Martin D-18

1976 Martin D-18. Mahogany back and sides, spruce top, rosewood finger board, gloss finish.

I play mostly C & W, some flat picking, a wonderful strummer with a big voice that can cut through a jam. Always the loudest acoustic in any group I'm with.

I have had it since new and like everything about it. Incredibly playable and dependable.

Perfect from day one. Set up very good. As many mention it is uncanny how it never goes out of tune.

Durability is awesome. 32 years mine has been everywhere.

My reason for posting the review is the level of support. Mine developed a crack near the pick guard. I brought to a repair man who suggested that this was a warranty repair. A Martin authorized repair center was 1/2 hour from my office. Crack was repaired, pick guard replaced, neck reset, all under warranty. I sympathize with the guy that couldn't get the warranty repair because he didn't register, but that's a lesson to all-register your purchases!

Been playing 40+ years and own a ton of stuff-Fender, Gibson Dobro, MSA pedal steel.

When I bought it I simply wanted a Martin. Only regret-I could have got a d-28 for another 50 bucks at the time. I sometimes think that would have been even better.

1974 D-18 With the Factory installed Frap Pick-up, an unusual feature back then jack plug and volume knob, I call it a turn up the fun button. The pick-up pulls the sound out of the wood itself, great mellow full rich tone, and drum, like a built in Cajone when plugged into an amp. Mahogany back and sides and neck, spruce top. Finished like all Martins once were, the new ones seem to be lacking a bit in that department

This guitar sounded great the first time I picked it up and continues to sound better year by year, contrary to some that frown down upon it over the 28.
I have drug this thing around for over 30 years into and out of all sorts of environments, from the Northern rain forest to the southern desert, to parties and festivals and all kinds and sorts of Jam and picking sessions and it has held up 100%

It is as it came from the factory, hasn't changed and I felt no need to attempt any changes, how can one change perfection?

It has stood up to things a lot of other guitars, both cheap and expensive wouldn't have. If I didn't know what it was made out of I might think it was iron. In fact it's tougher and more dependable than I am these years.
And even though we both show a bit of wear and tear it's better lookin than I am now

It's never needed anything other than playing some love and news strings now and then, well and a new batteries for the lick-up from time to time, Frap went out of business years ago. Or I would still be cussing them out for using something that takes 8.4 volt batteries, they look like a 9V but are ever so slightly smaller. I had to carve an adapter for the 9v, takes 2 of them, and it never seemed to mind.
But Martin gives a lifetime warranty to the original , that should tell you what they think of their guitars.

I've been playing a few more years than this guitar has. I had admired Martins for some years, but was afraid to pick one up because of the price, hey a grand or two 30 plus years ago was real serious money. This is the very first one I ever touched. Once held that was it, I wasn't letting go and 34 years later I have no regrets. What else can I say it's a lifetime love affair.

2004 D-18 Mahogany back and sides, rosewood fingerboard, satin finish on the neck. Dreadnought body-style, Gotoh tuners with original hardshell case and humidifier included. Build quality is beautiful, No crazy electronics or onboard eq just a solid gem of a Martin. I'll probably add a K&K Pure Western under-saddle pickup later. Rated an 8 because this is a no frills dread.

I play Brit-pop, Rock, Jazz comping and flat-picking the D-18 does all equally well. This is a very balanced sound I now know what the raves are about and why Martins are the bomb. I was initially in the market for a sunburst dread and nobody does them quite like Gibson. I was looking for an Advanced Jumbo or vintage J-45 but, found out very quickly that although the J-45 is a great strummer the D-18 has a resonance and complexity that many J-45's didn't have..don't get me wrong the J-45's are great it's just that the Martin gave back when strummed aggressively and sang sweetly when cradled and finger-picked. It was not as dark as the Gibson J-45 now this is a personal preference but, the versatility is what I latched on to with the D-18. The Gibson Advanced Jumbo is a different animal with it's Rosewood back and sides a little more expensive than the D-18 but, a very consistent build from Gibson. The D-18 was my choice, nothing I dislike about this acoustic and as it continues to open up sonically the honeymoon continues!

I bought it used in nearly mint condition. It came from a drier climate with a humidifier and has adjusted properly to Austin's more humid climate. Setup was perfect although it will eventually go in for a truss adjustment/setup. Fantastic build quality!!

This is a lifetime guitar. Martins are like a fine wine getting better with age, light as a feather that resonate the soul. The better you play the more you'll love the Martin. My next purchase will hopefully be a rosewood acoustic either a Gibson Advanced Jumbo or Martin HD-28(ebony fingerboard).

Not dealt with them, this is used w/no warranty I take care of my instruments with no worries.

