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 category of a mere “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 skilled artisans; and, above all, the ideal balance of tone that the Dreadnought body shape can achieve.

Everything a player spends a lifetime striving for—every “dream” they hold—is condensed into this single instrument.

When discussing the history of the D-45, the “Pre-War” models are an indispensable part of the story. Only 91 instruments were produced between 1933 and 1942. However, their illustrious history was suddenly cut short by the shadow of World War II.

As the 1940s began, 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 the 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 assumed the presidency. Perhaps due to his strong aesthetic belief that “modesty and simplicity are the true hallmarks of a guitar’s elegance,” Martin did not venture into reproducing its 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 figure passed down through the generations as a “legend.”

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, Martin has launched an unprecedented project: “Project 91.”

The “91” in this project’s name refers to the total number of pre-war D-45s ever produced. Martin has thoroughly researched the specifications and unique characteristics of each of the 91 original instruments and is striving to reproduce the features specific to their serial numbers as faithfully as possible using modern technology.

The models that have been unveiled 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—which involves studying original models scattered across the globe and recreating them using modern technology—is expected to span several years. Perhaps one day, we’ll even be reunited with that cherished D-45 we once held in our hands through this project. When I think about that, I can’t help but feel a deep sense of how rich the history of vintage guitars is—and how it continues to be updated even now.

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

Hacalanda-spec instruments, typified by pre-war models, possess the lustrous tone and bottomless, deep bass characteristic of pre-war Martins. They have a depth akin to the deep ocean and produce rich harmonics that fully bring out every nuance of the player’s fingertips. I believe the rich, resonant 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 featuring Indian rosewood offer excellent attack, a more balanced and rich mid-low range, and the dazzling high frequencies characteristic of Martin guitars.It is precisely because of the merits of these Indian rosewood models—their “delicate yet brilliant tone”—that countless top artists have chosen them as their stage companions. It is this refined 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 cemented 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, Martin’s launch of “Project 91” holds tremendous significance in today’s climate, where the situation surrounding this wood is more challenging than ever.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.

Going forward, 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 boundaries of the wood’s individual characteristics 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 examine the details of past D-45 models, we feel the weight of history—how Martin has evolved the guitar to meet the needs 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 a “dramatic yet invisible change.”

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. Nevertheless, Martin consistently continued to use non-adjustable truss rods (such as T-bars and square rods) until 1985.

Part of the reason for this was likely the fact that, much like with violins, they possessed an established repair technique known as “neck resetting.” Above all, however, I believe it stemmed from an absolute pride in traditional craftsmanship and the “commitment to sound” that it entailed.The fact that they remained steadfast in their own approach, refusing to be swayed by conventional wisdom or the ease of adjustment, is of immense significance. That is precisely why their transition to adjustable rods in 1985—though invisible 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 instruments with square rods produce a robust, full-bodied tone with a strong core, those with adjustable rods give the impression of a supple, well-balanced sound that is very easy to work with.

What’s interesting is that in the 1990s, after the adjustable rod had become standard, a limited number of models with square rods were produced—perhaps driven by a strong nostalgia for the 1970s D-45. This shows just how deeply Martin’s tradition and attention to detail 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 reflecting on why a particular D-45 produces the sound it does.

I hope you’ll enjoy exploring this rich history in the D-45 Gallery featured later in this article.

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

Its dazzling ornamentation gives it an overwhelming presence. It also offers the deep bass that underpins the music and the brilliant treble that cuts through any 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 companion in the lives of many artists and guitar enthusiasts. However, even though we simply call it the “D-45,” its character and tone have never been the same—from the pre-war models of the 1930s through the reissue era and up to the present day.

At Advance Guitars, we have handled numerous D-45s over the years and have engaged 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 that truly justifies its reputation as “the world’s finest.”

Now, please take a look at the precious D-45s we’ve had the privilege of handling. “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’ll delve deeper into its supreme charm.

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 still exist, and since most are owned by major artists or collectors, it is extremely rare for one to 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—slightly narrower than the 1 11/16" or 1 3/4" nuts that were standard for Martin guitars in 1939. Country artist Wilma Lee Cooper once owned this guitar and had it repaired and restored by Sho-Bud in Nashville.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 certainly be considered 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 inspections than any other Martin model—regarding materials and quality control—and as a result, production numbers were low, and only highly skilled craftsmen were permitted 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—unlike Gibson’s—giving it a texture where the finish appears to have settled into the wood.Furthermore, the Japanese abalone used for the inlays features exceptionally fine chips, giving it 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 the awe-inspiring presence and mysterious aura found only in the finest vintage instruments, making it a truly remarkable specimen.Manufactured in 1942—the final year of production for the original D-45—it features an ebony truss rod, a specification adopted due to metal shortages during World War II. Weighing a light 1.88 kg, it offers a stress-free, free-spirited tone that is truly delightful. A true masterpiece and a miracle among Martin freaks.

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: 43 mm

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’s team of artisans and has the appearance of a true work of art.

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

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