Collings OM-2H

OM-2HE
* Ser. # 5380 Late 1999 - Austin, TX
* Solid Engelmann Spruce Top
* Brazilian Rosewood back & sides
* Nitrocellulose Gloss finish
* Waverly Tuners
* Neck/Scale - 14-fret / 25 1/2"
* Aftermarket active LR Baggs Imix
* Original Vermillion (Emerald) Lined Hardshell Case perfectly mated to the body.

The OM-2 series is the mid-level "dress" from Collings for this body style. In this instance, i didn't rate "tons of features" but "quality of features".

* How does it suit your music style - Finger-pickin good and strum-licious.
* Using the recommended light strings, when i finger-pick with a heavy thumb, I get a buzz on 6th string from 3rd to 6th fret. Could probably be fixed with a thicker string - i don't think it needs any change in the action (every other guitar i've played buzzes the same way when i bear down on it - it must be me).
* The most balanced tone i've ever played - all the way up and down the fretboard from string to string. Try playing open chords up the fretboard keeping the open strings open - awe inspiring!
* Likes and dislikes? what's not to like? the finest, tonally balanced, accurately-intonated guitar i've ever played. The Taylor x14 series i've sampled at Guitar Center were disappointing on the low strings. Even the Martin 000 Eric Clapton was noticeably better than the Taylors yet less than inspiring for the $$.

purchased used (i'm at least the third owner). even with a small blemish and some minor fret wear - it's a standard-setting instrument. i could not put it down and wouldn't walk away from it.
the previous owner had medium strings on it, and after a few hours of play i thought that it might need a truss adjustment. but first i installed the builder-recommended (light) strings and now nothing needs adjustment except maybe a lighter thumb from me.

there was something noticeably different when i picked up this guitar that felt like no other acoustic... it's solid but not heavy... sturdy yet delicate.
honestly, i don't intend to play this outside of my home. but the build quality and hardware will surely outlast me - the tuners are top-notch yet simple. the first-position frets are worn but the fretboard is not worn at all. the finish seems durable enough (though i'd like to explore Collings' varnish finish instruments when i start testing the waters for my second acoustic purchase). the overall build screams quality.

i will have to get the frets replaced in the coming years, but not immediately. since the Collings factory is only a few hours away from Dallas, I'll probably take it to them for any repairs and a factory tour. their website is very helpful and there are some great youtube videos that describe their construction. looks like a great team. i like that they publish their serial numbers and estimated dates.

to reward myself for earning the MBA, i decided that i would buy my dream acoustic guitar (i've never owned an acoustic that cost over $200). over the years i've played Martins and Taylors (again, at Guitar Center) and Breedloves and Takamines and lost hope that i'd find a new guitar that I'd love - and decided to start looking for used (even vintage) guitars. i check Craigslist several times a day and when a seller posted this i couldn't wait to check it out. after playing it for 30 minutes i couldn't let it go. $1850 and my acoustic dream has been fulfilled (for now). it would be difficult to replace (finding another used collings) but i would try. i will consider building one in the future when i'm willing to part with the full retail price, but it sure feels good to have bypassed all the depreciation for this fine instrument.

Carl McIntyre ordered this OM2 for me in 1996. I was wanting a Cutaway with a shaded top. I had been talking with Steve at Collings about the top, he assured me it would not look like someone went around the top edge with a can of black spray paint. He had seen enough vintage Martins to know what I wanted. I also went for the wide neck & gold waverlys. The guitar turned out better than I had hoped for. They supplied an expensive case also. Carl was very helpful & generous with his time.

This guitar is now 12 years old and it sounds better each passing year. It has the typical Collings sound which I find to be a full,rich and dynamic. You could set it up for most any style, but they excel at flatpicking/fingerpicking in a band or solo setting. The Cutaway only adds to the versatility. I own a DS42 & 00042BA and this one will stay with them in volume. I will say to other Collings players that the OM cutaway is the 1st guitar I would play if I am shopping for a new guitar.

I am fortunate enough to own 3 Collings. Each one has its unique sound. But each one is built so well it is eerie. This company takes their job to the artistic level. My guitar is still rock solid after 12 years with no problems ever encountered.

Always have a back-up for everything if you want to be invited back. But this guitar would hold up very well unless abused. I don't think serious players would ever abuse any fine instrument.

Steve @ Collings has always let me annoy him with dumb questions. But I haven't called out there in 3 or 4 years because they are building fine instruments & mine just keep on going with no issues. But Support is A+

If you can afford a guitar in this price range you must look at Collings. They are built to last, they hold their resale value, the sounds are consistent within each model (giving allowances for tonal aspects of different woods) and they have been good to me as a customer. What more could you ask for?

This OM2H was bought new in Manchester UK, and was fresh as newly minted wood, stunning, electrifying. The tuners are Waverly, the top solid spruce, the back and sides of course solid rosewood. The neck is the wide 1&3/4", with a soft perfectly round profile. The decoration is honest to a 30s Martin and flawless - remarkably so (if you look carefully and compare with Martins, Taylors, even Santa Cruz). This replaced a Santa Cruz .. hang on, I'm still in 'features'- yes it does have features - a neck and a body and ....

An obvious problem with user reviews - we all like the sound of our own voice after all - is that, having invested in an instrument one is likely to feel good about the purchase, and invest it with all sorts of attributes ("my very best guitar ever, honest") that may be a little exaggerated. So, with the Collings it is difficult to communicate just how far tonally, through resonance, feel, body, timbral detail, string separation, chord fullness, evocative touch, well how far it is above pretty much any other acoustic out there. I THINK I exclude the Sobell I have ordered, but time will tell. I absolutely love it. The context is a long string (sorry!) of instruments from many nice builders (I do miss my 60s Guild though). And the fact is it has become better as the years have passed to become exquisite.

Perfect, even if a nice set of Grovers would make tuning easier, and the decoration is not to my taste - I love a simple old Martin OM21. What counts is playability - it is heavenly - yes, very very very nice. I have to add - it is this way every single time it is picked up. I never tire of it. Morning, afternoon, evening, the same perfection (I stress I am not talking about my playing here). I think you will enjoy it.

Depend on it.

I have never needed anything attending to, in five years.

My ordered Sobell is nearly 4 times the price (and still extremely good value, as Stefan is the world's leading luthier). The Collings should attract a higher retail price. It absolutely should cost more than the equivalent instruments from Martin et al.

Specific features, as cited by the manufacturer and confirmed by me,
the buyer (I got the the cutaway version):

"East Indian rosewood back and sides, 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."

This is a very nice solid set of basic features. It has a traditional feel to it, and one of hand made excellence. I would have normally gone for a guitar with a little more artistic license for the money, but was won over heart and soul by the playability and sound and overall craftsmanship and stately beauty of the guitar.

My least favorite feature is the herringbone border, but it has quickly grown on me to the extent that I'll happily accept it, and now even embrace it.

I would prefer slightly more precision tuners, but these are bullet proof and subtle enough, and nicer than the grovers on my previous $1700 Breedlove.

The headstock has beautiful wavy wood grain running vertically shining through the finish, but I would have preferred the top being less angular and 'squared-off' on the top, however, that seems to be a traditional style and the look of some classic Martins, and doesn't look bad. I'm quickly getting used to it, because it fits the overall picture.

The body size is real nice for kicking back and jamming on the couch, ie. no bigger than necessary (and amazing what they manage to pack into the really decent integral feeling size!).

Everything people say about the sound of this guitar is true. It is almost unbelievably a synergy of engineering perfection. The more I listen closely and contemplate how the they pulled it off, the more my jaw drops and I am amazed. An though I had a friend who said he'd gotten one, I'd never considered a Collings before. I tried one a long time ago, but I couldn't play well enough to appreciate it.

This time, I was looking for a guitar in the $2000 range and ended up spending $3500, trading in my beloved Breedlove of 11 years and selling a bunch of stuff, including a Schecter C1 classic to afford this. I could not let this one go. 20 minutes with it, and I had to have it.

The sound and dynamic response of the Collings OM-2H is beyond belief. It opens my heart up and fills me with joy and almost tears sometimes when I play that I am able to get the tones and response out of this that are possible that I could never achieve on my Breedlove on my best day. I know that sounds maudlin and sentimental, but I'm not that way. I seldom give such hardy if emotional endorements. Not like that. It is a rare feeling of gratitude, and a sense of true luck at a rare quality I've always wanted in a guitar but felt I couldn't afford.

This guitar meets my best efforts with an unprecedented expressiveness, warmth, volume and clarity. In chords and plucking, *all* the notes are heard and they all work together without dominating the others, and yet they each have an individuality. I guess this is what people mean by balanced sound. I finally get it. I don't have to compensate with technique to even-out the sound or to make some note in a chord hold it's own.

The mid-range strength is equal to the bass and treble. That is something I have *never* experienced in a guitar before, period. The sound is clear, strong, clean, rich and balanced between crispness and warmth. It is true that if you pluck too hard it can get harsh and overloaded as all that music gets jammed up in the soundhole :), so if you're a flat picker with an aggressive style, you might have to throttle it back a bit or apply some moderating technique, or consider another guitar, at least for that style.

You can hear the physics of the materials and the body construction working together to blend the sounds and amplify them. Pure synergy. This guitar must have been designed by a true master. Either that or someone got really really lucky in the shop one day. It is as though an acoustic engineer, some computer modeling software, and an angel and a craftsperson got together at a retreat under a lucky star and did this thing.

But, here's an important thing to note: I don't believe all of these OM-2H's are created equal. To me this one sounded MUCH better than a brand new one, even though this was *barely* used and in mint condition. This tells me that OM-2Hs definitely have personality. And it is possible that there are some more mediocre ones and that I really lucked out a bit. One reviewer said there were some 'dogs'. I wouldn't go that far without having played a bunch of them, but the new one didn't have the lustre. It was crisper, clean, but emptier, sounding and didn't have the volume. I wouldn't have bought it, even at the price of mine. So unless you hear magic, try a few. Even travel to another store if necessary.

I played a lot of guitars looking for the one that would reach me, Martins, Santa Cruz Guitars, Taylors, Avalons, Larravies, Guilds, and another reputable brand or two. And only a couple of guitars besides this had some spunk, volume and cleanness, a Larravie D-09 (I think that one got sold, because I came back and played one and it didn't have it), and a used Martin on consignment at Gryphon, and a reputable guitar that started with a "W" which had a wide neck I could not stand and set down right away. Would have bought the used Martin for $2100, but the Collings sounded even better and looked a lot better.

I bought this guitar mint, used, for $350 less than the new one of the same model. If Gryphon hadn't been honest and told me it was used, I wouldn't have known.

This guitar is clean. There are no visible flaws. None. Extreme care was put into building this guitar. All the lines are clean. All the joints are perfect. Everything is squared up and solid. The intersections are immaculate. The binding is perfect. No sloppy glue, no sloppy anything. From the standpoint of craftsmanship, this guitar looks like the "expensive" guitar it is. They earned it. It doesn't have some the fancy inlay or stuff that one often associates with expensive guitars, but the finish and looks of this guitar are just one of pure respectability.

This guitar was built by an expert, and that expert must have really been into this guitar. This must have been a pet project or a work of love. Someone had some self-respect and honor to uphold with this instrument. The finish is glossy, and I really like that on the neck compared to my previous guitar which had a satin finish which impeded neck slides too much.

One would might imagine coming from a fingerstyle type of guitar like a Breedlove or a Taylor that the OM-2H neck might be 'slower' (it is rounder), but I have somewhat long fingers and I find that the roundness helps me get better leverage on barre chords. Unlike a some guitars I played in the shop, I didn't find myself missing or skipping notes. I guess the neck width and fret size are similar (14 above the body).

It plays in many ways similarly to my Breedlove, but because of the increased volume and responsiveness I got to stop over-compensating on some of the strings and notes. I can get a lot more music out of playing easier.

