Other Brands Made by Martin. Since 1900, Martin did make guitars

Transcription

Other Brands Made by Martin.
Since 1900, Martin did make guitars, mandolins and ukes for other brands and guitar studios. No, this was
not "common". Just because your guitar looks like a Martin, doesn't mean it is. Even if your instrument is
one of the brands listed below, that does NOT mean it was necessarily made by Martin either! Just keep
that in mind.
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Bacon: a few made for Bacon Banjos in 1924.
Belltone: fifteen guitars, ten mandolins and twelve Style 3k ukes were made for Belltone.
Bitting Special: Martin made some mandolins for this Bethlehem, PA teacher in 1916 to 1919.
Ditson: in 1917 to 1919, and 1923 to 1930, Martin made some guitars for the Ditson company in
Boston. Early models only have a "Ditson" stamp, later models have both the "Ditson" and "Martin"
stamps. The 1923 to 1930 models have Martin serial numbers. Prior to this, 483 guitars of the
original 1917 to 1919 series have been documented.
Foden: In 1912 to 1917, Martin made guitars for concert guitarist William Foden. These are similar
to the standard Martin models, but have simple soundhole rings and a 20 fret fingerboard (instead
of 19). Made in sizes 0 and 00, the styles were similar to Martin's Style 18, 21, 28, and a pearl trim
model. Only 27 of these guitars have been documented to date.
Jenkins: Martin made Style 1 and 2 ukes for this Kansas City mail order company.
Olcott-Bickford: 32 guitars made for this guitarist.
Paramount: Around 1930 Martin made about 36 guitars with strange construction. A style 2 size
body mounted into a larger rim and back of rosewood, small round soundholes around a "lip" that
joins the outer rims to the inner rims, no soundhole in the top, 14 frets clear, dot fingerboard
inlays to the 15th fret, rounded peak peghead with standard Paramount banjo peghead inlay,
banjo-style tuners, four or six strings.
Schoenberg: In 1987 to 1994, Martin made some guitars similar to their OM-18, OM-28 OM-45,
some 12 fret 000 models, and a few D models. The last Schoenberg/Martin was made in October
1994, serial number 541742.
S.S. Stewart: Martin made ukes for this company in 1923 to 1925.
Rolando: In 1916 to 1918 Martin made 261 guitar (numbered 1 to 261), and some later guitars
with standard Martin serial numbers.
Vega: Martin bought Vega Banjos in 1970 and moved production to their property in 1971. In
1979, Martin sold the Vega name. Some guitars were made under the Vega name during this
period (but they mostly made banjos).
Weymann: Around 1925 Martin made some Ukes for this company, but no guitars.
Wurlitzer: In 1922 to 1925, Martin made 297 standard Martin models (but with a simplier
soundhole rosette) for Wurlitzer. These have the Wurlitzer name and model number on the back of
the peghead.
As you can see, Martin did not make very many guitars for other companies. So the chance that your nonMartin guitar is really a "Martin" is very unlikely!
Martin Serial Numbers (How to Find the Year).
All Martin guitars since 1898 (except solidbody electrics from the 1970s, basses, and tiples) are
numbered in consecutive order. Ukuleles do not have serial numbers. Mandolins use a different
serial number system than guitars. Martin guitar serial numbers start at 8000 in 1898 because
Martin estimated they made 8000 instruments before 1898.
Model Numbers stamped above the Serial Number starting in 1930.
Starting in October 1930, Martin also stamped the model number just above the serial number.
Martin model numbers are straight forward too. The first set of characters are the body size. Next
there is a "-". The last set of numbers are the ornamention style.
For example, "OO-28" stamped above the serial number tells use the body is "OO" size (14 5/16"
wide for a 14 fret model, 14 1/8" wide for a 12 fret model), and the ornamention style is "28"
(rosewood body, ice cream cone style neck).
Left: The model and serial numbers, as seen through the sound hole on the neck block of this 1950 D-28.
Prior to October 1930, the model is NOT stamped on the neck block (you have to figure it out yourself!).
Right: The model and serial numbers, as seen through the sound hole of this 1944 D-18, serial number
90067. Notice the "1" in the "18" does somewhat look like a "2". This confuses a lot of people who think
their style 18 guitar is a style 28. Also the "D" is sometimes confused for an "0".
On round hole martin guitars, the serial and model numbers are stamped on the neck block inside
the instrument. The number can be seen by looking inside the sound hole. Look at an angle
towards the neck. All f-hole Martin archtops have their serial and model numbers stamped on the
inside center of the backstripe, roughly under the shadow of the bridge (and best seen from the
bass side "f" hole).
The numbers listed here show the LAST serial number produced for that year. Martin
produced all guitar serial number sequentially. These serial number apply to all Martin guitars, flat
top and arch top. It does not apply to ukes (except for the first year, they do not have a serial
number). Does not apply to Martin mandolins either (they have their own serial number system).
Year
---1898
1899
1900
1901
1902
1903
1904
1905
1906
1907
1908
1909
1910
1911
1912
1913
1914
1915
1916
1917
1918
1919
1920
1921
1922
1923
Serial# Range (produced)
-----------------------8001-8349 (347)
8350-8716 (367)
8717-9128 (411)
9129-9310 (181)
9311-9528 (217)
9529-9810 (281)
9811-9988 (177)
9989-10120 (131)
10121-10329 (208)
10330-10727 (397)
10728-10883 (155)
10884-11018 (134)
11019-11203 (184)
11204-11413 (209)
11414-11565 (151)
11566-11821 (255)
11822-12047 (225)
12048-12209 (161)
12210-12390 (180)
12391-12988 (597)
12989-13450 (461)
13451-14512 (1061)
14513-15484 (1335)
15485-16758 (909)
16759-17839 (1080)
17840-19891 (2051)
Year
---1950
1951
1952
1953
1954
1955
1956
1957
1958
1959
1960
1961
1962
1963
1964
1965
1966
1967
1968
1969
1970
1971
1972
1973
1974
1975
-----------------------112962-117961 (4999)
117962-122799 (4837)
122800-128436 (5636)
128437-134501 (6064)
134502-141345 (6843)
141346-147328 (5982)
147329-152775 (5446)
152776-159061 (6285)
159062-165576 (6514)
165577-171047 (5470)
171048-175689 (4641)
175690-181297 (5607)
181298-187384 (6086)
187385-193327 (5942)
193328-199626 (6298)
199627-207030 (7403)
207031-217215 (10184)
217216-230095 (12879)
230096-241925 (11829)
241926-256003 (14077)
256004-271633 (15629)
271634-294270 (22636)
294271-313302 (19031)
313303-333873 (20570)
333873-353387 (19513)
353388-371828 (18440)
1924
19892-22008 (2116)
1925
22009-24116 (2107)
1926
24117-28689 (4572)
1927
28690-34435 (5745)
1928
34436-37568 (3132)
1929
37569-40843 (3274)
1930
40844-45317 (4473)
1931
45318-49589 (4271)
1932
49590-52590 (3000)
1933
52591-55084 (2493)
1934
55085-58679 (3594)
1935
58680-61947 (3267)
1936
61948-65176 (3228)
1937
65177-68865 (3688)
1938
68866-71866 (3000)
1939
71867-74061 (2194)
1940
74062-76734 (2672)
1941
76735-80013 (3278)
1942
80014-83107 (3093)
1943
83108-86724 (3616)
1944
86725-90149 (3424)
1945
90150-93623 (3473)
1946
93624-98158 (4534)
1947
98159-103468 (5309)
1948
103469-108269 (4800)
1949
108270-112961 (4691)
--------------------------Year
Important Serial Number Milestones.
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1976
1977
1978
1979
1980
1981
1982
1983
1984
1985
1986
1987
1988
1989
1990
1991
1992
1993
1994
1995
1996
1997
1998
1999
2000
2001
---Year
371829-388800 (16971)
388801-399625 (10824)
399626-407800 (8174)
407801-419900 (12099)
419901-430300 (10399)
430301-436474 (6173)
436475-439627 (3152)
439628-446101 (6473)
446102-453300 (7198)
453301-460575 (7274)
460576-468175 (7599)
468176-476216 (8040)
476217-483952 (7735)
483953-493279 (9323)
493280-503309 (10032)
503310-512487 (9177)
512488-522655 (10167)
522656-535223 (12567)
535224-551696 (16472)
551697-570434 (18737)
570435-592930 (22495)
592931-624799 (31868)
624800-668796 (43996)
668797-724077 (55280)
724078-780500 (56422)
780501-845644 (65143)
-----------------------Serial# Range (produced)
439xx to 44362: October 1930 first time both the body size & style number stamped on neckblock
above the serial number (exact serial number change unknown).
57305 = T frets first used and T bar first used (1934)
59044-61181 = Martin stamp in back of peghead discontinued (1935)
72740 = Change in nut width on 14-fret models from 1 3/4" to 1 11/16" (late 1939) on all nonslotted peghead models. Style 17 models with 14-fret body may have changed earlier.
80585 = Ebony neck reinforcement started to be implemented during WW2 (1942)
83107 = Last pre-WW2 style 45 guitar (1942).
89926 = According to Martin, this is the approximate last scalloped braced guitar made (late
1944). Though some models have been seen after this number with scalloped braces, and before
this number with tapered braces. (For example #90014 appears to be the last D28 with scalloped
braces, and D-28 #88112 had tapered braces.)
90021 = Snowflakes on D28 discontinued (1944). This is an approximate serial#.
98223 = Last style 28 guitar made with Herringbone trim (early 1947).
99992-100240 = Last style 28 guitars made with a "zipper back" center seam (mid 1947).
197207 = Bridge pin holes moved back 1/16" (1964).
200601 = short saddle bridge (1965).
205251 = 102C Grover machines on all "D" guitars (1965).
211040 = Boltaron bindings on D-28 and D-35 (1966).
212100 = Boltaron bindings on D-18 (1966).
213775 = Boltaron rosettes (1966).
215253 = New tape strips on sides (1966).
216736 = Bridge pin holes moved to center (1966).
217215 = Tortoise guards discontinued (1966).
220467 = Last hand stamped serial/model numbers (1967).
224079 = Kluson K324 tuners on all style 18 models (1967).
226969 = Grover v100 tuners on all 0,00,000 models (1967).
228246 = Square truss rod bar on D models (1967).
235586 = Rosewood bridgeplates on all guitars (1968).
242454 = Larger rosewood bridgeplates on all guitars (1969).
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254497 = Last style 28 guitar made with Brazilian rosewood (late 1969).
254498 = East Indian rosewood introduced (1969, a model D-21).
255717 = First D-41 model with Indian Roseood.
256366 = First D-45 model with Indian Rosewood.
350287 = Plastic saddles on D-18 models (1975).
355357 = Plastic saddles on D-28 models (1975).
360970-365831 = Rosewood vertical sidestrips (1975).
370976 = Micarta nuts and saddles (1975).
447004 = Self-adhesive pickguard trial (1984).
447501 = Last glued-down pickguard in regular production (1984).
