Martin 3,000,000th Guitar, D-300, CEO-11 and Other NAMM Stunners
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Category: Acoustic Guitars
Reviews, essays, and articles relating to acoustic guitars, and related accessories.
Martin Standard Series Refresh for 2025
C. F. Martin adds new upgrades and new models
The venerable Standard Series just got better
For NAMM 2025, the models of Martin’s Standard Series received upgrades to the neck and bracing. The results are a collection of classic Martin model that sound more open and resonant, and perform with enhanced playability. The new models were announced today: The 000-17 and D-17 make their debut in the Standard Series, with considerably improved specs from previous modern guitars designated as Style 17.
The OM-45 stands out on its own as a top-shelf Martin featuring similar appointments to the flagship D-45, but with an Auditorium Size body. It is a long-awaited addition that has the added benefits of waiting for the new Standard Series upgrades.
GE Bracing
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Golden Era bracing is now a standard feature of the Martin guitars that set the worldwide standard for a professional level acoustic guitar. The shaping of the scalloped braces and tone bars removes more mass from previous bracing, making them more flexible, leading to a soundboard with increased responsiveness. Each frequency-damping node at the peak of each scallop are narrower, making the targeted damping area more precise, honing the tone even further.
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The main X brace is tapered all the way up to wear the center of the X. The small tone bars on either side of the sound hole are carved to a peak, much more like prewar bracing. The main tone bars that run across the bottom bout also have a lengthier taper and different angle they they rise up to the peaks of the scalloping. The bridge plate appears to be narrower, again more like a pre-war Martin.
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The venerable D-28 is receiving scalloped bracing for the first time since the 1940s. This will mean it has the same bracing as the HD-28 and the difference will be the 1950s look on the D-28 vs. the 1930s look on the HD-28. In the last decades of the twentieth century, the HD tended to get higher grade tops, even though both models were designated as Grade 5/6. It is unclear if that will happen in this case.
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The D-35 remains 1/4″ non-scalloped bracing, but it is not exactly the same shaping as previous years.
GE Modified Low Oval Profile
The neck retains the Modified Low Oval profile and High Performance fingerboard shaping that advanced the Standard Series in the previous “reimagined” upgrade in 2018. This means the nut width remains 1-3/4″ while the width at the 12th fret remains 2-1/8″. But there is an elongated diamond valuate at the back of the neck where it meets the headstock, resembling vintage Martin volutes, and the heel where the neck meets the body has adopted the narrow shaping used on the Martin’s Modern Deluxe series, which resembles heels from the 1930s but with a narrower width. The combination adds subtle changes to the feel along the neck, enhanced further by the tweak to the string spacing at the nut and the alterations where the neck meets the fingerboard, which has been reduced in depth to the same specs used on Martins elite Authentic Series models.
This new Golden Era modified low oval neck profile and reduced fingerboard combination had a sneak preview when Martin released the O’ahu HG-28 near the end of 2024.
Style 17 Reborn
The new 17s receive full Standard Series construction, including (according to my insider sources) “Genuine Mahogany” back, sides, and top, even if that is not reflected on the spec sheet (so no guarantee on how long they will remain thus.) They also feature the full-size dovetail neck joint with solid mahogany neck block, and the (new to the Standard Series in 2025) Sitka spruce Golden Era bracing, which has reduced mass and more-precise damping nodes thanks to the narrower peaks on each brace and tone bar, as found on the Modern Deluxe models.
They retain the satin finish of a pre-war Style 17 instrument, and the modest appointments that are now seen on the 15 Series (short pattern diamond fret markers on an ebony fingerboard,) which originated on the original 00-17 from the 1930s.
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OM-45 Returns
The OM-45 looks like the OM-45 introduced in 1990, with the large hexagon fret position markers. But otherwise, it has the vintage Martin appointments seen on recent Standard Series Martins and the GE bracing and the GE Modified Low Oval Profile neck shape that is as of today, a NEW feature of all Standard Series Martins. This includes a more 1930s shaping to the volute to the back of the neck where it meets the headstock, along with the more vintage-esque heel shape that looks vintage but has less mass (e.g. as used on the Modern Deluxe Series) which result in a subtly different feel the entire neck compared to previous Standard Series models.
Intelligent Improvements
The Authentic Series fingerboard depth is also NEW to all Standard Series models, and was likewise adapted from the Modern Deluxe Series. This should allow more energy to make its way from the fretted strings down to the body where it will contribute to tone production. The change in fingerboard depth brought about other tweaks.
There is a “comfort bevel edge” where the fingerboard meets the mahogany neck that should be welcome by most players. The string spacing has received an (unannounced) tweak at the nut, and to the string angle as it crosses the nut between fingerboard and headstock has also changed. Known as “on-angle,” this is yet another spec from pre-war Martins that founds its way on the modern Authentic Series models, and now is being resurrected on the “standard” models that descended from those legendary Martins from the 1930s.
Oh, and the Standard Series models now all sport either bone or ebony pins on the slightly reshaped bridge, which is likewise titled GE and has wings with less mass, with the same goal of increased responsiveness.
