Dating martin guitars

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Martin Stamps, Peghead Logos, Labels. Retro Series are the outcome of a close collaboration between the company and Fishman Electronics. Rare, but for very good reason no one wanted them, then or today!

With such a large number of years in production, owners of Aria guitars often want to know what year their guitar was made. This is why guitar body size is so important to identify on a Martin flat top guitar. Compared this to the D dreadnought which is larger both in body depth and width dreadnought players seem to use straps and stand up so the guitar's size is less of a print. dating martin guitars The first Sigmas were typically dreadnoughtalthough Grand Concert Series GCS and classical models were also produced from the early 1970s 1971. Electric guitars by Martin any variety: flat top, archtop, solid body are not sought after and have little to no value. Because of this, the prime for D-28e's is really low.

Martin model numbers are straight forward too. Only you can ultimately determine which Martin will best suit your budget and your needs.

What Year Was My Martin Guitar Built? - As you can see, Martin did not make very many guitars for other companies. Includes a Martin 345 hardshell guitar case.

This article needs additional citations for. Unsourced material may be challenged and removed. February 2015 maker , based in , created a line of inexpensive guitars in 1970 to compete with the increasing number of imported guitars from Japan and elsewhere. The result was Sigma Guitars. Manufacturer Sigma by The Sigma line was discontinued by C. They are distributed and sold in the U. The sole current U. The first Sigmas were typically dreadnought , although Grand Concert Series GCS and classical models were also produced from the early 1970s 1971? Though other models were produced the most common two throughout the '70's were the Dreadnought models DM-5 DM12-5 and DR-7 DR12-7. D for , R for , M for and the number denoting the grade of wood, 5, 7, 9, 11, 15. In 1978, model designations were added to capitalize on Martin model numbers: the DM-18, DM-19, DR-28, DR-28H, DR-35, DR-41, and DR-45. They are called 'Second Generation' Sigma's by C. Martin and featured solid wood top. The headstock shape was also modified to a deeper taper and shaped to resemble the Martin instruments. As is traditional with classical instruments, Sigma classical guitars do not have the headstock logo, and one must rely on the inner label for identification. Labels and Brands Sigma's made in Japan from 1970 through 1979 used a paper label to identify the model and serial number of the instrument. The model and serial numbers were usually stamped on in ink, but some are known to have been hand-penned. The 'Black and White' label: The earliest examples had a plain black on white inner paper label showing the model and serial numbers. These will show a 4-digit serial number. More about the 8-digit serial numbers later. All other text was printed in black ink, or stamped on in ink by the manufacturer model and serial numbers. The serial numbers on these instruments were often preceded by the letters S or E; e. It is currently believed that this transition was complete by 1979. Early Korean made guitars show this same brand, only stating Made in Korea in place of Made in Japan. During later Korean made years c1990, Sigma transitioned back to paper labels and they stayed that way until the end of production in Indonesia in 2007. Further detailed information is required here. Serial Numbers Under the best of circumstances, Sigma serial numbers can only provide an indicator of the year when a particular model was built. This may be due to them being built in several Japanese factories at the same time with no coordination or tracking in the numbering system. Other physical indicators or attributes, such as finish, trim, tuners, etc. See below for that explanation. I bought it new in 1970. Some early 70s Sigma guitar serial numbers c1972-1975 began with 7X0 suggesting the 197X build date e. These were eight digits long, the third digit always a place-holding 0, while all others by then were still only five digit serial numbers further adding to the confusion. It is widely assumed by owners and Sigma historians alike that this is correct, though C. Martin cannot, or will not confirm this. These serial numbers are documented by C. Martin completed and finished them alongside the regular Martin production line. Bridges and tuners may have been installed, as well final sanding and finishing before strings were installed and a final set-up was done. Because more than 30% of the work was completed within the borders of the United States, Martin was legally allowed to designate them as Made in U. Serial numbers for Sigma guitars built in South Korea, Taiwan and Indonesia are perhaps even more meaningless, though