Flat-Top Acoustic Guitar Timeline

1926-1954

This timeline features flat-top (as opposed to archtop) acoustic guitars, featuring models from Gibson, Martin, Gretsch, and Guild. It begins with Gibson’s first flat-top acoustic guitars in 1926 and ends with the first Guild models being introduced in 1953-54.

1926

  • Gibson L-1 reintroduced (12-fret neck joint, slightly arched spruce top with natural or amber stain, no pickguard, carved maple back & sides with brown dark stain, mahogany neck, unbound ebony fingerboard with dot inlays, strip tuners with white buttons, ebony pyramid bridge, discontinued in 1937)
  • Gibson L-0 introduced (12-fret neck joint, slightly arched spruce top with amber brown stain, no pickguard, slightly arched birch back & sides with amber brown stain, mahogany neck, unbound ebony fingerboard with dot inlays, ebony nut, strip tuners with white buttons, ebony pyramid bridge, discontinued in 1933)

1928

  • Gibson Nick Lucas Special introduced (12-fret neck joint, slightly arched spruce top with X-bracing, deep 4.625” body, mahogany back & sides, black or sunburst finish, mahogany neck, bound rosewood fingerboard with varied-pattern inlays, rosewood pyramid bridge, approximately 300 instruments made, discontinued in 1938)
  • Gibson L-1 given mahogany back & sides, bound rosewood fingerboard, rosewood belly bridge, and brown mahogany sunburst finish
  • Gibson L-0 given mahogany top, back & sides, unbound rosewood fingerboard, rosewood belly bridge

1929

  • Martin OM-28 introduced (14-fret neck joint, Adirondack spruce top, herringbone body binding, no pickguard, Brazilian rosewood back & sides, 25.4” scale length, mahogany neck, unbound ebony fingerboard with diamond inlays, banjo tuners, plain solid peghead, ebony pyramid bridge, discontinued in 1933)
  • Martin 0-17 introduced (12-fret neck joint, Mahogany top with scalloped X-bracing, Mahogany back & sides, no pickguard, mahogany neck, unbound rosewood fingerboard with dot inlays, slotted headstock, rosewood rectangle bridge, discontinued in 1948)
  • Gibson L-2 reintroduced (13-fret neck joint, slightly arched spruce top with x-bracing, no pickguard, slightly arched rosewood back & sides, mahogany neck, bound ebony fingerboard with dot inlays, adjustable bridge and trapeze tailpiece, sunburst or natural finish, discontinued in 1934)
  • Gibson L-0, L-1 & Nick Lucas body size changed from 13.5” to 14.75” and given flat top

1930

  • Martin OM-18 introduced (14-fret neck joint, Adirondack spruce top, small pickguard, Mahogany back & sides, mahogany neck, unbound ebony fingerboard with dot inlays, plain peghead, banjo tuners, ebony belly bridge, discontinued in 1933)
  • Martin OM-28 given belly bridge, silkscreened peghead logo, and small pickguard
  • Martin OM-42 introduced (14-fret neck joint, Adirondack spruce top, abalone top binding, small pickguard, Brazilian rosewood back & sides, mahogany neck, ebony fingerboard with varied inlays, plain peghead, banjo tuners, ebony belly bridge, total of 2 instruments made, discontinued in 1930)
  • Martin OM-45 introduced (14-fret neck joint, Adirondack spruce top, small tortoise pickguard, Brazilian rosewood back & sides, abalone top & back binding, mahogany neck, ebony fingerboard with snowflake inlays, torch peghead inlay, gold-plated banjo tuners, ebony belly bridge, total of 14 instruments made, discontinued in 1933)
  • Martin OM-45 Deluxe introduced (Total of 14 instruments made, 14-fret neck joint, Adirondack spruce top, tortoise pickguard with pearl inlays, Brazilian rosewood back & sides, abalone top, sides & back binding, mahogany neck, bound ebony fingerboard with varied inlays, torch peghead inlay, engraved gold-plated banjo tuners with mother of pearl buttons, ebony belly bridge with snowflake inlays, discontinued in 1930)
  • Martin 00-17 introduced (12-fret neck joint, Mahogany top with scalloped X-bracing, Mahogany back & sides, no pickguard, mahogany neck, unbound rosewood fingerboard with dot inlays, slotted headstock, rosewood rectangle bridge, discontinued in 1961)
  • Gibson L-1 given unbound fingerboard, and rectangular bridge
  • Gibson Nick Lucas given wider body, going from 13.5” to 14.75” wide

