Fender FS-52 Lap Steel Guitar
The very first Fender guitars were no-frills lap steels, and
they were absolutely great. Even today, those first instruments
have a pure, singing tone seldom equaled since.
The FS52 Lap Steel introduced in the 2000s is an authentic nod
to those great steels of the past. Features include a two-piece
ash body, a Fender Standard Stratocaster pickup in old style
housing, and chrome hardware.
This
example is in perfect as-new condition, with original case.
ONLY $295!
SOME CHEAP ADVICE ABOUT SHIPPING:
I do not include shipping in the cost of the instrument so you
will not be subsidizing the cost of someone with higher shipping
costs than yours. I will pass on to you the carrier’s
actual listed price for shipping only. I do not charge
extra for packing, or the cost of shipping cartons, bubble wrap,
foam peanuts, or other shipping materials.
I
also pass on only the carrier’s actual quoted price for
insurance. I don’t have great hopes for collecting
insurance from a carrier. Realistically, the cause of
cracks and finish checking are hard to prove, and it can be
difficult to collect for other than missing packages or damage
where the carton was obviously crushed by a truck.
I
insure with a carrier primarily to ensure the more careful
handling given to a “high value” package. All of my
instruments are insured by Heritage, the primary insurer of
the leading dealers, museums, and high-end collectors, and do
not pass on to you the considerable extra costs of insuring
with Heritage to cover damage in transit.
Lately I've recommend choosing a carrier based on the quality
of the local driver. I’ve had drivers from UPS who have
served me consistently and thoughtfully for years, leaving
notes saying “the package is in the carport, behind the snow
shovel".
I’ve
had other drivers who've left computers sitting in the pouring
rain and run off without even ringing my doorbell. So
the local driver who serves you well at the time of delivery
is often the best determinant of which carrier to chose.
On the other hand, UPS now handles packages valued over $1000
as "high value" items.
When
I asked FedEx if they made a distinction for high value items,
they responded "we treat all our packages with care", which
"Alexa" translates as: "we throw them all onto the conveyor
belts".
My
UPS rep gave me a long list of ways the “high value” Ground
packages are treated with preference: signed for at every
step, never on a conveyor belt, last in/first out of the
airplane/truck, etc. So I am now giving preference to
UPS Ground.
If
your local UPS driver is not the best, or if you're away from
home during the daytime hours, you may do well to consider
having me ship to the local UPS Store for pickup at your
convenience. If you have three spare hours, I'll tell
you the story of trying to collect on insurance from the Post
Office.
I generally prefer shipping early enough in the week to avoid
shipping over a weekend when possible. The vehicles do
not stop moving over a weekend. Travel time is measured
in business days, however, so a weekend will add two days to
the "transit time" without additional travel.
So a
weekend may mean a guitar sitting somewhere for as much as two
days, likely in a vehicle that's freezing or hot enough to
melt glue.
If the weather is exceptionally poor, I may wish to delay
shipment, especially in winter, until the weather
improves. When the package arrives, you should let the
package sit for several hours before opening and tuning the
guitar to pitch in order to let the instrument acclimate to
the indoor climate
to
avoid structural damage or finish checking caused when the
wood and lacquer expand or contract at different speeds.
I'll be sure to pack securely, which is the first key to safe
travel. I use proper guitar shipping cartons, pack well
with bubble wrap and/or foam peanuts, being especially sure
the neck is supported near the headstock and heel, and remove
the end pin.
If a
guitar does not have a case, I can usually find at least a
chipboard case that I can provide to you without extra charge
to protect the guitar in shipping.
International buyers should know that due to restrictions
specified by the CITES Conventions on endangered species
including the ivory, pearl, and Brazilian Rosewood found on
many of these guitars, shipping overseas has become a tricky
process.
I am still in the process of
obtaining the necessary licenses and permits, which takes some
time. Shipping requires both a fee and inspection at a
regional office.
I've gathered what I've learned about CITES so far here:
A Primer for
Obtaining Proper Permits for Shipping Vintage Guitars
and Other Musical Instruments Overseas from the USA
Instruments SOLD
Now in the hands of happy players...