Retro Plus Arrives
In other Martin news, there are also two very exciting new models added at the top of the Road Series, the DE Retro Plus and the 000E Retro Plus. These new Road Series instruments receive appointments that look a lot like the D-18 and 000-18. But while they retain the Road series Performing Artist neck profile (which I love) and Tusq saddle (which I am not crazy about) they have a full gloss body and a TORRIFIED top.
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A discussion of the newly “refreshed” Standard Series and Road Series models will appear later today on the Martins and More podcast, found on major pod platforms and YouTube, and of course full reviews of these new models will appear at One Man’s Guitar as soon as my busy life allows me to edit the video from the factory and write up the exclusive reviews.
Bob Dylan’s Birthday 2024
This poem by Bob Dylan was written when he was 22 years old
83 years ago, Bob Dylan was born.
This early masterpiece will be studied by scholars 810 years from now. It will hopefully still be sung in halls, and sadly will likely be just as relevant as it was in 1963 and 2024.
Far between sundown’s finish and midnight’s broken toll
We ducked inside the doorways, thunder went crashing
As majestic bells of bolts struck shadows in the sounds
Seeming to be the chimes of freedom flashin’
Flashin’ for the warriors whose strength is not to fight
Flashin’ for the refugees on the unarmed road of flight
And for each an’ every underdog soldier in the night
And we gazed upon the chimes of freedom flashin’
Through the city’s melting furnace, unexpectedly we watched
With faces hidden as the walls were tightening
As the echo of the wedding bells before the blowin’ rain
Dissolved into the bells of the lightning
Tolling for the rebel, tolling for the rake
Tolling for the luckless, the abandoned and forsaked
Tolling for the outcast burnin’ constantly at stake
And we gazed upon the chimes of freedom flashin’
Through the mad mystic hammering of the wild ripping hail
The sky cracked its poems in naked wonder
That the clinging of the church bells blew far into the breeze
Leaving only bells of lightning and its thunder
Striking for the gentle, striking for the kind
Striking for the guardians and protectors of the mind
And the poet and the painter pull out of his rightful time
And we gazed upon the chimes of freedom flashin’
Through the wild cathedral evening, the rain unraveled tales
For the disrobed faceless forms of no position
Tolling for the tongues with no place to bring their thoughts
All down in taken-for-granted situations
Tolling for the deaf and blind, tolling for the mute
For the mistreated, mateless mother, the mistitled prostitute
For the misdemeanor outlaw, chased and cheated by pursuit
And we gazed upon the chimes of freedom flashin’
Even though a cloud’s white curtain in a far-off corner flared
And the hypnotic splattered mist was slowly liftin’
Electric light still struck like arrows, fired but for the ones
Condemned to drift or else be kept from drifting
Tolling for the searching on their speechless, seeking trail
For the lonesome-hearted lovers with too personal a tale
And for each unharmful, gentle soul misplaced inside a jail
And we gazed upon the chimes of freedom flashin’
Starry-eyed and laughing as I recall when we were caught
Trapped by no track of hours for they hanged suspended
As we listened one last time an’ we watched with one last look
Spellbound an’ swallowed ’til the tolling ended
Tolling for the aching ones whose wounds cannot be nursed
For countless confused, accused, misused, strung-out ones & worse
And for every hung-up person in the whole wide universe
And we gazed upon the chimes of freedom flashin’
Frank Krupit, Guitarist’s Guitarist 1951 – 2024
A man of many talents, Frank Krupit has left this mortal coil
“We bonded over post-rehearsal Guinness and cheeseburgers at Woodrow’s in lower Manhattan, where I’d hear tales of Frank’s years as the captain of a fishing vessel, and the tours of Ireland backing up the Anglo-Irish band Celtic Spirit.”
Frank Krupit was a guitarist of joyful skill and dedication and one of the finest men I have ever been privileged to know. He was much more than a guitarist, of course, but I met him through the many Martinfest gatherings, where he featured his chops in countless jam session and we became brothers-in-music over the years. Frank’s passing today after a long illness was not a surprise so much as deeply regrettable expectation that would have come too soon in any case.
In 2013, I was honored to be asked by retired Broadway actor Paul Ukena Jr. to join him in a guitar trio, featuring early and mid-century swing, jazz, and show tunes, with Paul’s clear baritone voice at the microphone and “Left Frank Krupit” and I on guitar accompaniment, taking turns playing time or lead, melody or harmony, and weaving three-guitar tapestries, greatly informed by Frank’s decades of playing Jazz, Rock, and Pop music. Here are excerpts from the Paul Ukena Trio’s very first “real gig.”
Frank earned his degree in music and played in various groups early on. After raising a family and enjoying years as an amateur hockey player, he returned to renewed interest in playing music on his left-handed guitars, which had led to his early nickname of “Lefty” and the later “Left Frank.”
