Martin® guitars and Rolls Royce® automobiles, Steinway® pianos, Baccarat® crystal.
High–falutin comparisons, to be sure; but few acoustic musicians can hear the name "C. F. Martin" without instantly linking it to some mental image that stands for enduring quality. Since 1833, the Martin Guitar Company has provided instruments of consistently high caliber to virtually a world–wide market. Among musicians there is a standing joke about being able to communicate in any language as long as you say, "Martin guitar."
What is it that has created the interest and demand for the musical products from this small, privately held company in Nazareth, Pennsylvania? Although some would point to various technical features or famed models, it’s probably best expressed in terms of family tradition and longevity, and a reputation that borders on legend. No manufacturer ever has an unblemished record of creativity, value, and service, but Martin’s has been so good for so long that one would almost think Christian Frederick Martin built his first guitar with wood from George Washington’s cherry tree.
The "hand crafting" image that is part of the aura goes along with Martin’s limited production. The company’s current output does not exactly qualify for Fortune 500 status.
Among the great variety of instruments the Martin Company makes, it’s safe to say that none has enjoyed more popularity than their line of Dreadnoughts or D–size guitars. Currently regarded as the standard acoustic guitar, the Dreadnought once was viewed in less favorable light primarily because it was so large in comparison to other guitars of the day.
The deep bass response of a D–28 was a very unusual feature to musicians used to the clear treble and overall balance of smaller "standard size" instruments. However, when the Dreadnought made its way into the hands of country music performers, it found an appreciative audience – it was just the item for backing up vocals, fiddles, and banjos in lieu of a bass instrument. A look through Mike Longworth’s book, Martin Guitars: A History, shows that the Dreadnought’s gain in popularity has been steady since its introduction. Today the Dreadnought is ubiquitous, found in every style of acoustic music, and accounts for approximately 80 percent of Martin’s yearly production.
Other Models
As a result of the phenomenal growth in acoustic guitar sales during this period and the subsequent slowdown, the Martin Company began an aggressive research and development phase which brought no fewer than nine new Dreadnought models into production by 1980. It’s difficult to single out one model for consideration, but the HD–28 represented an interesting glimpse back, while all of the rest were new ideas.
Introduced in 1976, the HD–28 was a conscious effort to remake a guitar from the past–the prewar herringbone D–28. Like the early Dreadnoughts, it featured scalloped top braces, a small maple bridge plate, and herringbone marquetry around the top. This bow to the past has proven to be a very popular model. After the success of the HD–28, the HD–35 (a D–35 with scalloped braces, maple bridge plate, and herringbone trim) was introduced in 1978.
A singular effort was the Bicentennial commemorative D–76, featuring a three–piece back, style 28 body trim, pearl stars in the fingerboard, a pearl eagle in the peghead, and two herringbone back strips. It had a limited production of 1,976 guitars (plus an additional 98 employee instruments). The D–76, which began production in 1975, was not a hot seller; it didn’t sell out until 1978.
Yet another eye–catching series of guitars was produced, made out of Hawaiian koa wood. This was not the first time the Martin Company used this tropical hardwood, but these were the first Dreadnoughts using koa. Two basic styles came in two optional models each. The D–25K had a spruce top, two–piece koa back and sides, rosewood fretboard and bridge, and black binding; the optional koa top changed the designation to D–25K2. The D–37K came with figured two–piece koa back and sides, spruce top, ebony fretboard and bridge, white binding, and fancier inlay; the koa top option was the D–37K2.
Two other instruments were introduced to fit between the D–18 and the D–28. The D–19 was a D–18 with a stained top (brown to match the sides and back). It was followed by the D–19M which was a D–18 with a mahogany top.