Cole Clark acoustic guitars are the only mainstream steel string acoustic built using a Spanish heel or integral neck construction traditionally seen in nylon string guitars.
This means the neck is glued to the face, along with the sides and back and the neck is one piece all the way to the sound hole. On other steel string guitars, the body is made, then the neck attached, mostly with a bolt or dovetail join. Due to our method, the sound is unique. Cole Clark guitars also have a carved top and back and use a ridge system to join the sides to the top and back instead of kerfing.
The Cole Clark ‘3 way’ patented pickup system is the most acoustic sounding pickup available. We use a Piezo system for the bottom end, a face sensor for the mid range and a microphone for the high end. The pickup has a huge dynamic range, sounds the same plugged in as it does unplugged and has no feedback issues, except at the highest stage volumes.
Cole Clark also uses mainly Australian native tone woods which sound and look unique. Our timbers are sustainably sourced and we are proudly among the most sustainable instrument makers in the world.
Our pickup is not an afterthought installed at the end of the production line. Rather, we designed a pickup and built a guitar around it for the modern ‘plug in’ player. We build our system into the guitar as it goes through production. Our pickup is made in Melbourne Australia, as are our guitars.
A simple way to explain our 3 way system is to start with a P.A or audio system. They are usually made up of a sub, a mid range box and a horn. Each of those 3 elements hears the frequencies theyre best equipped to handle. Cole Clark uses the same philosophy. Firstly, an under saddle piezo for the bottom end then a patented face sensor system for the mid range. A condensor microphone then tackles the top end. You would not expect an audio system to work well with just a sub or a top end horn and we see it the same way with an acoustic pickup.
The Piezo system utilizes individual piezo elements suspended under the bridge saddle, which we believe is the best and most dynamic type of piezo system available.
We know that the face is the most important component to the sound of an acoustic guitar, so it makes sense that we use that tone when amplified. Cole Clark uses its face sensor for the mid range. We use a patented blend control which blends in the amount of face sensor required to go with the piezo sound or to completely replace the piezo in the mid range. The face sensor is ‘shelved’ at 350hz and is incapable of hearing any frequency in it’s feedback zone. Instead it sends those frequencies back to the under saddle piezos much like a speaker would to a sub.
Next, we add a condenser microphone in the top end. Again, this microphone is shelved and can only hear frequencies way above it’s feedback zone. The microphone is purely there to take the ‘ping’ out of the piezo if there is some piezo blended through at full range. Click for a video demonstration of our 3 way pickup system.
FL Dreadnought and AN Grand Auditorium -Elixir Nanoweb Phosphor Bronze 12 to 53
12 String -Elixir Nanoweb Phosphor Bronze 10 to 47
LL Mini – Elixir Nanoweb Phosphor Bronze 13 to 56
LLB 4 string Bass – Elixir Nanoweb Nickle 45, 65, 85, 105
LLB 5 string Bass – Elixir Nanoweb Nickle 45, 65, 85, 105, 130
Lapdog -Elixir Nanoweb Nickel wound 16 16 22 38 52 68
Violap – Elixir Nanoweb Nickel wound 16 16 22 38 52 68
1 Series models are made from A grade timbers. They have no binding, no purfling line on the face, double ring rosette and no headstock fascia. The fretboard inlays are Mother of Pearl dots.
These models are available in a limited variety of timber and come in a heavy duty gig bag.
2 Series models are made from AA grade timbers. They feature binding, purfling line on the face, double ring rosette and have a centre headstock fascia. The fretboard inlays are snowflakes.
These models are available is a larger variety of timbers and come in a hard case.
3 Series are made from AAA grade timbers. They feature double binding, a bound fretboard, headstock fascia, upgraded machine heads, elaborate purfling and abalone inlays on the rosette, fretboard and waist.
These models have some timbers that are exclusive to the 3 series. They also come in a hard case.
There are certain guitars in 2 and 3 Series which vary in spec, adding different rosettes, paint finishes and hardware materials, but as a rule, the above specs hold true.
Cole Clark model measurements.