Martin
1944 000-18
I was once a Martin snob, and
more so for rosewood Martins. Certainly no other guitar
has the lush sound of a vintage Martin. And no wood can
compare to Brazilian Rosewood. OK, maybe I still am a
snob!
But
I've learned with age and experience when I couldn't obtain a
desired sound that these are all tools in the toolbox, and
sometimes a Gibson gives the sound I'm looking for.
Sometimes mahogany does the trick. Some folks seem to
"need" a '30's Martin with a 1 3/4' neck width. A triple
0 is no better than a double 0 or single 0.
These
are all just different sounds.
I've become particularly partial to the Wartime mahogany
Martins with the combination of scalloped bracing, red spruce
top, the somewhat "meatier" but feather weight neck with ebony
replacing the steel rod for reinforcement, small maple bridge
plate, featherweight tuners due to wartime restrictions on
steel, and hide glue construction.
The guitar fits my ideal image of a vintage guitar, all
original, with wartime "peen end" Kluson tuners, and
appropriate playing wear to show it’s been enjoyed. The
inside is pristine, with an excellent original maple bridge
plate.
The string height is 1/16” on the first string and 3/32” on
the sixth string at the 12th fret with the original full
height bridge and saddle.
The neck has crazing and capo marks, feels great, and has a
perfect neck set.
Serial # 88650
Stamped August 7, 1944
- SOLD -
Martin 1945 0-18
Being such
a fan of these 1945 Martins, I have a matching set of
0-18, 00-18, 000-18, and D-18 from 1945.
I wasn't
planning to sell these, but since I'm breaking up the set,
I've decided to make this 0-18 available to someone with
more time to play it as well.
Now that I
have a house full of Martins of all sizes, I've decided
that the single 0 is the most under rated. Far from
lacking in bass, the bass is tighter and cuts through the
mix.
I agree
with F.H. Martin who thought the single 0 was their best
balanced guitar. This is a magical guitar.
Serial
#90997
Stamped
4/3/45
- SOLD -
Martin
1935 0-17
Until now
I've been selling guitars only to thin out my
collection. I haven't done this before, but a
very nice woman traveled
here
to show me a terrific guitar and ask for advice, and so many people
were disappointed to miss out on the last one I sold
that I
decided to help make her guitar available.
In
absolutely beautiful, all original condition, with only
minor nicks and scratches. Has had a neck set with no
other visible work done.
The only
minor issue I see is a low saddle. I would have
preferred setting the neck to a full height saddle, but it
plays and sounds
great as is,
so I would let it be if it were mine. The bridge plate
is prefect and untouched.
Original
Waverley "clipped end” tuners.
Light fret
wear on the first two strings of the first fret only.
The string
height is comfortable at 5/64” on the first string and 8/64”
on the sixth string.
In new
case.
Shop Order #
938
Stamped on
September 27, 1935
Serial
Number 61095
- SOLD -
C. F. Martin 1920 0-18
Beautiful original condition style 18 in Martin's favorite
size.
With original Waverly tuners.
The finish is all original and very nice. Minor playwear
and fingerboard divots with only one single, almost-invisible
1” long hairline crack on the entire guitar. It has had a pair of thin bolts added
to the bridge, a common addition when steel strings became
available, which could easily be removed.
Shipped to the Sherman
Clay Store in San Francisco, California on May 3rd, 1920
The action is 1/8” on the high E and 5/32” on the low E at
the 12th fret.
Serial #14768
-SOLD -
Martin 1919 Southern
California Music Co. 0-18K / 1350
The koa wood for these was supplied by SoCal from the big
Island of Hawaii.
Later versions were made with raised strings and frets ground
flush with the fingerboard, but the earliest Martin Hawaiians
were made with regular frets for regular
Spanish style playing, and came with a nut extender to raise
the strings for Hawaiian style music, so don't need a
conversion to play in the conventional "Spanish" style.
String height 5/32 on the 6th string, 4/32 on the 1st string
at the 12th fret.
Serial #14003
C.F. Martin 1919 O-45
An original,
pre-war Martin top-of-the-line Style 45 guitar with a rare
early "Airplane Spruce" top.
