MARTIN | The Journal of Acoustic Guitars: Volume 15

C. F. Martin & Co., Inc. PO Box 329, Nazareth, PA, 18064 martinguitar.com

C. F. MARTIN & CO.

Chairman of the Board: C. F. Martin IV

President & CEO: Thomas Ripsam

VP of Marketing: Michael Nelson

Sr. Brand Marketing Manager: Kristi Bronico

Creative Manager: Mandee McEvoy

Graphic Designer: Vanessa Goffredo

Copywriter: Derrick Krom

Archives & Museum Manager: Jason Ahner

Head of Artist Relations: Rory Glass

Photography: Eric Dowd, Ryan Hulvat

NME NETWORKS

Editor: Josh Gardner

Art Editor: Philip Millard

Associate Editor: Cillian Breathnach

Production Editor: Sean McGeady

Creative Director: Simon Freeborough Manager, Commercial & Partnerships: Joe Supple

Project Manager: Lou Phelps

Contributors: Noma Bar, Sam Roche, Michael Watts Published by C. F.

Martin & Co.,

SET LIST

WELCOME

A word from Chris Martin IV

GOOD COMPANY

An up-close look at the stunning new D-3 Millionth milestone guitar

PERFECT HARMONY

Explore the 192-year partnership between musicians and Martin

YOUR PERFECT COMPANION

Meet the new expanded Junior Series guitars 30

BILLY STRINGS

The GRAMMY®-winning bluegrass guitarist on his new Martin signature instruments

38

ISLAND LIFE

The story of the new Martin O’ahu™ family of instruments, with Chris Martin IV 46

PETER FRAMPTON

The songwriting icon on his love of Martins old and new

52 TRY, TRY AGAIN

Celebrating 100 years of the Martin concert ukulele, and its place in Martin history

JOHNNY MARR

The Smiths guitar legend on his unique seven-string Martin guitar 64

THE NEXT EVOLUTION IN TONE

Why Martin’s Kovar™ strings are rewriting the script for acoustic tone 68 THE MARTIN ARTIST SHOWCASE

Discover the varied and exciting artists that make up the Class of 2025

SOMETHING OLD…

Go behind the glass of the Martin Museum

A word from Martin CEO Thomas RIpsam

THEtop FROM CHRIS

a word from

Iwant everyone to play a Martin – why not play the best guitar in the world? That’s certainly the view of the countless artists we’ve worked with over the past 192 years. Everyone at Martin deserves credit for helping keep my family’s business alive over our long history – and the spectacular D-3 Millionth that adorns the cover of this year’s Journal is a testament to that.

Our relationship with artists is special. Throughout our history, they always wanted to play the very best guitar, and in doing so helped us evolve the instrument too. Even all the way back in the 1800s, we made models for artists who were also teachers, so that they could sell them to their students.

Fast-forward to when I became CEO, I was fortunate to be able to start the artist model program. At the time, I was under a lot of pressure from our sales department to do the artist endorsement thing. But I thought, “Hmm… I don’t think my family ever gave guitars away to artists.” We gave guitars away for charity events, sure, but as far as I am aware, artists always bought their guitars, just like the rest of you. It left me with something of a conundrum. How would I square that circle?

The first signature guitar we did in the modern era was a Gene Autry D-45 in 1994. Did you know that the first D-45 was effectively a custom order from Gene?

“The Singing Cowboy” wanted a fancy Martin guitar, but a large one. Up until that point, we made Dreadnoughts, and we made Style 45 versions of other models, but we never combined the two. But when Gene placed that order, we took it and made it. We still have the correspondence between the two parties in our archives.

Of course, after we delivered Gene his guitar, that wasn’t the end of the story. The D-45 became part of our standard line, and today it’s one of the most valuable vintage guitars you can get. And it may never have happened without this collaboration between Martin and our artists – you can find out more about this storied relationship on page 12.

The Gene Autry D-45 would also set the groundwork for how we would approach artist models over the next 30-odd years. The idea is that you, the artist, get to help design a model with your name on it. And then you, the artist, get one.

That’s it. You can buy some for yourself or for your friends and family, but we sell the rest of the series through our domestic dealers and international distributors.

Part of the proceeds from those sales are donated to a charity of the artist’s choosing. In Gene Autry’s case, it was his museum in Los Angeles. This has been a really successful program over the past three decades. So I personally want to thank all the artists who participated during my role as CEO – and a shoutout to Dick Boak for helping facilitate many of these relationships too. Someday, you too may get a Martin artist model with your name on it, just like those above.

Keep practicing and performing.

These are just a selection of the fantastic Martin signature instruments that were produced during Chris’ tenure as CEO.

C.F. MARTIN IV

2006 Mark Knopfler 000-40S 1998 Joan Baez 0-45

2009 Linda Ronstadt 00-42

Steve Miller 000C 2006 Andy Summers 000C-28

2017 John Prine D-28

Johnny Cash D-35

Nancy Wilson HD-35

Tom Petty HD-40

Paul Simon OM-42

company GOOD

Words • JOSH GARDNER

The D-3 MILLIONTH is Martin’s most REMARKABLE MILESTONE instrument yet. It’s also a CELEBRATION of the MASSIVE CAST of TALENTED and DEDICATED PEOPLE who make up the “& Co.” part of that ICONIC HEADSTOCK logo

Martin celebrated an incredible milestone in 2004. After more than 170 years in operation, the company produced its one millionth serialized stringed instrument. And how do you celebrate such a landmark occasion? With another.

The millionth Martin, serial number 1,000,000, was an extraordinary guitar. Created in partnership with acclaimed inlay artist Larry Robinson, it took two years to complete and was an unprecedented example of instrument-making artistry. But, of course, Martin didn’t stop producing instruments after that. In the 21 years since, as the company grew and flourished like never before, the milestones kept coming, with dizzying figures to match. In 2011, the company hit 1.5 million; in 2016, 2 million; and in 2022, Martin created its 2.5 millionth serialized guitar.

For 2025, Martin is celebrating another astonishing achievement, and it bears the serial number 3,000,000. As Chris Martin IV is quick to remind us, that number doesn’t even include the mandolins and ukuleles Martin has made, which aren’t counted in Martin’s standard serial-number system. This means Martin has made twice as many instruments just in the past 21 years as it did in its first 171. Such a feat calls for something extremely special indeed. In fact, the D-3 Millionth—which is replete with breathtaking details that pay tribute to the past, present, and future of the company, and not just the family that built it—is possibly the most astounding instrument Martin has ever produced.

“Think about other guitar brands you’re familiar with, particularly American guitar brands,” says Chris Martin IV, pointing to the headstock of the D-3 Millionth. “Very often, right up here, is the name of the founder of the company. In the case of my family—and I’m so proud of this—we acknowledged early on that Martin guitars are made not just by Mr. Martin; Martin guitars are made by a team of the most highly skilled guitar builders on Earth. And that’s why we say ‘C. F. Martin & Co.’”

The “& Co.” on the headstock logo and the spirit of collaboration it represents became a theme around which ideas for the D-3 Millionth crystallized. Initially, the design team considered using a fingerprint pattern on the guitar’s top to represent the thousands of unique hands that have played a part in making Martin Guitar what it is today. But that sparked an even more appropriate idea that was equally unique and meaningful: the growth rings of a tree.

Thus the striking symbolic idea for the top of the D-3 Millionth was born. There are 192 sycamore tree rings depicted across the instrument’s top, one for every year of Martin’s existence to date. Each of those rings is depicted in sycamore and solid gold, with diamond inlays dotted across the rings to represent important milestones for the company, from its founding in New York City in 1833 to the move to Nazareth, Pennsylvania, in 1838, and beyond. The sycamore tree represents every Martin guitar employee, going all the way back to the start. This collaborative theme continues in jaw-dropping fashion on the guitar’s Brazilian rosewood back and sides, as well as on the fingerboard.

Martin aficionados may recognize the impressive inlays—a mixture of gold, pearl, and abalone—as the work of longtime Martin collaborator Pearl Works, based in Maryland. The D-3 Millionth boasts some of the most detailed and ambitious inlay work ever seen on a Martin instrument, or any instrument for that matter. It’s capped off by the stunning sycamore tree in full leaf, which stretches across the back of the guitar. On the gold leaves, you’ll notice a fingerprint pattern that again represents the impact and input of Martin’s employees over the past two centuries.

“This is the culmination of all of our collaborations,” says Pearl Works inlay artist Marc Thompson. “We’ve done many complex projects before but this takes it to the next level. Knowing the importance of the 3 millionth milestone, we’ve taken design elements from previous projects that maybe were a little less complex, and turned it up to 11.”

Turning it up to 11 is what the D-3 Millionth is all about. The headstock, for example, features a resplendent diamond-encrusted Moravian star, in a nod to the history of Nazareth, which was a closed Moravian community when Martin founder Christian Frederick Martin moved to the area from New York City back in the early 19th century. You’ll also find diamonds inlaid into the tuner posts and the gold bridge pins. There’s barely an inch of this guitar that doesn’t have some sort of sumptuous detail to admire. Just check out the pickguard—a piece of solid 14-karat palladium featuring an engraved map of Nazareth, with rubies marking each of the three locations where Martin factories have existed since 1839.

Martin has crafted three D-3 Millionth instruments to mark its 3 millionth serialized guitar, two of which are available for sale. The other will remain on display in the Martin Museum for visitors to enjoy. As a companion to the D-3 Millionth model, Martin has also created the D-300, which tells the same wonderful story as the D-3 Millionth but in a more modest way, and is available as part of a more generous run of 30 instruments available for sale.

“My ancestors’ heads would spin,” says Chris Martin IV at the incredible growth of his family’s company over the past few decades. “Five generations of Martins didn’t make 700,000 guitars, and during my generation we’ve gone from 700,000 to 3 million. But I credit them for creating a foundation that gives me, the current C. F. Martin, and all my friends, the ‘& Co.,’ the opportunity to do projects like this.”

Scan the QR code to watch a full-length documentary about the making of Martin’s D-3 Millionth guitar

THE 192 YEAR PARTNERSHIP BETWEEN MUSICIANS & MARTIN

Words • M ICHAEL WATTS

Illustration • NO MA BAR

For nearly TWO CENTURIES , Martin guitars have helped millions of musicians unleash their INNER ARTIST. In turn, those artists have HELPED SHAPE Martin —challenging the brand to EVOLVE AND REDEFINE what an acoustic guitar can be. Let’s take a walk through the REMARKABLE

history of this most HARMONIOUS PARTNERSHIP

Noma Bar is an award-winning artist based in London. His work, which uses “deceptively simple” images to convey double meanings, has been featured in The New Yorker, The New York Times, GQ, and Esquire, and for campaigns for Apple, Nike, Google, and many more. Can you spot the myriad Martin body shapes hidden in the illustration opposite?

BELOW: Mandolins would become an important part of Martin’s business at the tail end of the 19th century

Two things have to exist for era-defining music to be made— talented, visionary musicians and instruments that will inspire creativity and artistic expression. It’s a bold claim, but one that we can make with authority—because you can see it written time and again throughout the peerless history of Martin.

For 192 years now, Martin has worked closely with pioneering and game-changing musicians, who have come to depend on the brand to create their art. If you’re reading this, you’re probably familiar with guitars like the OM and Dreadnought, but did you know that many of Martin’s groundbreaking designs and developments were the direct result of relationships with artists of the time?

You’ll recognize many of the names we mention over the following pages, many others you may not—but each and every one of them played a vital role in the evolution of Martin guitars as we know them, and in the process helped shape the very course of music history.

THE early YEARS

Madame Dolores de Goñi was a Spanish guitar virtuoso, and was widely acknowledged as one of the finest players in the world by the time she performed at the home of a guitar maker who was also making a name for himself in his field. Indeed, the meeting was no coincidence—De Goñi was already a fan of the guitars built by Christian Frederick Martin, and the relationship sealed in this performance would spawn something unique, and hugely influential.

De Goñi’s collaboration with Martin not only led to the company’s inaugural signature guitar—and its first Size 1 model—it was also the first acoustic guitar to ever feature an X-braced soundboard. That’s the very same X-bracing we still see in almost every Martin guitar made today. Not only was the De Goñi Size 1 the first example of an artist collaboration in Martin history (and perhaps in acoustic guitar history in general), it was also an early signifier of how important collaboration could be. Martin’s first artist collaboration paved the way for many more to come.

The portability and sweet sound of Martin guitars made them a favorite among players throughout the early 1800s. By the time the American Civil War began in 1861, the guitar had experienced a huge boost in popularity. Accounts written at the time describe soldiers on both sides finding solace and courage in singing songs around the campfire, accompanied of course by a Martin guitar.

By the end of Martin’s first century, more radical changes had made their way to the company’s product line. In the 1880s, musical trends led to a surge in popularity of the humble mandolin. Ever responsive to musicians’ needs, Martin responded with the launch of the G Series in 1895. These new instruments were inspired by Italian bowl-back mandolin designs, and were rather different from any other mandolin out there at the time. Their softer sound deviated from the grit and bark of many other mandolins too.

THE quest FOR volume

The 1900s heralded the dawn of the Jazz Age, and the popularity of full orchestras playing guitars and mandolins. Amplification was still decades away, however, so the desire for greater volume led to larger-bodied instruments. Two enormously influential firsts arrived in 1902, a momentous year for Martin—the larger 000 body design, and the first steel-string Martin guitar, a custom-order 00-21, both of which helped artists be heard loud and clear in a new, livelier performance environment.

Fast-forward a decade, though, and another musical craze had taken over. By 1915, Hawaiian music was extremely popular across the US, and with it came increased demand for a different stringed instrument: the ukulele. Martin had dabbled with ukuleles in the years prior to this, which meant the company had a head start. Once again, Martin was well positioned to take advantage, and provide musicians with everything they needed.

In 1917 alone, Martin sold almost 2,000 of these little instruments—roughly the same number of guitars and mandolins that Martin had sold in the preceding decade. But boosting sales would be far from the only impact that Hawaiian music and musicians would have on Martin and its guitars. For starters, this partnership would introduce the company to koa, an important tonewood, but there was a much more significant innovation to come too.

In 1916, Martin was asked to create a guitar for Major Kealakai, conductor of the Royal Hawaiian Band. Kealakai’s band regularly played large concert halls across the country, and he required an instrument that was wider, deeper, and as a result, louder than the 000, which at this point was Martin’s biggest guitar. The resulting one-off instrument was the largest guitar that Martin had ever made. Most importantly, it sowed the seeds for something even bigger, which would come along 15 years later: the mighty Martin Dreadnought.

By the 1920s, another idea that Martin had experimented with at the turn of the century was gaining traction: steel strings. They offered a brighter sound and greater volume, and were more affordable than gut strings. That lower cost would become even more important as the country entered the Great Depression. Martin produced its 2-17 model in 1922. Tiny by today’s standards, this gorgeous mahogany parlor guitar was the company’s first production steel-string instrument—and it would become a more accessible option as times grew tougher.

