The History of the Martin D-45
Why Is It Called “The World’s Finest Acoustic Guitar”?

When described as “the pinnacle of acoustic guitars,” the Martin D-45 is the first name that comes to mind.

Why is it revered as such a special instrument? The reason lies in its perfection as an instrument and its historical background, which transcend the mere label of “high-end guitar.”

The D-45 was born as a "flagship model" that brings together all of Martin’s technical expertise and is crafted with the utmost luxury. It features carefully selected, top-grade woods; intricate inlay work by master craftsmen; and, above all, the ideal tonal balance achievable within the Dreadnought body shape.

Everything a player spends a lifetime pursuing—every "dream"—is condensed into this single instrument.

When discussing the history of the D-45, one cannot overlook the “Pre-War” models. Only 91 instruments were produced between 1933 and 1942. However, this illustrious history was suddenly cut short by the shadow of World War II.

By the 1940s, Martin faced harsh realities under wartime conditions. In addition to severe shortages of materials such as metal and wood, the cessation of imports from Japan—the primary source of mother-of-pearl essential for inlays—was a major factor that made D-45 production difficult.In 1943, production of the Style 40 series guitars, characterized by their lavish inlays, came to an end, and the D-45 was temporarily retired.

After the war, around 1945, Frank Henry Martin III took over as president. Perhaps due to his own strong aesthetic belief that “modesty and simplicity are the true elegance of a guitar,” Martin did not venture into reproducing high-end guitars with ornate decorations for a long time after the war.As a result, the luxurious pre-war D-45 disappeared from the market and became a legend passed down through the ages.

This historical context is one of the reasons why the pre-war D-45 holds such special value and commands such high prices today.

And now, as if to further fuel the story of the pre-war D-45, an unprecedented project has been launched at Martin. It is called “Project 91.”

The number “91” in this project refers to the total number of pre-war D-45s ever produced. Martin has thoroughly researched the specifications and individual characteristics of the 91 original instruments and is striving to reproduce the features of that era—as faithfully as modern technology allows—based on their serial numbers.

The models announced so far are truly worthy of being called “modern reissues of legends.” For example, efforts continue to unravel the history carved by the craftsmen of the past, one by one—such as recreating the Gene Autry specification that marked the beginning of the D-45, and reviving the rare 1936 D-45S with its large body.

Each guitar is unique, and this grand journey—involving the study of original models scattered across the globe and their recreation using modern technology—is expected to be a project spanning several years. Perhaps one day, we will be reunited with that cherished D-45 we once held through this project. When I think of this, I cannot help but feel a deep sense of how rich the history of vintage guitars is, and how it continues to be updated in real time.

The reason the Martin D-45 continues to captivate so many players as the “ultimate acoustic guitar” is not simply due to a specific type of wood. However, when discussing the history of vintage guitars, the presence of “Brazilian rosewood” is an essential topic that cannot be ignored.

Hackalanda-spec models, typified by pre-war models, possess the lustrous tone and bottomless depth of bass characteristic of pre-war Martins. They have a depth akin to the deep ocean, producing rich harmonics that fully bring out every nuance of the player’s fingertips. I believe the rich, resplendent sound produced by this rare, prized wood is the sound many guitarists dream of.

On the other hand, the D-45 models made with “Indian rosewood”—which became mainstream after 1970—are by no means mere substitutes for Brazilian rosewood. Models crafted from Indian rosewood feature excellent attack, a more balanced and rich mid-low range, and the characteristic Martin brilliance in the high frequencies.It is precisely because of the merits of this Indian rosewood model that countless top artists have chosen it as their stage companion, seeking its “delicate yet brilliant tone.” It is this sophisticated tonal balance—which transcends the “vintage” label and fits perfectly into the musical landscape of its era—that has broadened the appeal of the D-45 model and established its unshakable status.

Today, partly due to strict import and export regulations under the Washington Convention, the opportunity to encounter a D-45 made with Brazilian rosewood has become extremely rare. While Brazilian rosewood has been used in a very small number of custom models since the 1980s, the fact that Martin launched “Project 91” in the present day—when the situation surrounding this wood is more severe than ever—holds tremendous significance.In this grand endeavor to revive the legendary 91 guitars, the fact that rosewood has once again been chosen as the material makes me feel that the significance of creating a rosewood guitar in the modern era is all the more precious.

