Martin Shaded Top

The Martin Dreadnought, the greatest icon in the acoustic guitar world. Among them, the D-45, D-28, D-35, and D-18 models are almost always present at moments that change history. How many people have reached turning points in their lives, moved by the sound produced by the very guitars held by artists? You've likely seen the Dreadnought in countless situations: at live shows, on CD covers, in magazines, and in music stores.


"By the way, what color was that guitar?"
Is this a silly question? Of course it's natural. Yet in this world, there exists both surface and shadow, light and darkness. Did you know that in the shadow of that color you took for granted lies the existence of the rare Shaded Top?


Today, even if you scoured all of Japan, you'd find maybe one or two. Today, even if you scoured the entire world, you'd surely find only a handful, if any. This column features eight Martin guitars boasting the legendary Shaded Top finish—not modern reissues, but original instruments representing their era.TCGAKKIA long-cherished plan has finally come to fruition. I can state this with absolute certainty. At this very moment, as I write these words, we have become the world's premier vintage 【Shaded Top】 guitar dealer. Allow me to introduce the 【Shaded Top】 guitars gathered here before us.

First, what is a Shaded Top?

For guitar players, the easiest way to explain what a Shaded Top is would be to say it's a Sunburst. While Martin acoustic guitars traditionally feature a natural finish as standard, the Shaded Top existed even before the war, dating back to the 1930s, commonly known as the Golden Era.While [Sunburst] was a standard color option at rival Gibson, [Shaded Top] was offered as an optional feature at Martin.
The Sunburst finish was common at Gibson. There's historical context behind it. Gibson's history began in the 19th century with mandolin production.The iconic F-5 model featured a finish reminiscent of Sunburst from its inception. While the F-5 is a flat mandolin, it possesses a gently arched top and distinctive F-holes. Given that the flat mandolin itself is derived from the violin, its finish was also influenced by the violin.

Gibson subsequently expanded its market share with arched-top guitars, but the aforementioned technology was put to use, resulting in instruments featuring an arched body and violin-like F-hole specifications, finished in the iconic Sunburst.History progressed further, and Gibson made a major leap forward with flat-top guitars. Naturally, flat-top models featuring the Sunburst coloring appeared. The vertical history of the instruments they handled naturally established the Sunburst culture within Gibson.
On the other hand, while Martin did produce mandolins for a period, guitar making was essentially their primary business from the start. It's a culture derived from classical guitars. Even the smaller guitars of the so-called New York style from the 19th and early 20th centuries naturally adopted a natural finish.
Each company's gradient also reflects their distinct aesthetic. Gibson's Sunburst features an elliptical shape leaning toward the endpin from the soundhole, while Martin's Shaded Top design has a square impression that follows the body's contours.

D-45
Style 45. This designation is reserved solely for guitars crafted from the highest quality wood deemed worthy upon arrival, and built exclusively by select master craftsmen. It stands as Martin's top-of-the-line model. Among these, the iconic D-45 represents only about 1% of Martin's total guitar production.

1975 D-45 Shaded Top

First, the Shaded Top model. By comparing it as a reference, you should be able to appreciate the individual color variations.The previous year, 1974, is considered the final year for German spruce tops. Starting with this 1975 model year, Sitka spruce was adopted. Martin does not maintain specific records regarding top wood, and in practice, multiple types of spruce—primarily German spruce—were used even in the preceding year. Irregularities also occurred in the model years immediately before and after. Production of the 1975 D-45 totaled 192 units.

1976 D-45 Shaded Top

The Shaded Top stands out as the most vividly reddish among the eight models introduced. The balance of its gradient is exceptional both toward the neck and the endpin, and its relative color tones are truly beautiful—literally mesmerizing.
When you think of 1976 at Martin, many will recall the D-76, a commemorative model for America's bicentennial. It was a time of great excitement not just for Martin but for the entire music industry, fueled by the rise of the music movement. Of course, the Shaded Top was also being produced. In 1976, the D-45 saw its annual production exceed 200 units for the first time, reaching 256.Just how many Shaded Tops were produced that year? As an aside, the following year, 1977, saw a strike, resulting in a mere 76 D-45s being made.

1979 D-45 Shaded Top 1/2

Two Shaded Top instruments from the same year, yet featuring contrasting hues, can be compared. The unique aging process of lacquer-finished instruments has resulted in one displaying a deep, rich appearance with pronounced edging tones.The other exhibits significant fading among the eight, resulting in the lightest hue. This bright, pop-like appearance offers a texture that, in a way, subverts the typical image of the Shaded Top. The changing appearance due to usage and storage conditions is one of the joys of owning a vintage instrument. There's no definitive "better" here—it comes down to personal preference. However, the opportunity to directly compare two Shaded Top D-45s from the same year is quite rare.
The transitional year of 1979. The darker-toned Shaded Top models feature Schaller machine heads, which would be installed thereafter, while the lighter Shaded Top models feature Grover machine heads, marking their final year of production.

1979 D-45 Shaded Top 2/2

In fiscal year 1979, the D-45 recorded its highest annual production to date at 291 units. Incidentally, Martin experienced a strike in the previous year, 1978. Partly due to this impact, only 40 D-45s were produced in 1978.It's possible that 1979 coincidentally had a stockpile of wood that couldn't be used the previous year. While production numbers seemed to stabilize after that, three years later in 1982, production plummeted to a mere 45 units. It was an era where whatever they made would likely sell. The bar for wood selection remained high, and compromising to increase production numbers was never an option for Martin. Even this record-high production of 291 units worldwide underscores the instrument's enduring rarity.