14 frets & A BIG body

Today, the majority of acoustic guitars feature 14 frets. But it wasn’t until 1929— when banjo player Perry Bechtel asked for a longer-neck instrument—that Martin developed the Orchestra Model. Ironically, Bechtel would soon move on to playing archtops, and never made much use of the instrument himself. Its legacy, however, cannot be overstated.

The OM, as it would soon become known, was the first 14-fret flattop acoustic guitar, and this instrument, with its 25.4-inch scale, would lay the blueprint for a whole new generation of guitars. Most significantly, the OM catalyzed the evolution

ABOVE: The 1843 Size 1 De Goñi, the first-ever acoustic guitar to feature an X-braced soundboard

ABOVE: “The Singing Cowboy,”

Gene Autry, with his beloved Martin D-45, which features his name inlaid in abalone and pearl across the fretboard

of another guitar that Martin had been making for a retailer in New York by the name of Ditson, inspired by the guitar it made for Major Kealakai— the Dreadnought.

The bona fide Martin Dreadnought arrived in 1931, first with the D-1 and then the D-2 (made exclusively for the Chicago Musical Instrument Co.). The Ditson collaboration showed that there was an appetite for larger-bodied guitars, and the production of these new Martin flattop guitars would coincide with the rise of the first country music superstars, such as Hank Williams.

No guitarist of the period did more to promote the Martin brand, however, than “The Singing Cowboy,” Gene Autry. The actor and musician, as well as the many artists he inspired, would give Martin guitars huge exposure—not just in concert halls but on the silver screen too, bringing the brand to a mass audience. Autry’s D-45 would prove a beautiful canvas for added abalone and pearl inlay—right up to his signature on the fretboard. The era of the blinged-out Martin guitar as a status symbol among musicians had truly arrived.

Martin’s part in the early countercultural movement would be set in stone in the 1930s and early ‘40s, in the hands of folk singer-songwriter Woody Guthrie. Guthrie scrawling “This machine kills fascists” across his guitars—including his favored 00-sized Martins—would become an iconic statement of the power of music, as his powerful protest anthems gained greater significance in a darkening world.

In fact, the only Guthrie guitar to survive with the iconic message on it is a 1936 000-18 that currently resides in Seattle’s Museum of Pop Culture. Guthrie’s use of those small-bodied Martins also likely influenced a young Bob Dylan to trade in his electric guitar for a 00 in 1959. In a time of political upheaval, Guthrie and others to come would prove the power of the acoustic guitar as a tool of peaceful protest and social change.

The 1940s was a tumultuous time for the world, with much of US production focused on the war effort. Following the end of World War II in 1945, however, there was a sharp increase in demand for leisure and artistic activities, and once again, Martin would be there to meet the needs of a new generation of musicians.

The latter part of the 1940s brought with it a second ukulele craze—this time spearheaded by radio and TV broadcaster Arthur Godfrey, who commanded an audience of more than 40 million listeners at his peak. It was a perfect storm of personality and music-making.

BLUEGRASS, FOLK, & THE future

By the mid-’40s and into the 1950s, the Martin acoustic guitar had become an incontestably powerful symbol of US culture, and folk artists such as The Kingston Trio and Fred Hellerman of The Weavers were responsible for a huge rise in the instrument’s popularity. Elsewhere, bluegrass pioneer Lester Flatt was pushing the

boundaries of flatpicking on a Martin Dreadnought. It was an exciting time for the acoustic guitar—but this was just the beginning.

In 1955, the world of popular music would change forever when Elvis Presley exploded onto the world stage. Presley’s hip gyrations were deemed so sexually charged that TV stations would only show him from the waist up for fear of offending public decency, but his leather-clad D-28 was there for all to see.

The 1950s also saw the lightning-strike arrival of the electric guitar, a new power player in the world of popular music. Ever sensitive to the needs of players, Martin made some forays into the world of amplification. The first example was the D-18E, which featured a pair of DeArmond magnetic pickups, as well as volume and tone controls. The results were somewhat mixed—Martin produced just a few hundred guitars—but this was the start of the electrified acoustic guitar, and marks a vital milestone in the evolution of the instrument. What’s more, the D-18E would go on to play a hugely significant role in Martin history a few decades later.

PROTEST & diversity

The 1960s saw the rise of a whole new generation of acoustic artists, and often they were using small-bodied Martin instruments to make their statements —ones that would have an unprecedented impact on the wider world around them. One of the first among this new wave of protest singers was Joan Baez—whose delicate fingerstyle playing on a 0-45 provided emotive bedrock for her message. Elsewhere, Joni Mitchell was also starting to redefine the sonic spectrum of the acoustic guitar through her use of altered tunings. Even today, the image of a solo singer speaking truth to power with a Martin guitar in hand continues to inspire.

On the other side of the Atlantic, Martin guitars were at the forefront of the British folk-blues revival in the hands of players such as Martin Carthy, Davey Graham, and John Renbourn. The acoustic sound of the latter half of the century would in many ways be defined by the emergence of strong parallel fingerstyle guitar scenes in the UK and the US.

ABOVE: Martin would become the go-to guitar for country musicians, something that would endure as artists like Clarence White moved from the session world to being flatpicking stars themselves

BELOW, LEFT: The Ditson Dreadnought pointed the way to a bigger and louder future for guitarists – and Martin

BELOW, RIGHT: The D-18E was an early experiment in electrification that would end up having a significant moment in Martin history several decades later

ABOVE: The 2002 Judy Collins HD12-35SJC Signature Edition – a fitting tribute to the huge impact she had on the 12-string flattop acoustic

ABOVE, RIGHT: The Martin factory floor, circa 1964

Flatpickers, too, could draw a tremendous amount of inspiration from genredefining players such as Clarence White and Doc Watson, who proved time and again that there was no substitute for the full-throated growl of a Martin Dreadnought. And you can’t talk about the 1960s without mentioning The Beatles, of course. The tail end of the decade would see the Fab Four embark on a seismic journey of sonic and personal discovery in 1968. John Lennon and Paul McCartney would make their famous trip to India with their D-28s close at hand.

OLD guitars, NEW ideas

Throughout the 1970s, the enduring power of the Martin acoustic continued to influence many artists, who used designs of past decades to create interesting new music. Bob Dylan played a 00-21 on his seminal album Blood on the Tracks, released in 1975. The same year, Pink Floyd released Wish You Were Here. David Gilmour’s evocative use of a D12-28 and D-35 on the title track made it a must-learn song for budding acoustic guitarists everywhere—and it remains so to this day.

The following decade, however, is often regarded as a dark time for makers of acoustic instruments. But while Martin guitars may not have been as visible throughout the 1980s, in a musical landscape dominated largely by pop, there were still interesting artists pushing six-string boundaries—if you knew where to look. Perhaps nothing would be quite as powerful as Ricky Skaggs and Tony Rice blazing a trail through the flatpicking world, while hinting at a new era for flattop instruments that would transcend genres throughout the 1990s.

Martin was also listening to artists in other ways in 1981—a year that heralded the first Martin guitars with a cutaway, designed to enable better upper-fret access for the era’s crossover electric guitarists, in the form of the MC-28 and DC-28. The MC-28 also featured an oval soundhole and a 22-fret neck.

UNPLUGGED & beyond

C. F. Martin & Co. has experienced several golden ages. But in terms of the acoustic guitar’s popularity across the entire music-making world, the 1990s may be the most pivotal decade in its storied history.

It was a time when artists were central to the conversation. Eric Clapton recorded an MTV Unplugged special in 1992 that saw him reimagine some of his greatest hits with a 1939 000-42 as his main guitar. Martin’s former artist relations director, Dick Boak, described this performance as massively impactful for the fortunes of the 000 body style—which surged in popularity as a result—but it also

kicked off the era of signature guitars in an unprecedented way. Martin had, of course, tested the waters all the way back in the 1840s with Madame de Goñi, and had produced a limited-run Gene Autry signature in 1994, but the 000-42EC model would change the game for everyone.

The 000-42EC, inspired by the two Martins that Clapton used for that 1992 MTV Unplugged performance—he also used a converted 1966 000-28—would sell out its initial 461-unit run instantly, paving the way for the first permanent signature model in Martin’s catalog: the 000-28EC. The guitar is still part of Martin’s lineup today, and is one of the most popular signature models it has ever produced.

Clapton’s wasn’t the only MTV Unplugged performance to feature a Martin guitar front and center. When Kurt Cobain sat down in a tatty old cardigan in Manhattan on November 18th, 1993, the Nirvana frontman led one of the most celebrated shows in history, deconstructing his own songs and playing a host of surprising covers. He did it all using a D-18E—that acoustic-electric guitar that Martin produced in the 1950s. He even ran it through a Boss DS-2 distortion pedal and EHX Small Clone for chorus.

It wasn’t just rock stars who were benefiting from Martin’s innovations— the Martin Backpacker was a radical breakthrough in the world of travel acoustic guitars. And it turned out that not even the sky was the limit for this compact new instrument. In 1994, French astronaut Pierre Thuot took his Backpacker into space. Thuot and his guitar orbited the Earth a total of 224 times before returning home safely. Sadly, no analysis was done on the effects of zero gravity on spruce, but there may still be time for that in the future.

ABOVE: Kurt Cobain’s 1953 D-18, known affectionately as “Grandpa,” was later owned by Elliott Smith. Kurt would also use a D-18E for much of Nirvana’s iconic MTV Unplugged performance

ABOVE, LEFT: Without Eric Clapton’s Unplugged performance, the history of Martin signature guitars might have been very different

BELOW: The 00-42SC John Mayer is one of several unique signature guitars he’s created with Martin

BELOW, RIGHT: John Mayer has become one of Martin’s most enduring and innovative modern collaborators

Country STRONG

In tandem with the acoustic being put to unforgettable use in blues and rock, it was also critical to the resurgent country scene in the 1990s. Acoustic-electric models had come a long way since the D-18E, and a new generation of electrified Martins were constant companions for a new generation of arena-filling country stars.

In a decade defined by artist instruments, perhaps no acoustic guitar of the 1990s is more distinctive than the Martin D-42JC. Johnny Cash’s all-black signature edition was released in 1997 in response to “The Man in Black” attaining a new level of cultural cachet thanks to his American Recordings album series, produced by Rick Rubin. The D-42JC is the first all-black limited edition ever offered by Martin, and is an example of the company’s symbiotic relationship with its players.

The Martin Dreadnought once again took the limelight with the bluegrass wave of the 1990s. This was the era of the supergroup, and the mighty Dread was a ubiquitous sight in acts such as the Lonesome River Band and Alison Krauss & Union Station.

NEW Century, NEW Icons

As a new millennium dawned, the acoustic consolidated its foothold in popular music with the rise of a new wave of Martin-wielding singer-songwriters. From John Mayer to Dave Matthews and beyond, Martin guitars would provide a treasured source of sound and inspiration on stage and in the studio. In a fitting bit of synergy, Mayer’s first Martin guitar was a DM3MD Dave Matthews signature model—he used it to record his entire first album, Room for Squares. Mayer would become one of Martin’s most influential and collaborative artists—his first signature model introduced design touches inspired by his Apple Mac, and the relationship remains mutually creative more than 20 years later.

In the 1990s, Martin introduced its first Mexico-made instruments to meet the needs of beginner players, but a decade later, one of the line’s most humble guitars—the LX1E Little Martin—would earn a remarkable place in music history. Ed Sheeran is today one of the world’s biggest pop stars, but he built his sound using a Little Martin and a looper pedal—a recipe he stuck with as he transitioned

from playing open-mics to stadiums. Sheeran’s journey laid the foundation for a whole new generation of solo artists by making small-bodied acoustics a newly viable route to singer-songwriter stardom.

Even in 2020, when the world shut down, Martin continued to push the boundaries of what artists can achieve with an acoustic instrument, as emphasized by the launch of their first SC model, the SC-13E. This asymmetrically bodied, ergonomic guitar was designed to offer a new level of playability and comfort for crossover guitarists, all while maintaining that classic Martin sound. And the SC has been extremely well-received.

The GPCE Inception™ Maple—another milestone in Martin’s two-century quest to meet the ever-changing needs of today’s musicians—continued this trend in 2024. The Inception is made using cutting-edge technology such as skeletonized bracing and sonic channels, and is made of domestic and sustainable tonewoods— all while still offering that unmistakable Martin magic.

More overt examples of the perfect harmony between Martin and musicians can be seen in the brand’s continued relationship with Mayer. In 2023, Mayer traveled the world on his Solo tour—a one-man show that made heavy use of a carefully chosen cast of Martin instruments. In addition to a bevy of signature models— including his OM-28JM, OMJM, D-45JM, and the recently launched OM-45JM 20th Anniversary model—Mayer also took out a selection of prized instruments from the Martin vault, including an eye-catching Custom Shop Grand J Double Neck.

Mayer used that dual six- and 12-string guitar to fantastic effect on the Solo tour—check out his version of “Ripple” online—and it clearly struck a chord with musicians. Such was the interest in this unique instrument that Martin introduced a new addition to their Standard Series lineup at The 2025 NAMM Show—the Grand J-28E Double Neck.

More recently, 2025 has seen the addition of another boundary-pushing signature artist to the Martin family—and an innovative approach to accessibility along with it. Responding to Billy Strings’ desire to create a guitar that would work for both professional working musicians like him and those starting out on their journey, he welcomed not one but two signature models—a Nazareth-made D-28, and a Navojoa-produced D-X2E (you can find out more about both on page 30).

It’s proof—as if it were needed—that even 193 years after it was founded, Martin is still inspiring musicians with its creations, while those musicians continue to leave a lasting mark on the guitars we know and love.

