Movin’ on up

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CORT G300 GLAM & RAW

Cor-Tek might make a colossal number of guitars for other people, but its own brand, Cort, is gaining traction with sharply priced and very well-spec’d guitars such as this new G300 duo

It’s becoming a bit of a cliché to say that the quality of guitars made in Asia just keeps getting better and better. But the proof is in the instruments themselves. When we looked at Cort’s G300 Pro back in issue 471, we concluded that it was “a difficult guitar to fault, the sort of instrument that spans pretty much every rock genre there is and quite a bit more… a real everyman instrument that could sit in a modern metal band just as easily as a function pop/soul ensemble.” Not bad since it’s currently priced at £749 – and comes in a rather fetching Metallic Gold for this year. And now it’s joined by an additional pair of G300s: the Glam and Raw. Slightly odd names, perhaps, but both rather accurately describe what’s on offer.

Seymour Duncan’s classic Jazz neck humbucker is directmounted. Note the spoke-wheel truss rod adjustment – really fast for minor tweaks
The well-named Glam shows off a gloss metallic finish. Even the logo is bright chrome
It might be closely based on Gotoh’s 510 industry standard vibrato, but this two-post all-steel Cort CFA‐III is an excellent feature

Although the new models replicate the original in the majority of features, it’s the wood choice that differs. Both our G300s feature a body that uses chambered African mahogany. The Glam’s 6mm top is maple, although the only wood you can see is on the very clean, PRS-inspired natural edge ‘binding’ as the rest is colour-coated in a rather polarising but very well done Polar Ice Metallic Burst. The gloss of the front is continued over the rest of the body, which is left natural (with a stain to enhance the rich brown of the mahogany) and you can clearly see it’s a three-piece spread. By tapping your nails over the body you can also ‘hear’ the chambering, which seems to be primarily on the bass side under the dropped maple top over a generous forearm contour.

The tone is almost like a voicing or character control that adds plenty of subtle colouration

The Raw follows the same construction, but aside from the all-over thin satin finish the top here is a moody and quite vividly figured solid walnut that’s centre-joined and almost seems bookmatched. Like the Glam,

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