Tag: Goya T-18

Happy New Year!

It’s been a great year for the Levin collection. Let’s hope that 2016 will be even better. Happy New Year everyone!

Levin CollectionLevin LT-14 (1965), Levin Goya T-16 (1965), Levin Goya T-18 (1966), Levin Goya T-23 (1966), Levin Rondo Model 29 (1960), Levin LT-16 (1966), Levin LS-16 (1963), Levin LM-26 (1959), Levin Model 65 (1942), Levin Model 13 Ambassadör (1950), Levin Model 32 (1946), Levin Model 3 Royal (1951), Levin W 12-36 (1978), Levin Goya Model GG-172 (1970), Levin Goya Model 163 (1968), Levin Model 174 (1972)

Goya T-23

Levin Goya T-23 Made in Sweden 1966Goya T-23, Made in Sweden by Levin in 1966

Finally, it took two years but now I’m at last the proud owner of a lovely Goya T-23. When I bought my first Levin back in the summer of 2013 I started to search Vintage Guitars Sweden for different models to study and learn everything I could about Levin. There was 3-4 different guitars that I fell in love with straight away, Levin LM-50 with all it’s bling, Levin De Luxe the king of archtops, Levin 174 which I later found, and of course Levin LT-23, the cowboy version of Levin LT-18. I love my 1966 Goya T-18 so I was pretty sure that this Goya T-23 would sound pretty sweet too, but it sounds even better than I could have imagined. My friend Wolf and I had a little jam last Saturday and it seems like the T-18 and T-23 were made to be played together, I will try to sort a video. I love everything about this guitar, the ebony fretboard with it’s block inlays, the flamed maple back and sides, the amazing cowboy pickguard and plastic details, the bridge shape and most of all, the sound. It has a Gibson like bass response but with a Martin like mid and treble, kind of the best of both worlds. It was well worth the wait, the next holy grail to find would be a Levin LM-50.

Levin Goya T-23 Made in Sweden 1966Levin Goya T-23 Made in Sweden 1966Levin Goya T-23 Made in Sweden 1966I haven’t done any work to this guitar yet, I bought it from a seller in Franklin, Indiana, USA and since it seemed really dry when it arrived I wanted to wait and see how it reacts to the subtropical heat of Barcelona first. Most likely I will have to sand down the heal a bit to get the action down and perhaps even remove the binding on the neck and file down the frets since the fretboard has been dry and shrunk so the frets are poking out a bit. Hopefully the humidity here will help a bit and if not I will sort this issues after the summer. It’s very playable as it is and almost in mint condition with minimal wear.

Levin LT-23 / Goya T-23
Goliath size: Body width: 400 mm, body length: 505 mm, body depth: 95/120 mm. Fingerboard width: 43 mm, scale length: 630 mm. Spruce top with X-bracing, flame maple back and sides, 4-ply bound top, single-bound back. Mahogany bolt-on neck with adjustable truss rod. Single-bound ebony fingerboard with bass side pearloid block inlay. Nickel plated individual Van Gent tuners with metal buttons. Ebony bridge, natural finish and ten year warranty

Levin 1976 catalougeLevin catalogue from 1967. Now I finally have all four of them, the two top as Goya and the bottom two as Levin, but mine are from 1965-66 so they have a proper saddle instead of the adjustable saddle screws. Goya T-23 (1966), Goya T-18 (1966), Levin LT-16 (1966), Levin LT-14 (1965). Taken from Vintage Guitars Sweden

Levin Goya T-23 Made in Sweden 1966It arrived with the original Goya hang tag, an unused 1960’s leather strap and this awesome looking black alligator hard case that I think is original too. Taken from my Instagram

Levin information pages

Goya Model 163 (1968), Goya T-18 (1966), Levin Model 13 (1950), Levin LT-16 (1966), Levin Model 65 (1942), , Levin LM-26 (1959), Levin Model 174 (1972)Levin guitars, from left to right: Goya Model 163 (1968), Goya T-18 (1966), Levin Model 13 (1950), Levin LT-16 (1966), Levin Model 65 (1942), Levin LM-26 (1959), Levin Model 174 (1972), might be the greatest Levin collection in Spain.

