Martin Journal Vol. 6

T H E J O U R N A L O F ACO U S T I C GU ITAR S
VOLUME 6 | 2016
BALLAD OF THE
DREADNOUGHT
A MUSICAL ICON TURNS 100
WATCH THE FILM AT HTTP://BIT.LY/DREADNOUGHTBALLAD
20
THE
AMBASSADORS
12
32
THE CHEMISTRY
OF MUSIC
Q&A WITH MARTINS NEW

PRESIDENT, JACKIE RENNER
52
LIFELINE:
INNOVATION TO
ADD YEARS TO STRING TONE
ITS WHATS INSIDE
THAT COUNTS
INTRODUCING MARTINS NEW AURA
VT & MATRIX VT ENHANCE ACOUSTIC

AMPLIFICATION BY FISHMAN
SET LIST
6.
LINER NOTES
The Ambassadors
10.
TAKE IT FROM THE TOP

A Word from Chris
12.
THE CHEMISTRY OF MUSIC | Q&A WITH MARTINS
NEW PRESIDENT, JACKIE RENNER
By David Schneider
18.
NORTH STREET ARCHIVES
20.
THE AMBASSADORS
By Jonathan R. Walsh
32.
ITS WHATS INSIDE THAT COUNTS | INTRODUCING

MARTINS NEW AURA VT & MATRIX VT ENHANCE
ACOUSTIC AMPLIFICATION BY FISHMAN
By Sean Kevin Campbell
40.
52.
NEW RELEASES
LIFELINE | INNOVATION TO
ADD YEARS TO STRING TONE
By Bill Derks
60.
FROM THE WORKBENCH
64.
IN SEARCH OF MADAGASCAR
ROSEWOOD AND OPTIMISM
By Jeff Simpson
70.
THE 1833 SHOP
74.
SOMETHING OLD
M A R T I N G U I TA R . C O M |
THE AMBASSADORS
LINER NOTES
There is so much history and possibility in

these instruments. My Martin is a constant
source of inspiration, a teacher, and most of all, a
companion. | Anderson East
The Ambassador Program has been a game-changer
for us. Martin plays a huge part in supporting us both
musically and through our charitable partners. They provide
guitars that are tough enough for the road but also make for
a sweet sound in the studio. Were pumped to bring them out on
our Tour de Compadres later this year! | Bear & Bo Rinehart,
NEEDTOBREATHE
Im a Martin guy. Always have been. I fell in love a long time ago with the songs they make. Theyre all works of art made by hand. I dont
treat them like they are my most prized possessions because a songwriters tools are not for coddling. They have to go where I have to
go. Right or regretful, always truthful. Its an honor to be part of the Martin family. | Brett Dennen
I didnt know there was a perfect acoustic guitar until I bought my first Martin. My Martin is a workhorse, a writing partner, and a
source of endless power and beauty. Ive been singing the praises of Martin guitars for years. Not only does Martin support hard touring
artists like myself, they treat every customer as if playing guitar is their lifeblood. Im honored to be a Martin Ambassador. It is honestly
a dream come true. | Chris Carrabba, Twin Forks and Dashboard Confessional
6 | LINER NOTES
The first guitar I ever played was my dads 1968 Martin

that had been used to record songs on Fleetwood Macs
Rumours album. The quality of Martin guitars and their
stunningly crisp sound are a standard I grew up
T H E J O U R N A L O F ACO US T I C G U I TA R S
appreciating and loving to play on all my albums and

Guitar Ambassador. | Colbie Caillat
Ive always loved the way Martins have looked and
felt since I first picked up a guitar. I couldnt be more

honored to be a part of the Martin family. Every time I
play my custom-built piece of art, I have to take a second
look to make sure someone isnt playing a trick on me.
VOLUME 6 | 2016
all of my toursthats why I feel honored to be a Martin

PUBLISHER C. F. Martin & Co., Inc.
EDITOR-IN-CHIEF Amani Duncan
CONTRIBUTING EDITOR Jonathan R. Walsh
DESIGN & PRODUCTION Lehigh Mining & Navigation

ART DIRECTOR Denis Aumiller
Thank you. Thank you. Thank you. | Dallas Green,
DESIGNER & ILLUSTRATOR Laura Dubbs
City and Colour
ACCOUNT DIRECTOR Joe Iacovella

COPYWRITER Scott Byers
I was fortunate enough to be introduced to the Martin
PRODUCTION ASSISTANT Pat Lundy
family through Burton Snowboards. We created a graphic
PRINTING Payne Printery
that I and many people in my sport will always remember.

Martin is truly a family, and they have been supporting
CONTRIBUTING WRITERS Jonathan R. Walsh,
projects I am involved with for years now. Stoked to have
David Schneider, Sean Kevin Campbell,
been brought into the Martin family. | Danny Davis
Bill Derks, Jeff Simpson, Dick Boak
My old Martin that has a hole in it has been around the

world with me and at gigs ranging from Lollapalooza to
the Grand Ole Opry. My love of that guitar and the history
of the Martin brand are what inspired my signature
model, and thats one of the things Im most proud of in
my career. Ive really enjoyed getting feedback from fans,
and Im still working on breaking mine in just right too!
Dierks Bentley
PHOTOGRAPHY John Sterling Ruth, Mandee McEvoy
MARTIN | THE JOURNAL OF ACOUSTIC GUITARS
C. F. Martin & Co., Inc.

P.O. Box 329, Nazareth, Pa. 18064
P. 610.759.2837
F. 610.759.5757
www.martinguitar.com
Its truly a gift and an honor to be a part of the Martin

family amongst so many talented musicians and the most
2016 C. F. Martin & Co., Inc., Nazareth, Pa.
passionate, inspiring, and humble employees I have ever
All rights reserved.
met. Growing up, it was always a dream to bridge the gap

between snowboarding and music, and with Martins support,
the dream has never felt so real! Looking forward to jamming
with Valerie June and Sleepy Man in the Martin Dome at
the Frendly Gathering in June! | Jack Mitrani
The feel of a Martin is unparalleled. So much joy of playing them on stage every night. I recorded with two different
Martin acoustics on my new record, Free, and it just wouldnt feel as authentic and pure any other way. | Cody Simpson
Theres nothing better than a Martin. If youre going to play music, you might as well make it sound the best it can.
Im proud to be a part of the Martin Guitar family.
D onavo n Franke nre iter
What an honour to be an Ambassador

of my beloved friend Martin. Im
excited to keep creating and
My HD-28 is solid.
sharing it with the world.
We have no problem
Flo Morrissey
endorsing Martin
Simple. Martin guitars

sound the best.
Kenneth Pattengale,
The Milk Carton Kids
guitars, because they

are great! | James
Valentine, Maroon 5
I love my custom
Its all about
Martin guitar!
my Martin.
Raggi, Of Monsters
Rivers Cuomo,
and Men
Weezer
Im very proud to call myself a

Martin Ambassador. Martin makes the
finest acoustic guitars on Earth, and
they show immense support for touring
and recording artists like me.
Jason Isbell
8 | LINER NOTES
The Martin Guitar Ambassador Program is far more than an artist link on a website; its a family of support by the
worlds greatest guitar company. We are honored to have Martin active in our career. | Tommy Mizzone, Sleepy Man
I couldnt be more honored and privileged
Introducing and fostering a close working relationship with the Martin
to be a part of the Martin Guitar Ambassador
Guitar company as an Ambassador has revolutionized my experience as
Program. From building timeless masterpieces
a working musician. In terms of functionality, the before-and-after would
to raising crucial social awareness worldwide,
be on par with the difference between building a house by me or having a
Martin has truly stolen our hearts and set
legendarily experienced carpentry crew on the site. In this case, fortunately
a positive example for independent and
for me, the additional carpenters have also become my friends.
corporate businesses alike. | Chuck Ragan
Seth Avett, The Avett Brothers
I love my Martin guitars because they are
Never in a million years when I was a teenager learning Stanley
so versatile and filled with character. I have
Brothers songs on my grandfathers guitar would I have ever thought
two that I use solely for writing, and my
someday Id be a Martin Ambassador. Words cannot express the pride
favourite that I take on the road with me and
and honor I feel representing this company, its legacy, and its products.
use in the studio. Its tone works perfectly
Sturgill Simpson
in both intimate and full band settings, and,

of course, Martin guitars have such a great
history that Im proud to be a part of.
Gabrielle Aplin
I was raised around guitarsit seemed

like my dad never put his down! And
from an early age, Ive always had
an appreciation for them. So
naturally Ive always been
drawn to Martins, and Im
A prerequisite for a great guitar used to be that it was an older

guitar. Thanks to what Martin is doing now, thats not true anymore.
The guitars theyre building now are some of the greatest guitars Ive
ever played, let alone just Martin guitars. Im glad to be a part of
the family! | Taylor Goldsmith, Dawes
I am beyond thrilled to have the opportunity to partner up with such
an iconic brand as Martin guitars. Music has been a huge part of my life
and career as a soccer player. Its very exciting to bring these worlds
together. | Megan Rapinoe, USWNT
so happy to officially be
part of the Martin
family now.
Thomas
Its a privilege to be a Martin Ambassador.
Rhett
Im a huge fan of the brand to begin with,

but getting to work with them and learn
their passion for what they do is what
makes being a fan even cooler. Being
an Ambassador for Martin has allowed
me to express my love for guitar playing
in all kinds of ways that I wouldnt have
been able to otherwise. Its especially
cool when a brand as credible as Martin
supports someone like me and believes
Having the support of the best acoustic guitar company thats over
100 years old is really an honor. Its lovely to be a part of the Martin
Ambassador family because I consider my guitar to be one of my
in supporting my music and what I do; its

fantastic to have that kind of support from
a company like Martin. | Hunter Hayes
most valued family members. I rarely leave my house without having

it beside me! | Valerie June
A WORD FROM CHRIS
TAKE IT FROM THE TOP
Dear Martin enthusiast,

Recently a friend of mine reminded me that I have been Chairman and
CEO of my familys business for 30 years. Wow. I have been so excited by
the 100 th anniversary of the Martin Dreadnought that I wasnt focused on
my own personal milestone. Honestly, its quite humbling for me. I have
been very fortunate to be part of a great business with fantastic coworkers,
who help me make the best guitars in the world.
10 | TAKE IT FROM THE TOP
The first Martin Dreadnought (Serial #47052 ) was made in 1931 and was stamped:
Dreadnought Model Made Exclusively for Chicago Musical Instrument Company
by C. F. Martin & Co. Based on the large-bodied D-111 Dreadnought that Martin
made under the Ditson brand until their bankruptcy in 1931, the D-1 and its D-2
counterpart were 12 frets clear to the body and were the predecessors of Martins
iconic D-18 and D-28 models.
Speaking of guitars, I want to take a moment to

shamelessly promote some of the new products we are
introducing at the 2016 Summer NAMM Trade Show
1931 ORIGINAL D-1
in Nashville. For history buffs, we have a D-1 Limited

