ABRIEF H ISTORY OF T HE M ARTIN G UITAR C OMPANY

TheTheMarMartintin StorStoryy The C.F. Martin Story

OR WELL OVER A CENTURY Attempting to receive an injunction AND A HALF, THE MARTIN against the cabinet makers, the Violin F COMPANY has been Guild launched an abusive rhetorical continuously producing acoustic campaign, declaring, “The violin makers instruments that are acknowledged to belong to a class of musical instrument be the finest in the world. makers and therefore to the class of The Martin Guitar Company has, artists whose work not only shows finish, through the years, managed to survive but gives evidence of a certain under- with each succeeding generation from standing of cultured taste. The cabinet C. F. Martin, Sr.’s Stauffer inf luenced makers, by contrast, are nothing more creations of the 1830s to recent devel- than mechanics whose products consist opments introduced by C. F. Martin of all kinds of articles known as furniture.” IV. Continuous operation under family Slandering the work of the cabinet management is a feat bordering on the makers, the Violin Guild added, “Who remarkable, ref lecting six generations is so stupid that he cannot see at a of dedication to the guitarmaker’s glance that an armchair or a stool is no craft. In or out of the music industry, guitar and such an article appearing C. F. Martin has few rivals for sheer among our instruments must look like staying power. Saul among the prophets.” Throughout its colorful history, the In defending their right to manufac- company has adapted successfully to CHRISTIAN FREDERICK MARTIN, SR. ture , members of the Cabinet 1796-1873 continual changes in product design, Founder of C.F.Martin & Co. distribution systems and manufacturing methods. In spite of the many changes, Shortly after launching his business in C. F. Martin has never veered away Markneukirchen, Martin found himself from its initial commitment to quality. caught in an acrimonious dispute The concern for producing the finest between the Cabinet Makers Guild instruments possible in 1833 is and the Violin Makers Guild. especially in evidence today at Martin’s Martin and his family had long been expanded facility in Nazareth, members of the Cabinet Makers Guild, Pennsylvania. as had numerous other guitar makers The story behind one of America’s in the area. Looking to limit competi- most famous guitars began on January tion, the Violin Makers Guild sought Frank Henry Martin scroll cut this intricate plaque to 31, 1796, in Markneukirchen, to prohibit the cabinet makers from inspire his workers. It incorporates the Martin family Germany, with the birth of Christian producing musical instruments. motto in Latin: “Non Multa Sed Multum” which translates “Not Many But Much” or more commonly Frederick Martin, Sr. Born into a long “Quality Not Quantity.” line of cabinet makers, Christian Frederick took up the family craft at the early age of 15, when he left his C. F. MARTIN & CO. hometown and traveled to Vienna to remains one of the apprentice with Johann Stauffer, a longest surviving family owned and operated renowned guitar maker. manufacturers in the world. Six generations of the Martin family are Fleeing Restrictive pictured, each dedicated Guilds to the company’s While records of the period were primary product, their superbly well-crafted sketchy, it would appear that the young acoustic guitars. Martin was a gifted apprentice, as he was named foreman of Stauffer’s shop shortly after his arrival. After marrying and bearing a son, he returned to his CHRISTIAN FREDERICK MARTIN, JR. FRANK HENRY MARTIN homeland to set up his own shop. 1825-1888 1866-1948 Son of Christian Frederick Martin, Sr. Son of Christian Frederick Martin, Jr.

2 Makers Guild asserted that “violin staffed by over 600 employees. His distribution agreements with a variety makers had no vested right in the modest storefront housed a limited of teachers, importers, and wholesalers, making of guitars” and that “the guitar production set-up in the back including C. Bruno & Company discovery of the guitar” had been room, as well as a retail store selling (operating today as a subsidiary of Kaman), brought about 35 years ago and had everything from cornets to sheet Henry Schatz, and John Coupa. been completed by the cabinet maker music. Consequently, a number of Martin Georg Martin, father of Christian Given the limited output of guitars guitars manufactured prior to 1840 are Frederick Martin. In supporting their and the immaturity of the music market labeled “Martin & Schatz” and claim before local magistrates, the in 1833, distribution of Martin guitars “Martin & Coupa.” cabinet makers submitted testimony was a haphazard affair in the early from a noted wholesaler, who declared, years. To augment the sales of his Guitars For Wine “Christian Frederick Martin, who has retail store, C. F. Martin entered into Accepted business practices in the studied with the noted violin and early days of Martin’s retail and guitar maker Stauffer, has produced manufacturing operation were far guitars which in point of quality and removed from today’s methods and appearance leave nothing to be ref lected a simpler society. Barter was desired and which mark him as a common in the retail trade. distinguished craftsman.” C. F. Martin’s personal records contain While the cabinet makers numerous entries of trading musical successfully defended their right merchandise for everything from a to manufacture guitars, the drawn case of wine to children’s clothing. battle took its toll on C. F. Martin. New York City’s teeming Lower West Concluding that the guild system Side was a harsh environment that was severely limited opportunities in a world apart from the pastoral Saxony Germany, he made the decision to where Martin and his family grew up. emigrate to the United States, and Correspondence between Martin and on September 9, 1833, he left his his close friend and business associate, homeland for New York City. Henry Schatz, revealed that he never On arriving in New York, he quickly set up shop at 196 Hudson Street, on the Lower West Side. Table of Contents Martin’s first establishment on these shores was a far cry from the company’s C.F. Martin Story ...... 2 current 180,000-square-foot factory Dreadnought Story ...... 10

HERBERT KELLER MARTIN CHRISTIAN FREDERICK MARTIN III FRANK HERBERT MARTIN CHRISTIAN FREDERICK MARTIN IV 1895-1927 1894-1986 1933-1993 1955 – Brother to Christian Frederick Martin III Son of Frank Henry Martin Son of Christian Frederick Martin III Son of Frank Herbert Martin

