Neck:Cedro
Fingerboard:Ebony
Finish(Top):Shellac
Finish(Back & Sides):Oil finish
Tuning Machines:RODGERS
String Height(1st):3.0mm
String Height(6th):4.2mm

[Profile]
Born in 1949 in England, Kevin Alam began his career as a guitar repairer and restorer. This early work gave him the rare opportunity to closely examine the structures of legendary instruments, from M. Ramírez, D. Esteso, and Hauser I to Arcángel Fernández and J.L. Romanillos, profoundly shaping his later lutherie philosophy.

In 1991, Alam relocated his workshop to North Devon, England, where he has since focused exclusively on Torres and Hauser models. His guitars feature an oil finish that emphasizes the natural texture of the wood, producing a refined, understated tone full of character. While never flashy, Alam’s instruments are renowned for their musical expressiveness, with a sound that seems to perfectly synchronize with the player’s fingers, stripped of any unnecessary elements—a purity and precision that is often described as remarkable.

Alam is also well-known as the maker of guitars favored by Julian Bream. In the late 1980s, Bream famously used two Alam guitars for concerts and recordings, recognizing the exceptional quality and tonal subtlety of his instruments.

[Description]
Kevin Alam – Torres Model ‘SYLVETTE’, 2002 (Used)

This 2002 Torres model, named ‘SYLVETTE’, exemplifies Alam’s mastery of the Torres tradition. It reflects not only the total perfection of the original designs but also Alam’s unique insight and sensitivity, combining fidelity to the original with subtle contemporary refinement. The guitar delivers the characteristic tonal focus of Torres, with clean, woody resonance, singable, well-articulated notes, and a poised, powerful expression that goes beyond mere volume. It also offers a wide range of musical nuances, making it a highly expressive instrument.

Internally, the guitar features two harmonic bars above the soundhole and one below, with seven symmetrical fan braces extending from the lower body waist. Two closing bars at the bottom support the fan brace ends. The resonance is set between F# and G.

The guitar’s back and sides are finished in Alam’s signature thin oil finish, while the top is lightly coated in shellac, allowing the natural texture of the wood to shine through. The Indian rosewood back and sides display a subtle rustic beauty. The rosette and purfling, in shades of brown and beige, are delicate and elegant. The compact body, flat D-shaped neck, and moderate string tension provide a comfortable playing experience, suitable for smaller hands and female players.

The guitar shows minor wear consistent with its age, including light scratches and dents on the top, especially around the fingerboard and soundhole area, and slight string-mark impressions beneath the saddle at the first and second strings. The oil-finished back and sides remain in very good condition with only minimal natural wear. The neck has a slight forward bow within standard limits, and the frets retain full height with no wear. The D-shaped neck is moderately thick with a nearly flat profile. String height is 3.0/4.2mm (1st/6th string at 12th fret) with 0.5mm saddle compensation. Tuners are high-quality Rodgers, functioning perfectly.

Alam names each of his guitars individually, and this instrument bears the label ‘SYLVETTE’—possibly referencing the woman depicted in a late Picasso work, though the connection is unclear.

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