The Modern Rise of the OO
According to the history books, the first “OO” guitars were born from Martin, circa 1858. They were introduced, primarily, in response to a demand for a louder guitar than the popular, smaller “O” model. Over time, larger models were introduced and the “OO” faded into the background while bodies with more “O’s” (triple and quad O’s) and eventually dreadnoughts took center stage.
We’re seeing a revival, though. As with most things, there probably isn’t a singular reason for it, but rather a confluence of factors. In this case, we can see other trends coming together and contributing to this one.
Let’s start with players looking for something different and better than big brand production guitars. We can pretty clearly see the older generations expressing an accumulated distaste for cheap, mass produced products. We can also see the younger generations expressing an interest in quality, hand made products. Whether that’s a desire for uniqueness, a quiet consumerist revolution, or some other thing, I can’t say for sure- I’m not in that demographic and I can only see it from the outside.
As a consequence of that interest, and searching that results from it, more players are putting their hands on higher quality, higher priced instruments. They are discovering that all guitars are not created equal and there is a distinct difference between the guitar on the wall at a big box store and the one that came off a bench at a boutique builders shop. There isn’t just a difference in price, but also in quality, materials, and, yes, sound. That’s not to say all production guitars are bad; they’re not, and there are some very good ones. But here we’re looking specifically at boutique quality “OO” and similar sized guitars.
The next domino in our path is that once a player discovers there is no fair comparison between a cheaper, smaller body guitar and a boutique quality guitar of the same or similar size, other than size, they begin to explore their beliefs about what they want and need. The expectation is that all small guitars are weak sounding- lacking projection, bass, and depth. It’s assumed a larger guitar is needed to achieve the sound they want. It’s not unreasonable if all you’ve ever played is a guitar made of plastic composite masquerading as wood. It’s not unreasonable if your association with the size is that it’s a travel guitar meant for road weary practice sessions and fireside jam sessions.
The reality, however, is very different. High quality, smaller frame guitars, like the “OO” are a marvel of physics. The most common response we hear from a player after introducing them to one is surprise. They are genuinely shocked by the projection, range, and versatility. The next, as they settle into it, is comfort. Particularly when working with older clients, the smaller frame can be much more friendly to shoulder and arm issues than larger models. Another common expression is that playing a smaller guitar brings the joy of playing back for people who may struggle with discomfort wrapping themselves around a full bodied instrument. They are, simply, easier to play for more people. It reasons, then, if it’s more comfortable for you, projects like you want or need it to, is as versatile as you want or need it to be, and has the tone you’re looking for, why not?
Boutique builders are offering more and more smaller frame designs to meet the desire. Cirrus, hand made in America with all solid woods, in the mid $2,000 range is a popular choice and one we can't seem to keep in stock. Huss and Dalton’s are the epitome of traditional American guitar making and are highly customizable to achieve an instrument that is uniquely yours. Lowden, with their “S” and even “Wee” models, provides an alternative to the traditional “OO” shape, while retaining all the benefits of comfort and projection, and also offers highly customizable options.
If you are curious about these guitars or are ready to find yours, reach out- we’re happy to answer questions, share our experiences, and help you find your next guitar.