LEFT: Shawn Mendes is one of a new breed of artists who are putting Martins at the heart of what they do

BELOW: The GPCE Inception Maple paints a bold picture of the future of Martin – one that focuses on sustainability

MARTIN & music A journey through 192

YEARS of collaboration

1840s

Madame de Goñi’s Size 1: the origin of the X-braced guitar

1963

Clarence White’s Martin flatpicking becomes a phenomenon

Davey Graham, Martin Carthy, and Martin guitars power the UK folk boom

1967

Judy Collins' “Both Sides Now” makes 12-string history

1861

Martin guitars entertain the troops during the American Civil War

1955 Elvis and his leather-swathed Martin change the course of popular music

1951

1964

Muddy Waters goes acoustic with

1949

McCartney take their D-28s

1945

David Gilmour Martin into a new era with “Wish You Were Here”

Big Bill Broonzy and his 000-28 bring Chicago blues to the world

1988

“Fast Car” takes Tracy Chapman and her Martin to superstardom

Joan Baez plays her Martin 0-45 at the March on Washington 1994

Lester Flatt and Fred Hellerman show what the Dreadnought is truly capable of

1941

TV star Arthur Godfrey powers a second ukulele boom

1992

Eric Clapton’s MTV Unplugged births the age of the Martin signature model

Woody Guthrie carves “This Machine Kills Fascists” into a Martin

1980s 1990s

1982

Ricky Skaggs’ Highways & Heartaches paves the way for a bluegrass revival

Martin’s portable Backpacker guitar goes into space

Johnny Cash and his allblack Martin define American Recordings

Martin arrives with the D-1 and D-2, and the “singing cowboys” notice

1895 The bowl-back G Series mandolin is introduced

1929

Perry Bechtel inspires the creation of the OM, and the 14-fret flattop guitar is born

1920s

1922

The 2-17 becomes Martin’s first production

1902

The 000 and first-ever steelstring Martin

1917

Martin ukuleles power a Hawaiian music craze

1910s

Major Kealakai’s guitar lays the foundation for the Dreadnought

2003

John Mayer’s first Martin signature model blends technology with tradition

2022 Mendes puts sustainability at the heart of his Martin guitar

model represents Martin’s most player-focused innovation yet

2024

The GPCE Inception Maple meets the needs of a new generation of musicians

2023

John Mayer’s Solo tour births a new doubleneck phenomenon

2025

Billy Strings and Martin team up for innovative US and Mexico-made signature models

perfect YOUR COMPANION

Nine years after REIMAGINING the DREADNOUGHT, Martin has now OVERHAULED and EXPANDED its most accessible range. The JUNIOR SERIES is now BETTER than EVER

Words • JOSH GARDNER

Back in 2016, Martin did something unexpected with its most famous and beloved body shape: it made the Dreadnought smaller. With the Dreadnought Jr, Martin furthered its long tradition of making instruments better suited to people with smaller frames and guitarists who want to take their Martin with them wherever they go. The legendary Martin Backpacker was so portable that it even made it into outer space, while the Little Martin range helped catapult parlor guitars back to the forefront of acoustic coolness almost a century after they peaked in popularity. The Dreadnought Jr, however, was something different.

While the Junior was a scaled-down version of the iconic Dreadnought in a physical sense, it broke the mold of beginner and travel guitars by being… well… big. The Junior had a loud, resonant, and colorful bass response, rich mids, and precise highs—it sounded every bit a classic Martin guitar, just in a more condensed package. Unsurprisingly, this combination was a hit and, in the ensuing years, Martin expanded the Junior range to include various wood and finish options, a scaleddown 000 body style, and a pair of travel basses.

Whether they were strumming on the couch, playing a live set under the spotlight, or heading out on a weekend road trip with friends, guitarists and bassists of all stripes found that Junior Series guitars were the perfect musical companion.

ALL GROWN UP

For 2025, Martin has given the Junior Series an overhaul that will ensure the range appeals to more of the company’s fans than ever before. How? By looking even better, sounding even better and, most importantly, playing even better. The first difference you’ll notice when picking up a new Junior Series instrument is that, well, if you’re used to playing Martin guitars you probably won’t notice a difference at all. That’s because the new Junior models feature a full 24.9-inch scale length, as opposed to the condensed 24-inch scale of the original series. While the shortened scale was fantastic for portability, it also meant that there wasn’t much room above the seventh fret for more fleet-fingered players.

D JR E STREETLEGEND BURST

D JR E STREETMASTER

Now with a more traditional spacing between the frets— just like a classic smaller-bodied Martin—the new scaleddown Junior Series guitars will make you feel right at home the second you pick one of them up. And that’s not all. The instruments’ Performing Artist select hardwood necks feature upgrades borrowed from the remastered X Series, including gently beveled fingerboard edges and optimized string spacing. These enhancements ensure that these necks offer all the playability and comfort of a full-size Martin, but with a body size that suits those with smaller frames and can be stowed in an overhead compartment or the back of a car. This makes the new full-scale Junior Series guitars ideal for touring musicians and on-the-go amateurs alike.

GOT THE LOOK

Martin hasn’t just given the new Junior instruments a makeover in terms of playability either. The company has bestowed the range with subtle but important visual upgrades that make this most modern of Martin guitar concepts feel a little more vintage. For example, rather than mother-of-pearl, the fingerboard now boasts an abalone-style material with a sumptuous shimmer, appearing in a classic Style 28 pattern on the Dreadnoughts and 000s, except for the 000 Jr E Sapele, which sports diamond and squares inlays. But that’s not the most striking aesthetic change. Joining the two factory-worn StreetMaster® instruments in the Junior Series is an exciting and brand-new addition: the D Jr E StreetLegend® Burst.

000 JR E SAPELE

000C JR E

Back in 2023, Martin set the online guitar community ablaze when it introduced the Standard Series’ astonishing StreetLegend concept, which saw classic Dreadnought models printed with the authentic wear patterns of instruments pulled straight from the Martin Museum. Now, the company has applied that process to a Navojoa-made guitar.

The D Jr E StreetLegend Burst is, without a doubt, one of the most striking instruments Martin has ever produced in Mexico. The guitar has a classic dark, old-school shade top finish, ornamented with large patterns of visual wear. Despite being a brand-new instrument, it looks like it has enjoyed thousands of hours of hard playing and good living.

This well-worn vibe is further enhanced by the abalonestyle inlays and the addition of some vintage-style open-gear tuners. Is it for everyone? Of course not. But if you’re worried about your portable Martin picking up a few dings as you haul it around, why not let the factory take that worry off your hands—and ensure you’re the envy of your relic-loving friends?

GROOVE MOVES

Of course, it’s not just six-stringers who can get excited about the new Junior Series—the overhauled 000C Jr E Bass returns with a satin natural or burst top. It sports the same upgrades as the rest of the Junior Series instruments, including the

000C JR E BASS

000C JR E BASS BURST

new 24.9-inch scale length, meaning it’s the most playable and comfortable Junior Series bass Martin has ever made. To accompany the launch of the new Junior Series basses, Martin has also launched a new set of short-scale bass strings. The strings feature a coated phosphor bronze wrap on a nylon core, ensuring unmatched playability, rich tonal clarity, and exceptional durability. This cutting-edge coating technology not only enhances the feel of the strings but also significantly extends their lifespan, offering superior protection against wear and tear. The silky-smooth feel also ensures that, whether you’re practicing for hours at home or performing on stage, you can finally say goodbye (or rather, good riddance)

to finger fatigue. The new strings’ optimized tension also provides a perfect balance of flexibility and stability, giving you a great tone and powerful projection whether you’re playing with a pick or with your fingers.

The enhancements you’ve read about here only add to the Junior Series’ already compelling offerings, from the guitars’ all-solid wood construction and classic Martin looks, to the flexibility and convenience of the Martin E1 electronics. If you’re looking for a Martin guitar that you can take pretty much anywhere or to give someone who’s learning the best possible start, the Junior Series is not to be missed. It has that Martin magic in spades.

000C JR E STREETMASTER

Martin and GRAMMY®-WINNING bluegrass guitarist BILLY STRINGS have teamed up to create not one but two new SIGNATURE INSTRUMENTS in 2025. The 32-year-old FLATPICKING phenomenon shares his love affair with MARTIN GUITARS

Words • JOSH GARDNER & DERRICK KROM

“There’s a good chance this guitar hasn’t been back in this building since 1940,” says Billy Strings, cradling his beloved 1940 D-28 in Martin’s historic North Street factory. He may be here in Nazareth, Pennsylvania, to shoot some promotional video for his new pair of signature guitars, but there was never any question whether he would bring his “pride and joy” with him, back home to the place it was made 85 years ago.

“It’s just amazing,” says Strings. “This guitar’s never looked so good, in this room with all this old shit! But what a trip, for the guitar and for me. It’s incredibly beautiful. It’s like they figured it out back then and it’s still just the best. All these years later, they haven’t figured out how to make a better acoustic guitar than a Martin. When I think of the word ‘guitar,’ I think of a Martin D-28. It’s just so American—it’s like baseball. There’s just something that happens when you pick up a Martin guitar, strum it, and hear the tone.”

If you know anything about bluegrass music, you’ll be familiar with Billy Strings. And, even if you don’t, you may well be aware of the flatpicking prodigy thanks to his collaborations with the likes of Phish, Bob Weir, Willie Nelson, and Post Malone. The Michigan-born musician even lent his blazing-fast fingers to a trio of tracks on Ringo Starr’s solo country album, Look Up, released in January 2025.

If you haven’t yet had the pleasure of seeing or hearing Strings play for yourself, head over to YouTube at your earliest opportunity. Sure, you may momentarily be struck by the desire to throw your guitar in the closet and give up on it forever—such is the inadequacy he unavoidably inspires in mere mortals—but we promise that will pass. In its place you’ll develop a deep gratitude that we live in a world where young artists such as Billy Strings are pushing the limits of what can be done on an acoustic guitar.

MY FATHER’S GUITAR

Strings has been wowing crowds with his playing since he was barely a teenager, so it’s no surprise that his journey—and his love of Martins—started very early.

“These Dreadnought guitars, for bluegrass music, you gotta have one,” he says. “Hearing my dad play his Martin guitar, which his dad got for him, those are some of my earliest memories. Just sitting in front of that guitar and hearing my dad play it. It was one of the only things in the house of any value; it was a cherished item. If he ever let me play his guitar, it was a big deal. That guitar really is where I built my dreams.”

As anyone who has been in a room with Strings and his 1940 D-28 can attest, a bona fide Martin Dreadnought is a remarkable mix of power and subtlety—one that can fire like a cannon or whisper delicately as required. It’s also robust enough to stand up to the rigors of 85 years of hard use.

“It’s rich and woody and natural and big, and I don’t know how they can make a guitar so resonant yet still so structurally intact,” he says. “They’re built like tanks, but they sound like they’re made from featherlight wood.”

If you see Strings in a live environment, you’ll notice when he’s playing his 1940 model. How? It’s the one he plays in front of a microphone. While he has modded many of his other instruments with magnetic pickups that allow him to add effects and grit to his sound on a whim—and channel his influences from outside the bluegrass sphere—the 1940 is special.

“If you go to a guitar store and pick up a few Martins, they all have a certain something, the Martin sound. And that’s the sound that has captivated bluegrass guitarists for as long as it’s been around,” Strings says. “There’s no pickup in this one, and I don’t think I could bring myself to put a hole in it. I’ve molested so many other guitars; this one has to stay safe from my insanity.”

SPECIAL REQUIREMENTS

When Martin approached Strings to work on a signature model, the lifelong fan of the brand had almost too many ideas. “The possibilities seemed endless,” he says, and he had to fight his impulse to create something visually unique.

“It would be easy to say, ‘I want to make a D-45 with a big pearl pickguard’ or something, but nobody’s going to be able to afford that,” he adds. “None of the young pickers who are growing up learning how to play are going to be able to get their hands on something like that. So that was my first thought: ‘I just want it to be affordable. And if that means no fancy details, then that’s fine.’” With real-world players at the forefront of his mind, Strings’ thinking naturally turned to the unfussy charms of his D-28. “I thought, ‘This is my guitar, why not pay tribute to it?’”

So how closely does Strings’ signature model come to his own 1940 D-28? Very. “The tuners are the same; we were able to replicate them. The herringbone, the diamonds, the rosewood… it’s a D-28,” he says. He and Martin, however, did make a few small alterations. “I shortened the scale length and widened the string spacing a tiny bit. Those are the only real differences. They make it faster for me to play.”

When pushed for specifics on how he changed those two fundamental tenets of the classic Martin Dreadnought recipe, Strings points out that he hasn’t done anything dramatic. In fact, he says, unless you were already aware of it, you may not even notice. (So, if necessary, pretend you didn’t read this.) “A normal D-28 has a 25.4-inch scale length, but we shaved off four-tenths of an inch to make it 25 inches even,” he says. “To me, that gives it a little less string tension, making the strings easier to press down, and it makes the guitar faster to play. And gig after gig, with all the hours of playing and practicing, anything I can to make it easier on myself, I will. But it’s not so little tension that it makes the strings feel slinky.”

For the string spacing, however, he also tweaked the formula. “A 1 11/16-inch nut width is what I’m used to. This guitar [his 1940 D-28] feels good. Sometimes it can feel too skinny. The big ’30s 1 3/4-inch guitars are too wide for me. So 1 23/32 is right in between those, and that’s the perfect spot for me. It gives me a little more room, so I don’t feel bunched

up. It helps if I’m making these big $10 chords or if I’m crosspicking and alternate picking. It gives me a bit more room to get in between the strings and get nibbly with it.”

ACCESSIBLE PICKER

The Nazareth-built D-28 wasn’t the only Billy Strings signature instrument launched by Martin at The 2025 NAMM Show, though. There was a second guitar on the stand: the D-X2E Billy Strings, made 2,700 miles away in Navojoa, Mexico. Based on the impressive and upgraded remastered X Series D-X2E model—complete with the same solid spruce top and Brazilian rosewood-patterned HPL back and sides—the guitar offers younger players and those on smaller budgets a chance to experience some of the magic of the Nazareth-made model. And crucially, the more modestly priced option features the same Strings-tweaked scale length and nut width.

“When I was a teenager, I’d look at guitar magazines and dream about affording a guitar like that,” Strings says. “So many kids out there really want to learn how to pick, and they need access to a good instrument that they don’t have to take out a loan for. It was important to me to make a guitar that people could afford. I come off the bus and see people playing, and if I hear a kid picking really well but see him playing on some junky guitar like I used to play, I think, ‘Man, that kid deserves a solid instrument.’ It doesn’t have to be thousands of dollars. To have a Martin that you can acquire and learn to pick on, that’s special. It’s a fully badass guitar.”

For Billy, the real reward of these new signature instruments will be seeing others make their own music on them. “I’m so excited for students of the music to get their hands on these guitars and keep learning how to pick,” he says. “Then they can play a few gigs, stack up their little pile of money in their top dresser drawer like I did, and then go buy the Martin of their dreams. The most rewarding thing will be seeing these guitars in the hands of the pickers, especially the young and up-andcoming folks learning how to play.”

MILESTONE MOMENTS

For any guitar player, the idea of one day getting your own signature instrument is the sort of thing that childhood dreams are made of—let alone getting not one but two from the world’s most historic guitar brand. While Strings obviously recognizes this as a significant milestone in his career, the real satisfaction came from handling the instruments themselves.

“The biggest reward has been when I actually picked up this guitar and played it,” he says. “It’s the tone, it’s the feeling I get when I strum it. It’s a visceral reaction. I experimented with the spacing and scale length, and when I played it, it was exactly how I imagined it. I’m just stoked about it. It’s a huge honor and a full-circle moment.”

For a guitar player who grew up with Martins, there’s something extra special about it. “Growing up, my dad’s Martin was so important to us,” he adds. “His dad took him over to Elderly Instruments and told him to pick out any guitar he wanted. He chose a D-93, a 160th-anniversary model. It’s a beautiful guitar. My dad played it forever. It was missing for a couple years, but we got it back. He played it on a record we made recently.

