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THE OFFICIAL NEWSLETTER OF THE MARTIN GUITAR COMPANY • VOLUME 21 • JULY 2006

Martin Legacy Flourishes And Grows

The Sounding Board®

New Custom Signature Editions Expand Artist Offerings

OMC-28M Laurence Juber - Madagascar 00-18H Geoff Muldaur 12-fret Sunburst HD Elliot Easton - Quilted Mahogany

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M-42 David Bromberg Signature Edition JC Buddy Guy “Blues” Edition 000-40S Mark Knopfler “Ragpicker’s Dream”

D-42 Peter Frampton’s “Camel” Edition D-35 Johnny Cash Commemorative Edition HD-35 Nancy Wilson Signature Edition

See Page 14

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See Page 22

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Dear Sounding Board Readers,It appears that Claire is well on her way to following in her

father’s footsteps of being a prolific guitar collector. She alreadyhas a Felix 1 (Felix 2 is on order) and two Claire’s guitars (#1 is arighty and #100 is a lefty—just in case). In the photo above, weare watching Josh Drosnock shape the neck for a 00-45S! I hopeshe becomes a better guitar player than I am.

Our new museum is open. You have to come and visit. Weare now able to tell the story of our unique history and heritage aswell as give you a tour of our current production facility. We haveguitars, artifacts and memorabilia from the early 1800s throughtoday and a narrative timeline that explains the evolution of theMartin guitar and popular music. I didn’t realize we had so manygreat instruments in our collection. The museum is open from 8a.m. to 5 p.m. on weekdays. We hope to see you soon.

Sincerely,

C. F. Martin IV

2

The Sounding Board™

Volume 21 • July 2006P U B L I S H E D B Y

The Martin Guitar CompanyP. O. Box 329, Nazareth, PA 18064

Phone: (610) 759-2837 Fax: (610) 759-5757

www.martinguitar.comE D I TO R

Dick Boakeditor@martinguitar.com

C O N T R I B U TO R S

C. F. Martin IVMarshall Newman

Ronnie LippinDennis TengesChris ThomasPaul Wusow

S P E C I A L T H A N K S TO

John Sterling Ruth PhotographyChuck EricksonScott Follweiler

Thomas Monaster

© 2006 C. F. Martin & Co., Inc. Nazareth, PA 18064 USA.

17MM03 All rights reserved.

The Sounding Board™ is availablefor free from your local authorizedMartin dealership. You will also findrecent Sounding Board issues on ourwebsite in downloadable PDF format.Typically, issues are published in Januaryand July of each year.

If you wish to be assured of receivingfuture issues of The Sounding Board, werecommend that you consider maintainingan active membership in The MartinOwners Club. If you wish to be includedon our temporary recipient list, pleasemail your request with complete nameand address to:

The Sounding BoardThe Martin Guitar Company

P. O. Box 329Nazareth, PA 18064

You may request a complimentary copyof our Martin catalog by writing to theabove address or by calling the Martinswitchboard at (610) 759-2837.

Printed On Recycled Paperin the USA

CHRIS’S CORNER

In Memory of Our Great Friend and Master Inlay Artist

Larry Sifel1948–2006

LETTERS

Dear Mr. Martin,I bought my first Martin, a beautiful

HD-28, when I was in my twenties andwas performing regularly. We’ve sharedmany adventures together, and it hasgiven me great pleasure over the years.But, I always had my eye on a D-45, butyou know, the price obviously held meback – until two years ago when Idecided to take the plunge andpurchase a magnificent D-45 Vintage.

That purchase gave me the extrapush I needed to get back intoperforming. It also inspired me to writea song called “When I Had My MidlifeCrisis” and the chorus highlights mine:“When I had my midlife crisis I boughtmy dream guitar. One with all the fancytrim that I’d admired from afar. What itcost was quite obscene but all that Ican say is, I’m gonna play this greatguitar each and every day.”

The song is on my new CD“Paradise,” and it has become acoffeehouse favorite. As for me, I amactively performing on the acousticcircuit, including the Martin GuitarShowcase at the 2006 Folk Alliance,and couldn’t be happier. Thanks forbuilding such beautiful instruments andfor getting me back doing what I love.

Peace and music,

Patti DeRosaRandolph, Massachusettswww.pattiderosa.com

We’re interested in your letters, stories and photos.

Mail them in or email your digital files to:editor@martinguitar.com

Dear Mr. Martin,As a lifelong walking billboard for

Martin guitars, I have spent countlesshours playing different models at everymusic store I could find. I used to tel lmy friends, “Someday, I’ll own my ownMARTIN.” Well, that day finally camewhen I purchased my D-16R. Now I’mrediscovering my old songs. This is trulymy dream come true!

Surprisingly, I still f ind myself atmusic stores playing all the Martins.More in my future! Thanks,

Gary HoldenHouston, Texas

Dear Mr. Martin,I have been playing guitar for forty

years. I ’ve played bars, cafés and cof fee- houses in and around theMinneapolis/St. Paul area, but I now justprefer to jam with friends. In 2000, I subscribed to Acoustic GuitarMagazine. They were promoting their10th Anniversary Guitar Giveaway, andhad asked twelve top guitar makers todesign and build two identical custominstruments incorporating their 10thanniversary logo. One would go to alucky reader, and one would becomepart of their permanent collection. I decided to take a chance and enter thedrawing. I was at home recovering afterheart surgery when I received a lettertelling me that I had won the guitar thathad been spotlighted in the Septemberissue. It was the Martin Custom“Negative” herringbone Dreadnought. I was thrilled when my prize finallyarrived. Earlier that year I had purchaseda Martin 000C15E, so now I have twoMartin guitars.

The 000C15E has a great sound andis easy to play. The “Negative” has moreof a tremendous bass and superior eyeappeal. I am so proud to own these fineinstruments and commend everyone atMartin for their design.

Sincerely,

Clarence (Leo) RoehMinnesota

Dear Mr. Martin, I wanted to thank you for personally

signing my 000-15S at the UnofficialMartin Guitar Forum’s Grand OpeningDay at the Martin Museum in March.

Recently I spent some time at thesite of the original Woodstock Festival inBethel, NY. I played my 000-15S thereand its sound echoed beautifully acrossthose historic fields and August of 1969came rushing back to me!

Dennis HealyNew York

3

2005 CIP Project Teams During 2005, more than 200 Martin employees — one-

third of the Company’s total workforce — participated intwenty-eight different Continual Improvement Projects. Theyformed teams which developed and initiated improvementsto the quality of our products, processes, services and workenvironment. These projects help reinforce Martin Guitar’scommitment to manufacturing and providing the highestquality acoustic guitars, strings and service to musiciansaround the globe.

During the next few months, the Company will givespecial recognition to these teams for their accomplishments.Coworkers in both Nazareth, PA, and Navojoa, Mexico, willreceive awards for their efforts.

The 2005 CIP Project list includes the following teams:24 Months MPS, Aura Video, Well Warranted, Cycle Counting,Home Bass, Leveling Up, Pocket Rockets, Vacuum Pumps,Brace Yourself, Assault the Battery, The Complete Package,Performance Reviews, Get the Chip Out, Proactive Hosiers,Projects Projects, Telephone Tamers TNG, Network SecurityMeasures, Main Street Warehouse, The Finishing TeamStrikes Back, C. F. Martin Document Management, North Street Syteline Jobs, 2005 Building & Grounds Improvements, 00-14 Fret Cutaway Bending Shoe, BoilerReplacement Project, Cutaway Bending Upgrades, FromTrash to Riches, I Saw The Light and Martin Guitar VisitorsCenter.

From our management team to all of our coworkers,thanks again. You truly make a difference at Martin Guitar byworking together and helping us sustain our VisionStatement: “Be the best fretted instrument and stringmanufacturer in the world, providing the highest qualityproducts and service for our customers while preserving andenhancing our unique heritage.” v

Larry Sifel v Inlay InnovatorWe are deeply saddened to announce the passing of

our great friend and associate, Laurence John “Larry” Sifel,who died suddenly from a heart attack early on Mondaymorning, May 8, 2006.

Founder and owner of Pearlworks, the highly innovativecompany responsible for the design and cutting of much ofthe spectacular inlay seen on many special and limitededition Martin guitars, Larry had been involved since the1960s with guitars and decorative inlay. Through the years,his creative and innovative spirit has permanently altered thecourse of the entire industry. Together with his good friendand business partner Chuck Erickson (The Duke Of Pearl),Larry co-invented the now ubiquitous laminated shell knownas “Abalam,” and he pioneered many of the moderntechniques used in the precise art of inlay cutting.

A recently issued signature edition Martin guitar, the“Night Dive,” a unique collaborative effort between Martin,Pearlworks and the renowned Canadian builder William“Grit” Laskin, honored Larry's contributions to the world ofluthiery by featuring him in the peghead inlay, which ofcourse was also cut by Larry’s shop using entirely noveltechniques invented especially for the project.

In the last couple of years, Larry had brought Pearlworksto the place where he could safely semi-retire from activedesign and supervision in order to pursue his long-timefantasy of fabricating an ultimate computer-cut-parts acousticguitar, as well as working with Chuck Erickson on plans tomake a small run of very sophisticated mother of pearlfolding hand fans, involving a level of ornament not seen inwell over a century. Whatever he did, Larry Sifel always hadfun, and he did it with intelligence, energy and unbridledpassion.

Larry is survived by his wife Jean, their son Ben, hismother Irene, many nieces, nephews, cousins, his tight knitfamily of employees at Pearlworks and a world of friends andadmirers. Memorial contributions can be made to the schoolwhich his son Ben attends: Calverton School, 300 CalvertonSchool Road, Huntingtown, MD 20639, or to a charity ofyour own choosing. v

Hats Off To Larry

The Performance Review Team developed a secure onlineemployee review application that enables managers to createand maintain equitable reviews. The team consisted of (fromleft) Cindy McAllister, David Smith, Paul Wusow, Jane Daileyand Deb Karlowitch. Dozens of Continual ImprovementProjects like this one, both in the office and on the shopfloor, serve to improve quality.

4

The New Martin Guitar Museum & Visitors Center

2000-Present Music History - Martin History

1986-1999 Unplugged

1839-1873 The Gentler Arts 1874-1929 Timely Change

1930-1945 The Golden Era

Antique WorkbenchWith Martin Tools

5

The String Connection

C. F. Martin & Co. has announced the opening of a newMartin Guitar Museum and Visitors Center. Martin, the oldestsurviving maker of guitars in the world and the largest andmost respected manufacturer of acoustic guitars in America,has had profound impact on music. The Company’sexquisitely crafted guitars have helped define virtually allgenres, from classical and country to folk and acoustic rock.Martin’s old museum and visitors center, the starting point forone of the most popular “factory tours” in the U.S. (namedthe #1 tour of its kind by USA Today) and a destination fortens of thousands of visitors every year, has been completelyrebuilt to offer guests the chance to experience Martin’s 173-year history, as well as play some of Martin’s best-known andtop-selling guitars.

