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January, 2008 | BenHarper.fr

Monthly Archives: January 2008

Special Martin Editions: HM Ben Harper Guitar

Model Specifications:

Model Specifications

MODEL HM Ben Harper
CONSTRUCTION: Mahogany Blocks/Dovetail Neck Joint
BODY SIZE: M (0000) – 14 Fret
TOP: Solid Adirondack Spruce
ROSETTE: 3 Ring – Bold Herringbone
TOP BRACING PATTERN: Standard ”X” Scalloped, Forward Shifted
TOP BRACES: Solid Adirondack Spruce 5/16”
BACK MATERIAL: Solid East Indian Rosewood
SIDE MATERIAL: Solid East Indian Rosewood
ENDPIECE: Grained Ivoroid
ENDPIECE INLAY: Black/Maple Fiber
BINDING: Grained Ivoroid
TOP INLAY STYLE: Bold Herringbone
SIDE INLAY: Black/Maple Fiber
BACK INLAY: Black/Maple Fiber
NECK MATERIAL: Select Hardwood
NECK SHAPE: Low Profile
HEADSTOCK: Solid/Diamond/Square Taper
HEADPLATE: Solid Black Ebony /Target – Mandarin Orange/kiwi Reconstituted Stone /Large Old Style

(Less Est. 1833)


HEELCAP: Grained Ivoroid with Black/Maple Fiber Inlay
FINGERBOARD POSITION INLAYS: Style 28 Blue Paua & Ebony Targets
FINISH BACK & SIDES: Polished Gloss
FINISH TOP: Polished Gloss w/ Vintage Toner
FINISH NECK: Satin w/ Polished Headplate
BRIDGE MATERIAL: Solid Black Ebony
SADDLE: 16” Radius/Compensated/White Tusq
TUNING MACHINES: Gotoh Chrome w/ Large Buttons
RECOMMENDED STRINGS: Martin Studio Performance Light PhosphorBronze (MSP4100)


BRIDGE & END PINS: Fossilized Ivory w/ Pearl Dots
PICKGUARD: Delmar Tortoise Color – Beveled & Polished
CASE: 570 Geib style
INTERIOR LABEL: Signed by Ben Harper,Numbered in Sequence


ELECTRONICS: Fishman Ellipse Matrix Blend

More infos in the Forum www.benharperfrance.com

Ben Harper: Martin Guitar to Celebrate 175th Anniversary

C.F. Martin & Co. is celebrating a landmark milestone with their 175th anniversary! Last year, Martin unveiled a new booth last year accommodating intimate acoustic performances by Martin artists at the Winter NAMM show. Expect more artists, booth demonstrations and new guitars than ever before.

Be sure to stop by and check out all the new Martin Guitars models to be introduced at the 2008 Winter NAMM Show in Anaheim, CA.






While best known for his singing, Elvis’ guitar playing served him well, especially in the early years of his career. His pulsing, rhythmic strumming was featured on many of his early recordings and on stage in the mid-1950s, when Martin was his guitar. He began with a used 000-18 in 1954, but within months had traded it in for a 1942 Martin D-18. The next year he got a 1955 D-28; fitted with a custom-tooled leather cover with his name across, it became perhaps his most recognized acoustic due to the many Elvis concert photos in which it appears. A Martin also was Elvis’ main acoustic at the end of his career. He played a mid-1970s D-28 during his last concert tour and it was the last guitar he played on stage in June of 1977.


Limited to just 175 guitars to mark C.F. Martin’s 175th anniversary, the D-28M Elvis Presley Commemorative Limited Edition features rare Madagascar rosewood back and sides, an Adirondack spruce top and Adirondack spruce braces for brilliant, powerful tone. The tooled leather guitar cover made Elvis’ original D-28 instantly recognizable. Therefore the D-28M Elvis Presley Commemorative Limited Edition is outfitted with a tooled leather guitar cover modeled after the original and is delivered in a special oversized vintage Geib style hardshell case to accommodate the guitar and cover.


The unrestricted D-28 Elvis Presley Commemorative Edition features back and sides of East Indian rosewood and a top of Carpathian spruce. The combination of these fine tonewoods produces a responsive guitar with impressive volume, punch and sustain. The D-28 Elvis Presley Commemorative Limited Edition comes sans leather guitar cover with a vintage Geib style hardshell case, but the cover may be ordered at extra cost, an upgrade that also includes the oversized case.


