summer guitar guide

8/8/2019 Summer Guitar Guide

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The 2010Guitar Guide

Summer Edition


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C L O T H I N G / G E A R / P A R T S / G I F T STaylorWare

t t s.c /t w

Gear up in style withTaylor gifts and accessories.


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Guitar GuideSummer 2010

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Find us on Facebook . Add us on MySpace . Subscribe on YouTube . Follow us onTwitter : twitter.com/taylorguitarspr

4 The 2010 Guitar GuideWelcome to the 2010 Taylor line. Theres a lot to love here.

6 Finding Your Fit: Woods and ShapesYou might know what you like, but is it the right match or the soundyou want? We break down the elements o tone to help you understand

what makes a guitar right or you.

8 The Acoustic LineFrom the Koa Series to the Baby Taylor, we pro le our many favors oacoustic tone.

22 GS Mini Our new scaled-down GS packs a potent sound into a portable size.

We also designed some special accessories, including an easy-to-installa ter-market pickup.

26 Specialty ModelsA sweet-voiced 12-Fret and a pair o rich Baritones promise to takeyou somewhere new.

28 The Electric LineThis year, SolidBody customization leads the way. Well walk youthrough the new color and pickup options, including our new vintagealnico humbucker.

38 Build to Order I youve been dreaming o a custom Taylor, our Build to Order programgives you a broad array o choices and an impressive turnaround time.

40 Acoustic ElectronicsWhether or stage or studio, the Taylor Expression System captures allthe natural tonal richness you love about a Taylor and helps you share itwith the world.

41 Customer ServiceWe take service as seriously as we take guitar-making. From helpingyou nd a guitar to helping you care or it, were all about giving you thesupport you need.

42 The SpecsHeres a closer look at the details that de ne each guitar we make.

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The 2010 Guitar Guide

Grammy-winningsinger-songwriter

Zac Brown with anNS74ce, his main

stage guitar.

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oasting more guitar choices than ever be ore, this yearslineup o Taylor models celebrates the many lavors o musical inspi-ration, some already discovered, others yet to be born in your hands.Whether youre 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 o the manylavors o Taylor tone that are available to you. Like people, each gui-

tar has its own unique personality, and with more than 100 di erentstandard Taylor models on the menu, our guide is intended to helpyou ind the right one.

This year were pleased to welcome three resh acoustic voicesto the line as part o our Specialty series. Two o them are baritonemodels, a 6-string inspired by our 35th anniversary LTD and an

8-string. Joining them is an amazing new 12- ret rosewood GrandConcert, also inspired by a 35th anniversary model.

As we detail on pages 36-37, our Artist Series continues to growthis year, with new signature models designed with popular singer-songwriters Jason Mraz and Dave Matthews, both longtime Taylorplayers. We also debut a new pickup or our nylons, the ExpressionSystem-derived ES-N, and proudly unveil the GS MiniTM,a un-size guitar with a ull-size sound.

In our electric division, the big news is the evolution o ourSolidBody series to o er a much greater ability to choose yourspecs. Now you can select rom a variety o options that includenew colors, new pickup con igurations, pickguards now available

or the Standard and Custom and a tremolo option or any model.We also have a new pickup, a vintage alnico humbucker. And romthe T5 series comes the new ovangkol-top T5 Classic.

Each year it seems to get a little harder to contain the Taylor lineor very long because were constantly working on new designs that

spring to li e throughout the year. But we wouldnt have it any otherway.

As you lea through the ollowing pages, we hope you get asense o one o our underlying goals: to make the guitar-playingexperience more enjoyable. We do it through constant innovationthat rede ines what a guitar can be, and we do it through the kind o

customer outreach and support that strives to help you enrich yourli e through music. L-R: Bob Taylor and Jason Mraz at the Taylor actory.

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th E 2010

guitar guideSpecial aco s ics,

c s om elec rics, a moreexpa is ears ta lor li e

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Choosing a guitar is a highlypersonal, subjective process. Thisis both the beauty and the chal-lenge o inding the right model

one that inspires you and deliv-ers the sounds that youre a ter.Each person has di erent playingmechanics, we each perceive tonein a unique way, and our attrac-tion to a certain look may get inthe way o inding the right sound.Understanding a ew basic ideasabout the actors that contributeto acoustic and electric guitar tone

will streamline your search andhelp you ind the most compatibleinstrument or your musical needs.

Keep in mind that certain gui-

tars are highly versatile, whileothers shine in a more specializedplaying application, so knowingwhat you want always helps. I youarent sure, you can always talk toa Taylor dealer or call Ben Bena-vente at the Taylor actory (1-8882TAYLOR) or recommendations.

When Taylor product specialiststalk with customers at Road Shows

about acoustic guitars, they o tenstart by o ering this basic toneequation or re erence:

A g i ars bo s ape + eo al proper ies o woo s +

pla er ec iq e = g i ar o e

In other words, a guitars dimen-sions generate the guitars unda-mental sound, the types o woodsused or the guitar help lavorthat sound, and the way one playsinteracts with those tonal attri-

butes. The idea is to choose a bodyshape and combination o woodsthat respond well to the way youplay. For example, i youre a lively

strummer who wants a lot o vol-ume, a small-bodied guitar maynot be right or you. Or, i yourea ingerstyle player who cravesa warm sound with rich over-tones, maple probably wont cutit. Working out your own personaltone equation will help you indsome great model options.

Finding Your FitThe right pairing of shape and woods will lead youto a Taylor that sounds great on you

Aco s ic S apesA guitars overall shape de ines

how big the soundboard is, anda bigger shape tends to translate

into more tone because theresmore sur ace area vibrating withthe strings. Each Taylor shape ea-tures a re ined design that helpsestablish a distinctive sound orthat guitar. Heres a rundown oour ive standard shapes and theiraccompanying sounds.


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Grand Auditorium (GA)The medium-size GA gave the worldan identity-de ining Taylor shapeand sound. It was big enough tocompete with the bigger, traditionaldreadnought shape, long establishedin the acoustic world, yet the GAo ered more sonic balance insteado a bass-dominant tone. The slightlytapered waist helps create an evenblend between the bass, midrangeand treble notes. That tonal balancecomes through or strummers, theclarity suits ingerstyle playing, andthe overall presence sits well in astudio mix with other instruments.The GA is a superb all-purpose gui-tar shape that rewards players withversatility and incredible range.

Grand Symphony (GS)I you crave acoustic horsepower iyoure a strummer or picker who likesto drive a guitar and get ull-bodiedtone and robust volume, yet withoutcompromising balance the GSis your shape. It s Taylors boldest,richest acoustic voice, and, like agood sports car, blends power withresponsiveness, which means playerscan drive the GS hard without sacri-

icing clarity.

Grand Concert (GC)Taylors smallest body shape eaturesa slender waist that helps curb theovertones. As a result, the GC tendsto occupy less sonic space, whichhelps it blend well with other instru-ments both on stage and in a record-ing mix. Because o its tonal clarity,the GC is well suited or ingerstyleand or pickers who play lead lines.With the availability o the ExpressionSystem acoustic pickup or studiomicrophones, acoustic volume isnot an issue. The GC also eaturesa shorter 24 7/8-inch scale length,which, together with the more com-pact size, o ers physical com ort andplayability that may appeal to playerswith smaller hands.

Dreadnought (DN)Bob Taylor chose to honor the large,traditional guitar shape he inheritedby re ining it, taking a potent toneknown or its strong bass responseand adding a balanced midrangeand clear notes to give latpickersand strummers the ability to be bothaggressive and articulate across thetonal spectrum. Strong pickers arebound to love the blend o powerand idelity, which adds a new tonaldimension to roots- lavored music.

Jumbo (JM)Taylors biggest shape delivers a big,

ull sound without the bottom-heavyboominess. The curvy dimensionspresent a lot o soundboard realestate, yet the contoured waist helpstighten the midrange, keeping theovertones in check. Jumbos are greatas big, ull strummers, especially orsolo artists who want a robust acous-tic voice without sacri icing balance.Taylor Jumbos particularly shine as12-strings, yielding a rich, lush tonewith lots o signature Taylor clarity andbalance.

