Overbuilding consisted of changing the size, shape, and positioning of top braces, eliminating scalloping, and using much larger bridge plates. In the 1940s, Martin began overbuilding (again, by today's standards) guitars to reduce warranty costs brought on by use of heavier and heavier strings. ![]() HD28HLA wrote:Before discussing what may or may not have been Martins "worst years," I think it's important to understand that even when their product was "substandard" (by today's standard), even then they were still the highest quality guitars around. I would however, avoid the ones made for anything but steel strings before about 1930. Since it's too late to make a long story short, I'll just say that there is nothing wrong with any Martin I've played from any era that couldn't be fixed by a competent luthier I'm fortunate that I've never needed one. I still have the HD-28 and it is an amazing example of a 42 year old Martin, with perfect intonation, bass that will blow your socks off, and very sweet highs. I sold the 35 in 1980 (long before the Guitar Weenie Era we now live in) so I don't know whether or not it had the bridge in the wrong place. Intonation problems get worse as we get further up the neck, but back then, neither I nor anyone I knew went above the 5th fret. ![]() As someone who bought two Dreadnoughts in the '70s ('73 D-35 & '76 HD-28), I was completely oblivious to these "problems" back then. This, coupled with tops that were less vibrant because of overbuilding, created a perfect storm for anyone wanting to find fault with Martins instruments. From my understanding, this was caused by the use of a worn jig when setting the bridge placement. I can't speak to the other brands, but Martin had a particularly annoying problem with intonation on some Dreadnoughts. Martin, Gibson, Guild, and possibly others, all had quality control challenges as they tried to catch up with the demand. In the late 60's and early '70s the "folk boom" came along, which created a huge demand for high quality acoustic guitars. The model includes a specially designed label signed by Robinson and numbered in sequence.Before discussing what may or may not have been Martins "worst years," I think it's important to understand that even when their product was "substandard" (by today's standard), even then they were still the highest quality guitars around. Another custom feature requested by Robinson is a bridge with the wings slightly softened for comfort. It includes some 1950s style vintage build characteristics, like Martin’s signature dovetail neck joint, authentic hide glue construction, an ebony fingerboard and bridge, and Aged nickel tuners. It also features rearward-shifted non-scalloped bracing, which offers a very balanced tone and added volume. The entire body is finished with a very thin vintage gloss. This soulful representation of that beloved guitar is crafted with Aged East Indian rosewood for the back and sides and an Aged spruce top. After inheriting his father’s guitar, Robinson used it to write most of the original Black Crowes’ songs from the band’s studio albums. The instrument that served as its inspiration is a 1954 D-28 that was handed down from Robinson’s father, who played it on stage at the Grand Ole Opry as a traveling musician with the Hillbilly Highway and in his folk band, The Appalachians, during the 1950s and ‘60s. ![]() This model is a guitar player’s dream, and it is the first model that Martin has ever made as a visual and sonic representation of an artist’s personal instrument. Calling all Black Crowes fans! Martin is proud to bring you the Rich Robinson Custom Signature Edition D-28.
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