Edition, a new-old 00-18, a Dreadnought with a large
soundhole, and another modern take on a cowboy guitar
(thank you, Willy Matthews). The new 17 Series will be
offered with electronics.
There are several new models from our facility in
Navojoa, including cutaway X Series, colored ukes, and,
for the first time, full-gloss solid wood guitars. The Retro
string line is also being expanded.
At the 2015 Winter NAMM Trade Show in Anaheim, we
introduced a new body size to our guitar seriesthe
Dreadnought Junior or D Jr. Boy, did this new model
create excitement! So much so that we found ourselves
in a position that we never like to be in, which is to
disappoint you, our dealers and distributors by not
delivering in-demand product on time. I can now say with
confidence that we are on track, and demand continues
to soar for this small but mighty-sounding instrument.
Like Martin Ambassador Jason Isbell recently said, I
cant put mine down. I encourage you to visit a local
Martin dealer and check out one for yourself.
Thanks for all the support over the past 30 years.
Sincerely,
C. F. Martin IV
Chairman & CEO
11
Q & A W I T H M A RT I N S N E W
P R E S I D E N T, J A C K I E R E N N E R
BY D AV I D S C H N E I D E R
12 | THE CHEMISTRY OF MUSIC
Great record producers work with artists in a variety of genres and studio environments. While an in-demand modern
country producer may thrive in state-of-the-art Nashville studios with first-call session musicians and major label
budgets, and a celebrated rock producer might earn a reputation for achieving great drum sounds through innovative
microphone placement techniques, the bona fide super producer can work with any combination of personalities,
tools, and settings. This is because they understand process: who should do what, when they should do it, how they
should do it, and under what circumstances it should be done.
A professional executive with true business acumen shares all of these traits. Their ability to attain excellence is
not confined to a particular office, or a specific team of workers, or even a single industry. They are able to study
an organization and understand its operations and its culturenot just by looking at what it is on paper, but by
absorbing whats never been committed to writing and what is subtly expressed in the way people approach their
work and interact with their co-workers. Like a fine chef, a professional executive can identify the unexpected
ingredient that further refines a process that was already great into something even greater. This discerning
competence is what every company wants for all of its leadership positions, but especially for its president, who will
be charged with working alongside a chairman and CEO, guiding the direction of a 183-year-old successful family
business. In the summer of 2015, after a discerning executive search coupled with an intensive interview process,
Martin Guitars sixth generation Chairman and CEO, Chris Martin IV, announced that he had found his new co-pilot
and Martins new President, Jacqueline Renner.
13
J A C K I E R E N N E R | M A RT I N G U I TA R S N E W P R E S I D E N T
Jacqueline, or Jackie as shes known among her colleagues, comes to the venerable and historied Martin
Guitar organization with her own distinguished body of experience. After obtaining a degree in chemistry from the
University of Pennsylvania, Jackie began working as a research chemist at the Olin Corporation before accepting a
business development role and eventually assuming the responsibilities in general management. In other words,
she helped secure patents and develop products in the laboratory before tackling the entirely separate challenge
of making those products successful in the marketplace. After proving herself equally adept in the science of
chemistry and the art of business, Jacqueline moved on to take crucial leadership roles at a series of consumer
products companies. Having started to settle into her position as Martins newly appointed President, Jackie is now
applying that spirit of scientific inquiry to the musical instruments industry, and of course more specifically to
the layered history of Martin Guitar. This involves asking questions of all kindssome of them basic and broad,
and some more pointed; but when I spoke to Jackie, she was quick, funny, and unflinchingly open.
DS You have led several companies in different industries. How have those experiences prepared you to guide the
direction of a successful, iconic guitar manufacturer known worldwide with 183 years of history?
JR Ive had the privilege to lead a number of consumer products companies with outstanding brands and global
reach, but I didnt come to Martin Guitar with a set of preconceived notions about what should happen. When you tie
that with the deep respect I have for the legacy of this company, it puts me in a really introspective place to think
about the future, and to work with Chris Martin and the core executive team to keep that history alive and to build a
bridge to the future.
DS I can see where a fresh perspective can be quite helpful. Sometimes theres a heavy nostalgia factor with music
oh, it used to be better back in the day, the good old days and golden ages, etc.
JR Its a different perspective. Music is very important in our family and has always been in our home. We have
nieces and nephews who are musiciansbe they in regional orchestras or bands or in the opera. My husband is an
avid clarinet player and has been for many, many years. Its wonderful to come to Martin and see business processes
integrated with creative expression. During the first couple of weeks I was with the company, I entered into my first
new product development meeting. There are all these beautiful guitars in the room. The product development team
is talking about all the technical aspectsthe materials of construction, what they did to elicit certain tones, etc.
And then you listen to how it sounds and its awesome! That is an experience Ive never had before in my professional
career. It really is soulful.
DS Did you feel any apprehension about taking the position of President of a business thats been family run for over
180 years? What advantages does that history offer?
JR I didnt feel apprehension; I just felt a deep respect and honor to be invited into the Martin Guitar family, not just
due to its history as one of the finest acoustic guitar makers, but also to help guide it into the future. I grew up in
a family business. My familys business is like an infant compared to Martin; its 58 years old now. A decade ago, it
went through its first generational change. My father started the business, and now one of my brothers has taken over
the leadership role in the company. So Ive seen, on that scale, what it takes to successfully transfer a business from
one generation to another, and it is a lot of work! It takes a lot of dedication, a lot of forethought, and an outstanding
business model to even enable it to last past one generation. And here, C. F. Martin has already done this for six
generations. That puts this organization in a real unique, rarified atmosphere.
DS Martin Guitar has an independent Board of Directors that you also work with. Can you share some insight into the
board and how you work with them?
JR I am excited to partner with Chris Martin and the Board of Directors in my new role as President. There are many
privately held companies that do not have an independent board. C. F. Martin & Co. has operated with an independent
board for several generations. It was quite a strategic decision to establish this board last century, and it has provided
important counsel over the decades. The Board is not only charged with fiduciary oversight; they provide important
input to the companys governance, strategy, and organization. They are very interactive and engaged. In my first nine
months as President, the Board has provided valuable insight into the company that has helped me build on our strong
foundation in the development of Martins immediate and long-term business strategies.
15
DS Our society has a lot of enthusiasm for innovative technologies, disruptive technologies, and also the musical
forms and formats theyve made possible. In your opinion, is there anything about the guitar that appeals to this
part of our culture, or does the guitar represent another end of the spectrumtraditional craftsmanship and
artisan techniques?
JR At first blush, I would say it represents a bit of both. Clearly the premier level craftsmanship and artisanship
that goes into the guitar making process is a key part of the beauty, playability, and quality of our instruments. I
look at a Martin guitar today, and I think about the history of that instrument in the country and the role it has
played in shaping music throughout the timesbluegrass, folk music, rock, country, and other genres that are
part of the fabric that is woven into our social history, and then I see new artists like Martin Ambassador Ed
Sheeran who are using the percussive parts of the instrument to create different musical experiences. We think
about those creative expressions and about how we can make guitars that meet the high standards of excellence
that Martin guitars are known for worldwide, but are also innovative and purposeful towards the new music that
people want to make. For example, in 2014 we introduced the Retro Series martinguitar.com/guitars/retro-series,
which represents the most significant advancement of our era in amplified acoustic sound. Martins R&D team
took donor instruments from our Martin Museum, and working with Fishman, used some of the best period-correct
microphones from the studio of legendary music producer Bil VornDick and recorded the instrument to create an
image map for the electronics to recreate that specific sound so that people can have a new instrument with an old
sound. The Retro Series guitars offer consumers modern performance and playability, with the visual and tonal
integrity of guitars from the pre-war era. They can use it to play old music, but of course also music thats brand new.
DS When we think about sustainability in guitars, we tend to think about the wood, but what about the luthiers?
What is Martins philosophy on talent recruitment and retention?
JR Martin Guitar as a company is very loyal to its co-worker family. Chris Martin truly believes that they are the
lifeblood of the company. It was one of the very attractive points of the companys philosophy that brought me
here. The company actively supports the tradition of guitar making through various luthier conventions, such as
Woodstock Invitational Luthiers Showcase, Fretboard Summit, and Association of Stringed Instrument Artisans
(ASIA) Symposium. I can tell you from my own experience that the interview process is very intense and the
on-boarding process is very helpful. People want to help you figure out w h ateve r youre doing, how to get up to
speed, and how to successfully become part of the companys progress. We communicate regularly with all of our
co-workers so everybody knows how the company is doing and everyone is encouraged to participate. We strive
to support our co-workers in a way that encourages them to be the best that they can be.
DS Pennsylvania Governor Tom Wolf has previously toured the Martin Guitar factory as part of his Made in
Pennsylvania initiative. If he called today and asked for a guitar to hang in his office, what guitar(s) would you offer?
JR 2016 marks the 100 th anniversary of the iconic Martin Dreadnought (1916-2016); so for someone who
wants to think about history, I would suggest a Dreadnought from our iconic Standard Series line, either a D-18
or a D-28. Both of these models have been loved and played throughout history by some of musics legends like
Hank Williams, Johnny Cash, and Jimmy Page. Ultimately, it depends on what hed want to play! We would happily
suggest a few more models for the Governor to consider!
17
MARTIN ARCHIVES
NORTH STREET ARCHIVES
Original Photograph by Grant

Jacobs Physical Photograph
Courtesy of C. F. Martin Archives
GEORGE HARRISON
George Harrison made a surprise visit to Haight-Ashbury and Golden
Gate Park in San Francisco on August 7, 1967. Alex Schub (at left in
the bowler hat) was there with his Martin D-18 and handed the guitar
to George, who gave an impromptu mini-concert to the delight of the
gathering crowd. Georges wife Pattie Boyd (of Layla fame) is to the
right of George. After seeing the photograph in a Martin Museum video,
Alex Schub contacted us to tell us the backstory. He still owns the D-18.
18 | NORTH STREET ARCHIVES
CHILDRENS BAND 1890

Mandolin and guitar orchestras gained
popularity in the late 1800s due in large part
to Italian immigration. This unique Calumet
childrens orchestra from Michigans Upper
Peninsula features many mandolins, with what
appear to be three or four Martin small-bodied
parlor guitars and a string bass. Its hard to
imagine all of the instruments actually in tune
with each other!
Courtesy of
Chris Karfakis Archives
Theatrical Studios, Chicago, IL Physical Photograph Courtesy of C. F. Martin Archives
THE OZARK SISTERS

In 1924, Prairie Farmer Magazine began broadcasting the National
Barndance on WLS radio out of Chicago. The extremely popular
and wide-reaching show featured a broad assortment of grassroots
hillbilly music. We know that Edyth Bergdahl and Shelly Mae
Kelly are two of the three Ozark Sisters, but were not sure which
ones. In 1937, they were listed as WLS performers. We can assume
that the guitar is a 1929 12-fret 2-17, which was Martins first
regular steel-string guitar not listed as a Hawaiian guitar, though
it was offered in both configurations.
BIG SLIM
Big Slim, The Lone Cowboy (aka Harry C. McAuliffe), was born in Bluefield,
West Virginia, and began his long radio career o u t of KQV i n Pi tts b u rg h ,
Pennsylvania. He achieved national popularity on his show General Store that
was broadcast fo r many years o n W W VA s J am b o re e out of Wheeling, West
Virginia. His 1936 song Footprints in the Snow became a country standard.
Photo Credit: C. F. Martin Archives
19
THE AMB ASSADORS