In the late teens, Martin was experimenting with what was
then known as "Airplane Spruce”, a Sitka Spruce from the
Northwest produced for airplanes for WWI.
By the time World War II ended in November, 1918, production
of Western spruce for aircraft by the Spruce Production
Division of the Army
had reached 10,000 sq. ft. per month, and left a newly built
infrastructure and one billion board feet of spruce.
A new original OM Style pickguard has been fashioned for
this guitar by TJ Thompson.
A traditional 45 style torch inlay in abalone decorates the
headstock, and 45 style fancy inlays adorn the ebony
fingerboard.
Abalone "heart" inlaid on the perimeter of the top, sides,
and back of the guitar is unusually brilliant and
fine.
T.J., who routinely works of pearl Martins, commented that
this was the most intense pearl he had seen.
The unique backstrip on this example, while not the style
most often associated with the Style 45, was typical in this
period.
My
photographs of this guitar appear on p. 80 of Johnston,
Boak & Longworth, "Martin Guitars, a Technical
Reference".
- SOLD -
Martin
1917 Spruce top 1-18K
This unusual rare
example is a Size 1 Style 18
guitar with spruce top and koa
back and sides, the first to be
made with a spruce top since the
original samples made for SoCal.
String height 6/32" on both
the 1st and 6th strings at the 12th fret.
Very good condition.
Serial number 12959
With the
advent of interest in Hawaiian music and culture in the
teens, Martin made their first Hawaiian guitars for the
Ditson Stores and the Southern California Music
Company.
Ironically,
Martin chose to move from X bracing to fan bracing for
these first production guitars made by Martin for steel
strings.
The earliest
Dreadnaughts were built in three sizes, the "Standard"
size 1, the "Concert" size 11, and the "Extra Large"
size 111, which became the Dreadnaught of
today.
With three
quality levels, these became the 1, 2, 3, 11, 22, 33,
and 111. A 222 and 333 was never built for Ditson.
This early
example is a Ditson Style 1, the smallest of the
"Dreadnaught" shaped guitars
From the
second batch of Ditson "Standard" Style 1
guitars.
Stamped
October 24, 1916
Excellent
original condition.
Added bridge
plate cap which could easily be removed with fine
original bridge plate intact underneath.
Ditson Serial
Number 118.
- SOLD -
1916
Martin for Ditson Model 1 "Standard" Size
Guitar
Immaculate
early example of a Ditson "Standard"
Size Style 2 Guitar.
With the sudden
interest in Hawaiian music and culture in
the teens, Martin made their first Hawaiian
guitars for both the Southern California
Music Stores and the Ditson Company.
The Ditsons were made in three sizes, the
"Standard", the "Concert", and the "Extra
Large", which became known as the
"Dreadnaught", named after a rather large
British battleship. Most folks don't
know that the Dreadnaught was originally
designed as a Hawaiian Guitar, with it's
wider waist suited for playing no the
lap. Most folks also assume that the
first Hawaiians were built at the request of
the SoCal, who supplied their own koa wood
for these Hawaiian guitars. In fact,
the first sample Ditson was shipped on
February 12, 1916, while the first sample
SoCals were shipped fve months later on July
10, 1916.
These Ditson guitars have serial numbers
that are unique to Ditson.
Martin 1907 0-30
A very
desirable model, the 30 series Martins are my favorite model
of the 20th century.
A carryover from the 1800's, the Style
30 combines a pearl rosette with large snowflake inlays and
the beautiful top marquetry and arrowhead back strip seen in
earlier days.
This guitar has the genuine ivory
binding, which was discontinued a few years later, "to the
nut" - running along the fingerboard to the
headstock.
In sound condition with tight top cracks and properly repaired
pin hole wear. Includes a new reproduction pyramid
bridge.
String height 2/32" on both the 1st and
6th strings at the 12th fret.
- SOLD -
I've cleaned the top and
begun to touch up the area of the larger footprint,
clean out a couple of the larger dark cracks, and
carve a new ebony pyramid bridge.
The footprint need a few
more layers of finish to match the rest of the top,
the cracks need to be filled, and the new bridge need
pin holes and a saddle.
This guitar has one of my
favorite arrowhead backstrips, one of the most
tasteful I've seen on any Martin...