453181 = Adjustable truss rods gradually implemented (1985).
478093 = Maple bridgeplates on all guitars (1988).
737277 = Last HD-28LSV with an Adirondack top (2000). Sitka spruce was used in regular
production thereafter.
Martin Flat Top Body Sizes.
"Size" is the body size designation that Martin uses, as stamped inside the guitar on the neck
block starting in October 1930. All measurements are in inches. "Frets" represents the frets clear
of the body. "Introduced" was the year of introduction. All sizes are in inches.
Size
Frets
Width
Depth
Body Len
Tot Len
Year Introduced
---------------------------------------1/4
12
6 3/16
2 7/8
12
(early version)
1/4
12
8 15/16
3 9/16
12 1/16
(later version)
1/2
12
10 1/8
3 3/8
15 1/16
7
12
13 11/16 4 3/8
17 1/2
5
12
11 1/4
3 7/8
16
4
12
11 1/2
3 3/4
16
3 1/2 12
10 11/16 3 7/8
16 7/8
3
12
11 1/4
3 13/16 17 3/8
2 1/2 12
11 5/8
3 7/8
17 7/8
2
12
12
4
18 1/4
1
12
12 3/4
4 3/16
18 7/8
O
12
13 1/2
4 3/16
19 1/8
1852
O
14
13 1/2
4 1/4
18 3/8
38 3/8
1932
OO
12
14 1/8
4 1/16
19 5/8
1877
OO
14
14 5/16
4 1/8
18 7/8
38 5/8
1934
OOO
12
15
4 1/16
20 7/16
1902
OOO
14
15
4 1/8
19 3/8
39 3/8
1934
OM
14
15
4 1/8
19 3/8
1929
D
12
15 5/8
4 3/4
20 15/16
1931
D
14
15 5/8
4 7/8
20
40 1/4
1934
UKES
---Standard
6 3/8
2 5/16
9 7/16
21
Concert
7 3/4
2 3/4
11
23 1/2
Tenor
8 15/16
2 15/16 12 1/16
26 1/4
Baritone
10
3 3/8
14
30 11/16
Certainly the most desirable of the Martin body size is the 000, 0M, and D sizes. Many consider the
000 (and OM, which is essentially a 000) to be the ultimate guitar size, where others feel the "D"
size is the best. It's personal preference. There are some interesting facts though about the 000
and OM sizes. (In Martin's 1934 catalogue, any flattop guitar that had a 14-fret neck was named
an "Orchestra Model", while the older 12-fret design was named a "Standard Model".)
The OM Body Size.
Martin's OM, or "Orchestra Model", available from 1929 to 1933, has a rare combination of
features. The joining of a long-scale (25.4") neck with a small body makes it an extremely
responsive and playable guitar. In many ways the OM models were the first truly modern flattop
guitars. They were the first Martins to have necks with 14 frets clear of the body. The OM has a
wide neck (1 3/4" as opposed to the dreadnought's 1 11/16") which appeals to fingerstyle players.
The string spacing is slightly greater at the bridge than on other models too, although not as wide
as a classical guitars. The neck shape of old OMs is a bit unique too, although this is variable since
each neck was handmade. OMs have a wide but thin backshaped V-shape which is very
comfortable. Finally, the OM's smaller body size makes the guitar easy to hold, especially in the
seated position. Compared this to the D dreadnought which is larger both in body depth and width
(dreadnought players seem to use straps and stand up so the guitar's size is less of a factor).
The OM model came about due to Perry Bechtel, who was a virtuoso plectrum banjo player. Perry
came to see the Martin family in the early summer of 1929. He wanted Martin to make him a guitar
which he could easily adapt his banjo style (remember by the late 1920s guitar was the hot
instrument, replacing the banjo). He requested 15 frets clear of the body and a 27" scale in
Martin's largest standard body size (which at that time was the 000, with 12 frets clear of the
neck). The 27" scale would retain the fret spacing of the plectrum banjo, and 15 frets clear of the
body would closely resemble the length of a banjo neck.
Martin began with a 000-size guitar, which had 12 frets clear of the body. They rejected the 27"
scale idea, as this would have been impractical since the high string tension on a guitar would have
made the instrument hard to play. Instead they used a 25.4" scale length. To accommodate
Bechtel's request for 15 frets clear of the body, they squared the body's shoulders to add 1 5/16"
to the clear part of the fingerboard. This allowed 14 frets clear of the body. Since they felt
aesthetically the bridge should remain halfway between the center of the soundhole and the
endblock, there really was no way to make the guitar have 15 frets clear. The bottom bout was
reshaped slightly to match the new shape of the upper bout (note when the 000 went to 14 frets in
1934 it retained this initial OM body shape).
To make the OM more suitable for banjo players, the neck was made narrower and less V-shaped
than previous Martins. The fingerboard was narrowed from the then-standard 1 7/8" to 1 3/4" at
the nut. In addition to make the OM more banjo-like and to give it a distinctive look, banjo style
tuning pegs were used. To do these, the headstock had to be made solid, instead of slotted.
Previously Martin headstocks had all been slotted with tuners attached to the side mounted on a
single plate for three tuners. No single-unit guitar tuners were available, so banjo pegs were a
natural.
In late 1929, Martin built a prototype batch of six OM guitars. The very first of these had pyramid
bridges and no pickguard. Martin soon realized that with the vigorous strumming required in a
band setting, a pickguard would be required. Hence all OMs after the prototype batch had a small
teardrop-shaped pickguard. The new OMs were not highly sucessful. They sold, but not as well as
Martin had hoped. In 1933 the OM designation was dropped and was now called the "000" model.
But infact the 1933 "000" models were the same as the 1933 "OM" models, retaining the OM body
style and 14 fret neck. Then in 1934 the standard 000 models were modified to the shorter 24.9"
scale (for unknown reasons, as the 12 fret 000 body had a 25.6" scale length its inception in 1902
to its demise in 1931). Yet the OM's longer scale was a major factor in the OM's tone. The strings
on an OM must be tuned to a higher tension to get concert pitch. This extra tension translates into
more drive on the top, hence providing more volume and tone. The OM's scalloped braces and a
small maple bridgeplate give the OM a great sound. Although these features were common to other
Martin models of the time, the OM's top brace under the fingerboard was missing. This design is
unique to OMs making the top very lightly braced. This does lead to some problems with cracks in
the upper bout along the side of the fingerboard, but it also contributes to the great sound of the
OM models.
Martin Flat Top Production Years by Model.
This should give you an idea of when the majority of the production for any one model occured
(majority meaning more than 5 instruments per year). Note this does not mean a model can not
exist outside of these years - it certainly can. Just these are the years recorded by Martin in their
ledgers. Note this list (for the most part) does not go past 1969.
Model
More than 5
Less than 5
------------------------1-18
1899-1927
1-21
1898-1926
1-28
1898-1923
1-42
1898-1904
1911-1919
1-45
1904-1919
2-18
1898-1900
1902-1925, 1929, 1938
2-45
1925-1927
5-18
1919-1981
1898-1917
5-21
1927
1902-1920
5-28
1901-1939
O-17
1929-1948
1966, 1968
O-17H
1930-1940
O-17T
1933-1960
1932
O-18
1898-1983
1985-present
O-18K
1918-1935
O-18T
1929-present
O-21
1898-1948
O-21K
1920-1926
1927-1929
O-28
1888-1931
1937
O-28T
1931-1932
O-28K
1921-1931
1917
O-42
1898-1930
O-45
1919-1930
1904-1918
OO-17
1930-1960
1908-1917
OO-18
1898-1981
OO-18G
1936-1962
OO-18C
1962-1976
OO-18K
1918-1925
OO-21
1898-present
OO-28
1898-1936
1939-1941
OO-28G
1936-1962
1936-1937
OO-28C
1966-1976
OO-28K
1919-1921
1926-1933
OO-30
1899-1921
OO-34
1898-1899
OO-40
1913-1917
OO-40H
1928-1939
OO-42
1898-1942
1935-1938
OO-45
1919-1929
1904-1918
OO-55
1935 (same as 00-17, special order by Rudick's, Akron OH)
OOO-17
1952
OOO-18
1923-present
1911-1922
OOO-21
1938-1959
1902-1923
OOO-28
1924-present
1902-1923
OOO-28C
1962-1966
OOO-42
1938-1943
1918-1925
OOO-45
1924-1942
1906-1923
OM-18
1930-1933
OM-28
1929-1933
OM-45
1930-1933
OM-45DLX 1930
D-18
1931-present
D-21
1950-1969
D-28
1931-present
D-35
D-41
D-42
D-45
----Model
1965-present
1969-present
1986-present
1934-1942,
1968-present
----------More than 5
----------Less than 5
General Martin Specs.
Serial Number and Size/Style Number Stamps
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1898 to present: flat top serial number stamped inside on neck block.
Oct 1930 to present: flat top model number stamped inside on neck block around serial
number rant 439xx to 44362 (exact serial number change unknown).
All Martin f-hole arch tops have the serial and model number on the inside center
backstripe.
Some letter suffixes clarify styles:
A = ash
B = Brazilian Rosewood
BK = Black finish
C = classical
DB = Deep body
E = electric
FMG = Figured Mahogany
G = Gut string classical
GE = Golden Era
GM = Grand Marquis
H = Hawaiian style
K = Koa wood back & sides
K2 = Koa wood back, sides and top
L= Left handed
LE= limited edition
M = Mahogany (of if a "J" prefix is used, Jumbo M body size)
MB = Maple Binding
MP = Morado back and sides and low profile neck
N = Non-low profile neck (when low profile necks were standard)
P = Plectrum (pre-WWII), low profile neck (1985 to present) or Fishman Prefix
pickup
Q = Old style non-adjustable truss rod neck (1985-present)
R = Rosewood back and sides
S = special order (pre-WWII) or 12 fret neck (1967 to present)
SE= signature edition
SW = Special Wurlitzer
T = tenor
V = vintage specs
W = Walnut
The "Martin" name stamped in the back of a
1920's Martin. This model had no peghead decal
declaring it was a Martin, so this stamp sufficed
on the back of the peghead.
Martin Stamps, Peghead Logos, Labels.
Older 1800s Martins are a challange to date (since they don't have a serial number like 1898 and
later Martins). A "New York" stamp does not immediately suggest that the Martin guitar is from the
1830s for example. To accurately date pre-1898 Martins you must be familiar design and
ornamentation appointments and the changes that took place in each model throughout the 1800s.
Most useful though is the stamp, but you can only use the stamp on the INSIDE of the body on it's
center backstrip (visible through the soundhole) to date a guitar. And even then you can only date
to a period (and not to an exact date). For example if it says on the center back strip, "C.F. Martin,
New York", then the guitar is pre-1867. If it says, "C.F. Martin & Co., New York", it is between
1867 and 1897. Note 1860-1890s Martins have a date (year of manufacture) penciled on the
underside of the top. Check with a mirror, looking just below the soundhole and between the
braces.
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1833-1840s: Paper label "Christian Frederick Martin" or "C.F. Martin".
