Beruflich Dokumente
Kultur Dokumente
20 The Tone Equation:
50 Popular Back and Side Woods 111 A Guide to Guitar Terms
51 The Classics: Rosewood, Mahogany & Maple
Your Map to the Right Guitar Learn the Lingo and Talk Like an Expert
55 The Modern Alternatives: Sapele, Blackwood,
21 Balancing the Tone Equation
112 Tone Talk: Acoustic Tone Terms Translated
Ovangkol
114 Acoustic Guitar Parts Defined: An Index
59 The Exotics: Koa, Macassar Ebony
S E CT I O N
Introduction
Why a Good
Guitar Matters
Nothings worse than a guitar thats hard to play and wont stay
in tune. The good news is that quality guitars are available at different
price points.
Generally speaking,
2 Like relationships, sometimes its about chemistry. the stronger and louder
Any good guitar should deliver certain fundamental qualitiesplayability,
clear tone and good intonation, for example. But each persons the sound youre
relationship with a guitar is unique. And its a multisensory
experience part visual, part tactile, and part sonic. Embrace it.
looking for, the bigger
the guitar youll need.
Sometimes its love at first strum; other times a guitar reveals itself
gradually over a few playing sessions. However it happens, what matters
is that you find a guitar that inspires you. Take your time and trust your
feelings. If you pay attention, the right guitar has a way of finding you.
S E CT I O N
Your Player Profile
Identifying your playing needs will help you narrow your search
10 questions to
help you define your
player profile
General
recommendations
based on different
playing styles
A guitar is a very
personal extension
of the person playing
it. You have to be
emotionally and
spiritually connected
to your instrument.
Im very brutal on my
instruments, but not
all the time.
Eddie Van Halen
If you plan to play live gigs, youll definitely want a guitar with a pickup.
With others: You might want a guitar that has enough clarity or volume
to be heard clearly in the instrument mix.
It might help to visit a music store at a time when you feel comfortable
singing with the guitar or having access to an isolated room where you can
pair your voice with each instrument.
If youre more of a solo instrumental player, does the guitar give you a
colorful enough sonic palette with which to express yourself?
Bright guitar tone has a lot of top end, or treble emphasis. Dark guitar tone has greater low end, or bass emphasis.
S E CT I O N
S E CT I O N
Playing Comfort
How to size a guitar for your body and hands
The Body
The Neck
The Body
Guitars come in a range of body sizes, from small and intimate to big
and curvy. Youll want to consider how a guitars overall body dimensions
feel against your body when you hold it. Here are a few things to consider:
The Neck
One of the most important contributors to a comfortable playing experience is
the feel of the neck. The more comfortable a neck feels in your hands,
the easier it will be to form notes and chords. Youll also be less prone to
experiencing hand fatigue with extended playing. Because the size of peoples
hands can vary considerably, the feel of the neck is important.
1 The Profile
This refers to the shape of the back of the neck, which will rest in the palm
of your fretting hand when you play. Some guitars have chunkier profiles,
while others feature slimmer dimensions. A slimmer profile tends to be
easier to play.
2 The Width
This is typically measured at the nut, where the neck meets the headstock.
The wider the neck, the wider the spacing between each string.
The Neck
3 Action
This refers to how high above the fretboard the strings are. Guitars with
lower action tend to be easier to fret. If the action is too low, the strings
will buzz; if its too high, the strings require more pressure to fret, especially
as you slide up the neck toward the body. If youve had a bad experience
playing a cheap guitar, chances are it had high action and was hard to play.
4 Intonation
When an instrument is properly intonated, all the open strings and every
fretted note on the fretboard sound at their correct pitches. In other
words, the instrument is in tune with itself all along the fretboard. Side view of neck (nut at left) showing action.
This creates a pleasant, musical uniformity that makes the playing
experience easier and more enjoyable, because you dont have to play
around any weak, off-pitch or dead spots on the fretboard.
Different guitar manufacturers each have their own standard scale length
specifications. On short-scale necks, not only is the string tension
looser, but the more compressed spacing between the frets also
makes it easier to reach more notes with your fingers. If you have
small hands or suffer from any hand ailments, you should consider a
short-scale guitar. The Definitive Guide To Buying An Acoustic Guitar 17
Playing Comfort
5
Signs
of a
Quality
Guitar
It stays in tune
It produces a pleasing
level of volume and
sustain
S E CT I O N
Finding Your Fit
Learn the three most important ingredients of a guitars sound
These are the three most important variables that can change a guitars sound.
Heres why:
Player
This is all about you and the nuances of how you play. Think of it this way: If a
group of guitar-playing friends are hanging out and they pass around the same
guitar, each playing a tune, chances are the guitar will sound a bit different in
everyones hands, because of each persons unique playing style.
Body Shape
As mentioned earlier, different guitar body dimensions tend to produce
distinctive tone profiles.
Tonewoods
These sonically flavor or season the guitars sound.
The next three sections will explore each of these key ingredients in depth.
Balancing the
Tone Equation
In terms of getting the best sound, the key is for you to choose a guitar with a
body style and tonewoods that are most compatible with the way you play. For
example, if youre a lively acoustic rock strummer who likes big, long-sustaining
chords, tonally speaking, a small-bodied guitar probably isnt the best option for
you because it wont be able to handle that playing energy. Youll probably want
a bigger guitar, along with woods that produce rich sustain.
