
Martin Guitar unveils its 2025 NAMM Show lineup, featuring the limited-edition D-3 Millionth, Grand J-28E DN, Centennial Concert Uke, CEO-11, 00L Oliver, and D-Robert Goetzl 10.
These models join the refreshed Standard Series and Retro Plus guitars, showcasing Martin’s unwavering dedication to craftsmanship and creativity. Designed for musicians and collectors alike, they promise something truly extraordinary.
This special lineup of instruments will be on display at The 2025 NAMM Show in Anaheim, California, through Saturday, January 25, with more exciting releases to come.
For more information, please visit martinguitar.com.
D-3 MILLIONTH
The Martin D-3 Millionth is a breathtaking celebration of Martin Guitar’s rich legacy, craftsmanship, and the people behind it all. This limited-edition Dreadnought, marking the 3 millionth serialized Martin instrument, is a masterpiece in both sound and design that celebrates the “& Co.” in the company’s name.
Its top depicts a cross section of an American sycamore tree, featuring rings made of real sycamore and solid gold representing each year of the company’s growth, with diamonds marking major milestones in Martin’s 192-year history. The theme of “past, present, and future” is woven into every ornate detail, including its ebony headplate showcasing a diamond-filled Moravian star and an engraved 14-karat palladium pickguard, with rubies marking each of Martin’s three Nazareth-area factory locations since 1839.
On the back of the guitar, which is made of rare and coveted Brazilian rosewood, a beautiful sycamore tree of gold and pearl pays tribute to the countless employees who have left their fingerprints on the company’s legacy, from its early days in New York City to its longtime home in Nazareth, Pennsylvania.
With only three of these guitars in existence—and only one for sale (serial number 3,000,002)—this awe-inspiring instrument is both a tribute to the workers who built the brand and a testament to the innovation that keeps Martin at the forefront of acoustic excellence.
D-300
Inspired by the D-3 Millionth, the top of this limited-edition Dreadnought also represents the cross section of an American sycamore tree, with rings made of real sycamore and silver representing each year of the company’s growth, and solid gold dots marking pivotal moments in Martin’s history.
Its Brazilian rosewood back features a sycamore tree made of abalone, symbolizing the countless employees who have left their mark, while rubies embedded in the inlaid ebony pickguard represent Martin’s three Nazareth-area factory locations since 1839.
With European flamed maple binding, Waverly gold tuners, and Liquidmetal® bridge pins with bezel-set emeralds, the D-300 is both a visual and sonic masterpiece, honoring Martin’s enduring commitment to quality, artistry, and the workers who built the brand.
Only 30 of these guitars are available for purchase.
GRAND J-28E DN
For the first time in over a century, Martin is thrilled to offer a one-of-a-kind double-neck instrument—the Grand J-28E DN. As a member of the popular Standard Series lineup, this all-new guitar combines Martin’s renowned quality and craftsmanship with modern innovation, featuring an acoustic-electric with a twelve and six-string neck, giving you the versatility to explore new sounds, tunings, and musical textures all on one guitar.
Its powerful Grand Jumbo body delivers a bold, resonant tone, with solid East Indian rosewood back and sides and a solid spruce top that ensures balance and clarity across all playing styles.
This double-neck guitar took years to perfect, and thanks to cutting-edge technology at Martin’s Nazareth factory, the Grand J-28E DN, featuring two compound dovetail neck joints and unique X bracing, is now available to the public. Both necks feature a smooth satin finish and ebony fingerboard, with the six-string neck offering a slightly slimmer profile at the nut. It also includes built-in custom Fishman® electronics, making it ready for the stage and studio.
With classic 28-style appointments and endless sonic possibilities, this guitar is a dream for players seeking an extraordinary instrument that’s anything but standard.
CENTENNIAL 1 CONCERT UKE
Celebrate a major milestone of Martin craftsmanship with the limited-edition Centennial 1 Concert Uke. This understated yet elegant ukulele honors 100 years of Martin producing concert-sized ukes, which have been cherished by players worldwide since 1925.
Crafted from solid sinker mahogany, reclaimed from the depths of Belizean rivers, this uke has a rich, warm tone and a striking grain that only nature could create. Its concert size offers a coveted balance, sitting between the smaller soprano and larger tenor, making it comfortable to play while delivering full, resonant sounds. The neck is also made from sinker mahogany paired with an East Indian rosewood fingerboard that stops at the body joint, a nod to vintage ukulele design that opens up more of the instrument’s top for increased resonance.
With only 91 instruments available, this vintage-inspired uke is a rare find for players and collectors alike. It even includes a commemorative paper label inside to mark this special milestone, featuring an image of the North Street factory where the first concert ukes were handcrafted 100 years ago.
