Collings Custom C10 Maple, 2011

Condition: Near Mint, just a beautiful piece. Built in 2011 and sold from the CR shop.

Based on guitars first introduced around the same time as the OM, the Collings C10 is a leaner alternative, with the narrow waist and small upper bout resulting in a precise, focused response. With its unique shape the C10 model offers a welcome alternative for those who find that most small acoustic guitars look too much alike.

This custom C10 maple cutaway is another example of how I like to change things up a bit in order to infuse a particular model guitar with a certain vibe and character. I'm trying to give it a reason to stand out from the expected. As I've mentioned in other POVs,  I'm a big fan of small body acoustics. What I tried to do with this C10 is to mute the Gibson-like quality that is in the genetic makeup of this model. First, I started with the tonal possibilities. From my experience, very few builders have great success with maple guitars. Those that do know how to use maple end up making astounding instruments. Monteleone, Walker, D'Aquisto are a few luthiers who come to mind as builders whose flagship guitars are made of maple.

Done right, maple gives a guitar a very clear, full sound with very articulate fundamentals. In a great maple guitar, the whole note is present at the moment of the attack of the string. There is not a lot of miscellaneous noise going on. It's rich, round, fat and clear, with a bit of extra brightness, all at the same time.

I can now confidently add Collings to the builders who have mastered maple's use. This C10 has the tone of a small maple guitar at its best. If you've never experienced a maple guitar, this guitar captures all the maple magic.

Another unique feature on this guitar is the OM neck and headstock. They give the player the feel of a fingerstyle guitar, hence further pulling the guitar away from its Gibson DNA. I also gave it a nut width of 1/32 of an inch between what you'd find on a typical Martin and Gibson. Finally, there is an added cutaway, a perfect addition if you are a jazz or blues player who wants or needs access to the higher frets. The end result is a guitar that would be very comfortable in any style, is drop dead cool looking, and has a deeply satisfying sound that is rich and clear--a guitar with every possibility to reflect your individual music and aesthetic personality.

If you'd like to find out more about this item, just call or e-mail me. It would be my pleasure to talk to you about it.

ABOUT COLLINGS GUITARS
Bill Collings moved from Ohio to Texas in the mid 1970’s. Spurred by a lack of interest in medical school, this move enabled him to combine lifelong interests in both guitars and tools into the challenge of stringed instrument building and repair. After a couple of years in Houston, several guitars and a few banjos later, he headed west to southern California. Making it only as far as Austin, where he shared shops with fellow luthiers Tom Ellis and Mike Stevens. From there, he set up his own small shop in a wooden "one car" garage. His reputation for outstanding quality and meticulous attention to detail quickly spread. In 1989, he rented a 1000 square foot space and hired two helpers. Fast forward to present day where Collings craftsmanship is respected by professional and amateur musicians alike…anyone on the quest for quality. Some of these include artists; Keith Richards, Lyle Lovett, Pete Townshend, Emmylou Harris, Andy Summers, David Crosby, Chris Hillman, Joni Mitchell, Don Felder, John Sebastian, Lou Reed, John Fogerty, Tim O'Brien, Pete Huttlinger, Kenny Smith, Brian May, Joan Baez, John Prine, Nigel Tufnel of Spinal Tap, and Steven Spielberg to name a few. You owe it to yourself to try one.