1836: Some with paper label "Martin & Schatz".
1838: Some with paper label "C.F. Martin and Bruno".
1838: Martin manufacturing moved from New York to Nazareth PA.
1840s: Some with paper label "Martin & Coupa".
1833-1866: Stamp "C.F. Martin, New York" on inside backstrip.
1867-1897: Stamp "C.F. Martin & Co., New York" on incide center backstrip.
1880s-1900s: Date often written in pencil on the bottom side of the top of the guitar by the
factory foreman (can be seen with a lighted mirror).
1898-1935: Stamp "C.F. Martin & Co., Narareth Pa" on back of peghead & center backstrip.
1922-1923: Martin makes guitars for Wurlitzer. Some lack Martin serial numbers or any
markings of any kind.
Late 1931: "CF Martin & Co, Est. 1833" silkscreened on front of peghead with NO black
border around letters (the silkscreening process was a single gold color).
Mid 1934: "CF Martin & Co, Est. 1833" decal on front of peghead with black border around
the letters (the decal used both gold and black colors). Silkscreen logo no longer used.
Mid 1935: Stamp "C.F. Martin & Co, Narareth Pa" on back of peghead no longer used (in the
1932-1934 era both the front silkscreen and back stamp are used.)
1939-1942: Some style 15 and style 17 models have a tortoise shell celluloid peghead
veneer (instead of the normal rosewood veneer) with a decal "Martin" logo.
Mid 1935-1963: Stamp "C.F. Martin & Co, Narareth Pa" on center backstrip only.
1961-present: "MADE IN U.S.A." designation added on the center backstrip. This appears to
have started around serial number range 174xxx to 175xxx.
Mid 1960s: the bar across the "F" in "CF Martin" on the peghead decal changes from a
straight bar to a curved bar (like a tilda on a keyboard).
1934 Martin 0-17 peghead with a silkscreened logo.
1934 Martin 00-18 peghead with a decal logo.
1942 Martin 0-15 celluloid peghead veneer with a decal logo.
Note the lack of tuner ferrels because of war-time metal shortages.
Tops (Style 18 and higher)
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1919: Martin experimented with Sitka spruce tops on some guitars. (but Adirondack red
spruce was the standard top material).
1927: top gets a bit thicker to accomodate steel strings. Note this is not a "for sure" rule.
pre-1946: Adirondack red spruce (1946 guitars can have either Adi Red Spruce or Sitka).
1946 to present: Sitka spruce (darker than Adirondack). The change to Sitka happened on
the larger "D" models first (in very early 1946). It took Martin a little while to use up all the
smaller pieces of older Adirondack red spruce, hence the change to Sitka happend slower on
the smaller body models. This is also the reason multiple piece Adi red spruce tops are
sometimes seen on 0,00,000 bodies in 1946.
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1950s: occasional Adirondack red spruce. In 1952 or 1953, rumor has it Martin bought a
large supply of Engelmann spruce from government surplus. Though Martin preferred
Adirondack Red Spruce, it was no longer available after the mid-1940s because all of the
large trees had been decimated. Martin would have liked to switch from Sitka to Engelmann
because he felt that Engelmann was closer to Adi Red Spruce than Sitka was. He could not
however find anyone who was cutting Engelmann commercially, so they went back to Sitka.
Present: some with Engelman spruce.
"Split Diamond" style inlays as used
on pre-1945 style 21 and 28 guitars.
Rosewood Back and Sides (Style 21 and higher)
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pre-late 1969: Brazilian rosewood (ended with serial# 254497).
1969: slab-cut Brazilian rosewood instead of the more traditional and desirable (in terms of
appearance, strength, and warp-resistance) quartersawn rosewood.
late 1969 to present: Indian rosewood. First Indian Rosewood model was a D-21 serial
number 254498. Note even though the cut off for Brazilian rosewood was serial number
254497, some high-end models like the D-45 and D-41 did appear after this serial number
with Brazilian rosewood bodies. For example:
254498: first Martin with Indian rosewood (D21).
255037: D12-45 with Indian rosewood.
255717: first D-41 model with Indian Rosewood.
256366: first D-45 model with Indian Rosewood.
Occasionally (and rare) Brazilian rosewood shows on on random models in 1970 (probably
from leftover rosewood). For example 265783 and 265941 (both 1970 D-28 models). Also
some D-35 models with mixed woods in the 3-piece back like number 258962 which had a
Brazilian rosewood center wedge in the back.
Brazilian rosewood is more figured than the very straight grained Indian rosewood. Also
Brazilian is usually a dark redish brown, where Indian is a light brown.
Back removed from a Martin showing the neck block and two top braces.
Bracing
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1840s to 1938: Scalloped "X" bracing, position of the cross of the "X" bracing one inch from
edge of soundhole, aka "forward braced" or "advanced bracing".
1927: bracing dimensions and top thickness increases to accomodate steel strings. Note this
is not a "for sure" rule.
Late 1938: Scalloped "X" bracing with "rear shifted bracing", where position of the "X"
moved further than one inch from soundhole (exact measurement varies, for example: a
1941 D-18 has 1 7/8" distance). So the X-braces were moved about 7/8" further down. And
the tone bars were angled more parallel with the length of the guitar and further apart.
These late-1938 to late-1944 guitars had deeper scalloped braces than the 1938 and prior
forward or advanced braced guitars. This gives the late 1938 to late 1944 Martin guitars
improved bass response (don't let anyone tell you that war-time Martins are not as good as
pre-1939 Martins!)
mid-1939 Popscicle bracing on D body sizes. See the above picture for what the popsicle or
T-6 or upper transverse graft brace is. The popsicle brace was added to the underside of the
top of the guitar, below the fingerboard. The brace was added to help prevent top cracks
alongside the fingerboard. Since the first D body size was made in about 1934, problems
obviously came about and Martin added the brace by 1939. The brace does not appear in
pre-1939 Martin D-sizes, but transitioned in around 1939, and is present in all 1940 and
later D models. Without the popsicle brace, the top is attached only by the strength of the
spruce fibers and a 1/2" x 2" glue area where the top overlays the soundhole #1 brace.
With the popsicle brace there is an additional 1" x 2" glue surface directly under the
fingerboard. Unfortunately the popsicle brace can deaden the sound of the upper bout area
of the soundboard, and the popsicle brace doesn't always prevent the top from cracking
along the fingerboard either. As people search for why the old Martins sound so good, they
examine every aspect of them and the popsicle brace usually enters the conversation.
Here's some data on popsicle braces:
1938 D-18 #71539 rear-shifted X-brace, no popsicle brace.
1939 D-28 #71968 rear-shifted X-brace, no popsicle brace.
1939 D-18 #72618 1 3/4" neck width, no popsicle brace.
1939 D-18 #72702 1 3/4" neck width, popsicle brace (stamp 23 May 1939).
All 12 fret Martins have the popscicle stick brace too.
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1939: The #1 brace inside near the neck block changes from 5/16" wide to 1/2" wide,
making it roughly twice as wide. This happened at the same time as the popscicle brace
addition. The neck block thickness was also reduced by 1/4". About the same time beck
width reduced from 1 3/4" to 1 11/16" at the nut, and the bridge spacing reduced from 2
5/16" to 2 1/8".
Late 1944: According to Martin, the last scalloped braced Martin in late 1944 was
approximately serial number 89926. Though some models have been seen after this
number with scalloped braces, and before this number with tapered braces. (For example
#90014 appears to be the last D28 with scalloped braces, and D-28 #88112 had tapered
braces.)
Late 1944 to 1976: Heavy straight "X" bracing (not scaloped), position of the "X" still
further than one inch from soundhole (exact measurement varies, for example: a 1958 00018 has 1 3/4" distance, and a 1967 000-28 has 1 13/16" distance).
Late 1944 to about 1949: the bracing was tapered. This stopped in the late 1940s, and was
a progressive thing. So unlike scaloped bracing that had a definate endpoint, tapered braces
evoloved into "straight" braces by 1949. This is why 1945-1949 Martins are still highly
regarded as "better" than their 1950s counterparts, but not as good as the 1944 and prior
scalloped braced guitars.
1948: Bridgeplates are no longer notched into the X-braces.
1949-1976: Straight braces (neither scalloped or tapered.)
Circa 1960: X-bracing moves back up to 1 1/2" from soundhole.
1964: Hot hide glue phased out with the move to the new factory. Hot hide glue continued
to be used to attach the top to the body.
1968: Small maple bridgeplate (1 3/8") replaced by small rosewood bridgeplate.
1969: Small rosewood bridgeplate replaced with large rosewood bridgeplate (3 1/4").
1976 to present: Scalloped bracing re-introduced on some models (HD-28, D-45 in 1985, D41 in 1987). Also one inch "X" bracing used again in the late 1980s on many "D" models.
The pre-1945 braces have a scooped or "scalloped" profile, making them lighter in design and
weight. Functionally this means a greater vibrating surface (the guitar's top), and provides stronger
bass response. Why did the Martin Company change from the lighter scalloped braces to heavier
braces? The answer is in the strings. Many guitarists of that time were using heavier gauge strings,
and these heavier strings were tough on the lightly constructed scalloped-braced Martins
(especially on D-models with the long 25.4" scale). Martin didn't make a heavier guitar to
withstand the extra string tension, so they compensated by adding more rigid (non-scalloped)
braces to the guitar's top.
The insides of two Martin guitar tops, showing scalloped
braces (top) versus non-scalloped straight braces (bottom).
Pics are showing the underside of the top, right beneath
the bridge (notice the bridge plate) and looking towards
the end block. Note the straight braced picture has a
Rosewood bridge plate, meaning this guitar is 1968 or later.
1946 Martin D-28 with tapered braces:
1955 Martin D-28 with straight braces:
Flat Top Bridge Plates
A maple bridge plate is the most desirable. The use of rosewood for the bridge plate starting in
April 1968 is largely to blame for the lack of "good sound" on 1968 to 1988 Martins.
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1927: bridgeplate becomes thicker on most models to accomodate steel strings. Note this is
not a "for sure" rule.
1932: bridgeplate were enlarged from 1" to 1 3/8" on all belly bridge styles (style 18 and
higher). Style 17 (mahogany top) models that didn't get a belly bridge stayed with the
smaller 1" bridge plate.
Pre-April 1968: Maple bridge plate on all models. Serial number 235585 was the last maple
bridgeplates on all guitar models (4/68).
April 9, 1968 to 1987: Rosewood bridge plate on all models starting with serial number
235586. This had a somewhat dramatic change in sound for all Martin models, and is really
the end-point in collectibility for many people.
1969: with serial number 242454 a larger rosewood bridge plate was used on all guitars.
This made sound even worse (but probably made the Martin repair & warranty department
happy as the guitars were less prone to bridge damage).
1976: HD-28 uses maple bridge plate.
1988 to present: Maple bridge plate re-introduced on all models with serial number 478093.
Flat Top Pin Bridges.
Left: Pre-1965 style belly bridge with a "long saddle" which extends past the "dips" in the bridge. Note
the "snake eye" bridge pins with tortoise shell dots inlayed into them. These are used on style 28 models.