1931

  • Martin D-28 introduced (12-fret neck joint, Adirondack spruce top, tortoise shell pickguard, herringbone top binding, Brazilian rosewood back & sides, mahogany neck, unbound ebony fingerboard with diamond inlays, slotted peghead, ebony belly bridge, sunburst top finish available, 41 12-fret instruments made)
  • Martin OM-18, OM-28 & OM-45 given larger pickguard and right-angle tuners
  • Martin OM-18 given black plastic body binding
  • Martin 0-17 & 00-17 given tortoise pickguard
  • Martin begins offering models with a “dark top” (sunburst finish)
  • Gibson L-00 introduced (12-fret neck joint, spruce top, white pickguard, mahogany back and sides, mahogany neck, black finish, unbound rosewood fingerboard with dot inlay, ebony nut, white-button strip tuners, rosewood rectangle bridge, discontinued in 1945)
  • Gibson L-2 given 12-fret neck, mahogany back and sides, flame-shaped peghead inlay, gold sparkle soundhole and top trim, and Argentine gray sunburst finish
  • Gibson Nick Lucas given 13-fret neck joint, rosewood back & sides, elevated pickguard, raised ebony fingerboard, fleur-de-lis peghead inlay, and optional adjustable bridge & trapeze tailpiece

1932

  • Martin adds its gold script logo decal to guitar with solid headstocks
  • Martin D-18 introduced (12-fret neck joint, Adirondack spruce top, tortoise shell pickguard, black plastic body binding, Mahogany back & sides, mahogany neck, unbound ebony fingerboard with dot inlays, slotted peghead, ebony belly bridge, 64 12-fret instruments made)
  • Martin 0-18 given 14-fret neck joint and solid peghead (Adirondack spruce top, tortoise shell pickguard, Mahogany back & sides, mahogany neck, unbound ebony fingerboard with dot inlays, ebony belly bridge)
  • Martin OM-18, OM-28, D-18 & D-28 given tortoise shell pickguard
  • Gibson L-00 given 13-fret neck joint
  • Gibson L-0 given 14-fret neck joint and tortoise shell pickguard
  • Gibson L-1 given 14-fret neck joint, firestripe tortoise pickguard, and individual tuners with white buttons
  • Gibson L-2 given 13-fret neck joint, natural finish, option of pin bridge or adjustable bridge and trapeze tailpiece, option of rosewood back & sides, option of elevated or glued pickguard, and rosewood fingerboard

1933

  • Martin D-45 introduced (12-fret neck joint, 3 12-fret instruments made, Adirondack spruce top, tortoise shell pickguard, Brazilian rosewood back & sides, abalone top, sides & back binding, mahogany neck, bound ebony fingerboard with varied snowflake inlays, slotted headstock with torch peghead inlay, engraved gold-plated tuners, ebony belly bridge, total of 91 instruments made, discontinued in 1942)
  • Martin 0-17 & 00-17 given 14-fret neck joint and solid peghead
  • Martin 00-18 given 14-fret neck joint and solid peghead (Adirondack spruce top, tortoise shell pickguard, Mahogany back & sides, mahogany neck, unbound ebony fingerboard with dot inlays, ebony belly bridge)
  • Martin OM-45 given vertical “C.F. Martin” pearl peghead inlay
  • Martin D-28 given scalloped X-bracing
  • Martin OM-18, OM-28 and OM-45 discontinued
  • Gibson L-C Century of Progress introduced (14-fret neck joint, Adirondack spruce top, firestripe tortoise pickguard, maple back and sides, sunburst finish, mahogany neck, bound white pearloid fingerboard with notched diamond inlay within rosewood fingerboard markers, white pearloid peghead veneer with notched diamond inlay, strip tuners with white buttons, rosewood rectangle bridge, discontinued in 1941)
  • Gibson L-00 given 14-fret neck joint, scalloped X-bracing, sunburst finish and firestipe tortoise pickguard
  • Gibson L-2 given 14-fret neck joint
  • Gibson Nick Lucas given 14-fret neck joint and rectangle pin bridge
  • Gibson L-0 discontinued

