The 2010 Guitar Guide - Jedistar

The 2010 

Guitar Guide 

Summer Edition

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3 

Guitar Guide 

Summer 2010 

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The 2010 Guitar Guide 

On the Cover 

4 The 2010 Guitar Guide 

Welcome to the 2010 Taylor line. There’s a lot to love here. 

6 Finding Your Fit: Woods and Shapes 

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. 

Grammy-winning 

singer-songwriter 

Zac Brown with an 

NS74ce, his main 

stage guitar. 

8 

8 The Acoustic Line 

From the Koa Series to the Baby Taylor, we profile our many flavors of 

acoustic 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-install 

after-market pickup. 

26 Specialty Models 

A sweet-voiced 12-Fret and a pair of rich Baritones promise to take 

you somewhere new. 

28 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. 

26 28 34 

38 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. 

38 

22 

40 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. 

41 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 

support you need. 

42 The Specs 

Here’s a closer look at the details that define each guitar we make.

thE 2010 

guitar guide 

Specialty acoustics, 

custom electrics, and more 

expand this year’s Taylor line 

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 guitar 

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. Joining them is an amazing new 12-fret rosewood Grand 

Concert, also inspired by a 35th anniversary model. 

As we detail on pages 36-37, our Artist Series continues to grow 

this year, with new signature models designed with popular singersongwriters 

Jason Mraz and Dave Matthews, both longtime Taylor 

players. We also debut a new pickup for our nylons, the Expression 

System-derived ES-N ® , and proudly unveil the GS Mini TM , 

a fun-size guitar with a full-size sound. 

In our electric division, the big news is the evolution of our 

SolidBody series to offer a much greater ability to choose your 

specs. Now you can select 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. 

4

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 challenge 

of finding the right model 

— one that inspires you and delivers 

the sounds that you’re after. 

Each person has different playing 

mechanics, we each perceive tone 

in a unique way, and our attraction 

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 guitars 

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 Benavente 

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 

tonal properties of woods + 

player technique = guitar tone 

In other words, a guitar’s dimensions 

generate the guitar’s fundamental 

sound, the types of woods 

used for the guitar help flavor 

that sound, and the way one plays 

interacts 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 who wants a lot of volume, 

a small-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 personal 

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 features 

a refined design that helps 

establish a distinctive sound for 

that guitar. Here’s a rundown of 

our five standard shapes and their 

accompanying sounds.

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 guitar 

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 sacrificing 

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 instruments 

both on stage and in a recording 

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 compact 

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 acoustic 

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 interact 

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, meaning 

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 following 

pages includes a note on the 

distinguishing properties of the tonewoods 

used on the back and sides of 

the guitar. These are just generalizations 

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 tonewood 

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 availability 

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 — essentially 

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 different 

body designs of the T5, T3 and 

SolidBody. The T5 is a fully hollowbody 

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 chambers, 

partly for weight relief but also 

to optimize the body’s natural acoustic 

“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, affordable 

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 strumming. 

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 easily: 

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 experience, 

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 humidifier 

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. 

7

2010 Guitar Guide 

The ACOUSTIC/ELECTRIC LINE 

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 

9

the 900 Series 

Back/Sides: Indian Rosewood 

Top: Abalone-trimmed Sitka Spruce 

Fretboard Inlay: 900 Series Pearl 

Binding: Ivoroid 


Sunburst Options: Tobacco (top only) 

Additional Premium Appointments: Gotoh tuners, bone nut/saddle, 

peghead and bridge inlays 

Models: 910ce, 912ce, 914ce, 916ce, 954ce 



Top: Sitka Spruce 

Fretboard Inlay: 800 Series Pearl 

Binding: Curly Maple 



Models: 810ce, 812ce, 814ce, 815ce, 816ce, 854ce, 855ce, 856ce 



Top: Engelmann Spruce (710ce, 712ce), 

Western Red Cedar (714ce, 716ce) 

Fretboard Inlay: Pearl Dots 

Binding: Indian Rosewood 



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 personality, 

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. Whichever 

series you favor, rosewood will simply sing in your hands. 

10 

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

21 


Back/Sides: Big Leaf Maple 


Fretboard Inlay: Pearl “Leaf” Pattern 

Binding: White 


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 overtones 

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 smallerbodied 

guitars where the tone is being amplified, and with biggerbodied 

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 13


Back/Sides: Tropical Mahogany 

Top: Engelmann Spruce (510ce, 512ce) 

Western Red Cedar (514ce, 516ce) 

Fretboard Inlay: Pearl Dots 



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 — singersongwriters, 

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. 

14


Back/Sides: Ovangkol 


Finish: Satin with Gloss Top 

Fretboard Inlay: Large Pearl Dots 


Rosette: 3-Ring 

Models: 410ce, 412ce, 414ce, 454ce, 455ce 


Back/Sides: Sapele 


Finish: Satin with Gloss Top 

Fretboard Inlay: Large Pearl Dots 

Binding: Black 


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 alternative 

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. 

17


Back/Sides: Rosewood Laminate 

Top: Solid Sitka Spruce (Gloss) 

Fretboard Inlay: Pearloid Dots 



Models: 210, 210e, 210ce, 214, 214e, 214ce 


Back/Sides: Sapele Laminate 

Top: Solid Sitka Spruce 




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. 

18

the nylon series 

NS72ce/NS74ce 

Back & Sides: Indian Rosewood 

Top: Cedar 


Headstock Overlay: 

Indian Rosewood 

NS62ce/NS64ce 

Back & Sides: Big Leaf Maple 

Top: Engelmann Spruce 


Headstock Overlay/Bridge: 

Ebony 

NS32ce/ NS34ce 

Back & Sides: Sapele 





NS24e/NS24ce 

Back & Sides: 

Rosewood Laminate 





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 generation 

of nylon tone, used not just 

for traditional classical or Spanishtinged 

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 tension 

adds an extra helping of playability. 

In 2009 we added a pair of 

more affordable rosewood laminate 

nylons to the family, and new for 

2010 is our ES-N ® pickup, featuring 

a preamp and tone controls that 

were designed to naturally capture 

the nylon-string voice. 

