November 4, 2024

Tag: D-42

Acoustic Guitars / NAMM

Martin Guitar Mother Lode of Models for NAMM 2024

one manby one man0

 

Acoustic Guitars / NAMM

Martin Guitars of Summer NAMM 2022

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D-18 Authentic 1937 and D-28 Authentic 1937

Read our original preview of these awesome additions to the Authentic Series HERE

CS-SC-22

onemanz.com

The CS-SC-2022 is made in Martin’s Custom Shop in Nazareth, PA out of all-solid tonewoods, using the innovative S body size, Martin’s first 13-fret guitar. It has an asymmetrical shape along with an ergonomic neck thanks to the  Low Profile Velocity profile and the Sure Align neck joint that removes the heel at the back of the neck. Everything about this limited edition acoustic-electric hybrid is a major upgrade from the other SC models,  of the Martin’s Road Series, made at the Martin plant in Navojoa, Mexico, (the groundbreaking SC-13E, SC-13E Special models and the affordable SC-10E.) This newest SC model is the deluxe version of these hybrid acoustic-electric guitars, and it is packed full of special features.

The East Indian rosewood back and sides are topped with torrefied Sitka spruce with torrefied Adirondack spruce bracing. The top has a patented shaping on the inside that Martin calls a “recurve” to accentuate bass response, something lacking in the aforementioned Road Series SC models. The onboard electronics are the latest version of Fishman’s Aura system with special anti-feedback technology designed expressly for this model. Other deluxe features include flamed European maple bindings on the body, neck, and head stock, and abalone pearl inlay all over the place, especially the swirling vine motif on the fingerboard.

See our Video Review HERE

Our in-depth written review will appear soon.

More photos HERE

D-28 Rich Robinson Signature Model

The latest Artist Custom edition is a close replication of the 1954 D-28 owned by the Black Crowes’ founding member Rich Robinson. This is the first time Martin has used their exclusive aging techniques to replicate the cosmetic appearance of a specific vintage guitar.

Like Robinson’s well-played 1954, this instrument has non-scalloped, rearward-shifted bracing, hot hide glue construction, a 1-11/16” width at the bone nut and 2-1/8” fingerboard width at the 12th fret, to go along with the 2-1/8” string spacing at the bone saddle. The heel, barrel, and profile of the neck was copied directly from the artist’s personal Martin, which he used to compose most of the band’s songs.

The East Indian back and sides have the Vintage Gloss finish previous reserved for the Authentic Series, with some “aging” applied, including the replication of specific dings seen on Robinson’s rosewood. There are nicks and scrapes and scuffs all over the guitar, copied directly from the original, and each a souvenir from a long and fruitful career. I particularly like the wear on the neck, including the shiny patch along the bass side of the fingerboard up near the nut, where Robinson’s thumb has made its presence for many years, in addition to whoever owned the guitar before him.

A full  review of the Martin D-28 Rich Robinson is coming soon

More photos HERE

Custom Major Kealakai

This limited edition is a replica of the first steel string guitar Martin made in a large body size, which predates the Dreadnought size dominating the world’s guitar markets today. But this revolutionary instrument had been utterly forgotten until a series of letters were recently discovered in the company archives, between Martin and Major Kealakai, who ordered the instrument.

Major was a major star in 1916 when he became only fourth artist granted the privilege of having Martin make him what we now would call a special order with customized features. Hawaiian guitar music was played with a steel slide over steel strings, at a time when Martin guitars were still made with gut strings used for classical and folk music. He needed steel strings and an extra-large body for increased volume. The Mr. Martin of the day accommodated his requests. Afterwards, Martin redesigned the body shape and invented the size D we all know and love today.

The Custom Major Kealakai instrument looks very much like Kealakai’s guitar, but is actually made with modern Martin construction techniques and specifications, thankfully. The body resembles a 12-fret 00, that’s been supersized until it has the same side depth and top width of a dreadnought. The back and sides are made with rare Sinker Mahogany, old-growth Big Leaf mahogany from logs that were salvaged from the bottom of a logging river in Belize. The top is made from torrefied Adirondack spruce, as are the braces.

Otherwise, it has construction similar to an Authentic Series Martin, like hide glue construction and the bracing and neck of the D-28 Authentic 1931, along with the simple fretboard dots of a 1931 D-18. That and having it set up for normal guitar playing makes it a much more viable instrument. Had they made a true recreation of Kealakai’s guitar, it would have been too lightly braced, have no internal neck support, and not conducive to the rigors of modern music.

