It’s been a long time coming. Five years ago, Martin invited GP to its headquarters in Nazareth, PA., for a sneak peep at the prototype for a revolutionary new concept. We’d never seen anything like the SC project, spearheaded by VP Fred Greene and lead designer Tim Teal. Featuring an asymmetrical “S” body shape and a cavernous cutaway with crazy upper-fret access courtesy of a patented new Sure Align linear dovetail neck joint at the 13th fret, the SC would come to redefine the state of the historic manufacturer’s acoustic-electric design.
While we were all immediately impressed handling the original SC-13E, especially considering it was priced in the affordable Road Series, one couldn’t help but dream about a Cadillac version. After my test drive I commented that if such a finicky acoustic aficionado as myself were to seriously consider replacing another go-to instrument in the arsenal, especially another Martin, it would most likely have to come from the same Nazareth factory made from all solid woods with top tier electronics. At long last, here we go.
Practical reasons dictated the timeline for getting a green light on the SC-18E and SC-28E. First, the public had to buy in to the original SC’s odd shape and low-profile velocity neck. Martin made it in the Mexican facility to meet a price point for the masses. Players eagerly embraced the S, leading to a whole range in the Road Series. (See my review of the fanciest, SC-13E Special Burst.)
Before committing to an American production model, Martin produced a very limited custom shop run of 300 in 2022. Skipping past the Cadillac and shooting straight for a Bentley, the lavish SC-2022-CS quickly sold out and became a collector’s item. That lit the green light for bringing SC machinery stateside, and we got a first glimpse of the SC-28E and SC-18E at the 2024 NAMM Show. Fully floored, we asked for review models, and now they have finally arrived.
These new SCs belong to the Standard Series in Martin’s most familiar styles, 18 and 28. The 18 equals solid mahogany back and sides with rather workman like appointments, while the 28 is made of solid rosewood back and sides with slightly fancier appointments. For example, the rosette on the 28 has more rings and there are a few more dots inlayed on the fretboard in mother of pearl, which is a bit more pronounced compared to the abalone on the 18. The white plastic top binding and bridge pins on the 28 are most distinctly different from the black binding on the 18. And the 28 has a groovy stipe down its back. Ultimately we’re talking classic Martin aesthetics, rather Spartan but classy cool in a traditional sense, which is particularly intriguing on such a non-traditional body shape. Both feature solid Sitka spruce tops and either Fishman Aura VT Blend or L.R. Baggs Anthem electronics, as tested here. The 18 costs about 500 bucks less.
Having 13 frets to any body is unique, but the SC is a true unicorn. Martin invented its linear dovetail neck joint so there’s nothing hindering your fretting hand from getting a vice grip to fully access the upper fretboard with no semblance of the classic “15th fret hump” that acts as a speed bump on most acoustics. And the shape of the neck is equally innovative. While the neck may be on the thin side overall for traditional Martin enthusiasts, as a buddy pointed out to me when he played the SC-28, I appreciate the low profile, and how it morphs as you navigate from the nut to the top. Its helical design facilitates a full feel in open position, balance for barre chords in the middle range, and a natural path for the thumb to traverse gravitating towards the treble side as one passes into cutaway territory and enters the fretboard equivalent of the penthouse suite where no notes are off limits. Anything and everything is possible in the penthouse suite!
The SC-28 is exactly what I’d hoped it would be. It’s got that wooly, chunky rosewood tone that also has a nice top presence. If you’re looking to make the biggest sound possible from a rather shallow body with a deep cutaway, this is the way. If you’re a singer songwriter looking for that full Martin sound but from an instrument that’s far easier to play than anything Martin has previously produced, this is the way as well. For just about anything from stretch chords to sweep licks, acoustic rock to jazz, the SC-28 is incredibly accommodating.
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The SC-18 exceeded my expectations. Most aficionados have some preference between rosewood and mahogany, style 28 or style 18. I’m generally in camp 28. I wasn’t even going to ask for the 18 figuring it’s essentially similar with a slightly thinner sound, and for a guitar that’s already on the thin side physically…. I figured wrong. The SC-18E does have less chunk in the trunk, but man, it’s wonderfully resonate and spritely. I tend to prefer it for intense fingerstyle instrumentals, as it seems to have a quicker response. The satin finish on the neck felt super smooth on this review unit.
