1932 Martin C-2/OM-28 Conversion by Mark Stutman
Original Martin OMs are about as rare as a popular model of guitar can get. There were fewer than 500 OM-28s built between 1929 and 1933. But, for many of us, an original OM remains the ultimate vintage Martin.
Soon after the OM-28 was introduced, Martin unveiled its C series archtops. These featured 15" wide OM-shaped bodies with flat backs and carved tops, and the first two years of instruments produced featured long-scale (25.4") necks, just like what's found on an OM. Albeit more rare than the OM, there isn't a strong demand for these archtop models, but if re-topped with a flat top they can be the next best thing to an original OM.
This 1932 Martin C2 arrived at Folkway in 2012 as a round-hole archtop, but in a state of disrepair that made it a perfect candidate for an OM conversion. The top was badly damaged, the instrument very well played, and the headstock had had a crack repair. Fortunately, the Brazilian rosewood back and sides were in excellent condition, crack-free, and altogether gorgeous. The guitar was left with Folkway's Mark Stutman for the conversion and was completed in 2013.
The Adirondack red spruce top features a bracing layout copied directly from a 1929 OM, accurately dimensioned braces, and a small maple bridgeplate sized after the one you'd find in a pyramid bridge '29 OM. The top thickness is to early 1930's spec and features a period correct rosette of wood and celluloid rings. Herringbone purflings are bordered by grained ivoroid to match the back's binding, and the small tear-shaped beveled edge pickguard is patterned after an original. The guitar's bridge is a 30s belly with through-cut glued in saddle and features red-eye Antique Acoustic unslotted pins at a spacing of 2-5/16". Hide glue was exclusively used throughout the build.
The guitar's back and sides feature original finish without any overspray. The top's lacquer was lightly tinted, and the binding's color is close to that of the original back binding. The holes left by the original tailpiece were carefully filled with matching wood and celluloid.
The headstock overlay is a convincing replacement, which was required to correct the previous repair. The repaired crack-line is just slightly visible through the middle of the volute and is completely solid. The guitar's original Grover tuners were reinstalled which helps make the repair even less visible. At the other end of the neck, some minor repair was required to the guitar's side immediately under and adjacent to the heel, bass side; and there remains a small scar visible along the base of the heel. The neck features new bar frets, and replacement inlays.
The guitar's playability is heavenly, with a low fingerstyle action, perfectly crowned bar frets and a finely adjusted nut. The neck has a wonderful profile, with a subtle and very rounded-off V carve, 1st fret depth of .825”, and a nut that measures a 64th wider than 1-11/16". It's truly one of the most comfortable necks you'll encounter. The guitar's scale is 25.4".
A phenomenal sounding OM with a strong fundamental and a rich and colourful pallet of harmonic overtones. It's both powerful and subtle, with robust treble string response that is thick, round, and meaty right up past the body joint; its basses have that piano-like articulation and subsequent resonant decay, beguilingly coupled with a healthy amount of sub-bass harmonic undertone; and the mid-range is decadently expressive, forward and rich. Sure, that's a flowery description, but the guitar is absolutely deserving of it.
The instrument has seen gentle use since the conversion was completed, but is in excellent condition and has no fretwear. There are a few very minor dings to the top and headstock that have been drop-fill touched up, and the back and sides show finish wear typical of a ninety year old guitar. The neck finish is worn off in the first position, and is well worn up to the 10th fret.
The instrument is accompanied by its original 1932 hardshell case, which is in excellent working order.
Soon after the OM-28 was introduced, Martin unveiled its C series archtops. These featured 15" wide OM-shaped bodies with flat backs and carved tops, and the first two years of instruments produced featured long-scale (25.4") necks, just like what's found on an OM. Albeit more rare than the OM, there isn't a strong demand for these archtop models, but if re-topped with a flat top they can be the next best thing to an original OM.
This 1932 Martin C2 arrived at Folkway in 2012 as a round-hole archtop, but in a state of disrepair that made it a perfect candidate for an OM conversion. The top was badly damaged, the instrument very well played, and the headstock had had a crack repair. Fortunately, the Brazilian rosewood back and sides were in excellent condition, crack-free, and altogether gorgeous. The guitar was left with Folkway's Mark Stutman for the conversion and was completed in 2013.
The Adirondack red spruce top features a bracing layout copied directly from a 1929 OM, accurately dimensioned braces, and a small maple bridgeplate sized after the one you'd find in a pyramid bridge '29 OM. The top thickness is to early 1930's spec and features a period correct rosette of wood and celluloid rings. Herringbone purflings are bordered by grained ivoroid to match the back's binding, and the small tear-shaped beveled edge pickguard is patterned after an original. The guitar's bridge is a 30s belly with through-cut glued in saddle and features red-eye Antique Acoustic unslotted pins at a spacing of 2-5/16". Hide glue was exclusively used throughout the build.
The guitar's back and sides feature original finish without any overspray. The top's lacquer was lightly tinted, and the binding's color is close to that of the original back binding. The holes left by the original tailpiece were carefully filled with matching wood and celluloid.
The headstock overlay is a convincing replacement, which was required to correct the previous repair. The repaired crack-line is just slightly visible through the middle of the volute and is completely solid. The guitar's original Grover tuners were reinstalled which helps make the repair even less visible. At the other end of the neck, some minor repair was required to the guitar's side immediately under and adjacent to the heel, bass side; and there remains a small scar visible along the base of the heel. The neck features new bar frets, and replacement inlays.
The guitar's playability is heavenly, with a low fingerstyle action, perfectly crowned bar frets and a finely adjusted nut. The neck has a wonderful profile, with a subtle and very rounded-off V carve, 1st fret depth of .825”, and a nut that measures a 64th wider than 1-11/16". It's truly one of the most comfortable necks you'll encounter. The guitar's scale is 25.4".
A phenomenal sounding OM with a strong fundamental and a rich and colourful pallet of harmonic overtones. It's both powerful and subtle, with robust treble string response that is thick, round, and meaty right up past the body joint; its basses have that piano-like articulation and subsequent resonant decay, beguilingly coupled with a healthy amount of sub-bass harmonic undertone; and the mid-range is decadently expressive, forward and rich. Sure, that's a flowery description, but the guitar is absolutely deserving of it.
The instrument has seen gentle use since the conversion was completed, but is in excellent condition and has no fretwear. There are a few very minor dings to the top and headstock that have been drop-fill touched up, and the back and sides show finish wear typical of a ninety year old guitar. The neck finish is worn off in the first position, and is well worn up to the 10th fret.
The instrument is accompanied by its original 1932 hardshell case, which is in excellent working order.