1983 D-45 150th Anniversary Shaded Top

All guitars produced in this year marking Martin's 150th anniversary feature a branded logo. Commemorative models designed by Martin bear a square label, while custom-ordered instruments feature an oval label. As seen in the photo, this is an oval-labeled custom-order piece. The inlay work is truly spectacular, applied lavishly to the headstock, fingerboard, pickguard, bridge, and even the heel cap. Truly a collector's item.
The Shaded Top beautifully complements the inlay work. Its strong edge coloring creates an exquisite three-tone effect.As if planned, the grain and texture of the sides and back perfectly match the Shade Top and inlay, further enhancing its premium feel. While it remains unknown who ordered this specific specification and under what circumstances, the finished product is nothing short of artistry—a testament to superb taste. While the basic specifications are similar to those of the 1970s, it features Schaller machine heads. Only 74 D-45s were produced in 1983.

D-28

The D-28 first appeared in 1931. At the time, it was a guitar produced as a custom order for Dittson Company.BassTwo prototype models were developed: the D-1 with a mahogany body and the D-2 with a rosewood body. These later became the D-18 and D-28.

The D-28 has undergone numerous design changes from its birth to the present day. In 1944, the bracing changed from scalloped to standard. In 1946, the fingerboard inlay changed from slotted diamonds to dots.In 1947, the inlay changed from herringbone to stripes. Additionally, the back's marquetry pattern changed from zigzag to block. Subsequent changes included variations in pickguard types and bridge modifications, but the most significant and well-known change was undoubtedly the switch from Brazilian rosewood to rosewood in 1969.

1953 D-28 Shaded Top

Comparing these eight examples, the most distinct and memorable image is this Shaded Top. The edging clearly shows black, and the Shaded Top itself is quite wide.While vintage Martin collectors universally seek pre-1944 herringbone D-28s, a widely whispered truth among vintage Martin players is that "the 1950s D-28 is the best."This coincides with America's most vibrant and symbolic era, and indeed, these guitars are highly regarded for both materials and quality. Featuring a long saddle specification, a covered Kluson tuner block, and beautiful straight-grained Brazilian rosewood for both the back and sides. An exceptional D-28, entirely distinct from its modern counterparts, and a Shaded Top at that. You may never encounter another like it. Only 675 D-28s were produced in 1953.

D-35

The D-35, released in 1965, features a three-piece back construction as its defining characteristic. Three rosewood pieces are intricately assembled into three layers with maple and rosewood, then bonded together. This finish achieves both decorative appeal and structural integrity.While the three-piece construction was conceived during wartime to conserve scarce Brazilian rosewood resources, combined with changes in bracing, the D-35 produced a distinct sound different from the standard D-28. This unique tone attracted a new fan base.

Its soft, gentle sound blended well with the folk boom, and the D-35 enjoyed high popularity in Japan during the 1970s, frequently used by professional musicians.

1975 D-35 Shaded Top

The rim's color remains richly deep, yet this piece gives the impression of a slightly narrower Shaded Top. It's the kind of visual difference you only notice when viewing multiple pieces side by side. This color beautifully captures the original Shaded Top's vibrant character, wouldn't you agree?
The midrange projection is exceptionally pleasing, and when playing arpeggios, you'll be reminded why it's the D-35. Its vintage-specific, rich and focused sound conveys a sense of volume while maintaining elegance, creating an overall impression of delicacy and superb balance. It handles everything from dynamic performances to the subtle accompaniment of gentle melodies, depending on the player's emotion. This is one guitar that lets you experience the ultimate in luxury. The production run for the 1975 D-35 was a remarkable 6,260 units.

D-18

The D-18, born alongside the D-28 in 1931. While the D-28 is a well-balanced guitar suited for chord playing with its powerful mid-to-low range, the D-18 is characterized by its delicate and sparkling high end. A well-played D-18 leads many professional musicians to say, "If you're choosing a Martin, you simply can't overlook the D-18."


Among musicians who actually used the D-18, the newly debuted Elvis Presley is particularly famous. Additionally, while Eric Clapton is associated with the Triple-O, he reportedly favored the D-18 for recording due to its microphone response. That famous song you hear on CDs? It's actually the sound of the D-18.

1975 D-18 Shaded Top

The appearance of the 【Shaded Top】 is similar to the aforementioned D-35's aesthetic, though the rim's hue here is slightly lighter with a hint of reddish tint. The color range is also slightly narrower. Coincidentally, the mahogany sides and back complement this slightly paler tone well. Including the rosewood bridge and fingerboard, the overall coloration offers a distinct character compared to other 【Shaded Top】 models.
The weather checking on the top from aging is just right, and the balance with the Shaded Top is exquisite. The 1975 D-18 saw production of 3,069 units, about half that of the D-35.

In closing

While Martin and Gibson are rivals, it is precisely their competitive drive to keep pace with and surpass each other's growth that has enabled both companies to develop together. During the era when Martin's flat-top guitars began spreading worldwide, Gibson added the 【Natural】 finish to its own flat-top J-35 model in 1941. Similarly, Martin added the 【Shaded Top】 as an option for the D-28 in 1935.


Gibson's "Sunburst" represents "sunlight," while Martin's "Shaded Top" represents "shade." It may have been fate that their names coincidentally pointed to their relationship.