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"A roomy, stage-ready nylon hybrid that gives classic feel and electric control at a very fair price."
I spent several weeks living with the Harley Benton Hybrid Nylon NT to see whether a hollowbody nylon hybrid could be practical for both practice and plugged-in work - and it surprised me. It blends a familiar classical neck and playing geometry with a thin hollowbody that makes fingerstyle and amplified performance comfortable and reliable.
First Impressions
Right out of the case the Hybrid Nylon NT looked a step above what I expected in this price band - the high-gloss natural finish shows the Sitka spruce top and nicely figured mahogany body, and the single-cut silhouette makes it feel modern rather than museum-like. The neck profile is a fairly chunky C and the 52 mm nut width gives a classical spacing that felt immediately comfortable under my thumb and fingers, while the shallower hollowbody made the guitar sit well when standing or on my lap. The little details - clean fretwork, solid die-cast tuners and a rosewood bridge with a compensated bone saddle - reinforced that this is intended as a working instrument rather than a toy.
Design & Features
The Hybrid Nylon NT is built as a hollowbody single-cut with a solid Sitka spruce top and mahogany back and sides, paired to a bolt-on African mahogany neck and a rosewood fingerboard - the woods and dimensions give it a familiar, warm organic tone acoustically. It ships with D'Addario Pro-Arte nylons, 21 frets, a 628 mm scale and a 52 mm nut, plus two control knobs on the top for volume and tone that operate the onboard piezo preamp. There are two plastic covers for the electronics cavities on the top - tidy and functional - and the headstock features open-style vintage-ish tuners that hold tuning well once the strings settle.
Build Quality & Fit
Overall the finish and fit are very good for the asking price - joints are tight, the frets are dressed cleanly and the polish on the top gives a premium look under stage lights. That said, I noticed a small finishing overspray and the inside of the f-hole routs had a few rough spots that didn’t affect tone but are visible if you peer inside - nothing structural, just cosmetic. Nut and saddle work was solid; the compensated bone saddle helped intonation across the nylon set, and the factory setup was playable though I dialed action down slightly to match my fingerstyle preferences.
Playability & Comfort
For classical players the 52 mm nut feels instantly familiar and comfortable for fingerstyle, and yet because the body is shallower and the cutaway gives easy access to the upper frets, electric players will feel at home too. The neck is a little meatier than some modern nylon hybrids which I liked for sustained chord work and position playing; the guitar is not slim like a modern electric but strikes a good balance. Weight is reasonable thanks to the hollow construction - it’s easy to gig with for a few hours without shoulder fatigue.
Electronics & Amplified Sound
The onboard piezo system with a simple preamp and two top-mounted controls does exactly what it should - it gives a direct, usable nylon sound into an interface or acoustic amp with minimal fuss. I recorded DI takes straight into my audio interface and found the signal was clean and detailed; a touch of tone rollback on the onboard control made the captured sound warmer and more natural. My only consistent quibble - which I verified across different amps and DI chains - was a slight lack of energy on the low E string through the piezo compared with the higher strings, so I sometimes boosted lows at the desk or used a mild EQ to restore balance when I needed a fuller nylon bass response live.
Real-World Experience
I used the Hybrid Nylon NT in a small rehearsal and several tracking sessions - unplugged it has a surprising presence and responds well to dynamic touch, while plugged in it is convenient and stable for live use thanks to the feedback-resistant hollowbody design. For fingerstyle and Bossa-jazz the guitar was expressive and balanced; with a pick it handled strummed, percussive parts well too though you’ll lose some of that woody warmth compared with a full-depth classical body. In mixed-band settings I appreciated the cutaway and the direct piezo output for quick stage setup - it sat in the mix without fighting the monitors.
The Trade-Offs
If you want the absolute most natural nylon sound unplugged you’ll still prefer a deeper-bodied classical with a microphone - the Hybrid trades some acoustic depth for practicality and amplified convenience. The piezo is functional and stage-ready, but as noted the low E comes through a little lighter than the rest of the register so expect minor EQ work for solo amplified passages. Also, Thomann-style value manufacturing means occasional cosmetic nitpicks - I saw small finish blemishes around the f-hole rout - but nothing that compromised playability or tone.
