The 2010

Guitar
Guide

The Jason Mraz

Signature Nylon

The 12-Fret
Rosewood GC

Customize Your SolidBody

Choose your color, pickups,
pickguard & more
2 www.taylorguitars.com
Letters
35
Anniversary
th Fall Limiteds
Taylor Swift’s
Signature Baby
Limiteds 8-String
The Armrest, Baritone
Parlor, 9-String,
12-Fret & More Artist vs.
Airline:
Dave Carroll’s
Big Breaks
Hammer Off
Thank you for making your new
Factory Service Center available for
the repair of all brands of guitars. The
announcement which appeared in
Wood&Steel Vol. 61 (Taylor Notes)
featured a photo of your technician
working on a fine Taylor instrument.
I’m concerned, though, that the
luthier’s hammer appears to be rest-
ing upon the top of this guitar. Surely
the tool belongs on the workbench
in keeping with sound repair shop
standards. I respectfully suggest that
here is not the place to “hammer-on.”
Kenneth Wepman
Studio City, CA
[Good one, Kenneth, but not to
worry: The hammer is resting on
our protective fret buck, a tool we
designed to absorb impact when
frets are replaced in the fingerboard
extension over the guitar body. – Ed.]
Tune Hound
I just about fell off my stump
when I read the latest Wood&Steel.
I have been a singer-songwriter
and recording artist since the early
1970s. As a solo performer I began
creating unique guitar tunings back
in the late ’60s and up until this date.
My first two albums for Kama Sutra
contained all original material, and
not one song was written in stan-
dard tunings. I mixed and matched
strings and had tunings that were all
over the place…very cool sounds. I
actually had to create stick-on chord
pictures so I could remember the fin-
gering to over 2,000 original songs.
My friend John Fahey used to buy me
drinks trying to “over-serve” me and
gain access to my secret tunings.
I can NOT WAIT to play and pur-
chase the baritone 8-string and the
9-string. I am panting like a hound
dog that has been climbing hills and
valleys all day. When, where and how
do I get my hands on these instru-
ments? I will drive to you…unless of
course, you wanna drive here and we
can jam.
Chet Nichols
Playground Parlor
I bought one of the 35 parlor gui-
tars last week in Augusta, Georgia
and played it out last night at a local
club, The Playground. Just wanted
you to know it was a big hit — big
sound from a little box. It might be
the coolest guitar in my collection.
Pete Boyzuick
Driving Miss Winny
I just wanted to tell a short story
of how a 72-year-old student of mine
got a new Taylor guitar. I’m a teacher
in the Nashville, Tennessee area, and
I’ve had a nice lady named Winny
taking guitar lessons with me for a
while. I’ve always used my Taylor
814ce during the lesson, and one
day she said she wanted one, after
she played mine. I wondered if she
was serious, because I work in a
small retail shop where we sell only
beginner guitars and work a large
amount of lessons. I told her that
we would take a field trip to Gruhn
Guitars here in Nashville, so off we
went. I drove her big ole Buick. We
tried out 4-5 different models and
ended up getting the Taylor 516ce
with a cedar top and mahogany
sides. It was the best sounding guitar
we tried that day, and we had a great
experience. They gave us a great
price and set it up perfectly!
Lance Allen
TwilaSpeak
Good morning. First of all, let
me introduce myself. I am Bob
Taylor’s mother, residing in Spokane,
Washington. Yesterday we received
our Wood&Steel magazine, which
we have for many years now. We
naturally go through it over and over
sometimes, enjoying the articles
and pictures, etc., but I have one
complaint. The picture of Bob in the
“BobSpeak” column is the worst
I have ever seen. Ha! Is there any
chance that you could find another
one to replace it? I would be so
grateful to you if you would, and I
would continue being one of the big-
gest fans of Taylor Guitars. Who but
a mother would ever make a request
like that? Have a great day.
Twila Taylor
[You betcha, Mrs. Taylor. We had
planned to shoot new photos of Bob
and Kurt for 2010 anyway, but had
we known how you felt, we would
have changed Bob’s sooner! We’re
running the new one past you before
we go to print. – Ed.]
Passion Forward
After the recent W&S issue
highlighting 10 years of the NT neck
design, I realized that my Taylor is
now about 10 years old. You see, I
passed up a guitar equipped with
the NT because I simply could wait
no longer to enjoy the workmanship,
innovation and sheer cloud nine
enjoyment of a Taylor! I purchased
a K14c just as the new design was
about to roll out and have no regrets.
The guitar has never approached
needing any adjustment whatsoever
until recently when I adjusted the
truss rod to lower the action. One
other thing: I am absolutely stunned
by the pace of innovation at Taylor.
Never have I seen such profound
breakthroughs with essentially the
same raw materials. I believe it is
passion of the highest order that can
only make such incredible advances
happen, and Taylor has harnessed
that passion. I can’t wait to plumb the
depths of the new 8-string baritone
at an upcoming Road Show. A hearty
congratulations, Taylor, on 35 years
of passionate excellence. Here’s to
another 35!
Scott Lehrer
Big Rock, IL
No Tweaking Required
I was in Buffalo, New York and
on impulse stopped at a music shop.
I was marveling at the Taylor guitars
and told the salesman, “If I play
one of those I’ll buy one, and I can’t
afford it,” so he started showing me
other guitars and nothing sounded
good. I asked if they had a 214ce.
They had two, and I bought one. I
watched the [accompanying] DVD.
I have quite a pedal board I use to
color my budget acoustics. The DVD
talked about plugging straight into
the amp, so I got a long cord and
plugged directly in. It sounded fan-
tastic. I am a self-taught repairman
and would always tweak any acoustic
I previously bought — new saddle,
nut, bridge pins, neck adjustment —
but I left my new Taylor alone. The
set-up was perfect, and it plays like
an electric. You folks make a great
product, and my only wish is that I
had bought one sooner.
Francis LaChappelle
Hitting 21
I had to write. I just got a beauti-
ful Taylor SolidBody Standard, which
makes 21 Taylor guitars I currently
own. What a fantastic instrument:
clear, loud, accurate, great sustain,
high gain pickups, great electron-
ics…this could easily become my
favorite electric, and I own a few that
cost three times as much. Kudos to
Bob and the crew for another great
guitar. In today’s market, there is no
other guitar that gives me what a
Taylor does. Tone, quality, looks....
That’s why I own 21 Taylors.
Ron Cabrera
Canadian Ambassadors
Just a quick note to say a great
big thanks after having the oppor-
tunity to enjoy the Taylor Road
Show experience at Lauzon Music
[in Ottawa, Ontario, Canada] on
October 1. What a great night —
even my wife was impressed, and
she is not even a guitar crazy like me.
(I am working on it.)
We were thoroughly blown away
after listening to Marc Seal work his
magic. What a talent and a down-to-
earth guitar guy — a great ambassa-
dor and a perfect match to promote
the results of your vision. I definitely
left the evening more inspired about
improving my own play. Isn’t that
what it’s all about?
Speaking of great ambassadors,
the hosts of the evening, Ken and
Dave Lauzon and the rest of the
gang at Lauzon are a fantastic bunch.
No matter your level of ability, you are
never made to feel judged. The only
thing they offer is sincere encourage-
ment to “give it a try.” If you are a
“private performer” or a little shy they
will set you up in one of their sound
rooms to get properly acquainted
on your own terms. No pressure, no
restrictions and no obligation. If you
enjoy making music or you want to
learn, you are automatically made to
feel like part of their family. The best
store in the city, period. Thank you
to all those involved for bringing us
such a great evening.
Dan Bourgeault (and Melanie)
We Feel Your Pain
My name is Pete Bellotte, respon-
sible for the Donna Summer hits
“Hot Stuff” and “I Feel Love.” I have
a Taylor 20th Anniversary, and the
other day a 5’ x 4’ painting fell from
a great height straight through the
side of the guitar. Despite the impact,
the guitar remained on its hook, and
when I took it down it was still in
tune and STILL sounded great. It will,
of course, be repaired very soon!
Pete Bellotte
An Extra Sense of
Accomplishment
I recently purchased your
NS74ce. After an exhaustive search
for the right nylon instrument and
having already been a Taylor owner
(614ce), I must tell you I have never
played a finer guitar! The NS74ce
has opened new doors for me simply
because this instrument far exceeds
normal boundaries of tonality, master
craftsmanship and just plain playabil-
ity. I have toured the world playing
guitar and performed with several
national and international artists, and
even as an accomplished guitarist,
the Taylor allows me to sound bet-
ter than ever! I couldn’t be more
pleased. Thank you!
John Cook
Ft. Myers Beach, FL
We’d like to
hear from you
Send your e-mails to:
pr@taylorguitars.com
 3

Volume 62
Winter 2010 Find us on Facebook. Add us on MySpace. Subscribe on YouTube. Follow us on Twitter: twitter.com/taylorguitarspr

Features
14 BT Talks Shop
Bob Taylor fans the creative sparks from 2009 and explains why Taylor’s
unique blend of vision and passion will continue to inspire in 2010.

Cover Feature
16 The 2010 Guitar Guide
We ring in the new year with a fresh tour of our 2010 line. There’s a lot to
love here.

18 Finding Your Fit: Woods and Shapes On the Cover

You might know what you like, but is it the right match for the sound you
want? We break down the elements of tone to help you understand what
makes a guitar right for you. 6 Jason Mraz
The acoustic-grooving Grammy
20 The Acoustic Line nominee visits the Taylor
From the Koa Series to the Baby Taylor, we profile our many flavors of factory to talk about the
acoustic tone. inspiration behind his new
signature nylon-string model.
36 Specialty Models
A sweet-voiced 12-Fret and a pair of rich Baritones promise to take you
somewhere new.

38 The Electric Line

This year, SolidBody customization leads the way. We’ll walk you
through the new color and pickup options, including our new vintage
alnico humbucker.

48 Build to Order
If you’ve been dreaming of a custom Taylor, our Build to Order program
gives you a broad array of choices and an impressive turnaround time.

50 Acoustic Electronics
Whether for stage or studio, the Taylor Expression System® captures all
the natural tonal richness you love about a Taylor and helps you share it
with the world.

52 Customer Service


We take service as seriously as we take guitar-making. From helping
you find a guitar to helping you care for it, we’re all about giving you the
14 36
support you need.

54 The Specs Departments

Here’s a closer look at the details that define each guitar we make.
2 Letters 5 Editor’s Note 60 TaylorWare
4 Kurt’s Corner 10 Ask Bob
5 BobSpeak 12 Soundings
4 www.taylorguitars.com
Sizing Up a Down Market
I’ll start the new year with a
confession: I really enjoyed the chal-
lenges and problem-solving of last
year. While we didn’t start the year
anticipating that the economic issues
would be as dire as they were, we
shifted gears and changed our game
plan to adapt, and we came out on
top! It felt great to meet the chal-
lenges head-on and win.
While other guitar companies
retreated from higher-end guitars and
focused on going down-market to
pacify dealers, asking for lower price
points (and in the process abandon-
ing the high-end customer), we took
our message on the road and sold a
whole order of magnitude more high-
end guitars than ever before.
Taylor increased its market
share last year and was the top-
selling acoustic guitar brand in
terms of retail revenue generated.
Interestingly, Taylor guitars gener-
ated higher retail revenue at U.S.
cash registers in 2009 than we did
in 2008. This is despite the acoustic
guitar market being down from the
prior year.
Early in the year we had to lower
our production, as we were building
too much inventory. We had to cut
back and reduce the work hours of
the majority of our employees. We
retained nearly everyone and paid
Kurt’s Corner
their benefits, and we were able to
take advantage of a work-sharing
program, which paid people unem-
ployment for the hours not worked.
This lasted for several months while
we sold down our inventory, and
we’ve been back at full production
since early November. We’re now
very lean on inventory, and have had
to increase our projections for 2010
several times. This was a painful pro-
cess to go through, but we’re now
While other guitar companies
focused on going down-market,
we took our message on the road
and sold more high-end guitars
than ever before.
in great shape and well positioned
for 2010. Moreover, we’ve put bet-
ter controls and planning in place
to keep sales and production in bal-
ance.
Working with others on a team to
solve problems can be very reward-
ing and fun. It can also be not very
much fun at all when you don’t have
the right group chemistry. I’ve expe-
rienced it both ways. In fact, one of
the biggest disappointments of my
career was in assembling a group of
talented people that were dysfunc-
tional as a team. This completely took
the fun out of doing business. Life
is too short to not have fun or enjoy
your work. When you have a group
of people who like and respect each
other, have fun working together,
are talented and can each handle a
large area of responsibility, it can be
really enjoyable. That’s how I would
describe the great group of execu-
tives we have now at Taylor,
and is the biggest reason why I’m
really enjoying business, even when
it involves managing through a tough
year and a tough economy.
Here’s wishing you a successful
and prosperous 2010!
­­— Kurt Listug, CEO
Volume 62
Winter 2010
Publisher / Taylor-Listug, Inc.
Produced by the Taylor Guitars Marketing Department
Vice President of Sales & Marketing / Brian Swerdfeger
Director of Brand Marketing / Jonathan Forstot
Editor / Jim Kirlin
Senior Art Director / Cory Sheehan
Art Director / Rita Funk-Hoffman
Graphic Designer / Angie Stamos-Guerra
Photographer / Tim Whitehouse
Contributors
Bob Borbonus / Jonathan Forstot / David Hosler / David Kaye / Kurt Listug
Shawn Persinger / Shane Roeschlein / Bob Taylor / Corey Witt / Glen Wolff
Chalise Zolezzi
Technical Advisors
Ed Granero / David Hosler / Gerry Kowalski / Andy Lund / Rob Magargal
Mike Mosley / Brian Swerdfeger / Bob Taylor / Chris Wellons / Glen Wolff
Contributing Photographers
Rita Funk-Hoffman / David Kaye / Steve Parr
Circulation Printing & Distribution
Katrina Horstman Woods Lithographics - Phoenix
©2010 Taylor Guitars. 300 SERIES, 400 SERIES, 500 SERIES, 600 SERIES, 700 SERIES, 800 SERIES,
900 SERIES, Baby Taylor, Big Baby, Bridge Design, Doyle Dykes Signature Model, Dynamic Body Sensor,
Expression System, GALLERY Series, K4, Liberty Tree, Peghead Design, Pickguard Design, PRESENTATION
Series, Quality Taylor Guitars, Guitars and Cases & Design, T5, T5 (Stylized), Taylor, Taylor (Stylized), Taylor
ES, Taylor Expression System, TAYLOR GUITARS Taylor Guitars K4, Taylor K4, TAYLOR QUALITY GUITARS
and Design, TAYLORWARE, and WOOD&STEEL are registered trademarks of the company. Balanced
Breakout, Dynamic String Sensor, ES Blue, Grand Symphony, GS, GS SERIES, T5 Thinline Fiveway, Taylor
Acoustic Electronics, ES-T, Thinline (T5) Fiveway, T3, T3/B, and T-Lock are trademarks of the company.
Patents pending.
2010 Taylor Factory Tours & Vacation Dates
If you plan to tour the Taylor Guitars factory in 2010, please note that we’ve
added Fridays back to our tour schedule. A free, guided tour is given every Mon-
day through Friday at 1 p.m. (excluding holidays). No advance reservations are
necessary. Simply check-in at our reception desk in the lobby of our main build-
ing by 1 p.m. We ask that large groups (more than 10) and school-supervised
groups schedule special tours in advance by calling (619) 258-1207 and asking
for the Factory Tour Manager. We kindly request at least two weeks’ notice for all
group tours.
While not physically demanding, the tour does include a fair amount of walk-
ing. Due to the technical nature, the tour may not be suitable for small children.
The tour lasts approximately one hour and 15 minutes and departs from the main
building at 1980 Gillespie Way in El Cajon, California.
Please take note of the weekday exceptions below. For more information, includ-
ing directions to the factory, please visit taylorguitars.com/contact/factorytour.
We look forward to seeing you!
Holiday closures:
Monday, February 15
(President’s Day)
Monday, May 31
(Memorial Day)
Monday-Friday, July 5-9
(Independence Day / company vacation)

