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1971 Martin N20 SOLD

1971 Martin N 20 1971 Martin N 20

1971 Martin N 20

1971 Martin N 20

1971 Martin N 20

1971 Martin N 20

1971 Martin N 20

 

1971 Martin N 20

 

 

1971 Martin N 20

1971 Martin N 20

I have been looking for one of these for a long time. If you are reading this then you know how hard they are to find. This is the best example I have ever seen. Super low action plays like butter. Ebony fretboard shows little wear. The thin frets are so percise and accurate that the intonation is absolutely perfect on this guitar. 2 1/8" wide nut is very comfortable. Soft oval shaped neck really plays nice. With the ebony fretboard your taps, hammer ons, and pull offs are every bit as loud as a plucked note. This makes you sound better than you are. I am really enjoying playing this sweet little beauty once I got use to it not having fret markers.

Super rare (125 made) 1971 Martin N-20 Classical. Ebony fret board, sitka spruce top, fancy rosewood back and sides.

Brazilian or Indian rosewood?

$3,950.00 SOLD

1971 Martin N 20

1971 Martin N 20

Willie’s fans may now rejoice! Here is a Martin that bears the same model designation as Willie Hugh Nelson’s (born April 30, 1933, Abbott, TX), the style of Martin this country crooner has used continuously over many decades, which instrument he has named “Trigger” out of respect for Mr. R. Roger’s late steed. C F Martin produced 277 of these in the first period 1968 to 1970 that were a) Brazilian rosewood and b) short scale. Willie’s is one of those. And then they decided that, instead of making their classical models “Martin body shape with a square Martin headstock” they should instead make them more in the style of the European-made classicals, with a scalloped headstock and a Spanish-influenced, more languorous and elegant body shape, and so the long scale N-20 was born. Also that same year, 1970, Martin rosewood guitars changed over to East Indian.

In 1970 Martin made 100 of ‘em, in 1971 they made 125, in 1972 they made 97, in 1973 only 48. In the decade between 1970 and 1979 they made 635. From 1970 until 1993 Martin made 824. Do they turn up very often, um . . . no. Do they ever turn up in this amazing condition? Nope, not that we’re aware of. We simply don’t see’em this clean, and almost never in their original blue case. This guitar is nearly unique in this level of preservation. Does this instrument sound miraculous and even wondrous? Why, yes, it does. It has a dark, dramatic East Indian rosewood headplate with rounded slots, black and gold engraved open-gear tuners with pearl buttons, black-white-black purfling on the sides and back, glossy black side binding, four-ply on the top, a memorable repeating-pattern classical guitar rosette on the soundhole, an oblong rosewood bridge including a rosewood tie-block and an ostensibly bone saddle, and straight-grained-to-death East Indian rosewood back (slightly less straight on the sides but still fetching), and a genuine mahogany neck that, when we feel it, brings us back to the lost days of the open oval. The fingerboard width at the nut is a finger-friendly 2 1/16th” and the bridge spacing at the saddle is 2 5/16th”. The condition of this guitar can virtually not be faulted; if one examines it with a magnifying glass one might find a few infinitesimally tiny signs it was held, but virtually nothing in the way of use or wear. Willie Hugh look at that?! We offer you something extraordinary – a near mint 40-year-old example of a guitar that sets the standard for the classical guitar as it is used in modern country music.

 

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