Neck：Cedro
Fingerboard：Ebony
Finish：Shellac
Tuning Machine：Unknown
String height：1string 3.5 mm／6string　4.2 mm

[Profile]
Born in England in 1949. Originally started as a guitar repair and restoration craftsman, he had the opportunity to actually inspect the construction of many famous instruments by M. Ramirez, D. Esteso, Hauser I, Arcángel Fernández, J.L. Romanillos, and others. Since 1991, when he moved his workshop to his current location in North Devon, England, he has limited his work to Torres and Hauser models. Since then, his guitars have been finished with an oil finish, which gives the wood a soft texture and a natural, woody sound that can only be achieved with a thin coating. While the tone is not flamboyant, it is a wonderful piece of work that strips away extraneous elements and aims for perfect congruence with the fingers of the player.
It is also famous as Julian Bream's favorite guitar, and two guitars made in the late 1980s were used for concerts and recordings.

[Description]
We are pleased to announce the arrival of a ‛LOLA' made by Kevin Allam in 1990. It was made just before he moved his workshop to his current location in North Devon, and shortly after he made the two guitars used by Bream. It is a highly finished guitar in the Torres/Hauser style, and the dark brown cedar wood with maple binding and inlays creates a modest but stylish contrast in appearance (the back is a 3-piece rosewood and bird's eye maple), which shows his sense of design.
This piece is finished entirely in shellac, rather than the oil finish that would later become his standard finish. The sound board is made of cedar wood, which is relatively rare for this brand, and is processed thinly throughout, with the effect of the shellac finish giving it an impressive, lively sound. The overall acoustic balance is also well controlled in this work, and his unique degree of perfection is maintained here as well.
From the moment one plays, the clear, grainy sound rises beautifully, and the chords are clear. The resonance set in the low register and the synergistic effect of the cedar wood also make this a pleasant piece with majestic resonance.
The sound board has some scratches and dents from playing, but the back and sides are almost scratch-free except for partial fading of the paint. There is no history of repairs such as cracks. The fingerboard has been shaved and adjusted in the past, and the frets have been replaced at that time.
Aram named each guitar he made, most of them with female names, and this one has 'LOLA' written in his handwriting on the label.