New Tones for ’10
It’s been ten years since the world
was going to collapse into utter
despair due to the fact that comput-
ers wouldn’t be able to reconcile
the date. I guess that didn’t happen.
Instead, we made cool guitars, peo-
ple dug them, and more good play-
ers were added to the world. Other
great things have happened since
the dawn of the new millennium. For
example, I now have a guitar tuner
on my phone. OK, I’m just sayin’. The
world is so much more in tune now,
exactly the opposite of what they
predicted. Good times.
We haven’t released any signa-
ture models for some time because
you can just do too many of those,
you know? But this issue will show-
case a Jason Mraz model. Jason is
a great player and songwriter, just
doing his thing with a huge following.
He’s the real deal. It’s been my plea-
sure to see him use his Taylor guitars
to perform his art.
Taylor Swift has also shown her
following what a good guitar looks
like in the form of her Taylors. And
a lot of people are looking. You can
thank her for getting a lot of young
people going on the guitar — our
Taylor Swift Baby Taylor model is
already in the hands of hundreds and
hundreds of young players who are
starting out because of her. She’s
become an excellent player, and I’m
proud to watch her progress. What a
pleasure it’s been to see her success
BobSpeak
simply rocket out of this world.
I have a few surprises for this
year, probably my favorite being the
OMG-sound of the 12-fret Grand
Concert. This is a guitar that needs
to be in every guitar store for every
player to come hear. You’ll want to
own one, because it just sounds
so beautiful. People can talk about
how much bass or treble a guitar
has, or the sustain, or the projection,
but what is often missing from the
conversation is the tone. The tone of
those frequencies is as different as
the tone of people’s voices. Sheryl
Crow and Josh Groban can both
sing the same notes, yet the tones
of their voices are different. What
gets me about this 12-fret is its tone
coupled with its large voice, all in a
small, lightweight, package. But it’s
the tone that just continues to blow
me away. You’ll probably see a ver-
sion of this guitar as a twin to Jason’s
nylon signature model at some point.
I sat down with Jason and showed
him the guitar, and he strummed it
once and looked up amazed and just
said, “Wow.” Then he got lost in it for
a while. I sent one off to Taylor Swift
and had to ask her dad how she
liked it, because she was off doing
her thing, and he said, “She loves it
and hasn’t put it down for days.” It’s
easy to fall in love with.
The SolidBody tremolo is out,
it works like a dream, and it looks
so beautiful. You know, when we
5
Editor’s Note
Photo Synthesis
As you’ve probably noticed, our winter Guitar Guide issue is a
little different from our other issues. Over the years, as Taylor has
evolved, so have these pages. In the old days, as some of you will
recall, Wood&Steel’s newsprint paper made it difficult to convey the
beauty and details of our guitars. But we managed just fine, in part
because what was important to Bob and Kurt was to connect with
Taylor owners in a personal, down-to-earth way. Of course, there
was a certain irony to the fact that we printed pictures of our beauti-
ful high-end guitars on newsprint, yet created a glossy insert to sell
T-shirts and guitar accessories.
The Taylor catalog, by contrast, provided the sexier print vehicle
for showcasing the glorious details of our instruments and refining
the Taylor brand. We worked with a design agency to produce those
catalogs, and we’re proud of the way they captured not just the pre-
mium quality of our instruments, but also the passion and personality
of the brand. Yet, for all of the effort and expense that went into the
catalogs, their shelf life was becoming shorter and shorter, especially
for a company like ours, whose product development efforts were
outpacing our print cycle. Our website certainly added a better com-
munication channel to update you on our latest news and develop-
ments, but for a company whose products are predicated on having
a tangible experience, we felt strongly that a print publication was
designed that first bridge for our
important, too.
SolidBody, we wanted it to be origi-
Ever since Wood&Steel made the transition to higher quality
nal, not a copy of anything, and to
paper with our summer 2008 issue, we’ve taken full advantage of our
be pretty and feel good. That’s hard
upgraded “canvas,” starting with special features on guitar shapes
because your mind just slides into
and woods, and a year ago creating our first expanded-format Guitar
designs that you’ve known and seen
Guide. It was meant to serve some of the function of a catalog, as
for years. But we managed, never
we presented our line in its entirety, complete with the specs details
thinking that we’d have to make a
that many folks crave. Yet, as a quarterly, we were also able to update
trem version of it someday. Ouch!
our “catalog” throughout the year, which proved especially beneficial
But it happened — it took a year,
in 2009, given the number of new guitar models that came to life.
but it happened — and we’ve taken
This year, we’re pleased to bring you our second annual Guitar
another committed step into the elec-
Guide issue. We really wanted to take the photography to another
tric guitar world with it. We’re here
level, and we hope you enjoy it. Nearly every photo in this issue
and here to stay, and it’s fun to show
was shot by our lean, mean in-house team (with the exception of
players what we’re up to with elec-
Soundings), including the shots of Jason Mraz. Some guitar photos
trics. Look for them in stores. They’ll
were taken in our on-site studio, while others were shot in real-life
be arriving as the weeks roll on.
settings to capture the experience of what makes playing a Taylor so
All in all, 2009 was a good year
rewarding. It was a lot of work, but sometimes it’s the challenge that
for us. We made progress along
makes it fun. One thing’s for sure: Shooting guitars is a lot cooler
many fronts, all during a frightening
than shooting medical supply equipment.
recession. We thank our dealers
Look for more editorial coverage next issue. In the meantime, we
for their love of guitars and their
hope your year is off to a happy, music-filled start.
willingness to keep showing and sell-
— Jim Kirlin
ing them amidst stomach-churning
financial news. We thank you players
for playing music and adding your
Correction: In last issue’s Editor’s Note, I made reference to the
artistic flair to the world. Guitar play-
epic 1974 “Rumble in the Jungle” fight between Ali and Frazier;
ing, singing songs, performing and
it was actually Ali and Foreman.
listening to great music all helps the
world stay afloat.
Y2K didn’t end up killing us all
ten years ago. Last year took a stab
at it and lost, and people want their
music enough that already this year, Online
we’re starting out with a shortage of
guitars to go around. It’s a strange Read this and other back issues of Wood&Steel at
world, and I’m glad to toss some gui-
tars into the mix.
taylorguitars.com under “Resources.”
­­— Bob Taylor, President
JASON MRAZ
The Wood&Steel Interview
 A Pacific storm has made for
a rare day of steady rain in San Diego,
upsetting morning commutes and tempo-
rarily throwing people a bit off-kilter —
remember, this is Southern California,
where rain is a major event — but the
weather’s dour context only serves to
amplify the laid-back vibe of Jason Mraz
as he arrives at the Taylor factory. The
hat-clad, smooth-crooning tunesmith has
driven down from his home in nearby
Oceanside during a precious pocket
of down time between his return from
a South American tour and the start of
recording sessions for his fourth studio
record. He is here to survey the close-to-
final version of his new nylon-string sig-
nature model, adorned with the custom
inlay work he commissioned. Taylor artist
relations rep Bob Borbonus is in the
house, and before long Bob Taylor stops
in to hang out and talk about the guitar
with Mraz, who has just been presented
with it for the first time.
“I love it,” he says, admiring the
inlays, before settling into a comfy couch
with his new namesake guitar to finger-
pick a progression of sweet chords. The
nylon is a variation on the rosewood/
cedar NS72ce he’s been playing and
touring with for a while now. “It feels like
something I’ve had for a long time,” he
decides after a few more lightly plucked
chords.
The one remaining cosmetic revision
for the model is the choice of woods for
the guitar’s custom rosette design. A
few variations are on their way from the
Finish department for Bob and Mraz to
discuss. While they wait, as Mraz works
through another pretty progression on
the nylon, Bob picks up a steel-string
GA and asks Mraz about the chords to
the tune “You and I Both,” the opening
cut from his 2002 debut album Waiting
for My Rocket to Come. Mraz obliges,
playing through and calling out the
changes as Bob follows, setting up a
little jam that’s followed by another tune
Bob likes, Mraz’s island-chill mega-hit,
“I’m Yours.” Both song titles, coinciden-
tally, seem fitting choices to christen the
relationship between a songwriter and
his new guitar.
It wasn’t far from the Taylor com-
plex that Mraz’s successful career was
From local coffeehouse king to international star, the acoustic tunesmith is
laying his good-vibe grooves on the world, fueled by love and a new signature
nylon-string By Jim Kirlin
launched, in the coffeehouses of San
Diego. It was his equivalent of the
Beatles’ Hamburg period, during which
he honed his talent for blending acous-
tic grooves, supple melodies, and clever,
heartfelt lyrics into compelling pop
songs. He played out often, developing
himself into a compelling live act who
seemed destined to make it.
Mraz, 32, grew up in Mechanicsville,
Virginia, where, as a teenager, he started
writing and taught himself to play gui-
tar, often covering Dave Matthews and
Bob Dylan tunes with his brother. He
later moved to New York City to attend
the American Musical and Dramatic
Academy to study acting, but continued
to play guitar and sing. It was there that
he discovered he had a natural knack for
making up funny songs on the fly with
his acoustic.
“It became a party trick,” he told
the San Diego Union-Tribune in 2009.
“People would come over and chal-
lenge me with objects or situations, and
I would just make up a song about it
and get a good laugh and make people
really connect.”
The experience prompted a recali-
bration of his career plans. He realized
that the creative freedom of writing and
playing his own songs beat auditioning
for acting jobs.
Mraz moved to San Diego in 1999,
and it didn’t take long for him to plug
into the collaborative acoustic scene
and, before long, set in motion a word-
of-mouth groundswell. He frequently
performed as a duo with local percus-
sionist Toca Rivera (who remains a core
component of his live band), eventually
setting up residencies at various local
venues, where Mraz cultivated a pas-
sionate following. The buzz spread to
L.A. and beyond.
Mraz’s talents as a songwriter and
performer led to a major label deal,
and his 2002 debut introduced him to
the world with the help of several hits,
including “Remedy (I Won’t Worry),”
“You and I Both,” and “Curbside
Prophet.” Mraz’s second effort, Mr. A-Z
(2005), spawned the hit “Wordplay”
and was nominated for a Grammy.
continued next page
8 www.taylorguitars.com
His most recent studio effort, We
Sing. We Dance. We Steal Things.,
included the soon-to-be-epic hit
“I’m Yours,” which was nominated
for two Grammys last year and set
the record for the longest running
song on the Billboard “Hot 100”
Chart. The tune is also one of the
best-selling digital songs of all time
in the U.S., with more than of 4.4 mil-
lion paid downloads. Another pair of
tunes from the album recently scored
Grammy nominations: “Make it Mine”
(Best Male Pop Vocal Performance)
and “Lucky” with Colbie Caillat (Best
Pop Collaboration with Vocals).
At times, Mraz’s sound suggests
a more caffeinated, rock-centric
version of breezy jazz-pop singer-
songwriter Michael Franks, whom
Mraz cites as a musical influence (he
points to Franks’ 1976 album The Art
of Tea as an inspiration). But Mraz
brings more of a street/beat poet and
hip-hop sensibility to the party, as he
assimilates an array of musical flavors
into his world: jazz, funk, reggae, soul
and Latin music, each of which inject
unique rhythmic accents to his fluid,
mellow-rock vibe.
Seeing Mraz perform is to experi-
ence the fullness of his multi-pronged
artistry. His nimble, crystalline tenor,
his melodic and rhythmic sophistica-
tion, his strong pop instincts, and his
ability to unleash a sonorous gush of
lyrical wordplay together all coalesce
into a soulful groove on stage. His
music has a certain lightness to it
that’s conspicuously devoid of ste-
reotypical rock ‘n’ roll angst or brava-
do. On stage, he’s playful, funny and
spontaneous. He has a good time
messing with his persona: part hip-
ster geek, part street performer, part
ladykilling balladeer. Mraz innately
understands music’s power to uplift
and empower people, along with his
own ability to use his songwriting
voice to make soul-nourishing music.
It’s a testament to his songcraft that
his music connects not only in a
coffeehouse but at a huge festival.
Through his world travels and diverse
musical experiences, he says he’s
gained a greater appreciation for a
universal desire among audiences
everywhere: They want to be happy.
And through music, happiness is
exactly what Mraz delivers.
At the Taylor factory, Mraz took
time to talk about the way his Taylors
inspire him, the concepts behind his
signature guitar’s inlay designs, his
techniques for keeping songwriting
fun, and why “I’m Yours” became the
hit it did. Soft-spoken, thoughtful and
articulate, Mraz makes it clear that his
musical journey is part of a deeper
spiritual journey.
Do you remember your first Taylor
experience?
The first Taylor I ever purchased I got
from a local artist who had upgraded
and didn’t feel the need to hold onto
her guitar, so I acquired a 612ce,
and I was still kind of exploring in my
guitar playing. At that time, I think
I’d been playing for like six years
and had gone through probably six
or seven guitars, all different makes
and models, different sizes, shapes.
I stumbled upon this little 612 and
it just rocked. It was built in ’95, I
believe, so it was pretty old — it was
at least five years old at the time I
purchased it. Nice and worn in. It just
worked with what I was doing; I really
connected with it. And in buying that
guitar, I realized that Taylor was a
San Diego company, and the guitar
was built in San Diego. I’d been liv-
ing in San Diego for a little bit of
time, and here was this guitar that
suddenly was working with the songs
I was writing and the way I was per-
forming. It was a mellow guitar but
very true — in fact, I don’t think it had
any controls on it; you’d just plug in
and go. It was pretty amazing what it
could do.
You have a couple of other models
on the steel-string side. Was the
714ce the next one you acquired?
I think I experimented for like a month
with a 9 Series. I took it on the road,
and it was such a nice guitar I was
a bit nervous to bring it on the road.
And I found the 714 was a great
compromise to the grandness that
was that guitar, but it had sort of a
road-ruggedness that I could tear up.
I’d also started playing with a band
and went digging in a little more, so
I left the 612 at home after a while
and was playing the 714 with a little
bit bigger body.
You’re a fingerstyle player, but
especially when you’re playing on
stage with a band, is it primarily
still fingerstyle, or are you doing
some strumming?
Back when I was playing the 714 in
my shows, I was definitely using a
pick, and then I would throw the pick
and use my fingers and reach into my
pocket and grab the pick again, and
it was kind of messy. I hate to tell
guitar players what I was doing be-
cause I don’t recommend it, and I
look back — in fact I was playing my
714 last night and they should put
the pickguard up here [above the
soundhole] because how I was play-
ing with a pick was digging in at the
top. So, it was a little bit of every-
thing. I had picked up a nylon-string
to bring to my show for one song,
and just having that guitar around
I started to play it a lot more. And I
found that I could still do the strum-
ming, the digging in, and go right into
picking, and basically all the dynam-
ics that I liked with the 714 I could
still get out of the nylon-string. All I
needed to do was put some acrylic
on my nails, so I had four guitar picks
on my fingers. I could get that soft
sentiment, that really mellow, liquidy
tone that I really love about the nylon-
string, but I could also get really
rhythmic and percussive instantly,
without changing guitars and without
changing picks or any type of pat-
terns. It took me a little while to figure
out, but it’s definitely something I
don’t think I’ll stray from.
“When I would write with the
nylon, it just opened up a whole
new channel for songs.”
So these days, are you performing
primarily with the nylon?
Yeah. In fact, the last tour I didn’t
even take the 714. It was the first
tour where I only took two nylons
with me. I took two because one was
going to be in an alternate tuning
[DADGAE]. So the whole show was
played pretty much with just this.
One or two songs I’d switch it up
with the alternate tunings, but that
was it.
The nylon has such a different
flavor from a steel-string. When
you started playing nylon more,
did you feel like you were writing
in different ways, that you were
responding to the guitar’s tonality
in a different way?
Absolutely. When I would write with
the nylon, something about it and the
voicings I would use — the mellow
tones of the nylon — it just opened
up a whole new channel for songs.
I guess when I had the larger steel-
string 714, I feel like I had to work
a little harder. So, the nylon was
more of a feeling that I got, but it
nurtured a whole album’s worth of
songs. It made road life a lot easier.
It just gave me this way to commu-
nicate with the audience without a
guitar standing in my way. It felt like
it was a part of me, it was a part of
the energy that I wanted to put out
there. But it still drove it home when
I needed to drive it home. I could still
play the big rock and pop songs with
the nylon.
Let’s talk about your signature
model. It’s based on the model
you’ve been playing, an NS72ce.
What’s nice about the signature is
being able to add your aesthetic
to it. Can you explain the fretboard
inlay and the rosette?
Well, I didn’t touch the design of the
guitar because the NS72 is great.
Cosmetically I added my “Be Love”
symbol, which I recently got tattooed
on my arm, so in a sense…maybe
I’ll add frets to my tattoo. This is a
design I saw repeated over and over
from hieroglyphs to various denomi-
nations using it in art, and I choose
this symbol simply because I want
to be whole in mind, body and soul.
I think that’s a divine trinity there.
What is “Be Love” but cutting out the
middle man. You don’t have to have
a certain someone to be loved. You
don’t have to have certain conditions
to have love in your life. You can just
be love. So, it’s basically a practice
of unconditional love, a practice of
unabashed generosity. You can’t be
love and have a bad day. You can’t
have a bad mood. If I’m committed to
being love, I have to show up every
day, and I really like that. It creates
me as bigger than I’ve ever chosen
myself to be in my life. And every
song I write is based on love, no mat-
ter what kind of song it is. So that’s
why I brought it into the guitar.
The rosette is based on one of my
favorite Mucha paintings. [Alphonse
Mucha, 1860-1939, was a Czech
art nouveau painter and poster
designer.] Mucha was pretty much
the inventor of graphic design; he did
it all by freehand. In fact, most rock
posters today can be traced back to
Mucha. He did original designs for
opera, stage shows, cabarets back
in Paris and throughout Europe. One
of his designs is called “Zodiac,” and
it embraces all different astrological
and zodiac signs. And that’s another
thing that drives me: I’m always look-
ing into the cosmos to inspire me or
to help me create my schedule even
for tours and for when I’m going to
write and what I’m going to do. So,
everyone can relate to this because
your zodiac sign is going to be in
the rosette somewhere, in the per-
son you love; all the relationships in
your life can be related to this. Every
chart pretty much in the history of
calendar making comes down to a
circle, and the rosette is here for us
to put ourselves into the universe.
So, I thought it was beautiful. We just
today looked at having bloodwood
underneath the signs. It really creates
contrast, so you can see the signs;
the symbols will really pop a lot more
on the final product. [Ed. note: The
final choice was bubinga.] And that’s
basically it. I didn’t want to go too
crazy. I thought long and hard, and
you can get lost in the world of inlay.
But I honestly didn’t want to add any
more weight; I didn’t want to add
anything too strong. I still would want
any player to take it on and have their
own relationship with the guitar.
Jason Mraz on the
evolution of his nylon
fingerstyle technique:
“I had the pleasure of tour-
ing with Raul Midón, and
he’s the one who helped me
organize my style of playing.
Where I used to keep picks
on my knee — play and then
pick and then strum — he’s
the one who really pushed
me to let my nails do all
the work and not be afraid
of treating the guitar like a
percussion instrument. And
Raul, if you’ve ever seen
him, really goes for it. In fact,
I’ve never seen anyone play
guitar like that guy. And I
know that he has a nylon in
his arsenal, and it was right
around the same time I start-
ed playing nylon, so I wasn’t
so worried about playing soft
or just being stuck in light
picking and melody work. It
really got me to change, to
really bang on it.”

This question goes back to the
songwriting process. I know that
you’re a buddy of Bob Schneider,
who’s a great singer-songwriter
from Texas, and I’d read that you
guys have kind of an ongoing
songwriting challenge, where you
use a phrase to spur on songwrit-
ing. Can you talk a little about
that? I think that people who write
songs would be interested in how
that works.
Absolutely. Basically we have a little
online songwriting support group. It
isn’t a test or challenge or something
where anyone is going to win. We
don’t even critique each other. The
whole idea is to stop being so darn
precious about the songs you’re
going to write. Stop worrying about
if the world will like it; don’t worry if
it’s going to be a single. Don’t write
for any other reason than your love
of writing songs and connecting
with your instrument, connecting
with your divine. Whatever reason
you love to write, this is a songwrit-
ing group that’s going to support
that. And to get you started, here’s
a word or a phrase. So, let’s say the
phrase is “me talking to you.” It’s as
simple as that. And I’ll give you until
Friday to create a song and e-mail
it to us all. So, by Friday you get all
these songs in your inbox from all
these different writers, and you hear
everyone’s different interpretation
of “me talking to you.” The thing I
turned in for that turned out to be
“Lucky,” which was a great hit from
the last record. And the whole song
opens with: [plays and sings] “Do
you hear me talking to you / Across
the water…” so it gives you a launch
point to write. I end up writing for my
friends and for me instead and for
the sake of a game rather than the
pressures of any label or any other
group that wants me to write. So,
I encourage anybody to do it with
your friends because it puts the fun
back in playing. Like, for me, I’ve
taken my hobby and turned it into
my career. And sometimes that can
be a huge distraction. So adding
this game with some songwriters
like Billy Harvey, a tremendous writer
from Austin, Texas, Bob Schneider,
Tom Freund, Minnie Driver has got-
ten involved, Mike Doughty from
Soul Coughing. Every now and then
you see some real surprises enter
the game. It’s all about the Internet.
In fact, I’ve never even met most of
the people face to face.
Speaking of surprises, I have to
bring up “I’m Yours” because it’s
been on the charts forever. It’s a
song that you wrote five years ago,
and it was almost a cast-off song
and then got out and through the
underground became this huge hit.
Were you surprised by it?
Yeah, totally surprised by it. I was
just kinda churning on some chords
in my bedroom while I was making
my second album, and the song just
came out quickly. I wasn’t even think-
ing of sitting and writing a song, but
it just happened so I recorded it, and
I thought, cool, it’s a happy little hip-
pie song. I knew I’d play it live, but it
wasn’t fully realized for me to go and
put it on the record I was making at
the time. So, I started playing it live,
and I noticed that people were really
responding to it and singing along,
and they started to request it. Having
road-tested it for three years before
we put it on the record, it gave me a
chance to record it with a new energy
compared to how it was when I wrote
it. And I honestly just put it on the
record because I felt like it needed a
home for the audiences that already
knew it. I didn’t really expect it to
grow, and here it is two years since
I recorded it, and it still seems to
be growing in certain parts of the
world. The beauty of the song is that
I wasn’t expecting anything out of it. I
wasn’t thinking of singles or records.
I didn’t relate it to that part of my life.
For me, the song is about my relation-
ship with whatever inspires me. If
you listen to the lyrics, it’s about me
surrendering to that, which gives me
songs. I think for every other listener
it’s a song about generosity; it’s
about giving yourself or your time to
someone or something else. A lot of
people relate to it as a love song, like
a man giving his life to his woman — a
lot of people use it in their wedding
ceremonies. It can be anything to
where you give yourself up. Because
as soon as you give it away, you’re
suddenly free to receive. And I think
a lot of the success had to do with
the right message at the right time.
I think we’re bored of hearing about
climate crisis and economic struggle,
and we’re tired of continuing to sup-
port and hear about war and famine
and the whole darkness that kind of
saturates the news. It’s nice to turn
on the radio and, oh, yeah, there’s
also light and love that’s flourishing in
the world, and I think “I’m Yours” kind
of fed that.
You’re getting ready to record
a new album. In fact, tomorrow
you’re starting. Can you tell us a
little about the material? Is it stuff
that you’ve been playing out and
that you’re now ready to record?
There are only a few songs I’ve
played out so far. I’ve been protective
of everything else because it’s new
for me. It’s a lot more passionate. It’s
still spirited and joyous and positive,
but there’s a certain, I want to say,
anguish, but not from a negative or
heavy side. But there’s a certain pas-
sion. To me it’s music that gets you
9
by the shirt collar and says, “Listen to
this. Stop and listen.” Because that’s
what’s happened to me. I don’t know
where songs come from. I just like
to pick up a guitar and emote, and
it’s like something has just grabbed
ahold of me and said, “This has got
to be done.” And I’m really moved by
it, but I haven’t yet had an arena to
go on stage and do that yet because
our show has been of a different cali-
ber. So we’re basically starting from
scratch. We start tomorrow, and I’m
really excited to get the basics down.
Also, this is the first album where I’ve
got access to the world’s greatest
arrangers and voices and collabora-
tion partners, and because of the
success of “I’m Yours” on our last
record, everyone has shown up to
say, “How can I help?” So, in a sense,
I’ve got this great opportunity — I’m
one phone call away from anything
and anyone in the world. I’m not
afraid to use all those resources on
this record, as well. I’m thinking big.
My fingers are crossed.
The Jason Mraz
Signature Model (JMSM)
Based on the nylon-string
NS72ce, the JMSM has
Indian rosewood back and
sides, a Western Red cedar
top, and custom inlays. The
fretboard inlay features the
words “Be Love” below Jason
Mraz’s circle/triangle symbol,
both in Mexican cypress. The
rosette design is a series of
zodiac symbols in Mexican
cypress against a bubinga
background, set in a ring of
Hawaiian koa. The pickup is
the new ES-N®, which comes
standard on all nylon-string
models. Each JMSM comes
with a custom guitar label and
a certificate of authenticity,
both of which will be signed
by Mraz.
Mraz’s other Taylors include
a 612ce, 714ce, 414ce-R,
314ce-LTD, 612ce, NS52ce
and NS72ce.
Note: The prototype pictured
has the Fishman pickup
formerly installed on our
NS72ce. The ES-N features
our standard ES controls on
the upper bout.
10
Ask Bob
The art of aging, elusive imbuia, G-string
distress and birthday quilt
What happens when you “play-
in” a guitar? I have a koa
Dreadnought and didn’t know if it
would play-in with light fingerpick-
ing or if I need 10 years of heavy
strumming for this effect to take
place. Could you accelerate this
effect at the factory by vibrating
the guitars after they are made,
on a vibration machine at differ-
ent harmonics for a continuous
period? I understand if it’s just
another guitar myth, backed up by
perceptions and anecdotes from
musically knowledgeable people,
but I’m curious to see if you have
a more scientific take on this sub-
ject.
Richard Nelson
Butte, MT
Richard, it’s more than a myth that
guitars sound better with age and
with playing. However, people don’t
know why. Not that it couldn’t be
studied, but who’s going to do
that? There are some theories, like
the vibrations from playing break
down the wood, or the age and
seasoning of wood break it down
somewhat. Yes, people have made
“time machines” to vibrate guitars,
and a difference can be perceived,
but not a difference that is as appar-
ent as the natural change in aging.
I can tell you this: When spruce is
relatively new, its grain structure is
like celery. If you pick at one strand
you can pull off a long strip, even
with your hands. We clamp binding
to guitars with masking tape and
have to be very careful not to pull
up the spruce grain when removing
the tape the next day, as you can
pull a strip out, like pulling a hang-
nail gone bad. When a guitar gets
old, this is no longer a problem, as
the grain becomes less stringy. So
toss that into the data bank of things
that make you go, “Hmm.” I have
noticed that guitars change with both
playing and with age. I have a 20th
Anniversary Taylor that sits in a dis-
play case in my house. Today it
sounds way better than when it was
new, with very little playing in its his-
tory. It’s undeniable. Currently it’s
getting played a lot just because it
sounds so good. Your guitar will con-
tinue to age for the better, and your
effort won’t really speed or slow the
process.
I have been gigging [with] a 614
and love it to bits. I am consider-
ing the BTO program. I know I like
the 614 shape and a Florentine
cutaway. I have fallen in love with
Macassar ebony and wondered if
that would work as a top, as well
as back and sides? The visual
is important for me, too. If not
Macassar ebony, then what sort
of similar, visually appealing tone-
wood would you recommend for
the top?
Ben Hicklin
Ben, I wouldn’t recommend an ebony
top. It’s just too heavy, too hard. Top
wood needs to vibrate. I haven’t tried
ovangkol, like the back and sides
on a 400 Series, but it would prob-
ably make a top similar in sound
to koa, which sounds pretty good.
Mahogany makes a good top. The
hot ticket, though, on a Macassar
ebony guitar is sinker redwood with
gray streaking that matches the color
of the ebony. It’s very limited and
comes and goes here at the factory.
You could inquire whether we have
some or not. I own such a guitar,
it sounds great, and it’s amazing
how the looks of these two woods
complement each other!
I am fortunate enough to own a
Taylor 310 imbuia LTD from 2001
and love the look, sound and
especially the smell of imbuia. In
my opinion, it is one of the more
underrated exotic woods out there.
Are there any plans to reintroduce
www.taylorguitars.com
imbuia to the Taylor line or into
the BTO program in the future?
A custom imbuia Taylor with
the newest voicings would be
wonderful!
Dennis
Greensboro, NC
Dennis, imbuia is a classic example
of a wood species that needs a
much larger audience than the guitar
buyer. There was a time when other
woodworkers used imbuia, although
for what I’m not sure. During that
time we bought some. The method
was to go to a large lumber com-
pany that imports the wood and sort
through it, buying the guitar-grade
stock. A year later we’d return to do
it again, but their inventory would
be the same as the previous year
and already picked through. Without
other people using it, we get no
fresh stock to select from. The other
method is to develop a source
whereby the tree is selected and cut
into guitar wood. But we don’t use
enough to do that. So, we keep our
eyes open and look for good imbuia
at the right price when it comes
along. In 10 years it hasn’t. It could
change tomorrow, but it would be
from some outside influence that
happens on its own. I can tell you
that I’m also a big imbuia fan, but 99
percent of imbuia is not guitar quality.
I just got Volume 61 of Wood&Steel (Fall 2009) and
I was paging through Wood&Steel
have fallen in love with the 35th anniversary bari-
[Fall 2009] and saw the 8-string
head. As a mandolin player my tone guitar and the new 8-string baritone. After
pulse raced, but I quickly saw that reading in the 8-string article the sidebar [about]
it was for your baritone series. the 6-string baritone, I wondered if that option is
Still, wouldn’t a mandocello bridge,
simply for a guitar made for baritone purposes, or
saddle and nut be relatively trivial
compared to programming the if I could experiment and try the 6-string baritone
headstock? option on my 310ce. Would I be able to use bari-
I’ve taken to the mandolin tone strings?
as my preferred instrument for
tunes. For singing, however, it’s a
Chris Garnett
little high pitched, so most often I
use a guitar. I see artists like Tim Chris, I think you’re asking me if you can put bari-
O’Brien and Ricky Skaggs use tone strings on your 310ce and tune it down. If so,
a mandocello as a vocal rhythm
I’ll say yes, but it’s not the same guitar because the
instrument, and it sounds great.
I think the “Taylor sound” would baritone has a much longer fret scale. You need a
be well suited to a mando family longer string to get to the low notes. With a stan-
instrument. If, as you say in the dard guitar scale, when you tune down, the strings
latest Wood&Steel, you’re going to
get loose and floppy and don’t really do a great job.
use the growing flexibility of your
manufacturing process to fill spe- This is why it’s a big deal that we made a baritone:
cialty niches like 8-string baritones because it took a real investment to produce the
and 9-string guitars, why not add tooling for an all-new neck. But give it a go; there
the mandocello to the list?
George Wilson
are no fret scale police.
San Antonio, TX

