THE SOUNDING BOARD

VOLUME 33 n JULY 2012THE OFFICIAL MAGAZINE OF THE MARTIN GUITAR COMPANY

Introducing Martin’s New Retro Series

TM

THE SOUNDING BOARDTHE SOUNDING BOARD

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TA B L E O F C O N T E N T S

p. 2What's New?We've been hard at work

creating a wide assortment

of new products, from the

innovative Retro Series to

exquisite artist model

collaborations to an

upgraded and expanded line

of Performing Artist acoustic

electric stage ready models.

p. 26Martin and theEvolution ofAmerican Music Martin guitars and the

musicians who play them –

past and present – have had a

vast influence on American

(and world) music and culture.

An amazing chart attempts to

organize and acknowledge

these influences across a

timeline that spans Martin's

colorful history.

On the front cover:The Retro Series isintroduced. See page 2 for the most significantadvancement in amplifiedacoustic sound to date!

On the back cover:Parade players orchestratethe celebration of Martin's100th Anniversary in 1933.

Other StoriesNew Products ...............................2-21Editions ...........................................8-13Martin Stories....................................22Martin and the Evolution ofAmerican Music ...............................26Martin Inspired.................................28Bridge Timbers .................................29Caring and Feeding

Responsible Guitar Building...30Like a Glove................................32

String Ambassadors .......................34

Artist Profiles.....................................36The Legend of Crossroads ...........40Sonny Curtis & Martin Guitar ......42Martin Kids.........................................44Bouncing Fleas .................................45Winner’s Circle..................................46We Aim High .....................................47Around the World ...........................48At the Forefront of Folk.................50From the Archives...........................52

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p. 30Care and Feeding Martin's ongoing initiatives

in responsible guitar

making are highlighted,

plus an overview on the

varied neck profiles that

appear throughout the

Martin lineup.

p. 50At the Forefront of Folk Photographer Sherry Rayn

Barnett has covered the

music scene for decades.

Here she shares her timeless

images of the greatest

folk performers of our time

with their Martin guitars

front and center.

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N E W P R O D U C T S

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During a brainstorming session with Fishman Transducers, the industry's acknowledged leader in acousticsound reinforcement, Chris Martin suggested a bold idea to somehow incorporate the greatly prized, "open"tonality of time-aged vintage Martin models into new instruments. Chris's challenge was to perfectly capturethe mystique and tonal emotion of priceless, pristine, and well-aged vintage Martin guitars from thecompany's museum collection. The result of this project offers the most significant advancement in acousticsound reinforcement to date – producing the most accurate and clear amplified tone offered on a grouping ofvintage-inspired superb acoustic guitars.

The four new Retro Series models are the D-45E Retro, HD-28E Retro, D-18E Retro, and OM-28E Retro. Theseinstruments are closely aligned to their obvious historical andlegendary Martin counterparts: the top-of-the-line D-45, theclassic herringbone HD-28, the crystalline-toned D-18, and theversatile OM-28 Orchestra Model. These guitars blendtraditional Vintage Series appointments with modern playabilityenhancements that include Martin's high performance neck taperand the comfortable modified low oval neck profile.

Acoustic instruments have always been a challenge to amplifybecause the envelope of a guitar’s sound occurs in front of the guitarand the player. Accordingly, a guitar's tone is most accuratelycaptured with sophisticated (and typically expensive) microphonesin a highly controlled studio environment. This constraint is ofcourse impractical for guitarists trying to reproduce acoustic tone inan on-stage performance environment.

The Martin and Fishman Retro Guitar Team partnered with Bil VornDick, a Grammy award winning studio producerand acknowledged industry expert in the specific area ofacoustic sound recording. Bil’s priceless collection of vintagemicrophones provided the identical studio dynamics used to

capture virtually all of the recordings in America's vast musicalhistory. Among the priceless vintage microphone brands usedto capture the sonic images were: Neumann, RCA, Altec, AEA, Shure, Sanken, Schoeps, Miktec, AKG, Geffel, Milab,and Telefunken.

Martin's exclusive Fishman F1 Aura+ electronics system is the perfect system for the Retro models. After the carefulrecording of microphonic images from each “donor” guitar,Fishman conditions the recordings utilizing their highlyevolved Aura imaging technology. This modification softwareapplies mathematical algorithms, forcing the amplified soundto replicate the body resonance and behave tonally like thedonor guitar. With this technology, an exacting studioexperience is achieved every time the guitar is plugged in.

Put it all together and these guitars are perfect for anyonewho appreciates the look and sound of vintage Martin guitarsusing newly designed modern playability enhancements withunprecedented onstage plugged-in performance. See, hear, andplay the Retro Series at a participating authorized Martin dealernear you, and please view the Retro demonstration video at:www.martinguitar.com.

The Retro Guitar Project

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Over 175 Years of Guitar Building Excellence

Shown opposite are a small sampling ofthe 22 priceless vintage microphonesused for the Retro tonal image recordings(L-R): AEA 44DX, Altec 639, KU 4 AEA,Neumann U 47, and RCA 77DX.

HD-28E Retro

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D-18 Retro

Let your tone shine through…

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D-45E Retro

Martin's Retro Series represents the most significant advancement of our era in amplified acoustic sound.

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OM-28E Retro

What if it were possible to achievean amplified sound that actually equaledthe acoustic tone of your Martin guitar?


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HD-28E Retro

Natural sound…

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E D I T I O N S

Jeff Tweedy’s musical journey defies easycharacterization. From the pioneering alt-country ofUncle Tupelo and the roots rock of Golden Smog to thefolk-inspired interpretations of Woody Guthrie lyrics,and the ever-evolving rock, soul, pop, and Americanalandscape of Wilco, he ranks among this era’s mostimportant and influential musicians, one whose passionand innovative spirit remains undiminished.

Over the years, Tweedy has put acoustic guitars front andcenter in his music. Now he has put his considerable guitarexperience and expertise into designing his ideal Martin: the00-DB Jeff Tweedy Custom Signature Edition. A truly uniquecreation, the Martin 00-DB Jeff Tweedy Custom SignatureEdition features FSC®-Certified responsible tonewoods,mahogany construction, rare 00-deep body configuration, anddistinctive appointments throughout.

“The shape and the aesthetics are based largely on myfavorite ‘go-to’ Martins that I have been using for years to write and record music,” Jeff Tweedy commented.Designer/luthier/American guitar historian John Woodland,who has worked with Tweedy for years, assisted with the guitar’sdevelopment. “Beginning with a 1930s mahogany Martin, Ihad Jeff play his favorite acoustic guitars and got his reactionsto each,” he recalled. “The specifications for his namesakeMartin are a combination of the elements he liked best, plus afew elements he felt had to be included.”

One of those latter elements are Forest Stewardship Council™(FSC®)-Certified tonewoods. “We really wanted this guitar tobe environmentally friendly, a professional FSC®-Certifiedguitar that looks great and sounds great,” Woodland explained.“It wasn’t an easy request to fulfill, but Martin made it happen.”

The Martin 00-DB Jeff Tweedy Custom Signature Editionfeatures 00 body width and 4 5/8-inch (at the end pin) bodydepth, a full half-inch deeper than the standard 00 (hence theDB – deep body – designation). Top, back, and sides are FSC®-Certified genuine mahogany, and combine with 5/16-inchscalloped FSC®-Certified European spruce top braces for rich,

Musical Journey Inspires00-DB JEFF TWEEDY FSC® CERTIFIED CUSTOM SIGNATURE EDITION

powerful tone. The 1¾-inch (at the nut)modified-V, long-scale (25.4-inch)mortise/tenon neck is carved from FSC®-Certified genuine mahogany. A bone nutand compensated bone saddle enhance theguitar’s clarity and articulation.

Distinctive appointments complement theguitar’s innovative design. The custommahogany burst top – inspired by the burston an early 1930s Martin 0-17 in the MartinMuseum – provides a handsome backdrop to an old-style 18rosette, five-ply black/white top purfling, and faux-tortoise Delmarpickguard. Tortoise-color brown body binding, endpiece, and heelcap subtly accent the body and neck. The headstock features aFSC®-Certified mahogany headplate, old-style gold “C. F. Martin”decal, and Gotoh nickel open geared tuners with butterbeanknobs. The black Richlite fingerboard is inlaid with rare Fodenstyle position markers, and is matched by the rectangular blackRichlite bridge, and black bridge pins and end pin. A polishedgloss finish highlights the instrument’s singular beauty.

Jeff Tweedy is much like his namesake Martin: a musicalmaverick who blends tradition and cutting edge in equalmeasure. An Illinois native, Tweedy joined his first bands while

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still a teenager. He and friend Jay Farrar formed Uncle Tupelo in1987 and the group quickly gained a following for its aggressivestyle of country that soon became known as alt-country. Thegroup’s first album, No Depression, was well received by criticsand the public, as were three subsequent albums.

In 1994, Uncle Tupelo broke up due to differences betweenTweedy and Farrar. Tweedy enlisted the other members ofUncle Tupelo in a new band, Wilco, and recorded the modestlysuccessful A.M. In 1996, bolstered by an expanded lineup andTweedy’s increasingly confident songwriting, the band recordedand released Being There to strong reviews and solid sales.

In 1997, Wilco collaborated with British singer-songwriterBilly Bragg to add music to a treasure trove of unreleasedWoody Guthrie lyrics; the songs were released on two albums,Mermaid Avenue and Mermaid Avenue Vol. II. But Tweedy’sexpanding musical palette came into its own on Wilco’s nexttwo albums, 1999’s Summerteeth and 2002’s Yankee HotelFoxtrot. A critical and commercial success, the latter is

considered one of the greatest albums of the 2000s.In the decade since, Tweedy has moved from strength

to strength. With Wilco, he has toured frequently andrecorded five additional albums, including 2004’s A Ghost isBorn, which received two Grammy Awards including BestAlternative Music Album, 2009’s accessible Wilco (TheAlbum) and last year’s The Whole Love, an expansive,adventurous album that ranks among the band’s best. Inbetween, he has tackled a bunch of side projects:filming a solo concert DVD, recording the soundtrackfor Chelsea Walls, making albums with 7 WorldsCollide and Loose Fur, and producing an album forthe legendary Mavis Staples. He continues to strivemusically and it is impossible to predict where he

will take us next.Delivered in a fitted hardshell case, each

Martin 00-DB Jeff Tweedy Custom Signature Editionguitar bears an interior label personally signed by Jeff

Tweedy and numbered in sequence, plus a FSC® MIXlabel. This custom signature edition guitar will bebuilt for only two years. Left-handed guitars maybe ordered at no additional charge; factory installedelectronics are available as an extra-cost option.Authorized C. F. Martin dealers are acceptingorders for the 00-DB Jeff Tweedy Custom SignatureEdition now, and participating dealers will be listed

on the Martin website: www.martinguitar.com.

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An Actor/Musician’s Passion Inspires an Intriguing Orchestra Model

Is Jeff Daniels an actor who makes music or a musician who acts? Tenyears ago, the question would not have been asked; Jeff Daniels was –and remains – an award-winning film and stage actor. But in the lastdecade, Daniels has taken his passion for music public, with five albumsof impressive, mostly self-penned songs and occasional tours thatdemonstrate in convincing fashion he is every bit as talented behind amicrophone as he is in front of a camera.

E D I T I O N S

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Jeff Daniels’ OM CustomSignature Edition draws itsinspiration from luthier JoeKonkoly’s conversion of a1934 Martin C-2 archtop –very much akin to the C-2archtop owned andplayed by one of Jeff’sacting heroes, James

Cagney (far left).

After 20 years as a closet singer, songwriter, and guitar student,Daniels hit the stage in 2001 for the first time as a musician toplay a fundraiser for the Purple Rose Theatre Company, the non-profit theatre group he founded in Michigan more than a decadeearlier. It also was the year he found his guitar “partner,” a1934 Martin C-2 archtop whose broken top had beenreplaced by luthier Joe Konkoly with an Adirondackspruce top, in effect converting it into an OM. In acurious twist of fate, the guitar is the same model as aMartin that belonged to famed actor James Cagney, with whom Daniels appeared in his first (and Cagney’slast) film, Ragtime. (Details on this story can be found in the July 2011 edition of The Sounding Board atwww.martinguitar.com.)

The 1934 Martin C-2 conversion has been Daniels’ constantcompanion in the studio and on stage ever since. It fits his bluesstyle picking well, complementing his songs – which range fromsly musings on the film business and hilarious vignettes of hishome state of Michigan, to wise insights on life and love – withimpressive balance, richness, and bite. So it is only right that his1934 Martin C-2 conversion be the template for the newestaddition to C. F. Martin’s Custom Signature Series: the MartinOM Jeff Daniels Custom Signature Edition.

