Vintage Martin Dreadnought
I seek out strong examples of Pre-1970 Martin guitars from many sources. With their light build, Adirondack Spruce tops, and scalloped brace voicing, I am strongly interested in all models from the classic late 1920s through 1944 period. I like to have good sounding examples of the larger OOO and Dreadnought sizes in the postwar tapered brace voicing period of 1945 through 1948 with Adirondack Spruce tops ending for all models by late 1946 and Sitka Spruce tops being used exclusively in 1947-48. The beefier build style starting in 1948 progressing up through the mid-1960s produced some really great Dreadnoughts for Bluegrass and other heavier playing styles where volume and clarity are important. Scattered throughout the 1950s and early 1960s, but most notably in the 1952-53 period Martin used light, but strong Engelmann Spruce tops on some of their guitars. Many dealers currently mistake and misname this lighter colored top wood as Adirondack Spruce. I'll also have smaller model sizes represented in this 1948-1969 group if they are responsive and demonstrate a lot of character in their voice.
Coming Soon: 1945 D-28, 1946 D-28, 1953 D-28 with Engelmann Spruce top.
This early 1947 D-28 is one of only 450 made that year. This guitar has an especially strong voice and a loose, open low end. Gorgeous reddish brown vertical grain Brazilian rosewood back and sides, Dark Sitka spruce top, Period correct Waverly "arrowhead" tuners, Brazilian rosewood headstock overlay with gold "C.F. Martin" decal, Original ivory nut, Ebony fingerboard with pearl dots, Replacement ebony bridge, Replacement pin set, Dark brown pickguard, "Zipper" backstrip. Older repairs include: Neck reset and refret, Black epoxy fill of fingerboard divots, Installation of Kluson Deluxe tuners (now replaced with period correct Waverly), Replacement bridge and pin set, Slight B string crack, Top center seam separation, and small accordion top cracks at lower bout bass side edge. Pickwear on either side of fingerboard extension and bass side of soundhole. More extensive pickguard wear below pickguard. Wear on back of neck. Buckle rash on back. I have found and installed the period correct "arrowhead" Waverly tuners. With ca. 1948-49 Lifton hardshell case.
This strongly tapered voiced early 1947 D-18 has an unexpectedly rich low end. In fact, the former owner played and recorded with it using light guage strings exclusively. Mahogany back and sides, Stripey Sitka spruce top, Waverly "arrowhead" tuners, Brazilian rosewood headstock overlay with gold "C.F. Martin" decal, Original ivory nut, Brazilian rosewood fingerboard with pearl dots, Replaced Brazilian rosewood bridge with specially compensated saddle, Replacement pin set, Original dark pickguard, Strap button added to treble side of the heel. No top or back cracks. Six repaired side cracks on the bass side lower bout. Three repaired side cracks between the treble side waist and tail. Small repaired tear in treble side waist. Old strap button screw hole between the E string tuners on the back of the headstock. Pick wear and strap wear on top and butt. Large area of buckle rash on the back. With an older neck reset and refret, this guitar plays quite nicely. The responsive top delivers a very rich voice with an easy touch. With hardshell case.
The very clean, crack-free, and original early 1966 D-36 has a rich, open voice and plays very easily now that it has had a recent neck reset and refret by Alan Perlman. Brick red Brazilian Rosewood back and sides, Fine grain Sitka Spruce top with especially bold grain lines, Grover Rotomatic tuners, Brick red Brazilian rosewood headstock overlay with gold "C.F. Martin" decal, Bound Ebony fingerboard with pearl dots, Ivoroid body binding with ivoroid-black top purfling, Very dark red turtle-oid pickguard, Ebony bridge with drop-in saddle, Original bridge pins, Replacement endpin. Alan Perlman's neck reset and refret is the only repair work that has been done to this guitar. The voice is rich and full in the bass. The stiff top gives a lot of definition and tone color to the upper midrange and trebles. With more recent hardshell case.