Well, George, I’ve got to say that if
an 8-string baritone is obscure, then
making a mandocello would take
that to a new level. Your logic makes
sense until we try to support the
idea with dealers, sales, marketing,
etc. For us, it’s not just a matter
of making anything that could be
made, but also staying in the fam-
ily of guitars, where we know the
instrument and know the customer.
The soonest exception to that might
possibly be a ukulele, but the bass
players would filet me alive if I made
a mandocello before they get their
bass. I hope you understand.
Bob, have you folks ever con-
sidered crafting a travel cover
for your hardshell cases, much
like the ones that Colorado Case
Company makes? I love the
Deluxe Hardshell case that came
with my 814ce, but the vinyl gets
beat to pieces! Like every musi-
cian/singer who travels, I gate
check every time it’s available, but
that means carrying 18 pounds
through many airports. Having
a travel cover would protect the
case itself, possibly offer even a
few more degrees of temperature
protection, and, if you would offer
backpack-like straps, carrying it
as far as I could through airports
would be a lot easier.
Alan Parks
Myrtle Beach, SC
Alan, yes, we’ve made them in the
past, and people didn’t order them.
Like you, I think they’re great. We’ll
keep it in mind. It might become a
TaylorWare product someday.
Bob, I am very interested in pur-
chasing an acoustic guitar and
was wondering what recommen-
dations you might have for some-
one who does a lot of fingerpick-
ing (Chet Atkins style) and a lot
of chord-strumming backup in a
church band. I thought I wanted
a 614ce. Your thoughts would be
greatly appreciated.
Jerry Stanton
Well, Jerry, if you like Chet and
strumming, you’ve already picked
one of the best guitars when you
think of a 614ce. It’s great for both
purposes. A 514ce is also nice, but
it has more breath and high end.
The maple in the 614ce can dig in
more, cuts through the band better,
and will always deliver a solid per-
formance with Chet-style playing.
I recently became the proud
owner of a beautiful 614c. The
dealer (Electro Music Services in
Doncaster, here in the UK) told
me that the guitar was made of
a particularly highly figured piece
of maple, which had been given
to you as a gift for your birthday.
Hence, the guitar gained the nick-
name “birthday quilt.” I would be
very grateful if you could clarify
this story and perhaps tell me
more about this amazing guitar,
and if any more were made of this
beautiful wood. This is my third
Taylor guitar. In more than 30
years of playing, I have yet to find
a better instrument than yours.
Graham Campbell
Graham, that story is on the right
track. Once upon a time, my won-
derful wood supplier, Steve McMinn,
sent me some killer, over-the-top
quilted maple for my birthday. We
coined it “birthday quilt,” and the
name stuck and became a wood
grading word around our shop. It’s
kind of a fun name, you must admit.
So, from then on it was declared
in the Taylor kingdom that any quilt
with such beauty would be referred
to as birthday quilt. Yours is such a
grade, just not the actual wood that
I got for my birthday, which is March
12, in case you want to make a note
of that.
After reading the response to Mr.
Yoburn’s question [“B Keeper”
in “Letters”] in the fall issue of
Wood&Steel regarding the myste-
rious small metal button imbed-
ded in the NT neck paddle (it’s
a magnet used to balance the B
string on the Expression System
pickup), I got to wondering: Do
you add this button to the guitars
you retro-fit with the ES, such as
the one you did on my 855ce?
I’m not about to remove the neck
myself to find out!
Blair Hayes
You bet we do, Blair. But you didn’t
get one because yours is a 12-string
and doesn’t need it. It has to do
with the 12-string pickup’s unique
design and the difference in string
gauges between 6-string guitars and
12-string guitars. I suggest you tell
this to your wife, who will then give
you permission to run right out and
buy a new 6-string so you can get
the magnet!
I live in Japan, so finding the right
guitar can be somewhat of a
challenge. I have finally ordered
and eagerly await delivery of my
new GS6-12, and I can’t tell you
how excited I am! I have done my
homework watching your videos
and have read the technical advice
for maintaining the proper humid-
ity. My problem is that the relative
humidity here is regularly well over
60 percent. I use a dehumidifier,
AC and, in the winter, the heater
to keep my rooms around 50 per-
cent RH. I have hygrometers for
my guitar cases and keep them
acclimatized with the room. While
you go into great detail describing
the effects of low humidity, what
should I watch for in a high humid-
ity environment? Do you have any
other recommendations?
Russ Hagan
Thanks, Russ. I’m happy to talk
about high humidity. Let’s start with
this: As always, my message is that
the safest place for a guitar is in
its case, not displayed in a house.
Now, I realize that I mentioned in a
previous question that I displayed a
guitar in my home. That’s because
I know how. You sound like you’re
doing all the right stuff. I would
suggest getting your hands on the
Planet Waves Humidipak and using
it in your case with the guitar. The
Humidipak not only will humidify
your guitar, but also dehumidify it
based on the humidity level of the
environment. It’s pretty easy to use.
Also, when you remove your guitar
from the case, please close the
case, which will maintain the humid-
ity within the case and not allow it
to absorb excess moisture from the
atmosphere.
To answer your question about
effects of high humidity, here are
some. Your guitar will swell, and its
sound will change, becoming more
“wet” sounding. That’s because
the excess moisture content adds
weight. But it won’t crack, and at
50-60 percent, it won’t swell very
much. In short, I don’t think you have
too much to worry about if you do
what you’re doing now. So, keep the
guitar in the case when it’s not in
use, and pop a Humidipak in with it.
[We also have a pair of relevant
Tech Sheets posted at taylorguitars.
com under Service & Support:
“Symptoms of a Wet Guitar” and
“Preventing the Summertime Blues.”
— Ed.]
I’ve owned a Taylor 615 and an
810 and have enjoyed them both
a great deal. I noticed in the new
Wood&Steel that the ES system
is available to be installed in all
brands for $500.00. Since one of
the elements of the ES is under
the fretboard, does this apply only
to guitars with a bolt-on neck, or
can you accomplish this on a set
neck, as well? For example, my
Martin HD28LSV.
Richard Alan Prow
Richard, for guitars with a set neck
we make a pickup that fits into the
soundhole right at the edge of the
fretboard. The pickup is encased in
a very slim and beautiful machined
ebony housing. It looks good, and
a set neck guitar can enjoy the full
benefit of ES.
I bought a Taylor 114ce about
nine months ago. It was a perfect
fit for me. But I keep encountering
one problem: Sometimes when I
am just jamming out, my G-string
will break right around the nut. I
use Elixir Ultra-Light strings. I am
wondering if it has to do with the
guitar or the strings.
Michael Gibson
...Or the player. Don’t forget the
player, Michael. And please don’t
take offense, because none is
intended. It’s just the player is part
of the package. Now, the core string
on an ultra-light G string is super-
duper small. It’s not strong at all.
So, ultra-light strings just aren’t as
strong as normal strings. They need
to be played, tuned and treated
as such. So, that’s a factor. Also,
if the nut is tight at all, or if it has
developed a cross-hatch wear pat-
tern in it, that could be a problem.
The wraps of a string can wear
into the nut, almost like threads on
a bolt. The string needs to slide
freely when being tuned and played.
11
Imagine if the string is slightly hung
up, plus it’s small and not very
strong, and maybe you play harder
than it can stand. All that can add
up. I’d suggest, first off, just putting
a little pencil lead in the slot, which
will lube it. Look with a magnifying
glass to see if there are string wrap
impressions in the slot. If so, a luth-
ier might be able to smooth those
out. You might also try a heavier
string just for the G. I hope that’s
enough to help you track it down.
Give us a call anytime!
With the help of YouTube, I
recently was introduced to a
wonderful tuning (Open Db) that
Jackson Browne uses for some of
his acoustic renditions. This has
caused me to want to keep my
6-string Pelican PG-LTD tuned to
Open Db, but I worry about the
impact on the guitar. Two ques-
tions: Need I worry about keeping
my PG-LTD tuned to Open Db for
an extended period of time, and
second, if I were to purchase a
third Taylor (I also own a 12-string
355ce), what might you recom-
mend to work well with this type
of tuning?
Rob Reiman
Rob, this won’t hurt your guitar in
the least. Your truss rod might need
to be loosened with the lesser ten-
sion, but that’s the extent of it. If you
were to buy a new guitar for this, I’d
go for a large body like a Jumbo or a
GS. Any wood will work, but my first
choice would be maple.
Got a
question for
Bob Taylor?
Shoot him an e-mail:
askbob@taylorguitars.com.
If you have a specific
repair or service
concern, please call
our Customer Service
department at
(800) 943-6782,
and we’ll take
care of you.
12
Soundings
A Heroic Effort
Ever since we heard about the
lineup of guests on Doyle Dykes’
new DVD, Live Sessions: People...
Places...and Pickin’ — which includes
Phil Keaggy, Duane Eddy, Tommy
Emmanuel and Steve Wariner —
we’ve been champing at the bit to get
a taste of what Doyle and friends had
cooked up. Alas, our press deadline
kept us from a reviewing it this issue,
but by the time you’re reading this, it
should be available. Doyle says the
project initially was going to be a
follow-up to his Bridging the Gap CD,
featuring him playing live but without
an audience, in various settings. But
according to Doyle, the death of
legendary guitar innovator Les Paul
changed the concept.
“After I got word that our old
friend had died, I felt part of me was
gone,” Doyle explains. “Then one day
I realized that there are so many great
musicians who I admire, and the fact
is there are still heroes out there. So,
I called some of my own personal
‘heroic’ friends and family. Suddenly
this project escalated into a whole
different realm. It was like heaven and
earth kissed and I got caught up in the
middle of the ‘smack’!”
Among the recording locations
were the studios of Ricky Skaggs and
Steve Wariner, along with Doyle’s
own living room. Other guests
included Dave Pomeroy, Jimmy
Capps and John Gardner, plus
Doyle’s son Caleb, daughter Haley
and brother Aubrey. In addition to
the performances, there’s plenty of
bonus footage, including an interview
between Doyle and Bob Taylor at the
Taylor factory, along with interviews
from his Bridging the Gap sessions.
Look for a full review next issue. You
can order the DVD at doyledykes.com.
Western Wins
Congratulations to the 2009
Western Music Association Male
Performer of the Year Bill Barwick
and Female Performer of the Year
Juni Fisher. Barwick, a longtime 410
player, is a multiple award-winning
cowboy performer and a regular at
events like the Walnut Valley Festival
in Winfield, Kansas and the Colorado
Cowboy Poetry Gathering. Barwick
was presented with a brand new
DN8 at the WMA awards event in
November, and dropped us a thank-
you note shortly afterward, following
his regular gig at the Buckhorn
Exchange in Denver, to say the guitar
came out of its case “player ready”
and that it works perfectly.
Fisher, a multiple WMA winner in
recent years, took home a GS5 and
also e-mailed us a gracious thank-you,
following up a couple of weeks later
after some quality time with her new
guitar. A longtime Larrivee player,
Fisher said that Taylors had never
resonated through her the right way.
But when she sat down with the GS5,
her reaction was different.
“Oh, my goodness, the
responsiveness, the clarity of tone, the
sustain: all there,” she said via e-mail. “I
especially like the rich bass tones. This
beauty will go into the studio with me
for my next album (along with a couple
of Larrivees) to go on some tracks… I
am most delighted with this GS5.”
Other Taylor-playing WMA award
winners this year included Dave
Stamey (Entertainer of the Year);
the Sons of the San Joaquin
(Traditional Duo/Group); and Jim
“Curly” Musgrave (Instrumentalist
of the Year). On a sad note, we
learned at our press deadline that
Musgrave had succumbed to a brain
tumor on December 13. Our deepest
condolences go out to his family.
A Nobel Cause
In September of 2006, on the
10th anniversary of the founding
of the non-profit organization
PeaceJam, 10 Nobel Peace Prize
Laureates and thousands of kids from
around the world came together in
Denver, Colorado to celebrate the
organization’s commitment to foster
a new generation of young leaders
committed to positive change in
themselves, their communities and
the world. Among the attendees was
Taylor fan and singer/songwriter Beth
Nielsen Chapman, who has penned
numerous hits for a wide selection
of artists, including Faith Hill and her
Grammy-nominated song, “This Kiss.”
While known for her poignant lyrical
compositions, Chapman counts a
unique, charitable hobby of sorts
among her repertoire: painting Baby
Taylor guitars and seeking out the
legends of Nashville to have them
sign the back to be raffled off at a
fundraiser concert, usually one in
which she was performing. In planning
to attend PeaceJam that September,
Chapman wanted to take her
fundraising to a new level.
“I decided to see if I could have
some really serious artists design the
guitars,” she says. “My plan was to
take them with me to the event, and
in my dreams I thought, I’ll get the
Nobels to sign them and gift them to
PeaceJam. Never did I really expect to
get all the Nobels to sign!”
Five artists committed to the
project, and with the Babys in hand,
Chapman and PeaceJam volunteers
were able to make her dream a
reality. Although it took a nudge from
Archbishop Desmond Tutu to get
the Dalai Lama’s signature, ultimately
Chapman collected the signatures of
10 Nobel winners, including Máiread
Corrigan-Maguire, Shirin Ebadi, Adolfo
Perez Esquival, José Ramos-Horta,
Rigoberta Menchu Tum, Oscar Arias
Sanchez, Betty Williams and Jody
Williams, on each guitar.
The five guitars were auctioned
off in mid-December on eBay to raise
money for the PeaceJam Foundation.
At press time, the opening bid on each
was at $2,999.99, and Chapman
hopes they will inspire their lucky
owners.
“Music and peace have always
gone hand in hand,” she shares.
“Young people have so much energy,
such great ideas, and they hold the
key to peace in the future. We owe
it to them to inspire them to use their
gifts, musical or otherwise, to create
a bridge between cultures and unfold
into their lives with a sense of hope for
the future.”
bethnielsenchapman.com
peacejam.org
Building Wells
Across the Country
L.A.-based singer-songwriter
Tyrone Wells (810, GSRS) was
profiled in a cover story on Pollstar
magazine in November about the
grassroots approach he’s taken to
building his career. The article relates
Wells’ experience of signing up with
a big-time booking agency, only to
languish due to the bigger fish on its
roster. Wells eventually moved on,
booking shows himself, many on the
college circuit, where’s he’s become
enormously popular, and later signing
with a smaller agency that better
understood the types of venues and
crowd draws he could realistically
expect. Managing his touring logistics
and expenses smartly, Wells says, has
allowed him and his band to support
themselves on tour, even when playing
to modest crowds, as they continue to
cultivate their audience base across
the country. Wells has also gained
exposure through song placement on
TV shows like “One Tree Hill,” “The
Vampire Diaries,” “Rescue Me,” and
in promos for “Grey’s Anatomy.” He’s
currently on tour in support of his
second album, Remain.
Tyronewells.com
The N Result:
Gear and Studio Time
Earlier this year, Taylor Guitars and
Elixir Strings® partnered up to give
one lucky band or artist the ultimate
in guitars and strings. Musicians
who had registered with the band-
promoting website Sonicbids.com
were invited to TestDrive 2009, a “fan-
favorite” contest that would award five
select artists with Taylor SolidBody
guitars and Elixir strings and cables.
One overall winner would be awarded
recording time at a marquee studio.
Out of 2,000 entrants, 25 were
voted into the semifinals, and of those
25, five finalists were chosen by the
Taylor Guitars and Elixir Strings artist
relations teams. The top five included
power rockers The Better World,
singer-songwriter Matt Duke, genre-
crossing band The N Result, modern
pop act Kenotia, and energetic
rockers Facing Forward. In the
end, it was the New Brunswick, New
Jersey-based band The N Result
that took the top prize. The band has
amassed a strong following both on
campus at Rutgers University (where
most of the band are students) and
along the East Coast.
“We are so excited to record,”
exclaimed Ross Lippencott, the
band’s lead vocalist and guitarist,
upon hearing the good news. As
part of the contest, each band had
to make a video showing how they
were using their gear. Lippencott and
his bandmates decided to make a
full-scale, heist-themed music video
featuring their song “Break it Down”
off their debut album, Lines.
“We wanted to portray how we
felt about having premium products
and what it means to an emerging
www.taylorguitars.com
band like ours to get this opportunity,”
Lippencott explains. “We wanted to
create a video that was a throwback
to the great stories of thievery, like
an Ocean’s Eleven or The Italian
Job. We contacted a local museum,
and they graciously let us use their
space. On the wall there were super
expensive paintings, and the thought
of putting the guitar in a glass case
just seemed like such a cool idea.”
myspace.com/thenresult
youtube.com/thenresult
Taylorspotting
To lead off his interview in the
January issue of Acoustic Guitar
magazine, former Creedence
Clearwater Revival frontman John
Fogerty was featured in a full-spread
photo with his ES-equipped 510,
his main stage acoustic. Fogerty
talks about his 15-year rededication
to improving his playing technique,
including a hybrid flatpick/fingerstyle
approach inspired by Nashville
players, and the making of his recent
solo record, The Blue Ridge Rangers
Rides Again… Champion surfer Rob
Machado and his longtime friend,
surf filmmaker Taylor Steele, recently
collaborated to create The Drifter,
a film that follows Machado as he
ventures through Indonesia in search
of waves and self-awareness. The
film, which was released in November,
blends elements of a solitary, soul-
searching adventure with Machado’s
experiences with local villagers he
meets along the way. Machado had
picked up a Baby Taylor for the trip,
and it gets some camera time in the
film… In November, singer-songwriter
Katy Perry released a DVD of her
MTV Unplugged performance from
July of 2009. Perry played her 814ce
on several songs during the show…
If you like old school R&B and soul,
don’t miss Raphael Saadiq’s
acoustic set from NPR’s Tiny Desk
Series, which you can find archived
on NPR’s website and YouTube.
com. Saadiq and guitar partner
Rob Bacon cover three tunes
from Saadiq’s Grammy-nominated
2008 album, The Way I See It, a
sweet throwback to the days of the
Temptations and late ’60s soul. The
mini-set features Saadiq on a 314ce
and Bacon on an 810ce as they
strip their tunes down to their pure,
unplugged essence. Saadiq’s voice —
and the guitars — sound great.
Clockwise from top left: PeaceJam’s painted Baby Taylors
and their Nobel Laureate signers; The N Result; Tyrone Wells
on stage during a sold-out show at the House of Blues in
Anaheim, California (photo by Max Roper); (L-R) WMA
winners Juni Fisher and Bill Barwick with their new Taylors
(photo by Lori Faith Merritt); Katy Perry performs on MTV
Unplugged (photo by Frank Micelotta)
2010
Vision
A Conversation
with Bob Taylor
Bob talks about the
company’s creative
philosophy, the 2010
guitar line, and Taylor’s
commitment to customers

