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OM-42 Flamed Myrtle

In recent years, Martin has put out some special, pearly OMs in small-batch, Limited Editions. Each one featured exceptional wood, be it extra-fancy examples of traditional tonewoods like quilted maple and flamed mahogany, or more exotic wood like Amazon rosewood and Tasmanian blackwood. The latest addition to this growing tradition, the OM-42 Flamed Myrtle, is arguably the most beautiful.

This is my first experience with flamed myrtle as a tonewood and I deem it truly unique. It is actually not a myrtle at all, botanically speaking, but rather a species of laurel - specifically Umbellularia californica, aka California Bay Laurel. It is one of the trees that produce bay leaves used in cooking; but in the lumber and interior design world it is commonly known as Oregon Myrtle.

This wood buffs up to have the dark and light striping and the glinting medullary rays that nature put into the best koa wood. But the coloring does not contain the ambers or sunny greenish-gold found in koa. Instead, this OM-42's palette consists of browns, creams and beige that made me think of animal hide or tanned leather. It has a masculine strength to it, somehow. I do not know why exactly, but when I saw the wonderful back on this guitar I thought more of Ernest Hemmingway and African safaris than I did hula girls and luaus.

When it comes to tone, well, my ear is tuned in a major way toward rosewood and mahogany, with a minor in koa and walnut. This guitar does not strike me as being very much like any of them. If I had to find a direct comparison it would be maple. But even then, it was not exactly the same. It has a bit more chirp and chime, or at least a fatter version of it than I typically hear in maple, even if it does have maple-esque properties in the form of a crisp, open undertone. I also felt it sounded quite different than the Tasmanian blackwood that Martin used on a similar model. That wood was very bright and shiny in its tone. This wood is still on the bright and clear side of things, but was somehow less flashy and a bit more woody.

The guitar has an Engelmann top supported with braces of Sitka. The Engelmann has much more in the way of cross-ripple and pizzazz than is normal for this creamy, tight-grained spruce. They are using some sort of golden toner on the top that goes well with the back and sides and likely helps show off the silking for the better (it might be the "aging toner? used on some Vintage Series models.) It is just another careful touch to bring out the best in this ultra-fancy guitar.

The fingerboard and headstock feature the same Vintage Style 45 inlay as the Standard OM-42, only they used select abalone with a high color content and then went the extra mile by outlining each snowflake and cats eye with pure-white mother of pearl. The effect is stunning. The large CF Martin logo running down the length of the faceplate is also lined in MOP for a look distinctive from other high-end Martins.

Of the special OM-42s in recent years and the Tasmanian blackwood OM-45, I would have to say this is my favorite.


As mentioned in the various overviews, I was not able to see every model that came out this January. But there is one more new Martin I have to tell you about: