Bursts, Benders, and Js, oh my! A pioneer of the new Nashville sound spends a whopping 90 minutes showing off the gear his crew has amassed since our last get-together.
Back in the fall of 2015 PG traveled south to the Tivoli Theatre in Chattanooga, Tennessee, to catch up with Jason Isbell, guitarist Sadler Vaden, and bassist Jimbo Hart. At the time, the band gave us so much time and so much gusto about their piles of gear, the resulting Rundown became the longest ever at 65 minutes.
Fast forward four years and now Perry Bean finds himself onstage, surrounded by even more gear, at the historic Ryman Auditorium in the middle of Isbell’s annual October run. This year saw the Alabama native and his bandmates sell out seven consecutive shows at the Mother Church. And before the 4th night, we basically filmed a feature film spotlighting all the new inspiring additions to their arsenal and how it all further propels the 400 Unit’s sonic quest.
While Jason Isbell has a treasure trove of calendar-worthy guitars, we have to start with this 1959 Gibson Les Paul. The showstopper earned its nickname “Redeye” for the original red-mark finish near the pickup selector being preserved by the guitar’s price tag hanging down in a music store’s front window protecting it from the UV rays. The ’burst was owned and played for many years by Lynyrd Skynyrd guitarist/bassist (and creator of the “Sweet Home Alabama” riff) Ed King. After King’s passing in August 2018, his family put a few of his classic guitars, including this iconic instrument, up for sale at Carter Vintage in Nashville.
At the request of the Carters’, Isbell was asked to come into the store to demo the guitars to help generate interest in the sale of Ed King’s collection. As Isbell retells the fateful meeting between he and Redeye, he felt “tricked” because they had left Jason alone with the ’burst, so of course he had to play. And after playing it … he had to have it.
He left Carter Vintage daydreaming about the Les Paul. He lost sleep that night fixated on how it sounded and played. So, the next day he called his accountant and she said you can’t have that guitar. Next, he called his management team, and he jokingly told them he would play any weird birthday parties as long as they weren’t for terrorists or bad people just so he could afford the guitar.
Isbell swapped out the tuners (although still functioning great) and upgraded with a period-correct set to preserve the sanctity of the instrument by saving the originals from harm. The tailpiece has been subbed out for a new Joe Glaser model that allows Isbell to top wrap the strings without worry of dinging the top. And the last notable change is that King had a partial refret up to the 12th position.
Under the metal covers rest a double-white humbucker (bridge) and zebra (neck). Isbell believes the zebra is overwound about 600 turns, but over the last 60 years, it’s lost some of its magnetism making it more balanced and creating an impeccable middle-position tone.
All of Jason’s guitars take Ernie Ball Slinkys gauged .010–.046, he hammers away with Dunlop Tortex 1.14 mm picks, and gets slippery with MagSlide Magnesium Guitar Slides.
“There’s more difference in the price than there is in the tone,” says Jason Isbell, when referring to this “Redeye” copy recently built by the Gibson Custom Shop.
“For about a week, this was my coolest Les Paul,” says Jason Isbell about his 1953 Gibson goldtop. The aforementioned Ed King-owned ’burst would overshadow any guitar in most collections, but this gem actually had the Bigsby and tailpiece put on by longtime Neil Young tech Larry Cragg. He bought the guitar around last Christmas from TR Crandall Guitars.
Since our last Rundown, Isbell has been lucky enough to receive a signature Martin D-18. The goal for this collaboration was to make the loudest-possible dreadnought. The model boasts a pre-aged Vintage Tone System (VTS) Adirondack spruce top, mahogany back and sides, and rear-shifted scalloped bracing which produce more natural volume and a clear powerful tone. It uses hide glue for a stronger resonance and it comes with the pickguard in the case because Martin’s Fred Greene discovered that it could decrease the guitar’s volume by 5 dB. His flattops take Martin SP Medium (.013–056) strings.
If you see the Castle Creek Guitars Dobrato come out, get your handkerchief out because it’s time for “If We Were Vampires.” The Colorado-based company claims the Dobrato to be the world’s first acoustic-electric, round-neck resophonic guitar to include the unique B-bender vibrato. With their proprietary vibrato arm, you can pull it sideways to move the B string to a C#. It has high-quality cones, biscuit, and a Fishman PRO-RES-BIS pickup system.