Small Bout 297mm
Large Bout 410mm
AN Grand Auditorium
Small Bout 285mm
Large Bout 386mm
Small Bout 297mm
Large Bout 360mm
This can only be done with models built before 2014
Cole Clark use the following products from TUSQ
- RH saddle – PQ-9200-C0
- LH saddle – PQ-9200-L0
- RH nut – PQ-6134-00
- LH nut – PQ-6134-L0
- Bridge Pins – PP-1100-01
Our model numbers comprise series, pickup inclusion, body shape and timber combination in that order.
Series, Pickup inclusion and Body shape.
Note: Prior to 2014, the letter ‘A ‘ for active was used instead of ‘E’ for electrics.
AN1 – Grand Auditorium size 1 series with no pickup or cutaway.
AN1E– Grand Auditorium size 1 series with pickup and no cutaway.
AN1EC– Grand Auditorium size 1 series with pickup and cutaway.
AN2 – Grand Auditorium size 2 series with no pickup or cutaway.
AN2E– Grand Auditorium size 2 series with pickup and no cutaway.
AN2EC– Grand Auditorium size 2 series with pickup and cutaway.
AN3E– Grand Auditorium size 3 series with pickup and no cutaway.
AN3EC– Grand Auditorium size 3 series with pickup and cutaway.
FL1 – Dreadnought size 1 series with no pickup or cutaway.
FL1E– Dreadnought size series with pickup and no cutaway.
FL1EC– Dreadnought size 1 series with pickup and cutaway.
FL2 – Dreadnought size 2 series with no pickup or cutaway.
FL2E– Dreadnought size 2 series with pickup and no cutaway.
FL2EC– Dreadnought size 2 series with pickup and cutaway.
FL3E– Dreadnought size 3 series with pickup and no cutaway.
FL3EC– Dreadnought size 3 series with pickup and cutaway.
LL1 – Mini size 1 series with no pickup.
LL1E – Mini size 1 series with pickup.
LL2 –Mini size 2 series with no pickup.
LL2E –Mini size 2 series with pickup.
As we have added timbers, we have had to adapt their codes due to some letters being used. This can be a little tricky so below is a key for all timber combinations.
Top/Back and sides.
BB – Bunya/Blackwood
BM – Bunya/Queensland Maple
BMS – Bunya/Maple Silkwood
BR – Bunya/Rosewood
BSO – Buynya/Southern Silky Oak
BBR – Bunya/Blackwood with Rosewood fretboard
BLBL – Blackwood/Blackwood
BLBLR – Blackwood/Blackwood with Rosewood fretboard
BLBL – SUN – Blackwood/Blackwood in sunburst
BLBLSB – Blackwood/Blackwood with Satin Box fretboard
COLB – Cedar of Lebanon/Blackwood
COLR – Cedar of Lebanon/Rosewood
CR – Cedar/Rosewood
CB – Cedar/Blackwood
EMEM – European Maple/European Maple
HB – Huon Pine/Blackwood
MMAH – Mahogany/Mahogany
RDBL – Redwood/Blackwood
RDBLR – Redwood/Blackwood with Rosewood fretboard
RDRW – Redwood/Rosewood
RDEM – Redwood/European Maple
RDM – Redwood/Queensland Maple
RDMAH – Redwood/Mahogany
RDSO – Redwood/Southern Silky Oak
RDBLSB – Redwood/Blackwood with Satin Box fretboard
SB – Spruce/Blackwood
SR – Spruce/Rosewood
SM – Spruce/Queensland Maple
SSO – Southern Silky Oak/Southern Silky Oak
Prior to 2011, Cole Clark FL dreadnought and AN grand auditorium models were simply named by series with no code for timber combination. The timbers used can be found on a sticker inside the guitar near the neck.
Cole Clark uses nitrocellulose satin as the standard finish.
All satin finishes will almost immediately shine and lose satin appearance in areas where they are in contact with the player. Like many of the world’s great guitars throughout history, our guitars will yellow off and the paint will crack and craze with age.
