Photo credit: Ray Larsen IMG_1321.tif

See the video review of the Blueridge BR-40AS

In the pantheon of guitar tonewoods, few loom as large and legendary as Adirondack spruce (see “The Future of Tonewood,” also from this issue). This fabled wood is, in large part, the reason prewar Gibson J-45s and Martin D-28s stir minor riots when they come to auction. And it remains the wood of choice for many builders seeking to establish the premium end of their offerings.

Blueridge, the Saga Music brand that made its mark with affordable, quality interpretations of American flattop classics, is now building its own Adirondack-topped instruments. And with the BR-40AS, Blueridge might own the distinction of offering the most affordable Adirondack-topped model available.

TALE OF THE TOP

Adirondack spruce is revered by many flatpickers and fingerstylists as the perfect topwood—possessing nearly unrivaled tonal complexity, rigidity-to-weight ratio, and dynamic range in the best specimens. But it’s also rare. Logging during World War II nearly wiped out the most desirable trees, and supplies of mature Adirondack remain scarce even as the species rebounds under improved forest management.

It’s a safe bet that the cachet attached to Adirondack spruce will put Blueridge guitars in the hands of some players who might not otherwise consider a mid-price instrument. But there’s more than the novelty of a legendary tonewood at a great price behind the BR-40AS. For one thing, the guitar looks invitingly sharp. The vintage-style sunburst is a blend of deep red, honey, and amber tones, and the finish is applied thin and evenly enough to reveal lots of interesting grain detail. The top itself is certainly not what purists would call straight or narrow grained. But it isn’t riddled with imperfections either, and the bookmatched set on the review model had a pleasingly individual look. The fit and finish on the bracing and kerfing were exceptionally clean, and a few finish imperfections where the soundhole and fretboard meet were the only visible flaws on the body.

For the most part, the styling is refreshingly sedate. The headstock is adorned with abalone filigree inlay that’s a bit busy considering the guitar’s otherwise understated aesthetic. Elsewhere, the rosewood bridge, vintage-style, open-back tuners, simple two-ringed black-and-white rosette and matching binding are tasteful and lend to the overall vintage vibe of the BR-40AS.

MODERN PLAYABILITY

Although the BR-40AS takes its visual cues from prewar dreadnoughts, the sound and feel of strumming a first-position chord belies the guitar’s more modern origins. Neck width at the nut is 1 11/16 inches but seems narrower due to a shape similar to a Stratocaster or Telecaster’s C-profile neck. The neck has a very quick feel and was especially buttery under the fingers when playing up-tempo, first-position chord melodies and arpeggios. Up around the 12th fret, however, the guitar put up a little more of a fight—mostly due to action that’s a little on the high side, though a minor saddle adjustment would probably help.

For any guitar with an Adirondack top, dynamic and tonal range is the main attraction. On this count, the BR-40AS did not disappoint. Overall, the Blueridge’s tone palate is pleasing and varied when played with lighter attack, but much more midrangey and modern than the husky sounds one might expect from an Adirondack top. When I subjected the BR-40AS to more aggressive strumming and flatpicking, the instrument also demonstrated less resistance to overdrive than is typical of an Adirondack top, and some tonal nuance was lost as the midrange became more prominent. Replacing the light-gauge strings (.012–.052) with D’Addario mediums (.013–.056) lent a little more ceiling and seemed to coax a bit more growl, but eliminated some of the guitar’s slinky playability.

Laminated, rather than solid, mahogany back and sides may play into the Blueridge’s somewhat diminished tonal range and dynamic headroom. But it’s also quite likely that the BR-40AS is simply a guitar that requires seasoning. Certainly, a prewar Adirondack dreadnought arrives at much of its rich, burly tone through years of mellowing. It’s possible that the Blueridge is capable of the same graceful aging, and the quality construction of the BR-40AS suggests it will last long enough to have a fair crack at such improvement.

THE WRAP

Regardless of materials or price, the BR-40AS is a pleasure to play. Prewar purists drawn to the guitar’s tasteful styling may be somewhat disappointed by the lack of a chunky neck and the overall modernity of its feel and tonal range. But those same factors make the Blueridge a sweet-voiced accompaniment to vocals and a cutting presence in a flatpicking duel or bluegrass jam. Whether the inclusion of Adirondack spruce in the guitar’s makeup makes it worth the extra cost, or superior to a standard BR-40 with Sitka spruce top, might be a question answered only by years of playing. But by any measure, the BR-40AS is a lovely guitar and a satisfying player.