Prior to this renovation, the Martin Guitar Museum andVisitors Center consisted of just 400 square feet of displayswith a few limited guitars for public use. Museum DesignAssociates (MDA) of Cambridge, Massachusetts, one of thetop exhibit design firms in the field, worked closely withMartin staff to create a completely new plan that embracesMartin’s impressive history and creates an immersive andinteractive experience for guitar enthusiasts. The collection ofMartin guitars that spans nearly two centuries of handcraftedmusical instruments of unparalleled qualit y now hasappropriate space and display. The goal is to “complete thevisitor’s experience,” according to CEO and PresidentChristian Frederick (Chris) Martin IV, the sixth generationMartin to head this continuously family-owned and operatedAmerican institution.

Construction started in 2004, and a little more than oneyear later, the new Museum and Visitors Center opened tothe public. With more than 173 years of history, the museumdisplay occupies nearly 3,200 square feet (almost ten times its

previous size) and tells the Company’s story through guitarsand other priceless artifacts that have been archived at Martinfor decades. Eight distinct periods of Martin history will behighlighted in the museum:

v 1796-1838 Getting Startedv 1839-1873 The Gentler Artsv 1874-1929 Timely Change v 1930-1945 The Golden Erav 1946-1969 Taking No Risks In Good Timesv 1970-1985 Acquisition & Diversificationv 1986-1999 Unpluggedv 2000-Present Music History – Martin HistoryAmong the featured guitars are those with serial numbers

600,000, 750,000, 800,000 and of course Martin’s priceless,stunningly crafted and adorned one millionth guitar. Inaddition, two separate workbench display areas will showcasethe late-19th and mid-20th century crafting of the Martinguitar. A segregated 200 square foot area will showcase itemsfrom current President and CEO Chris Martin’s personal guitarand art collection.

In addition to the museum, Martin’s “1833 Shop” retailstore, named for the year that Christian Frederick Martin, Sr.founded C. F. Martin & Co., has been remodeled to include avastly upgraded customer service area as well as a large lobby to accommodate the many guests who take the popular dailytour of the Company’s manufacturing facil i t y.

“It has been my dream for many years to expand our littlemuseum into something very special that can do justice inpresenting our incredible story to the many thousands ofpeople who visit the factory every year to take the tour,”notes Chris Martin. “Finally that dream has come to fruition.Our collection of Martin guitars has really grown, and we willfinally have an appropriate space to show them. In addition,

New Martin Guitar Museum & Visitors Center Opens With Critical Acclaim

The New Visitors Center Lobby

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there will be an expanded “Pickin’ Parlor” area to view andtry many of our models, plus a very impressive new entranceand lobby.”

The design is exceptionally creative with architect MicCurd, fulfilling Martin’s desire to replicate the facade of theoriginal North Street Factory (circa 1860) for the VisitorsCenter entrance. Behind the new entrance rises the largecontemporary building that visually conveys how themodest Martin family business has grown and changedover the last two centuries.

The distinguished “C. F. Martin & Co., Inc.” script logofound on most Martin guitars is inlaid into a decorativeconcrete “headstock” in the ground at the entrance. Theheadstock design is complete with tuning gears, the nutand several sections of the fingerboard. Visitors continuethei r approach to the bui ld ing, walk ing down thefingerboard to enter the museum through automaticallyparting doors, a particularly nice feature for guitar-totingmusicians. One of the architectural hallmarks of theconstruction project is a 21-times actual scale Dread-nought guitar that is designed into the marble floor. It is

interesting to note that Martin created and introduced thenow-classic Dreadnought guitar in the early part of the20th century. The Martin Dreadnought is now consideredthe industry standard for acoustic guitars. Visitors will begreeted by Martin’s receptionist, seated in what would bethe soundhole of the guitar that makes up the buildingentrance.

The lobby is designed to be generous in space, withwood details and accents that highlight the fixtures. The spaceis flexible so it can be used for performances. For the firsttime, Martin will have a stage that can be located in one oftwo designated areas between the reception desk and thelobby staircase.

In addition to Mic Curd, Architect of Shelter Design Inc.,Green Lane, PA, others who helped turn the dream of a newmuseum into a reality include Ondra-Huyett Associates Inc.,of Fogelsville, PA (Construction Management), Shari West ofMuseum Design Associates, Cambridge, MA, who providedtext for the display panels, and Martin’s Dick Boak whogathered and installed the museum artifacts and wrote thelabels for the more than 180 instruments on display. v

The New 1833 ShopThe Wall Of Fame

The Guitar In Pop Culture

7

MARTIN STORIES

The Mini Martin D-35 ProjectHow Small Can You Go !

For those of you who have read the book “Martin GuitarMasterpieces” by Dick Boak, you may have understood thatdesigning and building a special instrument is not always easy. JaapKaiser, living in the Netherlands, knows a lot about this! Jaap isboth a specialist in the application of materials under extremeconditions and a passionate guitar player.

Being inspired by his own Martin 1978 D-35, he thought itwould be great to build a premium scale model of this guitar. So hestarted gathering the raw materials like Engelmann spruce (a left-over from an earlier attempt to build a full-scale guitar), Brazilianrosewood (from a chair leg) and genuine ebony (from a piano key).

A picture from a Martin catalogue was used to make a designdrawing for the scale model, including all necessary dimensions.Great attention has been paid to keep faith to the original design ofthe D35 model. This includes, of course, the signature three-pieceback, but also the special X-bracing of the top.

It soon became clear that this was a very special project. To share it with other people, a website was launched(http://home.hetnet.nl/~boomklever/mmd35/index.htm) throughwhich every building step could be followed. Also, a posting wasdone on the Unofficial Martin Guitar Forum, yielding a greatresponse from the Martin enthusiasts.

After an estimated building time of nearly 250 hours, the firstof two little baby D35’s was born! It is amazing how many detailsare in scale and very realistic. If you visit this website, you will soonforget that you are looking at a scale model of a Martin acousticguitar!

Several people on the forum responded that this should be inthe new Martin Museum. Well, we shall see! v

Saddle ScienceIn order to understand the sound dynamics of

acoustic guitars, a refresher course on saddle science isin order. While the tonewoods used in a guitar ’sconstruction play a critical role in producing its tonalwarmth, brightness, and clarity, the science of great tonereally begins where the string meets the saddle.

Pluck a string and a complex pattern of vibrations isset into motion, but vibrating strings cannot produce agreat deal of sound without the saddle. It transmits thestring’s mechanical energy to the guitar top, acts as afilter and monitors the strength of the excitationsproduced, allowing some frequencies and harmonics tobe transferred to the guitar top while denying access toothers, causing them to remain in the string. Once thesaddle has made these determinations, it then governshow loud each note ought to be and how long it willlast.

For the saddle to efficiently carry out these tasks, an“impedance match” between the string and the guitartop is important. Without obstruction from the saddle,the energy of a vibrating string would be transferred tothe guitar top al l at once, creating a loud andinharmonious blast of sound, but no sustain; given toomuch obstruction, there would be little sound and anoverabundance of sustain. In order to achieve crisp,spine-tingling sound quality, a balance is essential.

While experimenting with various composites,Graph Tech Guitar Labs – the manufacturer of TUSQ –noted great variation between materials with respect tothe transference of vibrations to a guitar’s top. In orderto try to optimize the string’s vibration to thesoundboard, Graph Tech developed TUSQ, an ivorycolored synthetic with near ideal density for guitarsaddles. While Martin utilizes many different materialsincluding Micarta, genuine bone and fossil ivory for itssaddles, Graph Tech has been supplying TUSQ forvirtually all of Martin’s acoustic-electric models. Martinhas found that TUSQ is extremely effective in saddletransference, especially in conjunction with piezo under-the-saddle pickup systems where even response is criticalto the resulting signal balance. In addition, TUSQ can becast in any shape making it possible to incorporate thesubtle contours required for compensating the scalelength. You can learn more about TUSQ atwww.graphtech.com. v

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Pride & JoyJohn Lazart of Hobart, Indiana, furnished this great

photograph which was taken in an old run-down hospitalthat has been closed for over 30 years. Awarding winningphotographer, Edda Taylor from Crown Point, Indiana, tookthe shot. John’s 5 year old grandson Riley is his pride andjoy. Like his grandfather, Riley has developed a greatappreciation for Martin guitars! v

Photoby

EttaTaylor

Guitar DoctorRuss Rentler is a musician who dabbles in medicine. While

awaiting an opening for his dream job at C. F. Martin & Co., hebegan taking biology courses. As fate would have it, years laterhe opened his medical practice. This left little time for his truepassion, so recently Russ decided to focus more on his musicand just released his latest CD, “Scarecrow’s Lament,“ availableat www.russrentler.com. The photo above is from Russ’s CDinsert showing his trusty 000-15S. v

Russ RentlerFinger Pickin’ Good

Beverly Michael of Muncie, Indiana is a proud chartermember of the Martin Owners Club. As the owner of fourMartin guitars, she wanted a better way to display them.With the help of a friend, she built the above “guitar crate”for tidy and quick access to her instruments.

In the “Crate” is her 1969 Martin D-18 – her first Martin.When Beverly got her first full-time job after high school, sheran to the local music store and came home with a D-18.Since then, her array of guitars has grown to include aMarty Stuart HD-40MS, a 1998 HD-28 and a 2000 Brazilianrosewood D-28 Golden Era. v

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Bo BiceWhile touring the East Coast in May of 2006, American

Idol star Bo Bice popped into the Martin factory with hisbandmates. Bo is a great guitarist and a long time Martin player.Last year he was awarded a special Martin HD-28V as therecipient of the Jim Croce Music Award and Scholarshipcreated in memory of Jim Croce by Jim’s widow Ingrid Croce.Bo’s CDs have achieved unprecedented popularity, setting webdownload sales records. He’s pictured above with his HD-28VSin the lobby of the Martin Visitor’s Center. v

FlamesOf

MahoganyAndKoa

AdornNew42sAnd45s

D-45K Hawaiian Koa DreadnoughtThe new D-45K, with highly flamed Hawaiian koa back

and sides, combines the extraordinary beauty of this rareand cherished wood with the power, projection andbalanced tonality of Martin’s 14-fret Dreadnought design.

