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Single piece mahogany neck, ebony fingerboard and bridge; herringbone purflings and rosette, rosewood bindings and mitered purflings. The three numbers at the end are the unit number. Flat tops from 1970 to present are considered to be excellent utility instruments, but are not collectible.

For example if it says on the center back strip, "C. Rosewood Back and Sides Style 21 and higher pre-late 1969: Playability is great thanks to a neck reset done by us, and a new bridge and bone saddle done by us as well. The post-war tuners and the thick-button open Grovers after 1937 were 12: Original case and tuners, too! Any more, and the neck is "bowed".

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It's in excellent condition with no cracks or repairs. There's enough headroom on this one to flatpick to your heart's content! Style F-9 arch top. Hence here's some specs that may help you determine if a rectangle bridge is original. Official epiphone guitars; guitar information.

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Martin flat top guitars were made in various sizes. Interested in melbourne guitar, long been a quick view this set. Shortly thereafter T frets were standard. With punchy mids and sparkling trebles, it is easy to get lost in the articulate tone of this OM style guitar.

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NAMM '15 - Washburn Guitars Americana Series. Time: 3:50

Front of the peghead is plain no inlay and no Martin logo. All the best -j. D Arch top body 16" wide across the top, carved spruce top, back not carved by arched by braces, rosewood back and sides, f-holes, style 45 backstripe, bound ebony fingerboard, 2 white lines inlaid down length of fingerboard at the edges, hexagonal fingerboard inlays on 6 frets sometimes pearl, sometimes ivoroid , vertical "Martin" pearl peghead logo, nickel plated parts, sunburst top finish. This Koa OM is no exception. Custom Shop, Made in Japan , 1986-1990: When not strung up, the whole neck is free to come off the body, revealing a simple but extraordinarily effective adjustable attachment.

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Agile Harm 3 Solid Archtop,,,,. Sitka spruce top darker than the 1945 and prior Adirondack spruce. The result is a punchy guitar with a strong attack, that is slightly more open and warm than a carved-back archtop, but not as woody as a flat top.

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Two-piece mahogany V-shaped neck is quite reminiscent of Gibson's famous 1930's necks, and quite unlike the feel of most modern guitars. The third letter is an internal code for Japan. Frets and finish are excellent, as is the overall condition.

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Instruments with serial numbers that have 5 or more characters are from the late 1980's-2000's Instruments with serial numbers that have 5 characters or less are typically from the 1980's. Tenor guitar are not very collectible though, as they were sold from the 1930s to the 1950s mostly to transition banjo players to guitar! The three numbers are again, unit number. Fancy backstripe, ebony fingerboard, hexagonal abalone fingerboard markers from 3rd to 15th fret, triple bound peghead, vertical pearl logo, volute on neck. If a guitar were nothing more than a sum of its parts, this Traugott R model would stand its own ground based on the quality of the Brazilian Rosewood, alone.

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Ivory bridge and body binding. Saddle repositioned in our shop for proper intonation. The purflings are colored wood with ivoroid bindings around the body, fingerboard and soundhole. Since the first D body size was made in about 1934, problems obviously came about and Martin added the brace by 1939. Made in Japan , 1988: Martin made some mandolins for this Bethlehem, PA teacher in 1916 to 1919.

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The action is set at 5 to 7 64ths and can be lowered further; however, the not-perfect original frets would need to be dressed or replaced if you wanted lower action than that. These instruments are very rare in mahogany, and the Brazilian rosewood models approach Martin values. Hoover says that today, advances in amplification and recording have rendered larger guitars less essential, resulting in the current parlor guitar craze. We're always very excited to get our hands on the latest creation from this very talented Ontario luthier, and its very seldom that a pre-owned Merrill shows up.

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  1. Featherweight at less than 3. Black binding replaced tortoise binding on style 18 models. It incorporates an additional curved bar intersecting the X-brace which allowed him to adjust for each different style of guitar. General specifications, serial numbers, model information.
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  2. Originally posted by ship of fools Nothing to stop you from asking,and yes we have no sale area,but we have had others do it in the acoustic section when thinnig their herd of girls. Celluloid tortoise pickguard and body binding. Its back would be without cracks had the spruce lining not shrunk and pulled the rosewood with it, and the sides are crack free. Original frets and nut, original bridge pins. Nitrocellulose lacquer body finish, with a hand-rubbed oil finish to the neck and headstock.
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There are so many more ingenuities present in the design of this instrument, but what is more impressive is the masterful execution of these. They rejected the 27" scale idea, as this would have been impractical since the high string tension on a guitar would have made the instrument hard to play. Sometime around here Martin starts putting the Matin decal on the front of the peghead. Meanwhile, parlor guitars are finding renewed interest among a broad spectrum of players, both professionals and those looking for small, lightweight instruments to take to beach parties or campfire singalongs. Again, as with the bridge saddle, too low of a bridge will decrease the "drive" of the strings. Older 1800s Martins are a challange to date since they don't have a serial number like 1898 and later Martins.

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Among the coolest depression-era Chicago flat-tops we've ever offered, this unknown Regal similar, but much more ornate than a Model 10 is the pinnacle of "Vintage-Chic". The pre-1945 braces have a scooped or "scalloped" profile, making them lighter in design and weight. At the heart of Graf's steel string guitar is an innovative bracing system that he developed in the early 80's and refined over many generations of guitars. Style 28 flat top. The transition from shellac to lacquer started in 1926 with O-17H.

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Martin Stamps, Peghead Logos, Labels. The body of this resonator appears to be the same as that found on Hensel's flat-tops, but with a different top. Welcome to the forum. The back has two long spliced cracks down the center, and the sides show repaired hairline cracks on either side of the endpin.

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