If you watched our Rundown with Nashville producer Dave Cobb (Isbell, Chris Stapleton, Sturgill Simpson), you may recognize this 1959 Gretsch Jet Firebird. In that episode, Cobb says that Isbell bonded so much with this Jet during the recording of Southeastern and Something More Than Free that he was the rightful owner of it because of how he made it sound. Then Cobb jokes that he told Isbell he would give him the guitar if he sold “x” amount of records. And now while Jason doesn’t confirm or deny if that number was hit, this is the same ’59 Jet that once belonged to Cobb.
Here’s Jason Isbell’s sunburst 1960 Fender Strat. That night at the show he used it quite a bit including during the old 400 Unit tune “Overseas.”
This candy-apple red Tele came out of the Fender factory in April 1965. To Jason’s knowledge, because it’s a transition instrument, the only thing that isn’t a true ’64 on the guitar is the pearloid inlays as opposed to clay.
Isbell tweaked this 2014 Fender Custom Shop ’60 Tele Custom (which was built by Master Builder Paul Waller) by adding a black pickguard and a Twisted Tele pickup in the neck position. This and the next two slides (the 1961 ES-335 and the Tom Stadler-built “Cooder-caster”) are the only guitars leftover from the 2015 episode.
This 1961 Gibson ES-335 is the first really old and really awesome guitar that Isbell obtained and is mostly original with a few key upgrades. Isbell had famed Nashville luthier Joe Glaser give the guitar a refret and install a TonePros tailpiece along with new tuners because after years of use the originals started to look like “a dead man’s toe.”
“This guitar will actually get me gigs,” says Isbell. It’s a “Cooder-caster” that was built by Nashville luthier Tom Stadler from Carter Vintage Guitars. The idea behind the guitar came from legendary slide guru Ry Cooder’s main guitar. Stadler salvaged the “gold foil” neck pickup from an old Teisco guitar and held onto to for about a year before Isbell’s wife commissioned the guitar for his birthday. Stadler also installed a Lollar lap steel pickup that’s based on an old Supro model in the bridge position. Based on a recommendation from Blake Mills, Isbell strings this guitar up with flatwound strings.
In the last Rundown, Jason was running two amps (Magnatone Super Fifty-Nine and Sommatone Roaring 40), and now his setup has doubled to include four combos. The first one is this Magnatone Panoramic Stereo 2x10 with pitch-shifting vibrato. It’s loaded with the company’s ceramic speakers.
Next up in his stable of amps is the Fender '64 Custom Deluxe Reverb handwired reissue. He took out the Jensen C12Q speaker and replaced it with a Weber Ferromax.
To keep power consistent and volume manageable (without sacrificing tone), Isbell employs a Weber MiniMass 50-watt Attenuator for each amp. The Magnatone gets two because it has two power amps for the stereo output.
The top pair that work together starts with this ’64 Fender Vibroverb that has been given the “Diaz” mod (named SRV’s tech Cesar Diaz), which means they pulled the preamp tube in the vibrato channel. (For what it’s worth, this mod can be done to the normal channel, too. You just need to pull the V1 preamp instead.) The impact of the mod is summarized best by new PG columnist Jens Mosbergvik (“Silver and Black”) on his Fenderguru site: “the other channel’s tube will be hotter biased and offers more gain. The amp will play louder than before given the same volume knob setting. The stronger signal will push the second gain stage (V4 tube) harder and give you increased sustain, compression and harmonics.” It has a 15" JBL speaker and was a Christmas gift from wife Amanda Shires.
The last of the combos is this 1958 Fender Bassman that Isbell bought at Rudy’s in NYC. He believes it was owned or was in the shop of George Alessandro for years, so it’s in tip-top shape and purrs real nice.
The top shelf of Jason’s rack includes a trio of Fishman Aura units and a J. Rockett Audio Blue Note OD that is used as an EQ pedal for Jason’s neck humbuckers so they are a little more trebly. These are all juiced up by the Voodoo Lab Pedal Power Digital brick.
