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Guitar
Maker: C. F. Martin & Co.
Date: 2001
Place Made:Nazareth, Pennsylvania, United States, North America
Model: Shawn Colvin M3SC Grand Auditorium Signature Edition
Serial No: 832154 / Prototype 3 of 3
SignedLaser etched on neck block: [cursive lettering curved downward at each end] C. F. Martin & Co. / Est. 1833 / Sha[wn Colvin] [remaining lettering, if any, hidden by pickup battery mount] / M3SC / 832154 / U.S. PATENT NO. 5,461,958
Printed in purple ink on trapezoidal paper label: [cursive lettering curved downward at each end] C. F. Martin & Co.® / Shawn Colvin / M-3SC / Signature Edition / [facsimile Shawn Colvin signature in blue ink underlined in black ink] / Shawn Colvin [in black ink] / [facsimile C. F. Martin IV signature in blue ink underlined in black ink] / C. F. Martin IV [in black ink] / Prototype# 3 of 3 / The Martin Guitar Company / Nazareth, Pennsylvania USA
Branded on bass back graft: [lettering curved downward at each end] C.F.MARTIN & Co / ―∙― / NAZARETH, PA. / MADE IN U.S.A.
Brass lettering on head: [lettering curved downward at each end] CFMartin&Co. [sic] / EST. 1833
Printed in purple ink on trapezoidal paper label: [cursive lettering curved downward at each end] C. F. Martin & Co.® / Shawn Colvin / M-3SC / Signature Edition / [facsimile Shawn Colvin signature in blue ink underlined in black ink] / Shawn Colvin [in black ink] / [facsimile C. F. Martin IV signature in blue ink underlined in black ink] / C. F. Martin IV [in black ink] / Prototype# 3 of 3 / The Martin Guitar Company / Nazareth, Pennsylvania USA
Branded on bass back graft: [lettering curved downward at each end] C.F.MARTIN & Co / ―∙― / NAZARETH, PA. / MADE IN U.S.A.
Brass lettering on head: [lettering curved downward at each end] CFMartin&Co. [sic] / EST. 1833
MarkingsStamped on each machine head mechanism cover: [cursive lettering curved downward at each end] CFMartin [sic]
DescriptionOver the last twenty years, C. F. Martin & Co. has increasingly explored custom guitars as well as limited and artists' editions as a means of expressing the creative heritage of the company and its skilled craftsmen and craftswomen. The artists' editions in particular have provided the means for interaction between Martin and top musicians who wish to be involved in the process of building their ideal guitar. Since 1986, when Christian Frederick Martin IV became leader of the company, the limited edition program has expanded and flourished.
The creation of the M3SC began in 1997 when Shawn Colvin met with Dick Boak, Martin's head of artist relations. Colvin's principal guitar was a 1970s D-28, but they were interested in pursuing a model that was somewhat smaller and more ergonomic. In 2001, a distinctive model was conceived, with three-piece back of mahogany and rosewood, abalone rosette, and imitation tortoise-shell bindings. The model was available to the public for a limited time in 2002. NMM 10886 is one of two prototypes sent to Colvin in 2001. It was used extensively by her until she donated it to the National Music Museum in September, 2005. She is now using Prototype 1 of 3.
Shawn Colvin was born and raised in Vermillion, where her mother ran The Looking Glass, just down the street from the NMM. She is known primarily as a folk singer/songwriter—Sunny Came Home won Grammy awards for Song of the Year and Record of the Year in 1998—but she also formed the Shawn Colvin Band, a hard-rock outfit, and sang with the Dixie Diesels, a Western swing band.
Stringing: six steel strings
Soundboard: two-piece Engelmann spruce, medium, wavy grain broadening toward the flanks
Back: two-piece mahogany with one wedge-shaped rosewood section at center, wider on the lower end; back stripes between mahogany and rosewood sections comprised of five-ply alternating strips of light and black hardwood, the black strips on the outsides
Ribs: two-piece mahogany divided by imitation-tortoise-shell celluloid end graft strip (slightly wider toward top than bottom) surrounded by thin white and black celluloid purfling on each side (2 strips each)
Head: mahogany veneered with mahogany and rosewood on front face, the rosewood forming a wedge with wider part near nut, the mahogany and rosewood divided by black-light-black hardwood purfling strips
Neck: mahogany; integral with head
Heel cap: imitation-tortoise-shell celluloid
Binding: imitation-tortoise-shell celluloid; thin five-ply (black-white-black-white-black) celluloid purfling strip trim on top; thin two ply (white-black) purfling strip trim on back and ribs
Fingerboard: ebony; rounded edge on lower end; 20 nickel-silver frets; single white plastic side dots behind 3rd, 5th, 7th, 9th, 15th, and 17th frets; double white plastic dots behind 12th fret
Nut: white Micarta
Bridge: ebony with curved lower edge; angled, white Micarta saddle; ebony bridge pins with abalone eyes
Tuners: six chrome-plated steel worm-gear machine tuners; ebony heads with abalone eyes
Endpin: chrome-plated steel jack plug
Rosette: wide band of abalone surrounded on each side by three-ply strips of black-white-black celluloid purfling, set in from edge
Pick guard: imitation tortoise shell plastic (printed with tortoise-shell pattern rather than marbleized)
Varnish: clear, with matte finish on back of head
Linings: kerfed mahogany
Neck block: mahogany
End block: maple plywood; chamfered corners on all sides
Top braces: spruce X-brace, the joint of main cross brace reinforced with white cotton flannel; scalloped transverse braces in lower bouts; small finger brace of low height in lower bout; maple bridge plate; trapezoidal maple plywood pickup battery mount adjacent to neck block
Back braces: two spruce back grafts, one each along joints of mahogany and rosewood; four spruce back braces
Electronics: white plastic pickup battery mount screwed to neck block and top reinforcement; red and black wires through gray plastic mounts glued to bass rib, passing to plug/endpin in end block
The creation of the M3SC began in 1997 when Shawn Colvin met with Dick Boak, Martin's head of artist relations. Colvin's principal guitar was a 1970s D-28, but they were interested in pursuing a model that was somewhat smaller and more ergonomic. In 2001, a distinctive model was conceived, with three-piece back of mahogany and rosewood, abalone rosette, and imitation tortoise-shell bindings. The model was available to the public for a limited time in 2002. NMM 10886 is one of two prototypes sent to Colvin in 2001. It was used extensively by her until she donated it to the National Music Museum in September, 2005. She is now using Prototype 1 of 3.
