The Appeal of the Martin Shaded Top and Rare Vintage Models

The Martin Dreadnought is the greatest icon in the world of acoustic guitars. Among them, the four models—the D-45, D-28, D-35, and D-18—are almost always present at moments that change history. Surely, many people have experienced a turning point in their lives thanks to the tones produced by these guitars in the hands of artists. You’ve likely seen Dreadnoughts in various settings—at live shows, on CD covers, in magazines, and at music stores.

“By the way, what color was that guitar?” Is
that a silly question? Of course, it’s natural, isn’t it? However, in this world, there is always a front and a back, light and shadow. Did you know that lurking in the shadows of that color—which you might have taken for granted—lies the existence of the extremely rare “Shaded Top”?

Today, even if you searched all over Japan, you’d be lucky to find one or two. Today, even if you searched the entire world, you’d surely be able to count the number on one hand—if that.For this column, we’ve gathered eight Martin 【Shaded Top】 guitars—not modern reissues, but the original models that defined their era. A project TCGAKKI has been planning for years has finally come to fruition. I can state this with absolute certainty: as I write these words, at this very moment, we have become the music store with the world’s largest collection of vintage 【Shaded Top】 guitars. Allow me to introduce this collection of 【Shaded Top】 guitars, all gathered in one place.

What Is a Martin Shaded Top?

First, what is a 【Shaded Top】?

The easiest way to explain what a “Shaded Top” is to guitar players is to call it a “Sunburst.” While Martin acoustic guitars traditionally feature a natural finish, the “Shaded Top” has existed since the 1930s—the pre-war era commonly known as the Golden Era.While “Sunburst” was a standard color at rival Gibson, “Shaded Top” was offered as an option at Martin.
“Sunburst” was common at Gibson, and there’s a historical reason for that. Gibson’s history began in the 19th century with mandolin making.Their iconic F-5 model featured a finish reminiscent of the “Sunburst” from the very beginning. Although the F-5 is a flat mandolin, it has a gently arched top and F-holes. Since the flat mandolin itself is modeled after the violin, its finish was also influenced by the violin.

Later, Gibson expanded its market share with arched-top guitars. Drawing on the aforementioned techniques, these instruments—with their arched bodies and F-holes—embodied violin-like characteristics and were finished with the “Sunburst” design.As history progressed, Gibson made great strides with flat-top guitars, and naturally, flat-top models featuring the “Sunburst” finish appeared. The historical evolution of the instruments they produced naturally led to the establishment of the “Sunburst” culture at Gibson.
Martin, on the other hand, although it did produce mandolins for a time, was fundamentally focused on guitar manufacturing from the start—a culture derived from the classical guitar.The smaller, so-called “New York-style” guitars of the 19th and early 20th centuries also naturally adopted a natural finish.
Even the gradients reflect the distinct tastes of each company. Gibson’s “Sunburst” features an elliptical pattern that extends from the soundhole toward the endpin, whereas Martin’s “Shaded Top” features a design with a square impression that follows the contours of the body.

The D-45
, Style 45. This designation is reserved exclusively for guitars crafted only from the highest-quality wood deemed suitable—and built solely by select, master craftsmen. It remains Martin’s top-of-the-line model. Production of the flagship D-45 accounts for just about 1% of Martin’s total guitar output.

1975 D-45 Shaded Top

First up is the [Shaded Top]. If you view this model as a reference point for comparison, you’ll be able to appreciate the variations in color between individual instruments.The previous year, 1974, is considered the final year for German spruce tops, and starting with this 1975 model, Sitka spruce was adopted. Martin does not maintain specific records regarding top wood, and in reality, multiple types of spruce—primarily German spruce—were used up until the previous year; it appears there were irregularities in the wood selection even in the years immediately before and after. A total of 192 D-45s were produced in 1975.