If there is anything you would like to know about Levin guitars, then Vintage Guitars Stockholm is your best bet. They have the Levin information pages where you can find pretty much every model Levin ever made, serial numbers, history, photos and information. Rikard who runs the place just put up photos of my three latest Levin guitars on their site so now you can find all seven online. Here are the links: Levin Model 65, Levin Model 13 Ambassadör, Levin LT-16, Goya T-18, Levin LM-26, Goya Model 163, Levin Model 174.

Vintage Guitars Stockholm Sweden

Chest Fever

Chest Fever gig 1/3 2014

Tomorrow night Araceli and I have a gig with our band Chest Fever at Palau Alòs, C/ Sant Pere més Baix 55 in Barcelona. We are on at 21 so if you are in town and feel up for some Swedish/Spanish country sung in English then come by. I will bring my Levin 174 which sounds a bit like the Goya T-18 in the clip below.

Update: March 3, 2014
Chest Fever – We got to keep on moving, live at the Palau Alòs in Barcelona 1st March 2014


Levin 174

Levin Model 174 Made in Sweden 1972Levin Model 174 Made in Sweden 1972

My latest acquisition, a 1972 Levin Model 174. The story how I got this guitar is pretty amazing. I wrote a post about Levin guitars back in August 2013 when I had just started to collect them. In the end of the post I mentioned that I would love to find a Levin Model 174, it’s basically a Levin LT-18 but with a massive head. There is something about that huge head that I find very appealing, I guess it reminds me of old an archtop guitar from 1930-40’s and it’s almost a bit Art Deco. Three months later, in the end of November, I got a comment from a Danish guy called Orla saying that he had one for sale. We started to email each other and he told that a few days earlier he had seen a guy about to throw a guitar case in a skip so he had gone up to him and asked if he could have it instead. Orla took the case home, opened it and found a 1972 Levin Model 174 in pretty good shape inside. He Googled the name and model and pretty soon found my blog post saying that I was looking for one. Since Orla doesn’t play guitar himself, he just wanted to save it from a certain death, he contacted me and offered me to buy it and I’m very grateful that he did. It was a bit scary to buy a guitar from a guy I didn’t know who had contacted me through my blog, it felt a bit fishy somehow. A part of me thought it was a Nigerian email scam in disguise and another part said that I should trust the good in people, especially a Northern neighbour like Orla. In the end I decided that it was an offer I really couldn’t turn down, especially since most of the 174’s I had seen for sale were all Goya labelled and made later in the 1970’s. It took some time to get the guitar down to Spain, we had some logistic issues but finally it arrived about two weeks ago and I was stunned. Since Orla doesn’t play he couldn’t give me any info about what state the guitar was in, he had sent me some pictures but it’s pretty hard to get an idea if it’s even playable from just that. Luckily it was in a really good state and it both sounds and feels great.

Levin Model 174 Made in Sweden 1972

Levin Model 174 / Goya Model 174
Goliath size: Body width: 400 mm, body length: 505 mm, body depth: 95/120 mm
Fingerboard width: 43 mm, scale length: 630 mm
Spruce top, flame maple back and sides, 4-ply bound top, single-bound back
Mahogany bolt-on neck with adjustable truss rod
Single-bound headstock with mother-of-pearl inlay
Single-bound ebony fingerboard with bass side pearloid block inlays
Rosewood bridge with individual height adjustable plastic saddles
Nickel plated individual Van Gent tuners with metal buttons
Natural finish and ten year warranty

Introduced circa 1969 as a replacement for LT 18

Levin Model 174 Made in Sweden 1972I didn’t have to do much to it, the action was really good as it was. Which was very lucky because this 174 doesn’t have the Levin bolt-on neck system, they stopped with that in the early Seventies. The original Van Gent machine heads had been changed at some point, probably in the 1970’s, to Schaller’s and I really don’t like these type of buttons so I changed them for Wilkinson WJ-309 in gold, to make it look even more Art Deco. I also installed an endpin jack so I can use it live with my LR Baggs M1. I had to clean it a bit, polish the frets and oil the fretboard but overall it was pretty good from the start. There was a note hidden under the trussrod cover saying, Her blev sedlen lagt 4th of February 1995. I assume that’s referring to that the nut was raised a bit 19 years ago, something I need to redo at some point because they seem to have used some paper like material instead of bone.

