Blueridge BR-183

"000" size acoustic guitar made from solid woods - sitka spruce top, East Indian Rosewood back and sides, mahogany neck with ebony fingerboard. This is a Chinese copy of pre-war Martin "000" guitar with hand-carved, scalloped bracing in the "forward X" pattern. Manufactured by Saga. I believe the quitar was made in 2006. The neck is the thin, modern style with medium jumbo frets and joins the body at the 14th fret. It has open-back butter bean tuners and included a Martin case. Bone saddle is non-compensting. I might change that someday, but the intonation is close enough that I have not been motivated to do so yet.

I WILL get to the sound in a minute, but first a little background:

My musical style has changed over the years, from British Rock to R&B to Classic Rock and now back to Blues, Roots and Boogie. I've been a fan of Eric Clapton's for most of his career, and I initially became enamoured of his acoustic style and sound as it appeared on Unplugged in the 80's. I bought this guitar because I wanted that sound and playability without shelling out over $2,000 for a Martin EC-00028, let alone a real pre-war Martin.

The sound? In a word, the BEST I've tried for my style of blues playing - mostly fingerstyle, but occasionally with a pick or hybrid picking. I have been playing this guitar for almost a year, at home and in small clubs. For fun, I have taken it into music stores and compared it to much more expensive Laravee's, Taylors, Collings and the Martin EC-00028. To my ear, nothing compares to this swweet-sounding Blueridge. I consistently get customers in the music stores coming over and asking me "what is that fantastic sounding guitar"? I recently began playing acoustic blues with another blues guitarist and a harp (harmonica) player. The other guitarist heard my Blueridge and exclaimed, "That's the sound I've been after!". He bought one just like mine on-line the next day, although the price had gone up by almost $300 since the time I purchased mine! I guess the word is out.

The bass is full and tight without the boominess of a dreadnought. It has wonderful complexity with a lot of overtones throughout the spectrum. The sound is very balanced from the lowest note to the highest. The highs are still full, not overly-bright as in many newer guitars. While I really liked the Martin EC-00028 that I played, it did not match the richness of the Blueridge in this area.

For finger-style, this guitar really shines. Sounds great with a pick too, but I would definitely go with phosphor bronze strings as opposed to the 80/20 allow to avoid too much brightness when picked hard. And it projects! This was something I was concerned about with the "000" body size. I've been very pleasantly surprised by this. No problem fitting in the mix with other acoustic players using dreads.

The setup from Maury's Music was good, but not quite perfect. There was too much relief in the neck, but tightening down the truss rod a 1/4 turn took care of that. I always end up tweaking something, LOL. Now it is a joy to play. And I must say that Maury's was great to work with. They personally answered all my questions before the sale, and shipped the same day I ordered.

Now for the fit and finish. First I'll get my one complaint out of the way. The rosewood has some places (in bright light) where it looks like the stain did not penetrate all the way into the wood, so there are small hair-thin streaks where the wood is lighter. I've seen several other br-183s since I bought mine, and they do not have this. However the overall color of the rosewood on mine is more pleasing to me, more red tint, not as blackish as the others. And no effect in sound whatever, so I'll deduct 1 point just for the inconsistency.

Overall, I'm blown away by the quality of the fit and finish for a guitar in this price range. The abalone inlay is beautiful and very well done. Bookmatching is great. Bridge is great - slightly off in the intonation of the B string high up the neck, but this is to be expected since the saddle is not compensated. I imagine it would be near-perfect with the addition of a compensating saddle.

Some people don't like the aging toner used on the top (I think it looks great!) or the "dalmation" style pickguard. I guess it's all on how you look at it. If you want it to look more like a Martin, the pickguard is easily replaced. The way I look at it, I love this Blueridge for what it is: a "000" sized guitar with fabulous sound and playablility and, for my money, a much smarter choice than the more expensive alternatives.

So far, so good. If anything, the guitar has opened up in the sound it produces. I only expect it to get better with age. No reason why the hardware would not last. When I got the guitar, the endpin was in the case instead of installed in the guitar. I pushed it in and it worked fine, although I had to snug it in occasionally. I deduct 1 point for this, but it's no longer a problem since I had a LR Baggs active Element added and the pin was replaced with the 1/4 jack for it. By the way the active Element works great in this guitar, expecially with the Paracoustic DI preamp box from LR Baggs.