Shawn Colvin was born and raised in Vermillion, where her mother ran The Looking Glass, just down the street from the NMM. She is known primarily as a folk singer/songwriter—Sunny Came Home won Grammy awards for Song of the Year and Record of the Year in 1998—but she also formed the Shawn Colvin Band, a hard-rock outfit, and sang with the Dixie Diesels, a Western swing band.
Stringing: six steel strings
Soundboard: two-piece Engelmann spruce, medium, wavy grain broadening toward the flanks
Back: two-piece mahogany with one wedge-shaped rosewood section at center, wider on the lower end; back stripes between mahogany and rosewood sections comprised of five-ply alternating strips of light and black hardwood, the black strips on the outsides
Ribs: two-piece mahogany divided by imitation-tortoise-shell celluloid end graft strip (slightly wider toward top than bottom) surrounded by thin white and black celluloid purfling on each side (2 strips each)
Head: mahogany veneered with mahogany and rosewood on front face, the rosewood forming a wedge with wider part near nut, the mahogany and rosewood divided by black-light-black hardwood purfling strips
Neck: mahogany; integral with head
Heel cap: imitation-tortoise-shell celluloid
Binding: imitation-tortoise-shell celluloid; thin five-ply (black-white-black-white-black) celluloid purfling strip trim on top; thin two ply (white-black) purfling strip trim on back and ribs
Fingerboard: ebony; rounded edge on lower end; 20 nickel-silver frets; single white plastic side dots behind 3rd, 5th, 7th, 9th, 15th, and 17th frets; double white plastic dots behind 12th fret
Nut: white Micarta
Bridge: ebony with curved lower edge; angled, white Micarta saddle; ebony bridge pins with abalone eyes
Tuners: six chrome-plated steel worm-gear machine tuners; ebony heads with abalone eyes
Endpin: chrome-plated steel jack plug
Rosette: wide band of abalone surrounded on each side by three-ply strips of black-white-black celluloid purfling, set in from edge
Pick guard: imitation tortoise shell plastic (printed with tortoise-shell pattern rather than marbleized)
Varnish: clear, with matte finish on back of head
Linings: kerfed mahogany
Neck block: mahogany
End block: maple plywood; chamfered corners on all sides
Top braces: spruce X-brace, the joint of main cross brace reinforced with white cotton flannel; scalloped transverse braces in lower bouts; small finger brace of low height in lower bout; maple bridge plate; trapezoidal maple plywood pickup battery mount adjacent to neck block
Back braces: two spruce back grafts, one each along joints of mahogany and rosewood; four spruce back braces
Electronics: white plastic pickup battery mount screwed to neck block and top reinforcement; red and black wires through gray plastic mounts glued to bass rib, passing to plug/endpin in end block
DimensionsTotal guitar length: 1010 mm (39-3/4″)
Back length: 512 mm (20-5/32″)
Upper bout width: 296 mm (11-21/32″)
Waist width: 249 mm (9-13/16″)
Lower bout width: 408 mm (16-1/16″)
Rib height (including edging) at heel: 83 mm (3-1/4″)
Rib height, at waist: 95 mm (3-3/4″)
Rib height, at end block: 103 mm (4-1/16″)
Head length: 164 mm (6-7/16″)
Head width, top: 73 mm (2-7/8″)
Head width, bottom: 57 mm (2-1/4″)
Neck length (nut to ribs): 357 mm (14-1/16″)
Neck width, nut: 43 mm (1-11/16″)
Neck width, heel: 55 mm (2-5/32″)
Soundhole diameter: 102 mm (4″)
Vibrating string length (nut to bridge edge): high E: 646 mm (25-7/16″); low E: 649 mm (25-9/16″)
Back length: 512 mm (20-5/32″)
Upper bout width: 296 mm (11-21/32″)
Waist width: 249 mm (9-13/16″)
Lower bout width: 408 mm (16-1/16″)
Rib height (including edging) at heel: 83 mm (3-1/4″)
Rib height, at waist: 95 mm (3-3/4″)
Rib height, at end block: 103 mm (4-1/16″)
Head length: 164 mm (6-7/16″)
Head width, top: 73 mm (2-7/8″)
Head width, bottom: 57 mm (2-1/4″)
Neck length (nut to ribs): 357 mm (14-1/16″)
Neck width, nut: 43 mm (1-11/16″)
Neck width, heel: 55 mm (2-5/32″)
Soundhole diameter: 102 mm (4″)
Vibrating string length (nut to bridge edge): high E: 646 mm (25-7/16″); low E: 649 mm (25-9/16″)
ProvenanceUsed by Shawn Colvin regularly from 2001 until its donation to National Music Museum in September 2005.
Terms
Credit Line: Gift of Shawn Colvin, 2005
On view
Published ReferencesChristopher Vondracek, “Acoustic Vault: Intriguing visitors and evoking tales, museum’s guitar collection holds more than American icons,” Volante, (April 5, 2007), The Verve, B1, B3.
Object number: 10886