CENTENNIAL CONCERT UKE
Only offered through 2025, this vintage-inspired ukulele also honors 100 years of Martin manufacturing concert-sized ukes.
Crafted in Navojoa, Sonora, Mexico, it's made from solid genuine mahogany, offering a blend of warmth and brightness with a punchy midrange that makes every note sing, while its select hardwood neck features an East Indian rosewood fingerboard that stops at the body joint. Coupled with spruce bracing, the design allows the body to resonate freely, resulting in a powerful, dynamic tonal response that honors the heritage of Martin’s original concert ukuleles.
Modern upgrades include Graph Tech RATIO® tuning machines, giving you the convenience and stability of a geared tuner while keeping the look and feel of a vintage friction peg. It also includes a commemorative paper label inside, featuring an image of the historic North Street factory, and is snugly housed in a softshell case.
The Centennial Concert Uke offers the chance to own a piece of Martin’s rich musical history, celebrating the world’s oldest surviving ukulele manufacturer.
CEO-11
The Martin CEO-11 is a striking, limited-edition acoustic-electric that blends artistry and craftsmanship in a way only Martin can. Designed by President and CEO Thomas Ripsam, this Grand Auditorium (M) model features a figured white oak multi-piece back and sides paired with an FSC®-certified European spruce top, offering a rich, dynamic sound that’s both powerful and warm.
The eye-catching New Horizons blue burst top and dark mahogany-colored sides create a look that’s as bold as the sound it creates. Unique inlays, including a custom Unalome symbol on the headplate, add a personal touch that speaks to finding your creative path.
With a two-piece flamed maple neck, European flamed maple binding, and scalloped spruce X bracing, the CEO-11 invites you to connect with your sound and express yourself fully. It’s equipped with Fishman Aura VT Blend electronics, custom-voiced to Thomas’ preference, ensuring that its tone stands out wherever you play.
The number 11, a “master number” that symbolizes intuition and creativity, aligned perfectly with the guitar’s artistic vision, acting as a subtle reminder of the journey every artist takes to find their true voice. Limited to only 1,111 models, the CEO-11 is built for players looking to make a statement—sonically and visually—while staying true to Martin’s legacy of unleashing the artist within. Each guitar includes a blue paper label signed and numbered by Thomas.
00L OLIVER
The Martin 00L Oliver is a stunning new model born from a unique collaboration between Martin Guitar and renowned artist Julie Heffernan. This limited-edition acoustic features Heffernan’s captivating oil painting “Self-Portrait as Arms and the Men,” beautifully reproduced on its FSC-certified solid spruce top.
Heffernan’s painting transforms the guitar into a canvas that tells a story every time you play it. Her surrealist landscape lays bare the conflict between nature and humankind's impact on the planet, and the result is something you can both showcase and play.
Beyond its eye-catching artwork, the 00L Oliver, named after Heffernan's son, is crafted with premium materials and appointments. With a sloped-shoulder Grand Concert body, its solid medium-flame koa satin back and sides bridge the gap between the rich tones of rosewood and the warm, resonant qualities of mahogany. Its FSC-certified satin spruce top also delivers balanced projection while underscoring Martin's commitment to sustainability.
With only 104 instruments available, the 00L Oliver is a harmonious blend of art and music, inspired by Heffernan’s visionary artwork and Martin’s legacy of excellence. Whether you're a collector, musician, or lover of fine art, this guitar promises to inspire creativity and unleash your inner artist.
D-ROBERT GOETZL 10
The D-Robert Goetzl 10 is a one-of-a-kind creation that lets both music and art take flight. Hand-painted by acclaimed artist Robert Goetzl, this stunning Martin Dreadnought features a vibrant hummingbird surrounded by bright, blooming flowers, bursting with color and life.
Just like a hummingbird, this guitar is light and agile, yet full of energy and vibrancy. The solid spruce top, adorned with Goetzl's artwork, ensures the guitar’s rich, resonant tone soars, while the solid East Indian rosewood back and sides provide deep bass and lush overtones.
Goetzl worked closely with Martin's expert craftspeople to bring his vision to life. “Not only are they making a beautiful body for me to work on, but once I hand it over, they help really make it special,” says Goetzl. From the hand-painted top to the final touches added by Martin’s team of artisans, this guitar is a true collaborative effort.
Complete with an abalone rosette, Waverly gold tuners, and a genuine mahogany neck, the D-Robert Goetzl 10 is a striking piece of playable art. Whether it’s perched on your wall or in your hands, this bird is ready to sing.
