PROJECT 91
you’ re someone who has the means to own an original, you’ re probably the kind of buyer who’ d appreciate one of these. It’ s a real opportunity to step into a collectible situation. As I mentioned, we do have other Brazilian rosewood set aside for things like the D-300s, the D-200s, and certain Custom Shop builds. But nothing on the scale required to support a project like this.
And what’ s more, Project 91 guitars are modeled after what many still consider the pinnacle of the craft— even today. The pre-war D-45s were absolutely the cream of the crop. Over the years, we’ ve made changes— mostly to address structural issues. Take X-bracing, for example. Early on, it was forward-shifted. But players were using very heavy-gauge strings back then, and you’ d start to see some top lift around the bridge. So, in the 1940s, Martin moved the X-brace slightly rearward to give that area more support. That change definitely affects tone. A forward-shifted X-brace gives you a bigger, more open bottom end. When you move it back, the tone tightens up a bit, but you gain projection. That’ s why a lot of bluegrass players gravitate toward those early’ 40s instruments— they want that punch and clarity when they’ re cutting through alongside a mandolin.
So, what does that mean for Project 91? We’ re following exactly what they would have done through the period of the project.
Okay, so you’ re advising people to use not heavier gauge strings on these guitars? We always advise that! Mediums are the limit, yeah.
Let’ s talk about nut width. I notice there’ s some variation among the original instruments. Oh yeah, they definitely vary. No. 1— the Gene Autry— was fairly wide. But the one built for Jackie“ Kid” Moore was 1-11 / 16”, because he was actually a kid and wanted a slimmer neck. As you move through the others, you’ ll see them range up to 1-3 / 4”. It really depended on who the guitar was built for and when it was made.
Today, Martin has really gravitated toward the 1-3 / 4” as the default. Yeah, we’ ve moved to what I call a high-performance taper. It’ s 1-3 / 4” at the nut, which gives you plenty of room for your cowboy chords, and then it goes out to 2-1 / 8” at the 12th fret. So, it’ s a slimmer taper overall, but it really gives you the best of both worlds— comfortable for open chords, and still easy when you’ re moving up the neck for lead work. Although some fingerstyle players especially appreciate the standard taper which is wider spacing, for example 1-3 / 4” nut by 2-1 / 4” at 12 th fret. With Project 91, though, we’ re staying true to whatever the original serial number would have had, based on what we know.
Well, it’ s a very exciting project. Yeah, I think it’ s a great opportunity. If you love collecting instruments in this style— or if you want something that complements your original without having to take that original everywhere— this really makes sense. The vintage pieces are in a much higher price tier. This gives players and collectors a way to get into something truly special and be part of that club.
94 | SPRING 2026