Otherwise, the D-45K shares an appointment level withMartin’s top-of-the-line D-45. Abalone pearl inlay adorns theperimeter of the top, back, sides, rosette, neck heel andendpiece, and abalone hexagon inlays boldly mark thetraditional positions on the fingerboard. The headstockbears the abalone “C. F. Martin” block lettering pattern andis bound in ivoroid to match the elegant neck and bodytrim. With a premium grade scallop-braced Sitka sprucesoundboard, the D-45K is an instrument of the highestquality, tone, beauty and lasting value. v

D-45KHawaiian

KoaDreadnought

OM-42Flamed

Mahogany

NAMMShow

Special

OM-42 Flamed MahoganyFollowing the response to the D-42 Flamed Mahogany

Edition unveiled at the 2006 Winter NAMM Show inAnaheim, this NAMM Show Special for the 2006 SummerShow in Austin mirrors the specifications and appointmentsof the D-42 Flamed Mahogany model, with the exceptionthat this version is offered in an OM Orchestra Modelformat. This elegant Style 42 model features select flamedmahogany for the back and sides – a tonewood that is asrare as it is beautiful. The unique “Vine of Harmonics”fingerboard pattern was designed by Martin’s Dick Boak andfeatures a symmetrical criss-crossing vine with spines thatreference the harmonic locations of the neck. Limited to nomore than 30 guitars, Martin dealers must be present at theAustin show to place orders for this special model. v

10

OMCXK2EOrchestra Model

Cutaway

Classic 4TElectronics

(With Tuner)

OMCXK2E X Series CutawayThis is the first OM Orchestra Model to be offered as part

of Martin’s popular X Series. The top, back, sides andheadplate are matched from Hawaiian koa wood-grained HPL(high pressure laminate) yielding an attractive honey-tonedcoloration. A graceful rounded Venetian cutaway providesincreased flexibility with full playing access to the upperregisters of the neck. The OM’s traditional longer 25.4” scalecombines with the slightly wider 1-3/4" neck width at the nutand 2-1/4" spacing at the bridge to allow the extra roomneeded for delicate fingerstyle playing techniques, thoughthis model performs equally well as a rhythm instrument.Equipped with Fishman Classic 4T electronics (with onboardtuner), this is an affordable and warmly toned acoustic guitarthat excels equally on stage or in the studio. v

The DC-28E and OMC-28EMartin is proud to introduce two new acoustic electric

cutaways to the Standard Series. The DC-28E Dreadnoughtand OMC-28E Orchestra Models differ only in their bodysize, drawing their inspiration from two famous pre-existingMartin designs: the D-28 Dreadnought and the OM-28Orchestra Model. Equipped with Fishman’s new Ellipse Auraelectronics system, these high performance stage guitarsprovide optimum acoustic sound reproduction usingFishman’s proprietary sound imaging, recorded with fourdif ferent extremely high-end studio microphones. Thecontrols for the Ellipse Aura reside inside the lip of thesoundhole for easy access and are otherwise non-invasive tothe structure of the instrument – a feature especially viableon instruments of this tonal caliber and value. v

OMC-28EOrchestra Model

Cutaway

EllipseAura

Electronics

DC-28EDreadnought

Cutaway

EllipseAura

Electronics

Full Access To These Exciting New Martin Cutaways

11

LXMJava

MahoganyLittle

Martin

SW00DBMachiche

Deep-BodiedGrand Concert

Limited EditionSustainable

WoodModel

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LXM Java Mahogany “Litt le Martin” X-series travel guitars are

affordably priced, tonally viable, environmentallyresponsible and compact. The latest LXM has all thesame features as its wildly popular predecessor butwith a new rich and dark Java mahogany finish. TheJava mahogany wood-grained laminate resemblesrare highly-figured quilted mahogany.

The LXM combines a modified 0 14-fret tenorMartin shape; one panel back and sides are craftedfrom a Java mahogany pattern HPL with Sitka spruceback bracing. The top is cut from spruce patternHPL and adorned with a herringbone decal rosette.The natural Stratabond modified low oval neck isshaped for quick and comfortable playability. Theneck-to-body joint is constructed with Martin’spatented neck mortise. Morado is utilized for boththe bridge and fingerboard. The solid headstock isveneered with matching Java Mahogany PatternHPL with an imprinted C. F. Martin script logo.Chrome enclosed tuning machines adorn theheadstock. A true Martin original proving that greatthings can come in little packages! v

SW00DB Sustainable Wood Model Designed by Martin’s Women and Music Task Team, this is

Martin’s latest Sustainable Wood offering. The greater majority of thewood utilized in the construction of this guitar originated in forestsmanaged in a sustainable and ecologically responsible manner.Sustainable solid machiche is used for the back, sides and headplate,sustainable cherry is used for the neck, sustainable basswood is usedfor the interior ribbon linings, and sustainable katalox is chosen for thefingerboard and bridge. In addition, the soundboard and bracing of thisguitar utilize Sitka spruce from reclaimed sources.

A unique laser cut rosette is comprised of sustainable cherry,machiche and maple, and half-herringbone rope inlay adorns theperimeter of the top. There is a copper theme to the frets, tuningmachines, strap button, side position dots, and bridge pin inlays. EachSW00DB is bound in ivoroid and features a polished gloss lacqueredbody finish and a satin neck. This special deep-bodied 14-fret 00 islimited to no more than 125 special guitars. v

New Sustainableand X Series

Models

C. F. Martin is pleased to introduce the Cowboy V Limited Edition guitar,the fifth issue in this unique and fun collection. Begun in 1999, the Cowboy

Limited Edition series showcases original western art by illustrator RobertArmstrong on sturdy HPL (high pressure laminate) Martin guitars thatsound as good as they look.

The Cowboy V Limited Edition’s color ful top features C. F. Martin Chairman Chris Martin, wife Diane Repyneck and youngdaughter Claire Francis Martin on horseback in a western landscapenear sunset, with Chris serenading his wife and daughter on guitarwhile their trusty dog “Buddy” trots alongside. Although Chris Martinappears on previous Cowboy Limited Editions (he is the man with the

branding iron on Cowboy IV), this is the first time the entire family hasbeen portrayed.

A modified 0 size 14-fret with a short, easy-to-play 23" scale, theCowboy V makes a great student, travel or living room guitar. The

top is matched to back and sides of subtly patterned, mattefinished Crosswalk Pattern HPL and a modified low oval neck ofnatural Stratabond for durability and impressive Martin tone. Theheadstock features a black textured HPL headplate withmatching Gotoh black tuners and the familiar C. F. Martindecal logo in silkscreened gold. The end and strap pins alsoare black, as are the Micarta fingerboard and bridge, theCorian nut, and the TUSQ saddle. Only 500 Martin CowboyV Limited Edition guitars will be produced. Each will bedelivered in a padded gig bag and each will bear a specialinterior Cowboy V Limited Edition label that will be numberedin sequence with the edition total. Authorized C. F. Martin

dealers will take orders for the Cowboy V until the edition is fullysubscribed and the names of participating Martin dealers will be

posted on the Martin website, www.martinguitar.com. v

The Cowboy Martin Rides Again

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Cowboy VLittle

Martin

D-35 Johnny Cash Commemorative EditionPays Tribute to the “Man In Black’s” Favorite Martin Guitar

Both the f ingerboard and headstock are bound with grained ivoroid and inset with mitered black/white fine line inlays. Martin’s OldStyle large decal logo gleams on the polished blackebony headplate. True to Cash’s D-35 Custom, the headstock also sports Grover Rotomaticenclosed chrome tuners. The African black ebonyf ingerboard is inlaid with posit ion markers similar to those on the D-42 Johnny Cash SignatureEdition and small abalone stars bordered withmother of pearl at the 5th, 7th, 9th, 12th and 15thfrets. Johnny Cash’s signature in pearl appearsbetween the 19th and 20th frets.

Because it’s a Martin, the D-35 Johnny CashCommemorative sounds as good as i t looks.Combining an Engelmann spruce top with 1/4" forward shif ted scal loped braces gives this Dreadnought sweet tone and incredibleresponsiveness. Back and sides of East Indianrosewood add warmth and projection. The 1-11/16" neck is carved from genuine mahogany. Abone nut and compensated bone saddle (fitted inan ebony belly bridge), enhance its resoundingpower and clarity. Abalone-topped black Style 42bridge pins and endpin add an elegant touch ofcolor. A polished and beveled black – of course –pickguard protects the top.

This black guitar deserves a black case, specifically a Geib style

case with special black hardwareand a black interior. The D-35Johnny Cash Commemorative may be ordered as a lef t-handinstrument at no addit ional charge; factory-installed electronicsare optional.

The D-35 Johnny CashCommemorative guitar comes with a special interior label intribute to the “Man in Black,” eachpersonally signed by Cash’s son, John Carter Cash andMartin Chairman C. F. Martin IV,and numbered in sequence.While the D-35 Johnny CashCommemorative currently isopen-ended, it is subject toclosure in the future.Authorized C. F. Mart indealers will begin acceptingorders for the Martin D-35

Johnny Cash Commemorativeimmediately and participating

dealers will be posted on theMartin website, www.martinguitar.com.v

When he died on September 12, 2003 at age71, Johnny Cash passed from icon to legend. In asingular career that spanned six decades, more than1,500 songs, 48 hit singles and 11 Grammy awards,the “Man in Black” showed unique power andpassion in his music. Even today, with the success ofthe movie “Walk the Line,” the musical “Ring of Fire”on Broadway and the huge success of the five albumshe recorded in the last decade of his life, it is clear thatJohnny Cash matters, and no artist could wish for a betterlegacy.

C. F. Martin produced a total of 80 black D-42JCJohnny Cash Signature Model guitars in 1997, #1 of whichCash played for the rest of his life, except for a shortperiod when it went back to Nazareth for repairs after anonstage mishap. But, for years previous to the arrival of hisD-42JC, Johnny Cash’s favorite Martin was a modified D-35 Custom, his – and Martin's – first with an originalpolished black finish. It was this guitar that Cash played onstage for nearly 20 years. Now Martin pays tribute toJohnny Cash with a close facsimile of that instrument: theD-35 Johnny Cash Commemorative.

The story of how Cash’s black D-35 came to be is oneits owner must have appreciated. C. F. Martin III was headof Martin in those days, and he never al lowed theCompany to build a guitar with a black finish – it was justtoo radical. So Cash’s custom order was built insecret, with the guitar hidden away and onlyworked on when he was away from thefactory floor. The guitar was completedand delivered, and C. F. Martin IIIremained unaware of the instrumentuntil one night when he turned on histelevision to watch an episode of“Columbo” and saw guest star JohnnyCash playing it. Those in the know sayhe was pleased to see the Martin ontelevision, even if it was black!

The D-35 Johnny CashCommemorative’s polished blackgloss lacquer f inish al lows i tsappointments to shine. Five bandsof alternating black and whitepurfling encircle the top, threebands encircle the back and fivebands border the sides, in allcases protected by grainedivoroid binding. The grainedivoroid heel cap and endpieceare likewise framed by multipleblack and white inlays. The Style45 rosette features an inlay ofvibrant select green abalone pearl.Traditional Style 35 zigzag backstripsseparate the three-piece back.

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Johnny Cash - Photographs by Leigh WienerGraham Nash’s forward says it all: “When you finish

looking at the photographs in this book, you’ll realize that it’shard to forget a man like Johnny Cash.“ Leigh Wiener tookthese shots between August of ’60 and April ’62. They are ashonest as the day is long, just like Johnny Cash. v

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bears a striking resemblance to his Signature EditionDreadnought. Premium solid tonewoods are featuredthroughout. The body combines a top of rare Italianalpine spruce (the same wood used by AntonioStradivari) with back and sides of beautiful East Indianrosewood. The neck is carved from genuine mahogany,while the fingerboard and bridge are crafted fromAfrican black ebony. Both body and neck are protected

by Martin's beautiful polished gloss lacquer finish.Like the HD-40MK, the eye-catching rosette on the

000 showcases a center ring of “pearl diamond” inlays, afeature inspired by a unique rosette seen on someMartins from the 1840s. Bold herringbone inlay encirclesthe top, and herringbone inlay bisects the back, which isbound with fine black/white inlay. Top, sides and backare bound in grained ivoroid; matching grained ivoroidalso highlights the endpiece and heelcap.

