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Getting the urge to get back into learning to play jazz. I just picked up a DV Mark Little Jazz for my amp, and now I’m searching for a dedicated jazz guitar.
I’m kicking myself for just missing out on a nicely priced Eastman AR371 (sold on another site while I was in process of checking out)
Ive narrowed my search down to either an Eastman AR371 , or a Comins GCS-1ES
very different guitars , I know
ive owned the Eastman in the past and didn’t love it, but my tastes have changed quite a bit since then.
I’ve never seen or tried a Comins.
im shopping used and trying to keep it close to $1k
can anyone offer some insights into either of these?
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05-19-2026 10:32 PM
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They’re both great guitars, and they’re both great value. I’m partial to Eastman (I have 3), but the Comins is a very fine instrument too. I’m not convinced that most production spruce laminates sound any better than maple, but the Comins I’ve heard live had a slightly smoother acoustic tone than the 371s I’ve heard. IMO the 371 has a slightly bigger voice, though. This is probably irrelevant, since production laminated archtops are not bought as acoustic instruments. TBH, even a Benedetto Bravo is no L-5 acoustically.
The Comins has a slightly sweeter amplified tone, but the 371 will do Gibson laminated ES thunk a bit better and fatter. The Comins is a small guitar, the 371 is a full depth 16. Both have 24 3/4” scales. I can’t comment on the necks because I’ve only played 7 strings for over 30 years - all 6 string necks feel like pencils to me.
The Comins is more resistant to feedback if you’re gigging. It’s a smaller semihollow body that reminds me of the entry level Benson Ibanez models. I think the Comins have all had KA pickups, but IIRC a 371 may have one of 3, depending on how old it is. Regardless of PU, a 371 is a bit brighter.
You can’t go wrong with either one. But it would really help you to be able to play both. Think Benson vs 175 for a frame of reference.
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If I were to have one "dedicated jazz guitar" I would want a fully hollow. I haven't played those particular models, but I just was checking out a little DV jazz yesterday at GC with a used Ibanez LGB30 and was very impressed with both the amp and guitar.
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During my research of the GCS-1 I also discovered the beautiful GCS-16–1 archtop
the pricing on these seems really nice so I think I should also include that in my comparison
I very much like the Eastman’s thin nitro finish (used until 2021) and am concerned about the Comins feeling more “plastic”.
I had a D’Angelico Excel EXL in the past that felt like the wood was buried under a thick finish. Can anyone with experience with the Comins weigh in on finish thickness and overall feel
also curious if anyone has compared a GCS-16 to an Eastman AR37x
I tend to like darker, more electric jazz guitar tone if it helps
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I've never played a Comins, but I've had 3 Eastmans, and played many more. They're all good.
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I hope you don't mind my expanding your search criteria, but:
A viable alternative to the GCS-1 might be a Godin Montreal Premiere;
and an appropriate alternative to the GCS-16–1 might be an Eastman AR403ce.
I have both, and one of my amps is a DV Mark Little Jazz.
(You said, "I tend to like darker, more electric jazz guitar tone if it helps." That actually describes the Godin's jazz tone more than it does the Eastman's.)
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If you arent going to change any electronics the Comins says it comes with a switch to change to a single coil tap.
If you arent a single coil fan that isnt useful. I noticed it becuase I love my single coil KA pickup.
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When I put a Benedetto B7 in my Ibanez archtop, I added a PP pot for the coil splitter. I never thought I’d use it, but it turned out to be a good thing. The thinner sparkling tone comes in handy every once in a while. For example, last night I was playing with the house band at a local brew pub when a singer the guys knew came in. They invited her up, and she really wanted to do Hotel California (!) for reasons I’ll never figure out. The keyboard and bass had chord charts, but neither knew the tune. So it was up to me to carry it.
Originally Posted by Sigmund451
I wish I’d had the Ibby with me. The SC tone combines with aggressive reverb and doubling the highest note in a chord (or using octaves in chords) for a 12 string sound a la Don Felder. I was playing my El Rey, so all I could do was crank the tone pot, use the octave / open string doubling approach, and strum like a Limelighter
If you have a coil splitter, check it out. It’s great for some blues tones, and it can help your comping cut through a band without being too loud.
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I didnt have my Armstrong p90 splitter wired up for a good while. Once I did there was no turning back. It supposed to imitate a Dearmond. I have no idea how close it gets but I like it a lot. The output is quite low and it does have a lovely acoustic-ness to the tone. Some day I will use the P90 setting more but for chord melody solo playing the note separation is great. I have no idea what type of single coil vibe this the Comins has but I agree that its not to be overlooked.
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Jack Wilkins played the GCS-1ES through an AER Compact 60 and sounded, well, like Jack Wilkins. To my ear, it was a dark sound but one I liked enough to buy a GCS-1 as soon as I could.
I bought it at Rudy's, the only one they had. It wasn't the ES model, but, in the store, it sounded like I remembered Jack sounding.
