Acoustic guitar - Wikipedia
HISTORY AND TIMELINE OF THE MARTIN HERITAGE Under the date of July 9th, the authorities again permitted the cabinetmakers to .. Martin combines more computer-driven machinery with traditional hand-crafting methods. C.F. Martin & Company is an American guitar manufacturer established in by Christian By the age of 15, according to the book "Martin Guitars: A History" by Mike Johann Martin is mentioned in a surviving submission dated this bracing method helped prepare the American guitar for steel strings, which. Most Martin guitars made are "flat top" models. That is, they have a round . Only 27 of these guitars have been documented to date. Jenkins: Martin .. In many ways the OM models were the first truly modern flattop guitars. They were the first .
When in phase, the sound increases by about 3 decibels. In opposing phase, it decreases about 3 decibels. These resonance interactions attenuate or amplify the sound at different frequencies, boosting or damping various harmonic tones. Ultimately, the cavity air vibrations couple to the outside air through the sound hole,  though some[ which?
This coupling is most efficient because here the impedance matching is perfect: A guitar has several sound coupling modes: The back of the guitar also vibrates to some degree, driven by air in the cavity and mechanical coupling to the rest of the guitar. The guitar—as an acoustic system—colors the sound by the way it generates and emphasizes harmonics, and how it couples this energy to the surrounding air which ultimately is what we perceive as loudness.
Improved coupling, however, comes costing decay time, since the string's energy is more efficiently transmitted. Solid body electric guitars with no soundboard at all produce very low volume, but tend to have long sustain.
Martin has been making some of the best flat top acoustic guitars since the mid 's. Martin's other lines of instruments electrics, archtops, mandolins is not nearly as desirable or collectible as their flat top models. Because of this, any models other than flat tops such as Martin's archtops and electrics are not very collectible.
Brazilian rosewood on a D Note the rich color and wavey figuring which is typical of Brazilian rosewood. Indian rosewood, as used from late and later, is much paler in color; not nearly as rich looking.
Indian rosewood is also very straight grained, without the figuring and waveyness of Brazilian rosewood. Acoustically, they sound nearly the same. Flat top Martins from the 's to the 's represent the earliest generation of the modern flat top design. They have great workmanship, but small bodies designed for gut strings only. Because of this, these models have limited appeal and hence are less collectible than steel string models.
Twelve and fourteen fret steel string models from the mid 's to are the most collectible of all Martin instruments. They have excellent craftsmenship, sound, and playability, and these model are of great interest to collectors and players.
Some musicians prefer the sound and feel of 12 fret models, and these are close in value to 14 fret models of the same size and period. The larger size 14 fret and "D" sizes from the 's are considered by most collectors and musicians to represent the golden era of the flat top Martin. Note war-time models to aren't quite as desirable as the 's models.
Lack of materials, manpower, and general social uncertainty during the war contributed to this. Flat tops from to are considered good quality and have good sound, although they are not as collectible as the 's to steel string models.
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This is largely due to the change in bracing and materials Martin started using in Rosewood models of Brazilian rosewood are most collectible from this era. This is because Brazilian rosewood was basically unavailable since due to export problems. Because of this, these models are considered more collectible. Martin D from the 's.
Note the Indian rosewood's color is much lighter and not as rich as Brazilian rosewood. Also the grain is much straighter and boring. This three piece back was used on D's to allow Martin to use narrower rosewood that would otherwise go to waste.
Flat tops from to present are considered to be excellent utility instruments, but are not collectible. Staring inMartin has been undergoing many changes with numerous reissues, new models, limited editions, etc. Workmanship has improved greatly from the early 's, and Martin is now producing some of its best guitars in over 20 years.
While not currently collector's items, these intruments have excellent workmanship, sound, and playability. Classical guitars by Martin are equal in craftsmenship to their steel string models.
But unfortunately, their sound and feel is not what classical players seem to want. Therefore they do not have the collectability of the steel string models. I group Martin classical models to include the "NY" series and gut string models made from the 's and later. A classical model because of the open peghead style, no fingerboard inlays, and bracing for gut nylon strings only.