On the neck, both the headstock and fingerboardfeature grained ivoroid binding against miteredblack/white fine line inlays. The polished East Indianheadplate showcases the familiar “C. F. Martin” logoinlaid in brilliant mother of pearl. Fretted with jumbofrets, the fingerboard is inlaid with original Style 42position markers in abalone pearl. Mark Knopfler'sunique signature is inlaid in mother of pearl between

the 18th and 20th frets.The 000-40S Mark Knopfler

“Ragpicker’s Dream” Signature Edition isdelivered in a Geib style Vintage Serieshardshell case with plush Cabernet(dark red, for those who don’t knowwine) interior. Left-hand instrumentsmay be ordered without additionalcharge; factory-installed electronics also are available.

Each 000-40S Mark Knopfler“Ragpicker’s Dream” Signature Editionbears an interior label personally

signed by Mark Knopfler and MartinChairman C. F. Martin IV and is

numbered in sequence with theedition total, as well as a special“Ragpicker’s Dream” designationlaser etched on the neck block.Martin will accept orders fromauthorized C. F. Martin dealersfor the 000-40S Mark Knopfler“Ragpicker’s Dream” SignatureEdition until the cutoff date ofSeptember 15, 2006. After

the order period, the size of the edition and the names of

participating Martin dealers will be posted on the Martin website,

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“Ragpicker’s Dream” Album Furnishes Fresh Inspiration For Mark Knopfler 000-40S 12-Fret Signature Edition

When C. F. Martin introduced the HD-40MK MarkKnopfler Signature Edition back in 2001, we knew it wasa special instrument. Mark had taken inordinate care inresearching and designing “his” guitar, even traveling toNazareth to check over the prototypes and finalizecertain appointment and finish details (check the July2001 “Sounding Board,” available online atwww.martinguitar.com, for more information). Fortunately,the public saw it the same way; a total of 251 HD-40MKMark Knopfler Signature guitars were sold.

Most musicians who participate in Martin's SignatureEdition program consider their personal Signature Editionguitar a prized possession. For Mark Knopfler, with Dire Straitshistory and his solo career well underway, it became muchmore: his muse. The sound of the instrument he took homeinspired a burst of songwriting. All the songs on “TheRagpicker’s Dream,” his well-received, mostly acoustic 2002album, were written on that guitar, as were several songs on2004’s “Shangri-La” and his brand new album with singerEmmylou Harris, “All the Roadrunning.”

Seeking fresh inspiration (songwriters need all the musesthey can get), Mark asked C. F. Martin to undertake a secondcollaboration: a guitar with many of the same appointments ashis original Signature Edition, but one designed for hisincredible f ingerst yle playing. The fruit of this newcollaboration is the 000-40S Mark Knopfler “Ragpicker’sDream” Signature Edition, a fingerstyle dreamthat even strummers will love.

For this new Signature Edition, Markselected Martin's traditional 000 12-fretbody style with the long 25.4" scale,considered by many to be among themost beautiful and best sounding designsMartin ever made. Many of the elementsthat make the Martin 000 12-fret guitarsfrom the late 1920s so prized are here: the1-13/16" wide (at the nut) modified V-shapeneck, the slotted tapered headstock withsquared slots and diamond volute, theOld Style pointed heel, the forward-shifted 1/4" scalloped top bracing, thepyramid bridge with 2-5/16" stringspacing and the absence of apickguard. The nut, saddle, bridgepins and endpin, the latter twotopped with black dots, are allcrafted from fossilized ivory.Aging toner on the top isreminiscent of vintage patina,and handsome Waverly/Sloaneside-mounted tuners with engravedplates and ivoroid buttons showsimilar vintage style.In tonewoods and ornamentation, thenew Mark Knopfler Signature Edition 000

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As with all of his special tools, Mark Knopfler seeksinspiration within the delicate tonewood of this lovelyRagpicker’s Dream 000 12-fret. The soundhole references hisprior 2002 HD-40MK Signature Edition.

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Mark Knopfler, with the prototype of his 000-40S SignatureEdition, was photographed during rehearsals for his summertour to promote his new “All The Roadrunning” collaborationwith Emmylou Harris. Below is Mark’s “Ragpicker’s Dream”album that provided inspiration for this edition.

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Heart’s 1976 debut album, “Dreamboat Annie,” yieldeda hit single in the title song, and the band never lookedback.

Over the next 20 years, Heart proved both aconsistent hit maker and a role model for women inrock. Albums like “Little Queen,” “Dog and Butterfly,”“Bebe Le Strange,” “Heart,” “Brigade” and “The RoadHome” allowed Nancy Wilson to shine, especially on

singles like “Crazy on You,” “Barracuda,” “Magic Man,”“What about Love,” “These Dreams” and “Even it Up.”The group also toured frequently, regularly selling outstadium venues. When Heart went on hiatus in 1995,after 21 “top 40” hits and 30 million in album sales, shestepped out solo by recording “Live at McCabe’s GuitarShop” and also wrote soundtrack music and songs forfour movies directed by her husband, Cameron Crowe:“Jerry Maguire,” “Almost Famous,” “Vanilla Sky” and“Elizabethtown.”

Nancy reunited with Ann in the late 1990s to formthe Lovemongers, an acoustic-based group thatrecorded three albums and took them back to the clubsof their early days. The twosome rebuilt Heart in theearly 2000s and took it on the road. “Alive in Seattle”on CD and DVD was released in 2003, and “Jupiter’sDarling,” an album of new music, followed in 2004,both boasting some of the most potent and excitingmusic in the band’s – and Nancy’s - long career.

On top of the appointments alreadynoted, the HD-35 Nancy Wilson

Signature Edition upgrades severaltraditional HD-35 elements. Boldherringbone purfling around the top,black/white purfling around the backand black/white/black/white purflingon the sides are all protected bygrained ivoroid binding. The grainedivoroid endpiece and heelcap are eachbordered with black/white/black/whitefine line inlays. Style HD zig-zag backstrips highlight the three-piece back.The belly bridge and fingerboard arecrafted from African black ebony,with the latter bound in grainedivoroid for playing comfort. Theheadstock, also of Africanebony, sports gold Gotoh tunerswith large ebony buttons.Ebony bridge pins and endpinare topped with abalone dotinlays. A polished and beveledtortoise color pickguard

protects the top, which isuntinted to showcase the

beautiful grain and color of theEngelmann spruce. The guitar’s body

is finished in polished gloss lacquer,

Af ter more than 30 years as guitarist ,songwriter and singer for Heart, Nancy Wilsonknows fine acoustic guitars. Yet she could barelycontain her enthusiasm when she received herpersonal Martin HD-35 Nancy Wilson SignatureEdition guitar. “YAAAY! It plays beautifully andsounds exactly like that classic Martin sound I’vebeen chasing. It is way fancier than I had imaginedwith all the little extras and great inlays – reallygorgeous! Thank you so much for putting this guitartogether with my name on it.”

In truth, much of the credit for the beauty and toneof the Martin HD-35 Nancy Wilson Signature Editionguitar goes to Wilson herself, who collaborated closelywith Martin on the appointments and tonewoods. APisces fish Yin Yang design inlaid in rare pink “Heart“abalone, mother of pearl and red composite nestlesbeneath the Old Style “C. F. Martin” decal on thepolished black ebony headplate. A winged heart insignia,derived from Nancy’s signature, is inlaid in redcomposite and mother of pearl at the 12th fret andhonors her band connection; small abalone dot markersat the other positions lead to Nancy Wilson’s signature inmother of pearl between the 19th and 20th frets. Thecolorful headstock inlay is reinforced in the Style 45rosette, which also features pink heart abalone.

A rare combination of premium solid tonewoodsgives the HD-35 Nancy Wilson SignatureEdition distinctive tonal character. Thetop of beautiful Engelmann spruce – atree that grows in the Northwest,where Heart got its start – combineswith 1/4" forward-shifted scallopedbraces for full, powerful tone. Thesides and the three-piece back’swings are East Indian rosewood,while the center wedge is red “heart” bubinga, a beautiful and unusually hard African tonewoodthat provides outstanding projection.

The big sound of NancyWilson’s namesake Dreadnoughtcomes from her being anacoustic player in a rock & rollworld. Inf luenced by theBeatles, Paul Simon, JoniMitchell and Bob Dylan,Nancy began playing in aseries of folk-rock groupswith her sister Ann while still in junior high. After asolo stint playing cof fee-houses during college, sherejoined Ann as a member ofHeart and helped create itssignature electric/acoustic sound.

Heart Abalone and Red Heart Bubinga Enhance theNancy Wilson Signature Edition Martin HD-35

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while the neck receives a satin f inish. Factory-installedelectronics are available as an extra-cost option; left-hand instruments can be ordered at no additional cost.

Delivered in a vintage-inspired Geib style case, each MartinHD-35 Nancy Wilson Signature Edition guitar bears an interiorlabel personally signed by Nancy Wilson and Martin ChairmanC. F. Martin IV, and is numbered in sequence with the totalnumber of guitars in the edition. Martin will accept orders fromauthorized C. F. Martin dealers for the HD-35 Nancy WilsonSignature Edition until the cutoff date of September 15, 2006.After the order period ends, the size of this Signature Editionand the names of participating Martin dealers will be posted onthe Martin website, www.martinguitar.com. v

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“I am still pinching myself. This guitar is stellar!”

Nancy Wilson

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5th, 7th, 9th and 15th frets . The black ebonyheadplate showcases the block letter “C. F. Martin”logo, also inlaid in turquoise composite.

This guitar showcases extraordinary purfling,even for a Signature Edit ion Martin. The topfeatures seven-ply, differential width black/whitepurfling while the back is encircled by five-plyblack/white fine line purfling. Black/white purfling

accents the sides, endpiece, heelcap, headstock andf ingerboard. To show of f the pur f l ing to bestadvantage, the guitar is bound in grained ivoroidthroughout: body, neck and headstock. A gloss finishon the body highlights the purfling; the neck sports asatin finish for playing comfort.

The JC Buddy Guy Blues Guitar is factory-equipped with Fishman VT electronics. To simplify“on the fly” adjustments in the tradition of electricblues, the volume and tone knobs are mounted onthe top, just below the bridge and the polished andbeveled black pickguard.

Buddy Guy is as unique as the Martin guitarthat bears his name. Born a sharecropper’s son inLettsworth, Louisiana, he was a seven-year-old whenhe fashioned his first makeshift two-string “guitar.”He received his first real guitar as a teenager andserved his blues apprenticeship as a guitarist with“Big Poppa” John Tilly and Slim Harpo in BatonRouge before catching a bus to Chicago in 1957.

Within days of his arrival in Chicago, he caughtthe attention of Muddy Waters, Otis Rush,

Magic Slim and the rest of Chicago’sblues elite. After cutting his debutsingles on the Cobra label, he wentto work for Chess, becoming thehouse guitarist for recordings by

Waters, Howlin’ Wolf, Willie Dixon,Litt le Walter and many others, inaddition to making his own records,

like “First Time I Met the Blues,”“Stone Crazy” and “No Lie.” His

highly amplified, stinging guitar,emotional singing and flashyplaying (behind his back, with his teeth, etc.) onstage inspiredseveral young musicians,including Eric Clapton inEngland, and Jimi Hendrix and Stevie Ray Vaughan in the United States.

