News and Articles
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At the Met:
From Guitarmania to Beatlemania
The Metropolitan Museum of Art gave a lecture about Martin Guitars, featuring Dick Boak, who has worn many hats at Martin and now is the company’s chief archivist, historian and head of the Martin museum. He was joined by two-time Grammy award winner Laurence Juber, who is among the finest guitarists of this or any era. Juber’s first book, Guitar with Wings, is set for release in May 2014, and features his personal photography from the years he spent as a member of Paul McCartney and Wings.
Thanks to Jim in Wisconsin for taking the time to inform me that the article on Martin’s Performing Artist series, originally penned in 2010, contained some out-of-date facts on display, primarily relating to Martin’s phasing out of their old M&T neck joint in favor of the new and improved “simple dovetail” neck joint.
A more detailed explanation of the significant differences between Martins traditional dovetail neck joint, their Mortise and Tenon neck joint, and the Simple Dovetail neck joint can be read HERE.
Q & A:
The Martin Retro Series?
A reader seeks an opinion on the HD-28E Retro and D-45E Retro
Spoon, of course has one
000 vs OM?
A reader inquires as to why some Martins are called 000 but others are called OM, yet they have the same body size.
Read Spoon’s Response
OM-28 vs OM-21
(the new ones)
A reader inquires about Martin’s recently announced OM-28 when looking for a companion for his OM-21.
Read Spoon’s Response and Suggestions
Martin OM-18 Authentic 1933 sighting
Guitar Center in Brooklyn, at Atlantic Center, has an OM-18A 1933 in stock. I stopped in for some picks and was pleasantly surprised to find the Authentic there behind the glass case, in their small room of higher-end guitars.
It impossible to remember fully just how light of weight this model is compared to other modern guitars, and just how big and lovely the voice is when played with the lightest touch, yet it does not break up at all when played full throttle with a flat pick.
So if you are in the NYC area, and have always wanted to see one of these excellent guitars, now is your chance.
The Standard OM-28 is resurrected by C. F. Martin, alongside an upgraded, updated 000-18, and new Aura models
As expected, Standard Style 28 has received a makeover, following in the footsteps of the one that appeared with the fabulous D-18 and the upgraded OM-21. And some well-loved Martins have been put out the pasture to make room…
Trail Blazer and Traditionalist was 66
“With fluid fingering, a flare for the dramatic, and compositions that flit and flutter like birds over a pastoral valley, or soar like eagles atop the winds of the world, de Lucía was among the most highly regarded guitarists of the twentieth century.”
Vintage Gibsons by Lloyd Loar
and Pre-war Martins
“There were two Loar F5 mandolins present, a fern signed by Loar on March 24, 1924, and one without the fern signed on April 12, 1923. Also present was a stunning K-5 Mandocello, one of only six known to exist. This one was signed by Loar on October 13, 1923.”
We went to the Martin Factory on a frigid Thursday morning to play the red hot off the griddle Martin Prototypes, at the same hour NAMM was opening its doors…
A few days before the NAMM show opens, January 23, C.F. Martin & Co. have announced their new models for 2014
Opening Reception for
Metropolitan Museum of Art
An after-hours reception was held at the Metropolitan Museum of Art last night, where an invited group of some 60 guests were treated to a private viewing of the exhibit Early American Guitars: the Instruments of C.F. Martin, which opened to the public earlier that day. I was among them.
Latest Martin Model News!
The third collaboration with Hiroshi Fujiwara, this is the first Eric Clapton model made by Martin Guitars with a long-scale neck and 1/4″ OM bracing.
12-fret 00 in Honduras rosewood!
- Fred Greene, VP of Manufacturing, C.F. Martin & Co.
More than just another Johnny Cash biography, Robert Hilburn’s latest volume reexamines the rags to riches details of this unique example of the American Dream with its extremes of peaks and pitfalls, as lived by one the nation’s most iconic musical artists.
“…an insightful yet sympathetic analysis that conjures up the late Man in Black in living color… it is Hilburn’s ability to include the many quoted snap-shots within the smooth emulsion of his own smart prose that keeps the focus on events as they happen, present and alive. And his insistence on allowing others to speak with emotion and opinion, while he sticks to the facts and resists any temptation at grand conclusions that provides a sense of authenticity to the story, and keeps the pages turning…”
I receive email from all over seeking my opinion and advice, or simply asking questions related to all sorts of guitar-ish things. Our blog will now feature some of these questions, and the new Q & A section on the menus will begin to offer links to some we feel may be of greater general interest.
Select photos sent in by our readers of their great guitars!
