Martin Shaded Top

The Martin Dreadnought is the greatest icon in the world of acoustic guitars. Among them, the D-45, D-28, D-35, and D-18 models are almost always present at moments that change history. Many people have experienced turning points in their lives thanks to the sounds produced by these guitars played by various artists. You've probably seen Dreadnoughts in a variety of situations: at live performances, on CD covers, in magazines, and in music stores.


"By the way, what color was that guitar?"
Is this a foolish question? Of course, it's natural, isn't it? However, in this world, there are two sides, light and shadow. Did you know that behind the colors you took for granted, there exists the extremely rare "Shaded Top"?


Even if you traveled all over Japan today, you might only find one or two of these. Even if you traveled all over the world today, you'd probably only find a handful. This column features eight original Martin Shaded Top models, not modern reproductions, but iconic pieces representing their respective eras.TCGAKKIOur long-awaited project has finally come to fruition. I can say this with absolute certainty: as I write this, we are now the music store with the largest collection of vintage Shaded Top guitars in the world. Let me introduce you to the Shaded Top guitars that we have gathered together.

First, what is "Shaded Top"?

For guitarists, the easiest way to explain what a "Shaded Top" is is to use the term "Sunburst." While Martin acoustic guitars traditionally feature a natural finish, the "Shaded Top" has existed since the 1930s, the so-called Golden Era. While rival Gibson offered "Sunburst" as a standard color, Martin treated "Shaded Top" as an option.
The "Sunburst" finish was common at Gibson. There's a historical background to it. Gibson's history began in the 19th century with mandolin making. Their flagship model, the F-5, featured a finish reminiscent of "Sunburst" from the very beginning.RecruitThe F5 is a flat mandolin, but it has a gently arched top and F-holes. Since the flat mandolin itself is based on the violin, its finish is also influenced by the violin.

Later, Gibson expanded its market share with arched-top guitars, again utilizing the aforementioned technology. These instruments featured an arched body with F-holes, giving them violin-like characteristics, and were finished in Sunburst. As history progressed, Gibson made great strides with flat-top guitars, and of course, flat-top models with Sunburst coloring appeared. The vertical history of the instruments they handled naturally led to the establishment of Sunburst culture within Gibson.
On the other hand, while Martin did produce mandolins at one point, their main business has always been guitar making. It's a culture derived from classical guitar. The small, so-called New Yorker-style guitars of the 19th and early 20th centuries all naturally have a natural finish.RecruitThis is how it will proceed.
Each company has its own distinct style when it comes to gradation. Gibson's "Sunburst" features an oval shape that is closer to the endpin than the soundhole, while Martin's "Shaded Top" has a more square-shaped design that follows the body's contours.

D-45
Style 45. This numbering is bestowed only upon guitars that are made with the highest quality materials deemed worthy and crafted by select, skilled craftsmen. It remains a top-of-the-line model within the Martin company. Among them, the flagship D-45 accounts for only about 1% of Martin's total guitar production.

1975 D-45 Shaded Top

First up is the "Shaded Top," which you can use as a baseline for comparison and appreciate the differences in color between individual guitars. 1974 was considered the last year for German spruce tops, and from this 1975 model year onwards, Sitka spruce was used.RecruitThis is the situation. Martin does not have specific records regarding the top wood, and in reality, several types of spruce, mainly German spruce, were used in previous years as well, and it seems that irregularities occurred in the years before and after as well. The production number of D-45s made in 1975 was 192.

1976 D-45 Shaded Top

Of the eight guitars we're showcasing, the "Shaded Top" stands out for its intense reddish hue. The gradation is perfectly balanced both towards the neck and the endpin, and the relative colors are truly beautiful—literally breathtaking.
When you think of Martin in 1976, many people will probably think of the D-76, a commemorative model for the 200th anniversary of the founding of the United States. With the rise of the music movement, it was a time when not only Martin but the entire music industry was in high spirits, and of course, the "Shaded Top" was also being manufactured. In 1976, the annual production of the D-45 exceeded 200 for the first time, reaching 256 units. I wonder how many "Shaded Top" models were produced in that year. As an aside, in 1977, due to the strike, the production of the D-45 was a mere 76 units.

1979 D-45 Shaded Top 1/2

You can compare two D-45s with "Shaded Tops" from the same year, each with contrasting color tones. Due to the aging process inherent in lacquer-finished instruments, one has a deep, rich appearance with a darker edge color. The other has faded more than the other of the eight, resulting in the lightest color. This bright, pop-like appearance, in a sense, overturns the image of a "Shaded Top." The way their appearance changes depending on the usage and storage environment is one of the joys of owning a vintage instrument. Neither is necessarily better than the other, so it's a matter of preference, but it's rare to be able to compare two D-45s with "Shaded Tops" from the same year side by side.
1979 was a transitional year. The darker-colored "Shaded Top" models were equipped with Schaller tuners, which would be used in subsequent models, while the lighter-colored "Shaded Top" models were equipped with Grover tuners, which would be used in the final year of production.