In the next section, well take a more in-depth look at each part of the tone
equation to give you some options.
S E CT I O N
Acoustic Guitar Anatomy 101
Getting a handle on the material components of a guitar will give you a great foundation for differentiating models
How a Guitars
Components Work
Together
The Front
The Back
Interior Bracing
Aesthetic
Appointments
Pickups
3
Work Together
Design Ingredients
A guitars body serves as a natural sound box, or acoustic amplifier, for the
vibrating strings. The string tension is adjusted by tuning each string to a certain
frequency and by fretting the strings along the fretboard. When you pluck or
strum the strings, the vibrational energy is transferred to the guitars top, or
soundboard, with the help of the saddle and bridge, which anchor the strings
to the top. The top vibrates together with the back and sides to produce sound,
That Influence a
projecting it through the soundhole.
Guitars Sound
1 The Body Dimensions
A guitars contours literally shape the fundamental
voice of the guitar.
Taylor guitar body interior view with the soundhole above. The internal bracing for the top,
back and sides is visible. The Definitive Guide To Buying An Acoustic Guitar 23
Acoustic Guitar Anatomy 101
The Front
For a more detailed explanation of the function of these components, see our index of guitar features beginning on page 110.
Lower bout
Upper bout
Waist
Rosette Strings Frets Fretboard Nut Peghead
Soundboard
Bridge
Bridge pins
Saddle
Soundhole Pickguard
Finish Sides
Binding
Purfling
The Back
Interior Bracing
Theres often a lot going on under the hood
to influence a guitars sound. The bracing
is designed both to offer structural support
in response to the string tension, while also
optimizing the movement of the top, back
and sides for tonal purposes.
Aesthetic Appointments
A guitars cosmetic details reflect the builders design aesthetic. And yours.
From a guitar bodys curves to the look of exotic woods to its package of people, a guitars visual aesthetic contributes to the way they perceive it.
decorative appointments, the visual elements of a guitar undeniably play into If the visual artistry enhances your appreciation of it, embrace it. After all,
our attraction to it. If youre simply trying to find the best-sounding guitar for a guitar provides a multi-sensory experience.
your preferences, you might pay less attention to these things, but for most
There are many options available, Woods Inlay Areas Inlay Materials
from clean and simple to detail-rich. Color variegation, grain pattern and Fretboard, rosette, peghead Wood, mother-of-pearl,
If you like a vintage look, a sunburst orientation, figure abalone, ivoroid
top makes a great choice. If you
crave an organic aesthetic, you might
opt for wood inlays and bindings. If
you like a splash of color and sparkle,
abalone trim might be a good option.
Here are some visual characteristics
to consider:
Rosewood Fretboard Rosette Mother-of-pearl Abalone
Plugging In:
Acoustic Pickups
If you want to plug in and amplify your sound, a pickup is
a feature worth considering.
These days, many acoustic guitars come equipped with onboard pickups. Having
one enables you to plug into an acoustic amp or PA system and enjoy an amplified
acoustic sound. A pickup is also useful for plugging into a interface for recording
software to record a direct track as an alternative to playing into a microphone.
Even if youre a beginner and dont plan to plug in right away, it might be worth
considering getting a guitar with a pickup for some point down the road.
S E CT I O N
Body Shapes
Shape matters discover the best shape for your playing preferences
A breakdown of
body shapes made
by Taylor Guitars
for reference
Small
Body
Small Body
Taylor Shape:
Grand Concert (GC)
General Sound Profile: A Good Option For:
Responsive to a lighter touch Fingerstyle players
More focused, articulate, People with smaller frames or hands
well-defined tone Players who dont need a super
Fits well in a mix with other loud guitar
instruments
Taylors smallest full-size shape has compact dimensions all around, which make Grand Concert
for a physically comfortable, lap-friendly playing experience. The Grand 812ce
Concerts slight waist and shallower body depth help produce a balanced
sound across the tonal spectrum, with the kind of note definition that
fingerstyle guitarists and session and stage players tend to appreciate.
The smaller body also means the guitars voice wont take up too much sonic
space in a mix with other instruments.
Taylors Grand Concert models feature a shorter scale length (24-7/8 inches
compared to 25-1/2 inches on other models), which makes it easier to form
chords, and the reduced string tension also makes it easier to bend the strings.
This makes the GC a good match for people with smaller hands, older
players, people with hand ailments, and really anyone looking to
reduce the stress on their fretting hand.
Medium
Body
Medium Body
Taylor Shape:
Grand Auditorium (GA)
General Sound Profile: A Good Option For:
Louder and more dynamic than Generalists who want a great
a smaller body multi-purpose guitar
Well balanced, with more bass Light to medium strummers
response, sustain and projection A beginner who doesnt know what
A versatile performer that they want
accommodates a mix of playing styles
Grand Auditorium
The Grand Auditorium is the most popular and versatile of Taylors body shapes.
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The next size up from the Grand Concert, it actually shares the same basic body
dimensions as a Dreadnought body (a traditional guitar shape), but with a more
tapered waist, enabling the guitar to fit more comfortably in your lap. Tonally, it
lives in the sweet spot between a Dreadnoughtknown for robust flatpicking
and rhythmic strummingand a Grand Concertdesigned with fingerstylists in
mindto give players the best of both worlds. The GAs well-defined midrange
helps maintain the balance and clarity, yet with enough power on the
top and bottom for medium-strength strummers and flatpickers to let
loose. Its a smart choice for a musician looking for one guitar to cover a diverse
mix of music. If youre a novice or generalist and want a guitar that can cover a lot
of ground or dont quite know what your playing style may be, you cant go wrong
with a Grand Auditorium.
