Morgan Monroe M-50

Solid AA Spruce top with hand-carved parabolic top braces
Herringbone purfling sound hole rosette / ivoroid binding
Solid Rosewood back / sides
Premium ebony fingerboard and bridge
Delicate marquetry center strip on back
Kluson style enclosed tuners with ???butterbean??? buttons
Bone nut and saddle / 1 11/16" nut and 25.5" scale
Slim mahogany low profile neck with traditional diamond volute
Forward shifted scalloped bracing
Natural high-gloss finish with aging toner
20 frets

Company specs.
Typical solid wood dreadnought

Here is where the guitar excels. It has that super bass "thump" to it that all great guitars should have.
The high end is bright and clear with an unbelievable sweet bottom end. It closely mimicks my friend's D 28 in rich tones.
Volume is not quite as loud as a mahogany-backed dread, but in my opinion, the bottom end is a better trade.
The bone nut and saddle add to this richness. I swapped out the bins for bone and it gave the upper frequencies new life.
Subtle harmonics add to the sound.
I was stunned when I first played it.

Set up was fine. I did loosen the truss rod slightly to give it more bow. Seems most guitars today come from the factory with arrow straight necks.
The vintage finish is perfect with none of the orangish tint I've seen on some.
I really haven't found and flaws in the finish.
The matched spruce top is so well put together it is extremely difficult to find the seam.
I bought the round neck and it is thin. The V neck might have been a better fit for me, but that is an opinion based on speculation.

I have owned it a few months and have no issues. The tuners are adequate, but I wish they were sealed high-end Grovers. I guess that wouldn't go with the vintage look.
I have played for a living for 25 years and can see no reason why this guitar wouldn't be perfect on stage.
It has the sound of an expensive model, but the replacement value is low. I wouldn't enjoy taking a $2,000 plus guitar on a gig. Too much can happen.
I would never go without any kind of backup no matter what guitar I was using, but other than string breakage I see no problems.
The M 20 hasn't been out long enough to undergo the test of time so that is unknown. Ask me in 10 years.
I'm giving it a 9 simply because of the tuners, which I said were not bad.

I have no idea. I haven't dealt with them. Morgan Monroe bluegrass instruments have been around a long time though.

I have played longer than I care to admit. I own 6 or 7 electrics and 3 acoustics.
This (and all) guitars are used for recording. The tone and craftsmanship are excellent. I didn't want to spend 2 grand, but I wanted that great sound and this guitar has it. It is really sweet.
I played a few Blueridges, Washburns, and 2 D 28s (super guitars but the price was more than I wanted to spend).
If it was stolen or lost I'd be sad since all guitars have their own personality, but the M 20 would again be my first choice.

Vintage voiced Dreadnought with all gloss solid spruce top with vintage forward shifted scalloped bracing, solid Indian rosewood back and sides, grained ivroid binding all around, oodles of BEAUTIFUL irodescent blue/green abalone inlay including a spectacular tree of life fingerboard inlay, vintage enclosed butterbean tuners, nice thin 20 fret solid mahogany neck(no joints)w/ vintage volute at the base of the head stock, compensated bone saddle(machined to perfection) and bone nut, solid ebony fingerboard w/thin frets, abalone inlaid ivroid bridge pins, no electronics, made in China(don't laugh-this is quality)Included a Morgan Monroe hard case.

This guitar offers the classic vintage sounds I've always wanted but never found in a guitar, until now. Robust, powerful, balanced, crisp, with rich beautiful overtones. It's not a bass monster. If you want that buy a D-35(I have owned one). This is much more versitle and lively at one quarter the price.

Set up was near perfect for me right out of the box. Set to medium low. I actually had to modify my finger pressure because I realized I was pressing the strings harder than I had to. Some issues with the bridge pins popping out upon string change. Kind of wierd but eventually workable. One of the most remarkably finished imports I have seen with very few minor flaws(every guitar has some-character)
The intonation is THE BEST I have ever heard, including Buzz Feiten tuning and is vitually dead on anywhere on the neck. The interior did have some residual chips from bracing carvings but no glue spots. The solid rosewood is a high quality super dark fairly straight grained with minimal figuring. The ebony used on the fingerboard and bridge is super smooth and of high quality. Minimal filling on the vine inlay(close inspection). The tuners are simple but seem to hold well and feel somewhere around a 14:1.

Feels solid and is. Only an end pin installed. No strap button on neck. Lifetime warranty.

Been playing/gigging for over 30 years. Own Washburn Rarewood WD40s and Washburn Rarewood WD41S acoustics, Fender Squier Strat. If this disappeared, I would buy another quick. It is a stunning yet not overdone acoustic with all the tone to cut or blend depending on how you attack it.