Playing professionally since 1993 (15 years)Yes, I would buy this D-18 again. I own Gretsch electrics, Tacoma high end acoustics. Dr Z and Vox amplification. Best part of this guitar is the build quality which translates to the wonderful sound for both recording and live. I compared it to several Taylors including the 310CE,314,414CE models, Gibson J-45 Modern Classic, Advanced Jumbo, Gibson 180EC.
If you're looking for a professional instrument that will not disappoint look no further!!

This is for Phil C.
Your 1971 D-18 has a truss rod. It's just not adjustable. It will handle meduim or light guage strings.

C.F.Martin Info.
Neck Truss Rod.


1928-ish: Ebony neck reinforcement under fingerboard for strength.
Late 1934: Steel "T" bar. Thickness varies, but generally speaking both sections of the T is 0.125", width and height is 0.525" (kind of like Flexible Flyer sled runners). The bar is glued into the neck with Hide glue.
1942: Ebony neck reinforcement under fingerboard (war time shortage of steel)
1946: Steel T bar again.
1967: Square steel bar.
1985: Adjustable (inside body) steel truss rod.

1971 D-18, my mom got it new and had until about 5 years ago, then she gave it to me. Mahogany sides and back, spruce top, rosewood fingerboard, grover tuners.

It was cared for pretty well by her, but age will do its thing... it has the nice checking of the finish you would expect for its age, and developed a small crack on the back 'cause she wasn't careful about proecting it from getting dry. I had the pickguard replaced, and the crack glued just in case. Had the neck reset and gave it a refret job. After all that the guitar is perfect as far as tone and playability. I mean c'mon, what wouldn't you rather play a vintage D-18 over practically anything else???

Oh man... this is a sweet sounding guitar! It is definately got some soul and depth. As a dreadnaught, it makes a nice large sound. After the neck reset I had it setup for lights, because I think with its age (and the fact Martin didnt put truss rods in these necks) it can handle the lighter tension from lighter strings better than mediums. I get the great dreadnaught kind of bottom projection with the brightness of lighter strings.

I have a Taylor 310 which I play most of the time, but the old D-18 sound beats it hands down. I think no surprise there :) Maybe in 30 years I can say the same thing about the Taylor compared to whatever is hot then.

If I gig with this guitar (not very often, I hate to take it out of the safety of my house), I mic it. I tried a fishman soundhole pickup but it just didn't capture all the sound the D-18 has to offer. Miking it is the way to go...

Heck if I know what it was when my mom got it new... I was about 3 years old. But I remember playing it a little as a kid, and it was always so easy... I wasnt actually playing yet then, just like holding it and asking people to show me how to play simple cords and stuff. I could really get it to play and make great sounds though. Basically, the guitar played itself, you just made the right shapes with the left hand and strummed something with your right.

Later when I was starting to learn to play (on some other guitars) and it always sounded like crap, I would remember back to being a newbie with the D-18... wishing I had it.

By the time I got it the action was pretty bad, frets pretty worn, fingerboard had some wear in it. So all the work I had done it brought it back. I say 10/10 here because when it was new it was probably perfect, and even though it is old, proper care and if necessary work done to it be a pro can make it perfect.

Definately made to play. The guitar only sounds better and better the older it gets, I plan to take care of this thing for another 36 years, and continue to play it. I do play live with it, when I got to have its sound, I'm just careful with it and don't do something stupid and acrobatic while it is strapped on so I dont trip over and smash it.

These are meant to last... just respect its age.

Lifetime warranty to the original owner. I had the work done it in my mom's name, and had to forge her signature... but Martin paid for the neck reset and the replacement pick guard. That alone cost more than the guitar cost my mom in 1971 (she paid $300)...

Pick a luthier you know and trust (and obviously on Martin's list of service centers) for something vintage like this. If they screw it up, its not replaceable (well I could go find another old D-18, but you know by now each one of them has its own individual character).

I started playing for real when my mom gave it to me 5 years ago... how cool is that, to get something like this to get serious on? Most beginners get one of those $99 specials where they throw in extra set of strings, a strap and 10 picks. That is cruelty! Beginner playing already sounds bad, then the guitar sounds aweful even when they learn to play it right, where's the positive reinforcement in the learning experience?

Anyway I think I got good fast with the help of that old D-18, especially after it got its restoration work. I also have a Taylor 310CE for most live performing, and an Ibanez PF for taking to the beach or leaving in the car. I play the AE's through an Acoustisonic 30 amp, use a Boss AD-3 processor for chorus and feedback control. I'm saving for a semi-hollowbody and a tube amp... one day I'll own a Les Paul...

But the D-18 will always be my girl... I would be seriously emotionally scarred if it was taken away from me.

Standard 1968 - got it in a pawn shop in Baltimore it's amazing what people will trade for crack. His loss my gain.

what are you kidding...I'll go head to head with any guitar on the planet. Tone is surreal, crunchy cannon when needed. Great balance. Stays in perfect tune for months...weird. I've played them all and all the great ones have some of the sound of this thing. But never found one with the whole spetrum of sound.

