C. F. Martin OM-18 Flat Top Acoustic Guitar (1930)
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Item #11168
C. F. Martin OM-18 Model Flat Top Acoustic Guitar (1930), made in Nazareth, PA, serial # 45036, natural lacquer finish, mahogany back, sides and neck, spruce top; ebony fingerboard and bridge, Calton road case.
This is one of the true delights of Martin history: an early OM-18 from late 1930, the first year for this celebrated long-scale 000 variant. The OM-18 is one of the most iconic of all Martin guitars; along with its rosewood sibling the OM-28 it represents the first flowering of the "Modern" American steel-string flat top. The combination of a 14-fret a long scale neck on a 000 sized body created a new paradigm of guitar construction that has been revered (and imitated) ever since. This OM-18 has the early 1930s "advanced" scalloped X-braced top that combined with the long scale is the hallmark of the original OM.
This ground-breaking 14-fret 000 design was introduced as the OM-28, a more deluxe rosewood model in late 1929. The more popularly priced mahogany-bodied OM-18 was launched in early 1930 and proved an immediate success, though the growing depression stifled the sales of all instruments. The design was so well received that after 1933 nearly all Martin guitars would switch to the new "Orchestra Model" format. The OM-18 designation was then dropped and this 14-fret model simply called the 000-18, a company mainstay ever since. Martin made an important change soon after by shortening the scale length, leaving the original 1930-33 OM-18 to become one of the most sought-after of all mahogany Martins.
In one of those great fretted ironies the OM models were described in Martin's catalog as "designed for plectrum playing in orchestra work" but they have since become renowned as the greatest fingerstyle guitar ever built. Archtops ended up ruling the "orchestra" roost, but OM's quickly became popular with cowboy, recording and radio entertainers requiring a powerful but well-defined flat top sound. Since the early 1930's the OM-18 and its rosewood sibling the OM-28 have been justly celebrated as one of Martin's crowning achievements, among the greatest flat tops ever created.
This guitar was built at the end of 1930, one of the first series original OM-18s with features specific to its time. The original tuners were Grover banjo units; here replaced with modern Krishot pegs, Czech-made drop-in replacements better and more accurately made than the originals with a 4:1 ratio instead of the old 2:1. The original Grovers proved a major disappointment in use; they often failed under guitar-string tension and the newly developed single-unit Grover guitar tuners were substituted as soon as they were available. This guitar also has the first style "teardrop" pickguard, somewhat smaller than later versions. It is fitted with bar frets, phased out a couple of years later. There is no "C.F. Martin" headstock logo, just the small Martin stamp on the headstock rear which soon disappeared.
This OM-18's very light mahogany and spruce construction coupled with the longer scale neck make for a transparent but warm and superbly responsive guitar. The 15" wide narrow-waisted body with a light, scallop-braced top contributes both depth and clarity to the sound. Martin produced only 89 OM-18's in 1930, the first year for the model. The guitar was introduced at $60 in 1930 but quickly dropped to a rock-bottom $50 in 1931 and '32; Martin had to make guitars affordable in the Depression's hardest years! At the time this OM was a distinctly modern guitar design, still built with the exemplary craftsmanship of Martin's 19th century traditions. This first-generation OM-18 remains a superb instrument, in more original condition than many and a joy to play and to hear.
Overall length is 40 in. (101.6 cm.), 15 1/8 in. (38.4 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 25 1/4 in. (641 mm.). Width of nut is 1 11/16 in. (43 mm.).
This OM shows some typical wear and repair but remains in cleaner shape than many and a wonderful playing and sounding instrument. The finish is nearly all original with some local touch-up around the bridge and a few spots on the sides. Overall the thin lacquer has dings, dents and scrapes but far less play wear to the top than most older Martins. There is just a small spot of picking wear into the wood on the soundhole rim above the pickguard, other than that the top has only a collection of small random marks. There is a bit of a finish "halo" around the replaced bridge, not too conspicuous to the naked eye but distinct under blacklight inspection.
The top has one long spruce grain split running from the back edge of the bridge behind the A string almost to the back edge. Another small grain split runs forward of the bridge along the upper edge of the pickguard in the typical spot. There are several tiny inconsequential grain splits on the soundhole rim below the fingerboard edge. There is a sealed grain split under the bass side of the fingerboard. All these have been solidly sealed with minimal finish disturbance, so are visible but not a structural issue.
The sides show the most visible repairs. The lower bout bass side has a number of short mahogany grain cracks about an inch or long with one running around 3"; all are sealed with some light touch up and polishing out. The lower side has a number of grain splits as well, with a couple of impact marks below the endpin that have been slightly sloppily filled in. All of this old damage is well below the waist line, the upper bouts are cleaner with no cracks or repairs. The back is less affected, with one stress mark just along the impacted area of the lower bass bout. There is no structural damage to the back other than this spot.
The back of the neck is lightly worn down to the wood just along the lower edges but with little in the way of dings and dents, with none of the heavy capo wear often encountered. There are some very light feelable dinks behind the third and seventh frets. The original bar frets are in surprisingly good condition with some light wear in the first position, possibly worked on at some point but with no noticeable signs and playing extremely well. The original ebony nut has been replaced with bone but is still in the case. The tuners are as noted recent high-quality replacements with no drilling or alteration to the headstock.
The original bridgeplate is intact, internally the guitar is quite clean. The bridge is a replacement made to the correct contours and footprint by T.J. Thompson. As is his preference, the bridge has a drop in saddle instead of the period through saddle. It appears to have been lowered somewhat since installation. The elegant scalloping on the brace work is simply beautiful to behold and demonstrates once again the incredibly high standards Martin's craftsmen maintained in this era; even in this very difficult period. This instrument is a fabulous piece of history and a fine player's instrument over 90 years on. A modern high grade fiberglass hard-shell case is included. Overall Excellent - Condition.
