
Considering the benefits, beauty, and versatility of wood alternatives for acoustic guitars.
There is a limited supply of tonewoods in the world and a large appetite for acoustic guitars. At Martin Guitar, we take environmental stewardship very seriously, and I challenge our team to develop new models using alternative wood materials. This month, I'd like to explore some ideas about wood alternatives, so I've turned to Skip Beltz, the Director of Product Management at Martin Guitar who has almost 30 years of experience in making guitars.
There are many characteristics that make a type of wood usable for building guitars. Some woods are too soft to hold up to the tension that a stringed instrument produces, so hardwoods are chosen because of their strength and tonal properties. Hardwoods can be shaped, carved, and sanded beautifully with the right skillsets. Their ability to accept finishing materials reasonably well helps to enhance the sheer beauty of the wood. Each sonic, structural, and aesthetic characteristic of a wood is taken into consideration when selecting the materials for a guitar.
This Martin DC-X2E pairs a Sitka spruce top with High Pressure Laminate (HPL) back and sides.
Availability then finds its place in the selection process because we want to be able to procure enough of the wood for it to be viable from a volume standpoint. The most important thing to consider here is sustainability. Exotic hardwoods are becoming more and more scarce. While they are beautiful and tonally exceptional, there are ways to acquire comparableāor even superiorāsound with sustainable wood selections.
The benefits of using composite materials are both environmentally responsible as well as structural. The durability of these materials aids in handling and transporting, and composites can accept finishes or hardening techniques that natural woods cannot. Composite materials can be more stable and stronger than natural wood and more resistant to spills and rain drops, which can be a huge benefit for touring musicians. Composites are also generally less susceptible to warping when exposed to high humidity.
Composite materials can be more stable and stronger than natural wood and more resistant to spills and rain drops, which can be a huge benefit for touring musicians.
When a builder is looking to employ new alternative materials, we must do extensive research and testing if we expect them to hold up for generations of music making. We need to test machine capability and hand-tool capability. How does it react when carving, shaping, and sanding, whether it be a person or a machine? Can we see tool marks? Does it break down or change color? Does it maintain structural integrity? Finish compatibility needs to be tested extensively: spraying, sanding, polishing, and adhesion to the surface of the material is crucial in achieving our desired finished look. At Martin, we have an environmental chamber that can be set to control temperature and humidity settings. Our quality team uses that to expose materials and completed guitars to extreme conditions.
High Pressure Laminate (HPL) is one of our most frequently used wood alternatives on Martin guitars. What exactly is HPL? Close your eyes and visualize really small pieces of sawdust and adhesive compressed together and pressed out into sheet form. This sheet can then be made into different thicknesses and manipulated to build things. HPL is specifically used for sides, backs, and necks of guitars. We're able to print on its surface to make it appear to be any type of wood or feature high-resolution artwork. It sounds amazing, is very workable, and holds up to string tension very well.
In addition to the environmental, structural, and tonal benefits, another advantage to using HPL or other composites is that builders can print directly onto the material. Martin's DX Woodstock guitar art was drawn by Robert Goetzl and printed onto HPL.
Designing patterns on HPL is an interesting process. We take high-resolution pictures of the wood patterns that we want from our collection of wood and then transfer our photographs onto HPL. On specialty projects, we work with our artist, Robert Goetzl, or another artist of choice to develop the custom artwork. Our DX Woodstock guitar art was drawn by Goetzl and printed onto HPL.
For fretboards and bridges, we use an engineered material called Richlite that works very well for resonance and sustain. It's paper-based and made with environmentally responsible adhesives. Not only is it extremely durable and easy to machine or carve, it's also water resistant with low moisture absorption as well as heat and fire resistant. This aesthetically pleasing material can be made to look exactly like ebony, and we can also change the patterns and colors, which provides us with maximum design flexibility when we want a different look. Over the years, we've also experimented with carbon fiber as an alternative materialāit's now featured on the bridge plate of our Modern Deluxe models and is a large contributor to the incredible sound of those guitars.
Our X-series guitars are the best example of how we've continued to hone our skills in crafting great-sounding Martins out of composite materials. Martin will continue to experiment with composites and other unique materials that will provide an advantage in some way to the sound of our guitars or the innovation of the instrument.
