Martin

For us guitar nerds here in Atlanta, the history of the Martin OM has perhaps a bit more significance, as the very existence of this model is directly linked to an Atlanta local named Perry Bechtel.  Though perhaps not as successful as the likes of Roy Smeck, Bechtel, who was also known as the “Mr. Banjo” or “The Man with 10,000 Fingers,” was a multi-instrumentalist of some renown.  Though his reputation was largely tied to his banjo prowess, Perry Bechtel was an skilled guitarist; and, with the rise of jazz, like many banjo players of the vaudeville era, he soon realize that there was just as much demand, if not more, for the guitar.  Martin was keen to have his endorsement, yet Bechtel found the standard 12-fret design of Martin’s guitars limiting.  Instead, he requested a model be made with increased fret access and a more narrow neck to be somewhat more reminiscent of the banjo.  Thus was born the first OM (a Style 28) in 1929.

Interestingly, at the time, the term OM, or “Orchestra Model,” simply referred to the 14-frets clear of the body design.  Subsequently, there were OM versions of dreadnoughts and other body sizes.  However, eventually the OM designation became its own thing, denoting a 14-fret 000 body with a long 25.4” scale and a wider 1 ¾” nut width—by contrast most standard 000s of the modern and post-modern era typically have a 24.9” scale length and a 1 11/16” nut width. 

The first run of 000-sized OMs that were specifically cataloged with an “OM” prefix was a short lived, approximately spanning on four years before morphing into just a 000.  Due to the longer scale, the OMs have a more commanding presence and a distinctly brilliant sustain, especially in the treble.  Of course, as is often true of the magical combination of Adirondack spruce and mahogany, there is also a powerful directness and crisp, dry note edge to be found in these guitars.  In creating the 1933 Authentic VTS OM-18, Martin deliberately sought to replicate these qualities found in an old OM-18 as much as possible.  Obviously, achieving such a goal involves meticulous reproduction of vintage specs with regard to general construction elements like bracing, neck carve, tone woods, and aesthetic treatment.  However, until recently, there was no way to replicate the effect of time on the materials.  This changed with the introduction of the Vintage Tone System (VTS), which is a specifically calibrated torrefaction (a.k.a. baking) of the sound board and bracing.  Following this process, the woods are effectively aged to mirror the physical and sonic behavior of the vintage guitars that we all covet—though we are quick to mention here at Maple Street Guitars, that VTS or any other manufacturer’s torrefaction process does not replicate the effect of decades of use, which arguably has more to do with whether an old guitar sounds great or not!  Even so, regardless of one’s attitudes or experiences with regard to torrefaction, the result is undeniable: this OM-18 Authentic is a fantastically expressive guitar, with more vintage mojo than one might reasonably expect from a recently-made instrument.

It is also very much worth pointing out that this particular piece is one of three OM-18 1933 Authentic guitars Martin has ever built in the left handed iteration.  If you are left handed and looking for a great playing, great sounding, and exceedingly rare instrument

Condition:

This guitar was very well kept by its previous owner.  While it purportedly never left the house, it was actively used, and as such shows only minor examples of typical playwear, most notable light scuffing to the pickguard.  As an added bonus the bridge pins and endpin have been upgraded with Bob Colosi fossilized ivory/bone.  We would consider this guitar to be in EXCEPTIONALLY FINE condition.

• 000-14 Fret Body
• Solid Adirondack Spruce Top with 1933 Style VTS
• Authentic 1933 Scalloped X-Brace
• VTS Adirondack 5/16" Top Bracing with 1/4" Tone Bars
• Solid Mahogany Back and Sides
• Black Binding
• Style 18 Multi-Ply Purfling
• Multi-Stripe Rosette
• Vintage Gloss Finish
• 1932 Shaded Top Finish
• Genuine Mahogany Neck
• Dovetail Neck Joint with Hide Glue
• Authentic 1933 V-Shape Neck Carve
• Ebony Fingerboard
• Old Style 18 Abalone Dot Fingerboard Inlays
• Madagascar Rosewood Headstock Veneer
• Script Authentic 1933 Headstock Logo
• High Gloss Neck Finish
• Ebony Belly Bridge with Glue in Long Saddle
• Nickel Open Gear Tuning Machines
• Ebony Nut
• Bone Saddle
• Bob Colosi Fossilized Bone Bridge Pins and Endpin
• Faux Tortoiseshell Pickguard
• 1 3/4” Nut Width
• 25.4” Scale Length
• Original Hardshell Case
• 1 of 3 Manufactured in Martin History