1966 Martin D-18

Description

"1966 Martin D 18"
Like the one Andy Taylor Played
Serial Number 216323
Had it checked out, adjusted & neck reset by a Luther
Said everything looked as expected of this era Martin all interior structure is as should be
Bridge has been replaced.
Frets & Neck show little to no play
Has Bear Claw Grain
" Plays Sweet Feels Like Butter & Sounds Even Better "
Sales as Used & Pictured
You are welcome to come check it out
Ask if you need more information or pictures
! Ships to lower 48 others ask before bidding !
A little D-18 Information
It is said that at times during the 50's and 60's, Martin had a 3 year backlog in instrument orders! Nothing else sounded like a Martin and nothing else would do, it was the prestigious guitar to own. This backlog would lead Martin to build their new factory in Nazereth in 1964 where they continue to build today. This 1966 D-18 was built just a few years later and happens to be one of the most tonally balanced D-18s we have come across. The now legendary D-18 design was introduced officially in 1934 and along with the D-28, set the standard by which all guitars would be judged... even to this day.
The D-18 is famous for it's dry, woody sound. Built with Mahogany back and sides and a spruce top, it was famously easy to record and many years after it's introduction would become the quintessential guitar for flatpickers such as Doc Watson and even Clarence White. Even though Clarence made a D-28 famous, he is known for recording with the D-18, as it offered a more direct and balanced tone long before the days of EQ and "fixing it in the mix." Point a good D-18 into a microphone at the right spot and your done!
This particular D-18 has a Sitka Spruce top, which replaced the Adirondack tops of the pre-war guitars. Adirondack was nearly non-existent after the war, since it was used for just about everything due to its strength and rigidity. Sitka Spruce, however, was very plentiful and as it turns out, a very nice tonewood in it's own right!
Sitka Spruce isn't as stiff as Adirondack and has a lower stiffness-to-weight ratio. A positive side-effect of this more flexible soundboard is that it doesn't take near as much strength to produce tone. A player with a lighter attack or even fingerstyle players will find Sitka Spruce much more suited to their playing style. The set of Sitka Spruce on this '66 shows nice grain figuring and has aged beautifully. The trebles are rich with a balanced tone across the spectrum and none of the low-end woofiness that can sometimes plague dreadnought guitars. The fretboard and bridge are Brazilian Rosewood, no doubt contributing to the balanced high-end on this guitar.
I will put serious Buyer in Contact with Luther-er