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Thanks all!

I'll try & do some recording over the weekend.

Pugs: No Braz on this beastie... Nice EIR though! The finished headstock looks SO much better than the satin finished headstocks on most models. I've polished mine on the ones I've had with satin. This one came glossy!!

A lot of people overlook little things when they're looking at guitars, like the headplate wood. I want it to be nice grain AND nicely oriented (i.e. straight up & down - not all angled out). Same thing with the neck wood on the back of the headstock. For both structural reasons and aesthetic reasons, straight grain on the neck is desirable. Sometimes you'll see the straight grain coming up the length of the neck take a curve when it gets to the headstock. If extreme, this actually compromises the integrity of the headstock on one corner or the other.

But the thing that sold me on this guitar was when Jon sent the pic of the top. There is not that much of this visual quality Adi coming up on Martins these days.

Specs from Martin's website:
(For those unfamiliar, this guitar was patterned after Dan Tyminski's 1946 D-28, which has obviously had a few alterations along the way itself...)

MODEL	D-28 Dan Tyminski
CONSTRUCTION:	Mahogany Blocks/Dovetail Neck Joint
BODY SIZE:	D-14 Fret
TOP:	Solid Adirondack Spruce
ROSETTE:	Style 28
TOP BRACING PATTERN:	Standard ''X'' Scalloped (Golden Era Style), Rear Shifted
TOP BRACES:	Solid Adirondack Spruce 5/16''
BACK MATERIAL:	Solid East Indian Rosewood
BACK PURFLING:	HD Zig-Zag
SIDE MATERIAL:	Solid East Indian Rosewood
ENDPIECE:	Grained Ivoroid
ENDPIECE INLAY:	Black/White Fiber
BINDING:	Grained Ivoroid
TOP INLAY STYLE:	Bold Herringbone
SIDE INLAY:	none
BACK INLAY:	Black/White Fiber
NECK MATERIAL:	Select Hardwood
NECK SHAPE:	Modified V
NUT MATERIAL:	Bone
HEADSTOCK:	Solid/Long Diamond/Square Taper
HEADPLATE:	Solid East Indian Rosewood
HEELCAP:	Grained Ivoroid
FINGERBOARD MATERIAL:	Solid Black Ebony
SCALE LENGTH:	25.4''
# OF FRETS CLEAR:	14
# OF FRETS TOTAL:	20
FINGERBOARD WIDTH AT NUT:	1-11/16''
FINGERBOARD WIDTH AT 12TH FRET:	2-1/8''
FINGERBOARD POSITION INLAYS:	Diamonds & Squares - Long Pattern Golden Era
FINGERBOARD BINDING:	none
FINISH BACK & SIDES:	Polished Gloss
FINISH TOP:	Polished Gloss w/ Aging Toner
FINISH NECK:	Satin
BRIDGE MATERIAL:	Solid Black Ebony
BRIDGE STYLE:	Belly
BRIDGE STRING SPACING:	2-1/4''
SADDLE:	16'' Radius/Compensated/Bone
TUNING MACHINES:	Waverly Nickel Open-Geared w/ Oval Buttons
RECOMMENDED STRINGS:	Martin Studio Performance Medium Phosphor Bronze (MSP4200)
BRIDGE & END PINS:	Solid Black Ebony
PICKGUARD:	Delmar Tortoise Color - Beveled & Polished
CASE:	545E Geib style
INTERIOR LABEL:	Signed By Dan Tyminski, Numbered in Sequence

Both Silver Creeks bought, played, reviewed and sold.

Blueridge BR-260 up for sale.

Recording King RD-26 sunburst up for sale.

I'm returning to just 3 six-string acoustics in the house eventually; my original '71 D-28 (bought new), my '99 0000-28H (there's only 256 of 'em) and the '09 D-28 Tyminski. The smaller guitars weren't getting played 'cause I'm basically a dread guy. The imports weren't getting played 'cause... well - there's Martins around.

Jeff,
If you ever played any Martin dreads from the '50s through the late '80s and liked the necks, that is pretty much what this one feels like. Think of all the Martins prior to the introduction of the low profile in the late '80s/early '90s and after 1939 when they switched from 1 3/4". LOTS more of those fatter 1 11/16" necks around that probably any other neck in Martin land.
Dave

I did a gig with it last night and that neck works very nicely for my hand!

Babying? SURELY you jest!!

I thought maybe I'd get the first ding out of the way last night, but it didn't happen. Not that I will intentionally abuse a guitar, but sometimes it's nicer to go ahead and do it.