# Instruments and Equipment > Equipment >  Martin D 28  vs  Martin D 35

## mandosonthemarsh

Have a martin 1998 D 28.. Beautiful instrument...The only issue I have with it is that I can't seem to get the bass the way I want it. The sound seems a little thin  and seems to get lost in the huge body.  I have tried everything from TI strings coated and medium.  From my understanding the Martin D35 has a 3 piece back with thinner bracing which is supposed to increase the bass responce. I am wondering if it make that big of a difference. Been trying to get my hands on a D35 to see for myself but no luck so far. I would welcome anyones first hand experience...,.Also, what are the differences in the 1970's D 35 and the present models. Thanks,  Bruce.

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## Suburbia56

From my experience the d-35 does have a lot more of a bass-ie feel. Literally, you can feel it when you play. But I've got to say there is nothing like a d-28. I can't tell you the difference between the newer and the older model though.

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## Ryk Loske

Bruce,

I'm sorry to be the barer of not good news .... but Martins are just TOO variable.  I've played and heard '28s and '35s that were all over the spectrum.  Yuh just gotta try them to get the sound you want.  Sorry.

Ryk

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j. condino

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## stevedenver

Yes, everything is variable, Martins too indeed.

And the 70s ....vary a bunch including the employee strike years of about 75-76 as i recall, when managment was in the shop and built guitars to keep production. OTOH wood was a good to great quality in that era, but not a big compensation for a lousy sounding guitar.

I own a very 'dark age' 1976 D28 ...its pretty good, and thats compared to my braz 28 from the mid 60's!  So, a 70s guitar could be dead or could be great. My 76 has the balck , potaato chip pickguard, ie the ones that eventually curl right off of the top leaving exposed wood below, and which can be reglued or replaced.  Some have pickguard cracks due to these, as i understand things.  None the less, i found a pretty darn decent one, and its still fine, but getting closer to needing a neck re-set.  

The modern ones, and the higher priced ones, I think , are most llikely to yeild you a good to great guitar, on average, if you must buy on line. However, a friend of mine who I played with long ago had a killer early 70s 35-huge sound, ringing bass, amazing even next to my braz 28.

Remember too these 70s guitars have no adjustable truss rod, which is likely to be a big deal..ie the customary neck re-set, which is expensive and must be done by a skilled repairman.

It has been my experience for a very long time that generally speaking a 35 will have more bass.

I do a lot of fingerpicking. i have always loved them and wanted a good 35 for a big alternating bass sound.

otho, i fingerpick and flatpick on my 28s and have not been so disppointed that a 35 has yet to enter my stable while many others made me feel the need......

The bound fingerboard, is, a matter of preference, the lack of volute a matter of assumed risk LOL
I never played a 35 i didnt like

Get what you like, they are, imho, sufficiently close, given the variable between guitars.

I really think what you are seeking are scalloped braces and even the advanced x bracing for THAT sound-ie the HD 28 or higher in the food chain, 
again in my exerience these have THAT sound.

if i were to blind buy a D35, or a higher end martin dred, i would likely buy a new one, i think qc is still really good, truss rod, and simply the bracing and details are overall better -not necessarily due to wood, just modern tech and QC in the guitar making process. Hope that helps.  I think overall the HD 28 is a superb product and good value.  Big sound, nice to play.  They too vary.  Recently played one with terrible back wood 9some sort of swirl or grain wierdness that i associate with stumps, bumpy and just didnt loo nice or too stable)  that sang compared to another with beautiful wood; the difference was huge, both brand new from the factory . 

but the best insurance is to play them if you possibly can, or, while pricey, buy from a dealer you trust and who will allow you to return and swap. Although this (return shipping)  gets expensive very fast, you wont get stuck with a dog.

