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Levin Royal

Levin Model 3 Royal made in Sweden by Levin in 1951

I’m so excited about my new gal, last week I received a 1951 Levin Model 3 Royal. I got it fairly cheap from Jam, a guitar shop in Stockholm and managed to get it to Spain in one piece in less than a week, very impressive. This is my 9th Levin, number 8th was a Goya GG-172 that I received back in June but haven’t had time to fix up yet. I tried one of these Levin orchestra guitars when I was back in Sweden in May and felt both confused and intrigued by it, I wasn’t sure if I was supposed to play it like an acoustic or electric guitar. Now I know that you can play pretty much anything on it, it sounds as full and rich as my other acoustic Levin’s but with the playability and feel of an hollow bodied electric guitar. I was actually really surprised how good the bass response was, perhaps because of the hand carved Rumanian spruce top and walnut back, it’s my first guitar with walnut and I really like it. Levin Royal is the 3rd fanciest orchestra guitar that Levin made during the 1930-50’s, with the De Luxe and Solist above it. The De Luxe is massive so I was worried that the Royal would be really big too, Levin Model 1 De Luxe (Body width: 475 mm), Levin Model 2 Solist (Body width: 445 mm) and Levin Model 3 Royal (Body width: 420 mm), but it’s just 2 cm wider than my Levin 174 and the other Goliath sized acoustic Levin’s I have. I’m really happy with it and will definitely look in to the possibilities of electrifying it, without ruining it, so I can use it live with Chest Fever.

It’s in pretty good state for it’s age and almost all original, the pickguard is missing and one of the pearloid block inlays on the fretboard has been replaced with a plastic one. The only thing I had to do when I got it was to raise the action, it was way too low for me, polish the frets and even out the ebony fretboard a bit, some of the inlays was sticking up. The neck is pretty straight, it does have a T-shaped duraluminum truss rod inside but it’s non-adjustable so there isn’t much you can do without heating and reshaping the neck but that’s not needed yet.

Taken from a 1948 Levin archtops catalog, thanks to Vintage Guitars Sweden

Levin Model 3 Royal
Body width: 420 mm, body length: 510 mm
Hand carved Romanian spruce top with mahogany or walnut back and sides
4-ply bound top with double-bound f-holes, 4-ply bound back, triple-bound pickguard
Mahogany neck with non-adjustable T-shaped duraluminum truss rod
Triple-bound headstock with perloid music sharp sign inlay
Single-bound ebony fingerboard with pearloid block inlay
Grover Sta-Tite style tuners, gold plated hardware
Sunburst or natural finish and ten year warranty

This is how awesome I think I look with my new guitar. Django Reinhardt is playing Fred Guy’s Levin De Luxe backstage at the Aquarium in New York City 1946. © William Gottlieb

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December 17, 2013

Levin

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€.