Behold the basic model Martin ukulele – one of the most standard of ukes – and yet extremely classy and professional in all of the ways that matter. It has a solid mahogany top, back, sides, neck, including the front of the headstock. Features include a Brazilian rosewood fingerboard (displaying some exceptionally pretty grain) and Brazilian bridge; having four “machine” tuners (also called “patent pegs”) that have metal clad shafts (not to brag or anything) and black buttons that could be wood, or Bakelite or plastic (celluloid). We could bite one button and see if it makes a good impression, but I think we’ll just leave it at that.
The unbound fretboard hosts 12 bar frets, all of them exceptionally clean, and a small space is left intentionally blank below the last fret, terminating in a carat, widder’s peak or birdie’s beak. There are two hairline cracks, both properly repaired by our staff of professional fangerers, one from the fourth string on the bridge downward and one on the lower treble side of the bridge leading to a small chip out of the mahogany where the top meets the side (no affect whatsoever on stability. There is a short horizontal scratch on the bottom side – not a crack – like Rocky said, it’s only a scratch – and normal light signs of use and wear including scratches, and indents and exceptionally tiny dings on the edges of body and headstock. The central round soundhole is bordered with three rings of crème-black-crème; the fingerboard is inlaid with three small ivoroid dots; it has the “C F Martin & Co., Nazareth, Pa.” pressure stamp on the back of the headstock. The transition to headstock decal occurred between 1930 and 1932, which is why we’re stating “Circa 1931.”
This is a fine example of a ukulele that was played but not flayed, caressed and impressed, maintained although plain, adored and yet hoarded for 75 years, set-up and made playable, good sounding, quite able, looks good on your table, or any place else that hearts can be melts.