The Elvis motif of these dreadnoughts begins on the polished black ebony headstock, where the silhouette of the King and his Martin – modeled after a famous 1956 photograph – are inlaid in mother of pearl and black pearl. Small pearl-bordered abalone star position markers inlays at the 5th, 7th (two), 9th, 15th, and 17th frets on the fingerboard flank Elvis’ signature at the 12th fret. The heelcap features his “TCB Lightning Bolt” logo inlaid in mother of pearl – a design that originated with the “Taking Care of Business” pendants Elvis gave to friends.


Factory-installed electronics (those Martin offers without side controls) can be ordered as an extra-cost option. Left-handed instruments may be ordered at no additional cost, though tooling on the leather guitar cover cannot be reversed. Each D-28M and D-28 Elvis Presley Commemorative Limited Edition guitar bears two interior labels specially designed for these editions. The primary interior label for the D-28M Elvis Presley is numbered in sequence with the total number of guitars in the edition, while the primary label for the D-28 Elvis Presley is numbered in sequence without total: both include a holographic, official “Elvis Presley Signature” sticker of authenticity. Authorized C.F. Martin dealers will begin taking orders for the Martin D-28M and D-28 Elvis Presley Commemorative Limited Edition guitars immediately and participating dealers will be listed on the Martin Guitar website, www.martinguitar.com.




Since the original 000-42EC Eric Clapton Signature Edition was introduced in 1995, Clapton has explored the sonic subtleties of various tonewood combinations in the 000 Martin guitars that bear his name, but the 000-42M Eric Clapton Limited Edition may well boast the most exciting tonewood combination yet. The top is Carpathian spruce, which blends the power and clarity of Adirondack spruce, and the warmth and responsiveness of Italian alpine spruce. The back and sides are Madagascar rosewood, prized for its uncanny resemblance in both appearance and rich resonance to the now-endangered Brazilian rosewood.


Reminiscent of the Brazilian rosewood 000-42ECB Eric Clapton Signature Edition Martin produced in 2000, the 000-42M Eric Clapton Limited Edition features spectacular abalone pearl appointments throughout. In the tradition of classic Martins from the early 1930s and before, the back of the headstock bears the historic “C.F. Martin” pressure stamp. The ebony fingerboard showcases Style 45 abalone pearl snowflake inlays with Eric Clapton’s signature inlaid in mother of pearl between the 19th and 20th frets.


Each 000-42M Eric Clapton Limited Edition bears an interior label personally signed by Eric Clapton and Martin Chairman C.F. Martin IV, and individually numbered in sequence with the edition total. The guitars are delivered in with a deluxe Geib™ style five-ply hardshell case: left-handed instruments may be ordered at no additional charge. Authorized C.F. Martin dealers will begin taking orders immediately for the 000-42M Eric Clapton Limited Edition, which is limited to no more than 250 special guitars. A list of participating dealers will be posted on the Martin website, www.martinguitar.com approximately one month after the model’s introduction.




Among Porter Wagoner’s most cherished accolades was his induction into the Grand Ole Opry in 1957. 2007 marked the 50th year that Porter performed with the Grand Ole Opry and with the assistance of Marty Stuart, C. F. Martin embarked on the creation of a D-41 Porter Wagoner Custom Edition to mark the anniversary and honor this fine man for his contributions to Country Music.


While handsomely appointed, the D-41 Porter Wagoner Custom Edition shows traditional Martin quality throughout. The premium solid tonewoods include a top of the finest Engelmann Spruce paired with back and sides of East Indian rosewood for deep, warm timbre and a low profile neck with diamond volute carved from genuine mahogany. The headplate is bound in grained ivoroid inset with fine black/white inlays, and is appointed with Gotoh gold open-geared tuners with matching gold butterbean knobs. The nut and compensated saddle are crafted from genuine bone.


Presented in a Geib® vintage style hardshell case, each Martin D-41 Porter Wagoner Custom Edition guitar features a special interior “Wagonmaster” label personally signed by Porter Wagoner prior to his passing. Marty Stuart, his friend and co-collaborator, has also personally signed the label each of which is numbered in sequence. Authorized C. F. Martin dealers are now accepting orders for the D-41 Porter Wagoner Custom Edition, participating dealers are listed on the Martin Guitar website, www.martinguitar.com. Although the special Porter Wagoner pickguard is available on right-handed models only, either left-handed or right-handed models may be ordered with the option of a standard Martin pickguard at no additional cost.


We are all tremendously saddened with Porter’s passing. It is our hope that his music and his memory will be preserved and commemorated in each of the special guitars that bear his name.