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## garyedelman

Depending on the specific year, a big difference is Braziian Rosewood versus Indian.
Also there are several versions of D-28s out there; heritage, herribone, etc where 
bracing is shifted around and other things.  Not to mention there is often a difference
between 2 of the same model constructed within days of each other. Martins in 
general have a "bass" reputation (versus say Gibson, Taylor, Gallagher, Collins, H&D,
etc.) Even the former DC-16RXXX with the cutaway is "bassy" compared to other
manufacturers or non-cutaway guitars.  Never heard that the D-35s 3 piece back produced 
more bass.  (played one once) The D-41, and D-42 each have 2 piece backs as do most 
of their signature / custom /Artist signed series.  And they all are known for their bass.  
You'd think, at least I would, if the 3 piece back produced a "better" (whatever that means 
to each of our ears) sound they would have used it on the higher priced models.  I'm far 
from an expert, but a good friend of mine who is a Martin supported picker told me when 
I was in GAS, the basic difference going up the line from the D-28 was ornamentation.  And 
not only is he a picker he is a professional and registered architect specializing in acoustics.  
I trust his ear far more than I trust mine.  And he's appeared on major TV shows playing a 
Martin. So I purchased a plain old (well actually new) D-28 and am living happily ever after, 
with a very bassy feel.  And like you I don't think there is anything plain aboutmy D-28.  

See if you can play it next to a couple of other D-28s and even a D-35.  Got to be some 
of each up in Schooner Faire and Gordon Bok country.  And the crazy campus radio station 
program at Bowdoin that has Old Crow Medicine Show's "Rock Me Baby" as its theme song. 

Good Luck

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## Austin Bob

Martin makes the D-35, as well as the HD-35. The HD-35 has the lightest bracing they use, and a three piece back. When I bought mine I had the luxury of playing about 8 different Martins side by side, and the HD-35 had the sound I was looking for. I still think it was one of the best sounding acoustic guitars I've ever played. I'm partial to Taylor necks, and I play my guitar mostly in live settings through a PA, so I ended up selling the Martin and now have two Taylors.

As I type this, I wonder how I came to that decision?

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## J.Albert

If you want more bass, get a guitar with scalloped braces. Neither the D-28 or D-35 come with that feature.

And since you're in Maine, before you buy another Martin, you owe it to yourself to visit Dana Bourgeois' guitar shop in Lewiston (not sure if they welcome visitors, but I sense that they do).

I will boast before the entire cafe that any Bourgeois you buy is going to be the equal of any Martin -- and perhaps significantly better. Flame suit on, ready for incoming. (And I speak from the viewpoint of having owned many Martins in my time)

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j. condino

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## Bernie Daniel

Other dreadnought guitars with rosewood back and sides and scalloped braces are the Gibson J-60's (if you can find one) and the Gibson Advanced Jumbos.

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## almeriastrings

There is a substantial difference between the top bracing on a D-35 vs. a D-28. It is quite a bit lighter on the '35. I think this contributes far more to the LF bias than the back. The 70's ones would not be my first choice... I'd go for the very early ones (Brazilian - long saddle, fixed neck reinforcement) or the 90's onwards until they changed from using 1-piece necks within the last few years. Some of the early 70's examples were not that great. This is Bill Clifton's old D-35 (1967) that lives with me now:

 



It does have a very warm, almost 'woofy' bass... responds well to flatpick and fingerstyle. I agree that the HD-28 would be another option. I also had a '65 D-35 that was one of the first ever built, before they were even cataloged. That was extremely similar to Bill's old guitar in every respect. Both D-35's, while great guitars for accompanying a vocal, are not what I'd call first-rate for lead flatpicking (though some like them for that). The regular D-28, or D-18 both 'cut' better in that role, in my experience. There have been numerous construction/detail changes over the years across all models. Some minor, some major. The 3-piece back was simply a way to use up some narrow Brazilian rosewood boards, originally....

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houseworker

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## f5loar

I've got a bunch of both models from 1934 on up to a few years ago.  I could line up 10 D35s of various years and no two would be the same.  Same for the D28s although you expect all the prewar models to be pretty good.  To me the big difference is the D35 has a thinner neck profile and that should matter to most players.  I've got some 70's D35s that are super sounding so I know they are out there.  They either got it or they don't.  Ain't got nothing to do with what year or model it is.  Sure would love to own that Bill Clifton D35.  Can't believe he let that one go.

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## Ryk Loske

J.Albert wins the coveted "Ten Thumbs Up"!!!  I hadn't noticed you were in Maine.  Get thee to Bourgeois!  It's been years since i was there ... but i was welcomed like a long lost cousin when i went up there from Massachusetts.  (Can't remember if i called first.)  Excellent advice!

Ryk

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## Dave LaBoone

I've got a 2009 HD-16 LSH (large sound hole) that has tremendous  bass response. You might try out one of those.

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## lenf12

My tastes in guitars have changed a bunch over the years. I had a '73 D-35 that sounded like it was stuffed with towels and the neck could be used to hit home runs. That one didn't last long but I did get good money for it at sale. Contrast that with a '76 or '78 Takamine "lawsuit" copy of a D-35 I once owned and played for about 15 years. That was a keeper of a guitar which sounded and played great (in spite of or because of the laminated BRW back and sides?). The large D shaped guitars are no longer playable for me due to right shoulder and elbow issues. I do love the 000's and much prefer the sound of mahogany vs. rosewood. 

If you have an issue with the bass response of your D-28, have you considered the strings and picks you're using? There may be other combinations that suit your ears better.   

Len B.
Clearwater, FL

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## Tim W

In short, you got two choices. You can sell it and find one that you do like, or you can have the braces scalloped which will wake that guitar up. I've done several that way and it has always made an improvement in tone, volume, and evenness across the strings. The 3 piece back has nothing to do with anything except cosmetics and is basically the only difference in a D-28 or 35; mere cosmetics.

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## xiledscot

I agree with Len B. I have a HD28 and have never been disappointed.My set up is pretty standard...EJ 17 d'darrio and at least a 1.4 pick.I also finger pick a lot again using heavy finger picks.What bass are you trying to achieve?
I have played several Martins (other D28 's and a few D18's) and thought they were all just great.All of them were set up the same as mine.Most pro guys I know play D28's
Like f5loar I would love to play Bill Clifton's D35.

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## lukmanohnz

I'm in the 'every one is different and you just gotta try 'em 'til you find the one you like' camp.  That said, the biggest, deepest, most enormous bass response I ever heard in a Martin was my buddy's Judy Collins signature.  It's a 12-fret slope shouldered D, and it just thundered.  Unfortunately he sold it several years ago to fund the purchase of a new Gibson J-45 that had an even bigger bottom.  I'm as big a Martin fan as they come, but if you really want low end, you might want to check out a few vintage J-45s.  (I realize none of this is directly relevant to the 28 vs. 35 question...)

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## dwilken

i agree with everyone.  i have both and they both "have" it.  both are mid 60's with that special tone.  but to totally piss everyone off...... they hang on the wall next to my late 60's alvarez 5052 which has the best tone i'd ever heard.  gun to my head....someone it taking my guitars, the one i hold on to and fight for is the alvarez.  weird huh????????
  i would either hang onto it and let it age, or move on.

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## allenhopkins

"Conventional wisdom" on the D-35 vs. D-28 comparison, when the D-35 was introduced in 1965, was that the lighter-braced D-35 was intended for finger-style players, since it made the top more responsive to a lighter touch.  The D-28 was going to continue to be the "flat-picker's guitar."

Individual instruments vary so widely that generalizations about any model from any era, are going to be met with a host of anecdotal exceptions.  Most bluegrass guitarists that I know continue to favor the D-28, but I've seen some using D-21's, D-35's, D-18's, and of course the "upscale" D-41's and D-45's.  The HD-28 has for a long time been a particular favorite; I traded mine in on a 00-42 "rebuild" that I use for vocal accompaniment, saving my D-41 and D-18 for when I need the dreadnaught sound.