A classic OM (000 body, long 25.4-inch scale and 1¾-inchwide – at the nut – fingerboard), the OM Jeff Daniels CustomSignature Edition approximates the tonewoods andappointments of Daniels’ guitar, but with some unique accentssuggested by the man himself. Back and sides are rareMadagascar rosewood, the closest substitute – in appearance andresonance – to the now-endangered Brazilian rosewood. The topis Adirondack spruce, reinforced with ¼-inch scallopedAdirondack spruce bracing. The modified V neckwith long diamond volute is carved fromgenuine mahogany, and the fingerboard andbelly bridge are crafted from black ebony.

Body appointments are traditional OM:Style 28 wood fiber rosette, boldherringbone top purfling, black/whiteback purfling, HD zig zag backstrip,grained ivoroid binding, black/whitepurfling-framed grained ivoroid endpiece,and faux-tortoise pickguard. However,instead of the usual “natural” finish, thetop of the OM Jeff Daniels CustomSignature Edition sports a rare andextraordinarily beautiful 1932 shadedfinish. Also extraordinary are theneck and fingerboard inlays. AMadagascar rosewood headplateprovides the backdrop for aGolden Era style “C. F. Martin”block letter inlay in abalone pearlthat replicates the original versionon the Martin C-2. Special longpattern diamond and square abalone

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pearl position markers on the fingerboard lead to happy/sadtheatrical mask inlays in mother of pearl at the 12th fret,which Daniels says fits an actor’s guitar.

On the music front, he has released five CDs in just eight years. Two of them – Live at the Purple Rose Theatreand Jeff Daniels Live and Unplugged – capture his fresh and funny live concert (“The Ballad of the Buckless Yooper” is a serious ear worm). His most recent release,Keep it Right Here, shows his more serious side, andincludes “When My Fingers Find Your Strings” and“Michigan in Me.” For the past decade, Daniels has tourednationally playing venues such as Virginia's The Barns atWolf Trap, Boston's Club Passim, NYC's Birdland and

City Winery, Chicago's Old Town School of FolkMusic, Denver's Swallow Hill, Austin's Cactus

Cafe, and Latitude 62 in Talkeetna, Alaska.Finishing touches on the OM Jeff Daniels

Custom Signature Edition include Waverly®nickel tuners with butterbean knobs, bone nutand long saddle, and bone bridge and end pins

with black dot inlays. Both the body and neckof this exquisite guitar receive Martin’s beautiful

polished gloss lacquer finish.Delivered in a vintage-inspired Geib style

case, each Martin OM Jeff Daniels CustomSignature Edition guitar bears a distinctive

interior label personally signed by JeffDaniels and numbered in sequence.Left-handed versions of this SignatureEdition guitar may be ordered withoutadditional charge; factory-installedelectronics are available at extra cost.Authorized C. F. Martin dealers willbegin taking orders for the OM JeffDaniels Custom Signature Edition

immediately; participating dealers will be listed on the C. F. Martin website.

www.martinguitar.com.

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E D I T I O N S

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Dierks BentleySHOWS HIS COLORS WITH CUSTOM SIGNATURE EDITION

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Dierks Bentley is an “only in America” success story. In just over a decade, he hasreleased seven albums, had nine No. 1 singles on the country charts, won bothAcademy of Country Music and Country Music Association awards, received eightGrammy Award nominations, and become the youngest performer – at the time – tobe inducted as a member of the Grand Ole Opry. Add that he toured virtually non-stopand wrote – or co-wrote – most of his songs, and we have to wonder if he ever slept!

Vermont, he transferred to Vanderbilt University in Nashville,where he spent his free time experiencing country and bluegrassmusic first-hand at Music City’s many bars and nightclubs.Following college, he worked as a researcher at The NashvilleNetwork, paid his dues performing at local clubs, and honed hissongwriting skills.

Released in 2003, Dierks Bentley, his major label debut, became abest seller (certified Platinum) on the strength of “What Was IThinking,” his first No. 1 single on the country charts. As a result ofthe album’s success, he won both the Academy of Country Music’sTop New Artist Award and the Country Music Association’s HorizonAward. Modern Day Drifter, released two years later, also was certifiedPlatinum and yielded two No. 1 country singles. He went on toperform 300 concerts that year and was on the road so much, hereceived his invitation to become a member of the Grand Ole Oprywhile in Los Angeles!

In 2007, Long Road Alone continued the winning streak,producing four Top 10 country singles, including two chart-toppers:“Every Mile a Memory” and “Free and Easy.” Feel That Fire in 2009produced two more No. 1 hits. 2010’s Up on the Ridge proveddisappointing after his previous successes, but Bentley returned in topform in 2012 with Home, which received glowing reviews, debuted atNo. 1 on the country album chart and thus far has yielded three No.1 country singles: “Am I the Only One,” “Home,” and “5-1-5-0.” Healso kicked off his 2012 Country and Cold Cans tour of Canada,Australia, and the United States in February, with more than 50concerts on the schedule.

Apart from a couple of noteworthy exceptions, classic HD-28 appointments complete the Martin HD Dierks BentleyCustom Signature Edition: black/white back and endpiecepurfling, grained ivoroid body binding, endpiece and heelcap,and Delmar nitrate tortoise colored pickguard. Withamplification in mind, this Custom Signature Edition is fittedwith a compensated, drop-in bone saddle – ideal for installationof an under-saddle pickup. Aging toner on the top, along withbone bridge pins inlaid with faux-tortoise dots, add a bit ofvintage style. Polished gloss nitrocellulose lacquer finish on thebody lets the guitar’s natural beauty shine, while satin finish onthe neck enhances player comfort.

Delivered in a Geib-style vintage hardshell case, each MartinHD Dierks Bentley Custom Signature Edition guitar bears aninterior label personally signed by Dierks Bentley and numberedin sequence. Authorized C. F. Martin dealers will begin takingorders for the open-ended HD Dierks Bentley Custom SignatureEdition immediately. Left-handed instruments may be ordered atno extra charge, and factory-installed electronics are an extra-costoption. As orders are received, participating C. F. Martin dealerswill be listed on the Martin website: www.martinguitar.com.

For nearly his entirecareer, Bentley’s acoustic ofchoice – in the studio andon the road – has been a1980s Martin D-28. In fact,he has worn a hole throughthe top below the bridgefrom playing it so often and so hard. So when askedto design a namesake

C. F. Martin Custom Signature Edition, he answered with anenthusiastic “yes!” “I bought my D-28 years ago because so many ofmy heroes played Martins,” he explained. “I never would havethought that I’d be working with Martin one day to design my ownsignature model. It’s still pretty unreal – definitely something I cancheck off my bucket list!”

Not surprisingly, Bentley used his beloved D-28 as the startingpoint for his signature Martin, but requested several uniqueelements – both in construction and in appointments – to make hisnamesake guitar a truly personal instrument. Great sounding andgreat looking, the Martin HD Dierks Bentley Custom SignatureEdition is the guitar he envisioned.

The HD Dierks Bentley Custom Signature Edition’s solidtonewoods are classic, top-drawer Martin: Adirondack sprucetop, East Indian rosewood back and sides, genuine mahoganyneck, and black ebony fingerboard and belly bridge. However,the build is unique. Bentley wanted his namesake guitar to sound“big and punchy, right out of the box.” To achieve powerful tone,Martin takes advantage of the intrinsic stiffness of Adirondackspruce by combining a slightly thinner-than-standard top withGolden Era-style scalloped 5/16-inch Adirondack spruce topbraces. The inclusion of East Indian rosewood side braces alsocontributes to this guitar’s impressive projection.

Bentley takes pride in his country and his roots, and both areshowcased in the guitar’s appointments. Unique bold red, white,and blue herringbone encircles the top and bisects the back,and the same colorful herringbone serves as the center ring inthe Style 28 rosette. The 1 11/16-inch (at the nut) Modified Vneck with long diamond volute features a Madagascar rosewoodheadplate, the familiar gold old-style “C. F. Martin & Co.”decal, premium nickel Waverly® tuners with butterbean knobsand small mother-of-pearl dot position markers on thefingerboard, except at the 12th fret, where a handsome inlay ofthe phoenix – replicated from a design Bentley provided – paystribute to his hometown of Phoenix, Arizona.

Dierks Bentley began playing guitar in his early teens, butdidn’t gravitate to country music until three years later, when aHank Williams, Jr. song hit home. After a year of college in

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The 2012 Martin Performing Artist Series Guitars – Improved. Making great performing guitars sound – and play – even better.

In January of 2010, Martin introduced what some critics heralded as the "ultimate" guitars for player comfort, playability, and tonal performance – The Martin Performing Artist "PA" Series.

But if you know Martin, you know we don't put much credence in anything tagged "ultimate" because it implies that it can't be improved. And we've spent the last 180 years proving that anything that's worth improving can be improved.

Our new and improved PA Series guitars for 2012 are a beautiful example – better sounding and more versatile than ever.

Offered in Dreadnought Cutaway, Grand PerformanceCutaway and Orchestra Model Cutaway styles, each PA guitaris equipped with state-of-the-art Fishman F1 Aura + orFishman F1 Analog onboard electronics. They sound likevintage Martins right out of the box – big, booming bass, clear-as-a-bell trebles, articulate mid-range.

Or they can sound any way you like. The Fishman F1 Aura +offers an astonishing range of tonal variety and sound coloring,including replicating the sound of nine different world-classstudio microphones. We think it's the most realistic acoustic"studio sound" we've ever heard.

Now some players just want to plug in and play, withoutadjusting or fine-tuning the electronics. But at the same time,they still want all the sophisticated "do it yourself"programming options.

No problem. With the PA Series advanced Fishman F1 Aura + it's possible to have it both ways. The "Easy Mode"offers three custom-blended Aura image presets, tone control, and the option of using the under-saddle pickup only. The"Performance Mode" gives you access to powerful three-bandEQs, phase control, volume and blend controls, compressorand automatic anti-feedback, and more. Tonally, virtuallyanything is possible. It really is the best of both worlds.


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GPCPA1 Plus

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PA1N E W P R O D U C T S

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OMCPA1 Plus

DCPA1 Plus

GPCPA1 Plus

This year's improved PA1 models are all equipped with the Fishman F1 Aura + system.

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PA2

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GPCPA2Mahogany

Included in this year’s newly improved Performing Artist Series is the GPCPA2 Mahogany FSC® Certified Wood model, fully

equipped with the Fishman® F1 Aura® + onboard pickup system.

Available only in the Grand Performancecutaway body shape, the GPCPA2 Mahoganymodel is constructed with FSC® certifiedtonewoods harvested from responsibly managedforests. The GPCPA2 Mahogany features solid certified mahogany back, sides, and neck and a solid certified European spruce soundboard.This stunning stage guitar is enhanced withtortoise-colored rosette and back purfling, style28 Corian® dot fingerboard inlays and a full

gloss-lacquered finish.

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Feature for feature, this highly enhanced GrandPerformance 14-fret cutaway beats any comparableguitar, by any maker, in its price class.

Check it out: A solid Sapele wood body andSitka spruce top with hybrid "X" scallopedbracing are joined with a slim, fast, and verycomfortable Performing Artist Profile neck.Then we add distinctive Performance Artistappointments including white binding, uniquetwo ring rosette, curved Delmar™ Tortoise colorpickguard, Richlite fingerboard, chrome enclosedtuners, and, as an even further upgrade,advanced state-of-the-art Fishman F1 Aura Plus

electronics. Hard case included, of course.This combination of skilled workmanship

and premium features are usually foundonly in much higher-priced guitars.

But they're all here in theaffordable new GPCPA3

Sapele. It's not just moreguitar for the money. It's

more guitar, period!

GPCPA3Sapele


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The PA4 models are totally new, featuring all solid rosewood construction. All are equipped with Fishman F1 Analog electronics.

PA4

OMCPA4 Rosewood

DCPA4 Rosewood

GPCPA4 Rosewood

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GPC12PA4

Finally. A big Grand Performance Cutaway 12-string boomer at a highly affordable price.

Back and sides are crafted of solid sapele, close cousin of mahogany in tone and appearance, and solid Sitka spruce top and bracing. This finely crafted instrument has a loud bark, clear and articulate voice, slim and fast action 14-fret neck, and comes equipped with Fishman F1

Analog on-board electronics. Ready to plug-in and play. Beautifully detailed with distinctive Performing Artist appointments, including polished Delmar™ tortoise PA pickguard, chrome enclosed tuners and much more. Hard case included.

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The D-42 Sinker Mahogany is, by far, one of the mostextraordinary Martin guitars offered in our NAMMShow Special Series of limited edition guitars.