20 

NS74ce shown

aby taylor 

Size/Shape: 3/4-scale 

Dreadnought (22 3/4-inch 

scale length) 


Top: Solid Sitka Spruce or 

Mahogany 


Rosette: Laser-etched 

big baby taylor 

Size/Shape: 15/16-scale 

Dreadnought 




Rosette: Laser-etched 

A big reason for the guitar’s widespread 

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 commuting 

around town, too. Plus, 

you’ll be well equipped if you get 

inspired to do a little busking on 

the fly. 

Baby Taylor shown 21


The GS MINI TM 

Size/Shape: Scaled-down GS (23 1/2-inch scale length) 





Purfling: Black/White/Black 

The GS Mini pairs the concept of a fun, ultra-portable guitar, first 

embodied by the Baby Taylor, with the tone-enhancing engineering 

that led to the development of the GS body style. The result is a 

small-size guitar with a full-size sound, making it the perfect go-anywhere 

guitar — from the couch to the campfire to the concert hall — 

at an affordable price point. Besides a surprisingly rich, beefed-up 

sound, the Mini also features Taylor’s patented NT ® neck, which 

delivers Taylor’s renowned intonation and provides more stability in 

different climate conditions out in the world. The Mini even borrows 

some of the refined aesthetic details of our full-size models, like an 

inlaid rosette, top purfling, and a pickguard. And to make the Mini 

even more versatile for players who want to plug in, it’s pre-fitted for 

easy self-installation of our proprietary magnetic soundhole pickup, 

the ES-Go (opposite page), which can be purchased separately 

and added in minutes. Together with the V-Cable, wherever life 

takes you, the GS Mini is always ready to play. 

Scott Winder from Taylor’s equipment maintenance team enjoys 

cruising out to the desert or the mountains on the weekends, 

and loves to have a guitar with him when he’s surrounded by 

the inspiration of the great outdoors. With the GS Mini, ES-Go, 

Taylor V-Cable and the Sonoma Wire Works GuitarJack iPhone 

interface, he can easily record music from anywhere. He uses 

Sonoma’s iPhone app FourTrack and a Taylor iPhone app with 

several Taylor EQ presets, including one for the GS Mini. For more 

details on the GuitarJack, FourTrack and the Taylor iPhone app, 

visit sonomawireworks.com/guitarjack. 

22

Plug-in Accessories 

ES-Go 

The ES-Go is a magnetic soundhole 

pickup developed exclusively 

for the GS Mini. It was designed 

to be a convenient add-on component 

that anyone can install 

on their own in minutes for a 

great amplified acoustic sound. 

Every Mini comes pre-fitted with 

a pickup connecting bracket 

that’s mounted to the neck extension 

block inside the soundhole. 

The ES-Go includes a mounting 

clip that snaps into the bracket, 

allowing the pickup to “float” in 

the soundhole without touching 

the top. Simply replace the Mini’s 

endpin with the pickup’s endpin 

jack, which has a cable that plugs 

into an input jack on the pickup. 

Once the pickup is snapped into 

the connecting bracket, the Mini is 

ready to be plugged in. 

V-Cable 

The innovative, Taylor-designed 

V-Cable features a master volume 

control that’s built directly into the 

cable, making it easy to adjust 

your volume anytime you plug in a 

GS Mini with the ES-Go pickup. 

It also works with other guitars 

that don’t have an onboard volume 

control. The volume knob’s ergonomic 

placement on the end of 

the cable that plugs into the guitar 

makes it easy for players to find it 

in the dark, and it can be turned 

off to unplug noiselessly. Both 

the ES-Go and the V-Cable are 

available through TaylorWare at 

taylorguitars.com. 

51 23


The acoustic LINE 

grand symphony 

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

grand AUDITORIUM 

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” 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. 

24 

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


The specialty models 

Baritone 6-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 combination 

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 singersongwriters 

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 guitarist/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 

27


The ELECTRIC LINE 

the 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 

28

the solidbody 

Choose Your Body 

The SolidBody comes in three different 

body styles: Classic, Standard 

and Custom. The Classic features an 

alder body with a broad array of color 

options (shown and listed below). 

The Standard features a chambered 

sapele body with a top of figured 

maple and an aged cherry sunburst. 

The Custom also features a chambered 

sapele body, with a choice of 

two different tops, koa or walnut. 

Choose Your Pickguard 

All SolidBody models come with a 

pickguard, available in a choice of five 

colors: white pearloid, black pearloid, 

tortoise, black and parchment. The 

Standard and Custom can also be 

ordered with direct-mount pickups, 

without a pickguard. 

Choose Your 

Pickup Configuration 

A wide variety of different SolidBody 

pickup configurations gives 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. 

Build a Virtual 

SolidBody Online 

You can explore the different custom 

options offered with the SolidBody by 

using our online SolidBody Configurator. 

The program allows you 

to select from all available options 

and build a virtual model. Feel free 

to experiment with different body, 

pickup and pickguard combinations. 

The Configurator gives you the option 

of downloading a picture of your 

guitar with your chosen specs. You 

can also e-mail them, print them, or 

be directed to one of Taylor’s premier 

electric dealerships to place an order. 

taylorguitars.com/guitars/electric/ 

models/solidbody/ 

Classic - Trans White 

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 character 

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. 

Humbucker: Uses two coils to generate 

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 guitars. 

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. 

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 original 

high fidelity design, while the High 

Gain (HG) is slightly darker-sounding 

and unleashes more front-end drive 

for a crunchier tone with extra rawness. 

Vintage Alnico (VA) Humbucker: 

Our newest pickup is a full-size, 

covered humbucker with a big sound. 

The Alnico 5 magnets we used are 

known for their hot output and round 

sound. Our VA pays homage to the 

tradition of classic humbuckers, yet 

with a more modern sonic flavor. 

Taylor’s David Hosler explains: “I’ve 

always liked that big, woolly tone that 

comes with PAF humbuckers. Our 

goal was to create a pickup with a 

little more drive on the front end of 

the amp.” 

Single Coil: Uses only one coil by 

design. When played through a clean 

channel on an amp, single coils can 

sound shimmery, glassy and bright. 