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## almeriastrings

> basically[/U] the only difference in a D-28 or 35; mere cosmetics.


Well, the 3-piece back is certainly predominantly cosmetic. I'd never say "absolutely no effect" as even small changes to construction can have _some_ effect, though I think it is clearly very marginal in this case.  The bracing though, between a D-35 and a standard D-28 really is _very_ different and I'm in no doubt at all that this is what accounts for a very obvious, and consistent difference. As with mandolins, small differences in bracing translate into large differences in response. For example, I have a 1939 D-18 and a 1945 D-18. The latter has the 'straight, tapered' braces, and it is very different from any 30's D-18 you'd find. The differences (tonally) between a D-35 and regular D-28 are just as great.

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## lukmanohnz

> i agree with everyone.  i have both and they both "have" it.  both are mid 60's with that special tone.  but to totally piss everyone off...... they hang on the wall next to my late 60's alvarez 5052 which has the best tone i'd ever heard.  gun to my head....someone it taking my guitars, the one i hold on to and fight for is the alvarez.  weird huh????????
>   i would either hang onto it and let it age, or move on.


Not that weird - an Alvarez was good enough for Jerry...

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## Jon Hall

I have a 1998 D35. When I bought it, I had the opportunity to compare it with a D28 and a HD28. I decided on the D35 because of the bass response. It had a stronger bass than the D28 but less than the HD28.

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## lukmanohnz

Interestingly, the Judy Collins signature was a 12-fret D-35.  It is no longer in production but boy was it a stunning instrument. I was very surprised my friend let it go. I didn't have the funds at the time or I might have bought it. Then again, I have never been a huge fan of guitars with a famous musician's signature inlaid in MOP on the headstock or 12th fret - no matter how much I might have loved their music...

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## Willie Poole

From what I remember the older D-28`s had the cross braces closer to the sound hole and then Martin moved them back towards the rear so that the bridge plates wouldn`t pull loose, they also beefed up the braces...I have scalloped the braces on many Martin D-28`s, as well as Asian copys, and every time it brought out the bass and the owners were more than satisfied....I do believe Martin now makes 28`s with the cross braces back up closer to the sound hole like they were originally...They also seem to be making special models and the traditional D-28 isn`t aything like the older ones as far as sound goes....I have a copy of a pamphlet that shows the shape of the braces in the Herringbones and I feel that is the secret to getting that "Martin" sound of yore, of course the quality of top wood has a lot to do with it but that is another subject and I know nothing about that....Like F-5 Loar says there are good and bad ones out there, good luck....

     Willie

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## jim simpson

I've played a few owned by friends/bandmates and liked them all. I've never cared for the look of the 3-piece back but it wouldn't be a deal breaker if I liked the sound. I've owned several D-28's and a HD-28, I'm currently enjoying a D-18.

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## EdHanrahan

Some related (if seemingly random!) thoughts...

- My '72 D-35, bought 20+ years ago, was going to be "temporary" until I could find a nice used HD-35.  A great price due to a cracked back brace that was easily (and cheaply!) fixed at Mandolin Brothers.  Yer gonna have to pry it from my cold, dead hands!

- Played thumb-only, the D-35 serves as a passable bass in a small jam.

- Up there in Maine, Woodsound Studio in Glen Cove, between Rockland & Rockport, deserves a visit (NFI).  Small shop w/ a rich vintage assortment, especially of mandolins & fiddles (they _build_ fiddles).

- The Judy Collins D12-35 is not radically different from the standard version, if you can find one.  Both w/ 12-fret neck & longer body (21 in. vs 20), JC's had the middle back panel in maple and a solid headstock while the standard had the normal 35's all-rosewood back and a slotted headstock.  As I recall, the D12-21 was a similar 12-fret configuration, w/out the fretboard binding.