Goya Model 163 (1968), Goya T-18 (1966), Levin Model 13 (1950), Levin LT-16 (1966), Levin Model 65 (1942), , Levin LM-26 (1959), Levin Model 174 (1972)The whole Levin family, Goya Model 163 (1968), Goya T-18 (1966), Levin Model 13 (1950), Levin LT-16 (1966), Levin Model 65 (1942), Levin LM-26 (1959), Levin Model 174 (1972).

How to… reset a Levin neck

Levin LM-26 1959A fairly unplayable 1959 Levin LM-26 before I reset the neck

I’ve been very lucky and managed to get my hands on a couple of really nice Levin and Goya guitars over the last year. I would probably have thought twice about getting any random 50 years old acoustic since the action is normally a bit of an issue but with Levin it’s quite easy to reset the neck. They have been using a bolt-on neck system since the 1950’s which makes the job pretty manageable.
How to reset a Levin neckRemove the two bolts that attach the heel with the neck block, you can see them if you look inside. A normal Philips no 2 screwdriver fits if you don’t have a square Allen key. The heel is normally not glued in so you will feel it loose as soon as you remove the bolts. If not, apply a bit of pressure upwards to loosen the heel. Now you will be able to fit a sanding strip under the heel and can start to sand it down and that way change the neck angle and lower the action. Apply a bit of pressure on the neck and just pull, it might take 40-60 pulls on each side so so be patient. Check the neck angle with a straight edge once in a while so you don’t take it too far. As long as the straight edge doesn’t go over the bridge it should be fine. I have done the sanding strip trick on two guitars so far, my Goya T-18 and a Goya 163. On my Levin LM-26 I felt it was better to remove the whole neck so that made the sanding process even easier.

Goya 163 neck removal
Update: January 27, 2014
I needed to sand down the heel a bit further on my Goya Model 163 and realised that the fretboard started to come loose. It looked and felt just like the bridge, like the glue had dried up and started to crack and fall apart. I tried a new trick that I learned on Youtube, to heat up the spatula instead of heating the neck, like a did on my Levin LM-26. My God, this was so easy and quick, I think it took me 7 min to remove the neck. When I had sanded down the heel a bit further I glued the neck back with some fish glue and a couple of clamps.

Levin bolt-on neck


Goya Model 163 (1968), Goya T-18 (1966), Levin Model 13 (1950), Levin LT-16 (1966), Levin Model 65 (1942), , Levin LM-26 (1959), Levin Model 174 (1972)
Update: February 15, 2014 with my 3 new Levin guitars. From left to right: Goya Model 163 (1968), Goya T-18 (1966), Levin Model 13 (1950), Levin LT-16 (1966), Levin Model 65 (1942), Levin LM-26 (1959), Levin Model 174 (1972)

I was back in Sweden over the weekend and I was really hoping to extend my Levin collection. I had seen a couple of guitars that I wanted to go and try but in the end I didn’t have time to do anything more than just visit my family, which was the reason why I went back in the first place. I really don’t need any more guitars but since I’m so happy with my Goya T-18 I can’t stop looking for other Levin’s. I actually did manage to extend my collection but not while in Sweden, I won a Levin LM-26 from 1959 on eBay the night before I left Barcelona. It needs quite a bit of work so as soon as it arrives here and I’ll start to fix it up I will post some pictures and write more about it. What I have gathered so far by talking to Levin owners on Swedish forums is that the Sixties ones sound more like old Gibson’s and the Seventies Levin’s are closer to Martin, which makes sense since C.F. Martin & Co bought Levin in 1973. It might all be in my head but I think there is a bit of Gibson sound over my Goya T-18. The three Levin models that I’ve been dreaming of, after the Levin LM-26 but that’s already sorted now, is the stupidly beautiful Levin/Goya M-50, the awesome Levin/Goya 174 and the less impressive looking but supposedly amazing sounding Levin W 32 J. To find a Levin/Goya 174 shouldn’t be too hard, I might actually have already found one that I like. It would be a lot harder to come across a Levin/Goya M-50, I think it will be almost impossible so maybe that’s more of a lifelong Holy Grail project. They were too expensive to produce with all the extra bling, gold machine heads and mother of pearl cloud shaped inlays all over the fretboard so they stopped making them in the early Sixties. The Levin W 32 J is not that rare, they actually produced quite a few but people doesn’t seem to be too inclined to sell them and when they do, they are quite expensive. I have seen one, that I actually wanted to go and try, in Jam a guitar shop in Stockholm for 9500 SEK, around 1100€, which felt a bit much. It’s actually not that overvalued since The Fellowship of Acoustics in the Netherlands are selling their Levin’s on eBay for 1400-1600€. These are top end models we are talking about but since normal people that have inherited an old Levin or want to sell their old guitar see those guitar prices they of course think that their guitar is worth over 1000€ too, which isn’t always the case. I guess this over valuation makes my guitars worth more but at the same time it’s extremely annoying when you want to buy a new one and people wants an arm and a leg for them, or 1000€.