Final Verdict
The Hybrid Nylon NT is one of those instruments that delivers far more than its price tag suggests - classy looks, comfortable classical neck feel, sensible modern features and an onboard pickup that works for stage and studio. I’d recommend it for gigging classical players who need reliable amplified performance, for acoustic-electrified songwriters who want a nylon voice with electric-era ergonomics, or for anyone who wants a versatile working instrument without spending thousands. If you need flawless cosmetic perfection or a mic-like unplugged voice, look at deeper traditional concert guitars - but for hands-on versatility this guitar is hard to beat at the price.
Helpful Tips & Answers
- Is the neck comfortable for both classical fingerstyle and contemporary playing?
- Yes - the 52 mm nut and C-shaped mahogany neck give a classic spacing and feel that suits fingerstyle, while the shallower body and cutaway make contemporary position work and strumming comfortable.
- How does the onboard pickup sound plugged into an amp or interface?
- The piezo preamp is clean and stage-ready - it captures the nylon character well but I found the low E a touch lighter than the rest of the strings so a small EQ adjustment helps for a fuller amplified tone.
- Do I get a case or gigbag with the guitar?
- No - the guitar ships without a case or gigbag, so plan to budget for protection if you intend to travel or gig with it frequently.
- Is the factory setup playable out of the box?
- Yes - it is playable straight away, though I lowered the action slightly and checked saddle height to match my fingerstyle preference for maximum comfort.
- How is the overall build quality for the price?
- I found the workmanship to be very good for the category - tight joints and well-dressed frets with only minor cosmetic finish imperfections around the f-holes.
- What strings does it ship with and will I need to change them?
- It ships with D'Addario Pro-Arte nylons which are excellent; you can play them for a while before changing, depending on your tonal taste and playing habits.
Reviewed Oct 08, 2024by Musicngear Verified Community Reviews
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"A refined German-made crossover that balances classical feel with modern amplified clarity."
Review of Lakewood M-32 CP Crossover
I spent a couple of weeks living with the Lakewood M-32 CP Crossover and came away impressed by how naturally it sits between classical tradition and modern gig-ready needs - it feels like a classical guitar that learned how to translate itself onstage. My focus was on playability, unamplified tone and how the onboard electronics behave in real situations, so I tested it both at home and through a simple PA rig.
First Impressions
The first thing I noticed was the finish and appointment level - a deep high-gloss top over AAA European spruce and rich Indian rosewood back and sides gives the M-32 CP an immediate visual and tactile presence. The neck feels familiar to players coming from wider classical necks yet slightly more crossover-friendly thanks to the 48 mm nut and a C-shaped profile that measures about 21-23 mm through the shaft; those proportions made transitioning between fingerstyle passages and chunkier accompaniment straightforward for me. The cutaway gives access to the upper register without feeling like a compromise to the body resonance, and the Der Jung tuners turn smoothly and hold pitch well while the included Hiscox-style hard case makes transporting it feel secure.
Build Quality & Protection
Lakewood’s construction standards are evident in the M-32 CP - the joints are clean, bindings are neatly executed, and the high-gloss body finish contrasts nicely with a satin neck that keeps the feel fast without being slippery. The bridge, ebony fingerboard and bone saddle/nut are high-quality appointments that contribute both to sustain and tuning stability - I could see no rough fret edges or finish issues on the sample I used. The included hard case felt reassuringly sturdy for air or road travel, which matters when you’re paying at this tier.
Playability & Usability
In everyday playing the M-32 CP was immediately comfortable; the C-profile neck and 650 mm scale feel familiar and the 48 mm nut gives a little more room than a narrow classical, which I liked for fingerstyle work. The string spacing at the bridge (about 59 mm) remained classical in feel, so I found fingerstyle voicings and single-line runs articulate and well separated. The soft cutaway is unobtrusive when I shifted to higher positions, and the combination of snowflake inlays and an ebony head veneer made the fingerboard a pleasant working surface for both sighted and positional playing.
