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I met a young college student at a church function where we fed about 20 kids prior to a campus engagement for most of them, a couple weeks back. During the conversation, the young man mentions his Avalon acoustic. That led of course to the direct comparison with Lowden.

My next words mention knowing of a man in a distant town who owned two Lowdens (never having seen him or them before). Oh, he says, what's his name? I did know that and he remarks, that's my dad. I was flabbergasted, for I'd only met his dad on the phone inquiring of a Martin I'd recently purchased that he had sold to a music store. (six years ago) This story belongs in the improbable meetings category for sure.

Anyway, Sunday after services the young man approaches me again, this time, his whole family in tow, including his dad. After introductions mention of the Lowden being in the car, turned to would you like to see it? Well of course, by all means, I would.

I must say the L-34 Lowden a jumbo, but not overly huge, was delicious. The brazilian rosewood was very straight and deep burgundy in color. The headstock overlay while brazilian was of the deeply black-veined variety, convoluted, multi-grain line beautiful, wow. This guitar even had a backstrap up the rear of the headstock.

The sitka top while beautiful was not overly even or fair, just nice, a AAA top if you stretch the grading slightly. But it was over twenty years old and the lacquer had aged beautifully. You could tell the instrument had never seen abuse, but was pristine.

This guitar had a clear pickguard under the lacquer, first time I've seen that in person, while I have heard of it. The purflings were both on top, back, and sides of the instrument. They were triple single lines, two of the lines were yellow with black fleck which looked natural. I don't recall the third line,but it was there.

How I wished a camera was at hand, if the opportunity presents itself again I'll definitely have one along. The case was not original, yet it was a Lowden variety of black plastic hardshell, to fit the jumbo shape of course. The old multi-ply case had given up the fight over the years and had to be retired the owner said.

I was most impressed with the brazilian, the purflings, and the pristine condition for it's age. The setup and sound were superior as acoustics go. The owner is a fingerstyle player and uses ex. Light strings. The neck was very straight with only a slight hint of relief. The neck however, was somewhat V-shaped and felt heavy compared to the body of the guitar, but it felt solid and smooth in your hand.

Three things I tended not to like was the sound system, an undertop, circular interface, inside the soundhole, a preamp and controls. What I do know about fine acoustics would relegate that type system to something other than a fine fingerstyle guitar. The owner seemed quite proud of it, so I kept my mouth shut. I won't mention the brand, because this is about a fine guitar not a less than desirable amplification system.

Another negative was the gold foil nameplate, an inlay would have been far more appropriate. I believe that is no longer used, someone said. And thirdly, I don't get a good vibe from the inlayed pickguard. Feel free to disagree on that. It just seems that the pickguard is there to also protect the finish, or guard against finish damage as well as spruce top damage.

One last thing and this is positive for sure. The bridge. Couldn't tell you the material it was made from but it had a good look to it. Pinless. And split-type as in wound strings had one and the B and E had their own. Apparently the nut and saddles were bone. Now I'm wishing I had some closeup pics to share.

I used to go looking for instruments like this, now they are looking for me. Mr. Lowden, take a bow, consumate handmade instrument, of which it was my great pleasure to get to examine it yesterday and see why your work is revered. Congratulations.

Comments welcome.

jamesneunder39062.6211574074

Thanks for the very informative description.
Not many folks would think they'd need their digital camera at church- don't feel too bad about the lack of pictures!
John

yup, sounds like one of the old school Lowdens.

I teach with a guy who has a 76.

#001 on the label (custom series)

His gold waterslide decal has a few scores on it though.......

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Ah, George Lowden..... Best there is.

Colin

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I don't believe in anything, I simply make use of a set of reasonable working hypotheses.

Here are the best guitars I've ever examined in person, in no particular order, they each got me going to think "build better guitars"!

James Olson's SJ, two of them, my my. The new one was certainly as flashy as the old one.

Lowden's L-34 mentioned above. Someday it's brazilian before I lay down my chisel.

Collings C-10 copied after the venerable Gibson L-00, blues machine. Wow.

Bourgeois Sunburst slope shoulder. This is possibly the prettiest sunburst ever made. Dana does 'em right. This guitar was striking.

Santa Cruz D-PW, Richard's dred is certainly an accomplishment in replication of one of the planet's best guitars the pre-war Martin. While it's DNA is martinesque, it could be argued that it is a new species.

I don't get out much, but these guitars have reminded me of their existance ever since I saw them. James

I have heard the tones of a thousand guitars, but nothing compares to a Lowden.

OOPS, forgot a very memorable Hoffman Jumbo. As perfect as I've ever seen. Gorgeous.

Sam, time to put up your list.   While I can't argue that Lowden's are the best sounding or not. The are definitely well made and most memorable.

His work just shouts, "Catch me if you can!"

Sam, honestly, how many Lowden's have you examined? I considered my opportunity Sunday to possibly be a once in a lifetime event.

Well, Sam, I see you are from England, is that true? Wow. What makes them so good in your opinion? I sure want to know. James

Martin, you are from Northern Ireland, well, have you ever met the man? How about some pics of your student's Lowden? Wow, that'd be fine.