Collaborator with so many during so many lovely, musical hours, on acoustic guitars at Martinfest, but also cranking it up on electric guitars when playing with full bands, like D.O.R.K.F (the initials of the band members.) Frank reveled in learning the note for note solos of classics like Sultans of Swing and Honky Tonk Woman.
D.O.R.K.Fest was a very special night indeed. The band members would practice for a year at home on their own, then gather for one lone rehearsal the night before they played four or five hours of classic rock in a hotel bar for their many friends, and the delighted hotel guests lucky enough to be there. Frank and Maury Rutch sharing in lead guitar duties and garnering standing ovations on duets like Reelin’ in the Years and Hotel California. But here Maury is covering the bass duties while I make a rare guest appearance on electric guitar and the late (great) Greg Kendig joins as guest vocalist. (I only discovered this video a few minutes ago!)
Frank could play in many styles, from Fats Waller and Duke Ellington to Dire Straits and of course the Beatles. Some of my favorite memories include Frank co-hosting a Beatles sing-a-long with Mike Bono on the last night of Martinfest. For years they would sit down and play every Beatles song they could think of, taking requests, but they would only play a song once during the evening, and still manage to play Beatles songs non-stop from the hours of the packed hotel lounge to the wee hours near dawn for the lingering diehards who just didn’t want Martinfest to end. Frank knew all the lead guitar parts, all the solos, even the keyboard solos that he would play with his left-handed Martin OM-28V. I must assume his seeing the Fab Four at Shea Stadium in 1965 had a lasting impression the young lad he was back then. (Video cued up to 8:27)
In later years, Frank played a Custom Shop OM with a cutaway, Carpathian spruce top, and Madagascar rosewood back and sides, which he adored like an adopted child. Here heard on Fats Waller’s Bran’ New Suit.
And Chuck Berry’s C’est La Vie.
Frank and I bonded over Guinness and cheeseburgers at Woodrow’s in lower Manhattan, after Wednesday morning rehearsals at BMI’s 7 World Trade Center offices, where the president gave the trio a conference room because he and Frank came up together in the 38 years Frank worked there before he retired. I’d hear lunchtime tales of Frank’s years as the captain of a fishing vessel, as well as his photographic memory of the NY Rangers ups and downs, and his tours of Ireland backing up the Anglo-Irish band Celtic Spirit.
He was a connoisseur of a fine, rich stout, and a fine, rich family life. Frank and his adorable wife Maria raised to two fine sons together, and spent many endriched and wonderful years going to see their favorite indie artists and major touring acts in concert.
Frank Krupit earned and enjoyed a life well-lived. His solos from the years we spent as sidemen for Paul Ukena have been popping in my head all week, perhaps through some cosmic connection. If anyone deserves to be issued a celestial harp, it is Frank Krupit, the left-handed model, of course.
Frankie Baby, who loves ya’? We ALL do.
And that is one man’s word on my brother-in-music Frank Krupit.
Here’s of Frank’s musical gift he dolled out over the years. I will miss that chemistry and collaboration forever. And never can I lift a Guinness without thinking of my brother-in-music. Sláinte!
Lady Be Good by Irving George and Ira Gershwin
Cheek to Cheek by Irving Berlin
Y Tu, Que Has Hecho from Buena Vista Social Club
Long May You Run by Neil Young. Long may Frank’s music run on Youtube!
Martin Cherry Hill Customs
For sale only in walking distance from Cherry Hill
Modest in appearance but right at home among their flashier siblings, the Cherry Hill Customs at the Martin factory might be overlooked by some visitors. But they will be much admired by those who appreciate the natural beauty of wood on guitars with simple cosmetic appointments and pure, pretty tone.
The Martin Cherry Hill Customs Uncloaked
The Martin Cherry Hill Customs – two Factory Special models – are intriguing for many reasons. The guitars do not appear on the Martin price list. They received no official launch or lead-up announcement in the Media, so not many people have heard of them, yet. Perhaps the most interesting fact is how these under-the-radar guitars can only be purchased in person at the Martin factory.
The Cherry Hill Customs are offered as a Dreadnought and 000 and may be summarily described as a custom D-18 and custom 000-18 built with backs and sides of cherry wood and with some extra-woody upgrades. They get flamed maple for the bindings and endpiece instead of plastic, and the Old Style 18 sound hole rosette and other body trim are made from wood fiber.
The soundboards follow Martin’s current specification which says standard-grade spruce tops can be made of Sitka spruce or its natural hybrid cousin Lutz spruce, depending upon current availability. The vintage toner used on the spruce top works very well with the unstained cherry.
Not just any cherry is used, but nicely figured cherry that’s grown right there in Pennsylvania. It is fitting that local tonewood is featured on these subtly beautiful musical instruments because they can only be purchased in Pennsylvania, and only at the Martin Guitar factory.
If a visiting dealer & distributor sees a Cherry Hill Custom instrument that appeals to their design sensibilities, they may purchase it for sale to their customers. But they can only request one of each model while they’re at the factory. No phone in follow-up’s or replenishments are permitted.