BY JONATHAN R. WALSH
I PULLED INTO NAZARETH, WAS FEELIN ABOUT HALF PAST DEAD; I JUST
NEED SOME PLACE WHERE I CAN LAY MY HEAD.
THE BAND
Photo: Courtesy of Martin Archives
JIMMIE RODGERS | THE SINGING BRAKEMAN
Well start with absences before we get to what we have. Lets

picture 183 years of music history without Clapton, without Cash;
you, which limited how well-known most musicians could become,

not to mention their guitars.
130 years of recorded sound without Dreadnoughts or rosewood.
It wasnt until artists could spread their music beyond the room they
Lets unwrite all the songs that were born between a set of hands
were in, before they could leave a mark that lasted longer than the time
and a Martin guitar. Okay. Now we can build them back. But where
they happened to be in town, that musicians were able to earn a new
do we start? With the players or the guitars? The songs or the
level of popularity. In terms of Martin players, one of the first to achieve
instruments that inspired them?
true stardom was Jimmie Rodgers The Singing Brakeman due to his
Back in the 1800s, famous guitarists played Martins, but the
time on the railroad, as well as The Father of Country Music for more
problem is that nobody remembers them, says Martins Chairman
obvious reasonswho rose to fame in the late 1920s and early 30s.
and CEO, Chris Martin IV. In my mind where it really starts to
When you get somebody like Rodgers, who becomes much more
gel is in the 20th century, particularly with the advent of recorded
famous and well-known, then hes not just playing live, says Martin.
music. Before the invention of the phonograph in 1877 (or the
Hes selling records; now you can hear him on the radio. I think
phonautograph 20 years prior, if you want to get technical), the
thats when we really begin to experience this symbiotic relationship
only way to hear new music was if someone performed it live for
between a musicians love of their Martins and our love of them.
20 | THE AMBASSADORS
ERIC CLAPTON
Rodgers custom-ordered his Martin 000-45 in 1927, and from there its a short jump to Gene
Autry and his 1933 custom D-45; Hank Williamss 1947 D-18; Elvis, Johnny Cash, Paul McCartney
and their D-28s; Willie, Dylan, Clapton; and on and on the golden thread goes.It seems as far as you
can imagine, a Martin guitar has been a part of the fabric of American music, says Amani Duncan,
Martins Vice President of Brand Marketing. When I started working at Martin now five years
ago, knowing this rich, amazing history that the company already had, we wanted to broaden the
brands exposure to an even larger consumer audience. And with that thought, Duncan, a music
industry veteran of labels like Virgin Records, Capitol Music Group, Universal Music Group and more,
had planted the seeds of what would soon become the official Martin Ambassador Program.
Working in the recorded music industry for 17 years, I was very familiar with Martin Guitar before
starting at the company in 2011. I knew many singer-songwriters who loved Martin guitars who could
help us introduce the brand to a new audience of guitar enthusiasts.
Photo: Courtesy of Guitar Center
21
THE BEGINNING
FLO MORRISSEY
ANDERSON EAST
Photo: Jane G.
EMILY BLUNT | CHRIS MARTIN IV | ED SHEERAN
While the Martin Am bassador Program d i d n t sta rt officially until 201 1 , i n str u m e nt m ake rs and the musicians
who use them have worked together for decades, and Martin is no different. Chris Thomas, Martins Director of Artist
Relations, describes these players as an unofficial roster of legacy artistsboth the folks weve recognized before
through signature models and the musicians whove embraced Martin guitars throughout their careers, artists who are
rarely seen without their Martins, even if they have no official relationship with the company.
Basically, the Martin Ambassador Program is an ex te n s i o n of the Martin Guitar family, the 183 years wo r t h of
amazing singers, son gw ri te rs, and players whove used Martin guitars, loved Martin guitars, and considered their
guitars as members of their own families, says Duncan. That wordfamilydescribes the key difference between
the Martin Ambassador Program and others of its kind. Its not uncommon for us to get emails of baby photos from our
Ambassadors or invited to their homes to hang out. We have built authentic, honest relationships that supersede
the business of the music business. A key facet of the program is nicely summed up in a lyric from one of Martins
Ambassa d o rs , the Avett Brothers: Nothing is owed or deserved or expected. To Duncan, this means that you pay
your debts, and at the end of the day, yo u do n t owe a ny b o d y a ny t h i n gits fa n ta st i c, and its what we want fo r
this program. So when we started, we insisted that we do not pay our Ambassadors. We wanted to b ring on board
artists who were motivated by none other than their love for the brand.
KENNETH PATTENGALE | THE MILK CARTON KIDS
MEGAN RAPINOE | U.S. WOMENS NATIONAL SOCCER TEAM
SAM HUNT
In fact, Duncan says, Seth Avett was our first Martin Ambassador. I remember
reaching out to him, and at the time he thought I was plain crazy. He couldnt
understand what I wanted. His response to that initial conversation went something
like this, Well, I already play Martins; I already own Dreadnoughts. Im not clear
on what it is that you want. Needless to say, we worked it all out, and through the
getting to know you process, he grew to understand where I was coming from and
vice versa. We understood how we could both benefit from a partnership like this.
Peculiar to the Ambassador Program is that, rather than just pursuing artists at
the height of their careers, Duncan and her team tend to reach out to artists at various
stages of their careers. And Martin Guitar has a keen eye for ta lent. We secured
artists like Hunter Hayes, Valerie June, the Milk Carton Kids, Sturgill Simpson, and
two-time Grammy Award winner Jason Isbell early on. We just announced our 2016
Martin Ambassadors, which include Grammy Award nominees Elle King and Sam
Hunt, as well as Flo Morrissey, Father John Misty, Anderson East, Brett Dennen,
Taylor Goldsmith from Dawes, and Megan Rapinoe of the U.S. Womens National
Soccer Team, who is a great guitar player to boot!
From the outside, it looks like the Martin Ambassador Pro g ra m i s a lmost the
magic touch. Ar ti sts fre qu e ntl y make their break into the mainstreamfrom
Isbell, to Simpson, to Hayesnot long after becoming Ambassadors. How does
an instrument manufacturer manage to become a tastemaker? We watch trends,
go to shows, talk to people, force ourselves to see what we may not want to see;
BRETT DENNEN
Photo: Steve Rosenfield
not allowing ourselves to be romanced by the lights and the screaming fans, but
seeing the artists for who they are and simply believing, says Duncan.
23
THE RELATIONSHIP
SETH AVETT | THE AVETT BROTHERS
10
Now, five years in, the Martin Ambassador lineup has developed to seem more like a record label roster than a guitar
company: You have the Avett Brothers taking Jason Isbell out on tour, Jason taking Sturgill out on tour; you have Elle King
going out on tour with Ed Sheeran, says Duncan. This little idea has turned into this beautiful extended family.
One of the ways Ambassadors get drawn more closely into the Martin family is through the guitar selection process.
That relationship between what artists want out of their instruments and what Martin is able to make for them has driven
innovations in guitar craftsmanship from as far back as the invention of the Dreadnought body style over a century ago,
to Gene Autrys first-ever D-45 in 1933, to advances in guitar amplification and beyond. But how do you get someone who
is more comfortable playing a guitar to learn to talk about building them?
We try to explain to everybody that a guitar is a series of give-and-takes, says Fred Greene, Vice President of Domestic
Manufacturing. You can have anything you want on a guitar, you just cant have everything you want. We try to tell people, in
terms of how a guitar sounds; its like working with a guitar amplifier that just has a single tone knob. And then we tell
them thats why we make more than one kind of guitar, and youre allowed to have more than one! You know, pick the
right tools for the right job.
Some people really enjoy the creative process of building a guitar, Greene adds. Kenneth Pattengale of the Milk Carton
Kids, for example, was very closely involved in the design of his guitarhe wanted to come and pick out the wood, and
really sit and talk about what he wanted his guitar to be, what he wanted it to represent. But there are other people who
really view the guitar as simply a high-quality tool.
FRED GREENE | V.P. OF DOMESTIC MANUFACTURING
11
CHUCK RAGAN
But just like the rest of the Ambassador Program, for Martin its the relationships that matter most. Its important to
everyone at Martin that the artists feel comfortable and at home; that they know that youre someone they can rely
upon. Once that partnership is established between artist and craftsman, the team at Martin believes its important not
to be pushy or obtrusive. The primary goal is about getting artists instruments that inspire them to make good music.
One of the most unique features of the Martin Ambassador Program is its reach beyond the factory walls. In many ways,
once an artist joins the Martin Guitar family, the company becomes an extension of their support network alongside the
record label and artist management. Guitar techs and tour managers know who to call when they need something on
the road quickly, or if theyre touring near Nazareth and they want to visitwe really try to stay full-service and be
very responsive, says Thomas. Were not afraid to ship a guitar overnight around the world if they need it.
In this way, the Ambassador Program has pulled to gethe r international distributors and Martin Guitar in a way that
didnt exist before, Thomas explains. Ive gotten to know distributors better simply because our Ambassadors happened
to be in their country and needed something done quickly. The international Martin team has been amazing! For instance,
Chuck Ragan was heading through Germany and his pickup died on him; he didnt have a backup and needed to get the
pickup changed right away. Our German distributor got it to one of their shops and had it swapped out in an hour while
his guitar tech waited. I mean you just cant leave your family out there hanging.
25
AN AUTHENTIC LIFESTYLE
12
DONAVON FRANKENREITER
Photo: Josh Letchworth
When you look at the list of Ambassadors, t h e re s someone playing a m u s i c genre that
can appeal to everyone: country, pop, rock, bluegrass, Americana, etc. We wanted to show
people that were everything, not just one genre. You can rock out, strum, fingerpick, or do
whatever you want to do on a Martin guitar. We have something for youthis is all part of
our bel i e f, th at mus i c i s a lifestyle that a p p ea ls to a wide range of people, Thomas says.
Naturally, this new set of players has found re p rese ntat i o n i n t h e A m ba ssad o r Pro gram.
O n e of th e ways Mar ti n has invited new audiences to discove r M a r t in g uita rs is t h ro ug h
ou treac h to an u n s u n g g ro up of passionate m us ic love rs : a ct io n s p o r ts fa ns. Billab o ngsponsored surfer and musician Donavon Frankenreiter was the first Ambassador to the join
the program from the action sports world. Duncan says, Martin Guitar has been producing
ukuleles for over 100 years, and the roots of the iconic Dreadnought guitar started in Hawaii,
which many people do not know. Martin started sponsoring the annual SURFER Magazines
13
DANNY DAVIS
Photo: Cole Barash
SURFER Poll Awards in Oahu, Hawaii, four years ago (held at the Turtle Bay Resort), where the
prizes for the winners include a custom Martin guitar or ukulele. Today, guests of the Turtle Bay
Resort can rent guitars and ukuleles from a kiosk inside the hotels lobby store, the North Shore
Wate r S h e d. I t h as be e n a wo n de rf u l pa r t ne rs hip, a nd it he lps to s p rea d b ra nd awareness
to n e w consumers and players.
And it didnt stop there. By a stroke of luck, we got introduced to Danny Davis and the Bur to n
snowboard team, says Duncan. Together with Davis, who is now an Ambassador, Martin co-created
a limited edition Burton snowboard, which was a hit among the snowboarding community. Danny
is an awesome guy and musician. He rode [the board] during the 2014 Winter Olympics in Sochi,
and it even made the cover of the New York Times. And once again, it was a natural fit for us: Burton
is another family-owned and operated company in Vermont with very similar ethos, and it all just
workedperfectly.
27
A FAMILY AFFAIR
14
ELLE KING
Photo: Melanie Swerdan
15
FATHER JOHN MISTY