Next row is home to a silverface Klon Centuar, Origin Effects SlideRIG, and a trio of Analog Man stomps—a King of Tone, Sun Lion (gift from Marc Ford), and a modded Analog Man Small CompROSSor (with an added mix knob). These are brought to life by the Voodoo Lab Pedal Power Iso-5.
And in the last drawer we have an Analog Man ARDX20 Dual Analog Delay, Electro-Harmonix Micro POG, and a quad of Chase Bliss digital powerhouses—Condor, Gravitas, Tonal Recall, and Dark World. All of these pedals are powered by the Voodoo Lab Pedal Power 4x4.
Lastly for Isbell is this Ibanez DML10 Modulation Delay II. The delay function is dialed out and is used as a comb filter with very subtle modulation that mimics a flanger.
Here is the brain behind Isbell’s entire setup that enables him to make several changes with one kick of a button thanks to the RJM Mastermind GT. Other goodies out front include a TC Electronic PolyTune 2 Noir, Chase Bliss Condor, and a Mission Engineering EP-1 Expression Pedal.
A new addition to Sadler Vaden’s vault is this buttescotch, blackguard Tele built by the Fender Custom Shop last year. It’s based on a ’51 Nocaster with a ’60s-style neck profile and Twisted Tele pickups (suggested by Jason).
This is a 1981 Tokai Breezysound T-style outfitted with a classic B-bender.
Here is Sadler Vaden’s 1999 Fender Tele Custom ’72 reissue (MIM) that was upgraded with a Lindy Fralin Split-blade in the bridge and a Fralin P-92 in the neck.
400 Unit guitarist Sadler Vaden has been using this ’05 Gibson SG Standard as his main ride. It's loaded with a Seymour Duncan Pearly Gates humbucker in the bridge, a '59 in the neck, and is strung with Ernie Ball Regular Slinky strings.
This eye-catching Les Paul VOS is a 2015 model from the Gibson Custom Shop that now has OX4 humbuckers that were custom-wound to approximate those found in Pagey’s No. 1.
This 2015 Fender Custom Shop Strat was Sadler’s newest guitar in the 2015 episode. It’s now used for electric material like “Last of My Kind” and always rolls with a Thalia capo in the 4th position.
On the last Rundown Sadler was using a 12-string Dano, but now he’s got a fireglo 360/12 Rickenbacker for the job.
If you’re following along at home, you’ll recognize this from the last Rundown when it was Isbell’s go-to acoustic. Now, this D-18 Authentic 1939 belongs to Sadler and still sees the stage each night.
Sadler’s only semi-hollow 6-string is this 2007 Gibson ES-335 “block” reissue—and at the behest of Isbell (its former owner), Vaden dropped in OX4 PAF-style pickups, a Duesenberg Tremolo system, and is strung with Ernie Ball Regular Slinky strings, too.
Here is Sadler’s newest guitar—a Gibson Acoustic SJ-200 Deluxe.
Like last time, Sadler is still running his 3rd Power British Dream.
And while he’s still using a Vox (last time was a handwired AC30 reissue), he’s now rocking through an all-tube 1965 Pacemaker he bought at Emerald City Guitars.
Sadler’s stomp station has grown and tidied up since our last visit. Now he’s going with an Eventide H9, Line 6 MM4, Strymon BlueSky, Analog Man ARDX20 Dual Analog Delay, Mad Professor Forest Green Compressor, Greer Amps Lightspeed, Analog Man King of Tone, Walrus Audio 385 drive, and a pair of Dunlop foot pedals—535Q Cry Baby and a Dunlop DVP3 Volume Pedal. A Korg Pitchblack tuner keeps everything in check, a 3rd Power A/B box controls the amps, and a Walrus Audio Transit 5 wrangles all the pedals.
And for acoustic purposes, Sadler is using a Fishman Platinum Pro EQ and a Radial ToneBone BigShot I/O.