Right: Rectangle style bridge with "pyramid" ends.
Not all pyramid bridges have straight saddles.
Ivory pyramid bridge on a 1885 0-34 guitar
(pic by PhotoRC).
Flat Top Pin Bridges
As a conservative approach to using steel string, one thing is pretty much for sure; if a Martin
came from the factory with a Belly bridge, it is braced for steel strings. If it has a rectangle bridge
(and was made before 1929), the bracing needs to be checked by a qualified repair person to
determine if the guitar's bracing can handle steel strings. My personal opinion is if it's a style 18 or
higher and has a rectangle bridge and was made before 1930, it's not really made for steel strings.
Though 1927 is generally thought of as the year when most models were braced for steel strings,
1927-1929 models could be braced for either steel or gut strings. So before putting on steel strings
on a 1927-1929 Martin, have it check out by a good repair person. They will check the top's
firmness, bracing dimensions, and bridge plate thickness.
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1920s: Martin transitions away from pyramid long bridge to standard rectangle bridge on
style 18 and style 28 models. Happens gradually with the style 17 series never having a
pyramid style bridge or transitioning earlier to the rectangle bridge. Note that all pyramid
bridges have a straight saddle.
1927: Generally thought of as the year all models were braced for steel strings. Note this is
not a "for sure" rule.
Pre-1929: All size 1 and larger guitars, from any year, have 6" long pyramid bridges. All
size 2 or 2 1/2 Martins have 5 3/4" to 5 7/8" long pyramid bridges. Most pyramid bridges
before 1900 are roughly 7/8" wide, and most after 1900 are 1" wide. The average length of
the wings on most pyramid bridges is roughly 1 3/8" During the 1880's and 1890's,
however, there is more variation, as much as from 1 1/4" to 1 1/2" On the earlier 7/8" wide
bridges, the wings have a very long, narrow, elegant appearance, with a gentle curve to the
inside angles of the pyramids, that looks nothing at all like the harsh angles found on many
copies. There is no difference between the dimensions of ivory and ebony bridges from the
same period.
1929 and earlier: Rectangle bridge or pyramid bridge (on some style 28 and higher
models). By late 1929 the pyramid bridge was no longer used and the rectangle bridge was
only used on style 17 and lower. Some OM models were the last to use the pyramid bridge
as late as 1930.
Late 1929 to present: Belly bridge, style 21 and higher, about 3/8" tall and 1.4" wide. Style
18 and lower retain the rectangle bridge.
1930/1931: Belly bridge on style 18 guitars. Style 17 and lower (mahogany topped models)
retain the rectangle bridge.
1965: Shorter bridge slot on all bridges, known as the "drop-in" bridge saddle. Pre-1965
bridges are known as "long saddle" bridges.
"Braced for Steel Strings."
When talking about 1920s Martin guitars, you hear people say this a lot (especially if they are
trying to sell you a guitar!) Unfortunately there is no definative way to tell if a 1920s Martin is
capable of handling steel strings. The term, "braced for steel strings", though is inaccurate. A
better way to put it would be, "built for steel strings". For a 1920s Martin to be built for steel
strings there were several small changes - the top, braces and bridge plate are all slightly thicker.
Can you see this inside the guitar? For the most part, no, unless you really know what you are
looking for (frankly I can't tell). So how do you know if a 1920s Martin is built for steel?
A 1927 Martin 0-21 with a Rectangle bridge and steel strings.
Notice the steel strings are not pulling the top/bridge.
First the lower line models were built for steel strings first. Like the style 17 in 1922, and the style
18 in 1924. Pretty much all models were built for steel by 1927-1929. But unfortunately there was
no definative serial number or time line for any 1920s Martin style. This makes it difficult to
determine if any particular 1920s Martin guitar is really built for steel strings. Martin didn't just
implement steel string design at any one definative point. It was a transition, and apparently a
very slow transition. And special orders for gut or steel complicated things.
The conservative way to tell if a Martin is built for steel strings is the bridge. If it's a style 18 or
higher and has a belly bridge (and does not have 'banjo' tuners like early OM models), it's pretty
much built for steel strings (can't use this indicator on style 17 and lower as these models never
used a belly brige until the 1950s). Why? Since Martin didn't implement the belly bridge until late
1929, it's a very conservative indicator that the guitar is built for steel. The belly bridge was the
last thing they did to make steel strings usable on their guitars (though certainly many models with
rectangle bridges can handle steel strings too.) They started to implement the belly bridge in 1929,
and all style 18 models and higher had the belly bridge by 1930. Therefore using the belly bridge
as a steel string indicator is a very safe idea (assuming the bridge is original and it's not an OM).
Now can steel strings be used on pre-1930 models with a pyramid or rectangle bridge? Maybe, but
it's just not as definative and caution should be heeded ("silk and steel" strings would be a good
and safe compromise). Note early OM models with banjo style tuners generally should be strung up
'lightly'.
Here's some general 'rules' to consider in regards to using steel strings. But remember all 1920s
Martins should be evaluated individually by a good repair person, checking the top around the
bridge for firmness and pull.
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Martins made before 1922 were not built for steel strings.
Most Martins built after 1927 should be able to handle light gauge steel strings.
Style 17 built 1922 and later should be able to handle light gauge steel strings.
Style 18 built 1924 and later should be able to handle light gauge steel strings.
Style 21 and Style 28 guitars built after 1927 should be able to handle light gauge steel
strings.
OM styles with banjo tuners should be evaluated with care (light guage steel strings at
most).
All styles built 1934 and later should be able to handle medium gauge steel strings.
Note the C and G model Martins were specifically built for nylon or gut strings. Also the NY models
built in the 1960s, the earliest of which shipped with nylon strings, but all NY models were built to
handle light gauge steel strings.
Keep in mind that the year the guitar was built is no guarantee that any individual guitar is in the
optimum condition required to handle steel strings. Any Martin should be evaluated with care, and
a top that lifts significantly in the bridge area or this is not firm, is a sign that lighter strings should
be used. Or that the guitar is in need of attention by a qualified repair person.
Bridge Pins.
Bridge pins prior to 1945 did not have string slots. There is a slight seam seen in the round head
(hard to see but it's there). The bridge pin round head diameter from 1931 until mid-1939 was
about 0.320". In mid-1939 the round head was reduced to about 0.300", and this size was used
until the unslotted pins ended in 1945. The shaft size was slightly increased at this time too. The
pre-1939 style pins have a more bulbous head, where the 1939-1945 style's head is more slender.
The pin taper is about 5 degrees, and the diameter under the collar is about 0.225". The pins are
made of hard celluloid. Several companies have reissued these old style pins.
Flat Top Pickguards
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pre-1928: no pickguard.
1928 to 1967: Tortoise grain celluloid pickguards glued directly to the top, clear finish then
applied over top and pickguard. Due to extreme shrinkage of celluloid and lacquer, this
often causes a "pickguard crack" in the top. Pickguards became "standard" in 1931 on most
models, but some martin guitars had them as early as 1928. The OM series was the first
model to consistently have a pickguard in 1930.
1967 to 1980's: Black plastic pickguard glued directly to the top, clear finish then applied
over top and pickguard. Due to shrinkage of the plastic pickguard and lacquer (though the
black guard didn't shrink as much as celluloid), this often causes a "pickguard crack" in the
top too.
1984 to present: Tortoise grain celluloid pickguard, double-sided taped to finished top with
no finish on pickguard (to accelerate shrinkage). Pickguard is now independent from the top
and "gives" and can move without cracking the top.
Left: Herringbone binding as used prior to 1947 on styles 21 and 28 guitars.
Right:"Zipper" backstrip as used on pre-1947 style 28 models. Also note the nice Brazilian rosewood
used.
Binding Material
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pre-1918: Elephant ivory binding on styles 28 and higher.
1918 to 1966: Celluloid grained "Ivoroid" binding on styles 28 and higher.
1934: Black plastic replaces wood on styles 18, 21.
1936 to 1966: Tortoise grain binding used on some styles 18, 21.
1966 to present: Black plastic binding on styles 18, 21.
1966 to present: White non-grained (Boltaron) binding on styles 28 and higher. Black
binding replaced tortoise binding on style 18 models.
1860 to early 1947: Herringbone binding on styles 21, 28 (last serial# 98223).
1947: Zig-zag "zipper" backstrip discounted on style 28 (last serial# 99992).
early 1947 to 1980's: Black/white stripped binding on styles 21, 28.
1980's to present: Herringbone binding on styles 28.
The herringbone purfling (binding) was discontinued on style 28 guitars in 1947. The binding was
made in pre-World War II Germany and was not replaceable from American sources. When the
stockpile ran out in early 1947, D-28s (and all style 28 guitars) were bound with a new decoration
scheme of alternating black and white celluloid (originally used on the Martin archtop C-2 model).
Hence the term "herribone D-28" or "bone 28" is heard amoung Martin collections, signifying a pre1947 style 28 Martin guitar.
Glue
In the fall of 1964, it's generally accepted that hide glue was replaced with white polyvinyl acetate
PVA glue (Elmer's) after the move to the new Martin build facility. (But hide glue was still used until
the mid-seventies for gluing tops to the rim and in some other situations.) A notation was written
in Grant Remaley's personal memos on Sept 29, 1964 indicating Martin was starting to use "cold"
glue. It is generally thought the type of glue used does affect the sound of the guitar. Starting
some time in the 1980s Martin started switching from white glue to yellow aliphatic resin
(titebond).
Finish
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pre-1900: French polish.
1900: Thin shellac.
1919: Semi-gloss shellac.
1923: High-gloss shellac.
1926 (some models), 1929 (most models): Clear nitrocellulose lacquer. Style 18 models
fully switched over to nitro cellulose lacquer by 1929. The transition from shellac to lacquer
started in 1926 with O-17H.
1930: All styles have nitrocellulose lacquer finish.
Left: The neck set on a 1930's Martin guitar. Note the "T" style frets.
Right: Bar style frets. Later "T" style frets stay in the fingerboard better because of the "barbs" or tangs
on the side of the "T".
Neck and Frets
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1830s to 1916: two piece cedar neck with grafted peghead and "long" volute (which gave
more glue surface for the separate peghead). Some models also used a three piece neck
with no volute and a separte "ice cream cone" neck heel and clock style key fastening
method.
1916 to present: One piece mahongany neck. Style 28 and higher now have a shorter
volute (which is mostly ornamental).
1929 (OM models): 14 fret neck introduced on flat tops.
1929-1934: All the new 14 fret neck models have a 1 3/4" wide neck width at the nut (prior
to this all 12 fret neck models had a 1 7/8" wide neck width).
1932: Some style 17 and 18 models transition to 14 frets clear of body with non-slotted
peghead.
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1934: 14 fret neck standard on all flat tops models except the 000-21 (it became 14 fret in
1938).
