#1
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Ibanez FRH10N - First Impression
I apologize if this section (Classical) isn't the right section to post this in, however it seems we do discuss all things nylon here, and the FRH10N is absolutely a nylon string guitar (if not a "classical" guitar). Anyhow, on to my first impressions...
Out-of-the-Box Condition
Playability/Feel
Acoustic Sound
Plugged-In Sound
CONCLUSION
I hope what I've written above might be helpful to someone. Thanks for reading. |
#2
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Thanks for your review, good job!
This is a close as you're going to get for the correct forum to post a crossover review. Pretty much what I've seen reflected on Youtube for THIS model and the similar but higher priced "Tim Hensen" version. I think where they are weakest is the electronics. I'd opt to spend a bit more and get one of the Cordoba Stage models. Last edited by Rudy4; 03-17-2024 at 05:42 PM. |
#3
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Thanks for that nice evaluation! I had a chance to play one of the Ibanez models alongside one of the Cordoba Stage models yesterday for really short time at a GC. I will qualify my comments by saying that I am not an accomplished player; just a living room doodler.
Acoustically, I could hear the Cordoba a bit more (there was a bit of noise from a nearby humidifier, so my surroundings were not comparable to a late night at home. The Ibanez was softer. I tried to get my face in the sweet spot of that little sound hole on the upper bout, but it didn’t seem to offer a lot unplugged. But that’s not really the point of these guitars… Plugged in, the cordoba seemed “rounder/richer”. but it could get to be a bit muddy with the tone and blend controls. The blend control brought a bunch of body noise into the equation. I’m not much on the whole tapping/percussion thing, so I found it not very useful for me. The Ibanez sounded pretty well balanced and clean. I played into a Fishmann mini (I think??) with no chorus and just a wee hint of reverb, with the eq controls at noon. I didn’t find too much of the quackish piezoelectric pickup sound in either one. It was there for sure, but not as bad as some other guitars. Both could be quite useable just as they are, through a decent acoustic amp. I agree wholeheartedly on the nut width. If you’re looking for a pure feeling and sounding classical guitar, there are better alternatives. Either of these would be a nice addition if you just want to explore nylon tones into your acoustic playing, especially fingerstyle stuff. I thought the Cordoba would be a clear winner for me. But I’d want to run some type of mild processing with either one, so the Ibanez seems the better deal. I wish they’d had the Traditional Stage model, and maybe a C5CET Limited model to try. I liked them but not yet ready to commit to a purchase of one just yet. They are both quite keen looking. Aesthetically, I think the Cordoba gets my attention. The Ibanez felt more familiar for some reason. |
#4
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GMR,
I totally agree that the Cordoba sounds richer. It's got substantially better electronics for plug and play capability. For plug and play tone, the Cordoba Stage definitely wins. I think the FRH10N could likely be more comfortable for a lot of folks though, and I think that's the only thing it's got going for it I think. Well, and that it's comparatively quite cheaper. ALL, A few things to add after a few more days with the FRH10N:
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#5
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Quote:
The bridge is listed as walnut, and with a long time association with instrument building, I have reservations in use for a classical style bridge with tied strings. Most classical bridges that I'm familiar with don't have the tie block inlay extend to the back edge of the bridge so I don't think that's the problem. Walnut can vary a lot in it's ability to resist deformation, so that might be a bigger factor in the case of this bridge. Rosewood or ebony is more the norm as a classical bridge material. String beads would solve that, but I'm not a fan of the look. Cleanly tied and finished strings are more preferable to me. I've come close to picking up a Cordoba Stage when there was B stock listed at $500, but there are a few things that kept me back from that. Sitting in my easy chair and playing has really made me love the unique tonality of an acoustic nylon strung guitar, so the combination of that, coupled with 24-1/4" scale length and 1-7/8" nut width of my Cordoba Cadete has made it a lot more difficult to pick up one of the acoustic-electric nylon strung instruments. I DO play amplified fairly often, so that's a bit of a dilemma for a nylon strung guitar. I'm in the process right now of adding the JJB version of the K&K classical guitar 4 transducer pickup to my Cadete. I use a K&K Pure in my steel string for home and gigging and love them. I'm hoping the 4 transducer pickup works for the Cadete as well. Part of the problem with the 4 transducer pickup for "classical braced" acoustic guitars is the actual installation, but I have a brand new sensor positioning jig that I think will be very easy to use and it's something I've never seen done before. Last edited by Rudy4; 03-24-2024 at 09:40 AM. |
#6
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Rudy4,
Thanks for the info on walnut! I didn't know that before, and now I know something to look out for in the future. All, I'm far far FAR from an accomplished player, but I uploaded a few brief direct input recordings to my google drive in case anyone is interested: FRH10N Demo ClipsI used the cheapo Fender Mustang LT25 as described in my previous post, and simply plugged directly into my PC via USB cable, and recorded with Audacity (free software). The recordings aren't anything special, but they should help support that the sounds you hear on YouTube and the like are somewhat accurate. |
#7
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Quote:
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#8
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Quote:
I'm currently campaigning for a Cordoba Stage.
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Barry My SoundCloud page Avalon L-320C, Guild D-120, Martin D-16GT, McIlroy A20, Pellerin SJ CW Cordobas - C5, Fusion 12 Orchestra, C12, Stage Traditional Alvarez AP66SB, Seagull Folk Aria {Johann Logy}: |
#9
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Interesting instrument...looking at pictures, there's a soundport? And no controls for the pickup?
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#10
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Quote:
About the pickup, it's my opinion that it's intended to only be Step 1 in a larger chain that is micromanaged by the user. The instrument is not trying in any way to be anything more than exactly what it is, a piezo in a COMFORTABLE body. Adding EQ, IR, and a cab does wonders. A Cordoba Stage or Godin Multiac Duet Ambience will get you a much more developed tone straight out of their output jacks than the FRH10N. For most, I think those other options will be better for them. After having played around with a PADI and experimenting with a multi-effects unit (effects, amps, cabs, etc...), I kind of like keeping the instrument's electronics simple, and having the other tone shaping aspects outside of the instrument. What it's done is allowed me to create somewhat of a preset for any simple nylon guitar with an under-saddle piezo, and I'm less reliant on the proprietary electronics of a specific guitar to get an acceptable tone. But it's a lot more tweaking and effort to do it this way, so I can't recommend it. It might be a better long-term setup for folks on a budget though, because if this FRH10N ever becomes irreparable, I can go get any other relatively inexpensive piezo-only instrument and get running somewhat quickly. I wouldn't need to drop the cash to buy a whole new Godin. |
#11
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This thread was one of the few things that came up when I was looking for discussion on the FRH10N.
I bought one recently for a pit orchestra musical theatre run. I've had the guitar now for almost a month and I can't put it down! I'll add a few things to this super-informative thread:
So while I walked into the music store ready to buy a Multiac, I ended up walking out with this FRH10N. It's almost one-third the price and really has no business sounding this good FOH. |