Thsi thing chews up other guitars and spits out toothpicks.

It has the spiderwebs in the finish, also has two bookmatched surface splits on the top. They dont go all the way through, but you can see them at a certain angle. Pick guard is really starting to come up. Overall she's been through alot and still looks great. Neck is as straight as an arrow and had been set somewhere along the way by a pro. I've seen better action.

The d-18 has been the "go to" guitar for so many of the greats it's scarry.

never tried but I heard it sux for non original owners. I live 20 minutes from the martin factory they've got a great tour and killer museum. MECCA

If stolen I'd hunt the person down and wrap a high E string around their neck. been playing 27yrs but still terrible. I've played some newer 18's that sound completely different. Invest in vintage(BUT BE CAREFUL) The new ones dont have the same feel and the sound is night and day.

This is a Standard D-18,2005 model.Proudly made in Nazareth, Pa.Purchased from Musicians Friend, it is a true keeper.

This is a beautiful instrument, I had wanted one since my college days in the Mid-70's.I stepped up and finally bought one earlier this year, and could not be happier.
It has started to open up a bit soundwise lately, and I could not be happier with this for being a mail order purchase.I play at home mostly Blues based Rock, but I have a interest in learning Bluegrass as well.

It was alright from the factory, but I had a professional set/up done to it that made a big difference to the playability.A set of Elixir strings, and the action lowered a bit really made it better for me.

This guitar model has withstood the test of time, I am sure that it would withstand hard use from a working player.

I have never dealt with them, but they seem to be a very customer oriented company.

I have played off and on for over forty years. The D-18 is one of those guitars that inspires you to play, and makes you want to improve on your skills with its beautiful Martin sound.It is highly recommended to anyone who appreciates the basic line of C.F. Martin guitars.

I bought my D-18 new in 1968. It has been the best investment I have ever made. I enjoy this guitar as much as the day it arrived. The action is excellent.

The D-18 sound is very distingtive. You can pick it out from the rest of the instuments in the band. In my band I played rhythm guitar. Always used a Fender strat or Gretch semi-hollow. Recently I had a reunion with the guys and used my Martin with a fishman pick-up in the sound hole. Unbelievable sound, even for good old rock n' roll. Peer pressure stoppped me from using the D-18 during my band days but if I were on tour today my d_18 would be the only guitar I bring on stage.

Have only needed major repairs once since 1968 to correct a slight bow in the neck and move my bridge back a half an inch. The finish is a bit worn because of use but good overall.

This D-18 has survived years of constant use in all seasons. Never in a controlled environment and it is still near perfect.

I called Martin for warranty work and they refused to help. They will only warranty workmanship for the original owner. I was the original owner but a receipt from 1968 was not in my possession. I could give them the name of the music store and manager I purchased the guitar from. I also have a serial number never registered by anyone else. The repairs I needed should have been covered regardless of the ownership situation. The bridge was installed too close to the sound hole. A manufacturing defect according to the lutherie that fixed the problem. Martin should cover a defect from their factory.

This is without a doubt the best guitar I have owned or played. Over forty years of playing I have had the opportunity to play many guitars. I can't think of one that I would consider trading for my D-18 including my 1962 Stratocaster purchased from the same music store as my Martin. The strat is long gone but the D-18 is still here...thank God.

features what this kind of guitar often features, i'll give it a nine because the d18 has no fancy or extra ornament

well you've heard it everywhere: "martin guitars do not sound as they used to, they are to expensive for what they are, they are living on a reputation, i have a no brand guitar that sounds louder, for this price get a boutique instrument, go to the luthier, etc..." WELL this guitar is THE GUITAR i wanted to buy because i wanted that sound, the sound that built the most beautiful folksongs ever written, songs that nursed my youth, Crosby, Stills, Nash, Young, Paul Simon, joan baez, bob dylan...i did not wanted to buy another type of sound because the d18 IS folk music

flawless and ready to play

this guitar being the workhorse of many road artist, i have no doubt about its being reliable. Elvis used to play his each night, and david munyon tour the world with it. I suppose mine will withstand a little gig at the local bar.

I keep two guitars here, my d18 and a guild gad50 which i often use in open D. I've been working mostly my folk tunes for 10 years and i couldn't have imagined gathering such a dream team of acoustics to catalyse my moods. I 've tried lots of acoustics, taylors and lowdens are pretty good, kind of airy but i prefer the earthy martin sound.