These guitars are chiefly meant for those who make the pilgrimage to Nazareth for the factory tour or to see the rich history on display at the Martin Museum in the visitors’ center, and to offer them unique instruments a little different from typical Martins sold elsewhere and provide, as Martin’s Scott Sasser puts it,”… an engaging surprise for those enthusiasts that come to the factory. Hopefully they see something nice and think to themselves. . . ‘hey that’s neat – I’ve never heard of that before. What’s that all about?’”
What the Cherry Hill Customs guitars are all about is Martin’s legacy and future. Named for the gently sloping rise that starts just a stone’s throw from the parking lot of C. F. Martin & Co., Cherry Hill is a place of special, romantic significance to the Martin family, their employees, and fans of Martin history.
Along the road that traverses Cherry Hill, there once stood the first humble home and workshop of luthier C. F. Martin Sr. when he moved to Pennsylvania in 1838. It is now a five-minute walk from the current home of the world-famous guitar manufacturing company and museum that bears his name.
The choice of Pennsylvania cherry evokes all of that history but also acknowledges Martin’s continuing commitment to responsible sourcing and utilization of sustainable natural materials, and their longstanding commitment to environmental conservation. In that respect, it shares similar goals with the American maple back and sides on the adventurous new GPC Inception model. But the Cherry Hill Custom design elements and aesthetics are more in line with the venerable Standard Series Martins.
While Martin has made some lovely models out of cherry, the Cherry Hill Customs are the first cherry models offered for sale with a full-size dovetail neck joint and high gloss finish. Other Standard Series specs include scalloped bracing (forward-shifted on the Dreadnought) and a select hardwood High Performance neck with a dovetail neck joint, Modified Low Oval profile, black ebony fingerboard, and the select abalone fret position markers of the classic D-18 and 000-18. These new Cherry Hill models also have some very attractive figuring in the undyed ebony bridges.
The inspiration for the models comes from Martin’s desire to enhance the Nazareth visitor experience with an exclusive opportunity to own an upscale yet approachable Martin model with some rarity baked in due to its limited availability. A few points of inspiration for these specific Cherry Hill Custom models comes from a collaboration with a close friend of Scott Sasser during his time as manager for the Custom Shop, and Scott’s longstanding realization that cherry remained an under-appreciated domestically sourced material. . . both aesthetically and tonally.
Pleased with these results along with other occasional customs delivered through Martins Custom Shop program, he kept a few design cues in his mind for future use. Fast forward to these woody Style 18-inspired cherry guitars, made from sustainable materials that will remain available to musical instrument makers, hopefully ever after.
These new Martins are not meant to be part of their ongoing catalog. They are designed to offer a local complement to the Martins available globally without being in direct competition with them. They are also not meant to be available for long. The models will be periodically evaluated and replaced as appropriate to keep the “Factory Special” offerings fresh.
Whether they keep the name Cherry Hill Customs for future models, or decide to keep it exclusive to these two models, there will be others. New Factory Special models that take advantage of the beauty and tonality of domestic American woods and sustainable woods from other parts of the world will be forthcoming from Martin Guitars, in the new Inception Series that has been heralded with much fanfare, and in the Cherry Hill Customs after their modest, almost shy debut at the picking parlor, in Martin’s welcome center lobby.
The Factory Special concept – where these Cherry Hill Customs reside – will be present in one form or another going forward at the Martin factory. Enhancing a guitarist’s trip to the visitor’s center without distracting from its other treasures, they will for some provide the ultimate souvenir from a trip within the walls at C. F. Martin & Co., est. 1833.
And that is one man’s word on…
Martin Cherry Hill Customs
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Martin Martin SC-18E and SC-28E Review with Video
Martin SC-28E and SC-18E Arrive at NAMM 2024
Standard Series rosewood and mahogany axes of the future with classic styling
SC-28E and SC-18E specs include: 13-fret asymmetrical S body size with deep scoop cutaway; high gloss nitrocellulose finish; solid spruce top with patented internal soundboard recurve; spruce Tone Tension X-bracing with proprietary shaping; heel-less solid hardwood neck with satin finish, Sure Align neck joint system and ergonomic Low Profile Velocity shaping, solid ebony fingerboard with High Performance Taper; solid ebony belly bridge with 1930 profile but smooth contour surface; 2-5/32” string spacing; faux tortoise asymmetrical teardrop pickguard; nickel open-back tuning machines; revised Fishman Aura VT Blend electronics with Aura HD imaging or L.R. Baggs Anthem electronics. Comes with a molded hard-shell case with plush lining.
“I was surprised by these acoustic-electric hybrids, in how a chord strummed on the SC-28E sounds more like a 000-28 or OM-28 than it didn’t, only with that slightly more-pronounced bottom E string. But I was most pleasantly surprised by the classic Martin undertone presence in the low-mids of the SC-18E and the acoustic tone during fingerstyle picking patterns and playing lead accompaniment to another person’s strumming and singing, both when acoustic and amplified.”