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## Pete Counter

I found this video pretty interesting
http://www.youtube.com/watch?v=UHbXJ69K8b0

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Grommet, 

Tom Haywood

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## mandosonthemarsh

Yes I have that same Alvarez...Use it for my open tuning guitar...Very special tone!

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## Eddie Sheehy

I have lusted after a Martin D28 ever since I was a kid.  In 2004 I was finally in a position to buy one - I had been persuading my wife how badly I needed one and I just had to have one and I'd wanred one since forever...  So she said why don't you buy yourself one for your birthday - which was 4 months away.  There is a Guitar Center near where I work so every lunchtime I'd go there and play the D28 they had on the wall.  It was fantastic.  One lunchtime the guy there said "Why don't you try that D35 as a comparison?".  So I did.  I liked it.  I liked it better than the D28.  I only played that D35 for the next 2 months.  Just before my birthday I told him I wanted to buy it.  He said "Come with me".  He handed me a TKL style case with the Marting plate on it.  Opened it up and there was a brand-spanking-new D35 in there with the pickguard cover on and the endpin still in an envelope in the compartment.  I took it out.  Action was perfect.  It was in tune.  It played like a dream.  I asked him to change the case to a moulded Martin case, which he did.  I bought it.  I have never regretted it.  I got it for less than the D28 they were selling.  Just my experience...

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## Tom Haywood

How do you plan to use the guitar? I've played a few D35s that sounded absolutely wonderful solo and in groups playing country or folk, but disappeared in bluegrass. I haven't played an HD35. I've played some D28s that sounded great in country and bluegrass bands, but seemed a little lame solo. Every instrument is unique. The scalloped bracing does make a big difference. When I was in the market a few years ago and looking at D28s and D35s, a friend who was a Martin dealer recommended the HD28 on the basis that I would never be in any situation wishing I had more guitar. He was right, except for the one occasion playing in a loud restaurant through a mic while everyone else was using pickups. To my ear, the D35 generally has a more balanced sound than the D28, which is a bit more evenly balanced than the HD28.

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## Spencer

> I would welcome anyones first hand experience


  Used to hang around a music store that sold lots of Martins, and played/heard many.  They did vary quite a bit.  I had both a D-35 (1967) and D-28 (1974) at one time, both considered by the locals to be in the better fraction.  They both had real good bass, but the 35's bass was more mellow.  A bit like the comparison between the bass response on a round hole mandolin  (35) and and F hole mandolin (28) 

Later on, we did some recordings with my D-35 and a friend's D-28, which I feel was not as good as mine (which I had sold by then) but still ok.  Same player (owned neither guitar) played the same finger picking break on same mike with each guitar with a well qualified recording guy in a studio.  With the D-35, the bass was so "boomy", you had to use a lot of equalization on the low frequencies to make it sound half way decent, and so we used the D-28 recordings.  The difference was very clear on the recorded sound tracks.  

Same guitars, same recording setup, this time the D-28 owner used my guitar while his was in the shop, same problem, and we had to cut the bass way down with an equalizer to get it to like his 28.  It was especially noticiable on a flat picked break where he played in G and played down on the E string.

The above is, of course, a reflection of two individual guitars, but I think the same general comparison of my 28 and 35 held, the 35 bass was a bit more mellow, similar loudness, but this is my subjective opinion, and I don't have any recordings to back it up.  

Both my 35 and 28 were really fine guitars, but I had some construction issues with the top on the 35.

Spencer

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## fatt-dad

have you tried medium-gauge strings on your D-28?

f-d

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## EdHanrahan

Since nobody's commented on...



> Also, what are the differences in the 1970's D 35 and the present models.


..., the answer is: "Oh, about 40 year's worth of aging!"

While that _could_ make a big difference, it also might not be as much as any instrument-to-instrument variation.  Ya just gotta play & listen!

In case you're not aware, Martin's last "major" change across the whole line, from Brazilian to Indian rosewood, happened in '69 (although for the next few years, some random D-35s were built with Braz in the middle back panel).