1976 D-45 Shaded Top

The “Shaded Top” featured here is characterized by the strongest reddish hue among the eight models introduced. The balance of the color gradient is exceptional in both the neck and endpin directions, and the relative color tones are truly beautiful—
it’s literally mesmerizing. When people think of 1976 at Martin, many likely picture the D-76, the commemorative model marking the 200th anniversary of the United States.It was an era when the music scene was booming—not just at Martin, but across the entire music industry—and, of course, the 【Shaded Top】 was also being produced. In 1976, annual production of the D-45 exceeded 200 units for the first time, reaching 256. Just how many 【Shaded Top】 models were produced that year? As a side note, the following year, 1977, saw a strike, and D-45 production dropped to a mere 76 units.

1979 D-45 Shaded Top 1/2

Here, we can compare two 【Shaded Top】 models from the same year that exhibit contrasting color tones. Due to the aging process unique to lacquer-finished instruments, one features deep, rich coloring along the edges and a substantial appearance, while the other shows significant fading even among the eight instruments in this group, resulting in the palest hue. This bright, pop-art-like appearance, in a sense, defies the typical image of a 【Shaded Top】.The way their appearance changes depending on usage and storage conditions is one of the joys of owning a vintage instrument. There’s no “better” option—it’s a matter of personal preference—but it’s rare to be able to compare two 【Shaded Top】 D-45s from the same model year side by side.
This is from 1979, a transitional year. The 【Shaded Top】 with the deeper color features Schaller tuners, which were introduced later, while the lighter 【Shaded Top】 features Grover tuners, which were used in the final year of production.

1979 D-45 Shaded Top 2/2

In 1979, the D-45 set a record for its highest annual production total ever, at 291 units. Incidentally, a strike occurred at Martin in the previous year, 1978. Partly due to this, production of the 1978 D-45 totaled a mere 40 units.It’s speculated that in 1979, Martin may have coincidentally had a stock of wood that couldn’t be used the previous year. Although production numbers seemed to stabilize after that, three years later—in 1982—the total plummeted to a mere 45 units. This was an era when whatever was produced would likely sell out. The standards for wood selection remained extremely high, and compromising to increase production volume was simply not an option for Martin. Even at its all-time high, the total production was only 291 units worldwide, underscoring its enduring rarity.

1983 D-45 150TH Shaded Top

All guitars produced in this year—Martin’s 150th anniversary—feature a branded stamp. Commemorative models designed by Martin bear a square label, while custom-ordered instruments feature an oval label. As you can see in the photo, this is a custom-ordered instrument with an oval label.The headstock, fingerboard, pickguard, bridge, and even the heel cap are lavishly adorned with stunning inlay work. It is truly a collector’s item.
The 【Shaded Top】 design complements this inlay work beautifully. The edges feature a strong color contrast, and the three-tone color scheme is exquisite.As if by design, the grain and texture of the sides and back perfectly match the “Shaded Top” and the inlays, further enhancing the sense of luxury. While it remains unclear who placed this order with these specifications or under what circumstances, the finished product is nothing short of art—a testament to superb taste. While the basic specifications are the same as those from the 1970s, this model is equipped with Schaller tuners. A total of 74 D-45s were produced in 1983.

“D-45 Shaded Top Inventory List”

D-28

The D-28 first appeared in 1931. Based on a guitar originally built as a custom order for Dittson, two prototype models were created: the D-1 with a mahogany body and the D-2 with a rosewood body. These would later become the D-18 and D-28.

The D-28 has undergone numerous design changes from its inception to the present day. In 1944, the bracing was changed from scalloped to standard. In 1946, the fingerboard inlays were changed from slotted diamonds to dots.In 1947, the bracing pattern changed from herringbone to stripes. Furthermore, the back inlay changed from a zigzag pattern to a block pattern. Although there were subsequent changes to the pickguard styles and bridge, the most significant change—and the one most widely recognized—was the switch from Brazilian rosewood to rosewood in 1969.

1953 D-28 Shaded Top

Comparing these eight guitars, this one stands out as the most distinct and memorable example of the “Shaded Top” design. The black border is clearly visible, and the “Shaded Top” itself is quite wide.While vintage Martin collectors eagerly seek out D-28s with herringbone inlays from before 1944, there’s a widely accepted saying among vintage Martin players: “The D-28s from the 1950s are the best.”This era coincides with a time widely regarded as the most vibrant and iconic in American history, and these guitars are highly regarded for both their materials and craftsmanship. Featuring a long-saddle design, Kluson tuners with covers, and beautiful straight-grained rosewood on both the back and sides, this is a top-tier D-28—and a 【Shaded Top】 at that—that is in a completely different league from modern models. You may never come across another one like this. Only 675 of these 1953 D-28s were produced.