The stage guitar used for many years by a veteran country rocker, this is an easy playing and versatile player D-28 that fits with a variety of musical settings. Sitka spruce top, Vertical grain Brazilian rosewood back and sides, Replacement gold Grover tuners with ebony buttons, Brazilian rosewood headstock overlay with gold "C.F. Martin" decal, Bone nut, Ebony fingerboard with pearl dots, Ivoroid body binding and butt wedge, Standard ivoroid and black top purflings, Replacement Ebony bridge, Replacement pickguard, Standard backstrip. OLDER REPAIRS include: Neck reset and refret, Glued top crack at treble waist, B string pickguard crack, short crack below bridge, center seam separation, two back cracks, Complete refinish. Replacement gold Grover Rotomatic tuners with ebony buttons, Replacement pin set. The guitar plays easily and rewards with a large, powerful voice. A very versatile guitar at a nice price. With hard case.
An affordable player grade wartime herringbone D-28. Brazilian rosewood back and sides, Beautiful fine grain Adirondack spruce top, Mahogany neck, Replacement Waverly tuners, Replacement bone nut, Replacement fingerbaord with pearl dots, Ivoroid body binding and butt wedge, Replacement bridge and bridgeplate, Replacement pickguard, Strap button in heel, new pins. OLDER REPAIRS include: Neck reset and refret, complete refinish, Installation of new fingerboard, New nut, Repaired center seam and one top crack, Repaired heel crack, Installation of Waverly tuners, New pin set. This is a strong voiced herringbone D-28 with enough repairs to put the price at a mere fraction of the price of one in clean and original condition. With hard case.
A particularly fine sounding D-18 from the fall of 1946, when some 18 style guitars got these 4-piece Adirondack spruce tops. This one was exceptionally well cared for. Honduras Mahogany back, sides, and neck, Original very clean Waverly tuners, Brazilian rosewood headstock overlay with gold "C.F. Martin" decal, Original ivory nut, Ebony fingerboard with pearl dots, Tortoise body binding and butt wedge, Original ebony bridge with new long bone saddle and a new pin set, Original turtle-oid pickguard, New endpin. OLDER REPAIRS include: neck reset and refret. RECENT REPAIRS by Alan Perlman include: Neck reset and refret, installation of new bridge saddle and pin set. The only crack on the entire guitar is in the neck heel area of the sides from too much clamping pressure for the older neck reset. This top is very stiff in the center and flexible at the edges, so it speaks with a very expressive wide tonal range. With excellent volume, this guitar can be played lightly and still have a strong presence in a group. A superb postwar D-18. With original Lifton case.
From early July of 1945, this completely crack-free D-28 is my very clear favorite of any vintage Martin currently in stock. Except for new frets (to replace the old worn brass frets), a bone bridge saddle, a new pin set, and three small old European spruce cleats inside to support deep top wear above the pickguard, all of the the parts and finish are original. Brick-red Brazilian rosewood back (nearly 100% tight vertical grain) and sides (gorgeous spiderwebbing and landscaping figuring), Moderately stiff Adirondack spruce top with the slightly wider grain toward the center, Radically tapered style top brace voicing specific to very late 1944 and 1945, Honduras Mahogany neck, Dark red Brazilian rosewood headstock overlay with gold "C.F. Martin" decal, All 6 original Kluson flat plate wartime configuration tuners have healthy buttons and gears, Ebony fingerboard with medium size pearl dots, Medium thick neck profile, Steel T-bar neck reinforcement, Ivoroid body binding, butt wedge, and heelcap, Herringobne top purfling, Standard 28 rosette, Ebony bridge with new long bone saddle and new pin set, Dark red-brown turtle-oid pickguard, Zipper backstrip. The list of RECENT REPAIRS is quite short. Alan Perlman performed a neck reset and refret, reglued the loose bridge, installed the new pins, and installed the three small spruce cleats (60 year old European spruce stock) to support the extreme top wear on the treble side of the fingerboard extension above the pickguard. That is all the work that was need for this great sounding guitar. The rich, mature voice speaks very easily and has a very even response in all registers, which is rare for a herringbone D-28. Other than the previously mentioned pick wear above the pickguard, the play wear on this performance rhythm guitar is pretty light. The back of the neck shows the standard 'cowboy chords" wear, Capo wear at frets 2 and 3, nicks from leaning against chairs or low tables, and a wear pattern indicating that he held the neck near the body joint between songs and tunes. The back shows moderate buckle rash, but no dings from careless handling. The sides are very clean. The top has a small assortment of light dings and stray pick marks. The owner was a very careful performer. The original D-shape brown Lifton case is very clean and still contains the neatly arranged extra string boxes and packages for the spare strings. Inside the accessory pocket are the deadly sharp cornered hard green plastic pick that did all of the localized top damage and a paper package of brass frets that he used to replace the first four frets. The neck chord that this owner would have used to play this guitar has vanished. An astounding guitar that would be my own first choice to play vintage style country music, swing, or bluegrass. Priced at less than 2/3 of what a clean and all-oriignal example would sell for.
