Studio vs concert guitars

At CGA, studio guitars sit between entry-level instruments and the full concert collection. They are serious, budget-conscious choices for developing players and committed amateurs, selected for musical quality, response and comfortable playability. They offer room to grow, and need not be a temporary purchase.^[1]

What defines a studio guitar? looks more closely at the qualities to expect.

Our concert guitars focus on further refinement, sensitivity, projection and expressive range. Traditional, modern and historically inspired designs can all belong here. The term describes musical ambition and capability; it does not restrict ownership to professional performers.^[2]

Terminology varies between makers: ‘studio’, ‘estudio’, ‘conservatory’ and ‘concert’ are not universal standards. CGA’s categories help organise a shortlist, while each listing describes the individual instrument. What defines a concert guitar? explores those qualities more closely.

An attractive core sound, clear musical lines and a willing response matter in both categories. A good studio guitar can have singing trebles, resonant basses, useful tonal variety and enough projection for the music and setting you have in mind. It should make careful practice more rewarding, rather than merely tolerate it.

The table describes tendencies, with considerable overlap. It cannot predict which of two guitars you will prefer.

A concert instrument may reveal smaller changes of touch, sustain a melody more convincingly or keep closely spaced voices distinct. Its tonal complexity might lend depth to a slow phrase; a wider expressive range can give repeated material noticeably different characters. These benefits are worth hearing in music you actually play.

Projection means more than immediate loudness. A guitar may carry a clear melody across a room while leaving its accompaniment in proportion. Greater dynamic headroom can let you build a climax without the sound becoming strained, while sensitivity at the quiet end helps delicate notes speak. Neither property is exclusive to concert guitars.

Further refinement is useful when you enjoy and can draw on it. It may be subtle, and a more complex voice is not automatically your favourite. A direct studio sound can suit your musical taste better than a highly resonant concert instrument.

Construction tells you how a maker approaches the instrument, not how successfully it will meet your needs. CGA’s studio Antonio Picado Model 60DT (2023) has a spruce soundboard and a layered rosewood/cedar back. Steve Toon’s concert Cedar Doubletop (2025) instead uses a Nomex-core soundboard. The similar names refer to different parts of the guitar; ‘DT’ alone cannot settle a comparison.^[4][5]

Wood species are clues, too. Cedar or spruce? explains why familiar tonal descriptions need qualification. Decorative rosettes and striking timber may give pleasure, but do not establish sound quality. Price reflects many factors, including labour, materials and condition; it is context rather than a verdict.

In a Savart Journal study, seven classical-guitar students compared twelve instruments. There was broad agreement at the most and least favoured ends, but substantial disagreement elsewhere: one guitar received both highest and lowest rankings. Measured frequency responses showed no clear correlation with the subjective ratings. This small, non-blinded study did not compare CGA’s categories or establish that price is irrelevant. Its practical lesson for this guide is to judge the actual guitar, allowing for individual preference.^[3]

For lessons and practice, prioritise a sound you can shape and a comfortable instrument you want to pick up. At home, quiet response and an enjoyable voice may matter more than maximum carrying power. In an ensemble, try the balance and clarity against other instruments. For performance, consider the room, repertoire and whether amplification is available.

A developing player seeking a meaningful improvement might choose a studio guitar with clearer melody notes and easier fretting, leaving money for lessons. Identify what needs to improve using When should I upgrade to a concert guitar?, then compare against your present instrument.

An amateur playing mainly for enjoyment might keep a studio guitar whose voice feels right, or choose a concert guitar because its colours make favourite pieces more satisfying. You do not need to earn a fine instrument through a particular playing standard.

A performer might seek a sustained upper-register melody, precise quiet attacks or clearer projection in a hall. A concert shortlist may help, but the purchase should answer those specific needs. Choose a comfortable spending limit first; a smaller outlay that meets your musical priorities is a successful decision.

Allow time for unfamiliar instruments to settle into your hands before judging them. Neck shape, action, string spacing and scale length affect fit in either category. For example, CGA records a 640mm scale for both the studio Jellinghaus Torres FE17 1A and the concert Torres FE13. The category alone does not determine reach or comfort.^[6][7]

1. Keep conditions comparable. Use the same room, chair, support and tuning; note differences in string type, age and setup. Compare a small shortlist, with breaks to keep your ears fresh.
2. Play familiar passages. Include a slow melody, an arpeggio with separate voices, a barré and a higher-position phrase. Listen for balance and sustain while noticing effort and comfort.
3. Vary the expression. Repeat a phrase quietly and strongly, then change right-hand position and attack. Notice whether colours and dynamics are useful, controllable and pleasing to you.
4. Listen from a distance. Ask another player to repeat the same passages on each guitar while you sit several metres away. Their touch affects the result, but you can hear how the melody and accompaniment carry.
5. Return to your favourites. Give each adequate playing time, revisit your current guitar and write down what improved. Ask whether any setup adjustment is realistic before dismissing an otherwise appealing instrument.

Choose the guitar that makes your music more satisfying at a cost you can comfortably accept. That may be a studio instrument you keep for years, or a concert guitar whose particular refinement you love. Either can be the right destination.