I just spent a day with one of Collings’ newest models, the OM2H T. This guitar is easy to review: It’s perfect.
THE END.
Hey, guess what? Premier Guitar won’t pay me for an 85-word review! So I guess I have to cough up some paragraphs telling you why this retro-flavored flattop is perfect.
OM Sweet OM
Let’s decode the Collings’ model number. OM stands for orchestra model. The H is for the lovely herringbone purfling that rings the guitar’s top. And the T represents Collings’ traditional series—guitars influenced by pre-WWII tones and construction techniques. T models are built with animal-protein glue and have thin nitro finishes. They’re voiced more warmly than all those sizzlin’-bright modern flattops, with manicured highs and complex low-mids.
playing sound massive.
The OM2H T is built from beautiful materials. The tight, even grain of the Sitka spruce top seems to glow through an exquisite finish. The East Indian rosewood back and sides are a delicious dark chocolate hue. The elegant Honduran mahogany neck has a retro-cool squared-off peghead and a pretty volute with an offset pyramid shape. The compound-radius neck’s relaxed V profile feels simultaneously sleek and substantial. The long-scale ebony fretboard meets the body at the 14th fret. There are 20 smallish, square-shouldered frets. The bridge is ebony. The nut and bridge are bone. A built-in-house, Bill Collings-designed case that combines vintage aesthetic with much more thorough and modern protective features is also included.
At this point in a review we usually assess the detail work. Are the frets evenly seated? Are their ends rounded and comfy? Is the instrument devoid of acoustic dead spots? Does the finish shine with mirror-like perfection? Is the detail work of the binding, purfling, and rosette flub-free? Are the interior surfaces and X-bracing as immaculate as the exterior? Well, duh—I already told you this guitar was perfect! And while most new acoustic guitars smell nice, sniffing this soundhole is an apex olfactory experience. If the fragrance were sold as cologne, I’d buy it and bathe in it.
Ratings
Pros:
Superb workmanship. Ravishing tones. A perfect choice for many fingerstylists. Cool case included.
Cons:
Premium quality = premium price.
Tones:
Playability:
Build/Design:
Value:
Street:
$4,635
Collings OM2H T
collingsguitars.com
OM Alone
I confess I’ve clocked relatively few hours on OM-style guitars, so consider these observations as an outsider’s perspective. OM bodies aren’t as deep or wide as dreadnoughts. You don’t get a dreadnought’s volume and bottom-octave thump, but the midrange character—especially between approximately 150 and 500 Hz—is more pronounced and complex than on smaller-bodied flattops.
Some OM fans describe the style’s tonal tendencies as “piano-like,” and I definitely hear that. Tones are dense and complex in the best sort of way, with an especially prominent second (octave) harmonic, especially on the bass strings. The mids never feel crowded or constipated, however. There’s simply a wealth of energy in that register. The resulting tones can feel warmer than those from 000-type guitars (which typically have similar body dimensions, but use shorter scale length) though there’s no shortage of high-end shimmer.
Fingerstylists First
Make no mistake: the OM2H T sounds great for pretty much any style/technique, from crude cowboy chords to fleet flatpicked lines to refined fingerpicking. But the latter style is probably the guitar’s greatest forte.
The wide, touch-responsive dynamics amplify every nuance of fingerstyle playing. The complex low-midrange character makes solo playing sound massive, but some of that particular character might be obscured in ensemble contexts. And while string spacing is a matter of taste, the OM-signature 1 3/4" nut width (as opposed a more common 1 11/16" you typically see on a 000) seems more attuned to a relaxed picking hand and fingerstyle phrasing than to speedy flatpicking. (Man, a mere 1/16" can mean such a difference in feel!)
The Verdict
I already told you: perfection! Collings’ OM2H T is glorious to listen to, look at, and touch. It sounds magnificent now, and its tones will only improve as the instrument opens up and mellows out. It excels at any style, though its detailed low mids and 1 3/4" string spacing make it especially suitable for sophisticated solo fingerstyle work. It was an honor to spend time with this extraordinary guitar.
Watch the Review Demo:
Commenting on his Signature Collection with Fender, Jack White said: “We found the best of the old, with the best of the new and mixed innovation with the history of Fender to do something that we think Leo Fender would have been very proud of if he was alive today.”
The Signature Jack White Collection introduces a carefully produced selection of guitars and an amplifier that embody White's unique vision and Fender's commitment to craftsmanship. The Collection includes:
- The Fender Jack White Pano Verb Amplifier ($2,999 USD) Influenced by Jack White’s vintage Vibrasonic and Vibroverb amps and crafted in Corona, CA, the Pano Verb offers enhanced stereo reverb and tremolo effects with a unique 15” and 10” speaker combination, providing guitarists with a powerful tool for stage and studio settings.
- The Fender Jack White TripleCaster Telecaster ($2,999 USD) features a sleek Piano Black finish complemented by white powder-coated hardware, equipped with a Bigsby Vibrato, a custom pickup set featuring a Jack White Humbucker, Jack White JW-90 single-coil, and Jack White CuNiFe Wide-Range Humbucker, a Hipshot Xtender DropTuner, a Killswitch, and a distinctive banjo-style armrest.
- The Fender Jack White TripleSonic Acoustasonic ($2,499 USD) - Satin Black top finish paired with a Satin Actric White painted body and neck, boasting a unique Soft “V” Neck Shape and Pickguard Shape, equipped with streamlined 3-way switch voicings curated by Jack.
