Selecting an Acoustic Guitar
excerpts from catalog of
Martin Guitar Company

Upon first examination, nearly all acoustic guitars look alike, and choosing an instrument can be bewildering to the uninitiated. The parts and pieces appear to be the same on all; the difference seems outwardly to be more in price than anything else. But, an experienced musician has only to strum a few chords on a fine instrument to be able to distinguish it from a lesser product. To trained hands and ears, exceptional craftsmanship becomes obvious in balanced response of tone and in fluid ease of playing. Tone and playability — the things that really matter.

Tone

The body of the acoustic guitar gives it its tone. The top of the guitar or sounding board is best made of spruce. Over the years a high-quality sounding board, like those on Martin guitar tops, will improve as the fibers of the wood settle with use.

The sides and back should produce a vibrant and resonant tone chamber. While a variety of woods and even some laminates and synthetics can be used, the most effective materials are solid rosewood, mahogany, maple or koa. Careful selection and matching of the grain of woods largely determines the beauty of the instrument. The interior bracing in the body of the acoustic guitar is important in determining tone and should be light, carefully finished, accurately fitted, straight grained and cleanly glued. Each brace, each back, side or top has individual characteristics and can contribute to fine musical tone only through the judgement of experienced master craftsmen.

The finish of a guitar protects and preserves the wood but also affects tone. Proper finishing will leave the wood free to vibrate. C. F. Martin uses multiple light coats of high grade laquer, interspersed with hand rubbings to develop a thin, smooth surface that does not detract from the tone of the instrument. Only clear lacquer is applied to enhance the natural beauty of the wood.

Playability

To the same extent that tone is a function of the body of the guitar, playability is primarily a function of the neck.

For ease of playing, the strings should be as close to the frets as possible but not so close as to cause a string to buzz when fretted and played. Beginning with 1985 models, standard size Martin guitar necks are reinforced with an adjustable truss rod. Although Martin made its first adjustable neck over 150 years ago, it was only after years of testing that we found an adjustable rod that was suitable for use on a Martin guitar neck. In addition, the neck must be strong and made from either solid wood or laminate. Mahogany is an excellent neck wood that beautifully complements mahogany, rosewood, koa, or maple guitar bodies. For fast and comfortable playing, C.F. Martin craftsmen carefully shape each neck. Currently many Martin models are designed with a low profile neck shape. This special neck contour creates a better, faster "Feel" that is compatible with today's complex and diverse playing styles.

The fingerboard and frets receive more wear than any other part of the guitar and must be durable. For this reason rosewood or ebony is excellent as fingerboard material. The frets must be strong, but not so strong that they will wear out strings prematurely. The frets should also be smoothly finished for ease of playing.

High quality, precision tuning machines are an enormous comfort for changing strings or tuning. Preferably they should be of friction-free steel and brass parts that turn easily and hold well.

There is no substitute for high standards in the art of making a fine instrument. Woods must be carefully selected, patiently seasoned and expertly worked. Examine a Martin guitar; the inside of the body is as clean and free of excess glue as the outside. Inlay lines are sharp and smooth. Finishing materials are of high quality with no short-cuts used in their applications.