The 1830s, when C.F. Martin, Senior immigrated to New York City from Germany, was a decade of innovation in guitar making. It was at this time that the acoustic guitar assumed it's modern form. One of the last innovations in this process was the incorporation of a string saddle, separate from the bridge of the guitar. This innovation was notably championed by C.F. Martin in Germany and the United States as well as by Antonio Torres (father of the modern classical guitar) in Spain.
C.F. Martin also invented the Martin system of X-bracing to evenly spread vibrations across the top, and established Martin's system for naming new models.
In the Martin system, each model has a name composed of two parts, separated by a dash. The first component in this system designates a size. The second component designates a trim-level or a degree of ornamentation.
Search for the serial number of the brand Martin Band Instruments to determine the age of your instrument. 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.
In the days of C.F. Martin, Senior, all of the size designations were numbers. The original designations included sizes 1, 2, 2-1/2 and 3. In the Martin system, smaller numbers indicate larger guitars i.e. the largest of C.F. Martin's guitars was the size 1, the smallest was the size 3. The number of sizes was increased in 1854 to include a larger guitar (size 0) and a new smaller guitar (size 5, one of my personal favorites). The product line grew again in 1877 with the introduction of the 00 (larger still than the 0). The 000 was introduced in 1902.
Size designations took a new turn in 1916, when the D size (Dreadnaught) guitars were introduced. The D models originally carried the Ditson brand and were braced differently than other Martin models. It was not until 1931 that the D models entered regular production with a Martin label and X bracing.
The 1920s and 1930s marked the heyday of the arched-top guitar, and Martin produced three sizes over the years. The Martin arched-top sizes are R, C and F (in increasing order of size).
In 1977, Martin introduced the M line in response to customer demand for a flat-top version of the F size arched-top models (which had long been out-of-production by 1977). The M series has recently been re-designated the 0000 series, indicating the similarity of its shape to the earlier 00 and 000 lines.
Two new sizes were introduced in 1980. These were the size 7 and the J series. The size 7 guitars were miniaturized versions of the D models, similar in size to Taylor's 'Baby Taylor' of the late 1990s. The J series incorporates the same top and back of the M series with the depth of the D series, making it the largest guitar that Martin has ever produced as a regular catalog model.
Level | Woods | Binding | Inlay |
---|---|---|---|
15 | Mahogany neck, sides, back and top. Rosewood bridge and fingerboard. | None | Black and white purfling around soundhole, white plastic position dots on the fingerboard. |
18 | Mahogany neck, sides, and back. Spruce top. Rosewood bridge and fingerboard. | Single-layer, black plastic, front and back. | Pearl position dots on fingerboard. Multi-ring plastic soundhole purfling. |
21 | Mahogany neck. Rosewood sides and back. Spruce top. Ebony bridge and fingerboard. | Single-layer plastic, front and back. | Pearl position dots on fingerboard. Multi-ring plastic soundhole purfling. |
28 | Mahogany neck. Rosewood sides and back. Spruce top. Ebony bridge and fingerboard. | Multi-layer plastic on front, single-layer on back. | Pearl position dots on fingerboard. Multi-ring plastic soundhole purfling. |
In the case of the styles in this table, it is easy to see a progression in the trim level as the trim designator increases. In the case of most of the 4x designations (41, 42, and 45) the correspondence between trim number and trim level is equally evident.
In the case of some other trim designations, the correspondence is less clear. Style 35 differs from style 28 principally in that the style 35 has a three-piece back; an innovation which Martin admits was initiated as an economy move, though some players claim an enhanced bass response from the three-piece back compared with the two-piece back of the style 28. The J-40 lacks peghead binding which is present on the M-38, although the style 40 guitars feature fancier inlay on the fingerboard than is found on the M-38. The 45 style guitars incorporate Martin's highest level of ornamentation and finest materials, while the 6x styles (62, 64, 65, 68) are notable principally for the use of maple as the material for the back and sides.
