C. F. Martin D-28 Flat Top Acoustic Guitar (1942)
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Item #10590
C. F. Martin D-28 Model Flat Top Acoustic Guitar (1942), made in Nazareth, PA, natural lacquer finish, Brazilian rosewood back and sides, spruce top; mahogany neck with ebony fingerboard, original brown hard shell case.
Certain guitars are simply the standard by which others are judged; the pre-WWII Martin D-28 "herringbone" is certainly one of them. This one shows some playwear and a repair or two over 80+ years. BUT, it you want the sound...THE sound...this guitar has it in spades. The prewar D-28 is, to many, as close to a perfect flat top as has ever been made. If you seek the power and depth of a Dreadnought with the sweetness, sparkle and singing character of the best pre-WWII Martins the D-28's of this early period are unmatched.
This D-28 has a serial number dating to the VERY beginning of 1942, just weeks after the Pearl Harbor attack. It is one of only 96 shipped that year, when the outbreak of the war caused Martin's output to temporarily drop dramatically. Compared to modern production that is a very paltry number indeed.
This D-28 shows many classic features of the model, widely imitated ever since. They are often referred to as a "bone", after the namesake "herringbone" wood marquetry trimming the top. Whether this cosmetic feature has any affect on sound is a hotly debated (if unanswerable) question. Martin stopped using it on their instruments by mid-1947 when their supply ran out and didn't consider it worth mentioning. By then the D-28 had seen other changes, most importantly the discontinuation of scalloped top braces so the instruments of the late 1940's and '50's evolved to have a different sonic character.
Other features of this guitar are the expected prewar D-28 appointments. The top bracing is delicately scalloped and the top is more lightly built than the 1950's style. The back and sides are beautifully straight grained Brazilian rosewood with a nice mirrored figure off the center seam. The top is tight-grained Appalachian spruce, the pickguard just below the soundhole is made of tortoise celluloid in the small "teardrop" shape. The ebony bridge is the new-for-the-1930s "belly" shape with a canted bone saddle.
The neck is mahogany with an unbound ebony fingerboard showing discreet slotted diamond pearl inlay. The peghead is faced in straight grained Brazilian rosewood with the gold "C.F. Martin & Co." decal at the top. The neck profile is fairly slim and round backed but with the slightest hint of a "V" profile in the way the sides bear away from the center; this is more noticeable as it moves towards the heel. The tuners are Waverly openback single machines with metal buttons and an "ice cream cone" pattern at each end of the plate, still intact and functional after many decades.
This 1942 model also has features specific to the period including the newer "rearward" shifted scalloped X-brace pattern and slightly narrower nut. Also, unlike earlier '30's examples, a "popsicle" brace was included by the factory to reinforce the top under the fingerboard extension. Just months after this guitar was built, the steel truss rod in the neck was changed to an ebony insert. This guitar is one of the last to be built to the full pre-war specification.
Cosmetically this guitar shows only comparatively light signs of use, considerably less than many prewar D-28s. Costing $125 in 1942 (without case!) this instrument represented a sizable investment for most flat-top players. A working performer would often play theirs constantly as a tool to literally put food on the table. For many professionals (especially in the "Hillbilly" genre) the D-28 represented the ultimate stage guitar.
Although the D-28 is considered the ultimate Bluegrass guitar, "Bluegrass" as a defined musical style did not yet exist when this one was built. Bill Monroe was active as a performer, but it was not until the later 1940's that the "classic" Blue Grass Boys lineup with Lester Flatt on D-28 would establish that paradigm. Even so for most acoustic guitar players, collectors and historians few instruments approach the pre-war rosewood Martin Dreadnought in terms of sound or historical importance. The ultimate Bluegrass guitar yes, but also a superlative instrument for just about any style of playing, a beautiful guitar to behold, a true joy to play and a significant piece of fretted history.
Overall length is 41 in. (104.1 cm.), 15 3/4 in. (40 cm.) wide at lower bout, and 4 15/16 in. (12.5 cm.) in depth at side, taken at the end block. Scale length is 25 1/4 in. (641 mm.). Width of nut is 1 11/16 in. (43 mm.).
