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Check Out Martin’s Amazing, New Acoustic Guitar!

New Martin Acoustic Featured Image

For the past four years, C.F. Martin & Company has been developing a new acoustic guitar. Unlike anything Martin has produced before, this instrument was designed from the ground up with a single goal: to remove the limitations of the conventional cutaway acoustic guitar. Dubbed the Road Series SC-13E, this new A/E guitar succeeds in its endeavor. In fact, it practically redefines the acoustic guitar. Its bold, new design features, such as an S-shaped body, 13-fret scale length, Sure Align neck system, Low Profile Velocity neck shape, and sloped bridge, set a new bar for acoustic playability, comfort, and versatility.

Effortless Playability for Every Playing Style

Martin-SC-13-E-Headstock

When we first unboxed the SC-13E here at Sweetwater, we weren’t sure what to make of it. At first glance, it looks like most other high-end cutaway acoustic-electrics. But when you take a closer look, its S-shaped body and heel-less neck system are unlike anything else out there. It’s definitely a forward-thinking design. So, what does that mean for the player? Well, after at least a dozen of us ran the SC-13E through its paces, we were all impressed — a rarity, considering we all have our own unique preferences and prejudices. Everyone who played the SC-13E praised its Low Profile Velocity neck. Its ergonomic, asymmetrical shape encourages helical hand rotation, which makes achieving every hand position easy. Its Sure Align neck system is completely heel-less, which makes accessing upper frets effortless. Its 13-fret scale length plays like a short-scale instrument without sacrificing tone. To top it off, its sloped bridge stays out of your way, and its low action makes for non-fatiguing playability.

Martin-SC-13-E-Fretboard

It’s important to note that there were acoustic fingerstylists, metal shredders, electric jazz players, and folkies within our small test group, and we all appreciated the SC-13E’s playability. It feels like an acoustic when you play it, so acoustic players didn’t feel put off. That said, its action was such that electric players didn’t feel removed from their element when they picked it up.

No Compromise Between Comfort and Tone

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While there’s something to be said for massive, jumbo-sized acoustic guitars, most players will admit that large instruments aren’t very comfortable to play. Compromising for comfort usually means designing a super-thin instrument with less-than-stellar tone. The SC-13E’s S-shaped body offers something different. Whether you’re tall or short, have long or short arms, or are standing or sitting, this offset shape feels completely natural. As for sound, there’s nothing lacking there — it’s a Martin and it sounds like a Martin. It sounds direct and punchy, thanks to its Sitka spruce top, and it reproduces both gentle fingerpicking and enthusiastic strumming with aplomb. And, by virtue of its fine-tuned body and scalloped X-bracing, the SC-13E exhibits a balanced tonal output that’s teeming with volume and projection. You can rely on this instrument in any situation without conceding anything.

Martin-SC-13-E-Back

We also noted the look of this acoustic-electric guitar. It boasts a fine koa veneer on the back and sides, a tortoise-pattern pickguard, mother-of-pearl fingerboard inlays, and a celestial blue aperture-design rosette, plus a gorgeous gloss finish that really makes it pop visually. Like we said before, even though it fits you like a glove, you’re not conceding anything with the SC-13E. It’s a suitable addition to Martin’s lineup — a company that’s been building guitars for the better part of two centuries.

Versatile Enough for Practice, Studio, and Stage

Martin-SC-13-E-Sound-Hole

We love vintage acoustics here at Sweetwater. That said, they can be temperamental beasts. It’s not so with the SC-13E. While it certainly respects Martin’s celebrated legacy, it’s a modern instrument that sounds just as great plugged in as it does acoustically. For starters, its S-shaped body offers effective feedback rejection even at high stage volumes. On top of that, its Fishman MX-T electronics supply you with top-shelf amplified tone. Whether you’re playing solo or as part of a larger ensemble, the SC-13E sounds amazing. And the Fishman’s built-in soundhole tuner offers easy, line-of-sight visibility for super-quick tune-ups onstage. Its auto-mute function is also handy.

Martin-SC-13-E-Joint

We’re extremely impressed by the SC-13E’s adjustability and serviceability. The guitar’s Sure Align neck is, for all intents and purposes, a set neck — it behaves that way structurally and tonally when it’s installed. That said, the neck can be easily loosened for a fast setup or removed entirely for service or replacement. It’s innovative, forward-thinking design elements like this that really elevate the SC-13E — it’s truly a new evolution in A/E guitars.

What Can We Say? We Love the SC-13E!

We can’t praise the Road Series SC-13E enough — we love it! It covers all the bases: great tone, unrivaled playing comfort, eye-grabbing good looks. Beyond that, its easy playability makes us want to play nonstop, which is the secret to becoming a better player. And who doesn’t want to be a better guitarist? To top it off, it’s competitively priced! We recommend that you give your Sales Engineer a call at (800) 222-4700 and grab your own SC-13E. It has everything needed to be your new number one acoustic. Learn more about the Road Series SC-13E.

About Mac McDonough

Jeffrey “Mac” McDonough started studying classical violin at the age of nine, but his destiny changed significantly after he plugged an electric guitar into a distortion pedal for the first time — a Pandora’s box that his parents probably wish he hadn’t opened. Mac was bitten by the recording bug in the late 1980s while experimenting with a TASCAM Portastudio and a malfunctioning Shure SM58. He interned in several pro studios throughout the 1990s, after which he began tracking and mixing in an ADAT-based project studio. Aside from writing about gear, Mac currently works on freelance recording projects in his home studio, affectionately named “Mac’s Playpen.”
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