To learn more about the modern C.F. Martin and Company, check out their web site at www.mguitar.com. To get the full details, read Mike Longworth's Martin & Co. est. 1833. Other books about Martin guitars and the history of C.F. Martin and Company include:
Martin guitars are widely considered to be some of the greatest instruments in existence. While the brand has produced diverse types of guitars since their infancy in 1833, their steel string flat-top guitars are the most sought-after. Known for their rich sound and superb build, many Martin guitars are high-ticket collectible items. Unfortunately, the market is flooded with cheap replicas that capitalize off the Martin name. This is why you have to pay attention to the Martin guitar serial numbers.
Furthermore, the company has created many different guitars with similar designs throughout its history. To ascertain a guitar’s value and authenticity, look at the serial number.
The company started branding guitars with a serial number in 1898. The serial numbers begin with 8001, as the company estimated that they already had 8,000 guitars prior to 1898 in their portfolio. Martin guitar serial numbers will have between 4 and 7 serial numbers.
The most common Martin serial numbers will have 6 digits due to an influx in manufacturing quantities in the 1960s and 1970s. Serial numbers are on the neck block inside the sound hole, on the back of the head-stock, or on the neck joint. Let’s see more details depending on the guitars’ production year.
Martin guitar serial numbers on earlier guitars are typically on the back of the head-stock. This causes used Martin guitars to show wear. Just over 2,000 guitars appeared on the market in this time.
A considerable dip in demand occurred in 1901, resulting in the company introducing a largest Martin guitar size and a 12-fret design.
The 1-45 guitars are common in this group. They were similar in length to standard 1 sizes but featured wider sides.
During this time, the first full-sized Dreadnought guitar also appeared. So, Martin also stopped using authentic elephant ivories, instead opting for celluloid bindings and ebony bridges.
These guitars mark the start of Martin making the switch from gut-string guitars to steel-string guitars. The OM-28 appeared in 1929, becoming the first Martin guitar with steel-string that had no modifications.
Larger sizes like the 000 are modified to accommodate 14 frets instead of the standard 12. Models with these Martin guitar serial numbers are often bigger and feature a warmer bass tone to accompany vocals.
Martin guitar serial numbers first appeared onto the neck block in 1930. The company also began to include the model number directly above the serial number. Stamping on the head-stock officially stopped in 1935.
The famous D-45 guitars appear in this decade and start at the 53177 serial number. Used Martin guitars from this group are often the most valuable and sought-after by collectors.
Production of the D-45 stops due to the wartime shortage of materials. Guitars in this era have a noticeable change in style. Herringbone marquetry and scalloped bracing are discontinued.
Guitars from this group have a simpler build. The necks now have ebony to provide them strength and extra reinforcement.
Demand was high during this time, so production increased. Certain design elements like the zippered back seam were discontinued while bracing material changed. The most valuable models from this era feature Brazilian rosewood.
The famous D-45 reappeared in 1968. Used Martin guitars from this era feature pearl inlays on the fretboard. Brazilian rosewood lost its place in production in favor of rosewood from East India.
Martin serial numbers in this range include many new features, such as rosewood side strips, plastic saddles, and Micarta nuts. Replicas of older models also appeared.
These include the HD-28 and D-76. The replicas aren’t as valuable as the originals. However, they contain many original design elements like scalloped braces and herringbone.
Many guitars from this time are replicas and special editions. The company created many collectible guitars that harken back to the vintage pre-WWII designs. Glue-down pickguards also disappeared for regular production models.
Other common elements in these guitars are maple bridge plates and adjustable truss rods.
The new era of Martin guitars includes A-frame bracing, scalloped back bracing, laminated sides, innovative joints, and much more.
Common guitars in this group include the D-1 and HD-28V from the Vintage Series. The group also includes special edition guitars featuring intricate pearl details and Victorian design elements.
Martin guitar serial numbers are one the biggest indicators of authenticity. The company has a detailed logging system that dates back well over 100 years.
With a clear serial number, you can trace the guitar’s history, understand its production, and get the information you need to spot a fake.
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