Photo: Brad Moore
Everyone knows how important family is to Martin, says Duncan. Not only is Martin Guitar family-owned and
operated for generations, but there are generations of family m e mb e rs w ho work on the factory floor and in the
offices. So we wanted to create a program that was intentionally small and filled with what we call career artists,
Duncans term for musicians in the business for the long haul.
Thomas concurs: Martin feels like a collection of friends who happen to make guitars, as opposed to a place
where the pl aye rs c h a n ge e v e r y ye a r a n d yo u n ever know whos going to stay or go. In all honesty, we pick
artists we like, whose music we like. And folks we think represent the brand, who we want to be associated with,
and who we think have legsnot flash-in-the-pan type artists.
That focus on lifestyle is key to much of what Martin has done in recent years. From one perspective, a guitar isnt
truly a living instrument until the day it leaves the factory, on its way to someones hands to start a lifetime of making
music. And its musicians, professional and amateur, who allow those guitars to impact so many lives.
While the Martin Guitar team may be selective about whom they invite into the Ambassador Program, to their credit they
truly embrace everyone who wants to be a Martin player. We want everyone on the planet to play Martin guitars, famous or
not famous, says Duncan. Our customers are our Ambassadors too; we all are. Every single person who works here in our
factory in Nazareth and Navojoa is an Ambassador; there are just different levels of ambassadorship. Were proud of every
single person who wants to own a guitar with the C. F. Martin & Co. gold script logo on the headstock.
16
TAYLOR GOLDSMITH | DAWES

Photo: Mandee McEvoy
Part of this thoughtful expansion has meant shifting the image of what a Martin player looks like. As we approach
the third decade of the 21st century, Martins devotion to flatpickers remains strong and thriving with key bluegrass
players like A m b a s s a d o rs Del McCoury and Sleepy Man, who represent the next generation of bluegrass music.
But, like the music industry itself, Martins audience now spans gender, race, age, and location, and the Martin
Ambassador Program reflects that. Duncan explains, If youre a good musician, and youre someone who is good
for the Martin Guitar brand, we are going to check you out. That legacy, the nearly two centuries worth of music,
players, and craftsmanship upon which Martin has built its reputation, is what the Martin Ambassador Program is
designed to protect. You just cant let anybody into the family, says Duncan. Because the last thing anyone wants
is some odd duck to come in and change the dynamic of what multiple generations have built. Every decision that
we make is weighed heavily. We at Martin believe we must be protectors and shepherds of 183 years of goodness.
And we do not take that responsibility lightly.
Learn more about the Martin Ambassadors roster at martinguitar.com/ambassadors.
29
CHECK FOR A MARTIN EXPERIENCE EVENT

COMING TO A TOWN NEAR YOU.
NO ADMISSION CHARGE | EVENT SPONSORED BY MARTIN GUITAR
7/12/16
Fret Mill Music
Roanoke
VA
9/30/16
Guitar Center
Central Dallas TX
7/13/16
Foxes Music
Falls Church
VA
9/30/16
TBD
Italy
7/13/16
Trinity Guitars
Jamestown
NY
10/1/16
Guitar Center
Oklahoma City OK
7/14/16
House of Guitars
Rochester
NY
10/3/16
TBD
Bratislava
8/8/16
Guitar Center
Totowa
NJ
10/4/16
Instrumental Music Thousand Oaks CA
8/9/16

8/10/16

8/11/16
Guitar Center

Guitar Center
Cherry Hill
NJ
10/4/16
TBD
Plymouth Meeting PA
10/5/16
Dietz Brothers
Manhattan Beach CA
Guitar Center
Pittsburgh
PA
10/5/16
3D Music
Hradec Krlov CR
8/12/16
Guitar Center
Monroeville
PA
10/6/16
TBD
Prague
CR
8/16/16
Great Southern
Houston
TX
10/6/16
Boulevard Music
Culver City
CA
8/17/16
Danny Ds
Houston
TX
10/7/16
Music Outlet
Sevierville
TN
8/17/16 Dana Flood Bangor
ME
10/8/16
Music Outlet
Sevierville
TN
8/18/16 Buckdancers Portland
ME
Guitar Center
Houston
TX
Guitar Center
San Antonio TX
Ostrava
SR
CR
8/18/16
Guitar Tex
San Antonio TX
10/17/16

10/18/16
8/23/16
Tall Toad
Petaluma
CA
10/19/16
Guitar Center
South Austin TX
8/24/16

9/11/16
Gryphon
Palo Alto
CA
10/20/16
Guitar Center
North Houston TX
Guitar Center
Marietta
GA
10/21/16
Guitar Center
Clearlake
9/12/16

9/13/16
Guitar Center
Asheville
NC
10/22/16
Guitar Center
New Orleans LA
Edmond Music
Edmond
OK
11/1/16
Guitar Center
North Charlotte NC
9/14/16
Gilliam Music
Norman
OK
11/2/16
Guitar Center
Raleigh
NC
9/14/16
Guitar Center
Knoxville
TN
11/3/16
Guitar Center
Fairfax
VA
9/14/16
Bizarre Guitar
Phoenix
AZ
11/4/16
Guitar Center
Rockville
MD
9/15/16
Guitar Center
Nashville
TN
11/5/16
Guitar Center
Wilmington
DE
9/15/16
Nicholsons
Folsom
CA
11/8/16
Dusty Strings
Seattle
WA
9/15/16
Tone Shop Guitars San Antonio TX
11/19/16
Ray Mullins Swansea
MA
9/16/16
Guitar Center
Memphis
TN
11/28/16
Guitar Center
San Jose
CA
9/25/16
Guitar Center
North Dallas TX
11/29/16
Guitar Center
Sacramento
CA
9/26/16
Guitar Center
Plano
TX
11/30/16
Guitar Center
Emeryville
CA
9/28/16
Guitar Center
Fort Worth
TX
Guitar Center
San Mateo
CA
9/29/16
Guitar Center
Arlington
TX
12/1/16

12/2/16
Guitar Center
Concord
CA
VISIT MARTINGUITAR.COM/EVENTS FOR MORE DETAILS.

CHECK THE WEBSITE FOR ADDITIONAL EVENTS | EVENTS ARE SUBJECT TO CHANGE
DONT SEE A MARTIN EXPERIENCE NEAR YOU?
REQUEST ONE AT YOUR LOCAL AUTHORIZED MARTIN DEALER
TX
DC-28E
OMC-28E
GPC-28E
ITS WHATS INSIDE THAT COUNTS

INTRODUCING MARTINS NEW AURA VT
& MATRIX VT ENHANCE
TM
ACOUSTIC
AMPLIFICATION BY FISHMAN
By Sean Kevin Campbell
When someone buys a Martin guitar, they expect to get an instrument that will last them
for decades, whose tone and value will improve and develop with age. When the time
comes, they can pass the guitar on to their children, or their childrens children; a piece
of art to help them create art. And the best musical art comes from the best sound. This
is true for artists who want to amplify traditional acoustic guitarslike the iconic Martin
Dreadnoughtfor larger venues and those players who prefer a more modern style that
uses the instruments resonance for tapping, popping, and percussion.
For most acoustic-electric players, however, adding an amplification system can
mean a Frankensteins marriage of plastic to wood, piercing the body of their guitar to
install the electronic components. This chains them to an irreversible fact: No matter how
great their system sounds now, no matter how much the tonewoods sweeten with time,
the electronics are only going to become outdated. Instead of getting better with time,
their beloved guitar could become obsolete.
THIS IS SOMETHING PEOPLE HAVE BEEN ASKING FOR THE PAST 30
YEARS, TIM TEEL, DIRECTOR OF INSTRUMENT DESIGN, SAYS ABOUT THE
ELECTRONICS THAT ALLOW MUSICIANS TO AMPLIFY THEIR GUITARS. THEY
WANT SOMETHING THAT THEY DONT REALLY NOTICE RIGHT AT YOUR
FINGERTIPS, THATS EASY TO USE, AND SOUNDS AMAZING.
33
C. F. MARTIN & CO. HAS BEEN MAKING THE FINEST ACOUSTIC GUITARS AND PROVIDING
THE BEST EQUIPMENT TO ACCOMPANY THEM FOR 183 YEARS, SAID CHAIRMAN AND CEO
CHRIS MARTIN IV. THE NEW AURA VT ENHANCE AND MATRIX VT ENHANCE ACOUSTIC
AMPLIFICATION BY FISHMAN ARE PRIME EXAMPLES OF OUR DEDICATION TO MAKING A
MARTIN GUITAR SOUND LIKE A MARTIN GUITAR WHEN AMPLIFIED.
Thats where Martins new exclusive electronics, Aura VT and Matrix VT Enhance acoustic amplification
by Fishman comes into the picture. The Aura VT and Matrix VT Enhance electronics systems feature a
traditional under-saddle pickup installed underneath the saddle of the bridge, but the control knobs are
mounted inside the soundhole to provide an acoustic-electric setup without cutting into the body of the
guitar. They also feature an upgraded transducer that is specifically designed to allow for the percussive
nature of the instrument. And since the body is not altered to fit the electronic system, older electronics
components can be upgraded as the technology advances.
For its debut, the Aura VT Enhance system is available on Martins iconic Standard Series (18, 28, 35
Series), Customs, Authentics, and Limited Edition models. The Matrix VT Enhance electronic system is
available on Martins 15 Series and 16 Series.
C. F. Martin & Co. has been making the finest acoustic guitars and providing the best equipment
to accompany them for 183 years, said Chairman and CEO Chris Martin IV. The new Aura VT Enhance
and Matrix VT Enhance acoustic amplification by Fishman are prime examples of our dedication to
making a Martin guitar sound like a Martin guitar when amplified.
The team at Martin Guitar do not need to go far to find an example of a premium guitars
outdated technology devaluing the instrument. The model Kurt Cobain used for his
MTV Unplugged performance looks like a cross between a beautiful D-18 and a
1950s transistor radio. It has a classic Martin D-18 body with magnetic pickup
punched through the top, as well as a set of electric guitar control knobs along the
lower bout. Not only did the guitars natural acoustics suffer because they had to install
midcentury technology directly into the body, but the magnetic pickups didnt work as well
with the acoustic strings. A lot of work had to go into the signal to get an acceptable sound
for amplification. The more they adjusted the signal, the further away from the original tone they
went. That was the cutting edge in acoustic-electric design 20 years ago. Now, since the body had
to be altered to fit the electronics, that setup can be worth less than a standard D-18 made today.
When you buy a Martin guitar, youre expecting the instrument to last a lifetime, says Fred Greene,
Vice President of Domestic Manufacturing at Martin Guitar. Theres not much in the electronic world
that lasts a lifetime. When you cut holes in your guitar to fit a certain kind of electronics, when the
technology moves on, unfortunately youre stuck.
In the future, acoustic-electric guitars will have access to technologies like wireless connections and
rechargeable batteries, and people buying guitars today may want to swap out the technology as
it becomes available. The Aura VT and Matrix VT Enhance electronics will make this possible without
devaluing the instrument and build on the rich tones that Martin guitar enthusiasts of the current Aura
electronics system worldwide know and love. The same great Fishman system has now been enhanced
to allow for more playing styles and add another dimension to the classic Martin guitar tone.
35
You dont want to burden a fine instrument that is going to