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## Rob Meldrum

I bought my D35 in 1984. The local music company brought in a dozen different Martins for me. It came down to a D28 and a D35. I bought the D35, which happened to be their 150th anniversary model.  The back and sides are all Brazilian rosewood. Gorgeous guitar, plays like a dream. Sounds better than any guitar I have ever played. Play everything you can get your hands on until something grabs *you.*

Rob

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## Nick Triesch

I bought a 1975 D28 brand new with school Vet money after the Navy.  I was so excited to get the "one and only"  famous guitar.  But I was bummed,   it had a thin bass side.  Also the neck  was not adjustable and really hard to play up the neck.  I traded it for a new James Goodall Standard in 1981.  Still have it because it does everything right.   I will say the  HD 28 and HD 35 are fantastic guitars.  I remember 35 years ago I went to Westwood music in LA and the guitar guys told me that Martins were just hard to play.  I bought one anyway.

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## mandogoshen

> Have a martin 1998 D 28.. Beautiful instrument...The only issue I have with it is that I can't seem to get the bass the way I want it. The sound seems a little thin  and seems to get lost in the huge body.  I have tried everything from TI strings coated and medium.  From my understanding the Martin D35 has a 3 piece back with thinner bracing which is supposed to increase the bass responce. I am wondering if it make that big of a difference. Been trying to get my hands on a D35 to see for myself but no luck so far. I would welcome anyones first hand experience...,.Also, what are the differences in the 1970's D 35 and the present models. Thanks,  Bruce.


Do yourself a HUGE favor and try out a Rainsong JM1000.  I've been playing over 30 years and THE BEST sounding acoustic guitar I've ever had the pleasure of holding in my hands is the aforementioned JM1000.  It was a/t Guitar Gallery here in Nashville.  I was w/a friend of mine who's a session player and finds fault w/EVERYTHING.  He's a master session player...one can hear his work on Lee Brice's 'Hard To Love'.  He's playing the acoustic _and_ the electric.  He was sitting across from me and I picked the guitar up and strummed a G chord.  He just sat there mouth agape.  He said one word..."Wow".  Now keep in mind he's got a stable of instruments unsurpassed.  Both electric _and_ acoustic.  Mandolin(s), OM, Tacoma Papoose, 40s D-28, '35 D-18...you get the idea.

My point is this.  If _he_ says 'Wow' about anything that's extemely high praise.  I can tell you the bass response on the JM1000 is incredible.  The only reason I don't have one is purely financial.  Someday... :Wink: 

Btw, I've owned a dozen or more Martins, Guilds, Gibsons of differing types.  My favorite was one I had handbuilt for me in 1980 by a Michgan luthier named Jan Burda.  It had black walnut sides and back w/a red cedar top, ebony bridge and fingerboard, w/scalloped bracing from a copy of the original 'Ditson' 12 fret model that became the D-18 and 28 in 1933.  Martin started to manufacture the 14 fret to body model in 1934 as the orchestral players wanted to access the C scale more easily a/t 14th fret.  The S model Martins are more balanced overall than than the standard dreads.

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## almeriastrings

> I remember 35 years ago I went to Westwood music in LA and the guitar guys told me that Martins were just hard to play.


Urban myth number one where Martins are concerned, but, just as you might not expect a regular music store or electric guitar repair person to do a good job of setup on an F-5, the vast majority of such places also have no clue as to how to set up an acoustic guitar correctly. This is true twice over for the older Martins (long, fixed thru-saddle, square bar or T-bar neck). To set these up right you need to understand neck/body geometry adequately and be familiar with how to work with those saddles. Newer design Martins (adjustable truss rod for neck relief, and short drop-in saddle) are more familiar to your adequate 'general purpose' repair person. Both types, though, can be setup to play very with just about any action desired - it is just a question of knowing how to do it properly. Martin, Taylor, Collings, Breedlove, Bourgeois guitars.... just like Gibson, Collings, Breedlove mandolins. Setup is critical and leaving aside individual preferences on neck profile/width, 'action' and playability is pretty much brand independent. Just takes a bit of work and someone who knows what they are doing.

