Vintage Guitars Info - Martin collecting vintage martin guitars Vintage Guitars Info's Vintage Martin Guitars and Ukes Vintage Guitar Info. Collecting vintage Martin guitars and ukes. General specifications, serial numbers, model information. Private vintage guitar collector.. Torch peghead inlay and 'snowflake' fingerboard inlays as used on 1914 to 1938 style 45 Martins. • • • • • • • • • Martin Flat Top Model Info: • • • • • • • • • • • Martin Arch Top Model Info: • • • • • • • • • Martin Ukulele Model Info: • 'What Type of Martin Do I have?'
Before much can be determined about a Martin guitar, several things must be identified: • The year it was made (using the serial number, which exists on all Martins 1898 and later). • The type of guitar (flattop, archtop, uke, etc).
Input your 8 digit instrument serial number for manuals, certificates and information relating to your device.
• The body size (for flattop guitars generally O, OO, OOO, OM, D, etc.) • The body style (for flattop guitars generally 15, 16, 17, 18, 21, 28, etc.) • Oringinality (have any of the parts, such as the bridge or tuners, been changed or modified?) • How does it play? First Determine the Year. On Martin guitars, this is pretty easy.
Every Martin guitar made in 1898 and later, there is a serial number inside the guitar. This number can be used to determine the exact year of manufacture. See the below for details.
A 1947 Martin 0-17T Tenor guitar (4 strings). Note the nicely grained mahogany top.
Tenor guitar are not very collectible though, as they were sold from the 1930s to the 1950s mostly to transition banjo players to guitar! Next Determine the Type of Guitar. Most Martin guitars made are 'flat top' models. That is, they have a round sound hole in approximately the center of the flat top of the guitar, with a 'pin' style bridge. Martin also made some archtop models during the 1930s. These can have a round sound hole, or two 'f' style sound holes (one on each side of the top of the body), and have an arched top, with a 'trapeze' style bridge.
Martin also made ukuleles. If a guitar only has four strings (and is not a ukulele), this is known as a Tenor guitar. Uke size instruments with ten string are Tiples. Uke size instruments with eight strings are Taropatches.
Martin also made mandolins, which have eight strings. To summarize: • 4 Strings: a ukulele or tenor guitar. • 10 Strings: Tiple. • Uke size with 8 strings: Taropatch • 8 strings (not a Uke): Mandolin. • Archtop: an arched top to the guitar with either a round soundhole, or two 'f' holes on either side of the body. Trapeze style bridge.
Made only during the 1930s. • Flattop: a flat top to the guitar, and a single round sound hole under the strings. Pin style bridge.
Flat Top Guitar Body Size. Martin flat top guitars were made in various sizes.
The bigger the guitar body, the better and more collectible the guitar. This is why guitar body size is so important to identify on a Martin flat top guitar. Starting in October 1930, Martin stamped the guitar body size right above the serial number inside the guitar.
This makes identifying body size on October 1930 and later guitar very easy. For flat top guitars made before October 1930, the easiest way to figure out the body size is to use the below. Body sizes, pretty much from smallest to biggest, include O, OO, OOO, OM, D. Martin Instrument Styles.
Nearly all Martin instruments come in different styles. The higher the style number, the more fancy (and collectible) the instrument.
Again starting in October 1930, Martin stamped all flat top guitars with the style number, directly after the body size (and above the serial number). Style numbers can range from 15 to 45. A letter can follow the style number too, giving some additional info about the instrument.
For example, a 'T' after the style number indicates a Tenor guitar. See the section for a full list of these suffixes. Determine the Originality.
Originality of an instrument is very important. Modifications (any modifications), are a bad thing in the eyes of a collector. This will greatly influence value.
Modifications can often be determined by looking at the model specs for a particular year guitar in this web page, and compare to your instrument. On flat top martins, the most common modifications are a replaced bridge, replaced tuners, or replaced frets. Finally, How does the Instrument Play? On Martin guitars, this is a really big deal.
Martins all seem to have a problem with the 'neck set' on many of their guitars before 1970. High string action is the result, making the guitar very difficult to play. This can only be fixed correctly by a 'neck set' (removing the neck on the guitar, and refitting the neck at a slightly increased angle, which lowers the string action). If done correctly, this does not affect the value of the guitar (and in fact can make it more valuable, as the guitar is much more playable). Generally speaking, most players would agree if the 'string action' is more than 3/16 inch (5 mm) at the 12th fret, the guitar needs a neck set. This measurement is taken from the bottom of the low-E string, to the top of the 12th fret.
