Martin OM vs. 000

Serenity · #1 04-20-2005, 07:28 AM

Why does Martin use both 000 and OM to designate guitars that appear to be the same size? What's the difference?

Fngrstyl · #2 04-20-2005, 07:30 AM

Quote:

Originally Posted by Abdiel

Why does Martin use both 000 and OM to designate guitars that appear to be the same size? What's the difference?

000 vs. OM
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Since this seems to be a recurring topic, here is a quick analysis of the differences between the Martin 000 and OM models under current production.

Nut Width (includes wider neck and bridge spacing):

OM. All OMs have a 1 3/4" nut width (except the new John Meyer OM, which is 1 11/16" and the Paul Simon models).

12-fret 000. All 12-fret 000s have a 1 3/4 nut width or greater (000-28VS).

14-fret 000.
a. All 000s in the Standard Series and below are 1 11/16" except for the 000-42, which has a 1 3/4" nut.
b. All 000s in the Vintage Series are 1 3/4" or greater.
c. 000s in the Limited and Special editions vary by model, but most are 1 3/4".

Scale Length:

OM. All OMs are long scale, 25.4" nut to saddle.

12-fret 000. All 12-fret 000s are long scale except for the Norman Blake models, which are short scale. These models are an exception to the rule, perhaps because they combine a 12-fret neck with a 14-fret 000 size body and are thus one-of-a-kind design models.

14-fret 000:
a. All 000s in the 16 Series and below are long scale.
b. All 000s in the Standard and Vintage Series are short scale, 24.9" nut to saddle.
c. 000s in the Limited and Special Editions vary by model. Most, but not all, are short scale.

Bracing:

16 Series and below: All 14-fret 16 Series and below OMs and 000s have identical bracing by comparable model, i.e., 000-15 vs OM-15. 12-fret 000s have their own bracing pattern.

OM. All OMs in the Standard Series and above are 1/4" scalloped, not forward shifted.

12-fret 000. All are scalloped, not forward shifted, bracing (not possible on that body size).

14-fret 000.

a. Standard Series are 5/16" non scalloped except for the 000-42, which is 5/16" scalloped. The 000-28H is no longer listed but was 5/16" scalloped.
b. Vintage Series: 5/16" scalloped. The 000-28EC is not forward shifted. I believe that the 000-18WG is forward shifted, but it is no longer listed.
c. Limited Editions: Varies by model.
d. Special Editions: Varies by model.

Pickguard:

OM. All OMs have the small “teardrop” pickguard.

000. All currently produced 12 and 14-fret 000s that have a pickguard have the large size (except the new Martin Carthy 000-18, which has the teardrop).

Body Size (inches):

OM and 14-fret 000.
Body Length: 19 3/8
Upper Bout: 11 1/4
Lower Bout: 15
Upper Depth: 3 11/32
Lower Depth: 4 1/8

12-fret 000.
Body Length: 20 7/16
Upper Bout: 10 3/4
Lower Bout: 15
Upper Depth: 3 1/4
Lower Depth: 4 1/16

Headstock:

12-fret 000: Most are slotted headstock, but a few (Jimmy Buffett) are solid headstock
14-fret 000: All are solid headstock
OM: All are solid headstock

This is from the Martin forum

JedimasterPaul · #3 04-20-2005, 07:31 AM

I believe the OM has the longer scale and the OOO has the shorter scale.

Probably why the OM is very popular with the drop tuning guys and the OOO is popular with blues players.

There are probably other differences (bracing, etc.) but to me the scale length is the major one.

Hopefully in the next year or two I will be the owner of an OM. Very different than my Lowden, but I think it would compliment it nicely.

ljguitar · #4 04-20-2005, 07:37 AM

Quote:

Originally Posted by Abdiel

Why does Martin use both 000 and OM to designate guitars that appear to be the same size? What's the difference?

They use different bracing configurations in the different models.

ljguitar · #5 04-20-2005, 07:42 AM

Quote:

Originally Posted by JedimasterPaul

...Hopefully in the next year or two I will be the owner of an OM. Very different than my Lowden, but I think it would compliment it nicely.

Hi JedimasterPaul...
Is your Lowden Cedar topped? Then an OM would likely compliment it well indeed...especially in a combination like Mahogany/Spruce. This was my latest step in guitaring...

OM is a popular size among fingerstylers, and most luthiers are specializing in them now. I've seen handbuilt OMs selling as inexpensively as medium upline Taylors.

Serenity · #6 04-20-2005, 07:46 AM

Thanks for the help. That clears it up pretty well.