Slot Peghead vs. Solid Peghead (steel string models): Most models converted from a 12 fret
slot peghead to a 14 fret solid peghead around 1934 (except the OM series, which went 14
fret in 1929/1930 and the style 17 and 18 models which were available in 14 fret style in
1932). Basically if the guitar has a 14 fret neck, it will have a solid peghead. If it has a 12
fret neck, it will have a slot peghead. Note there were some post-WW2 gut string and
classical models (i.e. 0-16NY) and some post-WW2 special order steel string guitars (i.e.
1967-1993 D-18S) which always have a slotted peghead.
Late 1934: "T" frets (aka tang frets) replace Bar frets on flat tops. (Most other guitar
makers had stopped using bar frets much earlier.) Martins Hawaiian style guitars retain bar
frets until at least 1938. The first Martin model to use T frets was the 00-17, introduced on
a lot of 00-17 guitars #57305-57329 in 1934. Initially the first T-frets were special ordered
by Martin to contain 30% nickel ("normal" fret wire is 18% nickel, 65% copper and 17%
zinc). The higher percent of nickel, the harder the fret wire. This special 30% nickel fret
wire was ordered from the Horton-Angell Company (the inventor and patent holder for
barbed alternating "fish hook" T frets) on 8-31-1934 in an 100 pound lot, along with 100
pounds of "normal" 18% nickel fret wire. It's unclear if Martin ever used 30% nickel fret
wire after this, because it was more expensive and not the norm. The same instruments
also introduced the "T" neck reinforcement bar. Shortly thereafter T frets were standard.
(Like with steel strings in 1922, Martin tried these innovations first on inexpensive low-end
models to minimize financial damage in case the experiment was a failure.)
1939: switch from 1 3/4" wide nut-width to the narrower 1 11/16" at serial #72740 for all
non-slotted peghead models.
After 1916, only Style 28 and higher has an "ice cream cone" style volute on the back of the
one-piece neck. Styles 21 and lower lack this.
All years: Martin painted the neck and body of their flattop guitars apart and separately
when made. After both are dried and rubbed out, then the neck is glued to the body.
Because of this, there should never be any finish in the seam between the neck and body.
Neck Truss Rod.
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1928-ish: Ebony neck reinforcement under fingerboard for strength.
Late 1934: Steel "T" bar. Thickness varies, but generally speaking both sections of the T is
0.125", width and height is 0.525" (kind of like Flexible Flyer sled runners). The bar is glued
into the neck with Hide glue.
1942: Ebony neck reinforcement under fingerboard (war time shortage of steel)
1946: Steel T bar again.
1967: Square steel bar.
1985: Adjustable (inside body) steel truss rod.
Left: Back of a post-war 000-28 Martin. Note the Grover G98 or
Waverly tuners (pointy base plates), and the "ice cream cone" volute.
Middle: Back of a D-18 war-time Martin. Note the tuners
have plastic buttons, as used during WW2. Also no
"ice cream cone" volute on styles 21 and lower models.
Right: Back of a 1946 D-28. Note the different open
back Grover G-93 tuners, and the "ice cream cone" volute.
1934 Martin 000-18 with Grover G98 tuners. Note the riveted gear and the base plates
that are not pointy (cut flat), and the slot head mount screws.
Original slotted peghead Grover tuners on a 1931 Martin 00-21.
Tuners.
I am not completely sure this tuner info is completely accurate. Sorry about that... Remember as a
general rule Grovers were used on style 21 and above, and Klusons were used on style 18 and
lower. There are some exceptions (like during 1940 to 1945, and pre-1930s). On pre-war Grover
tuners, there are basically two types used on Martins: G-93 (round button 'butterbean') and G-98
(scalloped buttons, aka "Sta-Tite"). Both came in 6:1 and 12:1 tuning ratios, with 12:1 coming
about in 1938 (and replacing the 6:1 ratio). The post-1938 12:1 ratio Grovers can be always be
identified since they combine the thin seamed tuner buttons with the long pointed baseplate, and
the tuner gear is screw mounted. The 1938 and prior Grover G98 tuners have a thin seamed
button combined with the a square tipped baseplate, and always had the 6:1 ratio. They also had
the riveted tuner gear. Ater WW2 the G98 was reintroduced with pointy baseplates and a screw
mounted gear, and this was copied by Waverly, Grover, Schaller, etc after the war. Also Martin
used original Waverly tuners (open back, rounded base tips, butterbean buttons) after WW2 on 00
and 000 and some D guitars style 18 (and some 28) in the late 1940s and 1950s.
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1916: Gear wheel above worm gear, ivoroid buttons.
1925: Gear wheel below worm gear, ivoroid buttons.
1929: On slotted peghead style 21 and above used Grovers. These had an hourglass shaped
string shaft with the shaft fitting into a metal bushing in the inner (center) wall of the
peghead. The tuner gears were peaned to the shafts rather than screwed. The tuner buttons
had the familiar Grover clover shape.
1929: Grover planetary banjo tuners on OM models only. Discontinued 1931 in favor of the
open back standard Grover tuner.
1931: Solid peghead guitars had open back Grover tuners with no gear adjustment screw
and thin metal scaloped buttons (seam in middle of button). Grover base plate tips are
squared off.
1935: Archtop models C-3 and F-9 have gold Grover G-98 tuners with an engraved "M" on
the butterbean buttons.
mid 1939-mid 1940: On style 28 and higher; sealed back Grover tuner, heavy metal thick
buttons (no visible seam).
1940: Grover G-98 open-back tuners with "butterbean" buttons used on many models from
style 18 and higher.
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1942-1946 (War time): Open back Kluson tuners with no gear adjustment screw and plastic
buttons, no peghead bushings. This was done to minimize metal usage.
1946: Open back Kluson tuners with gear adjustment screw. Tuners get metal buttons and
again have metal peghead bushings.
1947: Kluson Deluxe tuner on all D body sizes (any style), and all style 28 models.
1947: Open back Grover Sta-tites on 0, 00, 000 models style 21 and lower. These postWW2 open back Grovers have thin seamed buttons and the pointed baseplates which were
never used on the pre-war open back Grovers. Also all the pre-war thin seamed button
tuners were 6:1 ratio. The post-war tuners (and the thick-button open Grovers after 1937)
were 12:1 ratio This makes post-war open back Grovers more easily identifible. Otherwise
the post-war Grovers are direct drop-in replacements for the pre-war versions.
1947: Original Waverly tuners (open back, rounded base tips, butterbean buttons) after
WW2 on 00 and 000 and some D guitars style 18 (and some 28) in the late 1940s and
1950s. Grover G-98 (post-war version) used on many smaller model Martins thru the
1950s.
1948: Sealed back kluson tuners on some models.
1950: Kluson sealed back (ridgeback) tuners on D models.
1958: Grover rotomatic tuners on style 28.
1965: Grover rotomatic tuners on all D size models.
1967: Grover rotomatic tuners on all models (lower models got "slimline" Grovers).
1970s-present: varies (Schaller, Grover, Sperzel, some stamped with "Martin").
Cases.
Looking at the 1937 Martin catalog, Martin offered three levels of cases. Though they weren't
badged as "Martin", they were certainly factory supplied and optional. Quoting from the catalog,
using the D-28's price of $100 as a relative price marker, the cases offered in dreadnought size
were:
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"Style B - Flannel lining, black ostrich grain keratol covering, heavy cipboard body, chain
stiched edges, keratol bound, string pocket; plated steel trimmings" $9.00
"Style C - Duvetyn lining, padded; heavy black grained keratol covering, three-ply wood
body; neck rest and string pocket; leather strap handel; brass lock and trimmings nickelplated" $16.50
"Style D - Rayon silk plush lining, heavily padded. construction and covering like Style C.
nickel-plated brass lock and trimmings." $27.00
When Martin turned to jobbers rather than direct sales, more variation in cases took place.
Depending on what part of the country you bought your Martin, the jobber would supply a similar
range of cases - chipboard, hardshell, or deluxe hardshell, from the case manufacturer of their
choice. So cases on old Martins can vary greatly. This changed in 1972 with the blue thermoplastic
case which was included with the sale of all new Martins.
Martin Summary Timeline.
Mike (AKA elephantfan85) put this together, and it takes most of the info above and summarizes it into a
single Martin timeline.
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1920's Martin transitions away from pyramid long bridge to standard long bridge on 18 & 28 series.
Happens gradually starting in the early 1920's. 17 series either never had pyramid bridge or
transitioned earlier.
1922-1923, Martin makes guitars for Wurlitzer. Some lack Martin Serial #'s or markings of any
kind.
1929 18+ series Martins fully switched over to nitro cellulose laquer finish. Transition started in
1926 with O-17H according to Longworth.
1929 Martin switches from rectangle to belly bridge (Longworth 2nd ed page 84)
1930 Oct, first time size & model number stamped on neckblock. Happens sometime after serial
number 439xx and before or at 44362.
1932 Some 17 series models transition to 14 frets clear of body & non slothead.
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1934 Most models switch to 14 fret clear of body and non slothead. Sometime around here Martin
starts putting the Matin decal on the front of the peghead. For a short period of time they continue
to stamp the back of the peghead as well.
1934 Martin ends their use of bar frets on most models. (Most other guitar makers had done so
around the end of the 19th century.) Martin Hawaiian style guitars retain bar frets until at least
1938.
1938 D-18 #71539 has the rear-shifted X-brace with no popsicle brace
1938 change to rear-shifted X-brace
1939 D-28 #71968 has the rear-shifted X-brace with no popsicle brace
1939 D-18 #72618 and has a 1 & 3/4 nut with no popsicle brace
1939 D-18 #72702 has 1 & 3/4 inch nut WITH popsicle brace. Heel block on this one stamped 23
May 1939
1939 switch to narrow necks (1 & 11/16ths) at serial #72740
1939 The #1 brace, inside near the neck block changes from 5/16ths of an inch wide to 1/2 inch
wide, making it roughly twice as wide.
1944 last scalloped brace guitar was approximately #89926. Though some models have been seen
after this number with scalloped braces, and before this number with tapered braces.
1945 Either Adirondack Red Spruce or Sitka for tops
1946 Sitka spruce used exclusively on the tops
1947 Last Herringbone D-28 #98233 in 1947
1947 Kluson deluxe tuners appear
1948 Sealed Kluson tuners appear
1953 "magic" spruce? Luthier Dana Bourgeois did an interview with C. F. Martin III in 1984. The
interview was in preparation for an article by Eric Schoenberg and Bob Green on the history of the
OM model and was published in the March 1985 issue of Guitar Player. Bourgeois was asked to sit
in on the interview, and in the last two paragraphs of his recollections especially interesting: "One
footnote that I do remember distinctly is that Mr. Martin said that in '52 or '53 the Martin Co.
bought a large supply of Engelmann spruce in the form of government surplus of building material.
Though he preferred Red Spruce, it was no longer available after the mid-40s because all of the
large stands had been decimated. Mr. Martin would have liked to switch from Sitka to Engelmann
because he felt that Engelmann was closer to Red Adirondack Spruce than Sitka was. He could not,
however, find anyone who was cutting Engelmann commercially, so they went back to Sitka." This
nugget of information caught my attention because for many years I Of course, aside from the
color of the tops, the anecdote does not in itself prove anything. But it at least suggests how the
story might have gotten started.