Woo sThe woods used on the top, back

and sides o an acoustic guitar inter-act with the undamental sound pro ileestablished by the shape, addingdistinctive tonal lavors. A woodssti ness and density, or example, willin luence its tonal requencies, mean-ing that di erent species o woodswill yield di erent degrees o bass,midrange, treble and overall sustainrelative to each other.

The description o each series inour acoustic/electric line on the ol-lowing pages includes a note on thedistinguishing properties o the tone-woods used on the back and sides othe guitar. These are just generaliza-tions or re erence; keep in mind thateach set o wood is unique, which ocourse adds to the un o samplingguitars.

When it comes to soundboards,Sitka spruce is ar and away the tone-wood used most o ten or guitar tops.Its strong yet lexible, which producesa clear acoustic tone. Here is a brierundown o soundboard propertiesamong the woods we commonly use

or guitar tops:

Sitka Spruce Used on the majorityo Taylor acoustics, it yields a broaddynamic range and accommodates aversatile range o playing styles.

Western Red Cedar Cedars so terdensity adds an element o warmth toa guitars tone, especially or playerswith a so ter touch, like ingerstylistsor moderate strummers and pickers.More aggressive players are bettermatched with spruce, as they mightrun out o headroom with cedar.

Adirondack Spruce Compared toSitka, it has more dynamic range andcan be driven hard or greater volumewithout losing clarity. Some playersalso perceive an additional sweetnessin the midrange tones. Its availabilityis limited.

Engelmann Spruce Compared toSitka, Engelmann o ten has a hint oadditional richness that sounds likean aged or played-in guitar. Its avail-ability is also limited.

Hardwood Tops Woods like koaand walnut that are used on the backand sides o a guitar are sometimesused as tops, as well. Their sti nesstranslates into a bright tone initially,but the more the guitar is played, themore ull-bodied the tone becomes.

To read more about acoustic shapesand woods, visit taylorguitars.comunder Features.

Pla er tec iq eIts air to say that a guitars tone

is largely in the hands o the player,so it helps i you understand whatkind o a player you are and whatyoure going or when you play. Yourplaying style (strumming, latpicking,

ingerstyle), your attack (how hard orso t you hit the strings), string typeand gauge, the way you ret essen-tially the sum total o everything youphysically do to the guitar is a bigpart o the equation. For more on thetone-shaping variables o the playerand how they can be matched upwith the right tones or woods, go totaylorguitars.com/guitars/ eatures/woods/tone.

Elec ric to eWhen it comes to electric guitars,

pickups are another key part o thetone equation. In the electric portiono the Guitar Guide, youll ind moredetails on Taylors proprietary electricpickups, their tonal personalities, andthe di erent pickup con igurationsthat are available.

In terms o body styles, certaindistinctions are re lected in the di er-ent body designs o the T5, T3 andSolidBody. The T5 is a ully hollow-body design, which helps yield morenatural acoustic tones that contributeto the T5s incredible sonic range.The T3 is a semi-hollowbody with asolid center block that runs down thelength o the center. The SolidBodyis, as the name suggests, the mostsolid, although the Standard andCustom eature special tone cham-bers, partly or weight relie but alsoto optimize the bodys natural acous-tic bloom. This enhances sustain,which is otherwise hard to create onan electric when everything is lockeddown.

Bobs Guitar TipsPeople o ten have questions as they consider the many guitar

choices available to them. Bob Taylor answered a ew commonquestions and o ered some personal advice on inding the rightguitar.

W a q ali ies se a ta lor aco s ic g i ar apar rom o erg i ar bra s?

A Taylor has a unique tone, known or its clarity and balance. Thistone-print not only sounds antastic when played on its own, butworks very well when played with other instruments or whenrecorded. Equally important and widely recognized are the superbplayability and intonation o a Taylor. Currently our NT neck designis the ultimate in straight, precise, adjustable guitar necks. It allowstotal control over action and intonation. This adjustability allows theoriginal actory setup to be per ect, and allows easy, quick, a ord-able adjustments or the li e o the guitar a ter the purchase. Its thebest neck/body attachment in the industry today.

how will I ow w e I i e rig g i ar?Sometimes this is easy, and sometimes this is hard. First, try notto second-guess a eeling when you know youve ound the rightguitar. All too o ten a person laments the guitar that got away, sowhen one inspires you in a way that you know is right, act on it.Now, i that doesnt come to you, and youre shopping or a guitaramong many options, try to de ine what the guitar is meant to do

or you. Is it a one-time purchase to solve all your guitar needs orli e, or is it a guitar to it a particular musical style or desire? Mostpeople have multiple guitars because they have multiple needsand play many styles. For instance, a small-bodied guitar might beper ect or ingerstyle, but you might want a larger guitar or strum-ming. This is where people get con used. Its so much easier i youtry not to make each guitar solve every musical problem, especially

i youre a person who already knows you need more than oneguitar. However, even with these challenges, you will eventually likeone particular guitar more than the others, and when that happens,go or it!

how will a aco s ic g i ars so c a ge over ime?It will develop more clarity, more depth and more volume. In short,it will just sound better and better. Its one o the amazing treatso buying a guitar. Whereas your clothes, car, computer, TV and

urniture wear out with age, your guitar wears in with age. Sure,it gets worn cosmetically, but the tone just improves. Its mostnoticeable when you play your 10- or 15-year-old guitar against abrand new one o the same style. I o ten smile when I read orumswhere people proclaim that Taylor made better guitars in the early90s than now because their old guitar sounds better. Theyll claimit has some quality they cant describe. I can describe it very eas-ily: Its called age.

W a are e mos impor a i gs o remember abocari g or a g i ar?Caring or a guitar is easy i you consider heat and humidity. Lowhumidity ravages a good guitar. Also, heat, as in leaving your guitarin the trunk o your car while you shop or eat at a restaurant ona summer day, will wreak havoc on your guitar. But in our experi-ence, its the long, slow lack o humidity that does more damage

to a guitar than anything else. Store you guitar in its case ratherthan displaying it in the living room or music room, unless you arecontrolling the humidity in those rooms. Use a soundhole humidi-

ier to restore lost humidity to the wood in your guitar. Sharp retends or low, buzzy action are signs o a guitar drying excessively.Other than humidity control, in my opinion a guitar doesnt needtoo much other care. Just play it, wipe it down, polish it once in awhile, and change the strings to keep the tone sounding good.

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The kOA SerieS

Bac /Si es: Hawaiian Koatop: Abalone-trimmed Sitka Spruce or Hawaiian KoaFre boar I la : Abalone Koa SeriesBi i g: Curly MapleRose e: Abalone

A i io al Premi m Appoi me s: Maple-bound soundholeMo els: K10ce, K12ce, K14ce, K16ce, K20ce, K22ce, K24ce,

K26ce, K54ce, K56ce, K64ce, K65ce, K66ce

Hawaiian koa, you had us at Aloha. Koas seduction is o ten kindledwith the rst glimpse o its famed gure and rich variegation. Theromance with its tone, however, tends to un old more gradually. Asa dense tropical hardwood, koas tonal properties initially projecta bright ocus like maple, especially when also topped with a koasoundboard. But the tone slowly reveals its ull range as it opens upwith playing over time, sweetening as the midrange takes on rich,mellow overtones similar to mahogany. Fingerstyle players who use

more fesh than nails will naturally so ten the brightness. To matchthe woods visual splendor, we appoint the Koa Series with guredmaple binding and vibrant abalone trim. A truly rare beauty bothabove and below the sur ace, koa promises to age grace ully. I youspend enough time with a koa guitar, chances are that you will, too.

