C. F. Martin 1-17P Model Flat Top Plectrum Guitar (1930), made in Nazareth, PA, serial # 44507, natural mahogany finish, mahogany body and neck, ebony fingerboard, black chipboard case.
At first glance this instrument somehow looks wrong, like a tenor guitar run through an AI filter and stretched out. Not so, this is indeed the rarely seen plectrum version of Martin's 1-17, a short lived company experiment to see if there was a market for a long-necked 4-string guitar at the budget level. Martin built 91 of these in 1928, 81 in '29 and 50 each year in 1930 and '31. After that the model disappeared forever except for a one-off 5-string version made in 1939 (where is that one now?!)
For the uninitiated, the correct plectrum tuning C-G-B-D is derived from the old classical 5-string banjo tuning, just without the 5th string. When banjoists began playing in ragtime and early "Jass" orchestras in the 1910s, they predictably discovered the short drone string was a hindrance in playing fast-moving dance music in keys like Eb and Bb, so simply removed it. Banjo makers took notice, and began building 4-string long-neck banjos to be played with a pick, A/K/A Plectrum. As banjoists were increasingly being called on to "double' on guitar by the late '20s, Plectrum guitars has a fairly brief vogue, even though at the time tenor tuning was far more popular.
This 1-17P was meant to offer an affordable instrument for the Plectrum banjoist to bring along to the gig to handle the softer tones increasingly in vogue as the 1920s party ebbed. It also served as a good student instrument for anyone learning the tuning, certainly less likely to keep the neighbors up at night than a banjo! At the time Martin thought the smaller "1" sized body was the most appropriately voiced for the 4-string tuning; later most plectrum (and tenor) guitars were built on larger bodies.
Martin's size 1 was pretty much obsolete in both 6 and 4-string styles after the early 1930s, replaced by the larger "0" sized guitars. In this long-neck 4-string format it handles well and offers a bright, punchy but well modulated sound. The features are the same as the 6-string Style 17 models except for the long, slim almost 27" scale 4-string neck. The body and neck are all mahogany, with a small-dot-inlaid rosewood fingerboard. The small headstock carries four Grover "pancake" geared banjo tuners. The understated appointments include a plain straight rosewood bridge, simple 3-ply soundhole ring and no binding anywhere. This guitar is just too early to have been fitted with a factory pickguard.
Although built to a price the build quality was never compromised even on these most inexpensive Martins, they remain as well made as any of the company's instruments. Today this rare 4-string is a real find for the dedicated plectrum player, but also works perfectly in "Chicago" A/K/A the 4 high strings of standard guitar tuning or in any open tuning. It sounds great for anything from period ragtime to Celtic stylings, just a very nice example of an unusual, lovely and fun-to-play Martin oddity.
Overall length is 39 3/4 in. (101 cm.), 12 7/8 in. (32.7 cm.) wide at lower bout, and 4 1/8 in. (10.5 cm.) in depth at side, taken at the end block. Scale length is 26 3/4 in. (679 mm.). Width of nut is 1 3/16 in. (30 mm.).
This obscure 95 year old Martin looks and plays splendidly, with some repair work done but nothing intrusive. The original lacquer finish shows light general wear, with small dings and dents overall and one long scratch on top along the lower bout on bass side and some deeper dings to the back. The top is otherwise quite clean with virtually no pickwear, the back of the neck is quite clean.
Crack repairs include two grain splits to the top running up from the back edge just off the treble side of the center seam, sealed and cleated. There is an impact crack at the bottom of the guitar along the full width of the side just below the endblock, with small hole patched and touched up on the other side of this. A related impact crack runs perpendicular up the side from the endblock towards the apex of bass side lower bout, sealed reinforced internally with bias tape. All of these appear to have happened at the same time when the guitar had a mishap on the bottom end; the repairs are well-executed, solid but visible.
The instrument has also had a recent neck set with a new bone saddle and a re-crowning of the original bar frets so is an excellent player. The original ebony nut and Grover tuners are still intact. This is a cool and unusual piece, a fun instrument to play with a range of musical possibilities hardly explored. Very Good + Condition.