1840's Martin 1-28 with Pearl
Rosette
An historically important
instrument. It has long been believed that the first
Style 28 instruments had a pearl rosette. This is a
rare and difficult to find example of such an
instrument. In nice original condition, with Jerome
tuners and the rare nickel silver nut seen on 1840's
Martins.
String height of 3.5/32" on 6th string and 2.5/32"
on the 1st string at 12th fret.
- SOLD -
James
Ashborn c. 1850's Model 6 Guitar
for
William Hall & Son
Just a few years ago, only two of ornate
the-top-of-the-line Connecticut Yankee built Model 6 Ashborns
were known to exist, and each one was believed to be
unique. Since then, I have discovered three more,
including this one, which is nearly identical to the third one
found.
These
Ashborns are carefully documented in Gura's Martin book, and
the "Inventing the American Guitar" Book.
Rosewood veneer neck and rosewood veneer over spruce
back. Original distinctive Ashborn built headstock,
tuners, bridge, bridge plate, and neck block. Fan
braced.
With original coffin case, also made by Ashborn in his
Connecticut factory.
1 13/16" neck width at nut.
2 lb. 5.4 oz.
Serial number 3721
- SOLD -
James Ashborn c. 1850's Model 1
Guitar
Solid mahogany neck and solid back.
Original distinctive Ashborn headstock, with tuners built by
Ashborn, bridge, bridge plate, and neck block. Fan
braced.
With original coffin case, also made by Ashborn in his
Connecticut factory.
New Neck Set String height 4/32" on both the 1st and 6th
strings at the 12th fret.
1 15/16" neck width at nut.
2 lb. 3.8 oz.
No serial number.
No Dealer name.
-
SOLD -
1921
Gibson Style L1 Guitar
From 1908 to 1925, the small
body, 13 1/2" wide, narrow waist L Style, the mainstay of the
Gibson line, were archtop guitars
with a round hole, tailpiece with pins set in a "tortoise"
Celluloid block, raised pickguard, 13 frets clear of the body,
and a slanted "The Gibson" logo on the headstock.
- SOLD -
Gibson 1931 Brazilian Rosewood L-2
The Gibson
L-2 c was in transition from the 1920's to the 1930's, from
small 13 1/2" to large 14 3/4" body width, from 12 frets to
13, to 14, from mahogany to rosewood and back, from pin bridge
to trapeze tailpiece and back, from raised to large glued
pickguard, and from natural top to Argentine Grey with Gold
Sparkle border and back.
While Gibson made surprisingly few rosewood guitars, it's long
been assumed that those vintage rosewood Gibsons were built
with Brazilian rosewood. It's since been discovered that
even the most highly desirable rosewood Gibsons from
1935 on, such as the Advanced Jumbo, were
built with Amazon or East Indian rosewood.
This 1931 L-2 is made from beautiful Brazilian Rosewood of the
kind rarely seen on Gibsons, with the look of the most
attractive rosewood seen on primo pre-war
Martins.
Schoenberg Guitars is currently selling the identical version
of this guitar converted with a pin bridge for $15,575 with
the description: Extremely rare and fine Brazilian rosewood
Gibson 13 fretter... These came in a variety of
configurations, this one originally having a tailpiece and
floating bridge.The
"jester" peghead inlay is the iconic identifier of its status as
this very special model."
The Schoenberg guitar has slab cut rosewood, while mine has
Brazilian that would have made Martin proud in their "Golden
Era"
I
was extremely fortunate to receive an education from my friend
Duke Robillard, who T-Bone Walker's biographer called " T-Bone
re-incarnated". Duke advised me to add a pickup selector
switch, but it didn't end there. I had no idea how complicated
wiring electrics could be.
Wiring
pickups is not nearly as straightforward as one would think.
Duke also calculated and explained to me how to wire the
electronics to allow for selecting the most useful
combinations of pickups, taking into account how changing one
setting can affect another.
Absolutely
nobody knows how to make a guitar work the way Duke does, and
it didn't hurt that Duke set me up to have his most trusted
luthier do the work for me. Working together, they did a
magnificent job.