Colin, you guys in England have a lot more probability of running into these guitars. I respect all your opinions. JN

One more sticks in my mind as memorable, it's a Magpie 2 by a British maker, name escapes me, he posted on the OLF once.jamesneunder39063.7269212963

[quote]Sam, time to put up your list.   While I can't argue that Lowden's are the best sounding or not. The are definitely well made and most memorable.

His work just shouts, "Catch me if you can!"

Sam, honestly, how many Lowden's have you examined? I considered my opportunity Sunday to possibly be a once in a lifetime event.
[/quote]

Yup, I am from Merry Englande.

How many Lowdens have I examined? Only two. I peeked at one close up at a festival I went to earlier this year, I did not touch due to the owner looking a little shiftily at me. The second time I was treated to a sonic beauty, unplugged, and plugged. I really like the Cedar/RW sound.

Visually, the craftsmanship is just flawless. what can I say? The man knows his woods, and knows how to bring out the beauty, tonally and visually.

I have never played one due to the relative unavailability of lefties. However I am willing to travel some miles to a decent guitar shop (proly Sheehans of Leicster as I live in a rural area) to attempt to play some righties for myself.

I dunno...the tone is very unique to Lowden. It's a kinda soulful, sonorous sound, with shimmering trebles. it has got to the point that my ears can spot a Lowden being played in a song; TRUE!!

I also think Lowden's bio speaks of craftsmanship; all those years of experience and the willingness to experiment. I cannot see myself owning one, for the chances of a leftie turning up and me having the money is probably as great as there being an elephant in my garden tommorow morning...

My list...

I would buy British, just because I feel that British luthiers need to be supported to provide a valid and alternative gap in the market.. I own one British based instrument (not including the one I made myself and the other is a British company but made in S Korea )

However, American guitars are fabulous, some Taylors are just stunning in sound.

SO my list would be...

1) A Lowden 032 leftie

2) Avalon Legacy.

3) A Brook guitar. I heard a parlor being played at a recent guitar meet, and I was STUNNED by the projection this baby had to offer when played with a Taylor equivelent. Whether the owner had nut/saddle issues or needed fresh strings, I was amazed by the Brook.

BTW, Martin has met Lowden....lucky guy....
I gotta get over there and check the factory out for inspiration....Sam Price39063.7461342593

Anything by George Lowden just has that 'Lowden sound' especially his mahogany/Euro or mahogany/redwood(WRC) guitars. Like the pre-war Martin sound, you can tell a Lowden a mile off. They have an evenness and separation that both enhances your playing, but can also show up you shortcomings. I've spent a fair bit of time over the years talking to George and have played a dozen or so of his guitars (and he's played one of mine).

If you go into the studio here and are serious about it, you probably have a mahogany Lowden on your lap. The EMI studio on Abbey road used to have a Lowden in the studio for visiting performers to record with, the engineers knew what recorded best!

Colin

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I don't believe in anything, I simply make use of a set of reasonable working hypotheses.

George is a really nice guy.

I had posted on a forum somewhere MY UNDERSTANDING of the Lowden / Avalon split and Dermot McIlroys part in the evolution of all three companies.

there were errors and someone forwarded the link to George.

He went to direcory enquiries (after looking at my building blog) and phoned me at home, then asked me down to visit the factory for a tour. He gave me an hour of his time on a Friday afternoon and showed me every nook & cranny of the build process and then explained the truth of the 3way evolution of the 3 companies. the Lowden / Avalon thing cost him a FORTUNE but he comes across with such dignity that there is no bitterness and just he is SUCH a nice guy.

Saw him last week at a Tommy Emmanuel gig and he waved across the hall at me.

Bear in mind that he's not touting for business here, he knows that while I LOVE his work I'm never gonna buy one as my dream (yeah right!!) is to be a decent builder some day and not need to.........

If you're ever in Europe arrange a trip to NI. George & Avalon both do shop tours and I'm pretty sure Dermot McIlroy & Emerald in Donegal would show you round too.

some day I shouls organise a wee package tour.........

as to pics of Paddy's Lowden (BTW he's a collegue not a pupil) I'll ask him, but as George told him to insure it for $35K last time it had a refret, he doesn't bring it into school much!!!

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My soundclick xx luthier blog xx luthier soundclick

35K oh my goodness. I believe it.

Like I said, his guitars shout, "Catch me if you can."

Martin, you're blowin' me away here. What an incredible thing to have been with the man and in his shop. This leads to a question, "What's the secret of his greatness?"

Why do Lowden's have that signature sound?

Well, you guys have convinced me to approach the owner of this L-34 for a photo session and innards dive with mirrors and camera. Oh why didn't I get his phone number? Thanks guys and gals for your comments.

Pierre Bensusan playing the Old Lady

Interesting guitar in that, if I remember correctly, it's fan-braced...

Fantastic stuff. Great vid.

You can definetely hear that unique Lowden tone. It's in the sustain!

Sam Price39064.6001273148

Ooohhh, they just posted another Pierre video: Merrily Kissed the Quaker

You know, I've played 20 different Lowdens and I can't get over their unique sound, especially in the cedar/rosewood combos.

George Lowden is a great guy and his guitars are awesome to boot. I used to own a '79 model O which was very nice, I had to sell because of the problems with my shoulder and that deep, wide lower bout.

The only downside to the lowden construction is the neck which is hard to reset. George insists it will not move, but I've seen a fair few Lowdens with shaved bridges(!).

warmest regards,
terence
www.goodacoustics.com