One man who's got something to say about…
Dick Boak has created a video about a Martin-loving maverick named Mark Groulex, aka Moon River Mark of Ontario, Canada. Moon River runs through the forests near the eastern section of Lake Huron called Georgian Bay, about 200km north of Toronto. Boak first encountered Groulex at a local open mic when vacationing in Canada. The two have remained friend ever since.
What a gift of a website you have created. Thank you. I recently purchased a D-45 Celtic Knot. Whatever background information regarding the concept, design and construction of it would be really helpful.
– Robert in Texas
Thank you Robert, for your kind and encouraging words.
Allow me to say meal do naidheachd on the purchase of your Martin D-45 Celtic Knot! It is my personal favorite among all the “45 +” guitars that Martin has come up with over the years.
That’s Scottish Gaelic, by the way. The oldest existing designs known as Celtic knots are found in illuminated Christian manuscripts from the eighth century, associated with the Abbey of Hii on the Isle of Iona, while others dated to 800 A.D. are believed to come from the Abbey of Kells, in County Meath, Ireland. It is assumed that earlier Celtic knot patterns evolved in Eire and Britain, in decorative textiles and other art forms, after similar “continuous cord” designs were introduced from Roman Europe sometime during the fourth century.
Your wonderful twenty-first century Martin guitar is essentially a D-45 Golden Era, in terms of bracing, neck shape, and string spacing. But of course the Brazilian rosewood and Adirondack spruce came from Chris Martin’s personal reserve. As a musical instrument, every one of them I have played sounded spectacular.
As an example of exquisite artistry in world-class luthiery, they are visually astounding as well. The inlay was done at Pearl Works in Charlotte Hall, Maryland, founded by the late Larry Sifel. The inspiration for the overall design came from Martin’s 600,000th guitar, completed in 1997. Known as “the Celtic” Martin, it was designed and embellished by Larry Robinson, who has created stunning inlays for electric and acoustic guitars for half a century.
Although this earlier instrument has even greater complexity to its various “knots” and, if I recall, abalone herringbone purfling around the edge of the top and sound hole, I have always preferred the aesthetic of the D-45 Celtic Knot. It strikes me as elegant and stately, compared to the rather over-the-top pizazz of the Celtic guitar. But I also very much like the special Gotoh tuners with Celtic designs, and the pearl inlay of Chris Martin’s signature on the rosewood back!
The limited edition of fifty D-45 Celtic Knot guitars was announced at Winter NAMM 2004, along with Martin’s One Millionth Guitar and the D-100 model based on it. The Celtic Knot guitars have sequential serial numbers leading up to #1,000,000. The fifty D-100s have sequential serial numbers starting with #1,000,001.
However, Martin did not build all fifty Celtic Knot guitars. There has been some contention as to the actual production number. Although all official printed references claim that thirty D-45 Celtic Knot guitars were built, the actual quantity is in fact thirty-six.
No one knows why the discrepancy exists. I suspect all accounts were based on one original reporting that contained a typo. Knowing how things happen at Martin, it might even be due to a typist incorrectly reading someone’s handwriting, where the 6 looked like a 0.
In any case, you have a very special Martin. If I could have any of the beyond-Style-45-Deluxe instruments Martin has built, it would be a D-45 Celtic Knot. But you actually get to own one.
I therefore, and with great pomp and solemnity, hereby induct you into the Order of the Lucky Dog, with all rights and privileges afforded said title.
Congratulations!
Pearl Works Website:
Larry Robinson Website:
https://www.robinsoninlays.com/
(photo: Pearl Works)
(photo: Pearl Works)
(photo: Dream Guitars)
(photo: Dave’s Guitars)
Whatever the reason, C. F. Martin & Co. decided to announce their autumn additions early this year, to coincide with the release of the third and final Woodstock 50th Anniversary guitar.
click on photos to enlarge
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The Martin D-45 Woodstock 50th model is built from top-grade Indian rosewood and Sitka spruce, European flamed maple binding on the body, the Genuine Mahogany neck with its High Performance ebony fretboard, and around the front of the headstock. It also has the forward-shifted scalloped braces and Modified Low Oval neck profile of the Standard Series D-45.
The headstock features an inlay of the iconic Woodstock dove, sitting atop Martin’s ornate Alternate Torch inlay, made of high color abalone pearl, as are the 1930s style Snowflake fretboard markers, and of course the purfling inlaid around the sound hole, and every edge of the top, sides, and back, including the edge where the neck meets the body.
This completes a set of Woodstock 50th models that includes a DX and D-35 released at Winter NAMM 2019.
Martin’s affordable Road Series has gained two new models, the short-scale 000-12E Koa and the full-size dreadnought D-12E Koa. Each is made from African Mahogany ( Khaya ivoresnsis) for the back and sides, which has a fine veneer of great-looking koa bonded to the outside. Although these guitars are designated as Style 12, they have the mother-of-pearl pattern rosette used on all the modernized Road Series guitars, except for the normal D-12, which has a rosette that looks more like a traditional Martin from the Standard Series. Go figure.