Regarding truss rods, all vintage Martin instruments post-1934 have *non-adustable* truss rods (T rod). This means the neck better be straight, otherwise an expensive repair will be in order. To check neck straightness on a guitar, first tune the guitar to pitch. Then hold the low-E string down at the 1st and 14th frets.
Note the distance between the bottom of the low-E string, and the 7th fret. You should be able to put a medium guitar pick in this space.
Any more, and the neck is 'bowed'. Any less, and the neck is 'back bowed'. Repeat this with the high-E string (the same results should be seen; if not, the neck has a 'twist' to it). Introduction and Collectibility.
Martin has been making some of the best flat top acoustic guitars since the mid 1800'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 1965 D-28. Note the rich color and wavey figuring which is typical of Brazilian rosewood.
Indian rosewood, as used from late 1969 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 1840's to the 1920'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 1920's to 1944 are the most collectible of all Martin instruments. Download Free 4 Non Blondes Bigger Better Faster More Zip Software on this page. 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 000 and 'D' sizes from the 1930's are considered by most collectors and musicians to represent the golden era of the flat top Martin. Note war-time models (1941 to 1944) aren't quite as desirable as the 1930's models.
Lack of materials, manpower, and general social uncertainty during the war contributed to this. Flat tops from 1945 to 1969 are considered good quality and have good sound, although they are not as collectible as the 1920's to 1944 steel string models. This is largely due to the change in bracing and materials Martin started using in 1945. Rosewood models of Brazilian rosewood are most collectible from this era. This is because Brazilian rosewood was basically unavailable since 1970 due to export problems. Because of this, these models are considered more collectible.
Martin D-35 from the 1970'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-35's to allow Martin to use narrower rosewood that would otherwise go to waste. Flat tops from 1970 to present are considered to be excellent utility instruments, but are not collectible. Staring in 1976, Martin has been undergoing many changes with numerous reissues, new models, limited editions, etc. Workmanship has improved greatly from the early 1970'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 1930's and later. 1965 Martin 00-21 NY model. 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 28), and 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 1930s to the 1950s 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: flat top, archtop, solid body) are not sought after and have little to no value. Other Brands Made by Martin.
Since 1900, Martin 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.
• Bacon: a few made for Bacon Banjos in 1924. • Belltone: fifteen guitars, ten mandolins and twelve Style 3k ukes were made for Belltone. • Bitting Special: Martin made some mandolins for this Bethlehem, PA teacher in 1916 to 1919.
• Ditson: in 1917 to 1919, and 1923 to 1930, Martin made some guitars for the Ditson company in Boston. Early models only have a 'Ditson' stamp, later models have both the 'Ditson' and 'Martin' stamps. The 1923 to 1930 models have Martin serial numbers.
Prior to this, 483 guitars of the original 1917 to 1919 series have been documented. • Foden: In 1912 to 1917, Martin 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 19). 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. • Jenkins: Martin made Style 1 and 2 ukes for this Kansas City mail order company. • Olcott-Bickford: 32 guitars made for this guitarist.
• Paramount: Around 1930 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. • Schoenberg: In 1987 to 1994, Martin made some guitars similar to their OM-18, OM-28 OM-45, some 12 fret 000 models, and a few D models.
The last Schoenberg/Martin was made in October 1994, serial number 541742. Stewart: Martin made ukes for this company in 1923 to 1925. • Rolando: In 1916 to 1918 Martin made 261 guitar (numbered 1 to 261), and some later guitars with standard Martin serial numbers. • Vega: Martin bought Vega Banjos in 1970 and moved production to their property in 1971. In 1979, Martin sold the Vega name.
Some guitars were made under the Vega name during this period (but they mostly made banjos). • Weymann: Around 1925 Martin made some Ukes for this company, but no guitars. • Wurlitzer: In 1922 to 1925, Martin made 297 standard Martin models (but with a simplier soundhole rosette) for Wurlitzer. These have the Wurlitzer name and model number on the back of the peghead. As you can see, Martin did not make very many guitars for other companies.
So the chance that your non-Martin guitar is really a 'Martin' is very unlikely! Martin Serial Numbers (How to Find the Year). All Martin guitars since 1898 (except solidbody electrics from the 1970s, basses, and tiples) are numbered in consecutive order.
Ukuleles do not have serial numbers. Mandolins use a different serial number system than guitars. Martin guitar serial numbers start at 8000 in 1898 because Martin estimated they made 8000 instruments before 1898. Model Numbers stamped above the Serial Number starting in 1930. Starting in October 1930, Martin also stamped the model number just above the serial number.
Martin model numbers are straight forward too. The first set of characters are the body size. Next there is a '-'.
