“See that guitar? That’s a 1969 Martin D-28. Hear me when I say if I had to choose between a beautiful girl and that guitar, I’d choose the guitar. Natch.” This quote, from Laura Anderson Kurk’s Perfect Glass, perfectly encapsulates the almost mythical status of the Martin D-28 guitar. For decades, this instrument has captivated musicians and songwriters, becoming more than just a guitar – it’s a symbol of American musical heritage.
My own introduction to the D-28 came in a small-town movie theater in 1972. Twelve years old, I sat mesmerized in front of the screen, watching The Concert for Bangladesh. There, larger than life, was Bob Dylan, his iconic presence amplified by the Martin D-28 pressed against his chest. It was my first real exposure to an acoustic guitar on such a grand scale, and the D-28 immediately became synonymous with the very idea of an acoustic guitar in my young mind. I wasn’t alone in this sentiment.
By the 1970s, the Martin D-28 was already cemented as an icon, the quintessential American acoustic guitar. Its enduring appeal is consistently reflected in accolades like Acoustic Guitar’s Player’s Choice Awards. Year after year, Martin guitars dominate, and within their esteemed lineup, the D-28 stands out as the most sought-after model. It’s a guitar that transcends trends, remaining a top choice for players across genres and generations.
Practically every guitarist who’s picked up an acoustic has likely strummed a chord or two on a D-28 at some point. The roster of notable artists who have played D-28s throughout their careers reads like a who’s who of music legends. From Bob Dylan and Hank Williams, the pioneers of their respective genres, to folk icons like Joni Mitchell and bluegrass virtuosos like Lester Flatt and Tony Rice, the D-28 has been the instrument of choice for crafting countless iconic songs. Tony Rice’s story of acquiring Clarence White’s pre-war D-28 (serial number 58957) is a testament to the almost sacred status these guitars can attain. Rice, as a young prodigy, was captivated by White’s D-28, noting even at age nine, “it looked like hell, but it sounded like a million bucks.” Fifteen years later, that legendary instrument became his own.
But what is it about the Martin D-28 that inspires such devotion? What makes it so compelling that, as the opening quote suggests, it could be chosen over human companionship? Martin historian Dick Boak offers a grounded perspective: “The romance comes from the fact that it’s a great guitar at a pretty reasonable price. And for that reason, a who’s who of legendary performers have used the D-28 in their music. It’s the warhorse of the music industry.” While perhaps not magical, this “warhorse” status is built on a foundation of exceptional craftsmanship, tone, and enduring appeal.
The Dreadnought Design: A Bold Innovation
C.F. Martin & Company introduced its D-series guitars in the early 1930s. The “D” designation paid homage to the imposing dreadnought battleships of the era, reflecting the guitar’s own substantial size and powerful sound. These dreadnought guitars were significantly larger than previous models, producing a louder, more resonant sound with a pronounced bass response. Initially, Martin wasn’t entirely convinced of their appeal, but country string bands quickly recognized their potential. In ensembles featuring banjos and fiddles, the dreadnought’s volume and projection allowed the guitar to be heard clearly, making it an invaluable instrument for these bands.
Within the dreadnought line, the D-28 eventually rose to prominence as the most popular model. Interestingly, it wasn’t initially the best-selling dreadnought. By 1937, the D-18 held that title. While the D-45 was positioned as the flagship model with more ornate appointments and a higher price tag, the differences between the D-18 and D-28 were subtler. Both featured spruce tops and relatively understated aesthetics. The key distinction lay in the tonewoods used for the back and sides: rosewood for the D-28 and mahogany for the D-18. The D-28 also incorporated a subtle herringbone trim, adding a touch of visual distinction.
Over time, Martin refined the dreadnought design, adjusting bracing patterns and overall weight. Throughout these evolutions, the D-18 and D-28 remained closely matched in popularity. However, certain features of the D-28, particularly the herringbone trim and scalloped top bracing (discontinued in the 1940s), contributed to the mystique of earlier models, making them highly sought after by guitar collectors and players alike. In 1976, recognizing this demand, Martin reintroduced the vintage-style D-28, and it quickly became their best-selling model, solidifying its iconic status.
A significant part of the D-28’s enduring appeal lies in its rich and complex tonal character. Sharing rosewood back and sides with the more expensive D-45 gives the D-28 a warmer, more resonant, and harmonically rich sound compared to the D-18. The D-18, with its mahogany back and sides, offers a brighter, clearer, and more focused tone. Dick Boak aptly describes the tonal differences: “The D-28’s warm tones make it an ideal instrument for songwriting and living-room play, and also for vocal accompaniment. The D-18 is more appropriate for the studio because of its treble response.” This tonal versatility makes the D-28 equally at home on stage, in the studio, or in the hands of a solo player seeking a full and inspiring sound.
Close-up view of a Martin D-28 guitar highlighting its craftsmanship and tonewoods, renowned for its warm and resonant sound ideal for songwriters and vocal accompaniment.Bob Dylan’s Enduring Connection to the D-28
Bob Dylan’s guitar journey is filled with various brands and models, both before and after his prominent appearance with a D-28 in The Concert for Bangladesh. His early guitars included a 1949 Martin 00-17, and he famously used a Gibson J-50 for his debut album in 1961. Perhaps his most iconic guitar from the early years was the 1930s Gibson Nick Lucas Special, featured on albums like Another Side of Bob Dylan and Bringing it All Back Home.
By 1969, Dylan was often seen with a Gibson J-200, as pictured on the cover of Nashville Skyline. However, his appreciation for Martin guitars remained. In the early 1970s, he frequently played various Martin double-0 models. Over the subsequent decades, Dylan’s guitar choices became a mix of Gibsons, Martins, and even occasional Washburns. Yet, the allure of the D-28 resurfaced in 1999 when he encountered a unique D-28 in the pages of Acoustic Guitar magazine. This particular guitar was a visually striking “negative” version of a standard D-28, with a black body and white pickguard and binding.
This unique D-28 was one of two custom-made for Acoustic Guitar’s 10th-anniversary issue. One was gifted to a reader, and the other remained with the magazine. Dylan, captivated by its distinctive look, commissioned Martin to build him a similar model (after, of course, receiving permission from Acoustic Guitar). Dylan’s custom version featured a slight modification: two pickguards instead of one.
Years later, upon joining the staff of Acoustic Guitar magazine, one of the first things I did was pick up that very Martin Acoustic Guitar 10th Anniversary Special D-28. Strumming the opening chords of “A Hard Rain’s A-Gonna Fall” on that guitar felt like a full-circle moment, a connection back to that young boy in the movie theater, captivated by Dylan and his D-28. In that moment, holding that special instrument, it truly felt as though there was no other acoustic guitar in the world that could compare to the Martin D-28. Its legacy continues to resonate, not just as a guitar, but as a cornerstone of acoustic music history.