JedimasterPaul · #7 04-20-2005, 08:42 AM

Quote:

Originally Posted by ljguitar

Hi JedimasterPaul...
Is your Lowden Cedar topped? Then an OM would likely compliment it well indeed...especially in a combination like Mahogany/Spruce. This was my latest step in guitaring...

OM is a popular size among fingerstylers, and most luthiers are specializing in them now. I've seen handbuilt OMs selling as inexpensively as medium upline Taylors.

I have an O25c, which is the cedar/rosewood model. It is great for fingerstyle, which is pretty much all I do. I would love to try out an O10 (cedar/mahogany).

The OMs I have heard have a completely different sound than my guitar. Plus, the OMs seem like a great 'all-arounder'. I also play in my church 'band' on SUndays which primarily involves strumming and I think the OM would handle that task OK (the Lowden does it fine too in my opinion)

The big difference between the two otherwise would be the size. The Lowden is a rather large guitar and is classified as a jumbo, although it is not as large as a Taylor jumbo.

ljguitar · #8 04-20-2005, 10:17 AM

Quote:

Originally Posted by JedimasterPaul

...The OMs I have heard have a completely different sound than my guitar. Plus, the OMs seem like a great 'all-arounder'.

Hi J-Paul...
When I play acoustic in our church band, it really depends on the set list whether I take the Dreadnaught or OM. I love both...

When I began to search for a companion guitar, I settled in on the OM as a body size to contrast with the hugeness of the Dreadnaught, but the tone wood choice and resonance soon became the issues of my quest.

I played about everything I could get my hands on in an OM over a 5-6 year period, including the OOO and OM Martins. The ones I didn't find examples to play were Wingert, Thompson, and Somogyi. I think I covered most of the rest out there many times over.

My OM is Myrtlewood/Italian Spruce to deliberately contrast with the Rosewood/Cedar of the Dread, but I'd call my Dreadnaught my all around guitar and the OM the one which I use to accent it. Probably because I've played the ''D'' for a dozen years. It has a great balance between upper and lower end tone for both fingerstyling and strumming.

I had Taylor 714CE for nearly 6 years - same tonewoods as the Olson - Rosewood/Cedar. It was developing too close to the sound of the Olson in the studio and through the PA which is why I had the Bashkin built.

The Taylor sound was a bit lighter when played in a room without amplification, but I used it for overdubbing in the studio and after 5 years it was turning into a similar enough sound as to not be that distinctively different in studio...it is a fabulous guitar, and my best friend and gigging partner now owns it.

I'm strictly a thumb and three player and totally sans picks with flesh...and my styles are built around that.

Serenity · #9 04-20-2005, 10:21 AM

Quote:

Originally Posted by ljguitar

My OM is Myrtlewood/Italian Spruce to deliberately contrast with the Rosewood/Cedar of the Dread, but I'd call my Dreadnaught my all around guitar and the OM the one which I use to accent it.

How would you characterize the sound of Italian Spruce as opposed to Addy or Engleman?

ljguitar · #10 04-20-2005, 10:29 AM

Quote:

Originally Posted by Abdiel

How would you characterize the sound of Italian Spruce as opposed to Addy or Engleman?

Hi Abdiel...
I will only compare it to what I've played in Michael's other guitars since it is the only ''fair'' comparison. We are talking cousins here since they are all Spruce.

I find the Italian Spruce developing a warmer, clear, and sweet sound with a strong fundamental - but not as ''clear'' as Adirondack. I think the Sitka or Engleman have more harmonic overtones. The guitar has great sustain, and since my guitar is fanned fret and the 1st and 2nd strings are short scale (1st is 25'' and 6th is 25 3/4'') it probably accounts for some of the ''sweetness'' that is developing.

What has amazed me is how quickly the guitar is opening up. It's only a couple months old, and even though it's being played about 20 hours a week, it is opening up very nicely. I'm going to push it this hard for about another 2-3 months before taking it into studio to give it time to open more.

i am going to pull some test recordings in about three weeks, and if they turn out ok, I'll post them on my soundclick page.
http://www.soundclick.com/bands/2/la...obsenmusic.htm

The first recording there is a lullaby I did for my grandson, Noah, last year for his 1st birthday. It was recorded with the Olson in two takes - with no EQ or compression...a main track with Esus capo & vocal plus one track overdub of the same guitar in Drop D capoed at the 2nd fret. Straight takes, no edits or corrections...left all the green ganglies in to have the live feel.

There is a series of test recordings at the bottom of the page of one of Michael's guitars with less than 10 hours of play on it I recorded last year to see how the Italian Spruce sounded before I locked in on tone woods...obviously I was happy.

I personally think Adirondack would be a great coupling in Michael's guitars with Maple sides/back as a jazz guitar, or with Rosewood for a great bluegrass sound cutter.