More photos HERE

DSS Hops and Barley Limited Edition

This new limited edition was inspired by some artwork featuring a large image of barley still on the stalk, which reminded head Martin instrument designer Tim Teel of the Arts and Crafts movement he has always admired, and the Martin models created with similar styling. That led to this new guitar made with figured black walnut back and sides and a top made from sinker redwood that had be salvaged from waters in California, similar to the mahogany Martin sourced from a river in Belize.

It has the large, slop shoulder dreadnought body shape and comes with multiple upscale appointments like hot hide glue construction, Style 42 abalone inlay around the top, and gorgeous inlays of abalone, mother-of-pearl, and colorful woods for the back strip, headstock, fingerboard, bridge, and the pickguard that is made from Guatemalan rosewood!

More photos HERE



D-42 Special

For over 30 years, Dick Boak was the face of Martin guitar, when it came to being a general, genial good will ambassador. He started out as a draftsman, before wearing many hats at Martin. Dick eventually became Head of Artist Relations and co-designed of many celebrity signature models. He was later put in charge of the Martin Museum and the company archives. Now retired, Dick has been honored with this limited edition inspired by drawings he did years ago. He had sketched out an intricate botanical design, hoping to use the company’s new laser etching machine to reproduce the imagery on a faux tortoise shell pickguard. But the technology wasn’t quite there yet, as the pickguard caught on fire!

The original drawings were recently rediscovered and Chairman of the Board Chris Martin decided to use Dick’s design to create the new D-42 Special. Boak teamed up with world-class inlay artists from Pearlworks to expand the design to the fingerboard, headstock and bridge, and the artisans at Pearlworks inlaid them all with high-color abalone shell. Otherwise the guitar has the same construction and features as the lofty D-42 from atop the Standard Series. The East Indian back and sides and Sitka spruce top are of the highest grade, and Style 42 pearl lines the top, including the fingerboard extension. Elegant and opulent, it is a classic high-end Martin all the way around.

More photos HERE

000-16 StreetMaster

This short-scale 000 is the first 16 Series guitar with Adirondack spruce for the top and bracing. Not only that, it is a torrefied Adirondack spruce top, matched with Indian rosewood back and sides via Martin’s proprietary Vintage Tone System. And over all is the StreetMaster distressed finishing, previously used only on the all-mahogany 15 Series. The combinations of features came about because the sap in Adirondack spruce has higher sugar content than other spruces. When it is torrefied in the oxygen-free kilns to crystalize the cellular interiors, the baked sugars create dark streaks and patches visible on the outside. This limits the amount of VTS Adi Martin is willing to put on their high-end guitars. A solution was found in dressing up such wood with the StreetMaster finishing techniques. This is a win win for people who want a Martin below the price of the Standard Series but still get Adirondack spruce and solid East Indian rosewood.

More photos Here

GPC-13E burst

The new offering in the Road Series is the return of the GPC-13E, now made with gorgeous ziricote fine veneer for the back and sides, and an attractive burst finish on the solid Sitka spruce top. Like other Road Series models, this Grand Performance size Martin has onboard electronics with a build in turner, inside the sound hole, and the low and comfortable Performing Artist neck profile.

More photos HERE

D-17 Squadron

Artist Robert F. Goetzl was commissioned to do a painting celebrating classic aircraft nose art. He chose the iconic toothy grin of the legendary Flying Tigers from World War II. Martin chose recreate this painting on a 14-fret dreadnought made with 17 Series construction, for an open airy resonating voice. It has solid mahogany back and sides (either sipo or sapele) and a solid Sitka spruce top. The satin finish is thin enough that you can feel the wood grain with your hand. The guitar is so responsive that the vibrating solid wood body can be easily felt during playing. As for the artwork, it is remarkably realistic, with the illusion of being three-dimensional, especially the exhaust ports when seen in person! To achieve the look of the steel skin of a Curtiss P-40 fighter plane, Goetzl chose not to use typical canvas. He screwed together slats of wood and then painted over them. It all really looks exactly like the front fuselage of an Army Air Corps P-40 Warhak with Flying Tiger insignia circa 1942.

More photos HERE



 

Acoustic Guitars

Martin D-45 Modern Deluxe and Others Debut for 2022

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Seven New Martin Guitars in the Modern Deluxe Series




 

Martin Modern Deluxe 2022 New Models OneManz.com

Two 12-fret models, a mahogany 000, and a new Style 42 among the additions

At long last, I may now share with you the first glimpses of the SEVEN new Modern Deluxe Series Martin guitars, released in lieu of the canceled Winter NAMM show. These guitars blend classic Martin guitar specifications with ultramodern technological enhancements to realize twenty-first century musical instruments that are both modern and deluxe.

Martin D-45MD and 0012-28MD Onemanz.comThe new Modern Deluxe Martins include a 12-fret 0-size rosewood model in rosewood Style 28, the 012-28 Modern Deluxe. A 12-fret 00 and 14-fret 00 join it, the 0012-28 Modern Deluxe and 00-28 Modern Deluxe.

Yes, that is a new naming convention for 12-fret Martin guitars, with the 12 on the LEFT side of the dash, replacing the archaic S for a “Standard” body size on the right side of the dash. And about time too, I say! The 12-fret configuration hasn’t actually been the standard design since 1934.

Moving to the next larger size, the mahogany 000-18 Modern Deluxe is also included, and super-fancy rosewood 000-42 Modern Deluxe have arrived. Larger still are the full-size Dreadnoughts, the D-42 Modern Deluxe and, at the top of the Series, the D-45 Modern Deluxe.

The D-45 Modern Deluxe heralds the return of the classic torch inlay that graced the headstock face plates of Martin’s Style 45 guitars up through 1930. It also brings back the snowflake fingerboard pattern to a D-45, like those made pre-1939. But this time, the exquisite diamonds, snowflakes, and cat’s eye fret position markers are not just inlaid with high-color abalone shell; each marker is outlined in even more pearl.

Around the East Indian Rosewood back and sides are the glittering abalone pearl trim that sets Style 45 Martins apart from their other handmade, professional-level acoustic guitars. But unlike other D-45s out there, the D-45 Modern Deluxe has flamed European maple binding on the body and the neck.

All guitars in the Modern Deluxe Series include a unique set of advanced features engineered to increase tonal depth (a Vintage Tone System aged Sitka spruce soundboard supported by VTS Adirondack spruce braces with Golden Era scalloping and set in place with natural protein glue,) increased volume and sustain (Liquid Metal bridge pins and a VTS Adirondack spruce bridge plate protected by thin outer layers of carbon fiber,) extended fret life thanks to the copper-infused EVO Gold frets with matching gold tuners, and a wonderfully comfortable neck shape based on the 1930 OM-45 Deluxe owned by the Martin museum.

The MD neck is asymmetrical with an apex that gradually drifts off center, to effortlessly fit into the palm of the hand at every position along the fingerboard, just like a marvelous pre-war Martin neck, except that it is a lower profile, made without the tubby vintage heel where the neck fits into that all-all important solid mahogany neck block with the traditional, hand-fitted dovetail neck joint.

Martin Modern Deluxe 2022 42 details OneManz.com

The D-42 Modern Deluxe and 000-42 Modern Deluxe also have the pre-war Style 45 torch and same fretboard inlays, plus the addition of two large abalone snowflakes on the bridge extensions. But they do not have the extra pearl inlay around the back and sides, greatly reducing the price compared to the D-45 Modern Deluxe.

The mahogany 000-18 now joins the D-18 Modern Deluxe, combining these advanced tone enhancements with the clear, woody tone of a mahogany Martin. The 14-fret 00-28 Modern Deluxe brings an even smaller body to the MD Series, as do the two 12-fret models, each with a traditional slotted headstock.

I look forward to sharing more details about these exiting new Martin guitars soon, including full reviews of as many of them as I can get into my hands and ears.

Martin 000-18 Modern Deluxe price OneManz.com

0012-28 Modern Deluxe price One Manz.com

Martin D-45MD demo One Manz.com

Martin Modern Deluxe Lineup Onemanz.com

Acoustic Guitars / NAMM

Martin’s Standard Series Has Been Standardized For 2018

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C. F. Martin & Co. unveils a “reimagined Standard Series” for Winter NAMM 2018

The D-45 gets new binding and Style 28 returns to its roots while embracing Martin’s vision of its future.

More New Old Martins

The entire Standard Series that defines Martin guitars to the world has been uniformly converted to vintage guitar aesthetics achieved by applying Aging Toner to the Sitka spruce tops. While the Standard Style 18 and 21 models retain the faux tortoise binding of their predecessors, those made in Style 28, 35, 36, 40, 41, 42, and 45 all sport the Antique White binding introduced on select models in recent years.