This is a 1971 model regular easy going d18. the whole guitar has been at some time been taken apart, and repainted later, don't know when. the d18 has mahognay sides, spruce top and rosewood deck. I've put in a pickup, (lying in the chair)

If you're an owerall player, fingerpickin, chords, this guitar will give you satifsfaction. The mahogany sides gives the warm and big heavy sound, and the rosewood floats the chords away. The sound is absolutely great on this one, i play crosby, john martyn, old folk things and it's great. But it's not the best fiingerpickin guitar, you'll not get the "nick drake" sound on the d 18, mainly because of the big dreaughtnout body, it gives away a lot of sound

nice sustain, great handle, the tension is great, of course the gauge is not like a small bodied guitar, you'll break the stings ( at my case specially the g string goes if you take ip up and down all the time) but this is absolutely a guitar you can depend on, people say the martin in the 70's were a mass production, and given a poor sound. i don't think that true, maybe after 74-75 but it's still a martin.

warranty? this is a vintage, wouldn't know., but it's probably good:)

Great guitar, if you're in to the old days, 60 - , this will suit you great.
Just remember if it's been repainted or taken apart, the martin guitars will drop in price.

Martin D-18 standard, for specs se Martin's homepage. I have personally added a greven's tor-tis pickguard, bone nut, bone compensated saddle and open back tuners (Gotoh). I see from Martins home page they have added bone nut and saddle for the D-18. I'll give it a 9.

The sound has changed much over the two years I owned the guitar. I would say from 8.5 to 10. Now the sound is really clear, crisp and woody. I belive that after 2-3 years playing it regulary one cannot hear the difference between scalloped or not.

The guitar was not set up from the factory. However, if you buy such an expensive guitar you should be able to set up (nutt, truss rod and saddle) your own guitar so it suits your.

Rock Solid. You can dig holes in your garden with Martin Guitars. They are build to include lifetime gurantee.

Never tried this.

This sound is what you hear on records and in the radio. If you are into a clear, crisp and woody sound you should go for the Martin D-18 this is what I perfer. If you want a more rich and ringing sound you should go for a D-28. I've been playing 17 years, also owner of Gibson J-45, Blueridge Br-180 and Br-163.

Martin D-18, built in 1961. Nazareth PA. Bought at a pawn shop in Allentown PA in 1968 for $145. New D-18 at that time was about $185.
All solid woods: Spruce top (could be Adirondak). Mahagony back/sides. Standard braces. Small maple bridge plate. Brazilian rosewood headplate, bridge and fingerboard. Tortoise plastic pickguard and binding. Original ivory nut and saddle. Original tuners replaced by Gibsons, then Gotohs (all with the same screw holes). Refinished in 1968(it needed it), custom pearl inlay at the same time. Refinish was initially flat and later polished to gloss. All refinish work done in Nazareth PA. No retrofit pickups or strap buttons ever.

Best thing about the D-18 is the sound. Balanced, subtle, enough guts for bluegrass, delicacy when you want it. More nuance than my Guild D-35 (also a spruce topped mahogany back/sides D), though maybe not as loud. Defined for jazz. Was my only guitar for many years until I became an affluent musician and could afford more specialized instruments. Mikes very well on stage and records superbly (not too boomy like the rosewood Ds can be). Not a flashy looking guitar, but a D-18 owner tends to appreciate the classic understatement of the guitar and will typically not go for the glitz of a Gibson Hummingbird or a pimped-up custom D.

Hanging on the pawnshop wall in 1968, this guitar was rough. Then again, the D-18 was the lowest price Martin D at the time and tended to see lots of playing. It had many gouges through the finish and the bridge was almost peeled off the top. But the neck was straight and the waiting time for a new Martin was over 2 years (darn that folk boom!) So players felt lucky to find something used and I certainly did.

There was never a doubt that this was fundamentally a great guitar. I was confident that the bridge could be repaired and that the finish could be touched up or redone. I lived in eastern PA, and the "Nazareth Effect" said that there would be competent repair people for this work. I found a great guy and gave him the whole job of repair and necessary refinish. In the spirit of the times (1968, pre-45 style revival) I had him also do some custom pearl inlay for me, creating my personal D-18. Such custom work did not come out of the Martin factory till years later.

I had the action set up to fit my playing, a mixture of flat pick and finger style. This guitar is pre-adjustable truss rod (it has a non-adjustable rod). The neck has NEVER moved. I don't abuse it, but it is stable like Gibraltar. I use light or medium strings depending on the situation. Still has the original ivory nut and saddle. Never needed any neck work.

The top is bookmatched and is probably Adirondak spruce...kind of red and a little wavy. If you are comparing this to a sitka top (white and straight), this may look irregular; but to those who know sound, it is primo!

Tough: The guy who owned it before me couldn't kill it, he only caused the bridge to peel a bit and dinged it somewhat. It took me 10 years to get the smoky bar smell out of it (OK, I sometimes added some of that too).

Hardware: The 1961 Martin tuners were by Kluson. Did they ever work well? When I got the guitar it was 7 (hard) years old, and the tuners showed quite a bit of slop and were bent up some. Replaced them with new Gibson/Kluson tuners (same screw holes, no redrilling). Same slop thing! Kept them on until about 2 years ago when I saw some Gotoh replacements that had the same screw hole specs. Apparently we've learned something since Archimedes...these work great. Initially I was sceptical about Gotoh. Then I was in the Metropolitan Museum in NYC one day looking at exotic blades. Tempered Damascene steel from the Middle East, oriental blades from China, etc. Where were some of the best blades made? 15th Century, Gotoh Japan! End of discussion.