Martin Guitar Mother Lode of Models for NAMM 2024
C.F. Martin & Co. to Debut New Models at 2024 NAMM Show |
Nine new acoustic guitar and ukulele models add variety to the company’s iconic lineup of instrumentsExlusive written and video reviews will appear on One Man’s Guitar starting later this week!!! – ed. |
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NAZARETH, PA, (NAMM, HALL D, Booth 5602), January 22, 2024… C. F. Martin & Co. is thrilled to announce its highly anticipated lineup of new instruments set to debut at this month’s 2024 NAMM Show – along with the recently unveiled GPCE Inception Maple and remastered X Series guitars. With a legacy spanning nearly two centuries, Martin Guitar continues to push the boundaries of innovation in the world of acoustic instruments. This year promises to be no exception, as the company introduces a wide range of exciting new models to its iconic lineup. These new models include ornate limited-edition anniversary guitars, the addition of traditional appointments to the popular SC lineup, a gloss tenor ukulele, and much more. But first the two models One Man’s Guitar is most-excited to finally get to mention in public. The long-anticipated SC-18E and SC-28E, 13-fret acoustic-electric hybrid instruments made of solid tonewoods in a asymmetrical body and with heelless, ergonomically-advanced asymmetrical neck shape! – ed. SC-18E Modern playability and classic looks – the all-new SC-18E pairs technology with timeless style and tone, combining SC innovation and Standard Series appointments. Its patented features include a Sure Align® neck system that helps you play all the way up the neck, while the low-profile velocity satin neck barrel fits comfortably in your hand, and an internal soundboard recurve for added bass response. The SC-18E features a spruce top with mahogany back and sides, giving you plenty of volume, bright treble, and punchy midrange for that classic Martin sound. It also features an ebony fingerboard and bridge, nickel open gear tuners, LR Baggs Anthem electronics, and is strung with LUXE BY MARTIN® Kovar™ strings. The SC-18E comes with a molded hardshell case. |
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SC-28E Modern playability and classic looks – the all-new SC-28E pairs technology with timeless style and tone, combining SC innovation and Standard Series appointments. Its patented features include a Sure Align® neck system that helps you play all the way up the neck, while the low-profile velocity satin neck barrel fits comfortably in your hand, and an internal soundboard recurve for added bass response. The SC-28E features a spruce top with resonant East Indian rosewood back and sides, giving you deep bass and rich overtones for that classic Martin sound. It also features an ebony fingerboard and bridge, antique white binding, nickel open gear tuners, LR Baggs Anthem electronics, and is strung with LUXE BY MARTIN® Kovar™ strings. The SC-28E comes with a molded hardshell case. |
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CUSTOM K-1 MAJOR KEALAKAI Hawaiian musician Major Kealakai, and his custom Martin guitar, helped shape the course of music history. Kealakai was a guitarist and conductor of the Royal Hawaiian Band, and in 1916, Martin made him a unique custom guitar that was wider, deeper, and longer than a 000 to provide more volume and help fill concert halls. That one-off guitar was the precursor to the iconic Dreadnought. Now, Martin is honoring that historic milestone with a new take on his custom 12-fret guitar with a refreshed bridge design to better complement the traditional specifications, as if the company continued to produce it well past 1916. The Custom K-1 Major Kealakai features vintage gloss sinker mahagony back and sides, an Adirondack spruce VINTAGE TONE SYSTEM® (VTS) top, hide glue construction, authentic 1931 X bracing, and a modern, embellished ebony pyramid belly bridge. It blends tradition and innovation, paying tribute to the rich heritage of Martin. click on photos to for hi-res galleries More hi-def galleries coming soon! – ed |
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D-42 BITCOIN Crafted by the skilled artisans at Martin, the D-42 Bitcoin is built of premium Guatemalan rosewood back and sides and a heavy bearclaw Engelmann spruce top, producing a resonant and complex tone with plenty of volume. This one-of-a-kind guitar features a one-ounce solid gold token coin embedded in the headstock and crypto-themed inlays down the fingerboard. Among the standout features of this guitar is the unique pearl QR code inlaid on the pickguard. Scanning the code will unlock access to a private Martin webpage featuring exclusive content and photos of the guitar’s journey through the Nazareth factory – making this a truly one-of-a-kind collector’s item. |
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D-50 CFM IV 50TH ANNIVERSARY Introducing the D-50 CFM IV 50th Anniversary – a timeless tribute to half a century of dedication. For the past 50 years, Chris Martin IV has been the driving force behind Martin Guitar, carrying forward the legacy of excellence and innovation established by generations before him. To honor this milestone, his namesake company proudly presents a limited-edition guitar that embodies his unwavering commitment to crafting the finest acoustic guitars in the world. The D-50 CFM IV 50th Anniversary features Guatemalan rosewood back and sides, a stunning heavy bearclaw spruce top, European flamed maple binding, and intricate abalone and mother of pearl inlay throughout. Each of these beautiful anniversary instruments also proudly displays a signed, numbered label commemorating Chris’ 50 years of service. This guitar is a true collector’s item, with only 50 available worldwide. |