Martin Standard Style 28 (2018) Martin Standard 000-28 (2018) Martin Standard Style 28 tuners

Photos: The 000-28 (2018) replaces the last hold-out of the old Standard Series (click to enlarge)

Gone are the stark white bindings and the last of the black pick guards. Gone too are the tops with the natural French vanilla color slowly yellowing across the years as sunlight tans them toward butterscotch and onto pumpkin orange as the decades roll by. The appearance of the Aging Toner has been formulated to fall somewhere between Martin’s previous offerings of vintage-esque hues, and lands more in the butterscotch spectrum than not. Many of the new Standard Series models can be ordered with a Sunburst top or an Ambertone top.

Diamonds in the Black

Similar to the makeover given to Standard Style 18 a few years back, which combined Martin’s modern High Performance Neck with the scalloped forward-shifted bracing, tonewoods, and open-back tuners of the old Vintage Series 18s, the domino dots and black and white line inlay of last year’s 28s have been retired in favor of the bold herringbone trim around the top, and the diamond position markers gleaming from the black ebony fretboards of the (soon to be) extinct Vintage Series 28s. And the entire Standard Series will likewise be getting the High Performance Neck. Their marketing data suggests it is the best way to guarantee Martin’s cash flow remains very much in the black.

The High Performance Neck combines a Modified Low Oval shaping to the neck itself with a fretboard that has the High Performance Taper, measuring 1-3/4” wide at the nut, and 2-1/8” at the 12th fret – specs that have become the industry standard among popular guitarmakers. It does appear that Martin has made its last 1-11/16” Low Profile neck, other than on possible future special or limited editions.

That the HD-28 was being remade with the HP Neck in the image of the HD-28V has been known to me for some time now. But whether they would be uniformly remaking all the 28s was an open question until quite recently.

As the man with his name on the headstock, CEO Chris Martin remains intimately involved with many of the decisions that lead to just which Martin guitars end up for sale and when they will appear before the public. For example, it was his fourth quarter decision to withhold certain models from last year’s Winter NAMM until the Summer show. And even then, the revamped Standard D-28 (2017) didn’t get the go light until the last minute.

I was among those holding my breath as to just what exactly would be the final specs of the new Standard Series Martins when they were displayed at the Winter NAMM trade show on January 25, 2018.

One interesting tidbit, the 00-28 and 000-28 are keeping the Style 28 back strip, while the others are moving to the vintagesque zig-zag back strip used on 28s in the pre-WWII years. I had to wait until today’s executive luncheon ended to confirm this is indeed the way things will be at NAMM.

According one of those well-fed execs, “If an H appears in the model name (i.e. HD-28,) then it will have a zig-zag back strip…if no H, it will get a checkerboard pattern,” which appeared on contemporary Style 28 models since the late 1940s.

 

Martin Standard 28 back strips (2018)

Photos: A tale of two 28 back strips (click to enlarge)

The H designation once signified herringbone trim and scalloped bracing. In the new Style 28, some guitars with both of those features do not get the H. And yes this does mean the OM-28 (2018) has surrendered its 1930s zig-zag for the 1950s checkerboard. But it and most of the Standard Series instruments with (2018) in the name get an upgrade in tuners, to Schaller GrandTune™ machines. Style 35 guitars retain the chrome enclosed Grover Rotomatics associated with Style 35 throughout its lifetime.

It Is What It Is

Change often comes slowly at Martin Guitars, while some of their biggest fans have a hard time accepting any change at all.

The loss of grained ivoroid bindings from the OM-42 or the additions of Antique White binding and Aging Toner to the top-of-the-line D-45 may seem like sacrilege to some (who had no intention of ever buying a D-45 anyway,) but it is the change to forward-shifted bracing on the HD-28, D-35, D-41, and D-45 that may prove much more controversial in practical terms, just as it has been for the D-28 2017 model that appeared at Summer NAMM.

The term forward-shifted bracing refers to where Martin placed the X brace in relation to the bridge plate on Dreadnought models made in the 1930s. It is often said to be one inch from the sound hole, but it is all about the flexibility of the spruce soundboard around bridge plate, father down the top from the X, which matters. That is where the majority of the sound-producing energy is transferred from the guitar strings to the musical instrument.

The bracing was moved nearer the bridge plate sometime in 1938, to a position now called “rear-shifted bracing.” And then it was brought forward a little bit at a time until the late ’50s, when it reached the position that was considered the “standard position.” That is, until now.

Moving the center of the main X brace that little bit farther away from the bridge plate on a Dreadnought-size guitar increases bass response noticeably, while adding more echoy resonance to the voice in general.