Brazilian Rosewood back and sides, Engelmann Spruce top, Original Kluson ribbed back tuners, Brazilian Rosewood headstock overlay with gold "C.F. Martin" decal, Replacement bone nut, Ebony fingerboard with pearl dots inlay, Ivoroid body binding, heelcap, and butt wedge, Standard top edge and soundhole purfling, Original bridge, Original turtle-oid pickguard, Chain link backstrip, Original redye endpin and bridge pins, Added strap button in treble side neck heel. OLD REPAIRS include: Thin brass bridge plate cap, Cleated pickguard crack, Cleated 6" crack between bridge and tail about the area of the low E string, Repaired center seam split between bridge and tail, Bridge shaved a little in the saddle area, Light overspray on top and sides near he neck heel area. NEW REPAIRS include: Neck reset, refret, and new bone saddle by the great Alan Perlman. As is typical of these amazing 1953 D-28s with the Engelmann Spruce top, this guitar is very powerful and has a tone that is more complex in the upper midrange and treble than what would be found on one with a Sitka Spruce top. A great bluegrass guitar. With hardshell case.
A solid and very lively player at a nice price. Gorgeous dark brick-red Brazilian rosewood back and sides, Tight grain dark colored Sitka Spruce top, Mahogany neck, Original Kluson ribbed back tuners, Dark Brazilian Rosewood headstock overlay with gold "C.F. Martin" decal, Bone nut, Ebony fingerboard with pearl dots, Ivoroid body binding, butt wedge, and heelcap, Replacement Ebony bridge with long saddle, Replacement unslotted bone pins, Frank Ford style replacement bridgeplate, Very old replacement pickguard with increased area up into the treble side fingerboard extension area, Strap button installed on treble side of heel. OLD REPAIRS include: Overspray over entire guitar body, Plug pickup jack hole in treble side with localized refinish of that area, Replacement bridge and bridgeplate, Larger pickguard installed, Three repaired top cracks in the bass-side upper bout area, Repaired 6" back crack 1" from center. RECENT REPAIRS by Alan Perlman includes: Neck reset and refret, Replacement bridge, installation of new pins. Little evidence in the soundhole edge from the DeArmond pickup use, some pick wear at treble edge of soundhole. The neck finish is surprisingly clean given the professional use. The voice is very rich and even, the response very lively. An excellent bluegrass dreadnought. With 1960s Ess and Ess case.
From the first of February 1946, this rich-voiced D-18 wasn't played much at all and remains in spectacular condition. Mahogany back and sides, Medium grain width Sitka spruce top with prominent bearclaw figure, Kluson flat plate tuners with the round bushings found on some other February 1946 D-18s, Reddish Brazilian Rosewood headstock overlay with gold "C.F. Martin" decal, Original ivory nut, Ebony fingerboard with pearl dots, Turtle-oid body binding and butt wedge, Standard 18 style ivoroid and black purflings, The dark turtle-oid pickguard retains a lot of the original red color from having seen little sunlight over the years, Ebony bridge with the original slightly shrunken bridge pins. The finish is light on the body and espcially thin on the neck, showing light crazing. There is very little in the way of small dings except for a 1" scrape on the top near the tail. There are 2 small repaired side cracks on the treble side just below the neck block. The light finish and medium grain width both contribute to the open, rich voice of this guitar. RECENT REPAIRS include: The two small side crack repairs, Neck reset and refret, and tuner buitton replacments. This extra responsive guitar is very easy to play and rewards with a complex, fat tone. With new Cedar Creek hardshell case.