“When I was a kid, he told me, ‘Someday, this will be your guitar.’ That meant a lot to me. It’s an item that I know I’ll have to play and remember him by. It means a lot. I’m a sentimental person, especially about this kind of stuff: music and guitars, bluegrass, Doc Watson, and my dad. My whole life revolves around all that, and Martin guitars are a big part of it.”

ISLANDlife

Words • MICHAEL WATTS

The MARTIN O’AHU™ family of INSTRUMENTS offers a tantalizing glimpse into the UNTOLD HISTORY of the DREADNOUGHT, and celebrates the impact that HAWAIIAN MUSIC had on AMERICAN CULTURE in the

EARLY 20TH CENTURY. For CHRIS MARTIN IV, Chairman of the Board of Martin Guitar, it was also a project VERY CLOSE to his HEART

The launch of any new Martin guitar model will always cause a buzz, but an entire new sub-brand? Well, that is something of an altogether different dimension. The Martin O’ahu family of instruments is special for many reasons. Perhaps first and foremost is that it celebrates and emphasizes a crucial part of the company’s 192-year history that, before now, hasn’t been widely known. Like all memorable stories, the creation of the Martin O’ahu family begins with an auction, an earthquake, and 2,000 ukuleles. And, also like all memorable stories, it takes us on a journey through a history that challenges everything we thought we knew about the people and places involved. This is what Chris Martin IV is grappling with right now. It seems to him that recent events have shed new light on the accepted history of this most iconic American guitar brand, which of course, also bears his family name.

“What really started this whole thing was the fact that everybody seems to think that the Dreadnought guitar was created by my ancestors for country music —and it wasn’t,” he reveals. “It was created for Hawaiian music.” Now, let’s slow down. That’s pretty iconoclastic, especially from the man whose name is above the door. For decades, the history of the Dreadnought has focused heavily on battleships, “singing cowboys” with their names inlaid up the fretboard, and ferocious bluegrass flatpicking—to the exclusion of pretty much anything else. But there’s another story.

PACIFIC EXPOSITION

“I’ve got this theory in the back of my head,” Martin elaborates. “You know, the Dreadnought came out in 1916. And that was also the beginning of the Hawaiian music craze, which started primarily thanks to the Panama–Pacific International Exposition [in 1915], which came about as a way to rebuild and come back bigger and better following the devastating earthquake that happened in San Francisco [in 1905]. So they have this world’s fair, and 18 million people visit it—just a huge amount of people. One of the most popular exhibits was the Hawaiian Pavilion. Suddenly, Hawaiian music was huge.”

You probably already know that the guitar plays a vital role in Hawaiian music. Slack-key tuning is a fingerstyle genre that involves loosening the strings so that strumming the open strings typically sounds an open major. One of the many slackkey tunings is “taro patch” tuning. With the lowest string often

tuned to D, it offers rumbling bass and rich major chord voices that sit wonderfully behind single-note melody lines—a big sound that benefits from a big guitar.

Prior to the invention of amplified instruments, guitarists’ primary concern was how to compete with the volume of their bandmates—percussionists, double-bassists, trumpeters, etc. This usually necessitated bigger guitars. But while this is familiar to fans of country and jazz, it is less widely known when it comes to Hawaiian music. “Think about it,” says Martin. “The first electric guitars, the resonators, they were used for Hawaiian music. Basically, everything that you hear in country music can also be found in slack-key. Because of this, I now have a theory that the roots of the Dreadnought may have come not from country or folk, but from the Hawaiian Islands. Isn’t that amazing? They needed a bigger guitar for Hawaiian music before anything else.”

BATTLESHIP BLUES

As you know, the 14-fret Martin Dreadnought has long attained iconic design status. The 12-fret slope-shoulder model that preceded it, however, got off to a less auspicious start in its initial guise as an exclusive for the short-lived US retailer Ditson. Things were about to change though, and Chris believes this shake-up was directly due to a much smaller instrument, one that would boost Martin’s fortunes for decades to come.

“So in 1916 we were making the Dreadnought, but it wasn’t getting much traction,” he says. “It was sold only through Ditson; it didn’t even say Martin on it. But, crucially, at the same time, we started to make ukuleles. In fact, anecdotally, one of the funniest comments I read was that, in the mid-1920s, Martin was a ukulele company that dabbled in guitars. Well, I think that’s fair to say of the time, isn’t it? Think of the numbers; we sold 2,000 [ukes] in one year!”

Compare that to the Ditson Dreadnought, of which just eight—yes, eight— were sold in its first year, and which continued to sell in the single digits annually for much of its existence. During this time, Martin was also making Hawaiian guitars, often out of koa. These instruments had a fuller body depth and were set up for slide playing; some even had recessed frets and higher action.

TOP BIDDER

Fast-forward about a century or so and you may have found Chris Martin IV doing something you’ll probably find relatable: browsing an online guitar auction to see if anything catches his eye. And something did.

“I was looking at this guitar thinking, ‘What the hell is this thing?’ It’s got a soundhole, but it’s got four f-holes. It’s mahogany, the top has sunk, the neck looks weird… but it just captured my imagination.” The instrument in question? An exceedingly obscure Gibson, the superbly improbable HG-20. Even by the unusual standards of 1930s flattop guitar design, this was a truly weird and wonderful six-string, featuring a mahogany slope-shoulder body shape, an amplifying internal double tone chamber and, yes, four—four—f-holes in the soundboard. And that’s in addition to the soundhole. Remember, at this time, louder was better!

The HG models were part of Gibson’s brief foray into the Hawaiian market. They had larger bodies than most Gibson acoustics of the time, offering increased bass and projection. But the style was short-lived, made only from the late 1920s until the early ’30s. Unlike the Ditson Dreadnought (and the early Martin models that arrived in 1931), it had not a 12- but 14-fret neck. That’s important to our story because something else about this Hawaiian guitar piqued Chris’ interest.

“So I bought it. And the reason I bought it is that they had a picture on the auction website where they turned it around, and it was just the back, and I couldn’t stop looking because, from behind, it looked like a Dreadnought. A little smaller, round-shouldered, but definitely a familiar shape. So I said to Tim [Teel], we need to make one of these, but in koa, not mahogany. Right now!”

Even though it came not from Martin but from another company, and even though it had very little success, this model was the missing link. It featured the Dreadnought size and shape but with a 14-fret neck—the same recipe that, in 1934, would make the Dreadnought the most influential and important acoustic guitar in musical history. Is it possible that Martin’s designers were similarly influenced by Hawaiian guitars to move the Dreadnought’s evolution forward into its final form? We don’t know for certain, but it’s a concept that intrigued Chris Martin IV.

A NEW HISTORY

At this point, the challenge issued by Chris was to make this guitar a reality, which is where Tim Teel, Martin’s director of instrument design, took up the mantle. “So basically, when Chris gave me the auction guitar, the very first thing I did with it was digitize the shape,” says Tim. “I cleaned some things up and made it symmetrical—the original was anything but—and then I started comparing that shape to the models that we currently have.” This led Tim to some unorthodox design practices: in this case, he began designing with the body shape, rather than starting with the scale length.

“We already knew we wanted it to be 000-depth,” Tim continues, “and that, given the size and shape of the body, it was just crying out for a shorter scale length —24.9 inches over a 14-fret neck, that’s beautiful. The koa we typically use has a very tight grain to it. The koa that we chose for Chris’ HG-28 is low-flame to plain.

“When the old luthiers would select wood, they would typically go for quartersawn sets – perfect, big, quarter-sawn mahogany and rosewoods, and that sort of thing. A plainer set of koa keeps the price down. We wanted to make this guitar as accessible as possible. It’s also more stable. You know, I don’t want to make bold claims, but I think it might be possible that Martin was the first company to use koa to make guitars. I hope that’s true.”

What was evidently remarkable to everyone who played the HG-28 was how successful this kind of alternate Martin reality was. Far more than an interesting curio, this was a serious instrument.

“Ergonomically, this guitar fits very well against the player, the whole thing just works,” says Tim. “It doesn’t matter if you’re seated or standing. We also used the GE Modified Low Oval neck shape with the High-Performance Taper and a 1 3/4" nut width. It’s just so comfortable. I finished the prototype and started showing it around to people outside of the company—there are a few trusted people we have that I can bring in and show things to. And their first question was: ‘That’s great. When can I get it in rosewood or mahogany?’ But when Chris started the project, he was like, ‘It has to be koa, because I want to connect the story to Hawaii.’ And that makes perfect sense, right?”

ISLAND VIBES

Instead of a one-off, then, the HG-28 led to something more interesting: a family of instruments inspired by the Hawaiian guitar movement of the early 20th century.

The new family of instruments also absorbed another Martin guitar that celebrates this period of Hawaiian musical history, the Custom K-1 Major Kealakai. There was only one thing left to do: find a name for it.

As well as being the name of the most populous of the Hawaiian Islands, “O’ahu” was also the name of a Hawaiian musical publishing brand that also dabbled in guitars and amps in the 1930s—there is even an O’ahu guitar in the Martin Museum. During the first half of the 20th century, O’ahu offered people hungry for that Hawaiian sound a full package, featuring instruments, sheet music, and tuition books. Its services were marketed by traveling reps.

“I told this story at The NAMM Show a couple of times,” says Chris Martin IV. “And what really warmed my heart was that several people came up to me, some of whom were Hawaiian, and said, ‘I’m so glad you made this guitar. I’m so glad that you are talking about our music and our musical culture.’ That means a lot.”

Having ensured there were no existing claims on the name, Martin brought it back to life, with “O’ahu” appearing on the HG-28 headstock in place of the “Est. 1833” below the Martin logo. More streamlined than a full-size Dreadnought, but with that same woody growl and the sweet trebles of a shorter-scale instrument, the HG-28 is a beautiful addition to the Martin family. It’s also a versatile guitar that brings with it a new understanding of the history of Martin Guitar.

Words • JOSH GARDNER

dayNIGHTAND

A few years ago, PETER FRAMPTON told the world HIS TIME was up. Now, as he CRAFTS NEW MUSIC and continues to TOUR , he is reveling in “THE BEST TIME” he’s had in music in DECADES—and doing so with his most cherished MARTIN GUITAR in hand

For a man who ostensibly retired from music in 2019 on health grounds, the 75-year-old Peter Frampton’s musical spark seems very much alive. He’s sitting in his home studio, surrounded by guitars, hanging on the walls and on stands. There’s even one resting against the sofa, where his labradoodle service dog—called Bigsby, of course—cuts an incredibly relaxed figure on this Monday morning in Nashville. It’s a sharp contrast to the energy and vim of his owner, who is enthusing about an upcoming recording session at his off-site professional studio. “I’m doing a track that I wrote with Vince Gill,” says Frampton. “He’s the best. He sat right where Bigsby is sat, and we wrote a phenomenal song. So we’re going to record it, and who knows? It might be a duet!”

We’ve come a long way since Frampton announced in 2019 that he had been diagnosed with inclusion body myositis (IBM)—an autoimmune disease that results in weakening and wasting muscles—four years earlier, and that he planned to embark on a farewell tour before retiring from music. Naturally, it felt like Frampton would write the coda for his legendary career during that pandemic-abbreviated tour. But something changed. The guitarist realized that his health issues didn’t have to mean the end of his career in music—just a change in how he approached it. And so here we are, catching up with a newly minted Rock & Roll Hall of Fame inductee, talking about new music in between runs of his wryly titled Never Ever Say Never tour.

“I’m going to keep playing as long as I can,” Frampton says of his new outlook. “I’m making an album right now. We have a plethora of songs. I’m writing with my son, and he’s going to help produce. He’s so good; we finish each other’s sentences, lyrically and musically! We’ve got some time booked in between the two short tours. We’re going into my studio for a few days to take what I’ve got here and put some other players on it. I’m very happy with what we got so far.”

The Hall of Fame nod in 2024 was a timely reminder of the impact that Frampton has had on generations of music fans, through timeless songs such as “Show Me the Way,” “Baby, I Love Your Way,” “Do You Feel Like We Do,” and “I’m in You.” The songwriter’s ongoing legacy is also reflected in the guests who are set to contribute to his new album, including a few who hadn’t been born back when the multiplatinum Frampton Comes Alive! was released in 1976. In fact, they hadn’t even been born by the time its sequel, Frampton Comes Alive! II, came out in 1995.

“There are two lady guitar players who I would like to get on there—H.E.R. and Grace Bowers,” says Frampton. “I’ve already asked Gabby [Wilson, aka H.E.R.]—she’s a lovely, lovely lady and a wonderful performer, great guitar player. And Grace is a phenomenal player as well. Those two, I’ve already spoken to both of them, and hopefully we’ll get them on a track or two.”

Frampton’s great enthusiasm for this new project is infectious. But there’s also an undercurrent of urgency that’s driven by his health situation. “It’s exciting. It’s the best time,” he says. “There’s a time limit for me, obviously—I have to get this record done, and the solos that aren’t on there yet… there’s quite a few. It’s just, there is a time constraint now, which I’m always fighting back. But so far, so good, you know? I’ll just keep going until I can’t.”

SCOUT’S HONOR

For Peter Frampton, it all started with an acoustic guitar—a no-name instrument that his dad bought at an Army and Navy surplus store when he was barely six years old. Growing up in what is now Greater London during the postwar era, Frampton couldn’t find many opportunities to showcase his guitar skills, so he had to take what he could get. “When I was eight years old, I did my first performance with that old acoustic,” he recalls. “I was in the Cub Scouts, and I wanted to get my first proficiency badge because all the other boys had all these badges. And I passed my musician’s one, after failing numerous other badges.”

Indeed, if it weren’t for some typically lousy British weather, who’s to say whether Frampton would have gone on to be a guitarist at all? “The scoutmaster gave me three matches and said, ‘This is the outdoors badge. Go outside, light me a nice big fire, and I’ll give you your badge,’” he says. “But it was November in England; it was raining. So it went [mimes striking a match], ‘Psst, psst, psst,’ and that was it.

I failed!” But Frampton wasn’t deterred. “I came and said, ‘Can you give me an easier one?’ And he said, ‘Well, I hear you play an instrument. Don’t you play guitar?’ I said, ‘Yes, I do—I’ve been playing for a couple of years.’ I was probably eight-and-a-half by then. And so he said, ‘Well, bring your guitar next week, and at the end of the session, you’ll get up and play us a song, and if we like you, we’ll give you a badge.’ I did ‘Peggy Sue’ by Buddy Holly, and that was it. So I got my badge, and that was the very first time I played live.”

LONDON CALLING

Frampton was coming of age at a remarkable time. He was barely a teenager when The Beatles changed the world forever with the release of their debut album, Please Please Me, in 1963. It was an ideal era for young musicians growing up in close proximity to London.

“I was four or five years younger than The Stones and that ‘breaking’ lot, who broke rock into society, basically,”

Frampton remembers. “Every week, Andrew Brown and I from The Herd would go up Carnaby Street, and go to all these shops, like Granny Takes a Trip down on King’s Road. All these very chi-chi shops, which would close their doors whenever The Beatles or The Stones were in, were the same places that we would go. It was an amazing time.”