1979 D-45 Shaded Top 2/2

In 1979, Martin recorded its highest-ever annual production of 291 D-45s. Incidentally, a strike occurred at Martin in the previous year, 1978. Due to this, only 40 D-45s were produced in 1978. It is speculated that, by chance, there was a stock of wood that could not be used the previous year in 1979. Although production seemed to stabilize after that, just three years later, in 1982, only a tiny 45 were produced. This was a time when they could probably sell everything they made. The hurdle of selecting wood remained high, and compromising to increase production was not an option for Martin. Even with the highest production volume ever, only 291 guitars were produced worldwide, highlighting their enduring rarity.

1983 D-45 150TH Shaded Top

All guitars produced in this year, marking the 150th anniversary of Martin's founding, bear a brand mark. Commemorative models planned by Martin have a square label, while custom-ordered guitars have an oval label. As you can see in the photo, this is a custom-ordered guitar with an oval label. The inlay work is breathtaking, applied to the headstock, fretboard, pickguard, bridge, and even the heel cap. It is truly a collector's item.
The "Shaded Top" shines in its coexistence with the inlay work. The strong color of the edges and the exquisite three-tone color scheme are superb. As if by design, the wood grain and texture of the sides and back match the "Shaded Top" and inlay, further enhancing the sense of luxury. It is unknown who ordered these specifications at the time or under what circumstances, but this finish is nothing short of art, a testament to superb taste. The basic specifications are the same as in the 1970s, but it is equipped with Schaller tuners. Only 74 D-45s were produced in 1983.

D-28

The D-28 first appeared in 1931. At that time, it was a guitar made to order by the Ditson company.BassTwo prototype models were created: 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 many design changes since its inception. In 1944, the bracing changed from scalloped to standard. In 1946, the fretboard inlays changed from slotted diamonds to dots. In 1947, they changed from herringbone to stripes. Furthermore, the marquetry on the back changed from zigzag to block. There were also changes to the pickguard type and bridge afterwards, but perhaps the most significant change is the famous 1969 change from Brazilian rosewood to rosewood.

1953 D-28 Shaded Top

Comparing these eight guitars, this one stands out with its clearest and most impressive "Shaded Top." The black trim is clearly visible, and the "Shaded Top" is quite wide. While vintage Martin collectors flock to herringbone D-28s from before 1944, it's often whispered among vintage Martin players that "the 1950s D-28 is the best." This era, symbolic of America's most vibrant period, is also highly regarded for its materials and quality. It features a long saddle, covered Kluson tremolos, and beautiful straight-grained Brazilian rosewood for both the back and sides. This is a superb D-28, completely different from modern models, and it's a "Shaded Top." You may never see another one like it. Only 675 D-28s were produced in 1953.

D-35

The D-35, released in 1965, is characterized by its three-piece body back. Three pieces of rosewood are meticulously interwoven and glued together in three layers with maple and rosewood. This finish combines decorative appeal with structural integrity. The three-piece construction was conceived during wartime due to resource shortages and the need to conserve Brazilian rosewood. However, along with changes in bracing materials, the D-35 produced a different tone from the standard D-28, attracting a new fan base.

The D-35's soft, gentle sound was a good match for the folk boom, and it was very popular in Japan in the 1970s, with many professional musicians using it.

1975 D-35 Shaded Top

While the edging retains a rich, deep color, the width of the "Shaded Top" is slightly narrower on this particular pen. It's only when you compare several pens side-by-side that you notice the subtle differences in appearance. This color beautifully captures the vibrant impression of the original "Shaded Top."
The high-mids are pleasantly prominent, and when playing arpeggios, it truly lives up to its D-35 reputation. The thick, solid sound characteristic of that era gives a sense of volume, yet it's refined, and the overall impression is delicate and exceptionally well-balanced. Depending on the player's mood, it can handle everything from dynamic playing to providing a gentle backdrop for melodies. This is a guitar that allows you to experience the epitome of luxury. A staggering 6,260 D-35s were produced in 1975.

D-18

The D-18, born in 1931 alongside the D-28, is a guitar well-balanced and suited for chord playing, while the D-28 is characterized by its powerful mid-low range and delicate, sparkling high frequencies. A well-played D-18 is often described by many professional musicians as "a must-have if you're going to choose a Martin."


In fact, among musicians who used the D-18, Elvis Presley in his early career is particularly famous. Also, while Eric Clapton is associated with the Triple O, he apparently used the D-18 frequently in recordings because he liked how it sounded good with microphones. Those famous songs you hear on CDs are actually the sound of a D-18.

1975 D-18 Shaded Top

The shaded top finish is similar to that of the aforementioned D-35, but the edges are slightly lighter and have a reddish tint. The color range is also slightly narrower. Coincidentally, the mahogany sides and back match this slightly lighter color well. Including the rosewood bridge and fretboard, the overall color has a different feel from the other shaded tops.
The weather checking on the top due to aging is just right, and it balances perfectly with the "Shaded Top." Only 3,069 D-18s were produced in 1975, about half the number of D-35s.

In conclusion

Although Martin and Gibson were rival companies, it can be said that their mutual development was fueled by a competitive spirit to catch up with and surpass each other's growth. Around the time that Martin's flat-top guitars began to spread throughout the world, Gibson added the "Natural" option to its J-35 flat-top guitar in 1941, and Martin also added the "Shaded Top" option to the D-28 in 1935.


Gibson's "Sunburst" refers to "sunlight," while Martin's "Shaded Top" refers to "shade." It may have been fate that these names coincidentally reflected the relationship between the two guitars.

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