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## allenhopkins

> ...a Michgan luthier named Jan Burda….


Anne Hills' ex-husband?  I have an LP, _The Panic Is On,_ by the duo...

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## lukmanohnz

> Do yourself a HUGE favor and try out a Rainsong JM1000.  I've been playing over 30 years and THE BEST sounding acoustic guitar I've ever had the pleasure of holding in my hands is the aforementioned JM1000.  It was a/t Guitar Gallery here in Nashville.  I was w/a friend of mine who's a session player and finds fault w/EVERYTHING.  He's a master session player...one can hear his work on Lee Brice's 'Hard To Love'.  He's playing the acoustic _and_ the electric.  He was sitting across from me and I picked the guitar up and strummed a G chord.  He just sat there mouth agape.  He said one word..."Wow".  Now keep in mind he's got a stable of instruments unsurpassed.  Both electric _and_ acoustic.  Mandolin(s), OM, Tacoma Papoose, 40s D-28, '35 D-18...you get the idea.
> 
> My point is this.  If _he_ says 'Wow' about anything that's extemely high praise.  I can tell you the bass response on the JM1000 is incredible.  The only reason I don't have one is purely financial.  Someday...
> 
> Btw, I've owned a dozen or more Martins, Guilds, Gibsons of differing types.  My favorite was one I had handbuilt for me in 1980 by a Michgan luthier named Jan Burda.  It had black walnut sides and back w/a red cedar top, ebony bridge and fingerboard, w/scalloped bracing from a copy of the original 'Ditson' 12 fret model that became the D-18 and 28 in 1933.  Martin started to manufacture the 14 fret to body model in 1934 as the orchestral players wanted to access the C scale more easily a/t 14th fret.  The S model Martins are more balanced overall than than the standard dreads.


Those Rainsongs really are amazing guitars.  Hard to believe such great tone comes from something made with carbon fiber.  My go-to luthier/repair guy is Bob Groat in Santa Rosa, CA. He builds acoustic basses using carbon fiber, a la Rainsong.  His instruments are hands-down the best sounding acoustic basses I've ever heard/played.  Very articulate, focused tone.  And double as canoes in a pinch...

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## Perry

> Have a martin 1998 D 28.. Beautiful instrument...The only issue I have with it is that I can't seem to get the bass the way I want it. The sound seems a little thin  and seems to get lost in the huge body.  I have tried everything from TI strings coated and medium.  From my understanding the Martin D35 has a 3 piece back with thinner bracing which is supposed to increase the bass responce. I am wondering if it make that big of a difference. Been trying to get my hands on a D35 to see for myself but no luck so far. I would welcome anyones first hand experience...,.Also, what are the differences in the 1970's D 35 and the present models. Thanks,  Bruce.


One thing I've noticed is that bass response is perceived much differently when you are in the driver's seat vs. when you are listening to your guitar (or mando) being played from a few feet away. Bass sound waves take a few feet to develop so they say. Does your guitar still sound thin when someone else is playing it?

Also perhaps obvious but are you using a nice fat heavy pick? Perhaps a Blue Chip TPR 60 will bring out some more bass?

I have SCGC Pre-war D; rosewood sitka. It's got the forward shifted braces and is a very light build. The bass sounds great and big when I'm playing it but when listening back it doesn't seem as prominent. This I view as a good thing because overall it's a very balanced guitar.

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## Caleb

> have you tried medium-gauge strings on your D-28?
> 
> f-d


I can't imagine a D-28 (or any other dread) without medium strings.  Light strings don't seem to do dreads justice, at least to my hearing.

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## mandogoshen

> Anne Hills' ex-husband?  I have an LP, _The Panic Is On,_ by the duo...


