Bob Goldman caught up with the legendary Laurence Juber recently to talk about his new Martin Signature Model Acoustic. Here is what he shared with Bob Goldman.

BG: Is this your new signature model (The guitar that he is holding in the dressing room)?

LJ: This is the new signature model for 2004. We did one last year, an OM-18 that went very well. We were very happy with it. Dick Boak called me up and said do you want to do another one? An OM-28.

BG: Is that Brazilian Rosewood?

LF: Yes it is Brazilian Rosewood. They are also making it in Indian Rosewood too with an Adirondack Spruce top.

BG: How much input did you put in to designing this guitar?

LJ: It was all to my specs. What had happened when we did the OM-18 was I had ordered a custom shop guitar. I called him up and told him that I want a standard OM, Adirondack top and braces, 21/4" spacing at the 12th fret, 21/4" spacing at the saddle Schoenberg. This particular style that was developed by Eric Schoenberg, had a Brazilian Rosewood headstock overlay and the signature model OM-18 was a very plain guitar, although it did have three fingerboard dots at 5, 7, and 9 with descending size. With this one there is essentially the same specs, but just taking it up to an OM-28. So it's got the ivory binding, Brazilian Rosewood back and sides as opposed to the Mahogany back and sides, and no fingerboard inlay.

BG: You don't like the fingerboard inlays?

LJ: This is almost like a classical steel string. Somehow I couldn't find an inlay that really was reflective of the elegance of the instrument. I like having it on the 18 because it just seems appropriate.

BG: How about the fretboard? Is it more flat or curved?

LJ: It is a standard Martin board. The neck profile is kind of a modified V. It's pretty consistent with the vintage style. It has Waverly Tuners and this one has fossil ivory bridge pins.

BG: When you tap that (the top) it is like exploding.

LJ: (Taps the top, hits a harmonic and then brings his forearm up and down on the top to give a false whammy bar sound) There's a lot going on. Very complex, very nuance. It's kind of like a Cabernet as opposed to the OM-18, which is kind of like a Chardonnay.

BG: You're talking to a non-drinker here.

LJ: Well I have worked with Al Stewart long enough to develop an appreciation for wine.

BG: When you pick out a guitar, what is the most important thing to you? Is it the sound of the guitar or the playability?

LJ: Well the sound is crucial. You take an Adirondack top and you take a Martin scalloped X braced and you know its going to sound great. Martin knows how to do it, but they have to do it with the right woods. That is why I was very specific about the wood combination because I knew what I wanted to hear, because I had played so many vintage Martins, I knew what I liked about them.

BG: Do you have any vintage Martins?

LJ: I don't actually. My friends have bought up the market. I mean I have friends that have 1931 banjo tuner OM-28's and 1927 OOO-45 type instruments. Instruments to me are designed to be played. My big vintage guitar is a 1957 Les Paul Gold Top. I don't want to take it out of the house. I don't really consider myself to be a collector. I mean I have instruments that I use for studio purposes.

BG: The first thing you look for is the sound?

LJ: The playability is really a function of the right neck and they always get the set up right for me. The set up guys at Martin do a great job. The right neck profile. I use GHS Strings; they make me this true medium set of cryogenically frozen strings. I always replace the strings with my signature ones and then often I'll give myself a little bit more neck relief than most players because I tune down to DAGGAD a lot and I kind of pick in to the guitar, rather than picking across the string, I tend to pick down. If the action is to light or the neck is to straight, I can make it sound a bit nasty.

BG: Do you think that is part of your sound, the way that you pick?

LJ: Well, because I don't use fingernails that's a big part of my sound. I like a big wide note. The motion is kind of like a bowing of the string. The other thing that I like about the OM is that you can play it with a flat pick and it still sounds great.

BG: How did you go about getting hooked up with Martin?

LJ: I already knew Dick Boak. We had established a relationship. I called up one day and said I want to order a custom shop guitar and what happened six months later when it arrived, it was so good that I called him back and said this is a great guitar. He said do you want to do this as a signature model? They are very special people at Martin.

BG: How did you get the gig with Paul McCartney?

LJ: That came through Denny Lane. I was working on a TV show with David Essex. You remember David Essex, "Rock On." This was 1977. I was in the house band on the show and Denny was a guest and we did "Go Now" the old Moody Blues hit that Denny sang. It was kind of like his party piece and he liked the way I played it, so I guess he recommend me to Paul because six months later I got a phone call. It wasn't like instant. For more information go to www.laurencejuber.com