The strip that joins the two halves in the back is just gorgeous. Some sort of intricate wood work in a repeating pattern. Really really nice. The wood grain is beautiful all around.

The guitar body shape is neat too. It looks like a totally decent guitar but not ostentatious. Simple. Intuitively obvious, and upon close inspection, it is built to impress.

I can't rate the durability of the guitar since I haven't had it long enough to know. It seems more durable than my $1700 Breedlove. It looks rock solid.

I don't gig so I don't have a lot to compare it to. I think it will last me a long time. I hope a lifetime. I can't imagine selling it.

Gryphon is a great guitar shop. They stand by their instruments and a competetent. They gave me a really good trade-in value on my Breedlove because I bought it there and they like repeat business and they want their customers happy, and that guitar was worn in to say the least, with more than a few blemishes, seriously in need of a fret job and wear on the finish.

It is the Palo Alto, CA analog of McCabes in Santa Monica, CA, the guitar shop near where I grew up.

I've been playing for over 30 years. I've owned several electrics including a Les Paul Custom, a Gibson ES-347 semi-hollow body, a Gibson The Paul, a Schecter C1 classic, a Fender CG25 classical guitar, Takamines, a Breedlove, and several others I can't recall right now.

I would absolutely want to replace this Collings above all else if I lost it or if it was stolen. It is my favorite acoustic guitar among all that I've played. There are some guitars that I've liked the style of better, but they just didn't sound as good. There are some other guitars that sounded great, but mostly rich professional musicians owned them. I haven't personally played anything that sounded better. I've played a few good guitars, and I know there are some out there, probably even better than this. I guess.

This guitar is going to make be a better player, because it will always remind me of what is possible when I try harder. It can express more richness and subtlety and resonates well with good playing. It is an evolutionary step I'm honored to take in a musical instrument.

Orchestral body size, select spruce top, East Indian rosewood back and sides, mahogany neck, ebony bridge and fingerboard, herringbone perimeter inlay, mother of pearl Collings logo - plus the company sticker inside is signed by Bill himself (at least it looks like Bill's signature)... couldnt really ask for more amd its beautifully finished.

The sound is really out of this world, and its a new guitar (2006) - when the grain opens up slightly it can only get better. You really need to hear one in real life to really appreciate it.

The OM model has incredible volume considering its size. Even when compared to the Collings D-2h or Martin D-28. Also the sound is far more balanced and has great definition between the bass and treble.

Until i played this guitar i would have rated the collings D-2H as the best sounding guitar i've heard, and after that the Gibson Hummingbird. But this guitar really does blow them away. It a great all rounder - really defined sound for finger pickers but has great volume and unbelievable sustain for the more forceful among us.

I really have to give this guitar a 10 for sound, its no less than perfect and can only improve.

I cant really comment on the factory set-up because it had been set-up by the store before they put it on display (which most good retailers do).

The action is low - but not to low as to be detrimental to the sound. The guitar is beautifully finished. It looks and feels handcrafted - which sadly many guitars (even in this price range) simply do not. The new martins for example tend to have a distincly mass produced feel.

This guitar and every collings i've played is simply a work of art.

I havent played it live as of yet but i feel that it could most certainly take it. It a beautifully constructed instrument, and as collings themself say - its built for playing.

I have had no problems as of yet and dont expect any. I did email collings whilst trying to source the instruments and i had a fast and friendly reply everytime - you cant really ask for more.

I've been playing guitar for 8 years and this is my first high end instrument. I really wanted to make the right decision - and i did.

Its an instrument that is versatile enough for any player to grow into. Im not worried about trying any particular music or technique with this instrument because i am confident that it will deliver every time.

I would certainly replace this guitar in a flash if any ever happened to it!

I played the big names at this price range (Gibson/Martin/Taylor etc) but nothing had the feel of this guitar, and most importantly the sound! Collings are a custom luthier, who make outstanding guitars - they are not a multi-national musical corp, which sadly many other guitar makers are becoming. I feel this is one of the many reasons why collings guitars have a feel and a sound that the others do not - that can only come from a level of care, attention to detail and time that the bigger companies cannot afford to give individual items.

The most important thing when buying an instrument is that it feels right, its a very personal thing so i wont say Collings will be preferable to everyone - but i will say that if you are out to buy a guitar, you MUST try a collings before buying anything else.

Made in 2005. I own this guitar for about a year now. Clasic OM & standard appointments (ie as described on their website): sitka spruce top, herringbone, solid rosewood body, ebony fingerboard & bridge, waverly tuners, etc. Nut width 1 11/16", scale length 25 1/2". Looks classic, looks great!

I play mostly 60's/70's pop/folk music (Beatles, Stones, Neil Young, Grateful Dead, Dylan, etc.) with a twist of country/americana (Johnny Cash, Townes van Zandt). This guitar is suited both for fingerpicking (which I do sometimes) and flatpicking (which I do most of the time). Sound is full, well balanced and quite punchy. Can even sound loud and rings very nicely (lovely harmonics, rich and textured sound). Definitely a lot of life in that guitar (using d'Addario EXP strings, 12-54). It may sound a bit harsh and less subtle when strummed with too much enthusiasm (and that's when I need to revert to my Gibson J-45). Still, an exceptional all-rounder.

Set-up is excellent. Action reasonably low & no buzzing frets. Finish is immaculate and I particularly like the gloss finished neck (which I prefer to a satin finish as I have on some of my other guitars, e.g. Santa Cruz 00, Ovation LX Elite Standard or Marin D-35). I guess you can't get better than that.

I see nothing that could go wrong with this guitar as it seems extremely well built. I treat my guitars carefully and the case that comes with it holds the guitar firmly, so no worries on that front.

Never had to deal with Collings. Lifetime warranty (I believe).

As said above I own several other "high end" guitars and sometimes I ask myself: should I go down to one guitar, which one would I keep? Well, the Collings would be the one, as it is the ideal combination of built quality, sound richness, playing confort and versatility.