Got a question or want to share your photos: email@example.com
joyous and evocative, on display and for sale at the Morrison Hotel Gallery, Soho.
“From Leonard Bernstein to Patti Smith, a young Willie Nelson to a very young Bruce Springsteen, the royalty of Jazz, Folk, Blues and Rock n Roll preserved by David Gahr in living black and white…”
“When Bob Dylan ripped into “Maggie’s Farm” in front of a stunned crowd at the 1965 Newport Folk Festival, not many people realized they were seeing a paradigm shift in the current of popular culture that would reverberate around the globe for decades to come…”
With 13 tracks recorded live at the Cellar Door in D.C…
“this record provides a glimpse of an emerging superstar on the verge of going supernova.”
Our good friend Rich sent us some photos of the guitar he purchased in part because of our review, back when that model first appeared on the market.
Great stuff, Rich! Thanks.
While other guitar brands have their loyal fans, none seem to evoke as much reverence and affection from their admirers as Martin, and this has led people from greatly diverse backgrounds to find they share a similar love of music that transcends their many differences…
Republicans room with Democrats, liberals stay up till dawn with the conservatives they looked so forward to seeing after a year apart; even Yankees fans find themselves warmly embraced by fans of the Tigers, Oriels and Red Sox. From the Oscar winner to the homemaker, the CPA to the MBA, all and all, they have found common ground in this most unpretentious celebration rooted in the love of music and Martin guitars…
As one member put it, “Music is a unifying force that reaches across many boundaries and brings people together in very deep and lasting ways.” Martinfest is living proof of that.”
We heard from our friend Laurence Juber this morning…
The double Grammy-winning guitarist dropped by One Man’s Guitar to check out the new site, and then dropped us a line to let us know about his new guitar, and tell us that our copy of his latest CD is on the way.
Laurence Juber – Under an Indigo Sky
“A warm, layered and very human scene painted entirely with one acoustic guitar drenched with resonant chords, clear and unhurried melody lines, and shadowy blue bass notes that rise or fall in pitch or pace like a melancholy pulse. An exquisite piece of music played on an exquisite guitar, exquisitely.”
And that is just the first track on Juber’s Under an Indigo Sky, the latest CD from the two-time Grammy winner.
“Countless musicians across many types of music have been greatly influenced by the man with the big blonde guitar. Even if they had never heard his name, the amount of blues, rock n roll, folk, country, and jazz recordings he had a hand in would fill a large catalog. Many young guitarists playing today were inspired by guitarists who were inspired by other guitarists who were directly inspired by George Barnes.”
What else is new?
Find out HERE
From Our Reviews
The first thing that comes to mind when seeing this K Wingert guitar is, “That’s a big guitar!” The first thing that comes to mind when I hear this K Wingert guitar is, “That’s a big guitar!”
But as big and bold as it sounds, its voice remains refined and lovely from the first note to the fading final moments of the resonant sustain.
“With quality tonewoods matched by the artistry used to create it, this custom Wingert Model F has a full-bodied voice rich and satisfying as steaming hot cocoa made with half and half, while allowing for clear notes that come right through all that indulgent rosewood/alpine spruce tone.”
Combining the looks of a pre-war Style 42 12-fret slothead with the convenience of a 14-fret OM, made all the more powerful with extra-deep sides, this Madagascar/Adirondack jewel box from Martin’s fabled Custom Shop is a feast for the eyes as well as the ears.
“From the first strum there is a stark ring to the fundamental voice, each note pure but with pronounced substance, clear yet dense, like diamonds. And with each steely note ringing off a string an expanding sonic reaction blooms, from an echo beneath the top voice and a woody hum deeper down, to a shining choir of lofty overtones. This guitar shows off the most sophisticated type of Madi-Adi tone.”
Martin Custom Shop Series
We expand our CS Series reviews with the
A throwback in the best of ways, Martin’s CS-D-18-12 is one classic mahogany 12-fretter
Made from 400 year old sinker mahogany, reclaimed from a river in Belize
“The CS-D18-12 has a marvelous voice that is effortlessly large yet clear, ringing, and simply a joy to hear. Once again Greene and his team have put together a unique instrument and gotten it right.”
Read the full CS-D18-12 Review
A woody aesthetic and sleek modern neck, matched to impeccable and “Authentic” pre-war construction techniques makes the CS-21-11 a uniquely versatile dreadnought, even by Martin standards.
“That ultra-light build contributes mightily to the guitars breathtaking resonance, response, and purity of tone. It astonishes with how much resonant, living tone swells out of it with the lightest touch, and how that glow increases as chords and picking patterns sustain over time. And the response to nuanced playing and the ultimate payoff in tone only increase as the top brakes in and the guitar grows up.”