It's my main instrument. I love the neck (good ergonomics in general) and I can get my sound, for jazz, out of it. I don't use it for singing guitarist pop music even with the coil splitter and careful EQ. If there's a way to get the sound I want, I can't figure it out. I use my Yamaha Pacifica 012 and the Joyo American (cutting mids, mostly) and I get a useful chimey sound for that kind of music.
I think the coil split option sounds good, but, for some reason, I rarely use it.
The only knock on it is that I have to retune it frequently. It's rare that I check the tuning and don't have to adjust something a little bit. In contrast, the Yamaha only occasionally needs adjustment.
I've had a luthier look at it and recommend adding shims around the bridge posts, so the bridge can't move on the posts. Didn't help.
My current guess is that the nut slots need work and, eventually, I'll get around to it. Pulling the strings will sometimes bring them back into tune, suggesting that the strings are getting caught. They don't ping, though.
I've never played any Eastmans so I don't have a recommendation. But, I think a lot of people would be happy with the GCS 1.
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I have a Comins GCS1-ES and an Eastman AR503CE
Very different guitars !
But if you prefer darker tones, you'd better go for the Comins, as the Eastman is on the bright side. I guess it's the same for the AR371/2 but I don't have personal experience with this.
The Comins is very good at so many things, you can dial many different tones out of it with the help of the "coil split", the tone pots (very usable on all their range from nearly 0 to 10). The electronics on this guitar is the best of all the guitars I have, usable and effective. The ergonomics is perfect (at least to my taste). Mine stays in tune as well as can be expected. The finish is very pleasant on it, and I can't really feel a difference with my Gibson ES339.
The suggestion to check a Comins GCS 16 seems good to me. If I find one within reach, I'll probably pull the trigger (even if I need another guitar like a third kidney !)
Good luck in your quest and keep us informed about your choice !
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I’ve asked a dealer to make a comparison of the GCS-1-ES and the GCS-16-1 tomorrow they said they would make a quick demo comparing the acoustic volume and plugged in sound
has anyone of the forum compared the GCS-1 to the GCS-16?
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No, but I have a lot of experience with a GCS-16-1 in both solo and jazz band contexts. The GCS -1 is a laminate thinline, the GCS-16 is a full hollow comparable to Eastman 403/503/580 in construction. My GCS-16 is surprisingly resonant, but I’ve never had feedback problems with it even in a band context as long as I’m mindful of placement in relation to the amp speaker. Its a great, responsive guitar and IMO very good value for money. Originally Posted by tfling
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I had an ar371. Pretty bright sounding. I guess i was sort of expecting it to sound like an es-175 and was disappointed when it didn't. I have limited experience with Eastmans so my opinion may not be worth much, but my impression was they are good acoustic instruments but not exactly the same as the Gibson counterparts that a few of them seem to be modeled after.
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A 371 will do a decent imitation of the dull, smoky tone of an amplified 175 if you string it with heavy flats, roll the tone knob all the way down, and pick between the end of the board and the pickup with a pick that’s thick and smooth. Play it through an open back tube (or tube equivalent, if you believe they exist) 1x12. A good smaller bass cab will also do the job - RevSound RS8, Trace Elliot Elf cab, Toob 10” bass, etc. Originally Posted by arielcee
This approach and setup make it much less bright as an acoustic. But bringing up the tone pot and using a thinner, sharper, harder pick will give you a very usable range of amplified tones.
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Perhaps your question could be whether to choose a semi-hollow guitar or a full-hollow guitar, since they are completely different instruments that offer not only different acoustic sounds, but also completely different dynamic range, completely different pick attack, and a completely different sense of ambience. A video will not be able to convey these details to you in a truly realistic way. Perhaps, after deciding which type of guitar you prefer, it would then make sense to compare models from different brands.
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I scored a pretty good deal on a 2011 or 2012 AR371 yesterday that was on sale from Guitarcenter($750 after my $100 gift card that my work gave me). It should arrive next week
im still watching a Comins GCS-16-1 on Reverb, but the seller hasn’t responded to my questions about the guitar yet
worst case, if I don’t like the Eastman it’ll be an easy return
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IIRC, the 371 & 372 come new with 12-52 RW strings. After 14 years, the one you bought may have had that changed. If it arrives with heavier flats and you want a darker sound, you lucked out. But if you need to change the strings to get the sound you want, and you have to alter or change the nut to do so, make sure you do it well and leave no traces of the work. Originally Posted by tfling
AFAIK, their return policy is still 45 days for used gear and 3 for “vintage” instruments. They don’t seem to offer a clear definition of vintage, so you could get hit with this. They also expect returns to be in the exact same condition in which they delivered an instrument. Any setup work you do has to look at least as good as it was when you got it.
They’re getting picky about used returns, so just be careful. If there’s any damage to the guitar anywhere on arrival, document & photograph it and let them know about it before doing anything at all to it. Good luck!
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That's a good price for a 371 and it's one that is often recommended here. And with GC, you've got a return window if it isn't right to you. I've had two 371 over the years. As others have said, invest in good (heavy) strings and a professional set up. As far as amp choices, the DV Mark Little Jazz is also a great choice. It's dark and the tonal spectrum is consistent from the bedroom to the small auditorium. Together, your jazz journey is off to an excellent start!