K24ce shown

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T H E A C O u S t I C / E L E C t R I C L I N E

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Th e 900 SerieSBack/Sides: Indian RosewoodTop: Abalone-trimmed Sitka SpruceFretboard Inlay: 900 Series PearlBinding: IvoroidRosette: Abalone

Sunburst Options: Tobacco (top only)Additional Premium Appointments: Gotoh tuners, bone nut/saddle,peghead and bridge inlaysModels: 910ce, 912ce, 914ce, 916ce, 954ce

Th e 800 SerieSBack/Sides: Indian RosewoodTop: Sitka SpruceFretboard Inlay: 800 Series PearlBinding: Curly Maple

Rosette: AbaloneSunburst Options: Tobacco (top only)Models: 810ce, 812ce, 814ce, 815ce, 816ce, 854ce, 855ce, 856ce

Th e 70 0 SerieSBack/Sides: Indian RosewoodTop: Engelmann Spruce (710ce, 712ce),Western Red Cedar (714ce, 716ce)Fretboard Inlay: Pearl DotsBinding: Indian RosewoodRosette: AbaloneSunburst Options: Tobacco (top only)Models: 710ce, 712ce, 714ce, 716ce

East Indian rosewoods sweeping tonal range is matched by its broadappeal, having carved out a deservedly rich heritage among acousticplayers or decades. Boasting deep, ull lows, bright, articulate highs,and rich sustain, rosewoods tone is both complex and responsiveto the player, and pairs well with a variety o guitar shapes. With asmall guitar body, ngerstylists and lighter pickers have access to acrisp, ull-range tonal palette. With larger body shapes, fatpickers can

drive basslines and pick out clean melodies, while strummers bene trom the dynamic range and the tonal balance. A rosewood Grand

Auditorium lives in both worlds, making it one o the most versatil eTaylor guitars a player can own.

Rosewood is appealing and abundant enough that we use it or threedi erent Taylor series. Our premium 900 Series rosewood has thebroadest range o colors and tends to display tighter, straighter grain.The overall aesthetic is o elegant sophistication rooted in tradition.The 800 Series has evolved rom its workmanlike appearance duringTaylors early days into a stylish appointment package eaturing guredmaple trim. The 700 Series displays rosewoods most organic per-sonality, o ten with thick chocolate-hued bands and complementedby rosewood binding. The 700s also eature alternative soundboardo erings cedar or extra warmth and richness and Engelmannspruce or a creamier look and slightly mellower response. Which-ever series you avor, rosewood will simply sing in your hands.

L-R: 916ce, 814ce, 714ce10


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Th e 600 SerieSBac /Si es: Big Lea Mapletop: Sitka SpruceFre boar I la : Pearl Lea PatternBi i g: WhiteRose e: AbaloneColors/B rs s: Aged Toner, Amber, Black, Blue, Blue Burst, CherryBlack Sunburst, Cherry Sunburst (or optional top only), Green, HoneySunburst, Natural, Orange, Purple, Ruby Red, Ruby Red Burst,Tobacco Sunburst (or optional top only), Transparent BlackMo els: 610ce, 612ce, 614ce, 615ce, 616ce, 654ce, 655ce, 656ce

Maples ocused tone is strong on the undamental and produces aclean, bright sound. Its physical density translates into ewer over-tones and quicker note decay. (It has less low end and more high endthan rosewood.) Consequently, it has been a pre erred guitar wood

or ensemble playing, both on stage and in the studio, because itarticulates clearly through a mix with other instruments. Its also moreimmune to eedback. Maples tonal properties work well or smaller-bodied guitars where the tone is being ampli ed, and with bigger-bodied guitars, including 12-strings, because its not bottom-heavy,so the sound tends not to be overly boomy. O course, tone is o tenonly hal o maples equation, as its blonde complexion, coupled withvarying degrees o gure, rom fame to quilt, invite a variety o vibrantcolor shades and bursts that enhance the dimension o the gurewhile evoking vibrant personalities.

On our 600 Series, white binding adds a crisp counterpoint to morethan 15 available color shades, including sunburst options, o eringmore visual pop to the abalone rosette. And through our Modi y aModel program, you can order any color or burst treatment we o erthrough your dealer, at no additional charge.

L-R: Natural 610ce, cherry sunburst 616ce, tobacco sunburst 616ce, blue 614ce, tobacco sunburst 610ce 13


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Th e 400 SerieSBac /Si es: Ovangkoltop: Sitka SpruceFi is : Satin with Gloss TopFre boar I la : Large Pearl DotsBi i g: WhiteRose e: 3-RingModels: 410ce, 412ce, 414ce, 454ce, 455ce

Th e 300 SerieSBac /Si es: Sapeletop: Sitka SpruceFi is : Satin with Gloss TopFre boar I la : Large Pearl DotsBi i g: BlackRose e: 3-RingMo els: 310ce, 312ce, 314ce, 315ce, 354ce, 355ce

A reliable, per ormance-ready guitar is an indispensable tool ora gigging musician. Our 400 Series and 300 Series deliver thatand plenty more. Both series eature woods that may not boast therecognizable heritage o rosewood and mahogany, yet they giveplayers a comparable range o tones, with a splash o extra sparkle.

Ovangkol is an A rican alternative to rosewood that yields a similarlywide tonal spectrum rom lows to highs, with a bit more midrange.Sapele, another A rican tonewood, is a highly sustainable alterna-tive to mahogany that has a similar sound, but with its slightly higherdensity, adds a touch o extra treble zing. Both series eature a satin

nish and a simpler appointment package, translating into our mosta ordable price point or solid wood acoustics without sacri cingany o Taylors signature playability.

Liz Grace ronts the country band Three Chord Justice. Ive beensinging in honky tonks across the Western U.S. or 20 years, shesays. When I rst picked up my Taylor and heard its clear and wonder ul ring, I knew I would be a loyal Taylor player. My guitar is

per ect or my band, because it gives me a rich, warm sound that cuts through the band. Every other guitar Ive played struggles to beheard. But my Taylor is per ect. Shes pictured here at Hooleys IrishPub playing a 314ce, fanked by a 355ce and a 412ce.

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Th e 20 0 SerieSBac /Si es: Rosewood Laminatetop: Solid Sitka Spruce (Gloss)Fre boar I la : Pearloid DotsBi i g: WhiteRose e: 3-RingMo els: 210, 210e, 210ce, 214, 214e, 214ce

Th e 10 0 SerieSBac /Si es: Sapele Laminatetop: Solid Sitka SpruceFre boar I la : Pearloid DotsBi i g: BlackRose e: 3-RingModels: 110, 110e, 110ce, 114, 114e, 114ce

We know how to make a great guitar more a ordable withoutcompromising great tone. Our rosewood laminate 200 Series andsapele laminate 100 Series are designed to give players an inspiringTaylor playing experience and arm them with a un tool that cancover a lot o musical applications, all at a reasonable price point.Both series eature a choice o Dreadnought or Grand Auditoriumshapes with a solid spruce top, come with or without a cutaway, andcan be ordered with or without our under-saddle ES-T acousticpickup. Whether youre in the early stages o woodshedding or youre just looking or a killer value, you cant go wrong with either series.

For some guitarists, the garage may end up being the biggest venue

they ever play, but in the end, its all about having un. The 100 and 200 Series give players great tools or honing their chops and o er the kind o playability and tone thats hard to match at their price

points. Here, Brandon (le t, 214ce) and Connor (right, 110) goo around, while Connors brother Dallas dials in the drum kit and lead vocalist Rocky the dog struts his stu .

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Th e nyLOn SerieSnS72ce/nS74ceBack & Sides: Indian RosewoodTop: CedarBinding: Indian RosewoodHeadstock Overlay:

Indian Rosewood

nS62ce/nS64ceBack & Sides: Big Lea MapleTop: Engelmann SpruceBinding: Indian RosewoodHeadstock Overlay/Bridge: Ebony

nS32ce/ nS34ceBack & Sides: SapeleTop:

Sitka SpruceBinding: BlackHeadstock Overlay:Indian Rosewood

nS24e/nS24ceBac & Si es: Rosewood Laminatetop: Sitka SpruceBi i g: Blackhea s oc Overla : Indian Rosewood

One o the pleasures o living inthe modern acoustic guitar era isthe diverse palette o tonal favorsavailable to players. Our NylonSeries represents the next genera-tion o nylon tone, used not just

or traditional classical or Spanish-tinged music, but in virtually everycontemporary genre, rom rock

and pop to jazz and world music.Grammy avorites rom Jason Mrazto Zac Brown to Wayne Johnsonrely on Taylor nylons or songwritingand per ormance. With a cutawayand a 1 7/8-inch neck, our nylonso er steel-string acoustic players asmooth crossover to a resh sonictexture, and the lighter string ten-sion adds an extra helping o play-ability. In 2009 we added a pair omore a ordable rosewood laminatenylons to the amily, and new or2010 is our ES-N pickup, eatur-ing a preamp and tone controls thatwere designed to naturally capturethe nylon-string voice.

