Stanford Guitars MSGC100

The dismantling of the Berlin Wall in 1989 wasn't just a social victory - it was also a starting pistol for the wheels of industry.

By the following year, the German designer Toni Goetz and the Czech luthier Frantisek Furch had met, bonded over a shared admiration for the work of Slovakian design legend John Dopyera, agreed on the traditionalist ethos of their fledgling business and launched the original Stanford Artist series from a workshop in the Czech Republic.

You won't find many people with a bad word to say about the models that have arrived in the UK since the early-nineties, but if there is a factor that has kept Stanford Guitars as cult heroes rather than ubiquitous overachievers, it could be that the product line has always been quite expensive, with the Artist series spanning from £800 to a cool £1,500.

But no longer: in 2007, out of nowhere and almost simultaneously, Stanford unveiled two new Chinese-made lines - the mid-price Performer and entry-level Monterey - meaning that this intriguing brand is suddenly vying for the wallet of the everyday punter.


The Monterey series has the entry-level market squarely in its sights. Naturally, there have been cuts to keep the models within the magic £200-£300 bracket - not least that production takes place in a separate Chinese factory from the Performer series - but UK distributor Acoustica insists this new range retains the form-and-function ethos.

As a cutaway grand concert, the MSGC100 certainly makes a statement in a drab market, although this is apparently more down to black-and-white economics than design whimsy (Stanford's smaller-bodied guitars sell in greater quantities than its dreadnoughts in Europe).

The soundboard is, as we'd hoped, an attractive slice of solid Canadian cedar while the body timbers are laminate mahogany. They look attractive enough but suggest this model is less of an investment, more of a stopgap.

Still, the build quality is fastidious and there are flashes of genuine quality - the bone nut, for example, the finish of the fretwire, and the presence of B-Band's trusted A3T preamp.

Locking to the knee and unlocking the top frets with a generous cutaway, this shape would suit a smaller songwriter to perfection, while the familiar scale and spacing mean that the MSGC100 is a belter for sliding fingerpicked arpeggios, and forgiving when it comes to barres thanks to the profile and action.


It's slim, but Stanford hasn't made the MSGC100 emaciated, with the 105mm depth meaning there's sufficient air in the box for decent 'pocket rocket' output.

In terms of tone, there's a willing response and no black spots, with a firm bottom end, a zingy mid-range, and a sparkling top end that benefits from the fast response of cedar.

If you like the raw tone of an acoustic then it's always good to see B-Band's A3T in the bout. There are fancier pickup systems on the market, of course, but for conveying tone with a minimum of fuss and frills - and if you can survive without a notch filter - this is hard to fault.

In this instance we were impressed, as the MSGC100's impressive tone made it safely through the amp, underlining our thoughts that this guitar would excel in pub and club gigs, even if it's not distinguished enough for the studio.

MusicRadar Rating

4 / 5 stars

A rounded performance out of proportion with the price tag.


The acoustic tone perhaps lacks a little maturity.


A welcome tonic to the usual entry-level identikit strum-boxes.

Country of Origin


Available Finish

High gloss natural

Back Material

Laminate mahogany

Body Style

Grand concert electro-acoustic

Bridge Material

Indian rosewood

Case Included




Fingerboard Material

Indian Rosewood



Guitar Body Material

Solid Wood

Includes Bag




Left Handed Model Available


Neck Material

Satin mahogany

No. of Frets


No of Strings


Nut Material



Dreadnought and grand auditorium also available



Sides Material

Laminate mahogany

Rosette Details


Review Policy
All MusicRadar's reviews are by independent product specialists, who are not aligned to any gear manufacturer or retailer. Our experts also write for renowned magazines such as Guitarist, Total Guitar, Computer Music, Future Music and Rhythm. All are part of Future PLC, the biggest publisher of music making magazines in the world.

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