Cole Clark is a small company making guitars in a country where manufacturing is, for the most part, a thing of the past. Due to our pickup technology and quest to build guitars for the modern, professional player, we get a staggering number of requests for endorsement for a company our size. While we are thrilled that so many artists want to endorse our instruments, our annual build is around 2.5% of what the major guitars comapnies make. As a result, we are simply not in a position to give guitars away as an endorsement. Instead, we do a small number of partial endorsements each year to serious national and international touring artists with solid radio airplay and strong fan bases. Please note that while a good social media following is certainly important, we are uninterested in ‘insta-famous’ and are devoted to having our guitars endorsed by great live players. To be considered, please send your EPK to email@example.com
It is not possible to do a neck re-set. On a standard steel string guitar, as the neck is attached to a heal block, there is a pivot point. With an integral neck guitar the neck goes all the way through, so it is not prone to pivoting and no need to do a neck re-set.
We made our first acoustics in June 2003. We kept refining our bracing method as we went. We had a face brace sensor which was a long aluminium strip that was attached to the inside of the face. This somewhat deadened the acoustic sound.
In 2009 we changed our sensor to a short brace sensor which does not impact the acoustic sound. It also sounds better amplified with an even more natural sound. At this time we also further thinned the top and changed the bracing so now it is a very open, louder acoustic.l
We chose to make our truss rod easily adjustable with a standard, easy to find 3/8″ mini socket and a small extension arm. Most socket sets will have this size and are available in every hardware store.
Yes, it is a single action standard truss rod. We use a standard socket through the sound hole. If you are used to adjusting the truss rod with other guitars then you will be able to do this on a Cole Clark. The only difference is that the truss rod works up past the 15th fret, not just to the 12th fret like on most guitars.
Cole Clark uses a variety of tone woods from the traditional Sitka Spruce, Indian Rosewood and Red Cedar through to sustainable Australian timbers like Bunya, Queensland Maple, Blackwood and Maple Silkwood.
The vast majority of our guitars are fully sustainable, having replaced endangered timbers on the fretboard and bridge with alternatives. You can get a detailed list of our timbers on our timber page or check out our environmental statement.
Using our standard shapes of Fat Lady and Angel, you can order a guitar with features selected from our Custom Shop upgrade price list. There is a Custom Shop upgrade charge then each feature has a fee. You can upgrade a 2 Series or 3 Series guitar but not a 1 Series.
We pride ourselves on making innovative, original guitars that we are happy to put up against the world’s most popular acoustic guitars at these price points.
Our electric guitars consisted mostly of standard, commonly used shapes. They were nice guitars with some original features, but they did not sell well enough to continue. We hope to be in the position to put out a range of original electric guitars in the future that better match our drive for innovation and originality.
The most likely reason for distorting is a flat battery or that the battery terminal is flattened or dirty. Take the battery out, gently raise the terminal and clean it off if dirty with some steel wool on a stick. If the terminal is badly corroded, it will need replacing. We recommend taking it to a repairer or contacting Cole Clark if you are not confident in doing this.
A DI box is used to Directly Inject a signal from an unbalanced high impedance source such as the output from a guitar or bass, into the Mic input of a mixing console instead of using a microphone. Without a DI box, these signals can deteriorate in quality and pick up noise when sent over medium to long runs of cable.
The DI box buffers the output signal from these sources and converts it to a low impedance, balanced signal that will match the input requirements of the console keeping noise and signal loss to a minimum.
More sophisticated DI boxes are often equipped with attenuator switches and a ground lift to help match the signal and isolate the ground between instrumentation and PA equipment.
If you have an instrument which has an active circuit such as an acoustic guitar with a pre-amp fitted or an electric guitar or bass with active pickups, a DI box is often not necessary as the output signal is usually already low impedance and buffered by a preamp. This signal can usually be plugged into a stage box with a long run of cable without loss.
In summary, if you have an on-stage mix with a short run of around 20 foot, you can just plug straight into the mixer, you do not need a DI box. If you are plugging into a stage box with a multicore, which are typically 100 feet or more, then it might be advantageous to one.
There are several acoustic preamps with a DI out, which we would not recommend for Cole Clark guitars. The Cole Clark system has a natural preamp with plenty of level and all the control you will need. These external acoustic preamps are for pickup systems that lack this natural sound and require external processing.
We get asked which DI units are good quality. Like everything, you get what you pay for; a good DI will cost a bit more. We like the Radial Active DI units, but there are many other good units out there.