A very strong sounding player, thanks to to brace revoicing by Alan Perlman to 1945 specifications. Tight vertical grain brick red Brazilian Rosewood back and sides, Even medium grain Sitka spruce top, New replacement Kluson Deluxe tuners in place of the original heavy Grover Rotomatics, Original shimmed ivory nut, Ebony fingerboard with pearl dots, Ivoroid body binding and butt wedge, Original Ebony bridge with long saddle, Replacement unslotted bone bridge pins, Original bridge plate, Large black "Grand Ole Opry" style pickguard, Replacement ivory heelcap, Replacement endpin. OLD REPAIRS include: Some possible light overspray in selected areas (headstock face?), Three repaired top cracks between soundhole and bass-side waist, Installation of the large pickguard, Strap button in neck heel. RECENT REPAIRS by Alan Perlman include: Neck reset and refret, Reglue loose fingerboard top brace, top leg of X-brace, and nearby finger brace, and top in that area reglued to side, Filled bridge string grooves and made new saddle, Glued two small treble side cracks in the waist, Installed new tuners, Revoiced the top braces to dimensions, shape, and thumb deflection of the "Johnnie Mitchell" 1945 D-18 that was recently sold. The finish is cold checked on parts of the top, buckle rash on the back, Light dings in various locations. The very strong voiced guitar has a lot of 1945 tonal qualities for about 1/3 the price of cheapest 1945 D-28 that I've seen anywhere on the web. With hardshell case.
A wonderfully responsive herringbone D-28 from about April of 1946, the great sound is matched by the exceptionally clean surfaces. The radically tapered brace voicing and medium grain width tops from spring of 1946 can be especially lively, as this one is. Brick orange-red Brazilian Rosewood, Dark Sitka spruce top, Clean and shiney original arrowhead Waverly tuners, Brazilian Rosewood headstock overlay with gold "C.F. Martin" decal, Original ivory nut, Full round neck profile, Ebony fingerboard with pearl dots, Steel T-bar neck reinforcement, Ivoroid body binding and butt wedge, Herringbone top purfling, Ivoroid and black soundhole purfling, Replacement Ebony bridge, Replacement bridge pins and endpin, Healthy and clean original bridge plate, Original dark red-brown turtle-oid pickguard, Ivoroid heelcap. OLD REPAIRS include: Neck reset and refret, Two matching cleated repaired top cracks in the E strings areas from bridge to butt, B string pickguard shrinkage crack repair, Treble end of X-brace reglued, Fingerboard extension crack repair, and replacement bridge. RECENT REPAIR by Alan Perlman include a neck reset and refret and a new bone bridge saddle. Light finish crazing all over, Just a few light scratches on the back, Light pickwear on either side of the fingerboard extension and on treble soundhole edge a few small dings here and there. This guitar came from a cold, dry environment, resulting in the fine finish crazing and two top cracks. The magnificent voice is rich and penetrating. Choice of a period correct Harptone case or a new Cedar Creek case. The price has been significantly reduced from what it would be without the dryness cracks to the top.
A large voiced D-28 from early April of 1947 that retains the larger neck profile and zipper backstrip, but has a slightly brighter tone than the February 1947 D-28 also in inventory. Dark colored Brazilian Rosewood with spiderwebbing figure on the back and sides, Tight grain Sitka Spruce top, Original Waverly "arrowhead" plate tuners, Brazilian Rosewood headstock overlay with gold "C.F. Martin" decal, Original ivory nut with shim underneath, Ebony fingerboard with pearl dots, Ivoroid body binding, heel cap, and butt wedge, Standard purflings in top edge and rosette, Replacement ebony bridge with long saddle, Replacement bridge pins and endpins (shrunken originals in case pocket), Original dark turtle-oid pickguard. PREVIOUS REPAIRS include: Neck reset, light buffing of body during neck reset, repaired pickguard crack, two repaired hairline top cracks that are invisible on the exterior. RECENT REPAIRS include: Alan Perlman replaced the shaved down original bridge with a new one and performed a refret. There is, little finish wear on the neck and sides, some belt buckle rash on the back, and light pickwear on either side of the soundhole and fingerboard extension. The tuners aren't worn much at all. This guitar is a joy to play, the large voice very balanced. A fine instrument for playing many other kinds of music as well as bluegrass and flatpicking styles. With slightly worn original hardshell case.