NS74ce shown20


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BABy Taylor

Size/Shape: 3/4-scaleDreadnought (22 3/4-inchscale length)Back/Sides: Sapele LaminateTop: Solid Sitka Spruce orMahoganyFretboard Inlay: Pearloid DotsRosette: Laser-etched

BIG BABy Taylor

Size/Shape: 15/16-scaleDreadnoughtBack/Sides: Sapele LaminateTop: Solid Sitka SpruceFretboard Inlay: Pearloid DotsRosette: Laser-etched

A big reason or the guitars wide-spread popularity is its portability,and the Baby Taylor has taken thisto a whole new level. The -size

Dreadnought helped establishthe travel guitar market, and now,even 14 years a ter its debut, itsappeal remains as strong as ever

or travelers, children and artistsrom Lindsey Buckingham to Taylor

Swi t or a simple reason: It playsand sounds like a real guitar. Itsbigger, louder sibling, the Big Baby,is another avorite or players whowant to keep a songwriting guitarhandy at the o ce, in their house

or riends to pick up and play, or asan alternate-tuning guitar. Whateveryour needs, whichever directionyou may be headed, the Babysappeal is as ar and wide as youwant to go.

You dont have to be o in thewilderness to appreciate the Baby Taylors portability. It makes a great

companion when youre com-muting around town, too. Plus,

youll be well equipped i you get inspired to do a little busking onthe fy.

Baby Taylor shown 21


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Si e/S ape : Scaled-down GS (23 1/2-inch scale length)Bac /Si es : Sapele Laminatetop : Solid Sitka SpruceFre boar I la : Pearloid DotsRose e : 3-RingP r li g : Black/White/Black

The GS Mini pairs the concept o a un, ultra-portable guitar, irstembodied by the Baby Taylor, with the tone-enhancing engineeringthat led to the development o the GS body style. The result is asmall-size guitar with a ull-size sound, making it the per ect go-any-where guitar rom the couch to the camp ire to the concert hall at an a ordable price point. Besides a surprisingly rich, bee ed-upsound, the Mini also eatures Taylors patented NT neck, whichdelivers Taylors renowned intonation and provides more stability indi erent climate conditions out in the world. The Mini even borrowssome o the re ined aesthetic details o our ull-size models, like aninlaid rosette, top pur ling, and a pickguard. And to make the Minieven more versatile or players who want to plug in, its pre- itted oreasy sel -installation o our proprietary magnetic soundhole pickup,the ES-Go (opposite page), which can be purchased separatelyand added in minutes. Together with the V-Cable, wherever li etakes you, the GS Mini is always ready to play.

Scott Winder rom Taylors equipment maintenance team enjoyscruising out to the desert or the mountains on the weekends,and loves to have a guitar with him when hes surrounded by the inspiration o the great outdoors. With the GS Mini, ES-Go,Taylor V-Cable and the Sonoma Wire Works GuitarJack iPhoneinter ace, he can easily record music rom anywhere. He usesSonomas iPhone app FourTrack and a Taylor iPhone app withseveral Taylor EQ presets, including one or the GS Mini. For moredetails on the GuitarJack, FourTrack and the Taylor iPhone app,visit sonomawireworks.com/guitarjack.

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T H E G S M I n I TM

Pl i ACCESSORIES


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Plug-in ACCESSORIES

ES-Go

The ES-Go is a magnetic sound-hole pickup developed exclusively

or the GS Mini. It was designedto be a convenient add-on com-ponent that anyone can installon their own in minutes or agreat ampli ied acoustic sound.Every Mini comes pre- itted witha pickup connecting bracketthats mounted to the neck exten-sion block inside the soundhole.The ES-Go includes a mountingclip that snaps into the bracket,allowing the pickup to loat inthe soundhole without touchingthe top. Simply replace the Minisendpin with the pickups endpin jack, which has a cable that plugsinto an input jack on the pickup.Once the pickup is snapped intothe connecting bracket, the Mini is

ready to be plugged in.

V-Cable

The innovative, Taylor-designedV-Cable eatures a master volumecontrol thats built directly into thecable, making it easy to adjustyour volume anytime you plug in aGS Mini with the ES-Go pickup.It also works with other guitarsthat dont have an onboard volumecontrol. The volume knobs ergo-nomic placement on the end othe cable that plugs into the guitar

makes it easy or players to ind itin the dark, and it can be turnedo to unplug noiselessly. Boththe ES-Go and the V-Cable areavailable through TaylorWare attaylorguitars.com.

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GRAnd SyMPhOny

Mo els: GS-K, GS8, GS8-12, GS7, GS6, GS6-12, GS5, GS5-12

GRAnd AudI tORIuM

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

dREAdnOuGht

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

*Features Cindy retboard inlay and abalone-edged top**Features 800 Series retboard inlay and white binding

The clean, symmetrical contours o a noncutaway acoustic speakto the aesthetic o elegant simplicity that de nes our Acoustic line.Appointments are understated and kept to a minimum, pickguardsare withheld (available as an option), and our less-is-more designapproach honors the essential elements o a ne acoustic guitar:shapes, woods and pure tone. A world o rich detail and nuancelives within that tone, and we dont want anything else to t ake away

rom your playing experience.

Inspired by the development o the Grand Symphony (GS), theAcoustic line eatures 34 models, organized around our shapes:the GS, the Grand Auditorium (GA), the Grand Concert (GC), andthe Dreadnought (DN). Several 12-string models are available in theGS and GA shapes, and the optional Expression System pickup

ts the lines design sensibility by ampli ying the acoustic tone in the

most natural way possible, without intruding on the beauty o theinstrument.

A quartet o acoustic models against a backdrop o gured Hawaiiankoa boards.

L-R: a le ty GA3e, DN5e, GS-7 and GC-Ke24

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BARItOnE 6-StRInGBARItOnE 8-StRInG12-FREt

Three unique guitar voices rom 2009 have inspired new models orour line this year: a 6- and 8-string Baritone Grand Symphony and a12- ret Grand Concert. Linking the trio are the tonewood combina-tion o Indian rosewood and Sitka spruce and an underlying theme odiscovering resh musical inspiration. The Baritone models eature alonger 27-inch scale length and are tuned rom 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-stringis a sonic revelation, pairing two upper octave strings with the thirdand ourth (D and A) strings to extend the baritone range into theupper register without overemphasizing the 12-string jangle. Its great

or walking bass lines and other melodic chord embellishments.

The rosewood/spruce 12-Fret has stolen Bob Taylors heart andgiven the world a Taylor sound like no other a modern vintagetone that blends warmth and depth on the low end with crisp,snappy treble and surprising overall volume. Because the neckmeets the body at the 12th ret instead o the 14th, and the bridgeis repositioned arther back on the soundboard, the result is asweet spot o sound that gives the 12-Fret the voice o an agedguitar right out o the case. The model also eatures a slotted headand a cutaway design inspired by our Nylon Series. I youve beencraving something di erent to stimulate your creative juices, lookno urther than our specialty models.

San Diego singer-songwriter Cindy Lee Berryhill enjoys her rst exposure to our new 8-string Baritone. Berryhill o ten writes in thekeys o B and B fat and says the Taylor Baritone is now o cially onher wish list. Ive always loved the lower tones o the guitar and have

been an admirer o Neil Youngs 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 rom a resh place.I like to get mysel in a sea o tones on a ship thats lost its bearing,its North Star, which orces me to reinvent a new constellation o chords. Then the songs start blowing in.