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This is one of the true delights of Martin history: an early OM-18 from late 1930, the first year for this celebrated long-scale 000 variant. The OM-18 is one of the most iconic of all Martin guitars; along with its rosewood sibling the OM-28 it represents the first flowering of the "Modern" American steel-string flat top. The combination of a 14-fret a long scale neck on a 000 sized body created a new paradigm of guitar construction that has been revered (and imitated) ever since. This OM-18 has the early 1930s "advanced" scalloped X-braced top that combined with the long scale is the hallmark of the original OM.
This ground-breaking 14-fret 000 design was introduced as the OM-28, a more deluxe rosewood model in late 1929. The more popularly priced mahogany-bodied OM-18 was launched in early 1930 and proved an immediate success, though the growing depression stifled the sales of all instruments. The design was so well received that after 1933 nearly all Martin guitars would switch to the new "Orchestra Model" format. The OM-18 designation was then dropped and this 14-fret model simply called the 000-18, a company mainstay ever since. Martin made an important change soon after by shortening the scale length, leaving the original 1930-33 OM-18 to become one of the most sought-after of all mahogany Martins.
In one of those great fretted ironies the OM models were described in Martin's catalog as "designed for plectrum playing in orchestra work" but they have since become renowned as the greatest fingerstyle guitar ever built. Archtops ended up ruling the "orchestra" roost, but OM's quickly became popular with cowboy, recording and radio entertainers requiring a powerful but well-defined flat top sound. Since the early 1930's the OM-18 and its rosewood sibling the OM-28 have been justly celebrated as one of Martin's crowning achievements, among the greatest flat tops ever created.
This guitar was built at the end of 1930, one of the first series original OM-18s with features specific to its time. The original tuners were Grover banjo units; here replaced with modern Krishot pegs, Czech-made drop-in replacements better and more accurately made than the originals with a 4:1 ratio instead of the old 2:1. The original Grovers proved a major disappointment in use; they often failed under guitar-string tension and the newly developed single-unit Grover guitar tuners were substituted as soon as they were available. This guitar also has the first style "teardrop" pickguard, somewhat smaller than later versions. It is fitted with bar frets, phased out a couple of years later. There is no "C.F. Martin" headstock logo, just the small Martin stamp on the headstock rear which soon disappeared.
This OM-18's very light mahogany and spruce construction coupled with the longer scale neck make for a transparent but warm and superbly responsive guitar. The 15" wide narrow-waisted body with a light, scallop-braced top contributes both depth and clarity to the sound. Martin produced only 89 OM-18's in 1930, the first year for the model. The guitar was introduced at $60 in 1930 but quickly dropped to a rock-bottom $50 in 1931 and '32; Martin had to make guitars affordable in the Depression's hardest years! At the time this OM was a distinctly modern guitar design, still built with the exemplary craftsmanship of Martin's 19th century traditions. This first-generation OM-18 remains a superb instrument, in more original condition than many and a joy to play and to hear.
Overall length is 40 in. (101.6 cm.), 15 1/8 in. (38.4 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 25 1/4 in. (641 mm.). Width of nut is 1 11/16 in. (43 mm.).
This OM shows some typical wear and repair but remains in cleaner shape than many and a wonderful playing and sounding instrument. The finish is nearly all original with some local touch-up around the bridge and a few spots on the sides. Overall the thin lacquer has dings, dents and scrapes but far less play wear to the top than most older Martins. There is just a small spot of picking wear into the wood on the soundhole rim above the pickguard, other than that the top has only a collection of small random marks. There is a bit of a finish "halo" around the replaced bridge, not too conspicuous to the naked eye but distinct under blacklight inspection.
The top has one long spruce grain split running from the back edge of the bridge behind the A string almost to the back edge. Another small grain split runs forward of the bridge along the upper edge of the pickguard in the typical spot. There are several tiny inconsequential grain splits on the soundhole rim below the fingerboard edge. There is a sealed grain split under the bass side of the fingerboard. All these have been solidly sealed with minimal finish disturbance, so are visible but not a structural issue.
The sides show the most visible repairs. The lower bout bass side has a number of short mahogany grain cracks about an inch or long with one running around 3"; all are sealed with some light touch up and polishing out. The lower side has a number of grain splits as well, with a couple of impact marks below the endpin that have been slightly sloppily filled in. All of this old damage is well below the waist line, the upper bouts are cleaner with no cracks or repairs. The back is less affected, with one stress mark just along the impacted area of the lower bass bout. There is no structural damage to the back other than this spot.
The back of the neck is lightly worn down to the wood just along the lower edges but with little in the way of dings and dents, with none of the heavy capo wear often encountered. There are some very light feelable dinks behind the third and seventh frets. The original bar frets are in surprisingly good condition with some light wear in the first position, possibly worked on at some point but with no noticeable signs and playing extremely well. The original ebony nut has been replaced with bone but is still in the case. The tuners are as noted recent high-quality replacements with no drilling or alteration to the headstock.
The original bridgeplate is intact, internally the guitar is quite clean. The bridge is a replacement made to the correct contours and footprint by T.J. Thompson. As is his preference, the bridge has a drop in saddle instead of the period through saddle. It appears to have been lowered somewhat since installation. The elegant scalloping on the brace work is simply beautiful to behold and demonstrates once again the incredibly high standards Martin's craftsmen maintained in this era; even in this very difficult period. This instrument is a fabulous piece of history and a fine player's instrument over 90 years on. A modern high grade fiberglass hard-shell case is included. Overall Excellent - Condition.
