This brings me full circle. A few years ago, I purchased a 1989 Alvarez-Yairi DY90, from the front a spitting image of a D-45, from the back a three piece D-35 of Brazilian Rosewood laminated in Kazuo’s special way. I was, sadly underwhelmed at my fingerpicking sound. I asked Google and she came up with your video, a favorite, on that very subject. And today, the same principle applies. Your glorious picking makes such an instrument strut its stuff. My nails just don’t have the oomph to get the top moving. Yet, I haven’t give up on her. In the land of fingerstyle, though, my Martin 000-15SM (mahogany 12 fret) does run circles around her.
Martin & Co swear that they don't use any "special" woods in their "40" series (41, 42, 45) guitars. Nor that the abalone purfling adds any "sonic quality" to these instruments. I have a D-42 and a 000-42. I have played just about every high-end Martin guitar "below" the 40 series models (D28, HD28-E, D35, 000-28, OM 28). Not only are the D42 and 000-42 drop dead gorgeous, they have a clarity, depth, evenness and sustain that distinguish them and all "40 series" Martins from all "lesser" Martin models. Whatever the "magic" Martin puts into these models, I'll take it. It is unmistakable the instant one picks up one and plays it. They are profoundly different. Your playing and recording quality are beautiful. Rich
@@richr1925 Thank you very much for tuning in Rich! It would be naive for any of us to assume that a 45 is just a 28 with added shellfish. I don’t doubt that extra care and attention is given during the creation of these instruments
Great review and playing. After 50 years of aspiring I finally got one myself earlier this year, a 2021 Reimagined that sounds just as this video conveys, this after a 2022 D41 and a 2006 D42 over the past 12 months, all moved along to make way (and help pay for) this one (though both sounded sublime in their own right) ! It just kills me however when I see someone install the forward strap button directly into the heel cap...idiotic and grounds for capital punishment. Cheers
Don here, from NZ, some time ago I bought a Martin acoustic,it was D3R, and it had undergone a small repairs,it was And Still is the best Martin I've Ever heard & played, it's bottom end sound is incredibly,for the relativly small amount of money I paid for it, It's the equal of Any Martin, Sound -wise I've Ever Heard & played ( trust me, over my 60 years of playing I've played a few) that says something doesn't it, take care now 😊😊
Martin do have a sound that’s consistently Martin and I’m a fan. I follow a channel that regularly has modern luthier and vintage Martins. Oddly enough the best I heard was a rare thing called a J55 and man what a sound it had
Tonewoods make the difference. The '45 series uses the best tonewoods available, whether it is Adirondack or Sitka. Age of the wood is also a factor. The use of Adirondack or European or Lutz Spruce adds headroom and a different voice. The correct technical answer to "is it better," would be "it depends, better for who?" Adirondack and Lutz Spruce seem to me to match my voice better when I'm singing. Some luthiers/ makers are offering old growth Sitka, which also sounds great. I try to find guitars with less bling, more sing. Thanks for the review.
The epitome of fine guitars, arguably the best factory produced guitar of them all. As far as the tone woods are concerned I'd say that there is more influence on the sound from the player than the woods themselves as demonstrated aptly by yourself.
Well played, great sound. However, the D45 is not always the the best Martin has to offer. The fact that it has a grade 8 top is misleading as that is graded cosmetically, not scientifically. Granted these are knockout guitars, but I have played D28 models that were better, sounding and playing guitars. If I wanted a D45.. I would look to pre mid 1980s. I also have a bias about bling... I prefer Mahogany and chrome/nickel.. never gold and hold the inlays. I have owned 15 Martins, currently have a few, one of them has an apple crate top.. as wide six lines to the inch and then sporadic and wild, and it has an extraordinary sound in spite of its modest $1000 cost in 1998. I'm all about tone and playability, you never know when and where you are going to find it. Thanks for another great video, always a treat to see you play.
Went to the shop yesterday and played ALL the Martins they had to offer. (Which was quite extensive) My absolute favorites for sound were the D-18 and The D-28 both with the VTS wood aging technology. The best feel was the D-45 Modern Deluxe, although it just missed that special "something" that the D18 and D28 had. Was it the VTS? I don't know. It seemed as bright as them, but just missed on that FULL, WOW factor.
@@skyko I have owned 15 Martins over the years from a 1939 00-17 to my 2015 00-18V. The newer they are, the less I like them. Best era was pre mid 80s. Out of the 15, 7 were D-18 0r 18s Variants. They don't need new age technology to sound and play well. I have played many many fantastic D-18 models and very few impressive D-45 models.
