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.