1934

  • Martin replaces bar frets with modern “T” frets, and introduces a steel “T-bar” neck rod to replace the ebony neck reinforcement
  • Martin D-45 given solid peghead with vertical “CF Martin” inlaid in pearl
  • Martin D-18 & D-28 given 14-fret neck joint
  • Martin 000-18 reintroduced with 14-fret neck joint (Adirondack spruce top, large teardrop tortoise pickguard, Mahogany back & sides, mahogany neck, shorter 24.9” scale, unbound ebony fingerboard with dot inlays, ebony belly bridge, sunburst top finish available)
  • Martin 000-28 given 14-fret neck joint (Adirondack spruce top, large teardrop tortoise pickguard, herringbone top binding, Brazilian Rosewood back & sides, mahogany neck, shorter 24.9” scale, unbound ebony fingerboard with diamond inlays, ebony belly bridge)
  • Martin 000-42 given 14-fret neck joint (Adirondack spruce top, abalone top binding, large teardrop tortoise pickguard, Brazilian rosewood back & sides, mahogany neck, shorter 24.9” scale, bound ebony fingerboard with varied snowflake inlays, ebony belly bridge, 113 instruments made, discontinued in 1943)
  • Martin 000-45 given 14-fret neck joint (Adirondack spruce top, large teardrop tortoise pickguard, Brazilian rosewood back & sides, abalone top, sides & back binding, shorter 24.9” scale, mahogany neck, bound ebony fingerboard with varied snowflake inlays, vertical “C.F. Martin” pearl peghead inlay, ebony belly bridge, 125 instruments made, discontinued in 1942)
  • Gibson Jumbo introduced (14-fret neck joint, Adirondack spruce top with scalloped X-bracing, firestripe celluloid pickguard, Mahogany back & sides, Sunburst finish on top, back and sides, mahogany neck, unbound rosewood fingerboard with dot inlays, nickel open-back Grover tuners, rosewood bridge, discontinued in 1936)
  • Gibson L-2 discontinued

1935

  • Gibson Nick Lucas given glued-on firestripe celluloid pickguard, non-elevated fingerboard, and maple back & sides
  • Gibson Jumbo given fingerboard binding

1936

  • Martin D-45 given 14-fret neck joint
  • Martin 000-18 & D-18 given tortoise body binding
  • Gibson Advanced Jumbo introduced (14-fret neck joint, Adirondack spruce top with scalloped X-bracing and sunburst finish, firestripe celluloid pickguard, Brazilian rosewood back & sides, mahogany neck, long 25.5” scale, bound rosewood fingerboard with diamond and arrow inlays, ebony headstock overlay with diamond and arrow inlay, nickel open-gear Grover tuners, rosewood bridge, total of 271 instruments made, discontinued in 1940)
  • Gibson Jumbo 35 introduced (14-fret neck joint, Spruce top with non-scalloped X-bracing and brown sunburst finish, firestripe celluloid pickguard, Mahogany back & sides with red mahogany finish, mahogany neck, unbound rosewood fingerboard with dot inlays, 24.75” scale length, strip tuners with white plastic buttons, rosewood bridge, discontinued in 1942)
  • Gibson Jumbo discontinued