A very clean example with exceptionally nice vertical grain Brazilian Rosewood back and sides and a clear, penetrating voice. All original except frets and bridge saddle. Sitka Spruce top, Kluson ribbed back tuners, Brazilian Rosewood headstock overlay with gold "C.F. Martin" decal, 1 11/16" nut width, Ivory nut, Ebony fingerboard with pearl dots, grained ivoroid body binding, butt wedge, and heel cap, Ivoroid and black purflings, Ebony bridge with long saddle and original redeye pins, Light turtle-oid pattern pickguard material specific to late 1956 and 1957 Martin guitars, Chain link backstrip, Original redeye endpin. Sold most recently from a Seattle shop, the repair list performed by Mark Tossman is limited to a neck reset and refret and a light "cleanup" buffing. No cracks or injuries. Light pick wear in the usual spots. Some light lacquer cold checking on the top and headstock area. The voice is forceful, clear, and bright. A wonderful flatpicking or multiple use dreadnought. With the original Lifton hardshell case.
1944 D-28 (88108) This guitar is the strongest sounding herringbone D-28 that I've ever had in the shop. The owner bought it last summer and had Mark Tossman perform a few refinements to the previous repairs. Beautiful spiderweb figure Brazilian Rosewood back and sides, Fine grain Adirondack Spruce top, Replacement Waverly tuners with ivoroid buttons, Brazilian Rosewood headstock overlay with gold "C.F. Martin" decal, 1 11/16" nut width, Ebony fingerboard wtih diamonds and squares inlay, Ivoroid body binding and heelcap, Herringbone top purfling, Replacement ebony bridge with long saddle and replacement pins, Red turtle-oid pickguard, Zipper backstrip, Strap button in treble side of neck. I'll completely cover the repairs by section:
NECK: The Grover Rotomatic holes were plugged and Waverly tuners installed, the finish repaired over these plugs. Alan Perlman performed the fingerboard plane and refret. An old bone nut is in place.
TOP: An old bridge installation put in a few shallow interior dents and an area of refinishing behind the bridge. Mark Tossman recently made a better new bridge. Pickguard crack glued and cleated.
BACK AND SIDES: Two treble side crack repairs between the waist and corner of the upper bout. Treble side back binding replaced. The #3 back brace was reglued long ago, leaving a few traces of glue. One repaired back crack near the tailblock about 1/2" from the backstrip.
FINISH: There is some pickwear all over the fingerboard and soundhole areas of the top and significant armwear on the top and side at the widest part of the bass-side lower bout. The area just behind the bridge was refinished during an old bridge installation. Mark Tossman gave the top, sides, and back a buffing treatment. The barrel of the neck shows significant checking and wear.
Played for decades in professional Bluegrass bands, this guitar has a very powerful rhythm voice and a thick, dark tonal quality for melody playing. The guitar feels very solid and is quite easy to play. It responds to aggressive playing and will reward with a very strong voice. With recent hardshell case.
From about September of 1946, this D-18 is characterized by a great balance in tone and feel. Mahogany back and sides, Wide grain Sitka Spruce top, Original Waverly tuners, Brazilian Rosewood headstock overlay with gold "C.F. Martin" decal, 1 11/16" nut width, Full neck profile, Ebony fingerboard with pearl dots, Turtle-oid body binding and butt wedge, Ivoroid and black top and rosette purfling, Replacement ebony bridge with drop-in saddle (great intonation!), Replacement endpin and bridge pins, Original turtle-oid pickguard, Ebony heelcap, Strap button installed in treble side of neck heel. No cracks anywhere on the entire guitar! OLD REPAIRS include: Reglue of binding in treble side waist with small localized finsih work in that area, Light overspray of back and new finish on a bald patch of buckle rash near the bass side waist of the back, More proper size of bridge and bridge plate replace the old larger previous replacements (very clean professional work), Significant planing of fingerboard at the nut end from many partial refrets. NEW REPAIRS by Alan Perlman include: Neck reset and refret, Pearl replacements for the original thinned fingerboard inlays, and a new bone bridge saddle. The finish is in great shape, given the amount of playing time that this guitar has had over the last 64 years. There is some checking on the back of the headstock and play wear on the bass side of the top between bridge and soundhole and on the treble side below the pickguard. With the ebony neck reinforcement and small tuners, this guitar feels light and balanced on a strap. The large, responsive voice is also incredibly well balanced from open E string to the upper reaches of the fingerboard. The strongly tapered brace voicing used at this time is a true bridge between the large open voice of scalloped wartime D-18s and harder, brighter sound of the late 1940s - early 1950s D-18s. A fantastic playing old D-18. With new hardshell case.
