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<strong>The</strong> <strong>2010</strong><br />
<strong>Guitar</strong> <strong>Guide</strong><br />
Summer Edition
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3<br />
<strong>Guitar</strong> <strong>Guide</strong><br />
Summer <strong>2010</strong><br />
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<strong>The</strong> <strong>2010</strong> <strong>Guitar</strong> <strong>Guide</strong><br />
On the Cover<br />
4 <strong>The</strong> <strong>2010</strong> <strong>Guitar</strong> <strong>Guide</strong><br />
Welcome to the <strong>2010</strong> Taylor line. <strong>The</strong>re’s a lot to love here.<br />
6 Finding Your Fit: Woods and Shapes<br />
You might know what you like, but is it the right match for the sound<br />
you want? We break down the elements of tone to help you understand<br />
what makes a guitar right for you.<br />
Grammy-winning<br />
singer-songwriter<br />
Zac Brown with an<br />
NS74ce, his main<br />
stage guitar.<br />
8<br />
8 <strong>The</strong> Acoustic Line<br />
From the Koa Series to the Baby Taylor, we profile our many flavors of<br />
acoustic tone.<br />
22 GS Mini<br />
Our new scaled-down GS packs a potent sound into a portable size.<br />
We also designed some special accessories, including an easy-to-install<br />
after-market pickup.<br />
26 Specialty Models<br />
A sweet-voiced 12-Fret and a pair of rich Baritones promise to take<br />
you somewhere new.<br />
28 <strong>The</strong> Electric Line<br />
This year, SolidBody customization leads the way. We’ll walk you<br />
through the new color and pickup options, including our new vintage<br />
alnico humbucker.<br />
26 28 34<br />
38 Build to Order<br />
If you’ve been dreaming of a custom Taylor, our Build to Order program<br />
gives you a broad array of choices and an impressive turnaround time.<br />
38<br />
22<br />
40 Acoustic Electronics<br />
Whether for stage or studio, the Taylor Expression System ® captures all<br />
the natural tonal richness you love about a Taylor and helps you share it<br />
with the world.<br />
41 Customer Service<br />
We take service as seriously as we take guitar-making. From helping<br />
you find a guitar to helping you care for it, we’re all about giving you the<br />
support you need.<br />
42 <strong>The</strong> Specs<br />
Here’s a closer look at the details that define each guitar we make.
thE <strong>2010</strong><br />
guitar guide<br />
Specialty acoustics,<br />
custom electrics, and more<br />
expand this year’s Taylor line<br />
Boasting more guitar choices than ever before, this year’s<br />
lineup of Taylor models celebrates the many flavors of musical inspiration,<br />
some already discovered, others yet to be born in your hands.<br />
Whether you’re a beginner, a virtuoso, or somewhere in between,<br />
our guitars promise a playing experience that brings out your best.<br />
In our <strong>2010</strong> <strong>Guitar</strong> <strong>Guide</strong>, we present an overview of the many<br />
flavors of Taylor tone that are available to you. Like people, each guitar<br />
has its own unique personality, and with more than 100 different<br />
standard Taylor models on the menu, our guide is intended to help<br />
you find the right one.<br />
This year we’re pleased to welcome three fresh acoustic voices<br />
to the line as part of our “Specialty” series. Two of them are baritone<br />
models, a 6-string inspired by our 35th anniversary LTD and an<br />
8-string. Joining them is an amazing new 12-fret rosewood Grand<br />
Concert, also inspired by a 35th anniversary model.<br />
As we detail on pages 36-37, our Artist Series continues to grow<br />
this year, with new signature models designed with popular singersongwriters<br />
Jason Mraz and Dave Matthews, both longtime Taylor<br />
players. We also debut a new pickup for our nylons, the Expression<br />
System-derived ES-N ® , and proudly unveil the GS Mini TM ,<br />
a fun-size guitar with a full-size sound.<br />
In our electric division, the big news is the evolution of our<br />
SolidBody series to offer a much greater ability to choose your<br />
specs. Now you can select from a variety of options that include<br />
new colors, new pickup configurations, pickguards — now available<br />
for the Standard and Custom — and a tremolo option for any model.<br />
We also have a new pickup, a vintage alnico humbucker. And from<br />
the T5 series comes the new ovangkol-top T5 Classic.<br />
Each year it seems to get a little harder to contain the Taylor line<br />
for very long because we’re constantly working on new designs that<br />
spring to life throughout the year. But we wouldn’t have it any other<br />
way.<br />
As you leaf through the following pages, we hope you get a<br />
sense of one of our underlying goals: to make the guitar-playing<br />
experience more enjoyable. We do it through constant innovation<br />
that redefines what a guitar can be, and we do it through the kind of<br />
customer outreach and support that strives to help you enrich your<br />
life through music.<br />
L-R: Bob Taylor and Jason Mraz at the Taylor factory.<br />
4
Finding Your Fit<br />
<strong>The</strong> right pairing of shape and woods will lead you<br />
to a Taylor that sounds great on you<br />
Choosing a guitar is a highly<br />
personal, subjective process. This<br />
is both the beauty and the challenge<br />
of finding the right model<br />
— one that inspires you and delivers<br />
the sounds that you’re after.<br />
Each person has different playing<br />
mechanics, we each perceive tone<br />
in a unique way, and our attraction<br />
to a certain look may get in<br />
the way of finding the right sound.<br />
Understanding a few basic ideas<br />
about the factors that contribute<br />
to acoustic and electric guitar tone<br />
will streamline your search and<br />
help you find the most compatible<br />
instrument for your musical needs.<br />
Keep in mind that certain guitars<br />
are highly versatile, while<br />
others shine in a more specialized<br />
playing application, so knowing<br />
what you want always helps. If you<br />
aren’t sure, you can always talk to<br />
a Taylor dealer or call Ben Benavente<br />
at the Taylor factory (1-888<br />
2TAYLOR) for recommendations.<br />
When Taylor product specialists<br />
talk with customers at Road Shows<br />
about acoustic guitars, they often<br />
start by offering this basic “tone<br />
equation” for reference:<br />
A guitar’s body shape + the<br />
tonal properties of woods +<br />
player technique = guitar tone<br />
In other words, a guitar’s dimensions<br />
generate the guitar’s fundamental<br />
sound, the types of woods<br />
used for the guitar help flavor<br />
that sound, and the way one plays<br />
interacts with those tonal attributes.<br />
<strong>The</strong> idea is to choose a body<br />
shape and combination of woods<br />
that respond well to the way you<br />
play. For example, if you’re a lively<br />
strummer who wants a lot of volume,<br />
a small-bodied guitar may<br />
not be right for you. Or, if you’re<br />
a fingerstyle player who craves<br />
a warm sound with rich overtones,<br />
maple probably won’t cut<br />
it. Working out your own personal<br />
tone equation will help you find<br />
some great model options.<br />
Acoustic Shapes<br />
A guitar’s overall shape defines<br />
how big the soundboard is, and<br />
a bigger shape tends to translate<br />
into more tone because there’s<br />
more surface area vibrating with<br />
the strings. Each Taylor shape features<br />
a refined design that helps<br />
establish a distinctive sound for<br />
that guitar. Here’s a rundown of<br />
our five standard shapes and their<br />
accompanying sounds.
