1993 Martin D-16H — Early Dovetail / Forward-Shifted Scalloped Bracing

One of Martin’s great hidden gems from the early 1990s.

This is a 1993 Martin D-16H, built in Nazareth, Pennsylvania during the short period when Martin was producing these early 16-Series guitars very differently from the 16-Series instruments that followed.

Don’t let the “16” on the neck block fool you. Underneath the understated cosmetics is some seriously desirable traditional Martin construction. The D-16H features a solid Sitka spruce top, solid mahogany back and sides, traditional dovetail neck joint and forward-shifted scalloped X-bracing — a combination that helped earn these guitars a reputation as something of a precursor to the later Martin D-18V. 

It also has some beautiful understated vintage appointments: herringbone around the soundhole and down the back, tortoise-style binding, rosewood fingerboard and bridge, and diamond-and-square fingerboard inlays. 

And this particular guitar sounds exactly like you’d hope an old mahogany Martin dreadnought would sound.

It’s light, dry, woody, powerful and extremely responsive. You don’t have to beat on it to wake it up — a surprisingly light touch produces a tremendous amount of sound. Dig into it with a flatpick and it has the projection, separation and punch that make this style of Martin such a natural fit for bluegrass, country and traditional acoustic music.

After more than 30 years, the spruce has developed a beautiful aged color and the guitar has that mature, opened-up character that you simply can’t manufacture into a new instrument.

Just as importantly, the geometry on this one is excellent. The top is remarkably flat, the action is very low, and there is still plenty of saddle remaining. It plays effortlessly — one of those dreadnoughts that feels considerably easier under the hands than you’d expect from such a powerful guitar.

These early D-16Hs have developed a loyal following among Martin players for good reason. They’re lightly built, traditionally constructed American Martins from an unusual period in the company’s history, and clean examples are becoming increasingly difficult to find. Owners frequently describe them as unusually loud, dry and woody sounding guitars. 

This one is particularly meaningful to me because it was my first Martin. I’ve since moved on to other instruments, and that’s really the only reason I’m letting it go.

She’s spent enough time waiting around.

She just wants to be loved and played.