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D-CFM IV 50TH ANNIVERSARY Introducing the D-CFM IV 50th Anniversary – a timeless tribute to half a century of dedication, and a special acknowledgement of the company’s 35th year of quality craftsmanship by its talented family of coworkers in Navojoa, Sonora, Mexico. To celebrate, each of these beautiful anniversary instruments proudly displays a signed, numbered label commemorating both Chris Martin IV’s 50 years of service, and the rich lineup of innovations originating in Navojoa. It’s a testament to the artistry and skill that have defined Chris’ tenure. Crafted at Martin’s factory in Navojoa, the guitar features a gloss finish, pommele sapele back and sides, a bearclaw spruce top, and classic “Tree of Life” inlays on the fingerboard and headplate with a matching rosette presented in beautiful Paua pearl. It’s an instrument that promises to inspire and captivate musicians for generations to come, as Martin continues its quest to make quality and innovation as approachable as possible. This guitar is a true collector’s item, with only 50 available worldwide. |
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ID-ROBERT GOETZL 7 A one-of-a-kind guitar that sounds and plays like a Martin guitar but looks like something all its own. Martin has once again partnered with renowned artist Robert F. Goetzl for this nature-inspired work of playable art, featuring an eye-catching image that makes the serenity of a koi pond come to life on his canvas of wood and wire – and it isn’t short on tone. This full gloss guitar’s hand-painted spruce top and East Indian rosewood back and sides provide deep bass, rich overtones, and plenty of volume, while the high-performance neck taper allows for ultimate playability. “It’s a fun image where I could create something colorful and with movement,” Robert says. “Not only is it a valuable piece of art, but it’s a valuable instrument, so don’t just hang it up and look at it – play it!” |
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OM 20TH CENTURY LIMITED All aboard! Martin and Pennsylvania-based watchmaker RGM have teamed up once again to create something truly unique – the OM 20th Century Limited. Celebrating technology and innovation, this limited-edition handcrafted work of art pays tribute to the Art Deco-inspired passenger train of the same name that revolutionized travel in the mid-1930s – around the time that would become known as Martin’s “Golden Era,” when the company’s instruments began to revolutionize music. This guitar is full of intricate design elements, including custom streamliner-inspired inlay throughout, European flamed maple binding, gold open back tuning machines, and an inlaid ebony pickguard. The OM 20th Century Limited also features hide glue construction, a spruce VINTAGE TONE SYSTEM® (VTS) top and Guatemalan rosewood back and sides for superior tone. The guitar even comes with a custom, handcrafted railroad-inspired watch from acclaimed watchmaker RGM. Only 20 of these elegant OM 20th Century Limited guitars will be built. |
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TKE UKE Martin’s first tenor ukuleles rolled off the production line in 1929 and have been a favorite of countless players since. The TKE Uke is Martin’s latest addition to its tenor-sized lineup, featuring a gloss body and satin neck, and top, back, and sides crafted of solid koa – a wood native to Hawaii and a favorite of island players. It also features an East Indian rosewood bridge and fingerboard, select hardwood neck, applied dovetail neck joint, and nickel open gear tuners. Its size already provides plenty of volume and projection, but the ukulele’s electronics allow you to plug in and play at any volume. Developed in collaboration with electronics-maker Mi-Si, they provide 16 hours of play on a 60-second charge. The TKE Uke is also available for lefties and comes with a softshell case. |
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Martin Guitar New X Series Models for 2024
New for NAMM 2024! Many Martin Models in the X Series
Revamped Martin X Series models include a thinner, beveled fingerboard
(click photos to enlarge)
With just over a week to go to the NAMM Show, Martin Guitar announces their least pricey models, even if they all come with world class aesthetic charm. While some of these acoustic-electric models exit already, they have been revamped with a redesigned bridge, a thinner fingerboard with a “gently beveled comfort edge,” “refined string spacing” and fantastic-looking XPL back and sides featuring glorious visual reproductions of choicest tonewoods including figured Brazilian rosewood, ziricote, mahogany, koa, and the cocobolo pictured above in size 0, 00, and GPC.
The full lineup of the new X Series models includes the 0-X2E Cocobolo, 00-X2E Cocobolo, GPC-X2E Cocobolo; GPC-X2E Ziricote, D-X2E Ziricote Burst; 000-X2E Brazilian, D-X2E Brazilian, D-X2E Brazilian 12-String; D-X2E Mahogany; D -X1E Koa; GPC-X1E Black.
These affordable (by Martin standards) acoustic-electric guitars are made at their plant in Navojoa, Mexico from rugged high-pressure laminate back and sides. The 1 models have an HPL top with a either a koa, mahogany, or black pattern and a birch laminate neck. The 2 models have actual solid spruce or sapele soundboards and select hardwood necks and bridges.
The X Series bridges have been reshaped with a soft slope rather than the defined edge on either side of the bridge pins seen on traditional Martins. The electronics have been upgraded to the Martin E1 system that has a built-in turner and phase control in addition to the volume and tone controls.
