By today’s standards, the Martin 0-18 might initially strike you as a modest guitar, especially when placed beside the booming dreadnoughts that dominate many stages and studios. However, stepping back in time to 1898, when it was first introduced, reveals a different perspective. Back then, the 0-18 was a commanding instrument, significantly larger than Martin’s parlor guitars and setting a new standard for size and sound.
Like many of its siblings in the Martin family, the 0-18 underwent a significant evolution in the early to mid-1930s. Originally designed as a 12-fret model intended for gut strings, it adapted to the changing musical landscape and transitioned to a 14-fret configuration to accommodate the burgeoning popularity of steel strings. For decades, the 0-18 held a prominent position in Martin’s catalog, reaching peak popularity in the 1950s. During this era, its appealing price point made it a near rival to the iconic D-28 dreadnought in terms of sales. Notably, some of music’s most influential guitarists, such as Bob Dylan and Steve Earle, recognized and skillfully utilized the 0-18’s uniquely balanced voice to shape their distinctive sounds.
Despite its historical significance and periods of popularity, the shifting tides of musical preferences led to the 0-18 being discontinued in 1996. However, the story doesn’t end there. Recognizing a resurgence of interest in smaller-bodied guitars and their distinctive tonal qualities, Martin has reintroduced the 0-18. It now stands as the latest, and most accessibly priced, member of Martin’s esteemed Standard Series. This reintroduction is timely and welcome, perfectly aligning with the growing appreciation for the comfortable playability and nuanced sound of small-bodied acoustic guitars.
At first glance, the new 0-18 echoes the aesthetic of its 1950s and 60s predecessors, capturing that vintage vibe that many players cherish. However, beneath the surface, it incorporates modern specifications tailored for today’s player. The most notable update is the modified low-oval neck, featuring Martin’s “high performance taper.” While the technical name might sound complex, it translates directly to enhanced playability. This neck profile is designed to feel remarkably comfortable in the fretting hand, facilitating smoother and faster transitions across the fretboard. The review model we examined not only felt good in hand but also delivered the warm and open tone that has become synonymous with the Martin name, a testament to its enduring quality and appeal.
Small Size, Big Playability
Having spent considerable time with OM-sized guitars, I was immediately struck by the petite and manageable dimensions of the 0-18. Its 13.5-inch lower bout, noticeably smaller than the 15 inches of an OM and the 15-5/8 inches of a dreadnought, contributes to its comfortable feel. The guitar is remarkably lightweight and exhibits excellent balance, whether played seated or standing, with the weight distributed evenly between the neck and body.
The 0-18 also features a shorter scale length compared to its larger counterparts—24.9 inches versus the standard 25.4 inches. While a longer scale is often associated with a more resonant and powerful sound, the slightly shorter scale of the 0-18 offers distinct advantages in playability. Chord voicings that require significant stretches of the fretting hand become noticeably easier to execute. Complex chord clusters feel more natural and less strained on the 0-18 compared to guitars with longer scale lengths, making it a joy to play for extended periods.
martin 0-18 back view
A detailed back view of the Martin 0-18 showcasing its mahogany body and construction, highlighting the craftsmanship of this small-bodied acoustic guitar.
The “high performance taper” neck deserves further mention. This design subtly reduces the neck width as it approaches the 12th fret, differing from more traditional neck profiles that maintain a more consistent width. While the subtlety of this feature might make it easy to overlook initially, its impact on playability is undeniable. I found myself effortlessly navigating the 0-18’s neck, whether playing intricate solos high up the fretboard or comping barre chords in lower positions. The guitar felt incredibly cooperative, responding intuitively to my playing and never feeling like an obstacle.
Ideal for Studio Sessions and Relaxed Home Practice
Upon my first strum of the 0-18, my initial impression was positive, though I perceived the sound as somewhat understated. However, it was during a more focused session transcribing music for lessons that the guitar’s true sonic character revealed itself. Its voice is surprisingly punchy and present, defying its smaller size and projecting with clarity and definition.
It’s almost a cliché to label a small six-string as a perfect “couch guitar,” but in the case of the 0-18, the description is undeniably apt. Throughout the weeks I spent with this instrument, I consistently found myself gravitating towards it during downtime. More often than not, I would reach for the 0-18 and spend at least a half hour playing it on the sofa, enjoying its comfortable feel and inspiring tone in a relaxed setting.
The 0-18 truly shines as an all-purpose acoustic guitar. While it may not possess the sheer volume and booming bass of a dreadnought, its inherent tonal balance and robust fundamentals make it equally rewarding for a wide spectrum of musical styles. It excels at strumming open chords with campfire-style enthusiasm and is equally adept at delivering the tight, percussive two-note chordal fragments characteristic of Freddie Green’s rhythm guitar style. This focused and direct sonic quality makes the 0-18 an outstanding choice for recording rhythm tracks in the studio, where clarity and articulation are paramount.
While many vintage 0-18s featured a narrower 1-11/16-inch nut width, the modern iteration thoughtfully incorporates a slightly wider, fingerstyle-friendly 1-3/4-inch nut. This wider spacing at the nut enhances playability for fingerstyle techniques, whether using bare fingers or employing a thumbpick and fingers. Across diverse styles, from intricate ragtime arrangements to sophisticated chord-melody jazz pieces—and in various tunings such as standard, open-G, and DADGAD—the 0-18’s inherent openness and responsiveness truly shone.
Furthermore, the 0-18 is equally at home with a flatpick. Single-note lines possess a vibrant “zing,” enhanced by a subtle, natural reverb that adds depth and character. Cross-picking patterns translate beautifully, benefiting from the consistent string-to-string balance and the appealing timbral contrast between fretted notes and resonant open strings.
In conclusion, the Martin 0-18 is simply a joy to play. It’s an exceptionally agreeable instrument that consistently elevates whatever musical style you throw at it. With a street price hovering just under $2,500, it’s certainly not an entry-level guitar. While you might encounter vintage 0-18 examples in less-than-pristine condition around the same price point, the new version’s exceptionally playable neck and fingerstyle-friendly 1-3/4-inch nut undeniably give this outstanding new Martin model a compelling advantage for the modern guitarist.
Martin 0-18 Specifications
BODY: 14-fret 0 size body; Solid Sitka spruce top with scalloped X-bracing; Solid mahogany back and sides; Ebony bridge and compensated bone saddle with 2-5/32″ string spacing; Gloss finish
NECK: Hardwood neck; 20-fret ebony fretboard; 24.9″ scale length; 1-3/4″ bone nut; Grover Sta-Tite 18:1 nickel open-gear tuners; Satin finish
EXTRAS: Martin MSP7100 SP Lifespan 92/8 Phosphor Bronze Light strings (.012–.054); Ply hardshell case
PRICE: $3,099 list/$2,459 street
Origin: Made in the USA, martinguitar.com
This article is inspired by content originally published in the November 2017 issue of Acoustic Guitar magazine.