A responsive herringbone D-28 from just about exactly the middle of the year of 1942. Straight grain Brazilian Rosewood, Beautiful fine grain Adirondack Spruce top with lots of cross-grain silking from the bridge feet out toward the edges, Replacement Waverly tuners, Brazilian Rosewood headstock overlay with gold "C.F. Martin" decal, Ivory nut, Replacement ebony fingerboard with pearl dots inlay, Ivoroid body binding, Herringbone top purfling, Replacement ebony bridge with long saddle, Replacement bridge pins and endpin, Original turtle-oid pickguard, Ivoroid heelcap and butt wedge, Zipper backstrip. OLD REPAIRS TO BACK AND SIDES include: 5" cleated back crack 3 1/2" from center at tail and a 6" treble side lower bout crack. OLD REPAIRS TO TOP include: Crack from top edge to pickguard about halfway from fingerboard to treble side, B string pickguard crack, Splinted crack from treble bridge foot to tail, 3" crack from G string area of bridge toward tail, Crack from A string area of bridge to tail, 5" crack from tail to bass foot of bridge, 7" hairline crack from bass foot of bridge, 3 smaller craacks at bass side lower bout wing along with a small fracture, Reinforced area under worn away treble side soundhole purfling, Oversize replacement Mahogany bridge plate, 4" reinforcement plate between tone bars starting from treble leg of X-brace. OLD REPAIRS TO NECK include: Replacement ebony fingerboard, Installation of steel T-bar neck reinforcement, Replacement Waverly tuners, Repair of headstock break. RECENT REPAIRS include: Neck reset and refret by guitar builder Alan Perlman. In spite of all the repairs, the original finish is intact except for areas of wear and touchup around the repairs (see photos). A former owner engraved his drivers license number into the rear of the headstock. The oversize brdige plate and reinforcement plate exhibit the kind of thinking in the 1970s that directed measures toward flattening the tops on old Martin scallop voiced Ds. The 1942 Martin Ds that I've had experience with have often had a softer, more flexible to and brace assembly. These reinforcement additions have given this guitar a little more sustain and weighted the tone more toward treble balance. It is still very responsive and has a large open bass. This D-28 would make an excellent Tony Rice style or fingerstyle instrument. With hardshell case.
This near mint condition mid-1951 D-18 is a freak of nature. There is nothing about the shape and contour of the internal bracing to suggest that it would respond and sound like a guitar made fully five years earlier, but that is the case with this astonishing guitar. Fine grain Sitka Spruce top, Honduras Mahogany back, sides, and neck, Kluson Deluxe tuenrs, Brazilian Rosewood hestock overlay with gold "C.F. Martin" decal, Original ivory nut, Brazilian Rosewood fingerboard with pearl dots, Turtle-oid body binding and butt wedge, Standard D-18 purflings, Brazilian Rosewood bridge with new bone saddle and four original pins and two replacements, Original dark red turtle-oid pickguard, Brazilian Rosewood heelcap, Original endpin. The repair list is quite short. Nothing had been done to this guitar (except filing down the bridge saddle) until I had Alan Perlman reset and refret the neck, and loosen and then reattach the shrinking and loose pickguard. That's it. Played lightly for the first thirty years of its life, the guitar picked up a few slight dings and pick scratches. It has only recently come out of thirty years of storage with the strings slackened. No cracks anywhere. If you want a super clean D-18 with the depth of sound of a 1946 model, but the slim neck of the 1950s models, this guitar is for you. The original green flannel lined case shows the wear on the exterior that this guitar didn't get.