Never had to get it repaired. Warranty is 1 year as opposed to Martin's lifetime, but I don't expect to have to use it. Build quality appears to be great. Maury's was great to work with as well. Very friendly, courteous and responsive during the pre-sale period. I haven't had to call since.

I've been playing for 42 years, over 25 of those professionally. I have been primarily an electric player over the years, although I have always used acoustic guitars for playing at home and, professionally, for theatre work when I have done off-broadway musical productions. My electic guitars include a 1952 Les Paul (I bought in the late 60's), 1962 reissue Strat made in 1986, Clapton Signature Strat, another strat made from parts bought on EBAY, Washburn Montgomery J6 archtop and a Zion Turbo with EMGs and Floyd Rose for the dive bomber stuff - don't do much of that anymore. Amps are an original 1965 Twin Reverb and a 1986 Mesa Boogie MK III.

These days, I'm playing acoustic blues and roots music (Robert Johnson type stuff) with a trio. The Blueridge BR-183 is my main guitar, and stays in standard tuning. I also use a Gold Tone PBRD resonator in open G tuning for bottleneck and a 25 year-old Ibanez artwood for open D stuff.

If my Blueridge were stolen or lost I would immediately buy another-before the price goes up again! I've actually considered buying one as a spare but I suppose that's a bit obsessive. I've played nothing that compares to it for the kind of acoustic music I love (primarily blues), and I've compared it to many(see Sound category). Of all the guitars I've purchased over the years, this is THE one that I have been the most thoroughly satisfied with.

You'd all ready know. Everything is great except ugly pickguard and cheap tuning machines. Quality woods!!

Warm bass and soulful and fat trebles. It has a complex tonal quality.. beautiful sound.. It has a martin-ish "manly" sound that distinguishes it from those of taylor or larrivee. I love everything about the sound except it's not a strumming guitar. Light strumming sounds descent, but not as nice as the sound of $1000 martin dreadnoughts. But this could be a fingerpicker's dream guitar in its price range.

Nice action, finish is flawless.. I don't like the ostentatious ornamentation on its head, but It's not as ugly as I expected.. Overall, it is a very showy guitar. abalone inlay all over its body, but blueridge have done it right. impeccable finish. Again, I hated the pickguard so, I took it off. I replaced it with the martin pickguard I bought from warpdrivemusic music store in ebay, and it looks much better now. Taking off the pickguard is pretty easy.. Just pull it off slowly and carefully.. some suggest to use the hair dryer but I didnt even need it pull it off. The tuning machine wobbles sometimes, but it holds the tune well.. It's pretty reliable

I only used it for months so, can't say anything.. But the guitar appears to be very solid. I'd give 9.. just because of the cheap tuners

I installed K&K mini pure western passive pickup, and It sounds great. I own Roland AC-60 amp and SWR strawberry blond and I use both amps without any problem. This K&K produces a lot of bass of I turn the bass knob of both amps all the way to the left.. and It still has plenty of bass on it. You'd need a lutehole to fight feedback problem..

I feel like I'd be able to recommend this guitar to anyone. It's a great guitar considering its price.

A 000- style acoustic, modeled on the older 000-41 Martins, this Chinese-made guitar has a thin solid spruce top, solid Indian Rosewood back and sides, a thin and relatively narrow neck and fingerboard, high-quality open-geared butterbean tuners, and a very ornate mother-of-pearl decoration on headstock, fingerboard, soundhole and edges. The top is stained an "aged" yellowish which has darkened nicely in the two years I've owned it, from a garish yellow to a more modest patina. The ugly dalmation pickguard is easily pulled off (be careful, though!) with a little help from a hair dryer held at a judicious distance. Mine was unreplaced; classic Martin pickguards are easily found and added. The finish is very well laid on, not too thickly, and the general fit-and-finish is superb, better than most Martins and in there with Collings

I've owned the guitar for two years now. The sound is delicate, full, sensitive. Balance is good. There's a little hardness in the G string open, which could be fixed with a setup but I've not found it sufficiently annoying. Quiet, without finger picks, it has a chimey edge with a solid bottom. Played harder, with fingerpicks, it responds fully, growing more honky-tonk. Playing in different positions on the picking area-- close to neck, close to bridge-- renders very different sounds. Bracing your hand at thumb-heel or with little finger demonstrably changes the sound, demonstrating the thinness of the top and the sensitivity of the bracing. Strummed, even loudly, it produces a very full, balanced, slightly percussive tone. The intonation is excellent-- I've waited to put in a compensated bridge nut and, two years later, I'm still waiting.

