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Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003
Martin 000-18MC Martin Carthy Acoustic 2003

Martin 000-18MC Martin Carthy Acoustic 2003

$5,555.00 Sale Save

Martin 000-18MC Martin Carthy Acoustic 2003

Martin 000-18MC, made in USA 2003. Martin Carthy is a legend of British folk music, making a generous and genre-enlarging contribution to the folk world over a number of decades and directly influencing other luminaries including Bob Dylan and Paul Simon. Most of Carthy's recordings and concerts involved a particularly hardworking 1959 Martin 000-18, with a few quirky mods and a legendary dry, clear tone. He was known for alternate tunings and percussive fingerstyle playing, so the specs on this model replicate his original main player which was customised to suit. Firstly, it has a zero fret. That's very unusual for a Martin, but it does even up the difference between a fretted an open note somewhat, which is especially handy in open tunings. It also has a small maple tone block under the bridge and brass bridge pins on the treble strings, all contributing to a exceptional piano-like clarity and response on the top end. Martin only made 84 of these, each hand numbered and signed by Carthy and CF Martin, and as such, the materials they used were very carefully selected indeed. First, the mahogany: it's specified to be 'genuine mahogany', which means it's proper central american 'big leaf' mahogany, and it has the beautiful consistent grain and colouring to prove it. The ebony board and bridge are suitably dark and lux, but the real showpiece is the top. It's quite possibly the most beautiful piece of sitka spruce I've ever seen: those grain lines are so tight and consistent, spaced at around 0.5mm all the way to the edge of the top... it really is an outrageous piece. The neck is a wide sized soft V shape, with a 44.4mm nut, which is perfect for intricate fingerstyle stuff as it gives you the room to fret things accurately. It feels extremely alive and responsive in the hands, it's certainly quite something. You'll be doing well to find another one of these close by, so if you're looking for a high end 000 or you're a longtime MC fan, this is surely a worthy family heirloom for decades to come.

Model: Martin 000-18MC Martin Carthy Signature 
Made: 2003, Nazareth PA, USA (serial 949932, numbered 31 of 84)
Finish: natural top, dark mahogany stain back/sides/neck, gloss nitro body, semi-gloss neck/headstock, tort binding
Body: solid sitka spruce top, solid genuine mahogany back and sides, 000 size, non-scalloped 1/4" top bracing in '000-14 Free' pattern, solid ebony bridge, bone saddle
Neck: solid mahogany, ebony board, 24.9" scale, 'modified V' profile, 44.45mm nut, 57mm wide at 12th fret, 14-fret join, zero fret
Mods: none
Pickup: none
Case: original Martin wood hard case, very good quality and condition

Cosmetic condition notes: minor finish wear. The headstock has no major marks. The neck is clean and smooth in the hands, minor rub wear from play only. The back has very light rub wear on the shoulders, no major marks. The sides have no major marks, just some very light scuffs on  the bottom shoulder from seated play. The front has light play wear on the shoulders and guard, no major marks. Overall: excellent condition (9.5/10)

Playing condition notes: action is low, neck is straight, intonation is good. Frets are in great shape with minor wear only, 9/10 for fret life left. Setup with 12/53 Elixir strings. 

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