1963 Goya M-50
1963 Goya M-50
© Vintage Guitars

1970 Levin Model 174
1970 Levin Model 174 © Vintage Guitars

1979 Levin W 32 J
1979 Levin W 32 J © Vintage Guitars

Goya T-18

Levin Goya T-18 1966
My beloved Goya T-18, made in Sweden by Levin in 1966

When my Goya T-18 arrived from the US back in September I didn’t really know where to start. It had an amazing tone, actually every time I pick it up I think it’s my best sounding guitar, but it needed work. The action was way too high, there was three deep really annoying dents on the back of the neck and the pickguard was loose. Last weekend I actually got to work on all three problems and I managed to get my Goya up and running and now I struggle to put it down.

Levin Goya T-18 Made in Sweden 1966

Levin LT-18 / Goya T-18
Goliath size: Body width: 400 mm, body length: 505 mm, body depth: 95/120 mm
Fingerboard width: 43 mm, scale length: 630 mm
Spruce top, flame maple back and sides, 4-ply bound top, single-bound back
Mahogany bolt-on neck with adjustable truss rod
Single-bound ebony fingerboard with bass side pearloid block inlay
Nickel plated individual Van Gent tuners with metal buttons
Ebony bridge, natural finish and ten year warranty

Marketed by U.K. distributors as Super Goliath Model 1855

Goya T-18 1966 / Levin LT-18
First I had to try to fix the three deep dents in the back of the neck. Since they went through the original finish down to the wood I actually added some water first to let the mahogany swell a bit and that way make them less deep. After a couple of days I added the first layer of Nitrocellulose lacquer with a toothpick, just one drop at the time. I had to repeat the process quite a few times to get it even, the lacquer sinks when it dries. Next step was to get rid of the edges with a razor, like mentioned in my previous post, and then sand it even. I used 400, 800, 1500, 2000 and 2500 grit and then added a layer of  Carnauba wax and a lot of elbow grease and then buffed it up with a fine microfiber cloth. I guess because of the thickness of the original finish my repair blended in really well and it’s even hard to notice.

Goya T-18 1966 / Levin LT-18
The pickguard was loose so I decided to remove it completely and then glue it back again. I cleaned off the old glue with a razor blade and made sure that both the top of the guitar and the back of the pickguard was smooth and even before I glued it back with my trusty old fish glue. I added some pressure with a clamp, I had a little block of wood on the inside and half a wine cork on the outside for not ruining the finish.

Goya T-18 1966 / Levin LT-18
The main thing that was needed on this Goya T-18 was a neck reset to get the action down. I was pretty worried about this and that’s why I have put it off for so long. I have never done anything like this before and I wasn’t even sure what I could use to loosen the two bolts on the inside, these Levin / Goya guitars have used a combination of glue and the Levin bolt-on neck system since the early Sixties. It turned out that a normal Philips screwdriver no 2 fitted perfectly, they are square in the base of the tip. Once the bolts were off I tried to remove the neck completely but without any luck, well the heel came loose straight away but not the fretboard. I tried with heat, steam and all sorts of magic but it didn’t budge and since I didn’t want to do anything too drastic and ruin the guitar I left it. Then I read on a Swedish guitar forum that you could leave the neck on and just lift the heel, get a bit of sandpaper in under, add some pressure and then pull. That way you would get some material of the heel off without removing the neck completely. The guy in the forum mentioned that he had done 40 pulls on both the left and the right side so I did 30 on each to be on the safe side. I fastened the bolts and strung the guitar up again and it worked, it actually worked really well. I played it for a couple of days and then decided to sand off a bit more, so I loosened the neck again and did another 15 pulls on each side and now it’s perfect. Crazy Swedes, coming up with such a quick and easy way of resetting a neck on an acoustic guitar. Thank you Levin for thinking of me 47 years down the line.