And speaking of figure, the koa does look very nice indeed. The use of veneer over less visually attractive wood is as old as the C. F. Martin business itself. But today it is a new technique, designed to make these acoustic-electric models more environmentally friendly, just like use of Forest Stewardship Council certified Richlite for their fretboards and bridges.
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In the X Series there are now two dreadnought models, the D-X1E and D-X2E that have been upgraded by the use of real wood for the neck, and truly gorgeous looking koa was used to create the photographic image that makes the High Pressure Laminate look like top-shelf tonewood.
The D-X1E has a fretboard and bridge made of Richlite, while the D-X2E gets a wooden board and bridge made from katalox to go along with its solid Sitka spruce top.
The X and Road Series guitars come with Fishman MX electronics, with the Road Series guitars also having an onboard tuner included, placed just inside the sound hole.
You can learn more about these new Martin models HERE.
And coming soon! The new X Series Johnny Cash model!!
OMC-16E Brust specifications include: Orchestra Model with Cutaway body shape; solid ovangkol top with Mahogany Burst under gloss finish; solid ovangkol back and sides with satin finish; scalloped 1/4″ braces; long-scale High Performance Neck with Modified Low Oval profile and High Performance taper (1-3/4″ at the nut, 2-18″ at the 12th fret) on the solid ebony fingerboard; 2-5/32″ string spacing at the solid ebony bridge; faux tortoise shell and pickguard; Fishman Matrix VT Enhance electronics with onboard volume and tone control, and Enhance blender for undersaddle pickup and bridge plate sensor.
The classic Orchestra Model experience with an ovangkol top that adds warmth like a walnut top but with the vibrant trebles of spruce.
D-16E Burst Specifications include: Dreadnought body shape; solid ovangkol top with Mahogany Burst under gloss finish; solid ovangkol back and sides with satin finish; scalloped 1/4″ braces; long-scale High Performance Neck with Modified Low Oval profile and High Performance taper (1-3/4″ at the nut, 2-18″ at the 12th fret) on the solid ebony fingerboard; 2-5/32″ string spacing at the solid ebony bridge; faux tortoise shell and pickguard; Fishman Matrix VT Enhance electronics with onboard volume and tone control, and Enhance blender for undersaddle pickup and bridge plate sensor.
The classic Dreadnought looks, but a comfortable shallower depth. The ovangkol top that adds warmth like a walnut top but with the vibrant trebles of spruce.
Specifications include: Grand Concert body size; solid Sitka spruce top with gloss finish; solid East Indian back and sides with satin finish; scalloped 1/4″ braces; Short-scale High Performance Neck with Modified Low Oval profile and High Performance taper (1-3/4″ at the nut, 2-18″ at the 12th fret) on the solid ebony fingerboard; 2-5/32″ string spacing at the solid ebony bridge; Antique White body binding; faux tortoise shell pickguard; Fishman Matrix VT Enhance electronics with onboard volume and tone control, and Enhance blender for undersaddle pickup and bridge plate sensor.
The 14-fret 00 body size is very comfortable and portable while still putting out the sound of a full-size acoustic guitar, especially when plugged in.
000-16E pecifications include: Auditorium body size; solid Sitka spruce top with gloss finish; solid East Indian back and sides with satin finish; scalloped 1/4″ braces; Short-scale High Performance Neck with Modified Low Oval profile and High Performance taper (1-3/4″ at the nut, 2-18″ at the 12th fret) on the solid ebony fingerboard; 2-5/32″ string spacing at the solid ebony bridge; Antique White body binding; faux tortoise shell pickguard; Fishman Matrix VT Enhance electronics with onboard volume and tone control, and Enhance blender for undersaddle pickup and bridge plate sensor.
The short-scale neck makes for a comfortable and fun playing experience with plenty of power to handle big strumming and fingerstyle blues.
Specifications include: Grand Performance with Cutaway body shape with 000 side depth; solid Sitka spruce top with gloss finish; solid East Indian back and sides with satin finish; scalloped 1/4″ braces; long-scale High Performance Neck with Modified Low Oval profile and High Performance taper (1-3/4″ at the nut, 2-18″ at the 12th fret) on the solid ebony fingerboard; 2-5/32″ string spacing at the solid ebony bridge; Antique White body binding; faux tortoise shell pickguard; Fishman Matrix VT Enhance electronics with onboard volume and tone control, and Enhance blender for undersaddle pickup and bridge plate sensor.
The shallow body greatly increases resistance to feedback when plugged in, while creating an acoustic voice more like an OM, only louder and with a little more power from the lowest bass string.
D-16E specifications include: Dreadnought body shape with 000 side depth; solid Sitka spruce top with gloss finish; solid East Indian back and sides with satin finish; scalloped 1/4″ braces; long-scale High Performance Neck with Modified Low Oval profile and High Performance taper (1-3/4″ at the nut, 2-18″ at the 12th fret) on the solid ebony fingerboard; 2-5/32″ string spacing at the solid ebony bridge; Antique White body binding; faux tortoise shell pickguard; Fishman Matrix VT Enhance electronics with onboard volume and tone control, and Enhance blender for undersaddle pickup and bridge plate sensor.
The shallow body greatly increases resistance to feedback when plugged-in, while maintaining the look of a classic Martin Dreadnought.
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