The last set of numbers are the ornamention style. For example, 'OO-28' stamped above the serial number tells use the body is 'OO' size (14 5/16' wide for a 14 fret model, 14 1/8' wide for a 12 fret model), and the ornamention style is '28' (rosewood body, ice cream cone style neck). Left: The model and serial numbers, as seen through the sound hole on the neck block of this 1950 D-28. Prior to October 1930, the model is NOT stamped on the neck block (you have to figure it out yourself!).
Right: The model and serial numbers, as seen through the sound hole of this 1944 D-18, serial number 90067. Notice the '1' in the '18' does somewhat look like a '2'. This confuses a lot of people who think their style 18 guitar is a style 28. Also the 'D' is sometimes confused for an '0'. On round hole martin guitars, the serial and model numbers are stamped on the neck block inside the instrument.
The number can be seen by looking inside the sound hole. Look at an angle towards the neck. All f-hole Martin archtops have their serial and model numbers stamped on the inside center of the backstripe, roughly under the shadow of the bridge (and best seen from the bass side 'f' hole). The numbers listed here show the LAST serial number produced for that year. Martin produced all guitar serial number sequentially. These serial number apply to all Martin guitars, flat top and arch top. It does not apply to ukes (except for the first year, they do not have a serial number).
Does not apply to Martin mandolins either (they have their own serial number system).
Fairbanks & Vega banjos, Dating & Identifying DATING A. Free Who Wants To Be A Millionaire Game Download more. C. FAIRBANKS AND VEGA BANJOS Copyright © by Michael I. Holmes - 1999, 2002 For an in depth discussion about important dating information visit the article.
Fairbanks Company (incorporated 1875) was succeeded in 1903 by the Vega Company (established 1889). Vega continued to mark their banjos 'A.C. Fairbanks' until the middle teens. During 1880-1890 Fairbanks joined with William A. Cole, a successful performer and teacher, and produced approximately 9000 banjos as.
They split in 1890 and Fairbanks stayed at the 187 Tremont Street address where they had moved, and advertised his new company as Fairbanks restarted the numbering at about 1, as did. From 1890 to 1914 Fairbanks (later Vega) made Fred Bacon banjos. Between 1903 and 1914 Vega made some S.S. Stewart banjos. The years matched to the serial numbers are an educated approximation; they are accurate within a year or two, and even the dates of introduction of major improvements are based on ads, catalogs, and contemporary news releases.
In the 1960s, urban renewal in Boston forced Vega to move from the Columbus Avenue location where they had been from 1917 to c1961, to Leon Street in Boston, where they stayed until 1966. They moved to Needham Heights, where the owners were closer to home. They weren't there for long before selling to Martin.
Vega continued in business in the Nelson Family until March 15, 1970 when the name, equipment, and all the rights were sold to C.F. Martin, a respected guitar manufacturer, in Nazareth, PA.
Martin made some banjos, and marketed import instruments, under the Vega brand name until March, 1979 when they sold the Vega rights to the Galaxy Trading Company, an Asian conglomerate. All Vegas from the Galaxy period are imported. In the mid-1980s, The Deering Banjo Company purchased the Vega name and rights from Galaxy and brought this venerable banjo name back to the US and their Spring Valley, CA factory. For a listing of instrument models and a discussion of some of Fairbanks' and Vega's products, visit the FAQ (Frequently Asked Questions) article and the web sites listed at the end of this article. To use the chart below, find the serial number closest to yours and interpolate between the listed numbers to get a best approximation.
YEAR LAST NO. YEAR LAST NO. YEAR LAST NO. 1875 Earliest #243 1875 300 1880 980 1885 5600 1890 (Electric #65) 1891 1400 1895 (Metal nameplate) 1900 1 (Whyte Laydie #20343) 1904 (Fire #23070) 1905 (Tubaphone #25052) 1910 (F-V stamp) 1910 -3 (Vega stamp c.53000) 1925 1 1 1 1 start# last#. 2 1 1 1 1 1 1 129682 05/15/70 Sold to CFM 1970 1 1 New series starting M1 03/79 Sold to Galaxy c1985 Sold to Deering 1.
Due to a printers' error, serial numbers with only 5 digits and on yellow labels were used from 10/1962 (no. A-10300) to 2/1964 (A-12400).
The 'A' stands for 'Ajustable truss rod.' A new series of numbers was started in February, 1964. Q: What years was the flower pot headstock inlay available on the Tubaphone style 3, 5 string banjo? DL A: Roughly 1909 to 1913, the last serial number seen was 30441. Q: When did Vega (Fairbanks plate models) switch the Whyte Laydie models from a grooved/slotted stretcher band to a notched one? Fairbanks plate to F-V stamp to Vega stamp? A: Although there are no absolutes where Vega is concerned, several years of research have led me to these conclusions about when certain changes were made (see article for data): • The Fairbanks Electric tone ring, was introduced in 1890; the earliest reported is serial #65.
