See the video review of the Martin OMCGTE Cherry

It's no secret that many of the woods that are longtime staples of acoustic guitar construction are now endangered. But while most guitarists are aware of the increasing scarcity (and price tag) of woods like Brazilian rosewood, even more common species like Indian rosewood, mahogany, and Sitka spruce are no longer as available as they once were.

C.F. Martin and Co. experienced the effects of wood resource irregularities as early as the 1960s, when shortages of Brazilian rosewood led the company to alternative construction methods like three-piece backs on its D-35 model and the use of Indian rosewood. Since then, the Nazareth, Pennsylvania, flattop pioneer has explored alternative materials from high-pressure laminate to aluminum and woods including walnut, padauk, and Forest Service Council-certified spruce. More recently, Martin has explored the use of cherry wood in the company's Sustainable Wood Series guitars, the OMCGTE Cherry being one of its newest offerings.

RECYCLED, RESCUED MATERIALS

The majority of the wood used in the construction of the OMCGTE comes from forests maintained in an environmentally responsible manner (for more information, see the Forest Stewardship Council website, fscus.com). Other than the unique, reddish hues of the back and sides there are no overt clues about the wood's unusual origins. The attractive Sitka spruce top is "rescued" from use in pulp mills, where it would have been turned into paper.

The back, sides, and neck are crafted from lightly figured, and very attractive, sustainably harvested cherry—a wood harvested throughout North America, but apart from Canadian manufacturer Godin, used infrequently by major manufacturers.

The fretboard and bridge are made from katalox, a Central and South American hardwood with hints of red and purple that complement the cherry nicely. The top glistens with a gloss finish, but the back, sides, and neck are satin-finished, lending a very natural feel. Simple ivoroid binding, a straightforward rosette (made of Boltaron—a type of synthetic material akin to PVC), and the cherry dot fretboard inlays contribute to a timeless and tasteful overall appearance.

UNMISTAKABLY MARTIN

Although the materials behind the OMCGTE's makeup are unique, the playing experience is unmistakably Martin. The guitar is light and similar in weight to a mahogany OM. The cherry also imparts some of mahogany's tonal characteristics—slightly dry, yet with a warm midrange—and the punch that is typical of a good OM. And whether strummed, flatpicked, or fingerpicked, the guitar is well balanced from string to string. There's also plenty of headroom for aggressive strumming, and the instrument's quick attack makes it an ideal rhythm guitar. At the same time, the OMCGTE is highly responsive to light fingerpicking and sounds equally at home with standard and alternate tunings.

The OMCGTE is equipped with Fishman Aero Blend electronics, a flexible dual-source system that combines the company's Acoustic Matrix undersaddle pickup with a gooseneck-mounted internal microphone inside the soundhole. The control set on the side of the guitar includes volume, bass, mid, and treble knobs, as well as a phase control button, notch filter, mic blend control, and a built-in chromatic tuner with an LED display. The tuner is especially handy—it can be used even if the guitar is not plugged in—and proved to be accurate and easy to use. An LED indicates the note being played, and a pair of red lights indicates if the pitch is high or low. The lights are bright enough to be easily read onstage, and activating the tuner automatically mutes the guitar's output. My only concern is that you can easily forget to turn the tuner off when using the guitar acoustically, which will eventually drain the preamp battery.

When I played the OMCGTE through an AER AcoustiCube amp, as well as a Pendulum SPS-1 preamp plugged in to studio monitors, the Aero system mirrored the Martin's acoustic tone exceptionally well. The undersaddle pickup relays the guitar's punch and clarity, and blending a bit of microphone adds some warmth and dimension. And with the blend control and three-band EQ, it was a breeze to dial in an accurate approximation of the OMCGTE's warm, round cherry tones.

THE WRAP

The OMCGTE is an ideal gigging OM—superbly playable and tuneful, and adaptable to many styles of music. Add powerful and easy to use electronics, and you have an instrument that is ready for home use or the stage. Most refreshing, though, is that the OMCGTE enables the player to make a sound ecological choice when buying a guitar, without sacrificing any of the character, quality, and tone that make a Martin a Martin.