Frampton joined The Herd when he was just 16 years old, and was soon rubbing shoulders with the likes of Eric Clapton in London recording studios. Unsurprisingly, this proved to be quite the education. “The first package tour with The Herd was with The Who,” Frampton says. “And Keith [Moon] and John [Entwistle] took me under their wing and showed me the ‘rock ropes,’ so to speak!” That wouldn’t be the only thing Moon and Entwistle would show the young Frampton.

“At the beginning of the tour, Keith and John realized that the girls were screaming at me,” he adds. “Every time I’d go to the window—three stories up in The Herd’s dressing room— and look out, all of the girls outside would start screaming.

Peter Frampton performing with his “Frampton’s Camel” Martin in 2016

“It was that sound. I could do the intro to ‘Suite: Judy Blue Eyes,’ and I was like, ‘Oh my god, this is the same sound!’”

So the next thing I know, I’m being dangled out of the third-story window by my ankles by Keith and John. I took it in my stride. I figured, if they dropped me, they’d be in a lot of trouble! But then I traveled with them. It was me and John in the back, and Keith and Wiggy [Wolff, The Who’s chauffeur] driving in the front. Boy, did I see some stuff.”

MARTIN MOMENT

Frampton would go on to form Humble Pie with Steve Marriott when he was just 18 years old, kicking open the door to an American adventure that introduced the young guitarist to a whole new world—not least that of American-made guitars, in particular, those made by Martin.

“Crosby, Stills & Nash was when I really realized, ’What is that sparkly sound on that acoustic? But it’s full at the same time? What is that?!’” Frampton remembers of the first time he became aware of Martin guitars. Enraptured by what he heard on CSN’s records, he resolved to get in on that action.

“When I left Humble Pie, I had $3,000 left and I went to Manny’s on 48th Street in Manhattan,” he explains. “And before I went back to England, I ordered a D-45, which was probably about $1,200 then, brand-new. It was 1970, so I didn’t get the Brazilian rosewood!”

Thomas Ripsam, Frampton, and Chris Martin IV at The 2025 NAMM Show

The Martin would be a transformative instrument for Frampton. “When it came in, I picked it up, and then I recorded the whole of Frampton’s Camel with that guitar. And there’s a lot of acoustic on that album. It was myself, and Frank Carillo was playing a D-28—two Martins.

“It was that sound,” he enthuses. “I could do the intro to [CSN’s] ‘Suite: Judy Blue Eyes,’ and I was like, ‘Oh my god, this is the same sound!’”

Sadly, Frampton’s love affair with his D-45 was to be short-lived—when he was touring Frampton’s Camel, the guitar was stolen. Crestfallen, he struggled to replace it. “It’s like when I lost the Les Paul,” he says, referring to the remarkable story of his 1954 Les Paul Custom, “Phenix,” which was thought to have been lost in a plane crash in 1980 before being returned to him more than 30 years later. “I couldn’t play another Les Paul [after that].

“I tried and I tried to play another Martin, and it wasn’t like mine, you know what I mean? It’s like I had the same hands, but I’d lost my gloves. That’s exactly what it feels like.

When you put the right guitar on, it feels like the best-fitting pair of gloves.”

Fast-forward another 20 years or so, and a chance encounter at a trade show in the late 1990s reignited Frampton’s love of Martins. “I was at The NAMM Show, and my career had taken a real dive at that point,” he admits. “But when I went into the Martin booth, [former Martin artist relations director] Dick Boak came up to me and said, ‘Oh my god, you’re Peter Frampton.’ And I said, ‘Oh, yeah,’ not thinking anyone would recognize me anymore with my short hair! So he said, ‘You don’t have a Peter Frampton Martin, do you?’ And I said, ‘No, I don’t have a Martin.’ And he said, ‘What do you mean you don’t have a Martin?!’ And so I told him the story, and he said, ‘We’re going to have to do something about that.’

“No one wanted to give me anything at that point, but he said, ‘Why don’t we make you a D-42 that is the ‘Frampton Camel,’ and we’ll have a little camel on the top and inside.’ I said, ‘Oh my god, yes…’ and it’s over there,” he says, pointing to a D-42 with that telltale camel inlay on the headstock. “I’ve got three of those. My son has one, and my daughter has one. And I use it a lot, obviously.”

NEW BEGINNINGS

More than a quarter of a century after that chance meeting at a NAMM Show led to the first Martin Peter Frampton signature acoustic, the guitarist returned to the show—and the Martin booth—in 2025, this time as the guest of honor at Martin’s Media Preview event. Given that his original signature D-42 was a limited-run instrument that hasn’t been produced in almost 20 years, Frampton’s presence did lead us to wonder whether a reissue or another Frampton signature guitar might be in the offing. The man himself is rather coy…

“Well, I don’t know,” he says. “Chris [Martin IV] was talking about something. I think there might be a different model… At NAMM, they presented me with this wonderful new Martin, the SC, with the cutaway. It’s beautiful. I really think it’s awesome. It’s on its way back from NAMM, so I don’t have it here yet. But, yeah, maybe something like that—they’ll do a ‘me version,’ perhaps. I don’t know, but it would be lovely if they did—I’d be thrilled!”

It’s clear that, more than 50 years on from his first Martin experience, for Frampton, the magic made in Nazareth, Pennsylvania, remains as potent as ever.

“It does, because it still has that original sound that I was attracted to,” he says. “Obviously, Martin was a family business from the off, and it feels like that for me. It’s not corporate. It is corporate, because it’s so big, but it’s still a family—which is why it’s got legendary status and has never dipped in quality. You buy a Martin, and you know it’s going to be great. I remember going in to see them put the little ‘Frampton’s Camel’ inlay in there, and it was all done with love. They love what they do there, you know?”

TRY, TRY again

Martin will FOREVER be a part of UKULELE HISTORY.

As the Martin concert ukulele CELEBRATES its 100TH BIRTHDAY, we head back to where it ALL BEGAN —with a FAILURE

Words • CILLIAN BREATHNACH

Few instruments embody the joy of learning to play quite like the ukulele. Almost anyone can pick one up for the first time and, within a few minutes, be able to strum a few chords. Not only are they more affordable and mobile than guitars, thanks to their light strings and short scale, they’re a lot less painful to play too. For these reasons, and more, the ukulele has earned its omnipresent place in the landscape of contemporary popular music. But it wasn’t always so well known.

From its surprising origins in the 1800s to its 21st-century ubiquity, the uke has evolved from a hard-to-define hybrid instrument into a Hawaiian cultural icon— from an obscure mini guitar to the symbol of a musical craze and back again. The development of the ukulele is deeply connected to that of Martin. In fact, you could say the uke—more than the Dreadnought and the OM—is the instrument that made Martin the company it is today. So how did this little four-string help Martin evolve from a well-respected but small guitar maker into one of the biggest and most renowned producers of acoustic instruments on the planet? Read on to find out, as we explore the history of the ukulele, and discover how Martin went from “not having a clue” how to build one to being the gold standard for their construction and tone.

ORIGINS

The ukulele is inextricably linked with Hawaiian culture. Its origins, however, can be traced back to the four-string machete and five-string rajão, traditional instruments of Madeira, an autonomous region of Portugal. Brought to Hawaiian shores by immigrant workers and merchant sailors from Madeira, the Azores, and Cape Verde in the 1870s, these small guitars soon became popular in the Pacific Islands.

The creation of the ukulele itself is most often attributed to three Madeiran cabinetmakers: Manuel Nunes, Augusto Dias, and Jose do Espirito Santo. The men had accepted work on Hawaiian sugar plantations in exchange for passage from Madeira. After their work was complete, they moved to Honolulu to return to the woodworking trade they had left behind, and began making and selling machetes and rajaõs.

Gradually, during the 1880s, they created what we now know as the ukulele, by combining elements of the machete and rajão. The machete lent its four strings and small body, while the standard tuning was taken from the top four strings of the five-string rajão, which in Hawaii was often strung without its top string. One of the earliest champions of the instrument was King David La‘amea Kalākaua, Hawaii’s last king and penultimate monarch. He engaged in widespread patronage of Hawaiian dance and music, while his successor, Queen Lili‘uokalani, would also learn the instrument. Thanks to this royal support, as well as its general popularity across the islands, the ukulele had become a symbol of Hawaii’s musical culture by the 1890s. From there, the reputation of this little instrument got bigger and bigger.

A Martin Style 5 ukulele, which was made by C. F. Martin III for his wife, Daisy, in 1930

LEADERSHIP CHANGE

While Madeiran craft influences were being funneled through Hawaiian culture in the Pacific, back in Nazareth, Pennsylvania, Martin was undergoing changes of its own. The company’s third-generation steward, Frank Henry Martin, took the reins in 1888. He remained fiercely committed to the high-quality craftsmanship Martin was already known for, and wanted to avoid the mass production of inexpensive guitars—a process that other builders of the time were leaning into. Frank Henry Martin, however, was far from a stick in the mud.

Martin’s third-generation caretaker had a reputation as a great innovator and leader who was open to new things. Thanks to the increased competition from other companies’ mass-produced instruments, Martin had to boost its sales. Here, Frank Henry Martin saw an opportunity in the form of the mandolin, which in the 1890s was rising in popularity in the US. Sure enough, by the early 20th century, the company was making as many mandolins as it was guitars. Meanwhile, more experimental instruments, such as double-necked harp guitars, were available on custom order from Martin too.

NEW OPPORTUNITY

Hawaii was annexed by the US in 1898. Thanks to the growing tourism industry, the ukulele was increasing in popularity not just on the islands but back in the US too. Bergstrom Music Co., a dealer in Honolulu that already sold Martin guitars, was looking for another supplier to meet demand. Frank Henry Martin was all too happy to oblige. Martin’s entry into the mandolin business had helped its sales, but the company

still wasn’t in an optimal financial position. A brand-new instrument such as the ukulele, however, was a fantastic opportunity well worth tooling up for.

The Martin-Bergstrom relationship, though, didn’t get off to the best start where the ukulele was concerned. “The story that I’ve heard,” says Chris Martin IV, “is that my greatgrandfather sensed an opportunity with the ukulele. We already had a customer in Honolulu—Bergstrom—so Frank said, ‘All right, I’m going to make some sample ukes and see how many they want to order.’ So he made them and sent them over. Later, the box came back with the ukuleles in it, as well as a letter that said: ‘Dear Mr. Martin, sir, we love your guitars, they are the best on Earth. Unfortunately, when it comes to the ukulele, you don’t have a clue.’”

The problem, says Chris, is that Martin had made the ukuleles “like little guitars, with rosewood back and sides,” as well as relatively thick spruce tops, and sturdy, guitarlike bracing. And so Bergstrom, quite rightly, said “‘they don’t sound like ukuleles!’” Traditional Hawaiian ukuleles have thin koa construction and minimal bracing—that’s what gives them their bright, lively sound. Martin’s sample ukes had a much quieter, darker sound that was nothing like ukulele players were used to. It seemed, then, like the great Martin ukulele experiment had been a failure. Fortunately, circumstances would soon give the company a chance to redeem itself.

SECOND CHANCE

Following the creation of the Territory of Hawaii in 1900, the ukulele was steadily gaining ground on the US mainland. With

increasing tourism to the islands, Hawaiian culture was being exhibited more and more at various world’s fairs across the US and beyond. One event in particular tipped the scales towards Hawaiian music becoming a nationwide craze: the 1915 Panama–Pacific International Exposition.

The event was enormously popular, with more than 18 million attendees visiting San Francisco to see such innovations as steam locomotives. Even the Liberty Bell was there. For our story, though, the most important attendees were the multiple Hawaiian music acts. These included Jonah Kumalae, a notable ukulele maker and player; Henry Kailimai, composer of the hit “On the Beach at Waikiki”; and George “Keoki” E. K. Awai and his Royal Hawaiian Quartet.

While fairgoers were captivated by both the steel guitar and the ukulele, the latter was by far the more approachable and affordable of the two. The humble uke was poised to go “viral”—by 1915 standards anyway. Demand skyrocketed, and retailers across the US were soon looking to source mainland-made ukuleles, rather than having to import them from Hawaiian makers. Martin’s first ukulele orders came in from New York dealer Chas. H. Ditson & Co., with several other east coast retailers following soon after.

As Chris Martin IV explains, Martin had learned from its previous efforts—so, this time, it went to the source. “We bought a Manuel Nunes ukulele and copied it,” he says. “It was like, ‘Oh, that’s what it’s supposed to be.’ We started with mahogany and then we moved to koa. It has to have this light, very airy sound, so you need to use very thin veneers— rosewood and spruce don’t work!”

Across 1915 and 1916, Martin developed its ukulele into three distinct styles: the basic Style 1, for $10; the more appointed Style 2, for $15; and the top-of-the-line doublebound Style 3, for $25. Retailers on the east coast began placing more and more orders—even Bergstrom Music Co. picked up a few of the new ukuleles in 1917. Clearly, things had improved since Martin sent those samples to Honolulu a decade previously. Also in 1917, the Southern California Music Company—Martin’s only Los Angeles dealer—ordered the company’s first koa ukuleles, after a successful run of koa guitars, opening the door to many more koa-bodied ukes.

By this point, Martin’s ukuleles were fast becoming a resounding success, as well as a driving force behind the biggest growth the company had ever seen. By the early 1920s, Martin’s ukulele output matched that of its guitars—and by later in the decade, it was selling far more ukes than guitars and mandolins combined. Between 1916 and 1926, Martin built more than three times as many ukuleles as six-strings.

This roaring success came not just from Martin’s first three soprano styles, though. In 1922, Martin introduced the Style 0, a stripped-down $10 mahogany ukulele, as well as the Style 5K, a premium koa model with extravagant pearl inlay that retailed for $50. The Style 0 sold well, and while the Style 5K was only ever going to sell in small numbers, it

This Martin Style 1K was taken to the North Pole by Richard Konter

helped Martin maintain its reputation as a trusted builder of high-quality instruments—not just the guitar.

Martin went beyond the soprano ukulele in 1925, with the introduction of its first concert uke. With a longer scale length and slightly larger body, this louder instrument was better suited to live performance—but unlike the lowerpitched baritones, it kept the same tuning as soprano ukes.

SLOW DECLINE

The peak of the Hawaiian music craze in the US came around the same time. In the second half of the 1920s, interest in the ukulele began to decline, and by the 1930s, it had fizzled out almost completely. The 1930s also saw nearly every business in the US affected by the hardships of the Great Depression. However, during the late 1910s and early 1920s, Martin rose to meet the extraordinary ukulele demand by greatly expanding its Nazareth facility. This expansion allowed Martin to weather the challenges of the Depression, in part by swiftly adapting as demand shifted back toward guitars.