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

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T H E S P E C I A L t y M O D E L S

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Th e SOLIdBOdy

Fueled by our proprietary pickups and innovative design touches,the Taylor SolidBody has given the electric guitar world a uniquelyinspiring voice. For 2010, we diversi y the SolidBodys appeal witha resh array o custom ordering options and a ter-market fexibility.Now you can have exactly the look and tones you want by choosing

rom options that include color ( or the SolidBody Classic), pickupcon guration, and pickguard color, with an optional tremolo bridgeavailable or any model. Weve also added a new pickup to the mix,a vintage alnico (VA) humbucker, which boasts a big, ull sound. Youcan now order a SolidBody Custom or Standard with a pickguard,and the Classic now comes in 14 di erent colors. On top o that,our solderless, plug & play loaded pickguards give you additionaloptions that let you easily swap out pickups to completely changethe tonal personality o your guitar in minutes. Now more than ever,the SolidBody experience means you can own a Taylor electric that

ts 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; CustomKoa with vintage alnico humbuckers and tremolo; Standard withwhite pearloid pickguard and 3 single coils; Custom Walnut withwhite pearloid pickguard and 2 ull-size humbuckers

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Th e SOLIdBOdy


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C l a s s

i c - T r a n s

W h i t e

C l a s s

i c - T

i t a n i u m

P e a r

l

C l a s s

i c - L a v a

R e d

C l a s s

i c - J e w e l e s c e n t

O r a n g e

C l a s s

i c - P u r p l e

F l a k e

C l a s s

i c - B

l u e

M e t a l

l i c

C l a s s

i c - V

i p e r

B l u e

C l a s s

i c - S a g e

G r e e n

C l a s s

i c - S u b

l i m e

C l a s s

i c - M a g e n

t a P e a r

l

ChOOSE yOuR BOdyThe SolidBody comes in three di er-ent body styles: Classic, Standardand Custom. The Classic eatures analder body with a broad array o coloroptions (shown and listed below).The Standard eatures a chamberedsapele body with a top o guredmaple and an aged cherry sunburst.The Custom also eatures a cham-bered sapele body, with a choice otwo di erent tops, koa or walnut.

ChOOSE yOuR PICkGuARdAll SolidBody models come with apickguard, available in a choice o vecolors: white pearloid, black pearloid,tortoise, black and parchment. TheStandard and Custom can also beordered with direct-mount pickups,without a pickguard.

ChOOSE yOuRPICkuP COnFIGuRAtIOnA wide variety o di erent SolidBodypickup con gurations gives players aunique palette o electric tones romwhich to choose. In addition to thesechoices, our pickups are designed ora ter-market plug & play fexibility,so you can swap out or other loadedpickguards with di erent pickupcon gurations, without the need orany soldering, giving you the ultimatein SolidBody customization.

BuILd A VIRtuALSOLIdBOdy OnLInEYou can explore the di erent customoptions o ered with the SolidBody byusing our online SolidBody Con-

gurator. The program allows youto select rom all available optionsand build a virtual model. Feel reeto experiment with di erent body,pickup and pickguard combinations.The Con gurator gives you the optiono downloading a picture o yourguitar with your chosen specs. Youcan also e-mail them, print them, orbe directed to one o Taylors premierelectric dealerships to place an order.taylorguitars.com/guitars/electric/

models/solidbody/


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C l a s s

i c - T o b a c c o

S u n

b u r s

t

C l a s s

i c - N a t u r a l

C l a s s

i c - T r a n s

R e d

C l a s s

i c - B

l a c k

S t a n d a r

d - A g e

d C h e r r y

S u n

b u r s

t

S t a n d a r

d - A g e

d C h e r r y

S u n

b u r s

t w / p i c k g u a r d

C u s

t o m - W a l n u

t

C u s

t o m - W a l n u

t w / p i c k g u a r d

C u s

t o m - K o a

C u s

t o m - K o a w

/ p i c k g u a r d

PICkuP PERSOnALItIESMuch o the distinctive tonal charac-ter o an electric guitar comes romthe types o pickups used. With theSolidBody, our pickups were actuallydeveloped be ore the guitar was. The

act that they had such a cool andunique character justi ed designinga whole new guitar around them.Our electronics team captured allthe amiliar goodness o the iconicelectric pickups weve loved oryears, but also solved some o theirinherent problems. Our developersalso added unique Taylor favorsand enhanced the tone-shapingcapability. The ollowing pickups are

available in di erent con gurations onthe SolidBody.

h mb c er: Uses two coils to gen-erate sound. Humbuckers are known

or having a high output and or theirability to produce sound without thenoise that is inherent with a traditionalsingle coil pickup. Players such asJimmy Page, Dickie Betts and CarlosSantana have de ned their signaturetones with humbucker-equipped gui-tars. Our humbucker was designed tobalance the sweetness and de nitiono a vintage pickup sound with thepower to ully drive an amp withoutoverpounding it. It unleashes rawrock power and great sustain withoutsacri cing balance or great tone.

Mi i h mb c er: Also uses twocoils and has all the advantages o a

ull-size humbucker, but because oits smaller size, it provides a tone thattakes up less sonic space, which isgreat or cutting through a mix.

hig def i io / hig Gai : Our ull-size and mini humbuckersare available in two di erent versions.The High De nition (HD) is our origi-nal high delity design, while the HighGain (HG) is slightly darker-soundingand unleashes more ront-end drive

or a crunchier tone with extra raw-ness.

Vi age Al ico (VA) h mb c er: Our newest pickup is a ull-size,covered humbucker with a big sound.The Alnico 5 magnets we used areknown or their hot output and roundsound. Our VA pays homage to thetradition o classic humbuckers, yetwith a more modern sonic favor.Taylors David Hosler explains: Ivealways liked that big, woolly tone thatcomes with PAF humbuckers. Ourgoal was to create a pickup with alittle more drive on the ront end othe amp.

Si gle Coil: Uses only one coil bydesign. When played through a cleanchannel on an amp, single coils cansound shimmery, glassy and bright.They take on a di erent personalitywhen played through the crunch orhigh gain channel o an amp. Playerswho have popularized the single coilsound include Stevie Ray Vaughan,Je Beck and David Gilmour. Ourbreakthrough noiseless single coilresponds with all the breathiness,sparkle and other distinctive char-acter o the single coil sound, butwithout any o the traditional buzz,hum or other sonic arti acts.


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PICkuP COnFIGuRAtIOnSChoosing rom di erent combinations o pickups allows you to cus-tomize the undamental tonal palette o your SolidBody. With plentyo con gurations available, you can completely personalize yoursound or your playing pre erences. Heres a rundown o availablecon gurations.

2 Mi i h mb c ers (hd or hG)Because mini humbuckers take up less sonic space than ull-sizehumbuckers, theyre a great choice or a band with multiple instru-ments. They have plenty o grind and punch without getting in theway o the other arrangements in the mix. On stage, the minis havea little more cut and presence. A sideman will be able to cover a loto ground.

2 F ll-si e hd h mb c ers2 F ll-si e hG h mb c ers

2 F ll-si e Vi age Al ico h mb c ersTwo ull-size humbuckers have a heavier, dirtier tone than the mini ormore o a rock edge. For years, players have relied on this combina-tion to deliver the warm, sweet sound o the neck pickup and thebite o the bridge. The HG version is ull o presence and is engi-neered to hit the ront o the amp harder than the H D or a heavier,crunchy tone. The vintage alnicos are our modern version o a tradi-tional PAF-style covered pickup. They eature a at, round sound witha warm bottom end. Traditionally, guitars with two humbuckers havea 3-way switch. Our 5-way switching system adds both a paralleland series option or a broader tone palette.

3 Si gle CoilsAnother classic sound in the electric world. Sultans o Swing,Brown Sugar, All Along the Watchtower, and Another Brick inthe Wall are examples o single coil gold. Our noiseless singlecoils capture all the great character o the single coil sound withoutthe buzz and other sonic noise. The bridge pickup sounds greatoverdriven, yet has lots o sparkle and clarity when played clean. Ourswitching allows each pickup to be selected individually and alsoprovides two combined pickup positions.

1 F ll-si e hG h mb c er

There is a simple beauty to the signal chain o a guitar, cable andamp. Some players just want to plug in, turn up, and rock out. I youlike to ride the volume knob or more nuance, turning down the vol-ume controls a little and hitting the amp in di erent ways will yield allkinds o colors and favors at di erent levels. Pulling up the volumepot will split the coil.

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2 Si gle Coils/1 h G h mb c erThis combination, born out o the guitar player culture o swappingpickups, is a very popular and versatile setup. I youre a player whoneeds to quickly switch between the slam o a humbucker and thewisp o a single coil, the single single hum con guration will get itdone. Per ect or a player who wants access to multiple tones withone guitar.