An unlikely pairing of bassists would be the 400 Unit’s Jimbo Hart and former-Metallica thumper Jason Newsted. However, as odd as this low-end duo may seem, they’ve actually become fast friends after Newsted attended and introduced himself following an Isbell show in Oakland, California. The friendship has blossomed in such a way that Newsted gifted Hart this Sadowsky Will Lee Bass 4-string that is decked out with a flame-maple top and fretboard with abalone inlays, and a Hipshot D Extender that quickly goes down a whole step.
While this head-turning blue bomber is an onstage backup, Hart loves that this Sadowsky Vintage PJ “always works in the studio” so it still consistently feels the love.
Hart is running two Ashdown tube heads that can feel like a herd of oncoming buffalo. He normally prefers to run the 300-watt Classic Tube Magnifier (bottom) but will go for the 100-watt model (top) for a brighter sound.
The Hart and soul of his rig lies in this small box—a handwired Noble DI preamp listed as No. 19.
This Xotic X-Blender sits in the rack and allows Jimbo to intricately control the wet/dry blend in his setup from a night-to-night, room-to-room basis. (You can also see that he’s no longer using wooden picks and now plunks away with some custom plectrums from Dunlop.)
Jimbo’s pedal playground includes a Peterson Strobostomp Classic, a Dunlop DVP3 Volume, a Greer Amps Soma, a Malekko Spring, Walrus Audio Voyager and Janus, an Ampeg Classic Analog Bass Preamp, EBS OctaBass, and everything is controlled by a Walrus Audio Transit 5.
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D'Addario XT Strings:https://www.daddario.com/XTRR
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- Jason Isbell & Guitarist Sadler Vaden Rig Rundown [2024] ›
- Discover Jason Isbell and The 400 Unit's Latest Release - Premier Guitar ›
- Unleash Sonic Possibilities with Harvezi Hazze - Premier Guitar ›
Featuring Bluetooth input, XLR inputs, and advanced amplifier platform, the KC12 is designed to offer exceptional sound quality and versatility for a wide range of applications.
The KC12 is a first-of-its-kind, 3-way, 3000-watt active loudspeaker system encompassing the visual aesthetic of a column loudspeaker while surpassing the acoustic performance of conventional designs. Simple and easy to deploy, the elegant KC12, available in black and white, is ideal for a wide range of customers and applications from solo entertainers, musicians and bands, mobile entertainers and DJs to corporate AV, event production, and static installations.
Column-style portable loudspeaker systems are most often put into service due to their unobtrusive form factor. However, typical designs lack clarity and definition, particularly when pushed to high output levels, forcing the user into a form-over-function compromise. Solving this common dilemma, the KC12 cleverly utilizes a 3-way design featuring QSC’s patented LEAF™ waveguide (first introduced in L Class Active Line Array Loudspeakers) combined with a true 1-inch compression driver, two 4-inch midrange drivers, and a high output 12-inch subwoofer, while still maintaining the desired, elegant appearance of a “column” system. The KC12 produces an outstanding full-range horizontal coverage of 145 degrees and 35 degrees of audience-directed vertical coverage with clean and natural sound at all output levels.
The system features three inputs: a Bluetooth ® input combined with a 3.5 mm TRS stereo input, as well as two combo XLR inputs (Mic/Line/Hi-Z and Mic/Line/+48 V), with independent, assignableFactory Presets for each XLR input, making it ideal for small events where two microphones are needed for different uses. The rear panel incorporates a multi-function digital display, offering control and selection of several loudspeaker functions, including Global Parametric EQ, Subwoofer level, Presets and Scenes, Bluetooth configuration, Delay (maximum of 200 ms), or Reverb. Bluetooth functionality also provides True Wireless Stereo (TWS), which ensures low latency pairing between the music source and both left and right loudspeakers simultaneously.
Additionally, the KC12 can be deployed with or without its lower column pole, making the system ideally suited for utilization on a floor, riser or raised stage. The system is backed by a 6-year Extended Warranty (with product registration).
“The KC12 exquisitely resolves the form-over-function compromise that has frustrated users of this category of products since they made their market introduction over 20 years ago,” states David Fuller, VP of Product Development, QSC Audio. “With the benefit of time, experience, extensive customer research, and cutting-edge innovation, our talented design team has truly created something very different from the status quo – not simply a differentiated product, but an overall better solution for the customer.”