Read the Full CS-21-11 Review
Martins from NAMM 2014
With thumbs up, the Navy Blues earns a row of gold stars
“The Navy Blues is the third guitar designed in collaboration between the legendary Eric Clapton and Eric’s good friend Hiroshi Fujiwara (a renowned Japanese artist, DJ, musician, fashion designer and trendsetter) and design assistance from Martin’s Dick Boak. With a deep navy blue finish and upscale inlays, the OM-ECHF offers rich, complex tone, powerful dynamics, and wide-ranging versatility.”
Read the Full Review
The first Martin made of Honduras rosewood
A carbon fiber neck rod and Martin’s first foray into the world of torrefied wood, adds exciting new facets to one of the most classic guitar designs of all time, the 12-fret 00.
“If the CS-00S-14 is anything, it is resonant. It comes alive with the lightest touch, and it feels alive… from the warmth glowing out of the bottom end and a low E string impressive for this body size, a fatness to the midrange strings that reaches down like a pillar into the echoing cellar below the top voice, and trebles with a distinct chime that leaps out, with a vintage-like openness directly under them, but reflecting harmonics off the midrange like the surface of a mirrored pond disturbed by the sound waves firing off that crystalline fundamental chime. It is a sophisticated voice…”
Read the Full Review
Time capsule recreation of the dreadnought
“… the envied owner of a new D-28 A 1937 will be afforded the privilege of breaking in the fledgling tone woods and ultra-thin nitrocellulose finish, to coax out more and more of the guitar’s rich, round rosewood lows, punchy Adirondack mids, and pure, ringing trebles that signify the classic Martin sound.”
Read the Full Review
A one of the kind Martin is recreated in exotic Hawaiian koa wood, with hide glue construction throughout.
“Aesthetic beauty, effortless playability, and charming tonality make the 000-28K Authentic 1921 a big success.”
Read the Full Review
SS-000S-14 NAMM Show Special
High-tech but simple to use, this capo with the postmodern looks was the brainchild of guitarist Nick Campling.
“His primary concerns were the effect of the capo on a guitar’s intonation, the ease of use in terms of applying and removing it, making sure the capo did not damage the guitar’s neck or get in the way of the guitarist’s fretting hand, and finally, a capo that was attractive to the eye. The G7th Performance capo does a good job in all these respects…”
Sparky Kramer was visiting one of his customers in New York City last night, on his way to the big guitar show. So, I stopped by for a chat with the California wood charmer, and a look at these new and delightful musical instruments, made with gorgeous woods and super smart design features.
“The guitar sounded huge for such a small size. It invited one to play with the absolutely lightest touch they could, and be rewarded with such lovely tone and marvelous projection. But it had no issue with being attacked, and effortlessly turned into a blues machine.”
An instrument as impressive as its hefty price tag
“… a sound bigger than Texas and just about as audacious. I have played examples of them all, from the D-100 to the Celtic Knot, to the Stephen Stills. There just hasn’t been a modern-day pearly Martin with a sound this enormous.”
The time machine sought by so many
“The light build on this mahogany/Adirondack is reinforced by rear-shifted braces, with the main X brace placed a bit farther back than on modern Martins. This helps add to the openness of the voice, and reduces the rumble in the bass, so the bottom notes retain great definition while the highs have all the cutting power a Bluegrass flatpicker could hope for.”
As our D-28 Authentic 1941 review shows, “this isn’t just a good vintage D-28 reissue; it’s a great guitar.”
“Tone, dynamics and playability matter most to me when judging a guitar. This guitar gets top marks in all three areas. When it comes to tone, it had me at the first strum, because of its ringing purity, impressive depth, effortless volume, and its expansive, open, room filling presence.”
MORE Authentic reviews
- the Stephen Bruton model
A 0000 reimagined with a Standard 12-fret body shape.
“This guitar is so finely tuned in terms of dynamics and response that it is basically effortless to play, in any tuning. There is a gorgeous complexity to the harmonics, but an unperturbed clarity to the fundamentals, and an organic sensibility to the sustain and decay of each, which makes it a delight to play.”
Martin’s successful take on the prewar Gibson L-00 remains more Martin than anything else. A slope-shoulder 00 for the ages.
“When it came down to it, the whole time I was playing the guitar I kept feeling like the CEO-7 is the Golden Era Series reissue of a pre-war Martin that never existed.”
Review now up!
“In a word, the voice is huge … a good example of a Bluegrass banjo killer with focused trebles that cut through the stout, strong bass of its pronounced bottom end …”
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