have heritage and value over the next 100 years with something
that was put on it as an afterthought, says Larry Fishman, founder
of Fishman Transducers and developer of the Aura VT and Matrix VT
Enhance electronic system.
After hearing more acoustic players adopt tapping, slapping, and the range of
percussive playing styles, Fishman became enamored with the sound and its potential for
music. Not satisfied with what was on the market, he set out to create a system that took away the
hotspots and feedback that hold back many of the acoustic sound systems in the percussive arena.
Through research and experimentation, he found that his Aura VT system was the best base to build
on. From there, he went back and forth, tweaking settings and refining the digital processing to get the tone
right. After that, he simplified the interface so musicians could seamlessly blend their sounds on the fly without
being bogged down by unnecessary controls. This new system, for Fishman, is the culmination of over 35 years of
looking at the needs, wants, and opportunities in the amplifier and acoustic instrument marketplace. It is taking all the
technology hes developed and putting it into the guitar in an elegant way.
When you make tools for artists, you have to make a lot of decisions that inspire the artist to be creative, Fishman says. If you
burden them with too much technology, it gets in the way. If you dont give them enough control, they cant do what they need to do to be
creative because theyre always fighting the instrument. It should be a balance between the two.
Fishman starts by recording the guitars natural sound, or image, with his digital processors. After capturing the essence of that sound,
he then calibrates the system to be specifically tuned to the body of the instrument. From there, players have a range of tones that they can
blend in with the image. With the new system, a variety of sound options are right at the players fingertips, ready to be blended to fit their
style of play.
The type of music that people are using our guitars to make isnt just bluegrass or country music or folk music, says Greene. Theyre
using it in all kinds of settings and playing styles, and to assume that one tone works all the time isnt practical. This new electronics system
allows players to create different sonic palates within one instrument and gives them more range in their music.
WHEN YOU BUY A MARTIN GUITAR, YOURE EXPECTING THE INSTRUMENT

TO LAST A LIFETIME, SAYS FRED GREENE, VICE PRESIDENT OF DOMESTIC
MANUFACTURING AT MARTIN GUITAR. THERES NOT MUCH IN THE ELECTRONIC
WORLD THAT LASTS A LIFETIME. WHEN YOU CUT HOLES IN YOUR GUITAR
TO FIT A CERTAIN KIND OF ELECTRONICS, WHEN THE TECHNOLOGY
MOVES ON, UNFORTUNATELY YOURE STUCK.
36 | ITS WHATS INSIDE THAT COUNTS
&
ACOUSTIC AMPLIFICATION BY
NEW OMC-28E
Featuring the Aura VT Enhance
ITS WHATS
Acoustic Matrix under-saddle pickup, the worlds
best-selling under-saddle pickup (available on select models)
Aura VT Enchance features Aura Acoustic Imaging
with one custom image built into an internal active preamp
(available on select models)
Discreet, soundhole-mounted controls: Volume and tone

controls up top and a new Enhance blend control on the
lower part of the soundhole
Battery box integrated into endpin jack for easy access
Learn more at martinguitar.com/VTEnhance
#VTEnhance
OMC-35E
38 | ITS WHATS INSIDE THAT COUNTS
GPC-35E
DC-35E
WHEN YOU MAKE TOOLS FOR ARTISTS, YOU HAVE TO MAKE A LOT OF
DECISIONS THAT INSPIRE THE ARTIST TO BE CREATIVE, FISHMAN SAYS. IF YOU
BURDEN THEM WITH TOO MUCH TECHNOLOGY, IT GETS IN THE WAY. IF YOU DONT
GIVE THEM ENOUGH CONTROL, THEY CANT DO WHAT THEY NEED TO DO TO BE
CREATIVE BECAUSE THEYRE ALWAYS FIGHTING THE INSTRUMENT. IT SHOULD BE
A BALANCE BETWEEN THE TWO.
Studio tests conducted at Martin Guitars Nazareth, Pa., factory showed the same full tone spectrum from the current
Aura VT, but with Enhance its like a luxury car with a turbocharger added on to it. It allows acoustic-electric players
to cut through their bands mix without being harsh to the ears. Its sound is transparent and has more presence. When
players are on stage, it puts them in the drivers seat. They can go from fingerpicking to strumming and rhythm to lead
without a soundman. Each plucked string is picked up clean by the system and amplified with a soft and smooth tone.
Instead of punching in a new setting on the fly, players can roll the Enhance blend knob all the way forward for
tapping, and then pull it back for clean, individual notes.
For players who already have the Aura system, the Aura VT Enhance or Matrix VT Enhance will be very intuitive. Aura
was already easy to use, so this system should be easy to pick up for fans of the previous system and for new
players who never tried Aura electronics.
The Enhance transducer is mounted to the underside of the bridge plate with a pressure-sensitive adhesive. To
upgrade to a new system further down the line, players will just need to pull off the transducer and remove any
remaining adhesive.
The guitars setup will keep the same battery box from the previous design with its popular hinged door system that
allows for easy battery replacement and snaps shut to keep the battery in place. Its compatible with a standard ninevolt battery and gives 30 hours of playing time before it needs to be replaced.
The system is non-intrusive and the controls are easy to use. It has a volume control, a blend control for the new
Enhance pickup, and a tone sweep that allows players to shuffle between various sounds. Each of the tones is
based on the standalone image, so players can add more range without compromising the quality of the sound as
they experiment to find the settings they like best.
Crucial to gigging musicians, feedback control is built-in and happens behind the scenes. Its well behaved on stage
and has been tested in venues from small coffeehouses to larger clubs. When the product technicians started adding
in the Enhance effect, tone began to blossom. It gave them the feeling of being surrounded by the sound.
Musicians around the Martin Guitar factory all love the new electronic system. The Aura VT and Matrix VT Enhance
systems offer a great balance of features and sound. With a couple of turns of a dial or two, theyre ready to play in any
setting. They give artists an expressive set of electronics in the already impressive instruments created by Martin.
For us, the guitar comes first, Fred Greene says. People are using the guitar differently, so we want to be there
with them. We want to grow with that new guitar player. So we design guitars that are still intrinsically Martin but
help people be more creative. Its about designing guitars that we can put electronics in and feel really proud of,
without compromise.
You can learn more about the innovative Aura VT Enhance and Matrix VT Enhance acoustic amplification system at
martinguitar.com/features-materials/aura-vt-matrix-vt-enhance or go to your local authorized Martin dealer to try
out these new models in person. Find a dealer near you at martinguitar.com/find-a-dealer.
#VTEnhance
39
AUTHENTIC SERIES
NEW RELEASES
D-1 AUTHENTIC 1931
The first Martin-branded Dreadnought (Serial #47052) was simply named the D-1 and
was made in 1931 with a back center brace stamping that read: Dreadnought Model Made
Exclusively for Chicago Musical Instrument Company by C. F. Martin & Co.
Based on the large-bodied D-111 Dreadnought that Martin made under the Ditson brand
(until their bankruptcy in 1931), the D-1 and its D-2 counterpart were 12 frets clear to the
body and were the predecessors of Martins iconic D-18 and D-28 models.
This new D-1 Authentic 1931 model closely replicates the historic material specifications,
tonewoods, and construction processes that were employed in 1931the primary exception
being that standard T-frets are used instead of the older style bar frets (bar frets are available
for an upcharge upon request). Other small exceptions include the use of a bone nut and
saddle (instead of ivory), and the exclusion of the Chicago Musical Instrument Co. center
brace stamp, since such a statement would be untrue today.
In keeping with original tonewoods, CITES-certified Brazilian rosewood is selected for the
headplate, fingerboard, bridge, and end piece. Genuine mahogany is selected for the back
and sides as well as the one-piece dovetailed neck, and the Adirondack red spruce top
and internal bracing is pre-aged utilizing Martins torrefied (VTS*) Vintage Tone System.
An ebony neck reinforcement and a thin, vintage gloss lacquer finish contribute to the
surprising lightness of weight for this extraordinary instrument.
Authentic instruments are constructed with hide glue under hot lamps and are assembled
at individual craftsman stations within the Martin Custom Shop. These instruments represent
the highest and most challenging levels of Martin craftsmanship, attention to detail, and
tone. Learn more at www.martinguitar.com/new.
*This model boasts Martins Vintage Tone System (VTS) Adirondack spruce top and braces to replicate the aged appearance
and tonality of the original. The new Martin Vintage Tone System (VTS) uses a unique recipe that is based on the historic
torrefaction system. The VTS acts much like a time machine in which Martin can target certain time periods and age the top/
braces to that era. Learn more about Martins Vintage Tone System (VTS) at www.martinguitar.com/VTS.
40 | MARTIN
41
LE-COWBOY-2016
William Willy Matthews is widely known for his beautiful watercolor
portrayal of the working cowboys from the great ranches of the American
LIMITED EDITION
West. Willy Matthews has collaborated with Martin on a number of projects,