The feature set and performance characteristics of the KC12 are complemented by a new, advanced amplifier platform, first incorporated into the L Class LS118 subwoofer released this past October. Fuller adds, “Among the platform’s key attributes are layers of real-time telemetry and protection to ensure uninterrupted performance day after day, which is a foundational QSC brand attribute.”
“Just like our first K Series reset the bar for powered loudspeakers, elevating customers’ expectations for performance, quality, reliability, usability, and professional appearance, the K Column offers a compelling, new approach to a familiar category and is destined to redefine the whole notion of what a ‘column’ is for users of portable PA products,” states Ray van Straten, VPBrand, Marketing & amp; Training, QSC Audio. “The product is simply stunning in its sleek and elegant appearance, but with the marketing tagline, ‘Just Listen’, we’re confident that once again, QSC sound quality will ultimately be the reason customers will quickly embrace the K Column as the next ‘New Standard’ in its category.”
The QSC KC12 K Column carries a MAP price of $1,999.
For more information, please visit qsc.com.
This pedal is designed to offer both unique distortion qualities and a tonal palette of sonic possibilities.
At the heart of the Harvezi Hazze pedal is a waveshaper designed around a unijunction transistor - a relic from the early days of the semiconductor industry unearthed from the e-waste bins of flea markets in Tbilisi, Georgia, the Eastern European country's largest city.
The unijunction transistor offers unique properties allowing one simple component to replace a number of very complex devices. Therefore. depending on the operating mode, users can access a distortion, a limiter, a waveshaper and a generator - with smooth transitions among each of these.
The name "Harvezi Hazze" translates from Georgian as "a fault on the transmission line" or "signal jamming", and both the semantic and phonetic nature of these translations imply what users can expect: an impediment to the input signal, which can range from pleasant harmonic distortions to complete obliteration. The signal chain of Harvezi Hazze consists of an optical compressor with fixed parameters; a dual-mode distorting amplifier with either softer or harsher clipping; a waveshaper built around a unijunction transistor; and a tone stack section designed to tame these sonic building blocks.
Signal flow and controls
Following the input, the signal goes to the Compressor, Distorting Amplifier, Waveshaper, and then to the Tone Stack and output stages. Harvezi Hazze features six control knobs, a three-way switch and a footswitch.
- Gain Control: This controls the output amplitude of the signal in the distorting amplifier section. Depending on the position of the switch, the distortion introduced by this section is soft (with the switch in the left position) or more aggressive with an abundance of high harmonics (with the switch in the middle position).
- Spoil and Spread: This knob controls the operation of the unijunction transistor (waveshaper section). Spoil sets the point on the amplitude axis at which the wave will fold, and Spread sets the amplitude of the folding. The higher the Spread value, the more severe the distortion will be, while Spoil will change the timbre and response threshold. By adjusting Spoil, users can achieve various gating and cutoff effects; at low Spread values, distortion sounds are mixed into the clean sound.
- Tone: This knob adjusts the brightness of the sound. With higher values, higher harmonics become present in the signal.
- Three-way switch. This feature regulates either the distortion mode in the amplifier section (left and center positions), or turns on the total feedback mode (right position) when the values of all knobs begin to influence each other. In this position, effects occur such as resonance at certain frequencies and self-oscillation.
- Level knob: This controls the output volume of the signal.
- Footswitch: This routes the signal through the effect circuitry or from input to output directly (true bypass).
The array of switches on the side of the unit provides even further tonal options; the lower position of the switch enables the specific function:
- Tone Stack: Routes the signal through the tone stack section (Tone knob).
- Bass Boost: Enhances bass frequencies.
- Tone Mode: Changes the behavior of the Tone knob (tilt or lowpass).
- Notch Freq: Changes the central frequency of the filter.
- High Cut: Attenuates high frequencies.
- Compressor: Routes the signal through the compressor.
Harvezi Hazze is priced at €290. To learn more, please visit https://somasynths.com/harvezi-hazze/.
