Martin’s Authentic Series Photo Gallery

A photo gallery of guitars from Martin’s Authentic Series

Martin’s Authentic Series, pre-war Martin replicas in authentic detail never before achieved in modern times.

(Click photos to enlarge)

“At the 2013 Winter NAMM show, as Martin introduced the new D-18 Authentic 1939, D-28 Authentic 1941, D-28 Authentic 1931, OM-18 Authentic 1933, and the D-45S Authentic 1936. Each instrument is a meticulous recreation of a specific vintage Martin guitar residing in the collection of the Martin Museum…

One notable difference between these new Martins and the old timers (or previous Martins labeled “Authentic”) is the use of Madagascar rosewood rather than Brazilian rosewood, an endangered species that is extremely expensive. Madagascar rosewood is closer to Brazilian in sound and looks than most any other wood, but results in a guitar with a much lower price point, by many thousands of dollars.

Otherwise, the Authentics share numerous features with Martins from the 30s and 40s not found on a typical modern Martin…

While it may be impossible to infuse 70 or 80 years of playing time into the wood and finish of a new Martin, these new models from the Authentic Series offer the closest thing to taking a time machine back to the 1930s and buying a brand new OM-18 or D-18, and starting it off on its own 80-year journey of vintage Martin mojo.”

6 Comments

6 thoughts on “Martin’s Authentic Series Photo Gallery

  1. Thank you for sharing your reviews in the 2014 Martin NAMM Sampler.

    It must be quite a treat to review these prototypes and some of those in the Martin Museum on which they are based. All are wonderful sounding guitars showcased with inspirational playing. I particularly liked the D28 1937 Authentic. In fact, I went back and listened to your 2013 Sampler of the 1931 and 1941 Authentics. All sound fabulous.

    I read your comments on the easier playability of the neck on the 1937 and I think this should be a serious consideration for a purchaser. Putting that aside, the 1931 Authentic seemed to have the tone that most appealed to me, although I suspect that if a customer was able to choose from six or so 1937 models, there would be one that would stand out from the rest.

    I also found the Navy Eric Clapton Model to have a great balance.

    Best regards
    Mick Baker

    • Thank you, Mick, and welcome to One Man’s Guitar!

      The Clapton OM does have great balance and that shows up well compared to the bassier dreadnoughts and 12-fret 000.

      And one cannot beat the D-28 Authentic 1931 for richness and fullness of tone. But it is a bear of a body, and comes with a neck to match. For me, it is just not a practical option, although I am happy there is one front and center of the trio I am currently rehearsing with.

      The ’37 comes closest to the ’31 in fullness of the low end. But I haven’t met a Martin yet made with the rear-shifted bracing found on the ’41 and D-18 A 1939, that I didn’t like. Other Martins with that X brace position are the Dan Tyminski model, the Del McCoury model, and CS-21-11 from the Custom Shop Series. But only the 21-11 has Authentic Series bracing in terms of the shaping and tucked bridge plate. Then again, there is nothing quite like that fat undertone that comes with forward-shifted braces.

      So yes, I feel lucky to be able to play all of the Authentics. Not as lucky as the fella who posts on the UMGF who actually OWNS them all. But lucky I am still.

  2. I bought a ’41 D28 about 6 weeks ago after playing it at the Atlanta GC. Couldn’t let it pass and I love the looks and the tone from this guitar. I look forward to seeing your review of the ’41 Authentic as a result. That 12 fret ’31 looks like a beaut too. Thanks for the indepth reviews that you do.

  3. Thank you, Mick! For the comment and the kind words on YouTube. I REALLY liked the D-28 Authentic 1941. The OM-18 Authentic 1933 I did not like as much as I expected, but have since played another example I liked a lot more. And the CS-OM-13 is a “light as a cloud” sort of guitar that responds to the lightest change in touch or attack.

    But there really wasn’t a bad guitar in the bunch.

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