They take on a different personality 

when played through the crunch or 

high gain channel of an amp. Players 

who have popularized the single coil 

sound include Stevie Ray Vaughan, 

Jeff Beck and David Gilmour. Our 

breakthrough noiseless single coil 

responds with all the breathiness, 

sparkle and other distinctive character 

of the single coil sound, but 

without any of the traditional buzz, 

hum or other sonic artifacts. 

Classic - Tobacco Sunburst 

Classic - Natural 

Classic - Trans Red 

Classic - Black 

Standard - Aged Cherry Sunburst 

Custom - Walnut 

Custom - Koa 

Standard - Aged Cherry Sunburst w/ pickguard 

Custom - Walnut w/ pickguard 

Custom - Koa w/ pickguard

the solidbody 

Pickup configurations 

Choosing from different combinations of pickups allows you to customize 

the fundamental tonal palette of your SolidBody. With plenty 

of configurations available, you can completely personalize your 

sound for your playing preferences. Here’s a rundown of available 

configurations. 

5 

2 Mini Humbuckers (HD or HG) 1 

Because mini humbuckers take up less sonic space than full-size 

humbuckers, they’re a great choice for a band with multiple instruments. 

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. 

6 

2 Full-size HD Humbuckers 2 

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 combination 

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 engineered 

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 traditional 

PAF-style covered pickup. They feature a fat, round sound with 

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. 

4 

7 

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 

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. 

3 

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 volume 

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. 

32

9 

8 

2 Single Coils/1 HG Humbucker 7 

This combination, born out of the guitar player culture of swapping 

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. 

2 

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 

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 Pickguards 

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 directmounted 

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 replacement 

pickups can be swapped out in minutes with a Phillips head 

screwdriver. 

33

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 semihollow 

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 rollerstyle 

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 performance 

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 

34

the signature models 

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 embody 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. The DMSM adds a fresh inlay motif to the 914ce model that 

Dave Matthews has played on stage for years. 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, offset 

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# 

DMSM 

Signature Artist: Dave Matthews 

Back/Sides: Indian Rosewood / Top: Sitka Spruce 

Unique Features: Custom fretboard and peghead inlays, 

aged toner top shading 

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

Taylor Swift Baby Taylor, Doyle Dykes Signature Model, 

Leo Kottke Signature Model, Dave Matthews Signature Model 37


customization 

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, binding 

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 steelstring 

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 headstock 

backstrap, plus the ability 

to order a custom 9-string, 12- 

fret or baritone guitar. New options 

for the T5 and T3 include Koa Backstrap 

the availability of maple, koa or 

ebony binding. For a listing of BTO categories, check our Specifications 

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 inlays; 

T5 with Macassar ebony top and headstock overlay, “Cindy” 

fretboard inlays, Koa Series peghead inlay, and antique gold 

Gotoh 510 tuners 

38

modify 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 guitar 

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. 

39

Acoustic 

Electronics 

The performance-ready Expression 

System faithfully reproduces your 

Taylor’s natural voice 

Our commitment to great acoustic 

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 nuances 

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 aftermarket 

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 highfidelity 

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. A body 

sensor affixed to the underside of the 

guitar’s soundboard (top) captures 

all the sonic detail of its movement, 

while a neck sensor picks up string 

and neck vibration. A pro audio grade 

preamp cleanly boosts the signal 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 controls 

without intruding on the beautiful 

aesthetic of a Taylor. With three softtouch 

roller knobs elegantly embedded 

in the upper bout of the guitar, 

you can adjust your volume, 

bass, midrange and treble frequencies, 

allowing you to dial in your 

sound to suit the performance space. 

The latest version of the ES (updated 

this year) allows players to turn off 

the body sensor 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 complement 

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 guitar 

you own, whether an older Taylor with 

pre-ES electronics or a model without 

electronics, our Factory Service 

Center can install or retrofit the 

Expression System. A retrofit for “classic” 

Taylor necks (featuring a onepiece, 

pre-NT neck design) incorporates 

the same type of a neck/string 

sensor used on the standard ES, only 

the pickup housing is mounted in the 

soundhole. The Baby and Big Baby 

can be equipped with an active undersaddle 

transducer ($150). 

• The ES install adds the ES to a 

Taylor that doesn’t currently have 

electronics or 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 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 a switch 

that allows you to turn off the body 

sensor. ($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 installation 

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 package 

listings on page 41, or feel free 

to call Taylor’s Customer Service 

Department at (800) 943-6782. 

The K4 

Another Taylor toneshaping 

product that we feel 

deserves a place in any serious 

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 boosting 

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, transformercoupled 

balanced outputs give 

you routing flexibility, enabling 

you to drive an amp, PA or 

both. The K4 is also handy for 

enhancing the amplified sound 

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. 

40

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. 

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 communication 

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 informing 

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 informative 

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 providing 

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 

expanded the scope of our authorized 

service 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 factory. 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, wherever 

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 models 

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 specific 

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 

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 

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) 

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 condition. 

Includes the Revive package plus: 

• Partial refret up to 10 frets (full 

refret add $100) 

• Full check of the electronics 

system 

$325 Acoustic models 

$325 SolidBody models 

$425 T5 models 

Rejuvenate 

The ultimate hydrating solution for a 

dry guitar. Your guitar and case are 

returned to optimum humidity levels 

with our rehydrating process. Once 

the guitar is stabilized, we repair any 

cracks in the fretboard or bridge, file 

sharp fret ends smooth, level any 

uneven frets, and finish with all the 

services in the Refresh package. 

(Guitars with additional wood cracks 

will incur further charges.) 

$200 All models 

Bone Upgrade 

Add a bone nut and wave-compensated 

bone saddle upgrade to any 

acoustic service package for $100. 

