Chris Martin gives readers some key reminders about choosing and maintaining their acoustic guitar strings.
At Martin, we as builders and players understand the impact that guitar strings can have on the tone, playability, and longevity of our instruments. No matter how long you’ve been playing, selecting the right set of strings and properly caring for them can significantly enhance your experience with your guitar.
We’ve been making our own strings for over 50 years now, and the same attention to detail that goes into our guitars goes into our strings. From choosing the right gauge to understanding oxidation and string maintenance, we get a lot of questions from players—and we know a thing or two. So, let’s dive in.
Why Guitar Strings Matter
The right strings can really make a difference in how you play, inspiring confidence, creativity, and a deeper connection to your music. They’re what helps this combination of wood and wire truly sing.
An acoustic guitar is a finely tuned instrument, ready to resonate with the slightest touch. Now, imagine one outfitted with old, worn-out strings—dull and lifeless, lacking in tone. The difference is undeniable.
What Happens to Strings Over Time
Strings tend to lose their high-end response over time. According to the experts on our product and research and development teams, this degradation is mostly due to oxidation and the accumulation of foreign material, like sweat and grime, in the windings—factors that lead to acoustic dampening.
Oxidation, simply put, is the surface reaction of metal with oxygen in the surrounding air. This process, often referred to as corrosion, is further accelerated by sweat and oil. This corrosion adds or removes mass, leading to intonation issues, string breakage, and a tonally dampened sound.
Microfractures can also form in the core wire, as it takes the brunt of the overall string tension. If these fractures continue, the string can ultimately fail.
When the strings start to sound bad or simply fail, there’s an easy solution: put on a fresh set.
Choosing the Right String Gauge
First up, you’ll have to choose your strings’ gauge, which refers to the diameter or thickness of the strings—something that affects both playability and tone.
When it comes to acoustic guitar, heavier-gauge strings are great for more amplitude and down-tuning, typically used on larger-bodied guitars like dreadnoughts and jumbos. Lighter-gauge strings are meant for faster playing or easier fretting, and are usually recommended for smaller guitars, like concert and auditorium models.
For fingerstyle players, lighter-gauge strings are generally the preferred choice. The lighter tension allows for more delicate and nuanced playing, which is essential for that type of attack. But there are exceptions. For instance, premier fingerpicker Tommy Emmanuel plays with our Authentic Acoustic Flexible Core strings, which have a slightly smaller core wire, making them hyper-playable despite being slightly heavier.
For strumming and picking with a pick, players often prefer heavier-gauge strings due to their robustness and ability to produce a fuller sound. These strings are ideal for styles that require strong, consistent picking and strumming.
Coated vs. Treated Strings
Coated and treated strings represent two innovative approaches to extending string life while maintaining tone. Coated strings feature a polymer coating that acts like a protective barrier around the strings, shielding them from sweat, dirt, and oils. They’re an excellent option for players seeking long-lasting, low-maintenance strings with a consistent, polished feel.
Treated strings, like our Authentic Acoustic Lifespan 2.0 strings, receive a unique chemical treatment at a molecular level rather than a physical coating on the strings. This process preserves the strings’ natural, authentic tone and playability while also delivering improved longevity compared to standard strings.
When choosing between coated and treated strings, a player’s choice often depends on their preference for feel and durability. Coated strings are usually favored by players who appreciate the slicker, smoother feel provided by the protective coating. Treated strings cater to those who prefer a more natural, traditional feel like uncoated strings.
Caring for Your Guitar Strings
Proper string care is essential to preserving your guitar’s tone and playability. Even something as simple as using a soft cloth to wipe down your strings before and after you play can help them last longer, removing the moisture and grime that build up over time. Visible signs like unwinding or kinks also mean it’s time for a change.
But no matter how well you take care of your strings, you’ll need to change them at some point to get the most out of your guitar. As strings age, they lose tone, develop tuning issues, and accumulate rust.
Experiment and Explore
The world of guitar strings is as diverse as the music it helps create. Finding your perfect set can help develop the signature sound you’ve been searching for. Explore the many options available, experiment with different gauges and materials, and discover the perfect match for your unique voice
- Decoding the Not-So-Secret Language of Acoustic Guitar Tone ›
- Martin Launches the GPCE Inception Maple ›
- The Saddest Martin Ever? A 1953 D-18 Owned by Kurt Cobain & Elliott Smith ›
- Last Call: The Ghost in the Guitar ›
Our columnist breaks down why Leo’s original designs are still the benchmark for pristine guitar sounds.