Medium Body
Taylor Shape:
Grand Symphony (GS)
General Sound Profile: A Good Option For:
Slightly bigger and louder than Players with a strong
the Grand Auditorium strumming/picking style
Powerful voice with strong Acoustic/roots-rock players
bass response looking for a full-voiced sound
Wide dynamic range Players with a dynamic (light to heavy)
playing approach
Grand Symphony
The Grand Symphonys dimensions are slightly up-sized from the Grand
816ce
Auditoriumexpansions include a higher and wider waist, and a bigger, more
rounded lower bout. The result is a more potent all-around sound with
a deeper, more piano-like bass, thicker trebles, and increased volume
and low-end sustain, all without disrupting the tonal balance and clarity
of the guitar. Consequently, the GS can really be driven dynamically.
The lower mids have an extra roundness and girth that add richness
and complexity to the voice. Those who find the Grand Auditorium to be a
little bright for their ears will enjoy the greater depth and resonance of the GS.
Medium Body
Taylor Shape:
Dreadnought (DN)
General Sound Profile: A Good Option For:
Robust voice with low-end power Flatpickers and strummers with an
and upper midrange aggressive picking attack
Strong, clear treble notes Players who gravitate toward a
A neo-vintage voice for traditional traditional guitar sound & shape
flatpickers and strummers Playing acoustic leads that
require strong, clear treble notes
Dreadnought
This classic body is one of the most traditional and recognized shapes in the
810ce
acoustic guitar world. Due to its wider waist, the Dreadnought tends to sit
slightly higher in a players lap, making it feel more like a large body. (After all,
its name comes from an early 20th century battleship). The extra width helps
produce a loud, robust voice, especially on the low end, along with a
snappy quality in the midrange that will appeal to traditional strummers
and flatpickers. Its ability to handle a driving attack has given it something of a
workhorse personality in the guitar world.
Large
Body
Large Body
Taylor Shape:
Grand Orchestra (GO)
General Sound Profile A Good Option For
A bold and complex voice Fans of big-bodied, big-voiced guitars
Broad dynamic range with Players looking for sonic depth
strong sustain and complexity
Surprisingly balanced and Players with a dynamic style
responsive for a big body
Among large guitar bodies, the Jumbo shape is perhaps the best known. Grand Orchestra
Gibson borrowed the outline of its archtop electric guitars to create the footprint 818ce
for their Jumbo acoustic shape in the late 1930s, and Guild also made a number
of Jumbo-style guitars. For years, Taylor made its own version of a Jumbo.
The shape evolved into our Grand Orchestra (GO). The new guitar dramatically
improved the capabilities of a big-body guitar to make it a more versatile instrument.
Sub-Compact
& Travel
Sub-Compact/Travel
Portability has always been part of the appeal of a guitar, and in recent years
guitar makers have scaled down their designs even further to accommodate
peoples active lives and their desire to have a guitar on hand when they travel.
There is also a demand for guitars that are downsized to be more comfortable
for children to play.
Baby Taylor
The -size mini-Dreadnought offers impressive playability and musicality, broadening
its identity beyond simply being a childrens guitar. It offers a legitimate musical
instrument for players at every level. Adult players buy them for their kids but also
embrace the Baby as a slide guitar, songwriting guitar, an alternate tuning guitar, etc.
Its popularity helped establish the travel guitar category.
GS Mini
Taylors next-generation version of a scaled-down guitar after the Baby Taylor was
designed to create a bigger, richer guitar sound, yet still retain the compact feel of
a travel-friendly guitar. The guitar borrowed from Taylors shapely Grand Symphony
body style and incorporated many of Taylors latest design ideas. Right out of the
gate, the guitar was major success, yielding a full-size voice in a comfortably
intimate package that suited both an active lifestyle and relaxed couch strumming.
More than 125,000 GS Mini models have been made.
Cutaway or Non-Cutaway?
Some acoustic guitar bodies feature a cutaway on the treble-side upper bout
of the guitar. This gives players greater access to the frets near the soundhole
and broadens the playing range of the instrument.
Which is better?
Our opinion is that the access to the upper register offered by a cutaway far
exceeds the negligible tone loss. If you want to be able to reach those high
notes or simply like the aesthetic of a cutaway, go for it.If you dont plan to
venture that far up the neck, or simply prefer the aesthetic symmetry of a
non-cutaway, opt for that.
S E CT I O N
Tonewoods
Popular guitar woods and their unique tone profiles
How tonewoods
flavor a guitars
sound
Commonly used
guitar woods and their
unique tonal properties
The techniques of a guitar builder, like the cooking techniques of a chef, play
an important role in voicing the instrument. The way they season and mix their
ingredients is intended to coax a pleasing blend of flavors from their creations.
Hardwood trees generally have a slower growth rate and higher density,
while softwood trees tend to have a faster growth rate and lower density.
The backs and sides of most acoustic guitars feature hardwoods. Some of
the most popular are rosewood, mahogany, maple and koa.
Comparing Tonewood
Sound Profiles
Ahead weve compiled general sound profiles for some of
the commonly used woods in the acoustic guitar industry.
The more you get into the realm of boutique builders and
individual guitar makers, the more youll find other exotic
species, some of which youve probably never even heard of.
