The updates include a re-engineered D-28, several new Signature Edition Models, a new Limited Edition Model, and several series expansion models.
Nazareth, PA (June 29, 2017) -- C.F. Martin & Co. (Martin Guitar) will introduce a re-imagined D-28, bringing forward the guitar’s unrivaled legacy with vintage appointments and a new neck profile for comfort and modern playability. Additionally, Martin will debut four custom signature edition models, including the newest Ed Sheeran LX1 and a Jason Isbell D-18. Also featured in the Summer NAMM lineup is a limited edition Art Deco model, the all new FSC Certified Model America 1 dreadnought, and several exciting series expansion models that are sure to delight guitar enthusiasts worldwide. Martin will now offer the LR Baggs Anthem pickup system in select standard series models. Further details on all of the new Martin Guitar models that will be featured at 2017 Summer NAMM are below and at www.martinguitar.com/new.
STANDARD SERIES
D-28 (2017)
Sometimes innovation is in the details and this is certainly true with Martin’s re-imagined D-28. After nearly a century at the helm, and as the quintessential workhorse of music legends like Hank Williams, The Beatles, Johnny Cash, Neil Young, Bob Dylan, and so many more, Martin's legendary D-28 has been lovingly and artfully enhanced. “The post WWII D-28 had a slightly different look than its predecessor and became the centerpiece of the folk and folk rock movements at their pinnacle in the 1950s and 1960s." says Chris Martin, Chairman and CEO of Martin Guitar, "We have extracted the finest features from the D-28 of both my grandfather’s and my father’s respective eras.” The all new D-28 blends the rich history of the guitar with Martin’s newest and most heralded innovations. The 184 year old guitar maker has combined vintage appointments, including open gear tuners, an aged toner top, antique white accents, and a faux tortoise pickguard with a new neck profile to give D-28 enthusiasts a modern feel and comfortable playing experience. Martin has also added forward-shifted bracing to allow greater vibration of the top. The legend just got better! (MSRP: $3,299)
Model America 1
This limited edition Made in the USA dreadnought is based on Martin’s legendary D-18. This guitar features all United States sourced woods, including sycamore back and sides, a cherry neck, black walnut fingerboard, headplate and bridge, as well as an Adirondack spruce top and bracing. The tuning gears are also made in the USA by Sperzel. (MSRP: $3,499)
CUSTOM SIGNATURE EDITIONS
Ed Sheeran ÷ (Divide) Signature Edition
Ed Sheeran and Martin Guitar have joined forces, once again, to deliver the third in a series of Ed Sheeran Signature Edition guitars. The newest installment celebrates Sheeran’s long-awaited, third album ÷ (Divide). Sheeran’s newest signature model stays true to his love for Martin’s LX1E Little Martin, which offers unparalleled tone from a small body guitar, and continues with his mathematical-themed album cover art which adorns the guitar’s headstock and the solid Sitka spruce wood top. The guitar also features a matching blue rosette, around the soundhole, and is constructed with mahogany high pressure laminate (HPL) back and sides. The model comes stage-ready, equipped with Fishman Sonitone electronics, SP Acoustic strings and a padded gig bag. (MSRP: $699)
D-18 Jason Isbell
Jason Isbell worked with the Custom Shop at Martin Guitar to design his new Custom Signature Edition D-18 which is closely modeled after Martin’s Golden Era series. The model boasts a pre-aged Vintage Tone System (VTS) Adirondack spruce top; mahogany back and sides; and rear-shifted scalloped bracing which produces more natural volume and a clear powerful tone. Similar to Martin’s Authentic series guitars, it is constructed using hide glue which, unlike newer synthetic reproductions, dissolves into the grain of the wood and creates more resonance throughout the instrument. Isbell chose a thin finish and left off the pickguard - all design details that have one common goal – to make it loud. Mission Accomplished! Isbell also added a personal touch by including a custom inlay of one of his tattoos at the twelfth fret. (MSRP: $5,999)
D-Boak