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With authentic stage-class Katana amp sounds, wireless music streaming, and advanced spatial technology, the KATANA:GO is designed to offer a premium sound experience without the need for amps or pedals.
BOSS announces the return of KATANA:GO, an ultra-compact headphone amplifier for daily jams with a guitar or bass. KATANA:GO puts authentic sounds from the stage-class BOSS Katana amp series at the instrument’s output jack, paired with wireless music streaming, sound editing, and learning tools on the user’s smartphone. Advanced spatial technology provides a rich 3D audio experience, while BOSS Tone Exchange offers an infinite sound library to explore any musical style.
Offering all the features of the previous generation in a refreshed external design, KATANA:GO delivers premium sound for everyday playing without the hassle of amps, pedals, and computer interfaces. Users can simply plug it into their instrument, connect earbuds or headphones, call up a memory, and go. Onboard controls provide access to volume, memory selection, and other essential functions, while the built-in screen displays the tuner and current memory. The rechargeable battery offers up to five hours of continuous playing time, and the integrated 1/4-inch plug folds down to create a pocket-size package that’s ready to travel anywhere.
KATANA:GO drives sessions with genuine sounds from the best-selling Katana stage amp series. Guitar mode features 10 unique amp characters, including clean, crunch, the high-gain BOSS Brown type, two acoustic/electric guitar characters, and more. There’s also a dedicated bass mode with Vintage, Modern, and Flat types directly ported from the Katana Bass amplifiers. Each mode includes a massive library of BOSS effects to explore, with deep sound customization available in the companion BOSS Tone Studio app for iOS and Android.
The innovative Stage Feel feature in KATANA:GO provides an immersive audio experience with advanced BOSS spatial technology. Presets allow the user to position the amp sound and backing music in different places in the sound field, giving the impression of playing with a backline on stage or jamming in a room with friends.
The guitar and bass modes in KATANA:GO each feature 30 memories loaded with ready-to-play sounds. BOSS Tone Studio allows the player to tweak preset memories, create sounds from scratch, or import Tone Setting memories created with stage-class Katana guitar and bass amplifiers. The app also provides integrated access to BOSS Tone Exchange, where users can download professionally curated Livesets and share sounds with the global BOSS community.
Pairing KATANA:GO with a smartphone offers a complete mobile solution to supercharge daily practice. Players can jam along with songs from their music library and tap into BOSS Tone Studio’s Session feature to hone skills with YouTube learning content. It’s possible to build song lists, loop sections for focused study, and set timestamps to have KATANA:GO switch memories automatically while playing with YouTube backing tracks.
The versatile KATANA:GO functions as a USB audio interface for music production and online content creation on a computer or mobile device. External control of wah, volume, memory selection, and more are also supported via the optional EV-1-WL Wireless MIDI Expression Pedal and FS-1-WL Wireless Footswitch.
For more information, please visit boss.info.
We know Horsegirl as a band of musicians, but their friendships will always come before the music. From left to right: Nora Cheng, drummer Gigi Reece, and Penelope Lowenstein.
The Chicago-via-New York trio of best friends reinterpret the best bits of college-rock and ’90s indie on their new record, Phonetics On and On.
Horsegirl guitarists Nora Cheng and Penelope Lowenstein are back in their hometown of Chicago during winter break from New York University, where they share an apartment with drummer Gigi Reece. They’re both in the middle of writing papers. Cheng is working on one about Buckminster Fuller for a city planning class, and Lowenstein is untangling Austrian writer Ingeborg Bachmann’s short story, “Three Paths to the Lake.”
“It was kind of life-changing, honestly. It changed how I thought about womanhood,” Lowenstein says over the call, laughing a bit at the gravitas of the statement.
But the moment of levity illuminates the fact that big things are happening in their lives. When they released their debut album, 2022’s Versions of Modern Performance, the three members of Horsegirl were still teenagers in high school. Their new, sophomore record, Phonetics On and On, arrives right in the middle of numerous first experiences—their first time living away from home, first loves, first years of their 20s, in university. Horsegirl is going through changes. Lowenstein notes how, through moving to a new city, their friendship has grown, too, into something more familial. They rely on each other more.
“If the friendship was ever taking a toll because of the band, the friendship would come before the band, without any doubt.”–Penelope Lowenstein
“Everyone's cooking together, you take each other to the doctor,” Lowenstein says. “You rely on each other for weird things. I think transitioning from being teenage friends to suddenly working together, touring together, writing together in this really intimate creative relationship, going through sort of an unusual experience together at a young age, and then also starting school together—I just feel like it brings this insane intimacy that we work really hard to maintain. And if the friendship was ever taking a toll because of the band, the friendship would come before the band without any doubt.”