It’s time to discuss a favorite topic of mine: the Fender clean tone. I’m a big fan of pristine guitar tones, and I think it might be the reason why I got into Fender amps in the first place. So, in this column, I’ll break down and explain what creates the beautiful, crystalline tone in vintage Fender amps, and share which amps are best for capturing these huge, squeaky-clean sounds.
Among my music friends, I am known for advocating these tones. Sometimes my bandmates want more distortion and growl from my guitar, but I proudly resist and argue that the music we create profits from a clearer guitar tone. It’s not about volume and distortion; it’s about melody, rhythm, and dynamics. Personally, I find it more interesting to hear guitarists with clarity, where I can identify single notes and what they are doing. It’s much harder to play clean, and the transparency forces us guitarists to consider more carefully what we play.
Tone and music are definitely matters of personal taste. What someone finds naked and thin, others will find clear and articulate. Let me therefore explain my definition of “clean tone.” A good, clean tone means clarity and little distortion. Clarity is achieved when there is a certain balance between the frequencies. There must be enough sparkle and brightness together with a firm low end. In my definition, you can also have some distortion as long as you have enough clarity to hear single strings in a chord, which some define as a “bell-like” tone. Muddy or overwhelming mid and bass frequencies will spoil this clarity. I like punchy guitar sounds, and for that we need muscle and power from large power-amp sections and larger speaker cabinets. But again, there must be enough sparkle and treble attack to balance that big low end.
The black- and silver-panel Fender amps excel in this area. Fender designed these amps specifically to support the music style of the 1950s and ’60s: Whether it was folk, country, rock, or surf, the guitars were supposed to be bright and clean. The amps therefore had to produce a sound that was both clean and loud, often without PA systems.
There are several reasons why these Fender amps sound the way they do. Let’s dive into the most important factors. Firstly, the tone stack and EQ section play a significant role in creating a scooped tone with few mids. Most AB763 Fender amps have 250 pF, 0.1 μF, and 0.022 μF caps (treble, mid, and bass, respectively), controlled by 250k bass and treble pots and a 10k mid pot (or a fixed 6.8k resistor in amps without the mid pot). If you alter the value of the mid resistor or insert a larger coupling cap after the preamp section, you will get more, and earlier, breakup. If we look at the preamp sections of the AB763 amps, there is no tube gain stage, whose purpose is to introduce distortion. There are only the necessary tube gain stages to mix and lead the signal to the power amp section.
“Fender designed these amps specifically to support the music style of the 1950 and ’60s: The guitars were supposed to be bright and clean.”
The power amp section is equally important. The AB763-style amps have dual power tubes in a Class AB push-pull configuration which has significant clean headroom—more than single-end Class A amps. The fixed-bias design provides more headroom than cathode bias, which creates sag and less headroom. The efficient long-tail phase inverter and the negative feedback loop are also used to minimize clipping. Finally, using American-style speakers in the open-back cabinet design of the black- and silver-panel combo amps will enhance bright frequencies and tame the mids and low end. All these details point to one conclusion: Fender designed the AB763 amps to achieve the cleanest possible tone.
For me, the cleans of a Super Reverb are especially fantastic. The four, lightly driven 10″ speakers produce a scooped sound with great dynamics and touch sensitivity. The full set of EQ controls, robust power amp, and large transformers work together to give you both sparkle and a firm low end, even at high volumes. The Pro Reverb and Princeton Reverb, however, will struggle to stay clean when pushed. The relatively small-output transformers are a bottleneck in these amps, and they both lack the important mid control to tame the bass and mids. The Pro Reverb’s boomy 2x12 cabinet gives a flabby bass response, and the Princeton Reverb has a cheaper and inefficient phase inverter. This means that these amps can play clean only at lower volumes. If you read my previous articles on these amps, you will find easy instructions for how to improve the clean headroom, if that’s what you want.
If it’s natural distortion you’re after, the best black- or silver-panel Fender amp is the AB165 Bassman. But that’s a different story we’ll come back to later.
Jason Isbell and The 400 Unit's Live From The Ryman Vol. 2, featuring live versions of songs from their award-winning albums, will be released on October 4.