While the cosmetic HPL patterns will not change the sound of the X Series instruments, they do offer excellent choices in terms of stunning visual appeal.
Colorful and affordable, the new additions to the C. F. Martin & Co. X Series are a bevy of beauties to be sure.
Martin GPCE Inception Maple Debuts
The innovative Martin GPCE Inception Maple breaks new ground
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Environmentally friendly woods and enhanced bracing marry with hopes for a future of sustainable, beautiful music
SEE THE FULL REVIEW WITH VIDEO HERE!
Incept Date: 01092024
Place of origin: Nazareth, PA, USA, Earth
Launched toward the future with appropriate celebration at C.F. Martin & Co., established in 1833 and boldly venturing into new territory in 2024, the Martin GPCE Inception Maple is an acoustic-electric guitar made in Martin’s Grand Performance body size with a Cutaway treble bout, representing the inception of a new Inception Series of Martin guitars that will feature domestic American tonewoods including Maple, in combination with environmentally sustainable tonewood from abroad, and the latest tone-enhancing technology inside the sold wood sound chamber.
In this case, the top is made from FSC certified European spruce. FSC standing for the Forest Stewardship Council, the world-wide entity assuring consumers that these certified natural resources were obtained from forests that are manged in an environmentally-friendly way with an eye on sustainability and with the greatest respect for the residents living within the forest.
The back and sides are made from maple grown in the USA, with a center plate of black walnut on the back that likely adds some tonal coloring to the voice of the instrument. Walnut is often described as a cross between mahogany and rosewood, but deserves its own place in the pantheon of true tonewoods that generate a pleasing sound capable of creating beautiful music. The fingerboard and bridge are also made from black walnut, as is the body binding and the decorative face plate at the front of the headstock.
This back does not have the usual alternating three-wedge shape of a Style 35 Martin. Instead, the center plate has a gentle curve to it. This is but one new aesthetic change from typical Martins.
While the back, sides, and top feature a new “amber fade” sunburst under a satin finish, the final production model retains important features of the Standard Series, like solid tonewoods throughout and the traditional, full-size dovetail neck joint. It also has the full complement of scalloped braces on the inside of the soundboard, except for a most unusual top plate that is only on the bass side of the upper bout.
However, this version of the traditional Martin-invented X-bracing is enhanced with a honeycomb of empty space, where mass was removed from the struts of the otherwise solid spruce X brace and the large traverse brace on the opposite side of the sound hole.
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The purpose of this laser-cut spacing is twofold. It increases the flexibility of the bracing around the sound hole while maintaining a structural integrity that keeps the top from collapsing from the pounds of tension brought to bear on the soundboard by the taught steel strings. It is an achievement of engineering both elegant and practical, invented centuries ago for weighty yet airy stone structures like the cloisters of medieval abbeys and cathedrals. But here it is brilliantly applied in miniature for a light, solid-wood soundboard of a world-class musical instrument.
Another significant enhancement is implementation of “sonic channels” cut into the solid spruce soundboard, around each brace and tone bar, and along most of the circumference of the soundboard. This allows the sold top to respond more-easily to the vibrations passing through it.
Soundboard channeling is an idea that has been explored by other guitar makers, but not nearly to this extent or in the same patterns. This feature also appears around the back braces that have been redesigned to allow the back to contribute to sonic resonance, not just passively reflect the sound waves generated by the spruce top.
While I could go on about the development of this project based on insider tidbits, I felt it best to prevail upon the man inside Martin Guitars who knows more about it than anyone, Vice President of Product Management Fred Greene. Fred was happy to share some exclusive insight with One Man’s Guitar about the evolution of the GPCE Inception Maple in his own words, and how this exciting new Martin guitar is but the vanguard of the bold future ahead for America’s most venerable musical instrument maker.
OMG: How long has this project been in the works?
FG: The project has been in the works for about 18 months.
OMG: What were the origins of this new model?
FG: It started with a desire to highlight the possibilities of sustainable domestic hardwoods in guitar construction.
OMG: Martin has made some very successful models with sustainable domestic tonewoods, like maple and walnut, yet not many, and nothing with this combination of body size and tonewoods. What was behind the inception of the Inception?
FG: I knew we couldn’t simply make another maple Dreadnaught and leave it at that. It’s been done by us and others in the past. Too often big manufacturers get lazy and stop innovating. When that happens, new models can be met with a collective yawn from guitar players. I felt we needed to make changes in how we designed this musical instrument on a deeper level.
OMG: Well, nothing is boring about this new maple model! Who was the primary designer of the GPCE Inception Maple?
Like most projects at Martin, it was a team effort. But as the leader of the product team, I instigated a change in our approach stemming from my desire to show off the potential of these woods by combining the technology we have developed over the past 190 years with innovations we developed in the twenty-first century. That was the mission I tasked the team to embark upon.
Nate Hoffman, our R&D leader, took up the challenge and his team really dug deep and presented us with some cool concepts. Those concepts were discussed, massaged, prototyped, and eventually agreed upon by myself, designers Tim Teel and Rameen Shayegan, and the production team. We felt it was very important that we showed the world that Martin continues to innovate and explore the possibilities presented by a changing world of materials and technology.