Ibanez Blackout series acoustic guitars feature all-black aesthetic, high-quality electronics, and in-demand woods. Models include AEG721 with Fishman S-core pickups, AEWC621 with Ibanez AEQ-SP2 preamp, and TCY621 with Ibanez under-saddle pickup. With prices ranging from $249.99 to $399.99, these guitars offer a unique and stylish option for musicians.
Ibanez has unveiled its new Blackout series of acoustic guitars to their lineup. Inspired by the popular Iron Label series, these instruments feature an all-black aesthetic, including a matte black finish and black hardware. The Blackout series offers three distinct models: the AEG721 7-string acoustic-electric, the AEWC621, and the TCY621. Each model boasts in-demand woods, including a Spruce top, Sapele back and sides, and Macassar Ebony or Purpleheart for the fingerboard and bridge.
To complement their unique appearance, the Blackout guitars are equipped with high-quality electronics. The AEG721 and AEWC621 feature Fishman’s S-core pickups and Ibanez AEQ-SAP2 preamps, while the TCY621 utilizes an Ibanez under-saddle pickup and AEQ-2T preamp.
For more information, please visit ibanez.com.
AEG721
- AEG body
- 634mm/25" scale
- Spruce top
- Sapele back & sides
- Comfort Grip 3pc Nyatoh/Maple neck
- Macassar Ebony fretboard & bridge
- Black dyed Bone nut & saddle
- Black Die-cast tuners (18:1 gear ratio)
- Fishman® S-core pickup
- Ibanez AEQ-SP2 preamp w/Onboard tuner
- Balanced XLR & 1/4" outputs
- Ibanez Advantage™ bridge pins
- D'Addario® XTAPB1253, plus .070 guage Phosphor Bronze
- String Gauge: .012/.016/.024/.032/.042/.053/.070
- Factory Tuning: 1E,2B,3G,4D,5A,6E,7B
- Recommended case: AEG10C/MAP: $169.99
- Finish: Blacked Out
LIST PRICE: $599.99
ESTIMATED STREET PRICE: $399.99
AEWC621
- AEWC body
- 634mm/25" scale
- Spruce top
- Sapele back & sides
- Comfort Grip Nyatoh neck
- Macassar Ebony fretboard & bridge
- Black Die-cast tuners (18:1 gear ratio)
- Fishman® S-Core pickup
- Ibanez AEQ-SP2 preamp w/Onboard tuner
- Balanced XLR & 1/4" outputs
- Ibanez IACS6C coated strings
- Recommended case: AEG10C/MAP: $169.99
- Finish: Blacked Out
LIST PRICE: $599.99
ESTIMATED STREET PRICE: $399.99
TCY621
- Talman Double Cutaway body
- Neck joint at 16th fret
- Spruce top
- Sapele back & sides
- Okoume neck
- Purpleheart fretboard & bridge
- Black Die-cast tuners
- Ibanez Undersaddle pickup
- Ibanez AEQ-2T preamp w/Onboard tuner
- Ibanez Advantage™ bridge pins
- Recommended case: TM50C/MAP: $179.99
- Finish: Blacked Out
LIST PRICE: $374.99
ESTIMATED STREET PRICE: $249.99
Martin's 2025 NAMM Show lineup features new guitars with enhanced playability and vintage aesthetics.
C. F. Martin & Co. is unveiling an exciting lineup of new guitars ahead of The 2025 NAMM Show, including refinements to its trusted Standard Series and two all-new Retro Plus guitars.
With the Standard Series refresh, Martin brings fans enhanced playability, timeless aesthetics, and three stunning new models, while its two new Retro Plus guitars offer thermally aged spruce tops and the classic appearance of an 18-style guitar at an accessible price point. These releases showcase Martin's mission to create instruments that unleash the artist within.
These new guitars and more will be on display at The 2025 NAMM Show in Anaheim, California, through Saturday, January 25, with more releases to come.
Standard Series Refresh
Martin is refreshing its popular Standard Series lineup to bring subtle yet impactful refinements to enhance the look, tone, and playability of these iconic guitars, while introducing three new models to the series: the D-17, 000-17, and OM-45.