Over the past eight decades this guitar has been but well cared for. It shows some careful maintenance work, but all efforts have gone to preserving the instrument's original integrity and character. The guitar has never had any added overspray, all finish remains original. The neck has been cleanly reset and a new nut and saddle made in bone replacing the original ivory parts. The bridge has been carefully reglued, with only the slightest hints to show it was ever removed. Some time ago, the original bridge was shaved slightly; presumably to lower the action to before the inevitable neck set. The contour in the "belly" area looks unaltered, but around the saddle it has been lowered by a small amount, a little more on the treble side than the bass. It retains the correct contours and remains well within Martin specifications for a full-height bridge.
As noted the finish is original throughout, showing light typical wear. The body has small areas of scuffing, press marks, crazing and light buckle wear. The top shows some minor pickwear around the treble side sound hole and a couple of scuffs in the bass side lower bout that penetrate through the finish and into the wood, presumably case lid bites. There are a couple of tiny scratches on the top right next to the treble side fingerboard extension and there are a couple of short marks extending from the treble side of bridge wing towards the lower bout. There is an area of light scuffing on the bass side upper bout of the back, the sort of scuffs normally associated with buckle wear, though none go through the finish. The neck, heel and headstock are clean with only a few light press marks here and there.
The small maple bridgeplate is original and the interior of the guitar is entirely free of evidence of any repair. The original frets have been dressed and show light wear marks but they still have plenty of life left. There are some light fretboard divots in the first position.
This guitar has been carefully preserved over the past 80 years and it still sings with its unimpeded original voice, a spectacular musical instrument well worthy of its esteemed reputation. When played hard it rings with the authoritative tone these are renowned for, yet when played softly it is responsive and lovely sounding with a wide range of tones. Often typecast as a Bluegrass instrument, this herringbone D-28 is a wonderful sounding guitar for any style of play. A true survivor, a great piece of history and just as good an ol'guitar as anyone is likely to find, now or then. It is housed in its original brown hard shell case, very worn but still functional. Excellent Condition.
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Certain guitars are simply the standard by which others are judged; the pre-WWII Martin D-28 "herringbone" is certainly one of them. This one shows some playwear and a repair or two over 80+ years. BUT, it you want the sound...THE sound...this guitar has it in spades. The prewar D-28 is, to many, as close to a perfect flat top as has ever been made. If you seek the power and depth of a Dreadnought with the sweetness, sparkle and singing character of the best pre-WWII Martins the D-28's of this early period are unmatched.
This D-28 has a serial number dating to the VERY beginning of 1942, just weeks after the Pearl Harbor attack. It is one of only 96 shipped that year, when the outbreak of the war caused Martin's output to temporarily drop dramatically. Compared to modern production that is a very paltry number indeed.
This D-28 shows many classic features of the model, widely imitated ever since. They are often referred to as a "bone", after the namesake "herringbone" wood marquetry trimming the top. Whether this cosmetic feature has any affect on sound is a hotly debated (if unanswerable) question. Martin stopped using it on their instruments by mid-1947 when their supply ran out and didn't consider it worth mentioning. By then the D-28 had seen other changes, most importantly the discontinuation of scalloped top braces so the instruments of the late 1940's and '50's evolved to have a different sonic character.
Other features of this guitar are the expected prewar D-28 appointments. The top bracing is delicately scalloped and the top is more lightly built than the 1950's style. The back and sides are beautifully straight grained Brazilian rosewood with a nice mirrored figure off the center seam. The top is tight-grained Appalachian spruce, the pickguard just below the soundhole is made of tortoise celluloid in the small "teardrop" shape. The ebony bridge is the new-for-the-1930s "belly" shape with a canted bone saddle.
