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Martin Owners

For those who own one or more Martin guitars, those who want to own a Martin, or those who just like talking about Martins

Members: 486
Latest Activity: on Thursday

Discussion Forum

Time for a Change 8 Replies

Started by Mike Bishop. Last reply by Alan Land Oct 31.

anyone been to the exhibit at the Met Museum? 2 Replies

Started by michael schwartz. Last reply by michael schwartz Oct 30.

dumb ass thing to do 8 Replies

Started by joey pinter. Last reply by Terry Angelli Oct 21.

Comment Wall


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Comment by J. D. Woods on February 5, 2011 at 8:39am

Wow, that really helps! I first started playing in the summer of 1966 and it was on a student model Harmony (ok, dinosaur vintage, I know). Then I went to a Gibson SJ, Alvarez 12, Ovation12, Ovation Adamas and finally to Martin in 2000. Gosh, by that time I'd been playing for over 30 years and when I picked up the Road Series JM (approx $650 then), even with the laminated mahogany b&s, it had that incredible, tight popular sound that I was always looking for. Especially on power strum patterns that I rememberd from the Kingston Trio, Christy Minstrals, etc. I literally "came home" to Martin.

Yeah Bernie, you said what I was afraid to say. It actually was true from my experience. I'd go up to Elderlys Instruments in Lansing, take the 000X1 off the rack and try it out side-by-side with a $1,200 or $1,500 000 from the other room. And from my perspective, I couln't justify the cost differential. Hey, I'm sure I'm overlooking a LOT of important stuff here, and I'm not suggesting for a second that Martin isn't justified in setting the prices the way they do. Maybe it's the fact that I'm too easy to satisfy and I've gotten 10 years of exquisite musical enjoyment out of the low-end Martin line.

Ok, all that to say thanks to Michael, Chris, Alan and Bernie for your most excellent comments. I feel a lot better already!

Comment by Bernie on February 5, 2011 at 8:16am
Welcome JD I kind of know what you are coming from I have a Martin D-41Special, I think this is the nicest sounding guitar I have ever played. I recently put a deposit on a D12X1AE, this is also a fine sounding guitar
Comment by Alan Land on February 5, 2011 at 8:01am
Prices aren't "fixed." They are an agreement between buyer and seller about value. For that matter, neither is "quality." There are two definitions of "quality." One is defined by the manufacturing community, and describes materials and workmanship in a quantitative manner. The other is an individual overall assessment and is completely subjective. Most of us are talking about a hybrid of the two when we use the word "quality."
Comment by chris mirabile on February 5, 2011 at 7:50am
Comment by Michael & Kody on February 4, 2011 at 8:24pm
The Martin Drednaughts were designed and popularized for their on stage playability Unpluged (I.e., D 35)
Comment by Michael & Kody on February 4, 2011 at 8:13pm
jD, their is definately a price desparity, however "quality" is harder to define. Personally, I think Martins' are most famous for their "Tonal" Quality and that's where the line is drawn. No matter what the cost of labor, wood, embellishments......if the Tone(s) not there, then it's trashed. The rest, I believe are only aesthetics and possibly durability.......but Most Importantly, Tone.
Comment by J. D. Woods on February 4, 2011 at 6:59pm

Hey guys, I'm brand new to this site. When I started reading about all the D 45's, OM 21's and such, I almost wondered if I belong here. I have two Martins but they're at the bottom as far as price and probably quality. One is a JM Road Series model, with laminated mahagany back and sides. The other one, which I play a lot, is a $450 (originally) 000X1 with Formica back and sides. There's absolutely no explanation for it, but I've played guitar for over 40 years and I absolutely love this thing! I use it primarily for folk/blues, but I don't know, maybe I've just got a tin ear. I've played more expensive Martins but have found that whatever the back and sides are made of, if you get a solid top, you can get a decent sound out of it. So... it is what it is, I guess. Just curious, can any of you players of much higher quality Martins tell me what the difference might be in tone quality? Be interesting to find out...  

Comment by Forrest Anderson on February 4, 2011 at 5:38pm

Hi Chip.

I play mostly fingerstyle and love the OM-21.  I think it is one of Martin's great values (or it was before prices went up).  One thing I like about the 21 is the bridge and fretboard are made of rosewood rather than ebony, which gives the guitar a somewhat different sound.  There are classical builders (the recently departed Lorenzo Pimentel, for example) who feel ebony is too dense for the best sounding bridge.  Lowdens use rosewood bridges as well.

Someone already said it, but you should find a few to play.  Try playing 21s against 28s and learn what you hear and think.

Comment by Alan Land on February 4, 2011 at 5:29pm
Ed, The main reason I use my Badens on stage is that the Fishman system supplies an EQ in the box (something I would never do to my Martins), so it is at my fingertip control, even mid-song, just as with my electric guitars. Acoustically, the Badens have a "nice" voice, but do not have the punch of my Martins. Punch, however, is one thing I can simulate electronically, with a simple gain knob. After all, it's about the "right tool for the job."
Comment by Ed Rhoades on February 4, 2011 at 5:12pm

..there ain't no way that pedal or unit is gonna make my Yamaha sound like a Martin D-28


That's not the way the Aura or Performing Artist pickups work. Coming from a background of using sequencing, midi, I thought the Aura "sound images" were just samples. I thought...why not just go into the museum and pick out a prewar D45 and sample that with a great mic, but the sound images aren't samples. Each one has to be set up for the specific model of guitar it's used with. 


It's explained on this site


The computer can then apply this information that tells it how the pickup signal differs from what a miked sound of that guitar would be, and apply it to the pickup signal. It has very sophisicated sound-shaping power-- over 2000 parametic EQ's (among other things) and it has enough processing power to modify your pickup signal in real time, while you are playing, into something that sounds dramatically more like your instrument than your pickup does.



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