again some seem to indicate the year of manufacture e. Since we know these instruments were manufactured from 1984 through 2007 in these three countries, it is safe to assume that a serial number beginning with 81XXXXXX which I have personally seen were not produced in 1981 and that these serial number 'indicators' are not to be trusted. These had an even fancier border. It being a smaller, local store, the instrument may have been sitting there for a while before I acquired it. While I cannot be absolutely certain of the year it was manufactured, it was certainly by, or prior to 1977. All known Sigma guitars have laminated sides and back wood. This is no longer in question. In the 70's Sigma produced a line of guitars with model numbers starting with 52S, e. While it was thought at one time that these were somehow 'special' and had solid tops, based on current research and scholarship, an emerging school of thought dismisses this notion. Current documentation taken from the files at Martin indicate these models were produced by the Kasuga Gakki company as overload for the Tokai Gakki company. The top wood is another matter entirely. Many had laminated tops. Actually this is not correct read below Copied from the Sigma Generation III brochure: see below High quality is readily apparent in the SDR-28 and SDR-28H rosewood Dreadnought with its rich appearance and wide range of features: solid spruce top, scalloped top bracing, rosewood back, sides, fingerboard and bridge and carved mahogany neck. These guitars are thoroughly inspected and prepared by Martin craftsmen at our factory and carry a limited lifetime warranty. Other Sigma instruments included mandolins, banjos, acoustic and electric Bass guitar basses and solidbody and Semi-acoustic guitar hollow body electric guitars. Some solid body electric guitars were made by Tokai Guitars Company, LTD. The DR-28 was manufactured in Japan, Korea and Taiwan while the SDR-28 and the SDR-28H appear to have been manufactured in Korea and Taiwan only, starting in early 1986. From the Sigma Generation III Brochure see below High quality is readily apparent in the SDR-28 and SDR-28H rosewood Dreadnought with its rich appearance and wide range of features: solid spruce top, scalloped top bracing, rosewood back, sides, fingerboard and bridge and carved mahogany neck. A distinctive herringbone design around the binding adds to the appearance of the SDR-28H Dreadnought. It also includes scalloped bracing, solid spruce top and rosewood back and sides. These guitars are thoroughly inspected and prepared by Martin craftsmen at our factory and carry a limited lifetime warranty. The DR-28 and SDR-28 and SDR-28H are clones to the original Martin D-28 and HD-28 guitars and are high quality instruments. It has been suggested that these Second Generation branded instruments were the precursor, or pilot program for what has now become C. Martin and relaunched Sigma Guitars worldwide. Martin had, inexplicably allowed their rights to the Sigma brand name in US territories to lapse — United States law states that: In contrast to copyright or patent law, trademark protection does not have a set duration or definite expiration date. These 'spatula' shaped headstocks only lasted the first few years before taking on a more tapered appearance and shape while still in the early '70's. Original peghead logo Sigma with Greek symbol Σ above, Adjustable truss rod through peghead through 1977. The first year 1970 DR-7 has a zero fret as well as some of the 12-strings did to approximately 1973, or 1975 DM12-5. Early examples often have adjustable height bridge saddles as well. Adjustable saddles are considered less desirable as they did not come in full contact with the bridge and soundboard, and therefore did not offer full sound or the best quality. From approximately 1977 to 1983: Nonadjustable bridge, often showing a pair of pearloid screw covers. Adjustable truss bar through peghead from 1970 through 1977. Truss rod adjustments were accessed through the sound hole from 1978 forward. This is another feature that changed back in late production 1990's Korea, Taiwan and Indonesia. Labels would return later during the Korean years 1990's and continue through final production in Taiwan and Indonesia. Tuning Machines There were only a few types of tuning machines used during these years. All were basic and inexpensive. There are three different shapes of the buttons on these tuners. Oval in the early models, a more square shape ala' Schaller in style in the middle years, and a keystone shape, or 'wing' on later versions. Later ones, were individual machines, but looked exactly the same from the front. More upscale models, such as the DR Rosewood series, had the same tuners only with chromed cover over them. These were all 'non-adjustable' and held in place by two opposing screws corner to corner on the back of the headstock. Styles