EXC; Light surface scratches on back, slight finish checking,
some polish wear on trapeze tailpiece. With original
hard shell brown Gibson case.
-
SOLD -
Gibson
1933 L-2 Rosewood Tenor Guitar
A tenor version of the Rosewood L-2 illustrated
above. Tenor guitars are seeing a resurgence on the West
Coast, and you won't find a neater example than this
one!
A
rare rosewood Gibson that's unusual in being a transitional
example with Brazilian rosewood sides, with a back of the same
rosewood that you'll find on an early Advanced Jumbo!
Beautiful inside as well, with a small clean maple bridge plate
and the great razor thin braces typical of the period.
- SOLD -
Imported 19th Century "Spanish Style" Parlor
Guitar
Built in the early Spanish Style with tie style
pyramid bridge,
ONLY $325!
-
SOLD -
Wolfram
"Triumph" Aluminum Fingerboard Parlor Guitar
Made by Thomas Wolfram in Columbus Ohio, a parlor
guitar with a distinctive aluminum fingerboard.
Patented in 1893, only 300 made.
In all original fine condition. The bridge is split and
needs to be filled and glued.
- SOLD -
National Newport 82
Serial#: S20691
The National "Newport", with it's fiberglass
body shaped like the USA, is definitely among
the coolest and most innovative guitars ever.
In beautiful near-mint all original condition.
Produced for a mere two-year period, the Newport 82 evolved
from the Val-Pro 84, and features a highly-polished Pepper Red
fiberglass exterior, a single "standard" pickup, controls on
the bass side of the body,
an
adjustable Rosewood bridge, an asymmetrical ("Gumby") plastic
veneered headstock profile, and vibrato tailpiece.
- SOLD -
Rickenbacker
1966 450 12 String
with
"Cresting Wave" Body
In beautiful all original condition with original Case
Rickenbacher pioneered the manufacture of the 12 string electric
guitar, as used by the Beatles and the Byrds.
The Rickenbacker 450 evolved out of earlier combo models in the
mid-'50s. Originally, the 450 used the Tulip body shape like the
Rickenbacker 400. Starting in mid-1958, however, the body was
changed to a Cresting Wave style like the 600 series. This
12-string version, the 450-12, was produced starting in 1964.
- SOLD -
Kay
Swingmaster
I'm usually a stickler for all original
guitars, but when I saw what a fellow in New Jersey had done
to bring out the flame in the maple which had formerly been
hidden, it was love at first sight. One of the coolest
looking guitars I've seen, at an affordable price that I
couldn't pass up.
Beautiful Maple body, Bigby tailpiece, checkerboard binding,
and dual "Kleenex box" pickups. Ideal guitar for jazz, blues,
or rockabilly music.
VG; replaced Grover tuners, logo plate bent
- SOLD -
Feedback From the Buyers...
I've been equally happy
selling both to serious players like Jeff Tweedy and to those
buying their first serious guitar.
In the words of the buyers...
(not cherry-picked, or edited for content!)
1966 Rickenbacker 450-12
It arrived safely. And I love it!
Thank you very much. I will take great care of it.
1921 Gibson L-1
Hi Robert, Just wanted to say this beautiful, old
'grande dame' has found a home! First, I was taken aback on
what great condition it is in.
Can this truly be 95 years old? I can only hope I look a
fraction as good as this beauty when I'm 95.
Put some new strings on, tuned her up, and have been
playing pretty constant for the last 3 days. It has such a
great old bluesy tone with a hint of dobro in there.
I never imagined a 95 year old guitar could sound so magical.
Again, thank you for selling me this wonderful
L-3. It will be treasured, well loved, and well played.
1919 Martin 0-18K
Hi Robert, Well I have had a little time to get to know
this little koa gem, and to tell you the truth the sound is so
much more than I expected.
I anticipated the soft mellow tones that I have heard from
other koa guitars but this one has so much more going on.
Clear trebles, no tinniness well blended mids, deep and round
bass tones. What has most surprised me is the harmonic depth.
Mid tones and harmonics that make every note and chord fuller
and more complex. And sustain for days.
It is a pleasure and honor to be the guardian of this piece of
history, an important part of the Martin story.
Thanks, I'll be in touch again soon.