Customers in the U.S. and Canada 

are encouraged to contact our 

Factory Service Center staff toll free 

at 1-800-943-6782 with any service, 

maintenance or repair questions 

concerning their guitars. Our hours 

are 8 a.m. to 4:30 p.m. Pacific Time, 

Monday through Friday. We’ve found 

that a personal conversation is the 

most effective way of answering 

questions and quickly troubleshooting 

problems. So, please call, and 

we’ll be happy to help you. Outside 

North America, sales and service 

questions are best answered by our 

international distribution partners. For 

contact information, go to taylorguitars.com/dealers/international 

Taylor Care: 

Restringing and 

Tuning Tips 

Taylor Customer Service Manager 

Glen Wolff shares a few tips that 

will help you keep your guitar in 

tune when you change strings. 

• Every time you change your 

strings, tighten your peghead 

tuning machines and check for 

loose tuner buttons. 

• When installing new strings, 

make sure the ball end of the 

string is seated firmly against 

the underside of the top. 

• Install strings neatly on the 

tuner post, 3-5 wraps straight 

down, never crossing over 

wraps. 

• Stretch and retune new strings 

several times to help them 

stabilize and settle in. 

• Always tune strings up from flat, 

never down from sharp. 

• Electronic tuners all react a little 

differently. Spend a little time 

with a new tuner to learn its 

“personality.” 

• Using harmonics to tune will 

help your tuner lock onto the 

note faster, especially on the 

bass strings. 

• Wash your hands before playing 

and wipe down your strings 

afterward with a clean, dry 

cloth. 

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.” 

41

Dimensions by Shape 

2010 Guitar Guide Specifications 

Overall Length 

6-String 

12-String 

Body Length 

Body Width 

Body Depth 

Scale Length 

Standard 

Short 

Baritone 

Frets 

Neck Width 

6-String 

12-string 

100/200 Series 

Strings / Gauge 

GA 

41” 

41” 

20” 

16” 

4 5/8”* 

25 1/2” 

24 7/8” 

• 

20 

1 3/4” 

1 7/8” 

1 11/16” 

GS 

41” 

41” 

20” 

16 1/4” 

4 5/8” 

25 1/2” 

24 7/8” 

27” 

20 

1 3/4” 

1 7/8” 

• 

GC 

40 1/2” 

• 

19 1/2” 

15” 

4 3/8” 

• 

24 7/8” 

• 

20 

1 3/4” 

• 

• 

DN 

41” 

• 

20” 

16” 

4 5/8” 

25 1/2” 

24 7/8” 

• 

20 

1 3/4” 

• 

1 11/16” 

JM 

42” 

43” 

21” 

17” 

4 5/8” 

25 1/2” 

24 7/8” 

• 

20 

1 3/4” 

1 7/8” 

• 

Acoustic 

GC, GA, Baby, Big Baby: Elixir ® NANOWEB Light Gauge (.012-.053) 

All 12-string Models: Elixir ® NANOWEB Light Gauge (.010-.047) 

GS, DN, JM, GS Mini: Elixir ® NANOWEB ® Medium Gauge (.013-.056) 

LKSM: Elixir ® NANOWEB ® Custom Medium Gauge (.013-.056) 

Nylon Series: D’Addario Pro-Arté ® Extra Hard Tension 

Baritone: Elixir ® Baritone (.016-.070) 

GS Mini 

35 5/8” 

• 

17 5/8” 

14 3/8” 

4 7/16” 

23 1/2” 

• 

• 

20 

1 11/16” 

• 

• 

Baby 

33 3/4” 

• 

15 3/4” 

12 1/2” 

3 3/8” 

22 3/4” 

• 

• 

19 

1 11/16” 

• 

• 

Big Baby 

40 1/4” 

• 

19 1/2” 

15” 

4” 

25 1/2” 

• 

• 

20 

1 11/16” 

• 

• 

T3 

41 3/16” 

• 

20” 

16” 

2 1/3” 

• 

24 7/8” 

• 

21 

1 11/16” 

• 

• 

T5 

40 3/4” 

40 3/4” 

20” 

16” 

2 1/3” 

• 

24 7/8” 

• 

21 

1 11/16” 

1 11/16” 

• 

SolidBody 

38” 

• 

17 2/5” 

13 13/20” 

1 3/4” 

• 

24 7/8” 

• 

22 

1 11/16” 

• 

• 

Electric 

T3, SolidBody: Elixir ® NANOWEB ® Electric Light Gauge (.010-.046) 

T5: Elixir ® NANOWEB ® Electric Medium Gauge (.011-.049) 

T5 12-string: Elixir ® NANOWEB ® Electric Light Gauge 

*DDSM body depth is 4 1/8” 

Models by Shape 

GA GS GC DN JM GS Mini Baby Big Baby T3 t5 SolidBody 

K14ce 

K24ce 

K54ce 

K64ce 

914ce 

954ce 

814ce 

854ce 

714ce 

614ce 

654ce 

514ce 

414ce 

454ce 

314ce 

354ce 

214 

214e 

214ce 

114 

114e 

114ce 

GA-K 

GA-K-12 

GA8 

GA8-12 

GA7 

GA6 

GA6-12 

GA5 

GA4 

GA4-12 

GA3 

GA3-12 

NS74ce 

NS64ce 

NS34ce 

NS24ce 

NS24e 

DDSM 

DMSM 

K16ce 

K26ce 

K56ce 

K66ce 

916ce 

816ce 

856ce 

716ce 

616ce 

656ce 

516ce 

GS-K 

GS8 

GS8-12 

GS7 

GS6 

GS5 

GS5-12 

Baritone 8 

Baritone 6 

K12ce 

K22ce 

912ce 

812ce 

712ce 

612ce 

512ce 

412ce 

312ce 

GC-K 

GC8 

GC7 

GC6 

GC5 

GC4 

GC3 

NS72ce 

NS62ce 

NS32ce 

12-Fret 

JMSM 

K10ce 

K20ce 

910ce 

810ce 

710ce 

610ce 

510ce 

410ce 

310ce 

210 

210e 

210ce 

110 

110e 

110ce 

DN-K 

910 Legacy 

dn8 

810 Legacy 

DN5 

DN4 

DN3 

K65ce 

LKSM 

LKSM-6 

815ce 

855ce 

615ce 

655ce 

455ce 

315ce 

355ce 

GS Mini BT1 

BBT T3 

BT2 

T3/B 

TSBT 

T5-S 

T5S-12 

T5-S1 

T5S1-12 

T5-C 

T5C-12 

T5-C1 

T5C1-12 

T5-C2 

T5C2-12 

T5-C4 

T5C4-12 

T5-C5 

T5C5-12 

T5 Classic 

T5 Classic 12 

STSM-T5 

SB Classic 

SB Standard 

SB Custom Koa 

SB Custom Walnut 

Models and specifications are subject to change without notice. 

