
A 14-fret Martin 000-15M and its 12-fret counterpart, the 000-15.
The 14-fret acoustic guitar may be more popular, but 12-fret acoustics have their own unique tonal characteristics that many guitarists love.
One of the more frequent questions we get at Martin is about the difference between 12-fret and 14-fret acoustic guitars. Besides upper register access, what are the benefits and potential limitations? How does it impact design and tone? How should someone decide which option is right for them? To help answer these questions, I turned to Fred Greene, our vice president of product management at C. F. Martin & Co. Fred oversees the design and development of new products at Martin and has years of knowledge and experience in this area.
First, a quick history lesson. In the world of guitar luthiery, the 14-fret guitar—where the neck attaches to the body at the 14th fret—is a relative newcomer. When Martin started making acoustic guitars in 1833, they had 12 frets free of the body with a slotted headstock. At least part of the reason for this was that gut-string Spanish guitars, which were so influential in the development of the modern acoustic, had that same arrangement. Even nowadays when classical guitar builders regularly experiment with wood combinations and bracing patterns, they almost universally build guitars that have 12 frets.
By the early 1930s, guitars were popularly included in ensembles alongside woodwinds, brass, and banjos, which left many guitarists searching for ways to cut through the mix. In order to help those players carve out more sonic space, Martin started building 14-fret dreadnoughts in 1934. These guitars had a brighter and louder sound than their 12-fret counterparts, allowed for further access up the fretboard, and could hold their own against hard strumming while delivering single-note runs with clearer articulation and definition. Soon, the industry was rapidly making the transition to 14-fret models, and today they dominate the acoustic guitar landscape.
Because both 12- and 14-fret models have unique and desirable tonal qualities, it's not a surprise that many guitarists find both to be useful tools in their musical arsenal.
Structurally, changing a guitar from 12 to 14 frets may seem as simple as shortening the upper bout so the body meets the neck two frets higher, and Martin did exactly that with some models. Other designs included lengthening the neck by one fret and moving the soundhole closer to the bridge, as well as increasing the scale length to allow further variations on bridge and soundhole placement.
It's important to note that these changes are far from cosmetic. Each variation requires new bracing placement and results in unique tonal qualities.
So, which is better, a 12-fret or 14-fret guitar? The answer depends on what kind of music you play and the tone you want to achieve. Classical guitars continue to have 12 frets to the body in part because it places the bridge in the center of the lower bout, based on a traditional scale length of 25.6" (650 mm). This placement tends to maximize the ability of the top to vibrate, which can create that complex, almost pianistic tone that we associate with the classical greats. But strumming this kind of guitar can cause that rich tone to sound muddy and indistinct. Thus, fingerstyle players may find a 12-fret tone very satisfying, while a bluegrass artist or singer-songwriter may find it too subtle, bass-heavy, or unfocused when pushed. Beginners and smaller players may find that 12-fret guitars are easier and more comfortable to play, since their fretting hand doesn't have to extend quite as far to reach open position.
In the end, it comes down to tone, aesthetics, and what feels right for the player. Do you want greater access above the 12th fret? Are you playing primarily fingerstyle or with a pick? What do you find more comfortable to hold? Because both 12-fret and 14-fret models have unique and desirable tonal qualities, it's not a surprise that many guitarists find both to be useful tools in their musical arsenal. And while the 14-fret is the clear winner in terms of sales volume, there will always be a place for the time-tested 12-fret.
A 14-fret Martin 000-15M and its 12-fret counterpart, the 000-15.
When we are designing new guitars, we start with the player in mind. We try to draw a picture of the person we're trying to create this guitar for and understand what they want to do with it. Then, we work around that to decide if it will be 12-fret or 14-fret. It almost always comes out as a 14-fret, because they are so much more popular than the 12-fret in the current market.
But 12-fret guitars do still have plenty of fans. In fact, Fred Greene has a real soft spot for 12-fret guitars, and one of his favorite guitars in the Martin Museum is a 12-fret dreadnought. It is one of the most incredible sounding guitars in the whole collection. In his office, Fred keeps a Martin 00-28 VS, which is a 12-fret nylon that he just loves.
We were thinking differently about all this when we were designing the SC-13. We said, "Hey, you know, we want some of that clean, articulate voicing of a 14-fret, but we want to get the comfort of a 12-fret." We split the difference and we did a 13. It was the perfect compromise to get the playability and the sound together in one guitar. So, 12-fret vs. 14-fret? Perhaps the answer is 13 instead!
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Empress Effects is proud to announce the release of the Bass ParaEq, a bass-specific parametric EQ pedal.
Building on the success of their acclaimed ParaEq MKII series, which has already gained popularity with bassists, the Bass ParaEq offers the same studio-grade precision but with features tailored for bass instruments.
Basses of all types – including electric and upright basses with active and passive electronics – can benefit from the Bass ParaEq’s tone-sculpting capabilities.
The new pedal follows the success of the Empress Bass Compressor and ParaEq MKII Deluxe, which have become some of the company’s best-reviewed and top-selling products. The Bass Compressor’s popularity confirmed what Empress had long suspected: bassists are eager for tools built with their needs in mind, not just adaptations of guitar gear.
The Bass ParaEq retains the line’s powerful 3-band parametric EQ and studio-style features while introducing a bass-optimized frequency layout, a selectable 10MΩ Hi-Z input for piezo-equipped instruments, a dynamically-adjusted low shelf, and automatic balanced output detection—perfect for live and studio use alike.
