Here is the body after neck removal. The bridge area has been flattened with heat, moisture and clamping with blocks during 3 treatments. I have started the touch – up work around the bridge area. This guitar has a varnish finish and will need a shellac and French polish treatment over the bare wood before the new bridge is glued down. Here is the new bridge pad and the ebony blank which will be the new bridge.
Photos and Documentation courtesy of Marty Lanham – Nashville Guitar Company

“The more I play it, the better it sounds, It cries when I leave it alone, Silently it waits for me, Or someone else I suppose.”

We are nearing completion of a vintage Martin restoration by master luthier Marty Lanham.

Marty is the owner of “The Nashville Guitar Company” in Nashville, Tenn. He has been unbelievably gracious to continue to supply us with pictures and comments of the complete refurbishment and restoration of this Martin instrument, as we had requested.

You can find an incredible amount of information on the Internet about Marty Lanham and his company. Many wonderful Nashville artists, such as Marty Stuart and Ricky Skaggs, have used him for the care of their classic instruments.

My cousin Ray Hatton, who owns the 1929 0-18, has been in contact with Marty about the kind of strings he would like to see put on the guitar.

Ray, afraid that the bridge may tend to be displaced once again, requested nylon strings. Marty suggested light gauge steel strings from a friend, John Pearse, who specializes in those for vintage guitars.

He asked the style of playing Ray used. Ray responded with, “the style Andy Griffith used while playing”. Marty informed Ray that was a “parlor-style” of playing. He felt these light steel strings would work perfect for that method of playing.

Marty’s next step was to string the guitar up and watch it for a couple weeks. The last thing he might do would be to adjust the nut on the guitar. The instrument should be done very soon, ahead of schedule. All of us here at BluegrassJournal.com, will notify you soon in regards to the completion of the entire process.

This is the new bridge pad and clamping block ready to be clamped in overnight.

Looking though the soundhole we see the luthier’s mirror and the new bridge pad being clamped in place.

When the clamp and blocks are removed the top will be flat and ready for the new bridge.