2001 OM2H with 1-3/4 nut. Collings description "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."

The sound is just fantastic. Very balanced and well ranged for finger style and really quite good for flat-picking as well. Intonation is perfect. This is a very warm & clean sounding guitar. I don?t consider it to be terribly distinctive, but a solid classic sounding instrument.

This was a used instrument, but it had been gone over and readjusted by a luthier to be sure it was still set up properly. The action was identical to the new models I played. Fairly low and playable and suits my preferences perfectly

The guitar is extremely well put together. I can?t find a zero flaw on this OM2H even though it is 3 years old. There is nothing about the construction to complain about. In fact every detail looks exceptionally well tended to.

Wood choices look to be very well matched and of high quality. The finish is perfect.

I have not owned enough guitars of this caliber to comment on longevity. I am confident that with proper care this instrument will be enjoyed long after I am gone. The binding and bracing certainly looks to be more than ample, but the guitar maintains a very light feel.

I have no direct experience with Collings. I do like that you can re-register used Collings on their website.

I have been playing off and on for over 20 years. I have had my hands on a number of older Taylor and newer Santa Cruz guitars. I find pro?s and con?s with any quality guitar, but for my tastes the Collings OM2H stood ahead of similar guitars. If you are looking for an OM at the very least you need to test drive the Collings line as you look. I recommend this model highly.

The features of this model have already been well documented in other reviews here. Mine is an OM-2HE, with an englemann spruce top I purchased it brand new late in 2003 and I assume it to have been built in 2003. It is a simple but very classy looking guitar ..... it may not have all the fancy adornments but as far as I know I've never seen them make a guitar sound or play any better .... not that I'm knocking adornments, some of them are beautiful, I'd just sooner spend my money on sound and playability.

When I first started playing some 30 years ago I was drawn to players like Bert Jansch, Davy Graham, Paul Simon, James Taylor etc.. but try as I might I could never find a guitar that played well or sounded good, (probably a combination of money and knowledge). Subsequently I went the route of playing classical guitar to satisfy my acoustic / fingerpicking along with rock, pop, blues etc... with various bands over the years.

A couple of years ago I was introduced to a Taylor .... which changed my view of steel string acoustics being primarily for flatpicking or strumming. Then a friend of mine bought a 1975 Martin D28 ... I couldn't resist picking this thing up everytime I went to his place. So I decided it was time to finally get something that played what I was originaly attracted to as a kid.

I spent many afternoons looking primarily in places like Guitar Center, although I did try quite a few other places. I tried Martins, Taylors, Larrivees, Tacomas, Guilds, Gibsons you name it. While many of these were outstanding instruments I couldn't find anything that just "grabbed me". I think I had in mind that beautiful controlled chimey ringing sound that I associate with James Taylor. I figured out that I wanted indian rosewood back and sides, spruce top and ebony fingerboard .... I just had to find "the" guitar. I was talking to a guy in GC and he told me I needed to go to McCabes in Santa Monica .... so I did. Three hours later and over 3K lighter I walked out with a brand new Collings. I must have played 20 or more different guitars ranging from 2K to 10K but I kept coming back to the Collings. It was the sound that grabbed me. This guitar is superbly well balanced with astonishing clarity ... the bass is not overpowering yet strong, the mids add a roundness to the chimey bell like tones of the trebles. There is no "tinnyness" to the trebles, (which made me put alot of guitars back in their case), and absolutely no muddyness to the sound. The sustain goes on and on. The response is excellent, it's actually a pretty loud instrument for it's size. As far as the voice of the guitar goes .... it doesn't have a particularly distinctive voice like other instruments I tried .... it just has clear beautifull bell like tone with great balance up and down the neck.

I can't find any flaws with the build quality. The action may be a little low for me ... but that is purely a matter of taste. The set up is as near as I can tell perfect .... the fretwork is outstanding, it intonates extremely well. The nut and bridge work are spot on. No surplus glue, no misaligned parts. The neck and binding both look and feel great. The finish is top quality. The guitar feels light yet rock solid. In all the years I've played I can only think of two guitars that I haven't had to get some setup work done too .... this one and the other a Parker Nitefly .... and I've had a lot of guitars.

If this guitar is taken care of it will last for years. It is fairly light but very well built. I'm sure so long as I watch the humidity and temperature I'll have no problems.

As far as playing a gig without a backup ... in thirty years of playing I've only had a few problems on stage .... mostly strings breaking, once the PA fell on me and snapped my guitars neck, (I'm not kidding!). That said IMO anyone who plays a gig without a backup is either broke, psychic, not serious or stupid.

I dealt with the company several times via email and ran into some of their staff at the NAMM show. They seem like the nicest people, (I suppose that's their job?), and were very prompt and responsive when I asked questions via email.

I think I've pretty much laid out my case for owning this guitar. My primary reason for buying any guitar is the sound .... this has it particulary for my style of playing .... fingerstyle. I can't say how it would perform for flatpicking .... I rarely put a pick on an acoustic, I think it would be good for tapping and superb for slackkey. It's strengths are its clarity, tone and playability. Most of the other guitars I tried were excellent ... although I thought a few had obvious problems, some had more distinguished voices, all played extremely well .... although some better than others. What grabbed me with the Collings was the sound .... even against guitars that cost two and three times as much .... it just begs to be caressed. If I played a more percusive, louder style I might look at something other than an OM model ... but I can play classical on this and it sounds beautifull. If it was damaged or lost would I replace it ..... as soon as I stopped crying. I've been playing for over thirty years and have owned dozens of guitars ... I only have a handfull that I will never part with ... this is second on that list.

2003 signed by Bill Collings
Indian Rosewood(the pattern and the matching is a work of art)
Sitka Spruce Top
1 3/4 in nut
Waverley Tuners
Mahogany neck joined at 14th fret
Collings Cases fit like a glove and one of my guitar buddies says I should be buried in it when I die.
No pickup has been installed to date.

