We have our first Collings 290 with the new Collings Wrap-Around Bridge! This new bridge is Collings' own design and fixes the problems of wraparound bridges not being intonated. They have machined the intonation directly onto the bridge. Each string has it's own resting spot on the bridge... it's very difficult to see, as the finish is highly polished. This ensures that you will play in tune throughout the length of the neck and still have the tonal advantages a wrap-around bridge offers.
In place of the "low wind" Imperials that normally come in Collings semi-hollows, these LC's will come standard with Jason Lollar Standard Imperial Humbuckers, which are a little higher output, and a bit smoother sounding as well. These pickups were chosen since the laminate body is more resistant to feedback, and therefore more suited to a higher output pickup design.
Collings uses spring steel inserts in their acoustic guitar necks only. They are not there for reinforcement. Rather, they are utilized as "tone bars" that add just the right amount of mass to the neck for a better transference of vibration/energy from the body into the neck. If you were to play 2 identical guitars, one with tone bars and one without, you would feel and hear the difference. The one with tone bars will have noticeably more sustain as well as an increased resonance in the neck that one can feel. Furthermore, in an effort to match the mass of the necks with their bodies, they sort the weight of their necks to best match the model they will be going on.
A-Style mandolin players are forced to make a tough decision in regards to how they put a strap on their mandolin. F-Style players have the ability to loop the strap around the scroll, which works quite well. A-Style players are basically left with 3 options...
Looping the strap around the body, beneath the fretboard extension.
This works, though it presents a few issues. First, it is not the most attractive option. Second, it places the strap along the top of the body, which will in time wear through the finish.
Using a loop on the headstock, between the tuning pegs.
You will find many players who use this method and it works well for them. One consideration is that it can tend to get in the way of your left hand. Another is that it feels a bit imbalanced, especially for players accustomed to the feel of looping the strap around the scroll of an F-style mandolin. The mandolin can't move as freely as you may like, although this could be a plus for some players.
The Strap Button
This is perhaps the best option, so long as you are willing to have a hole drilled into the heel of your instrument. Collings mandolins utilize a mortise and tenon joint for attaching the neck, so you don't have bolts to worry about like on acoustic guitars. It does, however, need to be very carefully drilled and the placement is very critical so that it doesn't hinder access to the higher frets. Kym Warner and Tim O'Brien both have strap buttons on their A model mandolins.
The color variations in some of Collings' rosettes which can appear to be a defect is part of the character of all Collings guitars with a standard rosette. The center band of concentric circles is a ribbon of “celluloid tortoise”, the same material used for bindings, pick-guards, and some purfling. This celluloid material is supplied to the builders in the form of a sheet, from which they can cut narrow strips for purfling & inlays, as well as to craft their own pick-guards. Imagine a tortoise pick-guard, with multi-colored opaque areas scattered throughout the pattern... In the case of purfling material, narrow strips of multi-colored celluloid are stacked & glued, then inlaid on their side with the edge facing outward.
The opaque areas in the rosette are where the pattern is lighter in color, and occurs naturally in all tortoise materials. If you examine photos of any of our Collings, you will see this is uniquely patterned on each rosette that features this strip of tortoise material. Like grain striations in wood patterns, we have come to appreciate the color variance in tortoise to be part of the unique character of each guitar. When using this same material for the body binding (which is much wider), you will notice that many builders utilize a B/W/B purfle line (otherwise known as 3 small strips of celluloid, black then white then black), which prevents light from shining through the opaque areas in the tortoise, or otherwise emphasizing this phenomenon.
The 1929 Series “0”, “00”, & “000” models include a black TKL 5 latch case, with plush green lining, and twin neck rests. (Upgrade available, see below)
All other Santa Cruz models include their signature Ameritage case, which is trimmed in black vinyl with brown corners, 6 nickel latches, a much nicer plush green interior, twin neck rests, and a brass Santa Cruz Guitar badge on the exterior. (Note: This case is available for upgrade on all 1929 Series models at the time of order for an additional $125).
Santa Cruz offers an optional humidification chamber for their signature Ameritage case, which can be retrofitted.
There is a Deluxe Ameritage Case upgrade available, which is more heavily constructed, trimmed in Gray Cordura Exterior with Green vinyl corners, 6 brass plated latches, plush green interior, twin neck rests, headstock support, and built-in humidification chamber. This optional case is available for all Santa Cruz models for an additional $495 (allow as much as 6 to 8 week lead time).
With two 0-14 models in the shop, we were able to record the sonic differences between German Silver and Brass bodies on a National Resophonic guitar. There is a noticeable difference, to say the least. It will be up to the customer to decide which tone is best for them, but hopefully this will make your decision a bit easier.
Now you decide...
National Style 0-14 German Silver
National Style 0-14 German Silver
Recorded In-House on a Sony PCM-D50 handheld recorder with no compression or eq.
National Style 0-14 Brass
National Style 0-14 Brass Body
Recorded In-House on a Sony PCM-D50 handheld recorder with no compression or eq.