Depend on it: This is my oldest friend who knows more about me than anyone!

Never under warranty to me. Never needed repair other than refretting (4 times, I play it so much) and new tuners (wore old ones out). Oh yeah, I am on my third case (original was pressboard, had a fiberglass Martin case, now have a fancy Geib case).

I've been playing guitar since 1965. I considered this my first serious guitar. I am now a pro musician and it is still a most serious guitar. I own one other D, a Guild, that I take on less-than-critical or foul-weather events. I have also fitted the Guild (a similar mahagony D) with pickups and strap hdwe that I did not want to inflict on the D-18 (tape stuff on it when needed, etc).

If I lost it for some reason I would look for a similar vintage D-18 or perhaps consider one of the new GE D-18s.

I almost did lose this guitar on a concert tour of Louisiana in 1974. Left it in the back of a guy's truck in Baton Rouge. It was a hell of a party. Thanks, Stanley, for your angelic kindness.

If this D-18 were ever stolen, I would consider it a life-mission to find it.

it's a d18 standard nice appearance all solid wood

this guitar is amonth old and it is already starting to open up i play it every day it has the sound you'd expect from a mahogany guitar

action is a tad high but not worth changing top is a nice book matched sitka spruce

looks like it is well built and i see no reason why it won;t last through the ages i don't do any live playing yet but as long as the guitar is taken care of should'nt be any problems

have'nt had to deal with them from what i hear they stand behind there product

i have been playing a couple of years i also own ad28 and a custom built strat there is nothing not to like about this guitar if you want something different you buy it you can't beat the martin tone and that;s what it;s all about

1999 D-18 Custom . . . This guitar has the standard D-18 features - solid sitka top, solid mahogany sides/back. Upgrades are 1 3/4" nut width, full profile neck thickness (like the older Martins of the 50s-70s), and some vintage eye candy (ebony tuners, diamonds & squares fretboard inlays, vintage toner).

Killer mahogany sound. Has strong bass presence, but not the overpowering muddy bass of rosewood dreads with scalloped bracing. Good, strong fundamental tones, with rich highs and strong midranges. Great sounding guitar for rhythm or flatpicking - a bit less responsive for fingerpicking, although if you're just accompanying your own singing, it is more than adequate.

Excellent fit/finish. The mahogany chosen has very nice bookmatched grain figure, even in the sides. Sitka top has tight, even grain with a lot of silking - something I didn't expect to see on a D-18 (it's almost as nice as the top on my OM-42!)

Very solid, very well put together. Should stand up well, and it is my guitar of choice for playing with groups, etc.

Past experience with Martin has been top notch. Since this is a used guitar, I will be dealing with a luthier on my own.

I've been playing guitar for almost 40 years, and have moved in the past year from a Martin D-35 (1973) to smaller bodied guitars. I found that selling the dread was a mistake, and have replaced it with the D-18, which I really like. The sound is completely different from the D-35, but I really like it for fingerpicking and flatpicking. The action is a tad higher than I'd like so it will be going to the luthier for a setup, but otherwise, I couldn't have found a better guitar for my style of music and playing (older rock, and bluegrass, mostly)

In the fifteen years I've owned my D-18, I have not changed anything--except to lower the action slightly. It's constructed of gorgeous, solid mahogany back and sides, and the spruce top has gotten even more beautiful over the years. The D-18 has black binding (which I prefer to the white binding used on the D-28, for example). The tuners are chrome, and after fifteen years, they still look great and work perfectly.

From the beginning, my D-18 has had a very focused, full sound that is never dark or muddy. I play quite a bit of fingerstyle--which certainly is not what most people would buy a Dreadnought for--and I've found the D-18 to be an excellent guitar for vocal accompaniment. (Like other Martin Dreadnoughts, it can also be played quite loud!)

Initially, the action was set up a bit high for me, so I had it lowered. Since then, it has played beautifully and STILL looks great!

I've owned other guitars, but my D-18 is certainly my preference, above all others. I would never hesitate to use it for any performance!

As I mentioned above, I've owned my Martin D-18 for fifteen years. It is--by far--the finest guitar I have ever owned. The sound was quite good even when it was new, but it has continued to get better and better over the years. The spruce top--with its slightly aged patina--looks even more gorgeous than ever, now that it has had some time to mature naturally. Highly recommended!

Love my 1976 D-18, but time for some neck work. My guy (charlie powers, fairmont, wv) is going to put in oversize tang fret's to straighten and slight bow, & it'll be making sweeet music again

Buts right through all my buddies at either live shows or jams. You know that sound when you hear it & most guys LOVE it.

