A little background may be in order. Start with the fact that a 1928 000-28 is likely my favorite vintage guitar of all time… and that I’m clearly intrigued by what Martin’s specialists in the Repair department can create when coupling old growth Brazilian rosewood with “Authentic” build techniques. Perhaps that explains why this will be my fourth “conversion” with Martin, each more exacting than the last.

This project started when I spotted a beautiful set of BRW (yes, I know about the dead straight-grained look—but perfectly quartered with figure is my weakness) on a very early 1964 000-28C which turned up at George Gruhn’s shop.

Having not converted a 12-fretter with Martin, I thought a late ‘20s style 000-28 utilizing this BRW would be a great final (yeah, right) project. But then I started thinking (always dangerous) about how well-received Martin’s newest “Authentic”—a D-45—had been. Every report indicated that Martin had gotten it scary close to completely right, from the smallest construction details like perfect old style pearl and top thickness, to a knockout sound.

Between detailed measurements taken from the Jimmy Rodgers 000-45 and invaluable input from TJ Thompson, Willi Henkes, John Arnold and Dave Eichelbaum, all the particulars were available. However, I also knew that Martin had heretofore not done 45-style conversions for customers. But it never hurts to ask… and they said OK!

The guitar boasts hide glue throughout, a hand carved ebony rod neck, real shell everywhere, exacting dimensions for top thickness, bracing and binding inlay. The the wonderfully figured, perfectly quartered old growth Brazilian back and sides are paired with a stiff, silky red spruce top. If there ever was a true Authentic, this is it. And the sound? In this guitar, I hear the both hollow, woody resonance of the late ‘20s 12-fret Martins and the clear, clean trebles of a mid-‘40s tapered brace guitar.

Let’s just say I like it a lot—and it’s only going to get better.