World War II presented many challenges for instrument makers too. The war in the Pacific meant Hawaiian koa became much harder to acquire on the mainland. As a result, Martin had to halt production of its koa models, with even the Style 5K being reworked into the mahogany Style 5.

After the war, soldiers returning from the Pacific gave Hawaiian music another bump in popularity, but it was nothing like the craze that had hit the US decades earlier. By this time, Martin’s ukulele lineup had been simplified into just four soprano models, alongside the concert and tenor models. For the rest of the 1940s and into the early 1950s, sales ticked steadily along at a few thousand instruments per year. By the time the 1960s arrived, the ukulele had almost entirely faded from the conversation. The folk boom meant Martin had an unprecedented demand for acoustics to deal with. Guitar production soared. With rock ’n’ roll taking over too, if players didn’t want acoustics, they probably wanted electrics, all of which left the uke far behind in sales.

As the ukulele took a backseat in US culture, it did the same in Martin’s product lineup. In 1965, 50 years after they were introduced, the Style 1 and Style 2 ukuleles were discontinued, leaving the Style 0 and Style 3 as Martin’s only soprano models, along with its Style 1T tenor and the style B-51 baritone. In 1977, Martin dropped ukuleles from its standard lineup, making them available only as special orders.

These special-order ukuleles were more expensive to justify the smaller production numbers—a Style 0, the most affordable instrument in the range, would set you back a sizable $500 in 1977. This meant it was quicker, and cheaper, to locate a used Martin uke than it was to order a brandnew one—and they were easy to come across, as Martin had already made many tens of thousands of them. And unlike vintage guitars, older ukes remained playable for decades without any attention from a luthier.

SUDDEN REVIVAL

Martin officially ceased ukulele production in 1995. But inevitably, interest in the instrument started to climb again. Just two years later, Martin resumed ukulele manufacturing, starting with the Mexican-made Backpacker Ukulele—an affordable model with a slimmer, compact body for easy transport. Not long after this, it reintroduced traditionally shaped soprano ukuleles, also made in Mexico.

The late 1990s would prove to be the foothills of the modern ukulele era. The internet would soon allow anyone with basic recording tools—or even just a webcam—to share their music with the world. The ukulele couldn’t have been better suited to this era; it’s the pick-up-and-play instrument. Across the 2000s and 2010s, the instrument rose in popularity again—this time across the world, and for the most part uncoupled from the kind of specific and unsustainable craze that had gripped the US in the 1910s and ’20s.

In 2006—shortly after YouTube launched, changing the way we learn instruments forever—Martin reintroduced its premium Style 5K, marking the return of high-end ukulele

Marilyn Monroe plays a Martin uke in the 1959 film Some Like It Hot

© Hulton Archive/Getty Images

production to Nazareth. This opened the gates to many more vintage-inspired and new ukes made in Nazareth and Mexico, including affordable models using Martin’s HPL material.

RETURN TO HAWAII

The broader ukulele revival of the 2000s and ’10s was largely distinct from traditional Hawaiian music. However, one artist’s immense posthumous popularity would reaffirm the instrument’s connection to the islands: musician and Hawaiian sovereignty activist Israel “IZ” Kamakawiwo‘ole.

Kamakawiwo‘ole, who died in 1997 at the age of 38, is perhaps best known for his medley of “Somewhere Over The Rainbow” and “What A Wonderful World,” and remains one of the most popular Hawaiian musicians of all time. His music was used in several major movie soundtracks, and topped digital download charts long after his death. It’s impossible to say how many players he inspired to pick up a ukulele, but his famous medley remains one of the most popular recordings ever made using the instrument, as well as a strong reminder of Polynesian roots.

In 2013, Martin honored Kamakawiwo‘ole with a commemorative ukulele modeled after his own mahoganybodied Martin tenor uke. The Martin 1T IZ features a quilted mahogany body, a rosewood headplate with “IZ” inlaid in Hawaiian koa, and a hibiscus flower inlaid in pink awabi pearl.

CENTENARY YEARS

In 2017, Martin celebrated the 100th anniversary of ukuleles appearing in its product catalog with the limited-edition Style 1 and Style 3 Centennial models. And in 2025, Martin is

marking 100 years since the introduction of its first concert ukuleles with two new limited-edition models: the Nazarethmade Centennial 1 Concert Uke and the more affordable Mexican-made Centennial Concert Uke. Both feature fretboards that stop at the body joint. Many vintage ukuleles were built this way, and while it limits the number of frets, it means that more of the instrument’s top is free to vibrate for a more open and lively sound. Both ukes also feature a commemorative soundhole label that bears an image of the North Street factory where the first concert ukuleles were crafted 100 years ago.

While 1925 was the peak of the Hawaiian music craze in the US, a century later, we perhaps have a more stable and enduring appreciation for the ukulele, its history, and its musicality. The instrument is no longer confined to fleeting trends as it was in the early 1900s. Nor is it dismissed as a mere novelty. Instead, the ukulele is rightly recognized as a complex instrument, played by everyone from professional performers indebted to its cultural history to teenagers recording cover songs on webcams and smartphones. And while its history and connection to Hawaii remain a large part of its cultural identity, the ukulele has resonated with musicians across the world.

This legacy is reflected in Martin’s current ukulele lineup, which spans tenor, soprano, and concert models— including the new Centennial Concert Ukes—as well as the Israel Kamakawiwo‘ole signature model. We can’t say what the future holds for the uke, how it will be used, or how it will evolve. But one thing’s for certain: Martin has gone far beyond “not having a clue” about the little instrument that could.

CHARMING man this

Words • JOSH GARDNER

As the guitar player and SONGWRITER in The Smiths, JOHNNY MARR cemented his status as an all-time GUITAR LEGEND before his 21st birthday. In the DECADES that followed, he would chart a UNIQUE AND INTERESTING career, with a MARTIN ACOUSTIC always close at hand. Now, he’s COLLABORATED with Martin to CREATE a pair of IMPRESSIVE signature models that are UNCONVENTIONAL but still accessible — and one of them has SEVEN STRINGS

Ihonestly don’t think I even saw one in a shop. As great as the guitar shops in Manchester were, I don’t think they were that great!” Johnny Marr is reflecting on the first time he saw a Martin guitar in the flesh, and it certainly took a while. As a working-class son of Irish immigrants growing up on the edge of Manchester in the northwest of England, the future creative fulcrum of The Smiths didn’t have many opportunities to discover the pinnacle of American acoustic guitar craftsmanship. But that didn’t stop the magic of Nazareth instruments from finding him.

“The first one I saw in real life,” Marr tells us, “was Rory Gallagher’s D-35 in 1976.” Seeing the Irish blues legend with his Dreadnought had a profound impact on a young Marr, but it wasn’t the only one he’d be drawn to. Images of Neil Young, Stephen Stills, and Joni Mitchell, all toting Martins, followed.

“And then Bert Jansch, and Martin Carthy on the cover of Byker Hill, playing a 000 I think? Martins were the holy grail for me—not because they were expensive, but because of the people playing them. They’re all my favorite acoustic players.”

In the 1980s, Marr himself would become a favorite acoustic player among a generation of music fans. As the songwriter and guitarist in The Smiths, the teenage Marr would push the instrument to the fore during a decade of rock and pop that largely eschewed the acoustic altogether. When Marr began recording his own music onto an old tape recorder, he had no choice but to record direct with the only instrument he had: an electric. But on the demos for songs such as “Pretty

Girls Make Graves,” “Well I Wonder,” and “Unhappy Birthday,” the electric was simply standing in for the acoustic guitar that Marr had always envisioned on the final track.

“I saw people doing great things on [the acoustic guitar],” Marr says. “I saw Rory Gallagher. He had an acoustic part in his set—this is before punk; I was still very young then. But a couple of my pals got to a place where they wanted to be Ritchie Blackmore and Jimi Hendrix, which is fine, and they therefore dropped the acoustic. Maybe they thought the electric was more sexy, or whatever—certainly louder. But I liked what Rory Gallagher did in his set with a D-35. Then when I heard Neil Young and Joni Mitchell, and Nils Lofgren with Grin, I heard another way for the acoustic guitar to be. Another important thing that made me respect the acoustic was an interview with Keith Richards in the mid-’70s. He said, ‘If you don’t play the acoustic, you’re only half a guitar player.’ And that suited me, so I’ve stuck with that philosophy ever since.”

THE D TRAIN

It was this philosophy that sparked a lifelong love affair between Marr and Martin guitars. For the writing and recording of The Smiths’ seminal sophomore album, Meat Is Murder, released in 1985, Marr rented a Martin D12-20 and a D-28. “As soon as I felt we were big enough to hire a Martin—because we still weren’t big enough by any means for me to actually own one!—I hired one,” Marr says. The latter would become, let’s say, a long-term loan. “I had no intention of keeping it…

but then I fell in love,” he adds, with a laugh. “That’s the D-28 that I wrote nearly all of that acoustic stuff on.”

The Smiths broke up in 1987, when Marr was 23 years old. As the driving force behind one of the most influential British bands of the 1980s (and beyond), Marr was far from done with music. In the wake of The Smiths’ collapse, he briefly joined The Pretenders and The The, before forming Electronic with fellow Mancunian legend Bernard Sumner of New Order. Later in Marr’s varied career as a guitar-genius-for-hire, he would work with everyone from Pet Shop Boys and Bert Jansch to Beck and The Cribs. At one point, he almost joined Oasis.

Despite playing with such disparate artists and styles, Marr has always loved Martin Dreadnoughts. These days, his collection also features a D-35 and a D-41. Which begs the question: why aren’t we sitting here talking about a new Martin signature Dread? “There’s a few things really,” Marr says. “One is that there’s no point in me making another D-28—because D-28s are perfect!”

So what are we sitting here talking about, then? That’ll be the M-7 and the M-6. Brand-new Marr signature instruments is based on a 14-fret 0000/M. He arrived at this model following a number of recent conversations with Martin’s Fred Greene, but also following a chance encounter that took place more than two decades previous.

“In about 2003, I came across a 0000 model that my good friend, Bill Puplett, a luthier who is sadly no longer with us, was working on,” Marr recalls. “I saw it in Bill’s workshop, and it appeared just so elegant to me.”

At the time, Marr’s affinity for the Dreadnought was being challenged by his peers. “I remember at the same time, I was having conversations with Gem Archer from Oasis, who was kind of putting me to the sword about why I like the Dreadnoughts over the Gibsons, which is pretty prerogative,” Marr says. “But I just took it for granted that I was going to play Dreadnoughts if I was lucky enough to. Growing up liking Neil Young, and the sound of Stephen Stills’ guitar playing, and Joni Mitchell and Rory Gallagher, I was all in on Dreadnoughts. Gem was challenging me on the utility of the bottom end. But I thought, ‘Oh no, I actually like the bottom end; because I use altered tunings a lot at home, I make use of it.’ And I said, ‘You know what: if I don’t need it, I just EQ it out and turn the compression up—and it still sounds great!’ So I was all right with that!”

SEVENTH HEAVEN

Between that chance encounter with a 0000 at Puplett’s workshop, and Archer helping Marr to crystallize his love of the Dreadnought sound, an M-shaped seed had been planted in the guitarist. It would finally bear fruit many years later when Marr sat down with Greene to discuss their collaboration on the M-6 and M-7.

“When we were brainstorming about what I might like, there were two things where I thought, ‘Well, there’s a way of

doing it, so what can I do that’s different?’ The process of the Martin one was, almost like, magicking up all my favorite bits and going, ‘Really? Is that allowed? Would that work?’”

One of the things Marr wanted to try out with these guitars was a smaller body style. The most unconventional feature Marr wanted to experiment with, however, was the addition of a seventh string. But the M-7 isn’t your usual seven-string, with the additional string used to extend the instrument’s lower range. Instead, Marr added a doubled octave G string to lend chords and arpeggios a unique sound. He describes the guitar as sounding as if the song has “some extra production on it.”

“Roger McGuinn did a seven-string with Martin many years ago,” Marr says, referring to the HD-7 produced in the mid-2000s. “But his is a little different to mine—it has an extra bridge pin, whereas mine shares one of the usual six. I first heard of a seven-string being used by a blues guitarist from the ’50s and ’60s, so the concept goes back quite a way.”

If it seems like the M-7 was the focus of Marr’s attention, that’s because it was. The dual signature instruments were initially conceived as a single model—and it had more than six strings.

“The seven-string was made first, and we didn’t intend on doing the six-string,” Marr says. “But the mechanical aspects to the guitar—say, the body and the sound, and the attack and all the dimensions of it, and all things we talked about— made it so that I suggested we do a six-string version. And that way it doesn’t have to be all about that seventh string.”

Photography

Riaz

Gomez

Marr is clearly very taken with that additional string, however, and is keen to stress that it’s no gimmick. The M-7 has been designed to ensure that anyone can pick up and play it without having to alter their technique.

“I’ve been using it live for a year,” he says, “and because I’ve been doing a lot of gigs, and I play it in a couple of songs in the set every night, my ears are tuned to that G now. There are times when I’ll play chords in different positions, because the key note in the chord will be on the G, so I’ll move those voicings around a little bit to make the most of it, and I really enjoy doing that.”

TOOL OF THE TRADE

At the heart of Marr’s collaboration with Martin was the desire to create an instrument that he himself would find unique and useful on a nightly basis. With the M-7, he seems to have succeeded. “I’d like to say it’s not about vanity,” he says. “But I’m too busy to be putting my time and effort and energy into something that I’m not actually going to get songs out of, and that I’m not going to want to use live.”

Despite the acclaim, the gold records, and the huge influence that Marr has had on the past four decades of guitar music, he still considers himself a working musician. Which means he has developed some exacting standards that Martin had to live up to as part of this collaboration: “I wanted gloss on the back of the neck, so it’s like an original ’50s or ’60s one,” he begins, “because I never got on with satin finishes. I just think it’s… why? Why?! Wear the necks down yourself,

you lazy so-and-so! It seems like such a feeble complaint when I hear guitar players say, ‘I don’t get along with the gloss on the back of the neck.’ Really?! It’s hardly barbed wire! Satin just feels phony to me, and not like a real instrument—but maybe that’s me showing my age.”

Then there was the simplicity of the headstock. “It was deliberate to not have too much pearl on it, because for 40 years—other than my 41, which I came across really fortuitously; it was from John Entwistle—I would never have thought of buying a Martin that had a lot of pearl on it. I like it to be more utilitarian. I like the concept of that.

“And then the bracing, which is something that Fred taught me quite a bit about, why it is the way it is—because I’ve got the Dreadnought bottom [bracing] and then the tighter top. And then of course the three-piece back was something I just took from the D-35 that I was playing with Bert Jansch, and on a lot of Pet Shop Boys records.

“So, with that, it all came together. But it wasn’t a given that it would sound great straight out of the case—but the experts put it together really well, in a way that made it musical. Which seems like a strange term to use, but some instruments just don’t really cut it in that regard.”