Beyond a couple of small spots on the top where, in various light, one can see slight indentations from oversanding before finish was applied, this is perfect. And over two years of hard playing, much travel, performance in many honky-tonks, studio sessions, etc., it is still flawless.

2 years and counting. It was great right out of the box and has improved a bit. But as one who had a Martin D28 from 1966 to 1980, I can say that most really great acoustics don't start to fully open up and enrich for closer to five years.

Nope. I have two excellent luthiers who work on my instruments, and beyond having a very high end K&K three-pickup system put in, I've had no call to do more than tweak the neck with the changes of season or of string grade.

I've been a professional guitarist for 40 years. I own tons of electrics, depending mainly on a much-modded Tele. I don't own a single top-shelf status guitar. I look for, use, and perform with, mostly oddities-- an old Ibanez Musicman instead of a Les Paul, for example. My other acoustics include a high-end Taylor and a very old, handmade Lo Prinzi dreadnought. I perform with all the guitars. My favorite is this Blueridge, purchased originally as a place-holder while a handmade 000 was waiting in the cue of a very slow hand-builder of legendary repute. I've long ago cancelled that order and bought a car with the difference in price. With the exception of the too-narrow fingerboard for my tastes, but beloved by all my primarily-electric buddies, this is an unqualified endorsement from one who knows.

I picked up this used/mint guitar on e-bay after playing a number of Blueridge guitars. I used to own a Martin 000-28 Eric Clapton, and I swear the Blueridge sounds every bit as good, and appears to be just as well made. I completely agree with Gene, who submitted the prior review. These guitars are a lot of bang for the buck.

As for the features: This guitar features solid high grade spruce top, with well figured solid Indian rosewood back and sides. Abalone purfling on all joints, bound ebony fretboard. The neck is mahogany, and seems a little narrow at the nut. The guitar is extremely well made, something that surprised me about a guitar made in the far east. Saga has done an outstanding job in copying Martin's designs, and in manufacturing and quality control. My only complaints are these: 1) the finish is high gloss and on the thick side, but well done 2) the abalone/pearl design on the headstock is too damn ornate for my tastes.

At first I was a little disappointed with the volume of the guitar, though the tone was superb. Clear ringing high end, balanced mids and decent bass for a 000. Then I heard someone else play it, and realized that like most rosewood guitars, much of the sound is projected forward and can't be appreciated by the player.

Again, I was floored by the level of craftsmanship and the quality of materials, particularly for a Chinese made instrument. I still beleive that US made is a big plus, but there are some very talented (if underpaid) craftsmen in the far east.

Too early to tell how this guitar will hold up to regular use. It seems solid and dependable, but time will tell.

No experience in dealing with Saga, but hear pretty good things.

I have played guitar off and on for 30+ years. I have owned Martins, a Collings, a number of Taylors and several LoPrinzi's. While this guitar is not in the same league as the mentioned guitars, it holds its own pretty well strictly from a playability/sound quality standpoint, and beats all of them hands down from a value standpoint. If this guitar was lost or stolen, I would have to replace it.

Gloss finish.
Elaborate abalone inlay work.
000 style body.
Neck is thin and wide, perfect for fingterstyle players.
Bone nut and saddle.
All solid woods.
Indian Rosewood back and sides.
Sitka spruce top.
Ebony fingerboard and bridge.
Neck appears to be mahogany.
Gold open-back tuners.
No on-board electronics.

I play fingerstyle. This instrument suits me just fine. The sound is crisp and detailed with bell-like harmonics. Nuances are well articulated when playing softly throughout the range. The bass notes are full and clear but not boomy. The overall tonal character of the instrument is extremely similar to that of a Martin 000-42 (no coincidence as this is a near carbon copy of the Martin). I played both side-by-side. Frankly, the concensus of the listeners that were present at the time was that the Blueridge sounded a little better. That's a matter of opinion, however, there is no denying the fact this guitar avails itself quite well alongside instruments costing many times as much.

