Collings

“The pre-war era of American flattop guitar making has come to be known as “golden” for a reason. Lauded for its short but brilliant periods of construction innovation, the years from 1930-1942 were filled with new instrument runs that featured bracing, fret access, and body dimension changes that would define the features and sounds of the modern acoustic guitar. Emerging out of our fascination with this era of guitar making history, Collings is proud to offer the CJ35.

Featuring a mahogany back and slope-shouldered body, this variation of our CJ model incorporates a non-scalloped bracing configuration with three tone bars and a short 24 7/8″ scale length. This design provides the CJ35 with a focused voice and powerful, full-bodied highs, making it equally well-suited for a variety of playing styles.” – From the Collings Website

As stated above, the CJ 35A is Collings’ interpretation of the classic and yet somewhat obscure Gibson J-35 model, which was the precursor to the venerable J-45.  Throughout its relatively short stint in the Gibson line (approximately 5 ½ year), the J-35 was available in effectively four different bracing variations involving combinations of two or three tone bars  and scalloped vs. non-scalloped bracing. On a quick and very obscure aside, there was also a brief shift in the lower angle of the X brace that occurred with the transition to 2-tone bars around 1939, where the formerly wider angle of 102 degree was narrowed to 92 degrees. Presumably this shift in x brace angle was done to add additional support, given the reduction in tone bars, and this narrower angle remained in place until the beginning of the “Banner Era” in 1942 .   

While Collings has not provided any measurement on the X-brace angle, it is safe to characterize the CJ-35 is actually a synthesis of various model years of the J-35. For example, the non-scalloped bracing pattern with three tone bars is more consistent with early J-35s (c. 1936-1937), whereas the blonde top and the beefy rounded C neck contour (both introduced in 1939) are more consistent with J-35s made between 1939 and 1942. Regardless, this particular bracing pattern generally produces a more direct and mid-range-focused quality of voice.  The resultant powerful and penetrating presence is very effective for flat picking and more aggressive fingerstyle patterns (by contrast, the later wider-braced J-35s generally exhibit a timbre that is more lush and warm). This particular CJ35 features an Adirondack top (which was a $1,000 option at the time it was made), which imparts a commanding presence, additional headroom and clarity (particularly in the treble), as well as a very satisfying crispness to the note.  Though less significant than the top, the use of Wenge for the fingerboard and bridge is pretty darn cool, as it has a unique visual appeal and also mimics the porosity and hardness of the Brazilian rosewood used by Gibson in the “Golden era.”

Of course, at the end of the day, there is no Collings that can replicate the sound of an old Gibson—frankly, replication of history has never been the point or their intent.  However, the mere existence of the CJ-35 definitely reflects a strong respect on the part of Collings for the historical and, more importantly, tonal significance of the J-35 upon which it is based.  Even so, while the historical precedent of the J-35 is readily on display (both structurally and aesthetically), one strum of this stunning guitar instantly reveals the carefully considered design and tonal refinement that has consistently set Collings instruments apart.  In this respect, the CJ35 is perhaps most accurately described as a very sophisticated and novel homage to a simple, somewhat primitive, American classic.

Condition

This 2014 CJ35A has been very well maintained, and subsequently it has no major cosmetic wear or structural damage to report.  Apart from some very normal, light finish swirls one would expect from routine use, the most significant wear of note is a dent just above the top of the pickguard on the treble side upper bout that measures approximately 1.5mm in circumference.  This guitar has also been modified with a K& K Pure Mini pickup system. EXCELLENT+ condition.

• Slope Shoulder Jumbo Body Size
• Adirondack Spruce Top
• Adirondack Spruce Pre-War Non-Scalloped X-Bracing with Three Tone Bars with Abbreviated Tongue Brace
• Honduran Mahogany Back and Sides
• Ivoroid Body Binding
• Simple Ivoroid Rosette with Black/White Purfling
• Tigerstripe Pickguard
• Style 1 Walnut Backstrip
• High Gloss Nitrocellulose Lacquer Body Finish in Sunburst
• Honduran Mahogany Neck
• Mortise and Tenon Neck Joint
• Full “C” Neck Carve
• Wenge Fingerboard
• 14-26” Compound Fingerboard Radius
• MOP Long Dot Fingerboard Inlays
• Ebony Headstock Veneer
• “Haircut” Headstock Shape
• High Gloss Polyester Resin Neck Finish
• Wenge Rectangular Bridge
• Nickel Waverly Tuning Machines with Ivoroid Buttons
• Tortoise Pickguard
• Bone Nut
• Bone Through Saddle
• 1 ¾” Nut
• 2 5/16” String Spacing at Saddle
• 24 7/8” Scale Length
• Original Deluxe Hard Case