My review of the Alhambra crossover guitar

Review of the Alhambra 5p CWX

Please read my previous three posts, which provide full specifications and detailed pictures.

My primary aim in selecting and buying this guitar was to find an instrument that is built like, and sounds like, a traditional classical guitar, with its traditional acoustic properties, but which has a cutaway and a crossover neck (you can read all about that in my earlier posts).

Alhambras are all entirely made in Spain. While I think China is making good guitars these days (they seem to be able to emulate any design developed elsewhere), it’s refreshing to find an actual Old World-crafted instrument at an affordable price. Everybody is feeling economic pressure from the competition of cheap Chinese labor. I get a strong “old-world” authentic Spanish vibe from the Alhambras, and hey, what’s better than Spanish (or Catalonian; hi to my friends in Barcelona!) if you are talking about a traditionally built, braced and voiced classical guitar?

Out of the case, the Alhambra smells like cedar and rosewood, and not like lacquer or glue, like a good guitar should. It’s such a pleasant sensation when you open the case, pick up the instrument, and start playing. This guitar is noticeably (and surprisingly) lighter in weight than similar guitars in its price range, which are usually more heavily built, often to the detriment of the sound quality.

My Alhambra, designed along the specifications of their stock 5P model, is a mass-produced student-grade instrument, with a solid red cedar top with traditional fan bracing. It has laminated rosewood back and sides. The neck is Spanish cedar, not mahogany or sapele as used on cheaper instruments. The body is what is considered full-size and full-depth, and the neck meets the body at the 12th fret, like a traditional classical guitar. I think the regular 5P sells for somewhat under US $1,000. Mine is not a regular production model, so there’s no price comparison.

These are the measurements from the Alhambra web site:


I’m not yet an experienced classical guitarist, and my technique is limited, so I’ll admit that I don’t understand the complexities and subtleties of how a classical guitar should sound, particularly with regard to timbral variations and dynamic range.

My friend Eric Larkins, an accomplished professional classical guitarist, played my guitar and offered that he liked the sound. “It’s loud” were his first words.

Eric likes cutaways but prefers extra-wide fingerboards (54mm nut width and of course flat), so he’s not convinced of the value of the “crossover” concept. Still he happily played the guitar and gave it a thumbs-up.

The guitar is comfortable to hold and play. I found playing a traditional classical neck to be quite fatiguing, but this neck causes me no fatigue or strain, by comparison.

I haven’t made any study of classical guitar necks with regard to the profile of the back of the neck or its thickness, but suffice it to say that this one has a thinner neck that  is easy to get your hand around, and feels great in my hand. Again, this is a crossover feature designed to appeal to guitarists who are not comfortable with the thick, bulky neck of a traditional classical guitar in the first place. But this one is not too thin to affect the sturdiness of the neck. There is an ebony stiffening rod glued into the back of the neck, which is visible. There is no truss rod; I would have preferred one, because I want to try different string gauges and tunings, and a truss rod would mean that it would be possible to adjust the neck relief if it were found to be necessary with different strings. But I do not anticipate any problems here.

As I mentioned in the previous post, the cutaway and especially the contoured heel (with its compound cutaway on the back) are wonderfully done, comfortable, and effective. I think Alhambra really knows how to do a cutaway correctly, and theirs is better than what you often find on much more expensive instruments from other makers.

The headstock and neck are carved from a single piece of cedar, while the neck block and heel are a separate piece of wood (possibly mahogany) to which the neck has been glued. The headstock has an attractive rosewood veneer on top.

The headstock logo is nicely done, although traditional classical guitars don’t have headstock logos. Looking at this guitar from a few feet away, this is the only obvious visual clue that this is not a fully-traditional instrument (aside from the cutaway). The letter “A” appears to be an inlay made from some wood that has an irridescent stain, set into what appears to be an unstained, natural maple chevron. (See the picture in my previous post.) But if I had been able to special-order my own instrument, I would have asked for a guitar with a plain headstock with no logo. I’m just not in to that.

The ebony fingerboard is fine, and the fret finishing is good. The side dots are very helpful. It has the standard 19 frets.

The guitar came properly set-up. I asked for more or less traditional string height and action. I’m now using D’Addario Pro Arte composite strings.

The pronounced curvature of the saddle causes the bass strings to have a shallow break angle going in to the traditional tie block. The saddle sits extremely low under the bass strings, which you can see in the photo in the previous post. I imagine this has a somewhat negative effect on sustain and tone. I believe that, had it had a 12-hole tie block (a recent innovation which Alhambra does not offer), that this would provide a better break angle. I have not examined the bridge saddle on the regular production line of Alhambra crossover guitars, but this is something that they might need to address.

When I changed to my own preferred gauge of string, I experience some buzzing on the D string with the stock setup, so this may have to be addressed. The fact that I have selected a guitar with a radiused fretboard, nut and bridge saddle will make this task more difficult. I don’t consider this a negative thing, because every guitarist needs to have his instrument set up correctly after he buys it.

The finish is urethane, and it’s well-applied. This is a durable finish often used on mass-produced student-grade instruments. Professional guitars have only a very thin layer of French polish, which is thought to be better because it does not impede the vibration and sound, but which provides less protection to the wood. So for student instruments, the priority goes to protecting the guitar from getting banged up, rather than using the thinnest possible finish to avoid restraining the sound. Professionals know that a French-polish finish makes a guitar very delicate and that it must be treated carefully.

On my guitar, the (presumably Indian) rosewood, (sometimes called palisander or palosanto), does not have the most attractive color or grain that you would find on more expensive guitars. It’s laminated construction, not solid wood. Hey, all this is just fine with me. I don’t much care about what the back of the guitar looks like, because neither I nor an audience could see it while I’m playing it. And the idea of a more durable laminate over a more delicate solid wood seems sensible to me.

The back and the sides are nicely book-matched, although as I mentioned, they are not highly figured. There are two unattractive knots visible on the sides, but this doesn’t affect structural integrity or sound. The binding is rosewood with a thin strip of un-dyed maple on both edges, and looks simple and elegant. There is a thin maple strip down the two-piece back.

You can look at my pictures to see the rosette, which is authentic and traditional. The tie block on the bridge has some attractive wood strips, but it does not have a matching rosette figure (not many guitars do these days).

I can see a slight gap on one edge where the rosewood bridge is glued to the top, and a slight unevenness in the finishing of the bridge around the edge. Nothing major, and I think the bridge is solidly and properly mounted.

The tuners are decent quality, nothing too fancy, but better than what you would find on inexpensive mass-produced guitars. The tuners are in the lyre style, gold-plated, with black threads on the gear posts, and pearloid plastic buttons that are not removeable. The rollers are white. This is all quite traditional.

This model, from a custom-ordered run commissioned by The Twelfth Fret of Ontario, Canada, does not have a pickup or preamp. I think I will need one, and so at some point I’m going to pay $180 or so to install a simple, unobtrusive L. R. Baggs or Fishman undersaddle piezo pickup with an end-pin preamp and battery.

I love this guitar. It’s perfect for me, and I’m glad, because I did an awful lot of research before I ordered it sight-unseen from a dealer in another country. I certainly recommend buying an instrument from The Twelfth Fret in Toronto, Ontario, Canada. The co-owner, Greg MacNeill, spent a lot of time with me on the phone and in numerous emails to answer all my questions and educate me about what I was buying.

Which guitar to buy? Part One

I did an inordinate amount of research in order to find a guitar that met my needs. Maybe you can benefit from my experience.

Four or five years ago I got an inexpensive Alvarez classical guitar, a very traditional model except for having a cutaway. It was set up correctly with the usual action, and it played okay for a classical. It had the traditional wide, totally flat fingerboard and fat neck profile. I just could not get used to playing it. My fingers couldn’t easily or properly reach the low strings, even though my hands are normal-sized and I was very careful about my hand position on the neck.

My experience was in playing a Gibson-style archtop jazz acoustic-electric guitar, with a thinner neck and a narrow fingerboard width and a radiused (curved) fingerboard profile. What’s more, playing this standard classical guitar was actually painful to my left hand due to all the extra stretching. I sold the guitar and gave up on playing classical.

So when I decided to go classical earlier this year, I determined to find a crossover guitar, which is a nylon-string classical guitar designed with a neck that is a compromise between the large classical neck and the small, more comfortable neck found on a typical steel-string acoustic guitar or electric guitar.

The crossover guitar is a relatively new product category, and they are gaining popularity. There are many new models arriving on the market from many manufacturers and luthiers.

The crossover classical guitar makes no sense at all to players who have only ever played classical guitar. They see the crossover design as undesireable and inadequate for the classical guitar repertoire and playing style. But that’s not the point! Crossover guitars are specifically for experienced adult, full-grown steel-string and electric guitarists who want to play classical but just can’t deal with those enormous, wide, flat fingerboards and chunky, fat necks.

Most crossover guitars fall into the acoustic-electric category; they are designed to be played plugged in and they don’t put out much volume or a good tone acoustically. But increasingly, there are new models of crossover guitars that sound about as good unplugged as a traditional acoustic classical guitar. After deciding that I needed an acoustic-electric, I changed my mind when I found a well-designed crossover guitar that had a crossover neck on a traditional, full-sized body with good acoustic volume and tone.

So what are the parameters that you should consider in selecting a guitar and its neck?


Look at any guitar. If you look at the fingerboard, start at the nut, and follow the strings down to the bridge, you’ll see that they describe a long, narrow trapezoid. The string nut has a certain width, and there is a certain width from the center of the lowest string to the center of the highest string; this is called “string spread”. The strings at the bridge have a certain string spread which is wider than the string spread at the nut. And the fingerboard widens in width from the nut down to the end of the fingerboard. Its width at any given point is a function of the string spread at the bridge.

Then there’s radius. A typical classical guitar has a completely flat fingerboard. But most other guitars’ fingerboards have a curved profile, which is much more comfortable to the hand and fingers if you are playing chords. However, the next question is “how much of a radius”?

The conventional design principles follow this sort of logic:

Acoustic guitars like a dreadnought are designed for strumming chords. So they have a narrow fingerboard width, the strings are placed closely together, and the fingerboard is radiused. This is comfortable and easy to play.

However, if you play more complicated music that involves counterpoint, scale patterns, intricate close-position jazz chords, or string bending (on steel-string instruments), or if you fingerpick with several fingers independently rather than strumming with a plectrum, you need something slightly wider in a fingerboard, and you need more space between the strings. Otherwise your fingers on your fretting hand will frequently find themselves too bunched together to play your intricate music correctly. You also want less of a fingerboard radius because a small radius (meaning a pronounced curve in the profile of the fingerboard) interferes with intricate fingering and string bending.

Thus, different kinds of steel-string acoustic guitars and electric guitars are available in a range of nut widths, fingerboard widths, radiuses, and to some degree, string spacing at the bridge.

At the other extreme is the classical guitar, which has the widest fingerboard of all six-string guitars, and has a fingerboard with an infinite radius, which is another way of saying that it has zero curvature or that it is completely flat. The music that you play on a classical guitar requires the most dexterity and independent finger-movement, and the highest degree of counterpoint, of any other style of guitar music; this is the usual rationale given for why a classical guitar has this design.

Modern classical guitars generally follow standardized designs developed by master luthiers in the 1800s and the early 1900s. A few modern guitar designs incorporate radical innovations in materials used in the top and bracing, but it seems to me that almost all guitar builders and luthiers feel duty-bound to use the same neck and fingerboard dimensions, scale length, and body shape (plantilla) as the traditional designs from the 1800s. In other words all the classical guitars you are likely to see today will look virtually the same from the audience’s perspective, but more importantly they all feel the same in the hands of the players. This won’t do for me.

I think this is a mistake. We need guitars that accommodate different players’ personal preferences, and we need innovative designs. Fortunately these are beginning to appear on the market and gain popularity.

I don’t want or need a totally flat fingerboard radius. It’s just uncomfortable, particularly in those times when you make a barre. I don’t need the widest possible fingerboard width, because my left hand is accustomed to fingering music on strings that are more closely spaced. I also don’t want a fat, thick neck. So since there are a range of parameters, how would I decide on the ideal neck for me?

First let’s look at popular guitar designs and their typical measurements (individual models may vary slightly). I have ranked them from the narrowest designs to the widest designs. American measurements are usually expressed as inches with fractions, but to maintain sanity, I’ll convert everything into millimeters.



Nut width

String spread

at nut

String spread

at bridge saddle

Fingerboard radius
Fender Strat (traditional) 647 41 35 54 180    (greatest curvature)
Fender Stratocaster (modern) 647 41 35 54 240
Gibson Les Paul 629 43 36 52 305
Martin dreadnought 647 43 35 58.7 380
Martin fingerstyle 647 45 38 54 380
Parlor Varies



Varies (wide)


Traditional classical 650 52 44 57.5 to 60 Flat (no curvature)
“String spread” means the width between the lowest string and the highest string. This is narrower than the fingerboard width, since there needs to be extra wood on either side so that a string won’t pop off the edge of the fretboard if it’s fingered carelessly or used for the ever-popular pull-off maneuver on the high E string.

String spread at bridge saddle can be narrow if you’re playing with a pick. But if you play fingerstyle, and especially if you are playing an acoustic guitar and you have to dig in with your fingers to get a loud sound, you need wider spacing.

Some classical guitar manufacturers and luthiers permit the customer to order a traditional classical guitar with a wider nut width of 54mm, or a narrower one of 50mm.

Here are some American measurements: a Les Paul has a nut width of 1-11/16”, a Martin fingerstyle has a nut width of 1-3/4”, a parlor is 1-7/8”, and a classical guitar is 2-1/16”.

As a final note, 12-string electric and acoustic guitars usually have a nut width of 45 to 48mm, or 1-3/4” to 1-7/8”. More space is needed for the extra strings to be manipulated by your fingers. Rickenbacker 12-strings are a noteable exception; theirs are very narrow, more like a 6-string Strat.

Play a range of these guitars and you’ll realize that a difference of a couple of millimeters in any width makes a readily discernible difference in how the fingerboard feels, and how easy it is to play intricate fingerings. The question is, what can your hand adapt to? Will you adapt your fingers and technique to fit the guitar, or will you go the extra step of finding a guitar that fits the technique you have already developed? What if you have smaller-than-usual hands? As long as it doesn’t notably interfere with playing the music, it makes sense to me to find a compromise and get the narrowest, most comfortable fingerboard with the most curved radius that works for me.

Here’s the deal: Most models of crossover guitar have a nut width of 48mm, a string spread at the bridge saddle of 60mm, and a fingerboard radius of 380mm to 510mm. Thus they fall neatly between the measurements of a traditional classical guitar and a “fingerstyle” acoustic steel-string guitar. This is wide enough to play classical guitar music, but narrow enough for your average steel-string player to be able to adapt to a classical guitar.

When I went to a classical guitar store and told the proprietor that I wanted a guitar with a narrower fingerboard width and string spacing than standard, she frowned and said, “But you need all of that width to play classical guitar music”. Well, maybe you do, but I can’t get used to it. So for now, I need something that fits my fingers. Maybe in the future I could graduate to a full-width fingerboard, but for now, I need a crossover guitar.