Kurt Cobain's Martin D-18 is found at the Martin Factory in Nazareth, PA. The plaque located under the guitar reads, "This well-worn D-18 was coined "Grandpa" by Cobain himself, and was gifted to the rocker by then girlfriend Mary Lou Lord in 1991. The guitar was was used by Cobain by while on tour for Nirvana's second and most notable album, "Nevermind". Here's a pic of the guitar as well. https://instagram.com/p/6fYMQonc5r/?taken-by=inwaltwetrustmore
"His main acoustics are a Martin D-45 that he got in 1967, a prewar D-18 and a D-28. I've installed stereo Fraps in each, which is by far the best way to amplify an acoustic guitar. I place two pickups inside the guitar-one for the top three strings and one for the bottom three. I do it real time while stringing up the top three strings . I have the pickup hot through a nice P.A. system,and I move it around."more
"Thompson keeps it single-coil simple with two stock vintage Teles and two ’50s Martins—a D-28 and a D-18. When he needs an angrier tone, he relies on the P-90 in his cherry 1963 Gibson SG Jr.," states [Premier Guitar](http://www.premierguitar.com/articles/20360-rig-rundown-pixies).more
"I had the amazingly good fortune to meet another incredibly talented songwriter named Elliott Smith. He set a new bar for music and I truly believe him to be one of the great voices of our generation. In 1995 I took Elliott out on his first tour as my opening act. I adored his songs and our friendship ran deep. Although our relationship was strictly platonic, it was Elliott who helped me fill the void after the loss of Kurt. On both of the tours that Elliott and I subsequently did together, it was the Martin that we would end up playing into the wee hours of the morning in our hotel room…I believe that "Grandpa" is the ONLY instrument in the world that was played, adored and loved by both Kurt Cobain AND Elliott Smith. It was also played on occasion by Shawn Colvin and of course, me. In 2003, Elliott died and this completely broke my heart…It was around this time that I began to release myself from the whole world of music as I knew it and dedicate myself to my young daughter Annabelle. The Martin was getting little attention, and by this point it held memories that I wanted to let go of. It had served me well and I wanted to give it a new lease on life. It needed to be played, so in 2004 I sold it to a guitar dealer and that was that. A few years later I got a letter from someone who was about to purchase the guitar and wanted to know if everything was on the “up and up.” I am happy to say that the guitar Kurt Cobain called “Grandpa” and Elliott Smith called “Gramps” now resides in the permanent collection of Make’n Music in Chicago, IL. I am told it is played regularly and adored by many a visitor who wants to hear the “stories.” On special occasions it is even made available to other musicians for purposes of inspiration and to use on recordings. I am glad to have known it, served it well, and to have shared in the memories this wonderful guitar possesses. There you go…the story of “Grandpa.” Mary Lou Lordmore
‘My Martin is the workhorse, though. I have a D-18 and I think my Martin will be the only thing that I’ll tour with for the rest of my life. I love them, they’re really well balanced guitars and they sound how an acoustic guitar should sound, you know? They don’t need a lot of manipulation, when you’re playing live. They just do what they do and do it so well. I use Fishman pickups in most of my acoustics, but I just fitted an EQ system on my pedal board, too. I’ve got the Boss RC-20 lopper down there with it. I think it’s that one, I look at it everyday and still can’t manage to remember the name of it,’ he says laughing. ‘I use Elixir Polyweb 10 gauge for my acoustics, the Guild has Ernie Ball Slinkys on it, though. I’m so bad with names, it’s just like “Yeah, the purple packet, thanks”,’ says Matt Corby in [this interview](http://www.acousticmagazine.com/interviews/matt-corby/) with Acoustic Magazine.more
‘I also have a pair of nice Martins here, both with a personal story. I used the D-18 a lot with the Pretenders. It wasn’t actually mine at the time. I commented once to Chrissie Hynde in the studio how nice it was, and jokingly asked if I could have it. I didn’t think any more of it until I decided to leave the band, and she just said “It’s yours!” It’s 43 years old now, so it’s well matured. It’s fitted with a Mimesis soundhole pickup, which was the prototype of the Fishman Rare Earth, designed by Bill Puplett and Mike Vanden. Unlike the modern Rare Earth which runs on 9 volts, this is powered by just 3 volts, and to my ears it has a much better sound. Recording and sound engineers love the balance of this one.’more
