The long-awaited makeover of the Standard Series 000-28 arrives
The addition of scalloped bracing and Martin’s High Performance neck bring this short-scale 000 into the 21st century, while returning the appearance to a pre-World War II aesthetic
The in-depth written review of the 000-28 (2018) will appear once I produce the videos of the various 2018 Martins I recorded at the Martin factory on NAMM Day 2018.
The Unofficial Martin Guitar Forum has thousands of members world wide. The small percentage who make the trek to Nazareth, PA to meet in person at their annual get-together have formed an extended family beyond what normally comes from meeting people from the internet.
“It is the rare sort of bond normally reserved for old army buddies, or the lifelong friendships formed during one’s college years. They sometimes find it hard to explain to their spouses or family and friends back home, so they will bring them along and let them see for themselves…
While other guitar brands have their loyal fans, none seem to evoke as much reverence and affection from their admirers as Martin, and this has led people from greatly diverse backgrounds to find they share a similar love of music that transcends their many differences…
Republicans room with Democrats, liberals stay up till dawn with the conservatives they looked so forward to seeing after a year apart; even Yankees fans find themselves warmly embraced by fans of the Tigers, Oriels and Red Sox. From the Oscar winner to the homemaker, the CPA to the MBA, all and all, they have found common ground in this most unpretentious celebration rooted in the love of music and Martin guitars…
As one member put it, “Music is a unifying force that reaches across many boundaries and brings people together in very deep and lasting ways.” Martinfest is living proof of that.”
Visit the Mountaintop of Acoustic Guitars in Our D-45S Authentic 1936 Review
An instrument as impressive as its hefty price tag
… a sound bigger than Texas and just about as audacious. I have played examples of them all, from the D-100 to the Celtic Knot, to the Stephen Stills. There just hasn’t been a modern-day pearly Martin with a sound this enormous. The D-45S Authentic 1936 provides a sumptuous feast when playing even the basic cowboy chords. Add in some harmonic drone strings, or Jazz chords, and you also get to have Christmas pudding while sitting before the tree in all its trimmings.
Not many readers will ever get to see one of these, let alone actually afford to buy one. But we present this review for educational purposes, and to offer the opportunity that some might be inspired to knuckle down and put their nose to the grindstone, and become the kind of self-made man who actually can afford to buy one. We feel we owe it, to society. You can thank me when you invite me over to play your D-45SA 1936.
The Classic Mahogany Dreadnought Explored:
Our D-18 Authentic 1939 Review
The time machine Martin closest of all to the priceless pre-war instrument sought after by so many.
The light build on this mahogany/Adirondack is reinforced by rear-shifted braces, with the main X brace placed a bit farther back than on modern Martins. This helps add to the openness of the voice, and reduces the rumble in the bass, so the bottom notes retain great definition while the highs have all the cutting power a Bluegrass flatpicker could hope for.
Whether you are listening to Brownie McGhee singing the Blues, or Kris Kristofferson singing about Bobby McGee singing the Blues, you are hearing a D-18 laying down the rhythm. The folk music of Simon and Garfunkel, Donovan, and Gordon Lightfoot featured the D-18, as did the Rock n Roll of Elvis Presley, Jerry Garcia, and Kurt Cobain. And when it came to Mountain Music, Old Time, and Bluegrass, the D-18 has reigned supreme, especially among the hot-handed pickers.
And no D-18 yet is as like to taking a time machine to the 1930s and buying one, days after the glue has dried.
We get to the heart of the heart of Martin’s Authentic Series with our D-28 Authentic 1941 Review
As our D-28 Authentic 1941 review shows, “this isn’t just a good vintage D-28 reissue; it’s a great guitar.”
Tone, dynamics and playability matter most to me when judging a guitar. This guitar gets top marks in all three areas. When it comes to tone, it had me at the first strum, because of its ringing purity, impressive depth, effortless volume, and its expansive, open, room filling presence.
If I didn’t already have a 1966 D-28 that was converted to pre-war specs, I would have bought one of these guitars the day I played the prototype at the Martin factory.
The Martin D-28 is the most copied guitar in history. Martin alone has no fewer than 10 different versions of the D-28 available in their current catalog, with varying prices and levels of vintage appointments.
Many luthiers, from small workshops to major manufacturers have come out with their own take on the D-28, and many have tried to put in the specs they think matter most when trying to capture some of that legendary vibe, sound and feel that made pre-war Martins so famous. Well, this is Martin’s own attempt to make a D-28 as close to how they made them back in the day, as realistically possible. And they have done a pretty amazing job, especially considering the relatively low price tag.
Yes, Brazilian rosewood would have been very nice to have for the back and sides. But it simply would have put these guitars out of sight. The D-28 1941 Authentic is not a collectable museum piece to be set in a closet to protect the investment required to own one. It is an exquisite, yet practical musical instrument that can and shall be played, recorded and enjoyed.
Martin Month continues at One Man’s Guitar with our review of the Martin Grand J12-16GTE
A Grand Jumbo 12-string with a Gloss Top and on-board Electronic amplification.
Made from solid mahogany and Sitka spruce, using the largest ever made by Martin. At this price point, the new Grand J12-16GTE offers more tone per dollar than any other 12-string currently available from Martin.
“There are all the bright and clear chimes one could desire coming off the trebles and harmony strings. And there is a nice definition in the bass, without all the smoke clouds that can gather under the low end of a rosewood guitar with a large bottom end.”