My music style is varied with a preference for blues with some fingerpicking.
I have heard harmonics while chording or fingerpicking the guitar that I have never heard before with any acoustics I have ever owned. I have had up to 20 acoustics at one time in the past(40's,50's,60's, 70's Gibsons, Martins, Guilds, Epiphones, United Elitone, Kays,etc) I had to call my bandmate who is also a luthier to ask him if what I was hearing was possible or was it the results of having lived through the 60's & 70's in Austin, Texas. My electrics are an early 70's Strat, ES295 reissue, 61 Les Paul Jr, 78 25/50 Les Paul, 50's Dannelectros,etc. Amps are Mark 1 Mesa Boogie, 62 Fender Vibrolus, 60 watt Boogie, Silvertone, Cordovox Leslie etc. I have been buying, playing & selling guitars for 35 years and I know what a fine instrument is and my OM2H rates among the top. It cuts through the mix with a sweet beautiful tone.

The action from the factory is perfect and other musicians who have played it are amazed at my guitar. The attention to detail and the finish sings with beauty. The Collings Factory has a an amazing group of talented artists that strive for the ultimate perfection in their guitars.

My OM2H is superb. I have a 65 000-18 Martin(Peter Rowan has blessed this guitar) in mint condition as well as a 41 0-15 in very good condition and the sound of the OM2H is noticeably better. In playing with other folks in Austin that have Martins(50's, 60's, 70's D28's,HD28's, D 35's,OM's & 000-28's) my OM2H is oohed and awed by other serious player.

Excellent, Steve McCreary at Collings and Josh At Strait Music in Austin could nothave been more helpful and professional.

10++++
I've been playing for 40 of my fifty years.
I am going to buy another Collings in the future, not sure which model yet.
My OM2H is amazing to hear, amazing to play and could only be replaced with a handpicked version of the same.
A tremendous instrument for the price. You pay for what you get and my OM2H is a work of art. My wife ask me how much my new guitar cost. I showed it to her and she said it was too beautiful to find out the actual price I paid for it. I got a good deal on a tremendous instrument. She got a very nice Christmas present for not ever asking me about the actual cost of the guitar. She will continue to get surprise gifts for not asking me what it cost.

Collings OM-2HSS- Short Scale, bought new, built in Austin Texas. Select Spruce soundboard with Indian Rosewood back and sides.
Ebony fingerboard, bone nut and saddle, mahogany neck.
Waverly tuners. HSC included.

I generally play fingerstyle, blues, ragtime- I waited and played different guitars for months waiting to hear just the right one- as soon as I struck as chord on this guitar I knew it would be walking out of the store with me.

Great set-up, no flaws noticed, really solidly built. Beautiful materials. Action is lower than I am used to, but this could be remedied.

I have no concerns about the reliability or durability.

I haven't had any problems and no repairs have been necessary, but it was purchased from not only a reputable company, but a reputable shop as well at Pioneer Music in Portland.

I love the character of this guitar, the balance and response- and the great projective sound.
If you can afford it (I had been saving for about a year while shopping)- this is a guitar to look at.

simple and elegant, allyou need

very versitile, i play all type of acoustic music. great with my
trace elliot ta100, not loaded with boomy bass very balanced. wonderful sound w/ lr baggs i beam active

collings, perfect enough said

collings, waverlys cnc mfg along with hand made craftsmanship,no worries

very helpful and freindly when i called for info. hey collings, you should really make a nice brochure, so when people go to a shop they can bring one home. it keeps your products in their minds long after they leave the dealer

have played and owned alot of good gear but this is dollar for dollar
the best. buy one and you wont be dissapionted.
ps buy it from buffalo bros theyre the best and theyre trade in policy makes you very comfortable with your purchase.

This is an OM sized guitar with a 25.5 inch scale. It has Indian rosewood
back and sides and a sitka spruce top. The top is close grained with good
silking. The two pieces are matched very well. The guitar has a cutaway,
but no herringbone trim.

The neck is 1 3/4 inches at the nut and goes to 2 1/8 inches at the bridge.
The bridge spacing is smaller than Martins that have the 1 3/4 inch nut but
2 5/16 at the bridge, and it gives the whole neck a narrower feel than the
Martins. That could be a plus or a minus depending on your preference. I
find it very comfortable for both hands.

The neck is a "V" shape in the back, but it's pretty gentle. I'd
personally prefer if the neck had a "C" shape in the back more like a
classical guitar, but I don't find the Collings "V" to be a problem.
Martin's vintage series guitars, by comparison, have a much sharper "V"
shape that gets close to uncomfortable for me. The fret board is very
flat. The finish on the back of the neck is glossy. Tuners are Waverly.

This guitar was refretted, but I've played several other Collings OMs.
Collings' frets are higher than Martins typical fret wire and I like it.

The saddle is a drop-in compensated saddle. I believe both the saddle and
the nut are bone. The bridge is ebony.

Bridge pins are ebony with an abalone dot.

This guitar's basic sound, as is typical of Collings' OM2s, is articulate
and bright with a strong midrange and wonderful complexity it the notes.
The guitars are very resonant and alive. However, they can also get a
little harsh sounding in some situations.

For fingerstyle this guitar is a joy. There is excellent string
definition. The bass strings are crisp. They have a real growl and
authority to them. The high strings have a bell like tone. They're
bright, but not sharp or piercing. There's a roundness to the tone. The
guitar has a meaty chunk of midrange in its tone with a little extra hump
in the midrange that adds a vocal or throaty quality to the tone that I've
heard in every Collings OM2 I've played. One way to think of it is when you
put a wah pedal on an electric guitar, though more subtle. There's also an
overall resonance and a complexity in the tone of the notes that really
works for fingerstyle stuff. I find myself just working my way up the neck
listening to these beautiful notes coming out. This combination of
clarity, vocal quality in the mids, and bell like highs is the signature
Collings OM2 sound. I played four of them at different stores while I was
looking for this guitar and they all had that sound.

