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20-05-2021


SIGMA SERIAL NUMBER LOOKUP

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Long overlooked and relegated to an obscure corner of the collectible market,
Sigma by Martin guitars have recently gained popularity among a new generation
of collectors. If you’re one who has developed a taste for them (or other
vintage Japanese brands), you likely know that Martin – as it readily admits –
kept few notes regarding the Sigma line.

Thus, there is scant information on the brand – mostly anecdotes in far-flung
strands of the internet; suppositional at least, unsubstantiated at best. In an
attempt to remedy the situation, we offer this guide to the essential
information on the enigmatic brand.


GEN I

Seeking to compete in the market for budget-grade instruments, in 1970, Martin
began importing acoustic guitars made by subcontractors in Japan. The
instruments employed economy-minded materials like laminated woods for their
tops, sides, and back, but were generally well-constructed. The initial batches
had a zero fret, covered truss-rod access, and bridges with a saddle “elevator.”
Roughly 20 models were offered; the classical instruments had slot pegheads,
while the acoustic flat-tops were characterized by a flat headstock reminiscent
of a chef’s spatula (and now nicknamed as such), with the logo consisting of a
gold decal of the word “Sigma” surmounted by the corresponding Greek letter (∑)
in mother of pearl.

Some very early DR-7 and DM-5 batches had what collectors call an interior “type
zero” white label with a black border and the Gen I logo printed with “Produced
and distributed by C.F. Martin & Co., Nazareth, Pennsylvania, USA.” The model
designation was usually hand-written in ink along the bottom border.

By late ’72, the zero fret was being phased out and the saddle made
non-adjustable, but still perched on a fixed bridge… except on the 12-string
DR-12-7 – a fact that plagued Martin sales reps, who were advised to “convert”
dealers to the DM-12-5.

Beginning in ’73, certain lower-end models were manufactured in Korea, setting a
pattern of multi-country/multi-manufacturers that continued throughout the run.


GEN II

By 1974, the initial Gen II instruments had arrived, and while they retained the
spatula headstock and covered truss rod, they turned things up a notch by
introducing solid tops.

Those tops were part of the upgrades on three models – the DT-22, DR-11, and
DR-9 – which also sported a tapered headstock closer to the modern Martin;
company documents referred to the design as the “type S” peghead. Other twists
for Gen II included a line of five Tokai-made electric solidbody guitars, and
the first non-guitar – the SB-5 banjo.

During this and later periods, Sigma actually made several types and models of
acoustic and electric guitars, but they were mostly exported to Europe and
distributed through Levin & Sons, a Martin-owned company based in Sweden.

In ’76, Gen II Sigmas made in Japan were introduced with the type S peghead, a
new logo, different label, and other changes to synchronize with Martin’s
domesitc models. In addition, several new solid-top guitars were rolled out,
along with beginner and intermediate instruments. In a 1979 brochure, these were
duly delineated as the 7, 5, and 3 series; models with higher numbers were given
higher-quality materials and more-attentive craftsmanship, as well as overall
quality and quantity of appointments.

In 1980, the line was expanded to include the SA-1 mandolin and SB-226 and
SB-229 banjos. Also, the model numbering system used on guitars was rearranged
to even more closely align with Martin designations (a move seen as good for
marketing). Paper labels were phased out in favor of a pressure-incised oval on
the back brace inside. Collectors call this the “football stamp,” and it reads
“Sigma Guitars/Made in Japan For C.F. Martin & Co.” This continued for a few
years, until the company began building in Korean, and returned to paper labels.

While it was long believed that the serial numbers of Sigma instruments were of
little use in dating the instruments (except on the DR-28N and DR-35N, which
were assembled and finished in Nazareth in 1981/’82 using Japanese-made parts
and marked “Made in USA”), today there is a basic understanding of how they
work, based in part on the many factories that produced Sigma instruments.

In 1983, the bulk of production was moved from Japan to South Korea, where the
line underwent a huge expansion. Gen II solid-tops, however, were still made in
Japan.