Martin is proud to offer this Custom Signature Edition dreadnought featuring imprinted original “Inside Out” artwork by illustrator, luthier, musician and Martin archivist Dick Boak. In creating the artwork, Boak wanted to reveal and embellish the quintessential scalloped X-bracing of the Martin Dreadnought – the most beautiful and rarely seen internal structure of the company's flagship guitar. Personally signed and numbered in sequence, the D-Boak Dreadnought is crafted with a Sitka spruce soundboard, genuine mahogany back and sides, a modified low oval neck, simple dovetail neck joint, bone nut and saddle, and an ebony fingerboard and bridge. Tonally, the guitar is clear, projective and glassine. Anyone who has had the pleasure of working with Dick Boak over the past 40 years knows the impact that his creativity and love of guitars has made upon the company and the industry. This edition celebrates and shares his long and storied tenure at C. F. Martin & Co. (MSRP: $2,999)
D-18 RG
This Custom Signature Edition D-18, featuring imprinted original artwork by the talented Robert F. Goetzl, is a tribute to the Lakota Sioux Native American Tribe. The guitar features a single arrowhead inlay on the headplate, to symbolize a tool that was essential to the tribe’s early survival, along with four arrowheads on the fingerboard, each facing outward, to represent the four directions which were sacred to the Lakota Tribe. Martin will be donating a guitar to the Native American Heritage Association (www.naha-inc.org), a charitable organization whose mission is to provide food and other essentials to the people of Crow Creek and Pine Ridge Reservations in South Dakota. Pine Ridge has the lowest survival rate in the Western Hemisphere, second only to Haiti. The donated guitar will be auctioned off to raise much needed funds for the organization. (MSRP: $4,699)
LIMITED EDITIONS
SS-00LArt Deco-2017 Limited Edition
Unique 14 Fret Slope shoulder 00L guitar, limited to a run of thirty, is only available at Summer NAMM. It has a custom paper label signed by C.F. Martin IV and is the same size and shape as the popular CEO-7 model. The SS-00LArt Deco-2017 features a design motif in collaboration with luthier Bruce Petros in the form of wood purfling that extends around the top, back, and fingerboard. The purfling is laser cut from beautiful flamed maple. The top is Adirondack spruce with an antique toner and the guitar is further complimented with open gear Schaller Grandtune vintage copper tuners. (MSRP: $7,499)
15 SERIES
D-15M StreetMaster and 000-15M StreetMaster
Martin Guitar has expanded their popular solid mahogany 15 Series line with a respectful nod to the working musician. The StreetMaster models are built to the same specifications as the 000-15M and D-15M models but Martin has added a beautifully distressed satin finish. The StreetMasterTM is perfect for your next gig, whether it be at the historic Ryman Theater or a day of busking in the big city. Enjoy the look and feel of a well-worn instrument with the lifetime warranty and the superb playability of a brand new guitar. The 15 Series StreetMaster models come with a gig bag, making them ready to hit the streets. (MSRP: $1,799)
16 SERIES
GPC-16E
Martin has expanded their popular 16 series with the addition of the GPC-16E. Each model in the 16 series is designed with the tone wood that best compliments the body size and shape of that particular model. With the new GPC-16E, which is a Grand Performance size with the depth of a 000, Martin selected solid koa back and sides to enhance the easy, natural resonance of this guitar, making it great for recording. (MSRP: $2,999)
X SERIES
0X2MAE
Designed for those that have fallen in love with the look of Martin’s 15 Series solid mahogany guitars, this small bodied X Series version features mahogany high-pressure laminate (HPL) top, back and sides, a herringbone applied rosette, a high performance neck and a Forestry Stewardship Council (FSC) Certified Richlite fingerboard and bridge. This guitar is road ready and built to last. ($729)
For more information:
Martin Guitar
Well-designed pickups. Extremely comfortable contours. Smooth, playable neck.
Middle position could use a bit more mids. Price could scare off some.