The other two brands I looked at were Martin and Santa Cruz. Neither of
these brands makes that Collings tone. The Santa Cruzs (rosewood/sitka)
were more scooped in the mids. The good ones were still very resonant
and clear. It's not a bad sound, it's just a different sound than the
Collings. The Martin OM28V was neither as clear or as bright as either the
Collings or the Santa Cruz. The Martins had a strong midrange and a more
mellow sound. Again, not bad, just different. I only played one and I
would have liked to have played more.

The Collings is also great for more standard finger picking lower on the
neck. It does have a signature sound to it, but I like it. Put a capo on
the 7th fret and it sounds incredible playing Scarbough Fair.

The brightness and vocal quality in the Collings can also be the source of
some harshness in the Collings tone. The tone I've described above is with
my right hand positioned over the center of the sound hole. If I move my
hand toward the bridge a harshness can get into the tone. It's not
piercing, but rather a hardness. If you've ever played around with a
parametric eq, it sounds like boosting around 1000 Hz.

Hard strumming can be a little dicy too. That lovely vocal quality can
get a little honky when strummed hard. The complexity of the tone doesn't
help here either, at least to my ears. It can get to be just too much.

A pick, especially a thin one, can also bring out the harshness in the
tone. Single line runs with a thicker pick are pretty good. The vocal
quality and roundness in the highs can come out.

I believe that this is one of those taking the good with the bad situations.
I don't know how a guitar could sound as clear and bright as a Collings
does when playing with fingers and NOT sound somewhat overly bright and/or
harsh with thin picks and hard strumming.

Super versatility is not this guitar's long suit. As a fingerstyle
instrument it has a wonderfully expressive and unique tone. On the other
hand, I couldn't imagine using it as a bluegrass guitar. I think the
Martin OM28V has a real edge here. It has a nice, but different,
fingerstyle sound and its basic tone will carry over to other playing
styles more readily.

The action was perfect when I bought the guitar, though the shop where I
bought the guitar really deserves the credit here. The guitar plays
wonderfully.

The finish looks great. The Waverly tuners are pretty smooth.

The guitar is very neat on the inside. All the braces are smooth and
sanded.

The guitar is seven years old and seems to have held up really well.

No idea. It's a used instrument so I have no warranty.

I bought this guitar to replace a 1988 Taylor 615 (jumbo maple). The
Taylor is bright with a ton of bass and a very scooped mid range. The high
end could get very hard and brittle. I liked the clarity, but wanted less
bass (equals boominess in recordings) more midrange and rounder highs. The
Collings gave me all of these things plus complexity and vocal quality in
the tone that the Taylor never had.

If you are looking for OMs in this price range, the Martin and Santa Cruz
offerings should really be looked at too. They're all wonderful guitars.
The Martins OM28Vs are very hard to find with a cutaway if that's important
(and it was to me).

In the process of buying this guitar I bought a Martin D18GE too. That is
an incredible guitar. The D18GE is strong in all the areas that the
Collings is weak in. They work together for me very well.

Owned a 1992, but played at least 10 different ones, including a 2000 recently. Spruce Top and Rosewood back and sides. Excellent build quality.

These guitars are usually good, but not neccessarily great. I sold mine for a Taylor which sounded much better (and was prettier). They're generally good for finger-style, but fall short for strumming. Some that I've tried were "dogs".

Top-notch

Top-notch

I would never spend over $2k for one again. At a store recently, a salesman kept raving about Collings, after a quick test against some "lesser" makes, the raving sounded a lot more hype.

After reading the reveiws on this instrument, and playing a Collings guitar, I'm feel I must respond to the reveiw written by Dave, below. This person should not have submitted a reveiw based on his experience, and I would discount his opinion. There's one in every crowd...
I'm directing this to those who are not fimiliar with this builder, as it is much more likely that the reveiwer, Dave, was poorly informed and was having a bad day when he wrote that reveiw.
So, consider the messanger when forming an opinion based on these reveiws.

Made 08/00; Factory Left-handed. Stock woods and features. All features already listed. Has everything it should have and nothing it doesn't need.

The tone of this guitar is just so clean, clear, balanced and full of aligned harmonics with tons of even sustain.
It's like the tone is run through ice cold crystal clear filtered spring water. This instrument makes you a better player by exposing your playing. No overblown exotic harmonics here. Just pure tone.

It's a Collings... the only maker I know of who uses CNC maching not to save time and/or money, but to make the product consistently precise. The end result is the easiest playing guitar possible.

This guitar is built like a tank. All materials used are top shelf.

Don't think I'll ever need to. See Reliability/Durability.

25 years of playing has exposed me to all levels of instrument quality and price. This professional quality instrument has a proven reputation and is a worthwhile investment.

Has the 1 3/4 nut; everything else the same as the other reviews: Indian rosewood B&S. Made December, '98. I bought new in April, '99.

Like most of my generation, I grew up thinking God lived in the bass register. And so, there was a parade of dreadnaughts over the years, including two Collings, a D3H and a D1. When I got this guitar, I realized what the previous two Collings were trying to tell me: the devil lives in the bass and God lives in the treble. Someone else alluded to this in their review also. All those years of longing for tub-thumping spongy bass were gone. This thing is balanced like a piano, and what's especially pleasing to my ear is that there are no colliding overtones present when playing single-note lines--each note rings true and clear and hangs in that hole forever, it seems. Most acoustics have so many ringing overtones banging around in the box. This thing presents each individual note on a silver platter...especially those played on the treble strings.

I gotta give this an 8 as it is the third Collings I've had (the other two are gone) and each one could have had a better nut job; however, kudos to Mr Bill for making the nut and saddle of bone, unlike most of Mr Martin's stuff--even the high-end models.

Collings guitars are all built "tight," I think...and while that's a good thing in most respects, it will take some extra time to open them up. What I especially like about his guitars is the care given to applying a thin nitro finish that you can see is already sucking into the grain. This ain't furniture.

