I believe that's the same D-18 I set up for Mr. Blake when I was repairing for George Gruhn in 1978ish. He loved 12 fret guitars and that "old dry mahogany sound" as he called it. I had previously restored an old French cello for Nancy. Norman was adamant about not buffing the finish or "tell George, the deal's off'!". I made a little movie of the story on my channel. I met him through my friend James Bryan. James and I and his Daddy would sit on the front porch and play Skillet Lickers tunes for hours. James was so quiet but always had a big grin. All sweet folks . Many precious memories from those days and those people. I really enjoy your presentations. Thank you so much.
I was working at Gruhn’s when this guitar came into the shop. At the time, around 1979-80, Gruhn got this guitar after it had been kept under the bed pretty much since it had been made. It was originally made as a Hawaiian style guitar with the original bar style frets ground flush with the fingerboard. The guys in the shop at the time were: Me, Matthew Klein, Doc Scantlin, Kim Walker and Steven Gilchrist. Matthew Klein converted the frets back to original style conventional frets and set the neck for standard playing. We all got our hands on that guitar while it was in the shop. Gruhn called Norman once the guitar was ready and I was there the day he picked it up. To all of us at Gruhn’s at the time thought is was the greatest Martin D-18 ever made. It left that day looking like a brand new 1934 D-18S. Flash forward to the late 90’s, about 20 years later, and I was working at the Denver Folklore Center when Norman stopped by and had the same guitar. It didn’t look new anymore, and in fact looked so played in that it looked like it had been played hard every day since 1934. Also, Norman has the best right hand picking technique of any player I’ve ever seen.
I happened to come across a Norman Blake special edition 2005 12-fret 000-28 Martin guitar some years ago at a music store, used. Having listened to the Blake’s astounding music for decades, I bought it on the spot. It is East Indian Rosewood and smaller and lighter than my old warhorse ‘69 Brazilian D-28. (The last year of standard Brazilian rosewood.) I know how great these guitars are and how lucky I am to have them!
I almost bought Norman's 1934 or 5 00-18 (12 fret, Grand Concert body style). I was a broke guitar teacher, then, and had to look at that beauty hanging there every day, for weeks. Then, one day, it was gone. Been kicking myself ever since. It was on commission for, get this -$1,800. This was in 1992. Still wish I'd sold whatever it would have taken to get that little sweetheart.
@@CapoKevin100 i agree with you in liking the sound of bigger bodies myself... (but i'm no expert (i just like music and have been playing guitar and piano for 30 years and know basic theory... ie, i don't know off-hand about types and names of many instruments)... not sure what Doug was being rather rude about. i mean, if i'm unknowledgeable about something, share with me about it. why make some useless vague insult or unfriendly remark? fwiw, the strangest thing about such social circumstances is that, most of the time when someone quickly judges something negative about another, it's due to some misinterpretation and the person being judged is higher iq than the short-sighted judger. oh well.)
Even though there is no sound Norman wouldn’t own one that didn’t sound fantastic. No telling what’s is worth. He’s without a doubt on the Mt Rushmore of flatpickers. Last one standing of my 4. Tony, Norman, Clarence and Doc
@@CapoKevin100 are you out of ur mind ? ? ? Kenny Smith is 1 of the best in Nashville. Yeah, there are some better, (not many), but he is super smooth and gets good tone from whatever he is pickin' ! I suppose you are a better picker ? I doubt it, and I don't think you are a qualified judge on what a good guitar picker sounds like.
A 12 fret has a tighter and imo better sound because the overtones are in better control. With a lot of skill, however, a player can tame those nasty overtones on a 14 fret. If you play modern-day style without lots of chords and notes, sound control is unimportant because untamed, ringing overtones appeal to many people and works well for singers.
so, i'm surmising that "overtones" are where, like, one string or note will ring out louder than the others? (sry, i'm stupid and just always curious.) I sometimes have wondered if each individual guitar body itself resonates (and projects?) with certain musical notes more than others... sometimes I'll be singing one note and feel it intensely vibrating that guitar body like heck (when I hold the note).
I believe that's the same D-18 I set up for Mr. Blake when I was repairing for George Gruhn in 1978ish. He loved 12 fret guitars and that "old dry mahogany sound" as he called it. I had previously restored an old French cello for Nancy. Norman was adamant about not buffing the finish or "tell George, the deal's off'!". I made a little movie of the story on my channel. I met him through my friend James Bryan. James and I and his Daddy would sit on the front porch and play Skillet Lickers tunes for hours. James was so quiet but always had a big grin. All sweet folks . Many precious memories from those days and those people. I really enjoy your presentations. Thank you so much.
Thank YOU SO MUCH
Are you still working on instruments ?