Guy left Chess in 1967to record with Vanguard.

During the late 1960s and1970s, in addition to working

with his own band, he played andrecorded frequently with harp ace

Junior Wells, a relationship captured on

Polka Dot Signature Edition Honors Blues Legend Buddy Guy

With f ive Grammy Awards, 23 W.C. HandyAwards (the most of any artist), 65 albums, a placein the Rock & Roll Hall of Fame, and disciples likeJimi Hendrix, Eric Clapton and Stevie Ray Vaughn,Buddy Guy ranks as one of the music legends ofour time. He reigns as the undisputed king ofChicago blues with his fine songwriting, potentvoice, incendiary playing and electrif ying stagepresence. Remarkably, more than fifty years after hefirst picked up a guitar, he is making some of the mostpassionate and exciting music of his entire career.

While Chicago blues by definition is electric, BuddyGuy can play acoustic blues with the best of them whenhe chooses. He and Wil l ie Dixon provided theinstrumental f ireworks on the 1963 album “MuddyWaters, Folk Singer.” On 1981’s “Alone & Acoustic,Buddy Guy & Junior Wells,” he used a 12-string guitar tofull, bluesy advantage. His playing on the 2004 album“Buddy Guy, Blues Singer” is both subtle and powerful.

Still, when it came to creating a Martin SignatureEdition with his name on it, Buddy Guy showed himselfto be anything but a traditionalist. The JC Buddy GuyBlues Guitar may well be the most distinctive SignatureEdition Martin has ever made!

The JC Buddy Guy Blues Guitar combines Martin’s J(Jumbo) body style – like the Martin Buddy has played atacoustic concerts in recent years – with a cutaway forbig sound and easy access to the upper frets.The Sitka spruce top is reinforced with5/16" scalloped braces for clear toneand impressive dynamic range. Thesides and Style 35 three-piece backare r ichly colored East Indianrosewood. The low profile 1-11/16"(at the nut) neck is carved fromgenuine mahogany.

But it is the appointments thatreally set the JC Buddy Guy BluesGuitar apart. Buddy likes polka dotson his guitars, and polka dots hegot. The unique rosette featuresthree five-ply black/white rings,the inner two flanking a ringof turquoise composite dots.Turquoise composite dotinlays also accent the blackebony belly bridge and theebony br idge pins . Theblack ebony f ingerboardprovides the palette for a random “splash” ofturquoise composite polkadots. Buddy Guy’s “BG” initialsserve as the position marker atthe 12th fret, while mother of pearldots, bordered in turquoise, mark the

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the live album “Drinkin’ TNT ‘n’ Smokin’ Dynamite.” Sadly,the 1970s and 1980s were difficult decades for Chicagobluesmen. Guy bounced from label to label for severalyears and spent long stretches touring clubs in the UnitedStates and Europe. For several years in the late 1980s, hecouldn’t get a U.S. record deal, even though he was reveredby the best rock guitarists on the planet.

The difficult days ended in 1991 with the release of“Damn Right I’ve Got the Blues,” which won a Grammyand brought Guy a new generation of fans. A series of finealbums followed, including “Slippin’ In,” “Sweet Tea” andhis latest, “Bring ‘Em In,” which features an all-star cast ofguest artists: Keith Richards, Carlos Santana, Keb Mo’, TracyChapman, and John Mayer. Buddy Guy was inducted intothe Rock & Roll Hall of Fame in 2005. When not on tour –his 2006 schedule includes shows in Australia, Puerto Rico,Latvia and Mexico as well as throughout the United States –he can often be found at his Chicago nightclub, BuddyGuy’s Legends.

Delivered in a Geib style hardshell case, each Martin JCBuddy Guy Blues Guitar bears an interior label individuallysigned by Buddy Guy and Martin Chairman C. F. Martin IVand is numbered in sequence with the edition total. Martinwill accept orders from authorized C. F. Martin dealers forthe JC Buddy Guy Blues Guitar until September 15, 2006,after which the number of guitars in this Signature Editionand the names of participating Martin dealers will beposted on the Martin website, www.martinguitar.com. v

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Turquoise polka dots abound on Buddy Guy’s bold andunique Jumbo Signature Edition. Don’t let the spots fool you,though. This is a serious “blues” guitar, ready for the stage!

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fingerboard extension and rosette; black/white fine linepurfling on the sides, back, endpiece, heelcap, neck,and headstock; and grained ivoroid binding throughout(fingerboard and headstock included). A colorful Style45 mosaic backstrip bisects the back, and original Style42 (beginning at the 5th fret) snowflake positionmarkers accent the fingerboard. Gold-plated Waverlytuners with ivoroid butterbean knobs grace the polishedheadstock and a tortoise-color polished and beveledpickguard protects the guitar’s top. The body of theinstrument is finished in flawless polished gloss, withvintage toner on the top to enhance its vintage look;satin finish on the neck provides exceptional playercomfort.

To acknowledge the “Frampton’s Camel”connection, a small camel in mother of pearl nestlesbeneath the Old Style Martin gold decal logo on theheadplate. Peter Frampton’s signature in mother ofpearl appears at the base of the fingerboard betweenthe 19th and 20th frets. Pearl-inlaid bridge and endpinsfor this guitar are fashioned from genuine camel bone.The “Frampton’s Camel” logo is etched on the neckblock and also appears as a watermark on each guitar’sinterior label, which is personally signed by PeterFrampton and Martin Chairman C. F. Martin IV andnumbered in sequence with the Signature Edition total.

Frampton already has received aprotot ype of the D-42 Peter Frampton

“Frampton’s Camel” Signature Edition andis very impressed. “It’s terrific. The guitaris perfectly balanced and plays like adream. It’s new but already soundsbetter than my original D-45.”

Born and raised in England, PeterFrampton began learning guitar at ageeight. By his early teens, he wasplaying in rock & roll groups, includingthe Preachers, managed by the RollingStones’ Bil l Wyman. In 1966 hedropped out of school to join theHerd, which scored several Britishhits in 1967 and 1968. He left theHerd to found Humble Pie withformer Small Faces singer Steve Marriott, but creativedifferences pulled the groupapart in 1971. Three albumsleading his own band, guestspots on albums by GeorgeHarrison and Harry Nilsson,and almost constant touring in

the next three years providedthe foundation for the success

of “Frampton Comes Alive.”The successes of the late 1970s

and early 1980s were followed by

The loss of a great guitar can really hurt. ForPeter Frampton, that guitar was a Martin D-45 hebought in 1971. “I left Humble Pie with justenough money to buy it. It was one of thoseinspiring guitars; I used it to write and record mostof the tracks on ‘Frampton’s Camel.’ I toured with itin 1973 in support of the album, and between twoconcerts in Ohio, it was stolen.”

Peter Frampton went on to become a rock & rollicon. In 1976 he became an international star with“Frampton Comes Alive,” which became one of thebiggest selling live albums in history, and produced threehit singles, including “Baby, I Love Your Way” and “ShowMe the Way.” His next album, 1977’s “I’m in You,” wentto #2 on the album charts, and the single of the samename also hit #2. His 1979 single “I Can’t Stand It NoMore” was a top 20 hit. In the 1980s, his single “Lying”received considerable radio airplay, and he played leadguitar on friend David Bowie’s “Never Let Me Down”album and on his Glass Spider World Tour. Nearlyconstant touring during the 1990s produced “FramptonComes Alive II” album in 1995 and “Live in Detroit” in2000, from which “Off the Hook” received a Grammynomination for Best Rock Instrumental. His 2003 album“Now” ranks among the finest studio efforts of his longcareer.

Yet for all his success, Frampton never forgot hisvanished D-45. When Martin approached himregarding the creation of a namesakeSignature Edition guitar, he suggestedan instrument that wouldacknowledge and replace thatspecial Martin. The D-42 PeterFrampton “Frampton’s Camel”Signature Edition does so ininimitable style.

The D-42 Peter FramptonSignature Edition features a superbcombination of solid tonewoods for big, balanced Dreadnoughttone. The Adirondack spruce top is reinforced withscalloped, forward-shifted5/16" Adirondack sprucebraces and matched to aback and sides of EastIndian rosewood. The 1-11/16" (at the nut) lowprof ile neck is genuinemahogany. Headplate,bridge and fingerboard areAfrican black ebony.

Classic Martin Style 42and Style 45 appointmentsabound, including color fulabalone purfling around the top,

Full Circle Justice For Frampton’s Stolen Dreadnought:The D-42 “Frampton’s Camel” Signature Edition

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leaner times, but Frampton remained fully involved inmusic with periodic album releases and tours. Duringthe 1990s, in addition to his own projects, he recordedand toured with Bill Wyman and the Rhythm Kings andRingo Starr’s All-Starr Band. He received the singularhonor of appearing as himself on two animatedtelevision series: The Simpsons and The Family Guy. Heappeared in and contributed songs to the 2001 movie“Almost Famous” and helped the actors in the fictionalband Stillwater learn their rock & roll moves. In 2005,he contributed a track to “Les Paul & Friends: AmericanMade, World Played” and also appeared at Paul’s 90thBirthday Salute in New York. Next up for Frampton isthe September 2006 release of “Fingerprints,” an all-instrumental album on which he is joined by many ofhis musical friends and musical heroes, and a concerttour of the United States.

Delivered in a Geib style hardshell case, the D-42Peter Frampton “Frampton’s Camel” Signature Editionguitar may be ordered as a left-hand instrument withoutadditional cost; factory-installed electronics are an extra-cost option. Martin will accept orders from authorizedC. F. Martin dealers for the D-42 Peter Frampton“Frampton’s Camel” Signature Edition until September15, 2006, after which the number of guitars in thisSignature Edition and the names of participating Martindealers wil l be posted on the Martin website,www.martinguitar.com. v

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In 1970 Bromberg launched his own career with aspectacular performance at the Isle of Wight Festivaland quickly landed a recording contract. Over the nextten years, he released a series of albums, mostrecorded with his band, including his self-titled debut,“Demon in Disguise,” “Wanted Dead or Alive,”“Midnight on the Water,” “How Late’ll Ya Play ‘Til,”

“Reckless Abandon,” “My Own House” and “YouShould See the Rest of the Band.” He also touredalmost constantly, putting on shows now legendary fortheir excitement and spontaneity.

In the fall of 1980, Bromberg stepped away from thelife of a musician. He dissolved the band, stoppedperforming and enrolled in violin-making school. Aftergraduation, he devoted himself almost exclusively tobeing a violin dealer and raising a family. Only aftermoving his violin business to Wilmington, Delaware, in2001 did Bromberg ease back into performing, first atlocal jam sessions and more recently at concertappearances with his David Bromberg Quartet, theDavid Bromberg Big Band and the vocal group AngelBand.

