Two CLs have been on ebay in the last two weeks, a TB and a crimson, and relisted. The TB has listed for a third time now; price has dropped $30 or so each time. The crimson relisted last week for $200 lower (and $600 lower than the TB), but has not relisted again. There were ZERO bidders. I was sorely tempted, but I'm about to buy a G&L Comanche 6 reissue. I'm posting to alert anyone out there who wants a barely used CL for less than new price, and I feel for these two guys who haven't had any nibbles.

G&L are among the most underrated guitars out there. I've owned and gigged extensively with two (legacy specials, early ninties), and, if I didn't have a Grosh strat I love, I'd go back to Geo and Leo in a heartbeat. Maybe a bluesboy. Mega bang for the buck. I'm over Les Pauls, who ever makes 'em. One trick ponies. Heckuva trick, but I've got other fish to fry than Zepplin covers (I know the first album was done with a tele).

Although I adore my I-35, the two CLs I played did nothing for me. I imagine more than a few CLs were bought as a result of the initial hype, and a few of those are now finding their way to eBay. I guess its a natural lifecycle -- but since CLs are now a bit more ubiquitous, I think the asking price on eBay will have to come down a bit.

I assumed they needed the $, but you may be right. I would have bought one right out of the gate too, if I had thought I could afford it. I thought $3250 was a great price, barely 60% of MSRP. [Come to think of it, I'm buying the Comanche VI reissue right out of the gate...without playing it first, which I never thought I'd do after shopping and finding my Collings ('97 D2H)]

Sonoman, I understand your comments on the LP (and the Zep!). I felt as if one had to have a guitar in the collection that did that trick. I started playing my '71 LP goldtop (P-90 + DiMarzio HB) exclusively in the band since January. I had the frets milled, put a Tone Pros bridge on, had some trick wiring done, and now it's playable and totally holds its tuning. These 70s Norlin/Gibson products---and this one is a good example---are notorious for not staying in tune. I had played it barely once a year since I bought it from my buddy almost 20 years ago. I'd still like a true hb-equipped guitar, and either the I-35, the CL, or the 290 with hbs strikes my fancy, and I'm completely sold on Collings craft and playability. I was tempted to bid on your I-35 back in May...But I think my main axe will continue to be a Strat style until I make the opportunity for Bill to prove otherwise to me...;-)

Guitarhak,I think you're right about the initial hype on Collings electrics. The price probably will come down a bit.I still don't get Collings going electric. Martin tried it and failed and flip it around...PRS tried to go acoustic and I think that bit the dust.

The Collings electrics are perfect looking....I've played 3... but none plugged in....I'm sure they sound good too but where's the vibe? I feel nothing when handling them and strumming them acoustically. All have acoustic feeling necks and that's just strange on an electric.

Anybody want to send me one and try and change my mind? I'd love to sit down and hear one thru my amps and compare with my 59 RI LP/61 SG RI/Hagstrom Viking etc.. I'm just not convinced yet about Collings electrics especially for the $.

I think they went electric exactly because of quality problems like I described above with Gibsons. Bill knew he could do it better, and many of us who already played Collings would give the axes a try for that reason. Check out Kevin/Hill Country Guitar's comment in the Texas Guitar interview elsewhere on this forum: "The I-35 is going to put Bill in the history books. No one has ever built that guitar at that level. I don’t think there’s anything on the market even close. A carved top by Collings with Lollar pickups, that’s enough to sell it right there. I absolutely LOVE mine." With the caveat that he is a Collings dealer...I would add that it's not just a carved top, but a entirely carved back and sides, too!!

But after someone sends you one, Cowboy, pass it over to me, OK? (With apologies to Lowell George.) :-)

quote:

Originally posted by cowboycamper:
I still don't get Collings going electric. Martin tried it and failed and flip it around...PRS tried to go acoustic and I think that bit the dust.

I felt exactly the same way -- until I played my I-35. THAT guitar makes all kinds of sense to me now!