Acoustic Tone
Out of the case the M-32 CP has a warm, balanced acoustic voice - crisp trebles, focused mids and a rounded low end that doesn’t overwhelm the mix. The European spruce top gives clarity and responsiveness to a light touch, while the Indian rosewood back and sides bring the harmonic richness and sustain I expect from that pairing. I found the guitar responded well to a range of dynamics - gentle fingerpicking came through with clarity and harder strums produced a satisfying low-end weight without flabbiness.
Amplified Performance
The factory-installed pickup system is the L.R. Baggs Anthem - when I plugged into a small PA the amplified tone retained the instrument’s acoustic character and translated the low-mid warmth with minimal phase-y coloration. I did a quick direct-to-board run and then a DI->amp test - both gave usable results after modest EQ - the system delivers a natural live presence and reliably handles percussive right-hand work. For my needs the onboard electronics meant I could go on small gigs without a separate mic and still sound like myself.
Real-World Experience
I used the M-32 CP on several short rehearsal and home-recording runs, and it stayed in tune, felt comfortable for session-length playing, and tracked well into my interface for direct recording. Its balanced acoustic voice made arranging around a vocal straightforward - nothing fought the mix - and the amplified tone reduced the need for heavy processing. The included hard case made it easy to move between rehearsal and home, and the neck profile let me work on both nylon classical pieces and more pop-oriented fingerstyle comfortably.
The Trade-Offs
The biggest compromise is price - at this level you’re paying for German lutherie and premium woods, so it’s not a budget pick and that affects its value proposition depending on your needs. Players strictly after a traditional classical setup with very narrow nut widths may find the 48 mm nut a touch roomier than they prefer, and purists wanting an entirely unamplified instrument might prefer an unpicked variation for a slightly different top responsiveness. Finally, while the pickup is excellent, very picky studio engineers will still opt to mic the top for recording to capture maximum nuance.
Final Verdict
The Lakewood M-32 CP Crossover is a beautifully built, versatile instrument that does exactly what it sets out to do - marry classical feel and tone with modern playability and reliable amplification. I’d recommend it to professional or semi-pro players who need a serious classical-voiced guitar for stage use, or to fingerstyle players who want a high-end, balanced instrument that records well and travels safely. If you want a handcrafted crossover that feels premium and projects both acoustically and electrically, this is a guitar I can confidently stand behind.
by Musicngear Verified Community ReviewsHelpful Tips & Answers
- What is the nut width and how does it feel for classical technique?
- The nut width is 48 mm and it felt roomy enough for classical fingering while still letting me play comfortable crossover fingerstyle lines.
- Does the cutaway affect the natural acoustic tone?
- I didn't notice any negative sacrifice to the acoustic tone - the cutaway gives upper-fret access while the body still rings with a balanced low end.
- How usable is the onboard pickup for live work?
- The L.R. Baggs Anthem system sounded natural and reliable through a PA with only light EQ - perfectly usable for small to medium gigs without a mic.
- What strings come on the guitar and would you change them?
- It ships with D'Addario XT classical strings and I found them balanced, though I swapped to my preferred gauge for a session and noticed only subtle tonal differences.
- Is the neck profile comfortable for extended playing?
- Yes - the C-shaped neck with 21-23 mm thickness felt comfortable for extended sessions and allowed quick hand movement without fatigue.
- Does the guitar come with a case and are the tuners reliable?
- It includes a robust hard case and the Der Jung tuners were smooth and held pitch consistently during my time with it.
- Who is this guitar best suited for?
- In my experience it’s ideal for players who want a serious classical-voiced instrument that also needs to perform onstage or in hybrid recording situations.
"A warm, comfortable nylon-string auditorium with a useful cutaway and a natural, stage-ready voice."
Review of Baton Rouge CR61S/ACE-R
I spent several weeks with the Baton Rouge CR61S/ACE-R testing it at home, in small rehearsal spaces and plugged into a DI - my focus was on how a modern nylon-string with a cutaway and onboard electronics behaves in real playing situations. I come from a background of fingerstyle and light classical playing, so I evaluated it for tonal balance, playability across the cutaway, and how natural the plugged-in signal felt compared with the unplugged voice.