I have dealt with Steve at Collings regarding a problem with my D1. he was very helpful and steered me to the Buffalos Bros when I told him I was looking for an 0M2H. One of the buffalo boys (I think it was Buffalo Bob) did me right. Prior to that I had gone to Madison Music here in Madison, WI where a Mr Gary Turk gave me the worst customer support I ever got anywhere, for anything. My first two Collings I got from Terry Straker in Evanston, IL and like Buffalo Bob, he is a stand-up guy. Maybe a little funnier. Despite the crap dished out at Madison Music, I have to give this a 10, as everybody else who handles these guitars is as classy as the instruments themselves.

I'm 52 and have been playing guitar more than half my life. If this guitar were taken from me I would find another Collings dealer and plant myself down for a few hours. I have a Larson Bros parlor from the '20s that is also a wonderful (and loud) instrument and as far as I'm concerned, Mr Collings and his crew are making the best stuff available. I just wish I could buy more. Check the resale value of these instruments and it's already clear that they are well worth the money.

,My OM2H Collings was made in 11/99 , serial number 5428, it has the wide 1 3/4 neck, the guitar is put together with clinical accuracy, with superb solid woods, Indian rosewood back and sides,spruce top and ebony fingerboard with diamond inlays, the finish is exceptionally thin , and there is the faintest touch of sinking in the grain, which "breathes" tone at you, allowing the sound to vibrate out, not like many guitars with a millimeter of varnish hiding all manner of sins. When I open the case the guitar says "class" with the georgeous herringbone inlay, the neck is the easiest and fastest I have ever played, flawless workmanship.

The sound is quite simply amazing,like my 0002H, it has a purity of tone that defies description, each tonal frequency range is as strong as the next, no single frequency dominates (as was my 1990 M38-thin in the treble) I have been a fingerstyle player for 35 years. country blues/ragtime/irish traditional/contemporary/jazz. I play unamplified with the fingernails(sometimes with picks) the sustain is amazing! I am looking forward to it "opening up". great for DADGAD tuning.

I purchased the guitar new from GUITAR WORKS of Evanston,Illinois, it was set up for my style of playing by Terry , with a superb action( I bought my 0002H also off him) 2mm bass side, 1.75mm treble at the 12th fret, with elixer light gauge, I will try medium in 1 years time. The guitar is of flawless constuction,everything cut perfectly and fitted with absolute precision. I have owned 8 Martins & many other top range guitars, none compare to the Collings guitars

I will not be taking the guitar out to too many live gigs,I am involved in a Fretted instrument club here in the West of Ireland. Denis Cahill (who also plays a OM2H ) uses it for his live gigs. I feel it will never let me down and only improve with age, allowing me to play music I have never dreamed of! I imagine a Martin OM28 was like this when newly made in 1930.

Living in IRELAND I am at a disadvantage, but I know I could return it to GUITAR WORKS or the factory if anything major happened to it, I am very careful with my instruments,they go back in the cases when not in use, cleaned and wiped down with fast fret on the strings.

I have been 35 years playing all styles Beatles to Bach (as above)I own a 0002H Collings(1997 bought new-killer sound so different from the OM2H) A classical guitar HIRADE number 7, A twelve string Brazilian Rosewood guitar made by Stanley Francis 1971 (He made Pete Seegers 12 string)(mine was owned by the SPINNERS, a Liverpool group.I would buy the OM2H again, maybe a cutaway, the OM2H is quite simply the best OM guitar I have ever played!

My Collings was made in 2/1998, with solid spruce top and Indian Rosewood back and sides that are lavish with natural wood design. The neck is 1 3/4" wide at the nut. The finish is stunning, glossy but not ostentatious. It lives in its wonderful green plush, extra-hard shell case...except when it's being played. This is the Orchestral model, a smaller body with a huge sound... in fact, huger than some other Collings that were larger, far larger than the Taylors and other Martins hanging up in the same little showroom. Overall, the guitar is "the one true thing," just a good looking, simple guitar. No flash is needed -- the sound and action have it all. And yet, it's got a zen-like beauty with clean and simple lines.

My style is celtic-american fingerstyle with some other stuff thrown in, and it suits it wonderfully. There are no amps, no tuners, no funny stuff in the guitar. The sound is deep and creamy in the bass, bright and balanced in the mid-range, and clear and bright on top. Simply put, I've never heard such a well balanced guitar. And I've played and owned many good ones.

I got it used, but it was set up to play quite well. There are two small spaces in the lines around the soundhole that seem to be lighter than the other parts of the lines. They are small and virtually not noticeable. This is a handmade guitar after all. I can't get excited about this after all. There are no bad frets, no rattles, buzzes, or anthing of the like.

I would use this guitar anywhere if I felt I could hand-carry it anywhere. But this isn't always the case. I prefer to use it at home for composing and playing for myself. But that's just me. After all, there are more expensive guitars to own and play...and even take on the road.

I'm the second owner, so I don't know. I have a good tech. I'm not worried. I don't think this guitar will take too long.

Fabulous guitar! Better than the Taylors, L'Arrivee, and even the Martins I've played and owned. Perhaps the guitar I still miss is the Lowden I sold to get this, but for me, I prefer still the OM-2H for two reasons: the body is smaller, and really fun and easy to play with finesse; the action is far easier than the Lowden. I have a muscular disorder, and I need a guitar that won't tire me out. This is a great choice! The Lowden was great, but simply harder work to play.

See above for specs

Very disappointed for such a high end guitar. Ended up not buying it (I was expecting to part with my hard earned cash). I found the tone weak compared to other quality OMs. Perhaps this was just a bad example or hadn't had anybody really play it at all - but at this price Collings shouldn't be letting this type of stuff out. It really didn't sound much better than many all-laminate guitars.

Finish was superb - very nicely built (shame about the tone). Actiona a little low for my taste but that can easily be rectified.

I expect near perfection at this price and the sound was totally disappointing.

'98 Collings OM2H signed by Bill Collings himself. This instrument has the standard OM2H appointments as illustrated in other reviews below; Solid Select Spruce Top, Indian Rosewood sides/back, Waverly open back tuners (which stay in tune VERY well) etc. My OM2H has the optional 1 3/4" width neck. For me. it's better for fingerstyle and works great for my crosspicking style as well. My guitar has the most incredibly detailed, multicolored Indian Rosewood sides and back I have seen! It's a work of art! Those people at Collings know how to choose their wood! Rated a 7 because of lack of exotics; lack of inlay etc. But no complaints. Being the creation that it is; modeled after the 1929-1934 Martin OM, it's superfluous!