OK Guitarhak, I want to play your I-35

uponamouse,It does seem like Bill can do anything better but sometimes better isn't best. I kinda feel the same way about PRS....beautiful woods and workmanship,design, but the tactile and mojo that I feel down inside isn't there on any PRS I've ever played. Same thing with Goodalls in the acoustic realm although I have run across a few that were great sounding the overall vibe is missing.Even though Gibson,Martin,Fender,etc. are lacking in some ways and put out some real dogs, more often than not they have a vibe that to me is far better than a perfectly built botique guitar. The vibe/mojo is in the imperfections and quirkiness. Hey, different strokes for different folks. Some like a symphony or opera and others like juke joint Blues. I guess what I'm trying to say is the original designs of Fender,Martin,Gibson, etc. may need tweaking but if you go too far in your quest for perfection you may lose something along the way.

It reminds me of 2 ladies I used to be in a group with. One was a trained musician and worked on her vocal parts endlessly until it reached near perfection and the other lady,untrained but with great soul, would just take a pass or two and floor you with a not always perfect harmony or part but it would be so unusual and natural that you'd just have to say....yeah, that's it, it 's got soul. Strive for perfection but maintain soul/vibe/mojo.

Thanks, CowboyCamper---good points. I'm totally on your side when it comes to playing. I prefer energy and soul to perfection that lacks genuine feel. (I DID see a lot of Grateful Dead concerts! LOL) I've been wrestling with the perfection attitude for the past year in the band I'm in---the lead guitarist (and the sax'er, too) is totally into that, but he wants feeling, individuality, and taste as well. The lead singer is unlike any I've seen---fully trained but for her it's all about getting into a zone and connecting, and she does it to an amazing degree. Keeps me in the band.
Follow up: Follow-up: Lead guitarist took delivery of a new zebrawood Gibson LP July 5. By July 8, the jack had fallen apart. When he put it back together, the jackplate cracked in one corner (though that's likely overtightening on his part). Nonetheless, IMHO, that's more imperfection than one should get for $2K!!

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A few things...

I'd hardly call a LP a one trick pony. If you believe this give me your email address and I'll send you some recordings by a friend of mine, all with a Gibby LP, that you won't believe are done by an LP. No trick recording or pedals, just diverse playing with a great guitar. LPs can be great when played clean as well, or anything in between.

About Collings' venture into electrics - it's very difficult to judge their tone if you haven't plugged one in, wouldn't you say so Cowboy

I'm a fan of Strats and LPs just about equally overall, so I have no bias towards LPs, but I can say with great confidence that whether you judge the Collings electrics based on their ability to sound like other guitars - something you should NOT do - or whether you take them on their own right, they're tremendous. I hadn't played my CL Deluxe for a couple weeks but picked it up today for a session and was immediately reminded of how it sits just a little bit above every other guitar I have, sonically and ergonomically.

quote:

About Collings' venture into electrics - it's very difficult to judge their tone if you haven't plugged one in, wouldn't you say so Cowboy

Yes, I'd love to try one at home here for a few days. I'm just giving my feedback on the tactile/visual experiences that I've had with Collings E's. I'm willing to give them 2 thumbs up sonically without even plugging one in. I've yet to play a Lollar equipped guitar that didn't sound great. I'm just saying that I think there is room for improvement in the overall vibe especially the back of neck profile and I feel the same about Collings mandos as well.

I feel like I need to go out and buy a new suit and a nice pair of shoes to be worthy of a Collings E... it's an uptown vibe. Where a good Fender Tele or a Strat makes me feel down and dirty like I'm hangin in a scene from "Torn And Frayed"....sassy not classy Maybe I'll feel differently when Collings brings on their relic series

This message has been edited. Last edited by: cowboycamper,

Could it be that electrics were a good and cost efficient use of the extra woods from the acoustics. Isn't that why you have a Brazilian rosewood fingerboard?