@@jeffhildreth9244 Very interesting. Thank you for sharing your expertise! I think I need to play a few old D-18 - 28's to get a better understanding of how they CAN sound. Luckily Norman's rare guitars is close to my home, I'm going to stop by there this week.
@@skyko Norman is a kick and he has great guitars. t My favorite 18 Dreads are 12 fret slot head. sloper .. nothing finer. It was Martin's first attempt at a Dreadnaught way back when they were made for Ditson. I particularly like the ones with the 1 7/8ths nut.
Very nice choice of repertoire to show off the possibilities with this fantastic instrument. I haven't heard a Dread sound so good... I happen to own Martin's smallest guitar, their model 5-16, also known as the Terz. (I think you can fit 2 or 3 of them inside a D45!). Big difference in the tonality of those instruments. Maybe a trio of Terzes could match a D45 in sound... Although not in cost. :/
The Terz is a lot of fun for sure. Mine was made in 1963, so it had to go in for a neck reset. Now that's done, I have it tuned to standard. What I might do is high-string it for Nashville tuning. Especially if I end up doing more recording. I think that might be useful; the other option is to just use it the way it was designed, which is to tune it a third up from standard, or G to G. So there are several options that I have yet to explore. Now, as I've just recently acquired a 1926 Gibson model L-1, I've been kind of distracted with that.... So many guitars, so little time... 😉
The guitar sounds and looks great. No doubt about that, especially as played by your capable hands. Any other wood combination would have likely had no impact. The bracing design likely has more impact.
Both Stephen Stills and Neil Young said that when they got their first decent cheque from their record company they went straight out and bought a D-45. The guitar that stated loud and clear that you had arrived. Both recorded fairly extensively on those heavily inlaid monsters. I do wish that Martins flagship guitar came with an Adirondack top and Brazilian rosewood back and sides.
@@cognoscenticycles4351 they were the spoils of war for the folk rock heroes back in the day! Braz and Adi is still available through the custom shop but you will be paying a kings ransom for the privilege
It's no doubt a beautiful instrument, by sound and looks. The only problem is not many people can afford it. And even those, who can afford it, mainly put it behind a bulletproof glass cabinet as an investment. I would buy a Chinese copy any time, they're so good.
Sounds great, even through buds. A guy down our folk club has one and it sounds and looks amazing, although for sound quality I'd be hard put to favour it over either my J40 or HD35. In life, I also found the volume and projection less than I was expecting, though that may have been just his playing style. Good to hear a little bit of fingerstyle - after all Still and Crosby can't be wrong, can they? I think price is a big issue, even though my view is that all high end Martins are worth every penny. However, at around £10k you are well into bespoke territory (Rosie's start at about £7.5K, I think, and there are plenty of competitors). Concerning Brazilian, I have never heard one in life, but did have the opinion of Stefan Grossman regarding his J38 (madagascar) and my J40 (EIR): 'not much different'. As an aside, back in the 70s two companies did J41 copies in all solid woods: Tama and Takamine. My wife had the former and my best friend the latter, and they both sounded amazing. The level of care was equal to Martin, and she just passed hers on to her brother after about 40 years, still sounding and playing great with no repair or set-up in the interim.
@leelossi Why do you feel that way? I don't know you, but say you most certaintly do. If you can afford one, go down and get yourself that D45 and have some fun! You will never look back
@@MichaelWatts been hearing that tune on your videos for quite some time and it's really growing on me... guess I have to wait until the final version's release! For now, just keep making these contents, it's really inspiring!!
Interesting chord projection. There's nothing like a Martin dreadnought for tone and volume projection this one has the looks with abalone in abundance .
O.K.i was not going to comment, but for my $ i would take that old beat up Lowden that you played some time back. Simple and wonderful sound. I love the matte finish. I have an old Larrivée made in Canada with a matte finish and it just sounds better and better. I think the clear pick guard on the Lowden is also a nod to understatement. The Martin sounds good, yes, but just too much for my taste. Thanks for your ideas.
