Collings 360

Whereas the City Limits is clearly Collings’ version of the Les Paul, and the 290 its fine take on the dual-P-90 all-mahogany Special, the 360 – again named after a Highway in Texas – sits amidst them in style and price.

Although the base model is all-mahogany, our review model has a subtly figured maple top. Its offset outline is quite radical – as whether the City Limits has melted in the searing Texas heat, pulling down the treble side for an elongated shape with improved top fret access.

It’s certainly not the first date someone’s offset a Les Paul, and brings to mind Ted Newman-Jones’ early seventies guitars, originally designed for Keith Richards. But along with the alluringly carved top, a chamfer on the back of that bass-side bout and overall much trimmer 46.5mm depth manufacture it a very comfortable, perfectly weighted guitar that feels excellent strapped-on and more balanced when played seated.

"As an electric guitar that sits perfectly amoung a Les Paul and a Tele, it’s one of the finest we’ve ever played."

Wood choice and craft, of course, is exemplary. The one-piece back is Honduran mahogany, and the full, late-fifties Gibson-style neck is one of our favourites. It has a wide mortise and tenon joint, with a sloping heel that glues into the body.

Its ‘board has a beautiful striped appearance, with perfectly seated and dressed medium frets (roughly 2.6mm wide and 1.3mm high) and grained ivoroid dots – simple, classic and so well

done.

There’s a slightly white colouration to the mahogany’s grain filler, which may put off some as it contrasts with the vibrant cherry of the mahogany finish. The maple top is a rich amber with lightly ‘bursted edges that nearly gives the impression of dark edge-binding. Finish is, of course, nitro-cellulose – it feels much less sticky and soft, and is additionally perfectly flat, unlike PRS’s recent Sunbursts.

Hardware is typical Collings: Tone Pros bridge and tailpiece and non-locking Sperzels with cream plastic buttons, on a rosewood-faced, back-angled headstock with rosewood truss rod cover. The simple Collings logo is the only make identifier on the whole guitar. Superb.

Sounds

With its Gibson-style control layout and shoulder-mounted toggle pickup selector you’d expect a pair of classic humbuckers. Instead Collings is using Lollar’s mini humbuckers (routed parallel to the strings and not the face of the body, as seen on the 290), synonymous with Gibson’s Les Paul Deluxe.

With volume and tones turned all the way up we’re greeted with, as expected, quite a bright vintage-style ‘bucker voice that slightly contrasts the beautiful round-nosed acoustic resonance.

There’s a crystalline clarity to the nearly steel-like bridge pickup that immediately puts us in a country/Americana territory. The neck pickup is fuller-voiced yet perfectly balanced, but it’s when we pull down the volumes for the mixed pickup tones that we start to take in the versatility of the guitar.

(2 pages; go to page: 2)

[Source] Dave Burrluck