On October 4th, Southeastern Records will release Live From The Ryman Vol. 2, the new live album from six-time GRAMMY Award winner Jason Isbell and The 400 Unit. Live From The Ryman Vol. 2 draws from multi-track recordings by the band’s longtime front-of-house engineer, Cain Hogsed, from four of the last six years of sold-out shows at Nashville’s legendary Ryman Auditorium. Hogsed co-produced the album alongside Isbell, and mixed the tracks with Nashville, TN’s Todd Tidwell.
Live From The Ryman Vol. 2 features 15 live versions of songs from the band’s last two critically acclaimed, award-winning studio albums - Reunions (2020) and Weathervanes, (2023), as well as stunning rendition of “The Last Song I Will Write,” from Isbell’s 2009 self-titled release, and a poignant cover of Tom Petty’s “Room at the Top.”
Jason Isbell and The 400 Unit, Live From The Ryman Vol. 2
Jason Isbell and the 400 Unit’s Weathervanes won two 2023 GRAMMY Awards for Best Americana Album and Best American Roots Song (“Cast Iron Skillet”). Weathervanes was produced by Isbell and released in June of 2023. The record is a collection of grown-up songs: Songs about adult love, about change, about the danger of nostalgia and the interrogation of myths, about cruelty and regret and redemption. Weathervanes was called one of the albums of the year in 2023, and received critical acclaim from the likes of NPR, Rolling Stone, Uproxx, Paste, Relix, and many, many more.
Since his first show there in 2014, Jason Isbell and the 400 Unit has sold out over 50 nights at the Ryman Auditorium. Isbell and his band are likely to add to that number this October, when he’ll perform another eight nights at the Ryman. Tickets are still available for his annual residency there. Support includes Alice Randall (10/10), Garrison Starr (10/11), Mary Gauthier (10/12), Caitlin & Liz Rose (10/13), Matraca Berg (10/17), Iris DeMent (10/18), Gretchen Peters (10/19), and Kim Richey (10/20).
Isbell and his band the 400 Unit released their next album Weathervanes during the summer of 2023. Weathervanes was produced by Isbell. The record is a collection of grown-up songs: Songs about adult love, about change, about the danger of nostalgia and the interrogation of myths, about cruelty and regret and redemption.
Isbell also appears as Bill Smith in the Oscar-nominated Martin Scorsese film, Killers of the Flower Moon, which received a 2024 SAG Award nomination for Outstanding Cast in a Motion Picture. Isbell’s time on set with Scorsese informed Weathervanes. He watched the great director work, saw the relationship between a clear vision and its execution, and perhaps most important, saw how even someone as decorated as Scorsese sought out and used his co-workers’ opinions.
“It definitely helped when I got into the studio,” Isbell says. “I had this reinvigorated sense of collaboration. You can have an idea and you can execute it and not compromise -- and still listen to the other people in the room.”
For more information, please visit jasonisbell.com.
Audiofab introduces two new pedal with vintage tones. The Chonky Boi delivers a wide range of distortion sounds, while the Elektra Amanto captures classic flanger tones.
The Chonky Boi features the following controls:
- Chonk: Crank up this knob and unleash the full fury of the Chonky Boi–everything from light distortion to full-on growl.
- Heft: Adjust the output level with this control. Used in combination with the Scratchswitch you can overdrive your amp for additional distortion.
- Purr: Tailor your tone from bright to dark with the Purr control. Dial in the perfect amount of high-end cut for your sonic needs.
- Scratch: Choose your clipping flavor with the Scratch switch. Select from germanium diodes, silicon diodes, or LEDs. Higher levels of scratch increase the output level of theChonky Boi, enabling amp overdrive for even more sonic mayhem.
- YouTube
Elektra Amanto
Audiofab’s Elektra Amanto captures the essence of classic flanger tones heard from iconic players such as Andy Summers and David Gilmour, but with modern features. With its wide sweep and straightforward control set, the pedal opens new sonic possibilities for players of all styles. And unlike other wide sweep designs that require higher power supply voltages, the Elektra Amanto operates on a standard 9-volt pedal power supply, making it accessible and convenient for all guitarists.
Key features of the Elektra Amanto include:
- True bypass switching to maintain signal integrity.
- Ultra low noise and no volume drop.
