1941 Martin D-18

Serial # 79210. A guitar with an illustrious history, and one that is interwoven with the evolution of Bluegrass music.

Originally purchased by Clyde Moody during his tenure with Bill Monroe's Blue Grass Boys, this D-18 would have seen the back side of the Grand Ole Opry's curtains during the early 1940's. Prior to joining Monroe, Moody played for J.E. Mainer's Mountaineers in the late 1930's. Zeb Sommerset was also a member of Mainer's Mountaineers for a short while, and eventually became this D-18's second owner, using the instrument until selling it to David McLaughlin in 1975. McLaughlin played this guitar in the early days of the Johnson Mountain Boys, and loved it until the middle of 2010.

The guitar has a remarkably powerful and balanced voice; notes all over the fingerboard ring with depth, clarity, and the round sweetness that's particular to a well played Pre War D-18. This is a guitar that has been played, and played hard it's whole life - it loves medium gauge strings, a heavy pick, and a strong attack - and has more headroom than what some might consider safe for one's health!

In perfect playing condition, the guitar has just been refretted and set up in our shop. The bone saddle is by us as well, and the bridge plate's pin-holes have been rebuilt. We've cleanly reglued a number of lose back brace ends, and invisibly repaired a minor crack in the top's X brace. Previous repairs by David Musselwhite include a replacement bridge and neck reset. David replaced a slightly oversized bridge, which left a small shadow behind the current bridge; no finish repair was done. The guitar's finish is completely original and quite beautifully worn. Really, as far as playwear goes, they don't come better looking that this! Cracks are few: a pair of short, repaired side cracks, and a B-string top crack. An ancient and very minor separation of the back/side binding shows at the widest part of the lower bout, treble side. Tuners are period correct replacement Klusons. Bushings are original, but there are extra screw-holes hidden underneath each tuner base plate, and a strap eyelet was once fastened to the neck heel's bass-side. Original nut, and ebony fingerboard.

Mahogany back and sides, Red spruce top, scalloped braces, small maple bridge plate. Modern neck feel, mostly round evolving to a very soft V by the 5th fret; 1-1/16" nut, steel T-rod neck support. Action set to 5-7 64ths at the 12th fret.

With original chipboard case, and modern hard shell.

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