Its back and sides are crafted of old-growth Belize mahoganysalvaged from logs submerged in Belizean rivers for over 100

years. Their history is fascinating. During the 19thCentury, the British exported vast amounts of Belize

mahogany using the Belizean rivers to transport thelogs. Some of the denser mahogany logs sunk to the river bottom, and have only recently beenrecovered. The same density that caused these logs to sink makes them excellent tonewood forguitar building – highly sound reflective, tightgrain, and beautiful under finish. Based on D-42“Golden Era” specifications and appointments,the Sinker guitar features a premium Adirondackspruce top and scalloped Adirondack 5/16"bracing assembled with traditional hide glue. The top and rosette are inlaid with colorfulgreen paua pearl (with mitered corners) andbound with Madagascar rosewood, as is the

back binding, endpiece, fingerboard binding,headstock, and heelcap. The headplate,

also Madagascar rosewood, is inlaid withan alternate "Torch" pattern of select

abalone pearl. Ebony is used for thefingerboard and bridge. Gold

engraved tuners. Only 15 of these magnificent guitars

will be offered to dealers in attendance at the Summer Nashville NAMM trade show.

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D-42 SinkerMahogany

Electronics are optional onthe D-42 Sinker Mahogany.

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American PickersMike Wolfe and Danielle Colby Cushman of the showAmerican Pickers recently paid a visit to Tim Echols, GeneralManager of Lynchburg Music Center. They brought in a 1935(or 1936) R18 Archtop Martin Guitar to be appraised.

“I've been selling Martins for 32 years, so I thought it a greathonor and privilege to be able to appraise this for the show.Frank Fritz (co-star of American Pickers) called me last Augustwhile I was on vacation in Swansboro about taping this. At first,I thought it was one of my co-workers pulling a prank on me,but realized very shortly in the conversation that this was Frank,one of the pickers from the show.

“We are grateful to Martin and our rep, Dan Gulino, as well as all the great people at Martin, to have the privilege to beselling the best guitars made. I own a D-28 Madagascar Marquisand an OMJM.”

The show airs on The History Channel, and is nowsyndicated on Lifetime (reruns).

M A R T I N S T O R I E S

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JUSTUS RocksAfter Jenny Stamper received her Martin GPCPA1 PerformingArtist Series guitar as a birthday gift, she had to introduce it toher favorite spot back home in Knott County, Kentucky. “Iknew the beautiful ring from this guitar would echo like noother across the mountaintops,” Jenny says. “The pairing of theMartin guitar and the Fishman F1 Aura pickup is magnificent.This guitar provides tremendous versatility when on stage,performing with my acoustic duo known as JUSTUS, or when Iam in my studio writing.”

JUSTUS combines the talents of Jenny Stamper and TishJohnson, whose distinct personalities and songwriting stylesproduce a variety of country, classic rock, and folk music. Jennycomplements the show with her raspy, bluesy, southern voicethat will leave you begging for more, while Tish Johnson addsbalance with aggressive chording, perfect dynamics, and smoothtransition. Together, the women deliver an unforgettableexperience, moving fans with phenomenal vocals, harmonies,and heartfelt performances.

JUSTUS’ title track from their 2010 album, Diamonds on theWater, combines spiritual lyrics with unconventional powerchords to create a picture many fans can connect with. They

In Memory of Earl Scruggs (January 6, 1924 – March 28, 2012)We are saddened by the passing of banjo pioneer EarlScruggs on March 28, 2012. His three-finger rolls blendedperfectly with Lester Flatt’s rhythm on that famous MartinD-28. Their playing brought bluegrass music into thelimelight. Thank you, Earl! Thank you, Lester!

strive to add a message of hope in performing at non-profitnationwide fund raisers for agencies such as Make a WishFoundation, American Cancer Society, and AIDS Research, toname a few.

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Greenback Dollar: The Incredible Rise of The Kingston Trio by William J. BushAt the height of their popularity, the Kingston Trio was arguably the most popular vocal group in theworld, having single-handedly ushered in the folk music boom of the late ’50s and early ’60s. Theirmeteoric rise quite literally paved the way for Bob Dylan, Joan Baez, Peter, Paul & Mary, and the manyacts that followed in their wake. With the release of their version of “Tom Dooley” in the fall of 1958, theKingston Trio changed American popular music forever, inspiring legions of young listeners to pickup guitars and banjos and join together in hootenannies and sing-alongs.

Through interviews with Trio members, their families, and associates, William J. Bushpaints a detailed portrait of the Trio's formative early years and sudden popular success, theirinnovations in recording technology, pioneering of the college concert and intensive tour schedule,their impact on and response to the ’60s protest movement, the first break-up of the Trio withDave Guard’s departure, and its re-formation with John Stewart.

William J. Bush is an advertising writer, music journalist, photographer, and perennialstudent of Martin guitars, Buddy Holly, and the Kingston Trio. His articles have been featured

in Guitar Player, Frets, Acoustic Guitar, Flatpicking Guitar, The Sounding Board, Pennsylvania Heritage, TheGuitar Player Book (Grove Press), and Artists Of American Folk Music (Quill Books). He has also written linernotes for EMI/Capitol Records, Folk Era Records, Bear Family Records, and Shout! Factory (Sony). Hisphotography of rock legend Dion DiMucci has been featured in New York Magazine and the cover of Dion’s2006 Grammy-nominated blues CD, Bronx In Blue.

Evaluating ToneAs a musician, you probably have a personal way to evaluate the tone of an acousticguitar. Perhaps you have a special musical piece you prefer to play. Maybe you bringa friend so they can play for you. There may be special qualities you seek, such asa strong bass response or a certain amount of sustain beyond the 12th fret. Justas an artist would describe a painting, you might use words such as articulate,colorful, complex, glassine, resonant, crystalline, thick, balanced, open,crisp, or delicate to characterize the tones that attract you to aninstrument. Rarely would you hear musicians in a music storeuse words like mode, impedance, or Helmholtz resonancewhen describing some of the attributes that reflect the tonal response of an instrument. However, theseare just some of the qualities that are measured when we perform a scientific sound test. Our R&D technicians perform sound tests every time we make a substantial change in our manufacturingprocess, evaluate a new material, or test new modelsand designs.

Modal analysis is just one way we scientifically evaluatesound. Modal analysis is the study of the dynamic propertiesof a structure under vibrational excitation. It sounds deep, andit is. A modal analysis consists of tapping the instrument with aninstrumented hammer close to 700 times. The vibration is measuredwith accelerometers similar to soundboard pickups in a fixed position. Theresult is a calculation of the exact location and frequency the guitar will vibrate and radiate soundnaturally. The modes are the fundamental building blocks of the overall sound quality in a guitar.

It is true that guitars of the same model will sound slightly different from one another. This isdue to the elasticity of the components and the moisture content. Both can change the frequencyor pitch of the mode and the location that will radiate sound. That’s why your guitar soundsdifferent on a humid day. The ultimate goal of using this method of testing is not to make everyguitar sound the same but instead find the range of variation and learn how to control it. After all,it’s ultimately all about tone!

Modal analysis software cangraphicly represent the naturalvibrations and frequencies of aninstrument and give us cluesabout how to control the toneof a guitar.

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M A R T I N S T O R I E S

Tommy EmmanuelTommy Emmanuel is touring extensively in 2012, and has been playing four songsin his set on his little all mahogany 1935 00-17 Martin, including a polka. Duringconcerts, he enjoys telling audiences the story about how he acquired the guitar.

Several years back, the 00-17 was hanging at Gruhn Guitars in Nashville, alongwith two other Martins. Chet Atkins and Tommy were in town, staying at Chet'shouse while they worked on their album The Day Finger Pickers Took Over TheWorld. Tommy said he had a new daughter, very little money, and not much work atthe time. He mentioned to Chet how well the Martin played and sounded.

After a studio session, he came back to Chet's house and the guitar was laying on his bed – a very special gift from a very

special friend!

From the HimalayasMike Lee’s been a Martin fan ever since he first picked up a guitar.He lives in Darjeeling, India, where he is a consultant specializing insport development for the eastern Himalayas. With the help of hiswife, Julie, he also provides housing and food for ten young studentsfrom remote villages.

Somehow, Mike finds time to help lead hymns and choruses at alocal church. In an area with unreliable electricity, he needs a guitarthat not only projects well without amplification, but also can handlethe cold and humidity. He was relieved to discover Martin’s X-Seriesguitars, made with high pressure laminates that can stand up toweather extremes. He’s extremely happy with the sound, the action,and the looks of the guitar; his original songs, especially the famous(locally, anyway) Ema-Datsi Blues, also known as “The Chili-PepperSong,” sound great on this guitar. Most of the local folks have neverseen a Martin before, but they are definitely impressed by how greatthey sound.

Mike is playing his DX1, with Mt. Kangchenjunga, the third highestmountain in the world, over his left shoulder.

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“Tommy’s Choice” is MartinFX740 strings.

Virtuoso fingerstyle guitarist Tommy Emmanuel in Vince Hockey'srepair shop in the UK playing his freshly revitalized 1935 00-17 thathe used on a tour playing gypsy jazz with the great StocheloRosenberg in March of 2012. Jamming with Tommy is Chris White,noted gypsy jazz rhythm guitarist.

24

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F E AT U R E

26

Since 1833, Martin guitars have been in the hands of the most unassuming of mu-sicians – people whose music came alive in the comfort of the living room orunder a lonely tree or through a lullaby sung softly at a child’s bedside.

Martins have also been the instruments of genius. They have been played by musical pioneers,the most famous and influential musicians of their time. A lot of Martin guitars have been created over the last one hundred seventy-some years. Awhole lot. More than a million and a half in fact. They’ve been made from different woods in dif-ferent colors. Different shapes. Different sizes. Some are extraordinarily embellished. Others areperfectly simple. People purchase Martin guitars because of quality and craftsmanship or because they know –they’ve always known – that Martins represent the gold standard in guitars. Others seek a particu-lar sound, a particular feel. No matter what. No matter why. No matter who. Even no matter when… Martin guitars arepart of the American story, the evolution of American music.

Visualizing the Music“People pick up a Martin guitar and love the way it sounds,” said Scott Byers, principal of Spark, aBethlehem, Pennsylvania-based marketing, advertising, and public relations firm. “But those peo-ple may not realize the role this guitar and the Martin company have played in American music.Everything goes back to these simple roots, and Martin has been there all the way.” Byers and his Spark colleague, principal and art director Denis Aumiller, are the co-creators of“179 Years of American Music History,” a chart [pictured under fold-out] that attempts to visualizethe intertwined paths of American music and the Martin guitar since C. F. Martin & Companywas established in 1833. While developing the chart, Byers and Aumiller consulted with local

BY SUSAN J. BURLINGAME, FREELANCE WRITER, MARTIN GUITAR PLAYER

Connections Upon Connections

M A R T I Nand the Evolution of

A M E R I C A NM U S I C

Connections Upon Connections: Martin and theEvolution of American Music continues

Joan Baez

Elizabeth Cotten Robbie Robertson

Merle Travis

Paul Simon

John Mayer

Johnny Cash

27 25

On Broadway! Martin guitars and strings are greatly honored to be taking cen-ter stage on the new Broadway show, Once. The acclaimed musical is based upon the 2007 Academy Award®-winning film of the same name. In addition to rave reviewsfrom critics, the musical received an unprecedented eight Tony Awards, including Best Musical. The show opened on March 19, 2012, and throughout itsrun at the Bernard B. Jacobs Theatre, Martin guitars and strings have been exclusively featured in the production. Martin instruments were also used on the original Broadwaycast album, released by Masterworks Broadway, a label of Sony Masterworks. According to a review in Vogue Magazine, “[Once] woos itsaudience through a heartfelt unfolding of quietly felt scenes andacoustic music.” And to do this, there is no better instrumentthan a Martin guitar. You can also find Martin guitars, ukuleles, and strings inother Broadway productions, including the current productionsof Godspell and Evita.

“The Weight” D-28Robbie Robertson wrote the folk song, “The Weight”(using the guitar shown below), about a traveler who ar-rives in Nazareth, Pennsylvania. Once there, he encoun-ters various residents of the town, the song being a storyof these encounters. On August 17, 1969, The Bandplayed “The Weight” as the 10th song in their set atWoodstock. Robbie Robertson and Eric Clapton used Robbie’sprecious 1928 Vintage 12-fret 000-45 “gut-string" gui-tar in the recording of Robbie's recent CD, How to Be-come Clairvoyant. The guitar sounded so good that weare considering the possibility of creating a close replicaof that instrument for a future Custom Signature Edi-tion. More to follow!

Martin Factory on Display The architecture of our landmark building on North Streetin Nazareth, PA, coupled with the legacy of Martin Guitarsinspired Jean M. Perez to paint the work pictured above, en-titled “C. F. Martin Co. Inc.” A retired elementary schoolteacher from Bethlehem Area School District, Perez saysmusic and art have played an integral role in her life. Whilecreating the painting of the historic Martin Factory shefondly recalled a memorable factory tour she took someyears ago, as well as the countless musicians in her family,including a nephew who plays guitar. In 2010, her solo exhibition at Nazareth Center for theArts showcased, among other things, her painting of theNorth Street factory. More recently (through Jan. 2012), the painting was on exhibit at the Rotunda Gallery at Beth-lehem City Hall in Bethlehem, PA. Perhaps one day it will pay a visit to the Martin Museum! Jean continues to create paintings of historical sites inNazareth, Bethlehem, Allentown, and the surrounding com-munities, as well as nature scenes.