- A wide sweep design that delivers vintage-inspired flagging.
- High-quality switches, jacks, and potentiometers for reliable performance. Bi-colour LED indicator that shows the sweep rate of the low-frequency oscillator (LFO).
- Compact and rugged aluminum enclosure for durability and protection.
The Elektra Amanto features intuitive controls, including Rate, Range, Colour, and a Matrix /Flange switch, allowing guitarists to dial in a wide range of flanger effects. From subtle swooshes to intense sweeps, the Elektra Amanto delivers liquidy goodness reminiscent of the classic flanger tones of the 70s.
- YouTube
The Audiofab Chonky Boi and Elektra Amanto are available now from Audiofab or Reverb. Chonky Boi is priced at $CA179 (approximately $137) and Elektra Amanto is priced at $CA279 (approximately $213).
For more information, please visit audiofab.com.
Designed by legendary bass player and founding member of Jefferson Airplane, this instrument features a Casady-designed JCB-1 Low-Impedance Humbucker and a three-position rotary impedance control for versatile tones.
As a founding member of Jefferson Airplane and Hot Tuna, legendary bass player and Rock and Roll Hall of Fame Inductee Jack Casady’s full driving tone and innovative melodic bass work have defined the role of bass guitar in rock and roll for decades. Liberating the bass from its traditional role as part of the rhythm section, Jack’s pioneering approach to bass brought the instrument to the forefront. The new Epiphone Jack Casady Fretless Bass was and is the culmination of years of experimentation by Casady to find an instrument with superior electric tone and the response of an acoustic bass. It features the Casady-designed JCB-1 Low-Impedance Humbucker, and a three-position rotary impedance control for a wide range of tonal versatility.
Jefferson Airplane’s debut, Jefferson Airplane Takes Off, was recorded in February of ’66 and released in August of that year. “It had somewhat of a local success,” explains Jack. “It was the material that we had been playing as a group around the Bay area for a while. We recorded it on 3-track, all pretty much live performances.” When the original singer, Signe Anderson, left the band to have a baby, it was Jack who convinced Grace Slick, then performing with her own band the Great Society, to join the group. The roster complete, Jefferson Airplane rocketed to superstardom in 1967 on the initial strength of their hits “Somebody to Love” and “White Rabbit,” making them a cornerstone of San Francisco’s burgeoning rock scene. Jack’s ground-breaking bass work was a highlight of Surrealistic Pillow, the Airplane’s 1967 breakthrough album. “That album was really a unique statement,” says Casady in retrospect. “There were a lot of different styles of songs contributed by everybody, including an instrumental acoustic fingerpicking original tune by Jorma called ‘Embryonic Journey.’ It was quite an eclectic album and I think it still holds up today.” Jefferson Airplane subsequently released a string of acclaimed recordings–After Bathing At Baxter’s (late ’67), Crown of Creation (’68), the live Bless Its Pointed Little Head (’69), Volunteers (’70), Bark (’71), Long John Silver (’72), and the live Thirty Seconds Over Winterland (1973). The band was inducted into the Rock and Roll Hall of Fame in 1995.
With the release of his solo album, Dream Factor, Casady opened a new chapter in his ever-evolving career. Featuring 11 songs and an impressive cast of collaborators including Paul Barrere, Ivan Neville, Jorma Kaukonen, Warren Haynes, Box Set, Fee Waybill, and Doyle Bramhall II among others, Casady showcases his signature sound in a variety of settings, traveling through blues, rock, country, folk, funk, R&B and soul influences.
One of the most innovative rock and roll bands in American music, Hot Tuna recorded their latest album, Steady As She Goes, at Levon Helm’s studio with GRAMMY®--winning producer Larry Campbell and captures the energy of Hot Tuna’s live performances. Jack, along with longtime band mate Jorma Kaukonen, teamed up with Barry Mitterhoff on mandolin, Skoota Warner on drums, as well as Larry Campbell on guitar, fiddle, organ, and vocals to deliver an absolute masterpiece.
With sweeping chords and stormy melodic lines Jack’s bass distinguished not only Jefferson Airplane and Hot Tuna but also a variety of solo and side projects and recordings with artists including Jimi Hendrix, David Crosby, Warren Zevon, Country Joe and The Fish, SVT, Rusted Root, and Gov’t Mule.
For more information, please visit epiphone.com.