The third model in Martin's Planet Earth series is a tribute to the Keiki Kohola Project, a nonprofit that promotes protection of humpback whales in Hawaiian waters.
This model is FSC certified (license code FSC-C008304) and 100% plastic-free, following the precedent set by our previous two Planet Earth models, the 00L Earth and OM Biosphere. Like the OM Biosphere, it's compliant with the Preferred by Nature (PBN) Sustainability Standards (license code PBN-SFP-039001) and adorned with the PBN Hummingbird Seal. Even the softshell case is sustainable – made from hemp.
As the world celebrates Earth Day, Martin Guitar reaffirms its commitment to environmental stewardship with a trio of initiatives aimed at promoting sustainability across its operations. From the unveiling of its latest Biosphere model to the release of its annual Impact Report and the grand opening of a new museum display dedicated to sustainability, Martin Guitar strives to set the standard for eco-conscious innovation in the musical instruments industry.
Featuring artwork from acclaimed artist Robert Goetzl, the third model in our Planet Earth series takes us back to the depths of the ocean, where humpback whales raise their calves. Researchers are working around the clock to create an environment there that’s safe for humpbacks to raise their young, providing safety from manmade dangers like plastic pollution, vessel collisions, and climate change.
With the DSS Biosphere II, Martin hopes to raise awareness of protecting those environments, and the music they create. Impact Report Three years ago, Martin developed an annual Impact Report to highlight some of the company’s efforts to care for its employees, community, and the environment. It serves as a framework to advance these efforts and provide an update of annual progress. Key highlights of the 2023 annual report include: Employees: Without the dedicated employees who show up every day and take pride in making the best acoustic guitars and strings in the world, Martin would not be thriving today. Programs like an employee wellness program, education reimbursement, and training opportunities help to ensure our co-workers’ well-being. Community: Martin Guitar remains deeply invested in the communities where it operates. Since 1996, the Martin Charitable Foundation has supported the company’s engagement with nonprofit music, arts, education, environmental action, and human service organizations. Last year, the Foundation awarded $485,500 in grants to over 85 nonprofit organizations. Environment: Protecting the environment is of utmost importance to Martin Guitar. In 2023, the company supported domestic and international reforestation efforts, participated in one of the biggest green movements in Navojoa, Sonora, Mexico, and launched the second in a series of sustainable Earth Day guitar models that are FSC certified and 100% plastic-free. The release of this year’s Impact Report reinforces Martin Guitar's position as a leader in the music industry and sets a new standard for corporate transparency and accountability.
Our columnist’s pursuit of guitar lore brought tears to the eyes of the late Japanese builder Yasuo Momose, who became nostalgic for his designs like the one featured here.
Once upon a time, yours truly was a young journalism major who hated to read! Yep, I wanted to be a sports writer, and was only really interested in that endeavor. But alas, young Frank was forced to read about two books/novels a week, for about two years. It was good for a backwards weirdo like me because I was exposed to history, culture, and philosophy to the extent that I was actually becoming a little worldly. Just a little. Out of those experiences, I learned to appreciate telling stories, especially through interviews and firsthand accounts.
When I began to research guitars, I just simply reached out to people and asked all the questions I could think of. Man, I talked to musicians, studio people, factory workers, guitar designers, and company owners. Almost all of them were a bit surprised at my interest in them and my wanting to know about mostly forgotten guitar history.
I’ve interviewed people from all over the world, from the U.S. to Italy to England to Germany. At one point, I had so much information that it was depleting my hard-drive space and my brain, to the extent that I had to take a breath and organize all this stuff! In that process, I found that I cared for all these people and felt the need to tell their stories. Like any good journalism major, I realized the historical implications and the human element. So, for this month, I wanted to highlight a guitar design by Yasuo Momose. He worked at the famous Fujigen factory in the early 1960s, and later moved to a smaller factory called Hayashi Mokko, where he let his creative notions flow. He’s responsible for all the ultra-cool late-’60s Kent guitars with the racing-striped bodies!
Japanese guitar designer and builder Yasuo Momose.
Photo by Tadashi Ito
This particular model borrows from the “violin” guitar craze, mainly perpetuated by Paul McCartney and his Höfner bass. Dubbed the 834, this Kent was only produced for two short years, from 1967–1969. Priced at $125, the 834 was described as:
“The best of both—all in one! The free-sounding acoustics of a violin-shaped body, plus the charged up excitement of Kent electronics! This semi-acoustic body has an arched top and back, two pickups, two tone and two volume controls, toggle switch for pickup selection, rhythm-solo switch, compensating damper bridge and Kent tremolo tailpiece.”
Ah, to be an ad writer back in those days! In reality, this guitar was supercharged because of those Kent pickups, which are hot as hell, and could drive a small tube amp into the red zone! This is one of the guitars I wish I had never sold, because it’s light but also over-engineered and rather sturdy. Oh well. It has a wonderful headstock and body, “Kent” inlays, and of course, the cool side binding which had a dual purpose: to cover up the wood joining and to act as rally stripes. So cool!
As I was researching my book, I could never figure out which factory made the 834, along with all the other Kents from that era. So, on one of my visits to Japan, I was encouraged to visit Momose-san, who was then working at the Deviser factory in Matsumoto City. He was still making guitars, but they were all high-end electrics and acoustics, sold under the Momose name. I was led back to his workspace and there he was, toiling away at five guitars! He made all of them from scratch and was treated with a certain reverence among the other employees. In Japan, they respect their elders!
“Almost all of them were a bit surprised at my interest in them and my wanting to know about mostly forgotten guitar history.”
We got to chatting and sat down for an interview. At the end, I showed him some pictures from my book, and when I came to the Kent guitars, he started to tear up. He said, “These were my first designs,” and went on to tell me some more history and anecdotes. I tell this story again because Momose-san passed away recently, and I wanted to highlight him once more. He was the same age as my dad, both born in 1944. It turns out there is really only one reason to write about history. Get it straight before it disappears.
Summer School Electronics Class Reunion combines 90’s Russian Muff with 2020’s Trash Panda for a versatile drive pedal.
Each side features its own Drive and Tone knobs as well as Diode Selection toggle. (BLACK KNOBS= 90’S MUFF, GREEN KNOBS = TRASH PANDA) By tweaking the parameters, the user can open a world of tones which makes The Class Reunion a versatile drive, as well as a Riff-Writing-Machine.
The silicon setting on the muff side (BLACK KNOBS) is a more standard classic muff sound, while the LED setting creates a darker sound with more low-end. The LED setting on the Trash Panda side(GREEN KNOBS) is the classic amp-like overdrive from our Trash Panda, while the silicon setting is a lower output, but provides a crispier fizzier drive. By mixing these diode settings with the blend knob, the user can create so many sonic flavors, making this a reliable pedal for studio or live performance, as well as an addicting pedal to play at home and explore new tones and ideas.
Each pedal offers the following features:
- Independent Drive, Tone and Diode selection for each side of the circuit
- Master Volume and Blend controls
- Hand Built in Syracuse, NY
- Lifetime Warranty
- 9-volt operation and standard DC input
The Class Reunion is available at Summer School Electronics dealers, at a street price of $179.99.
For more information, please visit summerschoolelectronics.com.