These tone profiles are merely meant to be a general reference, especially since
other variables factor into the overall tone of a guitar, things like:
The Classics
Rosewood, Mahogany and Maple
The Modern
Alternatives
Sapele, Blackwood, Ovangkol
The Exotics
Koa, Macassar Ebony
Layered Woods
Laminate construction with
an appealing outer veneer
The Classics
These tonewoods claim a rich heritage in the acoustic
guitar world:
Indian Rosewood
Tropical Mahogany
Maple
Indian Rosewood
Tonal Properties
A rich, musical tone with ringing overtones that add complexity and sustain
Broad frequency range with deep lows, bell-like highs, and a slightly
scooped midrange
Tropical Mahogany
Tonal Properties
Its tonal character comes through its meaty midrange, featuring a strong
fundamental focus often described as punchy, woody, or dry, without
a lot of ringing overtones
Clear and direct tonal character makes it a great option for playing with
other instruments
Mahogany guitars have been featured on many roots music recordings over
the years, from country blues to folk to rock
Maple
Tonal Properties
Revered in the bowed instrument world for centuries for its linear,
transparent response; very reflective of the player rather than imposing
its own personality
The Modern
These tonewoods are lesser known than their classic
counterparts but have similar tone profiles:
Alternatives Sapele
Ovangkol
Blackwood
Sapele
Tonal Properties
Blackwood
Tonal Properties
Strong volume and midrange focus dry and clear yet warm,
like mahogany and koa
Its all-around musicality suits a variety of body sizes and playing styles
Ovangkol
Tonal Properties
The Exotics
These tonewoods are admired for their striking looks
as well as their musical properties:
Hawaiian Koa
Macassar Ebony
Hawaiian Koa
Tonal Properties
Prized for its exotic visual appeal; guitar sets are often beautifully figured
Fairly dense tropical hardwood that shares some of the same tonal
properties as mahogany, i.e., namely a strong midrange but with extra
top- end brightness and chime
The more a koa guitar is played and the wood ages, the warmer and
sweeter its voice gets
Macassar Ebony
Tonal Properties
Strong bass and lower mids, clear highs, and a slightly scooped
midrange like rosewood
Layered
Crafting guitars with backs and sides of layered, or laminated,woods allows
us to conserve tonewood resources (a veneer log will produce eight times the
yield of a log thats sawn for solid-wood guitar sets) and offer players a resilient,
Note: All laminates are not created equal. At Taylor, weve actually moved away
from using the term laminate to avoid confusion with the growing number of
laminate products in the marketplace made fromsynthetic, non-wood materials
such as High Pressure Laminate.
The Definitive Guide To Buying An Acoustic Guitar 62
Tonewoods
Top Woods
A guitars top, or soundboard,
is a vital part of its tonal equation.
Its the first filter and generator
of sound from the vibrating
string energy. The top resonates
together with the strings, saddle,
bridge and the rest of the body
to produce a complex range of
tones. Think of the top as the
equivalent of a speaker driver.
Sitka Spruce
Tonal Properties
The most commonly used wood for tops because its light and stiff
in the right ways, especially when quartersawn
Its lighter weight gives the top the freedom to move, which helps translate
the players picking or strumming into clear acoustic tone
Lutz Spruce
Tonal Properties
Its relative softness adds warmth to a guitars tone, especially for players
with a lighter touch, like fingerstylists or light to moderate strummers
and pickers
Players with a stronger attack are often better paired with spruce
Hardwood Tops
A hardwood-top guitar, such as an all-koa or mahogany-top
model, produces a natural compression, so it wont yield
as quick a response as a spruce-top guitar will. There
tends to be more of a controlled, sustaining roll-in effect
to a note.
Fretboard Woods
True to its name, a guitars slotted fretboard hold the frets
in place. In the acoustic guitar world, ebony is widely used
due to its density.
At Taylor we use ebony for all of our fretboards because it holds frets
extremely well and its density provides resilience in the face of the rigors
of fretting the strings.
Some guitar makers use rosewood fretboards (even more so in the electric
guitar world), but because it has a lower density we find it to be less resilient
than ebony. Inexpensive guitars sometimes incorporate fretboards made of
Richlite, a composite material.
S E CT I O N
Shopping Experience
How to find, try and buy the right guitar with confidence
Financing as a
Buying Tool
Test-Driving Tips at a
Guitar Store
In-Store Etiquette:
Dos and Donts
1 Ask around.
Find out where other local musicians buy their gear. Between traditional
word-of-mouth recommendations and small business review sites like Yelp,
you should be able to get a sense of which stores are popular and why.
2 Visit stores.
If its a good store, the
You can usually get a good sense of the vibe and philosophy of a store and its staff will make you feel
staff by spending time there. Even if you feel a little intimidated because youre
not a gear expert, if its a good store, the staff should make you feel comfortable comfortable there.
there. For more tips, see our section, 8 Tips for Test-Driving Guitars.
71
Acing the Shopping Experience
If youre reading this, you know there are lots of online resources available for
researching guitars. You can find everything from photos and specs to video
demos to customer reviews and guitar forum discussions among enthusiasts.
There has also been a rise in the number of online retailers who sell new guitars.
Lets set aside the category of used guitars and websites like eBay and
Craigslist for the moment and focus exclusively on buying a new guitar from
a music instrument retailer.
If you plan to buy online, look for reputable retailers who are
authorized dealers for the brand you want.