Featured on Collings Ukes, these new tuners are incredible, once you understand how they work. At first glance, they appear to be standard friction tuners... beneath the surface, however, they are very technologically advanced, with a patented planetary gear system providing legendary smoothness and precision.
The 4:1 gear reduction allows strings to be tuned more easily and accurately than traditional wood pegs (or Caspari-type mechanisms which require screw drivers or special keys). Tune confidently and securely with the left hand while playing open strings; even during performance! PEGHEDS tuners return the fine-tuning function to pegs. Strings slide more freely over the smooth, wide nut than over the comparatively sharp edge of the bridge, where stress is concentrated and equilibrium of tension on either side is more difficult to achieve.
PEGHEDS have a brake mechanism with variable friction. Push in to increase resistance, pull out to decrease; exactly like a traditional wood peg.
There is much discrepancy when one begins to compare the tonal differences that a herringbone top purfle can make on a guitar. Various luthiers have different opinions on what these tonal differences are, some going as far as stating there is absolutely no difference in sound between a herringbone and non-herringbone guitar.
With the recent arrival of a few D1HA models from Collings, we were presented with the perfect opportunity to compare this particular feature side-by-side on two otherwise identically spec'd instruments.
We believe our recording speaks for itself... there certainly is a difference in tone!!! The guitars tested were a Collings D1HA and a Collings D1A. Same tonewoods and bracing... the only difference between these guitars is the herringbone.
Now you decide...
Collings D1HA Herringbone
Collings D1HA Herringbone
Recorded In-House on a Sony PCM-D50 handheld recorder with no compression or eq.
Collings D1A Non-Herringbone
Collings D1A Non-Herringbone
Recorded In-House on a Sony PCM-D50 handheld recorder with no compression or eq.
While a gorgeous flamed maple top is traditionally found on most Les Paul style guitars, we are excited to have two City Limits Deluxe models on our rack with identical specs except for the Mahogany cap on one of them. Having these two guitars in the shop at once, we just had to do a comparison recording to compare the tonal differences in a mahogany and maple capped guitar. We did these recording using our Carr Mercury amplifier set flat at 2 watts using the neck pickup with the tone and volume knobs wide open. The difference is quite prominent... we will leave it up to you to decide which is best!
We notice a clarity and familiarity with the tone of the Maple Cap, offering a crisp and clear high end while the mahogany cap darkens the tone, smooths out the treble, and adds considerable warmth to the overall tone... in the end it all depends on your playing style and personal taste... these are both rock and roll demons ready to growl!
We are pleased to have a custom TD-M on order with one of these sets of Sinker Mahogany! Visit the listing here.
By Mark Dalton
Our supplier of this special wood recently came up with 14 more sets and we bought ten of them. It is really nice, old growth Mahogany and produces a really rich tone and volume palate on a higher plane than our standard mahogany. We immediately sold about half of them, but we have a few sets left. These were, as described below in our supplier's words, VERY dense logs:
"If you like wood with a story, then it doesn't get any better than this material. This is material from the bottom of Belizean rivers. Belize used to be a British colony. The British exported a lot of Mahogany from Belize throughout history and during the 19th century they used the rivers of Belize as their main source of transportation. Occasionally the denser Mahogany logs would sink! These logs for over 100 years had been lost and forgotten, until now!
All the logs where salvaged using environmentally sound practices using small boats and pulleys to remove these logs off the bottom of the rivers. The logs were cut in Belize using local labor. Hence this is a very eco-friendly product. The material was kiln dried in Belize but has been re-stickered to give the piles air flow to allow them to air dry even more. Due to the age of these logs, all this material would have been old growth timber. The color is excellent and the grain is tight. Some of the material is even figured. Plus the material has a very interesting natural edge. The texture has been sculpted by the river and is very pleasing to the eye."
If you have spent any time studying their website or model designations, you’ve probably noticed the distinctive title “Traditional Models” available from Huss & Dalton. This special designation is currently reserved for just four guitars, two each Dreadnoughts and Orchestra Models, separate from the many other fine instruments offered in their catalog.
We answer a number of inquiries as to the reason for these two design differences, and how they might equate to players’ needs. Relax – these two seemingly opposing designs have been around for years. Here’s how it works…
Most all modern acoustic guitar designs feature two standard components, the X bracing pattern, and a radiused top. The “radiused top” refers to a large radius being cut or shaped into the top-facing side of the X brace itself. All Huss & Dalton guitar sound boards begin life with a 25’ radius carved into the back side of the X brace (even their Traditional models).
When glued onto the top, the otherwise flat sound board conforms to the brace, creating a saucer shaped dome at the center of the X, between the sound hole and the bridge locations. Imagine this curved top now joining up with the sides, where it is glued to the kerfing. The "kerfing" is the serrated wood sections that snake along the outer edges of the top & back joints, where they are joined to the sides.