The Style 21 model is a combination of the Style 18 and Style 28 models: The body uses rosewood like a 28and a style 18 neck with no "ice cream cone". This particular model has nice Brazilian rosewood.
The back of the style 18 like neck can clearly been seen with no "ice cream cone" volute. Acoustic archtop by Martin, again, have craftsmenship that matches their flat top instruments. But as with classical model, Martin archtops do not have the look, feel, or sound of traditional archtop models as defined by Gibson or Epiphone. They may be quite rare, but they are not collectible, especially compared to Martin flat tops.
Ukuleles by Martin are considered amoung the best ukes made. Though ukes in general aren't particularly valuable, Martin ukes are worth more than most other makes. Tenor guitars 4 strings by Martin have little to no collectibility.
Tenor guitars were marketed as a way to get banjo players in the s to the s to convert to guitar. There is very little need for this today, hence these four string guitars have little value.
Electric guitars by Martin any variety: SinceMartin did make guitars, mandolins and ukes for other brands and guitar studios. No, this was not "common". Just because your guitar looks like a Martin, doesn't mean it is.
Even if your instrument is one of the brands listed below, that does NOT mean it was necessarily made by Martin either! Just keep that in mind. Martin made some mandolins for this Bethlehem, PA teacher in to Early models only have a "Ditson" stamp, later models have both the "Ditson" and "Martin" stamps. The to models have Martin serial numbers.
Prior to this, guitars of the original to series have been documented. In toMartin made guitars for concert guitarist William Foden. These are similar to the standard Martin models, but have simple soundhole rings and a 20 fret fingerboard instead of Made in sizes 0 and 00, the styles were similar to Martin's Style 18, 21, 28, and a pearl trim model. Only 27 of these guitars have been documented to date. Martin made Style 1 and 2 ukes for this Kansas City mail order company.
Around Martin made about 36 guitars with strange construction. A style 2 size body mounted into a larger rim and back of rosewood, small round soundholes around a "lip" that joins the outer rims to the inner rims, no soundhole in the top, 14 frets clear, dot fingerboard inlays to the 15th fret, rounded peak peghead with standard Paramount banjo peghead inlay, banjo-style tuners, four or six strings.
Martin made ukes for this company in to In to Martin made guitar numbered 1 toand some later guitars with standard Martin serial numbers. Martin bought Vega Banjos in and moved production to their property in From his cabinet-making heritage, he carried over the dovetail joint to connect the neck of the guitar to its body.
Some feel that this new technique contributed to the propagation of tone transmission from the guitar neck into the body. In response, many companies began to use metal strings instead of the traditional catgut. These became known as steel-string guitars. ByMartin had focused production towards steel-string guitars. The company's reputation and output continued to grow. Forays into mandolin making in the late s and ukulele making in the s greatly contributed to their expansion, and by they were making over 5, instruments per year.
The ukulele was responsible for keeping the company profitable in the s. By the early s Martin guitars were back-ordered by as much as three years due to limited production capacity. InMartin opened a new plant that is still the primary Martin production facility. One of the consistent policies of the company was to not engage in endorsement deals.
They would also offer to customize instruments with inlays of names for the performers. The company came up with two innovations to help regain business. Martin T tenor guitar with modified 0-size body, fret joint neckwas a successor of "Carl Fischer Model" — One of these was the fret neckwhich allowed easier access to higher notes.
Martin intended it to appeal to plectrum banjo players interested in switching to guitar for increased work opportunities. This was in response to specific requests from tenor players including Al Esposito, the manager of the Carl Fischer store in New York City. The "Carl Fischer Model" tenors were soon renamed T. An example of original fret joint shortscale model: In keeping with Bechtel's request, Martin modified the shape of their fret size instrument, lowering the waist and giving the upper bout more acute curves to cause the neck joint to fall at the 14th fret rather than the 12th.
Fourteen-fret guitars were designed to play with a pick and replace banjos in jazz orchestras. Martin applied this term to all fret instruments in its catalogs by the mid- to lates. Original Martin OMs from approximately to are extremely rare and sell for high prices. Many guitarists believe that the OM—a combination of Martin's modified fret body shape, long scale