1 hd Mi i h mb c er/1 Si gle CoilThis setup throws a nod to Keith Richards and other great bluesplayers like Albert Collins. A 3-way switch allows you to togglebetween the modern sound o our high de nition mini and the spanko our noiseless bridge single coil. Great or cutting, groovy, rhythmicchording.

3 hd Mi i h mb c ers (hd or hG)The three-mini setup is reminiscent o the 60s Firebird 7 but withTaylors own sonic imprint. Positions 1 and 5 (Neck and Bridge)deliver a smooth and driving ront edge, with great distortion andclean sounds available at the fick o a switch. Both positions drivethe ront end o an amp really well. Positions 2 and 4 capture a thicksingle coil vibe, and make great choices or blues rhythm or lead. Thereal gem o this con guration is Position 3, the middle pickup alone.It sparkles and drives at the same time; its really transparent andthick. With a trem, this setup suits any style or tonal favor.

LOAdEd PICkGuARdSIn addition to custom ordering options, Taylors solderless, plug& play loaded pickguards give SolidBody owners ongoing pickupfexibility, making it easy to swap out pickups or a new con gurationthat translates into incredible versatility. Players can choose roma variety o pickup combinations and pickguard colors. Owners o

a SolidBody Standard or Custom who have their pickups direct-mounted without a pickguard can purchase individual replacementpickups in the orm o ull-size or mini humbuckers, available in bothHD and HG versions. Both the loaded pickguards and replace-ment pickups can be swapped out in minutes with a Phillips headscrewdriver.

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8

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TH E t5

The incredibly versatile hollowbody hybrid T5 continues to amazeplayers with its stunning range o electric and ampli ed acoustictones. Equipped with an acoustic body sensor derived rom theExpression System and two humbuckers (one installed beneaththe retboard), the T5 is ully compatible with acoustic amps, a PAsystem, and electric amps. A ve-way switch o ers access to a

ull range o acoustic and electric tones, and an A/B/ Both box letsplayers dial in a blend o both. A winner o multiple industry awards,the T5 has rede ned what a guitar can do and given per ormersacross the musical spectrum a guitar that can cover as much groundas they need to on stage. For 2010, were pleased to add anothermodel to the mix, the ovangkol top T5 Classic (available as either a6- or 12-string). To view a video demonstration o everything the T5can do, visit taylorguitars.com.

TH E t3The T3 rounds out the Taylor electric line with yet another inspiringblend o tones and smooth unctionality that embrace the semi-

hollow sound and then take it to another level. The T3s coil-splittingapplication allows players to turn their high de nition humbuckersinto single coils. Our push/pull tone knob activates two di erentlevels o tone-shaping that yield a color ul range o electric voices,

rom rockabilly twang to hard rock to warm, at jazz. A metal roller-style bridge includes two tailpiece options: a stop tailpiece or, onthe T3/B, an authentic Bigsby vibrato that adds a touch o vintage,chromed-out cool. The Bigsby/roller bridge pairing solves the pitchproblems long associated with xed bridges and tuning stability.Every step o the way, the T3 enhances the eel, sound and per or-mance o a semi-hollowbody electric. Plug one in and youre bound

to discover a heap o 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

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The SIGnAtuRE modelS

Great artists bring something uniquely compelling to the world. OurSignature models represent an extension o each Taylor artists unique


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musical expression. In each case, a signature guitar has evolved roma standard Taylor model an artist has played or years, incorporatingadditional design elements that visually capture part o the artistsidentity. For 2010, our Signature models embody a range o musicalstyles. Our DDSM and LKSM celebrate two o the most accom-plished ngerstyle players in the world in Doyle Dykes and Leo Kottke.

The TSBT is an invitation to young Taylor Swi t ans who have beeninspired by her songs to pick up a guitar themselves. The STSM-T5captures the creative energy o rock singer-songwriter Serj Tankianand the dynamic range o musical emotions the T5 can articulate onstage. The DMSM adds a resh inlay moti to the 914ce model thatDave Matthews has played on stage or years. And the JMSM, de-signed with Jason Mraz, showcases the ways a nylon-strings expres-sive favors and rhythmic textures t into the acoustic pop world. Withthe right guitar, we each can nd our own signature sound.

JMSMSig a re Ar is : Jason MrazBac /Si es: Indian Rosewood / top: Western Red Cedaru iq e Fea res: Mexican cypress Be Love triangle/circle

retboard inlay, zodiac rosette inlay eaturing koa, bubingaand Mexican cypress

StSM-t5Sig a re Ar is : Serj TankianBo : Sapele / top: Mapleu iq e Fea res: Red binding, Energy Wheel retboard andpeghead inlays, unbound -hole

tSBtSig a re Ar is : Taylor Swi tBac /Si es: Sapele Laminate / top: Solid Sitka Spruceu iq e Fea res: Custom rosette eaturing a vine moti with Loveinscribed three times, with Taylor Swi ts stylized signature and theword Fearless over the bridge

ddSMSig a re Ar is : Doyle DykesBac /Si es: Big Lea Maple /top: Sitka Spruceu iq e Fea res: Florentine cutaway, 4 1/8-inch body depth, o -set pearl Chet style retboard inlays, pearl/abalone rose pegheadinlay, abalone-edged top, di erent color options (see specs)

LkSM, LkSM-6Sig a re Ar is : Leo KottkeBac /Si es: Tropical Mahogany / top: Sitka Spruceu iq e Fea res: No retboard inlay, heavy gauge strings tunedto C#

dMSMSig a re Ar is : Dave MatthewsBac /Si es: Indian Rosewood / top: Sitka Spruce

u iq e Fea res: Custom retboard and peghead inlays,aged toner top shading

L-R: Jason Mraz Signature Model, Serj Tankian T5,Taylor Swi t Baby Taylor, Doyle Dykes Signature Model,Leo Kottke Signature Model, Dave Matthews Signature Model 37


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BUILDtO ORdER

Part o the pleasure o being a guitar enthusiast is envisioning onesdream guitar(s). In recent years, weve taken it upon ourselvesto make those guitar dreams tangible through the Taylor Build toOrder program. Our goal is simple: to use our wood resources anddesign expertise to help you create a Taylor thats truly your own.The program is based on three key ideas: choice, support andturnaround. Starting with choice, our BTO menu eatures about 40separate categories rom which to choose, rom amazing grades oexotic woods to custom neck pro les to a rich palette o inlay, bind-ing and purfing options. Next is support. With the many availableoptions, you might have questions along the way, and were morethan happy to answer them. Weve also brought a good numbero our dealers out to the Taylor complex to spend time with BobTaylor and our BTO team and learn rsthand about BTO options,giving you an additional resource, since youll place your BTO orderthrough your dealer. Last is turnaround time. We reserve daily build

slots or BTO guitars because you shouldnt have to wait six monthsor more. This means that orders are ul lled in around eight weeks.

Our Build to Order programdoesnt just cover our steel-string acoustics. It includesnylon-strings, the T5 and theT3, too. Our menu o optionsmay change on a quarterlybasis, based on the availabilityo woods. In 2010, new BTOoptions or acoustic guitarsinclude an armrest or a head-stock backstrap, plus the abilityto order a custom 9-string, 12-

ret or baritone guitar. New op-tions or the T5 and T3 includethe availability o maple, koa orebony binding. For a listing o BTO categories, check our Speci ca-tions pages in the back o the Guitar Guide.