3 felt truly at home in New York and instruments. Until the mid-1840s, The 1850s also witnessed one of longed to move. In 1836, Schatz Martin guitars were characterized by a C. F. Martin’s major design innovations, moved to the rolling hills of headstock that had all the tuning keys the “X” bracing system for the guitar Pennsylvania, purchasing a 55-acre on one side. Martin acquired this top. Still in use in all steel-string tract near Nazareth. When C. F. design from his teacher in Vienna, Martin guitars today, the bracing system Martin’s wife paid a visit to Schatz and Johann Stauffer. The headstock design is largely responsible for the distinctive his family, she developed an instant with all the tuning keys on one side Martin tone, characterized by brilliant affinity for the tranquil Pennsylvania was discontinued by Martin and went treble and powerful bass response. countryside. Upon returning to New unused until Leo Fender resurrected C. F. Martin, Sr. died on February York, she exerted what must have been 16, 1873, leaving to his family and the considerable inf luence and prompted musical world a fine tradition of guitar her husband to make the big making. Succeeding him at the helm of move to Nazareth. Thus, the young company was his son, 48- in 1838, Martin sold year-old Christian Frederick, Jr., who his retail store to was born in Germany. Since relocating another music dealer from New York City to Nazareth, the by the name of Martin Guitar Company had evolved Ludecus & Wolter from a one-man operation into a thriving and purchased an entity employing over a dozen craftsmen. eight-acre tract on the Originally located in the Martin family outskirts of Nazareth. He had homestead, Martin guitar operations obviously found what he wanted, for had expanded to the point where a MARTIN’S NORTH STREET PLANT, as it appeared in he spent the remainder of his life the early 1900s. Originally constructed in 1859, the factory was needed. In 1859, a plant there. building underwent numerous expansions in the 1920s was constructed on the corner of Main to accommodate rising mandolin and demand. The following years were a period and North Streets in Nazareth. Having of significant development for C. F. undergone numerous expansions, the Martin & Company guitar makers. In North Street plant is still used today addition to products sold by Ludecus as a warehouse and shipping location & Wolter in New York, company for strings and accessories, as well as records indicate that numerous shipments the site of Guitarmaker’s Connection, were made to the then centers of trade, a retail supply house for instrument which were primarily shipping posts making and repair. and those cities served by the canal system, since the railroad had yet to evolve. Martin’s shipping records made Testing a Young Man’s frequent mention of sales in Boston, Invented by C. F. Martin, Sr. in the 1850’s, the Character X-bracing pattern yields maximum strength with the least During the years following C. F. Albany, Philadelphia, Richmond, amount of wood, and hence great tone. Martin, Sr.’s death, the fortunes of the Petersburg, Nashville, Pittsburgh, St. Martin Company rose and fell with Louis, and New Orleans. Business in the design in 1948 with his the business cycle. Company records, the period was obviously satisfactory, Telecaster™ guitar. while incomplete, indicate that sales for in an advertisement in 1850 the Another feature of the early Martin f lourished during the Civil War, due company declared, “C. F. Martin, guitars was an adjustable neck. A in small part to the fact that many Guitar Maker, respectfully informs the screw mounted in the back of the heel guitars were destroyed during the musical public generally that the great of the neck was extended into the neck course of the war. A currency crisis favor bestowed upon him has induced block. At the top of the dovetail following the war caused something him to enlarge his factory, in order to (where the neck joins the body) there of a panic among the populace and supply the increasing demand for his was a wooden fulcrum about which dampened Martin’s sales. However, instruments.” the neck could pivot up and down. by that time, the organization had With the strings attached, the neck been built to a level where it could From Workshop To could be adjusted via a clock key withstand f luctuations in the economy. Factory inserted into the heel. While the The early Martin guitars were totally adjustable neck allowed the player to In 1888, C. F. Martin, Jr. died hand-crafted products, made on a adjust the playing actions of the guitar, unexpectedly, leaving the business in one-by-one basis, and there was little the device was complicated and prone the hands of his 22-year-old son, Frank standardization. However, there were a to slipping under full string tension. Henry. Young Frank Martin’s abilities few features that were commonly So gradually, Martin phased out this as a businessman were put to the test incorporated in most of C. F. Martin’s unique neck adjustment. early on in his career, as he took over

4 a company faced with a severe tisements in local newspapers and brother was still in college and my distribution problem. At the time, through the efforts of Frank Martin. father needed help managing things, C. A. Zoebisch & Sons, a New York- On an annual basis, he made extensive so I came home and went to work based importing firm, was the sole sales trips throughout upper New York making guitars on what I thought distributor for Martin guitars. state and the New England area, where would be a part-time basis.” What The primary business of Zoebisch & he personally sold the majority of the started out as a temporary situation Sons was the distribution of band and company’s output to music dealers. for Christian Frederick evolved into orchestral instruments, and Frank a life-long vocation. Martin felt that consequently they did Education Instead of not devote sufficient effort to promote Sales Riding The Ukulele the Martin guitar. Martin was also The growth of C. F. Martin & Co. Boom continually aggravated by Zoebisch’s was slowed somewhat by Frank Martin’s The 1920s were booming years for reluctance to handle new products, decision to invest in a college education the Martin Company, as the ukulele particularly the mandolin. for his two sons, rather than in an captured the fancy of the American expanded sales force for the company. public. The first Martin were During the 1890s, with the massive A self-taught scholar who placed a high not well received. They were made immigration of Italians into the value on learning, Martin felt that a much like a guitar, with too much United States, the mandolin fine education for his sons would be bracing in the body, particularly in the (an instrument of Italian origin) in the best interests of the company top, which was of spruce. The excessive became increasingly popular. Frank on a long-term basis. Thus, Christian bracing and the spruce top gave the Martin sensed a great opportunity in Frederick Martin III enrolled at instruments a dead and lackluster this new product; however, Zoebisch tone that failed to appeal to the buying steadfastly refused to handle it. public. Convinced that Zoebisch was impeding the Recognizing the shortcomings of its progress of his family’s initial ukulele design, Martin went to guitar business, Frank work at producing an acceptable uke. Martin decided to By reducing the amount of bracing terminate the distrib- and substituting mahogany for spruce, ution agreement, a Martin quickly garnered a large share large move for a of the ukulele market. The demand for young man with the products was such that Martin was limited experience. forced to double the capacity of the Severing ties with North Street plant with an additional Zoebisch was made wing and increase in the work force. even more difficult Guitar production in 1920 totaled 1,361 units; records of due to a long-standing THE MANDOLIN gained popularity as immigrants bond of friendship that had existed brought European musical styles to the new world. ukulele production were not between the Martin and Zoebisch Martin began making mandolins in the Italian bowl- kept, but Christian Frederick back style as the turn of the century approached. families. Martin III estimates that the company turned out nearly Upon assuming distribution of its Princeton University in 1912 and was twice as many ukuleles as own products, Martin enjoyed a joined there the following year by his guitars during the ‘20s. tremendous boom in the sale of brother, Herbert Keller Martin. In structuring the mandolins. In 1898, Frank Martin’s Recalling his father, Christian organization of the personal records indicated that the Frederick III says, “He was a remarkable company, Frank Henry firm produced 113 mandolins of various man. He worked long hours all of his Martin initially styles. Production in the previous year life in the guitar business. Yet, with envisioned Christian had totaled a mere three units. Given little formal education, he was extra- Frederick Martin that the company’s guitar production ordinarily well read, with a thorough overseeing for the previous three years had been knowledge of Greek and Latin.” approximately 220 units per annum, manufacturing Upon graduation from Princeton in the addition of mandolins to the with Herbert Keller 1916, Christian Frederick III entertained product line represented significant the idea of attending the graduate growth for the company. school of business administration at MARTIN UKULELES gained incredible popularity in In the absence of a distributor, sales the 1920s and ‘30s. This famous Martin “Konter” Harvard University. “I had ambitions ukulele accompanied Admiral Byrd on his first of Martin guitars and mandolins were at the time of getting away from the expedition to the North Pole. It is signed by the entire handled by various direct mail adver- crew as well as Thomas Edison, Charles Lindberg, family business,” he recalls. “But my President Calvin Coolidge, and many others.