In Memory Of Porter Wagoner 1927-2007




Folk, blues, jazz, soul, jam, reggae, rhythm & blues and gospel; Ben Harper embraces them all in music both richly evocative and utterly original. In little more than a decade, he – both on his own and with his group, the Innocent Criminals – has gone from underground sensation to international star. And whether laying down cool acoustic rhythms, hot electric solos or sizzling slide riffs, he is a guitarist of undeniable power and panache. Such a versatile guitarist needs an equally versatile guitar. Ben Harper has designed that guitar, one that satisfies his personal preferences.


The HM Ben Harper Special Edition is based on Martin’s M size, which combines a wide body with 000 depth for powerful, yet balanced tone. Superb solid tonewoods throughout contribute to its outstanding voice. The top of rare Adirondack spruce is matched to Adirondack spruce scalloped braces for extraordinary headroom and clarity: back and sides of East Indian rosewood add warmth and projection. The low profile neck with diamond volute is carved from genuine mahogany.


For superb, versatile amplified sound, the HM Ben Harper Special Edition comes equipped with a Fishman Ellipse™ Matrix Blend System, which combines Fishman’s Matrix™. The unit’s controls are accessed through the soundhole, so no guitar side is injured in its installation. To optimize tone – whether acoustic or amplified – the guitar is fitted with a bone nut and compensated TUSQ™ saddle. Gotoh® chrome enclosed tuners with large knobs and a chrome strap button complete the appointments. The body of the guitar is finished in polished gloss lacquer, with vintage toner on the top to enhance its traditional style. The neck receives a satin finish for player comfort.


Delivered in a vintage-inspired Geib™ style hardshell case, each HM Ben Harper Special Edition guitar bears an interior label personally signed by Ben Harper and numbered in sequence. Authorized C.F. Martin dealers will begin taking orders for the HM Ben Harper Special Edition immediately and Martin will post the names of participating Martin dealers on its website, www.martinguitar.com.




Laurence Juber has been on an incredible roll since Martin introduced the OMC-28M Laurence Juber Custom Edition – now one of the most popular guitars in the entire Custom Artist series – in the summer of 2006. It was while in the studio working on his new record that Juber became inspired to propose a fourth Martin namesake guitar.


The OMC-18 Laurence Juber Custom Edition features the same long scale and rounded Venetian cutaway 000 body of previous Laurence Juber signature guitars. Like the 2002’s OMC-18VLJ, this Custom Edition also combines an Adirondack spruce top, Adirondack spruce braces and genuine mahogany back and sides. And consistent with the three previous Laurence Jubers, it doesn’t have a pickguard. In a departure from the previous mahogany Juber, the OMC-18 Laurence Juber Custom Edition’s modified V mahogany neck features a squared diamond volute.


The black ebony fingerboard bears elegant abalone pearl “Doppler dot” (i.e. sequentially smaller) position markers at the 5th, 7th and 9th frets, a feature both of the OMC-18VLJ and Style 18 Martins from the early 1930s, but – in keeping with the Laurence Juber guitars’ tradition of elegance – no signature. The OMC-18 Laurence Juber Custom Edition showcases Martin’s flawless high gloss lacquer finish throughout, including the neck and headplate.


This Custom Edition is available – at extra costs – with a range of factory installed electronics and an optional sunburst top. A left handed guitar also may be ordered at no additional charge. Each guitar is delivered in a Geib™ style vintage five-ply hardshell case. The Martin OMC-18 Laurence Juber Custom Edition guitar bears an interior label personally signed by Laurence Juber and numbered in sequence. Authorized C.F. Martin dealers will begin taking orders for the open-ended OMC-18 Laurence Juber Custom Edition immediately and participating dealers will be listed on the Martin website, www.martinguitar.com.




Singer and songwriter Rosanne Cash’s music exemplifies the lady herself: intense, honest and timeless. The eldest daughter of country icon Johnny Cash, Rosanne Cash may be best known as a country artist, but her music encompasses pop, rock & roll, rockabilly, folk and blues. So when asked to design the Martin Signature Edition guitar that would bear her name, we at Martin expected she would base it on the 00-18 Martin she used to play on the road or perhaps one of the Martin dreadnoughts she keeps at home. We were wrong. Ever the independent, Rosanne decided on an OM and the guitar she created – the OM-28M Rosanne Cash Signature Edition – is the guitar she always wanted.


A classic Martin OM, the Rosanne Cash Signature Edition features superb solid tonewoods; Adirondack spruce top and back and sides are rare Madagascar rosewood, with the former divided by an HD-28 zigzag center strip. The combination of body style, tonewoods and bracing give this instrument extraordinary power, balance and clarity. The low profile neck sports a solid, squared headstock and Gotoh nickel open back tuners with butterbean knobs. The spruce top is left natural (without vintage or aging toner) and Martin’s flawless polished gloss finish on the body and neck highlights the beauty of the tonewoods and appointments.