$2,999
Ernie Ball Music Man StingRay II
A surprise 6-string collaboration with Cory Wong moves effortlessly between ’70s George Benson and Blink-182 tones.
Announced at the 2025 NAMM show, Cory Wong’s new collaboration with Ernie Ball Music Man scratched an itch—namely, the itch for a humbucker-loaded guitar that could appease Wong’s rock-and-R&B alter ego and serve as complement to his signature Fender Strat. Inspiration came from no further than a bandmate’s namesake instrument. Vulfpeck bassist Joe Dart has a line of signature model EBMM basses, one of which uses the classic StingRay bass body profile. So, when Wong went looking for something distinctive, he wondered if EBMM could create a 6-string guitar using the classic StingRay bass body and headstock profile.
Double the Fun
Wong is, by his own admission, a single-coil devotee. That’s where the core of his sound lives and it feels like home to him. However, Wong is as inspired by classic Earth, Wind & Fire tones and the pop-punk of the early ’90s as he is by Prince and the Minneapolis funk that he grew up with. The StingRay II is a guitar that can cover all those bases.
Ernie Ball has a history of designing fast-feeling, comfortable necks. And I can’t remember ever struggling to move around an EBMM fretboard. The roasted maple C-shaped neck here is slightly thicker in profile than I expected, but still very comfortable. (I must also mention that the back of the neck has a dazzling, almost holographic look to the grain that morphs in the light). By any measure, the StingRay II’s curves seemed designed for comfort and speed. Now, let’s talk about those pickups.Hot or Not?
A few years ago EBMM introduced a line of HT (heat-treated) pickups. The pickups are built with technology the company used to develop their Cobalt and M-Series strings. A fair amount of the process is shrouded in secrecy and must be taken on faith, but EBMM says treating elements of the pickup with heat increases clarity and dynamic response.
To find out for myself, I plugged the StingRay II into a Fender Vibroverb, Mesa/Boogie Mark VII, and a Neural DSP Quad Cortex (Wong’s preferred live rig). Right away, it was easy to hear the tight low end and warm highs. Often, I feel like the low end from neck humbuckers can feel too loose or lack definition. Neither was the case here. The HT pickup is beautifully balanced with a bounce that’s rich with ES-335 vibes. Clean tones are punchy and bright—especially with the Vibroverb—and dirty tones have more room for air. Individual notes were clear and articulate, too.
Any guitar associated with Wong needs a strong middle-position or combined pickup tone, and the StingRay II delivers. I never felt any significant signal loss in the blended signal from the two humbuckers, even if I could use a bit more midrange presence in the voicing. The midrange gap is nothing an EQ or Tube Screamer couldn’t fix, though. And not surprisingly, very Strat-like sounds were easy to achieve for having less midrange bump.
Knowing Wong’s love for ’90s alt-rock, I expected the bridge pickup to have real bite, and it does, demonstrating exceptional dynamic range and exceptional high-end response that never approached shrill. Nearly every type of distortion and overdrive I threw at it sounded great, but especially anything with a scooped-mid flavor and plenty of low end.
The Verdict
By any measure, the StingRay II is a top-notch, professional instrument. The fit and finish are immaculate and the feel of the neck makes me wonder if EBMM stashes some kind of secret sandpaper, because I don’t think I’ve ever felt a smoother, more playable neck. Kudos are also due to EBMM and Wong for finding an instrument that can move between ’70s George Benson tones and the hammering power chords of ’90s Blink-182. Admittedly, the nearly $3K price could give some players pause, but considering the overall quality of the instrument, it’s not out of line. Wong’s involvement and search for distinct sounds makes the StingRay II more than a tired redux of a classic model—an admirable accomplishment considering EBMM’s long and storied history.
Ernie Ball Music Man StingRay II Cory Wong Signature Electric Guitar - Charcoal Blue with Rosewood Fingerboard
StingRay II Cory Wong - Charcoal BlueAdding to the company’s line of premium guitar strapsand accessories, Fairfield Guitar Co. has introduced a new deluxe leather strapdesigned in collaboration with Angela Petrilli.