L-R: GA with AA-quilt maple back and sides, tobacco sunburst nish, 900 Series retboard 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 retboard in-lays; T5 with Macassar ebony top and headstock overlay, Cindy

retboard inlays, Koa Series peghead inlay, and antique gold Gotoh 510 tuners

2 0 1 0 G u I tA R G u I d E

C u S t O M I z A t I O n

Koa Backstrap

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modi y A MOdEL

I you want a variation on a guitarmodel rom Taylors existing linewithout having to order a customBuild to Order guitar, we o er a

number o options through ourModi y a Model program. Theprogram applies to any model

rom the Acoustic 3 or Acoustic/Electric 300 Series and up. (Theseoptions apply when ordering a gui-tar only, not or an existing guitar.)Common choices include:

Alternative nut widths of1 11/16 or 1 7/8 inches

Switching to or from ashort-scale neck

Tuner upgrades (includingGotoh 510s)

Pickguard options (black, clear,tortoise, none)

A bone nut/saddle

Some options are speci c tocertain series. For the maple 600Series, you can choose betweendi erent grades o quilt or fame,

and or no additional charge canselect rom all available colorand burst options. On the 500Series and higher, top swappingoptions include Sitka spruce,Engelmann spruce or cedar, andyou can choose between a two- orthree-piece back. The Koa Serieso ers a shaded edgeburst option.You can also opt or a Florentinecutaway in place o the standard

Venetian on any acoustic/electric.Prices vary by option and may notbe available on all models. Formore in ormation about modi yinga model, contact an authorizedTaylor dealer.

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Electronics

Our commitment to great acoustictone doesnt end with the guitar. Itincludes the realm o ampli ied sound

or players who want to plug in andconvey all the great acoustic nuancesthey love about their Taylors. A gui-

tars shape, its wood pairings, andthe technique o the player togethercreate a unique tonal character, andwe think that voice deserves to beheard when the guitar is plugged-in.A ter all, many gigging acoustic play-ers stake their livelihood on their livesound, and they want a pickup thatsounds natural, is reliable, and is easyto use.

We decided to develop our ownacoustic pickup, the ExpressionSystem (ES), because other a ter-market pickups like a traditional piezotransducer had never managed toproduce a true acoustic sound. Westarted by studying how a guitar res-onates. We worked closely with leg-endary pro audio designer Mr. RupertNeve. Ultimately, our productdevelopment group designed a high-

idelity acoustic pickup and preampthat are ully integrated into theguitar. Weve been installing it in ourguitars since 2003, and some o the

biggest names in music, rom JohnFogerty to George Strait, rely on it ora great acoustic sound on stage.

The ES incorporates a networko magnetic sensors that work like amicrophone to capture the acousticdetail coming rom the guitars bodyand neck as they resonate. A bodysensor a ixed to the underside o theguitars soundboard (top) capturesall the sonic detail o its movement,while a neck sensor picks up stringand neck vibration. A pro audio gradepreamp cleanly boosts the signal andeliminates noise that might otherwisedistort or muddy the tone. The resultis ampli ied acoustic tone that soundslike you and your guitar, with all therichness, articulation and dynamic

range you could ask or. Its alsohighly eedback resistant.

Another goal o the ES designwas to o er easy-to-use tone controlswithout intruding on the beauti ulaesthetic o a Taylor. With three so t-

touch roller knobs elegantly embed-ded in the upper bout o the guitar,you can adjust your volume,bass, midrange and treble requen-cies, allowing you to dial in yoursound to suit the per ormance space.The latest version o the ES (updatedthis year) allows players to turn othe body sensor with a switch on thepreamp board inside the soundhole,

eatures a battery indicator LED, andincludes a used string ground toprotect players who play at venuesthat may not have proper electricalground.

Although the ES was originallydesigned with per ormance in mind,the sound quality is good enoughthat many players and recordingengineers also use the ES signal orrecording.

In the end, the ES will satis ythe most demanding pro player, yetmakes it simple enough or anyoneto plug in and get a great live tone.

Even i youre not quite ready or thatopen mic night, with the ES, your gui-tar will be ready to go when you are.

The ES comes standard onacoustic/electric models rom the300 Series up and is optional onmodels in our acoustic line.

ES-t u er-Sa letra s cer / 100 & 200Series

Inspired by our ExpressionSystem technology and installed onour 100 and 200 Series, the ES-T isa single-source, under-saddle trans-ducer with individual elements oreach string. The ES-T has an onboardpreamp and the same active con-trols ound on the ull ES. Featuring

The performance-ready ExpressionSystem faithfully reproduces yourTaylors natural voice

t e k4Another Taylor tone-

shaping product that we eeldeserves a place in any seri-ous musicians toolbox is theK4 Preamp and Equalizer. Likethe ES, it incorporates theultra-musical analog circuitry oMr. Rupert Neve and expandsthe degree o tone controlo the ES, allowing you toprecisely shape your guitarstone by honing in on the notesor requencies o your choiceand then cutting or boost-ing them to taste. Its per ect

or studio or home recordingand live per ormance. Amongthe K4s eatures are a tuneroutput, phase reverse switch,headphone jack, and an e ects

loop, which allows you to usereverb, a stomp box, a volumepedal or other e ects andmaintain a balanced signalchain. Multiple, trans ormer-coupled balanced outputs giveyou routing lexibility, enablingyou to drive an amp, PA orboth. The K4 is also handy orenhancing the ampli ied soundo other types o acoustic/electric guitars. I you like todetail your tone, the K4 is anessential piece o gear.

tip: Because o its lexible,smooth EQ section, the K4can come in handy in a mixing

session. Try using the K4 as achannel insert on your mixingconsole the next time you doa mix.

a custom-voiced EQ and dynamic

response, the system is powered by a9-volt battery, with a battery li e LEDpower indicator (which is lit when thebattery is being used). The pickupalso has a Phase switch or eedbackcontrol, which is located on the pre-amp board inside the soundhole.

ES-n / n lo SeriesNew or 2010, the ES-N applies

our ES pickup technology to ourNylon Series. Its similar to the ES-T,but the preamp design and tone con-trols were customized to complementthe nylon-string voice. Our standardES control knobs replace the FishmanEQ control unit ormerly installed inthe guitars upper bout, adding moretone-shaping control and preservingthe natural design aesthetic.

ES I s alla io a Re ro i sWhatever model o acoustic guitar

you own, whether an older Taylor withpre-ES electronics or a model with-

out electronics, our Factory ServiceCenter can install or retro it theExpression System. A retro it or clas-sic Taylor necks ( eaturing a one-piece, pre-NT neck design) incorpo-rates the same type o a neck/stringsensor used on the standard ES, onlythe pickup housing is mounted in thesoundhole. The Baby and Big Babycan be equipped with an active under-saddle transducer ($150).

The ES install adds the ES to aTaylor that doesnt currently haveelectronics or that has other elec-tronics inside the body o the guitarand wont present an obstructionto the installation process. NT neckdesign only. ($500)

The ES retro it is used on a Taylor

that has the Fishman OnboardBlender, Fishman Pre ix or theL.R. Baggs pickup used on theDoyle Dykes Signature Model.Side-mounted controls ill theexisting preamp hole in the guitar.($500)

The ES upgrade will modi y yourES-equipped Taylor guitar romthe AA battery power source to the9v system currently used. Thelatest version o the ES alsoincludes a used string ground,battery indicator LED, and a switchthat allows you to turn o the bodysensor. ($300)

The ES-NC (no controls) is anoption or customers who wantthe ES electronics but also wantto preserve the pure acousticaesthetic o their guitar. Thisversion eatures the ES sensorsand preamp, but has no volume or

tone controls. The pickup installa-tion also eatures a standardendpin jack along the tail lineinstead o the ES battery carriage.(The 9v battery is housed insidethe soundhole.) ($500)

ES installation includes ourRe resh service package. For morein ormation, see our service pack-age listings on page 41, or eel reeto call Taylors Customer ServiceDepartment at (800) 943-6782.

40

Taylor Care:Restringing andTuning Tips

Customer Acoustic models: Nut and saddleadjustment or replacement (Tusq)as needed SolidBody models: Nut adjustment


41/48

Part o Bob and Kurts long-termvision or Taylor Guitars has been torede ine what service rom a guitarcompany means. Were passionate

about making guitars but also abouthelping customers ind the right ones,get the most out o them, and keepthem in great condition. The beauti ulthing about a well-made guitar is thati its well cared or, its tone will onlyget better over time.