In the future, the opportunity to actually see or hold a D-45 made with Brazilian rosewood will become an even more elusive and rare experience than ever before. However, the essence of the “D-45”—a masterpiece loved across eras and specifications—effortlessly transcends the framework of the wood’s individual character and, as the very pride of the Martin brand, will continue to captivate many players for years to come.

While the D-45 continues to reign as the pinnacle of acoustic guitars, a deeper dive into its history reveals a constant process of trial and error in its invisible internal structure and finer details.

Every day, as we observe the details of successive D-45 models, we feel the weight of history—how Martin has evolved the guitar to meet the demands of players in each era while preserving the “sound of the golden age.”

While this isn’t limited to the D-45, the evolution of the truss rod stands as a prime example of these “dramatic, yet invisible changes.”

Nowadays, an adjustable truss rod—which allows for the adjustment of neck curvature—is considered a standard feature on acoustic guitars.In fact, this groundbreaking mechanism had already been invented by Gibson in the 1920s. Despite this, Martin continued to use non-adjustable rods (such as T-bars and square rods) consistently until 1985.

One reason for this was likely the fact that they possessed an established repair technique known as “neck resetting,” similar to that used for violins. However, above all, I believe it stemmed from an absolute pride in traditional craftsmanship and the “commitment to sound” that it entailed.The fact that they did not succumb to conventional wisdom or the ease of adjustment, but steadfastly adhered to their own style, is of immense significance. That is precisely why their transition to adjustable rods in 1985—though not visible from the outside—can be described as an extremely dramatic change in specifications.

When you actually play them side by side, you can definitely feel the difference in sound. While the square-rod model produces a robust, full-bodied tone with a strong core, the adjustable-rod model gives the impression of a supple, well-balanced sound that is very easy to handle.

What is interesting is that in the 1990s, after the adjustable rod had become standard, limited-edition models with square rods were produced—perhaps driven by a strong nostalgia for the 1970s D-45. This demonstrates just how deeply Martin’s tradition and dedication live on in the hearts of its users and are cherished.

Whether it’s the rich, deep resonance of pre-war models or the refined tonal balance of modern ones, the reasons for these characteristics are all hidden in the subtle details of the actual instruments. I believe there is a special joy in comparing the differences across eras and pondering why a particular D-45 produces the sound it does.

I hope you will enjoy exploring this accumulation of historical details in the D-45 Gallery described below.

It has always been the top artists leading the way in each era who have made the D-45’s name known throughout the world. Starting with the pioneer Gene Autry, countless legendary musicians have taken up the D-45 and woven together historic masterpieces.

An overwhelming presence thanks to its ornate decoration. And the depth of the low end that supports the music, along with the brilliance of the high end that cuts through an ensemble. I believe the reason artists chose this guitar was not simply because of its luxurious appearance. It was undoubtedly the “ultimate instrument” for expressing their souls through sound and delivering them to the audience.

The “D-45” is a guitar that continues to captivate players even as the times change, and it remains the best partner to accompany the lives of many artists and guitar enthusiasts. However, even when we simply say “D-45,” its character and tone are by no means the same across the spectrum—from the pre-war models of the 1930s, through the reissue era, and up to the present day.

At Advance Guitars, we have handled countless D-45s over the years, engaging deeply with each and every one. The more closely we examine the details, the more we see a history of relentless challenge and evolution by master craftsmen—a history worthy of the title “world’s finest.”

Now, please take a look at the precious D-45s we have handled over the years. “Even with the same model name, can individual instruments really differ so much in character depending on the year they were made and their history?”

Through this gallery, we delve deeper into its supreme appeal.

A historic instrument restored over the course of eight years by T.J. Thompson, the world’s most famous luthier. The first D-45 was built in 1933 on commission from country singer Gene Autry, and 91 were manufactured by 1942.It is said that only about 70 of these guitars remain in existence, and since most are owned by major artists or collectors, they rarely come up for sale. Among these original D-45s is a model named the 'D-45S'; the 'S' in the model name stands for "Special Order," and a total of seven D-45S guitars were produced. This instrument is one of them.