Based in Los Angeles, Petrilli is well-known to guitar enthusiasts around the world for her online videos. She is one of the video hosts at Norman’s Rare Guitars and has her own YouTube lesson series, the Riff Rundown. She also writes, records and performs with her original band, Angela Petrilli & The Players, and has worked with Gibson, Fender, Martin Guitars, Universal Audio, Guitar Center and Fishman Transducers.
Angela Petrilli's eye-grabbing signature strap is fully hand cut, four inches wide and lightly padded, so it evenly distributes the weight of the instrument on the shoulder and offers superb comfort during extended play. The front side features black "cracked" leather with turquoise triple stitching. The "cracked" treatment on the leather highlights the beautiful natural marks and grain pattern – and it only gets better with age and use.The strap’s back side is black suede for adhesion and added comfort, with the Fairfield Guitar Co. logo and Angela's name stamped in silver foil.
Features include:
- 100% made in the USA
- Hand cut 4” wide leather strap with light padding -- offering extra comfort for longgigs and rehearsals.
- Black suede back side avoids slipping, maintains guitar’s ideal playing position.
- Length is fully adjustable from 45” - 54” and the strap has two holes on thetailpiece for added versatility.
The Fairfield Guitar Co. Angela Petrilli signature strap is available for $150 online at fairfieldguitarco.com.
Tube Amp Doctor has reissued one of the company’s mostsought-after products: the TAD 6L6WGC-STR Blackplate™ small bottle power tube is back inproduction after a 5-year absence.
The TAD 6L6WGC-STR Blackplate™ is the tube that has made TAD so popular with boutiqueamp manufacturers and vintage tone enthusiasts since 2003. A direct replacement for 6L6 and5881 tubes, it’s a remake of the small bottle GE6L6GC and has the same warm lower midrangeand silky top end as the classic GE versions of the 1950s and 1960s. Like the historic RCA5881, this tube features exclusive Blackplate anodes and a side getter.
The TAD 6L6GC-STR Blackplate™ and the TAD 6L6WGC-STR Blackplate™ feature TAD’sexclusive black-plate designs, gold grid wire, double getter construction, no-noise filaments and1.2mm thick heavy duty glass. This tube is approximately 80mm high (without pins) and canreplace 5881 and 6L6WGB tubes.
The newly reissued tubes feature the original design and raw materials from old stock, availablein limited quantities as long as the old stock raw materials are available. They’re the perfectchoice for vintage tweed and black panel amps such as the 1960 Bassman, Twin, Showman orSuper Reverb. The complex midrange and sweet heights are a class of its own. The TAD6L6WGC-STR is recommended for classic tone with warm cleans and rich, sweet mids whenpushed – and it’s great for fat jazz or blues tones.
- Delivers classic sound of the 1950s and ‘60s - excellent tone, maximum lifespan
- Tube Type: 6L6/5881
- Socket: 8 Pin(Octal)
- Identical construction, even tighter tolerances with improved production quality
The TAD 6L6GC-STR Blackplate™ and the TAD 6L6WGC-STR Blackplate™ are each priced at$48 (does not include VAT) / €46.50 (includes VAT) and are available at tubeampdoctor.com.
In challenging times, sometimes elemental music, like the late Jessie Mae Hemphill’s raucous Mississippi hill country blues, is the best salve. It reminds us of what’s truly essential––musically, culturally, and emotionally. And provides a restorative and safe place, where we can open up, listen, and experience without judgement. And smile.
I’ve been prowling the backroads, juke joints, urban canyons, and VFW halls for more than 40 years, in search of the rawest, most powerful and authentic American music. And among the many things I’ve learned is that what’s more interesting than the music itself is the people who make it.