1933 Martin 0-17
Hey Robert, Hope you're well. I picked up the guitar
Monday morning and, after spending a few days with it, I love
it. Wonderful sounding and inspiring.
Everyone who's played it is quite honestly floored by its
resonance. Thank you for connecting me with her.
Have a great day today.
Warm regards.
2006 Martin Ditson 111
Hey Robert; Guitar made it ok, was hard to wait to open the
box, felt like a kid at Christmas. It was worth the wait
though, I love the guitar!
I'VE NEVER played or sounded better,
the tone and the sustain as well as the clarity is
excellent. The action is great and for the wide neck it
is really fast.
Flatpickin, fingerpickin, strumin, it
all sounds great and as loud as you want to make it.
The harmonics are beautiful, I have
lost some of my tone perception due to being around and
working on jets for 20 years but I can hear this guitar which
makes me very happy because I love to sing as well as
play.
I'm sure that I will get many years of
enjoyment from this instrument. Thanks for your patience
in dealing with me, I know that you have a lot going on. Thank
you Robert
1919 Martin SoCal 1400
Guitar arrived, she's beautiful.
Thanks!
1926 Martin00-18
Hi Robert, it arrived safely - and it's beautiful!
...it's in great shape for such an old instrument, so I'm
really pleased.
1930 Martin 2-17
Hi Robert, I just picked up the 2-17 and put some light
nickel strings on her...Wow...a very nice voice and a
surprising amount of volume from such a petite guitar!
Thank you for selling her to me. I play a lot of old
blues and depression era music, and the 2-17 really works well
for that kind of music.
1926 Gibson L-1
Hi Robert, I received the old warrior and it has arrived
safely . I'll keep you posted on its recovery.
It's seen some heavy playing during its life and it'll be nice
to see it back in action !
National Dynamic Lap Steel
Hello Robert, I went to the Post Office and got hold of
the National Dynamic which is looking and working fine as you
know…
No problem during transfer thanks to your safe
packaging. Very nice lap steel, and so light too!
Thanks too for the spare set of strings!
Many thanks again for an excellent transaction!
1953 Gibson J-185
Hi Robert, Thanks for the email. Yes, cash the
checks. A few comments for now.
1. I opened the case (great fitting case) on Saturday to play
with friends. You were not kidding about the old strings....
those strings were pretty old. I did play it all
afternoon in spite of that and it sounded pretty good.
And it is supremely comfortable in the
lap.
2. Action is great... Nice tone- more mellow than I
expected (good thing) with that mid-range Gibson tone.
Nice defined bass that isn't boomy. You can feel the
notes in your chest even when playing quietly.
3. The refin was pretty well done with what looks more like a
varnish/flat than glossy finish. I see what you meant
about the round hole but it is pretty inapparent. Inside
looks like the pictures.
4. I changed to the new strings Sat night.
5. New strings (my first time using Martin strings) took
about a day or so to settle in. Played them Sunday and
last night. They do sound better and play better.
I do flatpick more than than strum but
I can see this as a great guitar to play and sing with others.
Probably more than you want to know but you described it very
accurately and I do think it is a keeper.
I probably didn't really need another
guitar but it's tone and sounds are sufficiently different
from my Martin-like dreads or even OMs to play it a great
deal. Particularly out with others which is good thing.
Thanks much for hanging in there with me on this.
Early Martin 2-20
Thank you again for selling me the 2-20 and fulfilling my
dream of owning a early Martin. Working on it will be stellar!
...Attached are photos of the repairs I did on the inside of
the 2-20. It is coming out fantastic !
1966 Martin D-12-20
WOW!!!!
Got home, gave the guitar five or six good tunings, and
started playing. I told you about my broken left hand,
but on this guitar my fingers just automatically go to the
right place without any pain.
The volume is tremendous and the tone is wonderful. No
trouble finger picking, either. The left hand pressure
required is actually less than that of my classical guitar...
This twelve string has a lot of sentimental value to me, as
well as musical value. Thank you for making it available
and for working with me to make the purchase possible.
Stay well. You still have a lot to contribute to this
part of our culture.
Thanks again.