The action was a bit high when I got it. A little work on the saddle resolved this, and the action is just right. The overall construction is excellent. The back, sides and top are all solids. Ebony is used for the fingerboard and bridge. The inlay work is surpurb. I don't particularly care for the elaborate inlay on the headstock, but it is quite beautiful, regardless. The open-back tuners are smooth and accurate. They are replicas of the tuners used by Martin. The placement of the tuners on the headstock is not optimal. This is the only flaw I can find. The strings pass very close to one another, and the angle from the tuner to the nut is odd. This is a very minor issue, having no impact on the function or tone. The other thing you will probably want to do is replace the butt-ugly pickguard. I don't know what they were thinking when they came up with that design. Mine has been removed entirely.

Too new to tell, but it looks like it's built to last.

Never called them, so I can't say one way or another.

I have been playing for over thirty years and I own over 20 instruments at this time. This guitar sounds AMAZING, notwithstanding the unbelievably low price. It's essentially a carbon copy of a pre-war Martin 000-45 at a fraction of the price. If this instrument were lost or stolen, I would replace it before the sun set on that day.
I have expensive tastes, and I tend to be biased against instruments made in Asia. This guitar changed all that. I don't think there is another guitar anywhere that can compare at the price point.

Go to the SAGA site for detailed information. They used premium woods and construction procedures for the BR-183 and it shows. I installed a Schatten undersaddle pickup with preamp, which does a fine job of amplifying the acoustics of the instrument. The only feature I wish it did have, that would really make it outstanding, is a 1 and 3/4 nut width, since I play fingerstyle.

Very even and balanced. There is a shimmer to the notes that gives surprising clarity to a guitar that has yet to be 'played in'. When I put an inspection mirror inside the BR-183, I noticed that the bridge plate appears to be made of ebony. That may have something to do with the clarity and definition of the notes. I gig with the guitar, and players and audience members alike comment on how good it sounds.

Action and setup was fine. I think the string slots at the nut are bit high for fingerstyle. But I've had the guitar for a couple of months and have yet to get around to pulling out the nut files to fine tune the slots. The overall fit and finish of the guitar is very well done, with the one caveat that the poly finish is a bit thick.

It's well-built. It does hold up to gigging, and seems pretty stable. The butter-bean tuners work just fine and I see no reason to replace them.

I've dealt with Saga directly twice. Once to return/exchange a defective Gitane DG 300 and second, to verify that all that gorgeous abalone on the BR 183 was real abalone. Both times they were prompt and helpful. And yes, it's real abalone.

Been playing since 1964, professionally most of that time. I've had many guitars, and judge an instrument first by its sound and playability before the name. The BR-183 is a great Triple OOO guitar at a silly price. The factory and craftspeople Saga has building the Gitane's and the BR-183 know what they're doing. It doesn't need to be compared to a Martin, Collings, or any other brand. It's not a wannabe guitar. Rather, it stands quite well on its own merits.

No need to reitarate-- a version of a Martin 000-Eric Clapton-type guitar. rosewood back and sides are very handsome. Construction largely impeccable-- way more pristine than either my 1964 Guild F212 12-string of legend, or my LoPrinzi D-41-style handmade from 1978. Notable is the significantly thinner neck, enabling very easy playing. Intonation is superb for a non-compensated bridge. The pickguard is as hideous as purported, but was easily removed with a little low heat from a hairdryer and persistent gentle pulling. Finish is smooth but a bit thick. Top itself, though, is very thin and responsive. Tuners are excellent-- don't buy this expecting to replace them. Headstock inlay is a bit garish but when onstage even at a short distance, with stage lights it looks extremely handsome.

Sound is big, bright, resonant. Compared to the Goodal I was holding out for, at $4,100, it's a bit harder sounding but has mellowed considerably with a year of intensive playing and performance time. Strummed, it has a tendency to be a bit buzzy until you replace the strings with "light-medium" string sets. Thenm it strums with an ingratiating balance and impressive tone and volume. I often strum without picks, or with finger picks, and it sounds superb with either. Fingerpicked, it is very responsive; softly picked, it is moody, rich, subtle. More heavily picked, esp. with fingerpicks, it's a bit sloppy-- but this is characteristic of all 000-type 14-fret-to-body style guitars, from Santa Cruz to Martin. Recorded professionally in a high-end studio, it impressed the engineers with its tone and fancy condensor mikes enabled me to play it far more subtly than in performance, and the result was marvelous, week in and week out.