“It
was a great year
for creativity,” reflects Bob Taylor
from his office on a late November
afternoon, assessing a year that
other manufacturers might be less
keen to dwell upon. Despite 2009’s
economic slump, Taylor fared well
relative to the MI industry as a
whole, buoyed by product develop-
ment efforts that led to a bounty of
exciting new guitar offerings. The
year saw the successful debut of
the semi-hollowbody T3, the formal
launch of a fully loaded Build to
Order program, and an expansion
of the SolidBody electric line to
include an optional tremolo, new
colors, and “plug and play” loaded
pickguards. The Nylon Series wel-
comed the NS24, new artist signa-
ture models were born, and several
series of limited editions, including
spring and fall LTDs, culminated
with Taylor’s bold and inspiring 35th
anniversary collection. That creative
surge delivered a parlor guitar, a
baritone, a 9-string, and, in another
breakthrough moment, an 8-string
baritone.
In plenty of ways, the year was
hardly business as usual, but as Bob
points out, every year — whether an
up or a down year — brings a unique
set of challenges. And within those
challenges lie unique opportunities
for creative companies.
“When you’re growing, you tend
not to focus on small-selling items,”
Bob says. “You focus on the big
tickets. You might spend your tool-
ing or design money on making the
factory efficient so you can produce
and sell more of your top-selling
models. If you’re not growing, you
might think, we need to get where
we need to be one guitar at a time,
which means that 35 9-strings might
be welcome, where another year we
wouldn’t have time for that.”
While creativity has never been
lacking around the Taylor complex,
the key, Bob says, is to apply it to
the right projects. “In 2009, we
were willing to look at guitars we
wouldn’t necessarily sell in high
volume. But out of that comes some
pretty cool stuff.”
Having built Taylor into a suc-
cessful company that has become
synonymous with innovation, Bob
shares his thoughts on the underly-
ing Taylor philosophy that continues
to guide the company’s efforts mov-
ing forward through 2010.
A Manufacturing-Driven
Approach
“I think life is about 10 percent
ideas and about 90 percent imple-
mentation,” Bob says. “Once an idea
is out there, you have to figure out
how to make it real. This is where
most people or companies fail, and
this is where we excel as a company.”
What helps Taylor implement
ideas better than other companies,
Bob feels, are vision and passion.
“We are a builder-driven com-
pany, not a sales-driven company,”
he elaborates. “Companies that lack
innovation, I believe, are run by their
sales force. And the sales force really
wants the best-sellers at a lower
price. We’re a company driven by our
“We are a builder-driven company,
not a sales-driven company. Compa-
nies that lack innovation, I believe,
are run by their sales force.”
love of the guitar. If I say we want
to make something, we start making
it. I can add enough excitement to
a project and release the funds to
do it because we believe that this
thing needs to live and breathe. We
can hear an electric pickup and go,
‘I guess we’re in the electric guitar
business.’ That’s not a sales-driven
decision. It’s like it’s our destiny. We
have to now put a design shoulder
to the task of making a cool guitar so
these pickup ideas can live.”
The same mindset was applied
in 2009, and as a result, three mod-
els — a 6-string baritone, an 8-string
baritone (a spinoff from the 6-string
baritone and a 9-string) and a 12-fret
Grand Concert — inspired enough
excitement that they were added to
the Taylor line for 2010.
“I’ve fallen in love with that 12-fret
GC,” Bob says. “It’s that pure and
wonderful. We’ve got something in
our lineup that affects me that way,
and it all sort of happened because
my building team and I got excited
about them and I was able to pull the
trigger on them. There are excited
builders at other guitar companies,
but often times, nobody in that group
has the authority to pull the trigger.
That’s the difference.”
After last year’s 35th anniversary
embrace of more niche-oriented
guitars like the parlor, 9-string and
baritone, the question on the minds
of Taylor enthusiasts for 2010 might
be, “What’s next?” Not surprisingly,
requests for other specialty instru-
ments that Taylor has never made
before continue to trickle in, like a
mandocello (see “Ask Bob”) and a
tenor guitar.
“Give them an inch and they’ll take
a mile,” Bob laughs. “As far as the
more obscure guitars go, a lot of
what we chose to build this past year
was based on steady requests over a
pretty long time. It would make more
sense for us to develop the bass
next. People are also dying for us to
make ukuleles.”
But he’s not ready to promise
either.
“I think 2010 will be a bit different
than 2009 in that we will find our-
selves needing to make more guitars
from Taylor’s standard line,” Bob says.
“We ended up selling well in the
stores this year, so there will be some
inventory pipeline we’ll want to fill to
keep the right amount of inventory in
stores.”
Bob concedes that the year won’t
pass by without Taylor introducing
something entirely new. In fact, there
are a couple of development proj-
ects in the works that Bob and his
team are very excited about, but it’s
too early to make an announcement.
However, the company was plan-
ning to bring some prototypes to the
NAMM show in January, so it won’t be
long before the word starts to get out.
More Custom Capability
Alongside the standard Taylor line,
an emerging theme that delivers even
more possibilities in 2010 is model
customization. In 2009, the ability to
order a custom guitar through Taylor’s
Build to Order (BTO) program quickly
caught on with dealers and custom-
ers. Hundreds of BTO guitars were
ordered last year, and now that the
program is well-established and more
dealers are hip to the ordering pro-
cess, the program is poised for more
growth in 2010.
“We could potentially become the
world’s largest custom guitar com-
pany,” Bob says. “People are getting
used to the idea that these guitars
are available, that it’s not so exclusive
or difficult to order one, and that you
don’t have to wait forever to get one.”
Taylor’s BTO program expands
its menu options for 2010, including
the ability to order a custom 9-string,
12-fret or baritone acoustic, as well
as an optional armrest or backstrap.
The T5 can be custom-ordered with
binding of maple, koa, or ebony. (See
our BTO spread on pages 48-49.)
Meanwhile, greater customization
is a driving force behind this year’s
expanded line of SolidBody electrics.
Customers will have more color
choices for the Classic, and numer-
ous pickup configurations will be
offered for the Classic, Standard and
Custom. The Standard and Custom
are also available with a pickguard
this year, and a new Vintage Alnico
(VA) humbucker also joins the mix.
(See our SolidBody coverage on
pages 38-43.)
Raising the Bar on
Customer Support
As passionate as Taylor is about
guitar making, the company is equally
committed to being a full-service
resource that helps people with virtu-
ally every aspect of their relationship
with guitars.
“I think it’s about time a guitar
company gives service like we expect
from other companies that we buy
things from,” Bob says. “If you buy a
Canon camera, you want someone
at Canon to back you up. If you
buy a car, you want service. When
I first started, guitar company ser-
15
vice meant fixing your guitar under
warranty if something went wrong.
That’s how it was defined until we
started to change it and make it more
‘service’-like — a combination of pre-
sale info, tech support, straight-up
repairs, and referrals to authorized
people in your area who can get you
taken care of really fast. For us, ser-
vice might be answering questions
about care of the guitar. It might be
answering questions about your next
purchase and how that guitar might
be different than your others. It might
be answering questions about the
tone or specific applications.
“People just want to feel like
they can call and get support,” Bob
continues. “So we offer that. We
have six people on the phone, just
answering calls, talking with people
about guitars all day long. That’s big.
I’m sure it helps us sell guitars, but
that’s not really the point. The point is
to treat someone who already bought
a guitar as well as you treat someone
who might buy a guitar. That’s really
what service means to me. Because
in reality, you’ll roll out the red carpet
for someone who’s thinking of buy-
ing. Why not roll out the red carpet
for the person who already bought?
If you can treat the person who
already paid as well as you treat the
person whose money you want, I
think you’re doing a good thing.”
You can read more about our
Customer Service department in our
Guitar Guide on page 52.
 th E 2010
guitar guide
Specialty acoustics,
custom electrics, and more
expand this year’s Taylor line

A new year brings fresh possibilities, and our 2010 guitar

line is no exception. Boasting more guitar choices than ever before,
this year’s lineup of Taylor models celebrates the many flavors of
musical inspiration, some already discovered, others yet to be born
in your hands. Whether you’re a beginner, a virtuoso, or somewhere
in between, our guitars promise a playing experience that brings out
your best.
In our 2010 Guitar Guide, we present an overview of the many
flavors of Taylor tone that are available to you. Like people, each gui-
tar has its own unique personality, and with more than 100 different
standard Taylor models on the menu, our guide is intended to help
you find the right one.
This year we’re pleased to welcome three fresh acoustic voices
to the line as part of our “Specialty” series. Two of them are baritone
models, a 6-string inspired by our 35th anniversary LTD and an
8-string we introduced last issue. Joining them is an amazing new
12-fret rosewood Grand Concert, also inspired by a 35th anniver-
sary model.
As we detail elsewhere in this issue, our Artist Series continues
to grow this year, starting with a new signature nylon-string designed
with popular singer-songwriter Jason Mraz, a longtime Taylor player.
We also debut a new pickup for our nylons, the Expression System-
derived ES-N®.
In our electric division, the big news is the evolution of our
SolidBody series to offer a much greater ability to custom-order a
model. Now you can choose from a variety of options that include
new colors, new pickup configurations, pickguards — now available
for the Standard and Custom — and a tremolo option for any model.
We also have a new pickup, a vintage alnico humbucker. And from
the T5 series comes the new ovangkol-top T5 Classic.
Each year it seems to get a little harder to contain the Taylor line
for very long because we’re constantly working on new designs that
spring to life throughout the year. But we wouldn’t have it any other
way.
As you leaf through the following pages, we hope you get a
sense of one of our underlying goals: to make the guitar-playing
experience more enjoyable. We do it through constant innovation
that redefines what a guitar can be, and we do it through the kind of
customer outreach and support that strives to help you enrich your
life through music.

L-R: Bob Taylor and Jason Mraz at the Taylor factory in December.

16
Finding Your Fit
The right pairing of shape and woods will lead you
to a Taylor that sounds great on you
Choosing a guitar is a highly
personal, subjective process. This
is both the beauty and the chal-
lenge of finding the right model
— one that inspires you and deliv-
ers the sounds that you’re after.
Each person has different playing
mechanics, we each perceive tone
in a unique way, and our attrac-
tion to a certain look may get in
the way of finding the right sound.
Understanding a few basic ideas
about the factors that contribute
to acoustic and electric guitar tone
will streamline your search and
help you find the most compatible
instrument for your musical needs.
Keep in mind that certain gui-
tars are highly versatile, while
others shine in a more specialized
playing application, so knowing
what you want always helps. If you
aren’t sure, you can always talk to
a Taylor dealer or call Ben Bena-
vente at the Taylor factory (1-888
2TAYLOR) for recommendations.
When Taylor product specialists
talk with customers at Road Shows
about acoustic guitars, they often
start by offering this basic “tone
equation” for reference:
A guitar’s body shape + the who wants a lot of volume, a small-
tonal properties of woods +
player technique = guitar tone
In other words, a guitar’s dimen-
sions generate the guitar’s funda-
mental sound, the types of woods
used for the guitar help flavor that
sound, and the way one plays inter-
acts with those tonal attributes. The
idea is to choose a body shape and
combination of woods that respond
well to the way you play. For
example, if you’re a lively strummer
bodied guitar may not be right for
you. Or, if you’re a fingerstyle player
who craves a warm sound with rich
overtones, maple probably won’t
cut it. Working out your own per-
sonal tone equation will help you
find some great model options.
Acoustic Shapes
A guitar’s overall shape defines
how big the soundboard is, and
a bigger shape tends to translate
into more tone because there’s
more surface area vibrating with
the strings. Each Taylor shape fea-
tures a refined design that helps
establish a distinctive sound for
that guitar. Here’s a rundown of
our five standard shapes and their
Grand Auditorium
accompanying (GA)
sounds.
The medium-size GA gave the world
an identity-defining Taylor shape
Grand Auditorium (GA)
The medium-size GA gave the world
an identity-defining Taylor shape
and sound. It was big enough to
compete with the bigger, traditional
dreadnought shape, long established
in the acoustic world, yet the GA
offered more sonic balance instead
of a bass-dominant tone. The slightly
tapered waist helps create an even
blend between the bass, midrange
and treble notes. That tonal balance
comes through for strummers, the
clarity suits fingerstyle playing, and
the overall presence sits well in a
studio mix with other instruments.
The GA is a superb all-purpose gui-
tar shape that rewards players with
versatility and incredible range.
Grand Symphony (GS)
If you crave acoustic horsepower — if
you’re a strummer or picker who likes
to drive a guitar and get full-bodied
tone and robust volume, yet without
compromising balance — the GS
is your shape. It’s Taylor’s boldest,
richest acoustic voice, and, like a
good sports car, blends power with
responsiveness, which means players
can drive the GS hard without sacri-
ficing clarity.
Grand Concert (GC)
Taylor’s smallest body shape features
a slender waist that helps curb the
overtones. As a result, the GC tends
to occupy less sonic space, which
helps it blend well with other instru-
ments both on stage and in a record-
ing mix. Because of its tonal clarity,
the GC is well suited for fingerstyle
and for pickers who play lead lines.
With the availability of the Expression
System® acoustic pickup or studio
microphones, acoustic volume is
not an issue. The GC also features
a shorter 24 7/8-inch scale length,
which, together with the more com-
pact size, offers physical comfort and
playability that may appeal to players
with smaller hands.
Dreadnought (DN)
Bob Taylor chose to honor the large,
traditional guitar shape he inherited
by refining it, taking a potent tone
known for its strong bass response
and adding a balanced midrange
and clear notes to give flatpickers
and strummers the ability to be both
aggressive and articulate across the
tonal spectrum. Strong pickers are
bound to love the blend of power
and fidelity, which adds a new tonal
dimension to roots-flavored music.
Jumbo (JM)
Taylor’s biggest shape delivers a big,
full sound without the bottom-heavy
boominess. The curvy dimensions
present a lot of soundboard real
estate, yet the contoured waist helps
tighten the midrange, keeping the
overtones in check. Jumbos are great
as big, full strummers, especially for
solo artists who want a robust acous-
tic voice without sacrificing balance.
Taylor Jumbos particularly shine as
12-strings, yielding a rich, lush tone
with lots of signature Taylor clarity and
balance.
Woods
The woods used on the top, back
and sides of an acoustic guitar inter-
act with the fundamental sound profile
established by the shape, adding
distinctive tonal “flavors.” A wood’s
stiffness and density, for example, will
influence its tonal frequencies, mean-
ing that different species of woods
will yield different degrees of bass,
midrange, treble and overall sustain
relative to each other.
The description of each series in
our acoustic/electric line on the fol-
lowing pages includes a note on the
distinguishing properties of the tone-
woods used on the back and sides of
the guitar. These are just generaliza-
tions for reference; keep in mind that
each set of wood is unique, which of
course adds to the fun of sampling
guitars.
When it comes to soundboards,
Sitka spruce is far and away the tone-
wood used most often for guitar tops.
It’s strong yet flexible, which produces
a clear acoustic tone. Here is a brief
rundown of soundboard properties
among the woods we commonly use
for guitar tops:
Sitka Spruce — Used on the majority
of Taylor acoustics, it yields a broad
dynamic range and accommodates a
versatile range of playing styles.
Western Red Cedar — Cedar’s softer
density adds an element of warmth to
a guitar’s tone, especially for players
with a softer touch, like fingerstylists
or moderate strummers and pickers.
More aggressive players are better
matched with spruce, as they might
run out of headroom with cedar.
Adirondack Spruce — Compared to
Sitka, it has more dynamic range and
can be driven hard for greater volume
without losing clarity. Some players
also perceive an additional sweetness
in the midrange tones. Its availability
is limited.
Engelmann Spruce — Compared to
Sitka, Engelmann often has a hint of
additional richness that sounds like
an aged or played-in guitar. Its avail-
ability is also limited.
Hardwood Tops — Woods like koa
and walnut that are used on the back
and sides of a guitar are sometimes
used as tops, as well. Their stiffness
translates into a bright tone initially,
but the more the guitar is played, the
more full-bodied the tone becomes.
To read more about acoustic shapes
and woods, visit taylorguitars.com
under “Features.”
Player Technique
It’s fair to say that a guitar’s tone
is largely in the hands of the player,
so it helps if you understand what
kind of a player you are and what
you’re going for when you play. Your
playing style (strumming, flatpicking,
fingerstyle), your attack (how hard or
soft you hit the strings), string type
and gauge, the way you fret — essen-
tially the sum total of everything you
physically do to the guitar — is a big
part of the equation. For more on the
tone-shaping variables of the player
and how they can be matched up
with the right tones or woods, go to
taylorguitars.com/guitars/features/
woods/tone.
Electric Tone
When it comes to electric guitars,
pickups are another key part of the
tone equation. In the electric portion
of the Guitar Guide, you’ll find more
details on Taylor’s proprietary electric
pickups, their tonal personalities, and
the different pickup configurations
that are available.
In terms of body styles, certain
distinctions are reflected in the differ-
ent body designs of the T5, T3 and
SolidBody. The T5 is a fully hollow-
body design, which helps yield more
natural acoustic tones that contribute
to the T5’s incredible sonic range.
The T3 is a semi-hollowbody with a
solid center block that runs down the
length of the center. The SolidBody
is, as the name suggests, the most
solid, although the Standard and
Custom feature special tone cham-
bers, partly for weight relief but also
to optimize the body’s natural acous-
tic “bloom.” This enhances sustain,
which is otherwise hard to create on
an electric when everything is locked
down.
Bob’s Guitar Tips
People often have questions as they consider the many guitar
choices available to them. Bob Taylor answered a few common
questions and offered some personal advice on finding the right
guitar.
What qualities set a Taylor acoustic guitar apart from other
guitar brands?
A Taylor has a unique tone, known for its clarity and balance. This
tone-print not only sounds fantastic when played on its own, but
works very well when played with other instruments or when
recorded. Equally important and widely recognized are the superb
playability and intonation of a Taylor. Currently our NT® neck design
is the ultimate in straight, precise, adjustable guitar necks. It allows
total control over action and intonation. This adjustability allows the
original factory setup to be perfect, and allows easy, quick, afford-
able adjustments for the life of the guitar after the purchase. It’s the
best neck/body attachment in the industry today.
How will I know when I find the right guitar?
Sometimes this is easy, and sometimes this is hard. First, try not
to second-guess a feeling when you know you’ve found the right
guitar. All too often a person laments the guitar that got away, so
when one inspires you in a way that you know is right, act on it.
Now, if that doesn’t come to you, and you’re shopping for a guitar
among many options, try to define what the guitar is meant to do
for you. Is it a one-time purchase to solve all your guitar needs for
life, or is it a guitar to fit a particular musical style or desire? Most
people have multiple guitars because they have multiple needs
and play many styles. For instance, a small-bodied guitar might be
perfect for fingerstyle, but you might want a larger guitar for strum-
ming. This is where people get confused. It’s so much easier if you
try not to make each guitar solve every musical problem, especially
if you’re a person who already knows you need more than one
guitar. However, even with these challenges, you will eventually like
one particular guitar more than the others, and when that happens,
go for it!
How will an acoustic guitar’s sound change over time?
It will develop more clarity, more depth and more volume. In short,
it will just sound better and better. It’s one of the amazing treats
of buying a guitar. Whereas your clothes, car, computer, TV and
furniture wear out with age, your guitar wears in with age. Sure,
it gets worn cosmetically, but the tone just improves. It’s most
noticeable when you play your 10- or 15-year-old guitar against a
brand new one of the same style. I often smile when I read forums
where people proclaim that Taylor made better guitars in the early
’90s than now because their old guitar sounds better. They’ll claim
it has some quality they can’t describe. I can describe it very eas-
ily: It’s called “age.”
What are the most important things to remember about
caring for a guitar?
Caring for a guitar is easy if you consider heat and humidity. Low
humidity ravages a good guitar. Also, heat, as in leaving your guitar
in the trunk of your car while you shop or eat at a restaurant on
a summer day, will wreak havoc on your guitar. But in our experi-
ence, it’s the long, slow lack of humidity that does more damage
to a guitar than anything else. Store you guitar in its case rather
than displaying it in the living room or music room, unless you are
controlling the humidity in those rooms. Use a soundhole humidi-
fier to restore lost humidity to the wood in your guitar. Sharp fret
ends or low, buzzy action are signs of a guitar drying excessively.
Other than humidity control, in my opinion a guitar doesn’t need
too much other care. Just play it, wipe it down, polish it once in a
while, and change the strings to keep the tone sounding good.
19
2 0 1 0 G u itar G u ide

T he A C O U S T I C / E L E C T R I C L I N E

The koa Series

Back/Sides: Hawaiian Koa
Top: Abalone-trimmed Sitka Spruce or Hawaiian Koa
Fretboard Inlay: Abalone Koa Series
Binding: Curly Maple
Rosette: Abalone
Additional Premium Appointments: Maple-bound soundhole
Models: K10ce, K12ce, K14ce, K16ce, K20ce, K22ce, K24ce,
K26ce, K54ce, K56ce, K64ce, K65ce, K66ce

Hawaiian koa, you had us at “Aloha”. Koa’s seduction is often kindled

with the first glimpse of its flamed figure and rich variegation. The
romance with its tone, however, tends to unfold more gradually. As
a dense tropical hardwood, koa’s tonal properties initially project
a bright focus like maple, especially when also topped with a koa
soundboard. But the tone slowly reveals its full range as it opens up
with playing over time, sweetening as the midrange takes on rich,
mellow overtones similar to mahogany. Fingerstyle players who use
more flesh than nails will naturally soften the brightness. To match
the wood’s visual splendor, we appoint the Koa Series with figured
maple binding and vibrant abalone trim. A truly rare beauty both
above and below the surface, koa promises to age gracefully. If you
spend enough time with a koa guitar, chances are that you will, too.

