Takamine vs Cordoba classical electric

[mpeltz]

I currently own a CD132SC Takimine Classical/electric guitar. I play out quite a bit and this instrument has worked well for me. I also teach and have recomended Cordobas for my classical students. They are affordable and play really well....actually better than my Takimine!? Soooo, I ordered a Cordoba C7-CE CD/IN Acoustic Electric classical. I'm hoping it plays as well as the ones I have gotten for my students. I wish I could afford a hand made instrument but for the time being, I must relly on these good production ones. Curious if anyone has any comparitive info or experince with these two guitars. The Cordoba has a Fishmen preamp were the Takamine has it's own system. Thanks for any input.

[Norman2]

Hi, Takamine can't match Cordoba Nylon Strings Guitars. They were all designed
by Kenny Hill when Cordoba moved the bulk of their operation to China. Not only
do Cordobas use better tonewoods and designs but have a tremendous Quality
Control Department. Regards
Norman2

[Ceabeceabe]

Once you get your C10, it would be great if you did a short review comparing the two. I suspect they will compliment each other pretty well.

It has been a while since I have played each guitar, but there are some generalizations that can be made.

Takamine made its mark in part through its electronic systems, and are known for being solid workhorse guitars. The 132 series is beloved by those I know that have them. Cordoba guitars are currently quite popular, and have been so for the past few years.

In my experience the Takamine classicals are a bit on the heavier side in terms of weight. Cordobas are nice guitars, but at least in my experience they can vary a bit in terms of neck shape and tone.

The necks on the Takamine are likely to be a bit more traditional in shape and width. Takamines are a bit more traditional in build and bracing. The Cordobas will be more modern in terms of neck shape and width, and will probably be more modern in terms of build and bracing.

If you've been suggesting Cordoba for your students, I think it makes sense for you to get one for yourself and see how you like it.

Curtis

[Ned Milburn]

Originally Posted by Ceabeceabe

Takamine made its mark in part through its electronic systems, and are known for being solid workhorse guitars. The 132 series is beloved by those I know that have them. Cordoba guitars are currently quite popular, and have been so for the past few years.

In my experience the Takamine classicals are a bit on the heavier side in terms of weight. Cordobas are nice guitars, but at least in my experience they can vary a bit in terms of neck shape and tone.

The necks on the Takamine are likely to be a bit more traditional in shape and width. Takamines are a bit more traditional in build and bracing. The Cordobas will be more modern in terms of neck shape and width, and will probably be more modern in terms of build and bracing.

Agreed with Takamine seemingly being more focused on the electrified sound rather than the acoustic sound.

I don't understand your point about Takamine having more "traditional" neck shapes, and that Cordoba guitars are more modern of neck shape and bracing. Rather nebulous...

What, to you, is a traditional neck shape?? And a modern neck shape?? And the Cordoba's modern bracing vs. Takamine's traditional bracing...??

[Ceabeceabe]

Ned - your questions/critiques of my post were well placed - my apologies!

Takamine' site generally touts the traditional goals of their builds, while Cordoba generally touts the "modern" approach, wanting to be part of the evolving nature of the classical guitar. The 132 series has ladder bracing, while the C7 has fan bracing (at least according to their respective sites). The C7 has the C shaped neck with less wood on the sides of the neck profile. I thought that the 132 series had a more U shaped neck with more wood on the sides, but it looks like I was likely wrong about this.

(Cordoba's site has a good visual diagram of the two different neck shapes.)

Curtis

[mpeltz]

Thanks Curtis and all the others that replied. I'm most impressed with the "ease" with which the Cordoba playes. Even the least expensive Cordoba seems to have better action and playes more comfortably than my Takamine. I have set up my Takamine and it is about as good as it gets. I love the guitar but playing the Cordoba that my students have gotten is much more fun We will see. I will take the advice and do a review. We will see how the tone and electronics compair. I was looking at a Taylor crossover nylon string, but I could not get used to the difference in neck width. played well (I did get to try one out) and sounded good, but I didn't feel like changing my whole playing style. I thought it would help with some of the difficult streaches and reach on some pieces but its not worth the big change. Just gotta practice more

[Ned Milburn]

Originally Posted by Ceabeceabe

Ned - your questions/critiques of my post were well placed - my apologies!

