Latest Acoustic Guitar Reviews and News

Martin 000-42 Conversion from a 1953 000-28 – Review

A 1953 000-28 converted by the Martin factory to 1939 000-42 specs

Old Brazilian rosewood retopped with torrefied Adirondack spruce and solid abalone pearl

*This instrument is currently for sale. Inquire at oneman@onemanz.com*

Specs include: All-solid wood with hide glue construction throughout; Brazilian rosewood back and sides originally constructed as a 1953 000-28; highest grade Adirondack spruce top, torrefied with level M1 of Martin’s proprietary Vintage Tone System; Vintage Style 42 appointments including period correct solid abalone pearl rosette ring, top purfling, and snowflake fret markers; grained ivoroid binding with ebony borders at end pin box; aggressively-scalloped 1/4″ Golden Era style bracing with period correct rear-shifted X brace; genuine Big Leaf mahogany neck with full vintage V profile supported by an internal steel T-bar, 1-11/16” width at nut and 2-1/8” at the 12th fret; ebony fingerboard and Golden Era style bridge; bone nut and glued in saddle with 2-1/8” string spacing; open-back Grover tuning machines; period-correct gold foil headstock logo on Brazilian rosewood face plate grained; ivoroid binding; thin high gloss nitrocellulose finish with faux tortoise shell pickguard under the finish.

“This converted 000-28 has my favorite kind of Brazilian/Adirondack tone, warm and richly colored, with a bass that is plump but not woofy, spawning a rich undertone that at times hugs but never smothers the higher registers, and trebles of fine purity that are precise but solid, yet radiating shimmery harmonic overtones.”

Read the Full Review Here

Martin 000-42 conversion pearl work

Chris Eldridge and Julian Lage – Cool Video

The Bone Collector by Julian Lage and Chris Eldridge

Mahogany Martins with Adirondack red spruce tops, a 1937  D-18 and a 1939 000-18

While the music speaks for itself, you may want to read more about these two excellent artists, who traveled very different routes to reach the pinnacle of critical acclaim, and are now weaving their different styles into the same music, by checking out this article that was published at the New Yorker, on my birthday, which is probably why I didn’t see it until now.

Julian Lage and Chris Eldridge and Their New Record, “Mount Royal”

Martin 000-30 Authentic 1919 Review

Classic pre-war Martin mojo lives again in the historic 000-30 A 1919




Colorful and responsive in looks, feel, and tone

Specs include: All-solid wood with hide glue construction throughout; Madagascar rosewood back and sides; Adirondack spruce top with Vintage Tone System torrefaction, high-color wooden marquetry top trim and back strip, torrefied period-correct scalloped 1/4” bracing and torrefied maple bridge plate; one-piece mahogany neck with shallow vintage V profile, slotted headstock with Martin brand at the back; ebony fingerboard with period correct snowflake fret markers, 1-7/8” width at nut, 2-5/16” at the 12th fret; ebony pyramid bridge with 2-3/8” string spacing; bone nut and saddle; StewMac Golden Age reproduction three-on-a side tuning machines with unique engraved plates and pearloid buttons, grained ivoroid binding, extra-thin Vintage Gloss nitrocellulose finish.

“The 000-30 A 1919 offers the kind of sound many luthiers and guitarists have sought to produce since the invention of steel strings.”

Read the Full Review and see the Video Here

USE Martin 000-30 Authentic 1919 fret markers

2-21-2017 Guitar Comparison

Guitar comparison of two similar instruments

** Note: View the first video if you want to hear the comparison without knowing the IDs of the guitars.

The second video reveals which is which.

Close in construction and materials, but not as nearly identical as the comparison from 2-16-17.

Recorded in the same place on the same day with the same mics, etc.

What are your impressions of the tone, and how they differ or equate?

View in 1080p hi-def for best audio

Please use the comment form below to leave your feedback.

Try not to get caught up in guessing what brand, size, type of woods are involved. Focus on your impressions and interpretation of the tone of each instrument, and now they differ or equate’

The identity of the two guitars will be revealed here after allowing time for various people to respond here, on Youtube, and guitar forums where this is referenced.

Thank you.

HERE is the video showing what guitar is what.

Other comparison videos and audio of similar and divergent guitars will appear in the coming weeks.

Here is page that will list all the comparisons

 

2-16-2017 Guitar Comparison

Guitar comparison of two similar instruments

Close in construction and materials, with a notable difference or two.

Recorded in the same place on the same day with the same mics, same type of strings, etc.

What are your impressions of the tone, and how they differ or equate?

View in 1080p hi-def for best audio

Please use the comment form below to leave your feedback.

The identity of the two guitars will be revealed here after allowing time for various people to respond here, on Youtube, and guitar forums where this is referenced.

Thank you.

Other comparison videos and audio of similar and divergent guitars will appear in the coming weeks.

Here is the page that will list all the comparisons

UPDATE:

Thanks to everyone who has commented thus far. It has been highly educational.

Perhaps I should have stressed not trying to guess what they are so much as requesting comments about personal preference and if you actually like the sound of either guitar, as well as how do they compare or equate. And maybe stressed not trying to guess what they are.

Having been through similar comparisons myself, I have learned how easy it is for one’s imagination to lead them astray, when it comes to things like specific models or sizes. Or even specific tonewoods when there is no reference provided to ground one’s perspective, like “this is what rosewood sounds like with these mics in this room…” etc.

And in this case things were a little more off the beaten track than usual.

Guitar #1 is a prototype of the new Martin DC-16E.

