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Warr Guitar
Warr Guitar
Warr Guitar
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Warr Guitar
12-string Warr 'Raptor' model (discontinued) with typical hands-crossed tuning.
String instrument
Classification String
Hornbostel–Sachs classification321.322
(Composite chordophone)
InventorMark Warr
Developed1991
Related instruments
Musicians
Trey Gunn playing a Warr Guitar at Tampere Jazz Happening 2005

The Warr Guitar is an American-made touch guitar, a type of instrument that combines both bass and melodic strings on a single fretboard. Invented by Mark Warr, a musician from Thousand Oaks, California,[1][2] it is related to the Chapman Stick, another two-handed tapping instrument. The Warr guitar is designed for either two-handed tapping or strumming. Warr guitars have between seven and 14 strings.[3]

Perhaps the best known Warr guitar players are Trey Gunn, formerly of the progressive rock band King Crimson, and Colin Marston of Behold... The Arctopus.

References

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Warr Guitar

View on Grokipedia
from Grokipedia
The Warr Guitar is a custom-built electric touch instrument that integrates bass and guitar strings on a single wide fretboard, typically featuring 7 to 14 strings to span multiple octaves and enable polyphonic performance of bass, rhythm, and melody simultaneously. Invented by American and Mark Warr in the early 1990s, it draws inspiration from Emmett Chapman's 1970s but expands the design with a more guitar-like body, dual outputs for separate bass and treble signals, and customizable configurations including active electronics and capabilities. Played upright or horizontally using a two-handed technique—where both hands tap strings directly onto frets for precise intonation and rapid note production—it allows for complex, keyboard-like expression without traditional plucking or strumming. Key features include a multi-piece neck for stability, adjustable truss rods, high-output pickups such as Bartolinis, and tuning often in perfect fifths across the strings (e.g., from low B to high D on 12-string models) to facilitate scalable patterns and extended range. Models vary from 7-string versions suited for compact setups to 14-string behemoths for broader sonic palettes, with custom configurations extending up to 24 strings; construction uses woods like or for resonance and durability, with each instrument handcrafted, often taking up to a year and costing around $5,000. Production has been limited due to Warr's health challenges, including a cancer diagnosis in the late ; as of 2025, production of new instruments by Mark Warr has ceased, leading to reliance on used instruments and custom builds by other luthiers, and a dedicated following among progressive and experimental musicians. Notable players include , formerly of , who adopted the Warr Guitar in the 1990s for its superior customizability over the and has featured it on solo albums and live performances; other exponents are of and , and Japanese artist Kai Kurosawa, who has pushed its boundaries in genres including , progressive metal, and electronic music. The instrument's design emphasizes sustain through locking tuners and muting pads, making it ideal for intricate compositions that blend acoustic-like clarity with electric versatility, though its steep demands dedicated practice in touch-style methodology.

History

Invention by Mark Warr

Mark Warr, a and from , invented the Warr Guitar in 1991. As a captain with the , Warr balanced his professional career with his passion for music, initially playing the before seeking to innovate within the touch instrument family. Inspired by the —a two-handed instrument developed by —Warr aimed to create a more guitar-like alternative that retained the technique while incorporating a traditional guitar body for improved and tonal familiarity. His design addressed limitations he perceived in the Stick, such as its lack of a resonant body, by blending elements of construction with extended-range stringing to enable simultaneous bass and melodic playing. In the early , Warr constructed his initial prototypes in a home garage workshop in Thousand Oaks, emphasizing handmade craftsmanship to refine the instrument's sustain, playability, and aesthetics. These early models featured 8 to 12 strings divided between bass and guitar sections, with custom pickups and necks wide enough for independent hand , marking the beginning of what would become a specialized niche in electric string instruments.