Yep, that's him.

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## Nick Triesch

I've always been pretty good at setting up my instruments and I did set up my 1975 D28.   It was still hard to play just a little up the neck.  Also the guitar guys at Westwood music were just not music store dorks.  It was and still is a first rate guitar shop for many pro players in LA.  The truth is/was that pre truss rod Martins warped up the neck,  were hard to play and after Taylor's success,  Martin had to change to an adjustable truss rod for an easy playing guitar.  This is why so many players went Taylor, Goodall and Breedlove and the like. They played like glass with great bass out of the box.  Now,  modern Martin D28 guitars play like glass.  They came around...they had to come around.

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## almeriastrings

> The truth is/was that pre truss rod Martins warped up the neck,  were hard to play.


Better tell that to all mine, then, because they don't know they're supposed to warp and be "hard to play".

As for "warping" a steel T-bar. Good luck.

I suspect there is confusion here over the need for neck re-sets and other issues.....neck re-sets are routine maintenance on Martins. Some need it sooner than others.

Frank Ford has a good article on this:

http://www.frets.com/FretsPages/Musi...neckangle.html

Not sure what you mean that "modern" Martins are different..the D-18 and D-28 Authentic lines still use T-bars and do not have an adjustable truss rod.

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## Nick Triesch

I'm a old guy.  I've owned old non truss rod Martins.  And I've owned and played the new truss rod instruments.  The new ones play easier to me.  Maybe it is just my area where I grew up,  Southern California,  but Martin guitars from the early eras were known to play hard after the first 3 frets.   I remember...I was there.  And you could not dial them in like today's guitars.      Also,  thousands of D28 guitar were sanded for bass.   A lot of players today will not accept that.   But again,  I was there.  Why do you think Martin changed to truss rods after being so adamant about their neck system after so many years in the care and feeding book? I'm sure not saying the the old guitars were not great,  just hard to play in many cases.  We will never agree so I'll stop.  Nick

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## almeriastrings

> Why do you think Martin changed to truss rods after being so adamant about their neck system after so many years in the care and feeding book?


They changed because the short-lived square tube (introduced in 1967) was structurally inferior to the steel T-bar used previously, especially on the lower profile , thinner necks that players were increasingly demanding. So, around 1985 they adopted the adjustable truss rod. Excess relief on those steel-tube necks is a known problem. It can be corrected (one method is to add a carbon fiber rod). The late 60's through 70's were not Martins (or Gibsons) golden years exactly...

However... the old style T-bar's are excellent, which is why they continue to use them in the high-end Authentic line.

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## StuartGold

Not to try to broaden the discussion BUT a few years ago, I was able to purchase (at a ridiculously low cost) a Martin OM-35. I think it was back in production  for only a year. Seems to have an amazing low end tone. Does the construction  show the exactly same kinds of differences between the OM-28 and the OM-35 as you might see between the D-28 and D-35?

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## Blueturtleman1

> Have a martin 1998 D 28.. Beautiful instrument...The only issue I have with it is that I can't seem to get the bass the way I want it. The sound seems a little thin  and seems to get lost in the huge body.  I have tried everything from TI strings coated and medium.  From my understanding the Martin D35 has a 3 piece back with thinner bracing which is supposed to increase the bass responce. I am wondering if it make that big of a difference. Been trying to get my hands on a D35 to see for myself but no luck so far. I would welcome anyones first hand experience...,.Also, what are the differences in the 1970's D 35 and the present models. Thanks,  Bruce.


If you are getting a Martin d-28 all the new ones are nothing special. You need to spend a few extra pecos and get the Martin HD-28V. Nicer finish and the forward scalloped bracing makes all the difference in the world. Beautiful warm bass tones and balanced high notes.
Check one out! 

I have a Martin D-18 Golden Era 1934 Marquis series. It is indeed a banjo killer!

Trust your own ears. Cheers!

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