Martin OMC Artinger 1 Guitar
- reviewed by Todd Stuart Phillips 
When I attended the NAMM show of January, 2006 I was drawn to an unusual guitar at the C.F. Martin pavilion that had non-traditional appointments, a cutaway and two soundholes. It was the result of a unique collaboration between Martin and the Pennsylvania luthier, Matt Artinger (rhymes with "stinger"). I found him to be a pleasure to hang out with and he was certainly excited to be at the show, happily going into great detail about the project. So I was mystified when the guitar was never heard from again. That is, until I went to the Martin factory this past Thursday and saw an updated version of the same design among their 2007 collection of new guitars.
As it turns out that first prototype was just that, something to generate feedback from dealers before Martin moved toward full production. There have been changes to the cosmetics since I played my first Martin Artinger but the basic design and sound that seized my attention are still there.
This OM begins like traditional Martins but quickly leaps into the future with a cutaway and a fingerboard with 22 frets that follows the contours of the oval soundhole, which is set at an angle. The bridge is of an unusual size and shape and appears to be made of Macassar ebony (Diospyrus celebica). Perhaps the most unusual feature is the extra soundhole, which points directly at the player's ear from the bass side of the instrument, just as the lower bout rises from the waist. I remember how this was the only guitar one could hear well during that frantic trade show. When I played it at the factory showroom last week it was much easier to get into the details of the voice.
The OMC Artinger 1 has a fast neck, effortless string spacing and a sound that is unlike other Martins. It has decent presence under the fundamentals without being intrusive and the top voice has tight, clear trebles that decay quick enough for someone who plays really fast lead guitar or all-over-the-place Jazz chords. It strums with a clean, uncluttered sound but the Indian rosewood body and Sitka spruce top keep things warmed up more than enough.
It also has handsome koa binding on the body and neck and on the inside edge of the soundhole. The fingerboard has tiny, aluminum dots, some coming down the bass side edge and others running up the treble edge. They look much better to my eye than the open hexi-ovals that were on the earlier prototype. As I would expect from such a forward reaching Martin, it comes with a pickup installed and since it has a Mortise and Tenon neck joint there should be none of the feedback issues that can plague the more resonant dovetailed Martins.
This may be a challenge for traditionalists, but the appearance, feel and sound of this special guitar should appeal to the adventurous musician looking for something out of the ordinary. I think many people will be excited when they get their hands on an OMC Artinger 1. It will certainly capture the imagination of an audience when seen from a stage or heard through the PA.
TSP, NYC
Did you find Todd's Martin OMC Artinger 1 guitar review helpful?
| |
|
|
|