The original owner of this guitar specified a 1 5/8" nut width, which was slightly narrower than the standard 1 11/16" or 1 3/4" used by Martin at the time (1939). Country artist Wilma Lee Cooper once owned this guitar and sent it to Sho-Bud in Nashville for repairs and restoration.At that time, the top was reportedly too thin to support the tension of the strings. The next owner sent the guitar to renowned luthier T.J. Thompson, who performed extensive repairs to restore it to a playable condition. The process took a full eight years, and the repair costs alone reportedly amounted to several million yen. It can be said to be a valuable model when discussing pre-war D-45s.

TOP: Adirondack Spruce
BACK & SIDES: Brazilian Rosewood
NECK: Mahogany
FINGERBOARD: Ebony
TUNERS: Closed Grover G-111 Tuners (Gold)
NUT WIDTH: 41.3 mm (1 5/8")

This is also an extremely rare original D-45—the ultimate instrument.

At the time, the '45' series was subject to stricter checks on materials and quality control than any other Martin model, resulting in a limited production run and allowing only the most skilled craftsmen to build them. The Brazilian rosewood used for the sides and back on pre-war models features exclusively straight-grained wood, and the weather checking on the finish is unique compared to Gibson guitars, giving it a texture that appears as though the finish has settled into the wood.Furthermore, the Japanese abalone used for the inlays features exceptionally fine chips, resulting in a luster that is completely different from that of more recent models. The D-45 was reintroduced in 1968 and remains Martin’s flagship model, continuing to influence numerous manufacturers and luthiers to this day. The sound achieved through the finest materials and Martin’s exceptional craftsmanship is transcendent in every way, producing a rich and brilliant tone.

This instrument was originally owned by Jimmie Dolan, a country musician from California who enjoyed great success in the 1950s. Having been cherished by a professional musician for many years, it resonates exceptionally well. Furthermore, its rugged appearance exudes a sense of awe and a mysterious aura that only the finest vintage instruments possess, making it a truly remarkable piece.Built in 1942, the final year of production for the original D-45, this model features an ebony rod—a modification made due to metal shortages during the war. Weighing a light 1.88 kg, it offers a stress-free, free-spirited tone that is truly delightful. A true masterpiece and a miracle of the Martin Freak.

TOP: Adirondack Spruce
BACK & SIDES: Brazilian Rosewood
NECK: Mahogany, Ebony Truss Rod
FINGERBOARD: Ebony
BRIDGE: Ebony
TUNERS: WAVERLY
NUT WIDTH: 42.3 mm
WEIGHT: 1.88 kg
Soundhole to X-bracing: 43mm

Among the Martin D-45 models, the one that exudes a particularly luxurious aura is the "Tree of Life." This model is crafted by the Martin Custom Shop team of artisans and has the appearance of a true work of art.

The Tree of Life is sometimes released as a limited edition, and depending on the year of production and concept (such as Martin’s anniversary commemorations or custom models featuring the body), there are individual instruments with various inlays. Each model is an extremely rare piece that is not produced as part of the regular lineup.

Take a look at the decorations added to the D-45.

Summary

The D-45 originally began as a custom order for Gene Autry. Later, members of CSN&Y used the D-45, and inspired by them, artists such as Kazuhiko Kato and Mamoru Horiuchi began using the D-45 on stage. Its dazzling tone, distinct from previous Dreadnoughts, undoubtedly astonished many artists and Martin fans alike.The vertical logo, hexagon inlays, and the elegantly gleaming body decorations captivated viewers and likely inspired the desire to “one day buy and play a D-45.”

Following in their footsteps, artists such as Kiyoshi Taguchi, Masashi Sada, Kosetsu Minami, and Konosuke Sakazaki came to own D-45s, and even today, the D-45’s tone lives on through the recordings and performances of many artists. The “D-45”—even as the times change—remains an object of desire and a legendary guitar that continues to captivate players.

At Advance Guitars, we draw on this rich history to share the allure of the D-45 with you through our actual instruments.
Please be sure to try out the D-45 when you visit our store. Hearing its sound in person will undoubtedly open up a whole new world of the D-45 for you.

A Word from the Author : “The D-45 now?” I used to think that way myself. However, having handled numerous D-45s—including pre-war models—I now want to take a fresh look at this model, which represents the pinnacle of acoustic guitars. When examined in detail, there is still a continuous stream of discoveries to be made. Writing this article was a truly rewarding experience.

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