The neck is mahogany with an unbound ebony fingerboard showing discreet slotted diamond pearl inlay. The peghead is faced in straight grained Brazilian rosewood with the gold "C.F. Martin & Co." decal at the top. The neck profile is fairly slim and round backed but with the slightest hint of a "V" profile in the way the sides bear away from the center; this is more noticeable as it moves towards the heel. The tuners are Waverly openback single machines with metal buttons and an "ice cream cone" pattern at each end of the plate, still intact and functional after many decades.
This 1942 model also has features specific to the period including the newer "rearward" shifted scalloped X-brace pattern and slightly narrower nut. Also, unlike earlier '30's examples, a "popsicle" brace was included by the factory to reinforce the top under the fingerboard extension. Just months after this guitar was built, the steel truss rod in the neck was changed to an ebony insert. This guitar is one of the last to be built to the full pre-war specification.
Cosmetically this guitar shows only comparatively light signs of use, considerably less than many prewar D-28s. Costing $125 in 1942 (without case!) this instrument represented a sizable investment for most flat-top players. A working performer would often play theirs constantly as a tool to literally put food on the table. For many professionals (especially in the "Hillbilly" genre) the D-28 represented the ultimate stage guitar.
Although the D-28 is considered the ultimate Bluegrass guitar, "Bluegrass" as a defined musical style did not yet exist when this one was built. Bill Monroe was active as a performer, but it was not until the later 1940's that the "classic" Blue Grass Boys lineup with Lester Flatt on D-28 would establish that paradigm. Even so for most acoustic guitar players, collectors and historians few instruments approach the pre-war rosewood Martin Dreadnought in terms of sound or historical importance. The ultimate Bluegrass guitar yes, but also a superlative instrument for just about any style of playing, a beautiful guitar to behold, a true joy to play and a significant piece of fretted history.
Overall length is 41 in. (104.1 cm.), 15 3/4 in. (40 cm.) wide at lower bout, and 4 15/16 in. (12.5 cm.) in depth at side, taken at the end block. Scale length is 25 1/4 in. (641 mm.). Width of nut is 1 11/16 in. (43 mm.).
Over the past eight decades this guitar has been but well cared for. It shows some careful maintenance work, but all efforts have gone to preserving the instrument's original integrity and character. The guitar has never had any added overspray, all finish remains original. The neck has been cleanly reset and a new nut and saddle made in bone replacing the original ivory parts. The bridge has been carefully reglued, with only the slightest hints to show it was ever removed. Some time ago, the original bridge was shaved slightly; presumably to lower the action to before the inevitable neck set. The contour in the "belly" area looks unaltered, but around the saddle it has been lowered by a small amount, a little more on the treble side than the bass. It retains the correct contours and remains well within Martin specifications for a full-height bridge.
As noted the finish is original throughout, showing light typical wear. The body has small areas of scuffing, press marks, crazing and light buckle wear. The top shows some minor pickwear around the treble side sound hole and a couple of scuffs in the bass side lower bout that penetrate through the finish and into the wood, presumably case lid bites. There are a couple of tiny scratches on the top right next to the treble side fingerboard extension and there are a couple of short marks extending from the treble side of bridge wing towards the lower bout. There is an area of light scuffing on the bass side upper bout of the back, the sort of scuffs normally associated with buckle wear, though none go through the finish. The neck, heel and headstock are clean with only a few light press marks here and there.
The small maple bridgeplate is original and the interior of the guitar is entirely free of evidence of any repair. The original frets have been dressed and show light wear marks but they still have plenty of life left. There are some light fretboard divots in the first position.
This guitar has been carefully preserved over the past 80 years and it still sings with its unimpeded original voice, a spectacular musical instrument well worthy of its esteemed reputation. When played hard it rings with the authoritative tone these are renowned for, yet when played softly it is responsive and lovely sounding with a wide range of tones. Often typecast as a Bluegrass instrument, this herringbone D-28 is a wonderful sounding guitar for any style of play. A true survivor, a great piece of history and just as good an ol'guitar as anyone is likely to find, now or then. It is housed in its original brown hard shell case, very worn but still functional. Excellent Condition.