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Comins. I have an older carved model and a newer GCS1 ES. The GCS does everything I need. Great tone, easy on the eyes if not a bit on the heavy side. Bill Comins says he handles every one and finishes them including the frets. Never played an Eastman so I can’t compare them. Good luck with your new guitar!
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The bonus on the 371 is that I could tell it had Thomastik flats (my preferred string) installed in the photo - so at the very least I’ll have a good idea of whether I’m into it immediately out of the box without spending time/money on doing a setup on it
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The Comins GCS 16 is quite an excellent guitar. Eastmans are quite nice as well but I certainly gravitate towards the Comins. The setup is really good and has been much more stable overall than Eastmans I’ve owned. I really prefer the amplified voice of the Comins. Best of luck whichever you choose. Let us know how it goes!
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TI flats come in multiple sizes and two flavors. I've learned over several decades gigging with at least 20 good archtops that even a seemingly minor change in string gauge can make a big difference in sound and feel. The best learning experience I had about strings was on my main gigging archtop for about 25 years from 1997 - an Ibanez AF207 (a heavy, laminated box with a pretty thick top and a pretty thick poly finish). I used Chromes on it (12-52 + a 75 thou 7th for the first few years, then 13-56 + 75) until Covid came along. Originally Posted by tfling
I'd always wanted to try TIs but was put off by the price. I came across JS112s (12-50) at a big discount during Covid, so I bought a set to see what the fuss was about. They sounded and felt wonderful, and they lasted well over a year gigging twice a week. I began to wonder if I was just accommodating to a gradual decline in tone after so long. So I tried JS113s on it at about 15 months, and the acoustic tone (which is nothing to write home about) did get a tiny bit bigger. But amplified, there was virtually no difference between 15 month old JS112s and brand new JS113s on it. I even recorded the old and new strings and posted a blind listening test. The accuracy rate for identifying the old 12s and the new 13s was 50%, which is no better than flipping a coin. I couldn't tell the difference myself.
In the back of my mind, I'd always had a nagging desire to try Bensons. So when a set of the 14-55s came along at a great sale price, I bought a set and stuck them on the AF. The heavy Bensons really woke up the guitar! It took on a new character, with a bigger and richer acoustic tone that carried through when amplified. So heavy Bensons became my standard for the AF. But I'm happily using JS112s on my Benedetto Bravo, which is also laminated but with much thinner plates. It came to me with 12-50 RW TIs, and I wanted to make sure I liked it before slotting the nut for heavy Bensons (my original intention). So I put on a set of JS112s and found them to be quite enough stimulation for the top. OTOH, I worked my way up to JS113s on my 17" carved Eastman 810CE7 and 16" carved Eastman Jazz Elite, neither of which woke up fully with JS112s. Both sound really great with 113s, so I'm not going to try Bensons on either one. Finally, my El Rey (14" fully carved Eastman archtop) really matured tonally when I went from JS112s to Benson 112s (which i did just to see if there was a difference). It's warmer and smoother in tone with the GB112s, and I can even hear the difference in recordings (I've recorded almost every gig I played over the last few years for QC).
To my ear and hands, each of my guitars is now where it should be, so I'm sticking with the current gauges. Just to find out if it'll make any difference, I'll go to Benson 112s on the Bravo when the current JS112 set needs replacement - but that probably won't be for another year. I've been playing heavy strings for so many years that I can bend and bring out good finger vibrato with anything up to 14. But the finger vib and the gentle bends that add character to lines sound smoother and richer to me on 12s and 13s than on 14s and 15s. I use standard 12, 13, or 14 plain steel for E1 and 16 or 17 on B (depending on the guitar) starting with the first change. I change the plains every 3 months or so, which keeps my tone consistent. I think it's a reasonable precaution, and I've never broken a string on an archtop.
The 371's top is almost certainly thinner than that on my AF207, and the finish is much thinner. I'm pretty sure that Eastman still used nitro back in 2011 & 12. So it may well not need heavy Bensons for optimal stimulation of the top. Still, if it has JS112s on it, you probably won't need to touch the nut to try 113s - and you may be pleasantly surprised at how much better it sounds just with a change from 12-50 to 13-53. Then again, there may be no difference at all. But you have to try it to find out.
Despite the prevailing opinion that Bensons are just JS flats with blue silk wrap and George's name on the package, I do think they play and feel like different strings from the JS series. Bensons feel smoother to me and play a bit more "fluidly" for lack of a better term. I
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An unexpected update: Comins GCS (not the ES), strung with Thomastiks just hit GC used site today and qualifies for the 10% off so I grabbed it as well to do a proper compare
I was set on hunting down the ES version but the cheapest used one I’ve found is around $1350
just grabbed this regular version for $899 shipped which I feel pretty good about
and low risk with both the Eastman and Comins coming from GC so super easy to return if they don’t work out
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GCS-1 or GCS 16 ?
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