5 Martin attending to the sales. This Striving to stimulate seriously Dreadnought guitar, with its large division of responsibility worked well depressed sales, Martin launched an body and booming bass, would be until Herbert Keller Martin died active product development campaign ideal for accompanying vocals. The unexpectedly after a few days of illness during the Depression. During this first Dreadnoughts, introduced in in 1927. With the passing of his period, the company added new 1916, were sold under the brand name brother, Christian Frederick became designs to the product line, altered of “Oliver Ditson & Co., Boston, New increasingly involved in company sales existing products, and explored York.” At first the instruments were efforts, traveling extensively through- numerous features in hopes of finding not very well received simply because out the country. a product that would bolster lagging there were not many singers using During the decade of the ‘20s, sales sales. While many of the products guitars, and solo players felt that the of C. F. Martin instruments increased conceived during this period had a bass on the Dreadnought was over- every year, and by 1928 annual guitar short life span, two major develop- bearing. However, as folk singing production stood at 5,215 units, over ments emerged that had a lasting effect became increasingly popular, sales of four times the output of 1920. With on the company: the creation of the the Dreadnought picked up. The the advent of the Great Depression in now famous “Dreadnought” guitar, Ditson Company went out of business 1929, national economic hardship and the invention of the 14-fret neck. in the late 1920s, and in 1931 Martin forced the Martin family to discard incorporated the Dreadnought into its aspirations for increased sales and Martin Innovations line of guitars. Today, the model is a concentrate on plain survival. With According to C. F. Martin III, the dominant factor in the Martin line, millions out of work and thousands of 14-fret neck was developed in late and virtually every maker of acoustic businesses on the brink of bankruptcy, 1929. Prior to the period, guitars were guitars, both domestic and foreign, has selling guitars proved increasingly generally equipped with challenging. a 12-fret neck. As the story goes, a renowned Between 1929 and 1931, guitar sales plectrum banjoist of the were virtually halved. Responding to day, Perry Bechtel, the harsh climate, Martin reduced its suggested to Frank wage rate and for a time operated on a Henry Martin that he three-day week. The company also make a guitar with a diversified, producing violin parts and 14-fret neck. Bechtel even some wooden jewelry, in an effort reasoned that the longer to keep workmen busy. However, the neck would increase the company never vigorously pursued any guitar’s range and make of these areas. “We were always afraid it a more versatile that getting into some other business instrument. Following would hurt our guitar business,” related The demand for Martin instruments was peaking Bechtel’s advice, Martin introduced a C. F. Martin III. He added, “We during the folk boom of the ’60s. To keep up with guitar with the longer neck and demand, Martin constructed the SYCAMORE STREET entered a few other fields during the dubbed it an “Orchestra Model.” FACILITY in 1964. Depression, not with any enthusiasm, but out of necessity.” The 14-fret neck was so well received that Martin eventually introduced a version of this original extended the feature to all Martin design. models in its line. In short order, it became the standard design for An Era of Prosperity the American guitar industry. Frank Henry Martin died at the age of 81 in 1948, and C. F. Martin III The Dreadnought guitar, assumed the presidency of the company, named after a large class of World which continued to enjoy worldwide War I British battleships, has recognition for its guitars of uncom- become something of a trademark promising quality. Post-war prosperity, of the Martin Company. The original coupled with a growing interest in Martin Dreadnought models were guitars and folk music, made the years designed by Frank Martin and 1948-1970 an unprecedented era of Harry Hunt, manager of Chas. H. growth for C. F. Martin. Demand for Both of the hardcover books pictured above provide a Ditson Co., a leading music retailer Martin guitars increased at a far fascinating view of the development and production of with stores in New York, Boston, and the Martin guitar. Dozens of photographs help simplify greater pace than did production the identification of Martin instruments and detail Philadelphia. A shrewd judge of the capacity, and thus by the early ’60s the virtually every guitar size and style that the company market, Hunt reasoned that a has produced from the early 1830s to the present day. company was back-ordered as much as