They will tend to have the best selection, their staff will typically be knowledgeable
If youre interested in
about the product specs for the brands they sell, and they generally offer helpful
customer support.
a specific model and a
local dealer doesnt have
it, many are willing to
order it for you.
Given the broad range of guitar price points (from a couple hundred to
thousands of dollars), a big question for many customers, especially beginning
players, is how much to spend. Should you buy one of those inexpensive player
packs? Would you be happier saving and buying a mid-level instrument with
better features at a higher price point? Should you consider financing to nab
that special guitar you cant seem to put down before someone else claims it?
Here are 4 tips as you consider your budget and financing options:
1 Youre not just investing in a guitar; youre investing 3 Financing can allow you to buy other gear to go with
in yourself. your new guitar.
Youve probably heard the expression, Buy nice or buy twice. Beginners If youre also looking into picking up a PA system, amplifier, accessories,
or recreational players will sometimes find a guitar that they love but think, etc., an interest-free financing program can help.
How can I justify spending the money? Im not that good a player. But
do you want to be? A good guitar will help get you there. Even if youre
on a budget, try not to skimp on fundamental qualities like playability, 4 A good guitar will sound better over time.
intonation, and sound. If you do, you might end up with a guitar that never This is one of the unique pleasures of a well-crafted instrument.
gets played or hampers your progress. This should give you some additional peace of mind as you consider
a purchase. It means that if for some reason you need to sell the guitar
down the roadpossibly to upgrade to a better guitarit will tend to
2 Financing can help you take home The One. hold its value well.
Some guitar manufacturers offer interest-free financing through
participating authorized dealers. Ask a dealer what their layaway or
financing options are. If youre really interested in a guitar, a good
dealer should be willing to work with you to help you secure it. Using a
combination of money saved and financing can also be a good option.
The Definitive Guide To Buying An Acoustic Guitar 74
Acing the Shopping Experience
8 Tips for
Test-Driving Guitars
If youre fairly new to the guitar, going to a music store can feel a little
overwhelming. But a good music store knows how to create a welcoming
environment, and if youre thinking about buying a guitar, youre the one
in the drivers seat. With a little planning, test-driving guitars should be
a fun experience. Here are 8 tips to help you get the most out of your visit
to a music store.
5 Take notes.
It might sound nerdy, but writing down what you hear and what you like
about a guitar really helps when trying out instruments. After playing three
guitars you might find yourself asking, Wait, which one was brighter?
Which one had the wider neck? Which one felt good against my body?
Take notes and refer back to them. This will especially come in handy if
you visit a store on different occasions and want to refer back to your
previous playing sessions.
DONT: Plug into an amp and crank it all the way up when there are lots
DONT: Lean a guitar against the wall or amp. of other customers around.
DO: Use a guitar stand or hanger. DO: Ask if there is an isolated room where you
can crank up without disturbing others.
DONT: Ask to borrow a pick and then put it in your mouth (ew), do a pick DONT: Leave amps on when youre finished.
scrape, and walk out of the store with that pick in your pocket.
DO: Turn amps off when youre finished.
DO: Bring your own pick(s).
DONT: Sample a guitar with a heavy hand. Remember, you dont own it yet. DONT: Change the guitar to a different tuning to play it and then leave the
guitar in that tuning when you are finished.
DO: Be respectful of the instrument.
DO: Return the guitar to standard tuning when
you are done.
DO: Wash your hands before playing. DONT: Be afraid to ask dumb questions. Salespeople truly are there
to help.
A playing demo to show how guitar shapes and woods affect tone
Helpful tips on how to find the right guitar for your particular needs
A chance to test-drive the latest Taylor models
The opportunity to ask questions
Our staff is super friendly and genuinely loves helping people find a guitar
that will inspire them for years to come. Youll come away with a much better
understanding of what to look for in a guitar, and have a great time in the
process.
S E CT I O N
The Taylor Guitars Line
How a Taylor contributes to a great playing experience
A guide to Taylor
model numbers
Additional model
options
Why a Taylor?
We all crave an instrument that inspires us. Thats why people love
picking up a Taylor. It puts inspiration within reach of anyone, anytime,
from beginners to pro musicians. For years, Bob Taylor and his
development team have worked painstakingly to remove the obstacles
to a good playing experiencetuning issues, high action, murky tone,
and lack of serviceability, among others.
1 Manufacturing Innovation
Taylors world-class factory has reset the standard for modern-day
precision craftsmanship to create the best possible playing experience.
Fueled by an unrelenting drive to improve our guitars, our blend of
proprietary production technology with impeccable attention to detail has
led to unparalleled consistency in the build quality of our instruments.
2 Playable Necks
Our guitar necks are widely considered the most playable in the industry,
thanks to our patented design and sleek, comfortable neck profile. Our
neck assembly process allows us to precisely control every neck angles
accuracy to .002 inch and makes it easy to make micro-adjustments
if necessary throughout the life of the guitar. No other acoustic guitar
company can match our ability to consistently set a neck for an optimal
playing experience.
3 Great Tone
The Taylor product line gives players a rich musical palette to explore.
Beyond our robust selection of acoustic models, weve built additional
flexibility into our line with an array of standard model options, while
our extensive Custom program makes designing your dream guitar a
convenient reality.