1937

  • Gibson L-0 reintroduced (given spruce top with black finish, firestripe tortoise pickguard, discontinued in 1942)
  • Gibson L-1 discontinued

1938

  • Martin 000-21 reintroduced with 14-fret neck joint (Adirondack spruce top, large teardrop tortoise pickguard, tortoise body binding, Brazilian rosewood back & sides, mahogany neck, unbound ebony fingerboard with slotted diamond inlays, ebony belly bridge, discontinued in 1959)
  • Martin changes its X-bracing from forward-shifted to rear-shifted
  • Gibson L-C given rosewood peghead veneer with pearl gibson logo and diamond inlay
  • Gibson Super Jumbo introduced (14-fret neck joint, Adirondack spruce top with 2 X-braces and sunburst finish, celluloid pickguard with engraved flower motif, Brazilian rosewood back & sides, 25.5” scale length, maple neck, bound ebony fingerboard with crest inlays, crown peghead inlay, gold Grover Imperial tuners, ebony “mustache” bridge with individual bone saddles, total of 96 instruments made, discontinued in 1943)
  • Gibson Nick Lucas discontinued

1939

  • Martin moves from a 1-3/4” to a thinner 1-11/18” nut width as standard on all of its 14-fret models
  • Martin D-45 hexagonal fingerboard inlays replace varied snowflake inlays
  • Gibson Super Jumbo 100 (SJ-100) introduced (14-fret neck joint, 17” wide body, Spruce top with sunburst finish, firestripe “terraced” pickguard, Mahogany back & sides, maple neck, bound ebony fingerboard with dot inlays, “stairstep” peghead, Grover Imperial tuners, ebony “mustache” bridge with individual bone saddles, total of 138 instruments made, discontinued in 1942)
  • Gibson Jumbo 55 introduced (14-fret neck joint, Spruce top with sunburst finish, firestripe “terraced” pickguard, Mahogany back & sides, mahogany neck, 25.5″ scale length, bound coffeewood fingerboard with dot inlays, “stairstep” peghead, coffeewood “mustache” bridge, total of 311 instruments made, discontinued in 1942)
  • Gibson Super Jumbo body width increased from 16.875” to 17” and renamed Super Jumbo 200 (SJ-200)
  • Gibson Advanced Jumbo and Jumbo 35 move from 3-tone bars in their bracing to 2 (like most other Gibson flat-tops)
  • Gibson Jumbo 35 available in natural finish

1940

  • Martin 000-18 fingerboard changes from ebony to rosewood
  • Gibson Advanced Jumbo discontinued
  • Gibson SJ-200 given one-piece saddle

1941

  • Gibson Jumbo 55 given regular peghead, 24.75″ scale length, rosewood “batwing” bridge replaces coffeewood “mustache” bridge, coffeewood fingerboard changed to rosewood
  • Gibson SJ-200 bridge and fingerboard changed from ebony to rosewood, and tuner buttons changed to Kluson Sealfast pearloid tulip-shaped buttons
  • Gibson SJ-100 given regular peghead, one-piece saddle, “batwing” bridge replaces “mustache” bridge, bridge and fingerboard changed from ebony to rosewood, and tuner buttons changed to oval buttons
  • Gibson L-00 available in natural finish
  • Gibson L-C discontinued
  • US enters World War II in December