Everything perfect (27 years ago).....faded a bit in time, but only with the classis Martin "belly bulge"

This guitar will do whatever you need it to do, never a letdown, need for a backup

Sure there are better guitars out there....but nothing "communicates" with that body buzz like my old Martin......."Sorry about spillin' beer on you again, Martin"
Compared to thousands of guitars & all have their qulities, but, like I said, my Martin is the first thing I'd go for in a house fire (don't worry, folks,, I'm single.

Year: 2003
Frets: 14 (clear)
Top Wood: Solid Sitka Spruce
Body Wood: Solid Mahogany
Neck Wood: Solid Mahogany
Fingerboard Wood: East Indian Rosewood.
Finish: Glossy Laquer (body), Satin (neck)
Body Style: Dreadnaught
Tuners: Martin (Gotoh)
Scale: 25.4"
Neck: Martin Low Profile (thin), unbound
Inlay: Standard white dots on fingerboard
Body Binding: Black
Accesories: Martin hardshell case included.

Comment: Very well built with a beautiful glossy finish. The only change I would have made would be a tortoise shell pickguard like the older D-18's. The pickguard on the guitar is a standard black plastic.

Fits my style perfectly since I am moving into Bluegrass/Old-Time flatpicking. A bit tinny compared to other Martin Standard Series guitars due to the Mahogany back/sides.

It produces acceptable volume if played with a flatpick, not so acceptable when fingerpicked. The sound can be varied from mellow to bright depending on the distance of the right hand from the sound hole.

Some of the sound characteristics may be due to the fact that I am still using the factory (Martin) strings.

No flaws other than a tiny scratch on the pickguard. To me, this is an easy guitar to play. I am heavy handed though and used to a higher action/stiffer strings from playing mandolin.

It is very well built and I am sure that it will last a lifetime if treated properly.

I have not dealt with Martin customer support.

I've been playing for 25 years now, you name it; I've owned it. If this guitar were damaged beyond repair or stolen I would replace it.

I bought my D-18 new in Manny's in Manhattan in 1972. This was after my first wife smashed my beloved Harmony Sovereign against a wall because I wasn't paying enough attention to her. She redeemed herself my taking out a student loan to pay for the D-18. She's history, but I still have the Martin! This guitar has only gotten better over time and has needed just minor work. The nut was replaced about fifteen years ago and the inevitable pick guard crack was corrected around the same time. I also have two Taylors ( a 512 and a 414) that I play and enjoy, but I always come back to my D-18. I play mostly finger style and have the Martin strung with light guage strings. The guitar responds to a soft touch with an incredibly bell like ring....it's impossible to describe adequately. I've never used a dampit or any other device and have never had any problems with movement of the neck. The Taylors, on the other hand, need frequent truss rod adjustments and have to be humidified in the winter.

I've played many other acoustic guitars over the years, including may other Martins. I've been to the factory twice, and I have to say that they really got it right with the D-18.

As I stated earlier, the D-18 has needed little action work over the 30 odd years that I've owned it. Upon close inspection it reveals Martin's typical attention to detail.

The guitar is built like the proverbial brick shit house. For an instrument that is capable of reproducing the most delicate overtones, it has never needed humidfication and remains true to tone for the four seaons of the year.

I've never really had to call on Martin. Repairs were done by a reputable dealer in Manhattan.

As stated, I own a couple of Taylors now and play them frequently.
If lost or stolen, I'd probably look to buy another Martin from the same era...possibly a 000-18.

My D-18 is a fully stock 2002 USA model with OEM hard case.

I play classic pop, classic rock and country. The D-18 is never out of place anywhere. From Doc Watson to Steve Goodman to The Goo Goo Dolls, this baby does it. I use a $25.00US no-name soundhole pickup with the D-18 through Traces and Fenders. The sound is magically crisp, clear and ringing. This guitar is the most radiant, projecting, sparkling sounding guitar I've ever played. It responds to every touch it receives, good and bad. Everyone should get to 'learn' on this guitar. It'll magnify your mistakes so well that you'll be shamed into getting better. It is not just a guitar, it's a 'membrane'

The D-18, as a whole, is as basic and magical as any guitar. I took the guitar to my local Martin repair luthier who did a neck adjustment, fret dress and set-up for me shortlt after I bought it. I got it back and it felt and played like no other.

I'll call you in 30 years. For now, it alwats plays and sings. Stephen Stills says that these things babies last and last and only get better. I'll take his word for it.

Good informative and easily navigable website and very qualified field luthiers. No direct contact required by me so far.

I can'e believe that anyone could build a guitar this light, responsive and playable. Other than a sunburst finish, there's nothing needed by my D-18 to be my #1 guitar. If lost or stolen I would replace it sameday. A slightly fatter neck might be nice but as is, this guitar has rendered my Takamines expendable. If you can afforda D-18, get one. I doubt anyone would ever regret it.