Development and Production Timeline

The Warr Guitar's development began in the early 1990s when Mark Warr, inspired by the , started prototyping multi-string touch instruments in . The first public appearances occurred in the mid-1990s, notably when musician received and began using a Warr Guitar during King Crimson's 1995 tour, marking an early adoption that helped raise awareness. Around this time, a legal dispute with inventor in approximately 1995 referenced Warr Guitars as an established entity, indicating the company's formalization in shortly thereafter. By the late , Warr Guitars Inc. was operational, focusing on hand-built instruments with limited production runs tailored to custom orders. Early models like the 12-string Raptor, introduced around 1997, exemplified this approach, featuring crossed-string configurations for two-handed . Production emphasized high-quality, American-made construction using premium woods, with Pete Hanewinckel contributing from 1991 to 2022. In the , the company streamlined its lineup, discontinuing models such as the Raptor to concentrate on core offerings like the Artist Series, which became the flagship for 8-, 10-, and 12-string variants and remains representative of commercial production. This shift prioritized builds over , with instruments handcrafted by Warr and his team to accommodate player-specific needs, including refinements influenced by prominent users like Gunn. Following a health-related hiatus in the late 2010s due to colon cancer treatment, as of 2025, Warr Guitars continues limited production in , with Mark Warr having resumed design work on new "Phoenix" models since 2020. Classic designs have been retired, but ongoing builds maintain the focus on high-end, American-made materials and hand construction, available via direct orders with extended wait times.

Design and Construction

Physical Features and Materials

The Warr Guitar features a body design reminiscent of traditional electric guitars, offering ergonomic support and balance during , with weights typically ranging from 7 to 10 pounds to facilitate performance stability. The neck is notably wide to accommodate multiple strings, constructed from multi-piece hardwoods such as and laminates for enhanced stability and resonance, often spanning up to the width required for 14 strings. Scale length is generally 34 inches, providing sufficient tension for both bass and guitar string ranges, while the is engineered for optimal tuning stability under high string counts. Materials emphasize durable hardwoods, with bodies commonly built from mahogany cores topped with figured maple for tonal warmth and visual appeal, contributing to the instrument's solid construction and acoustic properties. Neck-through or bolt-on constructions use premium selected woods, where builders sift through extensive volumes to source straight-grained pieces suitable for the broad fretboard, ensuring longevity and playability. Recent models, built by luthier Pete Hanewinckel since the late 2010s, include innovative headless and multiscale designs for enhanced playability. Fretboards are typically made from dense woods like wenge or rosewood, supporting low action setups inherent to the design. Electronics include versatile pickup options, such as magnetic humbuckers like Bartolini (in earlier models) or custom designs in current builds for standard electric tones, and piezoelectric under-saddle pickups for acoustic-like clarity, often configured for separate bass and melody outputs. MIDI-capable systems are available, allowing integration with synthesizers for expanded sonic possibilities via stereo or mono jacks. Customizable elements extend to finishes and inlays, featuring elaborate, dramatic like veneers or artistic engravings to enhance the instrument's visual impact. Like the , the Warr Guitar employs a wide fretboard layout optimized for multi-string arrangements, though it incorporates a contoured guitar-style body for added comfort.

String Setup and Tuning Systems

The Warr Guitar features a string configuration ranging from 7 to 14 strings, typically divided into a lower bass set of 4 to 6 strings and an upper guitar or melodic set of 4 to 8 strings, providing an extended range that encompasses both sub-bass frequencies and higher melodic registers on a single instrument. This division supports multi-voice playing, where the bass strings handle low-end lines and the guitar strings manage higher harmonies or leads simultaneously. The employs uniform spacing across all s, ensuring that at the same position align polyphonically regardless of set, which is essential for techniques that produce chords and independent lines without requiring traditional by one hand. This layout contrasts with standard guitars by eliminating separate necks, allowing seamless integration of bass and treble elements. Tuning systems for the Warr Guitar vary widely, with at least 26 documented options that employ either crossed or uncrossed deployments to accommodate different hand positions and musical styles. In uncrossed configurations, both sets often follow fourths intervals, such as BEADGC for the bass (in a lower ) and the same sequence for the guitar set an higher, promoting parallel hand orientation without inversion. Crossed tunings, suited for hands-crossed play where the left hand reaches over the right, invert the bass set—typically in fifths—for ergonomic access, as seen in the popular Crafty tuning associated with and . The Crafty system tunes most s in fifths, with the highest offset by a third to optimize chord voicings and extended harmonies. For example, an 8- Crafty setup might use Bb-F-C-G-D-A-C-D, where the bass s (e.g., Bb-F-C-G) ascend in fifths for crossing compatibility. These setups enable the Warr Guitar's core advantage in , allowing performers to articulate independent bass lines and melodies concurrently across the full range, expanding compositional possibilities beyond conventional stringed instruments.