The Martin OM-28M Rosanne Cash Signature Edition features a decorative “signature” that ranks among the most distinctive in the entire Signature Edition series. On the ebony fingerboard, below the long pattern “diamonds and squares” position markers, “CASH” is inlaid between the 19th and 20th frets in white block letters. “The lettering is very special,” she explained. “I found a white patch with “CASH” in block letters in my dad’s office right after he died and I sewed it onto my guitar strap. When we were designing the guitar, I asked Martin to base the fingerboard lettering on that typeface.”


Delivered in a Geib® style hardshell case, each Martin OM-28M Rosanne Cash Signature Edition guitar bears an interior label personally signed by Rosanne Cash and Martin Chairman C.F. Martin IV, and numbered in sequence with the total number in the edition. Left-handed guitars may be ordered with no additional charge: factory installed on-board electronics also are available at extra cost. The number of Martin OM-28M Rosanne Cash Signature Edition guitars made will be strictly limited to the orders received. Authorized C.F. Martin dealers will begin taking orders immediately and the names of participating Martin dealers will be posted on the Martin website, www.martinguitar.com.




One of the world’s foremost authorities on acoustic blues, Stefan Grossman has performed, recorded, taught, produced, transcribed and archived this classic American music for more than 40 years. However, Grossman’s musical palette extends well beyond the genre for which he is best known, as he noted in choosing Martin’s J (for Jumbo) body as the starting point for his namesake HJ-38 Stefan Grossman Custom Edition guitar.


Carefully selected premium tonewoods enhance the HJ-38 Stefan Grossman Custom Edition’s big, versatile sound. Back and sides of beautiful Madagascar rosewood provide definition and depth akin to the rarer but prized Brazilian rosewood. The Sitka spruce top contributes rich, smooth tone. Carved from genuine mahogany, the modified “V” neck offers comfortable chording and plenty of room for picking pyrotechnics.


The handsome appointments on the HJ-38 Stefan Grossman Custom combine tradition with a bit of pizzazz. The Golden Era® Style 45 rosette showcases a center ring of intensely colored paua abalone. The solid square tapered headstock features a polished headplate of Madagascar rosewood inlaid with “C. F. Martin” in abalone block letters and fitted with gold Waverly® tuners. The black ebony fingerboard highlights the rare “Wurlitzer” pattern of position markers in abalone pearl: Maltese cross at the 3rd fret, two slotted diamonds at the 5th fret, slotted square at the 7th fret, two slotted diamonds at the 9th fret, slotted square with cat’s eye inlays at the 12th and 15th frets. Martin’s flawless gloss lacquer finish on the body adds to the guitar’s beauty: the neck’s satin finish enhances player comfort.

Each Martin HJ-38 Stefan Grossman Custom Edition guitar bears an interior label personally signed by Stefan Grossman and numbered in sequence, and each comes with a Geib® style hardshell case. Left-handed guitars may be ordered at no additional charge: factory installed electronics may be ordered as an extra-cost option. Authorized C.F. Martin dealers now are taking orders for this open-ended Custom Edition and participating dealers will be posted on the Martin website, www.martinguitar.com


[lang_en]Jack Johnson : new album 100% Eco-friendly ![/lang_en][lang_fr]Jack Johnson : un album 100% écolo ![/lang_fr]


Early in 2007, Jack Johnson began remodeling an old L.A. mansion that also houses a recording studio and offices for his record label, Brushfire Records. Eco-friendly building renovations were made, and last June he began tracking his new album, Sleep Through the Static, out this month. The album was produced by J.P. Plunier, with recording and mixing by engineer Robert Carranza, and features Johnson’s band: Merlo Podlewski on bass, Adam Topol on drums and Zach Gill on keyboards. In contrast to the Pro Tools production on Johnson’s recent albums, the group went analog this time, tracking to Studer 24-track. “I liked not looking at the music on a computer screen — just hearing it,” says Johnson. “If it had a good feel, you moved on, living with your little mistakes. Those little mistakes become part of the character of the song.

“I am not a real audiophile; I leave that stuff to Robert,” Johnson continues. “The guys in the band can hear the difference between tape and digital. I have always been more into the songwriting and putting the song together. But it feels really warm, and we aren’t using a click. We just go sit in the room together and track the songs.”