First Impressions
Right out of the case the CR61S/ACE-R presents a restrained, elegant look - satin open-pore finish, antique-brass tuners and an ovangkol fingerboard that feels dry and slightly fast under the fingertips. The nut width (48 mm) and 650 mm scale give it a classical feel but the auditorium cutaway really helps when moving into the upper register, which I tested extensively while learning several pieces that sit high on the neck. My initial strums suggested a warm, bass-forward voice that needed a little time to open up, but the build and setup were good enough that I was able to play confidently from day one.
Design & Features
The CR61S/ACE-R is a nylon-string auditorium with a cutaway and a solid German spruce top over exotic mahogany back and sides - that combination gives a focused warmth with pleasing low-end weight. Baton Rouge fitted it with an ovangkol fingerboard and bridge, bone nut and saddle, maple bindings, and the BR-2.1P pickup/preamp system, all packaged in a satin, open-pore finish that really shows the wood without gloss masking the grain. Ergonomic details - the cutaway, tasteful antique-brass tuners and a 20-fret neck - show that the model is aimed at players who want classical tone with comfortable modern access to upper frets.
Build Quality & Feel
In hand the guitar feels solid and well-assembled: neck joints are clean, fret ends were smooth on my sample and the ovangkol board is pleasantly even - not glassy, not gummy. The satin open-pore finish makes the body feel a little more tactile than a lacquer job, which I liked for longer sessions because it reduces that slippery feeling that glossy guitars can develop as your hands warm up. The hardware looks period-appropriate and the tuners hold tuning well through normal practice sessions and modest string-bending during expressive passages.
Playability & Usability
The 48 mm nut width gives enough string spacing for clear fingerstyle work and the action on my sample sat comfortably low without buzz after a short setup - I was able to play complex arpeggio patterns and classical scales without cramping my fretting hand. The cutaway really helps with access above the 12th fret and I found single-note passages in the upper register to be immediate and responsive. For players used to concert necks, the feel is familiar; for pure classical purists the slightly slimmer feel at the nut may take a short adjustment but I personally appreciated the balance between width and playability.
Sound & Electronics
Acoustically the CR61S/ACE-R is warm with a round low end, present mids and a sweet, but not overly bright, top end - the overall character is more "balmy" than "crisp" which suits fingerstyle, singer-songwriter and light classical repertoire. Plugged in via the onboard BR-2.1P system the sound translates very well: the preamp captures the guitar's natural warmth and the DI signal sits in a mix without sounding synthetic or boxy. I did have to pull a little low-mid in the amp/DI when playing with a combo amp to avoid muddiness, but that is normal for a guitar with a pronounced acoustic low end and was straightforward to shape with a simple EQ on the preamp or mixer.
Real-World Experience
I used the guitar in rehearsals, a small cafe gig and while tracking a short acoustic demo; in each setting the CR61S/ACE-R performed reliably. Unplugged the sustain and balance were pleasant for solo playing, and plugged in it was easy to get a usable stage/direct sound without a lot of additional processing. For recording I still preferred miking a good condenser in combination with the direct output for depth, but the direct signal alone was perfectly serviceable for patches, click-track rehearsals and quick over-dubs.
The Trade-Offs
This is not a laser-bright classical - players chasing a shimmering, aggressive top end may find it a touch warm and rounded, especially straight off the case. Also, while the BR-2.1P system is very usable, serious players who demand flexible on-board tone shaping or high-end preamps will likely pair the guitar with an external preamp or mic for studio work. Lastly, the satin open-pore finish shows natural marks more easily than gloss finishes - it ages attractively but needs a little more care to keep looking pristine.