Takamine' site generally touts the traditional goals of their builds, while Cordoba generally touts the "modern" approach, wanting to be part of the evolving nature of the classical guitar. The 132 series has ladder bracing, while the C7 has fan bracing (at least according to their respective sites). The C7 has the C shaped neck with less wood on the sides of the neck profile. I thought that the 132 series had a more U shaped neck with more wood on the sides, but it looks like I was likely wrong about this.

(Cordoba's site has a good visual diagram of the two different neck shapes.)

Curtis

There we go! That makes more sense! Thanks. ;-)

Originally Posted by mpeltz

I'm most impressed with the "ease" with which the Cordoba playes. Even the least expensive Cordoba seems to have better action and playes more comfortably than my Takamine.

Both instruments can be set up with the same action, so basic "playability" can be made pretty much equal (if scale lengths are the same). With a longer scale length, any given tension of string will be tighter, so can sometimes feel harder to play. But that said, different soundboard constructions will also affect the "response" of the instrument when a note is plucked and as it is sustaining (decaying). This response can also affect the player's tactile feedback which we tend to group into "playability" in general.

To give a truly fair comparative assessment, all these factors - nut slots, frets, 12th fret action, fret surface bow (controlled by truss rod when available, and controlled by advanced fret work when not) - should be equal before comparison.

It may be a good idea to add that if frets are out somewhat, then the action won't able to be lowered as much without buzzing. On guitars that are a year old or more (usually from 3 years old and older), there will sometimes be a displacement of fret surfaces near the heel/body joint due to differential shrinkage rates of wood due to grain orientations. The ultimate result is such that on a classical guitar, the 12th and sometimes 13th frets end up being slightly higher than the 11th and preceding frets. This can be easily rectified by light fret work in that area.

[Red_Label]

Originally Posted by mpeltz

Thanks Curtis and all the others that replied. I'm most impressed with the "ease" with which the Cordoba playes. Even the least expensive Cordoba seems to have better action and playes more comfortably than my Takamine. I have set up my Takamine and it is about as good as it gets. I love the guitar but playing the Cordoba that my students have gotten is much more fun We will see. I will take the advice and do a review. We will see how the tone and electronics compair. I was looking at a Taylor crossover nylon string, but I could not get used to the difference in neck width. played well (I did get to try one out) and sounded good, but I didn't feel like changing my whole playing style. I thought it would help with some of the difficult streaches and reach on some pieces but its not worth the big change. Just gotta practice more

In nylon strings, I've owned and gigged low-end Takamine's, Breedloves, Rodriguez, and Cordobas. And I've had high-end (hand-made) Takamines, Breedloves, Rodriguez and Cordobas. All were/are great guitars. But for the money and my personal preferences... the Cordobas are without question my favorites. I've had four Cordobas (GK Studio, GK Pro, 55FCE and FCWE Reissue) and all were awesome guitars. I quit playing acoustic for a while, so I sold all but the Reissue. I've been back into it for a while and even though I have three different nylons at the moment, the FCWE is the only one that I go for. But it must be added that my preferences are for flamenco-style instruments and not straight classical ones. I like the explosiveness, punch, and liveliness of them... versus the mellow tone and vibe of classicals. So my preference for Cordoba is certainly influenced by the fact that all of mine have been flamencos... whereas most of the guitars from other makers were more oriented towards classical, jazz and crossover.

Btw... my favorite nylon string ever was my Cordoba GK Pro. It was a wonderful instrument. I would have never parted with it but it was during that time I stopped playing acoustic and a local classical guitar student at the college fell in love with mine and basically pestered me out of it (as well as making a very good offer). My point is that I actually liked that high-end Chinese-made GK Pro even more than my Spanish-made 55FCE and FCWE. I really enjoy my FCWE... but I'd trade it for my old GK Pro in a heartbeat if that kid wanted to. (Though the sensitive ulnar nerve in my right forearm no doubt prefers the thinner-bodied FCWE.)

[mpeltz]

I know a good "set-up" can make a big difference in how the instrument plays. My Takamine was about as good as it was going to be. It was purchased used and is probably over 15 years old. It will be interesting to see how this all works out. I'm still waiting on the Cordoba. It is new. From what I am reading so far, it does sound like it is a better instrument. We will see. Thanks again for all the input. It is so great to be able to get feedback from so many different prospectives. Only wish there were more local artist to "work with" and share ideas and questions but this will have to do. and it is working great so far.