{"id":144541,"date":"2024-07-03T06:00:00","date_gmt":"2024-07-03T13:00:00","guid":{"rendered":"https:\/\/acousticguitar.com\/?p=144541"},"modified":"2024-07-01T08:15:08","modified_gmt":"2024-07-01T15:15:08","slug":"review-gruhn-versitar","status":"publish","type":"post","link":"https:\/\/acousticguitar.com\/review-gruhn-versitar\/","title":{"rendered":"Review: Vintage Guitar Authority George Gruhn Rewrites the Rulebook with His Bold New Versitar Design"},"content":{"rendered":"\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"New Gear: The Gruhn Versitar Rewrites the Rulebook on Acoustic Guitars\" width=\"1290\" height=\"726\" src=\"https:\/\/www.youtube.com\/embed\/bqUdD-5f2Y4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Is there any guitar tradition more hidebound than that of the flattop acoustic? It\u2019s a form factor in which an unconventional tonewood or an invisible change to the bracing can make an instrument if not revolutionary then at least noteworthy.&nbsp;<\/p>\n\n\n\n<p>So I find it interesting that <a href=\"https:\/\/acousticguitar.com\/makers-shakers-george-gruhn-on-the-state-of-the-vintage-guitar-market\/\">George Gruhn<\/a>, one of the people responsible for preserving so many of the finest examples of iconic guitar design, has under his own brand created an instrument that offers a rethink and a refresh of the steel-string acoustic\u2019s core elements. \u201cYou can compete on price, on quality, or on innovation,\u201d Gruhn, owner of Gruhn Guitars in Nashville, told me over the phone. \u201cWe chose to compete on innovation.\u201d<\/p>\n\n\n\n<p>Based on the Tacoma models that Gruhn designed back in the 1990s, <a href=\"https:\/\/reverb.grsm.io\/ag?query=gruhn-versitar\" target=\"_blank\" rel=\"noreferrer noopener\">the Versitar<\/a> series deconstructs and reconstructs many of the touchpoints of traditional flattop design, like the neck joint, fret count, bracing, soundhole position, and more. Gruhn offers a wide array of tonewood options, from traditional\u2014rosewood, mahogany, spruce, and cedar\u2014to sustainable variations like black locust, walnut, ash, and others. Our test guitar had a Western red cedar soundboard and East Indian rosewood back and sides. I\u2019m sure these woods influence the instrument\u2019s individual character, but the core concept is in the global architecture, not the specific tonewoods, and that\u2019s what we\u2019ll explore in this review.\u00a0<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>The Architecture<\/strong><\/h3>\n\n\n\n<p>Usually, there\u2019s one signature feature or quality\u2014access to the highest frets, timbral foundation, or even price\u2014that stands as the main talking point for a new instrument. Here, however, you have a disappearing neck joint, which provides access to a 22-fret fingerboard supported by a truss rod that extends the entire length of the neck. You have an offset soundhole and a top that has no break between the bridge and the fretboard\u2014in effect between the fretboard and nut. That alone gives the Versitar a different resonant platform than a standard flattop.<\/p>\n\n\n\n<p>Visually, the most obvious place to begin is the body shape, with its single cutaway and teardrop-shaped offset soundhole in the upper bout. The shape has an inviting and organic flow. It\u2019s both simple and striking, and the cutaway\u2019s soft angle makes it look less extreme, while also allowing upper-fret access.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/reverb.grsm.io\/ag?query=versitar\"><img data-recalc-dims=\"1\" fetchpriority=\"high\" decoding=\"async\" width=\"523\" height=\"1024\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/05\/DSC_6561.jpg?resize=523%2C1024&#038;ssl=1\" alt=\"Gruhn Versitar guitar\" class=\"wp-image-144545\" srcset=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/05\/DSC_6561-scaled.jpg?resize=523%2C1024&amp;ssl=1 523w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/05\/DSC_6561-scaled.jpg?resize=255%2C500&amp;ssl=1 255w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/05\/DSC_6561-scaled.jpg?resize=768%2C1503&amp;ssl=1 768w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/05\/DSC_6561-scaled.jpg?resize=153%2C300&amp;ssl=1 153w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/05\/DSC_6561-scaled.jpg?resize=785%2C1536&amp;ssl=1 