28

Logging On John Schmidt of Nebraska is a proud Martin guitarowner. He has taken his pas-sion for guitars and artistryto a higher level by handcarving this goliath D-45 sculpture from a solidmaple log. The guitar is ap-proximately twice actual size,executed in a single piece,and hand painted. It weighsclose to 300 pounds andstands 87 inches tall. We’renot sure about the tone, butthe craftsmanship is impec-cable!

M A R T I N I N S P I R E D

Martin History Through a Young MindJames Briand, a young guitarist and a student at NorthbridgeMiddle School in Northbridge, MA, won second prize for hisresearch project on C. F. Martin & Co., As a part of his school’s5th Grade Interest Fair, he gathered information on Martin his-tory, guitar building, and even built a scale model of the NorthStreet factory facade that graces the front of our building. He re-searched this architectural feature on a visit to our Nazareth fa-cility, where he was given a detailed tour by customer servicerepresentative Leslie Mammele. James has been studying the guitar for four years, taking les-sons on his Little Martin LXM with instructor (and Martinplayer) Alan Donati. “It was not too long after his first few les-sons that we realized James was quite a guitar player,” says his mother, Donna Briand. “He makes it look so easy.” You can see the model that James built for his award-winningproject in the Music History, Martin History section of theMartin Museum, surrounded by a star-studded line-up of pro-totype instruments – the perfect place for a masterpiece!

America’s guitar With excitement, guitarist TonyPhillips revealed the newly pol-ished headstock of his MartinCustom CS-21S 12-fret Dread-nought (based on the CS-21-11specs, but with a 12-fret Dread-nought body size). It had justbeen buffed up to a high-glossfinish at the factory, and he hadset his case down on the chairsnext to the flags inside the en-trance to take a look. He openedhis case up and got a very pleasantsurprise when he looked at the ac-cidental but meaningful reflectionon the headstock!

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F E AT U R E

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Joan Baez


Merle Travis

Paul Simon

John Mayer

Johnny Cash

27 25




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F E AT U R E

26









Joan Baez


Merle Travis

Paul Simon

John Mayer

Johnny Cash

27 25




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Inseparable: Martin and American MusicMadame Delores N. De Goñi, a famous guitar player who cameto the U.S. from Spain in 1840, approached C. F. Martin to create a guitar for her. After entertaining the professional soloistat his home, Martin created the first Size 1 model and the earliest X-braced guitar ever documented. De Goñi subsequently pronounced Martin guitars to be “superior to anyinstruments of the kind [she had] ever seen in this country orEurope for tone, workmanship, and facility of execution.” “The same is true of [Missouri-born guitar virtuoso] WilliamFoden and Jimmie Rodgers,” explained Boak, who was quick toadd that “the music always came first. These artists knew whatsound they wanted to create for the kind of music they wantedto make and said ‘build me a guitar.’” Still others, famous others, Boak said, “voluntarily” playedMartins “simply because of Martin’s reputation for tone andquality. These people gravitated toward the woods and shapesthat spoke to them.” While Robert Johnson is not known for playing Martin guitars, there is little argument that he embodied the blues andinfluenced generations of blues artists whether they went thepath of Chicago rhythm and blues, electric blues, acoustic blues,or some hybrid of the different styles.

“African-American music followed acertain trajectory, and Europeanmusic followed a certain trajectory,”Aumiller said. “It all came together inrock and roll under Elvis Presley.”

Continued from page 26

music icon Dave Fry, founder of Godfrey Daniels Coffeehousemusic icon Dave Fry, founder of Godfrey Daniels Coffeehousein Bethlehem, Pennsylvania, as well as Dick Boak, director ofin Bethlehem, Pennsylvania, as well as Dick Boak, director ofMartin’s Museum and Archives.Martin’s Museum and Archives. Though Spark originally created the chart to help pitch an Though Spark originally created the chart to help pitch anadvertising idea, Aumiller says it took on a life of its own. advertising idea, Aumiller says it took on a life of its own. “This chart was an attempt to visualize what Martin has meant“This chart was an attempt to visualize what Martin has meantto the American psyche; it was our way of illustrating whatto the American psyche; it was our way of illustrating whatMartin Guitar means to American music,” he said. “We soon re-Martin Guitar means to American music,” he said. “We soon re-alized that when you are talking about one, you are talkingalized that when you are talking about one, you are talkingabout the other.”about the other.” The chart begins with what the creative team felt were the The chart begins with what the creative team felt were thetwo main influences of today’s American (guitar) music: Ap-two main influences of today’s American (guitar) music: Ap-palachian folk music, which evolved from Ireland, England, andpalachian folk music, which evolved from Ireland, England, andGermany; and the blues, which evolved from African-AmericanGermany; and the blues, which evolved from African-Americanwork songs and gospel. An overwhelming amount work songs and gospel. An overwhelming amount of American music – from bluegrass to country rock and fromof American music – from bluegrass to country rock and fromcontemporary rock to contemporary blues – can be traced backcontemporary rock to contemporary blues – can be traced backto these two roots, though the chart’s authors acknowledge thatto these two roots, though the chart’s authors acknowledge thatAmerican music and its history will never be cut and dried. American music and its history will never be cut and dried. “We envisioned two rivers [European and African-American]“We envisioned two rivers [European and African-American]and how they flowed into a delta with dozens of tributaries,”and how they flowed into a delta with dozens of tributaries,”Aumiller said. “But we know the story is always subject Aumiller said. “But we know the story is always subject to interpretation.”to interpretation.” Already modified from its original version, the chart will Already modified from its original version, the chart willprobably always be a work in progress, Aumiller explained. “Theprobably always be a work in progress, Aumiller explained. “Thechart is the result of several months of concentrated researchchart is the result of several months of concentrated researchand many dozens of hours of discussion – and disagreement. Weand many dozens of hours of discussion – and disagreement. Weactually hope it will stimulate intense dialog and that peopleactually hope it will stimulate intense dialog and that peoplewill want to modify it and add artists and create new pathways.will want to modify it and add artists and create new pathways.The bottom line is that while Scott and I had a general The bottom line is that while Scott and I had a general understanding of the importance of Martin Guitar, we didn’t understanding of the importance of Martin Guitar, we didn’t realize how powerfully connected they were to every facet ofrealize how powerfully connected they were to every facet ofAmerican music.”American music.” “Few people do,” added Byers. “When you look at the chart “Few people do,” added Byers. “When you look at the chartand you look at all of the musicians who have used Martins, itand you look at all of the musicians who have used Martins, itkind of blows you away.” kind of blows you away.”

Part of the beauty of the chart lies in how it not onlyshows how representative musicians from each genre influenced future generations, but also how the two maintypes of American guitar music converged in perhaps themost famous Martin guitarist of them all, Elvis Presley. “African-American music followed a certain trajectory,and European music followed a certain trajectory,” Aumiller said. “It all came together in rock and roll under Elvis Presley.” “For us, the chart really represents the fact that with all these musicians and with all the time that has passed, it’s always been Martin too,” said Byers. “It’s the overlaying ofMartin on all of American music. I mean, Woody Guthrieplayed a Martin. Jimmie Rodgers played Martins. HankWilliams played Martins.” Scores of contemporary Martin players, those whosenames are depicted on the chart and many, many others, are part of the ongoing story. “Music is one way society represents its history,” Byers said. “Tomorrow’s artists will be part of the American story, the continuum of the music. The chart is about connections upon connectionsupon connections.” “When I first saw the chart, I thought it was fantastic,”Boak concurred. “It struck me as something that – with afew English artists thrown in – succinctly captured the evolution of American music.” Boak said the chart payshomage to the music and in doing so accomplishes something C. F. Martin & Company truly values: “First, wewant people to be fascinated by the evolution of Americanmusic. Second, we hope people will appreciate Martin’s position and place and influence for all of these years.” And Martin, of course, shows no signs of stagnation. C. F. Martin & Company introduces many new guitar models each year. American music will continue to evolve.And Martin guitars will continue to be part of the story.

WORKSONGS

GOSPEL

ROCK ‘N ROLL

CONTEMPORARY ROCKCONTEMPORARY ROCK

FOLK ROCK

SINGER/SONGWRITERSINGER/SONGWRITER

CONTEMPORARY BLUES

CONTEMPORARY BLUES

BLUES

FOLKFOLK

RAY CHARLES

ROBERT JOHNSON

BONNIE RAITT

THE BYRDS

PORTER WAGONER

DOLLYPARTON

GENE AUTRY

ELIZABETH COTTENLEAD BELLY STEFAN GROSSMAN

ERIC JOHNSONRORY GALLAGHER

KENNY SULTANDUCK BAKERJOHN MARTYN

LAURENCE JUBER

JOHN RENBOURN

KEB’ MO’RORY BLOCK

BUDDY GUY

JAMES VALENTINE (MAROON 5)

TRACY CHAPMAN

ERIC CLAPTONROLLING STONES

BEATLES STEVE MILLER

JIMMY RODGERS

CARTER FAMILY

WOODY GUTHRIEBOBDYLAN

CSN&Y

ROBBIE ROBERTSON

DAVID GRAY

PAUL SIMON

DON MCLEAN MARTIN CARTHY

WILLIE NELSONGEORGE JONES

STEVE EARLELINDA RONSTADT

DIERKS BENTLEY

MUMFORD AND SONS

TRAVIS TRITT

MARTY STUARTROSANNE CASH

MERLE HAGGARD

KITTY WELLSJOHNNY CASH

ROY ROGERS

FLATT AND SCRUGGS

BILL MONROE DOC WATSON

DEL MCCOURY

MERLE TRAVIS

JORMA KAUKONEN

TONY RICE TIM O’BRIENNORMAN BLAKE

CLARENCE WHITE

PETER ROWAN

JERRY GARCIA

HANK WILLIAMSTHE AVETT BROS

BECKJOHN MELLENCAMP

ARLO GUTHRIE

MARK KNOPFLER

JIMMY BUFFETT

TOM PETTY

TOM PAXTON

JOAN BAEZJUDY COLLINS

JIM CROCEINDIGO GIRLS

SHAWN COLVIN

PETE SEEGER

ELVIS PRESLEY

MUDDY WATERS

GRATEFUL DEADLED ZEPPELIN TREY ANASTASIO

JOHN PRINE

DAVID BROMBERG

JOHN MAYER

BEN HARPER

KENNY WAYNE SHEPHERD

DAN TYMINSKI

MICHAEL HEDGESWOODY MANN

BRAD PAISLEY

LOUDON WAINWRIGHT IIIBUFFALO SPRINGFIELD

PANIC AT THE DISCO

WILLIAM FODEN

DOLORESDE GONI

PETER, PAUL & MARY

KINGSTON TRIO

DION

BIG BILL BROONZY

HONEYBOY EDWARDS

WILCO

DAVEY GRAHAM

LONNIE DONEGAN

English Roots

African American

European Roots

BROWNIE MCGHEE

IAN ANDERSON

JEFF TWEEDY

JONI MITCHELL

179 YEARS

Woody Guthrie Hank Williams Kitty Wells Gene Autry Kingston TrioWoody Guthrie Hank Williams Kitty Wells Gene Autry Kingston Trio Brownie McGheeBrownie McGhee

1833 PRESENT


Inseparable: Martin and American MusicMadame Delores N. De Goñi, a famous guitar player who cameto the U.S. from Spain in 1840, approached C. F. Martin to create a guitar for her. After entertaining the professional soloistat his home, Martin created the first Size 1 model and the earliest X-braced guitar ever documented. De Goñi subsequently pronounced Martin guitars to be “superior to anyinstruments of the kind [she had] ever seen in this country orEurope for tone, workmanship, and facility of execution.” “The same is true of [Missouri-born guitar virtuoso] WilliamFoden and Jimmie Rodgers,” explained Boak, who was quick toadd that “the music always came first. These artists knew whatsound they wanted to create for the kind of music they wantedto make and said ‘build me a guitar.’” Still others, famous others, Boak said, “voluntarily” playedMartins “simply because of Martin’s reputation for tone andquality. These people gravitated toward the woods and shapesthat spoke to them.” While Robert Johnson is not known for playing Martin guitars, there is little argument that he embodied the blues andinfluenced generations of blues artists whether they went thepath of Chicago rhythm and blues, electric blues, acoustic blues,or some hybrid of the different styles.

“African-American music followed acertain trajectory, and Europeanmusic followed a certain trajectory,”Aumiller said. “It all came together inrock and roll under Elvis Presley.”