1958 Style D28 gets Grover rotomatic tuners
1964 (summer) - It's generally accepted that hide glue was replaced with aliphatic resin (titebond)
after the move to the new Martin facility. (But hide glue was still used until the mid-seventies for
gluing tops and backs.)
1965 Grover rotomatic tuners on all D size models.
1965 Martin switches to short drop-in saddle (On D-18's, likely others as well)
1966 Boltaron binding started. White replaced ivoroid and black replaced tortoise.
1967 Black acetate pickguards first used. Replace tortoise colored celluloid
1967 Grover rotomatic tuners on all models (lower models got "slimline" Grovers).
1968 rosewood bridgeplates on all guitars #235586.
1969 rosewood bridgeplates are larger on "D" guitars #242454 (1988 Longworth pages 57-58)
1969 Brazillian rosewood is replaced by Indian. The first Indian guitars were four D-28's ser#
243644-47. The change in regular production may have started with #254498, though I've also
heard that the number varied by model number, possibly as follows:
• D21 #254498
• D12-45 #255037
• D41 #255717
• D45 #256266
There have been two documented 1970 Brazilian rosewood D-28's, which are anomalies. The first
one was #265783, which was retopped with red spruce in 1993. The second one is serial number
265941. There are several D-35's with mixed woods in the 3-piece back. Like D-35 #258962,
which has a Brazilian rosewood center wedge in the back. Note some post-1969 Martins have some
Brazilian rosewood, in the bridge, bridgeplate, fingerboard, or peghead veneer.
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1972 Starting in 1972 Martin includes cases in the base price of most/all of their guitars. Prior to
this they cost extra, and thus you'll see many different cases with Martins before this time. It is
possible that the thermoplastic cases were the first ones Martin offered as part of the base price as
they were first offered around this time.
1985 Martin finishes phasing in adjustable truss rods.
1988 Maple bridgeplates on all guitars #478093 (This entry from 1988 Longworth pages 57-58)
2000 HD28LSV changed top wood & braces from Adirondack spruce to Sitka spruce after serial
number 737277. This happened in May of 2000.
2001 first use of Micarta fingerboards and bridges on standard production 16 Series GT models
2003 Martin converts from glued in to drop in long saddles. Happens before serail # 942xxx Glued
in saddles have square/straight ends, dropin have rounded.
2003 Martin starts producing guitar necks with "wings". Basically The pegheads have wood splices
on the portions that stick out. This is not easily visible from the front due to the peghead veneer.
As with many other changes, this one is made to preserve dwindling wood supplies. In this case
Mahogany.
2005 Martin switches to bone nuts and saddles on many models. 2005 Martin starts using Spanish
Ceder in many necks rather then Mahogany.
More Info on a Martin Playability (Neck Sets and Bridges).
The only proper way to make a "high string action" Martin guitar play correctly is to do a "neck set". This
repair involves removing the neck on the guitar, and refitting the neck at a slightly increased angle, which
lowers the string action. If done correctly, this does not affect the value of the guitar (and in fact can
make it more valuable, as the guitar is much more playable). Generally speaking, most players would
agree if the "string action" is more than 3/16 inch (5 mm) at the 12th fret, the guitar needs a neck set.
This measurement is taken from the bottom of the low-E string, to the top of the 12th fret.
This is a somewhat expensive and delicate repair. But it is a repair often needed on many vintage Martins.
A proper neck set not only makes the guitar play better, but also will make it *sound* better too.
Because a neck set is expensive, some owners/repair people will take "short cuts" to avoid doing a neck
set. These short cuts are usually temporary at best, and never give the best outcome. These include
lowering the bridge saddle and lowering the bridge.
Lowering the Saddle.
The original saddle is desirable on a vintage Martin. So when lowering the saddle, remove the
original saddle (and store is safely away), and have a new lower saddle installed (removing
material from the saddle is required to lower it, so don't mess with the original saddle).
The problem with lowering a saddle is this: the lower the saddle, the less "drive" there is across the
bridge and the top of the guitar. The less "drive", and the guitar won't usually sound as good as it
could.
Remember, on a flat top guitar the strings "drive" the bridge, which vibrates the top of the guitar.
This is where the sound and tone come from. The lower the bridge saddle, the less "drive", and the
less potential tone. The ideal bridge saddle height should be about 1/8" to 3/16" (4 to 5 mm)
above the top surface of the bridge.
Lowering the Bridge (yikes!)
Again, as with the bridge saddle, too low of a bridge will decrease the "drive" of the strings. Thus
the sound and tone will suffer. Also a low bridge is structurally not a good idea, as the bridge can
more easily crack (and damage the top of the guitar). Most original Martin guitar bridges are about
3/8" tall (from bottom to the highest part of the bridge).
After lowering the bridge (usually in a failed attempt at getting lower string action), the owner will
eventually realize this is not the best solution. When this happens and a neck reset is preformed,
the original bridge will now be *useless* (because it is too low!) The repair guy won't reset the
neck to a low bridge, so a new replacement bridge will be installed. At this point the originality of
the instrument is compromised.
Again, if a Martin guitar needs a neck set, don't try and solve the problem of high string action any other
way! Take the guitar to a *good* repair person, pay the money, and have a proper neck set done. A good
neck set will make the guitar play and sound the best it can. With the correct neck set and bridge and
saddle height, the guitar strings will drive the top of the guitar best, giving the best sound possible, and at
the ideal playing action. And after all, isn't that what it's all about?
Martin Flat Top Model Specs
Style 45 Flat top.
Collectibility Rating: Pre-WWII OOO-45 and D-45: A++, OO-45: A+, O-45: B+, 1968-1969 D-45: B+.
Rosewood back and sides, inlaid bridge pins, abalone inlay along the top, back, sides, around edge
of fingerboard, and around the soundhole, around the neck heal, around the butt (by endpin).
Fancy backstripe, ebony fingerboard. First listed in 1904. In the case of the OM-45, There was also
a Martin OM-45 Deluxe version made in 1930.
1904 Style 45 Introduction specs:
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Scroll peghead inlay.
Snowflake pattern fingerboard inlays at 5/7/9/12/15 frets.
Ivory bridge and body binding.
1906 Style 45 specs:
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Torch or flowerpot inlay on peghead.
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Snowflake fingerboard inlay pattern at frets 5/7/9/12/15/17.
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Ebony bridge instead of ivory.
Celluloid grained plastic white binding instead of ivory.
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Ebony bridge.
Ivoroid binding.
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OM-45 introduced with small tortoise pickguard, 25.4" scale, 14 fret neck with solid
peghead, gold plated banjo tuners, torch peghead inlay.
OM-45 Deluxe (only made in 1930), 14 made. The OM-45 Deluxe pickguard had a pearl
inlay in the tortoise pickguard, the bridge wings have snowflake pearl inlays, and the banjo
tuners were gold plated with engraved buttons. It is not uncommon to see 'regular' OM-45
models that have a replaced bridge with the pearl snowflakes (as a customer upgrade).
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OM-45: Larger pickguard and right angled tuners.
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Tortoise pickguard.
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D-45 introduced (91 total made from 1933 to 1942), first two made (1933/1934) with 12
fret neck (all other had 14 fret neck),
Late 1933 Style 45 specs:
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OM-45 discontinued (reintroduced in 1977).
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"C.F. Martin" inlaid in pearl on peghead, 14 fret models only.
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One D-45 made with a 12 fret neck and a solid peghead (sixth D-45 ever made). The
remaining 85 (of 91) D-45s were made from 1937 to 1942.
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00-45 no longer made (until 1970).
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Hexagonal fingerboard inlays on D-45 replace snowflakes.
Style 45 discontinued in 1942.
1968 Style 45 Reintroduction specs:
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Black and white plastic purfling boardering abalone top and side inlay.
Hexagonal fingerboard inlays on all sizes.
D-size has boxed endpiece (double border) with abalone.
230 Brazilian rosewood D-45 models made in 1968-1969.
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Old-style endpiece with abalone mitered into side-border abalone.
1988 to present Style 45 specs:
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Scalloped bracing.
1901 00-42 Martin ordered with
"tree of life" fingerboard,
additional body inlays,
and ivory bridge.
Style 42 flat top.
Collectibility Rating: Pre-WWII OOO-42: A+, OO-42: A-, O-42: B.
Rosewood back and sides, fancy inlay, fancy backstripe, ebony
fingerboard. 0-42 and 00-42 were always 12 fret models until
discontinued in 1942.
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Abalone inlay around top, soundhole and border around
neck tongue.
Ivory binding on top and back.
Ivory bridge.
Pearl tuner buttons.
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Snowflake pattern fingerboard inlays at 5/7/9 frets.
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Snowflake pattern fingerboard inlays at 5/7/9/12/15 frets.
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Ebony bridge replaces ivory.
Celluloid binding replaces ivory.
Bound neck with varied patern fingerboard inlays.
1930 Martin Style 42 guitar specs:
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OM-42 made with 14 fret neck, 25.4" scale, solid unbound peghead, nickle plated banjo
tuners. Front of the peghead is plain (no inlay and no Martin logo).
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Tortoise pickguard.
Style 42 discontinued in (last 000-42 made in 1943). D-42 introduced in 1986.
Style 41 flat top.
Collectibility Rating: Brazilian rosewood D-41 size: B+. Indian rosewood D-41 size: D-.
Rosewood back and sides, inlaid bridge pins, abalone inlay along the top, and sound hole only.
Fancy backstripe, ebony fingerboard, hexagonal abalone fingerboard markers from 3rd to 15th fret,
triple bound peghead, vertical pearl logo, volute on neck. First listed in 1969 in D-size only.
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Larger hexagonal fingerboard inlays from 3rd to 15th fret.
31 Brazilian rosewood D-41 models made in 1969 (starting with #252014). All others Indian
rosewood and not collectible.
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Smaller hexagonal fingerboard inlays from 1st to 17th fret.
Scalloped bracing.
Style 40 flat top.
Collectibility Rating: B (would be higher but most models were made in Hawaiian style).
Rosewood back and sides, abalone (pearl) inlay around top edge and soundhole (but not on top
around the fingerboard like a style 41,42,45 would have), inlaid bridge pins. Fancy backstripe of
horizontal lines between two rows of diagonal lines (like style 45). Most style 40 models made were
hawaiian style with flat fingerboard radius, flat flush frets, high string action, and no bridge saddle
compensation. Most popular was the OO-40H (though they did made 2-40, 0-40, 000-40 and 00040H models prior to WW2). Sometimes these are converted to regular "spanish" style guitar
(fingerboard radiused, refretted, neck reset, bridge saddle angled). Made from the 1860s to 1917,
then 1928 to 1941, then 1985 to present.
1860s Style 40 Introduction specs:
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German silver tuners with pearl buttons.
Ivory bound fingerboard and peghead.
Ivory bridge
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Ivoroid bound top and back.
