Introduction:
During the Summer of 2023, right after I moved to North Carolina, on the way to visit my daughter in Wilmington, I stopped along the route at the small town of Southern Pines and visited Casino Guitars. I’d become aware of Casino Guitars because of the owner, Baxter Clement’s omnipresence on YouTube and, most importantly, I also knew that they were one of the rare U.S. dealers of Lowden guitars. I’d owned an all Koa Lowden many years ago and regretted trading it in and wanted to explore reacquiring one. With me along for the ride was my Collings 0002H as a potential trade item. I wrote at length about the purchase process of my Lowden F-50 on that trip and the blog article can be found here.
Though I wrote enthusiastically about the F-50 when I published my review, I’d since become somewhat disaffected by the guitar. I’d written about the guitar’s playability and how I struggled with it, and finally took it to my local shop for a set-up. I was initially pleased with the set-up, but in time came to the conclusion that the guitar was just too difficult to play. When compared to my Martin 1937 Authentic and my Santa Cruz H-13, it was just not in the same league of playability. Consequently, I was playing it less and less, mostly because it was too difficult to fret the strings. Perhaps it was the long scale length, but more likely the string action.
Further, one evening a friend who is an accomplished guitarist, played the F-50 while I sat in front to the guitar’s sound hole. Unlike me, he really digs in with a pick, which is more aggressive than I ever play, and to my disappointment the instrument just sounded so harsh to my ear. Even though I play finger style with a lighter touch, I was deeply affected, and not in a good way by what I had heard. Still, I stuck with the guitar for a year, but I knew it was a serious problem for me when I finally put extra light strings on it, which was an admission that this guitar was just too difficult to play the way it was intended. Finally, the large lower bout, on occasion, resulted in shoulder soreness because of the “reach over” of my right arm required to play it. As I’ve written before, at the time of this guitar’s purchase my enthusiasm overrode my sense of good judgement.
I Return to Casino Guitars
On occasion, I check out Casino’s guitar inventory on their website and one day, I discovered that they’d stocked a new Lowden S-50! This is a smaller more intimate guitar than the F-50 that I currently owned. In addition, the guitar was built with Sinker Redwood over Cocobolo, which I thought would offer a warmer sound then the Spruce over Cocobolo F-50. Further, the guitar had a shorter scale length which in theory makes it easier to play. I was interested in auditioning this guitar.
I watched the S-50 from a distance for quite a while, holding my breath every time I dialed into the Casino website, hoping it was not sold. It was only after I crawled out of a month’s long medical rabbit hole that I decided to celebrate life and make a pilgrimage to Southern Pines to audition the S-50, and along with me was the F-50 to see if I could trade it in exchange.
It was a typical visit to Casino Guitars. The guys who work there were exceptionally helpful and when Baxter became aware I was lurking around the store, he came down from his apartment, which is upstairs above the shop. He made time to visit with me despite the fact that it was his son’s birthday and it was a Saturday. We played some music together and he auditioned the guitar for me too so that I could hear it directly. As you probably know, the acoustic guitar sound hole projects the guitar’s sound away from the player, so it’s nice for someone else to play the guitar as you sit in front of it. In the meantime, Sean gave the F-50 a once over and arrived at a reasonable trade in value.
In sum, the S-50 really suited my sensibilities and we closed the deal. Afterwards I met my wife for ice cream across the street from the shop and then we headed back home.
An Initial Comparison Between My New Lowden S-50 to the Older F-50
I drove into Southern Pines with a large bodied Lowden guitar, built with Cocobolo on the sides and Lutz Spruce on the top. Later, I returned home with a smaller bodied Lowden guitar with Cocobolo back and sides and Sinker Redwood on top. Obviously, a tonal variation would be expected based on size and wood differences between the old and new guitars.
On the other hand, a key commonality between the two guitars was Lowden artisanship. Lowden guitars are exquisite instruments that are aesthetically pleasing to the eye and made with obsessive attention to detail, which is why they’re expensive. According to George Lowden, what might appear to be small trifling details in guitar manufacturing, add up over the course of the build, finally making a considerable impact on the instrument’s performance. In addition, both guitars were designated style “50” models, which means they were built with the very best master grade tone woods in the Lowden inventory.
Both of the Lowdens were braced similarly with what is referred to as an “A-frame” design. According to Lowden, the A-frame design stiffens the guitar around the sound hole and up through the neck so no sound is lost to unnecessary movement, but leaves the lower bout to vibrate freely, which creates the guitar’s sound. The braces themselves, which support the sound board, are individually hand carved in the form of a dolphin cresting the waves to give maximum stiffness with minimum mass for efficient sound transmission. As a result, Lowden guitars are known throughout the industry as being exceptionally powerful with extraordinary sustain. In other words, with a Lowden it is possible to get a loud sound without having to work the guitar hard and the sound lasts or sustains for a long time. It’s quite marvelous to behold when you strum a Lowden or pluck an individual string.
Other common design features between the two Lowden’s are the headstock, neck construction and neck join to the body of the guitar. The headstock of both guitars is similarly sized, shaped, and adorned with an attractive veneer on both sides, though the veneer differs between the two guitars. It’s a bit of a mystery what the wood veneer is on the newer S-50, but I suspect it is Sinker Redwood to match the guitar’s top. The tuners are Gotoh 510’s with Ebony buttons. There are lots of effective guitar tuners out in the world, but the high-tuning-ratio Gotoh 510’s are, in my judgement, the best. While they probably are not congruent with the aesthetic of a traditional (Martin-like) guitar, for a “contemporary” guitar like the Lowden, they are a perfect complement.
Both the S-50 and the F-50 were built with a five piece mahogany and rosewood laminated neck, which lends to stability and resistance to twisting torque. I’ve owned a guitar with a twisted neck and it’s not pretty. A twisted neck will render a guitar largely unplayable.
The necks of the Lowden F and S models are joined at the body with a traditional dovetail join “which offers excellent transfer of vibrations from the neck to the body due to the tight fit, producing a warm, rich tone with good sustain, and offers tonal depth and resonance.” (ChatGPT)
Finally, the S-50’s neck is built with an ebony fingerboard, but unlike the F-50, the newer guitar has an old school, more traditional 12 fret length, generally offering a warmer, fuller tone, which is what I was looking for in the F-50’s replacement. With 12 frets as opposed to the more common 14, the bridge is closer to the center of the lower bout, where the soundboard is more flexible, enhancing bass response and overall resonance. Further, in theory, the shorter scale length should make it easier to play.
In sum both guitars, the one I traded off, and the new one I brought home were made with the highest level of attention to detail, as well as the characteristic Lowden design features such as the rigid neck, dovetail joint and their idiosyncratic soundboard bracing. All the aforementioned result in both power and sustain, which are incredibly important attributes of an acoustic guitar. What differed between the two guitars and why I selected the new one over the old was the guitar’s tone character and playability, which is a function of design differences like the number of neck frets, scale length, guitar size, and selection of woods on the top, back and sides.
Below is an excellent video of a seminar held by George Lowden where you can hear, first hand, his design philosophy in his own words:
The Lowden S-50’s Playability
Compared to the F model, the S model is smaller in both width (approximately 1 inch) and depth (approximately 0.5 inches), making it more intimate and easier to handle, especially for fingerstyle playing. In other words there’s far less effort to wrap my arm around the guitar to get to the strings with my right hand.
Smaller guitars can run the risk of sounding boxy, but that is not the case of the S-50. It’s reasonably deep body, 12 fret design, and Lowden’s bracing method free the guitar’s body to push out sound like a cannon.
Similar to the F model that I traded in, the S model came from the factory with, for my taste, string action that was too high. The Lowden literature refers to the string height as middle low, which is anything but in my judgement. It’s not quite a cheese grater but it is too high for me to enjoy playing. It’s just too much work for me to fret the strings with the in-factory set height. My first two acoustic guitars were higher end Taylors and they had very low string action, so I’ve been spoiled ever since. I don’t own those Taylors anymore, but my ’37 Martin Authentic D-28 and my Santa Cruz H-13 both have low action and are a dream to play.
I knew that I was going to have to get the guitar set up properly if I was ever going to enjoy playing it. As I recollect, back in the past with the F model, my luthier adjusted the neck relief only with the truss rod, which in the end was just not enough for me to feel comfortable playing it. This time I had to get it right! I was going to have to have the string action lowered more effectively then when I had the F model in the shop.
As preparation for the trip to my luthier, using a string height gauge, I measured the action of the Lowden S, the Santa Cruz and the Martin guitars that I owned. At the twelfth fret the Lowden’s 1st string was almost 1/3 a millimeter higher and the 6th string was 1/4 millimeter higher off the fret when compared to the Martin and Santa Cruz guitars. That’s an annoying difference that can be felt during play! Before taking the guitar to the shop, I actually contacted Lowden in Northern Ireland about any issues lowering the action, and they saw no reason to prohibit adjustment downwards. To them it was a matter of taste and they believed it was easier to drop string height than to raise it, which was why the action comes out of the factory a bit on the high side. Some players like it a bit high, but not me.
I took the Lowden into the shop at Twin House Music with the measurements I’d made and asked that the Lowden be adjusted to match my other guitars. Brian McGee, a great luthier, was initially reluctant to make the changes, being concerned about string buzz and also working with the Lowden split saddle. Most guitars have a single saddle, but the Lowden is split in two pieces to enhance intonation. Making action adjustments are more challenging with a split saddle because they have to be sanded down identically to avoid introducing unwanted intonation issues. I was really insistent and Brian finally agreed, and in the end he did a fantastic job. I’m now happy with the action on a Lowden guitar. Lowden’s do not have to be cheese graters!
The S-50’s Aesthetic and Tonal Character
A key determinant of an acoustic guitars aesthetic appearance and tonal character are the woods from which it is built. My Lowden is built with the master-grade tone woods of Sinker Redwood for the top and Cocobolo back and sides. Master-grade tonewood refers to the highest quality of wood used for crafting guitars and other musical instruments. It is a premium designation reserved for tonewoods that exhibit exceptional visual, structural, and acoustic qualities, making them ideal for producing high-end guitars.
Cocobolo
According to ChatGPT, Cocobolo (Dalbergia retusa) is a premium tonewood, often commanding higher prices due to its scarcity and desirability. It is visually stunning, featuring a variety of colors such as reddish-orange, deep browns, and even purples, often with dramatic grain patterns and black streaks. Cocobolo produces a lush, vibrant tone with pronounced overtones, offering a complex and harmonically rich sound. The treble response is bright and clear without being harsh, making it well-suited for fingerstyle playing. The low end is focused and powerful, providing a solid foundation without being muddy. While not overly pronounced, the midrange is clear and contributes to a well-rounded tonal palette. Its density and stiffness give it excellent projection and sustain, making it a favorite for players who want their sound to carry. Cocobolo excels in styles that require clarity and articulation, as it allows individual notes to ring out beautifully lending itself well to fingerstyle, which is how I play.
Cocobolo shares some tonal similarities with Indian and Brazilian Rosewood, such as a rich low end and sparkling highs, but it has more pronounced overtones and a slightly brighter overall character. While Mahogany has a warmer, more midrange-focused tone, Cocobolo offers more tonal complexity and dynamic range.
From a builders standpoint, Cocobolo is very oily and must be handled accordingly to ensure glue joints are sound and finishes remain intact. The dust from this wood can be obnoxious too, causing an allergic reaction during cutting. Of course, the oil and dust are not an issue with the finished consumer product.