46 

42

Build To Order Menu Categories 

2010 Guitar Guide Specifications 

Taylor’s Build to Order program enables you to custom-design your 

dream Taylor by choosing from a robust menu of guitar specifications. 

Here you’ll find a list of BTO categories for our steel-string and 

nylon-string acoustics, as well as the T5 and T3. For a complete list 

of options and pricing within each category, contact your preferred 

Taylor dealer, who will have a comprehensive BTO worksheet and 

will be able to help you with your order. If you live in the U.S. or 

Canada and have specific questions about the BTO program, call 

us at 1-888-2TAYLOR, and Ben Benavente will be happy to help 

you. For customers outside North America, contact the international 

Taylor distributor in your country. 

Please note that some options, particularly wood choices, may 

change on a quarterly basis. 

Acoustic, Acoustic/Electric 

Guitar Type (6-, 12- or 9-string) 

Baritone 

12-Fret 

Body Shape 

Cutaway 

Electronics 

Right or Left Handed 

Left Handed strung Right Handed 

Nut Width 

Scale Length 

Neck Profile 

Peghead 

Back/Sides 

Top 

Back Configuration 

Wedge Material 

Headstock Overlay 

Truss Rod Cover 

Neck Wood 

Binding (Body, Fretboard, Peghead) 

Bound (Peghead) 

Purfling 

Rosette 

Abalone Top 

Fretboard Inlay 

Peghead Inlay 

Bridge Inlay 

Top Finish 

Back/Sides Finish 

Neck Finish 

Peghead Finish 

Color 

Tuners 

String Type 

Bridge Pins 

Pickguard 

Nut/Saddle 

Strap Pin 

Bracing 

Armrest 

Backstrap 

Nylon 

Body Shape 

Cutaway 

Electronics 


Back/Sides 

Top 

Back Configuration 

Wedge Material 


Neck Wood 

Binding (Body, Fretboard) 

Rosette 

Abalone Top 


Top Finish 


Neck Finish 


Color 

Strap Pin 

Peghead Logo 

T5 / T3 

Guitar Type (6- or 12-string) 

Electronics 


Bridge (T3) 

Neck Profile 


Truss Rod Cover 

Neck Wood 

Binding (Body, Fretboard, Peghead) 

Purfling 

Abalone Trim 


Peghead Inlay 

Top Finish 


Neck Finish 


Color 

Tuners 

String Type 

Bridge Pins 

Strap Pin 

Build To Order Wood Choices 

Back/Sides 

(Steel-string Acoustic & Nylon) 

Tops 

(Steel-string Acoustic) 

Tops 

(Nylon) 

Hawaiian Koa, A 

Hawaiian Koa, AA 

Hawaiian Koa, Master 

Indian Rosewood, A 

Indian Rosewood, AA 

Macassar (Striped Ebony) 

Madagascar Rosewood 

Mahogany 

Maple, A Flame 

Maple, A Quilt 

Maple, AA Flame 

Maple, AA Quilt 

Ovangkol 

Sapele 

Walnut, A 

Walnut, AA 

Walnut, Grafted 

Adirondack Spruce 

Adirondack Spruce, Premium 

Engelmann Spruce 

Engelmann Spruce, Premium 

Hawaiian Koa, A 

Hawaiian Koa, AA 

Hawaiian Koa, Master 

Mahogany 

Redwood, Premium 

Redwood, Standard 

Sinker Redwood 

Sitka Spruce 

Sitka Spruce, Premium 

Walnut 

Western Red Cedar 

Engelmann Spruce 

Engelmann Spruce, Premium 

Redwood, Premium 

Redwood, Standard 

Sinker Redwood 

Sitka Spruce 

Sitka Spruce, Premium 


43

Standard Features 

Koa Series 

Acoustic Koa 

900 Series 

800 Series 

Acoustic 8 

700 Series 

Acoustic 7 

600 Series 

Acoustic 6 

500 Series 

Back / Sides 

Hawaiian Koa 

Hawaiian Koa 






Big Leaf Maple 


Tropical Mahogany 

Top 

Sitka Spruce or 

Hawaiian Koa 

Sitka Spruce or 

Hawaiian Koa 

Sitka Spruce 

Sitka Spruce 

Sitka Spruce 

Engelmann Spruce / 



Sitka Spruce 

Sitka Spruce 

Engelmann Spruce / 


Neck 








Hard Rock Maple 



Bracing 

CV w/ Relief Rout 





Standard II (Forward 

Shifted Pattern w/ 

Relief Rout) 



Relief Rout) 



Relief Rout) 



Relief Rout) 



Relief Rout) 

Rosette 

Single Ring Abalone 

3-Ring Abalone 









Fretboard 

Ebony 

Ebony 

Ebony 

Ebony 

Ebony 

Ebony 

Ebony 

Ebony 

Ebony 

Ebony 

Fretboard 

Inlay 

Abalone Koa Series 

Abalone Dots 

Pearl 900 Series 

Pearl 800 Series 

Abalone Dots 

Pearl Dots 

Abalone Dots 

Pearl 600 

Series “Leaf” 