The modified Martin Bromberg played for severalyears was damaged in an onstage mishap andeventually “retired” in favor of a prototype Martin M-38he received from the Company for consulting on

development of the M body st yle. “Theprototype M-38 is the guitar that I have

used for 20 to 30 years onstage,” henoted. “I’ve played it so much for solong that it feels like a part of me. Thevirtue of the design is that although ithas a warm bass and rich treble, thereis much less equalization necessarywhen the guitar is recorded or played

through a sound system.” The Martin M-42 David Bromberg Signature Editiontakes the M body style full circle, back

to the instruments that started it all.The M-42 David Bromberg

Signature Edition features solidpremium tonewoods through-out: a top of rare – especially inthis width – Ital ian alpinespruce, back and sides of EastIndian rosewood, a low-prof i le neck of genuinemahogany and fingerboardand bridge of African blackebony. Forward-shifted and

scalloped 5/16" top bracesprovide impressive clarit y and

dynamic range.Style 45 appointments abound

on this handsome instrument. Style 45

M-42 David Bromberg Signature Edition Pays Tribute to the Origin of the Original M Guitars

After several years away, David Bromberg isback making American music to the delight of boththose who have loved him since the 1970s and thosewho are just discovering his unique brand of magic.Famed for his inimitable mix of blues, jazz, westernswing, dixieland, cajun, bluegrass, and genres inbetween and beyond, Bromberg’s singular playing andwitty stage presence remain as brilliant as ever.

To guitar aficionados, David Bromberg also is knownfor his unusually modified Martin guitar, an instrumentthat became so famous that Martin created a new size offlattop guitar – the M (or 0000) – in its image in 1977.Tonally powerful, balanced and well-defined, the MartinM went on to become a favorite among folk and studiomusicians. To honor David Bromberg’s musicalcontributions and his influential guitar, C. F. Martin isproud to introduce the M-42 David Bromberg SignatureEdition.

David Bromberg began playing guitar while growingup in Tarrytown, New York. After graduation from highschool, he enrolled at Columbia University with thoughtsof becoming a musicologist, but the combination of hisgrowing reputation as a player and the thrivingGreenwich Village folk scene caused him to drop out ofschool to tackle music full time. His extraordinary talentand impressive stylistic range quickly gained the attentionof other musicians, including Bob Dylan,Tom Paxton, Ringo Starr, Reverend GaryDavis and Chubby Checker, all ofwhom brought him in as a backupmusician on their recordings.

It was during this period thatBromberg got his unusual Martin.Around 1964, Marc Silber at FrettedInstruments in Greenwich Villagetook in trade a Martin F-9 archtop onwhich the original top had beenbroken and replaced with one madeof plywood. With advice from JonLundberg, one of the mostknowledgeable guitar dealersof the era, he ordered aspruce top from Martin andhad it braced (as a flattop)and installed by repairmanMario Martello and Frenchpolish finished by EugeneClark. The guitar turned outbeautifully and soundedgreat. Soon after, repairmanMatt Umanov made a similarconversion for Bromberg butwith a long-scale neck and inlaysreminiscent of the Style 42 MartinsBromberg already owned.

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abalone pearl inlay around the top and fingerboard extensionare matched by the abalone pearl Style 45 rosette. A Style 45multicolored mosaic backstrip divides the two-piece back.Bridge pins and endpin both also are Style 45, with abalonedot inlays.

In keeping with the archtop features on Bromberg’soriginal guitar, the M-42 David Bromberg Signature Edition’sEast Indian rosewood headplate bears a 1930s st yle “C. F. Martin” block letter inlay in abalone pearl and gold-plated enclosed tuners with large gold knobs. Style 45snowflake position markers are centered between F-9 Stylewhite/black/white “racing stripe” inlays that run the length ofthe fingerboard. David Bromberg’s signature is inlaid betweenthe 19th and 20th frets.

Classic grained ivoroid binding and elegantly miteredblack/white purfling are everywhere on this guitar: top, sides,back, headstock and fingerboard. The grained ivoroid endpiece and heelcap display matching fine line inlays. The guitaris finished in polished gloss lacquer, with aging toner on thetop to enhance the vintage vibe. A polished and beveledtortoise-color pickguard protects the top.

Delivered in a vintage-inspired Geib style case, each M-42 David Bromberg Signature Edition guitar bears aninterior label personally signed by David Bromberg andMartin Chairman C. F. Martin IV and is numbered insequence together with the edition total.

Martin will accept orders from authorized C. F. Martindealers for the M-42 David Bromberg Signature Edition untilSeptember 15, 2006, after which the number of guitars in this Signature Edition and the names of participating Martin dealers will be posted on the Martin website,www.martinguitar.com. v

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In so many respects, David Bromberg played a pivotal role inthe origination of the M model. This M-42 David BrombergSignature Edition acknowledges that role and pays tribute toan extraordinarily passionate and diverse musical talent.

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Rosanne Cash gave a powerful and soulful performance at The 20th Annual SXSW Film and Music Festival

in Austin, Texas, on March 18, 2006 with her favorite acoustic,

her Martin 00-18.

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Tomo Kurosawa of T. Kurosawa & Co.,Martin’s sole distributor in Japan,

received a commemorative plaque from Chris Martin

during a recent visit to Martin.

Kurosawa is celebrating their 50th Anniversary. They do a great job

promoting Martin with Martin Club of Japan events. Martin’s Dick Boak

joined Makoto Saito for a special “Rebirth Tour” concert

in Tokyo.

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David Gray belts out Babylon live in concert during

his recent Australian tour. He’s performing with his

acoustic Martin 000CDavid Gray Signature

Custom Edition.

The ever prolific John Mayer –busy in the studio with the prototype of his current OMJM

Special Edition Signature Model.

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Judy CollinsThe ever energetic and prolific Judy Collins continues to delight

audiences with her beautiful voice and warm personal stagepresence. She performed with her HD12-35JC Signature Edition12-string at the Martin sponsored stage at this year’s annual FolkAlliance Conference held in Austin, Texas, February of 2006. v

Ernie SitesA former rodeo cowboy, Ernie Sites was raised on a family ranch

in southern Idaho. Combining traditional and original westernsinging, songwriting, yodeling, cowboy poetry, storytelling and trickroping with his own personal brand of western humor, “CowboyErnie” entertains and educates audiences of all ages nationwide.

Ernie’s an excellent guitar player and a real Martin guitarambassador. His “corral” of performance guitars includes an HDN“Negative” Limited Edition, an HD-28VS, an HD-28VE, a D-15S, twoof the HPL Cowboy Editions and the 000C Steve Miller SignatureEdition model he’s lassoed for the above photo. For more info onErnie, visit his website at: www.erniesites.com. v

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This one-of-a-kind beautifully airbrushed Custom Martinherringbone was created by Don Oriolo and his team ofartists at Felix the Cat Enterprises to welcome in theAustin NAMM Show in true Texas style. Pay specialattention to who’s driving the truck! Don, joined by youknow who, attended the 2006 Anaheim NAMM Showfor the introduction of the highly successful “Where’sFelix” Limited Edition. v

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onasterphoto.comMusic HistoryMartin History

Joan Baez 1963Thousands of folk purists flocked to Rhode Island to attend

the Newport Folk Festival in the summer of 1963. Back to backmusic lasted for several days, and a young Joan Baez, armed withher 1929 Martin 12-fret 0-45, sent shivers through the audiencewith her masterful rendition of “We Shall Overcome.” It was theclimax of this now legendary event with Bob Dylan, Peter, Pauland Mary, and Pete Seeger joining Joan to close the festival. v

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Dreadnought Meet DreadnoughtChuck Lischer holds his Martin Custom Dreadnought atop his

Sanders Hawker Sea Fury Dreadnought Racer, with his airshowplane in the background. Chuck’s Martin Dreadnought guitar is acustom HD-28V with koa and Adirondack. All three havewonderfully distinctive sounds. It’s hard to decide which one toplay with at any given time, but the Martin is the only one notrequiring hearing protection! Dreadnought (the airplane) was builtin the early 1950s and was modified for racing in the 1990s with a4,000 horsepower engine. It has been first or second in over 50percent of all races entered. The guitar’s done pretty well too! v

Artist Robert Armstrong lassoed in the essence of Texasincluding oil derricks, big finned cars, Texas swing andthe yellow rose on this Custom Martin herringbonecreated for display at the Austin NAMM Show. Robert’sartwork has graced the soundboards of several X SeriesLimited Editions including all f ive of the popularCowboy Series guitars, the Hawaiian X and the recentTattoo model. v

Neil and Pegi Young attended the premiere of Neil’smovie, “Heart of Gold.” Neil proudly holds the MartinDM that he and Willie Nelson signed for a charityauction to benefit their mutual cause, Farm Aid. v

album. That same year he released “One Wing,” analbum of instrumental McCartney from the era whenthey were bandmates. He produced Al Stewart’s2005 album “A Beach Full of Shells” and is currentlyworking with Stewart on some new tunes. Hestarted work on his next album, a collection of soloarrangements of songs by Harold Arlen, highlightingone of the 20th century’s finest composers. He also

steps out from behind his guitars to write a columnfor Guitar World Acoustic.

In appointments, the OMC-28M Laurence JuberCustom Edition continues the vintage elements thatmade the previous OMC Laurence Juber modelssuch hits. Fine pattern herringbone purfling andblack/white wood fiber inlays encircle the top andback respectively, with grained ivoroid bindingprotecting both. The grained ivoroid end piece isframed with black/white fine line inlays, and theGolden Era Style 28 rosette features wood fiberrings.

The modif ied V-shape neck of genuinemahogany, 1-3/4" at the nut, is carved with a 1930sst yle diamond volute and solid square taperedheadstock. The polished headplate of Madagascarrosewood sports the tradit ional gold foi l “C. F. Martin & Co.” decal as well as Waverly nickelplated open geared tuners with “Old Style” nickelbutterbean knobs.

The fingerboard and belly bridge showcasepremium black ebony. True to the spareornamentation of previous Laurence Juber Signature

Editions, the fingerboard bears onlyside dot position markers. Both thenut and compensated drop-in saddleare crafted from genuine bone. Fossil

ivory bridge pins and endpin aretopped with inlaid black dots.

Martin’s famous flawless glosslacquer finish protects the body and

neck, accented by aging toner on thetop to enhance the OMC-28M’s

vintage st yle. In keeping withLaurence Juber ’s f ingerst yleplaying, no pickguard sullies i ts beauti ful face. The OMC-28M Laurence JuberCustom Signature Edition may be ordered with asunburst finish and/or factoryelectronics as extra-costoptions. Left-hand instruments

are available by special orderat no additional cost.

Del ivered in a vintage-inspired Geib style hardshell case,

each Martin OMC-28M Laurence Juber

Laurence Juber Goes Three for Three With New Madagascar Rosewood Custom Edition

Fingerstyle guitar wizard Laurence Juber has aknack for creating impressive namesake Martins. In2002, he began his winning streak with theLaurence Juber OMC-18VLJ Signature Edition, asuperb Adirondack spruce/mahogany cutaway OMthat sold a respectable 133 instruments. He cameback in 2004 with two OMC-28 Laurence JuberSignature Editions: The OMC-28 Laurence Juber inIndian rosewood yielded an edition of – coincidentally –133 guitars, while the very limited OMC-28B LaurenceJuber, in rare Brazilian rosewood, sold all 50 guitarsoffered and became one of the most coveted Martins ofrecent years.