Snowflake inlays beginning at 5th fret.
Unbound fingerboard and peghead.
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Style 40 discontinued.
1928 Style 40 reintroduction specs:
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Style 40 reintroduced.
Ebony bridge.
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Most often seen as the Martin 00-40H (hawaiian) with 12 frets clear of the body and a
sloted peghead. The 00-40H maintained this configuration until 1941 when it was
discontinued.
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Style 40 discontinued. Reintroduced in 1985 with slightly different specs.
Style 35 flat top.
Collectibility Rating: D-35 1965 to 1969: C-, D-35 1970 to present: D-.
Rosewood back and sides, 3-piece back with marquetry between sections, ebony bridge, bound
ebony fingerboard, dot inlays, volute on neck. First listed in 1965 in D-size only.
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Celluloid tortoise pickguard and body binding.
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Black plastic pickguard and body binding.
1970 to present Style 35 specs
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Indian rosewood back and sides.
1946 D-28 Martin.
Style 28 flat top.
Collectibility Rating: 1934-1944 OOO-28 and D-28 sizes: A, 1945-1965 OOO-28 and D-28 sizes: B,
1965-1969 OOO-28 and D-28 sizes: C. Smaller body sizes subtract a full letter grade.
Rosewood back and sides, volute or "ice cream cone" on back of neck. First listed in 1870s.
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Ivory Herringbone body binding around top edge.
Zipper-pattern backstripe.
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Slotted diamond fingerboard inlays. Two inlays at 5th fret, 1 at 7th fret, 2 at 9th fret.
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White celluloid herringbone binding material replaces genuine ivory binding.
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Most sizes braced for steel strings.
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OM-28 introduced with 14 fret neck, pyramid bridge, 25.4" scale length, no pickguard,
banjo tuners, inlays at frets 5/7/9, solid peghead with no "Martin" decal. Pickguard added in
late 1929.
Sub-group: Martin O-28K (koa):
1923 0-28k specs: Curly Koa body, including top. Steel strings, nut adjuster, regular
style 28 trimmings with herringbone around top. Pyramid bridge with straight saddle.
Suitable for regular playing with nut adjuster removed.
1925 0-28k specs: High nut and pyramid bridge with straight saddle
1926 0-28k specs: Listed with flush frets (not suitable for spanish style playing).
1929 0-28k specs: Raised frets optional, lacquer finish.
1930 0-28k specs: Belly bridge, straight saddle.
1963 D-28e. This model is a paradox. Martin took a great guitar with great flattop tone, and then added
DeArmond pickups and knobs to the top. This ruined the tone (a flattop develops most of its tone from the
vibrating top). And the DeArmond pickups don't amplify the acoustic properties of the guitar. So you end
up with a electric guitar sound, while playing a flattop. Because of this, the value for D-28e's is really low.
Some people go to the extreme of re-topping this model. This essentially gives you a vintage Brazilian
rosewood D-28, but with a new top. A double edge sword of originality versus usability. Martin made only
284 D-28e's from 1959 to 1964, before giving up on the model. Rare, but for very good reason (no one
wanted them, then or today!).
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OM-28 has a belly bridge and silkscreened "Martin" peghead logo.
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OM-28 gets a larger pickguard, right angle tuners, and inlays at frets 5/7/9/12/15.
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D-28 introduced with 12 fret neck, white bridge pins with tortoise colored dots (a total of 41
D-28s were made from 1931 to 1933 with a 12 fret neck).
Inlays from 5th to 15th fret, 2 inlays at 5th fret, 1 at 7th fret, 2 at 9th fret.
Sunburst shaded top available.
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Tortoise shell pickguard.
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OM-28 discontinued.
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D-28 gets 14 fret neck.
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Heavy bracing replaces scalloped bracing.
Small graduated dots replaces slotted diamond inlays.
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Large uniform sized dot finger board inlays.
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Large graduated sized dot finger board inlays.
Black/White binding with white grained outer layer replaces herringbone binding (last
herringbone was serial# 98223).
Narrow chainlink backstripe replaces zipper pattern (last zipper back was serial# 99992).
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Grover Rotomatic tuners.
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Outside white binding no longer grained.
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Black plastic pickguard replaces celluloid tortoise pickguard.
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Indian rosewood back and sides replaces Brazilian (last Brazilian rosewood model was
serial# 254497).
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Scalloped bracing available HD-28 model.
Herringbone binding available HD-28 model.
Style 21 flat top.
Collectibility Rating: 1934-1944 OOO-21: B, 1945-1965 OOO-21 and D-21 sizes: C, 1965-1969 OOO-21
and D-21 sizes: D. Smaller body sizes subtract a full letter grade.
Rosewood back and sides, style 18 type neck (no volute). First listed in 1869. 0-21 and 00-21
always has 12 fret neck (except for three made during the 1930s) until discontinued.
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Ebony fingerboard.
No fingerboard inlays.
Herringbone back stripe.
5 soundhole rings.
1890s Style 21 specs:
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Herringbone soundhole ring, tortoise outside binding layer.
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Slotted diamond fingerboard inlays. One inlay at 5th fret, 2 at 7th fret, 1 at 9th fret.
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No 000-21 models made fromn 1932 to 1937.
Inlays from 5th to 15th fret, 2 inlays at 7th and 12th frets.
Black outside layer body binding.
Tortoise pickguard.
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Tortoise outside layer body binding.
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Three 00-21G (gut string) made in 1937 & 1938 only.
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000-21 reintroduced with a 14 fret neck. The 00-21 stayed 12 fret until 1994 when it was a
retired model. The 0-21 also stayed 12 fret until 1948 when it was discontinued.
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0-21 rosewood fingerboard replaces ebony.
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Small graduated dots replaces slotted diamond inlays.
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Larger uniform sized fingerboard dots.
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Black/White inlay replaces herringbone around soundhole.
Narrow checked backstripe replaces herringbone.
Larger graduate sized fingerboard dots.
00-21, 000-21: Rosewood fingerboard replaces ebony.
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0-21 discontinued.
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000-21 discontinued.
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One 000-21 made special order.
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Black plastic pickguard replaces celluloid tortoise pickguard.
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First Indian rosewood Martin guitars (#254498).
Style 21 still available today.
Style 18 flat top.
Collectibility Rating: 1934-1944 OOO-18 and D-18 sizes: B, 1945-1965 OOO-18 and D-18 sizes: C, 19651969 OOO-18 and D-18 sizes: D. Smaller body sizes subtract a full letter grade.
Originally introduced with rosewood back and sides, the Style 18 since 1917 has Mahogony back
and sides, no volute neck, black bridge pins. First listed in 1857.
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Ebony fingerboard.
No fingerboard inlays.
Rosewood back and sides.
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0-18, 00-18 introduced, unbound ebony fingerboard, rectangle bridge.
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Small dot fingerboard markers at 5th, 7th and 9th frets.
Soundhole inlay of nine alternating black and white rings, inbetween two single black rings.
Black back stripe.
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Mahogany back and sides.
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Rosewood binding on top and back.
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Most style 18 models braced for steel strings.
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000-18 has 25.4" scale length.
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OM-18 introduced with small pickguard, belly bridge, black bridge pins and black backstripe,
14 fret neck, 25.4" scale (longer than 000-18), no peghead decal, banjo tuners.
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OM-18 has larger pickguard, normal right angle tuners, decal peghead logo.
00-18 now uses a belly bridge (0-18 still has a rectangle bridge).
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Tortoise pickguard.
5-ply top binding with black plastic outer layer.
Single ply black plastic back binding.
Small graduated dot fingerboard inlays from the 5th fret to the 15th fret. The 5th fret inlay
is the largest (1/4"), with the 7th fret being slightly smaller, and the 9th, 12th and 15th
being all the same size (smaller still). The size of the dots goes from .25" to .20 to .15" in
diameter at the 9th thru 15th frets.
D-18 Introduced with a 12 fret neck, ebony fingerboard, black bridge pins (a total of 29 D18s were made from 1932 to 1933 with a 12 fret neck).
000-18 replaced by the 0M-18 (only in 1932 & 1933), and 000-18 not available.
0-18 now uses a belly bridge.
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OM-18 discontinued in late 1933.
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000-18 reintroduced (replaces OM-18) with 14 frets clear of the body, 24.5" scale.
D-18 now has a 14 fret neck.
Shaded sunburst top optional.
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0-18, 00-18, 000-18: some with rosewood fingerboard.
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0-18, 00-18, 000-18: most with rosewood fingerboard (still some with ebony).
Tortoise outer body binding used on some Style 18 models. Body size 000-18 and smaller
used tortoise first, with D-18 models getting tortoise outer body binding around 1938. But
either black or tortoise can be seen in 1936-1938 on Style 18 models.
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0-18, OO-18, 000-18: rosewood fingerboard standard (D-18 still uses ebony).
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Some models have rosewood back binding instead of tortoise celluloid, due to wartime
shortages.
Either Sitka or Adirondack Red spruce top (Sitka is prevelant on D18's).
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Larger uniform sized dot fingerboard inlays replace small graduated dots.
Sometimes multi-piece Adirondack spruce tops are seen in this year on 000 models.
Sitka spruce top (darker than the 1945 and prior Adirondack spruce).
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Rosewood fingerboard replaces ebony on D-18.
Large graduated sized dot fingerboard inlays (larger than the pre-1946 graduated dots) at
5th, 7th, 9th, 12th and 15th frets. Dot sizes start at .30" to .25" to .20" in diameter at the
9th thru 15th frets.
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Body binding changes to black (instead of tortoise).
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Black pickguard (instead of tortoise).
1996: 0-18, 00-18 discontinued.
Style 17 flat top.
Collectibility Rating: Pre-1945 OOO-17 and OO-17: C-, 1945-1965 OOO-17 and OO-17: D. Smaller body
sizes subtract a full letter grade.
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Rosewood back and sides.
Rectangle bridge.
No back binding.
white back stripe.
Most with black neck and ice cream cone neck heel.
ivory tuner buttons.
1870's Style 17 specs:
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Green and white soundhole rope pattern
1897 Syle 17 specs:
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No rope style around soundhole.
X-braced.
Small dot inlays at 5, 7, 9th frets.
Style 17 discontinued 1898.
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Mahogany back and sides.
Spruce top.
3 layer top binding.
rosewood bound back.
unbound ebony fingerboard.
small dot fingerboard inlays at 5/7/9 frets.
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rosewood fingerboard and bridge.
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All mahogany construction, including the top.
Steel string design (Martin's first model to use it).
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5 layer soundhole ring.
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No body binding, top or back.
Model maintains its rectangle bridge (belly bridge never used on this style).
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tortoise pickguard optional.
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tortoise pickguard standard.
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black pickguard.
Style 16 flat top.
Collectibility Rating: DMahogany top, sides and back. Multiple bound top with dark outer binding, unbound back, dot fingerboard
inlays, non-gloss finish.
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Style first introduced on the 0-16 and 0-16NY models.
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5-16 model introduced, discontinued in 1963.
