Martin D-16E, & DC-16E & OMC-16E £2,299, £2,475 & £2,475
a successful company’s history can be both a blessing and potential restriction. Its traditions are often the bedrock of its appeal and reputation, so the balance of upholding them while continuing to innovate and diversify can be challenging. Especially when it’s a guitar institution dating back to 1833 and one of the world’s most respected makers. Now with these three additions to its 16 Series, Martin is seeking to strike an equilibrium between delivering what players desire and expect, while offering some genuinely fresh concepts. Has it succeeded?
The diversions from Martin series norms aren’t just enthusiastic marketing spiel aimed at collectors looking for an excuse to splash out. The company has been using the word “modern” to describe some of the appointments here, and it’s hard to argue. Opening the case of the D-16E reveals that reassuringly familiar Martin smell (if you’ve tried one, you’ve probably encountered it as part of the experience). The flawless pale spruce and shimmery gloss also put us at ease, but the silver binding on the satin back, sides and neck is striking in that it’s such a departure. And the genesis for this
was an unlikely one for the Pennsylvanian company: automobile design. Martin Custom Shop’s Tim Teel and Fred Greene were influenced by the contrast of an Audi’s interior featuring brushed aluminium, but Teel found the material difficult to work with for the binding. This silver acrylic fitted the bill, paired with attractive pinstripe black, white and orange purfling that’s also a departure from expectations. It makes quite the contemporary statement.
Once you settle in with the change from traditions, it works its charms. On the noncutaway dread’, it’s especially attractive; the sycamore’s grain on our example is more dramatically contrasted in its texture than the cutaway DC-16E (and a reminder that you should pick your high-end guitars in person). The binding won’t be to some traditionalist tastes, but Martin has given its context diligent care. There’s a flow to the design – even the mother-of-pearl inlays take on more of a silvery quality in this context – and it continues from the neck heel to the neck binding, and another addition to the Martin design palette: Schaller’s 1:18 ratio GrandTune butterbean tuners in a new Satin Pearl finish.
Sounds
This isn’t just a case of fresh cosmetics; the dimensional and tonewood choices are where things get seriously intriguing. All three guitars have Martin’s 000 shape depth – yes, both dreadnoughts. And those two guitars immediately feel different. A shallow depth brings them closer to the player, and our strumming arm isn’t reaching around as much body mass. It’s just as significant on the strap, and would certainly be less of a contrast when switching from an electric, mid-set. Moreover, these guitars have an immediate comfort that could help them ‘disappear’ for the performing singer/guitarist.
There’s an understandable trade-off in a shallower body for the D-16E and DC-16E with a reduction of bass response. But it isn’t necessarily the negative dreadnought fans might fear, especially if boomier low-end isn’t to your taste. Both models still sound very much like Martin dreadnoughts in their projection and shimmery, chordal highs, but the low-end is balanced in this mix rather than lacking.
Martin’s detail-focused testing led Graph Tech Tusq bridge pins to be chosen for the brighter ‘shimmer’ they offer, and that is especially apparent in chordwork on the D-16E. Firm tension (both dreadnoughts are fitted with 0.013 gauge Martin SP
The dimensional and tonewood choices are where things get seriously intriguing here
Lifespan strings; the OMC has our preferred 0.012s) and low action showcase the comfort of Martin’s modified low oval shape neck with high performance taper, while leaving leeway for alternative tunings without buzz creeping into the experience.
The choice of homegrown sycamore for the dreadnought models is an unusual move, but one that could prove more popular in the future in terms of sustainability. For now, its backstory with Martin is relatively brief. It’s a hardwood previously only encountered on handpicked Custom Shop models, but in the industry, it’s been historically used in the construction of flamenco guitars and is a close cousin to maple. ‘Natural compression’ is a characteristic sometimes associated with sycamore builds, and while that’s more noticeable on the cutaway dreadnought, there’s nothing boxy in the projection of our test D-16s. The D-16E feels especially ‘hi-fi’ – projecting very well without losing the detail of chord voicings, and ringing with a little more chime in the high-end to deliver wonderful overtones in progressions. In comparison, our DC-16E isn’t quite as resonant in the low-end, perhaps due to the reduced body mass, and this in turn allows more of a 000 nature in the high midrange to come through.
All three of these Sitka spruce-topped models offer dynamics that respond to the gentler touch with a level of nuance we’ve come to expect from Martin, but the cherry back and sides of the orchestra OMC-16E offer a punchier mid character compared with its sycamore siblings. Coupled with sprightly highs, it’s most obviously the Americana- and blues-friendly candidate of our trio. But it’s less of a contrast in terms of feel; the body depth remains the same despite the narrower waistline, the latter helping it feel the most intimate of the trio for sitting down with. But it’s plugging in where an added versatility is revealed.
Fishman’s Matrix VT Enhance is now Martin’s flagship preamp system, and it continues the trend in the electro market for subtlety – the controls are effectively hidden inside the soundhole with a tone and volume dial at the top for the Matrix
Fishman’s Matrix VT Enhance is a superb system that balances minimalism with usable versatility
VT piezo and a dial inside the bottom edge for the Enhance. The latter is for the transducer pickup underneath the bridge plate. The Matrix VT represents the dynamic of these guitars very well, but the Enhance becomes a really important tool.
In blending in the transducer, it offers percussive players an avenue for expression using the area immediately behind the bridge, but also brings in a warmth to the tone that’s valuable for rhythm work. We prefer to dial it back to halfway for fingerpicking to capture definition without things getting boomy, but that lower end presence really brings a new, deeper dimension to the OMC-16E if you want it. It also effectively serves to negate the reduced low-end from the 000 depth in the dreadnoughts when plugged in. The result is a superb system that balances minimalism with usable versatility. And it’s also worth noting that the input isn’t accessed through the endpin like some other active systems where it can sometimes cause added problems of wear over time. Instead, it has a separate input where the battery compartment can also be found (it can be difficult to locate by sight when you have the guitars strapped on, so it’s best to plug in before).
Verdict
A casual observer could assume Martin can only really stretch out into new territories in the entry-level side of the market now, having mastered its identity in the higher end of guitar design. But these additions to the 16 Series suggest otherwise. The new features offered here reflect a consideration for offering distinct guitars that contribute to the company’s traditions for providing pro-level instruments that are built to be lifelong playing companions. The 000 depth on the dreadnoughts is significant enough, but coupled with the unusual tonewoods and contemporary – even bold – appointments, these guitars prove to be a really interesting chapter for the Martin story. For us, our test D-16E is the highlight of three fine examples: the player-friendly depth and richer balance to the character proves an addictive combination and best captures the concept of putting new angles on classic guitar design.