Finally, from a sustainability standpoint Cocobolo is becoming less readily available because of unfortunate and unscrupulous over-harvesting. Only ten to twenty percent of Cocobolo harvest goes into musical instruments, including both guitars and woodwinds. On the other hand furniture, cabinetry, and flooring account for up to eighty percent. As the attack on Cocobolo sources continues, premium guitars made with it will be seen as rare heirloom instruments. My Cocobolo Lowden will be a guitar that goes on to my children after I’m gone, though I am dubious that they will understand what they have in hand. At that point, I probably won’t care.
Sinker Redwood
Probably the most remarkable aspect of the S-50 is its top, which is comprised of two book matched pieces of master grade Sinker Redwood. It’s my first experience with this type of soundboard where its reddish/brown hue, with vertical dark streaks embedded across the boards set it apart. My other acoustics have sunburst or standard unstained spruce tops, so the S-50 just looks different from typical acoustic guitars that I’ve owned in the past. The guitar is endlessly fascinating to behold.
As I said, my other acoustic guitars all have traditional spruce tops, though they are of varying subspecies, including Sitka, European, and Adirondack (Red Spruce), so from a sonic/tonal standpoint the S-50 stands apart. Generally speaking, Spruce offers a sound that is bright, clear, and dynamic, while Sinker Redwood is warm, rich, and overtone heavy, so there’s a nice difference in both appearance and sound that distinguishes the S-50, making it a great addition to my collection.
The origin story of Sinker Redwood is fascinating in and of itself. In the late 1800’s on into the early twentieth century, which was a time of rapid industrialization in the U.S., loggers harvested Northern California Giant Redwoods without abandon. These were old growth forests with trees as old as 1000 years. Sadly, only five percent of the original old growth forests remain, and they were saved by a combination of conservationists, activists and government intervention.
The trees situated along waterways were the easiest to manage as they could be dropped and floated downriver to the sawmills on the California coast. Along the way downriver, the trees were sometimes held back in large jams with the use of chain booms until the sawmills needed them. It was under those circumstances that some logs sank to the bottom of the river and became embedded in the river bottom mud never to make it down to the sawmills.
Submerged in anaerobic (oxygen-deprived) conditions for decades, perhaps some for a century, the sunken Redwood logs would undergo physical change. While submerged, Sinker Redwood logs absorb water, which, over time, leads to compression of the wood fibers enhancing the grain density. Also, logs that sank and remained submerged tended to have very tight grain patterns simply due to the slow-growing nature of the old growth trees from which they came. In addition, while submerged, the Sinker Redwood absorbed minerals from the surrounding water, which changed its color. The wood often took on rich, darker hues, ranging from deep reddish-brown to even greenish or purplish streaks, depending on the minerals present in the river water.
Over time, submersion in water also leads to a breakdown of the wood’s structural components, lignin and cellulose, particularly in the outer layers. The cold and anaerobic conditions underwater slowed this breakdown process, allowing the core wood to remain structurally sound while developing unique tonal characteristics. This slight degradation can contribute to a smoother resonance when used in guitars, often resulting in warmer and more responsive sound.
Many years later at the close of the twentieth century entrepreneurs discovered and began recovering sunken Redwood logs from the rivers and estuaries in Northern California. Only the logs that had not rotted were of value, so recovery is a tedious, risky and expensive process. Since old growth redwood was so rare, the thinking was this recovered wood would have value in end-uses such as fine furniture, paneling, sculptures. Also as a function of its appearance and tonal properties, custom guitar builders and boutique luthiers adopted Sinker Redwood for high-end musical instruments.
Sinker Redwood Combined with Cocobolo
The combination of Sinker Redwood for the soundboard and Cocobolo for the back and sides on a small-bodied guitar creates a unique tonal palette. Both woods bring specific acoustic properties that complement one another beautifully, resulting in a guitar that is both visually striking and acoustically rich.