The 35th Martin guitar made in 1939, this D-18 has my favorite features of modern X-brace position and wide neck. Mahogany back and sides, Fine grain Adirondack Spruce top, Replacement Waverly G-98 style tuners, Replacement Brazilian Rosewood headstock overlay and "C.F. Martin" decal, 1 3/4 nut width, Full profile neck, Ebony fingerboard with snail shell dots, Black body binding and butt wedge, Standard black and white 18 top and rosette purfling, Set back X-brace position with scalloped voicing, No flat brace, Original turtle-oid pickguard, Ebony heelcap, Black line backstrip, Replacement black endpin and bridge pins. OLD REPAIRS AND RESTORATION by Randy Wood include: Repaired headstock break with new headstock overlay and decal, Neck reset and refret, Installation of Waverly tuners, Remove back for bridge plate replacement and repair of top cracks on bass side near butt, Repaired side and back cracks, Filled tailpiece screw holes, Top binding repair on bass side of butt, Replacement bridge, Complete refinish, New saddle and nut, Installation of strap button in the neck heel. RECENT REPAIRS by Alan Perlman include: Glue some reopened cracks in the sides and back. This guitar is a very strong Bluegrass rhythm and/ or lead instrument. It has been my go-to guitar for bluegrass and oldtime jam sessions for the last couple of months. With volume to spare, the complex tone sounds more musical to me with 80/20 bronze strings. This is one swell D-18. With hardshell case.
An astonishingly huge sounding just postwar D-18, made only a few months before the end of the use of 2-piece Adirondack Spruce tops. Mahogany back and sides, Adirondack Spruce top, Replacement Waverly Kluson style tuners with white buttons (originals in case pocket), Brazilian Rosewood headstock overlay with gold "C.F. Martin" decal, 1 11/16" nut width, Deep neck profile, Ebony fingerboard with pearl dots, Turtle-oid body binding, Ivoroid and white top purfling and rosette, Replacement Ebony bridge with long saddle, Original turtle-oid pickguard, Ebony heelcap and butt wedge, Black replacement endpin and bride pins. OLD REPAIRS include: Two repaired 1" side cracks in treble side upper bout, Repaired small cross-grain break at widest part of lower bout side, Gold Grover Rotomatics installed, Back and back binding removed and reinstalled for regluing the two center back braces, Back oversprayed. No back cracks. Strap button installed in treble side of neck heel. A little hand brushed lacquer in the small pick wear spots on the bass side of the strings. NEW REPAIRS include: Neck reset with fingerboard extension and refret, Older replacement bone nut shimmed with bone and recontoured, New bridge saddle, New bushings and Waverly Kluson style tuners installed to match original Kluson tuner base plate pattern. Amazingly, there are no top cracks at all, only some dings and dents along with the usual pick wear above and below the pickguard and on the bass side of the strings. The sound is gigantic, with the right balance of open bass and stinging trebles. A great Bluegrass guitar. With hardshell case.
A large voiced and clear sounding postwar D-18 with tucked-in construction braces and bridge-plate. Mahogany back, sides, and neck, Dark colored very tight grain Sitka Spruce top, Kluson octagonal plate tuners, Brazilian Rosewood headstock overlay with gold "C.F. Martin" decal, Original ivory nut with wood shim at bottom, Brazilian Rosewood fingerboard with pearl dots, Original Brazilian Rosewood bridge with long saddle, New solid bridge pin set, Original dark reddish brown pickguard, Ebony heelcap, Replacement endpin. OLD REPAIRS include: Some other replacement tuners with the original Kluson bushings left in place, Bridge reglue, Repaired cracks in treble side and butt region of bass side. RECENT REPAIRS include: Neck reset and refret by David Hatchard, Reslotting bridge for 1/8" saddle, Installation of new pins, Installation of original period Kluson tuners, Glue pickguard crack. Very light pickwear on top, Light capo wear on back of neck, light dings here and there, The start of a little belt buckle rash, Overall fine finish crazing, Arm wear of finish on bass side lower bout. This guitar has a bright, cutting voice with lots of sustain that is great for soloing on a microphone or playing with a group. A fine bluegrass or flatpicking guitar. With hardshell case.
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