Levin / Goya catalogue 1965Levin / Goya catalogue 1965
The Goya T-18 was top of the line back in 1965 and cost $219.50 new, I wish they still cost that.

Goya T-18

Goya Model 163, Goya T-18, Levin Model 13, Levin LM-26, Levin Model 65, Levin LT-16
The Levin family, Goya Model 163 (1968), Goya T-18 (1966), Levin Model 13 (1950), Levin LM-26 (1959), Levin Model 65 (1941), Levin LT-16 (1966)

Last week I received my latest project, a lovely Goya T-18 made in Sweden by Levin in 1966. It sounds really nice and works great for cowboy chords but there are a few things that needs to be sorted before I can play her properly. First of all there are two dents on the back of the neck, it almost seems like the lacquer has melted or reacted with the the leather flap for the accessory department in the case. It came with what seems to be the original hard case and who knows, maybe she has been stored in there for decades. So these dents or groves needs to be filed with lacquer and evened out, let’s see how that goes. I also need to re-glue the pickguard, but that shouldn’t be too hard as soon as I receive my fish glue that I’ve ordered from Germany. The Van Gent machine heads looks almost new and it could be the original nut and saddle but not bridge pins. There is a few marks on her but overall she is in really good state for her age. The lacquer on the top has cracked a bit but that seems to be standard on these late 1960’s Goya T-18, but not on the Levin LT-18 so they must have used different lacquer for them. The big thing that needs to be done is to try to reset the neck. I have never done anything like it but since these are quite cleverly bolted on maybe it wouldn’t be impossible, if I just find the right square key to loosen the bolts inside. The Goya T-18 sounds a lot bigger and fuller than my dad’s old Levin LT-16 which could be down to the size more than the materials, I’m not sure. She sounds bright but still with a lot of bottom which I like, I actually think this is my best sounding acoustic after my Morris W-40. I’m trying to get the biggest Levin collection in Spain, well I might already have it, who knows.

Update: December 6, 2013
I finally managed to get my beloved Goya T-18 sorted and now it plays beautifully

Levin Goya T-18 Made in Sweden 1966

Levin Goya T-18 Made in Sweden 1966
Levin Goya T-18 Made in Sweden 1966

Goya T-18

Goya catalogue 1965
Levin’s Goya catalogue from 1965

I’m very excited about my future Goya T-18 from 1966. I managed to find one in a fairly good state for a reasonable sum on eBay and couldn’t resist. I’ve decided that from now on I’m just buying Swedish made Levin acoustics, they were called Goya in the US. Since I haven’t received the guitar yet, it will probably spend a week or to in the customs office in Madrid, I have to stick to looking at old catalogues and dream. They have a review of a Goya T-18 from 1965 in the latest issue of Acoustic Guitar, under Great acoustics, 1965 Goya T-18 by Teja Gerken. I need to find a copy so I can get an idea of what I’ve got myself in to. It can’t be that different from my dad’s old Levin LT-16 also from 1966, which is among the best acoustic guitars I’ve ever played. The Levin LT-16 or Goya T-16, has alp spruce top and mahogany back and sides while the Levin LT-18 or Goya T-18, has alp spruce top and flame maple back and sides. The LT-18/T-18’s Goliath size is also a bit bigger than LT-16/T-16’s Grand Concert size so let’s see how the size in combination with maple instead of mahogany affects the sound. The LT-18/T-18The LT-18/T-18 was top of the line in the mid Sixties and cost $219.50 new in 1965.

Goya catalogue 1965
Levin’s Goya catalogue from 1965. Next I will have to find a Goya N-26 or Goya N-22 in sunburst from the mid 1960’s.

Levin LT-16 Made in Sweden 1966
My dad’s old Levin LT-16 from 1966