This is a 77 Martin D-18, and it "comes with the little pick guard crack" between the bridge and the sound hole...right on top of the pickguard on the spruce surface...luckily, for me, anyway, this specimen had never been seriously played. It did not need a neck reset and the frets were perfect. However, i did have to change the original strings from extra light to new mediums.The guitar is politically correct, being a standard series guitar with it's model pedigree going back to 1935. Martins made before the current chairman took office(@1985) reflect the american union craftperson's dedication to excellence. Since the serial numbers of rosewood backed guitars tends to make certain Martin models more "valuable", the d-18 sidesteps this issue having a mahogany back, so, i am fortunate to have acquired this instrument during november, 2002. I always buy my instruments in november.

It has a rich medium sound, tending toward the treble. As a fingerpicker i am a heavy picker, used to playing metal bodied resonators, so you can imagine how light weight the timbre of the d-18 is compared to a dobro, not to mention the light weight of this instrument.I love the neck of this guitar , but i wished it were 1/16th wider at the nut. I have no problem with the intonation and can play all the way up fretboard with out losing any volume, unlike the guild d-25 which i also play. I have made a dozen of my own guitars and i made the nut and fingerboard wider for my own hand, some would find that uncomfortable. Nevertheless, the martin sound with its mid-range overtones ( the singing strings ) was the quality i was expecting from this d-18 guitar bought over the phone. I play this one without any pick-up, but have the de armond, just in case.

Extra fine grain spruce top. Mahogany back doesn't have a scratch- makes me wonder if this particular guitar was kept imprisoned high behind the counter when it was born.It was drying out in california in some guitar shop. Anyway, the construction elements of the guitar are very nice...the gloss finish appears very lightly applied, unlike the guild d-25.

I am a professional and i play nearly every evening, always have a backup, usually 3 or 4. Only played slide on this d-18 for 2 songs, and wouldn't recommend it...it sounded too tinny. So i bring the dobros for that...

i do my own repair work...a guitar always needs something done to it, even when it leaves the factory...and that goes for martins as well as benedettos...have not dealt with the Martin Company. Besides, they have eric, keb, rory, and willie, among others...who need their expertise more than i do..

Been playing since the 50's, started on a xmas banjo when i was 7, bought my first guitar in new orleans from a hock shop for 30 dollars, it was an all mohogany harmony. I had been playing on a borrowed stella. My best friend had a gibson L-4 archtop and a 00-18 martin, mine didnt sound as good. I got mad and smashed the stella , and i loaned somebody the harmony, never saw it again...my first wife bought me a 1968 yamaha fg-300, in 1968, i used that for 4 years, then i bought a japanese washburn, the d-10 rosewood, which they don't make anymore, then i went thru several guitars, mostly pawn shop wonders...today, i play a 72 japanese epiphone joe pass, have a 63 dobro, and a 97 gibson made dobro, the 80 guild d-25, and 8 of my own designs, mostly spruce-rosewoods, but a few have walnut , wenge, and maple backs...5 archtops, three round hole acoustics, they are all relatively heavy,each a different type of pick-up system, i have played them all professionally, and these have distinct characteristics.. the martin d-18 is a rather plain guitar, like a grey porsche, i would like to play a guild jf-100r custom, but they closed the factory where i wanted it made...funny, but i like to play the martin d-18 in private because the sound is so delicate and pure, but no matter how awful i am on stage, they remember the guy with the martin, the "pre-chris martin iv" martin. I like the dana Bourgeois models, and the gallaghers, and the breedloves...but in a crowded club, better to have a martin with a pickup in it..

1968 Martin D-18 - USA made...it was 1968.

20 frets, 14th fret meets the dreadnought body.

Solid Spruce Top Mahogany 2 piece back and sides. Rosewood bridge and fingerboard. Mother of Pearl standard dot inlay. Normal late 60's finish (shiney).

This is one of the most versitile acoustics on the planet. The mahogany back and sides add more treble to the overall sound. It really needs medium gauge (0.13) strings to ring just right.

Also sounds really good with a Dean Markley pop in pickup if you need it amped.

I bought this guitar used from a store with a Martin warrenty tech who set it up -- with Medium gauge strings, it has the most feather touch of any acoustic I've ever played.

Like most late 60s Martins, the pickguard was shrinking and cracking but I had it replaced. The binding began to come up on on the back where it rests on your leg, again the Martin dude fixed it.

It's lived since 68. I bought it in 92. 10 years later, its still working well. The finish is fine and the guitar is solid. And while I take care of it, i don't baby it when I play it. And it continues to play well, year after year sounding better and better.

I've had some things fixed and adjusted but nothing more than standard wear. The local repair guy was friendy and the shop i bought it from used usually did repairs for free.

I've been playing since 1988. I own a Seagull 12 string and a fender strat. I really don't need to own any other acoustic for the rest of my life.