The earliest reported Whyte Laydie (which is the Electric tone ring with the addition of the bracket band) is #20343. The earliest reported Tubaphone is #25052. Double stamped Tubaphones with earlier numbers are WL's that were returned to the factory for retro-fitting. • The crossover on WL#2s happens between #24939 and #24945. Earlier WL#2s with notched stretcher bands probably were retro-fitted.
WL#7s and one TU#9 continued to have grooved stretcher bands and cobra hooks until at least #25241. (One banjo, #24567, has a notched band on a heavily engraved Fairbanks Electric, full silver wrapped banjo with round hooks and a #7 style neck. Since this was a custom order, anything is possible, including having sent it back to the factory for later enhancement or modification.) • Plate (introduced circa #14900) to F-V seems to have happened between #26019 and #26023. F-V to Vega stamp, between #52669 and #52684. Vega stamp to yellow stick-on labels between 99369 and 99686. • switchover is between #23721 and #23800. • Cobra hooks first appear circa 1881 on Fairbanks & Cole banjos.
The earliest reported is F&C #1000. They were used on Fairbanks Special Electrics, which appear in 1897 circa #17607, later they are only found on WL#7s up to and including #24939 and one TU#9 serial #25241. • Rim: Thin rims are approximately 3/8'. Thick rims (7/16' to 1/2') appear about the time of the introduction of the Tubaphone, with a few earlier WL's having the thicker rims, but none earlier than about #24939. • Fingerboards: There is no pattern to when and whether they used dyed wood or ebony on WL#2s, although the #7s seem to be all ebony. From the introduction of the Tubaphone, all WLs and TUs seem to have ebony fingerboards, but dyed fingerboards appear on the lesser instruments into the 1940s. • Reversed facing Gryphons: Most reported examples are in the mid 24000's serial numbers.
These are not 'errors' but, I believe, Vega using up inventory in anticipation of the changed WL pegheads co-incident with the release of the new Tubaphone banjos. The reversed Gryphons were intended for the backs of WL#7 pegheads. Ever frugal, Vega used them on the fronts of WL#2s and Regents. • More research is needed to narrow the field.
If you have a Whyte Laydie or Tubaphone within the serial number ranges stated above, or a Tubaphone with a serial number earlier than that listed, please let me know. Your confidentiality will be respected. Q: Did Vega make any banjos before buying out Fairbanks? BR A: There are a very few Fairbanks made banjos (several of them Regents) with pre-fire serial numbers circa 22900, stamped simply 'Vega' in an oval border.
There is no evidence that Vega actually made banjos prior to buying out Fairbanks. Q: At what point did Vega go from ball end to open end bracket nuts? JC A: The earliest one I have recorded with open end nuts is #87058. Q: At what point did Vega go to 'through the rim' bracket bolts on its WL and TPH banjos? A: Serial #91892 is the earliest collected banjo with the bolts through the rim. It seems to coincide roughly with the introduction of the Vox models, the earliest serial number of which I have recorded is 93828. Q: Which flanges came first on Vega banjos, was it the 4 piece or the 28 piece?
I was under the impression it was the 28 piece but according to the Tsumura red book it was the 4 piece. KS A: There are several errors in the otherwise excellent Tsumura Red Book. Vega offered banjos in many sizes, so it stands to reason the 28 flanges would predate the 4 pieces, since they could go on a greater variety of sizes.
The patent for the individual flange plates was filed and issued to Carl Nelson. The patent for the 4 piece Vega Vox flange, with its trapezoidal shaped soundholes, was filed and issued to William Nelson on. The Nelsons were the owners of, and assigned their patents to, Vega. According to banjo historian Stu Cohen, checking the relevant catalogs, 'The Vegaphone (a Tubaphone model with the 28 piece flange and resonator) was introduced in August, 1923. The 4 piece flange was introduced in August, 1928, along with the Vega Vox and the addition of Pearloid on the resonator wall.'
Information added by Stan Werbin, 'the individual flanges continued on several models (including sometimes on the Vegaphone Professional), gradually appearing only on lesser models, until they disappeared for good sometime in 1932.' Much of the information included in this article is the result of my own research, and therefore any errors are mine to claim. However, I am grateful for having received (and continue to receive) help and support from Jim Bollman, Stu Cohen, George Gruhn and Stan Werbin plus too many readers to mention all of them here, but all of whom have contributed information that either added to or confirmed what we now know.
The serial numbers and dates are, however, at best approximate. MIH Other Articles Of Interest.