6 three years. While some might have Fibes were spun off; however, the felt that Martin’s back-order situation manufacture of Martin and Darco was enviable, C. F. Martin III recounted strings remains an integral part of that it was a frustrating time. “When the company. someone walks into a music store with several hundred dollars and asks for a The Sixth Generation Martin guitar, he wants it then, not Christian Frederick Martin IV was three years later. Our lack of production born on July 8, 1955. He then attended capacity at the time cost us sales and U.C.L.A, majoring in Economics. In strained our relationships with our his free time, he helped in the guitar dealer family.” repair shop of Westwood Music in Thus, C. F. Martin III, with the aid West Los Angeles, and this also gave of his son, Frank Herbert Martin, who him a valuable insight into the retail joined the company in 1955, made the end of the music business. major decision to build a new larger When Chris was small, he helped plant. In 1964 the North Street plant, box strings, 6 to a box. In 1972 and with its multi-story construction and 1973 he became more active in the numerous additions, was no longer business, helping in the office and adequate to service the demand for the attending the NAMM Trade Show in THE BACKPACKER GUITAR, introduced in 1993, was the first guitar to venture into outer space aboard company’s product. “The North Street Chicago. He also worked in the NASA’s Columbia space shuttle. The Backpacker also plant was not the best production machine room cutting out guitar neck made it to the summit of Mount Everest and to both facility, but running up and down four blanks on the bandsaw. the North and South Poles. f lights of stairs constantly every day During the summer of 1973, Chris probably contributed to the longevity spent his time learning every operation of Martin family members,” quiped and assisting with the construction of C. F. Martin III. a D-28S guitar. This and his appren- Production methods at the new ticeship in the shop, was an invaluable Sycamore Street Martin plant have experience when he took his place in evolved slightly from methods used at the family business. North Street. Hand craftsmanship was Chris joined the Martin Guitar and remains the trademark of the Company full time after his graduation Martin guitar. However, with the from Boston University in 1978 with building’s efficient one-story layout, a Bachelor of Science degree in Martin has been able to improve the Business Administration from the f low of materials and work in progress School of Management. Chris worked and thus gradually increase output in many departments, learning how without sacrificing quality. the business functioned from the Under the direction of Frank bottom up. In 1985 he was appointed Herbert Martin, who succeeded his Vice President of Marketing, and he father, C. F. Martin III, as president took an active role in the day-to-day in 1970, Martin began a period of challenge of running a traditional acquisition. In 1970, the company business in a modern world. purchased the renowned Vega Banjo After the death of his grandfather, Works of Boston. Months later, it C. F. Martin III, on June 15, 1986, acquired the Fibes Drum Company, C. F. Martin IV was appointed makers of a unique fiberglass drum. Chairman of the Board and Chief The year 1970 brought still another Executive Officer, indicating his acquisition, that of the Darco String responsibility for leading Martin into Company, owned by John D’Addario, the next century. Sr., John D’Addario, Jr., and James Under Chris’s management, the D’Addario. Another addition in the Sycamore Street facility was expanded, early ’70s was the A. B. Herman the successful Backpacker travel guitar Carlson Levin Company of Sweden. MARTIN’S LIMITED EDITION guitar program was was introduced, and the limited edition Levin made a variety of classic guitars expanded to include signature models of significant artists like Gene Autry (top), Eric Clapton (center) and guitar program was expanded to as well as the steel string type. In Johnny Cash (bottom), as well as many, many others. include signature models of significant subsequent years, Vega, Levin and artists like Gene Autry, Eric Clapton,

7 RIBBON LINING. It takes cedar ribbons and a lot of BRACING. clothespins and skill for this important Our famous X-bracing designed and perfected step in the building of a Martin guitar. by C.F.Martin, Sr. in the 1850s adds structural Our expert craftsperson is gluing a integrity and brings out our identifiable tone. Spanish cedar “ribbon” to the bottom rim Special Martin models are “scalloped braced” of the sides. Ribbon gives support to the by hand, which allows the top to maintain sides and provides a perfect gluing edge strength yet vibrate even more and sound louder. to attach the top and back. We notch the ribbon into waves of connected 1/4" segments so it’s flexible enough to take the tightest curves and strong enough to maintain a solid connection.

NECK FITTING. Tight dovetailing calls for sure hand-craftsmanship. Here a woodworker individually “rough fits” the dovetailed base of the neck to the slot in the body so they slip together perfectly. Once he’s satisfied, he stamps on the neck the same last three digits of FINAL NECK FITTING. the serial number already stamped on the body he After the lacquering process is complete and matched up. The two parts go their separate ways the finish has been polished, the neck and body and are reunited when the final neckfitter makes must be matched up for a final fit to insure a any necessary last adjustments before he or she perfect seam; when it is correct, it is glued and glues and clamps them together permanently. clamped.

NECK SHAPING. One of the oldest forms of craftsmanship lives side by side with the most modern technology in the making of Martin guitars. Every step requires the steady hands, sharp eyes and sea- soned skill of our workers. This Martin crafts- man is shaping a neck with a drawknife. Once satisfied, he’ll smooth-shape it using the rasp, scapers and fine sandpaper before it’s stained and polished and carefully fitted into place. and Marty Stuart as well as unique The Martin Guitar Company is and responsible use of traditional collaborations like the 1996 “MTV thriving under the direction of natural materials and encouraged the Unplugged” MTV-1 guitar. Perhaps Chris, whose management style is introduction of sustainable-yield, the boldest new direction that Chris friendly and personal, yet firm and alternative wood species. Martin’s took was the development and intro- direct. Chris travels extensively consumer focus group research has duction of the patented “1 Series” world-wide in order to stay abreast of led to the introduction and wide- guitars, which thoroughly re-examined market trends and to do instructional spread acceptance of guitars utilizing the way guitars are designed and clinics at Martin dealerships around structurally sound woods with natural constructed. Through the use of the world. cosmetic characteristics formerly innovative processes combined with considered unacceptable. Martin has computer-aided manufacturing, the Ecological Concerns also developed numerous sustainable- “1 Series” models offer an affordable C. F. Martin formalized its long- yield, alternative wood guitars for without compromise standing ecological policy in 1990. industry-wide exhibitions intended to of tone or craftsmanship. This program embraced the judicious educate our consumers and provide

8 SIDE BENDING. FINAL INSPECTION. Careful on those curves. That’s how our highly After each guitar is complete and has been skilled workers are as they negotiate the curves strung, it is thoroughly inspected. If our final they form for the sides of many of our Martin inspector is satisfied, the guitar will go models. First the craftsman sprays the wood through a “settling-in” period before a final lightly with water, then he gently works each check to make sure it looks, feels and plays side on the special heated iron until he achieves like a Martin—and off it will go to a patiently the desired shape. waiting Martin player.

THE FINISH. Martin’s finish is considered one of the finest wood finishes available. Here our polishing craftsman uses a cloth with special polishing compound to put the finishing touch on a Custom D-45. All areas of the guitar receive PEARL INLAY. special attention during the polishing process. Abalone pieces are intricately inlaid around the top, and on the style 45, the sides and back as well. Each piece of pearl needs to be checked, filed and fit perfectly end to end, and entirely by hand.

Be our guest on a Factory Tour at 1:00 P.M. workdays. For more information call 800-633-2060 or visit our website at www.martinguitar.com

BINDING. The bindings are installed by hand and are wrapped with a cloth webbing until the glue is dried. The wrap procedure has been used for hundreds of years on bound instruments.

direction for the company and industry. years, but the company attitude the extra cost for a good guitar?” The company recognizes CITES as toward guitar building has never varied. Almost eighty years have passed the governing authority on endangered In the preface to the 1904 catalog, since Frank Henry Martin authored species and closely follows their directives. Frank Henry Martin explained to this statement of policy, but it still is potential customers, “How to build a an accurate expression of Martin’s guitar to give this tone is not a ongoing commitment to quality. Continuing Adherence ❖ to Principles secret. It takes care and patience. Martin’s steadfast adherence to Care in selecting the material, laying high standards of musical excellence, out the proportions, and attending mixed with experienced manage- to the details which add to the player’s ment, has largely accounted for the comfort. Patience in giving the The C. F. Martin Story is adapted from a story that originally appeared in The Music Trades, March company’s remarkable longevity. necessary time to finish every part. 1993. Updated and used with permission, May 2006. Marketing methods and product mix A good guitar cannot be built for the have changed at Martin over the price of a poor one, but who regrets