1933 Martin R-18 Archtop
The R-18 has been a real joy to play.
1941 Gibson L-4 - As Is
The L4 shipped AOK. I'm kind of liking it as is. Needs those
new frets dressed and some binding but it plays surprisingly
well.
1947 Gibson J-50
Thank you so much for getting the Gibson J 50 to me. It
arrived safely yesterday and I had a chance to play it. It
sounds incredible! Words don't do it justice.
Thank you very much!
1941 Martin 0-15
i LOVE the guitar! it sounds beautiful!
...i really love it, so excited! and thanks for the photos :)
1927 Martin 0-18K
Well the guitar arrived today. I've had a chance to spend a
little time with it, and it truly sounds terrific.
...It definitely has 'that sound', and I'm extremely grateful
that you allowed it to leave your collection and find it's way
into my stable.
Thanks again Robert, & I'll keep an eye out for you on the
forum.
1934 Martin 00-40H
While I imagine you feel a lot of joy from what you're doing,
I've come to realize the great responsibility you've accepted
along with that joy.
Your research, clear, explicit
photography, and your documentation is a lot of work.
You're leaving a permanent gift to humanity by what you're
doing.
Thanks for getting me involved in a
small way.
1936 Martin 0-17
HI again. May not remember but I bought a 1936 Martin
0-17 from you a few months ago. Just writing to say that
after a modest investment to have the neck reset and some new
frets – this guitar is amazing.
My luthier was very impressed by the
build quality – even for this (at the time) low end
Martin. I am amazed by the tone, and the volume, of this
little guitar. I love it. thanks again – money
well spent.
1942 Martin 00-18
Hi Robert: Finally made it home around 1:00 a.m., double
o in tow. What a great guitar! I will enjoy getting to know it
better. It was a pleasure meeting you, wish you well in your
endeavors.
1943 Martin 000-18
Hi Robert, Regarding the '43 000. Spending further
time with it yesterday morning I recovered my appreciation for
it's sound. It is a fine-sounding guitar.
Its strength is more subtle with very
good string definition, especially in the mids and highs which
are particularly nice, and it has nice sustain, especially in
those ranges.
I took it to two vintage dealers and
one top notch vintage luthier in town yesterday. They all felt
it was a very nice guitar, structurally sound, despite the
repairs, with a very good sound.
I think I'm going to wind up being
happy with it, even though it doesn't do everything, which is
why I have several guitars.
1942 Martin 00-18
Hi Robert, The 00 arrived safely, thank you. I
want to tell you that I love both of these guitars. They
are indeed very different and will allow me a wide range of
musical expression.
As I spent more time with the 000 this
week my love affair with it deepened, and I was hearing more
and more subtle tonal detail and dynamic range in that old
wood
as I found it was inspiring me to play
different material and to play old familiar material in
different ways.
And I love how light it is. It's very
exciting to be discovering more of its character as I continue
to play it. The 00 is equally delightful but totally
different.
It really growls when I dig into some
of the country blues I like to play but is a strong strummer
as well for old time stuff and vocal accompaniment.
I'm quite sure I'll be using and my
playing both of these for a long time, and I very much
appreciate your making them available to me and "matching" me
up with them.
Again, I am delighted that you let me
have this guitar.
I hope that you had or are still having a nice visit with your
father. I really thought the picture you took of him in
Lucky Garden was excellent.
To me what makes for good portraits in
addition to composition, lighting and technique is the
relationship with the subject, and one can see the love in his
eyes. Obviously you are lucky to have each other.
Robert, I do hope we can be friends,
and I appreciate your hospitality, generosity with your
knowledge and patience with me as I learn more about the world
of vintage instruments.
It's interesting to get people's different reactions to the
guitars. I had a friend over last night who plays mandolin and
guitar, but more of the former these days.
I pulled out the 000 and told it
something about the war period and materials and let him try
it. He played it and seemed politely unimpressed, which
didn't entirely surprise me.
It actually didn't sound so good to me
when he was playing it. Then, I explained that it's not the
sock you in the gut kind of guitar but had a more refined
elegance which I then demonstrated by playing it.