Abalone Dots 

Pearl Dots 

Top Inlay 

Abalone 

Abalone 

Abalone 

None 

None 

None 

None 

None 

None 

None 

Headstock 

Overlay 

Ebony 

Ebony 

Ebony 

w/ Pearl Inlay 





Ebony 



Binding 

Curly Maple 

Ivoroid 

Ivoroid 

Curly Maple 

Ivoroid 


Ivoroid 

White 

Ivoroid 


Bridge 

Ebony 

Ebony 

Ebony 

w/ Pearl Inlay 

Ebony 

Ebony 

Ebony 

Ebony 

Ebony 

Ebony 

Ebony 

Bridge Pins 

Ebony w/ 

Abalone Dots 

Ebony w/ 

Abalone Dots 

Ebony w/ 

Abalone Dots 

Ebony w/ 

Abalone Dots 

Ebony w/ 

Abalone Dots 

Ebony w/ 

Abalone Dots 

Ebony w/ 

Abalone Dots 

Ebony w/ 

Abalone Dots 

Ebony w/ 

Abalone Dots 

Ebony w/ 

Abalone Dots 

Nut / Saddle 

Tusq 

Tusq 

Bone 

Tusq 

Tusq 

Tusq 

Tusq 

Tusq 

Tusq 

Tusq 

Tuning 

Machines / 

Buttons 

Taylor Gold 

Taylor Gold 

or Taylor Slot 

Head (GC) 

Gotoh 

Taylor Gold 

Taylor Gold 


Head (GC) 

Taylor Gold 

Taylor Gold 


Head (GC) 

Taylor Gold 

Taylor Gold 


Head (GC) 

Taylor Chrome 

Taylor Gold (514ce, 

516ce) 

Truss Rod 

Cover 

Ebony 

Ebony 

Ebony 

Indian 

Rosewood 

Indian 

Rosewood 

Indian 

Rosewood 

Indian 

Rosewood 

Ebony 

Indian 

Rosewood 

Indian 

Rosewood 

Back / Side 

Finish 

Gloss 

Gloss 

Gloss 

Gloss 

Gloss 

Gloss 

Gloss 

Gloss 

Gloss 

Gloss 

Top Finish 

Gloss 

Gloss 

Gloss 

Gloss 

Gloss 

Gloss 

Gloss 

Gloss 

Gloss 

Gloss 

Neck Finish 

Satin 

Satin 

Satin 

Satin 

Satin 

Satin 

Satin 

Gloss 

Gloss 

Satin 

Electronics 

Expression System ® 




Optional 



Optional 



Optional 



Pickguard 

None 

None 

None 

Tortoise 

None 

Tortoise 

None 

Tortoise (Amber) 

None (colors/bursts) 

None 

Tortoise 

Case 

Taylor Deluxe 

Hardshell (Brown) 

Taylor Deluxe 


Taylor Deluxe 


Taylor Deluxe 


Taylor Deluxe 


Taylor Deluxe 


Taylor Deluxe 


Taylor Deluxe 


Taylor Deluxe 


Taylor Deluxe 


Models 

K10ce, K12ce, 

K14ce, K16ce, 

K20ce, K22ce, 

K24ce, K26ce, 

K54ce, K64ce, 

K65ce, K56ce, 

K66ce 

GA-K, GA-K-12 

GC-K, GS-K 

DN-K 

910ce, 

910 Legacy 

912ce, 914ce, 

916ce, 954ce 

810ce, 812ce, 

814ce, 815ce, 

816ce, 854ce, 

855ce, 856ce 

GA8, GC8, 

GS8, DN8, 

810 Legacy 

GA8-12, GS8-12 

710ce, 712ce, 

714ce, 716ce 

GA7, GC7, 

GS7 

610ce, 612ce, 

614ce, 615ce, 

616ce, 654ce, 

655ce, 656ce 

GA6, GC6, 

GS6, GA6-12 

510ce, 512ce, 

514ce, 516ce 

44

Standard Features 

Acoustic 5 

400 Series 

Acoustic 4 

300 Series 

Acoustic 3 

200 / 100 Series 

GS Mini 

Baby Taylor 

Nylon Series 

Back / Sides 


Ovangkol 

Ovangkol 

Sapele 

Sapele 

200 Series: 

Rosewood Laminate 

100 Series: 

Sapele Laminate 



Indian Rosewood (NS72ce, NS74ce) 

Big Leaf Maple (NS62ce, NS64ce) 

Sapele (NS32ce, NS34ce) 

Indian Rosewood Laminate 

(NS24ce, NS24e) 

Top 

Sitka Spruce (DN) / 


Sitka Spruce 

Sitka Spruce 

Sitka Spruce 

Sitka Spruce 

Sitka Spruce 

Sitka Spruce 

BT1, BBT: Sitka 

Spruce, BT2: Tropical 

Mahogany 

Western Red Cedar (70s) 

Engelmann Spruce (60s) 

Sitka Spruce (20s, 30s) 

Neck 






Sapele 

Sapele 

Sapele 


Bracing 



Relief Rout) 



Relief Rout) 



Relief Rout) 



Relief Rout) 



Relief Rout) 

X Bracing 

X Bracing 

X Bracing 

Nylon Series Bracing 

Rosette 


3-Ring 

3-Ring 

3-Ring 

3-Ring 

3-Ring 

3-Ring 

Laser Etched 

Mexican Cyprus & Myrtle 

Geometric Pattern 

Fretboard 

Ebony 

Ebony 

Ebony 

Ebony 

Ebony 

Ebony 

Ebony 

Ebony 

Ebony 

Fretboard 

Inlay 

Abalone Dots 

Large Pearl Dots 

Pearl Dots 

Large Pearl Dots 

Pearl Dots 

Pearloid Dots 

Pearloid Dots 

Pearloid Dots 

None 

Top Inlay 

None 

None 

None 

None 

None 

None 

None 

None 

None 

Headstock 

Overlay 







Lexan 

Lexan 

Indian Rosewood (20s, 30s, 70s) 

Ebony (60s) 

Binding 

Ivoroid 

White 

Cream 

Black 

Cream 

White (200s) 

Black (100s) 

None 

None 

Indian Rosewood (60s, 70s) 

Black (20s, 30s) 

Bridge 

Ebony 

Ebony 

Ebony 

Ebony 

Ebony 

Ebony 

Ebony 

Ebony 

Ebony 

Bridge Pins 

Ebony w/ 

Abalone Dots 

Ebony 

Ebony 

Ebony 

Ebony 

Black 

Black 

Black 

None 

Nut / Saddle 

Tusq 

Tusq 

Tusq 

Tusq 

Tusq 

Tusq 

NuBone ® 

Tusq 

Tusq 

Tuning 

Machines / 

Buttons 

Taylor Gold or 

Taylor Slot Head (GC) 

