Lowden F23 Fan Fret

George Lowden's comments on the Fan Fret design ( from Lowden's site):

“The main aim of the design is to increase bass depth through increasing the string length on the bass side, while at the same time achieving more ‘bell like’ trebles by shortening the string length on the treble side. However, it is important to choose string lengths which will allow any player to quickly adapt to the fan fret design .... The angle of the first fret was also a factor in the design choices with playability in mind again - too much angle and it becomes difficult to play, too little and the bridge has to be angled too much for effective acoustic coupling between the bridge and the soundboard bracing.

“When considering the acoustic coupling of the bridge to the soundboard bracing I decided to attempt a cantilever design - where the bridge footprint was our normal design, with the saddle support partially suspended slightly above the soundboard, rather than glued to it. I was aware that this was totally uncharted territory - but I like that! So when I finished the first prototype with the cantilever bridge I was more than a little interested in the tone of the guitar. Unfortunately I was disappointed in the tone - there was a certain vacuous quality to it and I immediately decided to glue the cantilever section fully onto the soundboard. Immediately I did that, the tone was fantastic - with the deeper basses and the more bell like full trebles! Hence the birth of the extended fan fret bridge design.

“I then compared the tone of the extended bridge version and the other prototype where I had used the more usual slanted bridge, and listened to what the players had to say during the NAMM show. As the guitars were played and began to open up, virtually everyone agreed that , on balance , they marginally preferred the extended bridge version.”

When I first started CR guitars, there were two makers of acoustic guitars that I dreamed of being able to offer; two that were relatively affordable, yet possessed the soul and point of view of an individual builder.

The first was Collings - and if you’ve spent some time here, you’ll see that I’ve been fortunate to offer you some of the finest instruments to come from the shop in Austin.  I have made a great friendship with the folks at Collings and every order I place with them has been spec’d out to make sure you’ll get a guitar you’ll love.

The second was, and now is, Lowden.  I am in the fortunate position of being able to offer you Lowden Guitars - whose fame needs no underscoring here.  I think, however, that you might find it instructive to check out a link to George’s history and point of view about the art of lutherie. He is more eloquent than I, and you’ll get a very strong sense of his passion for the beauty of the instrument, both as a visual work of art, and as a transmitter, if you will of a player’s heart and soul.

Here’s the link: http://www.georgelowden.com/page4/page29/page36/story.html

The guitar I present to you is obviously a very special model. It’s a fan fret model, with a glorious bridge.  That it is a fan fret model is there for a reason.  Conceptually, it gives you the benefits of two scale lengths: Longer on the bass side, shorter on the treble side.

Anyone who has played guitars with different scale lengths will immediately understand its purpose. A longer scale length equals stronger tension, giving you more power in the bass. The shorter scale length on the upper end gives you more warmth, and makes for easier, ‘blusier’ bending, should that be your choice.

Because of George’s mastery of the guitar, though, two things will become readily apparent to you once you have the pleasure of playing it.  First, neither portion of the sound overpowers the other - it is a perfect blend of power and beauty. Second, while the fan frets may look peculiar - or even intimidating, That sense will disappear you put this lovely instrument in your hands.

You will not have to change your playing style an iota. In other words, you will barely notice that you’re playing a fan fret guitar, you’ll just be inspired by an awesome instrument.

It’s just an ergonomic masterpiece.

I’ve had fan fretted guitars before, and George’s accomplishment here cannot be understated. It takes a master to execute this fret style so seamlessly that it makes you wonder why all acoustic guitars aren’t so equipped.

Lowden guitars posses an open, airy, seductive quality that is really rather unique. This particular model is incredible with open tunings, though it’s really perfect if your desire is for woodiness, warmth and a delightful “ringing” quality that Lowdens are known for.

Part of the Lowden sound comes from his incredible wood selection. The back and sides are beautifully figured walnut; the top, a perfectly grained piece of cedar. All with a subtle, semi-gloss finish that shows the woods’ characteristics off to their best advantage.

The bindings are all wood - in this case, purfling and sycamore. The neck, mahogany and rosewood, carved to an eminently playable shape.

The other part of the Lowden sound is his his “Dolphin” bracing - a system, if you will, that he has perfected over the years. It’s his own system, and contributes to the sound that has made his instruments favored by masters like Alex De Grassi and Pierre Bensusan.

To me, this is a guitar for an individual player - on a couch, or as solo artist, in front of a microphone. Its qualities are so refined, and so special, they deserve air and space of their own.

I can find myself in this guitar. It speaks to me. And, I am sure you will find the same heady rush when you play this for yourself.  It says: Who are you, as a player? Bring yourself to me; I’ll work for you.

It’s not inexpensive, by any means. But it is an affordable means to to own an instrument hand-made by a real breathing human with an individual and much-loved point of view on what an acoustic guitar can be at its best.

If you'd like to find out more about this item, just call or e-mail me. It would be my pleasure to talk to you about it.

ABOUT LOWDEN GUITARS
Lowden guitars occupy a unique place in the pantheon of high-end flattops. With a loud and overtone-rich signature voice, unique construction details (including a split saddle and A-frame bracing of the upper bout), and a general vibe that differs from most classic American steel-strings, the guitars have found fans in such heavyweights as Pierre Bensusan, Paul Brady, Alex de Grassi, Richard Thompson, and many others. Lowden production began in 1974, and after several changes in management and manufacturing facilities, the guitars are now built in a small Northern Ireland shop under the direct supervision of company founder George Lowden.