Who makes great TRADITIONAL OM/000 guitars.

[Rwpierce]

Originally Posted by justonwo

USB_chord is one of the most knowledgeable people on this forum, having played just about everything. He also happens to be a stellar player and a very nice fellow. Glad his advice was useful.

Agree Juston. Not to mention that he is one of the nicest people you will ever meet.

[Adamski]

Originally Posted by Bruce Sexauer

Not to mention that tradition varies by culture. I IMAGINE that the OP's interest was in guitars cleaving to the pre-war Martin tradition. Particularly tonally, but also in concept regarding modern vs vintage functionality, and perhaps neck attachment and glue choices as well as a host of other details.

And he chose an Authentic, so there's that.

Modern vs Vintage functionality is the biggie for me. So many of the builders mentioned in this thread usually approach the guitar in the modern way, and it shows up in the results as a different sort of guitar. Not better or worse, just other. IMO, of course.

You hit the nail on the head Bruce. Traditional look, feel and sound was what I wanted... I didn't want a "modern take on the OM" because I have a Sobell, and Sands (which are effectively that and have owned loads of other modern instruments) so I wanted something that has the vintage-vibe but with the exacting build accuracy and playability of a good modern instrument.

Certainly the Authentic is a very different feel and sound to the other modern "Martin OM" type instruments I have played.

Still, we all know what GAS is like, the fact that I have found a great suite of instruments won't stop me from looking/buying/selling because, as SteveH said when he sold me my first every good guitar (a Sobell) when I said "I'm never going to sell this"... "yes you will because we all do." And he was right!

[Silly Moustache]

Originally Posted by Adamski

I have recently bought a Martin 000-28EC and have been really impressed with it. I know that any factory-made instrument can be a bit hit/miss but I absolutely LOVE the feel and style and details (such as the volute on the back of the headstock, the shape, the simplicity)...

So, if I wanted to explore a really good traditional OM/000 (I mean one which would share body shape and dimensions with a Marin 000/OM) what would you suggest I look at commissioning. I know of a few good ones (although haven't played them all) such as - Pre-War, Collings then up from there to Bourgeois, Santa Cruz, Franklin, Circa...

What are your thoughts and what else is there is and what's really good (or not)?

Hi Adamski, seeing as you are on the same island as I, if, I could afford it and IF you can wait, it would have to be Alan Bown.

However, My Mate Mick Wills has a Collings OM3 which is an absolute dream!

See:

[Adamski]

Originally Posted by Silly Moustache

Hi Adamski, seeing as you are on the same island as I, if, I could afford it and IF you can wait, it would have to be Alan Bown.

However, My Mate Mick Wills has a Collings OM3 which is an absolute dream!

Yes I know Ralph Bown a bit, and lots of my friends have bought instruments from him. Lovely work for sure...

Collings - I've played a few but I do generally find them a bit clinical...very good, but for some reason I don't care!

[Mbroady]

Originally Posted by Adamski

.......
Still, we all know what GAS is like, the fact that I have found a great suite of instruments won't stop me from looking/buying/selling because, as SteveH said when he sold me my first every good guitar (a Sobell) when I said "I'm never going to sell this"... "yes you will because we all do." And he was right!

So true

Picked up a couple nice guitars this last year and after my D-35 I have not felt the pull of gas. But I know after a few more months I will feel the pull....
I think i can make it to the new year

Always wanted a 0000 style guitar ............

[jonnymosco]

Originally Posted by Silly Moustache

Hi Adamski, seeing as you are on the same island as I, if, I could afford it and IF you can wait, it would have to be Ralph Bown.

I agree Andy - but I think the wait is what you'd expect from a world-class luthier and price-wise, underpriced, thankfully he's not caught up in the TNAG system.

Jonny

[Adamski]

I am really delighted with this instrument.

It sounds, not surprisingly, rather like a vintage instrument with hide glue, identical bracing and aged top/braces. A really interesting complex woody sound. Great projection, volume and sustain.

Significantly more "alive" when you play it than other Martins that I have played.

It feels like a new instrument...everything dead straight with no warps, no buzzes, perfect action, no lumpy frets...

Very nice finish - "vintage gloss" which is much less shiny than usual Martin instruments and feels lovely to touch. Very thinly applied too, you can feel the individual elements on the zipper on the back through a finish.

Feather light - probably as a result of the VTS treatment on the top and braces plus the fact that it has a none adjustable "T-bar" truss rod.

Very nice Madagascar for the back and sides (albeit not particularly well book matched for some reason). Great piece of wide-grained Adirondack for the top and nice ebony for the fingerboard and bridge.

I have played (and owned) better instruments made by single luthiers...but I have also played far inferior ones too and I certainly have never played a "factory made" instrument that comes close to this (and I have played them all).

So if you get the chance to sample one I would certainly recommend it as it was a real surprise to me that something from a big brand would perform like this.

I'll be keeping this for a while as it fits very nicely with the Sobell and the Sands that I have.

Thanks to everyone for your advice and ideas particularly to USB_chord who pointed me in this direction.

[justonwo]

Looks really wonderful. Enjoy it! Martin makes killer guitars.

[Adamski]

Originally Posted by justonwo

Looks really wonderful. Enjoy it! Martin makes killer guitars.

Thanks Juston...this one certainly seems okay!