Continued from page 26

music icon Dave Fry, founder of Godfrey Daniels Coffeehousemusic icon Dave Fry, founder of Godfrey Daniels Coffeehousein Bethlehem, Pennsylvania, as well as Dick Boak, director ofin Bethlehem, Pennsylvania, as well as Dick Boak, director ofMartin’s Museum and Archives.Martin’s Museum and Archives. Though Spark originally created the chart to help pitch an Though Spark originally created the chart to help pitch anadvertising idea, Aumiller says it took on a life of its own. advertising idea, Aumiller says it took on a life of its own. “This chart was an attempt to visualize what Martin has meant“This chart was an attempt to visualize what Martin has meantto the American psyche; it was our way of illustrating whatto the American psyche; it was our way of illustrating whatMartin Guitar means to American music,” he said. “We soon re-Martin Guitar means to American music,” he said. “We soon re-alized that when you are talking about one, you are talkingalized that when you are talking about one, you are talkingabout the other.”about the other.” The chart begins with what the creative team felt were the The chart begins with what the creative team felt were thetwo main influences of today’s American (guitar) music: Ap-two main influences of today’s American (guitar) music: Ap-palachian folk music, which evolved from Ireland, England, andpalachian folk music, which evolved from Ireland, England, andGermany; and the blues, which evolved from African-AmericanGermany; and the blues, which evolved from African-Americanwork songs and gospel. An overwhelming amount work songs and gospel. An overwhelming amount of American music – from bluegrass to country rock and fromof American music – from bluegrass to country rock and fromcontemporary rock to contemporary blues – can be traced backcontemporary rock to contemporary blues – can be traced backto these two roots, though the chart’s authors acknowledge thatto these two roots, though the chart’s authors acknowledge thatAmerican music and its history will never be cut and dried. American music and its history will never be cut and dried. “We envisioned two rivers [European and African-American]“We envisioned two rivers [European and African-American]and how they flowed into a delta with dozens of tributaries,”and how they flowed into a delta with dozens of tributaries,”Aumiller said. “But we know the story is always subject Aumiller said. “But we know the story is always subject to interpretation.”to interpretation.” Already modified from its original version, the chart will Already modified from its original version, the chart willprobably always be a work in progress, Aumiller explained. “Theprobably always be a work in progress, Aumiller explained. “Thechart is the result of several months of concentrated researchchart is the result of several months of concentrated researchand many dozens of hours of discussion – and disagreement. Weand many dozens of hours of discussion – and disagreement. Weactually hope it will stimulate intense dialog and that peopleactually hope it will stimulate intense dialog and that peoplewill want to modify it and add artists and create new pathways.will want to modify it and add artists and create new pathways.The bottom line is that while Scott and I had a general The bottom line is that while Scott and I had a general understanding of the importance of Martin Guitar, we didn’t understanding of the importance of Martin Guitar, we didn’t realize how powerfully connected they were to every facet ofrealize how powerfully connected they were to every facet ofAmerican music.”American music.” “Few people do,” added Byers. “When you look at the chart “Few people do,” added Byers. “When you look at the chartand you look at all of the musicians who have used Martins, itand you look at all of the musicians who have used Martins, itkind of blows you away.” kind of blows you away.”

Part of the beauty of the chart lies in how it not onlyshows how representative musicians from each genre influenced future generations, but also how the two maintypes of American guitar music converged in perhaps themost famous Martin guitarist of them all, Elvis Presley. “African-American music followed a certain trajectory,and European music followed a certain trajectory,” Aumiller said. “It all came together in rock and roll under Elvis Presley.” “For us, the chart really represents the fact that with all these musicians and with all the time that has passed, it’s always been Martin too,” said Byers. “It’s the overlaying ofMartin on all of American music. I mean, Woody Guthrieplayed a Martin. Jimmie Rodgers played Martins. HankWilliams played Martins.” Scores of contemporary Martin players, those whosenames are depicted on the chart and many, many others, are part of the ongoing story. “Music is one way society represents its history,” Byers said. “Tomorrow’s artists will be part of the American story, the continuum of the music. The chart is about connections upon connectionsupon connections.” “When I first saw the chart, I thought it was fantastic,”Boak concurred. “It struck me as something that – with afew English artists thrown in – succinctly captured the evolution of American music.” Boak said the chart payshomage to the music and in doing so accomplishes something C. F. Martin & Company truly values: “First, wewant people to be fascinated by the evolution of Americanmusic. Second, we hope people will appreciate Martin’s position and place and influence for all of these years.” And Martin, of course, shows no signs of stagnation. C. F. Martin & Company introduces many new guitar models each year. American music will continue to evolve.And Martin guitars will continue to be part of the story.

WORKSONGS

GOSPEL

ROCK ‘N ROLL

CONTEMPORARY ROCKCONTEMPORARY ROCK

FOLK ROCK

SINGER/SONGWRITERSINGER/SONGWRITER

CONTEMPORARY BLUES

CONTEMPORARY BLUES

BLUES

FOLKFOLK

RAY CHARLES

ROBERT JOHNSON

BONNIE RAITT

THE BYRDS

PORTER WAGONER

DOLLYPARTON

GENE AUTRY

ELIZABETH COTTENLEAD BELLY STEFAN GROSSMAN

ERIC JOHNSONRORY GALLAGHER

KENNY SULTANDUCK BAKERJOHN MARTYN

LAURENCE JUBER

JOHN RENBOURN

KEB’ MO’RORY BLOCK

BUDDY GUY

JAMES VALENTINE (MAROON 5)

TRACY CHAPMAN

ERIC CLAPTONROLLING STONES

BEATLES STEVE MILLER

JIMMY RODGERS

CARTER FAMILY

WOODY GUTHRIEBOBDYLAN

CSN&Y

ROBBIE ROBERTSON

DAVID GRAY

PAUL SIMON

DON MCLEAN MARTIN CARTHY

WILLIE NELSONGEORGE JONES

STEVE EARLELINDA RONSTADT

DIERKS BENTLEY

MUMFORD AND SONS

TRAVIS TRITT

MARTY STUARTROSANNE CASH

MERLE HAGGARD

KITTY WELLSJOHNNY CASH

ROY ROGERS

FLATT AND SCRUGGS

BILL MONROE DOC WATSON

DEL MCCOURY

MERLE TRAVIS

JORMA KAUKONEN

TONY RICE TIM O’BRIENNORMAN BLAKE

CLARENCE WHITE

PETER ROWAN

JERRY GARCIA

HANK WILLIAMSTHE AVETT BROS

BECKJOHN MELLENCAMP

ARLO GUTHRIE

MARK KNOPFLER

JIMMY BUFFETT

TOM PETTY

TOM PAXTON

JOAN BAEZJUDY COLLINS

JIM CROCEINDIGO GIRLS

SHAWN COLVIN

PETE SEEGER

ELVIS PRESLEY

MUDDY WATERS

GRATEFUL DEADLED ZEPPELIN TREY ANASTASIO

JOHN PRINE

DAVID BROMBERG

JOHN MAYER

BEN HARPER

KENNY WAYNE SHEPHERD

DAN TYMINSKI

MICHAEL HEDGESWOODY MANN

BRAD PAISLEY

LOUDON WAINWRIGHT IIIBUFFALO SPRINGFIELD

PANIC AT THE DISCO

WILLIAM FODEN

DOLORESDE GONI

PETER, PAUL & MARY

KINGSTON TRIO

DION

BIG BILL BROONZY

HONEYBOY EDWARDS

WILCO

DAVEY GRAHAM

LONNIE DONEGAN

English Roots

African American

European Roots

BROWNIE MCGHEE

IAN ANDERSON

JEFF TWEEDY

JONI MITCHELL

179 YEARS

Woody Guthrie Hank Williams Kitty Wells Gene Autry Kingston TrioWoody Guthrie Hank Williams Kitty Wells Gene Autry Kingston Trio Brownie McGheeBrownie McGhee

1833 PRESENT


F E AT U R E

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Joan Baez


Merle Travis

Paul Simon

John Mayer

Johnny Cash

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The photographs above show processingof dismantled Canadian bridge timbersbeing sawn for 100% Recycled FSC®Certified Sitka spruce tops for Martinguitars. This spruce recently appearedon the GPCPA4 Sapele model.

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B R I D G E T I M B E R S

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Responsible guitar making has become a significantissue in recent years as businesses large and smalltout their earth-friendliness. While promoting earth-friendliness is certainly good, actually takingtangible action to conserve Earth’s resources so wecan meet our current needs without compromisingthe ability of future generations to meet their needsis better. C. F. Martin & Co. has been at the forefrontof well-managed, responsible guitar building formore than 20 years, leading by example byimplementing real world initiatives to address real world environmental concerns.

What are real world initiatives? They are initiatives thatmake a difference. For C. F. Martin & Co., they includerespect for, and strict compliance to, environmentalregulations, commitment to responsible forestry, support for well-managed tonewood sources, development ofproducts made with substitute tonewoods and/or viabletonewood alternatives, company-wide efforts to reduceenergy consumption and curb waste, and utilization ofsupplies from environmentally responsible sources, and more.Such initiatives demand diligent effort and often significantexpenditure by Martin, but are investments in the company’s,the acoustic guitar’s, and the planet’s future.

Chris Martin IV said it best. “I’m the sixth generation [atC. F. Martin & Co.]. I want my daughter Claire to know that

C A R E A N D F E E D I N G

Responsible Guitar Building:

MARTIN’S REAL WORLDINITIATIVES

BY MARSHALL NEWMAN

we took the proper steps when we became aware of the factthat these resources were getting scarce, to try to conservethem…for future generations.”

Martin began those conservation efforts in the early 1990s,with the introduction of guitars that utilized structurallysound woods with natural cosmetic characteristics previouslyconsidered unacceptable. Martin research showed thattonewoods with minor “beauty marks” – like bearclaw figureand slightly curved grain – have no effect on guitar tone orstability, and Martin guitars built with these woods havegained widespread acceptance.

When Brazilian rosewood was listed on Appendix 1 of theConvention on International Trade in Endangered Species ofWild Fauna and Flora (CITES – the governing authority onendangered species) in 1992, Martin immediately compliedwith CITES directives. Martin has also fully complied withthe provisions of the Lacey Act, a long-standing U.S. wildlifetrafficking statute that was amended by Congress in 2008 toinclude bans on the import, sale or trade of illegally harvestedwood and forest products.

Through the Rainforest Alliance, Martin achieved ForestStewardship Council™ (FSC®) chain of custody certificationfrom November 1997 through December 2004 and wasrecertified in November 2007. Martin is audited annually byrepresentatives of the Rainforest Alliance to assure tonewoods– including genuine mahogany, sapele, spruce, and katalox –for FSC-certified instruments such as the D Mahogany,OMCE Mahogany and GPCPA4 Sapele are purchasedexclusively from environmentally responsible sources.Beginning in 2005, Martin also established its ownSustainable Wood (SW) Series – which includes instruments

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such as the SWDGT, SWOMGT and OMCGTECherry guitars – made with responsibly managed,American-grown cherry and maple.

Martin joined other guitar manufacturers in the GreenpeaceMusicWood Initiative, which encourages responsiblemanagement and logging of Sitka spruce in southern Alaska andrecently has broadened its focus to include ebony and rosewood.Independently, Martin made a commitment to encourage andsupport wood vendors who practice responsible forestmanagement and reforestation. It also made a commitment toavoid wood harvested illegally, harvested in violation oftraditional and/or civil rights, harvested from forests threatenedby poor timber management, or harvested from forests beingconverted to plantation or non-forest use.

Tonewood is a rare and valuable resource, and Martinworks to keep wood waste to a minimum. Wood that does not meet the high standard required for a Martin guitar is resold to woodworkers and craftspeople. Smallerpieces are utilized on three-piece back models, LX “LittleMartin” models, and Backpacker travel guitars. Martin alsoleads the way in the development and utilization ofalternative materials for guitars, including high pressurelaminate (HPL) for the popular X Series guitars,Stratabond laminate for necks and Micarta (a fiberlaminate) and Richlite (a fiber composite)for fingerboards and bridges.

While Martin’s commitment tothe environment begins withwood, it doesn’t end there. Martinhas been proactive in energyconservation, installing energy-efficient T5HO lighting throughoutits facilities and automatic controlsto turn lights off when rooms are notin use, resulting in a nearly 50%reduction in kilowatt hours used. Inthe finish curing room, heatrecovery coils, variable flowventilation, and low-frictionventilation design reducenatural gas use.Replacement of physicalservers with virtual servers in Martin’scomputer network alsoreduced energyconsumption, as theyrequire less energy to runand less energy to cool.Roof replacement withenergy-efficient materials thatreflect sunlight and reducecooling costs is currently underway.

Martin has implemented a comprehensive system toseparate, recycle, and reuse waste. Plastic, glass, and

aluminum are recycled, as are office paper, newspapers,and magazines. Wood scraps are made available foremployees’ personal use. Electronic equipment that hasreached the end of its useful life is recycled in a mannerthat meets all federal, state, and local requirements.Sawdust from guitar building is compacted intobriquettes, hauled to a cogeneration station and burnedto produce energy.