It is a dreadnought shape with a 000 depth, made with Sitka spruce and sycamore back and sides, forward-shifted scalloped 5/16” braces, a neck of some sort of mahogany with their simple dovetail neck joint, ebony bridge and fingerboard, Tusq saddle and bone nut, and Fishman Matrix VT Enhance onboard pickup system.

Guitar #2 is a prototype of the new Martin D-16.

It is essentially the exact same guitar with the same specs mentioned above, only without a cutaway or the slightly extra weight and possible damping of the electronics and undersaddle pickup.

It does raise the question, what if any of the tonal differences perceived are due to the cutaway body or lack thereof?

And, what differences are due to the specific organic materials used to make each very similar guitar?

I shall point out that I did not record them with the intention of comparing them in this manner.

They were recorded about two hours apart, during my annual trip to the Martin factory to collect audio and video of the Winter NAMM 2017 Martin models for eventual on-line reviews.

While the mics stands and recording gear were all set the same way, it is possible the mics would have moves slightly one way or another or the guitar wasn’t pointing in exactly the same orientation to the mics, etc.

The Toneful Beauties of Santa Cruz 2017

Santa Cruz posts photos of their NAMM guitars

Custom Shop and main line models to ogle and admire

I got an email this morning with the following link, leading to some wonderful photography of wonderful guitars, made by the Santa Cruz Guitar Company.

These were some of the instruments they had on display at Winter NAMM 2017, and they include the re-introduction of the FTC as a regular model.

After renovating a 1980s FTC for Eric Clapton, Richard Hoover decided to use the FTC carved back, flattop, cutaway design was chosen for Santa Cruz’s 40th Anniversary Limited Edition, of just 12 instruments, each with its own aesthetics and tonewood combination.

Number 12 of 12 pictured here is made of mahogany and bearclaw Sitka spruce. It was shipped to our friends at Willcutt Guitars, in Lexington, KY.

Santa Cruz 40th #12

And the response to the 40th Anniversary guitars was so great, he decided to start making FTCs again for the general public. Good news indeed!

Check out the photos and descriptions of Santa Cruz’s 2017 NAMM Guitars HERE

 

 

NAMM News of Interest and Intrigue

The 2017 Winter NAMM Show opens for the press and provisioners

Musicians and music lovers rejoice

Acoustic guitars make up but one tributary of the mighty NAMM river feeding the sea of music-oriented retailers. And I am focusing on acoustic guitar news from NAMM over the next few days before my first hand reviews can begin to flow from my own fonts.

The economic downturn finally caught up with the acoustic guitar market over the past couple of years, with mixed results. And this year’s NAMM has some guitarmakers focusing less on new models to add to crowded catalogs, and more on exhibiting models they already have in production, or limited editions like artist signature models, and showing off just what their custom shops can do for customers who will pay cash on the barrel head before an instrument is built.

One company that has put out an array of new models is, of course, C . F. Martin & Co.. Martin has at least one model entering every instrument series not scheduled to be phased out of production.

Read about the new 2017 Martins here

With other Martin news to follow as it develops.

Collings Guitars of Austin, Texas announced a new Pete Huttlinger signature model.

Read more about this new 2017 limited edition model and see some awesome Collings eye candy here

Bourgeois Guitars always offers an entertaining NAMM experience. This year singer Courtney Hartman stopped by to play some guitars. She is also appearing in the promotional video for a very special 2017 offering from Dana Bourgeois.

Bourgeois Guitars is celebrating 30 years of the Schoenberg Soloist cutaway OM with a 30th anniversary collaboration with Eric Schoenberg.

Read more about this awesome commemorative limited edition Bourgeois – Schoenberg and see some video here

Santa Cruz Guitar Company is an exhibitor focusing on amazing one-off custom guitars is the  Their custom shop gets its own display area as large or lager than the one exhibiting standard models and artist signature instruments.

Read more about the Santa Cruz guitars at Winter NAMM here

Vintage Guitars offer up a retro-cool Statesboro 12-string dedicated to Blind Willie McTell

Check out the specs and Paul Brett Video here

Taylor Guitars has partnered with Guitar Center to offer a limited edition John Petrucci Artist Choice 916CE model. New guitars appeared in the new Academy Series of affordably priced instruments, as well as the new 800 Deluxe Series, and the super cool GS Mini Bass head up the latest in Taylor Guitars innovation.

Read the Taylor Guitars details here

What’s new from Collings, Breedlove, and all the rest?

Keep checking back for new and interesting reports

Collings Honors Late Maestro with Signature Model at NAMM 2017

Pete Huttlinger Signature Model Returns at Collings

Limited edition model to feature custom  inlay reflecting Huttlinger’s love of fly fishing

According to Collings, “the first 15 will feature his handwritten signature on the label and a portion of the proceeds of each guitar will benefit the Pete Huttlinger Fund for Adult Congenital Cardiac Research at Vanderbilt University Medical Center.”

Pete Huttlinger is the only artist ever honored with a Collings artist signature model. Like his original OM-1A cutaway from 2011, this 2017 limited edition guitar features South American mahogany back, sides, and neck with 1-3/4″ width at nut, African ebony fingerboard and bridge, and Adirondack spruce top.

Collings Pete Huttlinger OM1 A Cutaway NAMM 2017 One Man's Guitar onemanz

Pete Huttlinger played Collings guitars from 1997 until his untimely death in 2016. A true friend of many at the small-shop luthiery outfit in Austin, Texas, this Collings model is truly an affectionate commemoration of a much loved and sincerely missed artist of the highest character and caliber.

Collings Guitar Eye Candy NAMM 2017

click photos to enlarge

Related Reading:

NAMM 2017 News As We Find It – Taylor, Bourgeois, Santa Cruz, Martin, et al