Built near the end of World War II, this 1945 000-21 represents a pivotal moment in Martin’s evolution. During the "War Years" (1942-1945), material shortages, small-batch craftsmanship, and evolving design choices converged to shape Martin’s postwar direction. The company had to rethink traditional practices, and the focus was efficient, utilitarian instruments that embodied Martin's core values of rich tone and high-level craftsmanship. These wartime Martins bridged the company’s more artisanal, handmade approach of the 1920s and ’30s with the streamlined production methods that would define the postwar era of American guitar making.
Serial # 93406, this Martin was shipped towards the end of 1945, and it is one of only 137 000-21s made that year. 1945 was the last year Martin used Adirondack Spruce for tops, and Brazilian Rosewood was standard for back and sides on Style-21 guitars. In 1939, the X-bracing design had shifted closer to the bridge (rear shifted), and by the mid-'40s, Martin was no longer scalloping the braces. In 1944, Martin began experimenting with tapered braces, and they used tapered braces for the rest of the '40s. Tapered braces are tallest at the center of the “X” and thin out evenly toward the guitar's sides, which generally helps keep the tone very balanced across the register. Because it was made in 1945, this 000-21 exhibits a rare combination of Adirondack Spruce and tapered braces, which pair so nicely on top of seasoned Brazilian Rosewood.
As soon as you open the case, this 1945 000-21 oozes with vibe and the authentic mojo of well-loved vintage guitar. What's obvious is that someone played it. A lot. The good ones get played, and someone loved this one enough to put it through the paces time and again. There is wear all around the soundhole and pickguard area, and in fact part of the bass edge of soundhole is partially worn toward the rosette. All around the body, the finish is worn through, checked, and patina-ed, and most of the finish is completely worn off of the back of the neck, which as a 1-11/16" nut width and comfortable soft V profile. This is a real relic, but it has so much left in the tank!
For the last few decades, Jon Eaton at Woodsongs Lutherie (Boulder, Colorado) has looked after this guitar. Thanks to Jon's careful eye, it finds us with low, approachable action and smooth fretwork. The neck has been reset, and the bridge is a replacement. The saddle is sitting on the low side, so the neck angle may need to be adjusted to lower the action in the future. But at this present moment, the guitar plays just as nicely as a brand new Martin from the factory. It has replacement closed-back Kluson tuners that keep the tuning stable, and the nut has been replaced. From there, past structural repairs include two repaired back cracks and two repaired cracks on the treble side. There is a filled strap button hole on the bass side and another one on the neck heel. The bridge plate is the original small-size, and there are various signs of bracing reglues on the inside of the body, including some gobs of glue around the bridge area and underneath the pickguard.
This 1945 Martin 000-21 produces a balanced, articulate sound that captures the warmth, richness, and nuance you can only get a from a played-in guitar. It packs tons of sustain and a fuller overall sound than you probably expect from a 000. Nevetheless, the short-scale sweetness and subtlety is not lost, and it's a versatile guitar that shines for fingerpicking and sings with a heavy pick just the same. Some Martin experts will extol the virtues of the dreadnought, but this 000-21 makes a strong argument for Martin's mid-size guitars. It is a manageable body that feels at home in the living room, and it does everything with articulation, clarity, and woody character. It includes a fairly weathered arched-top TKL hardshell case that has one broken buckle and the ribbon is ripped off of the top lid.