Even Martin’s marketing effort has ecologicalelements. Martin marketing materials – including TheSounding Board – are printed on FSC-certified paperwhenever possible. Instead of publishing 25 separatemarketing pieces on various guitar models, Martinrecently consolidated the information into a singlecatalog, vastly reducing the volume of printed material.Last, but by no means least, Martin has made theinternet an integral element of its marketing effort,posting every issue of the Sounding Board and all of itscollateral material online at www.martinguitar.com soconsumers can enjoy them in an environmentallyresponsible – because it doesn’t consume paper or energy for printing – way.

As C. F. Martin & Co. and other guitarmanufacturers address the challenges of well-managed,responsible guitar building, one thing is clear – there

is strong support for their effortsamong the acoustic guitar buyingpublic. The willingness of consumersto accept change in the acoustic

guitar is essential if the acoustic guitaris to thrive in a resource-challenged

future. With builders and playersfinding common ground, the acousticguitar’s prospects look bright.

GPCPA4 Sapele

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C A R E A N D F E E D I N G

Comfort, speed, and tone: guitarists look for one orall of these elements from a guitar’s neck. The rangeof acoustic guitar styles – from flatpicking tofingerstyle and beyond – means no single neck canplease everyone. Fortunately, C. F. Martin & Co.offers a multitude of riches when it comes to guitarnecks. Whether the 1930s-style V or Full Thicknessnecks treasured by traditionalists, the Low Profile orModified V necks loved by fingerpickers or theModified Low Oval or Performing Artist neckspreferred by acoustic/electric players, C. F. Martinoffers a neck to fit every player’s hand like a glove.

“The music played on acoustic guitars has evolved and C. F. Martin guitars have evolved with it,” observed BobMcBride, Martin CAD/CAM Engineer, Product DesignGroup. “The expansion of our neck offerings is just one aspectof how C. F. Martin has worked to give players instrumentssuited to their specific playing styles.”

One only need look at where Martin necks began to see howfar they have come. In the 19th and early 20th century, whenMartin guitars were built for gut strings (which were very lowtension), the necks had a deep V shape to facilitate classical styleplaying and no neck reinforcement. With the advent of steelstrings in the 1920s, the neck shape didn’t change much, but

Like a Glove:A Martin Neck to FitEvery Player

BY MARSHALL NEWMAN

the increased string tension caused Martin to add a rectangularstrip of ebony (in a routed channel under the fingerboard) tokeep the necks from flexing. In 1934, ebony reinforcement wasreplaced by a metal T bar.

The early 1930s and the steel string guitar’s use as strummingaccompaniment to country music also brought changes to theneck profile; the V neck first softened in contour and laterrounded into a deep, comfortable C shape. Due to metalshortages related to the war effort, ebony neck reinforcementreturned briefly during World War II. In 1967, the T bar wasreplaced by a square steel tube.

In 1985, C. F. Martin kicked off 25 years of neck advancesby introducing an adjustable truss rod and its Low Profile neck.The adjustable truss rod, which allows subtle adjustments to theneck, soon became a standard feature and its added strength ledto introduction of a thinner neck. Within two years, the LowProfile neck – first featured on the Martin J-40M – became theprincipal neck for many Martins and continues to be used onseveral Martin Standard Series models today.

The debut of the 000-42EC Eric Clapton Signature Edition in1995 marked the next step in Martin’s neck evolution. Claptonwanted a traditional but comfortable neck shape and theModified V neck was born. The Modified V returned in 1996when the Martin 000-28EC entered production and it soonbecame the designated neck for Martin’s Vintage Series guitars.

The other big step in 1995 was the introduction of CNC(computer numerically controlled) machines to shape necks. “In the pre-CNC days, we used metal gauges and templates tomeasure thicknesses and establish contours, and draw knives,

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rasps, files and sandpaper to shape each neckindividually,” recalled McBride. With CNCmachines, it became possible to make a guitarneck in minutes and have each neck be so close toits design specifications that only minoradditional handwork was required.

The proliferation of new acoustic-electricMartin models in the mid-1990s resulted inanother new neck shape: the Modified Low Oval. “We’d previously produced – on a limited basis – a Low Oval neck, which wasperpendicular at the fingerboard,” observed Matt Rinker, Martin CAD/CAM Supervisor,Product Design Group. “On the Modified LowOval, we thinned the barrel slightly and flared its contour outward slightly to enhance comfortand make the neck ‘faster’ for acoustic-electricplayers.” Modified Low Oval necks are nowfeatured on many Martin X, 15, 16, andSustainable Wood Series guitars.

The “need for speed” among acoustic-electricplayers motivated the most recent addition to C. F. Martin’s neck offerings. When Martin begandesigning the Performing Artist Series, it opted tocreate a neck with an entirely new profile, onewith a delicately proportioned barrel andslimmer, more subtle taper for exceptional playercomfort in all positions. The new PerformingArtist neck has proven hugely popular since itsintroduction in 2010, both on the PerformingArtist Series guitars and on several other models.

The range of neck options offered on today’sC. F. Martin guitars – the various neck shapes; traditionaldovetail and modern mortise and tenon neck joints; 12 and 14frets-to-the-body configurations; solid and slotted headstocks;no diamond, short diamond, and long diamond volutes; 111/16-inch, 1¾-inch, and 1 13/16-inch (at the nut) neckwidths; regular and 1930s-style heels; short, long, and baritonescales; and more – represents a serious investment. “Wecurrently can produce 256 different neck variations on ourCNC machines,” commented McBride. “As good as our CNCnecks are right from the machine, each neck is file-smoothed

and sanded by hand, then visually inspected and checked foraccuracy using various gauges to assure each is as perfect as itcan be.”

While C. F. Martin guitar necks have evolved in bothproduction and available styles, the past continues to be honored.In the Martin Custom Shop, builders still shape necks by handfor small runs of custom instruments, often including the annualMartin CS models. The CNC necks are the equal of hand shapednecks in every way, but the tradition of handmade necks is one C. F. Martin values and will continue on a limited basis.

MODIFIED V LOW OVAL

1st 10th1st 10th H1=.580 H1=.667

H1=.630 H1=.757 H2=.405 H2=.537H2=.431 H2=.588

SLIGHT V MODIFIED LOW OVAL

1st 10th1st 8th H1=.580 H1=.667

H1=.688 H1=.814 H2=.405 H2=.537H2=.535 H2=.656

FULL THICKNESS LOW PROFILE

1st 10th1st 10th H1=.596 H1=.646H1=.650 H1=.766 H2=.462 H2=.540

30s STYLE V PERFORMING ARTIST

1st 10th 1st 10thH1=.645 H1=.770 H1=.602 H1=.640H2=.461 H2=.565 H2=.442 H2=.516

Barrel

Fingerboard

1st 10th Fret Cross-section

KEYThis illustrationshares a few of thekey neck shapes to consider.

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S T R I N G A M B A S S A D O R S

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Adam Gardner Del McCoury Carrie Elkin Danny Schmidt

Frightened Rabbit Gabrielle Aplin Jack Savoretti

Jorma Kaukonen

Kamuela Kimokeo

Mark Ballas

Nigel Smith Jacques Stotzem Rachel Sermanni

Rory Block LP Seth Lakeman Travis Tritt

Loudon Wainwright III

Around the world and across many styles of play, professional guitarists andmusicians rely upon the unparalleled toneand longevity of Martin Strings for theirperformance needs. Find the string that isright for you at: www.martinstrings.com.

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Bob SegerWhen classic rock legend Bob Seger returned totouring with his Silver Bullet Band, he added sixMartin 000C-16RGTE Auraguitars to his performancepalette to accommodate all ofhis varied alternate tunings.

A R T I S T P R O F I L E S

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Bobby Vee and The CricketsBobby Vee bought his firstMartin Guitar in 1961 withsome of the royalty moneyfrom his first hit single"Devil Or Angel," whichhad gone gold in late1960. He found this used 1952D-21 in a guitar shop in Fargo, NorthDakota, and it was the only guitar he toured withfrom that day until he finally retired it from the road in 1976.Upon its retirement, this guitar was moved to Bobby's recordingstudio (at that time in Los Angeles and now in St. Joseph, MN)where it still lives to this day. The guitar (pictured above) is alsothe guitar that he is holding on the 1962 Bobby Vee Meets TheCrickets and 1965 Bobby Vee Live On Tour album covers. Bobbyplayed this guitar on countless live dates around the world and ithas been played on each of the 30+ albums to his credit. In fact,of the dozens of guitars that Bobby owns, this is the only onethat has been with him since the beginning. Bobby has beenknown to say, “there are two kinds of guitars in the world,Martin and WRONG!"

Bobby added a 1968 D-18 to his studio collection in 1986.

Red, White and BluesSusan Tedeschi and Derek Trucks sat down backstagewith their Martin D-28s for an acoustic performance ofthe blues classic "Rollin' and Tumblin'" in the East Wingof the White House during the Red, White and Bluesevent held on February 21, 2012. Performers includedblues legends B.B. King, Jeff Beck, Buddy Guy, WarrenHaynes, Mick Jagger, and Keb' Mo'.

Occupy Wall StreetWishing to be supportive of the movement, DavidCrosby and Graham Nash carried their Martin guitarsover their heads through a shoulder to shoulder crowdfor an impromptu performance in Zuccotti Park (LowerManhattan) on November 8, 2011.

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During his early (1962-1974) and breakthrough (1975-1983) years, it was a rare occurrence to find BruceSpringsteen very far away from his Martin D-35, as thiswas his critical songwriting and rehearsal tool. Thisbackstage photo was taken in 1978 around the time ofDarkness on the Edge of Town.

Lynn GoldsmithLynn Goldsmith's imagery is in numerous collections: The Smithsonian, The Polaroid Collection, The KodakCollection, The Museum of Modern Art, The ChicagoMuseum ofContemporaryPhotography, and thepermanent collection ofMuseum Folkwang. Sheis a multi-awardedportrait photographerwhose work hasappeared on andbetween the covers ofLife, Newsweek, Time,Rolling Stone, SportsIllustrated, People, Elle,Interview, The NewYorker, etc. Her subjectshave varied fromentertainment personalities to sports stars, from filmdirectors to authors, from the extraordinary to the ordinaryman on the street. Her forty years of photography have notonly been an investigation into the nature of the humanspirit, but also into the natural wonders of our planet.

In 1993, Paul McCartney and his band embarked upon The New World Tour,spanning almost the entire year and almost the entire globe. The tour wasinitiated to promote McCartney's album Off the Ground. It's unusual to seehim without his usual left-handed D-28L, but for many years he gravitatedto the J-18L Jumbo that had a very clean mahogany stage sound. Thisphoto was taken on April 17, 1993 in Anaheim, California.

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A R T I S T P R O F I L E S

My Dad, My Martin and MePete Mroz has been playing music now for twenty years as anindependent artist. He first got started in Florida at the urging of hisdad “Lucky Bill.” His father was always Pete's biggest fan, and he hada passion for music as a listener. Pete remembers growing up listeningto Jim Croce, Dan Fogelberg, Jimmy Buffett, Paul Simon, EricClapton, Neil Young, The Beatles – and the list goes on! His dadurged him to follow his dreams, and when he was nineteen he movedto Nashville to be a country music singer…although time wouldprove that he wasn't really a country singer. He cut his chops inNashville learning to write songs and tell stories through those songs.

In 1994, he was with his dad at Gruhn Guitars and the 000-28EChad just come out, so he had to try it because he is a huge Claptonfan. He was instantly captivated by the tone of this guitar. He couldtell he was holding pure quality in his hands. His dad knew him likefathers do and saw his passion for this instrument.

His father didn't have a lot of money, but he looked at Pete andsaid, “Do you want that guitar?” Sure that he was dreaming, Peteanswered, “OMG YES!”

Well, later that day his father went and got that guitar for him.That was one of the greatest days in Pete's life and a very specialmoment between the two of them. Years later, Pete sold the guitarin a fit of rage, “the ignorance of my youth,” he admits, only tohave the guitar come back into his life seven years later by achance encounter with a friend of the person who bought it.

“Olivia” – as Pete likes to call his 000-28EC – was meant to be inhis life. His father passed away several years ago, so this instrumentwill remain with Pete all through his years. He says it's like carrying“Lucky” around with him! Reflecting back on this story makes himrealize that all of his musical heroes and influences have one thing incommon – every one of them plays a Martin! He is proud to be apart of the Martin family and “represent a company where the trueessence of their core is quality.”

Pete has written countless songs and recorded three records,including his latest one We'll Rise Above, which is fully funded bythe fans. He is an independent artist and has to be very focused inthe “wild west” music landscape, so he chooses Martin becausereally...the guitar chose him!