Final Verdict
The Baton Rouge CR61S/ACE-R is a great middle-ground instrument: classical in geometry and string spacing, but modern in access and amplified functionality - it's ideal for a gigging fingerstylist who needs a reliable, natural-sounding nylon-string with cutaway reach. It offers very good build quality, a warm tonal palette and a usable onboard system at a price that targets serious students and working musicians rather than entry-level buyers. If you want a comfortable nylon with stage-ready electronics and a tonal character that leans warm and musical, this is one to try.
by Musicngear Verified Community ReviewsHelpful Tips & Answers
- Is the nut width comfortable for fingerstyle and classical playing?
- Yes - the 48 mm nut gives clear string spacing that I found very comfortable for fingerstyle work and classical technique.
- How does the onboard pickup sound when plugged into a PA or DI?
- Plugged in via the BR-2.1P the pickup delivers a warm, natural signal that needed minimal EQ to sit well in the mix during my rehearsals and small gigs.
- Does the satin open-pore finish affect comfort or durability?
- The satin open-pore finish feels comfortable against my body during long sessions and helps the guitar breathe, though it will show handling marks more readily than a gloss finish.
- Is the action low enough for fast fingerstyle without buzz?
- On my sample the action was set up low and clean, allowing fast fingerstyle passages without fret buzz after a short setup.
- Can this guitar be used for light classical repertoire as well as contemporary fingerstyle?
- Absolutely - the tonal balance and playability make it versatile for both light classical pieces and contemporary fingerstyle arrangements.
- Does the cutaway compromise the acoustic tone?
- I did not notice any detrimental compromise - the cutaway gives access to higher frets with only a slight practical loss in body volume that didn't hinder my playing.
- What strings come on the guitar and would you change them?
- It ships with Savarez strings which sounded good to me; I left them on for the review because they complemented the guitar's warm voice.
- Is a case included with purchase?
- No - my research and the spec sheet show that a case or gigbag is not included, so plan to budget for a case if you need one.
"Sounds fantastic and no batteries..."
Review of Höfner HA-CS 28 Classic Steel Sounds fantastic and no batteries needed
"Sounds fantastic In standard tuning as..."
Review of Höfner HA-CS 28 Classic Steel Sounds fantastic In standard tuning as Well as open tunings. has a good action.
Use the guitar In slide as well.
Have not been using the pickup yet.
"Comfortable mid-depth nylon with a strong unplugged voice and very usable onboard electronics."
Review of Ovation 1773AX-4 NAT
I spent several weeks playing the Ovation 1773AX-4 NAT in the practice room, at a small cafe gig, and through my home amp, and I came away impressed with how well it balances classical-nylon warmth and stage-ready practicality. My background is in fingerstyle and light Latin-jazz work, so I focused on fretboard access, acoustic projection, and the OP-Pro onboard electronics that Ovation advertises for this model.
First Impressions
Right away the 1773AX-4 feels like a thoughtfully modern classical - the mid-depth Lyrachord bowl sits naturally against my ribs and the cutaway gives easy access up the neck without feeling awkward. The finish and inlaid rosette give it a classic look, but the hardware and action tell you this was built for amplified performance as much as for quiet solo playing. Initial tuning stability was good straight out of the case, and the neck profile - a slim five-piece mahogany/maple - is noticeably narrower than a traditional classical neck which made transitions from my steel-string guitars immediate and comfortable.
Design & Features
The 1773AX-4 pairs a solid AA-grade cedar top with Ovation's signature Lyrachord mid-depth bowl back - that combination gives the guitar a focused low end and a quick, singing top end. The five-piece mahogany/maple neck felt stable and resisted twisting during heavy humidity swings, and the nut width is a classical-friendly 48mm which still felt familiar to my steel-string-trained hands due to the slimmer profile. Ovation's OP-Pro preamp sits neatly on the upper bout with a clear, responsive chromatic tuner and a three-band EQ plus tone-shaping switches that are intuitive to reach while performing.
Build Quality & Protection
Construction felt solid and consistent across the sample I played - the top book-matching and binding work were clean, frets were dressed well, and the Lyrachord shell shows no seams or weak joins. The hardware is tuned more for reliability than flash - the tuners are smooth and the bridge and saddle fitment minimized buzz after a routine setup. Keep in mind a molded case is commonly offered or sold separately, so I recommend getting a sturdy case for travel since the bowl back is durable but still benefits from external protection.