Martin going all-in on forward-shifted bracing (not including 12-string models) will bring further uniformity to the Standard Series, while also severing ties with the Martins made in the final 40 years of the twentieth century, at least when it comes to the brace position. There is no doubt it changes the voice of a guitar. But it will be left to the individual guitarist as to whether that is a good thing or not.

Likewise, the Company is all in on the take-it-or-leave-it stance concerning the High Performance Neck.

While the playability and feel of the HP Neck allows their ship-of-the-line Martins to enter into direct competition with makers like Collings, Huss & Dalton, and Taylor Guitars, not all guitarists are happy with the new Martin neck. They will have to look to Martins outside of the Standard Series when seeking a vintage style V neck, or they must look to the Custom Shop if they want a new Martin with the Low Profile neck from the old Standard Series.

Martin D-45 (2018) detail Martin D-45 (2018) Martin D-45 (2018) head

Photos: The new D-45 (2018) has vintage looks and modern construction (click to enlarge)

C. F. Martin IV’s Legacy





It can be argued that this reimagined Standard Series may be the most important event in the continued success of the Chris Martin’s family business, since his great-grandfather, Frank Henry Martin, brought the Company into the twentieth-century and piloted it through the Great Depression. It took many years of trial and error to bring all these specs into one unified collection of reasonably-priced, professional-level guitars.

Now in his 60s, today’s Mr. Martin is gearing up to follow his long-time friend Dick Boak into retirement. He will be remembered for leading his Company out of one economic slump and through several others, by embracing and respecting Martin tradition while also introducing and championing modern technologies, and alternate and environmentally responsible materials, often combining the traditional with the futuristic to break new ground that will prove to be sound bedrock for his business to build upon for many years to come.

For guitarists who long for Martin guitars made more like the old timers, he has provided the excellent Authentic Series of meticulous vintage Martin recreations. And for those who want Martin to boldly step outside of their tried and true designs, there are the many special editions and Chris’ own CEO Series.

And now, his transformation of the Standard Series that began with the D-18 makeover in 2012 has come to fruition. By infusing many aesthetic features of old Frank Henry’s pre-war Martins with the modern technology like the High Performance neck, made possible in part by Martin’s exclusive two-way adjustable steel truss rod, the effort to return Martin’s Standard Series to its rightful place as the industry standard for top flight acoustic guitars is fully realized. It may very well be among the wisest moves Chris Martin could make as he prepares for the on-coming century of Martin guitars.

Check back soon, as we will be writing about other new Martins as soon as I am given the permission to start blabbing!

In the mean time…

Check out the new Standard Series Martins and their public spec sheets below

Martin Modes in Review OM-21 Ambertone (2018

All guitars listed have new specs, or are wholly new to the Martin catalog for 2018.

D-45 (2018)

D-42 (2018)

D-41 (2018)

D-35 (2018)

D-35E (2018)

HD-35 (2018)

HD-28 (2018)

HD-28E (2018)

HDC-28E (2018)

HD12-28 (2018)

GP-28E (2018)

GPC-28E (2018)

GPC-35E (2018)

J-40 (2018)

M-36 (2018)

OM-42 (2018)

OM-35E (2018)

OM-28 (2018)

OM-28E (2018)

OMC-28E (2018)

OM-21 (2018)

000-42 (2018)

000–28 (2018)

00-28 (2018)

 

 

 

 

Acoustic Guitars / Reader Questions

Martin D-41 VS D-42 – Reader Q&A

one manby one man2

A new reader asks about the difference and value of the Martin D-41 vs. D-42

Of splitting hairs and shifting braces

Hi,

I just came across this site a little while ago.

I have the opportunity to buy either a Martin D 41 Standard or a Martin 42 Standard for the exact same price of $4,300.00.

My question is, which would be the better one to buy, in terms of playability, increase in value, sound etc. So far, from what I can tell from reviews, there doesn’t seem to be that great a difference other than about $800 in cosmetics, forward bracing, different tuners, a little more abalone. Is that true or are there other differences?

The price is the same either way at one store the guy offered the D 42 for the price of a D 41. Other stores offer the D 41 for the same price. Both are offered on the net.

Thanks,

K River

Spoon Replies:

Hi K,

If you are talking about new guitars with a full warranty, tax and shipping not included, $4,300 is a good price for a D-42. If not the best price in the country, it is very close. But it is a high price for a new D-41.