Taylor Chrome 

Taylor Chrome 

Taylor Chrome 

Taylor Chrome 

Chrome 

Chrome 

Chrome 

Ping Classical Gold w/Ivoroid btns 

Classical Chrome w/cream btns 

(20s) 

Truss Rod 

Cover 

Indian 

Rosewood 

Indian 

Rosewood 

Indian 

Rosewood 

Indian 

Rosewood 

Indian 

Rosewood 

Rosewood 

Lexan 

None 

None (32, 62, 72) 

Indian Rosewood (24, 34, 74) 

Ebony (64) 

Back / Side 

Finish 

Gloss 

Satin 

Satin 

Satin 

Satin 

Varnish (100s) 

Satin (200s) 

Varnish 

Varnish 

Gloss (60s, 70s) 

Satin (20s, 30s) 

Top Finish 

Gloss 

Gloss 

Gloss 

Gloss 

Gloss 


Gloss (200s) 

Varnish 

Varnish 

Gloss 

Neck Finish 

Satin 

Satin 

Satin 

Satin 

Satin 


Satin (200s) 

Varnish 

Varnish 

Satin 

Electronics 

Optional 



Optional 



Optional 


Taylor ES-T ® 

(E and CE models) 

Pre-fitted for 

ES-Go TM 

Optional 

ES-N ® 

Pickguard 

None 

Tortoise 

None 

Tortoise 

None 

Tortoise 

Tortoise 

Tortoise (BBT) 

None 

Case 

Taylor Deluxe 


Taylor Hardshell 

(Black) 


(Black) 


(Black) 


(Black) 

Gig Bag (100 Series) 

Hard Bag (200 Series) 

GS Mini Hard Bag 

Gig Bag 

Hard Bag (20s) 

Taylor Hardshell Black (30s) 

Deluxe Brown (60s, 70s) 

Models 

GA5, GC5, 

GS5, DN5, 

GS5-12 

410ce, 412ce, 

414ce, 454ce, 

455ce 

GA4, GC4, 

DN4, GA4-12 

310ce, 312ce, 

314ce, 315ce, 

354ce, 355ce 

GA3, GC3, 

DN3, GA3-12 

110, 110e, 

110ce, 114, 

114e, 114ce 

210, 210e, 

210ce, 214, 

214e, 214ce 

GS Mini 

BT1 (Sitka) 

BT2 (Tropical 

Mahogany) 

BBT (Big Baby) 

NS24ce, NS24e 

NS32ce, NS34ce 



45 

48

Standard Features - Signature Models 

Standard Features - Specialty 

DDSM 

(Doyle Dykes) 

LKSM 

(Leo Kottke) 

TSBT 

(Taylor Swift) 

STSM 

(Serj Tankian) 

JMSM 

(Jason Mraz) 

DMSM 

(Dave Matthews) 

Baritone 

12-Fret 

Back / Sides 




Sapele 



Back / Sides 



Top 

Sitka Spruce 

Sitka Spruce 

Sitka Spruce 

Maple 


Sitka Spruce 

Top 

Sitka Spruce 

Sitka Spruce 

Neck 



Sapele 

Sapele 



Neck 



Bracing 



Relief Rout) 

LKSM Bracing 

X Bracing 

Standard T5 

Nylon Series 

Bracing 


Bracing 

Baritone 

Bracing 

12-Fret 

Bracing 

Rosette 


3-Ring 

Screen Printed 

Custom 

N/A 

Mexican Cypress/ 

Bubinga/Koa Zodiac 

Symbols 


Rosette 

Fretboard 


Ebony 


w/ Bound Soundhole 

Ebony 

Fretboard 

Fretboard 

Inlay 

Top Inlay 

Ebony 

Pearl DDSM 

Abalone 

Ebony 

None 

None 

Ebony 

Pearloid Dots 

None 

Ebony 

Serj Tankian 

Energy Wheel 

N/A 

Ebony 

Mexican Cypress 

“Be Love” w/Circle/ 

Triangle 

None 

Ebony 

Pearl Cindy / 

“Grux” 

None 

Fretboard 

Inlay 

Top Inlay 

Headstock 

Overlay 

Small Pearl 

Diamonds 

None 

Indian 

Rosewood 

Pearl Dots 

None 

Indian 

Rosewood 

Headstock 

Overlay 

Ebony w/ Pearl / 

Abalone Rose Inlay 

Indian 

Rosewood 

Lexan 

Ebony w/Energy 

Wheel Inlay 

Indian 

Rosewood 

Ebony 

Binding 

Indian 

Rosewood 

Ivoroid 

Binding 

Ivoroid 

Indian 

Rosewood 

None 

Black 

Indian 

Rosewood 

Ivoroid 

Bridge 

Ebony 

Ebony 

Bridge 

Bridge Pins 

Ebony 

Ebony w/ 

Abalone Dots 

Ebony 

Ebony 

Ebony 

Black 

Ebony 

Ebony 

Ebony 

None 

Ebony 

Ebony 

Bridge Pins 

Nut / Saddle 

Ebony w/ 

Abalone Dots 

Bone 

Ebony w/ 

Abalone Dots 

Tusq 

Nut / Saddle 

Tuning 

Machines / 

Buttons 

Truss Rod 

Cover 

Back / Side 

Finish 

Top Finish 

Tusq 

Taylor Gold 

Ebony 

Gloss 

Gloss 

Tusq 

Taylor Gold 

Indian 

Rosewood 

Gloss 

Gloss 

Tusq 

Chrome 

None 

Varnish 

Varnish 

Bone 

Chrome 

Black 

Gloss 

Gloss 

Tusq 

Ping Classical Gold 

with Ivoroid Buttons 

None 

Gloss 

Gloss 

Bone 

Gotoh 

Ebony 

Gloss 

Gloss 

Tuning 

Machines / 

Buttons 

Truss Rod 

Cover 

Back / Side 

Finish 

Top Finish 

Taylor Gold Mini 

(8-String) 

Taylor Gold (6-String) 