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Scott E. Moore (above) is a veteran singer-songwriter, guitarist,and composer. He created and hosted the acclaimed Writer'sHang series in Hoboken, NJ, that featured over 200 of thecountry's best emerging singer-songwriters. The SundanceChannel featured Scott, along with Nickel Creek and GillianWelch in their documentary series “Keeping Time: NewMusic from America's Roots.” Scott is also an award-winningtelevision producer who has been hailed for his early VH1documentaries on Bonnie Raitt, Bela Fleck, and Daniel Lanois.

When ordering his Custom 14-fret Alpine spruce-topped 0-28 Martin guitar, he had a particular neckcontour that he wanted to match exactly. Martin's expertneck shaper and inlay artist Aaron VanWhy (top) camethrough for him with flying colors.

In addition to his beautiful, modern, vintage 0-28Martin custom, his tonal palette includes a 1933 0-17shaded top and the 1934 0-18. Scott loves the small-bodied 14-fret 0 sized guitars for their super-responsive,lush, focused tone and balance.

Pete Mroz holding “Olivia,” his 000-28EC.

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Robert David Hall – actor and advocate for disabled Americans – isperhaps best known for his starring role on CSI: Crime SceneInvestigation. He is also an excellent guitarist. He stopped in to visitDick Boak at Martin's NAMM Booth in January 2012.

Chris

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Shawn Barker is asinger/songwriter and

tribute artist from the metroSt. Louis, Missouri, area. His

musical influences come from a broad spectrum, from growing up in

church, the early music from the 50s, and60s, Elvis, Johnny Cash, Gene Vincent, tothe rock of the 80s and 90s. He hasreleased his first solo CD Where I Am, acollection of original songs about hispersonal experiences, plus cover songs by artists who have influenced his music.More recently, Shawn has performed thestarring role with his D-28 in the BrownProduction of "The Man In Black," aninspired tribute show that honors the life of Johnny Cash. Learn more at:www.themaninblackshow.com.

Michael Aarons When guitarist, songwriter, multi-instrumentalist, and arranger MichaelAarons sent us this photograph, he wasrehearsing on David Letterman's set for hisNovember 1, 2011, appearance thatevening, promoting the Broadway showGodspell. The musicians in that show havebeen using Martin D-28s extensively, butearly in 2012, he left Godspell to do theguitar work for Evita on Broadway. He'susing his Martins there too!

Michael has had an incredible musicalcareer. His performance credits include RayCharles, Stevie Wonder, Patti LaBelle, PaulMcCartney, Placido Domingo, LutherVandross, Michael McDonald, JamesIngram, Elton John, and many others. Inaddition to his performances, he createdHybris Music Productions in 2004, whichspecializes in mobile media production,creating content for a list of clientsincluding Burger King, Absolut Vodka,Budweiser, Ace Hardware, and Disney.Follow him at: www.michaelaarons.com.

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T H E L E G E N D O F T H E C R O S S R O A D S

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You know Sonny Curtis. Everybody does. He's one of America's most gifted

and prolific singers, songwriters and guitarists. And ifyou don't know him specifically by name, you certainlyknow him by the classic songs he's written and recordedover the years. Here are just a few:

“Love is All Around” (The Mary Tyler Moore Show Theme Song – that's Sonny singing it, too), “I Fought The Law,” “WalkRight Back,” “A Fool Never Learns,” “The Straight Life,” morethan 500 songs in all, recorded by Buddy Holly, The Clash, RoyOrbison, The Everly Brothers, Glen Campbell, Tom Petty andthe Heartbreakers, Andy Williams, The Grateful Dead, BingCrosby, Hank Williams, Jr., and dozens more.

Sonny is also a long-time member of The Crickets, BuddyHolly's legendary – and still rockin' – band.

Throughout it all, Sonny has been an avid Martin player and enthusiast. We recently visited with him at his homeoutside of Nashville.

Tell us a little bit about how you came to know and playMartin guitars. Every Martin picker has a great storyabout how they got their first Martin.My two older brothers and I were huge bluegrass fans when I was akid and we were well aware that Lester Flatt, prior to Flatt &Scruggs, who picked for Bill Monroe and the Bluegrass Boys, playeda D-28 Martin. Also, my uncle, Edd Mayfield, who also picked withthe Bluegrass Boys in the mid-fifties, played a D-18.

When I was about 15, I wanted a D-28 so bad I couldn’tstand it. My brother, Pete, heard about one for sale at GinsbergMusic Co. in Roswell, NM, about 3 or 4 hours drive from

Sonny Curtis Martin Guitars

PICKING THROUGH THE YEARS AND THE HITS

BY BILL BUSH

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F E AT U R E

Meadow. Pete, my mom and dad, and I drove to Roswell tolook at that guitar. It cost $210. My dad made the downpayment with the understanding that I would pay it off at $11 amonth. Of course, it might as well have been $1,000 a month. Ihad no way of earning that kind of money. I still have thecancelled checks my dad sent to pay it off. Sadly, it was stolenfrom me in the early seventies.

Having that good ol’ D-28 stolen was a heartbreaker. I had takenthat guitar everywhere with me – to France when I was in the army,to New York to record on my first major record deal, to Nashville totry to make it, and on recording sessions in Los Angeles.

You were good friends with Buddy Holly. Got any good stories?Buddy lived in Lubbock, Texas, not far from where I lived inMeadow, Texas. When we started pickin’ rock & roll, BuddyHolly played my D-28 and I played his Strat. He wasn’t ascareful with it as I was and when he made pick scratches behind

&

Buddy Holly and Sonny Curtis opening for Elvis Presley at the FairPark Coliseum, Lubbock, Texas, April 10, 1956. Buddy is playing Elvis'Martin D-18; Sonny is playing Buddy's Fender Stratocaster.

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the pick guard, it really turned me off. But then later on, Iwould show off those scratches and say, “Buddy Holly put thosethere.” Funny how your perspective changes.

What Martins have you owned and played?After I lost the D-28, I bought a D-18, and a friend and greatguitarist, Dennis Budimir, showed up at a session I was workingon with a D-35S. I had to have one.

I had a Guild twelve string I played on my record, Girl OfThe North, and after I moved to Nashville in 1976, I traded itto bassist Joe Osborn for his D-28. While The Crickets were onthe road in Ypsilanti, Michigan, with Waylon Jennings, I cameacross a 00-28 made in 1921. Of course, I had to have it, too.

When I was recording for Elektra in the early eighties, wefound that [Nashville session player] Bobby Thompson’s D-18,because of its mahogany wood, was easier to equalize than my D-28. My D-28, with its rosewood back, was a little too rich andwe had to roll off the bottom end somewhat, so Bobby loaned mehis D-18. In most instances, I’m sure a D-28 would be fine, butfor our purposes, the D-18 worked better at the time.

In 1964, when I was recording the Beatle Hits album in L.A.,Tommy Tedesco let me use his Martin gut string. I had a nice,special made gut string, but it just wasn’t measuring up. There’s apicture of me holding Tommy’s Martin 00-28 on the bio page ofmy website at www.sonnycurtis.com. By experimenting a little,you can usually determine which guitar will serve you best.

How do you write music with your Martin? Does theMartin especially lend itself to your songwriting anddifferent types of songs?When you’re writing a song, the guitar is just a tool. Of course,no matter what your profession, the better tools you have, thebetter work you do.

Most of the time, I wrote with my D-28, but I also used my littlegut string some, especially on ballads. I certainly appreciated theMartin on those songs I wrote with different open tunings, i.e.,“Gypsy Man” and “Destiny’s Child.” I tuned to E for my record of“I Fought The Law” on Elektra. I wrote “I Fought The Law”originally on my first D-28, but I used regular tuning.

Having a good guitar is surely a plus when you're writing, butI’d like to point out that when I wrote “Walk Right Back” inbasic training, the only guitar available was a beat up Sears &Roebuck guitar, a cheaper than cheap one. It didn’t seem tohurt the song. I confess, though, that I had written the openinglick back in Texas on my D-28.

Specifically, which of the many terrific Sonny Curtissongs did you compose and/or record with a Martin?Except for a few songs on my custom gut string, which I didn'tacquire until the mid-sixties, I wrote just about everything on myD-28. In the beginning, that’s all I had. “Rock Around With OllieVee,” “I Fought The Law,” “A Fool Never Learns,” “Love Is AllAround” (The Mary Tyler Moore Show Theme) and many otherswere written on that guitar. As for recording, there are lots ofexamples, but the opening lick on The Mary Tyler Moore ShowTheme is played by me on my first D-28.

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Do you have any recording tips for acoustic guitarists?Well, I’m sure most guitarists will likely know this, but I’ll mention acouple of small things that are important to me. I like to record withnew strings. It makes your guitar sound crisper and fresher. I also liketo be in perfect tune before a take. I’ve got a few skunks out there that,when I hear them again, I think, “Why didn’t I take 30 seconds andsweeten that thing up?”

If you make a mistake, ask the producer to let you correct it. Intoday’s world, a simple over-dub will do it. Little things can comeback to haunt you. Just remember, when they press that recordbutton, it’s forever.

How do you approach the art and craft of songwriting?What inspires you? Well, to begin with, you’ve got to start. That’s not really hard, ifyou want to write songs. But you’ve got to get up in the morning(every morning), get your cup of coffee, take it to your writingspot, pick up your guitar, and go for it.

Be patient. Some thoughts come easy and some take awhile.Don’t struggle, but keep trying ’til you get it right. Remember, thisis your song. You can make it happen any way you want.

Be on the lookout constantly for good ideas. There are “pearls”everywhere. Once I was watching a Michael Caine movie and oneof his lines was, “There’s less to me than meets the eye.” I wrote asong the next day.

Study great writers. Don’t copy, but try to figure out how andwhy they did something. Remember also that, as in everythingelse, practice will make you better.

What inspires me? I’m inspired by great music. Chopin andMozart inspire me. When I hear a great song by Lennon &McCartney, Paul Simon, Cole Porter, or anybody who writes greatsongs, it makes me want to write one myself. Not to try to outdo(which would be futile), but it’s what I like to do and I want to bea part of this great enterprise.

Do you still have most of the Martins you've used over the years?Like you, Bill, I've amassed quite a few guitars and I've begun to givesome away. However, I've tried to find a good home for them and alsokeep them accessible. My brother, Pete, has my D-35S. PaulMilosovich, a great artist in Santa Fe, NM, has my D-18. A young ladywho lives just down the road has my D-28. I still have my 00-28.Every now and then I think of buying another guitar, but my wifeLouise has put her foot down!

Sonny playing a 00-28 Martin on a recording session at United StudioB in Hollywood, CA, summer of 1964. And Sonny today working onsongs at home on his Martin D-28.

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M A R T I N K I D S

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The Rangzen Band and Martin Guitars Claudio Cardelli (see page 48) often travels to India for activities related to a humanitariancommitment for Tibet and refugees. His faithful companion is always the MartinBackpacker which entertains the child refugees of the Tibetan Children's Village.

Sophia’s Choice Pictured left is one ofMartin's youngest fans,Sophia Ruth, playing her veryown LXK1. Sophia is thedaughter of John SterlingRuth, our long-timephotographer who has beenpart of the Martin family formore than 20 years. Thisphoto was used for a musicstore advertisement andpromotional material.

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B O U N C I N G F L E A S

1. Style 1 – circa 19162. Style 1 – Oliver Ditson –

body shape – circa 19163. “Custom” (Style 2 ½?)

“The Reverend” – circa 19174. Style 0 – Ditson stamps –

“Martin” Body – circa 1922 5. Style 3 – “Foden” bowtie

fingerboard marks – circa 1917

6. Style 1K – Wurlitzer 837 - circa 1922

7. Style 2 Taro Patch – circa 19228. Style 2 – circa 19219. Style 1K – circa 192310.Style 3K – circa 192411.Style 2K – circa 192012.Employee’s – “Charlie” –

“Spruce” top – Maple body – circa 1924

13.Style 5 Daisy – 34 of 100 – Serial 1230662 – 2009

14.Style 1-C – Concert – circa 196015.Backpacker – Serial 56444 –

Mexico – circa 200516.Style 1- T Tenor – circa 193017.Style SO – Mexico - circa 200518. Employee’s Fretless/Box

Mahogany – circa 1990’s

19. OXK - High Pressure Laminate – 2010

20.T 18 – Tiple – circa 1920’s21. Style 3 – Sustainable

Cherry – 200922. Style 0 – 1950’s23. Style 1 – 1930’s-1940’s

UkuleleConsciousnessRobert Wheeler has amassedan incredible collection ofukuleles over the years –immersing himself in his bigpassion for the smallinstruments. And althoughhe owns many differentbrands, he certainly hasMartin ukuleles well coveredas is evident in this photo ofhis collection. Hedistinguishes between hismany ukuleles in the sameway wine connoisseursidentify the best wines – by their bouquets.

"If they are fifty years old, they smell like history,"said Wheeler, founder ofUkulele Consciousness.Although he declines labelssuch as expert or collector,Wheeler is known as bothand he has loaned his ukes for many collections aroundthe country.