The Bass ParaEq also offers an output boost, adjustable by a dedicated top-mounted knob and activated by its own footswitch, capable of delivering up to 30dB of boost. It’s perfect for helping your bass punch through during key moments in live performance.
Whether dialing in clarity for a dense mix or compensating for an unfamiliar venue, the Bass ParaEq offers precise tonal control in a compact, road-ready form. With 27V of internal headroom to prevent clipping from even the hottest active pickups, the Bass ParaEq is the ultimate studio-style EQ designed to travel.
Key features of the Bass ParaEq include:
- Adjustable frequency bands tailored for bass instruments
- Selectable 10MΩ Hi-Z input for upright basses and piezo pickups
- Auto-detecting balanced output for long cable runs and direct recording
- Three sweepable parametric bands with variable Q
- High-pass, low-pass, low shelf, and high shelf filters
- Transparent analog signal path with 27V of internal headroom
- Buffered bypass switching
- Powered by standard 9V external supply, 300mA (no battery compartment)
The Bass ParaEq is now shipping worldwide. It can be purchased from the Empress Effects website for $374 USD and through authorized Empress dealers globally.
PG contributor Tom Butwin reveals his favorite songwriting secret weapon: the partial capo. Watch how the Shubb C7 and C8 can simulate alternate tunings without retuning your guitar—and spark fresh creative ideas instantly.
Shubb C8b Partial Capo for Drop-D Tuning - Brass
The C8 covers five of the six strings, leaving either the low E or high E string open, depending on how it's positioned.
- Standard setup: Placed on the 2nd fret while leaving the low E string open, it simulates Drop D-style sounds—except you're still in standard tuning (key of E). You get that big, droning bass feel without retuning.
- Reverse setup: Flipping the capo allows the high E string to ring, giving you shimmering drones and new melodic options across familiar chord shapes.
- A flexible tool that lets you simulate alternate tunings and create rich sonic textures—all while keeping your guitar in standard tuning.
Shubb C7b Partial Capo for DADGAD Tuning - Brass
The C7 covers three of the six strings—either D, G, and B or A, D, and G—depending on how it's flipped.
- Typical setup (D, G, B): Creates an open A chord shape at the 2nd fret without needing your fingers. This frees you up for new voicings and droning notes in the key of A.
- Reversed setup (A, D, G): Gets you close to a DADGAD-style tuning vibe, but still keeps you in standard tuning—great for modal, spacious textures often found in folk or cinematic guitar parts.
Use it alone or stack it with the C8 for wild, layered effects and truly out-of-the-box inspiration.
PRS Guitars celebrates 40 years with the limited edition McCarty SC56. Featuring vintage-inspired design and modern innovations, this single-cutaway guitar pays tribute to Ted McCarty and his impact on the industry. With only 400 pieces available, this instrument is a must-have for collectors and performers alike.
PRS Guitars today announced the 40th Anniversary McCarty SC56 Limited Edition. With a classic PRS single-cutaway body shape and carefully chosen specifications, the McCarty SC56 is both a tribute to tradition and a reliable tool for the modern performer. Only 400 pieces will be made.
“The SC56, signifying Singlecut and 1956, model is our most recent tribute to my late mentor Ted McCarty and his impact on the guitar industry. We started with our take on a classic late ‘50s singlecut body. 1956 marks the year that Ted first had guitars made with his newly coined 'humbucker' pickups. It also happens to be the year I was born. Bringing vintage design into the modern era, we loaded this model with our McCarty III pickups, meticulously designed to deliver warm, clear, vintage tone with exceptional note separation and dynamics,” said PRS Guitars Founder & Managing General Partner, Paul Reed Smith.
Anchored by a maple top and mahogany back, the 24.594” scale length and 22-fret Pattern Vintage neck work with Phase III non-locking tuners and PRS two-piece bridge to promote its musical sustain. The PRS McCarty III pickups are controlled by a simple layout — two volume controls, two tone controls, and a three-way toggle on the upper bout.
Single-cutaway guitars are known to be heavier than their double-cutaway counterparts. The McCarty SC56 Limited Edition design incorporates weight-relief, decreasing the weight of the guitar by about 2/3 of a pound, while maintaining several points of attachment between the guitar top and back to eliminate the “hollow” sound of the cavities and promote tone transfer.
With appointments like binding on the fretboard, classic bird inlays, and a vintage-inspired nitrocellulose finish, the 40th Anniversary McCarty SC56 Limited Edition blends heritage and innovation into a timeless instrument.
PRS Guitars continues its schedule of launching new products each month in 2025.
For more information, please visit prsguitars.com.
40th Anniversary McCarty SC56 Limited Edition | Demo | PRS Guitars - YouTube
The Future Impact V4 is an incredibly versatile pedal with an exceptional range of sounds. In addition to producing synthesizer sounds such as basses, leads and pads, it can function as an octaver, chorus, flanger, phaser, distortion, envelope filter, traditional wah-wah, tremolo, reverb, etc., and even has a built-in tuner. It can potentially replace an entire pedalboard of dedicated single-effect pedals.
The very powerful signal processor of the Future Impact V4 is able to replicate the various oscillator, filter, amplifier and envelope generator blocks found in classic synthesizers. In addition, it contains signal processing blocks more traditionally used for processing the sound of an instrument such as a harmonizer block and audio effects such as chorus, distortion and EQ. These architectures complement each other in a very flexible way.
Setting the standard for the bass guitar synth pedals since 2015, together with an enthusiastic community and long line of great artists, the Future Impact V4 is the guitar synth platform for the next decade.