Nils' Martin D-18 is mentioned, in [this interview](http://www.musicradar.com/news/guitars/nils-lofgren-talks-beloved-gear-neil-young-and-his-first-guitar-612266/), as a gift from Neil Young. "'The building's burning down - what guitar from your collection would you save?' "'That's a rough one, but probably the Martin D-18 that Neil Young loaned me to make After The Gold Rush. Mostly, I was playing piano on that album, but one day, we were gonna do Tell Me Why and Neil wanted it played on two acoustics sat across from each other. I didn't own one - so he handed me this D-18, and gave it to me at the end. It doesn't leave the home.'"more
Doc primarily used mahogany or sapele (African mahogany) guitars throughout his career. In his early recordings, Doc frequently used a Martin D-18, but in 1968 he began a long association with J.W. Gallagher Guitars. Doc began playing a Gallagher G-50 (serial #68001) in 1968 that earned the nickname "Ol Hoss." This is the guitar that Doc played on the Nitty Gritty Dirt Band's Will The Circle Be Unbroken album where Merle Travis comments that the guitar "rings like a bell."more
> No. I have a 1955 Martin D-18 that’s my main guitar and was the only guitar I played on the record besides a Nashville high-strung Yamaha that belongs to Tucker [Martine, producer/engineer] that I used to double some parts here and there. The Martin was my uncle’s guitar. He passed away recently, but he gave me that guitar out of nowhere. I had gone to visit him and he used to collect instruments and had all of this random stuff in his attic, and he was like, “Oh yeah, I have this guitar for you.” It was in terrible shape. The neck was coming off and it’s one that was built before Martin started putting truss rods in their guitars, so it required quite a bit of work when I got it back to Nashville. The neck had to be reset twice at a shop called Cotten Music, and the first job got it playable—but the action was really high. They got it right the second time and it had a refret about eight years ago. That guitar has been through a lot since. It has traveled a ton with me, so at this point it feels like a material extension of myself.more
For guitarist, Nershi mainly uses a Collings I-35, a Santa Cruz D-Nershi Signature Model, a ’70s Martin D-28 ("FrankenMartin"), a 1955 Martin D-18, and a Ton Nershi T-Style Guitar. When it comes to amps, Nershi goes with his tried-and-true Fender formula involves a Blues Deluxe and a Blues DeVille. The handful of stomps that he relies on includes: Fulltone OCD, Fulltone Fat-Boost, Ernie Ball Volume Pedal, Boss TU-2 Chromatic Tuner, Fulltone Full-Drive 2, Pro Co RAT, Maxon Rotary Phaser, Dunlop Crybaby Wah, Line 6 Echo Park, TC Electronic G-Force. And for strings, picks, and accessories, he currently jams D'Addario EX115 (.010-.049), Rocktron MIDI Mate, Whirlwind Selector A/B, Sunrise acoustic pickup, K&K Pure Classic acoustic pickup, and Avalon U5.more
> Oh, it wasn’t anything too fancy—nothing like an 000-45, just a plain old D-18. I bought it one day and then returned it the very next day for the Strat. Because it was electric, it gave me instant access to this whole other world of sounds, and, obviously, the ability to play in a band and be heard and bend strings. All of a sudden, the world was a very different place, and I’ve been playing and loving Strats ever since.more
I inherited my Grandpa's D-18 from the '70s and it sounds beautiful. My biggest problem with it is that it's so precious to me that I don't think I'm comfortable taking it out to shows. That's a real bummer, because the sound is unparalleled.
1964: Top seam repaired years and years ago; side crack cleated. Exquisite neck angle -- don't know if it has been reset. Tone -- absolute "banjo killer"
2011: Adirondack top, scalloped bracing, Gotoh tuners. Great guitar -- period
Will never want for another acoustic... at least not one so balanced, pure and playable.. One might want something with more character like a Gibson Dove say.. but the way it sings down a mic is simply unparalleled.
Fantastic intonation, although like all acoustics it has slipped a little bit in the first year. No frills, just the best sound money can buy.