Cordoba Fusion: QC & customer support ... lack thereof

[RJVB]

This is a buyer beware rant (some of it has already come up earlier, so thanks in advance for your patience...!).

I have been looking for a classical guitar with a more modern sound and a narrower neck, for playing contemporary classical and crossover repertoire using mostly classical technique. I thought to have found this rare breed in the Cordoba Fusion 14 Maple, an instrument which doesn't seem to have a single bad review, from a maker known for its classical guitars. Note that this is an instrument with an official price of nearly 900€. For that price I expect decent construction and no need for more than a common set-up to achieve correct playability and intonation for use by, say, an intermediate-level musicschool student or as a secondary instrument by an established player (I happen to be both).

I found a good trade-in deal on my Seagull mini-jumbo with which I'd never bonded, got the Cordoba just after the summer holidays and was immediately deceived: intonation is audibly sharp almost everywhere, including on the lowest frets; see CordobaFusion14Maple-intonation - Google Sheets... for a table with stabilised intonation errors (intonation just after plucking the note can up to 20 cents sharp which makes playing the higher frets unbearable).

Worse, there are at least 5 frets among the lower 12 that have gaps under them (I measured up to 0.5mm) which leads to annoying fret buzz esp. with rest strokes. I find this unbelievable from a maker of classical guitars and in an instrument with otherwise near perfect luthery. It should require almost no training to be able to seat frets correctly (=completely) with the tools that must be used for this in their factory factory.

An initial attempt to contact the brand about this remained unanswered, but my vendor (Boutikazik in Amiens, France) succeeded (after weeks) to get the French importer to have the instrument checked by their luthier. This person concluded that the instrument is within factory specs, again weeks later. I recontacted the brand again, this time also leaving the same message on their Facebook page: still no reaction.


Bringing up my issues on the 2 forums where I'm active triggered "me too" reactions from others confirming that Cordoba's QC wasn't what it used to be, at least not in the Fusion range. Indeed, my vendor already rejected the 1st instrument they received because the neck was in wrong, and if I had been able to test-play it more thoroughly I would have rejected this one myself.

I know you can't expect perfection in this price category, but that Seagull I traded in had cost the same 3 years ago and was perfect enough after a simple set-up and a drop-in saddle replacement.

Anyone else who has similar experiences with the brand or this particular line: don't hesitate to add them here so others can make better informed buying decisions.


Meanwhile I'm juggling my choices - leave the guitar in consignment with the vendor, or have it shipped back and try to sell it myself trying to avoid telling why. Cranking up relief and compensating the nut by sticking a toothpick against it (under the strings) makes the guitar just about bearable for my guitar ensemble work amidst instruments that probably cost 2-3x less.

[Doctor Jeff]

I can’t comment on your experience, but I recently got a Cordoba Stage which is (IMO) darn near perfect. No fret issues or intonation problems. It is apparently made in China.

Where is the Fusion 14 made? That’s a shame about your guitar, because it looks beautiful and should fit the bill for a lot of players.

[Woody Sound]

I had the rosewood version of the Fusion 14. It was perfect. Kind of a long time ago. The only reason I sold it was that I wanted something thinner.

[RJVB]

I can’t comment on your experience, but I recently got a Cordoba Stage which is (IMO) darn near perfect. No fret issues or intonation problems. It is apparently made in China.

Where is the Fusion 14 made? That’s a shame about your guitar, because it looks beautiful and should fit the bill for a lot of players.

It's beautiful indeed, with near flawless woodwork (the bridge is 1 degree off perpendicular to the centre line though) and it has a sound to go with that if you ignore the intonation and buzzing). It's also made in China.

I had the rosewood version of the Fusion 14. It was perfect. Kind of a long time ago.

I know, and your feedback was part of why I had confidence (no reproaches here of course!).

My hunch is that they've let things slip, possibly because of budget cuts, possibly because they're focussing on the Stage, possibly because the Fusion line doesn't do so well anyway.

I don't know to what extent the high frets would be a real problem when you're strumming the instrument, or playing it with a gentle touch because through an amp. But I can't imagine a reasonably trained musicien who'd find the intonation bearable. The table I made lists the stabilised errors measured with careful fretting of a single note; actual errors while playing are typically higher.

[Doctor Jeff]

It's beautiful indeed, with near flawless woodwork (the bridge is 1 degree off perpendicular to the centre line though) and it has a sound to go with that if you ignore the intonation and buzzing). It's also made in China.




I know, and your feedback was part of why I had confidence (no reproaches here of course!).