1942

  • Martin D-45 & 000-45 discontinued
  • Martin switches to inexpensive tuning machines with plastic celluloid buttons and back to an ebony neck reinforcement during WWII
  • Gibson headstocks change to “banner” headstock logo until early 1946
  • Gibson Southern Jumbo introduced (14-fret neck joint, Spruce top with sunburst finish, firestripe teardrop pickguard, Mahogany back and sides, unbound rosewood fingerboard with double parallelogram inlays, strip tuners with white buttons, rosewood bottom belly bridge, discontinued in 1977)
  • Gibson J-45 introduced (14-fret neck joint, Spruce top with scalloped X-bracing and brown sunburst finish, tortoise-shell teardrop pickguard, Mahogany back and sides, mahogany neck, unbound rosewood fingerboard with dot inlays, strip tuners with white buttons, rosewood rectangle bridge)
  • Gibson SJ-200 bracing changed to single X-brace
  • Gibson LG-1 introduced (14-fret neck joint, Mahogany top with scalloped X-bracing and brown stain finish, teardrop tortoise pickguard, Mahogany back and sides, mahogany neck, unbound rosewood fingerboard with dot inlays, strip tuners with black buttons, rosewood rectangle bridge, approximately 100 instruments made, introduced and discontinued in 1942)
  • Gibson LG-2 introduced (14-fret neck joint, Spruce top with scalloped X-bracing and sunburst finish, firestripe teardrop pickguard, Mahogany back and sides, mahogany neck, unbound rosewood fingerboard with dot inlays, strip tuners with white buttons, rosewood rectangle bridge, replaced by B-25 model in 1962)
  • Gibson LG-3 introduced (14-fret neck joint, Spruce top with scalloped X-bracing and natural finish, teardrop tortoise pickguard, Mahogany back and sides, mahogany neck, unbound rosewood fingerboard with dot inlays, strip tuners with white buttons, rosewood rectangle bridge, approximately 100 instruments made, introduced and discontinued in 1942)
  • Gibson Jumbo 35, Jumbo 55, SJ-100 & L-0 discontinued

1943

  • Martin 000-42 discontinued
  • Gibson removes truss rods due to wartime restrictions on metal and replaces them with a strip of maple and very large necks. They also only offered “three-on-a-plate” strip tuners and sunburst finishes
  • Gibson LG-2 given standard teardrop tortoise pickguard
  • Gibson SJ-200 discontinued

1944

  • Martin bracing changes from scalloped to taper bracing, and dots replace diamond fingerboard inlays on styles 21 and 28
  • Martin 000-21 given small dot fingerboard inlays
  • Gibson begins using Sitka spruce instead of Adirondack Spruce, and using truss rods again

1945

  • Gibson L-00 discontinued
  • World War II ends in September

1946

  • Martin bracing changes from taper bracing to heavy bracing
  • Martin once again begins using higher quality tuners with metal buttons
  • Martin tops change from Adirondack spruce to Sitka spruce
  • Gibson SJ-200 reintroduced and renamed J-200, and back & sides changed from rosewood to maple
  • Gibson LG-3 reintroduced (replaced by B-25N model in 1963)

1947

  • Martin 21 & 28 style binding changes from herringbone to white/black, fingerboard inlays change to large dots, and backstripe changes from zipper to to narrow checkered pattern
  • Martin D-18 & 000-21 fingerboard changes from ebony to rosewood
  • Steel T-bar neck reinforcement once again used on all Martin models
  • Gibson J-50 introduced (natural version of Gibson J-45)
  • Gibson LG-1 reintroduced (bracing changed from X-bracing to ladder bracing, and top changed from mahogany to spruce with sunburst finish, discontinued in 1968)
  • Gibson Southern Jumbo given fingerboard binding
  • Gretsch 125F Jumbo Synchromatic introduced (14-fret neck joint, 17” wide body, laminated spruce top with ladder bracing, triangle sound hole, tortoise pickguard, arched maple back, maple sides, sunburst back, sides and neck; 26” scale length, maple neck, bound rosewood fingerboard with block inlays, height-adjustable bridge on triangle rosewood base, metal string anchor plate, nickel hardware, discontinued in 1959)

1948

  • Gibson SJ-200 available in natural finish

1949

  • Gibson Southern Jumbo given top belly bridge
  • Gretsch 125F Jumbo Synchromatic available with sunburst top

1950

  • Gibson CF-100 introduced (first cutaway flat-top, 14-fret neck joint, small 14.125” wide body, Spruce top w/ scalloped X-bracing and sunburst finish, florentine cutaway, teardrop tortoise pickguard, mahogany back & sides, mahogany neck, bound rosewood fingerboard with trapezoid inlays, crown peghead inlay, strip tuners with white buttons, rosewood top belly bridge, discontinued in 1960)
  • Gibson J-45, J-50 & J-55 given top belly bridge