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D-size style 16 introduced. Single bound top and back, koa, mohagany, ash or walnut
offered (at different times).
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000-16 and 000C-16 (cutaway) model introduced.
Style 15 flat top.
Collectibility Rating: D-Mahogany top, back and sides. No binding used, rosewood fingerboard and bridge, semi-gloss finish,
rectangle bridge used for all production. Very similar to the Style 17, except the finish was less glossy.
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Introduced with two early examples having birch and maple bodies.
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Mahogany body standard.
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Model re-introduced.
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Last 0-15 model made.
Style 15 only available in tenor format.
Style 15 discontinued 1963. Reintroduced in 1997 with different specs.
Martin Arch Top Model Specs
A 1932 Martin C-1 Archtop with round sound hole.
Style C-1 arch top.
Collectibility Rating: D-Arch top body size is equivalent to the flat top 000 body size, 15" wide across the top, carved spruce top,
back is not carved but is arched by bracing, mahogany back and sides, style 18 flat top trim, trapeze tail
piece, rosewood fingerboard, nickel plated parts, sunburst top finish.
1931 Style C-1 specs:
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Vertical pearl "Martin" peghead logo on early models.
Round sound hole.
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f-holes introduced instead of round sound hole. Made either way this year.
Decal style peghead logo (vertical pearl logo dropped).
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Round sound hole completely dropped in favor of f-holes.
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White body binding instead of tortoise.
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Style C-1 discontinued.
A 1942 Martin C-2 Archtop.
Style C-2 arch top.
Collectibility Rating: DArch top body size is equivalent to the flat top 000 body size, 15" wide across the top, carved sruce top,
back is not carved but is arched by bracing, rosewood back and sides, unbound elevated tortoise
pickguard, style 28 type multiple bound top and back with white outer layer, zipper zigzag backstripe,
trapeze tail piece, rosewood fingerboard, vertical "Martin" peghead logo, nickel plated parts, sunburst top
finish.
The C-series archtops were long scale until mid-1934, same as the 000 models. Sometimes a C model is
converted from an archtop to a 000 style flat top. A conversion of a short scale C-2 (mid-1934 and later)
won't exactly be a 000 either. The neck must be shortened to get the shallower angle required for a flat
top. This amounts to about 1/3 of a fret, so the guitar ends up having a 13 2/3 fret neck. This puts the
bridge position a little lower on the top, closer to the OM bridge position (but not exactly the same). The
other feature on the C models that is different from a 000 is the back arch and the back braces. The
archtops have more arch in the back and taller #3 and #4 back braces. Note the 1939 and later C-2
models have no abalone, the neck inlays are pearloid.
1931 Martin C-2 guitar introduction specs:
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Round sound hole.
Unbound fingerboard.
Slotted diamond fingerboard inlays.
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Bound fingerboard.
Scale length shortened (much like the 000 models).
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Fingerboard inlays change to hexagonal pearloid inlays at frets 3,5,7,9,12,15.
1942 Martin Style C-2 guitar discontinued.
Style C-3 arch top.
Collectibility Rating: D
Arch top body size is equivalent to the flat top 000 body size, 15" wide across the top, carved spruce top,
back is not carved but is arched by bracing, rosewood back and sides, 5-ply top binding with pearloid
outer layer, elevated tortoise pickguard with b/w binding, backstripe of two horizontal lines surrounded by
two rows of diag lines (like a Style 45), bound ebony fingferboard, style 45 fingerboard snowflake inlays,
trapeze tail piece, vertical "Martin" peghead logo, bound peghead, gold plated parts, sunburst top finish.
The C-series archtops were long scale until mid-1934, same as the 000 models. Sometimes a C model is
converted from an archtop to a 000 style flat top. A conversion of a short scale C-2 (mid-1934 and later)
won't exactly be a 000 either. The neck must be shortened to get the shallower angle required for a flat
top. This amounts to about 1/3 of a fret, so the guitar ends up having a 13 2/3 fret neck. This puts the
bridge position a little lower on the top, closer to the OM bridge position (but not exactly the same). The
other feature on the C models that is different from a 000 is the back arch and the back braces. The
archtops have more arch in the back and taller #3 and #4 back braces. Note the 1939 and later C-2
models have no abalone, the neck inlays are pearloid.
1931 Martin C-3 guitar introduction specs:
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Round sound hole.
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1934 Martin Style C-3 discontinued.
Style F-1 arch top.
Collectibility Rating: D-Arch top body, 16" wide across the top, similar trim to the C-1 arch top, mahogany back and sides, fholes, sunburst top finish.
Introduced in 1940 and discontinued in 1942.
Style F-2 arch top.
Collectibility Rating: DArch top body, 16" wide across the top, similar trim to the C-2 arch top, rosewood back and sides, f-holes,
sunburst top finish.
Style R-17 arch top.
Collectibility Rating: D--Arch top body like a 00 size flat top, 12 frets clear of the body, 14 1/8" wide across the top, top not
carved but arched with braces, mahogany top, back not carved but arched by braces, 3 piece f-holes,
sunburst top finish.
Style R-18 arch top.
Collectibility Rating: D-Arch top body like a 00 size flat top, 12 frets clear of the body, 14 1/8" wide across the top, arched spruce
top, back not carved but arched by braces, 4 ply top binding with black outer layer, sunburst top finish.
1932 Style R-18 introduction specs:
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Inside body stamped as 00-18S (instead of R-18).
Round sound hole.
Top is not carved, but arched with braces.
1933 Style R-18 specs:
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Stamped R-18 on inside of body.
3 piece f-holes starting in late 1933.
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Top is now carved.
1 piece f-holes.
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Style R-18 discontinued.
Style F-7 arch top.
Collectibility Rating: D
Arch top body 16" wide across the top, carved spruce top, back not carved by arched by braces, rosewood
back and sides, f-holes, style 45 backstripe, bound ebony fingerboard, 2 white lines inlaid down length of
fingerboard at the edges, hexagonal fingerboard inlays on 6 frets (sometimes pearl, sometimes ivoroid),
vertical "Martin" pearl peghead logo, nickel plated parts, sunburst top finish.
Introduced in 1935, discontinued in 1942.
Style F-9 arch top.
Collectibility Rating: D+
Arch top body 16" wide across the top, carved spruce top, back not carved by arched by braces, rosewood
back and sides, f-holes, style 45 backstripe, bound ebony fingerboard, 2 white/black/while lines inlaid
down length of fingerboard at the edges, abalone hexagonal fingerboard inlays on 8 frets (a few make
with pearloid), vertical "Martin" pearl peghead logo, gold plated parts, sunburst top finish.
Introduced in 1935, discontinued in 1942.
Martin Ukulele Model Specs
Martin Style 3k Uke
Martin Ukuleles.
Ukuleles were in highest production from 1916 to the 1930's, though still manufactured
in quantity until 1965. Production quantities during some periods were as great as
Martin guitars. Martin ukes are considered to be the best for craftsmenship and sound.
Demand for older Martin ukes has increased dramatically in recent years. The Koa
wood models are more collectible than mahagony models. The fancier style 5 models
are worth more than plainer styles 0 to 3. All sizes are collectible.
The first Martin ukes, built in 1916, have serial numbers ranging from one to less than
200. Ukes made after 1916 do not have serial numbers and must be dated by
specification changes.
Ukes have the Martin stamp on the back of the peghead until 1935. Peghead decals do
not appear in catalog photos till after WWII.
Total
Body
Body
Scale
Style
Length
Length
Width
Length
Soprano (std)
21"
9 7/16"
6 3/8"
13 5/8"
Concert
23 1/4"
11"
7 5/8"
14 3/4"
Tenor
26 1/4"
12 1/16"
8 15/16"
17"
Baritone
30 11/16"
14"
10"
20 1/8"
Martin ukuleles produced in greatest numbers in the smallest soprano size, but concert and tenor
sizes were available circa 1922. Concert and tenor models were available in all the following styles,
with the exception of Style 0, which was produced only as a soprano. Custom order ukuleles, while
rare, were available upon request, and may have combined features from various styles.
Martin Style 0 Uke specs:
The most basic of Martin ukes. Mahogany body with no body binding and nothing fancy.
Discontinued in the 1970s.
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Introduced in 1922.
Mahogany body.
No body binding.
12 fret rosewood fingerboard with bar frets.
C.F.Martin & Co. on back of headstock.
Small dot inlays.
Rosewood friction pegs.
1927: Ebony nut and nickel plated pegs
1932: Decal logo on front of headstock
1934: T frets
1970s: discontinued. Recently the S-O (made in Mexico) has been introduced.
Introduced in 1918, the first Martin uke model made. Discontinued in 1965.
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Introduced in 1918,
First 200 or so ukes serial numbered, thereafter without.
Mahogany body.
Rosewood outer body binding with inner black/white.
Earliest examples with boxwood bridge saddle and nut.
Small dot inlays.
Rosewood friction pegs.
1920: Koa wood 1K available
1927: Patent pegs
1934: T frets, dark plastic binding
1942: Style 1K last listed
1965: Style 1 last listed amd discontinued.
Martin style 2 uke model made first in 1918, discontinued in 1965.
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Introduced in 1918.
Mahogany body.
Triple bound top binding with ivorioid outer binding.
Single bound back.
Small dot inlays.
1923: Nickel patent pegs
1933: Style 2K last listed
1934: T frets
1965: Style 2 last listed
Martin Style 3 and Style 3k Uke specs:
Martin style 3 uke model made first in 1918, discontinued in the 1970s.
•
•
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Introduced in 1918.
Mahogany body.
7 layer top binding.
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3 layer back binding.
5 layer soundhole ring.
Celluloid ornament on top, behind bridge (known as the "parend").
17 fret ebony fingerboard extents to the soundhole.
Bar frets.
Small pearl paired-diamond inlays at fret 5, 7, 9.
3 lines inlaid down center of fingerboard.
Nut of 3 ply plastic.
Kite-shaped celluloid peghead ornament.
Friction pegs.
1923: No peghead ornament, nickel plated pegs:
1930: One piece ivory nut
1934: T frets
1940: No celluloid top ornament (parend)
1940: Dot inlays replace pearl diamond inlays and inlaid lines
1941: last Style 3K
Martin Style 5 and Style 5k Uke specs:
Though discontined in 1942, the Style 5 has been reintroduced recently.
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Introduced in 1922.
Koa body.
Ivoroid bound top and back with abalone trim.
Abalone pearl and black/white wood around soundhole.
Ivoroid bound ebony fingerboard.
17 fret ebony fingerboard extents to the soundhole.
Bar frets.
Varied snowflake pearl inlays.
Koa peghead veneer with pearl-inlaid flowerpot.
Patent pegs.
1934: T frets
1940: Style 5 mahogony body (same trim as 5K) introduced.
1940: Style 5K discontinued
1942: Style 5 mahogony body discontinued.
Note: It has been alleged that Martin used Abalone additionally on the SIDES of style 5k
ukes during 1926 and 1927. No such uke has yet been seen.

Other Brands Made by Martin. Since 1900, Martin did make guitars

Transcription

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