It sounded like a different guitar when
I played it. As you originally told me, it's not a
forgiving instrument but one that rewards good
technique. I'm coming to think of it like a fine Italian
sports car:
if you nudge the wheel or accelerator,
it'll obey, but it won't blow the door off the competition
like a 1965 GTO. I played 000 for our after dinner jam
session on a number of tunes and it held it's own very nicely.
1945 Martin 00-18
Hey Robert, Just wanted to drop you a line and let you know
that the 00-18 arrived safe and sound on Friday. I am out of
town but my son was at home and took delivery.
I'm not so sure that was a good thing
because he has already fallen in love with it..... haha.
Hopefully I can pry it out of his hands long enough to play it
a little when I get home on Monday.
Thanks again for everything. It has
been a pleasure doing business with you. Happy Easter.
1949 Martin D-18
Hey Robert, Yes, the D-18 arrived safe and sound and right on
time.
It is exactly as you described (but I
already knew it would be from your outstanding photography)
and I too look forward to returning it to the great guitar
that it once was.
I will certainly share photographs when
it is completed. Thanks again.
1952 Martin 000-18
Hi Robert, Arrived safe and sound. Changed strings. Sounds
fantastic. Love it. Thanks So Much.
1953 Martin 0-18
Thank you very much for letting us visit you the other day,
and for being so generous with your guitar collection. We are
both very impressed.
I'm getting to know the 0-18 and am
concentrating on my lost skill at fingerpicking. In
spite of what I said about liking the woody sound of old
strings I'd like to see what it sounds like with new
strings.
I would also like to try some different
gauges. I love the tone of this guitar as it is, but
have a need to know it's full dimension in tone. Thanks
again.
1957 Martin 00-18
The guitar arrived in good shape yesterday, and I am very
pleased. I changed the strings "just because" and see
why you like old strings on it.
New are fine, but it sounds more mellow
in a really nice way with the old. It's a nice little
guitar.
1957 00-18
I got the guitar and unfortunately I'm going to return
it. I do apologize for any inconvenience.
Again I apologize but I'm just not
falling in love with it and It's a large purchase for me so in
the end I want to feel comfortable about spending this amount
of money.
Also, as much as i like the overall
tone the feel was not what i expected and really the only way
to decide on that aspect, as we all know, is to hold it and
play it.
I'm looking forward to staying in touch
on what you might have available in the future. Thanks
again for all of your help. I can box it up pretty
quickly so just let me know what works best for you.
Thanks again.
1962 Martin 000-18
Hello Robert, I truly hope all is well with you. We
really enjoyed visiting with you a few weeks ago. I am writing
this brief note to tell you that the 000-18 has opened up
nicely and sounds great!
So, thanks again. I will be in touch.
As discussed, I would love to get together again in the future
– a. to let you see and hear how the guitar has responded to
regular/daily playing and
b.Pictures of the 000-18 and possibly
my other cherished guitars? For a fee of course
:0) Take care.
1966 Martin D-35
Guitar arrived in one piece! I always worry about
transport. The guitar is beautiful and very easy to play
-- most impressive.
I love the sound -- first one I have
played from the 60s but I have played many from the early
70s-- this one sounds better to my ears, warm yet very clear
string to string.
The dreadnaught is a change for me, a
different size -- and very comfy to play). I was able to
slip a mirror inside and it looks very clean to me.
Thanks again, I feel privileged to own the D-35.
I will look to give a call when I am
coming back thru on the last week in July. Just talking
about old martins is fun. Hope you have a good visit
with your Dad this coming week.
Martin /Wurlitzer
The guitar arrived today in perfect shape, (great packing
job!) and i just wanted to let you know that it was here, safe
and sound.
I have spent some time with the guitar
and i must say, it has a great voice and is very enjoyable to
play... It almost seems to play its self.
1937 Gibson Roy Smeck Stage Deluxe
The 37 Smeck came home yesterday. Dave (Bromberg) and I
unpacked it after woodshed and the work is really
GREAT... Too soon to say about it's voice yet, but it
plays very nice...
Played it Thursday. It sounds great & the cut down
neck is a LOT more comfortable!
vintagemartin.com
To See Robert Corwin's Classic Photography of Folk and
Roots Musicians, visit:
