{"id":174,"date":"2013-03-23T21:44:17","date_gmt":"2013-03-23T21:44:17","guid":{"rendered":"https:\/\/onemanz.com\/guitar\/?page_id=174"},"modified":"2016-02-16T09:58:23","modified_gmt":"2016-02-16T14:58:23","slug":"d-18ge","status":"publish","type":"page","link":"https:\/\/onemanz.com\/guitar\/reviews\/acoustic-guitars\/martin\/d-18ge\/","title":{"rendered":"Review: D-18 Golden Era"},"content":{"rendered":"

Martin D-18 Golden Era is a classic mahogany powerhouse with considerable vintage vibe<\/h1>\n

List Price:\u00a0 $4,699\u00a0\u00a0 Street Price:\u00a0 Under $3,000<\/em><\/strong><\/h2>\n

So where does one begin when reviewing a Martin D-18GE? \u00a0Should I start with the choice tonewood of perfectly quartersawn, Big Leaf mahogany with its noticeably bookmatched bands of lighter and darker hues? \u00a0Or should I open up with the first-class Adirondack spruce top with its hand-scalloped braces and its medium wide spacing to the grain that gets narrower in the middle, under the bridge area? \u00a0Then again, perhaps I should begin at either the comfortable, modified V neck, the 2 5\/16″ string spacing, the top notch hardware, or the classic aesthetic appointments. \u00a0The answer of course is none of these. \u00a0Although such things help make the\u00a0 D-18GE one of the most popular models Martin has ever made, when it comes down to it, it’s the sound produced by them that is the reason so many people buy them and love them.<\/p>\n

These guitars may not ever sound as dry and open as the 71-year-old D-18 they were modeled after, but whatever they do have, it is pretty great. This is one serious “banjo killer”. It seems astonishing that a big-bodied guitar like this can be so powerful, so downright loud and yet remain so clear, clean and ringing in tone. \u00a0But even if it is a Bluegrasser’s dream come true, it is so much more than that.<\/p>\n

The mahogany\/Adirondack combination responds to light and pretty fingerpicking with chimey fundamental notes and an open, airy undertone. \u00a0Then it just blows you away with its ferocity when you take a pick and ride it like a stallion. \u00a0The trebles are fat and strong, yet so indelibly pure – like bells of twinkling crystal strung upon threads of platinum spider silk.\u00a0 The bass has such resounding power but never gets boomy or muddy. \u00a0There is that great hollow log depth to the low end: dry and echoing.\u00a0 So very Martin – It seems like the voice is coming from someplace much deeper and larger than the body of the guitar could possibly hold. \u00a0And yet, there is a classic separation between that deep, woody abyss and the clear and present top voice ringing cheerfully off the strings – the hallmark of great mahogany guitars.<\/p>\n

Although an Adirondack spruce top takes longer to break in and open up than other spruces, this guitar already has a complexity beyond mere mortal mahogany, which is honed to startling clarity by that sharp-focus, Adirondack lens. \u00a0It is not as busy a voice as you find in rosewood guitars, as it has much more light and space down in the undertone. It is simply the very best that mahogany has to offer, with great string to string definition, and an overall fullness that makes it as versatile a dreadnought as one could wish for. \u00a0As good as the Collings D-1A, Bourgeois Country Boy and Huss and Dalton T-DM can all be, I have yet to find a mahogany dread that can match the D-18GE when it comes to the ideal combination of power, beauty and character<\/div>\n
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Even the D-18 Authentic, which came out after this review was first written, has different dynamics and not the same solid power of the GE.<\/div>\n
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Now, I do not just mean when you beat the stuffings out of it. Peter Rowan has been seen in recent weeks playing both models. THe is all about touch and wide open spaces. That D-18GE I saw him with just had so much going on! And what pure, bell-like ring when he would flick those last treble notes at the end of the run or chord. Clarity and presence in the same note.<\/div>\n
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In my book, the next thing on the list after how good a guitar sounds is how good it feels. \u00a0This is where we might separate the D-18GE players from those who may just need to find something more their own size. \u00a0The current rendition of Martin’s Modified V neck profile is arguably the most comfortable yet. \u00a0However, when placed on a dreadnought body and matched with 2-5\/16″ string spacing it is still quite a handful. \u00a0Many players have hands that can take on any neck without issue. \u00a0For those of us with hands of average size,well\u00a0 this GE neck took every bit of grip I had. \u00a0Such spacing does afford the player much more room for their fingers, so they are not dampening strings by mistake. \u00a0But barre chords up the neck can require great effort if you really want all six notes to sound clearly. \u00a0This would never stop me from buying one of these guitars, as they just sound too good not to put up with the extra work involved. \u00a0That being said, I can understand why some folks find The D-18GE too much guitar for their liking.<\/div>\n
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This particular GE has higher than average Martin factory action. \u00a0With medium gauge strings it became impossible to play certain licks above the 7th fret. \u00a0This of course is easily altered, but since it was not mine I left it as is. \u00a0Someone who plays nothing but Bluegrass may like it just the way it comes, but I would recommend that less than herculean pickers talk to their dealer about getting a set up to suit their needs.\u00a0 Then again, Martin uses a Plek machine these days, so most new Martins should come with action much lower than was the case when I first reviewed this model.<\/div>\n
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With its basic trim and three progressively smaller dots on the very black, ebony fingerboard Vintage Style 18 can seem a bit austere for some folks. \u00a0But considering what this guitar is made to represent, namely the reincarnation of a 1937 Martin D-18, there is nothing I can come up with that needs improved upon. \u00a0However, I personally wish they could carve that neck a little sleeker in the cheeks, where it meets the ebony board. \u00a0Either that or 2-1\/4″ string spacing might be the answer.<\/div>\n

Pros: Awesome mahogany\/Adirondack dreadnought that can take everything you got and ask for more. A modern classic.<\/em>
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\nCons: A serious handful in terms of neck size and string spacing above the first positions.\u00a0<\/em>
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\nBottom Line: Purists will find some non-vintage aspects, but at half the price of a D-18 Authentic, this is as good a modern dreadnought as one can find.<\/em><\/p>\n

And that is one man’s word on…<\/p>\n

Martin D-18 Golden Era<\/strong><\/h3>\n

Read more about C.F. Martin & Co. HERE<\/a>
\nRead our primer about Martin Model Designations and Naming Conventions HERE<\/a><\/h4>\n
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The particular instrument reviewed was provided by Maury’s Music<\/a><\/span><\/span>. Order yours today!<\/div>\n