1942 C. F. Martin 000-28 Natural

SN: 80686. It is thrilling to play an 80 year old guitar as original and clean as this one; especially one that is set up so well and has such a wonderful voice. It was made in Nazareth, PA in the first half of 1942 and though it fits squarely the “wartime” era, it does have a T-bar and, with the exception of the tuners, all the same trappings and specs as a late 1939 model. No shortages of skilled labor and materials are evident. The OG Brazilian rosewood and Adirondack spruce are very high grade. Herringbone trim (which came from Germany at that time) rings the top. The edges are bound in ivoroid. Mahogany neck with volute, ivoroid heel cap. Ebony fretboard with “long pattern” diamonds and snowflakes. The tuners are the original Waverly 5038 “Yoda Head” tuners used between 1940 and 1946. Ebony bridge with white pins and solid black dot.
The condition is stellar.

It appeared briefly on George Gruhn’s site before my customer bought it. In a rare display of enthusiasm, the description notes “one of the finest condition herringbone 000-28 models we have ever encountered.” Indeed it is. It has picked up a couple pick strikes since Gruhn had it but it’s still exceptionally clean with just some swirling east of the fretboard and a couple of marks west of the sound hole. The back and sides are equally clean with just a few scratches here and there. It has had the requisite maintenance – a neck reset and refret. It is very clean and precise; dare I say “Thompson-esque.” The Gruhn copy mentions a replacement bridge which looks exactly right down to every detail. The case is a lovely Lifton from the late 30s or early 40s. I think we have that case to thank, in part, for the excellent condition of the guitar.

Internally, everything is clean and original. This is a rear-shifted, scalloped X-brace model with the X shifted toward the bridge. There are two scalloped tone bars, small maple bridge plate and popsicle brace. The tone it produces is focused, articulate and a little sparkly. There are rosewood overtones of course but not so pronounced as to muddy things up. I’ve been using it to go through Brian Sutton’s intermediate lessons on rhythm bluegrass guitar. It’s performed well. The neck feels fast, the action is easy and, on the speed drills, it produces good volume and tone with a lighter touch. It’s a winner.

SPECS:

Top: Adirondack spruce
Band & Sides: Brazilian rosewood
Bridge & Fretboard: Ebony
Appointments: Herringbone, diamond/ snowflake inlays, top/back binging
Nut width: 1-11/16”
String spacing: 2-1/8”
Body width: 15-1/4”
Depth: 4-1/8”
Scale length: 24.9”
Case: Period hardshell