Horsegirl recorded their sophomore LP, Phonetics On and On, at Wilco’s The Loft studio in their hometown, Chicago.
These changes also include subtle and not-so-subtle shifts in their sophisticated and artful guitar-pop. Versions of Modern Performance created a notion of the band as ’90s college-rock torchbearers, with reverb-and-distortion-drenched numbers that recalled Yo La Tengo and the Breeders. Phonetics On and On doesn’t extinguish the flame, but it’s markedly more contemporary, sacrificing none of the catchiness but opting for more space, hypnotic guitar lines, and meditative, repeated phrases. Cheng and Lowenstein credit Welsh art-pop wiz Cate Le Bon’s presence as producer in the studio as essential to the sonic direction.
“On the record, I think we were really interested in Young Marble Giants—super minimal, the percussiveness of the guitar, and how you can do so much with so little.”–Nora Cheng
“We had never really let a fourth person into our writing process,” Cheng says. “I feel like Cate really changed the way we think about how you can compose a song, and built off ideas we were already thinking about, and just created this very comfortable space for experimentation and pushed us. There are so many weird instruments and things that aren't even instruments at [Wilco’s Chicago studio] The Loft. I feel like, definitely on our first record, we were super hesitant to go into territory that wasn't just distorted guitar, bass, and drums.”
Nora Cheng's Gear
Nora Cheng says that letting a fourth person—Welsh artist Cate Le Bon—into the trio’s songwriting changed how they thought about composition.
Photo by Braden Long
Effects
- EarthQuaker Devices Plumes
- Ibanez Tube Screamer
- TC Electronic Polytune
Picks
- Dunlop Tortex .73 mm
Phonetics On and On introduces warm synths (“Julie”), raw-sounding violin (“In Twos”), and gamelan tiles—common in traditional Indonesian music—to Horsegirl’s repertoire, and expands on their already deep quiver of guitar sounds as Cheng and Lowenstein branch into frenetic squonks, warped jangles, and jagged, bare-bones riffs. The result is a collection of songs simultaneously densely textured and spacious.
“I listen to these songs and I feel like it captures the raw, creative energy of being in the studio and being like, ‘Fuck! We just exploded the song. What is about to happen?’” Lowenstein says. “That feeling is something we didn’t have on the first record because we knew exactly what we wanted to capture and it was the songs we had written in my parents’ basement.”
Cheng was first introduced to classical guitar as a kid by her dad, who tried to teach her, and then she was subsequently drawn back to rock by bands like Cage The Elephant and Arcade Fire. Lowenstein started playing at age 6, which covers most of her life memories and comprises a large part of her identity. “It made me feel really powerful as a young girl to know that I was a very proficient guitarist,” she says. The shreddy playing of Television, Pink Floyd’s spacey guitar solos, and Yo La Tengo’s Ira Kaplan were all integral to her as Horsegirl began.
Penelope Lowenstein's Gear
Penelope Lowenstein likes looking back at the versions of herself that made older records.
Photo by Braden Long
Effects
- EarthQuaker Westwood
- EarthQuaker Bellows
- TC Electronic PolyTune
Picks
- Dunlop Tortex 1.0 mm
Recently, the two of them have found themselves influenced by guitarists both related and unrelated to the type of tunes they’re trading in on their new album. Lowenstein got into Brazilian guitar during the pandemic and has recently been “in a Jim O’Rourke, John Fahey zone.”
“There’s something about listening to that music where you realize, about the guitar, that you can just compose an entire orchestra on one instrument,” Lowenstein says. “And hearing what the bass in those guitar parts is doing—as in, the E string—is kind of mind blowing.”
“On the record, I think we were really interested in Young Marble Giants—super minimal, the percussiveness of the guitar, and how you can do so much with so little,” Cheng adds. “And also Lizzy Mercier [Descloux], mostly on the Rosa Yemen records. That guitar playing I feel was very inspiring for the anti-solo,[a technique] which appears on [Phonetics On and On].”This flurry of focused discovery gives the impression that Cheng and Lowenstein’s sensibilities are shifting day-to-day, buoyed by the incredible expansion of creative possibilities that setting one’s life to revolve around music can afford. And, of course, the energy and exponential growth of youth. Horsegirl has already clocked major stylistic shifts in their brief lifespan, and it’s exciting to have such a clear glimpse of evolution in artists who are, likely and hopefully, just beginning a long journey together.
