Cypress back and sides with a traditional neck.
Cádiz offers responsive and engaging nylon-string guitars of a quality and playability you’ll appreciate. Everything about them is considered and chosen. They are a new shape, different to classicals made in the past, slightly taller, slightly narrower, more elegant. The soundbox is more lightly built, the tops are graduated and each brace is custom cut and sanded with four varying widths in total.
The bracing design gives a slight nod to that of the Jose Ramirez III’s asymmetric architecture in the fact that these guitars have a treble bar. This is to stiffen up the treble side of the top a little more, which helps create very round, bell like trebles on the first three strings. The bass side of the top is light by using slightly thinner braces, which helps give the player very open, clear and strong bass response.
In order to make the guitars as responsive as possible, Alvarez had to keep them as light as they could in construction, while staying true to traditional design. So, in the standard models there are no truss rods. The necks are three-piece and a solid ebony center rod gives them the strength and lightness they need. Cádiz models are also made with a Spanish heel neck joint.
Ramirez and other great luthiers also influenced Alvarez when it came to choosing the scale length. The Cádiz scale length is longer than the standard 650 mm (25.6”) you will find on many classical guitars. At 660 mm (26”) the scale length raises the tension just a little and helps deliver more energy into the soundbox to harness and shape.
Other fine appointments include the use of traditional cypress wood for the flamenco model back and sides, which is paired with ebony binding. These classical models are stunning with dark walnut back and sides and acacia binding. Alvarez use AA Sitka tops on all Cádiz models. The saddle and nut are real bone, rosettes are wood mosaic and bridges and fingerboards are pau ferro.
The CF6CE features a great electronic system, an L.R. Baggs StagePro EQ and Element pickup.
The bracing design gives a slight nod to that of the Jose Ramirez III’s asymmetric architecture in the fact that these guitars have a treble bar. This is to stiffen up the treble side of the top a little more, which helps create very round, bell like trebles on the first three strings. The bass side of the top is light by using slightly thinner braces, which helps give the player very open, clear and strong bass response.
In order to make the guitars as responsive as possible, Alvarez had to keep them as light as they could in construction, while staying true to traditional design. So, in the standard models there are no truss rods. The necks are three-piece and a solid ebony center rod gives them the strength and lightness they need. Cádiz models are also made with a Spanish heel neck joint.
Ramirez and other great luthiers also influenced Alvarez when it came to choosing the scale length. The Cádiz scale length is longer than the standard 650 mm (25.6”) you will find on many classical guitars. At 660 mm (26”) the scale length raises the tension just a little and helps deliver more energy into the soundbox to harness and shape.
Other fine appointments include the use of traditional cypress wood for the flamenco model back and sides, which is paired with ebony binding. These classical models are stunning with dark walnut back and sides and acacia binding. Alvarez use AA Sitka tops on all Cádiz models. The saddle and nut are real bone, rosettes are wood mosaic and bridges and fingerboards are pau ferro.
The CF6CE features a great electronic system, an L.R. Baggs StagePro EQ and Element pickup.