Beautifully set up. Action a bit low for me at first. String balance and intonation near-perfect. Only two flaws visible to me-- "sander spots"-- slight indentations-- on top, visible only in certain angles of light.

This guitar has been my #1 for a year now-- practice (1-2 hrs./day), writing (irregular-- say, 1hr. a day), rehearsal (2 days a week, 4-6 hrs. each), and performances and studio recording-- partly because of the neck style, partly because I put a very fancy K&K Trinity triple-input system in it, and then tried to remain consistent between band rehearsal and performance, and partly because I just became addicted to the sound. It has mellowed and "riched up" steadily with this much playing. Volume has increased, buzzes have diminished, and hardness of tone has decreased whilc nuance has increased. Nothing has loosened or disconcerted me by anticipating further problems. Tuners are better than Grovers on LoPrinzi or Schaller minis on 12 string; neck has remained stable; no noticeable bellying of top, even with heavier strings and with regular open-tuning changes both in rehearsal and performance, and sometimes remaining for weeks in high-tension tunings. It motivated me to have the LoPrinzi in for a neck-reset and overhaul, which made that guitar much more playable, but I am still playing the BR-183 more consistently, both for myself and in performance.

I've bought a ton-o-fun Strat kit from Saga which cost me as much as an American-made highway 1 Fender Strat thanks to upgrades. In the process I had some contact with Saga and they were fine.

I've been performing for 40 years, with a 17-year hiatus to raise my children, playing contiuously from the age of 12. I've owned a Martin D28 from 1966-1980, the Guild 12 since 1965, and the LoPrinzi since 1982. I own many electrics, but my principal work is done on acoustics of which I own few and for a long, long time-- forever if possible. This was an interim instrument so I would have 2 6-strings onstage for selected tunings and quick changes between songs. When my 2nd child finished college, I figured I'd give it to her and buy a Collings or Goodall or Santa Cruz then. Not gonna happen. This is one of my 40-year keepers, like the LoP and the Guild. If it were destroyed or stolen, I'd probably look seriously at the Br-283, Brazilian Rosewood version, adding $500-1,000 to the price. Then I'd buy one of the two.

The Blueridge BR-183 is a clone of the Martin 000-45. It is made from all solid wood consisting of premium Indian rosewood back and sides, select spruce top, ebony fretboard and bridge (with bone nut and saddle, 25.5 inch scale). Check the specs at www.sagamusic.com under Blueridge guitars.

It sounds full and rich with clear, sweet highs and firm midrange and bass. Fingerpick it or strum it firmly and it sounds superb either way. Lead lines sound sweet and punchy. You really will have to pay close to a couple of thousand bucks to get this kind of tone from an American-made guitar.

No complaints. It's cleanly and neatly made. I purchased it from the Mandolin Store and they do a nice job with set up. Action is perfect.

My oldest Blueridge is from 2002 and it is still in perfect shape. I've never had problems, and the necks have been very stable. The tops, even with medium strings on my BR-240 and BR-160 have remained perfect.

I do my own tweaking, which on my Blueridge pieces has only ever involved minor saddle shaving or nut hole lowering

Been playing since 1974. I'm a songwriter and have gigged for many years. I'm a Stones, Dylan, Neil, Hank etc. aficionado. A year and a half ago I took a chance on a used BR-160 (D-28 clone). It was great. I have since gotten great deals on a BR-143, a BR-240 (the best mahogany dred I've ever owned, surpassing a D-18, a J-50 and a Larrivee D-05 I've had). The big-brand-snobs are simply missing out. These Blueridge guitars are the most exciting thing to happen to acoustics in the thirty plus years I've been playing, with an unbeatable price/sound ratio. Really.

Very nice high quality solid spruce top, solid rosewood sides and back, ebony fingerboard and bridge, bone nut and saddle. These features lack nothing in what is looked for in a high end guitar. I read some reviews with complaints that the finger board is to narrow at the nut. It took me 5 minute to be perfectly comfortable with it. Also there is plenty of room left on the edges to install a new wider spaced nut if you wish.

