NAMM Acoustic Spotlight: C. F. Martin
This year at NAMM I had the opportunity to check out and try some of the new guitars from legendary guitar maker, C.F. Martin.
And legendary is a good word to start with, as they have issued several guitars that are recreations of legacy models, each with their own personality and tonal characteristics.
My overall reaction at first was that of being a little overwhelmed by the choices. But after sitting down and playing several models, I really enjoyed hearing and feeling the subtle differences of these wonderful Martin models.
Check out the gallery below with some choice photos and info on some of the guitars I took a shine to!
See loads more at http://www.martinguitar.com
This year Martin has introduced the third model in its collaboration with Eric Clapton, the OM-ECHF Navy Blues. This photo doesn’t do justice to how cool the navy blue finish really is. It has a 25.4” scale and is constructed of East Indian rosewood for the back and sides with a European spruce soundboard. Only a limited number of 181 models will be sold, so get your order in early!
This limited edition CS-00S-14 12-fret slotted head fingerstyle model is crafted with rare Honduras rosewood back and sides and includes an unobtrusive under saddle Fishman Aura VT pickup. A very traditional looking instrument with lovely inlay detail, the smaller-bodied CS-00S-14 has a torrefied (temperature aged) Swiss spruce top and an ultra lightweight non-adjustable carbon fiber neck reinforcement. A wonderful combination of master guitar making and modern features.
I tried two different D-28s from the Authentic Collection, which were based on the models produced in two different years. The variation in tone was subtle and interesting. My favorite was the 1937 Authentic D-28 with a forward shifted hand-scalloped X-bracing, Adirondack red spruce soundboard, a 1 3/4" neck width and Madagascar rosewood back and sides.
Martin also showcased its collection of acoustic/electrics with Fishman electronics. I was particularly intrigued by the electronic controls, which seem simple on the outside but include “electronic imaging” which delivers a variety of tonal possibilities. I’d like to try one of those out on stage!