The Definitive Guide To Buying An Acoustic Guitar 84
The Taylor Guitars Line
5 Sustainability Leadership
Our commitment to safeguarding the future of the natural resources we
use has led to many pioneering forestry initiatives around the world, from
co-ownership and management of Crelicam, an ebony mill in Cameroon,
to innovative mahogany-sourcing partnerships with remote forest
communities, to investment in the propagation of wood species such as
ebony, maple and koa for future generations. We want Taylor customers to
feel assured that when they purchase a Taylor guitar, they are supporting
the highest levels of ethical, eco-conscious business.
Below is the basic framework of our guitar line. This should help you navigate
through our options. Well also explain how our model naming structure works.
Grand Auditorium (GA) - 814e
Choose from Five Body Shapes
From smallest to largest:
Dreadnought (DN)
Grand Orchestra (GO)
Note: Two offerings from our Travel category are scaled-down versions of
existing shapes. The Baby Taylor is a 3/4-size Dreadnought. The GS Mini
is a smaller version of the Grand Symphony. Dreadnought (DN) - 810e
The majority of Taylors acoustic guitars are offered in three model variations:
Cutaway body with onboard electronics (e.g., 814ce)
Non-cutaway body with onboard electronics (e.g., 814e)
Non-cutaway body with no onboard electronics (e.g., 814)
The full-size guitar models in our line are organized by series, featuring the 100 through
900 Series, along with our Academy, Presentation (PS) and Koa (K) Series.
The first digit (or letter) identifies Indicates a model with a cutaway
the Series. Most guitar models within
each series share the same back and 614ce
side woods and appointment package.
Indicates a model with onboard electronics
The second digit designates two things: first, whether the guitar
is a 6-string or a 12-string, and second, whether the top features a The third digit identifies the body shape according to this
softer tonewood like spruce or cedar, or a hardwood like mahogany numbering system:
or koa. The middle number 1 or 2 designates a 6-string guitar 0 = Dreadnought (e.g., 610ce)
with a softer tonewood (1) or hardwood (2) top. For example: 2 = Grand Concert (e.g., 612ce)
516ce = 6-string with a spruce top 4 = Grand Auditorium (e.g., 614ce)
526ce = 6-string with a mahogany top 6 = Grand Symphony (e.g., 616ce)
8 = Grand Orchestra (e.g., 618ce)
The middle number 5 or 6 designates a 12-string guitar
with either a soft (5) or hardwood (6) top. In this case: Taylor nylon-string models are integrated into the Academy800 Series
556ce = 12-string with a spruce top and are designated by the letter N at the end of the model name. For
example, a nylon-string Grand Auditorium with a cutaway and electronics
566ce = 12-string with a mahogany top
within the 600 Series is a 614ce-N.
Guitars by Series
Heres a basic breakdown of the distinguishing features of each series in descending order,
starting with our ultra-premium offerings and ending with our most affordable options.
Presentation Series
Back/Sides: Macassar Ebony
Top: Sitka Spruce
Koa Series
Back/Sides: Hawaiian Koa
Top: Hawaiian Koa
900 Series
Back/Sides: Indian Rosewood
Top: Sitka Spruce
800 Series
Back/Sides: Indian Rosewood
Top: Sitka Spruce
700 Series
Back/Sides: Indian Rosewood
Top: Lutz Spruce
600 Series
Back/Sides: Maple
Top: Torrefied Sitka Spruce
500 Series
Back/Sides: Tropical Mahogany
Top: Mahogany, Lutz Spruce (GS,
DN) or Cedar (GC, GA)
400 Series
Back/Sides: Ovangkol or
Indian Rosewood
Top: Sitka Spruce
300 Series
Back/Sides: Sapele (Spruce Top)
or Blackwood (Mahogany Top)
Top: Sitka Spruce or Mahogany
200 Series
Back/Sides: Layered Koa
Top: Sitka Spruce
100 Series
Back/Sides: Layered Walnut
Top: Sitka Spruce
Academy Series
Back/Sides: Layered Sapele
Top: Sitka Spruce
GS Mini
Back/Sides: Layered Sapele,
Koa or Walnut
Top: Sitka Spruce, Mahogany or Koa
Baby Series
Its a testament to the enduring appeal
of our beloved Baby Taylor that more
than 20 years after its debut, it remains
a staple of the Taylor line. Our mini
Dreadnought helped legitimize the
idea of a travel guitar as a real musical
instrument, and over the years tens of
thousands of kids have kicked off their
guitar-playing journeys with a Baby in
their hands. The Baby family has since
grown to include a mahogany-top
edition, a Taylor Swift signature model,
and our full-scale (15/16-size) Big
Baby, which features a slightly slimmer
body depth for extra comfort and
portability. Models are also offered with
an optional ES-B onboard pickup and
preamp, which includes a convenient
built-in tuner, low-battery indicator, and
tone and volume controls.
Nylon-String Guitars
In addition to steel-string acoustic guitars, the mellow-toned character and
rhythmic textures of nylon-string acoustics offer players another distinctive
sonic palette to explore. A traditional classical-style neck has a much different
feel marked by a width of two or more inches and a flat fretboard.
Custom Options
As you become clearer on what features youd like with your first or next acoustic
guitar, you might gravitate toward certain custom options. In addition to the
standard models that make up a guitar companys line, many also offer additional
flexibility through standard model options or a full-blown custom program.