Tbh sounds pretty tame, especially compared to anything put out at Cedar Rock Studio or by Wilborn Guitars Speaking of, you should really demo one of Wilborn's Comma series Arums or Nautiluses
@@kaushalsuvarna5156 ah my mates at Cedar Rock do a great job. I’ve played a couple of Ben’s guitars but only for a few moments - I’m looking forward to getting the chance to spend quality time with one
It's nice in both looks and sound, but for IRW back/sides with Sitka top ( NOT knocking these woods, as they have always been the basic standard from every maker for decades ), I still think Martin has these priced too high at $9699 ( the nut & saddle are bone, but the pins are still plastic )......and this is indeed from their "standard" line.......NOT the custom line, which pushes prices over $11,000.......and even more, depending on tonewoods & appointments. My Hsienmo D45 clone ( bought brand new from their custom shop, I own 4 different Hsienmo models all from their custom shop ) does have high grade Adirondack top (aged yellow, NOT "torrefied" ) with solid Honduran RW back & sides, including forward-shifted & scalloped bracing also made of Adirondack spruce, exactly like the old Martin D45's. It also has all of the same abalone & antique trim, hexagonal inlays, but mine has the gorgeous ultra-fancy abalone "tree of life" vine that covers most of the front ebony plate on the head stock, along with an ebony fingerboard & bridge. Genuine camel bone nut, saddle, and pins. The key difference ( other than more exotic tonewoods ) in mine is it has Hsienmo's bolt-on neck with FLOATING fingerboard over the body: the ebony fingerboard does NOT touch the body, with a very slight & perfect gap between the two, that has a solid maple block hidden beneath that attaches to the neck heel, for solid attachment. This floating fingerboard totally eliminates the chance of "the S-shaped hump" that all too often happens on traditional acoustics when they get older, which calls for an extremely costly repair/replacement. It also has the same Grover open-gear gold butterbean tuners. It even has nitro-cellulose lacquer. My Hsienmo custom shop D45 clone truly is a fine instrument & costs only $2500. It looks, feels, plays & sounds glorious. ( Try finding a "negative review" on any Hsienmo acoustic. ) Of course it will never appreciate in value like a real Martin, but I don't buy my guitars as "investments". Hsienmo is somewhat of a boutique builder in China, using modern technology yet still using much of the hand-built age-old techniques, getting the best of both worlds. ( even most of the boutique builders are using modern technology in conjunction with hands-on construction ) Hsienmo produces no more than 400 acoustic guitars PER YEAR, and they don't even offer "a cheap, budget guitar" as their prices start at $900/$1000 for their base models, and can go as high as $5000 with their custom shop models, if you want Brazilian rosewood, for example. My other 3 Hsienmo custom shop models are amazing as well. Close inspection of each internally reveals VERY fine detail, very clean, with NO glue squeeze out & not a splinter or chisel mark to be seen anywhere. The master luthiers at Hsienmo truly care about their craft. While I love, respect, and admire the pre-war Martin's as much as anyone else ( KILLER guitars ), I still think they charge too much money for what you're getting with their modern acoustic's.........PLASTIC bridge pins on a $9699 guitar, seriously? Of course I know that no American, Canadian, or European company can compete with a Chinese builder in pricing, I still think Martin, Gibson, and Taylor are charging a bit too much for their models across the board. If I could afford it, I would much rather have an acoustic from one of the boutique builders such as Boucher or Gallagher, just to name a couple. They are offering a much better value. But if ya can't afford a true boutique instrument, and want high-end value on a realistic budget, I encourage anyone to take a serious look at Hsienmo. Ya won't be disappointed.
@MichaelWatts that part I must agree. But the price tag is astronomical. Don't get me wrong, they are the best acoustic guitars out there. Just like Gibson Les Paul's were to the electric guitars. But Gibson ran into a problem. And yes Martin has a wider selection of guitars than Gibson so to speak. But we have alot of new guitar companies from over seas and they are making some hell of a acoustic guitars and electric guitars also. And their prices are very cheap. I hope Martin is ready for the market to be swamped with high quality cheaper acoustic guitars.
900 pieces of bling comes at a price. A similar quality guitar at 1/2 the price has no bling like that - D28 for example. At the end of the day its about the sound really..
@@MichaelWatts My 1983 Takamine is a Martin copy, but with a cedar top, with bling almost like the D45, also with tiny wood inlays all over the place...Left in a dry room the many woods don´t get along well with each other
Sitka spruce + Indian rosewood 12,000 Euros, seriously? It's a bad joke. There are many equally good guitar models at a quarter of the price; Yamaha, Alvarez, Cort, Furch, Takamine etc. What matters is what you play on this guitar. Bullshit with this guitar.
@@erou_al_munciisocialiste7665 I’ve played guitars in IRW and Sitka that sold for over twice as much that were incredibly responsive. It’s not the woods