ACOUSTIC LEGACY

The road to the M-7 and M-6 signature guitars has been a long one for Marr. It began with him watching his heroes play Martin guitars, and has led him on a varied and interesting career for 40 years and counting. Through it all, the guitarist has learned the value of working with companies that value their heritage.

“With all the great guitar companies, there’s a family behind them,” Marr says about what makes Martin special. “It’s a family company. Thomas [Ripsam] came to a show in Philadelphia a couple of months back. When you meet people who are making the decisions, and they are guitar nerds and enthusiasts like that, that’s a really good sign.”

Marr commends Martin and its passionate employees for the care and attention they put into making their instruments. “I’m very fortunate that the people I’ve worked with, at Fender [Marr has a signature Jaguar with the company] and Martin, are just absolute guitar freaks. They’ve got it right.” Like Marr’s own career, though, it’s the mix of modern and time-honored techniques that matter most.

“I think we’re living in an age where heritage should be honored,” Marr says. “Maybe in the past some companies were insecure about wanting to adapt to the modern age, and there was some throwing the baby out with the bathwater. I think we’re in an age now where people have learned to not overlook the great things about the past. Like all great things, it’s about standing on the shoulders of giants. Martin really have that about them. Of course, we’re living in the modern world, but there’s a pride in the legacy and heritage. And I think I’ve learned to value that legacy too.”

evolution THE NEXT IN TONE

Luxe by Martin® KOVAR™ strings are REWRITING the script on what ACOUSTIC STRINGS are capable of. HERE’S WHY they’re so special

Words • DERRICK KROM

Ever since C. F. Martin Sr. set up shop in New York City in 1833, Martin has been shaping acoustic music—relentlessly pushing boundaries in craftsmanship and design. And while the company’s iconic guitars tend to steal the spotlight, strings have always been the unsung heroes behind that signature Martin tone. Now, one of Martin’s most recent game-changers, Luxe by Martin Kovar strings, is challenging traditional ideas about what acoustic guitar strings can do.

Naturally corrosion-resistant, Kovar strings last longer without coatings, and their tone strikes a perfect balance. They’re ultra responsive, especially on guitars with magnetic pickups—and, thanks to their lower tension, they’re also an absolute dream to play.

“A whole new revolutionary alloy is not something that most companies are brave enough to tackle,” says Brian Hall, senior director of strings at Martin. “We’ve spent a lot of time in the lab thinking about alloys that can deliver the sonic excitement of phosphor bronze with added benefits, like corrosion resistance and reduced tension. Discovering the combination of nickel and cobalt was one of the biggest breakthroughs in strings that the industry has ever seen.”

NEW SOUNDS FOR A NEW ERA

Not only has Martin been making the world’s greatest guitars for nearly two centuries, it’s also been making its own strings for more than 50 years.

It all started back in 1970 with the acquisition of Darco Strings, a move that gave Martin full control over the process. Since then, the company has poured the same care and attention into its strings as it does its guitars.

From developing treated Lifespan® 2.0 strings to crafting signature sets with legends such as Eric Clapton and Tony Rice, the company has constantly adapted to meet the evolving needs of today’s players. “We’re always seeking the next breakthrough,” says Hall. “Kovar is that next wave of innovation. It offers the electric guitar feel with the beauty of acoustic guitar sound.”

That balance makes Kovar strings especially appealing to players who seamlessly move between electric and acoustic guitars, thanks to the alloy’s flexibility and lower tension.

For years, acoustic players have searched for strings that check all the boxes— warmth, brightness, and longevity—without losing tone. Traditional copper-based strings, such as phosphor bronze, deliver a familiar richness that many players love. But if you’re the type who wants strings that stand up to marathon sessions and naturally resist wear, Kovar strings are worth the hype. Their non-reactive properties help them hold a clear, balanced sound for longer—and without relying on chemical coatings.

Hall is quick to point out that there’s much more to Kovar than just durability though. “Kovar strings deliver the purest possible tone,” he says, “which is what you want if you’re experimenting with sound.” For players who push their acoustic instruments to the absolute limit, whether that’s with heavy-handed strumming, rapid fingerstyle runs, or straight-up shredding, these strings deliver unmatched levels of responsiveness.

FLEXIBLE CORE: A NEW LEVEL OF COMFORT AND CONTROL

Since launching in 2023, Martin’s original Kovar strings, with a Superior Performance SP® core, have been praised by both pros and everyday players—but now there’s even more to love, thanks to the addition of an all-new Flexible Core option.

The goal for Martin was always to make strings that are a bit easier to play, while still maintaining Kovar’s top-notch tone. “We really focused on making the core a little thinner, making the wrap a little bigger,” Hall explains. “So, you’re going to get more nickel and cobalt, and a little bit less steel, and it’s going to reduce the total set tension. If you like playing electric guitar and acoustic guitar—and a lot of people do—but you struggle because electric is just so much easier to play, I think you will really love the Flexible Core Kovar strings.”

MEETING THE NEEDS OF MODERN MUSICIANS

Martin’s drive for innovation is rooted in a deep respect for tradition when it comes to both instruments and strings. “Phosphor bronze has been the standard for more than 60 years,” says Hall. “But music and the way we share it have evolved.”

The creation of Kovar strings wasn’t just about metallurgy—it was about understanding the role of acoustic guitars in modern music. Today’s acoustic players are defying genre conventions, by incorporating effects, tapping, and percussive techniques into their performances. They’re also often amplified, which is where Kovar’s ferromagnetic wrap wire shines, offering a strong, clear output when used with magnetic pickups.

“Technical playing has changed what people expect from acoustic strings,” Hall explains. “Kovar’s flexibility and tonal range make it the perfect fit for musicians pushing the boundaries of what an acoustic guitar can do.”

And with a unique matte silver finish, these strings look cool too. “They look striking against an ebony fingerboard,” Hall shares. “When you string up with Kovar, people really take notice.”

THE FUTURE OF STRINGS IS NOW

Kovar strings haven’t been around long, but they’ve already made an impact. Martin’s confidence in this groundbreaking material goes even further, with the brand offering its first-ever money-back guarantee for strings. “We believe in Kovar so much that we’re willing to guarantee it,” says Hall. “If you don’t love them, we’ll give you your money back.”

So, what’s next? With Kovar, the possibilities are endless—and after nearly 200 years, it’s clear that Martin is still dedicated to helping players unleash their inner artist.

But Kovar isn’t just about materials—it’s about creating strings that are worthy of the company’s name and legacy. “That’s the real test at Martin,” Hall says. “If they’re good enough for our guitars, trust me, they’re good.”

MARTIN ARTIST Meet the

Showcase Class

2025

GET READY TO FIND YOUR new favorite ARTIST

Words • CILLIAN BREATHNACH

Artists are the lifeblood of Martin Guitar. Every guitar, no matter its tonewoods, body shape, or age, is nothing but wire and wood until someone picks it up, plays it, and makes it part of their own musical journey. Throughout Martin’s almost 200-year history, countless legendary musicians, from Joan Baez to John Mayer, have inspired us to do just that with our own instruments. Martin’s annual Artist Showcase program is all about amplifying talented songwriters who are primed to become legends themselves. Following a successful Class of 2024, which featured a exciting group of changemakers from across the musical spectrum, the Martin Artist Showcase Class of 2025 spotlights another exciting batch of musicians who are breaking through and making their own musical statements. The nine artists featured over the following pages are some of the most innovative and impactful artists making music on Martin guitars today, whether that’s Americana, country, folk, or indie rock. So join us as we meet the Class of 2025, explore their guitar journeys, and discover how they found their voices.

JD Clayton

JD Clayton’s first full-length album, Long Way From Home, was released to positive reviews in January 2023. His self-produced sophomore album, Blue Sky Sundays, arrived in February 2025—and the hype is only growing. Packed full of country-rock riffs, earworm licks, and catchy vocal hooks, the album is a sensational showcase of Clayton’s equal parts playful and heartfelt songwriting. And it’s all delivered with the kind of organic, lively feel you get when you bundle your regular live band into the studio to cut a record.

“My grandfather was a banjo player in a bluegrass band that toured different prisons to feed the inmates barbecue, and play a bluegrass show,” says the Arkansas native, whose musical journey began when he was six years old. “On Friday nights, he would make homemade pizza, and then play his banjo for hours. Eventually, he taught me G, C, and D on an acoustic guitar, so that I could play along with him. I had the bug from then on.”

While Clayton’s sound is undeniably country-forward, his formative influences span a wide range of decades and genres. “I was majorly influenced by early 2000s singersongwriters like Jack Johnson, John Mayer, and Norah Jones,” he says. “And my dad has very eclectic taste in music, and kept Abbey Road and greatest hits CDs from CCR, James Taylor, John Denver, and Tracy Chapman in his Volvo at all times. When I got to college, I discovered Chris Stapleton and Nathaniel Rateliff, and it really opened a whole can of musical worms. Since I’ve gotten older, I’ve fallen in love with acts like The Band and the Grateful Dead. I guess I’m just made up of one big pile of organic music.”

With Blue Sky Sundays produced by Clayton himself, its sound aims to capture the energy of the artist’s live shows, as well as the organic feeling of the music he loves. “It was pretty easy,” Clayton says. “The same players you see on stage are the same players that played on my new album. So all we had to do was walk into the studio the same way we walk on to the stage each night. We leave everything we have on the stage. We left everything on the studio floor when we recorded too. It’s pretty magical.”

By taking on the role of producer, Clayton gained a new perspective on his own songwriting. “Just because it sounds good in the studio doesn’t mean it will sound good live,” he says. “I learned during this process that it’s important to test different versions of songs, and make sure they will translate.” Clayton’s first experiences with Martin left a strong impression. “When I was in high school, I played in the church band, and one of the guitarists in the band only played an old D-18. I would also watch John Mayer play his Martins on Where the Light Is all the time, and I became obsessed with them. A few years later, when I was in college, I went to the local music store and bought my own Martin. I was into the folk singer-songwriter thing at the time, so I bought a 000RSGT. The smell of the wood from a brand-new guitar is enough to make a grown man cry. Attention to detail is everything, and no one pays more attention to the little details than Martin. The fact that they can go back in their archives and see what their builders were doing in the early 1900s is nothing short of remarkable. I love going on stage to give my all while holding an instrument that a company gave their all to create.”

KarleyCOLLINS

For country singer-songwriter Karley Scott Collins, things didn’t start the usual way, on stage in Nashville or in touring bands. Instead, her career in began with a childhood acting role. “When I was about nine years old, there was a role I was really close to getting, but they said, ‘You need to learn how to play guitar,’” she explains. “So my parents rented me one, and I took lessons from a hippie at the top of Topanga Canyon in Los Angeles. The first song I ever learned was a Queens of the Stone Age track.”

Something clicked when Collins picked up the six-string. “I felt like it was what I was supposed to be doing,” she says. “Not long after that, I quit acting and moved back home and just spent all my time playing music. When I was 19, I moved to Nashville, and it’s been a lot of fun since then.”

Although Collins’ sound may be undeniably country, her music is indebted to the hard and classic rock she grew up listening to. “I listened to a lot of hard rock with my dad, but as I got a little older, I started to discover classic artists that really influenced me— Bob Dylan, Tom Petty, Stevie Nicks, the Eagles,” she says. “All of that stuff is what really shaped the way I sing and write.”

There are even a few heavier ingredients in the mix. “There’s a lot of heavy metal and hard rock that I really admire, like the raw emotion in the vocals or cool guitar riffs and

chords that people wouldn’t often choose in other genres. I try to pull from that sort of thing in my own music where I can, and where it fits.”

It wasn’t all rock music. Country formed a large portion of Collins’ musical diet as she was growing up. “I got the country music in a stack of records my nana gave me, with Willie Nelson and George Jones,” she says. “As well as the rock edge, it all kind of came together to make me who I am.”

Collins’ seeks stimulus in the everyday. “I draw a lot of inspiration from my own life, loves, and heartbreaks, as well as my friends,” she says. “And I try to listen closely to conversations I have with people, because people often say really brilliant, creative things without even noticing, and I can sneakily write it down.”

Books form a crucial part of Collins’ diet too. “I read a lot,” she adds. “Some of my favorite authors are Cormac McCarthy, Charles Bukowski, Hunter S. Thompson. I draw a lot of inspiration from books, and a lot of little phrases I read in them too.” Martin was there from the beginning. The guitar that Collins’ parents rented so she could learn to play? An LX1 Little Martin. From there, she never looked back. “My first ‘adult’ guitar was a Martin 000-42, which I still play at almost every show,” she says. “My Martins have been there for me through everything; a Martin and a pen and paper are the first things I turn to when I’m in love, or my heart is broken, or I’m feeling inspired. I have written every song I’ve ever written on a Martin guitar. The craftsmanship, the woods, the attention to detail in every piece of the guitar, it’s all so special.”

Kashus CULPEPPER

Kashus Culpepper’s guitar journey began in 2020, while he was deployed with the US Navy. “I’d been obsessed with music my whole life, listening to it day and night growing up,” he says. “But guitar didn’t come into the picture until 2020. The pandemic happened while I was deployed in Rota, Spain. We couldn’t work that much. All I did with all that spare time was learn to play guitar.”

His musical influences span the worlds of soul, country, and rock. “Stevie Wonder, Otis Redding, Hank Sr., Bill Withers, and The Allman Brothers, just to name a few,” Culpepper says. “I think all of us have a natural sense of what music we gravitate towards, and mine happens to be these types of voices and songwriting.” Though his influences are broad, Culpepper adds that his writing comes easily as long as he’s passionate about what he’s making. “I just stay authentic to what I love. If I stick to what I love, usually the fusion happens naturally with my music.”

Culpepper’s evocative lyrics and rich voice conjure images of smoky bars, brooding characters, and expansive vistas within which his stories play out. And that’s no accident. “I really enjoy movies and the actors that portray some of my favorite characters. I’ve written songs using my favorite movies as inspiration,” he says. His 2024 song “After Me?” is a great example. “People love the raw lyrics. A lot of folks can relate to the story.”

It was Tyler Childers’ live performances on Red Barn Radio that introduced Culpepper to Martin guitars. “I’ve always loved the dreamy tone of Martin guitars,” he says. While his musical career is in its early stages, Culpepper says he has his eyes on the horizon. “My favorite song is the one I haven’t written yet,” he says. “I’m always looking for ways to improve my writing.”

MADI

Like many of the best songwriters, Madi Diaz spent time honing her craft by playing in bands in Nashville, as well as performing in New York City and Los Angeles. As a solo artist, it would be her fifth full-length record, 2021’s History of a Feeling—a searing dissection of a breakup told through earworm vocal hooks—that formed her critical breakthrough.

After opening for Harry Styles at stadium shows throughout 2022, she joined his band for his 2023 tour. The following year, Diaz returned to her solo material with a new full-length, Weird Faith, a worthy successor to History of a Feeling that combined tight, catchy songwriting, and typically gut-punch lyricism.