Kerfing is glued into place onto the inside edges of the sides (top and back). Before gluing the top into place, on a radiused top the kerfing is also radiused to match the angle of the dome shaped top, to form a good joint. The top edges of the body, with kerfing glued in place, are first “sized” in a 25’ radiused sanding dish – (Note: the back side is also radiused, using a 16’ arc to meet the angle built in to conform to the back bracing). When a radiused top is glued & clamped onto the radiused sides, the kerfing acts like a shallow angled roof truss, accepting & perfectly mating with the top radius.
Huss & Dalton has named four Traditional guitars as their flat top models, the TOM-M Mahogany OM, TOM-R Rosewood OM, TDM Mahogany Dreadnought, and their infamous TDR Rosewood Dreadnought. Like their non-traditional models, the Traditional series also begins with a 25’ radiused X brace, though the side kerfing is sanded to a 90 degree angle. When the top is glued & clamped into place, the outer rim of the sound board is flat, though the very center of the X brace retains some radius.
As you can imagine, the “flat top” method of construction creates a tighter top at the outer edges of the sound board. Under the stress of 150 pounds string tension, the fully radiused top joint of their non-traditional models is looser at the rim – slightly more responsive.
How does it sound? The flat top Traditional models are designed to offer a tone more akin to a vintage Martin, slightly more bass response & a bit less mid-range, yet louder with increased power & projection for a player with the appropriate string attack. A bit less balanced tonally than it’s radiused top brothren, their Traditional models are a favorite amongst serious Bluegrass fans at all skill levels.
This is a good time to mention, the radiused top “D” models (non-flat-top D-RH, DM, & DS) also have a slightly larger sound hole, which assists in a more balanced note reference, where the bass, mid-range, and trebles offer closer to equal in volume when strummed with a single plectrum stroke. Also an interesting side note, whether the side kerfing is radiused or not, Huss & Dalton utilizes the same scalloped X bracing pattern on both series.
Which one is right for you, will depend upon your tonal reference & expectation. For recording preference, you may find the modestly enhanced mid-range response of their radiused top models more appealing.
Varnish is a softer and therefore more flexible finish material. While there are sometimes generous tonal advantages to the varnish finish, this option is not for everyone. Unlike lacquer, the process for applying varnish is not conducive to "finish touch-ups", meaning that Collings cannot repair some minor imperfections such as small pinholes, bubbles, or sinks. While they have always taken pride in their high standards for fit and finish, they cannot produce varnish instruments to the level of cosmetic "perfection" as with our lacquer finish instruments. The varnish finish has a beautiful, rich luster, but may include very small imperfections when put under close examination.
Additionally, the softer finish is not as protective as the harder lacquer finish. The alkyd resin-based varnish finish is very slow to cure and can be relatively soft on new instruments. The finish will continue to harden as the instrument ages, but new varnish instruments can be vulnerable to scratches, dings, and imprinting. By its very nature, varnish can shrink, wrinkle, and/or dull over time and is not likely to maintain a "new" appearance as well as lacquer instruments. With that said, the varnish finish allows the instrument to vibrate more freely and can produce a more responsive instrument with a greater depth of tone.
Click to view PDF of Collings Varnish Document (Ships with Varnish Guitars)
Attachement: Collings Neck Profile Options PDF
Collings offers three different neck options for our 14-fret guitars that vary in size and shape. The easiest way to understand the differences between our neck profiles is by looking at the saddle spacing. With wider saddle spacing, the neck gets larger as you move up towards the body. Our standard (non-vintage) neck has 2 3/16” spacing at the saddle. This neck has a modified V shape and is available with a 1 11/16”, 1 23/32”, or 1 ¾” nut width. The neck depth (including the fingerboard) is typically .840” at the 1st fret and .930” at the 9th fret. The fingerboard width measures 2.195” at the 12th fret.
The next size up is the profile called "Vintage Now" which has slightly wider spacing at the saddle (2 ¼”) with 1 ¾” at the nut. This neck is slightly larger than our standard (non-vintage) profile, but is not quite as large as some of the chunkiest vintage Martin necks. This neck has more of a vintage feel, but is more palatable than our standard Vintage neck (see below) to a lot of players. The neck shape is slightly rounder (less V) in the lower position and moves towards a modified V shape as you go up the neck. The neck depth (including the fingerboard) is typically .845” at the 1st fret and .960” at the 9th fret. The fingerboard width measures 2.195” at the 12th fret.
The chunkiest neck option is the standard Vintage neck profile, which has 2 3/8” spacing at the saddle with 1 ¾” at the nut. This neck profile was modeled after several pre-war Martin's and is a noticeably larger neck. Like the “Vintage Now” neck, the neck shape is slightly rounder (less V) in the lower position and moves towards a modified V shape as you go up the neck. The neck depth (including the fingerboard) is typically .845” at the 1st fret and 1.020” at the 9th fret. The fingerboard width measures 2.240” at the 12th fret.
Please view the following diagram for neck profile drawings, measurements and additional specifications. Aside from the neck and saddle spacing, there is no difference between a "vintage" and "non-vintage" model.
