass up the fretboard. I compared it to a Martin OOOO model which had a bigger body to produce a richer bass. The Martin's bass was richer, but the high strings sounded like mud in comparison.

The action on the guitar is low - which I like. The nut width is wider (1 3/4"). I like the extra room. I can do slides, hammers, and pull-offs with great ease. It contains no pick-ups. I have spent hours looking over this guitar - much like I did with my babies when I brought them home from the hospital--there are no flaws in this guitar. The finish is so glossy that it almost looks like a mirror. It polishes up beautifully. My favorite part is the size and shape of the guitar. It fits just right against my body and is so easy to play because of this. The Martin OM model did not have the same comfort.

I play this guitar every Sunday for church and play also for special services - funerals, etc. It works well for me, and I don't need any other guitar as a back-up. It is very light and the hardware is solid. The finish is so glossy, it looks like a mirror. It is a sensitive guitar. I one time left it in the back of my SUV for one hour. The day was hot and when I later played the guitar, it was completely out of tune. I'll never do that again! I reserve this guitar for church and special performances only. I am also a Girl Scout Troop leader and use an old dreadnaught of mine when around all the kids.

The warranty is lifetime. I have not had reason to deal with the company at this point.

I have been playing for 30 years. I have always played dreadnaughts and lots of pretty crummy guitars. I started out playing a guitar that was actually a decoration. My aunt saw my passion and gave me an old Sears plywood guitar that was in her basement. For 6 years, I played that. Then I upgraded to a Guild D-25M when I was 16. That's what I have been playing until now. I set out to get a high-end guitar when I turned 40 -- it was time to play a great guitar. I always thought I would end up with a Martin. I talked to lots of liturgical guitarists and most of them favor Martins and Taylors. I wanted a smaller guitar that would give me the power of a dreadnaught. Physically, playing a dreadnaught is getting uncomfortable for my back. The Martin and Taylor orchestra models just didn't have the power I needed. Most guitarists who were recommending Taylors also play with pick-ups. I personally hate pick-ups. I wanted a guitar with a beautiful natural sound that I could mic from the front. I called the gentleman at Westwood music one day and told him what I needed in a guitar. When I arrived, he took me into the back room, handed me this Collings, and I went straight to Heaven. If this guitar were stolen or lost, my heart would break! I would definitely find a way to replace it. It is the perfect guitar for the type of playing I do. Liturgical music encompasses all kinds of backgrounds -- folk, latin, bluegrass, classical, celtic, etc. I strum big when I need to, fingerpick soft when I need to. A fingerstyle version of "Ave Maria" from St. Gregory's hymnal sounds beautiful on this guitar. A flatpicking folk song sounds beautiful on this guitar. A Latin slap strum sounds beautiful on this guitar. I needed a guitar that would work with all these styles of music, and I could only afford to buy one guitar. This Collings does it all. I still can't believe I actually own it and feel privledged every time I play it!

This is a brand new, all-solid wood, handmade instrument with very classy herringbone style appointments. Back and sides of Indian rosewood, top of Sitka spruce, all high grade and beautiful. The neck is mahogany with an ebony fingerboard, and the finish on the back of the neck has a hand-applied look which combined with the open-back Waverly keys lends a very "vintage-ish" look. The neck is 1 3/4" at the nut, which is a little wider than normal, and the frets are rather tall and narrow. The details are killer--the position markers are abalone, the binding is ivoroid, etc. The soundhole rosette, which looks at first to be rather plain b/w binding, contains a thin strip of tortoise binding laid between two layers of the ivoroid. Very cool without being flashy.

I like to flatpick, but I also like to fingerpick and write songs that aren't all first position I-IV-V, so I traded my dreadnaught for this OM in hopes that it would be more versatile. Every dealer I talked to suggested this guitar, so it made my choice easier. The two adjectives I would use first to describe the sonic personality of this guitar are "richness" and "sustain". The tone is very well balanced, which I notice in two areas in particular--the unwound strings have much more personality than those on my dreadnaughts have ever had, and the low E string is a little less pronounced. Rather, the A, D, and G strings seem to have the most presence, but their advantage over the others is subtle. As the guitar loosens I expect the B and E strings to become even more upfront. The sustain is absolutely incredible to me--chords seem to ring for as long as you leave your fingers planted. As Nigel Tufnel would say, you can go out and get a bite and come back and it's still ringing. The guitar is new, so it will only open up more. Right now I notice that the highest registers are a little weak compared to the other notes on the guitar, but that's it. The guitar is also very responsive for fingerpicking, and yet stands up to aggressive flatpicking without compromising or compressing the tone. A great combo--just what I was looking for.