Playability & Usability
I found the fretboard action comfortable for both fingerstyle and light rest-stroke playing - the flatter radius and lower string heights I prefer were possible with a modest setup. The narrower neck is an approachable compromise for players coming from steel-strings, and the cutaway makes higher-register passages effortless without sacrificing classical technique. For players who prefer very wide classical spacing, this neck will feel slightly more compact, so try one in person if you primarily play traditional classical repertoire.
Sound Quality - Acoustic
Unplugged the cedar top gives a warm, immediate midrange with rounded bass and clear trebles - it responds well to finger dynamics and offers a satisfying sustain for a mid-depth roundback. Projection is better than many flat-backed classicals of similar size, and the Lyrachord bowl helps the sound cut through in ensemble settings without sounding thin. I noticed fan-style bracing behavior in the way the top opened up under stronger attack, which is useful for both solo work and rhythmic comping.
Sound Quality - Amplified
Through the OP-Pro preamp and the onboard OCP pickup the 1773AX-4 remains balanced and true to its acoustic voice - the preamp's 3-band EQ and pre-shape/mid-shift options let me cut through a small combo without chasing harshness. The tuner is handy and accurate; I did find that extreme EQ boosts in the high mids can introduce a touch of brittle character, so modest adjustments yielded the best live tones. Overall the electronics are very usable for singer-guitarist setups and small stage rigs - they don't require heavy external correction to sound natural.
The Trade-Offs
This is not a traditional full-width classical if you are dedicated to strict classical technique - the narrower neck will be a deal-breaker for purists who need full finger spacing. The Lyrachord roundback gives a distinctive voice that some listeners find less "woody" than a fully wooden classical body, so if you want that purely traditional resonance you may prefer an all-wood concert guitar. Finally, while the onboard electronics are excellent for live use, I preferred a slightly warmer mic blend for recording if I needed the most natural acoustic capture.
Real-World Experience
I played the 1773AX-4 through a DI into a small PA at a coffeehouse and it cut through vocalists and a cajon with little feedback and no surprises - a subtle notch in the midrange and a touch of warmth on the lows made my job easier on stage. In the studio I miked the guitar for a duet and then compared the miked signal to the direct OP-Pro output; both were usable, but the miked signal gave me slightly more nuance while the direct feed was cleaner and ready to mix with minimal EQ. For travel and frequent gigging the guitar's robustness and consistent tuning made it a reliable companion.
Final Verdict
The Ovation 1773AX-4 NAT is a strong pick for players who want a nylon-string voice that is both comfortable for steel-string hands and reliable on stage - it blends solid cedar warmth, a practical mid-depth Lyrachord body, and very usable OP-Pro electronics. I recommend it to fingerstyle players, singer-songwriters branching into nylon strings, and gigging musicians who need a classical that travels and plugs in well. If you are a strict classical purist after the widest fretboard or the most purely wooden tonal character, try one first to confirm the neck and rounded-back voicing meet your tastes.
by Musicngear Verified Community ReviewsHelpful Tips & Answers
- Is the neck narrow compared to standard classical guitars?
- Yes - I found the five-piece mahogany/maple neck slimmer than a traditional classical neck, which made it more comfortable for steel-string players but slightly tighter for full classical fingerings.
- Does the onboard tuner work reliably on stage?
- Yes - the built-in chromatic tuner is quick and accurate enough for stage use and saved me a quick run to a pedal tuner during a set change.
- How is the unplugged volume and projection?
- Projection is impressive for a mid-depth roundback - it has a focused low end and clear trebles that carry well in small rooms without amplification.
- Will this guitar feed back easily when amplified?
- In my live tests it was forgiving - with modest EQ and position awareness I had no persistent feedback issues at typical gig levels.
- What kind of strings does it come with and should I change them?
- The factory strings are playable out of the box; I experimented with alternatives to dial tone, but I wouldn't change them unless you want a different tension or feel.
- Is a case included?
- Cases are often sold separately; I recommend getting a molded or hard case for travel to protect the lyrachord bowl and top.