I searched high and low for an instrument that would give me shivers when I heard it. I set out to buy a Vintage Series Martin I had heard. But when I strummed the Collings in comparison, the Martin D-18V sounded flat and lifeless... and quieter! I also played some nice Taylors, but none that had the quality of tone the OM2H has. I actually sold my Taylor 810WMB Limited Edition after buying the Collings. The only thing I liked better on my old Taylor was the neck. Taylor necks are fast and a little easier to play... to my hands. FYI - I have average size hands. The Taylor also had very nice appointments, Mahagony binding, Abalone rosette, abalone inlays, Red purfling etc. Personally,I could do without the herringbone on my OM2H but that's just my taste. If I were ordering a new Collings, I would prefer Koa binding or something more exotic. That's the trival stuff. When I strum the Collings, I swear Angels fly out from the sound hole! I never considered an OM size guitar before. I thought OM size bodies would be too quiet and lack volume, richness and depth of tone. Boy was I ever wrong! The Collings OM models were louder than all the Dreadnoughts in the store! The Colings OM's were even louder than the Collings Dreadnoughts! Go figure. This guitar was definitely louder than every Martin in the sound room at Rainbow Music, a GREAT music store in Tucson by the way! <end shameless music store plug> The OM2H has incredibly complex and vibrant fundamentals and makes overtones that sustain and ring like bells. This guitar is so rich and full sounding, you would never guess it is an Orchestra Model (OM) size. Someone once told me Collings guitars are sometimes referred to as "Super Martin's. I can see why. I played at a Coffee house one night and a blind woman came up to me and asked; "Is that a Collings you're playing?" When I asked how she knew, she said; "It sounds like an old Martin, only better!" She was in fact a musician herself and for obvious reasons, possessed incredible hearing. True story!
I also fitted my Collings with a B-band Pickup made by EMF Acoustics. The one I got has an internal mic in addition to its saddle pickup. This is the Holy Grail for me. I play it through a Mackie 408M Powered Mixer and a pair of Mackie C300 Speakers and the amplified sound is AMAZINGLY true to the acoustic sound! It sounds so rich it will blow you away! Add the lushness of the Mackie 32-bit digital reverb and it's pure Nirvana! I have NEVER heard a better or more pristine amplified sounding acoustic. The strings resonate like notes from a Piano! This guitar Rates an 11 and above... but I can only select a 10 as the highest rating from the pull down menu.

I am still experimenting with the action height. Light guage strings felt great and were very responsive, but diplayed a little fret buzz when I attacked agressively with a pick. I play in a drop "D" tuning almost all the time, so I strung my Collings with Gore Elixer Bluegrass Light top/Medium bottom Strings. The extra gerth of the Medium bottoms brought the action up just a touch and it's 'almost' perfect. I tend to attack a little more agressively than some players do so this action might be perfect for most other players. I like the notes to ring true without buzzing no matter how hard I play and I'm 'almost' there. I've had my Collings authorized guitar tech adjust the neck, so I know it's just fine. And yes, I keep the guitar humidified religiously and stored in its case when not in use.

The Collings OM2H is an extremely well built guitar. I did notice some faint hairline cracks in my bridge in between the bridge pins. My guitar tech filled the ever-so-light hairline cracks with some ebony wood dust and told me to watch it. So far, it still looks perfect after a year. I may need a new bridge at some point. Dunno? But I cannot bear the thought of being without my Collings. I will have to buy another one before I send it in! That's the ONLY problem with Collings. You'll want to collect the entire set! On the other hand, why would I want to strum another guitar? This one gets the sound I like! Hmm >>> I suppose I might want a D1 w/Adirondack Spruce top for fast single notes bluegrass runs. Woops... time to go shopping again! Honey... we're getting divorced! Can't afford to feed the kids and support this habit! Good thing I dont have a wife or kids at this point. Take it from me, get your toys while you're still single!

I have not yet dealt with Collings Customer Support. Their authorized guitar stores do the warranty work and if necessary, then they send the guitar back to Collings in Austin. So far, so good. Gotta love a lifetime warranty! Well Done! I should mention, my guitar tech says he needs a special truss rod adusting tool to get around the neck block inside the guitar.

I've been playing guitar for 32 years and have earned to right to spend this kind of money on such a pristine isntrument. I have owned Taylors and a Martin D28 prior to buying my Collings OM2H. I never looked back. No regrets. I do miss how 'pretty' my Tayor looked, but the proof is in the strumming and the sound! The Collings wins hands down! If this guitar were stolen, I would definitely replace it with another Collings OM series guitar. I might custom order one with exotic binding and a special rosette, but overall, I'd be happy with another OM2H. For the record, the guy who sold me my guitar lives in the same complex and has owns the same model Collings as I do. We compared our two OM2H's and could not declare a winner. These guitars are that well made. They all seem to possess that 'special' Collings Mojo. Before buying, I compared with Santa Cruz, Larivee, Borgious (sp?), Martin and Taylor. The most difficult choice I had to make was whether to get the Collings OM2H or an exceptional Collings OM1 (Same guitar but with Mahogany back and sides instead of Indian Rosewood) I'd still like a Mahogany Collings some day for their lightness and clrity of tone. The mahogany guitars have a brighter tone and sound just a little thinner, but are cyrstal clear sounding guitars. They are very lightweight too. Laurence Juber plays a Cutaway OM1 and it is amazing how good it sounds! But for me, the OM2H was all that and more for my playing style. No regrets there other than to say once more, I'd prefer owning the whole set of Collings models. Oh, the case is a work of art as well. It has a gorgeous green velvet interior lining which very snugly secures the guitar in a classic hardshell style case. Very nice! Get one, play it and know that you have arrived.

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?