of this type are still available today with only minor differences. Later versions approximately 1973 onward were individual, non-adjustable, as on the 6-stringed models 14:1 ratio. Others continued on using the cheaper tuners. The earliest sealed tuners, as early as 1972 e. DR-9, DR-11 had a 6-sided cast body and no brand name 11:1 ratio, while there were others later on that more resembled Schaller stop screw to the inside, Schaller style buttons. Back and sides laminated wood. Pearloid buttons on tuners. Mosaic marquetry around sound hole. Back and sides laminated rosewood. Top of laminated spruce. Top and back binding black and white. Laminate mahogany back and sides. Open in-line tuning machines. Adjustable Rosewood Bridge on earliest examples. Adjustable truss rod through peghead from 1970 through 1979. Open tuners on early models. Laminated rosewood back and sides. Rosewood overlay on peghead. Peghead bound in white. Adjustable truss rod through peghead from 1970 through 1979. Rosewood Bridge and fingerboard. Adjustable Rosewood Bridge on the earliest models. Chrome closed back tuners 11:1 ratio. The first year is known to have a zero fret. High gloss lacquer finish. Truss rod adjustment location is on peg head at nut until 1980. After 1980 truss rod adjustment is located internally and is accessed from soundhole. Laminated rosewood sides and 3-piece back with a contrasting often highly figured rosewood center strip. Headstock and fretboard are single-bound in white. Adjustable truss rod through peghead. Chrome closed back tuners 11:1 ratio. High gloss lacquer finish. Laminated rosewood sides and 3-piece back, ala' D35. Headstock and fretboard are single-bound in white. Mother of pearl trim throughout ala' Martin D-41. Adjustable truss rod through peghead. Gold plated closed back tuners ratio unknown. High gloss lacquer finish. Peghead bound in white. Mother of pearl inlays on fingerboard. DM12-5 12 String Dreadnought. Laminated mahogany back and sides. Rosewood bridge some 'ebonized' and fingerboard. Unbound peghead and fingerboard. Adjustable rosewood bridge to approximately 1975, non-adjustable thereafter. Earliest models had a zero fret. DM12-7 12 String Dreadnought. Laminated rosewood back and sides. Peghead and fingerboard bound in white. Adjustable rosewood bridge to approximately 1975, non-adjustable thereafter. High gloss lacquer finish. Earliest models had a zero fret. Laminated mahogany wood back and sides. Peghead bound in white. Laminated mahogany back and sides. Laminated asian chestnut sides and back with matching wood on Martin style peghead. Black later examples have. Fixed bridge, some with diamond shape inlays. Fingerboard has snowflake and diamond shape inlays. Later examples have gold plated, Sigma embossed Schaller style enclosed tuners ratio unknown. Martin style peghead bound in white. Laminated rosewood back and sides. Unbound Martin style peghead. Laminated mahogany back and sides. Laminated mahogany back and sides. Unbound peghead and fretboard. Laminated mahogany back and sides. Rosewood fingerboard and bridge. The very rare DR-14 was often confused with the DR-41 but it was a different model. They have a 3 piece back ala' D35, and the fret markers are different as well. These rare, hard to find models were actually made in Japan and imported to, and guaranteed by Levin in Sweden. They cost more than the top of the range DR-41 at the time. There is a DR-14 on display in the Sigma Museum in Munich,Germany. From 1980 through 1983, prior to construction being moved to Korea, Sigma produced several models that included electronic pickups: SE-18; SE-19; SE-28; SEMC-28 with arched back ; and SE-36. These models have saddles with each string individually compensated, yielding superb intonation. These models were produced in very limited quantities. In 1980 Sigma produced the D-10 Anniversary model to commemorate 10 years of Sigma production in Japan. This limited production run lasted one year and this model remained on Sigma Dealers quarterly price lists from October 1980 until July 1981. It is not known at this time just how many D-10's were built but it is believed by some, and indicated by the number up for saleat any given time that production ran into the thousands, not limited to 100 as previously rumored. They were only made in 1980, but throughout the entire build year. A recently uncovered C. The affixed warranty card was amended to read... The DR-28Nhad a 2-piece back. The DR-35N had additional detail on the fretboard. The original factory brochure also states components were processed and finished on the same production line as regular Martins. Some consider the DR-35N to be a prototype of the inexpensive laminate Martin Shenandoah line of guitars, later to become their current HPL High Pressure Laminate line of laminated bodied guitars. Since these models had serial numbers ranging from 900,001 to 902,908,.