Sinker Redwood’s warmth and harmonic richness blend seamlessly with Cocobolo’s bright, articulate clarity, creating a balanced tone that is neither too warm nor overly bright. Sinker Redwood enhances responsiveness for nuanced playing, while Cocobolo’s density adds sustain and projection, even in a small-bodied guitar. Both woods have rich overtone profiles, resulting in a lush and dynamic sound with a natural reverb-like quality. The small body shape focuses the sound, while Cocobolo ensures that projection and presence aren’t sacrificed, even in a compact form.
Finally, the visual contrast between the richly colored Sinker Redwood top and the bold, exotic Cocobolo back and sides enhances the guitar’s aesthetic appeal, making it a showpiece as well as a fine musical instrument.
Comments On Some Aesthetic Appointments
There was a time when I believed that one should aspire to own the blingiest guitar possible, with abalone adornments and inlays galore like Gene Autry’s famous decked-out Martin D-45. In fact the very first really upper end guitar I ever purchased was a Taylor 914, which was loaded with glitz. Eventually, after playing incredible sounding but relatively unadorned guitars like my Martin, Collings and Santa Cruz instruments, I realized that the wood, the build quality and the tonal output far outweighed the importance of external appearance enhanced by inlays and other doodads..
By most accounts George Lowden also thinks that an overly-ornamented guitar is not a particularly important design philosophy. Besides the classic dimension of the instrument, the preponderance of Lowden guitars are tastefully simple in surface appearance. The tone woods, the wood bindings and the purflings contribute to an elegantly simple appearance.
One of more extravagant touches on a Lowden S-50 guitar is the abalone and figured wood sound hole rosette. It’s really quite beautiful in person.
Final Comments
I put pickups in all my acoustic guitars. I like playing the guitar plugged into an acoustic amplifier (Genzler Acoustic Array Pro) facing me so that I can appreciate the output of the guitar. I use K&K Pure Mini pickups exclusively because they sound natural and don’t require a lot of fiddling, although an acoustic DI like an LR Baggs Venue is very helpful in the signal chain, which I have on my acoustic guitar pedalboard.
The K&K Pure Mini is a snap to place in an acoustic guitar with a pinned bridge. Two of the pin holes are used to accurately place the pickup under the bridge with the use of a jig that K&K supplies in the box. A pinless bridge like the Lowden is built with is a more challenging installation. If you follow the K&K instructions, it requires drilling two small holes underneath the saddle. This is not for the faint of heart. My luthier cleared it with me and followed the instructions, including drilling the holes. The installation is perfect and the pickup works flawlessly. I wish I could have said the same for the F-50’s installation. I don’t think it was done quite right, as I had to really boost the gain to get the pickup to function at all, which was another irritant about that guitar.
Some Sound Samples
I am embedding a couple of sound samples from YouTube. The first is Baxter Clement from Casino Guitars playing the exact model guitar I purchased from him, but this was one he had in stock several years before mine arrived. Note Baxter plays with a plectrum, which I do not. He is a very accomplished musician, much more so than me:
Below is a video produced by Heart Breaker Guitars, a dealer of fine guitars and a major supplier of Lowdens in the U.S. After a brief introduction, Mike Romano plays an S-35, very similar to the S-50, with the woods the same but maybe not quite as choice. Mr. Romano plays finger style and he’s quite good.
Here’s a sample of me playing my S-50 through a Shure mic that’s designed to interface with the iPhone that’s doing the filming. As a result there are limits to fidelity. To boost it a bit, I am running the guitar through my Genzler Acoustic Array Amplifier and my pedal board. I am playing the Mississippi John Hurt classic, Spike Driver Blues.
Here’s another sample. This is Townes Van Zandt’s instrumental arrangement of the Rolling Stones tune Dead Flowers:
Finally, here’s the instrumental arrangement for Taj Mahal’s Queen Bee:
A note of thanks to ChatGPT for help with questions about woods and some history, and for the creation of support illustrations.