Each year, as new Korean-built models were introduced, some older models were
retired or re-named. By ’84, Sigmas could be purchased with the Martin ThinLine
332 pickup and V.T.C. (volume and tone control), which required no installation
and had a ¼” output jack. These were at first supplied by Barcus-Berry, then
later by Fishman. In ’86 came the thin-bodied TB guitars with three-band EQ and
transducer pickup. The electronics proved popular, and soon crossed over to
become standard on many models (an electric/acoustic version became available in
nearly every model category).


GEN III

In 1988, the entire line was again re-named and re-categorized. New solid-top
models were given SDM and SDR prefixes, and while it has long been speculated
the S denoted “solid,” the ’88 catalog and spec sheets clearly indicate it meant
“scalloped” – as in, hand-scalloped bracing. All Gen III solid-tops carried
Martin’s warranty. Also introduced on some was the “age toned” top finish
intended to better replicate a vintage guitar.


SIGMA GUITAR SERIAL NUMBER LOOKUP

The Marquis Series (sometimes referred to as the 4 Series) guitars had
scalloped-brace tops, cast tuning machines, and pearl inlays at the 12th fret.
The line included the CS-4 classical, GCS-4 grand concert, dreadnought DM-4 and
DM-4S (with sunburst finish), the mahogany-stained/spruce-topped DM-4M and DM-4Y
(with “age toned” top), and the Venetian-cutaway DM-4CV.

Decades before other companies recognized their potential, Sigma unveiled two
dreadnoughts that employed exotic woods – the distinctive Oriental Chestnut
DT-4N and the DV-4, which had a spruce top and ovenkol body. Like their Marquis
brethren, they carried a 10-year warranty.

The 2 Series, touted as the budget line, nonetheless included features mostly
found on upper-end models – Grover tuning machines and “scalloped-style” top
braces to go with their laminated top, back, and sides. Models were the mahogany
CS-2 and rosewood CR-2 classicals, the mahogany grand concert GCS-2, the
dreadnought mahogany DM-2, the rosewood dreadnought DR-1 and DR-2, and the
mahogany 12-string DM-12-2.

Gen III mandolins were given a new designation system; the SM-1 was an A style,
the SM-3 a two-point Florentine, and the top of the line SM-6 (sometimes called
SM-10, SM-30, or SM-60) boasted a solid, carved top with a scroll and other
high-end appointments. These were first-class Gibson knock-offs and are today
highly valued by collectors. There were also three styles of banjos – the
inexpensive SB-10, the midrange SB-25 (with a brass tone ring and a clear
resonator), and the top of the line SB-80. It is thought that all mandolins and
banjos were produced by Iida, in their Japanese and Korean facilities.

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Circa 1993, Sigma introduced two Gibson-knock-off jazz guitars – the SEJ-35 and
the SEJ-75. Beautiful and skillfully crafted (in Japan), they sold for $929 and
$1,049 respectively and today are highly sought-after.

While advanced collectors continue to value Gen I and II Sigmas made in Japan as
the highest-quality/most-desirable examples, for the sheer scope and ambitious
breadth of the line at its height, Korean-made Gen III instruments are not far
behind. So many makes and models were created, expanded, changed, retired, and
re-named – it was the great flowering of the line.

In 1996, most production was moved to Taiwan and Indonesia, and almost all
promotion and trade advertising ceased. Some new models were introduced – the
DM-4B, DM-4L, solid tops CS-ST, DM and DR-1ST, and the FD-16M – while a core of
established models remained, though one by one they faded from price lists,
inventory manifests, and catalogs.


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Sigma inspection and repair operation at the old Martin factory on North Street
was curtailed and moved to the plant at 510 Sycamore Street, where it fizzled.
By ’97, no more than five percent of Sigmas were being delivered to Martin for
inspection while sales and marketing shifted to an in-house program known as
Martin Telesales. The bulk of these instruments were shipped directly to dealers
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The final Telesales catalog to feature Sigma instruments was published in late
2006. By the end of ’07, stock had been disposed, marking the end of a 37-year
run for the line.


MARTIN SIGMA SERIAL NUMBER

Kevin Dunham repairs and restores guitars, operates nossigmamartinguitars.com,
and maintains a blog on Sigma guitars. Brothers conflict brilliant blue english
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SIGMA GUITARS SERIAL NUMBERS

This article originally appeared in VG November 2015 issue. All copyrights are
by the author and Vintage Guitar magazine. Unauthorized replication or use is
strictly prohibited.

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