9 The Dreadnought Story

® Martin guitars and and longevity, and a reputation that Among the great variety of ® Rolls Royce automobiles, borders on legend. No manufacturer instruments the Martin Company Steinway® pianos, ever has an unblemished record of makes, it’s safe to say that none has Baccarat® crystal. creativity, value, and service, but Martin’s enjoyed more popularity than their has been so good for so long that one line of Dreadnoughts or D-size guitars. IGH-FALUTIN COMPARISONS, would almost think Christian Frederick Currently regarded as the standard to be sure; but few acoustic Martin built his first guitar with wood acoustic guitar, the Dreadnought once Hmusicians can hear the name from George Washington’s cherry tree. was viewed in less favorable light “C. F. Martin” without instantly primarily because it was so large in linking it to some mental image that comparison to other guitars of stands for enduring quality. Since the day. 1833, the Martin Guitar Company Among the great variety The deep bass response of a D-28 has provided instruments of of instruments the was a very unusual feature to consistently high caliber to virtually musicians used to the clear treble a world-wide market. Among Martin Company makes, and overall balance of smaller musicians there is a standing joke it’s safe to say that none has “standard size” instruments. However, when the Dreadnought about being able to communicate in enjoyed more popularity than any language as long as you say, made its way into the hands of “Martin guitar.” their line of Dreadnought or country music performers, it found an appreciative audience – it was What is it that has created the D-sizeD-size guitars.guitars. just the item for backing up vocals, interest and demand for the musical fiddles, and banjos in lieu of a bass products from this small, privately instrument. A look through Mike held company in Nazareth, The “hand crafting” image that is Longworth’s book, Martin Guitars: Pennsylvania? Although some would part of the aura goes along with Martin’s A History, shows that the Dreadnought’s point to various technical features or limited production. The company’s gain in popularity has been steady famed models, it’s probably best current output does not exactly qualify since its introduction. Today the expressed in terms of family tradition for Fortune 500 status. Dreadnought is ubiquitous, found in every style of acoustic music, and accounts for approximately 80 percent of Martin’s yearly production.

10 From the Beginning it, the early D-28 had a strip of marquetry n

The very first Dreadnought guitars o (with a distinctive “herringbone” d n o

(named for a class of World War I– L pattern) running around the top. This m u era British battleships, “Dreadnought”) e decoration led to the current designation, s u were manufactured by Martin for the M “herringbone D-28” which one hears e m i t i

Oliver Ditson Company, a publishing r reverently discussed among Martin a M firm based in Boston. Curiously l fanciers. (It is basically the same a n o i t

enough, the guitars weren’t sold with a instrument as today’s HD-28.) In the Martin name on them, but rather N addition, bisecting the back was a were marketed in Boston and New “zipper” decoration strip of purf ling, York under the Oliver Ditson brand which is different in appearance than name, beginning in 1916. These that found on modern D-28s. Dreadnoughts did not even include a The herringbone purf ling was dis- Martin serial number, but instead used continued on style 28 guitars in 1947, Ditson’s own serial numbering system. due to a matter of history and economics: They continued to appear in the The purf ling was manufactured in Ditson catalog until the company’s pre-World War II Germany and was demise in the late 1920s. not replaceable from American sources. THE DREADNOUGHT GUITAR. In the late 1920s, The Ditson Dreadnoughts were quite F. H. Martin enlisted the advice of Harry Hunt of the When the stockpile ran out, D-28s different in appearance from their Oliver Ditson Company in the development of the (and all style 28 guitars) were subsequent- Dreadnought body shape, named after a large class modern offspring: The bodies were of World War I British battleships. ly treated to a new decoration scheme of elongated to accommodate a wide, alternating black and white celluloid 12-fret neck (12 frets clear of the body) still be the most popular style of steel- originally used on the Martin arch-top with a slotted peghead. The early string guitar, the rosewood body C-2 model. Only one herringbone Ditsons also had a different soundhole Dreadnought. All of Martin’s early rosette and inlay pattern, and had no Dreadnoughts had the 12-fret neck of pickguard. All of the Ditsons had the Ditson design. It wasn’t until mahogany backs and sides and spruce 1934 that D-28s and D-18s officially tops, like a modern D-18. were offered with the 14-fret neck In 1931 the Martin Company began most consider standard today. producing Dreadnought guitars that How else did Martin’s early carried the Martin name. Two models Dreadnoughts differ from today’s designated D-1 and D-2 made their version? The early D-18 was similar in debut. The D-1, like the earlier appearance to its modern counterpart, Ditsons, was a mahogany body instru- with one exception: Ebony was the ment, destined to become the D-18. standard material for bridges and fret- With the D-2 (four were made in boards, rather than the rosewood used 1931) Martin introduced what may now. Like all style 28 guitars preceding

The HD-28, introduced in 1976, represents the recreation of Martin’s legendary “herringbone” D-28 guitars built from roughly 1933 to 1946. Herringbone refers to the delicate wooden inlay that trims the BABY DITSON D-45. Four of these small guitars perimeter of the soundboard. were made circa 1919. They were ordered by the Oliver Ditson store in New York City. It was this unusual shallow waisted shape that inspired the larger bodied Dreadnought body design.

