Martin 2-17 from 1930, in excellent original and preserved condition.
A small step for Martin, a giant leap for the flat-top guitar – this is how one could sum up the place in the pantheon of the American guitar of this model with its small body size and unassuming appearance, which nevertheless witnessed and vectored one of the most important evolutions that the instrument experienced at the beginning of the 20th century: the definitive transition from gut strings, a material used on all guitars since their emergence in the 16th century, to steel strings. Indeed, it is on an advertising insert produced in 1922 and presenting the 2-17 style that we find for the first time the mention Steel Strings Only – that is to say, an instrument set up straight from the workshop for playing with steel strings as a standard.
It should be noted that Martin offered two types of setup, or regulation, at the time: one for steel strings and one for gut strings, the first being provided for entry-level models (mainly styles 17 or 18) while the second was preferred on more expensive rosewood guitars. It seems that regulation for steel strings was less expensive for Martin’s workers to implement, so much so that the manufacturer had made it a criteria of its own in the pricing of their guitars. As proof of this, we have a letter written by Frank Henry Martin dated May 14, 1923 in which he states: “The 2-17 is designed only for the steel string trade and the price [editor’s note: $25 in 1922] does not permit us to go to the expense of the more accurate regulation for gut strings.”
In fact, Frank Henry Martin, the third director of the company, remained conservative and elitist in his relationship to guitars, which he considered a noble instrument, in the tradition of that imported by his grandfather from romantic-era Europe, and in the 1920s he remained completely impervious to the very idea of steel strings which he associated with obvious disdain to popular music – even if, by the force of changing playing habits and demand from musicians, he would finally be forced to give in to them. This duality is perfectly illustrated in a letter from F.H. Martin to one of his distributors (still a purveyor of gut strings) in 1929: “We are glad to see that you are advocating the use of gut strings. You are absolutely right, of course, and we do hope that your advice will be followed by students of the instruments. For many years we took this matter very seriously and have endeavoured to impress on our dealers that only gut strings are suitable for a fine guitar. Finally, however, we were forced to conclude that we might as well try to stem the ocean tides. It is worse than useless to make guitars which are only suitable for gut strings when it is clear that at least 95% of guitarists will never use anything but steel strings. This is particularly true today because there is an increasing demand for guitars for use in dance orchestras. You will appreciate the problem that this presents to a manufacturer who has musical ideals. […]” It was probably reluctantly that the transition took place in the late 1920s, with the gradual strengthening of guitar necks, tops and bracing to accommodate the increased tension of steel strings and overcome the problems of warping encountered in the early years of their use. Finally, with the benefit of historical hindsight, we realize that it was by deviating from his musical ideals and responding to market demand that Frank Henry Martin encouraged the appearance of his most iconic models in the early 1930s: the styles D for Dreadnought and OM for Orchestra Model, which are true touchstones for the modern American guitar. And in the midst of this upheaval, it must be considered that it was the 2-17, an economic model, therefore intended for the general public, which greatly advanced the promotion to the greatest number of this central concept of modernity that is the use of steel strings – in addition to ensuring the transformation of the guitar from a mainly aristocratic instrument to a popular one.
The guitar presented here was born at the dawn of the 1930s, when the United States was capsizing in the midst of economic crisis… yet Martin managed to sell no less than 475 2-17s in 1931. A feat of production, and also proof that the simplest, most refined models, made of a single type of wood, mahogany, met a demand that was not the least in these difficult times – the same one that would ensure the success of the 0-17 model, which would supersede the 2-17 in the following years thanks to its increased body size. However, despite its appearance, the 2-17 develops a surprising sound power and a very beautiful balance in all playing positions, thanks to the finesse of the wood parts that constitute it and in particular its scalloped bracing associated with a small maple bridge plate that allow the maximum vibration of the soundboard. The 2-17 is a unique instrument, at the confluence of Martin’s two eras: it combines archaic elements such as bar fret and a neck with twelve frets clear of the body, along with the nascent features of the modern flat-top, and it is certain that although it is little known, it is an essential guitar among Martin’s pre-war models.
The instrument remains to this day in excellent condition, free of major defects. In order to restore perfect playability, we have conducted a neck-reset to restore low action while retaining all the original parts, including the small rosewood bridge and the bridge plate. We have also crafted a bone nut in copy of the original, and refretted the guitar with bar frets identical to those initially used.
Sold in a modern hardshell case. Set up with a passive piezo pickup placed under the bridge.