“There’s something about listening to that music where you realize, about the guitar, that you can just compose an entire orchestra on one instrument.”–Penelope Lowenstein
“In your 20s, life moves so fast,” Lowenstein says. “So much changes from the time of recording something to releasing something that even that process is so strange. You recognize yourself, and you also kind of sympathize with yourself. It's a really rewarding way of life, I think, for musicians, and it's cool that we have our teenage years captured like that, too—on and on until we're old women.”
YouTube It
Last summer, Horsegirl gathered at a Chicago studio space to record a sun-soaked set of new and old tunes.
Featuring torrefied solid Sitka Spruce tops, mahogany neck, back, and sides, and Fishman Presys VT EQ System, these guitars are designed to deliver quality tone and playability at an affordable price point.
Cort Guitars, acclaimed for creating instruments that exceed in value and quality, introduces the Essence Series. This stunning set of acoustic guitars is designed for musicians looking for the quintessential classic acoustic guitar with fabulous tone all at an exceptional price point. The Essence Series features two distinct body shapes: The Grand Auditorium and the OM Cutaway. Whatever the flavor, the Essence Series has the style to suit.
The Essence-GA-4 is the perfect Grand Auditorium acoustic. Wider than a dreadnought, the Essence-GA-4 features a deep body with a narrower waist and a width of 1 ¾” (45mm) at the nut. The result is an instrument that is ideal for any number of playing styles: Picking… strumming… the Essence GA-4 is completely up for the task.
The Essence-OM-4 features a shallower body creating a closer connection to the player allowing for ease of use on stage. With its 1 11/16’th (43mm) nut width, this Orchestra Model is great for fingerpickers or singer/guitarists looking for better body contact for an overall better playing experience.
Both acoustics are topped with a torrefied solid Sitka Spruce top using Cort’s ATV process. The ATV process or “Aged to Vintage”, “ages” the Spruce top to give it the big and open tone of older, highly-sought-after acoustics. To further enhance those vintage tones, the tops bracing is also made of torrefied spruce. The mahogany neck, back, and sides create a warm, robust midrange and bright highs. A rosewood fingerboard and bridge add for a more balanced sound and sustain. The result is amazing tone at first strum. 18:1 Vintage Open Gear Tuners on the mahogany headstock offer precise tuning with vintage styling. The herringbone rosette & purfling accentuates the aesthetics of these instruments adding to their appeal. Both acoustics come in two choices of finish. Natural Semi-Gloss allows the Sitka spruce’s natural beauty to shine through and classic Black Top Semi-Gloss.
A Fishman® Presys VT EQ System is installed inside the body versus other systems that cut into the body to be installed. This means the instrument keeps its natural resonance and acoustic flair. The Presys VT EQ System keeps it simple with only Volume and Tone controls resulting in a true, crisp acoustic sound. Lastly, Elixir® Nanoweb Phosphor Bronze Light .012-.053 Acoustic Strings round out these acoustics. This Number 1 acoustic guitar string delivers consistent performance and extended tone life with phosphor bronze sparkle and warmth. The Essence Series takes all these elements, combines them, and exceeds in playability, looks, and affordability.
Street Price: $449.00
For more information, please visit cortguitars.com.
Cort Essence-GA4 Demo - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Moth Electric's C. regalis overdrive pedal offers massive boost, natural overdrive, and searing distortion for guitar and bass. With active treble and bass controls, clean blend, Smooth/Crunch modes, and true-bypass switching, this USA-made pedal is a versatile addition to any pedalboard.
Adding a new model to their line of overdrives, Moth Electric has released the C. regalis. Equally suited for guitar and bass, the meticulously designed C.regalis is capable of massive boost, natural, singing overdrive, and searing mid-gain distortion. Its six op-amps power a dynamic, crunchy overdrive circuit with a suite of features including:
- Active treble and bass controls that allow for +/- 15db boost and cut. Perfect for tailoring the C. regalis to your instrument and amp.
- A powerful clean blend for introducing either your amp’s natural character or another effect into the equation. Allows the C. regalis to become a more transparent overdrive.
- Smooth/Crunch modes, provide a subtle change in feel with ‘Smooth’ increasing sustain and ‘Crunch’ introducing high-order harmonics for additional texture.
The C. regalis offers the following features:
- Bass, Treble, Blend, Volume, Drive controls
- Smooth/Crunch modes● More volume than you’ll ever need
- True-bypass switching, top-mounted jacks for easy placement on crowded pedalboards
- 9-volt DC operation with external power supply – no battery compartment
- Designed and hand-built in the USA using through-hole components
The C. regalis carries a $179.99 price and is available for purchase at mothelectric.com.
For more information, please visit mothelectric.com.