Now he returns with yet another winner: the MartinOMC-28M Laurence Juber Custom Edition. Following inthe tradition of its predecessors, the new guitar featuresclassic OM appointments, a smooth Venetian cutawayand a focused, resonant Adirondack spruce top with 1/4"scalloped Adirondack spruce braces, but this timematches them to a back and s ides of beauti fulMadagascar rosewood, a true rosewood that closelyresembles now-endangered Brazil ian rosewood inappearance and sound.

“Madagascar rosewood has been on my agenda forsome time,” Juber explained. “When we worked out thedetails for the OMC-28B Laurence Juber, I asked Martinto check on it, but it was – at the time – in short supply.While still rare, Martin has had the fortune of acquiringenough for a run of special instruments.Because of the limited quantities of theprevious edit ions, we wanted tocontinue the LJ specif ications in an ‘open ended’ Custom Editionformat, and the OMC-28M fits thebi l l – a guitar created to be a‘picking cousin’ to the Brazil ian,Indian and mahogany versions.”

Juber has given the prototype OMC-28M some serious playing time duringconcert tours of Asia, Europe and theUnited States in the past year. But asexpected of a musician whosework has included lead guitar forPaul McCartney’s band Wings,plenty of soundtrack sessionsfor f ilm and television andseveral f ine solo albums (all detailed in the January2002 and January 2004editions of Sounding Board, atwww.martinguitar.com), hehas stayed equally busy of fstage.

In 2005, he won a GrammyAward (his third) for his contributionto the “Henry Mancini: Pink Guitar”

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Laurence Juber at the 2006 Anaheim NAMM Show with the prototype of his OMC-28M Custom Edition.

Custom Signature Edition guitar bears an interior labelpersonally signed by Laurence Juber and Martin ChairmanC. F. Martin IV and is numbered in sequence. Authorized C. F. Martin dealers have already begun accepting ordersfor the OMC-28M Laurence Juber, and participating dealerswill be posted on the Martin website, www.martinguitar.com. v

Madagascar rosewood possesses much of the visual beauty of Brazilian rosewood, but its real attribute is that it rivals Brazilian rosewood in its tonality.

What is a Custom Edition?Custom Editions are specially made in small

batches through the Martin Custom Shop and areindividually numbered and personally signed by theartist, but are not typically limited to a finite quantity.The following Custom Editions have been initiated todate: The M3H Cathy Fink, MC3H Marcy Marxer and000C David Gray are featured in Sounding Board -Volume 19. In addition, the HD Elliot Easton, the 00-18H Geoff Muldaur and the OMC-28M LaurenceJuber are featured in this issue. You may order any ofthe above Custom Edition Martin guitars through yourauthorized Martin dealer. For specifications and prices,go to the web at www.martinguitar.com and click onArtists/Custom Editions. v

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His return to the spotlight began in the late 1990s asa member of John Sebastian’s J Band. He soon hit theroad and the recording studio. “Secret Handshake”was released in 1998 and was followed by“Password” in 2000. Both received ecstatic reviews. In2003 he released two albums: “Beautiful Isle ofSomewhere (Live),” an intimate blues and jazzconcert recording, and “Private Astronomy – a Vision

of the Music of Bix Beiderbecke” by Geoff Muldaur’sFuturistic Ensemble, a reinterpretation of the jazzlegend’s music with vocals by Geof f, MarthaWainwright, Loudon Wainwright III, and Geoff’sdaughters Jenni and Clare. He now tours regularly inEurope, Japan and the United States, providing old andnew fans the opportunity to experience his specialmagic live.

The 00-18H Geof f Muldaur Custom Editionfeatures superb tonewoods and premiumappointments throughout. The top of prizedAdirondack spruce is strengthened with Martin’straditional scalloped 1/4" X bracing, also ofAdirondack spruce, for outstanding tonal clarity anddynamics. The back and sides are crafted fromgenuine mahogany for unsurpassed string-to-stringbalance and definition. The genuine mahogany neckis a traditional – for this model – 1-13/16" wide at the

nut but an untraditional and very comfortablelow profile shape.

While set up for standard playing, thisguitar showcases many of theappointments of the original Hawaiianmodel that inspired it. A spectacularsoft sunburst graces the top, encircledby tortoise color binding and

black/white/black/white/black purfling;the same tortoise-color binding isaccented by black/white purfling on thetraditional dark stained back. The rosette

is Martin’s Old Style 18, with singleinner and outer rings. Like the original,

the 00-18H Geoff Muldaur Customis a short (24.9") scale instrument,allowing easy fretting and easy“reach” for difficult chords.

The headstock featurestapered square slots fitted withWaverly/Sloane bronze platedside-mounted tuners withivoroid buttons. The back of theheadstock bears the original

“C. F. Martin & Co., Nazareth,PA” pressure stamp. Old st yle

graduated abalone dot positionmarkers at the 5th, 7th and 9th on the

African black ebony fingerboard are also

Geoff Muldaur Custom Signature Edition Recreates Classic 00 12-fret Martin Design

Fellow musician Richard Thompson said it best.“There are only three white blues singers, and GeoffMuldaur is at least two of them.”

To anyone who appreciates Geoff Muldaur, eventhat description seems inadequate. He ranks as one ofthe great musical forces to emerge from the folk, bluesand traditional music revival of the 1960s. In addition tohis one-of-a-kind voice, his encyclopedic knowledge ofAmerican music, immaculate guitar playing andimpressive songs and arrangements have captivated twogenerations. Perhaps most exciting of all, his recent musicalforays are among the most inventive of his career.

For several years, Geoff’s guitar of choice has been a1930s Martin 00 12-fret, one originally made for Hawaiianplaying (with a raised nut and flush frets) and laterconverted to standard configuration. C. F. Martin is pleasedto honor Geoff Muldaur by updating this elegant design,considered by many to be among the best soundingMartins ever made. The Martin 00-18H Geoff MuldaurCustom Edition takes the elements that make the originalssuch classics and adds some very tasty touches. The resultis a modern classic, like the man it honors.

Originally from New York, Geof f Muldaur wascollecting old records, playing solo blues guitar and hittingthe road for musical inspiration even before he arrived atBoston University in the early 1960s. Boston was ahotbed of musical styles at the time, and afterrecording a solo blues album, Geof fbecame a founding member of the JimKweskin Jug Band. His f ine singing,authentic guitar and rhythmic washboardwere an integral part of the group’s fourgroundbreaking traditional albums. Healso appeared on dozens of otherpeople’s recordings – most notably theoriginal Blues Project album - and marriedband mate Maria D’Amato.

When the Jug Band disbanded in1968, Geof f and Maria Muldaurcollaborated on two well-receivedalbums and then went their separateways. He recorded f ive soloalbums in the middle and late1970s and also was a keymember of Paul Butterfield’sBetter Days. Then, as heelegantly put it, “I retired for 17years.” He sti l l somehowmanaged to produce albums forartists like the Borneo Horns andthe Richard Greene StringQuartet, win an Emmy award, andhave his recording of “Brazil” serveas the inspiration and title tune forTerry Gilliam’s movie of the same name.

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true to the original. The belly bridge, heel cap, bridge pinsand endpin are all black ebony.

In a beautiful departure from vintage, the headplate ispolished African black ebony, the perfect backdrop for thesmall gold Old Style decal. Nut and drop-in saddle arecrafted from genuine bone. The 1935 Sunburst top isprotected by a tortoise-color polished and beveled pickguard.The body receives Martin’s flawless polished gloss lacquerfinish, but the neck gets a satin finish for playing comfort.

Delivered in a vintage Geib style hardshell case, each 00-18H Geoff Muldaur Custom Edition guitar bears aninterior label personally signed by Geoff Muldaur and MartinChairman C. F. Martin IV and numbered in sequence. Left-hand instruments may be ordered with no additional charge.Factory-installed on-board electronics are available foradditional cost. While the Martin 00-18H Geoff MuldaurCustom Edition is open ended, authorized C. F. Martindealers will begin accepting orders immediately, andparticipating dealers will be posted on the Martin website at:www.martinguitar.com. v

Geoff Muldaur debuts his 00-18H Custom Signature Editionjoined by the legendary John Sebastian in Yokahama, Japan.

A long-time fan of Martin 00 12-fret models,Geoff Muldaur is captured here with his 1935 00-40H Martin that provided the

inspiration for his Signature Edition 00-18H.

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“I also wanted the guitar to have ‘stage ready’ electronics,so I requested that the Fishman Ellipse Aura system (with arelease date of August 2006) be available as a factory-installed option. Mounted inside the soundhole, iteliminates the need to cut into the side of the guitar and –because it is virtually invisible – allows the instrument toretain all of its aesthetic charm.

“The resulting guitar has more than exceeded myadmittedly high expectations. This is my perfect Martin!From conception to completion, it has been a labor oflove. I am donating my “artist’s proceeds” from sales of theMartin HD Elliot Easton Custom Edition to the Nordoff-Robbins Music Therapy Center for autistic children.”

Elliot Easton’s appreciation of good guitars comes froma lifetime of playing. Born in Brooklyn and raised on LongIsland, he began to play guitar after seeing Elvis, and alsothe singing cowboys, on television. A few years later, theVentures and the Beatles inspired him to go electric, andhe progressed quickly; he was lead guitarist in a surf-rockband while still in junior high school. During hisdevelopment as an electric player in the 1960s, he alsoregularly attended the annual Newport Folk Festival andgained fluency in the styles of everyone from MississippiJohn Hurt and Skip James to Bert Jansch and John Fahey.

After graduating high school, he studied guitar at theBerklee College of Music in Boston, where in 1974 hehooked up with vocalist Ric Ocasek and bassist Benjamin

Orr and played in two of their short-livedgroups: the acoustic-based Ocasek and

Orr, and Cap’n Swing. In 1977, thethreesome joined forces with keyboardsand sax player Greg Hawkes anddrummer David Robinson to form TheCars. One of the band’s demo recordsbecame a local hit in Boston, and thegroup soon signed a record deal.

Between 1978 and 1987, The Carsreleased seven albums, all of whichbecame multi-platinum sellers. Driven inpart by Easton’s inspired guitar work,the group had a dozen “Top 40”singles, including “Just What INeeded,” “My Best Friend’s Girl,”“Shake It Up,” “You Might Think,”“Magic,” “Drive,” and “TonightShe Comes.” The Cars have soldover 30 million albums andremain a radio favorite to thisday.

Before The Cars disbandedin 1988, Elliot Easton expanded

his musical horizons by releasing“Change, No Change,” a collaborative

album with vocalist Jules Shear.Beginning in the mid-1980s, he also

Elliot Easton Custom Herringbone Edition Returns Respect to Mahogany and Lefthanders

Anyone who has heard Elliot Easton’s inventivehooks, imaginative arrangements and melodic solosknows he is a gifted guitarist with impeccable taste andtone. Easton established his reputation as lead guitaristfor The Cars, one of the world’s most popular bands ofthe late 1970s and 1980s, but his playing over theyears has demonstrated an impressive stylistic range.He also is among the most recognizable left-handedguitarists playing today.