K24ce shown 21
th e 9 00 S e r i es
Back/Sides: Indian Rosewood
Top: Abalone-trimmed Sitka Spruce
Fretboard Inlay: 900 Series Pearl
Binding: Ivoroid
Rosette: Abalone
Sunburst Options: Tobacco (top only)
Additional Premium Appointments: Gotoh tuners, bone nut/saddle,
peghead and bridge inlays
Models: 910ce, 912ce, 914ce, 916ce, 954ce

th e 8 00 S e r i es
Back/Sides: Indian Rosewood
Top: Sitka Spruce
Fretboard Inlay: 800 Series Pearl
Binding: Curly Maple
Rosette: Abalone
Sunburst Options: Tobacco (top only)
Models: 810ce, 812ce, 814ce, 815ce, 816ce, 854ce, 855ce, 856ce

th e 700 S e r i es
Back/Sides: Indian Rosewood
Top: Engelmann Spruce (710ce, 712ce),
Western Red Cedar (714ce, 716ce)
Fretboard Inlay: Pearl Dots
Binding: Indian Rosewood
Rosette: Abalone
Sunburst Options: Tobacco (top only)
Models: 710ce, 712ce, 714ce, 716ce

East Indian rosewood’s sweeping tonal range is matched by its broad

appeal, having carved out a deservedly rich heritage among acoustic
players for decades. Boasting deep, full lows, bright, articulate highs,
and rich sustain, rosewood’s tone is both complex and responsive
to the player, and pairs well with a variety of guitar shapes. With a
small guitar body, fingerstylists and lighter pickers have access to a
crisp, full-range tonal palette. With larger body shapes, flatpickers can
drive basslines and pick out clean melodies, while strummers benefit
from the dynamic range and the tonal balance. A rosewood Grand
Auditorium lives in both worlds, making it one of the most versatile
Taylor guitars a player can own.

Rosewood is appealing and abundant enough that we use it for three

different Taylor series. Our premium 900 Series rosewood has the
broadest range of colors and tends to display tighter, straighter grain.
The overall aesthetic is of elegant sophistication rooted in tradition.
The 800 Series has evolved from its workmanlike appearance during
Taylor’s early days into a stylish appointment package featuring figured
maple trim. The 700 Series displays rosewood’s most organic per-
sonality, often with thick chocolate-hued bands and complemented
by rosewood binding. The 700s also feature alternative soundboard
offerings — cedar for extra warmth and richness and Engelmann
spruce for a creamier look and slightly mellower response. Which-
ever series you favor, rosewood will simply sing in your hands.

22 L-R: 916ce, 814ce, 714ce

 21

th e 6 00 S e r i es
Back/Sides: Big Leaf Maple
Top: Sitka Spruce
Fretboard Inlay: Pearl “Leaf” Pattern
Binding: White
Rosette: Abalone
Colors/Bursts: Aged Toner, Amber, Black, Blue, Blue Burst, Cherry
Black Sunburst, Cherry Sunburst (or optional top only), Green, Honey
Sunburst, Natural, Orange, Purple, Ruby Red, Ruby Red Burst,
Tobacco Sunburst (or optional top only), Transparent Black
Models: 610ce, 612ce, 614ce, 615ce, 616ce, 654ce, 655ce, 656ce

Maple’s focused tone is strong on the fundamental and produces a

clean, bright sound. Its physical density translates into fewer over-
tones and quicker note decay. (It has less low end and more high end
than rosewood.) Consequently, it has been a preferred guitar wood
for ensemble playing, both on stage and in the studio, because it
articulates clearly through a mix with other instruments. It’s also more
immune to feedback. Maple’s tonal properties work well for smaller-
bodied guitars where the tone is being amplified, and with bigger-
bodied guitars, including 12-strings, because it’s not bottom-heavy,
so the sound tends not to be overly boomy. Of course, tone is often
only half of maple’s equation, as its blonde complexion, coupled with
varying degrees of figure, from flame to quilt, invite a variety of vibrant
color shades and bursts that enhance the dimension of the figure
while evoking vibrant personalities.

On our 600 Series, white binding adds a crisp counterpoint to more

than 15 available color shades, including sunburst options, offering
more visual “pop” to the abalone rosette. And through our Modify a
Model program, you can order any color or burst treatment we offer
through your dealer, at no additional charge.

L-R: Natural 610ce, cherry sunburst 616ce, tobacco sunburst

616ce, blue 614ce, tobacco sunburst 610ce 25
th e 5 00 S e r i es
Back/Sides: Tropical Mahogany
Top: Engelmann Spruce (510ce, 512ce)
Western Red Cedar (514ce, 516ce)
Fretboard Inlay: Pearl Dots
Binding: Indian Rosewood
Rosette: Abalone
Models: 510ce, 512ce, 514ce, 516ce

Mahogany sits alongside rosewood in terms of its enduring appeal

among acoustic guitar makers and players. Tonally, mahogany
flourishes in the midrange zone, yielding a “bloom” of overtones that
add richness to the overall acoustic sound. You’ll hear that midrange
resonance sometimes described as meaty or earthy. As a traditional
tonewood, mahogany is associated with a lot of vintage acoustic
music like blues and folk, although plenty of contemporary players
(including Leo Kottke) are devoted to mahogany’s tone. That midrange
character, along with superb dynamic range, records well and offers
a lot to a musician who appreciates character and texture — singer-
songwriters, fingerstyle players, and blues/roots artists come to mind.
Mahogany also sounds wonderfully resonant in alternate tunings.

Our 500 Series offers a choice of cedar tops on the popular 514ce
(GA) and 516ce (GS) — adding even more warmth for fingerpickers
and strummers — and Engelmann spruce on the Dreadnought 510ce
and Grand Concert 512ce.

Taylor acoustics have long been favored for recording due to their
natural clarity and balance. With more people involved in home
recording projects, working with a Taylor means it’s easy to get a
great acoustic sound. Robin Whitehouse, 23, began recording at
home with his computer in 10th grade. Pictured in his home studio
with a 510ce, he has recorded a variety of music projects, including
two full-length albums with his own bands and the music of other
local artists, ranging from ballads to pop-punk to musical theater. “My
Taylor has changed recording acoustic guitar from a tedious process
into an artistic sonic exploration,” he says.

26
th e 4 00 S e r i es
Back/Sides: Ovangkol
Top: Sitka Spruce
Finish: Satin with Gloss Top
Fretboard Inlay: Large Pearl Dots
Binding: White
Rosette: 3-Ring
Models: 410ce, 412ce, 414ce, 454ce, 455ce

th e 3 00 S e r i es
Back/Sides: Sapele
Top: Sitka Spruce
Finish: Satin with Gloss Top
Fretboard Inlay: Large Pearl Dots
Binding: Black
Rosette: 3-Ring
Models: 310ce, 312ce, 314ce, 315ce, 354ce, 355ce

A reliable, performance-ready guitar is an indispensable tool for

a gigging musician. Our 400 Series and 300 Series deliver that
and plenty more. Both series feature woods that may not boast the
recognizable heritage of rosewood and mahogany, yet they give
players a comparable range of tones, with a splash of extra sparkle.
Ovangkol is an African alternative to rosewood that yields a similarly
wide tonal spectrum from lows to highs, with a bit more midrange.
Sapele, another African tonewood, is a highly sustainable alterna-
tive to mahogany that has a similar sound, but with its slightly higher
density, adds a touch of extra treble zing. Both series feature a satin
finish and a simpler appointment package, translating into our most
affordable price point for solid wood acoustics without sacrificing
any of Taylor’s signature playability.

Liz Grace fronts the country band Three Chord Justice. “I’ve been
singing in honky tonks across the Western U.S. for 20 years,” she
says. “When I first picked up my Taylor and heard its clear and
wonderful ring, I knew I would be a loyal Taylor player. My guitar is
perfect for my band, because it gives me a rich, warm sound that
cuts through the band. Every other guitar I’ve played struggles to be
heard. But my Taylor is perfect.” She’s pictured here at Hooleys Irish
Pub playing a 314ce, flanked by a 355ce and a 412ce.

29
th e 200 S e r i es
Back/Sides: Rosewood Laminate
Top: Solid Sitka Spruce
Fretboard Inlay: Pearloid Dots
Binding: White
Rosette: 3-Ring
Models: 210, 210e, 210ce, 214, 214e, 214ce

th e 100 S e r i es
Back/Sides: Sapele Laminate
Top: Solid Sitka Spruce
Fretboard Inlay: Pearloid Dots
Binding: Black
Rosette: 3-Ring
Models: 110, 110e, 110ce, 114, 114e, 114ce

We know how to make a great guitar more affordable without

compromising great tone. Our rosewood laminate 200 Series and
sapele laminate 100 Series are designed to give players an inspiring
Taylor playing experience and arm them with a fun tool that can
cover a lot of musical applications, all at a reasonable price point.
Both series feature a choice of Dreadnought or Grand Auditorium
shapes with a solid spruce top, come with or without a cutaway, and
can be ordered with or without our under-saddle ES-T® acoustic
pickup. Whether you’re in the early stages of woodshedding or you’re
just looking for a killer value, you can’t go wrong with either series.

For some guitarists, the garage may end up being the biggest venue
they ever play, but in the end, it’s all about having fun. The 100 and
200 Series give players great tools for honing their chops and offer
the kind of playability and tone that’s hard to match at their price
points. Here, Brandon (left, 214ce) and Connor (right, 110) goof
around, while Connor’s brother Dallas dials in the drum kit and lead
vocalist Rocky the dog struts his stuff.

30
th e nylon s e r i es
NS72ce/NS74ce
Back & Sides: Indian Rosewood
Top: Cedar
Binding: Indian Rosewood
Headstock Overlay:
Indian Rosewood

NS62ce/NS64ce
Back & Sides: Big Leaf Maple
Top: Engelmann Spruce
Binding: Indian Rosewood
Headstock Overlay/Bridge:
Cocobolo

NS32ce/ NS34ce
Back & Sides: Sapele
Top: Sitka Spruce
Binding: Black
Headstock Overlay:
Indian Rosewood

NS24e/NS24ce
Back & Sides:
Rosewood Laminate
Top: Sitka Spruce
Binding: Black
Headstock Overlay:
Indian Rosewood

One of the pleasures of living in

the modern acoustic guitar era is
the diverse palette of tonal flavors
available to players. Our Nylon
Series represents the next genera-
tion of nylon tone, used not just
for traditional classical or Spanish-
tinged music, but in virtually every
contemporary genre, from rock
and pop to jazz and world music.
Grammy favorites from Jason Mraz
to Zac Brown to Wayne Johnson
rely on Taylor nylons for songwriting
and performance. With a cutaway
and a 1 7/8-inch neck, our nylons
offer steel-string acoustic players a
smooth crossover to a fresh sonic
texture, and the lighter string ten-
sion adds an extra helping of play-
ability. In 2009 we added a pair of
more affordable rosewood laminate
nylons to the family, and new for
2010 is our ES-N® pickup, featur-
ing a preamp and tone controls that
were designed to naturally capture
the nylon-string voice.

32 NS74ce shown
baby taylo r
Size/Shape: 3/4-scale
Dreadnought (22 3/4-inch
scale length)
Back/Sides: Sapele Laminate
Top: Solid Sitka Spruce or
Mahogany
Fretboard Inlay: Pearloid Dots
Rosette: Laser-etched

big baby taylo r

Size/Shape: 15/16-scale
Dreadnought
Back/Sides: Sapele Laminate
Top: Solid Sitka Spruce
Fretboard Inlay: Pearloid Dots
Rosette: Laser-etched

A big reason for the guitar’s wide-

spread popularity is its portability,
and the Baby Taylor has taken this
to a whole new level. The ¾-size
Dreadnought helped establish
the travel guitar market, and now,
even 14 years after its debut, its
appeal remains as strong as ever
for travelers, children and artists
from Lindsey Buckingham to Taylor
Swift for a simple reason: It plays
and sounds like a real guitar. Its
bigger, louder sibling, the Big Baby,
is another favorite for players who
want to keep a songwriting guitar
handy at the office, in their house
for friends to pick up and play, or as
an alternate-tuning guitar. Whatever
your needs, whichever direction
you may be headed, the Baby’s
appeal is as far and wide as you
want to go.

You don’t have to be off in the

wilderness to appreciate the Baby
Taylor’s portability. It makes a great
companion when you’re com-
muting around town, too. Plus,
you’ll be well equipped if you get
inspired to do a little busking on
the fly.

Baby Taylor shown 33

2 0 1 0 G u itar G u ide

T he aco u stic L I N E

grand symphony
Models: GS-K, GS8, GS8-12, GS7, GS6, GS6-12, GS5, GS5-12

grand AU D ITOR I U M
Models: GA-K, GA-K-12, GA8, GA8-12, GA7, GA6, GA6-12, GA5,
GA4, GA4-12, GA3, GA3-12

grand concert
Models: GC-K, GC8, GC7, GC6, GC5, GC4, GC3

dreadnou ght
Models: DN-K, 910 Legacy,* 810 Legacy,** DN8, DN5, DN4, DN3

*Features “Cindy” fretboard inlay and abalone-edged top

**Features 800 Series fretboard inlay and white binding

The clean, symmetrical contours of a noncutaway acoustic speak

to the aesthetic of elegant simplicity that defines our Acoustic line.
Appointments are understated and kept to a minimum, pickguards
are withheld (available as an option), and our less-is-more design
approach honors the essential elements of a fine acoustic guitar:
shapes, woods and pure tone. A world of rich detail and nuance
lives within that tone, and we don’t want anything else to take away
from your playing experience.

Inspired by the development of the Grand Symphony (GS), the

Acoustic line features 34 models, organized around four shapes:
the GS, the Grand Auditorium (GA), the Grand Concert (GC), and
the Dreadnought (DN). Several 12-string models are available in the
GS and GA shapes, and the optional Expression System® pickup
fits the line’s design sensibility by amplifying the acoustic tone in the
most natural way possible, without intruding on the beauty of the
instrument.

A quartet of acoustic models against a backdrop of figured Hawaiian

koa boards.

34 L-R: a lefty GA3e, GC-Ke, GS-7 and DN5e

2 0 1 0 G u itar G u ide

T he specialt y models

Baritone 6-String
Baritone 8-String
12-Fret

Three unique guitar voices from 2009 have inspired new models for
our line this year: a 6- and 8-string Baritone Grand Symphony and a
12-fret Grand Concert. Linking the trio are the tonewood combina-
tion of Indian rosewood and Sitka spruce and an underlying theme of
discovering fresh musical inspiration. The Baritone models feature a
longer 27-inch scale length and are tuned from B to B, giving singer-
songwriters a guitar with deeper, richer tone, yet with normal string
tension, and allowing them to sing in a lower vocal range. The 8-string
is a sonic revelation, pairing two upper octave strings with the third
and fourth (D and A) strings to extend the baritone range into the
upper register without overemphasizing the 12-string jangle. It’s great
for walking bass lines and other melodic chord embellishments.

The rosewood/spruce 12-Fret has stolen Bob Taylor’s heart and

given the world a Taylor sound like no other — a modern vintage
tone that blends warmth and depth on the low end with crisp,
snappy treble and surprising overall volume. Because the neck
meets the body at the 12th fret instead of the 14th, and the bridge
is repositioned farther back on the soundboard, the result is a
sweet spot of sound that gives the 12-Fret the voice of an aged
guitar right out of the case. The model also features a slotted head
and a cutaway design inspired by our Nylon Series. If you’ve been
craving something different to stimulate your creative juices, look
no further than our specialty models.

San Diego singer-songwriter Cindy Lee Berryhill enjoys her first

exposure to our new 8-string Baritone. Berryhill often writes in the
keys of B and B flat and says the Taylor Baritone is now officially on
her wish list. “I’ve always loved the lower tones of the guitar and have
been an admirer of Neil Young’s detuned guitar sound,” she says.
“But probably most important is my desire to reinvent. As a guitar-
ist/songwriter, I invite each song cycle to come from a fresh place.
I like to get myself in a sea of tones on a ship that’s lost its bearing,
its North Star, which forces me to reinvent a new constellation of
chords. Then the songs start blowing in.”

L-R: The 12-Fret, Baritone 8-string, and Baritone 6-string 37

2 0 1 0 G u itar G u ide

T he E L E C T R I C L I N E

th e solidbody
Fueled by our proprietary pickups and innovative design touches,
the Taylor SolidBody has given the electric guitar world a uniquely
inspiring voice. For 2010, we diversify the SolidBody’s appeal with
a fresh array of custom ordering options and after-market flexibility.
Now you can have exactly the look and tones you want by choosing
from options that include color (for the SolidBody Classic), pickup
configuration, and pickguard color, with an optional tremolo bridge
available for any model. We’ve also added a new pickup to the mix,
a vintage alnico (VA) humbucker, which boasts a big, full sound. You
can now order a SolidBody Custom or Standard with a pickguard,
and the Classic now comes in 14 different colors. On top of that,
our solderless, “plug & play” loaded pickguards give you additional
options that let you easily swap out pickups to completely change
the tonal personality of your guitar in minutes. Now more than ever,
the SolidBody experience means you can own a Taylor electric that
fits your style and sound.

L-R: Viper Blue Classic with white pearloid pickguard, 3 mini

humbuckers and tremolo; Jewelescent Orange Classic with black
pearloid pickguard, 2 single coils/1 humbucker and tremolo; Custom
Koa with vintage alnico humbuckers and tremolo; Standard with
white pearloid pickguard and 3 single coils; Custom Walnut with
white pearloid pickguard and 2 full-size humbuckers

38
th e solidbody

Choose Your Body Choose Your Pickguard Choose Your

The SolidBody comes in three differ-
ent body styles: Classic, Standard
and Custom. The Classic features a
solid ash body with a choice of 14
different colors (shown and listed
below). The Standard features a
chambered sapele body with a top of
figured Tamo ash and an aged cherry
sunburst. The Custom also features
a chambered sapele body, with a
choice of two different tops, koa
or walnut.
Classic - Trans White
All SolidBody models come with a
pickguard, available in a choice of
four colors: white pearloid, black
pearloid, tortoise and black. The
Standard and Custom can also be
ordered with direct-mount pickups,
without a pickguard.
Pickup Configuration
Eleven different SolidBody pickup
configurations give players a unique
palette of electric tones from which to
choose. In addition to these choices,
our pickups are designed for after-
market “plug & play” flexibility, so
you can swap out for other loaded
pickguards with different pickup
configurations, without the need for
any soldering, giving you the ultimate
in SolidBody customization.