11 D-28 was made in 1947. Many of that time were using ebony-bar design had been replaced by What the company regarded as a heavy-gauge strings on their instruments. the steel T-bar in late 1934. minor change still has economic reper- These heavy strings were tough on the The ebony-bar guitars are quite a bit cussions on the guitar market – a ‘46 lightly constructed Martin guitars, lighter than their earlier and later D-28 (herringbone) is bound to sell for especially on the Dreadnought with its counterparts, and more prone to neck- more than a ‘47 D-28 (non-herringbone), long 25.4” scale. Quite simply, the angle problems. After the war, the even though they are structurally and Martin Company wasn’t interested in steel T-bar found its way back into functionally identical guitars. making a much heavier guitar to with- production, only to be replaced in stand the extra string tension, so they Certainly the tremendous interest in 1967 by a square steel tube. In 1985 compensated by adding some rigidity prewar Dreadnoughts isn’t predicated (decades after some other manufacturers to the braces supporting the top. on the existence of a decorative strip had initiated its use), the Martin of wood alone, is it? Well, no — and As the Dreadnought developed in Company introduced the first yes. If we could peek inside a 1943 the early years, there were a few other adjustable reinforcing (truss) rod in D-28 (for that matter, a ‘43 D-18 or its history. any 1943 Martin steel-string guitar), we’d notice what amounts to the most The First D-45 significant difference between pre-1945 In 1933 cowboy star and country and 1945 production guitars: the singer Gene Autry came up with a overall shape of the cross braces and special project. Autry wanted a guitar lower braces attached to the guitar’s similar in appearance to his idol top. Jimmie Rodgers’ 000-45, but in the new large body style. The Martin The pre-1945 braces have a scooped Company complied, and the first and or “scalloped” profile, making them perhaps most famous D-45, #53177, lighter in mass. Functionally this means was born, complete with Autry’s name a more f lexible vibrating surface (the top) in pearl script on the fretboard. and provides stronger bass response. (It has long been assumed that the switch from the old style scalloped braces occurred at the beginning of 1945. According to Longworth, the change occurred in very late 1944, GENE AUTRY with the very first D-45 ever made. with 12 D-28s and 26 D-18s produced This ornate model, with a 12-fret neck, was special with the new heavier top braces that ordered for Gene by Chicago Musical Instruments year. For convenience, the date 1945 on March 23, 1933. will be used in this article.) And now for the “yes” part of the minor changes—which have kept Martin answer. The discrepancy between the fans arguing for decades. One was the change to heavier top braces and from actual location of the cross braces on herringbone produces an overlap of the top. In the early production years, two-plus years. Simply stated, a ‘46 the braces were positioned closer to herringbone D-28 has more in common the soundhole, with the result being a JIMMIE RODGERS, the father of country music, with structurally with a non-herringbone top that f lexed in a slightly different his famous “Blue Yodel” Martin 000-45. C. F. Martin III personally delivered this guitar to Jimmie Rodgers ‘47 than it does with prewar and manner. There are a number of in Washington, D.C. on July 27, 1928. wartime vintage herringbone guitarists who consider these “high Dreadnoughts. The ‘45 Dreadnoughts X-brace” instruments to be Martin’s Like all early Dreadnoughts, the first used Adirondack spruce for the tops, greatest achievement; others find the D-45 had the elongated body and 12- and their braces were not scalloped. difference minimal. The entire bracing fret neck. As you can imagine, with all The ‘46s are non-scalloped with a Sitka pattern was moved away from the of the abalone pearl body decoration, top. Incidentally, there were just 1,451 soundhole, according to Longworth, in the guitar proved to be expensive to D-28s and 3,753 D-18s manufactured the late 1930s to strengthen the top. make, costing a whopping $200.00 in before the change in braces, so finding Due to a shortage of metal during the middle of the Depression. one for sale may be a little difficult. World War II, the Martin Company Although the D-45 was not cataloged Why did the Martin Company discontinued the use of a steel reinforc- until 1938, five more were built between change from the “scalloped” braces to ing bar (T cross-section) in the neck. 1933 and its official introduction, heavier braces? The answer is not in They replaced it with a similarly including two other 12-fret versions. the guitar at all, but in the strings. shaped piece of ebony. Their earlier The guitar built for Autry had a