785w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/05\/DSC_6561-scaled.jpg?resize=1046%2C2048&amp;ssl=1 1046w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/05\/DSC_6561-scaled.jpg?w=981&amp;ssl=1 981w\" sizes=\"(max-width: 523px) 100vw, 523px\" \/><\/a><figcaption class=\"wp-element-caption\">Gruhn Versitar. Photo: Eric C. Newell\/Gruhn Guitars<\/figcaption><\/figure>\n\n\n\n<p>The 25.5-inch\u2013scale neck joins the body at the 15th fret via two furniture bolts that couple with metal inserts, allowing the neck to be easily removed and repaired or replaced without stripping. On paper, a 15th-fret joint doesn\u2019t seem so different from the typical 14th-fret neck junction, but because the Versitar neck has no heel, the net effect is electric-guitar-like access to the upper reaches, comparable to that of, say, a Fender Telecaster.&nbsp;<\/p>\n\n\n\n<p>The heelless neck joint doesn\u2019t simply make it easier to get your fingers above the 12th fret; it also lets you place your hand in positions where you have more leverage to execute bends and vibrato. The only other acoustic instruments I\u2019ve played with similar access have been thinlines that are clearly designed to be more electric than acoustic. But the Versitar is a really resonant box that can fill a room. The neck access opens up a lot of creative possibilities for those of us who like to play single-note lead lines without plugging in\u2014more on that later.<\/p>\n\n\n\n<p>The build quality on our test model was outstanding yet utilitarian, with a focus on tone and performance over decoration. The nitrocellulose lacquer finish was extremely thin, and that came across tactilely while also leaving the instrument free to vibrate. The dark matte sunburst finish was perfectly executed, highlighting the design\u2019s flowing quality, accentuated nicely by herringbone purfling.&nbsp;<\/p>\n\n\n\n<p>The instrument had outstanding intonation and low, buzz-free action. The lack of a heel really made a difference when playing, but it did take me a little time to get used to not having one as a positional aid.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Dynamic and Timbral Range<\/strong><\/h3>\n\n\n\n<p>The Versitar was designed to deliver consistent tone across a wide dynamic range and provide the kind of timbral variation based on attack and picking-hand positioning that one might expect from a good classical guitar. Our test guitar delivered on those goals. You can really lay into the guitar without getting it out of sorts, and unlike many instruments, it doesn\u2019t just have one loud voice; you can still sculpt it with your attack.<\/p>\n\n\n\n<p>Perhaps it\u2019s a byproduct of the heelless neck joint and long truss rod, but the Versitar had very consistent tone and sustain from low to high, as well. Where many guitars seem to lose overtones once you hit the heel, the Versitar kept delivering. All up and down the fretboard, the note decays were complex and long, with some lovely overtones emerging at the end.<\/p>\n\n\n\n<p>Strumming with plectrums from light to heavy brought out a very wide range of tonal colors. Even with a super light pick, open chords got drown-out-the-singer loud when I put some muscle behind them, but the guitar never sounded clangy or out of control. Hit an open G hard and it will sustain until you get tired of hearing it decay. Interestingly, play the same chord with less force and you don\u2019t completely transform the timbral balance; the guitar stays very consistent from quiet to loud.<\/p>\n\n\n\n<p>The Versitar is particularly sensitive to changes in pick position and right-hand placement relative to the bridge or fretboard\u2014all of which access a different shade of the instrument\u2019s timbral palette. Variations in pick angle are especially fertile. At one point, I placed the pick close to\u2014but not quite\u2014a pinch-harmonic position on the A string; this brought out a woody, percussive overtone that I don\u2019t think I\u2019d ever heard on a steel-string acoustic.