Playing Techniques

Two-Handed Tapping Method

The two-handed method is the primary technique for playing the Warr Guitar, where both hands directly tap the strings onto the frets to produce notes without plucking or strumming, enabling a piano-like independence between hands for simultaneous bass lines, melodies, and harmonies. This approach leverages the instrument's wide with multi-scale design to allow fingers to strike strings or parallel to the fretboard, facilitating complex polyphonic textures through coordinated motions. In the standard configuration, the left hand typically manages bass notes and lower melodies on the longer-scale strings (34-inch scale length), while the right hand handles chords, rhythms, and higher melodies on the shorter-scale strings (25.5-inch scale length), with hands positioned on separate bass and melody string sets to optimize access. Certain tunings support this posture by aligning intervals for efficient hand positioning. The instrument can be played upright or horizontally, which influences hand access and overall technique. To develop the required finger independence, players practice exercises emphasizing isolated hand coordination, such as slowly tapping ascending and descending scales with one hand while the other maintains a steady pattern. Common patterns include alternating taps between hands to build , like interleaving bass notes with treble arpeggios or using string-skipping for extended four-note-per-string sequences, which enhance speed and evenness in volume across multiple voices. Effective execution of tapping on the Warr Guitar requires specific amplification considerations, including very low string action to minimize the force needed for clear note sustain and reduce muting challenges during rapid hand movements. Additionally, high-output pickups such as the standard Bartolinis are used to capture the percussive attack of tapped notes, providing tonal clarity suited to the instrument's extended range from deep bass to high treble.

Strumming and Hybrid Approaches

While the Warr Guitar is optimized for two-handed tapping, its design accommodates strumming techniques similar to those on a standard , where a pick or fingers sweep across the strings to produce rhythmic patterns, though the wide neck demands adjusted hand spans and wrist angles for effective execution. This adaptation allows players to generate chordal strums on the melody strings while maintaining the instrument's extended range, though tone production relies more on touch pressure than traditional plucking due to the low action setup. Hybrid approaches expand the Warr Guitar's versatility by integrating tapping with strumming or plucking elements, often employing one hand for bass-line rhythms via finger sweeps or taps on the lower strings and the other for melodic on the upper set, fostering polyphonic textures akin to voicings in or extended-range solos in progressive genres. For instance, dual-output configurations enable separate amplification of bass and sides, enhancing rhythmic complexity without muddiness, as seen in experimental compositions that blend sustained taps with percussive strums for dynamic layering. These methods highlight the instrument's capacity for orchestral-like arrangements, where one-handed bass strumming supports tapped harmonies, though achieving balanced volume across string gauges remains a key challenge due to varying tensions and the broad fretboard layout.

Notable Players and Influence

's Contributions

served as a member of the progressive rock band from 1994 to 2003, during which he transitioned from playing the to adopting the Warr Guitar as his primary instrument in the mid-1990s. Initially introduced to touch-style instruments through the Stick while collaborating with in projects like Sunday All Over the World, Gunn sought a more guitar-like alternative with expanded tonal capabilities, leading him to the Warr Guitar built by Mark Warr. This switch allowed him to cover both bass and guitar ranges simultaneously on a single instrument during live and studio performances. Gunn's key contributions to the Warr Guitar lie in his integration of the instrument into , where he employed it for intricate, polyrhythmic compositions that blended melody, harmony, and percussion. In , the Warr Guitar featured prominently on albums such as THRAK (1995) and The ConstruKtion of Light (2000), enabling layered textures in extended improvisations and structured pieces. Beyond the band, Gunn has released over a dozen solo albums showcasing the instrument, including (1999) and The Joy of Molybdenum (2000), which highlight its versatility in ambient, fusion, and experimental genres. These works expanded the Warr Guitar's application beyond niche styles into broader musical landscapes. Technically, Gunn adapted the Warr Guitar with custom configurations for King Crimson's tours, including specialized tunings that facilitated the band's double-trio format and allowed seamless interplay with guitarists like Fripp and Levin. His eight-string and ten-string models often featured modified scale lengths and preamp setups to handle the demands of high-gain rock environments while maintaining clarity across registers. Gunn has also developed instructional resources on Warr Guitar techniques, offering workshops, online courses, and exercise-based guides that emphasize two-handed , chord voicings, and expressive control, making the instrument more accessible to aspiring players. Gunn's high-profile role in provided mainstream exposure to the Warr Guitar through sold-out tours and festival appearances, elevating its status from an obscure custom build to a recognized tool in rock and fusion circles. His performances demonstrated the instrument's potential for dynamic, orchestral-like arrangements, inspiring subsequent musicians to explore touch guitars in professional settings and solidifying Gunn's position as the instrument's foremost ambassador.

Other Prominent Musicians

, a and recording engineer, has been a key figure in incorporating the Warr Guitar into technical and math rock since the early 2000s. As a founding member of the band , formed in 2001, Marston employs 12-string models such as the discontinued Raptor and the Metal Series Warr Guitar to deliver rapid, dissonant passages that blend intricate with heavy riffing. His work on albums like Hapeleptic Overtrove (2020) showcases the instrument's capacity for complex polyrhythms and extended-range textures in experimental metal contexts. Jason Blake, based in , has advanced the Warr Guitar's role in through his leadership of the instrumental trio Aziola Cry. Blake utilizes a custom 12-string model, tuned in a crossed-hand configuration with inverted bass strings, to create dense, layered compositions that simultaneously handle bass lines and melodic leads. This approach is evident in Aziola Cry's album The Ironic Divide (2021), where the Warr Guitar enables multifaceted arrangements blending aggression and melody in tracks like "Premonitions." More recently, Blake released the solo EP Infinite Fade (2025), featuring drummer Tommy Murray from Aziola Cry on select tracks, and the band completed a new full-length album for release in 2025. Blake's exclusive focus on the instrument, honed from prior experience with the , has influenced its adoption for intricate, multi-voiced prog metal soundscapes. Keven Berk contributes to the Warr Guitar's presence in and as the touchstyle player for the Wisconsin-based trio Apogetic. Berk performs on a custom 12-string Warr Guitar with a non-inverted fourths tuning, employing crossed-hand techniques to produce angular, high-energy riffs suited to the band's hybrid style. His setup, including a dual-mono output through a Sunn PA amplifier, supports live performances that emphasize the instrument's clarity in dense mixes. Randy Strom exemplifies the Warr Guitar's application in jazz and fusion, drawing on its wide range for piano-like chord voicings and improvisational solos. Strom, a veteran touchstyle performer, interprets standards such as Miles Davis's "Four" and "Blue Bossa" on 12-string models like the Artist series, using the instrument's dual outputs to separate bass and treble for authentic ensemble simulations. His live and recorded works highlight fusion elements reminiscent of Jaco Pastorius and John McLaughlin, with fluid scalar runs and harmonic extensions that leverage the Warr's ergonomic design for extended play. Kai Kurosawa, a Japanese musician based in the United States, has pushed the boundaries of the Warr Guitar in , progressive, and ambient genres since the early 2000s. Self-taught on the instrument during his studies at , Kurosawa recorded the jazz album Doubts (2002) featuring sophisticated harmonies and fusion elements. He later collaborated on custom extended-range instruments like the 15-string Kūbo but continues to for the Warr Guitar through performances and recordings that blend intricate with melodic expression. Since the , the Warr Guitar has seen growing adoption in experimental and metal scenes, with custom builds tailored to artists' needs for expanded string counts and tunings to accommodate genre-specific demands like polyrhythmic complexity and sonic breadth. Building on Trey Gunn's pioneering role, these musicians have expanded the instrument's versatility across subgenres.