OMG: How are the gorgeous, skeletonized braces created?
FG: The new braces are created using lasers. We realize we are not the first company to put holes in braces. Small one-off builders have done this in the past. However, I believe Martin is the first “major” builder to do it in a true product guitar. It was fun developing a weight-relieving pattern that was both visually appealing and strong.
OMG: How do they affect things like energy transference and tone production?
The general concept is simple. By lightening the weight of the braces, and consequently the top, less energy is required of the strings to move the top. Thus making the instrument more responsive and increasing sustain.
Maple tends to compress sound in acoustic guitars with traditional builds so that all you hear is the fundamental notes without any pleasant overtones. We wanted to allow the guitar to move a little more and offset some of that compression. We wanted to open it up. This bracing in combination with the new sonic channels set into the underside of the soundboard more than accomplished that goal.
OMG: Why the Grand Performance body size?
We saw this guitar as a stage guitar for a singer/songwriter and the GPC seemed like a natural canvas for something new. We thought if we started with a Dreadnaught or 000 it would simply draw too many comparisons to existing models that already have a very established sound signature. We didn’t think these traditional shapes would be the right formula or recipe for the player we were targeting.
OMG: Might we assume the new Marting GPCE Inception Maple is so named because this is the beginning of a new trend at Martin Guitar? Should we expect to see other models featuring domestic American tonewoods and the new bracing and sonic channels under the top?
You are correct that the Inception is the first of several new guitars that will be coming in the future using more sustainable woods. It’s exciting because these new guitars will allow us to offer new designs and hopefully give guitar players more options and sounds to explore.
Well, it’s been worth the wait to see the end results of this long-anticipated project. Now I have to wait a little longer to play and hear the finished product officially being released at the NAMM show on January 24, 2024.
Check out the Martins and More podcast where Spoon Phillips and Maury Rutch share even more information about the minds and muscles that created this super cool new Martin GPCE Inception Maple, below.
Martin 190th Celebration – New Limited Edition Model
Martin Celebrates the 190th Anniversary with D-19 LE
Special Event in New York City
Martin Guitar Marks 190 Years with Limited-Edition D-19 Model
NAZARETH, PA, November 8, 2023… C. F. Martin & Co. is proud to mark its 190th anniversary in the industry. As part of the 190th anniversary celebrations, Martin Guitar hosted a special event at the location of C. F. Martin’s original workshop in New York City. This historic site is now memorialized with a bronze plaque at 196 Hudson Street on the corner of Hudson and Vestry Streets in the Lower West Side of Manhattan.
Chris Martin (C.F. Martin, IV) praised, “Six generations and 190 years is a milestone for any family business. If you look at the logo on the headstock of our guitars, it says “C.F. Martin & Company, Established 1833.” It’s the “& Company” that has been as important as family ownership. I want to thank, all of the generations of Martin co-workers, who have helped to keep my family’s business in business.”
At the event held on the 190th anniversary of the date C.F. Matin arrived in America from Germany, Martin Guitar executives and friends gathered on Hudson Street to honor the company’s rich history and vision for the future. It was followed by a celebratory dinner at Tribeca restaurant Locanda Verde.
As Martin Guitar celebrates 190 years of excellence, the company remains focused on sharing its passion for quality craftsmanship and the enduring power of music for many more years to come. Since its founding in 1833 by Christian Frederick Martin, Martin Guitar has been a trailblazer in the world of acoustic guitar craftsmanship. Over the course of nearly two centuries, the company has become synonymous with quality, innovation, and enduring musical heritage. The Martin name has graced countless stages and recordings around the world, earning a place of distinction among musicians and collectors alike.
THE D-19 190th ANNIVERSARY
In honor of this 190-year legacy, Martin Guitar is thrilled to introduce the limited edition D-19 190th Anniversary – a stunning guitar that pays tribute to tradition, while embracing innovative design and quality craftsmanship.
“One hundred and ninety years ago, on November 6th, my great, great, great grandfather and grandmother and their two children arrived in New York City from Germany. They came to America seeking opportunity and freedom. They initially settled at 196 Hudson Street and opened the first Martin Guitar workshop in the New World. I was looking for a way for us to celebrate this milestone.
In 1976 (the bicentennial anniversary of the founding of our nation) we introduced the D-19. It was designed as an upmarket D-18. We stained the top to utilize spruce that was cosmetically challenged. An early nod to sustainability. I thought it would be appropriate to dust off that model designation and make 190 contemporary D-19s to honor our 190th anniversary. This model also embraces sustainability by utilizing cosmetically challenged Adirondack spruce tops that we have had in inventory for a while. We sent them through our Mimaki printer to achieve a figured mahogany look for the top. Hope you like it.” – C. F. Martin IV, Executive Chairman
See more photos of the D-19 190th Anniversary model HERE.
For more on the D-19 190th Anniversary, visit martinguitar.com.