Both have that elusive Martin sound, even if it’s in a more contemporary context. And despite the being a sleek design, these Standards are no wussies—in fact they’re robust. My fingerstyle can get rather aggressive, and most guitars arriving with a factory setup simply can’t handle it. They’re too easy to play and splat out when I dig in. Not so with these Standard Series SCs. I was able to wail away all over the neck without worry, utilizing every iota of the fretboard. These are the first Martins I’ve reviewed with their new Luxe Kovar strings, which felt nice and snappy, silky smooth and strong. Martin also claims the new string design incorporates less tension, so perhaps that contributed to the way the guitars seemed to eat up whatever I threw at them.
Standard Series SCs come equipped with either L.R. Baggs Anthem or Fishman Aura VT Blend electronics, and our review units had the former. I’m glad they did because, well, I agree with what one of the cats who works the end of the production line at the Nazareth factory once told me. He believed that the Fishman cut through a band application well, which the beefier sound of the Baggs was better for solo or duo stuff when they guitar has more space in the mix. I took these out on a duo gig in Half Moon Bay at the Ritz Carlton, and the Anthem systems delivered lots of luxurious tones through an AER Tommy Emmanuel amp and a Bose P.A.
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Onstage and studio experiences will always let you know exactly where you stand, both as a player and as commander in chief of your gear. How well you play and how well you sound are intricately linked. Find yourself in a particularly meaningful situation, be it an important gig or the white-hot pressure of playing to a click track when the studio light turns red, and there’s pretty much nothing that you wouldn’t do to play and sound just a bit better. All those licks you practiced in your bedroom become trickier standing up with the guitar’s body hanging on your own. Ditto for when the recorder starts rolling and the producer is hawking you through the studio glass. All those tones you had dialed perfectly in said bedroom become suddenly elusive amidst the mayhem of the band, the P.A., and the venue. Or the impossible quiet sitting in an isolation booth. These are the moments when having a Standard Serie SC feels like a lifeline. Suddenly, paying the extra money for an American-made instrument constructed from solid woods and featuring top-tier electronics feels worth every penny. This is the difference between being good enough and as professional as possible.
Having tried these new SCs as well as their predecessors in all these environments, this conclusion is drawn from a wealth of experience. If you’re truly serious about playing and sounding your best, in all circumstances but especially in the live arena, audition a Martin SC from the Standard Series. I’ll bet that if you’ve been considering an SC and there’s any way you can manage the payments, you’ll go for an SC-18E or SC-28E. For being simply the best performance acoustics that have come to this Frets acoustic editor’s attention in nearly a decade on the gig, Now I can’t wait to see a slightly fancier SC in the Modern Deluxe Series. Your move, Martin.
As a special treat, here are two videos demonstrating the powers of the Martin SC-18E and SC-28E. Guitar Player Frets editor Jimmy Leslie and Jules Leyhe — who both perform in the Allman Brothers tribute group the Allmond Brothers — play the ABB classic “Little Martha” and their original tune “Gratitude Raga” on Martin SC Standards.
SPECIFICATIONS
SC-18E
CONTACT martinguitar.com
PRICE $3,599 street with hardshell case
NUT WIDTH 1.75″, bone
NECK Select hardwood, Sure Align linear dovetail neck joint
FRETBOARD Ebony, 25.4″ scale
FRETS 20
TUNERS Nickel open gear with butterbean knobs
BODY Solid mahogany back & sides, solid Sitka spruce top
BRIDGE Ebony with compensated bone saddle
ELECTRONICS L.R.Baggs Anthem (as tested) or Fishman Aura VT Blend
FACTORY STRINGS Luxe by Martin Kovar Light nickel-cobalt .011—.052
WEIGHT 4.3 lbs (as tested)
BUILT USA
KUDOS Resonant, responsive acoustic and amplified tones from shapely sexy body with uber playability
CONCERNS Low profile velocity neck may feel a bit thin to traditional Martin players. Not available lefty
SC-28E
CONTACT martinguitar.com
PRICE $3,999 with hardshell case
NUT WIDTH 1.75″, bone
NECK Select hardwood, Sure Align linear dovetail neck joint
FRETBOARD Ebony, 25.4″ scale
FRETS 20
TUNERS Nickel open gear with butterbean knobs
BODY Solid East Indian rosewood back & sides, solid Sitka spruce top
BRIDGE Ebony with compensated bone saddle
ELECTRONICS L.R.Baggs Anthem (as tested) or Fishman Aura VT Blend
FACTORY STRINGS Luxe by Martin Kovar Light nickel-cobalt .011—.052
WEIGHT 4.4 lbs (as tested)
BUILT USA
KUDOS Hearty acoustic and amplified tone from shapely sexy body with uber playability
CONCERNS Low profile velocity neck may feel a bit thin to traditional Martin players. Not available lefty
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