One of the most interesting people I’ve met is the late Jessie Mae Hemphill. By the time my wife, Laurie Hoffma, and I met Jessie Mae, on a visit to her trailer in Senatobia, Mississippi, she’d had a stroke and retired from performing, but we’d been fortunate to see her years before at the New Orleans Jazz & Heritage festival, where she brought a blues style that was like quiet thunder, rumbling with portent and joy and ache, and all the other stuff that makes us human, sung to her own droning, rocking accompaniment on an old Gibson ES-120T.
To say she was from a musical family is an understatement. Her grandfather, Sid, was twice recorded by Alan Lomax for the Library of Congress. While Sid played fiddle, banjo, guitar, harmonica, keyboards, and more, he was best known as the leader of a fife-and-drum band that made music that spilled directly from Africa’s main artery. Sid was Jessie Mae’s teacher, and she learned well. In fact, you can see her leading her own fife-and-drum group in Robert Mugge’s wonderful documentary Deep Blues(with the late musician and journalist Robert Palmer as on-screen narrator), where she also performs a mournful-but-hypnotic song about betrayal—solo, on guitar—in Junior Kimbrough’s juke joint.
That movie, a 1982 episode of Mr. Rogers’ Neighborhood (on YouTube) where she appears as part of Othar Turner’s Gravel Springs fife-and-drum band, and worldwide festival appearances are as close as Jessie Mae ever got to fame, although that was enough to make her important and influential to Bonnie Raitt, Cat Power, and others. And she made two exceptional albums during her lifetime: 1981’s She-Wolf and 1990’s Feelin’ Good. If you’re unfamiliar with North Mississippi blues, their sound will be a revelation. The style, as Jessie Mae essayed it, is a droning, hypnotic joy that bumps along like a freight train full of happily rattling box cars populated by carefree hobos. Often the songs ride on one chord, but that chord is the only one that’s needed to put the music’s joy and conviction across. Feelin’ Good, in particular, is essential Jessie Mae. Even the songs about heartbreak, like “Go Back To Your Used To Be” and “Shame on You,” have a propulsion dappled with little bends and other 6-string inflections that wrap the listener in a hypnotic web. Listening to Feelin’ Good, it’s easy to disappear in the music and to have all your troubles vanish as well—for at least as long as its 14 songs last.“She made it clear that she had a gun—a .44 with a pearl handle that took up the entire length of her handbag.”
The challenge I’ve long issued to people unfamiliar with Jessie Mae’s music is: “Listen to Feelin’ Good and then tell me if you’re not feeling happier, more cheerful, and relaxed.” It truly does, as the old cliché would have it, make your backbone slip and your troubles along with it. Especially uptempo songs like the scrappy title track and the charging “Streamline Train.” There’s also an appealing live 1984 performance of the latter on YouTube, with Jessie Mae decked out in leopard-print pants and vest, playing a tambourine wedged onto her left high-heel shoe––one of her stylish signatures.
Jessie Mae was a complex person, caught between the old-school dilemma of playing “the Devil’s music” and yearning for a spiritual life, sweet as pecan pie with extra molasses but quick to turn mean at any perceived slight. She also spent much of her later years in poverty, in a small trailer with a hole in the floor where mice and other critters got in. And she was as mistrustful of strangers as she was warm once she accepted you into her heart. But watch your step before she did. On our first visit to her home, she made it clear that she had a gun—a .44 with a pearl handle that took up the entire length of her handbag and would make Dirty Harry envious.
Happily, she took us into her heart and we took her into ours, helping as much as we could and talking often. She was inspiring, and I wrote a song about her, and even got to perform it for her in her trailer, which was just a little terrifying, since I knew she would not hold back her criticism if she didn't like it. Instead, she giggled like a kid and blushed, and asked if I’d write one more verse about the artifacts she’d gathered while touring around the world.
Jessie Mae died in 2006, at age 82, and, as happens when every great folk artist dies, we lost many songs and stories, and the wisdom of her experience. But you can still get a whiff of all that––if you listen to Feelin’ Good.