My hunch is that they've let things slip, possibly because of budget cuts, possibly because they're focussing on the Stage, possibly because the Fusion line doesn't do so well anyway.

I don't know to what extent the high frets would be a real problem when you're strumming the instrument, or playing it with a gentle touch because through an amp. But I can't imagine a reasonably trained musicien who'd find the intonation bearable. The table I made lists the stabilised errors measured with careful fretting of a single note; actual errors while playing are typically higher.

Hopefully it was just a fluke. There are plenty of stories of poor Gibson QC of course...

Despite what you said about budget cuts etc., it seems shortsighted to make a beautiful guitar to sell at that price and not make it a quality product. Was it made in '21 or '22? I wonder if COVID affected production (through workforce shortages), as it has with so many things?

[Woody Sound]

I know, and your feedback was part of why I had confidence (no reproaches here of course!).

I liked it so much I wrote to them asking if they had any plans for a thin model, not expecting an answer. I was surprised to get one right away, but unfortunately they said no. Which is odd, because they have thin version with tradition 2" flat necks, but no thin versions with crossover necks. Seems kind of ass-backwards to me. You would think just the opposite would be logical.

[RJVB]

Despite what you said about budget cuts etc., it seems shortsighted to make a beautiful guitar to sell at that price and not make it a quality product. Was it made in '21 or '22? I wonder if COVID affected production (through workforce shortages), as it has with so many things?

Funny you say that; the consensus elsewhere seems to be that "you can't expect a quality product at that price" ... Comparing to the Seagull again: that one had rough kerfing and bracing. Looked kind of amateurish but I've always taken it as a reasonable way to keep the price low. It did also have a thin saddle that but no real issues otherwise. It just wasn't as suitable for fingerpicking as I'd hoped.

I haven't been able yet to translate the Cordoba's serial number to a year of production. A link to COVID seems likely, but why only for the fret seating (supposing the intonation can indeed be fixed with a proper saddle without need for an "overhang"!)

I liked it so much I wrote to them asking if they had any plans for a thin model, not expecting an answer. I was surprised to get one right away, but unfortunately they said no.

Heh, your question must have pleased them more. But isn't the GK Studio a thin model?

[Woody Sound]

But isn't the GK Studio a thin model?

Yes, but read the rest of my post again.

[RJVB]

Yes, but read the rest of my post again.

Ah, right, the 50mm wide flatness. I have never played on a flat fretboard guitar as far as I can remember but it's hard to imagine the difference with a 16" radius is so big that it'd make the guitar unplayable if you're not used to it. Does it? Or is it thumb-over techniques that become too difficult?

[2bornot2bop]

I too purchased a Rose finish of the Fusion 14, around 2013 or so. $450 new, and the guitar played flawlessly. Arrived with a fresh setup from the dealer who guaranteed the guitar with a free return, including shipping, if for any reason I wasn’t fully satisfied. I still have that guitar, that’s been in its case since 2014.

But that guitar model has been around since what, 2010 or so? I wonder if you acquired a B stock instrument that has made its rounds? Sorry to hear of your experience!

[RJVB]

It came brand new from the importer, and still has only that single dig I foolishly let happen. There's no way of knowing though how many times it had already made the rounds to other vendors, nor what's happened to that 1st instrument that my vendor rejected...


I got an answer from Cordoba!

I am very sorry to hear about your experience with our instruments...

However, IMS is our trusted distributor in your area, and we standby their assessment.

I would suggest sharing this information with them and inquire about another assessment with this information in mind.

"Interesting" suggestion:

Dear Mr. or Mrs. IMS,

I contacted Cordoba for their opinion of the issues I identified on my Fusion 14 Maple, and the fact that you claim those are conform to the builder's specifications.

They suggested I let you know that you are their trusted distributor in my are, that they are on standby of your assessment, and if you'd please be willing to re-assess the instrument with that information in mind. I think that they're trying to tell you that it's OK to reject it, without saying as much.


I'm all ears for a suitable closing formular!

[Simon1234]

Last year I bought a brand new Fusion 14 from a guitar shop, but had to return it the day after because the bridge piezo under the G string wasn't working.

I didn't spot it in the shop, because I was just after an acoustic couch guitar and simply didn't think to try it plugged in. Live and learn.

Shame, because it was a nice guitar (and definitely superior to the Fusion 5 in fit finish and tone). I know it was brand new because I saw the guy get it from the new stock in the back room and unpack it all. Hadn't even been put out for display yet.

