Martin HD-16R LSH

List Price: $2,799   Street Price: Under $1,900

C.F. Martin and Co. has hit a series of home runs with their recent offerings of musical instruments.The HD-16R LSH might get lost in the glare of some more expensive and flashy guitars but I believe it will prove among the most successful over the long haul. It takes advantage of modern economics while presenting an aesthetic that is comfortably in line with Martin’s most venerable traditions.

The D in the model name means it is a dreadnought size, a Martin invention and the most popular acoustic guitar design in history. The R stands for the solid Indian rosewood, prized for its lush, smoky tone and used for the guitar’s back and sides. The H in the model name stands for Herringbone trim, which is inlaid around the edge and sound hole of the solid Sitka spruce top. H-designated Martins traditionally have scalloped braces, allowing the soundboard to move freely for a more resonant tone. That is also the case with this model. The LS in the name stands for L A R G E   S O U N D. And that it does have, in piles and piles. This is a modern dreadnought with a high Wow Factor. It is a great looking guitar with a big, bold voice that will stand out in any jam session and is likely good for scaring cats.

The 16 in the name refers to the 16 Series of guitars. These are the highest grade guitars in the regular catalog that feature the modern Mortise and Tenon neck joint. This joint is far less time and labor intensive than the traditional, hand-fitted dovetail joint and therefore helps keep costs down for the consumer. But unlike many M&T neck Martins, today’s 16s get the Hybrid X bracing pattern, which means it has the same X brace and tone bars below the sound hole as the most expensive Martins, along with the addition of the A-frame braces installed above the sound hole necessary to that neck joint. As such the 16s often have the fullest, most powerful sound of the M&T Martins. Well, things just got all the more full and powerful with the addition of the large sound hole.

The large sound hole concept has been around since the late Clarence White was playing the modified D-28 now in the possession of Tony Rice. Martin has since produced a number of models with a large sound hole built right in. They make for guitars that are loud in the best possible way. 14-fret dreadnoughts often sound much louder to the player than someone sitting across the room. But guitars like the HD-28LSV and the D-28 Clarence White just fill up a room with tone. The LS Martins have all been very popular. They have also been very expensive. This is the first time Martin has offered a more affordable Large Sound Hole model and it is long over due. When I visited the Martin factory to try out the new models not a single soul heard that guitar who did not praise it, including many Martin employees.

These things should fly out of the stores because they feel as good as they sound. The D-16R LSH has a 1-3/4″ width neck in the Modified Low Oval profile. That profile is another recent invention found almost exclusively on M&T guitars and should retire all criticism that Martin’s 1-3/4″ necks are too big and manly for many players. The MLO does not overly flatten the hand like their low profile neck and yet does not fill the hand with the pointy profile of a V neck either. It is one of those necks that a player forgets all about; because it is so easy to play they just focus on the music being made.

The body is all gloss (yea) and the fingerboard and bridge are made from undyed, striped ebony (I assume this means Macassar ebony, a species native to Indonesia and currently a cash crop of India. It makes for a beautiful tonewood in its own right, so it works very well for bridges.) I like it because the striping in the pigment reminds me of rosewood fingerboards, only with more black instead of the reddish brown and it makes each bridge and fingerboard unique from all others. The decorative but woody look continues when you turn the guitar over to see the multicolored purfling running down the center strip as found on the lofty D-45.

The year this model appeared, 2007, seemed to be a turning point for Martin, where they began putting out some really interesting models that offered a combination of classic features, modern technology and the more obscure but cool features once only seen on the most rare and expensive Martins.

The HD-16R LSH is certainly one of the most successful, particularly in its price range.  Well done, Martin.
Pros: Big sound, great looks, good price. The Large Sound Hole for less, on a 16 with better than average appointments.
Cons: Costs more than most “affordable” Martins without the benefits that come with the more expensive, classic models.
Bottom line: A very good Martin model that has grown in popularity.

And that one man’s word on…

The Martin HD-16R LSH

7 thoughts on “HD-16R LSH

  1. I have a Taylor 210e which is a spruce top and sapele back and side. For the price, I think the sound is pretty good. How does it compare in sound to the Martin D-16R? I am intrigued by the positive comments on this guitar.

    1. The most significant differences would be found in the solid rosewood back and sides of the Martin compared to the Taylor’s laminated rosewood, as well as the bracing, neck joint, and the large sound hole (e.g. the “LSH” of the model name.) The soundhole increased the volume compared to other D-16s.

      All of that adds up to a more robust and louder voice with a deeper bottom end than a Taylor has, particularly in the low-mids, and a more complex voice in terms of lush rosewood/Sitka overtones and “undertone” as I call the lowest sympathetic overtones.

      The neck joint on the Martin, the Mortise and Tenon joint, resulted in Martins that had a more Taylor-like voice than those made with the traditional dovetail joint or the modern simple dovetail that has replaced the M&T on Martins of this level of construction and quality. In other words, M&T Martins have brighter and more vibrant treble that can make them more appealing to Taylor players, who can find traditional Martins to be woofy or thick sounding.

      But the HD-16R LSH is one of the best Martins of the modern era made below Style 18. I would think you would find it a significant upgrade in the tone department.

  2. I have owned Martin D-45 D-35 D-28 D-19 and D-12-35 and I’ve played Martins for over forty years. Your article is one of the best written on a Martin product I have ever read.

    Thank you

    Peter Lazazzera

  3. I just bought a HD 16 R LSH still in the box from the Martin factory at my local Bluegrass shop.
    I love it.

  4. Thank you for the wonderful and inspiring blog about this guitar. I just bought one used. The serial number says that it is 2007. Sure is pretty and sounds way good. The sustain is amazing. I didn’t know that Clarance White altered a D28 to make the sound hole bigger. Is that a urban legend or is it true? Anyway, I am pleased that I got it. Was told it was an adi top, but it wasn’t. I began to be pretty disappointed until I heard that sound. Thanks again. Taylor

    1. Yes, the Clarence White story is true. The sound hole was broken and, as I recall, he knocked out the rest to make it a uniform circle. Tony Rice has owned and performed with that particular guitar for many years, and both Martin and Santa Cruz have made large sound hole guitars based on it.

      The D-16 Adirondack is a nice guitar, but does not have as deep and dark a roar as the one you now won. Congratulations.

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