Custom Orders
A custom program usually offers a broader array of options and enables customers
to select their specifications from a variety of categories. For some customers, this
enables them to essentially design their dream guitar from the ground up to reflect
their personal preferences to the fullest. A custom program usually offers additional
species and grades of woods, along with a rich menu of appointment options.
Taylor offers a robust custom program through our authorized dealer network.
Over the years, weve made thousands of custom guitars, we know what works
and what doesnt, and were happy to help customers design a guitar that theyll
love. One important consideration is the turnaround time for a custom order.
Typically, the smaller the guitar company, the longer the wait. Because of Taylors
size and manufacturing sophistication, our turnaround time is much shorter.
Tonewood Sourcing
and Sustainability
As with any consumer product that relies on natural resources, responsible
sourcing and sustainability have become important considerations for customers
as they make buying decisions.
In Cameroon, Taylor has been the co-owner of an ebony mill since 2011. Bob
Taylor has used Taylors manufacturing expertise to upgrade the harvesting and
milling efforts there, improving working conditions for employees, introducing
better tools and machines, and training employees to improve the mills processing
capability. Ultimately, this is helping Cameroonian communities to build a better
economy through responsible management of an important natural resource.
Taylors work there was honored in 2014 with the American Corporate Excellence
(ACE) Award from the U.S. Department of State.
S E CT I O N
A Guide to Guitar Terms
A breakdown of body
shapes made by Taylor
Guitars for reference
Talking Tone:
How Guitar Players Describe Acoustic Tone
Like wine lovers and foodies, guitar players wield colorful lingo to describe tonal Below is an earful of commonly used expressions relating to acoustic guitar
flavors. The good news: Guitar talk actually translates into definable qualities of tone. A few are technical, while others are more descriptive. Even if youre not a
sound. The bad news: Our ears, like our taste buds or senses of smell, are wired great player, with these in your guitar vocabulary youll be able to talk tone with
in a multitude of different ways, so we dont always hear tone in the same way. the best of them.
In the end, using words to describe sounds is, at best, an approximation, since
sounds dont always neatly translate into words. Dont get hung up on the lingo.
Understanding a few basic terms will take you a long way.
Bright: Treble emphasized, or with a lower degree of bass. Meaty: Lots of midrange, with a full low end. Also referred to as fat, full, rich, thick.
Buttery: Warm, rich notes, that melt away rather than decay. Midrange: On car stereo or home audio systems, the frequency response
More commonly used regarding chords. often ranges between 20 Hz to 20 kilohertz (kHz). Midrange covers from 110
Hz, which is a low A string, up as high as 3 kHz. High frequency (treble) tones
Ceiling: A defined boundary, often used in reference to volume. A guitar tend to reside beyond that. If one considers where an acoustic guitars pitch
or woods ceiling is the point at which it stops delivering volume or tone. range falls, predominantly all the notes on the fretboard occupy the midrange
of the frequency spectrum that can be heard. Its where voice is; its the middle
Crisp: More treble emphasis, without lingering overtones. part of a piano.
Dark: Bass tones emphasized or tone with a lower degree of treble. Overtones: Multiples of a fundamental frequency, also referred to as harmonics,
which occur as a string vibrates, creates wave patterns, and the harmonics stack
Decay: The way a sustained, ringing note diminishes over time. up. The term bloom is used to describe the sonic effect of the overtones as
they stack up over the decay of the note. Although overtones tend to be more
Dry: A tone with a strong fundamental and little to no overtones, with subtle than the fundamental, they add richness and complexity to a sound.
under-pronounced or very subtle frequency peaks. Mahoganys focused
midrange is often described as dry. Piano-like: Exactly what it sounds like.As if you packed a grand piano inside a
guitars body and put strings on it.A bell-like quality to the notes and a brilliance
Fundamental: The true frequency, or pitch, of a note. A low E, for example of note separation.
vibrates at a frequency of 82.407 hertz (Hz). (1 Hz = 1 vibration per second.)
Growl: A certain rasp or overdriven sound that a bigger-bodied guitar puts off,
often as the result of aggressive playing.The alpha dog, if you will.
The Definitive Guide To Buying An Acoustic Guitar 112
A Guide to Guitar Terms
Warm: Softer high frequencies, like if you took a little of the very top off the
treble. A rosewood Grand Auditorium has a warm treble sound; the treble is
there but its not overly bright.
Woody: A seasoned, well broken-in dry tone. A vintage mahogany guitar will
have an especially woody sound. Youre always learning
about this thing every
time you pick it up.
Keith Richards
Fretboard: The part of the neck into which frets are inserted and on which
Action: The distance of the strings above the frets, typically measured the strings are pressed when the guitar is played.
at the 12th fret of the neck.
Frets: Raised metal bars inserted into the fretboard, against which the strings are
Back: The thin, wide wood behind the guitar, opposite to the top. pressed to change their pitch.
Body Binding: Strips of fiber, plastic, or wood glued around the edges of the Heel: The end of the neck the joins the body. The neck is attached to the
body. The purpose of binding is to protect and decorate the edges of the guitar. body at the heel and the extension using three bolts.
Braces: The strengthening bars glued to the top and back of the guitar to High Angle: The plane of the frets aimed above the surface of the bridge.
provide stability and to control how the guitar vibrates. The size, shape, and Raising the angle lowers the action.
placement of the braces play a vital role in determining the tone, volume, and
balance of the guitar. Heel Block: A wooden block (usually made of mahogany) used to join the
two sides of the guitar body together at the neck joint, opposite the tailblock.
