What better place of origin than Spain for getting a nylon-string guitar? There's no doubt about it. This guitar maker is based in Valencia, Spain. Its handmade instrument production dates back to 1963, and it builds various models divided into the following series: classical collection, ecological collection, children's collection, cutaway collection and various other collections.
What caught our a
ttention about this instrument was its suitability for any guitarist, not necessarily a classical one. Also the STAGE's projection toward the development of a model that includes a truss rod in the neck to take steel strings, thus also offering an acoustic version. Following this production idea, the company will soon offer this model in red and blue finishes (in flamed maple).
The company is also researching and developing a model that includes a MIDI system, an idea we heartily encourage, because we guitarists need good MIDI instruments to avoid clumsy performances on a keyboard, since that's not our thing.
The body and concept of the instrument
Several things give us good clues about the build quality of this guitar. On the one hand, this is a traditional craftsman builder with a long history, who makes their guitars with special care and dedication, a trait shared by most Spanish makers of nylon-string guitars. You can check out their website to get an idea if you're not familiar with them (www.guisama.com). On the other hand, just reading the words solid ash, ebony and rosewood on the spec sheet whets the appetite of any self-respecting guitarist.
It's a light, friendly guitar. Its top has no soundhole at all; it's understated and discreet, and its body is less than 5.5 cm deep. That's why the instrument has little volume and body when unplugged, but it's clearly designed for "plugged-in" purposes, avoiding the complications of stage mics and feedback by running it straight to a line input. Something that makes life easier for both the musician and the sound engineer, although the latter (the writer smiles) may not love the fact that we can tweak the EQ and volume from our preamp, interfering with their control from the console.
I also find it very useful for studio musicians. Especially for those who record in modest studios and don't have very expensive condenser mics. Perhaps the best way to record would be to use one of those mics on one track and the preamp output on a second, for a richer mix.
The B-Band preamp
One of the most important parts of the STAGE, since what this instrument fundamentally has to deliver is its line output. In this respect, I have to say that the guitar performed excellently. The sound is absolutely natural and sensitive, and its preamp gives us exceptional flexibility.
The controls it offers are: treble, bass, mids, presence and volume. Alongside these small but effective pots is a low-battery LED indicator.
After various tests, we can say that the sound coming out of our monitors from the Stage is completely faithful and can be controlled to suit our needs.
Neck and headstock
The tuning pegs, in a pleasant wood finish, are precise and smooth. As for the neck, the model on our test bench felt a bit narrow to me at 46 mm, probably because I'm used to 50 mm on nylon-string guitars. Fretting this type of string (especially chords) felt a little cramped to me due to the lack of space, although it may be more comfortable for single-note phrasing. In any case, I think it's a matter of habit, and the manufacturer solves it by offering versions with two nut widths, 46 mm and 50 mm.
Conclusions
A perfect solution for electrifying our nylon-string guitar sessions. Good materials have been used, and it's built with delicacy and refinement. The sound is natural, the instrument is very responsive, every detail has been taken care of, and, in short, I think it's a more than satisfactory option. We eagerly await the acoustic version (steel strings) and the addition of MIDI systems.
