“See that guitar?” The hushed whisper cut through the dim movie theater as the band took the stage. “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.” The words, overheard from a stranger in the dark, perfectly encapsulate the almost mythical allure of the Martin D-28 guitar. For generations of musicians, from aspiring strummers to legendary performers, the D-28 isn’t just an instrument; it’s a benchmark, a workhorse, and for many, an object of deep affection.
My own introduction to the D-28 was equally impactful, albeit less romantic. It was 1972, and as a wide-eyed 12-year-old, I sat mesmerized in my small town’s movie theater, watching The Concert for Bangladesh. Projected larger than life was Bob Dylan, his iconic figure framed by a shaggy mane, denim, and a harmonica holder. But my gaze was fixed on the guitar nestled against him – a massive Martin D-28. It was my first real encounter with an acoustic guitar up close, and in my young mind, it was the acoustic guitar, the only one that truly mattered.
Decades later, this initial impression still rings true. The Martin D-28’s consistent high ranking in publications like Acoustic Guitar‘s Player’s Choice Awards reaffirms its legendary status. Year after year, Martin guitars dominate, and within their esteemed lineup, the D-28 consistently emerges as the preferred model, outshining its competitors. It’s a testament to the D-28’s enduring appeal and its position as the quintessential American acoustic guitar.
A Guitarist’s Love Affair: The D-28’s Irresistible Appeal
It’s safe to say that almost anyone who has picked up an acoustic guitar has, at some point, strummed a chord or two on a D-28. Its widespread presence in the hands of iconic artists speaks volumes. From the foundational sounds of Hank Williams and Lester Flatt, to the folk poetry of Bob Dylan and Joni Mitchell, and the innovative flatpicking of Tony Rice, the D-28 has been a constant companion to musical innovation. Rice’s story, in particular, highlights the almost gravitational pull of this instrument. His pursuit and acquisition of Clarence White’s legendary pre-war D-28 (serial number 58957) is a testament to the deep connection players feel with this specific model.
Rice first encountered this very guitar in 1960, a wide-eyed 9-year-old backstage encountering his hero, Clarence White. As Rice recounted to Fretboard Journal in 2007, “I saw that old D-28, and it didn’t have a name on the headstock. So I asked, ‘What kind of a guitar is that?’ And Clarence said, ‘It’s a Martin.’” Despite its worn appearance, the sound captivated the young Rice. “The only thing I knew was that it looked like hell, but it sounded like a million bucks to a 9-year-old kid.” Fifteen years later, that “million-dollar” sound would be his own.
But what is the secret to the D-28’s enduring allure? Is it magic? Not according to Martin historian Dick Boak. Instead, its appeal is rooted in a more practical magic: “The romance comes from the fact that it’s a great guitar at a pretty reasonable price,” Boak explains. “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.” It’s a combination of quality, accessibility, and a proven track record that has cemented the D-28’s place in guitar history.
From Battleships to Bluegrass: The History of the Dreadnought and D-28
C.F. Martin & Company began their foray into the “D” series guitars in the early 1930s, christening these larger, square-shouldered instruments “dreadnoughts” after the imposing battleships of the era. Much like their naval namesakes, Martin’s dreadnoughts were significantly larger than guitars of the time, resulting in a louder, more resonant, and bass-heavy sound. Initially, the company itself wasn’t entirely convinced, but country string bands quickly recognized the potential. The increased volume and bass projection allowed the dreadnought to hold its own alongside banjos and fiddles, making it an ideal instrument for ensemble playing.
d28-5But why did the D-28, specifically, rise to such prominence within the dreadnought family? Initially, it wasn’t even the best-selling model. By 1937, the D-18 actually outsold the D-28. While the D-45 boasted more elaborate aesthetics and a higher price tag, the differences between the D-18 and D-28 were subtler. Both featured spruce tops and a relatively understated appearance, although the D-28 incorporated a refined herringbone trim. The key material difference lay in the back and sides: rosewood for the D-28, and mahogany for the D-18.
Throughout the years, as Martin refined their bracing patterns and construction, the D-18 and D-28 remained closely matched in popularity. However, two factors likely contributed to the D-28 eventually edging ahead. Firstly, the herringbone trim and scalloped top braces, features discontinued in the 1940s, made the earlier D-28 models highly sought after by guitar collectors and players seeking vintage tone. Secondly, when Martin reintroduced the “old-style” D-28 in 1976, it resonated deeply with players, becoming the company’s top-selling model and solidifying its iconic status.
The D-28 Sound: Warmth, Resonance, and Versatility
A significant part of the D-28’s enduring popularity lies in its distinctive tonal character. Sharing tonewoods with its more ornate cousin, the D-45, the D-28 possesses a warmer, richer, and more resonant sound compared to the D-18. The D-18, with its mahogany back and sides, offers a brighter, clearer, and crisper tone. This difference in tonal personality makes the D-28 exceptionally versatile.
As Dick Boak notes, “The D-28’s warm tones make it an ideal instrument for songwriting and living-room play, and also for vocal accompaniment.” Its rich harmonic complexity provides a supportive and inspiring sonic landscape for creative exploration. Conversely, “The D-18 is more appropriate for the studio because of its treble response,” making it well-suited for recording situations where clarity and definition are paramount. However, the D-28’s warmth and depth make it equally at home on stage and in the studio, contributing to its widespread appeal across genres.
D-28 Players: A Who’s Who of Music Legends
Bob Dylan, the artist who first introduced me to the D-28 on screen, is just one name in a vast pantheon of D-28 players. While Dylan utilized various guitars throughout his career, including his early 1949 Martin 00-17 and the Gibson J-50 for his debut album, the D-28 remained a significant instrument in his arsenal. From the Gibson J-200 era of Nashville Skyline to his explorations with double-0 Martins in the early ’70s, and later mixes of Gibsons, Martins, and Washburns, Dylan’s journey reflects the diverse landscape of guitar choices.
Yet, even for a seasoned player like Dylan, the D-28 could still captivate. In 1999, he encountered a unique D-28 in the pages of Acoustic Guitar – a striking “negative” version with a black body and white pickguard, created for the magazine’s 10th anniversary. Intrigued, Dylan commissioned Martin to build him a custom version, further demonstrating the D-28’s ability to inspire even those at the pinnacle of musical achievement.
Years later, arriving at Acoustic Guitar magazine myself, picking up that very Martin Acoustic Guitar 10th Anniversary Special D-28 and strumming the opening chords to “A Hard Rain’s A-Gonna Fall” felt like a profound full circle moment. In that instant, surrounded by the legacy of the D-28 and the music it has inspired, it truly felt like there was no other kind of acoustic guitar in the world that could compare. The Martin D-28 isn’t just a guitar; it’s a piece of music history, and its legend continues to resonate with players worldwide.