Bridge Pins: Small plastic or ebony pins that hold the strings in the bridge
of the guitar. Kerfing: Strips of wood, triangular in cross-section, slotted with a saw to make
them flexible, and wrapped and glued to the inside edges of the guitar sides.
Bridge Plate: Part of the bracing for the guitar top. The bridge plate, or pin Kerfing increases the glue surface where the top and back are glued to the sides.
plate, is a thin piece of maple or other hardwood that is placed directly under
the bridge to support the top under string tension. Label: A sticker placed on the back inside the guitar body, that has the model and
serial number printed on it. The label is visible through the soundhole of the top.
Endpin: A knob or button inserted through the tailstrip and tailblock that allows
the player to attach a strap to the guitar. Low Angle: The plane of the frets aimed below the surface of the bridge.
Lowering the angle raises the action.
Fretboard Binding: Strips of fiber, plastic, or wood glued around the edges
of the fretboard. The purpose of binding is to protect and decorate the edges Lower Bout: The widest part of the guitar body, below the waist. The
of the guitar. dimensions of the lower bout play a role in the bass response of the guitar.
Fretboard Inlays: Decorations of wood, shell, or other materials set into Neck Angle: The alignment of the fret surface relative to the top of the guitar.
hollowed-out areas called pockets in the fretboard. On a Taylor, the neck angle is set so that the plane of the frets aligns with the top
surface of the bridge.
The Definitive Guide To Buying An Acoustic Guitar 114
A Guide to Guitar Terms
Nut: A bar, usually of bone or plastic, placed between the fretboard and the Relief: The slight forward bow in a guitar neck; 0.004 to 0.007
peghead veneer. The nut provides a bearing surface for the strings and holds (4 to 7 thousandths of a inch) is the desired amount of relief in a Taylor neck.
them at the correct height above the fretboard and the correct distance from
one another. Rosette: The circular inlays around the soundhole of the guitar.
Peghead Binding: Strips of fiber, plastic, or wood glued around the edges Saddle: The narrow bar of hard plastic or bone set into the bridge to
of the peghead. The purpose of binding is to decorate and protect the edges provide a bearing surface for the strings, and to transmit string vibration
of the guitar. through the bridge and into the body.
Peghead Inlay: A decoration of wood, shell, or other material set into Shaft: The straight section of the neck between the peghead and the heel.
a hollowed-out area called a pocket in the peghead veneer.
Side Dots: Small round inlays on the side of the fretboard that mark positions
Peghead Logo: The guitar makers brand name or trademark design, on the neck. Single side dots are inserted at the 3rd, 5th, 7th, and 9th frets.
usually of pearl, wood, or plastic, inlaid into the peghead veneer. Double side dots are inserted at the 12th fret.
Peghead Veneer: A thin piece of wood, often Indian rosewood or ebony, glued Sides: The thin bent panels of wood that connect the top to the back
over the peghead as a decorative cover. of the guitar. The sides are made of the same wood as the back of the guitar.
Peghead: The section of the neck that holds the tuners. The peghead on a Soundhole: The round opening in the top of the guitar.
Taylor guitar is cut from the shaft and glued back on at an angle using a scarf joint.
Sticker: An adhesive label with the Taylor logo that attaches to the
Pickguard: A thin protective plate of plastic or wood attached to the top heelblock to cover the heel bolts.
of a steel-string or electric guitar to protect it against marking or damage
from fingerpicks or a plectrum. Strap Pin: A knob or button that is screwed into the heel of the neck
and used to hold one end of a guitar strap.
Pickup: Generic term for any electronic component that converts mechanical
vibration into an electrical signal for amplification. Tailblock: A wooden block (usually made of mahogany) used to join
the two sides of the guitar body together at the butt or tail of the guitar.
Pin Bridge: On a steel-string guitar the strings pass through this wood part
(usually ebony) that is glued to the top of the guitar. The strings are held in Tailstrip: A piece of wood that is inlaid where the two sides meet at
place with bridge pins. This type of acoustic bridge is called a pin bridge. the bottom of the guitar.
Purfling: Thin strips of fiber, plastic, or wood set between the binding and the
wood of the top, back, or sides. Purfling is typically arranged in alternating black
and white, or white and color patterns.
The Definitive Guide To Buying An Acoustic Guitar 115
A Guide to Guitar Terms
Tie Bridge: On the nylon-string guitar, the strings pass through holes in the
bridge itself and are tied in place. This type of bridge is called a tie bridge.
Look for this obvious clue to identify a nylon-series model.
Top: The front surface of the guitar body that has the soundhole cut into it and
the bridge attached to it.
Truss Rod Cover: The small piece of wood or plastic screwed to the peghead
to cover the truss rod opening.
Truss Rod: A metal bolt set into the neck of a guitar to counteract the
forward-bowing force of the guitar strings. The tension on the truss rod
determines the amount of relief in the neck. The truss rod is not designed
or intended to raise or lower the action of the strings.
Upper Bout: The part of the guitar body between the waist and the neck.
The upper bout plays a role in the treble response of the guitar.
Waist: The inside curve in the sides of the guitar body between the upper
and lower bouts. The waist plays a role in the midrange response of the guitar.
Customer Service
North America
1-800-943-6782
Customer Service
Europe
+31 (0) 20 667 6033
www.taylorguitars.com
To locate the Taylor dealer nearest you, visit:
www.taylorguitars.com/dealers