I enjoy playing fingerstyle although it is not the only style I play. This Blueridge is so comfortable to hold and play that it is now the instrument I write most of my songs on regaurdless of style. Sound? without getting technical and categorizing every nuance, it is incredible. There is absolutely nothing about this guitar that is negative to my ears. The sustain is beautiful. The clarity is supreme. All six strings are always perfectly balance in volume all the way up the neck. The harmonics sing. When I play any chord, I can hear each individual string and not just a chord. The dynamic response is extremely expressive. You can really feels the music and moods you create as you play. Depending on you touch, this guitar expresses emotion. I'm sorry folks but I have nothing negative to say about it. I just can't imagine how great it will sound with some age behind it.

Definately one of the better factory setups I have seen. The neck it at the proper pitch with plenty of saddle to work with. The only thing I did was lower the nut slots a touch. Bookmatched nicely. NO FLAWS! The workmanship is extreme quality. Compared to my Martin M-38 there is no visible difference in the quality of construction. No glue ooze, smoothly sanded bracing that fits tight. I could go on but beleive me the quality is there.

As far as durability I don't forsee any problems nor have I heard of or read anywhere of problems. The vintage style tuners fuction better that I had expected. They are a non issue. They tune smoothly and accurately and hold. No desire to replace them with anything else.

I have been playing for 40 years. Yeeesk!! I own a Martin M-38, Martin D-28, Martin D-35, Taylor 814C, Alverez DY85 (1979), Garrison G-25, and many others. The Blueridge BR-183 is the guitar I play the most. I couldn't recommend it more highly regaurdless of price. And I ain't kiddin. I just ordered a BR-160 also.

I just got my Blueridge BR-183. It's an all solid wood guitar. It has a spruce top and Indian Rosewood Back and Sides. I think it's a mahogany neck. If you're unsure about the other features, go to saga's website or onlineguitar.com. I purchased my BR-183 through them. It's all gloss, which is great if you have a 2 yr. old. Believe me!

I play a variety of music styles. I've sang and played as a worship leader in youth groups for 10 years. So, I needed something very versatile. Unplugged, this guitar has very complex tones. Despite what others have said, I think this guitar can produce bass tones that rival that of a lot of dreadnaughts. The guitar's midrange is subtle, but great when aggresively attacked. It doesn't sound muddy or clangy when playing hard on open chords, which is very nice. It sounds tight, so I'm excited to see what happens when the wood settles. The highs are crisp but not overpowering, thus overall the guitar sounds VERY balanced. Honestly, I could go on all day about the tone of this guitar, but I need to move on.

The action was a tiny bit high for me, but nothing hard to fix. I've done it many times. I like my action low enough, that you can fingerpick easily, but high enough to not buzz when strummed a little harder. The finish is amazing on this guitar. YES, like lots of people, the toner is a little orange-ish! It could've been a little less citrus colored, but the mother-of-pearl abalone around the whole guitar, by far, makes up for it. This guitar is beautiful!

Honestly, I had a BR-163 before this guitar and wished I'd never gotten rid of it, because you could probably chunk these guitars across the room and they would stay in tune. They are very durable, and solid. I played my 163 as my main live guitar for a long while and never had a complaint with it. Actually, I would rather use it than my other more expensive guitars, cause I know it would hold up to the rigors of live shows.

I, honestly, have never dealt with Saga, but I have with the places I've bought my Blueridge's from. And they have been extremely helpful and courteous when inquiring about tracking numbers or whatever.

Like I said previously, I've been playing for 7 years, but have been around musician's all my life. I know the difference between a good, okay, and great guitar. I have had martins, taylors, fenders, ibanez, takamines, blueridges, epiphones, washburns, sigmas, and played lots of other kinds. I'm very particular about what I want and need. My current set-up is a Takamine EAN55C, Taylor 214, Sigma SDM-15S, and the Blueridge BR-163. I don't necessarily always buy guitars for the name, cause sometimes you get what you pay for. But, honestly with blueridge, you get sooooo much more for the a third of the cost of martin. While you may not get the neck of a martin or taylor or breedlove, you get an amazing guitar with an amazing tone that would rival those brands. I would, highly, suggest getting one and would definately replace it if something happened to it. I wish I would've never traded my BR-163 for another guitar.