Knit One, Pearl 42

When it comes to the specifics of your query, the reason the D-42 costs more (list price $6,999 vs. $5,999) has to do with the pearl inlay more than anything else. No job at Martin takes longer while also requiring the highest paid workers than pearl inlay.  The D-42 gets the snowflake pattern on the fingerboard that was originally used on Style 45 in the prewar era. That takes longer to do than the hexagon blocks used on modern Style 45 and Style 42.

The D-42 also gets the pearl inlaid around the fingerboard extension, or “fretinsula” as my friend Tony dubbed it. That is quite difficult to do perfectly and adds time and wages spent.

Style 42 also gets grained ivoroid binding and aging toner on the top, etc. The whole point of the extra pearl and vintage touches is to make the guitar look like a pre-1939 D-45, from the front. And Martin charges a little more for all that stuff too.

Style 42 does not get all the extra back and side pearl of an actual 45.

A D-41 gets smooth white binding and otherwise is a modern Martin, little different in specs from the HD-28.

Playability

Both guitars have the same neck and string spacing, so they have the same playability, depending upon how they are set up in terms of string height, etc. It is identical to the Standard Series D-28 and HD-28.

Good Wood

Style 42 gets Martins top grade of rosewood, the same as Style 45, the official top of the line. Style 41 does as well, but the very best looking wood is always set aside for Styles 45 and 42.

The spruce top on a 42 and 41 is Grade 7, although some Grade 8 does show up on 42s. From what I have seen the only difference between a top of the line Grade 8 top and a Grade 7 top has to do with how even the coloring is across the top, and sometimes how even the grain lines are. But the differences are minimal when one considers the lowest grade spruce at Martin is still better than half the guitar industry puts on their best guitars.

So, while it is true the 42 officially gets preferential wood over a 41, it is so very close in quality to hardly matter.

Tone and Super Tone

The D-41 is basically an HD-28 with higher grade tonewoods, chosen entirely based on looks, even if some people feel spruce tops that have perfect grain with even spacing can sound better.

Also, many people, like me, feel that the deep wide trench carved into the edge of the top where it anchors to the side and is then filled with uniquely dense abalone shell has an effect on the sound of the guitar, which is why the D-41 doesn’t sound the same as an HD-28. It is a brighter, more complex voice with a lovely, busy shimmer across the high harmonics.

The D-42 has that quality too, but it also gets forward-shifted bracing, which increases the flexibility of the sound board in the center below the bridge, increasing bass response and overall resonance.

To my ear the D-41 has that classic dark Indian rosewood and Sitka spruce undertone, strong ringing fundamentals and complex harmonic overtones, while also being a very lively, clear and defined voice, sunnier and chimier than a Style 28 or Style 35 Martin, with that 40-something shimmer in the highest timbres.

A D-41 sounds similar to a D-45, but it is not as resonant or complex a voice, as the D-45 has that trench cut into the sides and back as well, which allows them to breath more easily than other Martins.

The D-42 is a much more lush, complex version of that, with a rumble in the deeper, darker cellar and more echoy resonance in the higher registers.

A D-42 sounds similar to a D-45V due to the forward-shifted braces, but like the D-41 it is not as complex or resonant for the same reason mentioned above.

Some people find it too complex and thunderous. So I understand why they like a D-41 better, because they want the scalloped braced resonance, but still want tighter, more defined fundamentals and a guitar that is less thumpy and echoy. But the D-42 is one impressive guitar with a huge personality and many people find the wow factor too much to turn down.

But the D-42 also costs a lot more – or should. It sounds like someone is trying to offer you a deal on a D-42 by selling it low, while trying to sell you a D-41 for the price of a D-42. Perhaps they have had the 42 a while and would be happy to sell it for a slight profit.

I make a point of not dwelling on price publicly, as I feel everyone should support and buy from the dealer of their choice, and I do not wish to take bread out of any dealer’s mouth. But it is a fact that Martin dealers are limited to what price they are allowed to advertise a new, non-custom Martin. That price is called the MAP, for Minimum Advertised Price. Many dealers rely on this because they know most buyers are unaware that other dealers will sell Martins considerably below the MAP. But you have to find them and ask them in person for their best price.

Frankly, you can get a D-41 at a better price if you look for it. Where as, a nationwide price hunt for another D-42 might save you $100 tops.

The D-42 is clearly the better deal in your situation, and has the better resale value because of that. That being said, if you play a D-41 that makes you have to buy it at that price, you may not find one at a lesser price that you like as much. But once you get up into the 40s at Martin the consistency of quality is pretty great.

So, unless you have a decided dislike of forward-shifted bracing, the D-42 would be my recommendation given the options you provided.