[usb_chord]

Hey! So glad to hear that it worked out, Adamski! I'm a big advocate for the Authentic Martins. At the very least, they're a great checkpoint along the road to whatever you decide to be your personal holy grail. For 6 grand or so (!!), I'm not sure it gets any better . . .especially if we're talking lightly built OM of Adirondack and *Madagascar* rosewood!

I think that guitar will serve as a very fine point of comparison whenever you decide to move into the solo built stuff. Congrats again! (and thanks Rob and Juston <3)

[Adamski]

Originally Posted by usb_chord

Hey! So glad to hear that it worked out, Adamski! I'm a big advocate for the Authentic Martins. At the very least, they're a great checkpoint along the road to whatever you decide to be your personal holy grail. For 6 grand or so (!!), I'm not sure it gets any better . . .especially if we're talking lightly built OM of Adirondack and *Madagascar* rosewood!

I think that guitar will serve as a very fine point of comparison whenever you decide to move into the solo built stuff. Congrats again! (and thanks Rob and Juston <3)

Thanks, much appreciated. Have no fear, I'm already on the custom road! I think I already have my holy grail...or two (after much searching, buying and selling over the years) ...but we can have more than one can't we!

I must say though the the "traditional OM" route is a whole new hole in to which I can shovel money!

[chrisjwhit]

Originally Posted by Adamski

Yeah I know...they're very "nice" but to be honest I've played only a few that have real personality. Chris W's madrose OM is incredible and I would certainly have that!

Sorry mate, not selling [emoji6]

[Deft Tungsman]

Congratulations on a lovely guitar, mate!! The back is lovely stuff, but that headstock is off the charts!

This thread has been a great one to follow. I’ve played a friend’s 00-18A a couple of times and enjoyed it very much, vintage tone with a (slightly) more modern feel, naturally, because it isn’t 90 years old. I think he’s planning on selling it, but since he already sold me his 1933 Martin 0-17 last year, I prefer to pass.

More recently, I played a 000-17 Whiskey Sunset for around an hour in a shop, something I rarely do. I liked it very, very much, more so than the 000-18 hanging on the rack right next to it. Very open, clear and woody, super lightweight, it really captured that “old Martin” vibe.

I have two luthier-built OMs. I got them both from TAMCO in 2019. Both are extremely balanced and great all-rounders.

The Adi/Hog Circa is punchy, clear and dry, very much like a pre-war Martin. Everything that people have written about John Slobod’s work here is true. His guitars are just so musical, and my OM is very addictive.

The Italian/Claro Walnut Claxton is softer and more scooped in the mids, with a bit more overtone content. If you’ve played Steve’s Claxton OM, you already know just how sublime Ed’s guitars are. If I could only keep one, this is it, hands down.

I’m hoping to organize another gathering of local aficionados soon. In our crowd, there’s a guy with a newly-acquired Bagnasco e Casati OM, and I’m eager to check it out. If and when that happens, I’ll be sure to report back here.

[Adamski]

Originally Posted by Deft Tungsman

Congratulations on a lovely guitar, mate!! The back is lovely stuff, but that headstock is off the charts!

This thread has been a great one to follow. I’ve played a friend’s 00-18A a couple of times and enjoyed it very much, vintage tone with a (slightly) more modern feel, naturally, because it isn’t 90 years old. I think he’s planning on selling it, but since he already sold me his 1933
Martin 0-17 last year, I prefer to pass.

More recently, I played a 000-17 Whiskey Sunset for around an hour in a shop, something I rarely do. I liked it very, very much, more so than the 000-18 hanging on the rack right next to it. Very open, clear and woody, super lightweight, it really captured that “old Martin” vibe.

I have two luthier-built OMs. I got them both from TAMCO in 2019. Both are extremely balanced and great all-rounders.

The Adi/Hog Circa is punchy, clear and dry, very much like a pre-war Martin. Everything that people have written about John Slobod’s work here is true. His guitars are just so musical, and my OM is very addictive.

The Italian/Claro Walnut Claxton is softer and more scooped in the mids, with a bit more overtone content. If you’ve played Steve’s Claxton OM, you already know just how sublime Ed’s guitars are. If I could only keep one, this is it, hands down.

I’m hoping to organize another gathering of local aficionados soon. In our crowd, there’s a guy with a newly-acquired Bagnasco e Casati OM, and I’m eager to check it out. If and when that happens, I’ll be sure to report back here.

Thanks man.

Yes, I have played Steve's Claxton many times and it's an outstanding guitar.

The thing that pleases me about the Authentic isn't that I think it's the best guitar in the world (clearly it's not) but because it fits in so well with what else I have. A Sands for that Somogyi-type twinkle, a Sobell for that Martin Simpson vibe and the Martin seems to perfectly compliment this two and then this arriving eminently - https://www.acousticguitarforum.com/...d.php?t=616874

To be honest I don't want to have more than 3 acoustics, a nylon and an electric as there simply isn't time to play them all...hence the fact I'm often selling/buying.

I must say that your 5...would be a good 5 to have!

[Deft Tungsman]

Originally Posted by Adamski

Thanks man.

The thing that pleases me about the Authentic isn't that I think it's the best guitar in the world (clearly it's not) but because it fits in so well with what else I have.

This is exactly how I feel about the 0-17. Unlike the OMs, it's more niche and not the best all-rounder. That said, because of its clarity and balance, it's much more versatile than you'd think. I can spend days on it and it alone and not miss the bigger or more modern guitars. More importantly, it has what I'd call "depth of character", that little je ne sais quoi that keeps me coming back for more and pulls me towards new musical horizons.