12 “torch” inlay pattern on the peghead; other features was more like a D-18: The Tumultuous subsequent D-45s had the familiar tortoiseshell-colored body binding and Mid-’60s “C. F. Martin” block letter logo. In 1939, a rosewood fretboard and bridge. After the introduction of the D-35, the fretboard inlay pattern was changed Until the mid-’60s, Martin had Martin was faced with a dwindling from the traditional style 45 “snowf lakes” always purchased rosewood in log (or supply of Brazilian rosewood and a to new “modern’’ solid hexagons. “timber”) form in Brazil. The wood quickly growing guitar market — folk The Martin Company had produced was then resawn in the U.S. to Martin’s music was booming. The newly 91 D-45s by the time the guitar was specifications. The Brazilian government imported Indian rosewood required [temporarily] discontinued in 1942. placed an embargo on timber shipments, more seasoning before it could be Except for the 1936 D-45 (which had demanding instead that the logs be used. Consequently, Martin began a 5⁄8” wider body and three different resawn in Brazil. This situation proved cutting their remaining Brazilian rose- 12-fret “S” designs), all of these guitars completely unsatisfactory for the Martin wood logs differently to obtain more were structurally identical to the other Company, and it began importing rose- usable wood out of each log. By late pre-1945 Dreadnoughts. wood from India. 1969, the change to Indian rosewood was complete, with D-21 #254498 The effects of Martin’s decision to having the distinction of being the Mid-’40s to the change to Indian rosewood occurred first official Indian rosewood guitar. Mid-’60s in stages. First, in 1965, was the Following this rather active period introduction of a Dreadnought which The changes didn’t stop there. of development (1931-1947), the D-18 allowed Martin to utilize a narrower Other familiar features disappeared as and D-28 remained virtually un- section of wood than normally used in well. In 1967 the tortoiseshell-colored, changed for the next 20 years. There a D-size guitar: the three-piece back nitrate-base plastic, which was used as were other changes, however, which D-35. It was a brand new style, complete body binding on D-18s, D-21s, and for produced a pair of new Dreadnoughts with fancier celluloid trim around the pickguards on all Dreadnoughts, was and the reissue of a third. body, and binding on the sides of the replaced with a black, acetate-base In 1954, the Martin Company again fretboard. Unlike the D-21, the D-35 plastic that was a considerably more started building Dreadnoughts with was a major success. stable material to use and store. The the elongated body and 12-fret neck, familiar ivory-colored (ivoroid) binding on a very limited basis. Designated with an “S” after the model number, the first few D-28S guitars were strictly special products. The E. U. Wurlitzer Music Company of Boston ordered a few of these S- body guitars in 1962 to be sold only through their stores. The resulting D-28S proved to be popular enough that, in 1968, Martin added it (and the D-18S and D-35S) to its regular line. Versions of all three models are featured in the Martin “Vintage Series.” According to Longworth, the factory has always given credit to Peter Yarrow (of the folk trio Peter, Paul & Mary) for popularizing the D-28S. In 1956, a new rosewood- bodied Dreadnought, the D-21, made its first public appearance (six samples had been built in 1955). The D-21, like the D-18 and the D-28, was the Dreadnought version of an existing model (style 21). The D-21 had the same rose- wood body as a D-28, but in D-18 D-35 D-45 “Standard Series” model “Standard Series” model “Standard Series” model 13 on D-28s and D-35s similarly was pearl work necessary for the fanciest phase which brought no fewer than replaced with a newer, more stable production Martin guitar. Working on nine new Dreadnought models into material called Boltaron®. his own, Longworth actually “converted” production by 1980. It’s difficult to Another change (albeit inadvertent) several D-28s by retrofitting them with single out one model for consideration, was the rounding of the top edges of all of the pearl bordering found on the but the HD-28 represented an interest- the mid-’60s Martin pegheads. old D-45s. This was no attempt to ing glimpse back, while all of the rest According to Longworth, who heard deceive, but f lattery of the highest were new ideas. the story directly from C. F. Martin regard. 230 D-45s were made with Introduced in 1976, the HD-28 was III, the original wood peghead template Brazilian rosewood in the late ‘60s a conscious effort to remake a guitar had become so worn from use that the before the switch to Indian rosewood. from the past—the prewar herringbone square corners became rounded. A totally new model was introduced D-28. Like the early Dreadnoughts, it Eventually a new metal template was in 1969 to fill the gap between the featured scalloped top braces, a small made, and the peghead edges once D-35 and the new D-45: the D-41. maple bridge plate, and herringbone again were square. This instrument featured pearl borders marquetry around the top. This bow A more serious change occurred on around the top only, as opposed to the to the past has proven to be a very April 9, 1968. On that date the Martin all-encompassing borders on the more popular model. After the success of Company began using rosewood instead expensive D-45. Thirty-one D-41s, the HD-28, the HD-35 (a D-35 with of maple for the bridge plate, the small starting with #252014, were made scalloped braces, maple bridge plate, piece of reinforcing wood glued to the with Brazilian rosewood; all the rest and herringbone trim) was introduced inside surface of the top, directly under are constructed of Indian rosewood. in 1978. the bridge. Martin also enlarged the With the tremendous interest in A singular effort was the bridge plate. acoustic guitars in the early 1970s Bicentennial commemorative D-76, As in the case of heavier braces two (which coincided exactly with the new featuring a three-piece back, style 28 decades earlier, the problem of structural “soft-rock” era of James Taylor, Loggins body trim, pearl stars in the finger- stability had been raised. To Martin, & Messina, and Seals & Crofts), the board, a pearl eagle in the peghead, a larger, heavier bridge plate seemed to Martin company increased production and two herringbone back strips. It be the answer. If one had to point to a to an unprecedented rate. As a com- had a limited production of 1,976 single, indisputable, qualifiable differ- parison, in 1961 the company made guitars (plus an additional 98 employee ence between Martin guitars made 507 D-28s; in 1971 the total was 5,466. instruments). The D-76, which began before and after this period, it would The company offered five different production in 1975, was not a hot not be in the types of rosewood used Dreadnoughts (as well as numerous seller; it didn’t sell out until 1978. in the bodies, the color of the plastics, smaller-sized guitars) to a market that Yet another eye-catching series of the shape of the peghead, or any seemed to grow every month. guitars was produced, made out of number of other visible components, To meet the ever-increasing demand, Hawaiian koa wood. This was not the but rather a seemingly innocuous piece Martin chose to build up its staff rather first time the Martin Company used of wood inside the guitar. than change production procedures, this tropical hardwood, but these were It is interesting to note that during which still primarily required hand the first Dreadnoughts using koa. Two the mid-1980s, Martin began to restore work. Martin reached its peak basic styles came in two optional many of the vintage “pre-war” features production in 1971, but didn’t hit its models each. The D-25K had a spruce to its entire line, including scalloped peak Dreadnought production years top, two-piece koa back and sides, braces and smaller maple bridgeplates. until 1974 and 1975. Over 30,000 rosewood fretboard and bridge, and Dreadnoughts were produced in this black binding; the optional koa top The Big Guitar Boom two year period. (1974: 3,811 D-18s; changed the designation to D-25K2. The late 1960s may have witnessed 5077 D-28s; 6,184 D-35s; 506 D-41s; The D-37K came with figured two- the end of one era for the Martin 157 D-45s. 1975: 3,069 D-18s; piece koa back and sides, spruce top, Company, but their last few products 4,996 D-28s; 6,260 D-35s; 452 D-41s; ebony fretboard and bridge, white of that decade ushered in the ensuing and 192 D-45s [does not include “S” binding, and fancier inlay; the koa top “high production ‘70s” with a surprise. models].) option was the D-37K2. In 1968, after 26 years, the famous D-45 Two other instruments were intro- surfaced again. Martin Historian Mike Other Models duced to fit between the D-18 and the Longworth deserves more than a little As a result of the phenomenal D-28. The D-19 was a D-18 with a credit for reintroducing this product. growth in acoustic guitar sales during stained top (brown to match the sides When Longworth went to work for this period and the subsequent slow- and back). It was followed by the the Martin Company, he brought with down, the Martin Company began an D-19M which was a D-18 with a him the knowledge of how to do the aggressive research and development mahogany top.

14 Approaching 2000 Dreadnought, followed soon after At the same time, a customer has & Beyond by a string of the fanciest Martin the ultimate freedom of designing his Now, as the company approaches Dreadnoughts ever seen. The 1987 or her own “limited edition” guitar. the next century, after nearly 70 years D-45LE with a price tag of $7,500 was Martin’s customized Dreadnoughts are of constant production, the Martin designed by C. F. Martin IV, current not really a new option—in 1934, Dreadnought guitar is available in Chairman and CEO of the company. singer Tex Fletcher special-ordered the standard production models, in This model set the stage for future the only D-42 ever made, a left-handed an assortment of vintage inspired D-45 Deluxe models, including two instrument. But since 1983, Martin recreations, in the newly patented, C. F. Martin, Sr. Commemorative has solicited custom work on a regular economically priced “1 Series” and 1996 editions which featured pearl basis. “16 Series” models, in the occasional borders nearly everywhere, specially With all these options, and the “Limited Edition,” or even as a selected rosewood, period inlays and quickly changing Martin offerings, customized “dream guitar.” gold tuning machines. In 1994, this is an exciting and occasionally The Limited Edition Dreadnoughts Martin issued a recreation of Gene confusing time for Martin fans. But have taken a variety of forms. Martin Autry’s famous 12-fret D-45 which like quality automobiles and fine pianos, has released historically accurate bore a retail price of $23,000. A 1996 Martin Dreadnoughts, new and old, reproductions of mid-’30s D-28s— collaboration with “MTV Unplugged” continue to command considerable complete with “high X-braces,” yielded a highly unusual Dreadnought respect and likely will for many years Brazilian rosewood, V-shaped neck, that mixed both rosewood and to come. ❖ tortoiseshell colored pickguard, mahogany tonewoods with MTV “ivoroid” binding, and all the other conceived inlay patterns. features found on a normal HD-28. One drawback of some Limited The Dreadnought Story is adapted from a story that The company also has experimented Edition instruments is that at times originally appeared in Frets Magazine, May 1988. Used with permission. with materials new to them, like they are available on such a limited maple, as in the Limited Edition D-62. basis that potential customers aren’t Other one-time offerings have even aware of their existence until included a relatively inexpensive koa it’s too late.