References

  1. https://daily.bandcamp.com/lists/warr-guitar-list
  2. http://www2.gol.com/users/banyu/Warr.htm
  3. https://forbassplayersonly.com/trey-gunn/
  4. https://www.premierguitar.com/gear/gunning-for-warr
  5. https://www.ultimate-guitar.com/news/interviews/exclusive_interview_with_trey_gunn.html
  6. https://www.talkbass.com/threads/warr-guitars.42980/
  7. https://www.facebook.com/tchgtrst/posts/the-2019-warr-artist-touch-guitardisclaimer-from-2000-2008-i-worked-as-customer-/2932314820195796/
  8. https://reverb.com/ca/item/29671209-warr-guitar-raptor-1997-zebra
  9. https://www.talkbass.com/threads/new-10-string-touch-style-from-hanewinckel.1673687/
  10. https://www.warrguitars.com/blog/retrowarr-the-last-30-years
  11. https://www.warrguitars.com/blog/blog-warr-production-statement
  12. https://reverb.com/item/17675359-warr-artist-series-touch-guitar
  13. https://reverb.com/item/80782021-warr-guitar
  14. https://www.premierguitar.com/gunning-for-warr-page-2
  15. https://sevenstring.org/threads/the-return-of-warr-guitars-tapping-instruments-new-headless-multiscale-designs.356955/
  16. https://www.jasonblakemusic.com/news/warr-guitar-and-chapman-stick
  17. https://reverb.com/item/26031415-warr-guitar-tgss-trey-gunn-signature-series
  18. https://reverb.com/item/5584421-warr-guitars-artist-10-final-reduction-for-quick-sale
  19. http://www.megatar.com/blog/2014/8/20/the-history-of-touch-style-and-the-two-handed-tapping-method
  20. https://www.premierguitar.com/lessons/cram-session-two-hand-tapping
  21. https://www.guitarworld.com/blogs/two-hand-tapping-workout-part-1-pentatonic-scales
  22. https://www.premierguitar.com/gear/stickin-it-to-the-man
  23. https://www.guitarworld.com/features/trey-gunn-tu-ner-t1-contact-information
  24. https://www.vintageguitar.com/29318/trey-gunn/
  25. http://www.treygunn.com/bio/
  26. https://music.treygunn.com/album/raw-power
  27. http://www.treygunn.com/blog/tag/teaching
  28. https://www.innerviews.org/inner/gunn-2
  29. https://disposableunderground.com/the-attack-of-the-colin-marston/
  30. https://sevenstring.org/threads/colin-marston-dysrhythmia-behold-the-arctopus-krallice-gorguts-bass-tone.194720/
  31. https://www.invisibleoranges.com/aziola-cry-vs-apogetic/
  32. https://www.jasonblakemusic.com/
  33. https://jasonblake.bandcamp.com/album/infinite-fade
  34. https://www.selectivememorymag.com/warr-guitarist-jason-blake/
  35. https://www.flickr.com/photos/warrguitars/2131641079/
  36. https://bb.steelguitarforum.com/viewtopic.php?t=112146
  37. https://www.youtube.com/watch?v=52PNJBnKA8E
  38. https://kaikurosawa.bandcamp.com/album/doubts
  39. https://www.happysad.org/bio
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