Jack Johnson with his guitar on the steps of his new recording studio, Solar Plastic Power Plant. “We found this old building in Los Angeles with a room in the back with high ceilings — perfect for a studio,” says Johnson. “We wanted to make it as eco-friendly as possible: We put the solar panels on the roof. We are using bamboo for the floors, which is a replaceable resource, and we used the old wood to put in floors and ceilings in the house. We have toilets with the low-flush option, and the insulation in the walls is all recycled blue jeans. When you have the chance to do it this way, why not do it?”

“We used a variety of microphones for the drums,” says Carranza. “For the overheads, we used Audio-Technica 4050s. They have a nice top-end brilliance and warmth. You can get them really close to the cymbals and they sound really good. For the toms, we used standard 451s. Snare was a 57 with a 451 tied to it, bottom snare was a 451. Hi-hat was a 451. On the kick drum, we had an [AKG] D 12, which has a nice ‘pump’ to it. Adam [Topol’s, above] sound is very much how he plays, and he tunes them a certain way that works for him. We put up a stereo room mic about three feet back, an AKG, which gives an overall sound for everything.”

Engineer Robert Carranza positions a Telefunken | USA U 47AE. “He is our sound now,” says Johnson of his longtime engineer. “In a certain way, he is in the band.”

“Jack has kind of a velvet voice, and this is the first time I really got the sound I have been trying to get all along,” says Carranza. On the guitar is an Audio-Technica 4050.

Zach Gill’s keyboards include Celeste, Clavinet, Wurlitzer, Rhodes, Moog and piano. “He did most of the piano live,” explains Carrana. “It was blocked off, with the soundboard faced away from the drums with a little gobo, some 451s and that was our tracking style. Sometimes he played through a little Fender Deluxe amp miked with a [Shure] 57.” Pianos went through two Neve 1073s miked L/C/R using less of the center to create space.

Carranza miked Johnson’s acoustic guitar with an AKG. “Jack is such a mellow player. He would sometimes play acoustic, sometimes electric, all done live in the room,” Carranza says. “One of the best things about making this record is that we used the Avion headphone system. You can discretely send tracks to each player and everyone can make and store their own mixes.”

Analog treats (top-bottom): Summit Audio DCL-200 Dual compressor/limiter, Empirical Labs EL-7 Fatso Jr., Ridge Farm Boiler ultra compressor. (“Serial number 35,” says Carranza. “When you want something to go crazy, put it through that box.”), Tube-Tech-Dual Compressor CL 2A. Lindcraft Denmark tube stereo compressor, TLA-100A Summit tube leveling amplifier, and a Teletronix LA2A original limiter. (“When used with an amplifier, it zooms in on sound and brings out all the little characteristics that are in there.”)

Many amps on the project were borrowed from producer J.P. Plunier’s collection. “The one on the left is a Bell stereo amplifier that has two inputs so you can create a stereo effect; we used that one quite a bit,” says Carranza. “The little orange one is an old Gibson. We also used the little combo on the bottom with the tweed design. Standard miking [included] an SM7 or a 57; sometimes, I put the 251 on the amp farther back.”

Overall, signal chains were simple. “All the drums went through APIs,” says Carranza. “Room mics went through Neves. API straight in, straight to tape, with just a little bit of API EQ. Adam has his drums dialed in, and they sound good the way they are. Jack’s acoustic went through a Neve, bass went through the UA 610s with those great tube electronics.” Vocals went through an API mic pre from the Telefunken | USA U-47 re-issue into the API 512, into an LA-2A and straight into tape. “We used the 1176 every once in a while, not too much; this is more of an LA-2A kind of record. No aggressive stuff.” Acoustic guitars went through APIs with graphic EQ to add high end

Source: http://mixonline.com


L’artiste a enregistré son prochain opus d’une manière originale, en respectant l’environnement.


Le prochain album de Jack Johnson, “Sleep Through The Static”, est attendu pour le 4 février prochain. Le premier single, “If I Had Eyes”, est disponible sur les plateformes de téléchargement depuis le 13 décembre. La particularité de ce disque est qu’il a été enregistré dans des studios d’Hawaï fonctionnant entièrement à l’énergie solaire ! L’esprit écologiste du chanteur se répercutera sur les thèmes des chansons. “Certains titres traitent du monde dans lequel nos enfants vont grandir, à la fois rempli de guerre et d’amour, de pessimisme et d’espoir”, a précisé l’artiste au magazine américain Billboard.


Le dernier album studio de Jack Johnson, “In Between Dreams”, date de 2005. Cet ancien champion de surf, reconverti en chanteur, y livrait avec sa guitare acoustique quelques ballades et mélodies simples, agrémentées de son grain de voix profond. En 2006, l’artiste est retourné en studio pour élaborer la bande son du film d’animation “Curious George”. (source: musicactu.com)