the most recent being the LE-Cowboy-2015 that featured his original
cowboy artwork on the guitar body.
Martin Guitar is pleased to introduce the second guitar collaboration
with Willy Matthewsthe LE-Cowboy-2016. This unique 000 12-fret
model features original artwork for both the body and the headstock,
created specifically for this edition. The Sitka spruce soundboard is
pre-aged with Martins Vintage Tone System (VTS*), and the back and
sides are bookmatched from rare quilted mahogany for lightness of
weight and clarity of tone. Additional features include vintage style
grained ivoroid for the body bindings, a modified low oval neck for ease
of play, and durable genuine ebony for the fingerboard and bridge.
After owners register their LE-Cowboy-2016 guitars, they will receive
the hardcover book William Matthews, Working the West and a feature
length DVD William Matthews, Drawn to Paint. Orders for the special
edition LE-Cowboy-2016 model will be limited to those received during
the 2016 calendar year. Learn more at www.martinguitar.com/new and
www.martinguitar.com/playabilityenhanced.
*This model boasts Martins Vintage Tone System (VTS) Sitka spruce top and braces to
replicate the aged appearance and to n a l i ty of the original. The new Martin Vintage Tone
System (VTS) uses a unique recipe that is based on the historic torrefaction system. The VTS acts
much like a time machine in which Martin can target certain time periods and age the top/braces
to that era. Learn more about Martins Vintage Tone System (VTS) at www.martinguitar.com/VTS.
42 | MARTIN
CUSTOM SHOP
CS-BLUEGRASS-16
Martins world-renowned Cu stom Shop proudly
introduces the CS-Bluegrass-16, debuting at the
2016 Nashville NAMM Show. This model represents
the quintessential 14-fret rosewood Dreadnought,
d rawin g i ts i n s pi rati o n from the pre-WWII D-28
Herringbone Martin guitars that have long been
acknowledged as the timeless workhorses for
country and bluegrass music.
Perhaps the most unique feature of this instrument
is its enlarged soundhole, inspired by the legendary
D-28 (Serial #58957), owned originally by Clarence
White an d, af te r Cl are nces untimely death, by
bluegrass legend Tony Rice. The back and sides
are crafted from beautiful Guatemalan rosewood,
a close v i s u al an d to n al match to the rarer and
more restricted Brazilian rosewood. The Adirondack
red spruce soundboard and internal scalloped
braces feature Martins Vintage Tone System (VTS*)
for unparalleled tonal complexity and power. Like
Martins successfu l Authentic Series, ea ch CS Bluegrass-16 guitar is constructed with hide glue
and handcrafted within the Martin Custom Shop.
Limited to no more than 100 guitars, this special
edition will provide musical inspiration for guitar
players who love and play bluegrass music. Learn
more at www.mar ti n gu i tar.com/new and
www.martinguitar.com/playabilityenhanced.
*This model boasts Martins Vintage Tone System (VTS) Adirondack
spruce top and braces to replicate the aged appearance and tonality of
the original. The new Martin Vintage Tone System (VTS) uses a unique recipe
that is based on the historic torrefaction system. The VTS acts much like a
time machine in which Martin can target certain time periods and age the
top/braces to that era. Learn more about Martins Vintage Tone System
(VTS) at www.martinguitar.com/VTS.
43
00-18
As one of the most popular guitar sizes of the mid-1930s
through the late 1960s, the small-bodied 14-fret 00-18 has
18 SERIES
been seen in the hands of iconic musicians such as Woody

Guthrie, Bob Dylan, Bryan Adams, Tim OBrien, Jeff Tweedy,
and countless amateur and professional guitarists alike.
Reintroduced in 2003 as part of Martins Vintage Series, the
00-18 is comfortable to hold and tonally pleasing to the ear.
The new 00-18 version features a scallop-braced Sitka
spruce top with mahogany back and sides that provides
the tonal foundation for this classic grand concert design.
The combination of the short, expressive 24.9" scale with a
modified low oval neck shape and the more parallel high
performance taper allows for fast action and playability. The
purity and durability of genuine ebony for the fingerboard
and bridge complete the integrity for this understated
Martin model. Learn more at www.martinguitar.com/new
and www.martinguitar.com/playabilityenhanced.
#MartinPride
44 | NEW
MARTIN
RELEASES
15 SERIES
GPC-15ME
Martins GPC-15ME is a Grand Performance acoustic-electric
cutaway that possesses an understated beauty, proven tone,
and affordable value of solid genuine mahogany for the scallopbraced top as well as the solid mahogany back, sides, neck and
internal support blocks. The combination of a 25.4" long scale,
rosewood fingerboard with a modified low oval neck shape and
a more parallel high performance neck taper allows for fast
action and playability. Fishman Matrix VT Enhance electronics
make this a versatile instrument for the stage, the studio, or for
purely acoustic play. Learn more at www.martinguitar.com/new
and www.martinguitar.com/playabilityenhanced.
#VTEnhance
45
X SERIES
DCXAE BLACK
GPCXAE BLACK
OMCXAE BLACK
DCXAE BLACK | GPCXAE BLACK | OMCXAE BLACK

Popularized by the legendary Johnny Cash and beloved by guitarists worldwide, black acoustic guitars exhibit a
strong stage presence. Martin Guitar introduces three new X Series cutaway acoustic-electric modelsDCXAE Black,
GPCXAE Black and OMCXAE Black, crafted with Jett black high-pressure laminate (HPL) top, back and sides with
matching black Richlite fingerboards and bridges. All three models feature the Fishman Sonitone sound reinforcement
system. So all you need to do is plug in and play.
46 | MARTIN
DCX1RAE
GPCX1RAE
GPCX1AE
DCX1AE
DCX1RAE | GPCX1RAE | GPCX1AE | DCX1AE

In addition to the new X Series Black cutaway models, Martin introduces two new full-sized Dreadnought acousticelectric cutaway modelsthe DCX1AE and DCX1RAE. The DCX1AE features m a h o gany- g ra i n e d h i gh - p ressure
laminate (HPL) back and side material, while the DCX1RAE uses rosewood-grained HPL.
In the slightly smaller Grand Performance cutaway size, the GPCX1AE features mahogany-grained HPL back and sides,
while the GPCX1RAE uses rosewood-grained HPL.
The tonality of these affordable guitars is enhanced with tops bookmatched from solid Sitka spruce, while durable black
Richlite is chosen for the fingerboards and bridges. All four models are designed for enhanced playability with the
Fishman Sonitone sound reinforcement system, offering active plug-in capability for stage and studio use. Learn more
at www.martinguitar.com/new and www.martinguitar.com/playabilityenhanced.
#XMarksTheSpot
47
D JR.
JUNIOR SERIES
D JR. 2 SAPELE
D JR. 2 SAPELE | D JR.

The Dreadnought Jr. sounds surprisingly big. Warm and full low end, clean and clear highs. Not what youd expect from a guitar
thats smaller and lighter than traditional Dreadnoughts, or from one thats this affordable. I cant put mine down. Two-time
Grammy Award winner, Martin Ambassador Jason Isbell
Introduced in January of 2015, the Dreadnought Junior, or D Jr., has been enthusiastically received by amateurs and professionals
alike. Reduced to approximately 15/16 of the full Martin 14-fret Dreadnought in size, the D Jr. features an expressive 24" scale with easy
action and solid wood body construction that yields a surprisingly clear, powerful tone.
The D Jr. has a solid Sitka spruce top with solid sapele back and sides, and we offer a version with Fishman Sonitone electronics called
the D Jr. E.
The new D Jr. 2 Sapele has solid sapele top, back and sides. Richlite, an ebony alternative with similar hardness and appearance,
is chosen for the fingerboard and bridge. The neck and body are protected with a thin hand-applied finish. The D Jr. 2E Sapele has
the same configuration and comes equipped with Fishman Sonitone electronics.
Every D Jr. model includes a form-fitted nylon gig bag for easy transport. Affordably priced, the Jr. Series is ideal for smaller
players, students, travelers, or anyone who aspires to the clarity and depth of tone that has defined Martin instruments for more
than 180 years. Learn more at www.martinguitar.com/new and www.martinguitar.com/playabilityenhanced. #DreadNot
48 | MARTIN
ROAD SERIES
DRSG
The DRSG, Martins latest addition to the popular Road
Series, is constructed with siris, an exotic tonewood that
grows in the same basic region as East Indian rosewood.
When used as a back and side material, siris has a strong
bass response, yet is less dense and slightly lighter in
weight. The DRSG is a 14-fret Dreadnought body size that
combines solid wood construction with a Sitka spruce top,
Richlite fingerboard and bridge, and the neck and body
are protected with a thin hand-applied finish. The DRSG is
equipped with the Fishman Sonitone sound reinforcement
system for stage and studio performance. With simple
appointments, this is an affordable guitar with versatility
and responsive tone. Learn more at www.martinguitar.com/
new and www.martinguitar.com/playabilityenhanced.
#OwnTheRoad
49
50 | MARTIN
2016 SUMMER NAMM SHOW SPECIAL
SS-00L41-16
This summers Nashville NAMM Show Specialthe SS-00L41-16takes its inspiration from
1930s era sloped shoulder 14-fret 00 guitars and introduces a new back and side tonewood for
Martin: African moabi. With an attractive reddish-brown, close-pored grain with medium density
similar to Hawaiian koa, moabi yields a pleasingly rich and warm response.
For tonal complexity and balance, an Adirondack red spruce soundboard features Martins
Vintage Tone System (VTS*). These tonewoods are combined with modified Style 41 pearl inlaid
appointments, European flamed maple bindings, an ebony pyramid bridge, and unique high-ratio
tuning machines with skeletonized butterbean knobs. Similarly delicate skeletonized diamond
and wing-shaped pearl inlays adorn the flame maple-bound ebony fingerboard.
The results of several tonal experiments are employed in the design of this instrument: carbon
fiber, laminated with aged Adirondack spruce, creates an extremely light yet strong bridgeplate
support. Additionally, a lightweight, D-shaped, carbon fiber neck reinforcement contributes to
tonal breathiness. Constructed with hide glue in the Martin Custom Shop, each special guitar is
hand-finished with an extremely thin unearthed hardwax oil to further enhance tonal openness.
Lastly, chrome-colored liquid metal bridge pins have a discernible impact on the tone of this
innovative model.
Restricted to orders placed by authorized Martin dealers in attendance at the show, this premium
model is limited to no more than 30 instruments with interior labels numbered sequentially and
bearing the signature of C. F. Martin IV. Learn more at www.martinguitar.com/new.
*This model boasts Martins Vintage Tone System (VTS) Adirondack spruce top and braces to replicate the aged appearance and
tonality of the original. The new Martin Vintage Tone System (VTS) uses a unique recipe that is based on the historic torrefaction
system. The VTS acts much like a time machine in which Martin can target certain time periods and age the top/braces to that era.
Learn more about Martins Vintage Tone System (VTS) at www.martinguitar.com/VTS.
51
52 | LIFELINE: INNOVATION TO ADD YEARS TO STRING TONE
LIFELINE
INNOVATION TO ADD
Y E A RS T O S T RI N G T O N E
BY BILL DERKS
For many, the word Martin conjures images of guitars, of