Diaz began playing at 14, learning songs and trading harmonies with her friends. “The guitar is such a connector,” she says. Diaz was inspired to play by the likes of Joni Mitchell, Sheryl Crow, Patty Griffin, Kathleen Hanna, Courtney Love, and Bonnie Raitt. “They all have such unique voices and ways of telling stories. They’re all fearless in their word choices, what they want to say, and how they want to say it.”

As inspiring as her musical heroes are, though, it’s everyday life and emotions that drive Diaz’s songwriting. “There are billions of moments happening around us all the time, everywhere,” she says. “I love sitting in a coffee shop, a restaurant, an airport, or on a sidewalk, and just watching people, or just feeling energy all around me, thinking about everyone on their own path, making their own story.”

Diaz says this is best exemplified in her song “God Person,” from Weird Faith. “I wish I had more non-romantic songs like this,” she says, “songs that just talk about what it feels like to be a person walking on Earth, and how intensely beautiful and complicated just being is. Forget love, forget romance, just walking around in our skin, experiencing joy, grief, beauty, pain. And then, after all of that, we are faced with the ‘why.’ I’m proud of it, as it’s as close as I’ve ever come, so far, to really naming how I feel about being alive.”

Although she is a prolific songwriter who releases frequent solo and collaborative material, Diaz doesn’t change her writing style depending on who she’s working with. “I will absolutely let an artist lead the charge and be the guardrails of a song,” she says. “But I still like to make sure that what we are saying is the truth. Truth is king.”

While Diaz splits her playing across acoustic and electric, she reaches for the former for its “self-soothing” qualities. “It doesn’t demand attention. It’s more drawing the attention of the listener.” She first encountered Martin when she turned 18. “My dad got me my first Martin guitar as a gift when I was leaving the house,” she adds. “It was a D-28 made in 2004, the year I left to start [Berklee College of Music] in Boston. The thing I’ve always been so attracted to in Martins is the depth of tone they hold. It’s not just a warmth or a body or grit, it’s the way the tone moves through the space it’s in. I’ve also always liked the way the necks of Martin guitars feel in my hand.”

WyattFLORES

Oklahoma’s Wyatt Flores has a reputation for unflinchingly honest red dirt country music. His debut album, 2024’s Welcome to the Plains, showcases his articulate and emotionally driven songwriting, as well as his deft hand at modernizing old-school country instrumentation without losing what made it so compelling in the first place.

Flores grew up in a musical family, but he came to the guitar thanks to a non-traditional, more contemporary influence. “Music was always in my life,” he says. “My father was a drummer, and I grew up watching him play in many different bands. But I always wanted to be a guitar player because I loved to play Guitar Hero III growing up.”

Another of Flores’ biggest influences was Jason Isbell. “I’d never heard music and lyrics like his,” he says. “And Sturgill Simpson, because of all the different genres he goes

for and does so well, plus Turnpike Troubadours, because of how they really nailed the red dirt sound, and have been able to take Oklahoma music to the masses on such a large scale.”

Flores cites “Holes”—from his EP Life Lessons, released in 2023—as one of the best examples of his approach to songwriting. “It’s one of my favorites and one of the most important songs to me,” he says. “It’s about the generations of my family that came before me, and me trying to make this dream come to life while feeling like I was going nowhere.”

While his music is rooted in country, Flores shifts his sound to best fit what he wants to say. It’s a sonic approach that comes from the same place as his emotional honesty. “It’s just putting my thoughts and feelings and emotions into words as they come to my head,” he says. “I like to approach my writing in different ways. Staying curious and not being boxed into any particular sound helps me explore that.”

Still, Flores appreciates a classic heartbreaking country song. “I feel like country has the best heartbreaking music because we’re able to look within ourselves and tell stories that nobody else will,” he says.

Flores discovered Martin in his hometown of Stillwater. “There’s a local music store called Daddy O’s,” he says. “I walked in one day looking for a new guitar. I found a D-16, and I’ve been hooked on Martin guitars ever since. The history of Martin and the crafting they do for each guitar really makes a difference. They’re all so consistent in their sound and quality. It’s hard to beat that.”

Braxton KEITH

Texas-born Braxton Keith is on a mission. He wants to bring back the traditional values of old-school country music and Texan dancehalls, while adding his own modern twist to the formula. You may be surprised, then, to hear that his love of music didn’t begin with country. “Growing up, my mom loved Elton John, so I decided to take up the piano,” he says. “I would listen to old vinyls with my grandparents too, and that’s where my love of country music began. Those stories stuck with me and inspired me to start writing and playing.”

So how did the six-string enter the picture? Thanks to a sibling rivalry, what else? “I loved playing piano, but I picked up the guitar after my brother told me that I couldn’t play one,” Braxton says. “So I set out to prove him wrong!”

His sound harkens back to the bygone greats of outlaw country. “My main influences were Johnny Paycheck, Merle Haggard, and Marty Robbins,” he says. “I love their classic country sound and their ability to tell a story.” For Braxton, these country heroes embody a unique approach to narrative. “I love their storytelling ability and the simplicity and the beauty of how they do that through music.”

In his own songs, Braxton commits to a similar narrative approach. Tracks such as “Cozy” and “Blue” are alive with drama and character. But Braxton’s favorite song—at least for now—is “Cold Hard Steel and Sand.” “Because it’s about where I come from,” he says.

The artists that inspired Braxton’s love of old-school country have also informed his relationship with Martin guitars. “All of my musical heroes play Martins,” he says, “so I always knew I wanted to be a Martin artist. Martin is the only acoustic guitar I play on stage. They’re set apart by their exceptional quality and craftsmanship.”

DylanGOSSETT

Dylan Gossett’s music is a testament to the timeless formula of singer, song, and acoustic guitar. On his track “Coal,” a huge viral success in 2023, he translated that universal feeling of being up against it into the unforgettable line: “They say pressure makes diamonds / How the hell am I still coal? ”

“I think the song is very relatable,” Gossett says. “It came at a time when people had so many everyday struggles that they wanted relief from. To me, it just feels easy to relate to because it’s so stripped back, and the lyrics hit home for people.”

Music was always there for Gossett. “My family played all the time. My brother and I both started playing guitar and eventually started writing songs,” he says. “We would bring our new songs every year to family holidays and sit around the fire with everyone to perform what we wrote. My family’s encouragement and excitement about my writing, coupled with my competitive drive, made me work hard to become the best songwriter I could be.”

Gossett draws inspiration from Texas country artists, but he also has a deep admiration for acoustic music from the other side of the Atlantic.

“Ed Sheeran was probably my first influence very early on, and also Mumford & Sons.” As well as these artists, his upbringing played a big part in how he approaches his craft. “I think my songs are largely inspired by how I grew up,” he adds, “just spending time in nature with my family and friends.”

Gossett’s meteoric rise to fame meant he quickly had to get used to performing on much bigger stages than he was used to. The main thing he says he’s had to learn since getting popular?

“How to put on a really good live show,” he says. “I love putting on a high-energy and meaningful show because that’s when I get to connect with my fans most directly.”

Gossett’s voice and guitar playing are on raw display in his recordings. If you think that only pristinely produced music can find a wide audience in 2025, his emotional delivery on “Coal”—backed solely by his Martin acoustic—may persuade you otherwise.

“The first guitar I bought with my own money was a Martin,” he says, “and I’ve been playing them ever since. My first Martin was an X Series, and now I play a D-28. I think it’s the sound and feel that sets Martin guitars apart. It’s rich, and it’s the perfect instrument for songwriters. Look at the history of the brand and how many iconic artists use Martin —they’re just the best of the best.”

Michael MARCAGI

For Ohio-born Michael Marcagi, storytelling is everything. “That’s how an artist connects with an audience, and how that audience relates back to the artist,” he says. “I grew up really connecting with folk music and the genius storytelling of artists like John Prine and Jim Croce, and it’s still such an amazing feeling to be transported to a different place every time you hear a song.”

This narrative approach is on full display in Marcagi’s flagship song, “Scared To Start.” The indie-rock vignette, which hints at a richer, deeper story, helped launch Marcagi’s career when it took off on TikTok in late 2023. “I guess it was right place, right time,” he says. “I feel very lucky. But I think the lyrics, which are about trying to get out of your comfort zone and feeling stuck, are pretty universal feelings that most people can relate to.” Marcagi released an expanded version of the song in January 2024.

Marcagi’s love of guitar began when he was 12. He had already fallen in love with the music of Bruce Springsteen when he received a guitar for Christmas. “That really brought my passion for music to a higher level,” he says. “I wrote a lot of really bad songs in my bedroom in my high school days. Luckily, not many people heard them!”

Marcagi draws inspiration from his hometown and his personal experiences. “I have always liked when musicians give you a glimpse into their lives and aren’t afraid to sing about specific things,” he says. “A lot of times, the more specific you are with your lyrics, the more people connect with them.” While “Scared To Start” is what propelled him to where he is now, Marcagi points to “In The Light” as his favorite track. “Usually I’m a pretty slow writer and work on a song for weeks and weeks, but this song just seemed to flow out of me in a few hours. I really love the melodies in the song, and it has become my favorite to play live.”

Artists such as The Band and The Rolling Stones, with their tall tales and raucous stories, attracted Marcagi too. “Then in high school, I remember connecting with The Lumineers,” he says. “Their debut record inspired me to create my own sound and tell the stories I wanted to talk about.”

It was also The Band that exposed Marcagi to Martin guitars. “I remember hearing about Robbie Robertson writing ‘The Weight’ and drawing inspiration for the first line by looking inside his Martin D-28, and I think that is the coolest story,” he says. “Martin guitars have always meant a lot to me. Growing up, seeing some of the greatest musicians and writers choose Martins always made me want one.”

Michigander

Michigander is the solo project of Jason Singer, a musician based in (you guessed it) Michigan. Since forming the project in 2014, Singer has gone from strength to strength, showcasing his engaging indierock songwriting across multiple EPs and singles, as well as the debut album, Michigander, released in February 2025.

Michigander’s music exemplifies the confessional and heartfelt aspects of the indie rock that defined much of the 2010s. But balanced out with a healthy dose of offbeat instrumentation and a playfulness you might expect from pop-punk.

Singer spent 10 years working towards his first fulllength album under the Michigander banner. “I finally felt ready,” he says. “I finally had enough songs that I thought were good enough. I wrote 40 to 50 songs for this record, and narrowed it down to 12. I felt like I had the right team around

me to make something that I hope will stand the test of time. It just feels so authentic to me. I’m so proud of it.”

For Singer, it all started when he found a guitar on the top shelf of the closet in his parents’ room. “My mom had gotten it for my dad as an anniversary gift at one point,” he says, “and I just loved playing it. I got one of those chord chart posters and I’d lay it out on my bed and try to learn all the chord shapes.”

Singer first laid hands on a Martin right before he hit the road with Michigander, and it helped him reimagine his songs through the Martin lens. But these are not just simple ‘acoustic versions’; they’re more like the tracks in their original form. “About 95 percent of my songs start with an acoustic version,” Singer says. “I usually write on an acoustic in my bedroom or a studio. If a song feels good with just a guitar, it’s probably a good song. I heard Marcus Mumford call it ‘campfire-testing.’”

Martin guitars played a key part in all this. “All my favorite artists played them,” he explains. “And whenever I went to Guitar Center, I would always try them out and dream of getting one. After saving up a little, I finally got one—it’s never let me down. Martins are some of the few guitars that are ready to go right out the box. They’re so durable. They’re truly so special.”

SOME THINGold…

Go BEHIND THE GLASS as we EXPLORE some FAMOUS firsts ON DISPLAY in the MARTIN MUSEUM

Words • JASON AHNER

Madame DE GOÑI

As you’ll have read on page 14, Madame Dolores de Goñi is a tremendously important figure in the history of Martin Guitar, and in the guitar-building industry in general. The X-braced guitar built for her by Christian Frederick Martin in 1843 paved the way for the flattop guitars that now dominate Martin’s lineup. Housed in the C. F. Martin & Co. Archives are the daguerreotype and engraving featured here, which depict the artist around the time her signature Martin was built.

the 2-17

In 1922, Martin Guitar introduced the 2-17, the company’s first guitar to be offered with only steel strings. The 2-17 was also the first all-mahogany guitar built by the brand. In an era before email blasts and website takeovers, postcards such as the one above were sent to Martin’s dealers to inform them of new models.

THE OM-28model

After Martin built the first OM-28 for Perry Bechtel, it didn’t take the company long to realize that it was on to something, and they didn’t waste any time adding OM models to the lineup. Considered the first modern flattop acoustic guitar, the Martin OM was cataloged the following year, as illustrated by these images from the C. F. Martin & Co. Archives.

the note FINAL THOMAS

a word from

Throughout C. F. Martin & Co.’s history, we have had the honor of working with many iconic artists, and that tradition continues today. We are especially excited about recent signature model collaborations with legends such as Eric Clapton, Johnny Marr, John Mayer, and Joe Bonamassa. And we have a strong roster of artists lined up for years to come. But we’re always looking to do more. There are many ways for artists and influencers to engage with Martin Guitar and become part of our ecosystem. In addition to co-designing signature models or being selected for our Showcase program, artists can play a visible role in events such as performing on the Martin Acoustic Stage at The NAMM Show, or they can help Martin players and fans hone their craft by creating lessons for the Martin Lesson Room.

They can also provide valuable input by testing and reviewing new models or simply by sharing their stories of how Martin has helped them throughout their careers.

Creativity has always been important to Martin, but it doesn’t end with musicians. We also collaborate with artists in visual arts, jewelry and watchmaking, furniture design, and fashion. One thing that is consistent across all these examples is that working with artists goes beyond our artist relations department and involves the entire company and our partners.

From our product designers to our builders, from our sales and marketing professionals to our colleagues in logistics, finance, and legal, everyone can play a part. I always tell my team that artist relations is not the sole responsibility of one person or department; everyone at Martin has a part to play in building relationships with artists.

When we bring the full strength of the Martin Guitar company, we can truly deliver on our promise to help ‘Unleash the Artist Within.’

THOMAS RIPSAM President & CEO

“The NAMM Show was awesome, and being there with Martin Guitar was over-the-top amazing. Truly a highvalue experience of a lifetime!”

KEITH H.

YOUR BACKSTAGE PASS TO MARTIN

LESSONS, MERCH & EXCLUSIVE EVENTS

“Meeting and speaking with some of the Martin folks, as well as our fellow Backstage All Access members, was really a treat.”

SCOTT O.

“As a Backstage member for a long time, I just had an opportunity to attend

‘An Evening with Chris Martin’. It was one of the most memorable events I’ve ever attended.”

GEORGE S.

Martin Backstage is more than a membership—it’s a community of players, learners, and fans who live for music. Get preview access to the Martin Lesson Room, and score exclusive merch and discounts. Upgrade to All Access for even more lessons, deeper discounts, and exclusive event invitations. Join today and step Backstage.