1951

  • Gibson J-185 introduced (14-fret neck joint, smaller 16” wide jumbo body, spruce top with scalloped X-bracing, tortoise pickguard, maple back & sides, sunburst or natural finish, mahogany neck, bound rosewood fingerboard with double parallelogram inlays, crown peghead inlay, Kluson tulip button tuners, rosewood top belly bridge with Maltese cross inlays, discontinued in 1958)
  • Gibson CF-100E introduced (first electric flat-top, P-90 pickup at end of fingerboard, 1 volume & 1 tone knob, laminated spruce top, discontinued in 1960)

1952

  • Gibson SJ-200 bracing changed to wide double X-brace with 2 ladder-style tonebars

1953

  • Guild F-50 Navarre introduced (14-fret neck joint, 17” wide body, spruce top, tortoise pickguard, arched laminated maple back & sides, sunburst or natural finish, 3-piece mahogany neck, bound rosewood fingerboard with block inlays, “G” peghead inlay, gold Kluson tuners, carved rosewood bridge)
  • Guild F-40 Valencia introduced (14-fret neck joint, 16” wide body, spruce top, tortoise pickguard, arched laminated maple back & sides, sunburst or natural finish, 3-piece mahogany/maple neck, bound rosewood fingerboard with block inlays, nickel Kluson tuners, rosewood bridge, discontinued in 1963)

1954

  • Gibson J-160E introduced (15-fret neck joint, P-90 pickup at end of fingerboard, 1 volume & 1 tone knob, laminated spruce top w/ ladder bracing, tortoise pickguard, solid mahogany back, laminated mahogany sides, sunburst finish, mahogany neck, bound rosewood fingerboard with trapezoid inlays, crown peghead inlay, Kluson tuners with keystone buttons, rosewood top belly bridge with adjustable saddle, discontinued in 1978)
  • Gibson Southern Jumbo available in natural finish
  • Guild F-30 Aragon introduced (14-fret neck joint, 15” wide body, spruce top, tortoise pickguard, arched laminated maple back & sides, sunburst or natural finish, 3-piece mahogany/maple neck, unbound rosewood fingerboard with dot inlays, nickel strip tuners, rosewood bridge, discontinued in 1985)
  • Gretsch 6022 Rancher introduced (14-fret neck joint, 17” wide body, laminated spruce top with ladder bracing, triangle sound hole and “G” brand, tortoise pickguard with engraved steer head, arched maple back, maple sides, amber red finish, maple neck, bound rosewood fingerboard with block inlays with cows and cactus, longhorn steer peghead inlay, height-adjustable bridge on triangle rosewood base, metal string anchor plate, gold hardware, discontinued in 1980)
  • Gretsch 125F Jumbo Synchromatic renamed Town and Country and given 25.5” scale

Other Notable Acoustics

  • 1960 Gibson Hummingbird (14-fret neck joint, 16.25” wide square-shoulder dreadnaught body, spruce top with X-bracing, tortoise pickguard with hummingbird engravings, mahogany back & sides, cherry sunburst finish, mahogany neck, bound rosewood fingerboard with double parallelogram inlays, 24.75” scale length, crown peghead inlay, gold Kluson tulip button tuners, rosewood top belly bridge with adjustable saddle)
  • 1962 Gibson Dove (14-fret neck joint, 16.25” wide square-shoulder dreadnaught body, spruce top with X-bracing, tortoise pickguard with pearl dove inlays, maple back & sides, cherry sunburst finish, mahogany neck, bound rosewood fingerboard with double parallelogram inlays, longer 25.5” scale length, crown peghead inlay, gold Kluson tulip button tuners, rosewood winged bridge with pearl inlays and gold tune-o-matic saddle)