Classic - Titanium Pearl

Classic - Lava Red

Classic - Jewelescent Orange

Classic - Purple Flake

Classic - Blue Metallic

Classic - Viper Blue

Classic - Sage Green

Classic - Sublime

Classic - Magenta Pearl

pickup personalities
Much of the distinctive tonal charac-
ter of an electric guitar comes from
the types of pickups used. With the
SolidBody, our pickups were actually
developed before the guitar was. The
fact that they had such a cool and
unique character justified designing
a whole new guitar around them.
Our electronics team captured all
the familiar “goodness” of the iconic
electric pickups we’ve loved for
years, but also solved some of their
inherent problems. Our developers
also added unique Taylor “flavors”
and enhanced the tone-shaping
capability. The following pickups are
available in different configurations on
the SolidBody.
Classic - Tobacco Sunburst
Classic - Natural
Humbucker: Uses two coils to gen-
erate sound. Humbuckers are known
for having a high output and for their
ability to produce sound without the
noise that is inherent with a traditional
single coil pickup. Players such as
Jimmy Page, Dickie Betts and Carlos
Santana have defined their signature
tones with humbucker-equipped gui-
tars. Our humbucker was designed to
balance the sweetness and definition
of a vintage pickup sound with the
power to fully drive an amp without
overpounding it. It unleashes raw
rock power and great sustain without
sacrificing balance or great tone.
Classic - Trans Red
Classic - Black
Mini Humbucker: Also uses two
coils and has all the advantages of a
full-size humbucker, but because of
its smaller size, it provides a tone that
takes up less sonic space, which is
great for cutting through a mix.
High Definition / High Gain:
Our full-size and mini humbuckers
are available in two different versions.
The High Definition (HD) is our origi-
nal high fidelity design, while the High
Gain (HG) is slightly darker-sounding
and unleashes more front-end drive
for a crunchier tone with extra raw-
ness.
Standard - Aged Cherry Sunburst
Custom - Walnut
Vintage Alnico (VA) Humbucker: Single Coil: Uses only one coil by
Our newest pickup is a full-size, design. When played through a clean
covered humbucker with a big sound. channel on an amp, single coils can
The Alnico 5 magnets we used are sound shimmery, glassy and bright.
known for their hot output and round They take on a different personality
sound. Our VA pays homage to the when played through the crunch or
tradition of classic humbuckers, yet high gain channel of an amp. Players
with a more modern sonic flavor. who have popularized the single coil
Taylor’s David Hosler explains: “I’ve sound include Stevie Ray Vaughan,
always liked that big, woolly tone that Jeff Beck and David Gilmour. Our
comes with PAF humbuckers. Our breakthrough noiseless single coil
goal was to create a pickup with a responds with all the breathiness,
little more drive on the front end of sparkle and other distinctive char-
the amp.” acter of the single coil sound, but
without any of the traditional buzz,
hum or other sonic artifacts.
Custom - Koa
Standard - Aged Cherry Sunburst w/ pickguard
Custom - Walnut w/ pickguard
Custom - Koa w/ pickguard
th e solidbody

Pick u p config u rations

Choosing from different combinations of pickups allows you to cus-
tomize the fundamental tonal palette of your SolidBody. With nearly
a dozen configurations available, you can completely personalize
your sound for your playing preferences. Here’s a rundown of avail-
able configurations. 5

2 Mini Humbuckers (HD or HG) 1 6

Because mini humbuckers take up less sonic space than full-size
humbuckers, they’re a great choice for a band with multiple instru-
ments. They have plenty of grind and punch without getting in the
way of the other arrangements in the mix. On stage, the minis have
a little more cut and presence. A sideman will be able to cover a lot
of ground.

2 Full-size HD Humbuckers 2
4
2 Full-size HG Humbuckers 3
2 Full-size Vintage Alnico Humbuckers 4
Two full-size humbuckers have a heavier, dirtier tone than the mini for
more of a rock edge. For years, players have relied on this combina-
tion to deliver the warm, sweet sound of the neck pickup and the
bite of the bridge. The HG version is full of presence and is engi-
neered to hit the front of the amp harder than the HD for a heavier,
crunchy tone. The vintage alnicos are our modern version of a tradi-
tional PAF-style covered pickup. They feature a fat, round sound with 7
a warm bottom end. Traditionally, guitars with two humbuckers have
a 3-way switch. Our 5-way switching system adds both a parallel
and series option for a broader tone palette.

3 Single Coils 5
Another classic sound in the electric world. “Sultans of Swing,”
“Brown Sugar,” “All Along the Watchtower,” and “Another Brick in
the Wall” are examples of single coil gold. Our noiseless single
3
coils capture all the great character of the single coil sound without
the buzz and other sonic noise. The bridge pickup sounds great
overdriven, yet has lots of sparkle and clarity when played clean. Our
switching allows each pickup to be selected individually and also
provides two combined pickup positions.

1 Full-size HG Humbucker 6
There is a simple beauty to the signal chain of a guitar, cable and
amp. Some players just want to plug in, turn up, and rock out. If you
like to ride the volume knob for more nuance, turning down the vol-
ume controls a little and hitting the amp in different ways will yield all
kinds of colors and flavors at different levels. Pulling up the volume
pot will split the coil.

42
 9

2 Single Coils/1 HG Humbucker 7

This combination, born out of the guitar player culture of swapping
8 pickups, is a very popular and versatile setup. If you’re a player who
needs to quickly switch between the slam of a humbucker and the
wisp of a single coil, the “single single hum” configuration will get it
done. Perfect for a player who wants access to multiple tones with
one guitar.

1 HD Mini Humbucker/1 Single Coil 8

This setup throws a nod to Keith Richards and other great blues
players like Albert Collins. A 3-way switch allows you to toggle
between the modern sound of our high definition mini and the spank
of our noiseless bridge single coil. Great for cutting, groovy, rhythmic
2 chording.

1 3 HD Mini Humbuckers (HD or HG) 9

The three-mini setup is reminiscent of the ’60s Firebird 7 but with
Taylor’s own sonic imprint. Positions 1 and 5 (Neck and Bridge)
deliver a smooth and driving front edge, with great distortion and
clean sounds available at the flick of a switch. Both positions drive
the front end of an amp really well. Positions 2 and 4 capture a thick
single coil vibe, and make great choices for blues rhythm or lead. The
real gem of this configuration is Position 3, the middle pickup alone.
It sparkles and drives at the same time; it’s really transparent and
thick. With a trem, this setup suits any style or tonal flavor.

Loaded Pickg uards

In addition to custom ordering options, Taylor’s solderless, “plug
& play” loaded pickguards give SolidBody owners ongoing pickup
flexibility, making it easy to swap out pickups for a new configuration
that translates into incredible versatility. Players can choose from
a variety of pickup combinations and pickguard colors. Owners of
a SolidBody Standard or Custom who have their pickups direct-
mounted without a pickguard can purchase individual replacement
pickups in the form of full-size or mini humbuckers, available in both
HD and HG versions. Both the loaded pickguards and replace-
ment pickups can be swapped out in minutes with a Phillips head
screwdriver.

43
The T5
The incredibly versatile hollowbody hybrid T5 continues to amaze
players with its stunning range of electric and amplified acoustic
tones. Equipped with an acoustic body sensor derived from the
Expression System® and two humbuckers (one installed beneath
the fretboard), the T5 is fully compatible with acoustic amps, a PA
system, and electric amps. A five-way switch offers access to a
full range of acoustic and electric tones, and an A/B/Both box lets
players dial in a blend of both. A winner of multiple industry awards,
the T5 has redefined what a guitar can do and given performers
across the musical spectrum a guitar that can cover as much ground
as they need to on stage. For 2010, we’re pleased to add another
model to the mix, the ovangkol top T5 Classic (available as either a
6- or 12-string). To view a video demonstration of everything the T5
can do, visit taylorguitars.com.

The T3
The T3 rounds out the Taylor electric line with yet another inspiring
blend of tones and smooth functionality that embrace the semi-
hollow sound and then take it to another level. The T3’s coil-splitting
application allows players to turn their high definition humbuckers
into single coils. Our push/pull tone knob activates two different
levels of tone-shaping that yield a colorful range of electric voices,
from rockabilly twang to hard rock to warm, fat jazz. A metal roller-
style bridge includes two tailpiece options: a stop tailpiece or, on
the T3/B, an authentic Bigsby vibrato that adds a touch of vintage,
chromed-out cool. The Bigsby/roller bridge pairing solves the pitch
problems long associated with fixed bridges and tuning stability.
Every step of the way, the T3 enhances the feel, sound and perfor-
mance of a semi-hollowbody electric. Plug one in and you’re bound
to discover a heap of cool new sounds.

L-R: Ovangkol top T5 Classic, koa top T5-C2, tobacco sunburst

T3/B, honey sunburst T5C1-12, Macassar ebony top T5-C5, red
T3 with stop tail

44
th e signatu re m o d e ls
Great artists bring something uniquely compelling to the world.
Our Signature models represent an extension of each Taylor artist’s
unique musical expression. In each case, a signature guitar has
evolved from a standard Taylor model an artist has played for years,
incorporating additional design elements that visually capture part
of the artist’s identity. For 2010, our Signature models embodies
a range of musical styles. Our DDSM and LKSM celebrate two of
the most accomplished fingerstyle players in the world in Doyle
Dykes and Leo Kottke. The TSBT is an invitation to young Taylor
Swift fans who have been inspired by her songs to pick up a guitar
themselves. The STSM-T5 captures the creative energy of rock
singer-songwriter Serj Tankian and the dynamic range of musical
emotions the T5 can articulate on stage. And the JMSM, designed
with Jason Mraz, showcases the ways a nylon-string’s expressive
flavors and rhythmic textures fit into the acoustic pop world. With
the right guitar, we each can find our own signature sound.

JMSM
Signature Artist: Jason Mraz
Back/Sides: Indian Rosewood
Top: Western Red Cedar
Unique Features: Mexican cypress “Be Love” triangle/circle
fretboard inlay, zodiac rosette inlay featuring koa, bubinga
and Mexican cypress

STSM-T5
Signature Artist: Serj Tankian
Body: Sapele
Top: Maple
Unique Features: Red binding, “Energy Wheel” fretboard and
peghead inlays, unbound f-hole

TSBT
Signature Artist: Taylor Swift
Back/Sides: Sapele Laminate
Top: Solid Sitka Spruce
Unique Features: Custom rosette featuring a vine motif with
“Love” inscribed three times, with Taylor Swift’s stylized signature
and the word “Fearless” over the bridge

DDSM
Signature Artist: Doyle Dykes
Back/Sides: Big Leaf Maple
Top: Sitka Spruce
Unique Features: Florentine cutaway, 4 1/8-inch body depth, off-
set pearl “Chet” style fretboard inlays, pearl/abalone rose peghead
inlay, abalone-edged top, different color options (see specs)

LKSM, LKSM-6
Signature Artist: Leo Kottke
Back/Sides: Tropical Mahogany
Top: Sitka Spruce
Unique Features: No fretboard inlay, heavy gauge strings tuned
to C#

L-R: Jason Mraz Signature Model, Serj Tankian T5,

Taylor Swift Baby Taylor, Doyle Dykes Signature Model,
Leo Kottke Signature Model 47
2 0 1 0 G u itar G u ide

c u stomi z ation

build To order
Part of the pleasure of being a guitar enthusiast is envisioning one’s
dream guitar(s). In recent years, we’ve taken it upon ourselves
to make those guitar dreams tangible through the Taylor Build to
Order program. Our goal is simple: to use our wood resources and
design expertise to help you create a Taylor that’s truly your own.
The program is based on three key ideas: choice, support and
turnaround. Starting with choice, our BTO menu features about 40
separate categories from which to choose, from amazing grades of
exotic woods to custom neck profiles to a rich palette of inlay, bind-
ing and purfling options. Next is support. With the many available
options, you might have questions along the way, and we’re more
than happy to answer them. We’ve also brought a good number
of our dealers out to the Taylor complex to spend time with Bob
Taylor and our BTO team and learn firsthand about BTO options,
giving you an additional resource, since you’ll place your BTO order
through your dealer. Last is turnaround time. We reserve daily build
slots for BTO guitars because you shouldn’t have to wait six months
or more. This means that orders are fulfilled in around eight weeks.

Our Build to Order program

doesn’t just cover our steel-
string acoustics. It includes
nylon-strings, the T5 and the
T3, too. Our menu of options
may change on a quarterly
basis, based on the availability
of woods. In 2010, new BTO
options for acoustic guitars
include an armrest or a head-
stock backstrap, plus the ability
to order a custom 9-string, 12-
fret or baritone guitar. New op-
tions for the T5 and T3 include Koa Backstrap
the availability of maple, koa or
ebony binding. For a listing of BTO categories, check our Specifica-
tions pages in the back of the Guitar Guide.

L-R: GA with AA-quilt maple back and sides, tobacco sunburst

finish, 900 Series fretboard and bridge inlays, koa binding and
rosette, and abalone top; GC with a cocobolo back, sides, armrest
and binding, Engelmann spruce top, and 600 Series fretboard in-
lays; T5 with Macassar ebony top and headstock overlay, “Cindy”
fretboard inlays, Koa Series peghead inlay, and antique gold
Gotoh 510 tuners

48
m o d i fy a model
If you want a variation on a guitar
model from Taylor’s existing line
without having to order a custom
Build to Order guitar, we offer a
number of options through our
Modify a Model program. The
program applies to any model
from the Acoustic 3 or Acoustic/
Electric 300 Series and up. (These
options apply when ordering a gui-
tar only, not for an existing guitar.)
Common choices include:

• Alternative nut widths of

1 11/16 or 1 7/8 inches
• Switching to or from a
short-scale neck
• Tuner upgrades (including
Gotoh 510s)
• Pickguard options (black, clear,
tortoise, none)
• A bone nut/saddle

Some options are specific to

certain series. For the maple 600
Series, you can choose between
different grades of quilt or flame,
and for no additional charge can
select from all available color
and burst options. On the 500
Series and higher, top swapping
options include Sitka spruce,
Engelmann spruce or cedar, and
you can choose between a two- or
three-piece back. The Koa Series
offers a shaded edgeburst option.
You can also opt for a Florentine
cutaway in place of the standard
Venetian on any acoustic/electric.
Prices vary by option and may not
be available on all models. For
more information about modifying
a model, contact an authorized
Taylor dealer.

49
Acoustic
Electronics
The performance-ready Expression
System faithfully reproduces your
Taylor’s natural voice
Our commitment to great acous-
tic tone doesn’t end with the guitar. It
includes the realm of amplified sound
for players who want to plug in and
convey all the great acoustic nuanc-
es they love about their Taylors. A
guitar’s shape, its wood pairings, and
the technique of the player together
create a unique tonal character, and
we think that voice deserves to be
heard when the guitar is plugged-
in. After all, many gigging acoustic
players stake their livelihood on their
live sound, and they want a pickup
that sounds natural, is reliable, and is
easy to use.
We decided to develop our own
acoustic pickup, the Expression
System® (ES), because other after-
market pickups like a traditional piezo
transducer had never managed to
produce a true acoustic sound. We
started by studying how a guitar
resonates. We worked closely with
legendary pro audio designer Mr.
Rupert Neve. Ultimately, our product
development group designed a high-
fidelity acoustic pickup and preamp
that are fully integrated into the
guitar. We’ve been installing it in our
guitars since 2003, and some of the
biggest names in music, from John
Fogerty to George Strait, rely on it
for a great acoustic sound on stage.
The ES incorporates a network
of magnetic sensors that work like a
microphone to capture the acoustic
detail coming from the guitar’s body
and neck as they resonate. Two body
sensors affixed to the underside of
the guitar’s soundboard (top) cap-
ture all the sonic detail of its move-
ment, while the neck sensor picks up
string and neck vibration. A pro audio
grade preamp cleanly boosts the sig-
nal and eliminates noise that might
otherwise distort or muddy the tone.
The result is amplified acoustic tone
that sounds like you and your guitar,
with all the richness, articulation and
dynamic range you could ask for. It’s
also highly feedback resistant.
Another goal of the ES design
was to offer easy-to-use tone con-
trols without intruding on the beauti-
ful aesthetic of a Taylor. With three
soft-touch roller knobs elegantly
embedded in the upper bout of the
guitar, you can adjust your volume,
bass, midrange and treble frequen-
cies, allowing you to dial in your
sound to suit the performance space.
The latest version of the ES (updated
in 2007) allows players to turn off
one or both body sensors with a
switch on the preamp board inside
the soundhole, features a battery
indicator LED, and includes a fused
string ground to protect players who
play at venues that may not have
proper electrical ground.
Although the ES was originally
designed with performance in mind,
the sound quality is good enough
that many players and recording
engineers also use the ES signal for
recording.
In the end, the ES will satisfy
the most demanding pro player, yet
makes it simple enough for anyone
to plug in and get a great live tone.
Even if you’re not quite ready for that
open mic night, with the ES, your
guitar will be ready to go when you
are.
The ES comes standard on
acoustic/electric models from the
300 Series up and is optional on
models in our acoustic line.
ES-T Under-Saddle
Transducer / 100 & 200
Series
Inspired by our Expression
System technology and installed on
our 100 and 200 Series, the ES-T®
is a single-source, under-saddle
transducer with individual elements
for each string. The ES-T has an
onboard preamp and the same
active controls found on the full ES.
Featuring a custom-voiced EQ and
dynamic response, the system is
powered by a 9-volt battery, with a
battery life LED power indicator
(which is lit when the battery is being
used). The pickup also has a Phase
switch for feedback control, which is
located on the preamp board inside
the soundhole.
ES-N / Nylon Series
New for 2010, the ES-N applies
our ES pickup technology to our
Nylon Series. It’s similar to the ES-T,
but the preamp design and tone
controls were customized to comple-
ment the nylon-string voice. Our
standard ES control knobs replace
the Fishman EQ control unit formerly
installed in the guitar’s upper bout,
adding more tone-shaping control
and preserving the natural design
aesthetic.
ES Installation and
Retrofits
Whatever model of acoustic gui-
tar you own, whether an older Taylor
with pre-ES electronics, a model
without electronics, or even another
brand of acoustic, our Factory
Service Center can install or retrofit
the Expression System. A retrofit
for “classic” Taylor necks (featuring
a one-piece, pre-NT neck design)
incorporates the same type of a
neck/string sensor used on the stan-
dard ES, only the pickup housing is
mounted in the soundhole. The Baby
and Big Baby can be equipped with
an active under-saddle transducer
($150).
• The ES install adds the ES to a
Taylor that doesn’t currently have
electronics, or a guitar that has
other electronics inside the body
of the guitar and won’t present an
obstruction to the installation
process. NT neck design only.
($500)
• The ES retrofit is used on a Taylor
that has the Fishman Onboard
Blender, Fishman Prefix or the
L.R. Baggs pickup used on the
Doyle Dykes Signature Model.
Side-mounted controls fill the
existing preamp hole in the guitar.
($500)
• The ES upgrade will modify your
ES-equipped Taylor guitar from
the former AA battery power
source to the 9v system currently
used. The latest version of the ES
also includes a fused string
ground, battery indicator LED, and
switches that allow you to turn off
the body sensors.
($300)
• The ES-NC (no controls) is an
option for customers who want
the ES electronics but also want
to preserve the pure acoustic
aesthetic of their guitar. This
version features the ES sensors
and preamp, but has no volume or
tone controls. The pickup installa- enhancing the amplified sound
tion also features a standard
endpin jack along the tail line
instead of the ES battery carriage.
(The 9v battery is housed inside
the soundhole.) ($500)
ES installation includes our
Refresh service package. For more
information, see our service pack-
age listings on page 53, or feel free
to call Taylor’s Customer Service
Department at (800) 943-6782.
The K4
Another Taylor tone-
shaping product that we feel
deserves a place in any seri-
ous musician’s toolbox is the
K4 Preamp and Equalizer. Like
the ES, it incorporates the
ultra-musical analog circuitry of
Mr. Rupert Neve and expands
the degree of tone control
of the ES, allowing you to
precisely shape your guitar’s
tone by honing in on the notes
or frequencies of your choice
and then cutting or boost-
ing them to taste. It’s perfect
for studio or home recording
and live performance. Among
the K4’s features are a tuner
output, phase reverse switch,
headphone jack, and an effects
loop, which allows you to use
reverb, a stomp box, a volume
pedal or other effects and
maintain a balanced signal
chain. Multiple, transformer-
coupled balanced outputs give
you routing flexibility, enabling
you to drive an amp, PA or
both. The K4 is also handy for
of other types of acoustic/
electric guitars. If you like to
detail your tone, the K4 is an
essential piece of gear.
Tip: Because of its flexible,
smooth EQ section, the K4
can come in handy in a mixing
session. Try using the K4 as a
channel insert on your mixing
console the next time you do
a mix.
51
Taylor Customer Service Manager Glen Wolff

Customer Service Taylor’s commitment to service extends well beyond

guitar repairs. From tech support to guitar care tips,
we provide a direct line to a great guitar experience.
52