&nbsp;<\/p>\n\n\n\n<p>As mentioned above, the neck is fast and comfortable and offers easy upper-fret access. But just as important is the fast attack and distinct decay of each note. A quick flurry doesn\u2019t sound smeary or stringy. Switching from blues to country to jazz, I was able to find the right voice for each style. The fast neck makes the Versitar a good choice for lead playing, whether it\u2019s fast runs, where the articulation really punches through, or in sustained melodic passages, where the overtones really blossom.<\/p>\n\n\n\n<p>Fingerpicking really showcases the Versitar\u2019s harmonic complexity. The nail of the index finger and the pad of the thumb, a gentle bass note with a hard snapped treble, a rolling trill\u2014they all bring out something different. And across all techniques, the notes are very rich in harmonics and overtones.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Dropping Down<\/strong><\/h3>\n\n\n\n<p>In our conversation, Gruhn made a point of telling me that the Versitar performs well with alternate tunings, even when dropped down as low as C. A test in double dropped D (D A D G B D) bore this out, both in terms of sound and feel. The 25.5-inch scale helps keep the string tension strong, and the clarity of the low D was startling. It had plenty of body but also an unexpectedly articulate punch; not bassy, just strong, like a baritone singer\u2019s upper range where chest and head resonate together. The high D (first string) was also clear and solid and sounded in tune without making me adjust my attack.&nbsp;<\/p>\n\n\n\n<p>But the thing that grabbed my attention the most was the cohesiveness of the sound. Maybe it\u2019s just my perception, but most of my guitars seem to have one ideal tuning where they come alive. The Versitar might, too, but I didn\u2019t bother looking for it. What impressed me about the switch from standard to double dropped D is how consistent the guitar sounded between the two\u2014strong, clear, and consonant.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" decoding=\"async\" width=\"683\" height=\"1024\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/05\/DSC_6562.jpg?resize=683%2C1024&#038;ssl=1\" alt=\"Gruhn Versitar guitar back\" class=\"wp-image-144546\" srcset=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/05\/DSC_6562.jpg?resize=683%2C1024&amp;ssl=1 683w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/05\/DSC_6562.jpg?resize=333%2C500&amp;ssl=1 333w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/05\/DSC_6562.jpg?resize=768%2C1152&amp;ssl=1 768w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/05\/DSC_6562.jpg?resize=200%2C300&amp;ssl=1 200w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/05\/DSC_6562.jpg?resize=1024%2C1536&amp;ssl=1 1024w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/05\/DSC_6562.jpg?w=1200&amp;ssl=1 1200w\" sizes=\"(max-width: 683px) 100vw, 683px\" \/><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Plugging In<\/strong><\/h3>\n\n\n\n<p>The Versitar\u2019s L.R. Baggs HiFi electronics are simple but work well and do a fine job of capturing the guitar\u2019s tone, including many of the subtle variations described above. Its two controls\u2014volume and tone\u2014are hidden but easily accessed inside the soundhole. Tested with a Phil Jones Bass X4 Nanobass combo and direct into a Universal Apollo interface, the Baggs offered plenty of control without overwhelming me with knobs and sliders. The electronics are very low noise and offer ample headroom to keep up with the Versitar\u2019s dynamic range.<\/p>\n\n\n\n<p>Gruhn says the instrument is intended for working pros\u2014\u201cfor play, not display,\u201d as he puts it\u2014and, with its looks and level of comfort, it could find a home on many a stage. The fact that the electronics do such a good job of capturing its studio-quality unplugged sound only adds to its appeal.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>The Bottom Line<\/strong><\/h3>\n\n\n\n<p>The Gruhn Versitar is an easy guitar to like and a tricky one to review. Usually, we focus on the tonewoods\u2014the sweetness of mahogany, the power of rosewood, the attack of maple, etc. Those factors do play a role here as well, and I\u2019m sure different woods will bring out different aspects of the Versitar platform.