If this guitar was stolen, i would need therapy as I likely could never replace it. If it was stollen and I found it in a pawn shop for 3 times its value, i would buy it again.

YOM - 2001
14 fret dreadnought
no electronics
solid spruce top, mahogany back and sides, ebony fretboard
standard Martin lacquer finish gloss front, semi gloss neck

I play mostly folk, country, pop and blues, for which this is the perfect acoustic.
Bright sound but not "stringy," beautifully balanced and mellow
When I played this, I knew it was "the one" immediately

Magnificent low action, but not rattly. Easier to play than my classical guitar. I don't know how they did it, but I can't quit playing this thing!
Beautiful bookmatching on the top, everything on this guitar was picture perfect from the factory. A classic beauty.

Haven't owned it long, so only time will tell. But you know in a matter of seconds it's quality.

Martin support -- the stuff of legend

This was the Martin guitar I have wanted all my playing life. (20 years). That is amazing in itself, because I thought what I wanted was the HD28. However after playing several, I knew the D18 sound was
better balanced and better suited to my playing style which includes a lot of fingerpicking. I just couldn't ask for more in a guitar, both in looks, feel, playability and most of all SOUND. Just a classic, unadorned Martin dreadnought with a magnificent voice and action. After all, if it was good enough for Andy and Barney on the front porch, it's good enough for me. I also considered Larravees and the Taylor 810, but found the D18 to sound and play better than any of them. If this guitar was lost or stolen, I would 1.: go on a crying jag 2.: buy another one just like it.

Sorry for my poor english (I'm Italian).
1995 made, bought used in near mint condition last week (really, there was the plastic paper on pickguard).
Solid sitka spruce top, solid mahogany back, sides, neck (one piece), rosewood fingerboard, bridge, face of the headstock and hell of the neck. The grain of the top is beautiful: straight with lots of medullary rays: I've seen lots of higher models with tops no so beautiful.
The back, sides and neck are made of a beautiful wood too (it's seem a sort of custom shop model).
1 11/16" (42 mm)at nut, standard "x" braces (not scalloped), dovetail neck joint (yeah, it's not a T****r), lightweight compared to the rosewood ones, chrome closed machines, mine have added a good Fishman with the strap pin as input jack (no holes on the guitars!).
Good shell case with blue interior (and a big pocket inside).
The "10" is for the quality of the guitar, not for the "tons of features"

In comparision with my D45 CFMB (see the other review if you like), this one is more balanced but with a carachter (so it's not sterile as T****rs). It's good to play when I'm singing, to play riffs with single notes, to record. I think the rosewood ones are made for chords (you hear the chord as one thing) and the mahogany one for single notes (you hear a chord as lots of singles notes).
It have standard braces (not scalloped), so it's well balanced (mine doesn't have the dominance of medium-higs reviewed above) and it have not lots of harmonics.
It's a good guitar if you play alternate tunings too (you can use with no fear medium strings, because the standard braces are more strong than scalloped). Very good the invisible Fishman
For this, it's a "10" because i think there are not guitars made for all styles or that can play WELL each style.

For a dreadnought, the action is quite low.
The beautiful woods are perfectly bookmatched, there are no flaws on woods or on the finish.
The finish is light-gloss, the neck is satin (it's a opinion, but I prefere the feel of a gloss neck as on 40s series), corian (sintetic) nut and micarta (now tusq) saddle, plastic black pin with white dots (can be made in ebony or rosewood...), black pickguard (I prefere tortoise but it's historically correct and it blend with the black binding), black fiber binding (bwbwb on top and rosette with 3 rings), without flaws inside. Single thin black backstrip on back (i prefere no backstrip). Good the rosewood hellacap and face of head.
The machines are solid, smooth, precise. The logo is gold without black binding.
The "9" is only for the plastic pins and nut(Ok, it's not easy work the bone but Tusq is a lot better than micarta and pins can be made of wood...).

I think it's a workhorse. I use a backup because:
1) I play with standard and alternate tunings, so with two guitars I have no problems;
2) As above, mahogany standard braced guitars are different from rosewood scalloped ones;
3) you don't know when you break a string...

Mr. Bert Diaz from Martin is very kindly for informations, and essemusicstore (www.essemusic,it) is really the biggst and the best shop in Italy, with very professional people.

For all above, and for the good price wor a used-near mint D18 w/internal Fishman, it's a solid 10.
It will be a plasure for me receive your comments (D45@virgilio.it)!
Thank you and all the best to everyone!

BODY STYLE 14-Fret Dreadnought
TOP WOOD Solid Spruce
ROSETTE Black and White
PICKGUARD Black
BRACING Standard 5/16"
SIDE WOOD Solid Mahogany
BACK WOOD Solid Mahogany
BACK CONSTRUCTION 2 piece
BACK INLAY STRIP Black Fiber (Style 18)
FINGERBOARD AND BRIDGE Rosewood
BIN