Part of Bob and Kurt’s long-term
vision for Taylor Guitars has been to
redefine what service from a guitar
company means. We’re passionate
about making guitars but also about
helping customers find the right
ones, get the most out of them, and
keep them in great condition. The
beautiful thing about a well-made
guitar is that if it’s well cared for, its
tone will only get better over time.
Guitar service used to simply
mean repairing a broken instrument if
it was under warranty. For us, service
has come to mean many things. It
starts with open, direct lines of com-
munication for prospective customers
and owners alike to interact with us.
It’s Ben Benavente on the phone
helping a customer decide on a koa
or cocobolo guitar and then inform-
ing him which dealer near him might
have the model in stock. It’s a Road
Show Q&A or hands-on demo with
Taylor employees at your local music
store. It’s an “Ask Bob” response,
straight from Bob Taylor himself, in
Wood&Steel. It’s a friendly and infor-
mative factory tour. It’s the instructive
tech sheets and videos on the Taylor
website, designed to educate owners
on everything from properly changing
their strings to swapping out pickups
to keeping their guitar humidified. It’s
helping a traveling singer-songwriter
get to a qualified repair technician on
the road so they can get their guitar
fixed in time for their next gig. And of
course, it’s the expert care and repair
of your favorite guitar, whatever its
condition may be. As a full-service
company, we’re committed to provid-
ing all the resources you need to
enjoy your guitars as long as you
own them.
As Taylor and our customer base
have grown over time, we’ve expand-
ed the scope of our authorized ser-
vice network to support customers
throughout North America and the
rest of the world. At taylorguitars.
com you’ll find a growing list of repair
contacts who have gone through
extensive training at the Taylor fac-
tory. We encourage you to call our
Customer Service department here
at our factory complex in El Cajon,
California, where our service staff
can refer to our list of over 300
repair techs to find the right tech for
your needs in your area. We also
have four international factory service
centers located in England, Sweden,
Germany and France, staffed by
repair techs who’ve trained here at
Taylor’s headquarters.
In 2008, in response to customer
requests, we put together a series of
service packages designed to help
owners keep their Taylors primed.
In 2009, we opened an expanded
Factory Service Center in El Cajon
and extended our reputation for great
service beyond Taylors to include
other guitar brands. We know that
quality service can be hard to come
by, and it’s gratifying when someone
drives in from out of state to drop off
their Martin or Gibson because of the
work we did on their Taylor.
Some of you may own 20 Taylors,
while others may be encountering
Taylor for the first time. Either way,
our service team has your back
throughout your guitar journey, wher-
ever it may take you, and whatever
your questions or concerns may be.
Need help finding a guitar?
If you’re interested in a Taylor
but aren’t sure which model is right
for you, or if you want a particular
model but can’t find it, give Taylor’s
Ben Benavente a call. Ben helps
customers locate elusive Taylor mod-
els and answers questions that help
people hone in on the right Taylor
for their needs. He’ll be happy to
answer questions about tonewoods,
body shapes and other appointment
details, and because he is able to
track dealer inventories, he can direct
you to a store that carries the spe-
cific Taylor model you’re looking for.
Ben can also assist customers with
Build to Order questions. Whatever
information you need, Ben is here to
help, without any sales pressure. Just
call 1-888-2TAYLOR.
Taylor Service Packages
We currently offer four service
packages that cover any level of
maintenance a guitar might need.
Send your guitar(s) to the Taylor
factory specifically for one of these
packages, or add a service package
to a guitar that’s sent in for other
reasons, such as warranty service,
ding repair, etc. Our Factory Service
Center can also perform Expression
System® pickup installations and
upgrades. Guitars shipped to us will
be returned in a brand new shipping
carton with Taylor-engineered inserts
designed to stabilize the case and
cushion the ends.
Refresh Customers in the U.S. and Canada
Includes: Stabilizing the guitar at
the proper humidity level
• Tuner tightening and adjustment
• Fretboard cleaning and
conditioning
• Installation of new Elixir® strings
• Installation of new battery
• Truss rod adjustment
• Cleaning and polishing
$95 All models
Revive
Includes the Refresh package
plus:
• Neck angle adjustment (reset)
• Fret dress
• Acoustic models: Nut and saddle lorguitars.com/dealers/international
adjustment or replacement (Tusq)
as needed
• SolidBody models: Nut adjustment
or replacement (bone) and bridge
adjustment
• T5 models: Nut and saddle
adjustment or replacement (bone) 53
as needed
$200 Acoustic models
$200 SolidBody models
$300 T5 models
Renew
Geared toward the gigging player,
Taylor’s repair techs will return your
guitar to perfect performance condi-
tion.
Includes the Revive package plus:
• Partial refret up to 10 frets (full Taylor Care:
refret add $100) Restringing and
• Full check of the electronics Tuning Tips
system
$325 Acoustic models
Taylor Customer Service Manager
$325 SolidBody models
Glen Wolff shares a few tips that
$425 T5 models
will help you keep your guitar in
tune when you change strings.
Rejuvenate
The ultimate hydrating solution for a
• Every time you change your
dry guitar. Your guitar and case are
strings, tighten your peghead
returned to optimum humidity levels
tuning machines and check for
with our rehydrating process. Once
loose tuner buttons.
the guitar is stabilized, we repair any
cracks in the fretboard or bridge, file
• When installing new strings,
sharp fret ends smooth, level any
make sure the ball end of the
uneven frets, and finish with all the
string is seated firmly against
services in the Refresh package.
the underside of the top.
(Guitars with additional wood cracks
will incur further charges.)
• Install strings neatly on the
$200 All models
tuner post, 3-5 wraps straight
down, never crossing over
wraps.
Bone Upgrade
Add a bone nut and wave-compen-
• Stretch and retune new strings
sated bone saddle upgrade to any
several times to help them
acoustic service package for $100.
stabilize and settle in.
• Always tune strings up from flat,
never down from sharp.
are encouraged to contact our
• Electronic tuners all react a little
Factory Service Center staff toll free
differently. Spend a little time
at 1-800-943-6782 with any service,
with a new tuner to learn its
maintenance or repair questions
“personality.”
concerning their guitars. Our hours
are 8 a.m. to 4:30 p.m. Pacific Time,
• Using harmonics to tune will
Monday through Friday. We’ve found
help your tuner lock onto the
that a personal conversation is the
note faster, especially on the
most effective way of answering
bass strings.
questions and quickly troubleshoot-
ing problems. So, please call, and
• Wash your hands before playing
we’ll be happy to help you. Outside
and wipe down your strings
North America, sales and service
afterward with a clean, dry
questions are best answered by our
cloth.
international distribution partners.
For contact information, go to tay-
For a video demonstration of how to
properly clean, polish and restring
a guitar, visit taylorguitars.com and
look for our maintenance videos
under “Service & Support.”
 Dimensions by Shape
2010 Guitar Guide Specifications GA GS GC DN JM BABY BIG BABY T3 T5 SolidBody

Overall Length
6-String 41” 41” 40 1/2” 41” 42” 33 3/4” 40 1/4” 41 3/16” 40 3/4” 38”
12-String 41” 41” • • 43” • • • 40 3/4” •
Body Length 20” 20” 19 1/2” 20” 21” 15 3/4” 19 1/2” 20” 20” 17 2/5”
Body Width 16” 16 1/4” 15” 16” 17” 12 1/2” 15” 16” 16” 13 13/20” *DDSM body
Body Depth 4 5/8”* 4 5/8” 4 3/8” 4 5/8” 4 5/8” 3 3/8” 4” 2 1/3” 2 1/3” 1 3/4” depth is 4 1/8”

Scale Length

Standard 25 1/2” 25 1/2” • 25 1/2” 25 1/2” 22 3/4” 25 1/2” • • •
Short 24 7/8” 24 7/8” 24 7/8” 24 7/8”” 24 7/8” • • 24 7/8” 24 7/8” 24 7/8”
Baritone • 27” • • • • • • • •
Frets 20 20 20 20 20 19 20 21 21 22
Neck Width
6-String 1 3/4” 1 3/4” 1 3/4” 1 3/4” 1 3/4” 1 11/16” 1 11/16” 1 11/16” 1 11/16” 1 11/16”
12-string 1 7/8” 1 7/8” • • 1 7/8” • • • 1 11/16” •
100/200
Series 1 11/16” • • 1 11/16” • • • •
Electric • •
Strings / Gauge
Acoustic T3, SolidBody: Elixir® NANOWEB® Electric Light Gauge (.010-.046)
T5: Elixir® NANOWEB® Electric Medium Gauge (.011-.049)
GC, GA, Baby, Big Baby: Elixir® NANOWEB™ Light Gauge (.012-.053)
T5 12-string: Elixir® NANOWEB® Electric Light Gauge
All 12-string Models: Elixir® NANOWEB™ Light Gauge (.010-.047)
GS, DN & JM: Elixir® NANOWEB® Medium Gauge (.013-.056)
Nylon Series: D’Addario Pro-Arté® Extra Hard Tension
Baritone: Elixir® Baritone (.016-.070)

Models by Shape
GA GS GC DN JM BABY BIG BABY T3 T5 SolidBody

K14ce GA8 K16ce K12ce K10ce K65ce BT1 BBT T3 T5-S SB Classic
K24ce GA8-12 K26ce K22ce K20ce LKSM BT2 T3/B T5S-12 SB Standard
K54ce GA7 K56ce 912ce 910ce LKSM-6 TSBT T5-S1 SB Custom Koa
K64ce GA6 K66ce 812ce 810ce 815ce T5S1-12 SB Custom Walnut
914ce GA6-12 916ce 712ce 710ce 855ce T5-C
954ce GA5 816ce 612ce 610ce 615ce T5C-12
814ce GA4 856ce 512ce 510ce 655ce T5-C1
854ce GA4-12 716ce 412ce 410ce 455ce T5C1-12
714ce GA3 616ce 312ce 310ce 315ce T5-C2
614ce GA3-12 656ce GC-K 210 355ce T5C2-12
654ce NS74ce 516ce GC8 210e T5-C3
514ce NS64ce GS-K GC7 210ce T5C3-12
414ce NS34ce GS8 GC6 110 T5-C4
454ce NS24ce GS8-12 GC5 110e T5C4-12
314ce NS24e GS7 GC4 110ce T5-C5
354ce DDSM GS6 GC3 DN-K T5C5-12
214 GS5 NS72ce 910 Legacy T5 Classic
214e GS5-12 NS62ce DN8 T5 Classic 12
214ce Baritone 8 NS32ce 810 Legacy STSM-T5
114 Baritone 6 12-Fret DN5
114e JMSM DN4
114ce DN3
GA-K
GA-K-12

Models and specifications are subject to change without notice.

54
46
 Build To Order Menu Categories
2010 Guitar Guide Specifications
Acoustic, Acoustic/Electric Nylon T5 / T3

Taylor’s Build to Order program enables you to custom-design your Guitar Type (6- or 12-string) Guitar Type (6- or 12-string) Guitar Type (6- or 12-string)
Baritone Body Shape Electronics
dream Taylor by choosing from a robust menu of guitar specifica- 12-Fret Cutaway Right or Left Handed
tions. Here you’ll find a list of BTO categories for our steel-string and Body Shape Electronics Bridge (T3)
nylon-string acoustics, as well as the T5 and T3. For a complete list Cutaway Right or Left Handed Nut Width
Electronics Neck Profile Scale Length
of options and pricing within each category, contact your preferred Right or Left Handed Peghead Neck Profile
Taylor dealer, who will have a comprehensive BTO worksheet and Left Handed strung Right Handed Back/Sides Back/Sides
will be able to help you with your order. If you live in the U.S. or Nut Width Top Headstock Overlay
Scale Length Back Configuration Truss Rod Cover
Canada and have specific questions about the BTO program, call Neck Profile Wedge Material Neck Wood
us at 1-888-2TAYLOR, and Ben Benavente will be happy to help Peghead Headstock Overlay Binding (Body, Fretboard, Peghead)
you. For customers outside North America, contact the international Back/Sides Neck Wood Purfling
Top Binding (Body, Fretboard, Peghead) Abalone Trim
Taylor distributor in your country. Back Configuration Bound (Peghead) Fretboard Inlay
Wedge Material Rosette Peghead Inlay
Please note that some options, particularly wood choices, may Headstock Overlay Abalone Top Top Finish
Truss Rod Cover Fretboard Inlay Back/Sides Finish
change on a quarterly basis. Neck Wood Peghead Inlay Neck Finish
Binding (Body, Fretboard, Peghead) Top Finish Peghead Finish
Bound (Peghead) Back/Sides Finish Color
Purfling Neck Finish Tuners
Rosette Peghead Finish String Type
Abalone Top Color Bridge Pins
Fretboard Inlay Tuners Nut/Saddle
Peghead Inlay Strap Pin Strap Pin
Bridge Inlay Peghead Logo Peghead Logo
Top Finish
Back/Sides Finish
Neck Finish
Peghead Finish
Color
Tuners
String Type
Bridge Pins
Pickguard
Nut/Saddle
Strap Pin
Bracing
Armrest
Backstrap
Peghead Logo

Build To Order Wood Choices

Back/Sides Tops Tops

(Steel-string Acoustic & Nylon) (Steel-string Acoustic) (Nylon)

Cocobolo Adirondack Spruce Engelmann Spruce

The following woods are available for our BTO acoustic guitars Hawaiian Koa, A Adirondack Spruce, Premium Engelmann Spruce, Premium
through the first quarter of 2010. Hawaiian Koa, AA Engelmann Spruce Redwood, Premium
Hawaiian Koa, Master Engelmann Spruce, Premium Redwood, Standard
Indian Rosewood, A Hawaiian Koa, A Sinker Redwood
Indian Rosewood, AA Hawaiian Koa, AA Sitka Spruce
Macassar (Striped Ebony) Hawaiian Koa, Master Sitka Spruce, Premium
Madagascar Rosewood Mahogany Western Red Cedar
Mahogany Redwood, Premium
Maple, A Flame Redwood, Standard
Maple, A Quilt Sinker Redwood
Maple, AA Flame Sitka Spruce
Maple, AA Quilt Sitka Spruce, Premium
Ovangkol Walnut
Sapele Western Red Cedar
Walnut, A
Walnut, AA
Walnut, Grafted

55
Standard Features

Koa Series Acoustic Koa 900 Series 800 Series Acoustic 8 700 Series Acoustic 7 600 Series Acoustic 6

Back / Sides Hawaiian Koa Hawaiian Koa Indian Rosewood Indian Rosewood Indian Rosewood Indian Rosewood Indian Rosewood Big Leaf Maple Big Leaf Maple

Sitka Spruce or Sitka Spruce or Engelmann Spruce /

Top Hawaiian Koa Hawaiian Koa Sitka Spruce Sitka Spruce Sitka Spruce Western Red Cedar Western Red Cedar Sitka Spruce Sitka Spruce

Neck Tropical Mahogany Tropical Mahogany Tropical Mahogany Tropical Mahogany Tropical Mahogany Tropical Mahogany Tropical Mahogany Hard Rock Maple Hard Rock Maple

CV w/ Relief Rout CV w/ Relief Rout CV w/ Relief Rout CV w/ Relief Rout CV w/ Relief Rout Standard II (Forward Standard II (Forward Standard II (Forward Standard II (Forward
Bracing Shifted Pattern w/ Shifted Pattern w/ Shifted Pattern w/ Shifted Pattern w/
Relief Rout) Relief Rout) Relief Rout) Relief Rout)

Rosette Single Ring Abalone 3-Ring Abalone Single Ring Abalone Single Ring Abalone 3-Ring Abalone 3-Ring Abalone 3-Ring Abalone Single Ring Abalone 3-Ring Abalone

Fretboard Ebony Ebony Ebony Ebony Ebony Ebony Ebony Ebony Ebony

Fretboard Abalone Koa Series Abalone Dots Pearl 900 Series Pearl 800 Series Abalone Dots Pearl Dots Abalone Dots Pearl 600 Abalone Dots
Inlay Series “Leaf”

Top Inlay Abalone Abalone Abalone None None None None None None

Headstock Ebony Ebony Ebony Indian Rosewood Indian Rosewood Indian Rosewood Indian Rosewood Ebony Indian Rosewood
Overlay w/ Pearl Inlay

Binding Curly Maple Ivoroid Ivoroid Curly Maple Ivoroid Indian Rosewood Ivoroid White Ivoroid

Bridge Ebony Ebony Ebony Ebony Ebony Ebony Ebony Ebony Ebony
w/ Pearl Inlay

Bridge Pins Ebony w/ Ebony w/ Ebony w/ Ebony w/ Ebony w/ Ebony w/ Ebony w/ Ebony w/ Ebony w/
Abalone Dots Abalone Dots Abalone Dots Abalone Dots Abalone Dots Abalone Dots Abalone Dots Abalone Dots Abalone Dots

Nut / Saddle Tusq Tusq Bone Tusq Tusq Tusq Tusq Tusq Tusq

Tuning Taylor Gold Taylor Gold Taylor Gold Taylor Gold

Machines / Taylor Gold or Taylor Slot Gotoh Taylor Gold or Taylor Slot Taylor Gold or Taylor Slot Taylor Gold or Taylor Slot
Buttons Head (GC) Head (GC) Head (GC) Head (GC)

Truss Rod Indian Indian Indian Indian Indian

Cover Ebony Ebony Ebony Rosewood Rosewood Rosewood Rosewood Ebony Rosewood

Back / Side Gloss Gloss Gloss Gloss Gloss Gloss Gloss Gloss Gloss
Finish

Top Finish Gloss Gloss Gloss Gloss Gloss Gloss Gloss Gloss Gloss

Neck Finish Satin Satin Satin Satin Satin Satin Satin Gloss Gloss

Electronics Expression System® Expression System® Expression System® Expression System® Optional Expression System® Optional Expression System® Optional
Expression System® Expression System® Expression System®

Pickguard None None None Tortoise None Tortoise None Tortoise (Amber) None
None (colors/bursts)

Case Taylor Deluxe Taylor Deluxe Taylor Deluxe Taylor Deluxe Taylor Deluxe Taylor Deluxe Taylor Deluxe Taylor Deluxe Taylor Deluxe
Hardshell (Brown) Hardshell (Brown) Hardshell (Brown) Hardshell (Brown) Hardshell (Brown) Hardshell (Brown) Hardshell (Brown) Hardshell (Brown) Hardshell (Brown)

Models K10ce, K12ce, GA-K, GA-K-12 910ce, 810ce, 812ce, GA8, GC8, 710ce, 712ce, GA7, GC7, 610ce, 612ce, GA6, GC6,
K14ce, K16ce, GC-K, GS-K 910 Legacy 814ce, 815ce, GS8, DN8, 714ce, 716ce GS7 614ce, 615ce, GS6, GA6-12
K20ce, K22ce, DN-K 912ce, 914ce, 816ce, 854ce, 810 Legacy 616ce, 654ce,
K24ce, K26ce, 916ce, 954ce 855ce, 856ce GA8-12, GS8-12 655ce, 656ce
K54ce, K64ce,
K65ce, K56ce,
K66ce

56
 Standard Features

500 Series Acoustic 5 400 Series Acoustic 4 300 Series Acoustic 3 200 / 100 Series Baby Taylor Nylon Series

200 Series: Indian Rosewood (NS72ce, NS74ce)

Rosewood Laminate Big Leaf Maple (NS62ce, NS64ce)
Back / Sides Tropical Mahogany Tropical Mahogany Ovangkol Ovangkol Sapele Sapele Sapele Laminate Sapele (NS32ce, NS34ce)
100 Series: Indian Rosewood Laminate
Sapele Laminate (NS24ce, NS24e)

Engelmann Spruce / Sitka Spruce (DN) / BT1, BBT: Sitka Western Red Cedar (70s)
Top Western Red Cedar Western Red Cedar Sitka Spruce Sitka Spruce Sitka Spruce Sitka Spruce Sitka Spruce Spruce, BT2: Tropical Engelmann Spruce (60s)
Mahogany Sitka Spruce (20s, 30s)

Neck Tropical Mahogany Tropical Mahogany Tropical Mahogany Tropical Mahogany Tropical Mahogany Tropical Mahogany Sapele Sapele Tropical Mahogany

Standard II (Forward Standard II (Forward Standard II (Forward Standard II (Forward Standard II (Forward Standard II (Forward X Bracing X Bracing
Bracing Shifted Pattern w/ Shifted Pattern w/ Shifted Pattern w/ Shifted Pattern w/ Shifted Pattern w/ Shifted Pattern w/ Nylon Series Bracing
Relief Rout) Relief Rout) Relief Rout) Relief Rout) Relief Rout) Relief Rout)

Mexican Cyprus & Myrtle

Rosette 3-Ring Abalone 3-Ring Abalone 3-Ring 3-Ring 3-Ring 3-Ring 3-Ring Laser Etched Geometric Pattern

Fretboard Ebony Ebony Ebony Ebony Ebony Ebony Ebony Ebony Ebony

Fretboard Pearl Dots Abalone Dots Large Pearl Dots Pearl Dots Large Pearl Dots Pearl Dots Pearloid Dots Pearloid Dots None
Inlay

Top Inlay None None None None None None None None None

Headstock Indian Rosewood Indian Rosewood Indian Rosewood Indian Rosewood Indian Rosewood Indian Rosewood Indian Rosewood Lexan Indian Rosewood (20s, 30s, 70s)
Overlay Cocobolo (60s)

Binding Indian Rosewood Ivoroid White Cream Black Cream White (200s) None Indian Rosewood (60s, 70s)
Black (100s) Black (20s, 30s)

Bridge Ebony Ebony Ebony Ebony Ebony Ebony Ebony Ebony Ebony (20s, 30s, 70s)
Cocobolo (60s)

Bridge Pins Ebony w/ Ebony w/ Ebony Ebony Ebony Ebony Black Black None
Abalone Dots Abalone Dots

Nut / Saddle Tusq Tusq Tusq Tusq Tusq Tusq Tusq Tusq Tusq

Tuning Taylor Chrome Taylor Gold or Ping Classical Gold w/Ivoroid btns
Machines / Taylor Gold (514ce, Taylor Slot Head (GC) Taylor Chrome Taylor Chrome Taylor Chrome Taylor Chrome Chrome Chrome Classical Chrome w/cream btns
Buttons 516ce) (20s)

Truss Rod Indian Indian Indian Indian Indian Indian Rosewood None None (32, 62, 72)
Cover Rosewood Rosewood Rosewood Rosewood Rosewood Rosewood Indian Rosewood (24, 34, 74)
Cocobolo (64)

Back / Side Gloss Gloss Satin Satin Satin Satin Varnish (100s) Varnish Gloss (60s, 70s)
Finish Satin (200s) Satin (20s, 30s)

Top Finish Gloss Gloss Gloss Gloss Gloss Gloss Varnish (100s) Varnish Gloss (30s, 60s, 70s)
Satin (200s) Satin (20s)

Neck Finish Satin Satin Satin Satin Satin Satin Varnish (100s) Varnish Satin
Satin (200s)

Electronics Expression System® Optional Expression System® Optional Expression System® Optional Taylor ES-T® Optional ES-N®
Expression System® Expression System® Expression System® (E and CE models)