rosewood grains and that iconic square headstock. We think
of lacquered mahogany, of rich tones, of the Dreadnought
design and the resonance of X-bracing. Of course we should
think of rock n roll, of Claptonalways think of Clapton
but what we should also think of is metal. No, not that
kind of metal. At least not exactly. We should think of alloy.
Bronze, copper, zinc, tin, and all of the components that
make up that steely hum, which turns a humble G chord
into something so soothing we would swear the ears are the
fastest, most direct route to the soul.
53
However, unlike rosewood and spruce, which develop richer tones over time, alloys of even the finest quality tend
to lose their luster when exposed to the elements and daily wear. Taking into account the oxidation of said metals
rust to you and meas well as longevity, shelf life, and customer satisfaction, a Martin development five years in
the making has finally come to fruition, one that has the potential to add years to string life. And its all in the
packaging. Yes, packaging. It may seem simple, but to the men and women at Martin who pride themselves on quality
above almost all else, the impact of overhauling such a well-known design is one that must be extremely precise,
especially when it has a dramatic effect on the sound of an acoustic guitar.
In accordance with their mission to put the player above all else, Martins focus was customer satisfaction. Before
the redesign, internal packaging consisted of two strings per envelope. For instance, a typical pack of six-string SP
Lifespans coiled the low E and G strings into a single envelope, the A and B strings into a second envelope, and so
on within a three-envelope box. This was not an unconscientious idea; in fact it was born with conservation in mind.
As a company that uses the highest quality wood on its most prized creations, trees are of the utmost importance,
and what better way to preserve them than to use fewerhalf as many, if we consider three string envelopes versus
six. But even diehard Martin string aficionados found this three-envelope design cumbersome. Under stage lights, it
can be awfully difficult to discern an E string from a G when youre in the middle of a set. Were talking microscopic
measurements that can lead to issues like improper tunings, or in the most extreme cases, wasted and broken
strings caused by a condition well call String Confusion. Let us say that Martin has heard the call and has cured
String Confusion, not only by maintaining its beloved string formula, but also by placing each string in its own clearly
labeled, corrosion-inhibiting envelope. Martins goal was to do everything in their power to see that the next gig, whether
it be in China or Grand Rapids, Michigan, went on uninhibited.
With that problem resolved, it was time for Martin to tackle a far more difficult task as far as packaging was
concerned: seal i n g eac h pac k of stri n gs to ke ep air out and tone in. This had been an ongoing debate within the
company for years, which meant the next step of the design process was not as easily remedied. The two largest
enemies of treated metal are oxygen and changes in temperature. When a large order of strings is put on a cargo
ship headed to England, Italy, or Australia for months on end, it is exposed to cold, heat, and moisture at all ends of
the spectrum. Before the strings have their first chance to play that humble G chord, they could begin to oxidize on a
microscopic level. And this impacts tone. But in a world beset by climate change (man-made or not) and increased
YES, I A M TALKIN G
A BOUT S TRIN GS,
A K EY T O GOOD TON E,
WHI CH MA RTIN GUITAR
HA S T A K EN GREAT
P RI DE I N DE VELOPIN G
F OR OV ER THE PAST
50 YEARS.
global trade, how does a company more experienced with hide glue and fret wire over microscopes and pH balances
combat this? The men and women at Martin are no strangers to hard work. This is a family that has been in business
for nearly 200 years. Th is is also a company that prides itself on quality, on the worlds finest tonewoods and the
precise, micrometer adjustments an instrument needs to cover the gamut from Layla to Master of Puppets. By all
means, these are sharp people were dealing with. But these are people whose business revolves around the reverberation
of air, not of sealing away oxygen as an element. But what the people at Martin did understand was that developing
certain ideas leads to new questions, and that those questions can lead to enhanced designs. They knew they needed an
airtight seal and one that could also protect the strings as well as house them efficiently. And it didnt hurt that they were
no strangers to trial and error.
In order to change for the better, you must first start with a small idea, says Martins Product Manager for
Strings, Tim McNair. A package of sliced bologna is sealed, correct? And doesnt the shape of shipped and bound
guitar strings have roughly the same rounded circumference as, say, that package of sliced bologna? So, would it be
incorrect to possibly show up to a packaging expo (yes, a packaging expo) with an empty bologna package and say,
I would like this, but for guitar strings? If it works youre a genius, and if it doesnt, its not that you failed; its that
you simply found another way that didnt work. Thats what McNair tried and, in this case, understood that vacuum
sealing strings was a good start, but not good enough for Martin. By all means, they were getting warmer. The strings
team then moved on to tin boxes. They tried pouches. They even tried self-sealing baggies, but again, the seals
trapped too much oxygen within that packaging, and with it oxidation, says McNair. In the end, it wasnt bologna that
solved the riddle of rust; it was a package of candy from Mars, Incorporated (maker of M&MS ). It wasnt until the
strings team had stumbled upon the Mars companys (another family-owned business) process of combining a foil
inner layer with a system of purging of oxygen by nitrogen infusion, that they had their biggest breakthrough. What
Martin Guitar now has on hand is something called a flow-wrap package: a permanently sealed pouch, expunged of
oxygen through a nitrogen purging process, which fits the strings to size and preserves their alloy for much longer
than previous methods. As many guitar players know, shelf life can be paramount. After all, how many times have you
found a package of strings hidden inside your trunk or in an old gig bag? From now on, when you ask yourself how
long theyve been there, you still may not know, but with the redesigned package they will sound as good as the day
you lost them.
55
But what about that well-intentioned desire to save trees, to help preserve
the environment? It hasnt been forgotten. In the strings teams search for
new packaging, they tested a range of packaging materials, most of which
held the recyclability rating of 7in other words, generally not recyclable.
In a time when plastics are piling within our oceans and our landfills are
overflowing, a 7 wasnt going to cut it. Martin wanted something roughly as
sustainable as the cardboard theyd been using for years, and as McNair put
it, with the new flow-wrap design, wed found it. The plastics that are used
now are a 5 on the recyclability scalenot unlike a margarine bowl, a foodsafe, health-safe container widely accepted as recyclable and considered
to have one of the least toxic ratings. With the increase in the number of
envelopes, Martin also made sure to use envelopes that are certified by the
Sustainable Forestry Initiative.
Its no question that Martin is one of the most respected and recognizable
names in the guitar industry. If youve heard the twang of Johnny Cash, the
dry thrum of Bob Dylan, or the throaty grit of Chris Cornell, you probably
know a Martin when you hear one. What you may not realize is that the
unmistakable sound youre hearing is the marriage of Martins timeless
guitars with the rich tone of a fresh set of their strings. Martin has spent
more than 180 years building the reputation behind their logo, and they
put that reputation on the line with every pack of strings they sell. The new
nitrogen-sealed, flow-wrap design packaging has not strayed too far from
the pond in that regard. The new artwork on the packaging incorporates a
larger Martin script logo with the popular color-specific gauging in the upper
left corner. The bold new circle set off by a white background indicates the
product family, while a new material indicator (so you can see at a glance
if youve got 80/20 bronze or phosphor bronze) now lies in the upper
right. These new packages are not meant to confuse, simply to make the
guitarists life a little easier, says the strings teama little clearer, a little
sharper, somewhere in the G range. And just like the strings themselves,
these packages are designed to let players spend less time worrying about
string changes, and more time making music.
57
MARTIN STRINGS
MEET THE FAMILY
We believe that the strings, the very last critical ingredient

in the guitar making process, are the vocal cords of any
fine guitar. We know that we can apply generations of
experience to every guitar we build, but if we dont give that
guitar the voice it deservesthe perfect voicethen we
havent finished our work.
MARTINSTRINGS.COM
FALL 2016
EXTRA L I G H T 1 2 ST R IN G
EXT R A L IGH T
M ED IU M
Discover vintage tone with strings made to harmonize with your