DM D-1 D-16GT HD-28V “Road Series” model “1 Series” model “16 Series” model “Vintage Series” model 15 Milestones for a musical legend– Highlights of the Martin story

1796 Christian Frederick Martin is born on 1918 Martin discontinues use of elephant ivory, 1979 We open the doors of our Custom Shop. January 31, 1796 in Markneukirchen, Germany. instead uses celluloid (“ivoroid”). Now Martin players can design the guitars of their dreams. In 1980 Neiman-Marcus in their Early 1820s C.F. Martin learns guitar building 1922 We introduce our first line of guitars made Christmas catalog features their own gold-laden in Vienna from famed guitar maker Johann to accept steel strings. D-45 Custom, three times the price of the Stauffer. (Violin virtuoso Paganini played a Stauffer 1928 We make the “Blue Yodel” 000-45 for standard version. guitar and composed music on it and for it.) America’s favorite entertainer, Jimmie Rodgers, C.F. Martin weds Ottilie Lucia Kühle, harpist and “The Singing Brakeman.” 1984 We start our “Limited Edition” and daughter of another well-known Viennese guitar “Special Edition” programs as “Guitars of the maker, Karl Kühle. 1929 Martin modifies the 000 (or Orchestra model) Month” to an eager reception. First offerings to accommodate 14 frets clear of the body, instead include the now-coveted 00-18V. 1825 C.F. Martin Jr. is born in Vienna on of 12, for star banjo player Perry Bechtel who wants October 2, and so is the Martin legacy. to go from the 15-fret plectrum banjo to the guitar. 1986 C.F. Martin III passes away. Chris Martin— C.F. IV—takes leadership. 1833 C.F. Martin Sr. leaves Germany with his Later named the OM-28, it is the first regular Martin family and sets up his own guitar shop in New guitar specifically designed for steel strings, and it 1990 Martin Guitar celebrates the completion York City. He brings the Stauffer headstock to proves so popular that other guitar makers copy it. of guitar #500,000, an HD-28 signed by all America. It becomes the industry standard. employees and now proudly on display in our factory museum. 1839 C.F. Martin Sr. moves family and business 1931 The Ditson Co. is sold. We bring out the to Nazareth, Pennsylvania. Dreadnought on our own with the D-18 and D-28. 1991 We bring out the compact Backpacker Other makers begin to borrow the design—and travel guitar. 1840s He creates and perfects X-bracing to give even the name. strength to the guitar top, so it can better hold up 1993 We introduce the D-1 with A-frame under the pressure of taut strings and heavy playing 1933 Frank Herbert Martin, son of C.F. Martin III, bracing. • Frank Herbert Martin dies. without killing the tone. Today C.F. Martin’s is born. • We create the first D-45 for cowboy star 1994 The crew of the Columbia Space Shuttle X-bracing still proves to be the best method and Gene Autry—#53177. STS-62 packs a Backpacker on its orbit around is imitated by the world over. 1940s Country music starts to sweep the land. the earth. • We launch the “Signature Series” with 1850s C.F. Martin introduces 0 model. Big country stars show up on stage with Martins, a reissue of Gene Autry’s trail-blazing D-45. including Hank Williams, Ernest Tubb, Lester Flatt 1995 Martin introduces the Eric Clapton 1866 Frank Henry Martin is born to Lucinda and Hank Snow. and C.F. Martin Jr. “Signature” 000-42EC. • We add 18,000 sq. ft. 1945 C.F. Martin III takes the helm. for strings at our Nazareth factory. 1873 C.F. Martin Sr. dies, and C.F. Jr. takes firm command. • Sales records of the 00 guitar start 1948 Frank Henry Martin passes away. 1996 With the HD-28V we inaugurate the Vintage to appear on the books. 1950s Folk music captures America and folkie Series, which pays tribute to the much-admired artists appear on stage, TV and their album covers legendary Martin guitars of the pre-World War II 1887 C.F. Martin Jr. builds the first addition to period. the North Street factory. playing Martins. Among them: The Weavers, Josh White, The Kingston Trio, Peter Yarrow of Peter, 1997 Martin debuts the DM and Road Series. 1888 C.F. Martin Jr. dies. His 22-year-old son Paul and Mary, and Woody Guthrie. • Elvis Presley • We launch superior SP® strings. Frank Henry Martin takes over. erupts in the music world, almost always playing 1999 We complete our new addition to the 1890s The mandolin craze hits America, and his D-28, and records all of his famous Sun factory, almost doubling its size. • We build Martin begins production. sessions with a Martin. Martin guitar #700,000. 1894 Christian Frederick Martin III is born on 1955 Frank Herbert Martin joins the company. 2000 We end the millenium with serial #780,500. September 9. A year later his brother, Herbert • His son, C.F. “Chris” Martin IV, is born July 8, Keller Martin, arrives. 1955. 2001 We introduce the “D-50 Deluxe Edition” guitar and “SP+ Extended Life” strings. 1902 Frank Henry Martin introduces the size 1964 We move to our new Sycamore Street factory. 2003 We introduce the “Little Martin.” 000, the biggest Martin so far, to compete with 1968 Martin brings back the famed D-45 guitar mandolins and banjos. • We design our first with its now highly prized pearl-decorated look, to 2004 Martin builds Guitar #1,000,000.• Claire Style 45 guitar. applause from the many players long craving to Frances Martin, the seventh generation Martin is 1916 The ukulele boom begins. Martin uke own one. born to Chris Martin IV and his wife Diane on September 13, 2004. production takes off. • We design and build for 1969 We discontinue hard-to-obtain Brazilian Oliver Ditson Co. of Boston and New York the rosewood for stock models and replace it with 2006 Grand opening of Martin Guitar Museum first “Dreadnought,” named in honor of a huge rosewood from East India. and Visitors Center, February 22, 2006. battleship of the day. 1971 Frank Herbert Martin becomes president. 1917 We build our first steel-string Hawaiian C.F. Martin III remains chairman. guitars, played with a steel bar. Martin Hawaiian guitar sales soar.

© 2006 C. F. Martin & Co., Inc. All rights reserved. Specifications subject to change without notice. Visit our website at martinguitar.com for the most current product information. Printed on recycled paper in the USA. 0604-06 17MR01