Pickguard Tortoise None Tortoise None Tortoise None Tortoise Tortoise (BBT) None

Case Taylor Deluxe Taylor Deluxe Taylor Hardshell Taylor Hardshell Taylor Hardshell Taylor Hardshell Gig Bag (100 Series) Gig Bag Taylor Hardshell Black (30s)
Hardshell (Brown) Hardshell (Brown) (Black) (Black) (Black) (Black) Black (200 Series) Deluxe Brown (60s, 70s)

Models 510ce, 512ce, GA5, GC5, 410ce, 412ce, GA4, GC4, 310ce, 312ce, GA3, GC3, 110, 110e, BT1 (Sitka) NS24ce, NS24e
514ce, 516ce GS5, DN5, GS5-12 414ce, 454ce, DN4, GA4-12 314ce, 315ce, DN3, GA3-12 110ce, 114, BT2 (Tropical NS32ce, NS34ce
455ce 354ce, 355ce 114e, 114ce Mahogany) NS62ce, NS64ce
210, 210e, BBT (Big Baby) NS72ce, NS74ce
210ce, 214,
214e, 214ce

57
48
Standard Features - Signature Models Standard Features - Specialty
DDSM (Doyle Dykes) LKSM (Leo Kottke) TSBT (Taylor Swift) STSM (Serj Tankian) JMSM (Jason Mraz) Baritone 12-Fret

Back / Sides Big Leaf Maple Tropical Mahogany Sapele Laminate Sapele Indian Rosewood Back / Sides Indian Rosewood Indian Rosewood

Top Sitka Spruce Sitka Spruce Sitka Spruce Maple Western Red Cedar Top Sitka Spruce Sitka Spruce

Neck Hard Rock Maple Tropical Mahogany Sapele Sapele Tropical Mahogany Neck Tropical Mahogany Tropical Mahogany

Standard II (Forward LKSM Bracing X Bracing Standard T5 Nylon Series Baritone 12-Fret
Bracing Shifted Pattern w/ Bracing Bracing Bracing Bracing
Relief Rout)
Mexican Cypress/Bubinga/ Single Ring Abalone
Rosette Single Ring Abalone 3-Ring Screen Printed Custom N/A Koa Zodiac Symbols Rosette 3-Ring Abalone w/ Bound Soundhole

Fretboard Ebony Ebony Ebony Ebony Ebony Fretboard Ebony Ebony

Fretboard Pearl DDSM None Pearloid Dots Serj Tankian Mexican Cypress “Be Fretboard Small Pearl Pearl Dots
Inlay Energy Wheel Love” w/Circle/Triangle Inlay Diamonds

Top Inlay Abalone None None N/A None Top Inlay None None

Headstock Ebony w/ Pearl / Indian Lexan Ebony Indian Headstock Indian Indian
Overlay Abalone Rose Inlay Rosewood Rosewood Overlay Rosewood Rosewood

Binding Ivoroid Indian None Black Indian Binding Indian Ivoroid

Rosewood Rosewood Rosewood

Bridge Ebony Ebony Ebony Ebony Ebony Bridge Ebony Ebony

Bridge Pins Ebony w/ Ebony Black Ebony None Bridge Pins Ebony w/ Ebony w/
Abalone Dots Abalone Dots Abalone Dots

Nut / Saddle Tusq Tusq Tusq Bone Tusq Nut / Saddle Bone Tusq

Tuning Ping Classical Gold Tuning Taylor Gold Mini Taylor

Machines / Taylor Gold Taylor Gold Chrome Chrome with Ivoroid Buttons Machines / (8-String) Slot Head
Buttons Buttons Taylor Gold (6-String)

Truss Rod Indian None Black None Truss Rod Indian Indian
Cover Ebony Rosewood Cover Rosewood Rosewood

Back / Side Gloss Gloss Varnish Gloss Gloss Back / Side Gloss Gloss
Finish Finish

Top Finish Gloss Gloss Varnish Gloss Gloss Top Finish Gloss Gloss

Neck Finish Gloss Satin Varnish Gloss Satin Neck Finish Gloss Satin

Electronics Expression System® or None Optional T5 Electronics ES-N® Electronics Expression System® Expression System®
Baggs / DDSM® w/ Five-Way Switch

Pickguard None None None None None Pickguard None None

Case Taylor Deluxe Taylor Deluxe Gig Bag Taylor T5 Taylor Deluxe Case Taylor Deluxe Taylor Deluxe
Hardshell (Brown) Hardshell (Brown) Hardshell (Black) Hardshell (Brown) Hardshell (Brown) Hardshell (Brown)

Models DDSM colors: LKSM TSBT STSM-T5 JMSM Models Baritone 8-String 12-Fret
Natural LKSM-6 Baritone 6-String
Black (opaque)
Black (translucent)
Orange
Brown Sugar

58
 Standard Features - The Electric Line
T5 T5 Classic T3 SolidBody

Swamp Ash (Classic)

Body Sapele Sapele Sapele Sapele (Standard, Custom Walnut)
Tropical Mahogany (Custom Koa)

Top Sitka Spruce (T5-S, T5-C); Figured Maple Ovangkol Quilted Maple Tamo Ash (Standard)
(T5-S1, T5-C1); Koa (T5-C2); Walnut (Custom Walnut)
Cocobolo (T5-C3); Walnut (T5-C4); Koa (Custom Koa)
Macassar Ebony (T5-C5)

Neck Sapele (Standard, Custom Walnut)

Tropical Mahogany Sapele Sapele Tropical Mahogany (Custom Koa)
Maple (Classic)

Fretboard Ebony Ebony Ebony Ebony (Standard, Custom)

Indian Rosewood (Classic)

Fretboard Pearl Dots (T5-S, T5-S1) Small Diamonds Pearl Dots Pearl Dots
Inlay Pearl T5 “Artist” (T5-C, T5-C1, (Classic, Standard)
T5-C2, T5-C3, T5-C4, T5-C5) Pearl Progressive Diamonds
(Custom Walnut)
Koa Series (Custom Koa)

Headstock Ebony Ebony Ebony Ebony

Overlay

Fretboard White Black White None (Classic)

Binding Black (Standard, Custom)

Bridge Ebony Ebony Chrome Roller-style w/Stop Tail Taylor Stoptail Aluminum, fully adjustable
(T3) or Bigsby Vibrato (T3/B) Optional tremolo

Nut Bone Tusq Tusq with Teflon® Bone

Tuning Taylor Chrome (T5-S, T5-S1 and blue bursts) Taylor Chrome Taylor Chrome Taylor Chrome
Machines / Taylor Gold (T5-C, T5-C1, T5-C2, T5-C3,
Buttons T5-C4, T5-C5)

Back / Side Gloss Satin Gloss Satin (Classic Natural, Standard Natural)
Finish Gloss (All other models)

Top Finish Gloss Satin Gloss Satin (Classic Natural, Standard Natural)
Gloss (All other models)

Neck Finish Gloss Satin Gloss Satin (All Classics)

Gloss (All other models)

Electronics T5 Electronics w/ Five-Way Switch T5 Electronics w/ Five-Way Switch Taylor HD Humbuckers w/Coil- Full-size or Mini Humbuckers (HD or
splitting Capability HG), Vintage Alnico Humbuckers, Single
Coils, available in different configurations
(see page 42)

Pickguard None None None White Pearloid

Black Pearloid
Tortoise Shell
Black
None (optional on Standard and Custom)

Case Taylor T5 Hardshell (Black) Gig Bag Taylor T3 Hardshell (Black) Deluxe Hardshell

Color / Burst Natural, Red, Blue, Black (Translucent Black None Natural, Ruby Red Burst, Black, Classic: Translucent White, Translucent
Options Optional) w/ Edgeburst; Sunburst Options: Translucent Orange; Red, Black, Natural, Sage Green, Sublime,
Tobacco, Honey, Cherry Sunburst Options: Tobacco, Honey Magenta Pearl, Tobacco Sunburst, Purple
Flake, Jewelescent Orange, Viper Blue,
Lava Red Pearl, Titanium Pearl, Blue Me-
tallic; Standard: Aged Cherry Sunburst,
Custom: Shaded Edge

Models T5-S, T5S-12, T5-S1, T5S1-12, T5-C, T5 Classic T3, T3/B Classic, Standard, Custom Walnut,
T5C-12, T5-C1, T5C1-12, T5-C2, T5C2-12 Custom Koa
T5-C3, T5C3-12, T5-C4, T5C4-12,
T5-C5, T5C5-12

59
48 49
TaylorWare
CLOTHING / GEAR / PARTS / GIFTS
®

Winter 2010

Elixir® Strings
We’ve been factory-installing Elixir® Strings on Taylor guitars for years. We
love the way Elixir’s coated strings prevent string corrosion from finger oils,
perspiration and other residue that can deaden string tone. All Elixir sets
available through TaylorWare feature Elixir’s ultra-thin NANOWEB™ coating.

Acoustic Custom Light 6-String (.011-.052) #89600 $14.00

Acoustic Light 6-String (.012-.053) #89601 $14.00
Suede Taylor Guitar Straps Acoustic Medium 6-String (.013-.056) #89602 $14.00
(Black Suede #62001, Honey Suede #62000, Chocolate Acoustic Light 12-String (.010-.047) #89603 $23.00
Suede #62003, $35.00) Acoustic Heavy 12-String (.013-.056) #89604 $23.00
Acoustic Baritone 6-String (.016-.070) #89800 $20.00
Acoustic Baritone 8-String (.016-.070) #89801 $22.00

Electric Super Light 6-String (.009-.042) #89700 $11.00

Electric Light 6-String (.010-.046) #89701 $11.00
Electric Medium 6-String (.011-.049) #89702 $11.00
Our Ladies Long Sleeve Floral Guitar V-Neck T is incredibly soft Electric Light 12-String (.010-.046, .010-.026) #89703 $20.00
and stylish, thanks to lightweight 100% Pima cotton and a floral guitar
print on chocolate brown that flares down one side. Extra length makes
for a contemporary fit. (#4530, S-L, $28.00)

The Taylor Neck Ballpoint Pen is back, this time with two additional
color options, gray and burgundy, in addition to black. The retractable
twist pen features a pocket clip fashioned as a Taylor neck, and comes
in a matte finish with a silver etched “Taylor Guitars” script. Whether
you’re jotting down song lyrics or grocery lists, the sleek design will Our vintage Throwback T commemorates Taylor’s 35th anniversary by
look and feel great. (Black #71040, Gray #71041, Burgundy #71042, going old school, showing off the company’s original logo in yellow with
$15.00) a distressed treatment on dark brown. The soft, 100% preshrunk cotton,
featuring double needle stitching, blends vintage comfort with durability.
(#1459, M-XL, $20.00, XXL, $22.00)
New
On our Taylor Guitars Ray T, a T3/B radiates cool tones in every
direction. An over-arching circus-style font celebrates the company’s
heritage, while a banner treatment salutes our acoustic and electric Guitar Stand. Beautifully
lines. The water-based, screen printed image is smooth and soft to crafted in Sapele/Mahogany,
the touch, matching the softness of the pre-shrunk, 100% ringspun this stand features a laser-
cotton fabric. Fashion fit. Side-seamed with double-needle stitching etched Taylor logo, a rich satin
for long-lasting comfort. (Black, #1450, S-XL, $20.00 XXL, $22.00) finish, and rubber pads to protect
your guitar’s finish. (Sapele/
Mahogany #70100, $70.00;
Aaron from Sales, the original poster boy for our Road Show logo, assembly required)
strikes a fresh pose in our Ray T.

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On our Ladies Black Signature T, a cursive Taylor Guitars inscription
is emblazoned across the front in a choice of pink or light blue.100%
preshrunk cotton with a generous, relaxed fit that’s comfortable for all
body types. (Pink script #4270, Blue script #4280, S-XL, $20.00)
The Men’s Gothic Vine Long-Sleeve T was inspired by one of our
popular custom fretboard inlays. The gothic vine motif, in red on black
or gray on white, runs down the left sleeve and across the chest, fram-
ing the Taylor Guitars text treatment. Fashion fit, 100% preshrunk, ring-
spun cotton, sideseamed and double needle-stitched for comfort and
durability. (Black #2094, White #2095, S-XL, $25.00, XXL, $27.00)
The children’s Let’s Play T celebrates the little groovers and shakers of
the world with a Taylor-strumming boy on baby blue and a girl on pink.
100% cotton jersey knit with ribbed neck, double stitching on the hem
and sleeves. Available in Infant and Toddler sizes.
(Infant Pink #1404, Infant Blue #1406; Sizes: 6, 12, 18 months;
Toddler Pink #1407, Toddler Blue #1408; Sizes: 2T, 3T, 4T; $15.00)

Antique Logo T-shirt

Pre-washed, super-soft 100% cotton, featuring our distressed logo
and cut as a Slim Fit. Sizes S-XXL. (Short Sleeve; Green/Tan #1438,
Brown/Tan #1439 (new), Navy/Gold #1437, S-XL $20.00;
XXL $22.00)
Taylor Pub Glasses
Hoist your favorite beverage for a toast with a touch of Taylor style. Four
different designs, in black and gold, put a unique stamp on each 20-oz
glass in this set of four. (#70011; $25.00)

New
Our Zip Front Sweat Hoody
is all about casual comfort. Taylor’s
round logo accents the left side of
the chest, while “EST. 1974”
appears on the right sleeve.
A lined hood, underarm gussets,
double-needle stitching and a
generous cut support an active
lifestyle, while the soft, pre-washed
80/20 cotton/polyester blend
make it the perfect choice for
kicking back, too.
(Charcoal/Heather #2899,
S-XL, $39.00, XXL, $42.00)

Our Vintage Electric T rocks out with a winged SolidBody For a Director of Finance, Bryan looks pretty laid back in our new
design in gray on lightly marbled black. 100% cotton, mineral Zip Front Sweat Hoodie.
washed and distressed for a soft, worn-in feel. (Vintage Black
#1453, M-XL $25.00; XXL $27.00)
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 Order online: taylorguitars.com/taylorware | Order by phone: 800.494.9600

Taylor Bar Stool Our Weathered Peghead T has a lived-in look and feel that you’ll
30” high, black matte, vinyl finish. Easy assembly. (#70200, $99.00. love. Distressed treatment of the iconic Taylor peghead and lettering
Taylor Guitars Digital Headstock Tuner Additional $5.00 shipping charge for each bar stool ordered.) applies a vintage touch to the soft, pigment dyed, ringspun cotton.
Clip-on chromatic guitar tuner picks up vibration and 100% preshrunk, generously cut for comfort, with double needle
comes with a built-in mic. Back-lit LCD changes color stitching for extra durability. (Mocha #1440, M-XL $20; XXL, $22.00)
to show correct tuning. Swivel design for easy viewing.
Automatic power-off after 5 minutes. Quadra flat tuning for tuning with
capo on. “A” calibration: 433-447 Hz with 1 Hz steps. Accuracy: ± 0.5
Cent. One coin cell battery included. (#80920, $29.00)

The Black Flex Fit Cap features a red Quality Guitars logo on
comfortable six-panel brushed twill with a matching red guitar
embroidered on the back. One size fits all. (#00370, $20.00)

Our Navy Garment Washed

Flex Fit Cap features the Taylor
logo in silver. One size fits all.
(#00380, $24.00)

Our black Guitar Hoody Sweatshirt features a partial guitar in cool

gray and white across a Taylor Guitars horizon. The comfy 50/50 cot-
ton/polyester blend boasts a double lined drawstring hood and a front
pouch pocket to keep those guitar-playing hands warm.
(#2898, S-XL, $39.00, XXL, $42.00)

Our SolidBody Trucker Cap

sports the Taylor SolidBody logo
patch on orange, featuring side
and back panels of tan trucker
mesh to keep your head well
vented, with Taylor Guitars ’74
screen printed on the left side.
An adjustable polysnap closure
ensures a comfortable fit.
(#00160, $20.00)
New
The Four Guitars T proudly showcases the diversity of our lineup. It’s
designed for maximum comfort, featuring soft-washed, garment-dyed
100% ringspun cotton, and durability, thanks to a ribbed collar with
double-needle stitching on the neckline, sleeves and bottom hem.
A small round Taylor logo appears on the sleeve. (Green #1449, M-XL,
$20.00, XXL, $22.00)
Richard, VP of Manufacturing, shows off the fruits of his team’s
efforts on our Four Guitars T.

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 Order online: taylorguitars.com/taylorware | Order by phone: 800.494.9600

Taylor Guitar Picks. Our K4 Preamp and Equalizer lets you control the tone of your
Marble: copper, blue, brown, purple, Taylor acoustic/electric guitar whenever you’re recording or plugged
abalone. Solid: turquoise, red, green, into a PA system. Designed for the specific frequencies of the acoustic
yellow, black; Ten picks per pack by guitar, the K4 EQ uses pure analog tone shaping for isolating and
gauge; two of each color per pack. adjusting individual notes and tones. It features transformer-coupled
Available in thin, medium or heavy input and output, and can even run on two C batteries, in case you
gauge. ($5.00) forget your power supply. (#80845, $498.00)

Taylor Loaded Pickguards let you swap

out the pickup/pickguard unit for your
SolidBody in minutes, without the need for
soldering. Choose from seven different pickup configurations,
including HD and HG mini and full-size humbuckers, single coils,
or a mix of both. Available in four different pickguard colors. Each
loaded pickguard gives you a unique pickup personality, allowing
you to dial-in your preferred tone with incredible ease. For a complete
Our Universal A/B/Both Box lets you run your Taylor T5,® list of ordering options, go to taylorguitars.com/taylorware.
Taylor acoustic, or any brand of electric guitar, acoustic guitar, $248.00 (Single HG Humbucker: $198.00)
or bass to two separate outputs. It’s perfect for running a T5 into
an electric amp and an acoustic amp. And, the A or B indicator
stays lit when BOTH is activated, which means you’ll always know
where your signal is. Want to connect a tuner between you and
the PA and maintain your Expression System’s® balanced signal?
Taylor Logo T Plug into the Balanced Breakout , connect your tuner, and you’ll
Sizes: S-XXXL. (Short Sleeve; White #1435, Blue Dusk #1434; stay balanced into the rig. Thanks to its high-quality transformer,
S-XL $15.00, XXL-XXXL $17.00) your signal always stays pure. (Universal A/B/Both Box, #80820,
$89.00; ES Balanced Breakout,™ #80821, $89.00)

Visit our website for more information

about the TaylorWare Gift Card.

Guitar Parts. Choose from an assortment of replacement parts like
chrome or gold tuners, nuts and saddles, guitar cables, pickguards
and bridge pins­­— with or without abalone dots.
Visit taylorguitars.com/taylorware to see the full line.
The Planet Waves Humidipak® makes it easy to maintain proper
humidification for your guitar in its case. Using patented technology,
the Humidipak’s disposable, moisture-filled packets have a breathable
membrane that provides two-way humidity control, allowing it to either
release or absorb moisture to consistently maintain a predetermined
relative humidity (RH) level of 48 percent. The complete kit includes
three packets and two pouches. The soundhole pouch houses two
packets and maintains the RH of the guitar body. The headstock
pouch/packet is placed beneath the headstock in the case to maintain
the neck and fretboard. The packets are designed to be tear- and
puncture-resistant and completely resistant to leakage. Depending on
climate conditions, they should last from two to six months, after which
they can simply be disposed of.
Humidipak Complete Kit
(includes 2 pouches & 3 packets) #80350, $40.00
Humidipak Replacement Packet (1) #80351, $10.00
SolidBody Pickups
Our HG (high-gain) humbucker gives SolidBody players a simple-to-
install pickup option. Slightly darker-sounding than our original HD
(high-definition) humbucker, the HG unleashes more front-end
drive for a crunchier tone with extra rawness. The modular design
allows anyone to swap them out at home with ease. The pickups are
connected with a Molex (pin-and-socket) connector, so all you’ll need
are a Phillips head screwdriver and a few minutes for a simple “plug
and play” experience. Available as Style 1 (Classic, Custom) and Style
2 (Standard), and offered in two versions, neck and bridge, with each
voiced and output-balanced for their respective string positions.
Available exclusively through TaylorWare. (Chrome, $79.00)
#83706 Style 1 HD Neck #83708 Style 2 HD Neck
#83707 Style 1 HD Bridge #83709 Style 2 HD Bridge
#83726 Style 1 HG Neck #83728 Style 2 HG Neck
#83727 Style 1 HG Bridge #83729 Style 2 HG Bridge

63
 Presorted
A Publication of Taylor Guitars Standard
U.S. Postage
Volume 62 / Winter 2010 PAID
Phoenix, AZ
Taylor Guitars | 1980 Gillespie Way | El Cajon, CA 92020-1096 | taylorguitars.com Permit No. 1225

The paper we used is certified by the Forest Stewardship Council. The FSC is a
non-profit organization that supports environmentally friendly, socially responsible
and economically viable management of the world’s forests.

Brazilian Dreams
Each of the 35 exquisite Brazilian
rosewood guitars crafted to celebrate
Taylor’s 35th anniversary is one-of-a
kind. Bob Taylor personally selected the
ultra-rare wood sets from his reserves
and chose unique specifications to best
complement each. Pictured here are
two guitars that together showcase the
beauty of the woods and appointments. In
the foreground, a cutaway model displays
a creamy Adirondack spruce top trimmed
with vibrant green heart abalone. The
fretboard inlay was designed by luthier
Greg Deering of Deering Banjos, a long-
time friend of Bob’s who worked at Taylor
during the company’s early days and who
also designed Taylor’s “Cindy” inlay. The
inlay graces each model in this series,
adding a unifying element of vintage
elegance. In the background, ebony
binding traces a GS body and gives
shape to the striking bookmatched
symmetry of the rosewood.