Shop guy was great - refunded no quibble, so I didn't need to deal with Cordoba customer service.

So while I would certainly consider buying another Cordoba, I won't wholly rely on their QC checks next time and will do my own too.

[Jimmy Mack]

Sorry to hear of your troubles with the guitar, very sorry.
I read great reviews about Cordoba classical models, played a Fusion at GC, liked it a lot, and decided to order a more expensive model, a C10, more of what I wanted which is recommended by everyone!

Well, being very conscious of tone and response, I returned it. Not happy with it. I then went and played more Cordoba's. They all seemed have the same problems. Even one at twice the price.

I went to try out a Kremona at GC. They had a Cordoba Fusion so I played. It was very nice, but not what I wanted. I bought the Kremona, and I still have and enjoy it.

I think Cordoba's reputation exceeds its offerings.

It's Very important to audition a guitar, I guess this applies to acoustic instruments even more. And it's important to play on all registers, ALL notes on ALL strings, and have a return option that's liberal.

[Woody Sound]

I then went and played more Cordoba's. They all seemed have the same problems. Even one at twice the price.

What problems were those?

[RJVB]

Last year I bought a brand new Fusion 14 from a guitar shop, but had to return it the day after because the bridge piezo under the G string wasn't working.

Heh, I never even plugged mine in. I just know the tuner works for all strings, but I've seen the UST. Hard not to, it pushes the saddle up if you take all strings off (the saddle also falls out then, IMO it shouldn't). The UST does look as if it's bent not exactly in the right location but I always figured that I'd be dialing up the internal mic to the max if I were going to plug in. That "blend" system was actually one of the deciding features for me.

Kremona... there's a guy on the Delcamp forum who's favourite response to any slightly relevant question is how perfect his Kremona 90th Anniversary model is. I have been interested in their Lulu Reinhardt models but they were over my budget and there are (almost) no recordings of it being played acoustically in the kind of repertoire that I'd be interested in. I also considered a Breedlove Pursuit nylon model or the Cort Gold OC-8n which I still find interesting but which were all just too much over budget here.
Given the musical desert where I live I am very much dependent on recordings because it'd be a big expedition to go to a shop where I can try at leisure without being in the way of other customers, getting comments (as happened when I tried to test the Fusion) or having to deal with background music and other shop noises.

I've had the Fusion for too little time to get a good idea of how it sounds. At home my impression was "loud but rather asceptic/soulless" which could have to do with the maple B&S not being broken in. But my little man cave in the attic doesn't have a very pleasing acoustic (I play facing the slanted roof, which is covered with chalet-style wood panelling); the few times I really noticed my own sound during ensemble playing in a bigger room I was rather surprised at the warmth of it.

[Cavalier]

Ovation 1624 Country Artist.

[RJVB]

Not that I intended this thread to discuss what I should have gotten or might get now, but this one just shy of 1000€ on the wrong side of my budget :-/

Noemi Schembri Classical Model N-CR Crossover - The Fellowship of Acoustics

[Woody Sound]

Ovation 1624 Country Artist.

Ovation Viper Nylon.

Ovation EA 63 Viper Nylon Electric Chambered Body Rare w/ HSC | Reverb

[RJVB]

(oh wait, that's a harp without strings...)

[Cavalier]

Ovation Viper Nylon.

Ovation EA 63 Viper Nylon Electric Chambered Body Rare w/ HSC | Reverb

I've played one, nice but sounds a bit plankish in comparison. The 6778 gives you the cutaway....

Like the dulcimer and lute!

[Woody Sound]

The 6778 gives you the cutaway....

I think that's a steel string. (And I think I had one.)

[Cavalier]

Oops, my bad.... I have one too...
6773 is the number.... I think.

[RJVB]

There's almost any number of nylon-string guitars that require amplification. Heck, I could probably have gotten a decent amplified sound out of my Seagull with nylons on it.

I bought a Cordoba because it is built like a classical guitar, and its unplugged voice has the dynamic range you'd expect from a CG in that price range. It also has a combined UST+mic Fishman system built in so you can get a quite natural amplified sound from it too.

If we want to turn this into a "buy rather this than a Cordoba" thread, great, suits me! But please let's stick to models that are acoustic first and that don't give an instant Chet Atkins sound when plugged in.

[Cavalier]

We'll between the nut and the bridge you should have enough scope to adjust the intonation if you like the guitar.
Kremona makes good guitars, if you find a model that suits you they punch above their weight. Same with the Godin nylons like La Patrie.

[Ilushikifa]

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