guitars wood. Visit martinguitar.com/strings/retro for details.
WE ARE FAMILY
FROM THE WORKBENCH
NATE ABEL
Nate Abel has worked at Martin Guitar for the past three years. His career
started in Top and Back Assembly, and he now works in Polishing. Nate has
had a passion for playing guitar since the age of ten and thinks its sweet he
gets to work on them all day. Nate says that working for the company that
crafted the American guitar is the best place he can think of to work.
DEE FRABLE
A 13-year employee of Martin Guitar, Dee Frable currently places the rosette
around the soundhole of Martin guitars and inspects tops. Her favorite part
of the day is mingling with the tour groups that pass by her workbench. Her
favorite tour visitor was Eric Clapton, who toured the factory with Chairman
and CEO Chris Martin IV a few years ago. Clint Black comes in as a close
second as her favorite tour-goer. De e gi ves h i g h praises to her Martin
coworkers, who are a big part of why she loves working at Martin Guitar.
60 | FROM THE WORKBENCH
PENNIE KOLB
Pennie Kolb is a 13-year employee who works in the Binding
Department and has many family members who are also her coworkers.
Pennie grew up in a musical family, so working for Martin Guitar seemed
like a perfect fit. She feels great pride when she walks into a music store
and sees a Martin guitar. Anyone who has a Martin guitar bound by
Pennie should know that it was made with great passion for music and
love of the instrument.
KATIE BRYANT
Katie Bryant has been an employee of Martin Guitar for a little over a year. She
works in the Filling Department and also takes on a few other responsibilities, like
scuffing and neck taping. As a Nazareth native, Katie decided to work at Martin
Guitar after taking a tour and finding the guitar process fascinating. She is proud
to tell people about Martin Guitars 183-year history of being a family-owned
business that is still going strong!
BRYAN REPSHER
You could say that Bryan Repsher, after 43 years at
Martin, knows a thing or two about guitars. Bryan
currently works in the Spraying Department, but has
previously worked in Sanding, Inspection, and Repair.
His philosophy is to put everything youve got into
what you are doing. When he tells someone he works
at Martin Guitar, he is most proud to add how great
his coworkers are and how much pride they have in the
work they do.
ED MORBER
Ed Morber became an employee at Martin Guitar through a vo-tech program 4 3 years
ago. He has worked in many departments, including Maintenance, Polishing, Sanding, and
now works in WIP Repair. One of the many reasons Ed has had such a long tenure at the company
is because Martin Guitar constantly gives him an opportunity to learn more. He encourages
anyone interested in learning more about Martin Guitar to co m e ta ke a to u r a n d se e
fi rst- h an d t h e many pro cesses, cra f ts m e n a nd wo m e n, a nd g uita rs.
61
By calligrapher
Dick Brown
64 | IN SEARCH OF MADAGASCAR ROSEWOOD & OPTIMISM
IN
SEARCH OF
MADAGASCAR
ROSEWOOD
&
OPTIMISM
BY JEF F S IM P S ON
In the summer of 1869, John Muir, the Scottish-American naturalist whose activism
helped preserve Californias Yosemite Valley and pave the way for our national parks
system, hiked into the Sierra mountains where he wrote what would become one of his
most famous lines about environmental responsibility: When we try to pick out anything
by itself, we find it hitched to everything else in the Universe. To Muir, everything was
interconnected, a lesson Nick Colesanti and Forest Based Solutions consultant Robert
Garner would learn after traveling halfway around the world in search of rosewood.
So u t he r n
Ma dag ascar
Nic k Colesa nt i, V.P. o f Su p p ly c h a i n m a n ag eme nt, in So u t he r n Ma dag asca r wit h lo cal c hild r e n
In late January, Colesanti, Martin Guitars Vice President of Supply Chain Management, left Newark International
Airport headed for Madagascar, the worlds fourth largest island located off the southeast coast of Africa. The
journey would take him across two continents, and in the weeks leading up to his departure, he would navigate
malaria vaccinations, a polio booster, and last-minute travel changes. Colesantis mission was deceptively simple:
investigate new connections for importing legally-sourced, sustainably-produced Malagasy rosewood.
Rosewood has long been a choice hardwood used by both guitar builders and high-end furniture makers. Prized
for its rich, reddish-brown color and sturdy, close-grained timber, it fulfills two design ambitions few other tonal
hardwoods can achieve: strength and beauty. Rosewood has a little more drama in terms of its graining, Chris
Martin IV, Martin Guitars Chairman and CEO (and sixth generation heir to the company) said. Mahogany is
simple in its beauty. We know guitar consumers buy guitars based on what they sound like and what they look
like. So we make sure we offer a wide variety of options to suit individuals preferences.
Rosewood, an impeccable tonewood capable of sustaining deep, resonant tones, is ideal for constructing the
backs and sides of fine acoustic guitars. Its only downside is its scarcity. For decades, most exotic hardwoods
have failed to reach any sort of market equilibrium. Insatiable demand has driven several species of exotic
tonewoods to near extinction. Chris Martin, who has been criticized in the past for his interest in alternative
materials, says there simply arent enough rosewood trees in the world to produce the number of guitars
consumers buy every year. As much as I love the traditional woods, theres a reason theyre called rare and
exotic, he said. Because they are.
In the 30 years that Chris Martin has served as Chairman and CEO, hes watched the global supply and
management of exotic hardwoods undergo rapid and ceaseless change. Historically, Brazilian rosewood (Dalbergia
nigra) was the most sought-after species on the world market until the Convention on International Trade in
Endangered Species of Wild Fauna and Flora (CITES)an international trade agreement formed in 1973 that has
now been signed by 181 of the worlds 196 countriespassed a 1992 amendment that severely restricted imports
of Brazilian rosewood on grounds that it was endangered. Once Brazilian rosewood became virtually impossible
to import through legal channels, many manufacturers, including Martin Guitar, switched to East Indian rosewood
(Dalbergia latifolia) sourced from India. While East Indian rosewood is a good substitute, it varies in both
appearance and density. Its hue is more cocoa brown to purplish, and greater porosity makes it less attractive
and slightly less resonant than its Brazilian cousin. While the supply chain for East Indian rosewood has remained
relatively stable for several decades, the Indian government has heavily regulated the harvest and sale of its crop
to conserve tree populations since 1980.
There was another source for Martin Guitar to explore: Madagascar. The first time Chris Martin saw a stack of
Malagasy rosewood (Dalbergia baronii), he recalls immediately noticing how identical it seemed to the Brazilian
species. It came into the factory, and I said, Oh my God, if were not careful and we inadvertently mixed up the
rosewood from Madagascar with the rosewood from Brazil, we might not be able to separate them. Thats what
intrigued me about the rosewood from Madagascarit seemed to be the closest replica to Brazilian rosewood I
have ever seen. And our customers really responded positively to it.
With an equal (if not better) substitute in hand, one would think the problem was solved; but importing rosewood
from Madagascar proved extremely difficult. The problem starts with the countrys recent history of illegal logging
that stems from a 2009 political coup that left much of the countrys northern half mired in corruption and illegal
activity. Then, in 2011, CITES extended trade controls on all Malagasy species of rosewood and ebony in an effort
to curb illegal logging and exports after illegal trade increased 25 percent in 2009, resulting in about 25,000
metric tons of rosewood being illegally exported.
Chris Martin adamantly supports going through legal channels even when those channels produce nightmarish
snags. Im in favor of regulating wood, he said, so whatever CITES comes up with, whether people like it or
not, you kind of go: There must be a reason that theyve decided to put this material in this category. While
CITES governs on an international scale, guitar manufacturers must also comply with the U.S. Lacey Act, passed
in 1900, which prohibits illegal trade in wildlife. It was expanded in 2008 to include protections of plants and
plant products by addressing illegal logging practices. Martin stressed the degree to which the Lacey Act requires
the company to verify that the wood they purchase, no matter where they bought it, was harvested legally. We
became very concerned that the verification couldnt be done properly, he said. You might get a piece of paper,
but is that piece of paper legitimate? So we just backed off. Martin Guitar isnt going to partner with anyone who
is not legitimate.
67
So u t he r n
Ma dag ascar
But a chance encounter with an ad in Forbes magazine put Madagascar back on Martins mind. I
saw a paid advertisement from the government of Madagascar that basically said, We know were not
perfect, but we want to re-engage with the world community to stimulate our economy. Thats when I
started to talk to Nick about checking out Madagascar again to see whats going on.
After arriving in Antananarivo, Madagascars capital city, Colesanti made his way to Fort Dauphin,
located on the southeast coast of the island. His initial goals were twofold: First, he wanted to verify
reports warning importers that Madagascar, with its recent political crisis and increased regulations,
is too difficult to deal with. We often see reports in the media or get direct communication from
folks who are painting with a very broad brush, and sometimes we feel that some of the details may be
missing, Colesanti said. Second, he had to try to figure out the governments long-range plans
concerning sustainability and forest management. Colesanti began his career with Martin Guitar in
2002 as the Director of Supply Chain Management. With many years of experience managing logistics
and chain-of-custody compliance, he was well equipped to handle any supply and/or regulatory issues
on the ground. However, he would soon discover another, more complicated problem he couldnt have
predicted. I thought most of the land was being deforested because of legal and illegal logging, he
explained. And it really wasnt.
In addition to logging, substantial acreage is lost every year, especially in the southern half of the island,
due to subsistence farming. That was hugely eye-opening, Colesanti said. According to a 2013 World
Bank report, roughly 90 percent of the Malagasy people live on less than two U.S. dollars a day. To feed
themselves, most villages clear huge swaths of jungle in order to plant subsistence crops, namely rice,
but also beans and cassava root. Colesanti recalls seeing small plots of rice and beans planted i n o ne
of the small communities he visited before trekking
He says he would ultimately love to maximize the
w i t h h i s g u i d e th ro u g h v e r y d e n s e j u n g l e o n ly to
value-added activities in-country. I would love to see
re - e m e rg e l a te r i n to a n o t h e r l a rge c l ear i ng . Im
Malagasy communities with their own mills, learn how
looking around this huge open area in the middle of
to cut the wood themselves, so they can keep more
the jungle, and I said, Im really curious how they
of that money, he said. In addition to just selling
carried out all those big trees. His guide, puzzled,
the standing trees, theres lots of money to be made
asked what he meant, and Colesanti explained that
cutting the trees, transporting the trees, cutting logs
theyre far from the village, there are no roads, and
into lumber, and drying it. The more they can do in
they dont have industrial logging equipment. He asked
country, the more revenue they keepthen hopefully
again how the locals carried out the trees. The guide
the fewer trees theyll have to cut down.
told Colesanti they dont take out the trees; they burn
While there are still many obstacles to overcome,
them. Colesanti said, Theyre taking down the jungle
Colesanti and the team at Martin Guitar see the
and theyre not harvesting the wood? The guide said
glass as half full. He recounted a story about taking
no; they just burn them.
pictures with school kids who had never seen a digital
To make matters more challenging, these small,
camera. He said, I showed them the picture on my
impoverished communities are not versed in modern
phone, and they were screaming and pointing. They
farming te chn i qu es, so th ey de pl ete th e l a nd of
were just so nice, but they literally have nothing. That,
nutrients within a few seasons. Without methods of
to me, is the real reason to do something. Its great
fertilization, crop rotation, and soil conservation to
for us to have wood and make really nice guitars,
increase and sustain yields, every year more acreage
but giving the people of Madagascar some kind of
has to be cleared to meet food demands. Much of the
sustainable economic development is really key.
cleared land rests on hillsides, making soil erosion
Its a sentiment Chris Martin shares in spades. When
a constant plight. Colesanti soon realized that the
asked about the tension between turning a profit
problem of importing rosewood goes well beyond
quarter-to-quarter and looking out for the long-term
simply waiting for the moratorium on exports to
health of the company, he said without hesitation,
expire before finding a reliable broker to help ensure
This is a multi-generational family business. You
all purchased wood is harvested legally. To create a
want to look out far enough to say were going to be in
lasting supply channel, it became apparent to Nick
business as long as the world wants guitars.
that Martin Guitar would more than likely have to work
Like Muir, Colesanti learned everything is connected
with the Malagasy government and numerous non-
to something else. Though its easier to pretend
governmental organizations (NGOs) to help create
otherwise, a guitar is not a solitary thing. Theres a
both sustainable farming practices and a sustainable
Malagasy proverb that says, Nothing is so difficult
logging program.
that diligence cannot master. Colesanti mentioned at
Luckily, Colesanti is not alone. Though he says the
one point that the easy thing to do would be to give
many NGOs working in the country have little central
up, say its all too much; but that the real work is
coordination, theyre all doing exceptional work, and
in finding the good parts, like some old and faithful
theyre all interested in getting some form of forest-
craftsman, and starting from there. Theres a lot of
based economy back up and running. Martin Guitars
good people doing good work there, he said. We are
immediate objective is to start a few small pilot
optimistic. Someone has to be.
programs where they can extract wood in a controlled

manner. However, Colesanti sees real opportunity to
create a lasting and mutually beneficial partnership.
69
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71
The D Jr. E sounds surprisingly big. Warm and

full low end, clean and clear highs. Not what youd
expect from a guitar thats smaller and lighter than
traditional Dreadnoughts, or from one thats this affordable. I cant put mine down.
J
ason Isbell
2016 Two-time Grammy Award Winner
D JR. E
D-45
JASON ISBELL
Something More Than Free

jasonisbell.com
LXM
martinguitar.com/djr | #DreadNot
RESHAPING MUSIC
TAKES LONG HOURS

OF RECORDING,
A DEMANDING PERFORMANCE SCHEDULE
AND STRINGS THAT CAN KEEP UP WITH ALL OF IT.
martinstrings.com/LifespanSP
#staytuned
JASON ISBELL
Something More Than Free

jasonisbell.com
OLIVER DITSON
SOMETHING OLD
OLIVER DITSON COMPANY | BOSTON
Page 7 of a recently found antique catalog, circa 1916, describes all nine of the
models made exclusively by Martin for the Oliver Ditson Company of Boston
(and New York). Models 1, 2, and 3 were noted as Standard size and were the
smallest. Models 11, 22, and 33 were noted as Concert size, being slightly larger
than the Standard size. Models 111, 222, and 333 are listed as Extra Grand. During
this time, these large instruments were fan braced and set up for Hawaiian
slide play, but eventually X-bracing, steel strings, and lowered playing action
would launch the Martin D rea d n o u ght into the heart of American musical
stage performance and culture.
Front cover
74 | SOMETHING OLD
Back cover
Inside page

510 Sycamore St., Nazareth, PA 18064
www.martinguitar.com
VOLUME 6 | 2 01 6
AMAZING HOW ELLE KING
CAN ROCK SO HARD

WITH SOFT, SILK-WRAPPED STRINGS.
ELLE KING
martinstrings.com/Marquis
#staytuned
Love Stuff
elleking.com
Photography: Melanie Swerdan

Martin Journal Vol. 6

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Program. From building timeless masterpieces

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