Indian 

Rosewood 

Gloss 

Gloss 

Taylor 

Slot Head 

Indian 

Rosewood 

Gloss 

Gloss 

Neck Finish 

Gloss 

Satin 

Varnish 

Gloss 

Satin 

Satin 

Neck Finish 

Gloss 

Satin 

Electronics 


or Baggs / DDSM ® 

None 

Optional 

T5 Electronics 

w/ Five-Way Switch 

ES-N ® 


Electronics 



Pickguard 

Case 

Models 

None 

Taylor Deluxe 


DDSM colors: 

Natural 

Black (opaque) 

Black (translucent) 

Orange 

Brown Sugar 

None 

Taylor Deluxe 


LKSM 

LKSM-6 

None 

Gig Bag 

TSBT 

None 

Taylor T5 

Hardshell (Black) 

STSM-T5 

None 

Taylor Deluxe 


JMSM 

None 

Taylor Deluxe 


DMSM 

Pickguard 

Case 

Models 

None 

Taylor Deluxe 




None 

Taylor Deluxe 


12-Fret 

46

Standard Features - The Electric Line 

T5 

T5 Classic 

T3 

SolidBody 

Body 

Sapele 

Sapele 

Sapele 

Alder (Classic) 

Sapele (Standard, Custom Walnut) 

Tropical Mahogany (Custom Koa) 

Top 

Sitka Spruce (T5-S, T5-C); Figured Maple 

(T5-S1, T5-C1); Koa (T5-C2); 

Walnut (T5-C4); Macassar Ebony (T5-C5) 

Ovangkol 

Quilted Maple 

Maple (Standard) 

Walnut (Custom Walnut) 

Koa (Custom Koa) 

Neck 


Sapele 

Sapele 

Sapele (Standard, Custom Walnut) 

Tropical Mahogany (Custom Koa) 

Maple (Classic) 

Fretboard 

Ebony 

Ebony 

Ebony 

Ebony (Standard, Custom) 

Indian Rosewood (Classic) 

Fretboard 

Inlay 

Pearl Dots (T5-S, T5-S1) 

Pearl T5 “Artist” (T5-C, T5-C1, 

T5-C2, T5-C4, T5-C5) 

Small Diamonds 

Pearl Dots 

Pearl Dots 

(Classic, Standard) 

Pearl Progressive Diamonds 

(Custom Walnut) 

Koa Series (Custom Koa) 

Headstock 

Overlay 

Ebony 

Ebony 

Ebony 

Ebony 

Fretboard 

Binding 

White 

Black 

White 

None (Classic) 

Black (Standard, Custom) 

Bridge 

Ebony 

Ebony 

Chrome Roller-style w/Stop Tail 

(T3) or Bigsby Vibrato (T3/B) 

Taylor Stoptail Aluminum, fully adjustable 

Optional tremolo 

Nut 

Bone 

Tusq 

Tusq with Teflon ® 

Bone 

Tuning 

Machines / 

Buttons 

Taylor Chrome (T5-S, T5-S1 and blue bursts) 

Taylor Gold (T5-C, T5-C1, T5-C2, T5-C4, 

T5-C5) 

Taylor Chrome 

Taylor Chrome 

Taylor Chrome 

Back / Side 

Finish 

Gloss 

Satin 

Gloss 

Satin (Classic Natural, Standard Natural) 

Gloss (All other models) 

Top Finish 

Gloss 

Satin 

Gloss 

Satin (Classic Natural, Standard Natural) 


Neck Finish 

Gloss 

Satin 

Gloss 

Satin (All Classics) 


Electronics 

T5 Electronics w/ Five-Way Switch 

T5 Electronics w/ Five-Way Switch 

Taylor HD Humbuckers w/Coilsplitting 

Capability 

Full-size or Mini Humbuckers (HD or 

HG), Vintage Alnico Humbuckers, Single 

Coils, available in different configurations 

(see page 32) 

Pickguard 

None 

None 

None 

White Pearloid 

Black Pearloid 

Tortoise Shell 

Black 

Parchment 

None (optional on Standard and Custom) 

Case 

Taylor T5 Hardshell (Black) 

Gig Bag 

Taylor T3 Hardshell (Black) 

Deluxe Hardshell 

Color / Burst 

Options 

Natural, Red, Blue, Black (Translucent Black 

Optional) w/ Edgeburst; Sunburst Options: 

Tobacco, Honey, Cherry 

None 

Natural, Ruby Red Burst, Black, 

Translucent Orange; 

Sunburst Options: Tobacco, Honey 

Classic: Translucent White, Translucent 

Red, Black, Natural, Sage Green, Sublime, 

Magenta Pearl, Tobacco Sunburst, Purple 

Flake, Jewelescent Orange, Viper Blue, 

Lava Red Pearl, Titanium Pearl, Blue Metallic; 

Standard: Aged Cherry Sunburst, 

Custom: Shaded Edge 

Models 

T5-S, T5S-12, T5-S1, T5S1-12, T5-C, 

T5C-12, T5-C1, T5C1-12, T5-C2, T5C2-12 

T5-C4, T5C4-12, T5-C5, T5C5-12 

T5 Classic 

T3, T3/B 

Classic, Standard, Custom Walnut, 

Custom Koa 

48 49 

47

A Publication of Taylor Guitars 

Guitar Guide / Summer 2010 

Taylor Guitars | 1980 Gillespie Way | El Cajon, CA 92020-1096 | taylorguitars.com 

Presorted 

Standard 

U.S. Postage 

PAID 

Phoenix, AZ 

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. 

Aloha, Gorgeous 

This stunning custom 6-string Grand 

Symphony was crafted through Taylor’s 

Build to Order program. The top, back 

and sides feature exquisitely figured 

master-grade Hawaiian koa, whose 

beautifully bookmatched soundboard 

exhibits rich variegation. A mother-ofpearl 

tropical vine fretboard inlay helps 

evoke an exotic Island motif that suits 

koa’s hallowed heritage, while rosewood 

binding and white purfling accentuate 

the voluptuous GS contours and sharp 

Florentine cutaway.

The 2010 Guitar Guide - Jedistar

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