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Leveraging 3D printing technology, the new Floyd Rose Original locking nuts are designed to deliver unmatched precision and consistency, replacing the traditional ālost waxā casting method that dominated for decades.
The shift to 3D printing allows for intricate detailing and tighter tolerances, ensuring each nut meets exact specifications.
The process begins with powdered metal, which is precisely 3D printed into the desired shape using advanced metal printing technology. After printing, the parts are depowdered and cleaned before undergoing a sintering processāan advanced heat treatmentāduring which the parts achieve full density and hardness. Lastly, the nuts are CNC ākiss-cutā to exacting specifications for consistency and control of the fit before receiving a premium electroplating finish.
āFloyd Rose has always been synonymous with innovation, and by embracing this incredible new technology we are able to continue that legacy,ā said Andrew Papiccio, president of AP International Music Supply of which Floyd Rose is a division. āThe accuracy and flexibility of the new 3D printing method will allow us to make a more consistent piece while also giving us full control of the manufacturing right here in the USA.ā
Initially, the 3D-printed locking nuts will be available in ten classic sizes with a 10ā radius, with plans to expand the range to accommodate various fretboard radii in Spring 2025. This augmentation will offer players more options for customizing their setups to match a wide variety of fretboard curvatures.
To get a sneak peek at the new Floyd Rose USA Series, come visit us at NAMM in booth 5734 in Hall D.
With flexible voltage adjustments, precise control, customizable protection, compact design, and affordable pricing at $299, the Brownie is the ultimate solution for optimizing tone and safeguarding your gear.
AmpRx, the trusted name behind the industry-renowned BrownBox, has unveiled its newest innovation: The Brownie, a voltage-optimizing power supply for modern amps and the first of its kind.
Designed by AmpRx co-owner and CEO Cassandra Sotos (2024 NAMM Female Entrepreneur of the Year), the Brownie provides unparalleled control, flexibility, and protection specifically for modern tube amplifiers by allowing the player to both increase and decrease voltage with volt-by-volt precision.
Priced at $299, the Brownie offers an affordable and essential solution for protecting your investment in your high-quality tube amp. It allows you to optimize your tone and safeguard your gear from variations in voltage by givingthe ultimate advantage: knowing exactly what youāre feeding your amp.
Known as the secret weapon of touring professionals, AmpRx products have been spotted on stage with bands like the Red Hot Chili Peppers, Lynyrd Skynyrd, Zac Brown Band, Iron Maiden, and many more. AmpRx is now bringing its game-changing technology to an even broader audience with this compact, affordable, and versatile product. Try the Brownie for yourself and discover exactly why artists, amp designers, and technicians rely on AmpRx to provide consistent sound, performance, and extend the life of their gear.
The Brownie will be available January 20th, 2025, presented at NAMM Global Media Day and on display at Booth #5630.
WHAT MAKES THE BROWNIE SPECIAL? Building on the success of the flagship BrownBox, the Brownie offers key innovations tailored for modern amplifiers:
- Flexible Voltage Adjustments: The Brownie is the first in the AmpRx line to both decrease and increase voltage, providing optimal performance for modern tube amps (often at 117-120V).
- Precise Control: Adjust voltage in ultra-precise -1V increments when decreasing, and by +3V or +5Vwhen increasing, allowing musicians to fine-tune their tone with precision.
- Customizable Protection: The Brownie ensures safe operation, putting control directly in the player's hands, and includes two fuse options: 2A for smaller setups and 4A for larger setups, ensuring compatibility with diverse gear.
- Compact and Portable Design: Smaller and lighter than the original BrownBox, the Brownie is perfect for musicians seeking portability, durability, and streamlined functionality. It can even fit on a pedalboard or in a backpack.
- Wide Accessibility: At just $299, the Brownie offers professional-grade voltage control at a price point thatās accessible to musicians everywhere.
Email sales@brownbox.rocks to order and stop by NAMM Booth #5630 to see the Brownie in action, talk with the owners, team and artists, and see exactly why so many people insist onAmpRx products when they make music.
For more information, please visit brownbox.rocks.