I think that the action was adjusted at Gruhn's before they shipped it, and it's very low and playable. There is some rattling of the D and G strings when picked hard, and this may be due to the fact that they have the action set nearly as low at the twelth fret as at the nut. There are a few tiny imperfections under the finish. Like a black speck on the ivoroid trim under the endpin, and another on the top. Maybe the luthier was eating something with pepper! I'm not upset by these--it reminds me that the guitar was handmade. There is what appears to be a ding on the back of the neck behind the first fret--shop wear or a capo mark? I was a little pissed when I found that, but it's really barely noticeable. Still, this is a new guitar, and I couldn't sell it as "mint" in good conscience.

The reputation is that Collings guitars are built perfectly. It should hold up to normal use, even improve with age. Waverly's are first class tuners and the guitar stays in tune very well. However, the little ding on the neck is going to cause me to be very carfeul with it, since it reminds me that the finishes on nicer guitars can be a little more delicate than any old Takamine.

No experience with them. Lifetime warranty, but there's no registration card unless the dealer filed it for me.

Living in a smaller city, I couldn't preview every brand before I bought. I called most of the high-end dealers in the country looking for my next guitar. In their written materials, they're all fairly diplomatic about the relative merits of all the high-end makers they carry. Get them on the phone, and they'll tell you if you want the best to buy a Collings. This is in comparison to Santa Cruz, Goodall, Bourgeois, and especially Martin. This guitar is so much more lively than a Martin Eric Clapton guitar, there's really no comparison, and their street prices aren't that much different. I've been playing about 15 years, and the nicer guitars I've had include several Taylors, a Lowden, a Martin and a great Bourgeois dreadnaught. I wondered how much better than the Bourgeois I could find, and this guitar is definitely another step up the ladder, even though the air gets pretty thin in this range--how much better can a guitar get once you're over the $2,000 price range?

1997 model (#2911), made in Texas by Bill Collings. The Orchestra Model (OM) is an interpretation of the Martin short run of instruments made between 1929 and 1933. The Collings OM-2H features a 000-size body with a 25 1/2 scale lenght. This guitar has (east indian) rosewood back and sides, a spruce top, grained ivoroid binding, (prewar) scalloped bracing, a wonderful herringbone border and a tortoise style pickguard. It has a mahognny neck with ebony bridge and fingerboard and a traditional diamond and square inlay. The tuners are small and old-fashioned open Waverly tuners.

This guitar sounds great. I play fingerstyle country blues and celtic music with a light touch. For my style I need a guitar with good tonal balance between bass, medium and treble, good volume and good action and intonation all the way up the neck. I've looked a long time before I've discovered the Collings. But now afer owning the guitar for about three months, I know this is the one for me! The guitar produces a rich and warm sound when played lightly with your fingers, it has a crisp pick attack when played with fingerpicks. The sustain is amazing considering that it is a rather small acoustic guitar.

I use light strings (.012-.054). The guitar has been set up for me by Cotten Music Center in Nashville. They've done a wonderful job since the guitar comes with the action set very low and even all the way up the neck. The quartersawn top has straight and closely spaced grain lines. The top needs some time to 'open up', but this will mean that the sound in the future will be better and better. The frets were dressed very well. The inside is clean, with no glue visible. Only the nut-grooves could be better . Every time I tune my guitar, the B-string binds in the groove, which maskes tuning this string a little hard.
The case is really first-rate. It has a very soft interior, and heavy-duted latches.

The instrument is very light, but that's not a problem since I've no intention for touring. But, I know you've to be careful anyway. Last month when playing at home, my Martin D-28 felt over, and it broke its headstock!

Haven't had to deal with Collings.

I've been playing fpr 20 years, mainly fingerstyle acoustic, although I own an electric Epiphone "Joe Pass". I've played many guitars (Martin, Santa Cruz, Breedlove, Thompson, Lowden, Taylor). The Lowden is great, maybe I will buy one, the other guitars just didn't have it. I've never played a Schoenberg, Goodal or Bourgeois. So I can't compare the Collings with them. If the Collings would get lost, I certainly will replace it.