I was working at Gruhn’s when this guitar came into the shop. At the time, around 1979-80, Gruhn got this guitar after it had been kept under the bed pretty much since it had been made. It was originally made as a Hawaiian style guitar with the original bar style frets ground flush with the fingerboard. The guys in the shop at the time were: Me, Matthew Klein, Doc Scantlin, Kim Walker and Steven Gilchrist. Matthew Klein converted the frets back to original style conventional frets and set the neck for standard playing. We all got our hands on that guitar while it was in the shop. Gruhn called Norman once the guitar was ready and I was there the day he picked it up. To all of us at Gruhn’s at the time thought is was the greatest Martin D-18 ever made. It left that day looking like a brand new 1934 D-18S. Flash forward to the late 90’s, about 20 years later, and I was working at the Denver Folklore Center when Norman stopped by and had the same guitar. It didn’t look new anymore, and in fact looked so played in that it looked like it had been played hard every day since 1934. Also, Norman has the best right hand picking technique of any player I’ve ever seen.
I happened to come across a Norman Blake special edition 2005 12-fret 000-28 Martin guitar some years ago at a music store, used.
Having listened to the Blake’s astounding music for decades, I bought it on the spot.
It is East Indian Rosewood and smaller and lighter than my old warhorse ‘69 Brazilian D-28. (The last year of standard Brazilian rosewood.)
I know how great these guitars are and how lucky I am to have them!
Fascinating summary - and, again, very well-presented by a man who really knows his stuff!
I almost bought Norman's 1934 or 5 00-18 (12 fret, Grand Concert body style). I was a broke guitar teacher, then, and had to look at that beauty hanging there every day, for weeks. Then, one day, it was gone. Been kicking myself ever since. It was on commission for, get this -$1,800. This was in 1992. Still wish I'd sold whatever it would have taken to get that little sweetheart.
don't worry too much at least it wasn't a d 18.... the little ones just don't sound as good
@@CapoKevin100, thanks for proving you knw nothing about acoustic guitars. LOL!!!
@@dougmackenzie5976 hmm Maybe the little guys are better than I thought- the Gibson Ls are not great compared to j45
@@CapoKevin100 i agree with you in liking the sound of bigger bodies myself...
(but i'm no expert (i just like music and have been playing guitar and piano for 30 years and know basic theory... ie, i don't know off-hand about types and names of many instruments)...
not sure what Doug was being rather rude about. i mean, if i'm unknowledgeable about something, share with me about it. why make some useless vague insult or unfriendly remark? fwiw, the strangest thing about such social circumstances is that, most of the time when someone quickly judges something negative about another, it's due to some misinterpretation and the person being judged is higher iq than the short-sighted judger. oh well.)
Like a college education in Martin guitars....thanks!
Norman Blake one of my favorite players
Very nice guitar. Good info. Thanks, Walter.
Play it so we can hear what it sounds like! Please
Besides the opening chord, you can't hear any of the recording. Maybe release another video of just the guitar? Thanks!
Just listen to Norman's music
Is this the guitar that was selling for 400 grand? Agree, it would be nice to really hear Kenny playing it
Even though there is no sound Norman wouldn’t own one that didn’t sound fantastic. No telling what’s is worth. He’s without a doubt on the Mt Rushmore of flatpickers. Last one standing of my 4. Tony, Norman, Clarence and Doc
I'm amazed Norman ever sold that guitar.
I was thinking Norman Blake of Teenage Fanclub ;)
So cruel to tease us with Kenny in the background! Can we please hear him play that guitar?
ruclips.net/video/jyzPvySio-k/видео.html
Here is you can here the sound of the Martin
he cant play that well - so many others better
@@CapoKevin100 are you out of ur mind ? ? ? Kenny Smith is 1 of the best in Nashville. Yeah, there are some better, (not many), but he is super smooth and gets good tone from whatever he is pickin' ! I suppose you are a better picker ? I doubt it, and I don't think you are a qualified judge on what a good guitar picker sounds like.
@@frankfisher4380 I do believe you got trolled there.
@@G_Demolished I don't even know what the heck that means, but I stand by my statement !
Shout out to Ear Trumpet mics!
WOW
A 12 fret has a tighter and imo better sound because the overtones are in better control. With a lot of skill, however, a player can tame those nasty overtones on a 14 fret. If you play modern-day style without lots of chords and notes, sound control is unimportant because untamed, ringing overtones appeal to many people and works well for singers.
so, i'm surmising that "overtones" are where, like, one string or note will ring out louder than the others? (sry, i'm stupid and just always curious.)
I sometimes have wondered if each individual guitar body itself resonates (and projects?) with certain musical notes more than others... sometimes I'll be singing one note and feel it intensely vibrating that guitar body like heck (when I hold the note).
👍🏻🇺🇸
American Guitars, by Tom Wheeler