Inspecting a DāAngelico Excel during a full restoration.
When every guitar claims to be special, how can any guitar truly stand out?
In the guitar world, a transformation is underway that reminds me of the rise and fall of empires. The modern boutique guitar market, which once felt to me like an underground treasure trove, now seems poised on the precipice. It has grown, matured, and, in my opinion, overextended itself. Are we cresting the wave? Has the boutique boom run its course, or is it simply shedding its skin in metamorphosis?
Guitar building has been around for centuries, mostly as an individual, artisanal endeavor until the late 19th century, when it began to be dominated by manufacturing entities. The boutique guitar category as we know it today began as a reaction to the hegemony of big brands. It was a calling and philosophyāa return to individual builders and small shop manufacturers in the mainstream consciousness. Builders crafted instruments that evoked the patinated romance of vintage instruments as well as the hot-rod aesthetic. What started with a handful of outliers has now become an ecosystem. But, like all trends, thereās a limit to how far it can stretch before it must adapt or collapse.
Pioneers to Proliferation
In the early 1970s, builders like Rick Turner, John Suhr, Michael Gurian, and Bernie Rico, among others, stook as renegades of the modern boutique scene. They were voices bucking the production-line trend with craftsmanship that evoked past masters like DāAngelico, Bigsby, or even Stradivarius. These builders werenāt just producing instruments; they were making statements. A guitar by Parker or a Manzer wasnāt just a tool, it was a declaration of the builderās ethos and visionāsomething that might have been lost in the guitar boom of the ā60s.
Today, the boutique world is a crowded stage where hundreds, if not thousands, of builders compete for the attention of an audience with only so much disposable income. Plus, the custom allure is no longer the sole province of artisans; custom shop offerings from major brands like Fender, Gibson, and PRS have blurred the lines. CNC machining and production streamlining have made āboutiqueā features practical, even necessary, for larger operations. To their credit, unlike at the birth of the vintage market, the big guys saw the wave as well. The once-clear delineation between boutique and mainstream is murkier than ever, which by its nature dilutes everyoneās impact in the segment.
In economic terms, this is a textbook example of market saturation. There are only so many players willing and able to spend $5,000, $10,000, or more on a guitar. Supply has exploded, but demand may be plateauing. Handmade boutique guitars, once a rarefied niche, are now ubiquitous at trade shows, online marketplaces, and across social media feeds. This leads me to a pressing question: When every guitar claims to be special, how can any guitar truly stand out?
The Instagram Paradox
Online, custom guitars have become as much about image as they are about sound. It seems any builder with a board and a butter knife is trolling for your approval. A scroll through Instagram reveals a sea of small-batch instruments, but thereās a creeping sense of dĆ©jĆ vu. How many āoffsetā guitars with stained burl tops and pre-distressed finishes can one truly appreciate before they begin to blur together? Social media, once a powerful tool for builders to connect with their clientele, has become a double-edged sword. On the one hand, itās never been easier to showcase work to a global audience. On the other, the sheer volume of content has weakened the impact.
āA guitar by Parker or a Manzer wasnāt just a tool, it was a declaration of the builderās ethos and visionāsomething that might have been lost in the guitar boom of the ā60s.ā
The Buyerās Shift
Meanwhile, players too are evolving. With the pandemic-fueled spike in sales fading, some tastes are turning away from the museum-worthy builds in favor of simpler, more traditional guitars. In a way, the legacy brands may now be a salve for the disaffected. In an ironic twist, they are seen as the true foundation of the industryāthe original and genuine as opposed to a hip fad.
What Comes Next?
So, has the boutique guitar market peaked? Perhaps. But a peak doesnāt necessarily signal decline. Just as the boutique segment was born from a reaction to mass production, the next wave may be driven by a return to fundamentals. Builders who adapt to a changing landscape or who have built their own legacy will continue to thrive. Those who have not entered the general consciousness may find themselves left behind.
In the end, the boutique guitar market will endure, not because of its size, but because of its soul. Just as guitar building began as an individual endeavor, that heritage will continue. The challenge is to capture the essence of what makes a guitar special in the first place: the connection between builder and playerāand the magic of turning wood and wire into music.