One of the key updates is Sitka spruce Golden Era (GE) top bracing, as featured on the Modern Deluxe Series, which offers a more vintage, breathy tone with enhanced sustain. The GE modified low oval neck profile maintains its popular shape but is optimized for vintage appeal with minimal increase in total mass.
It's paired with playability enhancements like a thinner fingerboard with a gently beveled comfort edge and refined string spacing at the nut, while the new GE modern belly bridge features smoother, more comfortable corners.
Standard Series guitars also now feature either bone or ebony bridge pins, along with newly added sunburst and ambertone finish options for select models. Additional aesthetic updates include a long diamond neck transition, a nut cut on angle, and a sleeker vintage-style heel.
These are the changes Martin enthusiasts have been asking for, delivering a blend of vintage appointments and modern playability enhancements. Players will notice improved comfort and vintage tones, particularly with the GE-inspired bracing and aesthetic refinements.
For more information, please visit martinguitar.com.
D-17
The Martin D-17 is a bold new offering in the refreshed Standard Series, combining vintage-inspired appointments with modern refinements for players seeking rich sounds and enhanced playability. Its iconic Dreadnought body shape is a favorite among players for its loud, projective tone and strong bass. This model is handcrafted with a satin-finished solid mahogany body, delivering a warm and woody tone, while vintage-inspired details such as a sleeker heel and nickel open gear tuners give the guitar a timeless, elegant look. With its satin-finished select hardwood neck and 25.4" scale length, whether you’re strumming big chords or picking intricate tunes, the D-17 delivers powerful, dynamic sound with a classic, vintage vibe.
000-17
The Martin 000-17 is another fresh addition to the Standard Series lineup. Its Auditorium (000) body shape offers a balanced tone and comfortable size, making it great for both fingerstyle playing and heavy-handed strumming. Crafted from solid mahogany with a satin finish, it delivers a warm, woody tone with a clear top end and a punchy midrange—ideal for players seeking a vintage-inspired sound with a modern edge. Its satin-finished select hardwood neck and 24.9" scale length contributes to a more relaxed string feel and warmer, mellower tones. Whether you’re playing at home, in the studio, or on stage, the 000-17 delivers the balanced, dynamic sound that players expect from a high-quality Martin.
OM-45
The Martin OM-45 is a pinnacle of craftsmanship in the refreshed Standard Series, combining classic appointments with modern enhancements for a truly exceptional instrument. This all-new full-gloss acoustic is crafted with solid East Indian rosewood back and sides and a solid spruce top, delivering a rich, resonant tone with remarkable sustain. Its genuine mahogany neck ensures a smooth, effortless feel, while the longer 25.4" scale length provides just the right amount of string tension for enhanced clarity, making this guitar great for intricate picking and strumming. Its dazzling pearl inlay, aging toner, and gold open gear tuners offer an elegant touch, making the OM-45 as stunning to look at as it is to play.
De Retro Plus Mahogany
The Martin DE Retro Plus Mahogany is inspired by Martin’s legendary 18-style flagship models. It combines powerful tone and iconic design with cutting-edge craftsmanship at a fraction of the price. Its torrefied solid spruce top is thermally aged for enhanced resonance and a beautifully seasoned sound, delivering the rich, broken-in tone of a vintage instrument from the first strum. It’s the same premium feature long reserved for our Authentic and Modern Deluxe series, now available for the first time ever in the Road Series. It even comes stage-ready with Martin E1 electronics, featuring a built-in tuner and controls for dialing in your perfect live tone.
000E Retro Plus Mahogany
This 000 model blends balanced tone with the same cutting-edge craftsmanship and 18-style appearance as its Dreadnought counterpart, including a torrefied solid spruce top. With solid mahogany back and sides, scalloped spruce X bracing, a Performing Artist neck, ebony fingerboard and bridge, and Martin E1 electronics, these guitars have everything you could want in an acoustic. Ideal as a gigging workhorse or your first step into premium acoustics, they deliver best-in-class quality at an unbeatable value for serious players, and a lifetime of inspiration for anyone who picks one up. Just be warned, you won’t be able to put them down—because nothing compares to a Martin.