C.F. Martin & Co. stands as a giant in the world of guitar manufacturing, renowned globally for its exceptional steel-string acoustic guitars. For many guitar enthusiasts and professional musicians, the name Martin is synonymous with quality craftsmanship and iconic sound in the realm of flat-top acoustics. However, when we shift our focus to nylon string guitars, the narrative becomes less dominant, yet still intriguing. While Martin’s legacy is firmly rooted in steel-string instruments, their journey into the world of nylon string guitars reveals a more nuanced and less celebrated chapter in their history.
During the burgeoning folk music scene of the 1960s and early 1970s, nylon string guitars experienced a surge in popularity. Martin, recognizing this trend, ventured into producing nylon string models to cater to the demands of folk musicians and enthusiasts. These guitars from Martin tapped into the “folk era” sound, offering an alternative for players seeking a warmer, classical-esque tone within the Martin brand. However, as the musical landscape evolved, the widespread appeal of nylon string guitars waned, except for those dedicated to traditional classical guitar.
Martin’s later endeavors included the N10 and N20 models, along with the Humphrey series, representing attempts to create more traditional classical guitars. While these instruments were respectable and aligned with classical guitar designs, they arguably didn’t reach the pinnacle of excellence achieved by luthiers specializing solely in Spanish-style classical guitars. Reports suggest that even luthier Humphrey himself expressed reservations about the final execution of the Martin collaboration, leading him to personally refine aspects of some production models to enhance their quality and performance.
The 00-18G and 00-28G models, despite their inherent quality and Martin craftsmanship, also didn’t quite capture the essence of sound and playability desired by serious classical guitarists. Similarly, the 00 and 000 series C models, while pleasant to play and possessing a certain charm reminiscent of the “folk era,” were not designed or intended for the demanding requirements of concert-level classical artists. These models, while enjoyable for casual players and those seeking a vintage vibe, largely went unnoticed by serious classical performers.
Ultimately, Martin appears to have strategically chosen to concentrate on their core strength: acoustic flat-top guitars. This focus is further evidenced by their decision to discontinue their electric guitar line, suggesting a business strategy centered on their most successful and recognized products. While the quality of Martin’s electric guitars is a separate discussion, their discontinuation likely stemmed from sales figures and market positioning.
The landscape of classical guitar craftsmanship has also evolved, with the emergence of highly respected luthiers like Kenny Hill and numerous boutique builders specializing in exquisite, high-end classical instruments. In this competitive environment, for Martin to aggressively pursue the high-end classical market would mean diverting resources from their area of established dominance into a market where they have historically experienced limited success.
Collings Guitars, another respected name in acoustic instruments, faces a similar situation. Despite inquiries from customers and dealers regarding classical guitar production, Collings, like Martin, seems to have refrained from entering this niche market. The rationale likely mirrors Martin’s: the classical guitar market is distinct, with its own set of demands and challenges.
A significant factor is the prevalence of affordable, quality import classical guitars, often priced considerably lower than what a high-caliber instrument from Martin or Collings would necessitate. Conversely, the high-end classical guitar market is intensely specialized, demanding a level of focused expertise and craftsmanship that may lie outside the primary skill set of companies renowned for steel-string guitars. The market for high-end classical guitars is also characterized by slower turnover and less frequent discounting compared to other types of guitars. Dealers specializing in classical guitars, with exceptions like Acoustic Vibes in Phoenix, typically maintain smaller inventories, reflecting the niche nature of the market. Even established dealers like Gruhn Guitars and Richard Sauvage, a specialist in classical and flamenco guitars, operate within a market that, while stable, is not characterized by rapid sales volume.
In conclusion, Martin’s journey with nylon string guitars presents a fascinating case study in market dynamics and brand identity. While Martin has produced nylon string guitars throughout its history, their primary success and enduring legacy remain firmly anchored in the realm of steel-string acoustic guitars. The nylon string guitar market, particularly at the high end, demands specialized expertise and caters to a distinct community of musicians, a market that Martin, and companies like Collings, have largely navigated by focusing on their core strengths and established market positions.