Guitar service used to simplymean repairing a broken instrument iit was under warranty. For us, servicehas come to mean many things. Itstarts with open, direct lines o com-munication or prospective customersand owners alike to interact with us.Its Ben Benavente on the phonehelping a customer decide on a koaor cocobolo guitar and then in orm-ing him which dealer near him mighthave the model in stock. Its a RoadShow Q&A or hands-on demo withTaylor employees at your local musicstore. Its an Ask Bob response,straight rom Bob Taylor himsel , inWood&Steel . Its a riendly and in or-mative actory tour. Its the instructive

tech sheets and videos on the Taylorwebsite, designed to educate ownerson everything rom properly changingtheir strings to swapping out pickupsto keeping their guitar humidi ied. Itshelping a traveling singer-songwriterget to a quali ied repair technician onthe road so they can get their guitar

ixed in time or their next gig. And ocourse, its the expert care and repairo your avorite guitar, whatever itscondition may be. As a ull-servicecompany, were committed to provid-ing all the resources you need toenjoy your guitars as long as you ownthem.

As Taylor and our customerbase have grown over time, weveexpanded the scope o our authorized

service network to support customersthroughout North America and therest o the world. At t aylorguitars.comyoull ind a growing list o repair con-

tacts who have gone through exten-sive training at the Taylor actory. Weencourage you to call our CustomerService department here at our ac-tory complex in El Cajon, Cali ornia,where our service sta can re er toour list o over 300 repair techs to

ind the right tech or your needs inyour area. We also have our interna-tional actory service centers locatedin England, Sweden, Germany andFrance, sta ed by repair techswhove trained here at Taylors head-quarters.

In 2008, in response to customerrequests, we put together a series oservice packages designed to helpowners keep their Taylors primed.In 2009, we opened an expandedFactory Service Center in El Cajonand extended our reputation or greatservice beyond Taylors to includeother guitar brands. We know thatquality service can be hard to comeby, and its grati ying when someone

drives in rom out o state to drop otheir Martin or Gibson because o thework we did on their Taylor.

Some o you may own 20 Taylors,while others may be encounteringTaylor or the irst time. Either way,our service team has your backthroughout your guitar journey, wher-ever it may take you, and whateveryour questions or concerns may be.

nee elp i i g a g i ar?I youre interested in a Taylor

but arent sure which model is rightor you, or i you want a particular

model but cant ind it, give TaylorsBen Benavente a call. Ben helpscustomers locate elusive Taylor mod-els and answers questions that help

g p

Taylor Customer Service ManagerGlen Wol shares a ew tips thatwill help you keep your guitar intune when you change strings.

Every time you change yourstrings, tighten your pegheadtuning machines and check orloose tuner buttons.

When installing new strings,make sure the ball end o thestring is seated irmly againstthe underside o the top.

Install strings neatly on thetuner post, 3-5 wraps straightdown, never crossing overwraps.

Stretch and retune new stringsseveral times to help themstabilize and settle in.

Always tune strings up from flat,never down rom sharp.

Electronic tuners all react a little

di erently. Spend a little timewith a new tuner to learn itspersonality.

Using harmonics to tune willhelp your tuner lock onto thenote aster, especially on thebass strings.

Wash your hands before playingand wipe down your stringsa terward with a clean, drycloth.

For a video demonstration o how toproperly clean, polish and restringa guitar, visit taylorguitars.com andlook or our maintenance videosunder Service & Support.

ServiceTaylors commitment to service extends well beyondguitar repairs. From tech support to guitar care tips,we provide a direct line to a great guitar experience.

41

SolidBody models: Nut adjustmentor replacement (bone) and bridgeadjustment

T5 models: Nut and saddleadjustment or replacement (bone)as needed

$200 Acoustic models$200 SolidBody models$300 T5 models

Re ewGeared toward the gigging player,Taylors repair techs will return yourguitar to per ect per ormance condi-tion.Includes the Revive package plus: Partial refret up to 10 frets (full

re ret add $100) Full check of the electronics

system$325 Acoustic models$325 SolidBody models$425 T5 models

Rej ve a eThe ultimate hydrating solution or adry guitar. Your guitar and case arereturned to optimum humidity levelswith our rehydrating process. Oncethe guitar is stabilized, we repair anycracks in the retboard or bridge, ile

sharp ret ends smooth, level anyuneven rets, and inish with all theservices in the Re resh package.(Guitars with additional wood crackswill incur urther charges.)$200 All models

Bo e upgra eAdd a bone nut and wave-compen-sated bone saddle upgrade to anyacoustic service package or $100.

Customers in the U.S. and Canadaare encouraged to contact our Factory Service Center sta toll reeat 1-800-943-6782 with any service,maintenance or repair questionsconcerning their guitars. Our hoursare 8 a.m. to 4:30 p.m. Paci ic Time,Monday through Friday. Weve ound that a personal conversation is themost e ective way o answeringquestions and quickly troubleshoot-ing problems. So, please call, and

well be happy to help you. OutsideNorth America, sales and servicequestions are best answered by our international distribution partners. For contact in ormation, go to taylorgui-tars.com/dealers/international

people hone in on the right Tayloror their needs. Hell be happy to

answer questions about tonewoods,body shapes and other appointment

details, and because he is able totrack dealer inventories, he can directyou to a store that carries the speci icTaylor model youre looking or. Bencan also assist customers with Buildto Order questions. Whatever in or-mation you need, Ben is here to help,without any sales pressure. Just call1-888-2TAYLOR.

ta lor Service Pac agesWe currently o er our service

packages that cover any level omaintenance a guitar might need.Send your guitar(s) to the Taylor

actory speci ically or one o thesepackages, or add a service packageto a guitar thats sent in or otherreasons, such as warranty service,ding repair, etc. Our Factory ServiceCenter can also per orm ExpressionSystem pickup installations andupgrades. Guitars shipped to us willbe returned in a brand new shippingcarton with Taylor-engineered inserts

designed to stabilize the case andcushion the ends.

Re resIncludes: Stabilizing the guitar atthe 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

ReviveIncludes the Re resh package plus: Neck angle adjustment (reset) Fret dress

n s

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GA GS GC dn JM GS Mi i Bab Big Bab t3 t5 Soli Bo


42/48

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27

20

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40 1/2

19 1/2

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41

20

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43/48

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Taylors Build to Order program enables you to custom-design yourdream Taylor by choosing rom a robust menu o guitar speci ca-tions. Here youll nd a list o BTO categories or our steel-string andnylon-string acoustics, as well as the T5 and T3. For a complete listo options and pricing within each category, contact your pre erred

Taylor dealer, who will have a comprehensive BTO worksheet andwill be able to help you with your order. I you live in the U.S. orCanada and have speci c questions about the BTO program, callus at 1-888-2TAYLOR, and Ben Benavente will be happy to helpyou. For customers outside North America, contact the internationalTaylor distributor in your country.

Please note that some options, particularly wood choices, maychange on a quarterly basis.

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44/48

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45/48

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46/48

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T sq

TS t h

ir s w

g ss

g ss

S t

exp ss S st

n

T d xh s (B w )

12- t

B l m p

S tk Sp c

h r ck m p


S r ab

eb

P ddSm

ab

eb w/ P /ab r s i

iv

eb

eb w/ab d ts

T sq

T g

eb

g ss

g ss

g ss

exp ss S st B s / ddSm

n

T d xh s (B w )

ddSm c s:n tB ck ( p q )B ck (t s c t)oB w S

S p l t

S tk Sp c

S p

X B c

Sc P tC st

eb

P d ts

n

l x

n

eb

B ck

T sq

C

n

V s

V s

V s

opt

n

g B

TSBT

T p c m

S tk Sp c

T p c m

lKSm B c

3-r

eb

n

n

ir s w

ir s w

eb

eb

T sq

T g

ir s w

g ss

g ss

S t

n

n

T d xh s (B w )

lKSmlKSm-6

S p

m p

S p

St T5

n/a

eb

S j T ke W

n/a

eb w/eW i

B ck

eb

eb

B

C

B ck

g ss

g ss

g ss

T5 e ct csw/ v -W Sw tc

n

T T5h s (B ck)

STSm-T5

i r s w

W st r C

T p c m

n S sB c

m x c C p ss/B b /K Z cS b s

eb

m x c C p ssB l v w/C c /T

n

ir s w

ir s w

eb

n

T sq

P C ss c gw t iv B tt s

n

g ss

g ss

S t

eS-n

n

T d xh s (B w )

JmSm

summer guitar guide

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