&nbsp;<\/p>\n\n\n\n<p>But it\u2019s that platform that tells the story. The neck joint and design of the top, uninterrupted between the bridge and fretboard, set the foundation for everything else. The truss rod supports the entire neck, enhancing its consistency from low to high notes and thereby maximizing the sonic potential provided by the top and bracing scheme. All of this makes for a very exciting range of possibilities. <\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Gruhn Versitar <strong>Specs<\/strong><\/h3>\n\n\n\n<p><strong>BODY<\/strong> Versitar acoustic with cutaway; 15th-fret neck junction; Western red cedar top with modified A bracing and offset soundhole; East Indian rosewood back and sides; herringbone purfling; rosewood bridge with ebony bridge pins; satin nitrocellulose lacquer finish with dark sunburst top&nbsp;<\/p>\n\n\n\n<p><strong>NECK<\/strong> Bolt-on mahogany; long truss rod; 25.5&#8243; scale length; 1-3\/4&#8243; bone nut; East Indian rosewood fretboard; 22 medium Jescar frets; nickel open-gear tuners; satin nitrocellulose lacquer finish<\/p>\n\n\n\n<p><strong>OTHER <\/strong>L.R. Baggs HiFi electronics; D\u2019Addario XS phosphor bronze light strings (.012\u2013.053); Gator softshell case; available left-handed<\/p>\n\n\n\n<p><strong>MADE IN <\/strong>USA<\/p>\n\n\n\n<p><strong>PRICE<\/strong> <a href=\"https:\/\/reverb.grsm.io\/ag?query=versitar\">$3,100 street<\/a><\/p>\n\n\n\n<p><a href=\"http:\/\/guitars.com\/gruhn-versitar\" target=\"_blank\" rel=\"noreferrer noopener\">guitars.com\/gruhn-versitar<\/a><\/p>\n\n\n\n<div>\n<a href=\"https:\/\/store.acousticguitar.com\/products\/no-347-jul-aug-2024\" name=\"magazine\"><img data-recalc-dims=\"1\" decoding=\"async\" style=\"width: 150px; height: 198px; margin: 0px 20px 10px 0px;\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/05\/001_347_Cover-150px.jpg?w=1290&#038;ssl=1\" alt=\"Acoustic Guitar magazine cover for issue 347\"><\/a>\n<p style=\"font-family: sans-serif; margin: 0px 0px 15px 0px;\">This article originally appeared in the <a href=\"https:\/\/store.acousticguitar.com\/products\/no-347-jul-aug-2024\">July\/August 2024<\/a> issue of <em>Acoustic Guitar<\/em> magazine.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Based on the Tacoma models that Gruhn designed back in the 1990s, the Versitar series deconstructs and reconstructs many of the touchpoints of traditional flattop design, like the neck joint, fret count, bracing, soundhole position, and more<\/p>\n","protected":false},"author":5,"featured_media":144544,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"The Versitar series deconstructs and reconstructs many of the touchpoints of traditional flattop design, like the neck joint, fret count, bracing, soundhole position, and more. ","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[1681,1670],"tags":[1950],"ppma_author":[1588],"class_list":["post-144541","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-000-om-auditorium","category-guitars","tag-july-august-2024"],"blocksy_meta":{"disable_featured_image":"yes","styles_descriptor":{"styles":{"desktop":"","tablet":"","mobile":""},"google_fonts":[],"version":6}},"jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/05\/Gruhn-Versitar-sunburst-front.jpg?fit=1200%2C800&ssl=1","authors":[{"term_id":1588,"user_id":0,"is_guest":1,"slug":"emile-menasche","display_name":"Emile Menasch\u00e9","avatar_url":{"url":"https:\/\/acousticguitar.com\/wp-content\/uploads\/2015\/11\/Emile-Menasche.jpg","url2x":"https:\/\/acousticguitar.com\/wp-content\/uploads\/2015\/11\/Emile-Menasche.jpg"},"user_url":"","last_name":"Menasch\u00e9","first_name":"Emile","job_title":"","description":"Guitarist, composer, writer."}],"_links":{"self":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/144541","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/comments?post=144541"}],"version-history":[{"count":5,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/144541\/revisions"}],"predecessor-version":[{"id":145082,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/144541\/revisions\/145082"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/media\/144544"}],"wp:attachment":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/media?parent=144541"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/categories?post=144541"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/tags?post=144541"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/ppma_author?post=144541"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}