Wheeler’s ukulele passion was lit by a gift he received with a photo of Ian Whitcomb playing a ukulele in 1975. These days, his time is thoroughlyoccupied with ukuleleactivities like correspondingand being supportive ofothers’ interest in the ukulele. He's even buildingone himself!

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W I N N E R ’ S C I R C L E

BMI Country Awards Honor... Rhett Akins and Dallas Davidson share the Songwriter of the Year crown. Georgianatives and close friends, the two arefrequent collaborators, and part of asongwriting trio known as the “PeachPickers.” They both contributed five songsto the year’s most-performed, four of which they co-wrote together: "All AboutTonight" (Blake Shelton), "All Over Me"(Josh Turner), "Gimmie That Girl" (JoeNichols), and "The Shape I’m In" (JoeNichols). Individually, Akins’ "Farmer’sDaughter" (Rodney Atkins) and Davidson’s"Rain Is a Good Thing" (Luke Bryan) also made the list.

“All Over Me” also earned Song of theYear honors for Davidson and Akins, as well as publishers EMI-Blackwood Music,Inc., Rhettneck Music, and String StretcherMusic. Recorded by Josh Turner, the light-hearted summer love song toppedcountry charts.

Hot Tuna Has a Winner! The lucky recipient of the Jorma Kaukonen Signature M-30 Martin Guitar – as chosen in the House of BluesRadio contest – is Joseph"Bumpy Joe" Hartman ofMilford, Connecticut.

Joe's statements ofappreciation include, but are not limited to: "I'm totallyblown away. She's the mostbeautiful and best soundingguitar I've ever held. ThisMartin is a magnificentinstrument and I can only aspire to bring out the brilliance it contains."...and..."This guitar is smokin’.Unbelievable tone and feel. I'm

so inspired, I've started taking guitar lessons again." Joe also received copies of Hot Tuna's Steady As She Goes and

Captain Kaukonen's solo releases on the prestigious Red HouseRecords label. Perhaps a trip to Jorma’s famous Fur Peace Ranchis in order?

Joseph "Bumpy Joe" Hartmanwith his new Martin.

The Lucky Ticket Robert Fleming, of Albuquerque, New Mexico, (pictured withMartin district sales manager Steve Strong) has always wanted toown a Martin. Now, thanks to the Telluride Bluegrass Festival,he’s the proud owner of a herringbone HD-28! He won thefestival’s raffle, and made the drive from New Mexico to thebeautiful Colorado mountains to pick up the guitar in person.What a great way to see the country, with a fantastic festival atthe end of the ride!

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W E A I M H I G H

Grateful Crew CW2 Wendy Duval and SSG JonathanPena-Reyes practice on their LittleMartins while stationed in Afghanistan.“I can’t express in words the endlessamount of entertainment and escapefrom this place that your guitar brings to us,” says SSG Pena-Reyes. “Justyesterday I was talking about how Iwanted to learn to play the guitar andyour beautiful guitar showed up!”

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Marine Entertainment In this picture from Afghanistan, Staff Sergeant ChristopherJohnson cradles a Little Martin while overseas. Christophertells us that the Marines have enjoyed this guitar immensely.“As you can see, we have had our share of snow over hererecently, but we have also been blessed with heaters so thatwe may escape the cold,” Christopher tells us. “I have beenso impressed with this guitar that I intend to buy a full sizeelectric/acoustic from Martin upon my return.” We lookforward to Christopher’s safe arrival home!

We Aim High Master Sergeant James Ashcom poses with his Little Martin anda fleet of big military ATVs in Afghanistan. He tells us that thisguitar was very popular around the fire pit at Christmas. “I willhave all the players sign it and pass it on to future groups as theyarrive,” Sergeant Ashcom tells us. We’re looking forward to morephotos from him, too: ”I will try to put an American Flag up onour helicopter for a mission and send it to you.”

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A R O U N D T H E W O R L D

The Rangzen Band and Martin GuitarsClaudio Cardelli was a young boy in the ’60s living in Italy andthe Martin guitar was just a dream.

West Coast music in the early ’70s was his passion, inparticular the acoustic sounds of Crosby, Stills, Nash & Young.This prompted him to own a Martin at any cost. He is now theproud owner of a Martin D-28, OM-42, D-45, 000-28EC, andhis “Holy Grail” D-45V.

Cardelli shares, “The specialty of my band, the Rangzen, isthe period from 1962 to 1972. We perform Beatles songs, manyof the Stones, the Who, Kinks, Led Zeppelin, Hendrix, TheDoors, etc., but it is the West Coast that expresses the best ofmy acoustic guitars.

“We play our Martins on ‘Guinnevere,’ ‘In My Dreams,’‘Marrakesh Express,’ ‘Deja Vu,’ ‘Carry Me,’ ‘Teach yourChildren,’ and many other hits of CSN&Y. We always usethe D-28 on all of the acoustic parts of the Beatles, Stones,Dylan, etc. We use a lot of open tunings (open G, Emin7/4,open D, etc.) that are essential for the proper atmosphere ofthose wonderful CSN&Y songs.” Check out the band atwww.rangzen.it.

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Manuel Vieira Pereira GuerraIn Portugal, it’s not easy to find aMartin and it’s even more difficultto find a high level model.Although this is changing, theeconomic turmoil is filling thestores everywhere with easternlow budget guitars. However,Manuel Vieira Pereira Guerraowns four different Martinguitars, a 000-16RGT and anLXM (both fitted with FishmanGoldPlus pickups), a D-28, andan OMJM John Mayer.

Last summer, he had the chance to play 45 minutes of musicin Cascais (Lisbon) opening for a major selling band.

“I don’t know where I’m going and, to tell you the truth, Idon’t care that much,” states Guerra, “because I’m making themost of every minute playing my music for those who want tolisten, and playing with my Martins (any of them), makes mefeel like I’m home wherever I am!”

Tom LumenDuring his childhood inHungary, Tom Lumen foundinspiration to learn to playguitar through the music ofJimi Hendrix. In his teenageyears, Tom created a trio andbegan his first compositionsunder the influence of variousprogressive and jazz trends.Later he contributed tonumerous successful rock and

pop productions as a guitarist and composer. His mostmemorable co-production was the record, titled Diamond Ritewith the band named Tius Norma. He became familiar with thefingerstyle technique a few years ago, which fundamentallychanged his view of playing the instrument. His first solo-acoustic album is expected to be released this year. The recordwill be the reflection of all his hard work of the past few years inthis area. The music was mostly inspired by Tom’s adventurouspersonal life. The artist’s next goal is to introduce the album’srepertoire in front of live audiences all over the world.

Sascha Wenzel is a singer, songwriter,blues harmonica player and guitarist,originally from East Germany andcurrently living in Vienna. He tours

Europe with his blues trio and israrely seen without his Martin D-28

Dreadnought. He and his guitarare making the pilgrimage home

to Nazareth in 2013.

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Eric Clapton & SteveWinwood Conclude 2011Japan Tour In TokyoC. F. Martin & Co., Inc. and T. Kurosawa& Co., Ltd of Tokyo, Martin’s distributorin Japan, joined in an effort to present a financial donation to assist in the relief effort for the victims of thedisastrous earthquake and tsunami that devastated much of northeasternJapan in March 2011.

Previous to the disaster, Kurosawa had become the sole sponsor for a very special series of concerts in Japanfeaturing Eric Clapton and SteveWinwood. In celebration of this 8-city,13-concert tour, Kurosawa had requestedthat Martin design and produce a special000-42 ECJM (Eric Clapton JapanMadagascar Rosewood) guitar availableexclusively to Japanese Martin dealers.The guitar was designed around theoriginal 000-42 that Eric Clapton playedin his MTV Unplugged special in 1992.Director of Artist Relations, Dick Boak,worked very closely with Eric and hismanagement team to design this limitededition guitar. In order for the

instrument to beaffordable yetcollectible,Madagascarrosewood wasselected for thebacks and sides. The result yieldedthree prototypeinstruments, plus the limitedproduction run of 100 guitars.Prototype #1 wentto Eric Clapton,while Martindonated prototype#3 to T. Kurosawa& Co. for a benefitauction in supportof the tsunami reliefeffort. In addition, C. F. Martin & Co.donated $10,000 to the Japanese RedCross with the funds dedicatedexclusively for assisting in the recoveryfrom the March disaster. At a specialbackstage, pre-concert gathering withexecutives from Kurosawa and Martin,Eric Clapton signed the back of the #3

prototype in order to make this specialinstrument even more personal.Prototype #2 remains with Martin'smuseum collection in Nazareth.

At the December auction in Tokyo,prototype #3 brought a closing bid ofabout $20,000 – more than twice thesuggested retail value of the guitar.

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AT THE FOREFRONT OF FOLK

Widely published musicphotographer SherryRayn Barnett has beenphotographing folkmusic artists since herfirst assignments for theunderground press inNYC. Throughout theyears, she’s noticed thatthere’s one constantamongst many folkmusic icons – a Martin

guitar! And as the artists themselves have become“classics,” so have their guitars. Seen here are folkmusic legends in concert with their original Martinguitars, some performing in smaller venues, early intheir careers.

Sherry’s archives have become a resource for books anddocumentaries, including 2011’s “Troubadours” (featuring herclassic James Taylor and Joni Mitchell photograph) and 2012’supcoming Greenwich Village: Music That Defined aGeneration. Her work has been seen in Dick Boak’s MartinGuitar Masterpieces, on panels in The Martin Guitar Museumand is often featured in the pages of The Sounding Board. If allgoes as planned, Sherry’s own book, “Peace, Love and FolkMusic,” will see the light of day this year as well.

Don McLean, late 1970 playsthe 23rd St. “Y”in Manhattanconcert series,just before“American Pie”takes off.

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Joan Baez & Bob Dylan sing“Blowin’ In The Wind” onPeace Sunday, The RoseBowl, Pasadena, CA, 6/6/82.

Linda Ronstadt withher Martin D-35 atan outdoor concerton the USC campus,5/11/74.

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Kris Kristofferson onstage at The Bitter End, circa 1970.

Tom Paxtonopens for Ian & Sylvia & The GreatSpeckled Bird.

Joni Mitchell in NYC, 7/24/69.

Dion makes his comeback,performing civil rightsanthem, “Abraham,Martin & John,” on thestage of The Bitter End in Greenwich Village, NYC, 1970.

Peter, Paul & Mary (pictured with Dick Knisson bass) 3/7/69 at Carnegie Hall.

Brownie McGheeat McCabes GuitarShop Concert Hall,Santa Monica, CA,December 1977.

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Tim Hardin in NYC,7/24/69.

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F R O M T H E A R C H I V E S

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Antique Glue PotJoan Ervin lives in Nazareth and her grandfather, OscarLambert, worked for Martin starting in 1913 and retiringin 1948. Every day he made the mile and a half walk toand from work and he always carried this beautiful gluepot with him. Most likely, he crafted it himself and usedit daily to assemble bodies and glue inlays with hot hideglue. It is certainly the finest glue pot we have ever seen!

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Stefan Grossman shared this great photo of Pete Seeger with the kingof Chicago blues, Big Bill Broonzy, who is playing one of his manyMartin guitars, this one his prized 000-28. Broonzy had a lastingimpact on many, including Eric Clapton.

Photo historian and longtimedaguerreotype collector, JochenVoigt of Saxony, Germany,discovered this rare circa 1850-1851calotype of “Ottilie Lucie KühleMartin,” (left) wife of C. F. Martin, Sr.,taken by famous pioneerphotographer Bertha Wehnert-Beckmann (above). Mrs. Wehnert-Beckmann’s studio was located at351 Broadway, the building ownedby C. F. Martin and his musicteacher/partner, John Coupa.

Scott Boatright sent this great photograph of his father

holding his 1926 000-18 Martin guitar (Serial #25895) that

he bought new for $56.00.

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Mary Lou Lord, an indie folk musician, busker andrecording artist, purchased this 1953 Martin D-18(#132933) in 1988. During her 1991 romance withKurt Cobain, she gave the well-worn guitar to Kurtwho loved it, toured with it, and affectionatelydubbed it "Grandpa." Then Nirvana took off, Kurtmet Courtney Love, and the rest is history!Eventually the guitar came back to Mary Lou. It nowresides in the permanent collection of Make'n Musicin Chicago for all to see.

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This antique photographic “cabinet card” (circa

1895) depicts two women in their parlor, one with a

rare 0-40 Martin guitar with an ivory bridge and theother hard at work on her oil painting.

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Scott McKenzie recorded his famousCalifornia anthem “If You’re Going ToSan Francisco (Be Sure To Wear SomeFlowers In Your Hair)” with this MartinD-28. The guitar was also used by JohnPhillips of The Mamas and The Papasand it provided the basis for the D-28Mamas and The Papas CustomCommemorative Edition.

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P. O. Box 329, Nazareth, PA 18064-0329(610) 759-2837 • www.martinguitar.com

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US POSTAGE PAIDLEHIGH VALLEY PA

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