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Pickups remained our familiar De Armond humbuckers. Around 1,450 of these were made between January of 1966 and October of 1968.Gone were the plastic bridges in favor of metal adjustable finetune variety. The GT-75 was a re-tooled two-pickup, double-cutaway F-65 with the same appointments as the GT-70.The F-50 was the bottom of the line, a single cutaway with a single De Armond humbucker pickup, like those on the previous acoustic hybrids, in the neck position.Controls were one volume and one tone control mounted along the edge of the lower treble bout, with black, chrome-topped knobs.Fifties flattop electrics Martin actually got into the electric guitar business in the late ’50s when it started slapping De Armond pickups onto some of its acoustic guitars yielding the D-18E, D-28E and OO-18E.These pickups were the De Armond humbuckers with chrome sides and a black center in a trapezoidal hole, large pole pieces along one side and smaller poles along the other.Mention the subject of American acoustic guitars and one of the first names that will undoubtedly pop into your head will be C. The term “electrics” is not meant to include the company’s many fine acoustic-electric guitars, many sporting top-notch electronics (which ultimately remain acoustic beasts), but rather electric guitars meant for country chicken pickin’ or raunchy rock and roll. Not that there aren’t many other estimable names, but Martin, by virtue of its longevity since 1833 and incredible quality remains the standard by which almost all steel-stringed acoustics are judged. Bring up the topic of electrics, and Martin is hardly the first name of recall.
Probably the strangest feature of the F-65 was the fact that the heel of the neck did not change from the single-cutaway models, creating a sort of thick chunk of body extending up to the 14th fret. 1,825 F-65s were made from 1962 to the summer of ’65. In 1961 Martin marketed a pair of combos, the Model 110T and Model 112T. Presumably the 110 featured a 10″ speaker, while the 112 had a 12″. In 1962 Martin offered a very cool #700 portable amplifier, a unit ensconced in a leather carrying case, presumably battery-powered.Longworth’s book chronicles the company’s history in very personal terms and provides wonderfully rich detail about Martin’s many guitars through the ages.It should be an essential part of any Martin lover’s library.Prototypes of the D-18E began in 1958 and in 1959 production began on it plus the D-28E and OO-18E.The D-18E was a mahogany dreadnought with the neck pickup and a second bridge pickup.