"We're beyond thrilled to announce the release of the Fender Jack White signature collection,” said Justin Norvell, EVP Product at FMIC. “Jack is regarded as a true visionary in the music world, and it has been an incredible journey working with him on developing these products. The guitars and amplifier reflect his innovative spirit and distinctive sound, and we can't wait for musicians everywhere to experience the unique blend of craftsmanship and creativity that they bring. This collection embodies the essence of what makes Jack White an icon, and we're proud to bring his vision to life for fans and musicians alike."
For more, visit www.fender.com.
Phat Machine
The Phat Machine
The Phat Machine is designed to deliver the tone and responsiveness of a vintage germanium fuzz with improved temperature stability with no weird powering issues. Loaded with both a germanium and a silicon transistor, the Phat Machine offers the warmth and cleanup of a germanium fuzz but with the bite of a silicon pedal. It utilizes classic Volume and Fuzz control knobs, as well as a four-position Thickness control to dial-in any guitar and amp combo. Also included is a Bias trim pot and a Kill switch that allows battery lovers to shut off the battery without pulling the input cord.
Silk Worm Deluxe Overdrive
The Silk Worm Deluxe -- along with its standard Volume/Gain/Tone controls -- has a Bottom trim pot to dial in "just the right amount of thud with no mud at all: it’s felt more than heard." It also offers a Studio/Stage diode switch that allows you to select three levels of compression.
Both pedals offer the following features:
- 9-volt operation via standard DC external supply or internal battery compartment
- True bypass switching with LED indicator
- Pedalboard-friendly top mount jacks
- Rugged, tour-ready construction and super durable powder coated finish
- Made in the USA
Static Effectors’ Street Series pedals carry a street price of $149 each. They are available at select retailers and can also be purchased directly from the Static Effectors online store at www.staticeffectors.com.
Galloup’s Plek tech Adam Winarski preps a Yamaha acoustic for the machine.
Presently, many certified guitar-repair specialists possess the expertise required to deliver an instrument that both sounds and plays wonderfully. The standards set by manufacturers and distributors have significantly risen, safeguarded by rigorous quality protocols to guarantee the best possible acoustic experience for customers. Additionally, lutherie training has raised the bar for critical processes, and one of the most tricky is fretwork.
Traditional fretwork once involved manual labor, with technicians utilizing sandbags or similar supports to steady the neck as they straightened it with a truss rod during the filing process. A notable advancement in this field came in the mid 1970s when Don Teeter, an author and repair expert, imposed a new method: fixing the guitar body to the bench and using blocks to maintain the neck in a playing position. This refinement was one of many in the continued quest to produce superior instruments by standardized methods.
An example of the Plek’s readings from an acoustic guitar.
Photo courtesy of Galloup Guitars
In the late 1970s, another pivotal innovation was introduced by Dan Erlewine. He created an advanced fret jig with a specialized body-holding system and neck supports, adding another layer of precision to the repair process. During my collaboration with Dan in 1985, we developed a rotating neck jig that counterbalanced the forces of gravity, keeping the instrument in its playing orientation while adjusting the neck supports. This step represented a significant leap in establishing control and standardization of fretwork procedures in our industry. By 1986, our approach had evolved into a freestanding workstation coupled with a sophisticated hold-down mechanism and enhanced neck supports, culminating in increased accuracy, efficiency, and consistency. Over the decades, the Erlewine/Galloup rotating neck jig has become a benchmark in numerous shops, enhancing fretwork performance.
"This step represented a significant leap in establishing control and standardization of fretwork procedures in our industry."
By the 1990s, automated and computerized technologies permeated the guitar manufacturing and repair sectors. Initially applied by import companies in the mass production of guitars, the technology, although expediting processes, did not immediately achieve high execution standards. However, the tech dramatically improved over time, with computer-driven systems eventually transforming the industry. Contemporary automated production utilizing such advancements meets exceedingly high standards of precision. Some bespoke guitar manufacturers, such as Steve Andersen, were pioneers in adopting these methods, but it was companies like Taylor that established them in the modern era.
Inevitably, the progression of technology extended beyond the mere production of parts. Around 1995, German engineer Gerd Anke envisioned the integration of computer-assisted technology into enhancing instrument playability, giving rise to Plek technology, which uses computers to precisely measure and analyze the various components of a guitar, like neck relief, fret height, nut and bridge specs, and more. Nashville guitar-repair tech Joe Glaser was among the first to recognize the machine’s value, followed by San Francisco luthier Gary Brawer. When Heritage Guitar Inc. invested in a Plek machine, the guitar industry could no longer disregard the significance of this innovation.
“The machine’s scanning data confirmed that there was one nature of an ideal fret plane, done by hand or machine, and unsurprisingly, it conformed exactly to what physics predicts, not personal mojo.”
In the spring of 2022, Galloup Guitars obtained its first Plek machine. Promptly, our technician Adam Winarski paved the way for the Plek’s integration in our shop. Now, it’s a rarity for an instrument to leave our shop without having undergone Plek analysis and machining. Impressed by the results of our integration, we created “Intro to Plek” as a course for all students enrolled at the Galloup School of Lutherie, offering our students a practical introduction to this technology. We furthered this educational initiative with a comprehensive one-week intensive “Plek Certification Training Course” for both students and the public. This advanced Plek course serves those seeking to boost their knowledge base and employability in this high-precision field.
Plek is rapidly becoming an industry standard for major manufacturers and smaller shops alike. However, this does not mean that those without access to this technology cannot execute proficient fretwork. Personally, I continue to use my Erlewine/Galloup neck jig—not only out of nostalgia, but also because it remains an excellent method for delivering accurate and reliable guitars. Still, it’s undeniable that the process of fretting, fret dressing, and analytics of fretted instruments has undergone significant transformation, resulting in better sounding—and playing—guitars. And ultimately, that’s what it’s all about.