Like many electric guitarists, Easton has an acoustic sidethat doesn’t get a lot of exposure. That acoustic side hasbeen expressed almost exclusively on a Martin; his guitarcollection includes several, which he primarily uses forsongwriting and studio work but also occasionally takes onstage. So when he and C. F. Martin began to collaborate on acustom edition guitar that would bear his name, Eastonproved ready for the challenge and very definite about how“his” guitar should sound and look.

As he commented, “I’ve owned my share of fine Martinguitars over the years, but I always keep coming back to my1970s D-18 and – in recent years – my D-18V and 00-18V. I love the sound of mahogany: the sweetness, balance, purityof tone, and the ease with which it records. However, I’venever understood why Martins made with my favorite woodwere so “plain Jane,” with basic black or tortoise shellbindings, rosewood fingerboards and bridges, and simplifiedfingerboard inlays, while the rosewood models gotgrained ivoroid bindings, ebony fingerboardsand bridges and elaborate fingerboardinlays, not to mention either elegantherringbone or brilliant abalonepurfling!

“This new Martin – the HD ElliotEaston Custom Edition – is my bid toredress this situation and elevate themahogany guitar to the status it sorichly deserves. To that end, I haveasked Martin to build my dream guitar:Dreadnought body, Adirondackspruce top and forward-shifted,scalloped Adirondack sprucebraces, rare quilted mahoganyback and sides, fine herringbonetrim around the top androsette, grained ivoroidbinding, modified “V” neckwith diamond volute, goldWaverly tuners with butter-bean knobs, ebony bridgeand f ingerboard, longpattern “diamonds & squares”position markers, the “OldStyle” Martin decal on theheadplate and polished gloss lacquerfinish throughout.

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Elliot Easton at his California home studio with the prototype of his left-hand HD Custom Signature Edition.

appeared on a wide range of records, including “Two Rooms:Celebrating the Songs of Elton John and Bernie Taupin,” onwhich he played with Hall and Oates, Brian Wilson’s first soloalbum, “The Guitars that Rule the World” and the “JackieBrown” soundtrack. In the late 1990s and early 2000s, hetoured and recorded with Creedence Clearwater Revisited.

Early in 2006, Easton and original Cars keyboardist GregHawkes joined vocalist Todd Rundgren, bassist Kasim Sultonand drummer Prairie Prince to form The New Cars. The group’sfirst album, “It’s Alive!”, a mix of live and brand new studio cuts,and its 2006 summer concert tour of the United States give fansa fresh dose of his impressive fretwork.

In addition to the elements already noted, the HD ElliotEaston Custom Edition features a bone nut and compensatedTUSQ saddle, white bridge pins and endpin topped with “redeye” tortoise dot inlays and subtle aging toner on the top. TheHD Elliot Easton Custom Edition may be ordered as a left-handor right-hand instrument with no additional charge.

Packed in a vintage Geib-style case, each Martin HD ElliotEaston Custom Edition guitar bears an interior label individuallysigned by Elliot Easton and Martin Chairman C. F. Martin IV andis numbered in sequence. The HD Elliot Easton Custom Editionis open ended, and authorized C. F. Martin dealers have alreadybegun accepting orders. Participating dealers will be posted onthe Martin website, www.martinguitar.com. v

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Brianna Rettig • A Side B SideThis NYC pop artist, originally fromCalifornia, has the delicate bounce ofNelly Furtado, the sizzle of Norah Jonesand the vocal power of a category fourhurricane. The sweet harmonies andcatchy hooks of “Forever Tonight”resonate as an instant classic. Armedwith her DC-16RGTE, JC-15E, and aMartin 12-string as her song writingtools, Brianna is a natural hit factory.More at: www.briannamusic.com. v

Paul Simon • SurprisePaul’s usual songwriting and performingbrilliance is beautifully blended herewith Brian Eno’s ethereal electronics.Recorded in large part with Paul’sMartin acoustic guitars, including histwo Signature models and his D12-28,this significant effort proves that Paul’screative light has not faded and that heis unwilling to rest upon past laurels.“Surprise” is progressive, challengingand ahead of its time, no surprise! v

Ed Gerhard • SunnylandWhat’s black and white and Ed allover? This highly anticipated newrelease delivers with flying colors. Eachtrack resonates beautifully with crystalclear perfection. Ed’s diversity is trulyamazing – from Fingerstyle to AcousticBlues – with a gifted touch for slidethat echoes the masters. Appearingwith Ed on this portrait-style cover (andused throughout the recording) is hisMartin OM-18V. Learn and hear moreat www.edgerhard.com. v

Mark Knopfler & Emmylou Harris •All The RoadrunningThe rumbling bellow of Knopfler’svoice meets Emmylou Harris’s angelicpurity on this groundbreaking countryCD. Seven years coming, these songsare embellished with Mark’s inspiredacoustic and electric wizardry.Reminiscent at times of Dire Straits, theCD comes with some fresh surprisessuch as the heavily spun “This Is Us.”Mark and Emmylou are great friendsand it shows in this recording. v

Paul Ubana JonesLive At The Christchurch CivicArmed with his HD28 and D35 Martinguitars, this New Zealand basedacoustic artist has shared the stage withthe likes of Bob Dylan, Norah Jones, TajMahal, Tuck and Pattie, Keb Mo' andBen Harper. His naturally resonantvocals blend well with his eclecticAnglo-folk/Blues styling, bringing hismusic to the attention of NorthAmerican listeners. Find out more at:Jones.www.paulubanajones.com. v

Jacques Stotzem - Colours Of TurnerJoined by André Klenes on upright bass and

produced by Peter Finger, who is no stranger tofingerstyle recordings, Jacques is clearly in his element.The chemistry between these two extraordinarymusicians is undeniable. The nine original compositionsare both mystical and compelling, drawing the listenerdeeper into a trance. Recorded with Jacques’ MartinOM-21 and enhanced with Fishman’s Ellipse Blendelectronics, each song rings true with flawless clarity.

Jacques is highly respected in the acoustic guitarworld and is often seen representing the folks fromFishman at many of the international music trade shows.We are proud to be collaborating with Jacques on aspecial Custom Edition OM model (to be featured in ournext issue) that will pay tribute to this significant talent.Stay tuned! v

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El McMeen • Amazing GraceWith the delicate touch of animpressionist painter, El offers thiscollection of soothing Gospelinstrumentals that lift the spirit. Thepristine sound of his OM-42 QMIIQuilted Maple Custom together withhis master ful touch have yieldedarrangements of peace and tranquility.Reflective, prayerful and perfect forsetting the mood. Hear and see moreat www.elmcmeen.com. v

Bryan Sutton •Not Too Far From The TreeThis CD is pure bluegrass – asauthentic to the ear as his 1940 D-28on the back cover is to the eye. With apower-house lineup including NormanBlake, Doc Watson, Tony Rice, EarlScruggs and more, this release is firstrate. Blending tradition with someclassy covers, this CD humbly boastsone of bluegrass’s greatest players.Visit www.bryansutton.com. v

Kenny Sultan • Guitar Blues“As if I were sitting in your livingroom playing guitar” (the liner notesread). This is the perfect description forthis collection of ragtime blues frommaster bluesman Kenny Sultan. Hisvintage 000-18 graces the CD coverand enhances these intimaterecordings, though Kenny has a greatarray of Martins in his corral. This isone more notch in Kenny Sultan’sprolific acoustic belt. v

Ben Harper • Both Sides Of The GunThis acoustic/electric double album isemotionally powerful and full of truth.Ben has a long history with Martinguitars, and this CD has many of themin play. In a time of so muchuncertainty, Ben’s lyrics represent agreater justice. His rif fs swingseamlessly from a whisper to a wail.From the sorrow of New Orleanscomes Ben Harper’s resurrection of abetter day (and one great jam!). v

Rosanne Cash • Black CadillacAmidst a flurry of tributes to the lategreat Johnny Cash, Rosanneremembers her father, mother andstepmother June with a tribute ofunmatched intimacy. There is adynamic to her songwriting thatencompasses a full range of emotionsfrom one track to the next. The tendertone of her Martin guitars blend sweetlywith piano and her straight from theheart vocals. Stay tuned! v

In addition to their extensive catalog of instrumentalacoustic guitar music, Solid Air Records offers greatguitar instructional DVDs. These two feature theextraordinary artistry of Laurence Juber and KennySultan. For more info on Solid Air, go to:www.SolidAirRecords.com. v

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Colorado High Back CountryJohn Lawson of Frankfurt, Kentucky, has

carried his Martin Backpacker over 500 milessince he received it as a Christmas gift. He lovesthe sound and the light weight but most of all thedurability and craftsmanship.

John considers his Backpacker as essential asfood, water and shelter. His journey began inwestern Colorado. Together with his brothersDamon, Oz, and Craig, they headed out on aweeklong fly fishing trip for trout way back in thehigh back country. Although the fishing wasn'tgreat that week, John’s Backpacker sizzled atnight around the campfire. Even the coyoteschimed in with their harmonies. John thinks thewild critters actually like bluegrass music! v

Nate JammingNathan Sanders of Oklahoma City sent us the above photo with his

Backpacker, taken while traveling in Chiang Mai, Thailand, in July of 2005.One afternoon his group visited an orphanage and had a wonderful timewith the children and workers. The photo shows Nate jamming with oneof the teenage boys. Nate bought his Backpacker just before the trip andhe’s glad he did. He was already lugging an electric bass on the trip butwanted to take a guitar along as well. The Backpacker worked out great ashe was able to share his music with the local folks instead of leaving it athome! v

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St. Croix RiverAdam Haselkorn of Charleston, South Carolina, received a Backpacker

from his mother as a gift. She knew how much he enjoyed the outdoorsand how much it would mean to him to be able to take a guitar with him.

As a counselor at the Kieve Summer Camp For Boys (www.kieve.org),Adam took his Backpacker along on a trip to the St. Croix River, which isthe natural border between Maine and New Brunswick, Canada. Alongwith two other staff members (Drew Stock and Alex Klivecka, pictured inthe canoe), they led 13 campers on one of their first canoe trips. Whileon the trip, Adam decided (some may think recklessly) to play hisBackpacker while going down the Class 3 rapids of Little Falls. He didsucceed in getting one (and only one!) decent picture. v

Martin-e !Bud Strickland, a three-year guitar student

and bus driver, needed to make a few changes tohis Backpacker to make it more comfortable forclassical positioning. He calls his modification the“Martin-e,” which he uses for practice duringbreak periods because it is so convenient tocarry on the bus! v

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Maury MeuhliesenThe 1968 D-18 above (Serial #237490) belonged to

Maury Meuhliesen, whose acoustic guitar wizardryaccompanied Jim Croce on nearly all of Jim’s legendaryperformances and recordings. Tragically, Maury died in theplane crash with Jim in 1973. The D-18 guitar went down inthe crash as well but survived miraculously with only minordamage. The guitar passed to Maury’s significant other, JudyCoffin, and now to her son Andy who brought it back homefor some restoration and for some deserved photography.Maury also played a Martin D-35. His story is told in moredetail on page 9 of Sounding Board Volume 17. v

See Page 13

The Cowboy V Limited Edition