“D-28 Shaded Top Inventory List”

D-35

The D-35, released in 1965, is distinguished by its three-piece back construction. Three layers of rosewood are intricately laminated with maple and rosewood to form a three-layer structure. This finish successfully balances aesthetic appeal with structural integrity.Although the three-piece construction was originally conceived during World War II as a way to conserve Brazilian rosewood due to resource shortages, combined with changes in the bracing, the D-35 produced a tone distinct from the standard D-28 of the time, helping it attract a new fan base.

Its soft, mellow sound was a perfect match for the folk music boom, and the D-35 enjoyed immense popularity in Japan during the 1970s, with many professional musicians choosing to play it.

1975 D-35 Shaded Top

This guitar features a “Shaded Top” with a slightly narrower appearance, even though the color of the edging remains distinctly deep. It’s the kind of subtle difference in appearance you only notice when viewing several models side by side. The coloration beautifully captures the vibrant character of the original “Shaded Top.” The
high-midrange response is pleasant, and when playing arpeggios, it truly makes you appreciate why the D-35 is so highly regarded.The rich, full-bodied sound characteristic of that era conveys a sense of volume while remaining refined; the overall impression is delicate and exceptionally well-balanced. Depending on the player’s emotion, it can handle everything from dynamic performances to subtly supporting gentle melodies. This is a guitar that lets you experience the ultimate in luxury. A total of 6,260 D-35s were produced in 1975.

“D-35 Shaded Top Inventory List”

D-18

The D-18 was introduced in 1931 alongside the D-28. While the D-28 is a well-balanced guitar suited for chord playing with powerful mid-to-low frequencies, the D-18 is characterized by its delicate and sparkling high frequencies. A well-played-in D-18 leads many professional musicians to say, “If you’re going to choose a Martin, the D-18 is a must.”

In fact, among the musicians who have used the D-18, a particularly famous example is Elvis Presley, who was just starting out at the time. Also, while Eric Clapton is often associated with the Triple-O, he reportedly uses the D-18 frequently in the studio because he likes the way it sounds on the mic. That famous song you hear on your CD? It’s actually the sound of a D-18.

1975 D-18 Shaded Top

Although the “Shaded Top” finish is similar in character to that of the D-35 mentioned earlier, the color along the edge is slightly lighter here, with a hint of reddish tones. The color range is also slightly narrower. Coincidentally, since the sides and back are made of mahogany, this slightly paler shade seems to complement them well.Including the rosewood bridge and fingerboard, the overall color has a distinct character compared to other 【Shaded Top】 models.
The weather checking on the top, resulting from aging, is just right and creates an exquisite balance with the 【Shaded Top】 finish. Only 3,069 units of the 1975 D-18 were produced—roughly half the number of D-35s.

“D-18 Shaded Top Inventory List”

In Conclusion

Although Martin and Gibson were rivals, it’s reasonable to believe that both companies developed together precisely because of a competitive spirit where each sought to keep up with and surpass the other’s growth. During the era when Martin’s flat-top guitars began to spread worldwide, Gibson added the 【Natural】 finish to its J-35 flat-top guitar in 1941, while Martin added the 【Shaded Top】 as an option for the D-28 as early as 1935.

Gibson’s “Sunburst” represents “sunlight,” while Martin’s “Shaded Top” represents “shade.” It may have been fate that these names, which coincidentally pointed to their relationship, were chosen.

Author: Inoue, Store Manager at Advance Guitars – Vintage Guitar Expert

An expert who has been involved with musical instruments since childhood and has appraised and sold over several thousand vintage guitars. He maintains strong connections with collectors and dealers overseas. Guided by the belief that “the history of a guitar can change with a single color or stamp,” he strives to provide detailed and passionate commentary.

Qualifications and Achievements: 8 years as a musical instrument appraiser; contributor

and editor for Guitar Magazine and other publications

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