Grand Auditorium (GA)<br />
<strong>The</strong> medium-size GA gave the world<br />
an identity-defining Taylor shape<br />
and sound. It was big enough to<br />
compete with the bigger, traditional<br />
dreadnought shape, long established<br />
in the acoustic world, yet the GA<br />
offered more sonic balance instead<br />
of a bass-dominant tone. <strong>The</strong> slightly<br />
tapered waist helps create an even<br />
blend between the bass, midrange<br />
and treble notes. That tonal balance<br />
comes through for strummers, the<br />
clarity suits fingerstyle playing, and<br />
the overall presence sits well in a<br />
studio mix with other instruments.<br />
<strong>The</strong> GA is a superb all-purpose guitar<br />
shape that rewards players with<br />
versatility and incredible range.<br />
Grand Symphony (GS)<br />
If you crave acoustic horsepower — if<br />
you’re a strummer or picker who likes<br />
to drive a guitar and get full-bodied<br />
tone and robust volume, yet without<br />
compromising balance — the GS<br />
is your shape. It’s Taylor’s boldest,<br />
richest acoustic voice, and, like a<br />
good sports car, blends power with<br />
responsiveness, which means players<br />
can drive the GS hard without sacrificing<br />
clarity.<br />
Grand Concert (GC)<br />
Taylor’s smallest body shape features<br />
a slender waist that helps curb the<br />
overtones. As a result, the GC tends<br />
to occupy less sonic space, which<br />
helps it blend well with other instruments<br />
both on stage and in a recording<br />
mix. Because of its tonal clarity,<br />
the GC is well suited for fingerstyle<br />
and for pickers who play lead lines.<br />
With the availability of the Expression<br />
System ® acoustic pickup or studio<br />
microphones, acoustic volume is<br />
not an issue. <strong>The</strong> GC also features<br />
a shorter 24 7/8-inch scale length,<br />
which, together with the more compact<br />
size, offers physical comfort and<br />
playability that may appeal to players<br />
with smaller hands.<br />
Dreadnought (DN)<br />
Bob Taylor chose to honor the large,<br />
traditional guitar shape he inherited<br />
by refining it, taking a potent tone<br />
known for its strong bass response<br />
and adding a balanced midrange<br />
and clear notes to give flatpickers<br />
and strummers the ability to be both<br />
aggressive and articulate across the<br />
tonal spectrum. Strong pickers are<br />
bound to love the blend of power<br />
and fidelity, which adds a new tonal<br />
dimension to roots-flavored music.<br />
Jumbo (JM)<br />
Taylor’s biggest shape delivers a big,<br />
full sound without the bottom-heavy<br />
boominess. <strong>The</strong> curvy dimensions<br />
present a lot of soundboard real<br />
estate, yet the contoured waist helps<br />
tighten the midrange, keeping the<br />
overtones in check. Jumbos are great<br />
as big, full strummers, especially for<br />
solo artists who want a robust acoustic<br />
voice without sacrificing balance.<br />
Taylor Jumbos particularly shine as<br />
12-strings, yielding a rich, lush tone<br />
with lots of signature Taylor clarity and<br />
balance.<br />
Woods<br />
<strong>The</strong> woods used on the top, back<br />
and sides of an acoustic guitar interact<br />
with the fundamental sound profile<br />
established by the shape, adding<br />
distinctive tonal “flavors.” A wood’s<br />
stiffness and density, for example, will<br />
influence its tonal frequencies, meaning<br />
that different species of woods<br />
will yield different degrees of bass,<br />
midrange, treble and overall sustain<br />
relative to each other.<br />
<strong>The</strong> description of each series in<br />
our acoustic/electric line on the following<br />
pages includes a note on the<br />
distinguishing properties of the tonewoods<br />
used on the back and sides of<br />
the guitar. <strong>The</strong>se are just generalizations<br />
for reference; keep in mind that<br />
each set of wood is unique, which of<br />
course adds to the fun of sampling<br />
guitars.<br />
When it comes to soundboards,<br />
Sitka spruce is far and away the tonewood<br />
used most often for guitar tops.<br />
It’s strong yet flexible, which produces<br />
a clear acoustic tone. Here is a brief<br />
rundown of soundboard properties<br />
among the woods we commonly use<br />
for guitar tops:<br />
Sitka Spruce — Used on the majority<br />
of Taylor acoustics, it yields a broad<br />
dynamic range and accommodates a<br />
versatile range of playing styles.<br />
Western Red Cedar — Cedar’s softer<br />
density adds an element of warmth to<br />
a guitar’s tone, especially for players<br />
with a softer touch, like fingerstylists<br />
or moderate strummers and pickers.<br />
More aggressive players are better<br />
matched with spruce, as they might<br />
run out of headroom with cedar.<br />
Adirondack Spruce — Compared to<br />
Sitka, it has more dynamic range and<br />
can be driven hard for greater volume<br />
without losing clarity. Some players<br />
also perceive an additional sweetness<br />
in the midrange tones. Its availability<br />
is limited.<br />
Engelmann Spruce — Compared to<br />
Sitka, Engelmann often has a hint of<br />
additional richness that sounds like<br />
an aged or played-in guitar. Its availability<br />
is also limited.<br />
Hardwood Tops — Woods like koa<br />
and walnut that are used on the back<br />
and sides of a guitar are sometimes<br />
used as tops, as well. <strong>The</strong>ir stiffness<br />
translates into a bright tone initially,<br />
but the more the guitar is played, the<br />
more full-bodied the tone becomes.<br />
To read more about acoustic shapes<br />
and woods, visit taylorguitars.com<br />
under “Features.”<br />
Player Technique<br />
It’s fair to say that a guitar’s tone<br />
is largely in the hands of the player,<br />
so it helps if you understand what<br />
kind of a player you are and what<br />
you’re going for when you play. Your<br />
playing style (strumming, flatpicking,<br />
fingerstyle), your attack (how hard or<br />
soft you hit the strings), string type<br />
and gauge, the way you fret — essentially<br />
the sum total of everything you<br />
physically do to the guitar — is a big<br />
part of the equation. For more on the<br />
tone-shaping variables of the player<br />
and how they can be matched up<br />
with the right tones or woods, go to<br />
taylorguitars.com/guitars/features/<br />
woods/tone.<br />
Electric Tone<br />
When it comes to electric guitars,<br />
pickups are another key part of the<br />
tone equation. In the electric portion<br />
of the <strong>Guitar</strong> <strong>Guide</strong>, you’ll find more<br />
details on Taylor’s proprietary electric<br />
pickups, their tonal personalities, and<br />
the different pickup configurations<br />
that are available.<br />
In terms of body styles, certain<br />
distinctions are reflected in the different<br />
body designs of the T5, T3 and<br />
SolidBody. <strong>The</strong> T5 is a fully hollowbody<br />
design, which helps yield more<br />
natural acoustic tones that contribute<br />
to the T5’s incredible sonic range.<br />
<strong>The</strong> T3 is a semi-hollowbody with a<br />
solid center block that runs down the<br />
length of the center. <strong>The</strong> SolidBody<br />
is, as the name suggests, the most<br />
solid, although the Standard and<br />
Custom feature special tone chambers,<br />
partly for weight relief but also<br />
to optimize the body’s natural acoustic<br />
“bloom.” This enhances sustain,<br />
which is otherwise hard to create on<br />
an electric when everything is locked<br />
down.<br />
Bob’s <strong>Guitar</strong> Tips<br />
People often have questions as they consider the many guitar<br />
choices available to them. Bob Taylor answered a few common<br />
questions and offered some personal advice on finding the right<br />
guitar.<br />
What qualities set a Taylor acoustic guitar apart from other<br />
guitar brands?<br />
A Taylor has a unique tone, known for its clarity and balance. This<br />
tone-print not only sounds fantastic when played on its own, but<br />
works very well when played with other instruments or when<br />
recorded. Equally important and widely recognized are the superb<br />
playability and intonation of a Taylor. Currently our NT ® neck design<br />
is the ultimate in straight, precise, adjustable guitar necks. It allows<br />
total control over action and intonation. This adjustability allows the<br />
original factory setup to be perfect, and allows easy, quick, affordable<br />
adjustments for the life of the guitar after the purchase. It’s the<br />
best neck/body attachment in the industry today.<br />
How will I know when I find the right guitar?<br />
Sometimes this is easy, and sometimes this is hard. First, try not<br />
to second-guess a feeling when you know you’ve found the right<br />
guitar. All too often a person laments the guitar that got away, so<br />
when one inspires you in a way that you know is right, act on it.<br />
Now, if that doesn’t come to you, and you’re shopping for a guitar<br />
among many options, try to define what the guitar is meant to do<br />
for you. Is it a one-time purchase to solve all your guitar needs for<br />
life, or is it a guitar to fit a particular musical style or desire? Most<br />
people have multiple guitars because they have multiple needs<br />
and play many styles. For instance, a small-bodied guitar might be<br />
perfect for fingerstyle, but you might want a larger guitar for strumming.<br />
This is where people get confused. It’s so much easier if you<br />
try not to make each guitar solve every musical problem, especially<br />
if you’re a person who already knows you need more than one<br />
guitar. However, even with these challenges, you will eventually like<br />
one particular guitar more than the others, and when that happens,<br />
go for it!<br />
How will an acoustic guitar’s sound change over time?<br />
It will develop more clarity, more depth and more volume. In short,<br />
it will just sound better and better. It’s one of the amazing treats<br />
of buying a guitar. Whereas your clothes, car, computer, TV and<br />
furniture wear out with age, your guitar wears in with age. Sure,<br />
it gets worn cosmetically, but the tone just improves. It’s most<br />
noticeable when you play your 10- or 15-year-old guitar against a<br />
brand new one of the same style. I often smile when I read forums<br />
where people proclaim that Taylor made better guitars in the early<br />
’90s than now because their old guitar sounds better. <strong>The</strong>y’ll claim<br />
it has some quality they can’t describe. I can describe it very easily:<br />
It’s called “age.”<br />
What are the most important things to remember about<br />
caring for a guitar?<br />
Caring for a guitar is easy if you consider heat and humidity. Low<br />
humidity ravages a good guitar. Also, heat, as in leaving your guitar<br />
in the trunk of your car while you shop or eat at a restaurant on<br />
a summer day, will wreak havoc on your guitar. But in our experience,<br />
it’s the long, slow lack of humidity that does more damage<br />
to a guitar than anything else. Store you guitar in its case rather<br />
than displaying it in the living room or music room, unless you are<br />
controlling the humidity in those rooms. Use a soundhole humidifier<br />
to restore lost humidity to the wood in your guitar. Sharp fret<br />
ends or low, buzzy action are signs of a guitar drying excessively.<br />
Other than humidity control, in my opinion a guitar doesn’t need<br />
too much other care. Just play it, wipe it down, polish it once in a<br />
while, and change the strings to keep the tone sounding good.<br />
7
<strong>2010</strong> <strong>Guitar</strong> <strong>Guide</strong><br />
<strong>The</strong> ACOUSTIC/ELECTRIC LINE<br />
<strong>The</strong> koa Series<br />
Back/Sides: Hawaiian Koa<br />
Top: Abalone-trimmed Sitka Spruce or Hawaiian Koa<br />
Fretboard Inlay: Abalone Koa Series<br />
Binding: Curly Maple<br />
Rosette: Abalone<br />
Additional Premium Appointments: Maple-bound soundhole<br />
Models: K10ce, K12ce, K14ce, K16ce, K20ce, K22ce, K24ce,<br />
K26ce, K54ce, K56ce, K64ce, K65ce, K66ce<br />
Hawaiian koa, you had us at “Aloha”. Koa’s seduction is often kindled<br />
with the first glimpse of its flamed figure and rich variegation. <strong>The</strong><br />
romance with its tone, however, tends to unfold more gradually. As<br />
a dense tropical hardwood, koa’s tonal properties initially project<br />
a bright focus like maple, especially when also topped with a koa<br />
soundboard. But the tone slowly reveals its full range as it opens up<br />
with playing over time, sweetening as the midrange takes on rich,<br />
mellow overtones similar to mahogany. Fingerstyle players who use<br />
more flesh than nails will naturally soften the brightness. To match<br />
the wood’s visual splendor, we appoint the Koa Series with figured<br />
maple binding and vibrant abalone trim. A truly rare beauty both<br />
above and below the surface, koa promises to age gracefully. If you<br />
spend enough time with a koa guitar, chances are that you will, too.<br />
K24ce shown<br />
9
the 900 Series<br />
Back/Sides: Indian Rosewood<br />
Top: Abalone-trimmed Sitka Spruce<br />
Fretboard Inlay: 900 Series Pearl<br />
Binding: Ivoroid<br />
Rosette: Abalone<br />
Sunburst Options: Tobacco (top only)<br />
Additional Premium Appointments: Gotoh tuners, bone nut/saddle,<br />
peghead and bridge inlays<br />
Models: 910ce, 912ce, 914ce, 916ce, 954ce<br />
the 800 Series<br />
Back/Sides: Indian Rosewood<br />
Top: Sitka Spruce<br />
Fretboard Inlay: 800 Series Pearl<br />
Binding: Curly Maple<br />
Rosette: Abalone<br />
Sunburst Options: Tobacco (top only)<br />
Models: 810ce, 812ce, 814ce, 815ce, 816ce, 854ce, 855ce, 856ce<br />
the 700 Series<br />
Back/Sides: Indian Rosewood<br />
Top: Engelmann Spruce (710ce, 712ce),<br />
Western Red Cedar (714ce, 716ce)<br />
Fretboard Inlay: Pearl Dots<br />
Binding: Indian Rosewood<br />
Rosette: Abalone<br />
Sunburst Options: Tobacco (top only)<br />
Models: 710ce, 712ce, 714ce, 716ce<br />
East Indian rosewood’s sweeping tonal range is matched by its broad<br />
appeal, having carved out a deservedly rich heritage among acoustic<br />
players for decades. Boasting deep, full lows, bright, articulate highs,<br />
and rich sustain, rosewood’s tone is both complex and responsive<br />
to the player, and pairs well with a variety of guitar shapes. With a<br />
small guitar body, fingerstylists and lighter pickers have access to a<br />
crisp, full-range tonal palette. With larger body shapes, flatpickers can<br />
drive basslines and pick out clean melodies, while strummers benefit<br />
from the dynamic range and the tonal balance. A rosewood Grand<br />
Auditorium lives in both worlds, making it one of the most versatile<br />
Taylor guitars a player can own.<br />
Rosewood is appealing and abundant enough that we use it for three<br />
different Taylor series. Our premium 900 Series rosewood has the<br />
broadest range of colors and tends to display tighter, straighter grain.<br />
<strong>The</strong> overall aesthetic is of elegant sophistication rooted in tradition.<br />
<strong>The</strong> 800 Series has evolved from its workmanlike appearance during<br />
Taylor’s early days into a stylish appointment package featuring figured<br />
maple trim. <strong>The</strong> 700 Series displays rosewood’s most organic personality,<br />
often with thick chocolate-hued bands and complemented<br />
by rosewood binding. <strong>The</strong> 700s also feature alternative soundboard<br />
offerings — cedar for extra warmth and richness and Engelmann<br />
spruce for a creamier look and slightly mellower response. Whichever<br />
series you favor, rosewood will simply sing in your hands.<br />
10<br />
L-R: 916ce, 814ce, 714ce
21<br />
the 600 Series<br />
Back/Sides: Big Leaf Maple<br />
Top: Sitka Spruce<br />
Fretboard Inlay: Pearl “Leaf” Pattern<br />
Binding: White<br />
Rosette: Abalone<br />
Colors/Bursts: Aged Toner, Amber, Black, Blue, Blue Burst, Cherry<br />
Black Sunburst, Cherry Sunburst (or optional top only), Green, Honey<br />
Sunburst, Natural, Orange, Purple, Ruby Red, Ruby Red Burst,<br />
Tobacco Sunburst (or optional top only), Transparent Black<br />
Models: 610ce, 612ce, 614ce, 615ce, 616ce, 654ce, 655ce, 656ce<br />
Maple’s focused tone is strong on the fundamental and produces a<br />
clean, bright sound. Its physical density translates into fewer overtones<br />
and quicker note decay. (It has less low end and more high end<br />
than rosewood.) Consequently, it has been a preferred guitar wood<br />
for ensemble playing, both on stage and in the studio, because it<br />
articulates clearly through a mix with other instruments. It’s also more<br />
immune to feedback. Maple’s tonal properties work well for smallerbodied<br />
guitars where the tone is being amplified, and with biggerbodied<br />
guitars, including 12-strings, because it’s not bottom-heavy,<br />
so the sound tends not to be overly boomy. Of course, tone is often<br />
only half of maple’s equation, as its blonde complexion, coupled with<br />
varying degrees of figure, from flame to quilt, invite a variety of vibrant<br />
color shades and bursts that enhance the dimension of the figure<br />
while evoking vibrant personalities.<br />
On our 600 Series, white binding adds a crisp counterpoint to more<br />
than 15 available color shades, including sunburst options, offering<br />
more visual “pop” to the abalone rosette. And through our Modify a<br />
Model program, you can order any color or burst treatment we offer<br />
through your dealer, at no additional charge.<br />
L-R: Natural 610ce, cherry sunburst 616ce, tobacco sunburst<br />
616ce, blue 614ce, tobacco sunburst 610ce 13
the 500 Series<br />
Back/Sides: Tropical Mahogany<br />
Top: Engelmann Spruce (510ce, 512ce)<br />
Western Red Cedar (514ce, 516ce)<br />
Fretboard Inlay: Pearl Dots<br />
Binding: Indian Rosewood<br />
Rosette: Abalone<br />
Models: 510ce, 512ce, 514ce, 516ce<br />
Mahogany sits alongside rosewood in terms of its enduring appeal<br />
among acoustic guitar makers and players. Tonally, mahogany<br />
flourishes in the midrange zone, yielding a “bloom” of overtones that<br />
add richness to the overall acoustic sound. You’ll hear that midrange<br />
resonance sometimes described as meaty or earthy. As a traditional<br />
tonewood, mahogany is associated with a lot of vintage acoustic<br />
music like blues and folk, although plenty of contemporary players<br />
(including Leo Kottke) are devoted to mahogany’s tone. That midrange<br />
character, along with superb dynamic range, records well and offers<br />
a lot to a musician who appreciates character and texture — singersongwriters,<br />
fingerstyle players, and blues/roots artists come to mind.<br />
Mahogany also sounds wonderfully resonant in alternate tunings.<br />
Our 500 Series offers a choice of cedar tops on the popular 514ce<br />
(GA) and 516ce (GS) — adding even more warmth for fingerpickers<br />
and strummers — and Engelmann spruce on the Dreadnought 510ce<br />
and Grand Concert 512ce.<br />
Taylor acoustics have long been favored for recording due to their<br />
natural clarity and balance. With more people involved in home<br />
recording projects, working with a Taylor means it’s easy to get a<br />
great acoustic sound. Robin Whitehouse, 23, began recording at<br />
home with his computer in 10th grade. Pictured in his home studio<br />
with a 510ce, he has recorded a variety of music projects, including<br />
two full-length albums with his own bands and the music of other<br />
local artists, ranging from ballads to pop-punk to musical theater. “My<br />
Taylor has changed recording acoustic guitar from a tedious process<br />
into an artistic sonic exploration,” he says.<br />
14
the 400 Series<br />
Back/Sides: Ovangkol<br />
Top: Sitka Spruce<br />
Finish: Satin with Gloss Top<br />
Fretboard Inlay: Large Pearl Dots<br />
Binding: White<br />
Rosette: 3-Ring<br />
Models: 410ce, 412ce, 414ce, 454ce, 455ce<br />
the 300 Series<br />
Back/Sides: Sapele<br />
Top: Sitka Spruce<br />
Finish: Satin with Gloss Top<br />
Fretboard Inlay: Large Pearl Dots<br />
Binding: Black<br />
Rosette: 3-Ring<br />
Models: 310ce, 312ce, 314ce, 315ce, 354ce, 355ce<br />
A reliable, performance-ready guitar is an indispensable tool for<br />
a gigging musician. Our 400 Series and 300 Series deliver that<br />
and plenty more. Both series feature woods that may not boast the<br />
recognizable heritage of rosewood and mahogany, yet they give<br />
players a comparable range of tones, with a splash of extra sparkle.<br />
Ovangkol is an African alternative to rosewood that yields a similarly<br />
wide tonal spectrum from lows to highs, with a bit more midrange.<br />
Sapele, another African tonewood, is a highly sustainable alternative<br />
to mahogany that has a similar sound, but with its slightly higher<br />
density, adds a touch of extra treble zing. Both series feature a satin<br />
finish and a simpler appointment package, translating into our most<br />
affordable price point for solid wood acoustics without sacrificing<br />
any of Taylor’s signature playability.<br />
Liz Grace fronts the country band Three Chord Justice. “I’ve been<br />
singing in honky tonks across the Western U.S. for 20 years,” she<br />
says. “When I first picked up my Taylor and heard its clear and<br />
wonderful ring, I knew I would be a loyal Taylor player. My guitar is<br />
perfect for my band, because it gives me a rich, warm sound that<br />
cuts through the band. Every other guitar I’ve played struggles to be<br />
heard. But my Taylor is perfect.” She’s pictured here at Hooleys Irish<br />
Pub playing a 314ce, flanked by a 355ce and a 412ce.<br />
17
the 200 Series<br />
Back/Sides: Rosewood Laminate<br />
Top: Solid Sitka Spruce (Gloss)<br />
Fretboard Inlay: Pearloid Dots<br />
Binding: White<br />
Rosette: 3-Ring<br />
Models: 210, 210e, 210ce, 214, 214e, 214ce<br />
the 100 Series<br />
Back/Sides: Sapele Laminate<br />
Top: Solid Sitka Spruce<br />
Fretboard Inlay: Pearloid Dots<br />
Binding: Black<br />
Rosette: 3-Ring<br />
Models: 110, 110e, 110ce, 114, 114e, 114ce<br />
We know how to make a great guitar more affordable without<br />
compromising great tone. Our rosewood laminate 200 Series and<br />
sapele laminate 100 Series are designed to give players an inspiring<br />
Taylor playing experience and arm them with a fun tool that can<br />
cover a lot of musical applications, all at a reasonable price point.<br />
Both series feature a choice of Dreadnought or Grand Auditorium<br />
shapes with a solid spruce top, come with or without a cutaway, and<br />
can be ordered with or without our under-saddle ES-T ® acoustic<br />
pickup. Whether you’re in the early stages of woodshedding or you’re<br />
just looking for a killer value, you can’t go wrong with either series.<br />
For some guitarists, the garage may end up being the biggest venue<br />
they ever play, but in the end, it’s all about having fun. <strong>The</strong> 100 and<br />
200 Series give players great tools for honing their chops and offer<br />
the kind of playability and tone that’s hard to match at their price<br />
points. Here, Brandon (left, 214ce) and Connor (right, 110) goof<br />
around, while Connor’s brother Dallas dials in the drum kit and lead<br />
vocalist Rocky the dog struts his stuff.<br />
18
the nylon series<br />
NS72ce/NS74ce<br />
Back & Sides: Indian Rosewood<br />
Top: Cedar<br />
Binding: Indian Rosewood<br />
Headstock Overlay:<br />
Indian Rosewood<br />
NS62ce/NS64ce<br />
Back & Sides: Big Leaf Maple<br />
Top: Engelmann Spruce<br />
Binding: Indian Rosewood<br />
Headstock Overlay/Bridge:<br />
Ebony<br />
NS32ce/ NS34ce<br />
Back & Sides: Sapele<br />
Top: Sitka Spruce<br />
Binding: Black<br />
Headstock Overlay:<br />
Indian Rosewood<br />
NS24e/NS24ce<br />
Back & Sides:<br />
Rosewood Laminate<br />
Top: Sitka Spruce<br />
Binding: Black<br />
Headstock Overlay:<br />
Indian Rosewood<br />
One of the pleasures of living in<br />
the modern acoustic guitar era is<br />
the diverse palette of tonal flavors<br />
available to players. Our Nylon<br />
Series represents the next generation<br />
of nylon tone, used not just<br />
for traditional classical or Spanishtinged<br />
music, but in virtually every<br />
contemporary genre, from rock<br />
and pop to jazz and world music.<br />
Grammy favorites from Jason Mraz<br />
to Zac Brown to Wayne Johnson<br />
rely on Taylor nylons for songwriting<br />
and performance. With a cutaway<br />
and a 1 7/8-inch neck, our nylons<br />
offer steel-string acoustic players a<br />
smooth crossover to a fresh sonic<br />
texture, and the lighter string tension<br />
adds an extra helping of playability.<br />
In 2009 we added a pair of<br />
more affordable rosewood laminate<br />
nylons to the family, and new for<br />
<strong>2010</strong> is our ES-N ® pickup, featuring<br />
a preamp and tone controls that<br />
were designed to naturally capture<br />
the nylon-string voice.<br />
20<br />
NS74ce shown
aby taylor<br />
Size/Shape: 3/4-scale<br />
Dreadnought (22 3/4-inch<br />
scale length)<br />
Back/Sides: Sapele Laminate<br />
Top: Solid Sitka Spruce or<br />
Mahogany<br />
Fretboard Inlay: Pearloid Dots<br />
Rosette: Laser-etched<br />
big baby taylor<br />
Size/Shape: 15/16-scale<br />
Dreadnought<br />
Back/Sides: Sapele Laminate<br />
Top: Solid Sitka Spruce<br />
Fretboard Inlay: Pearloid Dots<br />
Rosette: Laser-etched<br />
A big reason for the guitar’s widespread<br />
popularity is its portability,<br />
and the Baby Taylor has taken this<br />
to a whole new level. <strong>The</strong> ¾-size<br />
Dreadnought helped establish<br />
the travel guitar market, and now,<br />
even 14 years after its debut, its<br />
appeal remains as strong as ever<br />
for travelers, children and artists<br />
from Lindsey Buckingham to Taylor<br />
Swift for a simple reason: It plays<br />
and sounds like a real guitar. Its<br />
bigger, louder sibling, the Big Baby,<br />
is another favorite for players who<br />
want to keep a songwriting guitar<br />
handy at the office, in their house<br />
for friends to pick up and play, or as<br />
an alternate-tuning guitar. Whatever<br />
your needs, whichever direction<br />
you may be headed, the Baby’s<br />
appeal is as far and wide as you<br />
want to go.<br />
You don’t have to be off in the<br />
wilderness to appreciate the Baby<br />
Taylor’s portability. It makes a great<br />
companion when you’re commuting<br />
around town, too. Plus,<br />
you’ll be well equipped if you get<br />
inspired to do a little busking on<br />
the fly.<br />
Baby Taylor shown 21
<strong>2010</strong> <strong>Guitar</strong> <strong>Guide</strong><br />
<strong>The</strong> GS MINI TM<br />
Size/Shape: Scaled-down GS (23 1/2-inch scale length)<br />
Back/Sides: Sapele Laminate<br />
Top: Solid Sitka Spruce<br />
Fretboard Inlay: Pearloid Dots<br />
Rosette: 3-Ring<br />
Purfling: Black/White/Black<br />
<strong>The</strong> GS Mini pairs the concept of a fun, ultra-portable guitar, first<br />
embodied by the Baby Taylor, with the tone-enhancing engineering<br />
that led to the development of the GS body style. <strong>The</strong> result is a<br />
small-size guitar with a full-size sound, making it the perfect go-anywhere<br />
guitar — from the couch to the campfire to the concert hall —<br />
at an affordable price point. Besides a surprisingly rich, beefed-up<br />
sound, the Mini also features Taylor’s patented NT ® neck, which<br />
delivers Taylor’s renowned intonation and provides more stability in<br />
different climate conditions out in the world. <strong>The</strong> Mini even borrows<br />
some of the refined aesthetic details of our full-size models, like an<br />
inlaid rosette, top purfling, and a pickguard. And to make the Mini<br />
even more versatile for players who want to plug in, it’s pre-fitted for<br />
easy self-installation of our proprietary magnetic soundhole pickup,<br />
the ES-Go (opposite page), which can be purchased separately<br />
and added in minutes. Together with the V-Cable, wherever life<br />
takes you, the GS Mini is always ready to play.<br />
Scott Winder from Taylor’s equipment maintenance team enjoys<br />
cruising out to the desert or the mountains on the weekends,<br />
and loves to have a guitar with him when he’s surrounded by<br />
the inspiration of the great outdoors. With the GS Mini, ES-Go,<br />
Taylor V-Cable and the Sonoma Wire Works <strong>Guitar</strong>Jack iPhone<br />
interface, he can easily record music from anywhere. He uses<br />
Sonoma’s iPhone app FourTrack and a Taylor iPhone app with<br />
several Taylor EQ presets, including one for the GS Mini. For more<br />
details on the <strong>Guitar</strong>Jack, FourTrack and the Taylor iPhone app,<br />
visit sonomawireworks.com/guitarjack.<br />
22
Plug-in Accessories<br />
ES-Go<br />
<strong>The</strong> ES-Go is a magnetic soundhole<br />
pickup developed exclusively<br />
for the GS Mini. It was designed<br />
to be a convenient add-on component<br />
that anyone can install<br />
on their own in minutes for a<br />
great amplified acoustic sound.<br />
Every Mini comes pre-fitted with<br />
a pickup connecting bracket<br />
that’s mounted to the neck extension<br />
block inside the soundhole.<br />
<strong>The</strong> ES-Go includes a mounting<br />
clip that snaps into the bracket,<br />
allowing the pickup to “float” in<br />
the soundhole without touching<br />
the top. Simply replace the Mini’s<br />
endpin with the pickup’s endpin<br />
jack, which has a cable that plugs<br />
into an input jack on the pickup.<br />
Once the pickup is snapped into<br />
the connecting bracket, the Mini is<br />
ready to be plugged in.<br />
V-Cable<br />
<strong>The</strong> innovative, Taylor-designed<br />
V-Cable features a master volume<br />
control that’s built directly into the<br />
cable, making it easy to adjust<br />
your volume anytime you plug in a<br />
GS Mini with the ES-Go pickup.<br />
It also works with other guitars<br />
that don’t have an onboard volume<br />
control. <strong>The</strong> volume knob’s ergonomic<br />
placement on the end of<br />
the cable that plugs into the guitar<br />
makes it easy for players to find it<br />
in the dark, and it can be turned<br />
off to unplug noiselessly. Both<br />
the ES-Go and the V-Cable are<br />
available through TaylorWare at<br />
taylorguitars.com.<br />
51 23
<strong>2010</strong> <strong>Guitar</strong> <strong>Guide</strong><br />
<strong>The</strong> acoustic LINE<br />
grand symphony<br />
Models: GS-K, GS8, GS8-12, GS7, GS6, GS6-12, GS5, GS5-12<br />
grand AUDITORIUM<br />
Models: GA-K, GA-K-12, GA8, GA8-12, GA7, GA6, GA6-12, GA5,<br />
GA4, GA4-12, GA3, GA3-12<br />
grand concert<br />
Models: GC-K, GC8, GC7, GC6, GC5, GC4, GC3<br />
dreadnought<br />
Models: DN-K, 910 Legacy,* 810 Legacy,** DN8, DN5, DN4, DN3<br />
*Features “Cindy” fretboard inlay and abalone-edged top<br />
**Features 800 Series fretboard inlay and white binding<br />
<strong>The</strong> clean, symmetrical contours of a noncutaway acoustic speak<br />
to the aesthetic of elegant simplicity that defines our Acoustic line.<br />
Appointments are understated and kept to a minimum, pickguards<br />
are withheld (available as an option), and our less-is-more design<br />
approach honors the essential elements of a fine acoustic guitar:<br />
shapes, woods and pure tone. A world of rich detail and nuance<br />
lives within that tone, and we don’t want anything else to take away<br />
from your playing experience.<br />
Inspired by the development of the Grand Symphony (GS), the<br />
Acoustic line features 34 models, organized around four shapes:<br />
the GS, the Grand Auditorium (GA), the Grand Concert (GC), and<br />
the Dreadnought (DN). Several 12-string models are available in the<br />
GS and GA shapes, and the optional Expression System ® pickup<br />
fits the line’s design sensibility by amplifying the acoustic tone in the<br />
most natural way possible, without intruding on the beauty of the<br />
instrument.<br />
A quartet of acoustic models against a backdrop of figured Hawaiian<br />
koa boards.<br />
24<br />
L-R: a lefty GA3e, DN5e, GS-7 and GC-Ke
<strong>2010</strong> <strong>Guitar</strong> <strong>Guide</strong><br />
<strong>The</strong> specialty models<br />
Baritone 6-String<br />
Baritone 8-String<br />
12-Fret<br />
Three unique guitar voices from 2009 have inspired new models for<br />
our line this year: a 6- and 8-string Baritone Grand Symphony and a<br />
12-fret Grand Concert. Linking the trio are the tonewood combination<br />
of Indian rosewood and Sitka spruce and an underlying theme of<br />
discovering fresh musical inspiration. <strong>The</strong> Baritone models feature a<br />
longer 27-inch scale length and are tuned from B to B, giving singersongwriters<br />
a guitar with deeper, richer tone, yet with normal string<br />
tension, and allowing them to sing in a lower vocal range. <strong>The</strong> 8-string<br />
is a sonic revelation, pairing two upper octave strings with the third<br />
and fourth (D and A) strings to extend the baritone range into the<br />
upper register without overemphasizing the 12-string jangle. It’s great<br />
for walking bass lines and other melodic chord embellishments.<br />
<strong>The</strong> rosewood/spruce 12-Fret has stolen Bob Taylor’s heart and<br />
given the world a Taylor sound like no other — a modern vintage<br />
tone that blends warmth and depth on the low end with crisp,<br />
snappy treble and surprising overall volume. Because the neck<br />
meets the body at the 12th fret instead of the 14th, and the bridge<br />
is repositioned farther back on the soundboard, the result is a<br />
sweet spot of sound that gives the 12-Fret the voice of an aged<br />
guitar right out of the case. <strong>The</strong> model also features a slotted head<br />
and a cutaway design inspired by our Nylon Series. If you’ve been<br />
craving something different to stimulate your creative juices, look<br />
no further than our specialty models.<br />
San Diego singer-songwriter Cindy Lee Berryhill enjoys her first<br />
exposure to our new 8-string Baritone. Berryhill often writes in the<br />
keys of B and B flat and says the Taylor Baritone is now officially on<br />
her wish list. “I’ve always loved the lower tones of the guitar and have<br />
been an admirer of Neil Young’s detuned guitar sound,” she says.<br />
“But probably most important is my desire to reinvent. As a guitarist/songwriter,<br />
I invite each song cycle to come from a fresh place.<br />
I like to get myself in a sea of tones on a ship that’s lost its bearing,<br />
its North Star, which forces me to reinvent a new constellation of<br />
chords. <strong>The</strong>n the songs start blowing in.”<br />
L-R: <strong>The</strong> 12-Fret, Baritone 8-string, and Baritone 6-string<br />
27
<strong>2010</strong> <strong>Guitar</strong> <strong>Guide</strong><br />
<strong>The</strong> ELECTRIC LINE<br />
the solidbody<br />
Fueled by our proprietary pickups and innovative design touches,<br />
the Taylor SolidBody has given the electric guitar world a uniquely<br />
inspiring voice. For <strong>2010</strong>, we diversify the SolidBody’s appeal with<br />
a fresh array of custom ordering options and after-market flexibility.<br />
Now you can have exactly the look and tones you want by choosing<br />
from options that include color (for the SolidBody Classic), pickup<br />
configuration, and pickguard color, with an optional tremolo bridge<br />
available for any model. We’ve also added a new pickup to the mix,<br />
a vintage alnico (VA) humbucker, which boasts a big, full sound. You<br />
can now order a SolidBody Custom or Standard with a pickguard,<br />
and the Classic now comes in 14 different colors. On top of that,<br />
our solderless, “plug & play” loaded pickguards give you additional<br />
options that let you easily swap out pickups to completely change<br />
the tonal personality of your guitar in minutes. Now more than ever,<br />
the SolidBody experience means you can own a Taylor electric that<br />
fits your style and sound.<br />
L-R: Viper Blue Classic with white pearloid pickguard, 3 mini<br />
humbuckers and tremolo; Jewelescent Orange Classic with black<br />
pearloid pickguard, 2 single coils/1 humbucker and tremolo; Custom<br />
Koa with vintage alnico humbuckers and tremolo; Standard with<br />
white pearloid pickguard and 3 single coils; Custom Walnut with<br />
white pearloid pickguard and 2 full-size humbuckers<br />
28
the solidbody<br />
Choose Your Body<br />
<strong>The</strong> SolidBody comes in three different<br />
body styles: Classic, Standard<br />
and Custom. <strong>The</strong> Classic features an<br />
alder body with a broad array of color<br />
options (shown and listed below).<br />
<strong>The</strong> Standard features a chambered<br />
sapele body with a top of figured<br />
maple and an aged cherry sunburst.<br />
<strong>The</strong> Custom also features a chambered<br />
sapele body, with a choice of<br />
two different tops, koa or walnut.<br />
Choose Your Pickguard<br />
All SolidBody models come with a<br />
pickguard, available in a choice of five<br />
colors: white pearloid, black pearloid,<br />
tortoise, black and parchment. <strong>The</strong><br />
Standard and Custom can also be<br />
ordered with direct-mount pickups,<br />
without a pickguard.<br />
Choose Your<br />
Pickup Configuration<br />
A wide variety of different SolidBody<br />
pickup configurations gives players a<br />
unique palette of electric tones from<br />
which to choose. In addition to these<br />
choices, our pickups are designed for<br />
after-market “plug & play” flexibility,<br />
so you can swap out for other loaded<br />
pickguards with different pickup<br />
configurations, without the need for<br />
any soldering, giving you the ultimate<br />
in SolidBody customization.<br />
Build a Virtual<br />
SolidBody Online<br />
You can explore the different custom<br />
options offered with the SolidBody by<br />
using our online SolidBody Configurator.<br />
<strong>The</strong> program allows you<br />
to select from all available options<br />
and build a virtual model. Feel free<br />
to experiment with different body,<br />
pickup and pickguard combinations.<br />
<strong>The</strong> Configurator gives you the option<br />
of downloading a picture of your<br />
guitar with your chosen specs. You<br />
can also e-mail them, print them, or<br />
be directed to one of Taylor’s premier<br />
electric dealerships to place an order.<br />
taylorguitars.com/guitars/electric/<br />
models/solidbody/<br />
Classic - Trans White<br />
Classic - Titanium Pearl<br />
Classic - Lava Red<br />
Classic - Jewelescent Orange<br />
Classic - Purple Flake<br />
Classic - Blue Metallic<br />
Classic - Viper Blue<br />
Classic - Sage Green<br />
Classic - Sublime<br />
Classic - Magenta Pearl
pickup personalities<br />
Much of the distinctive tonal character<br />
of an electric guitar comes from<br />
the types of pickups used. With the<br />
SolidBody, our pickups were actually<br />
developed before the guitar was. <strong>The</strong><br />
fact that they had such a cool and<br />
unique character justified designing<br />
a whole new guitar around them.<br />
Our electronics team captured all<br />
the familiar “goodness” of the iconic<br />
electric pickups we’ve loved for<br />
years, but also solved some of their<br />
inherent problems. Our developers<br />
also added unique Taylor “flavors”<br />
and enhanced the tone-shaping<br />
capability. <strong>The</strong> following pickups are<br />
available in different configurations on<br />
the SolidBody.<br />
Humbucker: Uses two coils to generate<br />
sound. Humbuckers are known<br />
for having a high output and for their<br />
ability to produce sound without the<br />
noise that is inherent with a traditional<br />
single coil pickup. Players such as<br />
Jimmy Page, Dickie Betts and Carlos<br />
Santana have defined their signature<br />
tones with humbucker-equipped guitars.<br />
Our humbucker was designed to<br />
balance the sweetness and definition<br />
of a vintage pickup sound with the<br />
power to fully drive an amp without<br />
overpounding it. It unleashes raw<br />
rock power and great sustain without<br />
sacrificing balance or great tone.<br />
Mini Humbucker: Also uses two<br />
coils and has all the advantages of a<br />
full-size humbucker, but because of<br />
its smaller size, it provides a tone that<br />
takes up less sonic space, which is<br />
great for cutting through a mix.<br />
High Definition / High Gain:<br />
Our full-size and mini humbuckers<br />
are available in two different versions.<br />
<strong>The</strong> High Definition (HD) is our original<br />
high fidelity design, while the High<br />
Gain (HG) is slightly darker-sounding<br />
and unleashes more front-end drive<br />
for a crunchier tone with extra rawness.<br />
Vintage Alnico (VA) Humbucker:<br />
Our newest pickup is a full-size,<br />
covered humbucker with a big sound.<br />
<strong>The</strong> Alnico 5 magnets we used are<br />
known for their hot output and round<br />
sound. Our VA pays homage to the<br />
tradition of classic humbuckers, yet<br />
with a more modern sonic flavor.<br />
Taylor’s David Hosler explains: “I’ve<br />
always liked that big, woolly tone that<br />
comes with PAF humbuckers. Our<br />
goal was to create a pickup with a<br />
little more drive on the front end of<br />
the amp.”<br />
Single Coil: Uses only one coil by<br />
design. When played through a clean<br />
channel on an amp, single coils can<br />
sound shimmery, glassy and bright.<br />
<strong>The</strong>y take on a different personality<br />
when played through the crunch or<br />
high gain channel of an amp. Players<br />
who have popularized the single coil<br />
sound include Stevie Ray Vaughan,<br />
Jeff Beck and David Gilmour. Our<br />
breakthrough noiseless single coil<br />
responds with all the breathiness,<br />
sparkle and other distinctive character<br />
of the single coil sound, but<br />
without any of the traditional buzz,<br />
hum or other sonic artifacts.<br />
Classic - Tobacco Sunburst<br />
Classic - Natural<br />
Classic - Trans Red<br />
Classic - Black<br />
Standard - Aged Cherry Sunburst<br />
Custom - Walnut<br />
Custom - Koa<br />
Standard - Aged Cherry Sunburst w/ pickguard<br />
Custom - Walnut w/ pickguard<br />
Custom - Koa w/ pickguard
the solidbody<br />
Pickup configurations<br />
Choosing from different combinations of pickups allows you to customize<br />
the fundamental tonal palette of your SolidBody. With plenty<br />
of configurations available, you can completely personalize your<br />
sound for your playing preferences. Here’s a rundown of available<br />
configurations.<br />
5<br />
2 Mini Humbuckers (HD or HG) 1<br />
Because mini humbuckers take up less sonic space than full-size<br />
humbuckers, they’re a great choice for a band with multiple instruments.<br />
<strong>The</strong>y have plenty of grind and punch without getting in the<br />
way of the other arrangements in the mix. On stage, the minis have<br />
a little more cut and presence. A sideman will be able to cover a lot<br />
of ground.<br />
6<br />
2 Full-size HD Humbuckers 2<br />
2 Full-size HG Humbuckers 3<br />
2 Full-size Vintage Alnico Humbuckers 4<br />
Two full-size humbuckers have a heavier, dirtier tone than the mini for<br />
more of a rock edge. For years, players have relied on this combination<br />
to deliver the warm, sweet sound of the neck pickup and the<br />
bite of the bridge. <strong>The</strong> HG version is full of presence and is engineered<br />
to hit the front of the amp harder than the HD for a heavier,<br />
crunchy tone. <strong>The</strong> vintage alnicos are our modern version of a traditional<br />
PAF-style covered pickup. <strong>The</strong>y feature a fat, round sound with<br />
a warm bottom end. Traditionally, guitars with two humbuckers have<br />
a 3-way switch. Our 5-way switching system adds both a parallel<br />
and series option for a broader tone palette.<br />
4<br />
7<br />
3 Single Coils 5<br />
Another classic sound in the electric world. “Sultans of Swing,”<br />
“Brown Sugar,” “All Along the Watchtower,” and “Another Brick in<br />
the Wall” are examples of single coil gold. Our noiseless single<br />
coils capture all the great character of the single coil sound without<br />
the buzz and other sonic noise. <strong>The</strong> bridge pickup sounds great<br />
overdriven, yet has lots of sparkle and clarity when played clean. Our<br />
switching allows each pickup to be selected individually and also<br />
provides two combined pickup positions.<br />
3<br />
1 Full-size HG Humbucker 6<br />
<strong>The</strong>re is a simple beauty to the signal chain of a guitar, cable and<br />
amp. Some players just want to plug in, turn up, and rock out. If you<br />
like to ride the volume knob for more nuance, turning down the volume<br />
controls a little and hitting the amp in different ways will yield all<br />
kinds of colors and flavors at different levels. Pulling up the volume<br />
pot will split the coil.<br />
32
9<br />
8<br />
2 Single Coils/1 HG Humbucker 7<br />
This combination, born out of the guitar player culture of swapping<br />
pickups, is a very popular and versatile setup. If you’re a player who<br />
needs to quickly switch between the slam of a humbucker and the<br />
wisp of a single coil, the “single single hum” configuration will get it<br />
done. Perfect for a player who wants access to multiple tones with<br />
one guitar.<br />
2<br />
1 HD Mini Humbucker/1 Single Coil 8<br />
This setup throws a nod to Keith Richards and other great blues<br />
players like Albert Collins. A 3-way switch allows you to toggle<br />
between the modern sound of our high definition mini and the spank<br />
of our noiseless bridge single coil. Great for cutting, groovy, rhythmic<br />
chording.<br />
1<br />
3 HD Mini Humbuckers (HD or HG) 9<br />
<strong>The</strong> three-mini setup is reminiscent of the ’60s Firebird 7 but with<br />
Taylor’s own sonic imprint. Positions 1 and 5 (Neck and Bridge)<br />
deliver a smooth and driving front edge, with great distortion and<br />
clean sounds available at the flick of a switch. Both positions drive<br />
the front end of an amp really well. Positions 2 and 4 capture a thick<br />
single coil vibe, and make great choices for blues rhythm or lead. <strong>The</strong><br />
real gem of this configuration is Position 3, the middle pickup alone.<br />
It sparkles and drives at the same time; it’s really transparent and<br />
thick. With a trem, this setup suits any style or tonal flavor.<br />
Loaded Pickguards<br />
In addition to custom ordering options, Taylor’s solderless, “plug<br />
& play” loaded pickguards give SolidBody owners ongoing pickup<br />
flexibility, making it easy to swap out pickups for a new configuration<br />
that translates into incredible versatility. Players can choose from<br />
a variety of pickup combinations and pickguard colors. Owners of<br />
a SolidBody Standard or Custom who have their pickups directmounted<br />
without a pickguard can purchase individual replacement<br />
pickups in the form of full-size or mini humbuckers, available in both<br />
HD and HG versions. Both the loaded pickguards and replacement<br />
pickups can be swapped out in minutes with a Phillips head<br />
screwdriver.<br />
33
<strong>The</strong> T5<br />
<strong>The</strong> incredibly versatile hollowbody hybrid T5 continues to amaze<br />
players with its stunning range of electric and amplified acoustic<br />
tones. Equipped with an acoustic body sensor derived from the<br />
Expression System ® and two humbuckers (one installed beneath<br />
the fretboard), the T5 is fully compatible with acoustic amps, a PA<br />
system, and electric amps. A five-way switch offers access to a<br />
full range of acoustic and electric tones, and an A/B/Both box lets<br />
players dial in a blend of both. A winner of multiple industry awards,<br />
the T5 has redefined what a guitar can do and given performers<br />
across the musical spectrum a guitar that can cover as much ground<br />
as they need to on stage. For <strong>2010</strong>, we’re pleased to add another<br />
model to the mix, the ovangkol top T5 Classic (available as either a<br />
6- or 12-string). To view a video demonstration of everything the T5<br />
can do, visit taylorguitars.com.<br />
<strong>The</strong> T3<br />
<strong>The</strong> T3 rounds out the Taylor electric line with yet another inspiring<br />
blend of tones and smooth functionality that embrace the semihollow<br />
sound and then take it to another level. <strong>The</strong> T3’s coil-splitting<br />
application allows players to turn their high definition humbuckers<br />
into single coils. Our push/pull tone knob activates two different<br />
levels of tone-shaping that yield a colorful range of electric voices,<br />
from rockabilly twang to hard rock to warm, fat jazz. A metal rollerstyle<br />
bridge includes two tailpiece options: a stop tailpiece or, on<br />
the T3/B, an authentic Bigsby vibrato that adds a touch of vintage,<br />
chromed-out cool. <strong>The</strong> Bigsby/roller bridge pairing solves the pitch<br />
problems long associated with fixed bridges and tuning stability.<br />
Every step of the way, the T3 enhances the feel, sound and performance<br />
of a semi-hollowbody electric. Plug one in and you’re bound<br />
to discover a heap of cool new sounds.<br />
L-R: Ovangkol top T5 Classic, koa top T5-C2, tobacco sunburst<br />
T3/B, honey sunburst T5C1-12, Macassar ebony top T5-C5, red<br />
T3 with stop tail<br />
34
the signature models<br />
Great artists bring something uniquely compelling to the world. Our<br />
Signature models represent an extension of each Taylor artist’s unique<br />
musical expression. In each case, a signature guitar has evolved from<br />
a standard Taylor model an artist has played for years, incorporating<br />
additional design elements that visually capture part of the artist’s<br />
identity. For <strong>2010</strong>, our Signature models embody a range of musical<br />
styles. Our DDSM and LKSM celebrate two of the most accomplished<br />
fingerstyle players in the world in Doyle Dykes and Leo Kottke.<br />
<strong>The</strong> TSBT is an invitation to young Taylor Swift fans who have been<br />
inspired by her songs to pick up a guitar themselves. <strong>The</strong> STSM-T5<br />
captures the creative energy of rock singer-songwriter Serj Tankian<br />
and the dynamic range of musical emotions the T5 can articulate on<br />
stage. <strong>The</strong> DMSM adds a fresh inlay motif to the 914ce model that<br />
Dave Matthews has played on stage for years. And the JMSM, designed<br />
with Jason Mraz, showcases the ways a nylon-string’s expressive<br />
flavors and rhythmic textures fit into the acoustic pop world. With<br />
the right guitar, we each can find our own signature sound.<br />
JMSM<br />
Signature Artist: Jason Mraz<br />
Back/Sides: Indian Rosewood / Top: Western Red Cedar<br />
Unique Features: Mexican cypress “Be Love” triangle/circle<br />
fretboard inlay, zodiac rosette inlay featuring koa, bubinga<br />
and Mexican cypress<br />
STSM-T5<br />
Signature Artist: Serj Tankian<br />
Body: Sapele / Top: Maple<br />
Unique Features: Red binding, “Energy Wheel” fretboard and<br />
peghead inlays, unbound f-hole<br />
TSBT<br />
Signature Artist: Taylor Swift<br />
Back/Sides: Sapele Laminate / Top: Solid Sitka Spruce<br />
Unique Features: Custom rosette featuring a vine motif with “Love”<br />
inscribed three times, with Taylor Swift’s stylized signature and the<br />
word “Fearless” over the bridge<br />
DDSM<br />
Signature Artist: Doyle Dykes<br />
Back/Sides: Big Leaf Maple / Top: Sitka Spruce<br />
Unique Features: Florentine cutaway, 4 1/8-inch body depth, offset<br />
pearl “Chet” style fretboard inlays, pearl/abalone rose peghead<br />
inlay, abalone-edged top, different color options (see specs)<br />
LKSM, LKSM-6<br />
Signature Artist: Leo Kottke<br />
Back/Sides: Tropical Mahogany / Top: Sitka Spruce<br />
Unique Features: No fretboard inlay, heavy gauge strings tuned<br />
to C#<br />
DMSM<br />
Signature Artist: Dave Matthews<br />
Back/Sides: Indian Rosewood / Top: Sitka Spruce<br />
Unique Features: Custom fretboard and peghead inlays,<br />
aged toner top shading<br />
L-R: Jason Mraz Signature Model, Serj Tankian T5,<br />
Taylor Swift Baby Taylor, Doyle Dykes Signature Model,<br />
Leo Kottke Signature Model, Dave Matthews Signature Model 37
<strong>2010</strong> <strong>Guitar</strong> <strong>Guide</strong><br />
customization<br />
build To order<br />
Part of the pleasure of being a guitar enthusiast is envisioning one’s<br />
dream guitar(s). In recent years, we’ve taken it upon ourselves<br />
to make those guitar dreams tangible through the Taylor Build to<br />
Order program. Our goal is simple: to use our wood resources and<br />
design expertise to help you create a Taylor that’s truly your own.<br />
<strong>The</strong> program is based on three key ideas: choice, support and<br />
turnaround. Starting with choice, our BTO menu features about 40<br />
separate categories from which to choose, from amazing grades of<br />
exotic woods to custom neck profiles to a rich palette of inlay, binding<br />
and purfling options. Next is support. With the many available<br />
options, you might have questions along the way, and we’re more<br />
than happy to answer them. We’ve also brought a good number<br />
of our dealers out to the Taylor complex to spend time with Bob<br />
Taylor and our BTO team and learn firsthand about BTO options,<br />
giving you an additional resource, since you’ll place your BTO order<br />
through your dealer. Last is turnaround time. We reserve daily build<br />
slots for BTO guitars because you shouldn’t have to wait six months<br />
or more. This means that orders are fulfilled in around eight weeks.<br />
Our Build to Order program<br />
doesn’t just cover our steelstring<br />
acoustics. It includes<br />
nylon-strings, the T5 and the<br />
T3, too. Our menu of options<br />
may change on a quarterly<br />
basis, based on the availability<br />
of woods. In <strong>2010</strong>, new BTO<br />
options for acoustic guitars<br />
include an armrest or a headstock<br />
backstrap, plus the ability<br />
to order a custom 9-string, 12-<br />
fret or baritone guitar. New options<br />
for the T5 and T3 include Koa Backstrap<br />
the availability of maple, koa or<br />
ebony binding. For a listing of BTO categories, check our Specifications<br />
pages in the back of the <strong>Guitar</strong> <strong>Guide</strong>.<br />
L-R: GA with AA-quilt maple back and sides, tobacco sunburst<br />
finish, 900 Series fretboard and bridge inlays, koa binding and<br />
rosette, and abalone top; GC with a cocobolo back, sides, armrest<br />
and binding, Engelmann spruce top, and 600 Series fretboard inlays;<br />
T5 with Macassar ebony top and headstock overlay, “Cindy”<br />
fretboard inlays, Koa Series peghead inlay, and antique gold<br />
Gotoh 510 tuners<br />
38
modify a model<br />
If you want a variation on a guitar<br />
model from Taylor’s existing line<br />
without having to order a custom<br />
Build to Order guitar, we offer a<br />
number of options through our<br />
Modify a Model program. <strong>The</strong><br />
program applies to any model<br />
from the Acoustic 3 or Acoustic/<br />
Electric 300 Series and up. (<strong>The</strong>se<br />
options apply when ordering a guitar<br />
only, not for an existing guitar.)<br />
Common choices include:<br />
• Alternative nut widths of<br />
1 11/16 or 1 7/8 inches<br />
• Switching to or from a<br />
short-scale neck<br />
• Tuner upgrades (including<br />
Gotoh 510s)<br />
• Pickguard options (black, clear,<br />
tortoise, none)<br />
• A bone nut/saddle<br />
Some options are specific to<br />
certain series. For the maple 600<br />
Series, you can choose between<br />
different grades of quilt or flame,<br />
and for no additional charge can<br />
select from all available color<br />
and burst options. On the 500<br />
Series and higher, top swapping<br />
options include Sitka spruce,<br />
Engelmann spruce or cedar, and<br />
you can choose between a two- or<br />
three-piece back. <strong>The</strong> Koa Series<br />
offers a shaded edgeburst option.<br />
You can also opt for a Florentine<br />
cutaway in place of the standard<br />
Venetian on any acoustic/electric.<br />
Prices vary by option and may not<br />
be available on all models. For<br />
more information about modifying<br />
a model, contact an authorized<br />
Taylor dealer.<br />
39
Acoustic<br />
Electronics<br />
<strong>The</strong> performance-ready Expression<br />
System faithfully reproduces your<br />
Taylor’s natural voice<br />
Our commitment to great acoustic<br />
tone doesn’t end with the guitar. It<br />
includes the realm of amplified sound<br />
for players who want to plug in and<br />
convey all the great acoustic nuances<br />
they love about their Taylors. A guitar’s<br />
shape, its wood pairings, and<br />
the technique of the player together<br />
create a unique tonal character, and<br />
we think that voice deserves to be<br />
heard when the guitar is plugged-in.<br />
After all, many gigging acoustic players<br />
stake their livelihood on their live<br />
sound, and they want a pickup that<br />
sounds natural, is reliable, and is easy<br />
to use.<br />
We decided to develop our own<br />
acoustic pickup, the Expression<br />
System ® (ES), because other aftermarket<br />
pickups like a traditional piezo<br />
transducer had never managed to<br />
produce a true acoustic sound. We<br />
started by studying how a guitar resonates.<br />
We worked closely with legendary<br />
pro audio designer Mr. Rupert<br />
Neve. Ultimately, our product<br />
development group designed a highfidelity<br />
acoustic pickup and preamp<br />
that are fully integrated into the<br />
guitar. We’ve been installing it in our<br />
guitars since 2003, and some of the<br />
biggest names in music, from John<br />
Fogerty to George Strait, rely on it for<br />
a great acoustic sound on stage.<br />
<strong>The</strong> ES incorporates a network<br />
of magnetic sensors that work like a<br />
microphone to capture the acoustic<br />
detail coming from the guitar’s body<br />
and neck as they resonate. A body<br />
sensor affixed to the underside of the<br />
guitar’s soundboard (top) captures<br />
all the sonic detail of its movement,<br />
while a neck sensor picks up string<br />
and neck vibration. A pro audio grade<br />
preamp cleanly boosts the signal and<br />
eliminates noise that might otherwise<br />
distort or muddy the tone. <strong>The</strong> result<br />
is amplified acoustic tone that sounds<br />
like you and your guitar, with all the<br />
richness, articulation and dynamic<br />
range you could ask for. It’s also<br />
highly feedback resistant.<br />
Another goal of the ES design<br />
was to offer easy-to-use tone controls<br />
without intruding on the beautiful<br />
aesthetic of a Taylor. With three softtouch<br />
roller knobs elegantly embedded<br />
in the upper bout of the guitar,<br />
you can adjust your volume,<br />
bass, midrange and treble frequencies,<br />
allowing you to dial in your<br />
sound to suit the performance space.<br />
<strong>The</strong> latest version of the ES (updated<br />
this year) allows players to turn off<br />
the body sensor with a switch on the<br />
preamp board inside the soundhole,<br />
features a battery indicator LED, and<br />
includes a fused string ground to<br />
protect players who play at venues<br />
that may not have proper electrical<br />
ground.<br />
Although the ES was originally<br />
designed with performance in mind,<br />
the sound quality is good enough<br />
that many players and recording<br />
engineers also use the ES signal for<br />
recording.<br />
In the end, the ES will satisfy<br />
the most demanding pro player, yet<br />
makes it simple enough for anyone<br />
to plug in and get a great live tone.<br />
Even if you’re not quite ready for that<br />
open mic night, with the ES, your guitar<br />
will be ready to go when you are.<br />
<strong>The</strong> ES comes standard on<br />
acoustic/electric models from the<br />
300 Series up and is optional on<br />
models in our acoustic line.<br />
ES-T Under-Saddle<br />
Transducer / 100 & 200<br />
Series<br />
Inspired by our Expression<br />
System technology and installed on<br />
our 100 and 200 Series, the ES-T ® is<br />
a single-source, under-saddle transducer<br />
with individual elements for<br />
each string. <strong>The</strong> ES-T has an onboard<br />
preamp and the same active controls<br />
found on the full ES. Featuring<br />
a custom-voiced EQ and dynamic<br />
response, the system is powered by a<br />
9-volt battery, with a battery life LED<br />
power indicator (which is lit when the<br />
battery is being used). <strong>The</strong> pickup<br />
also has a Phase switch for feedback<br />
control, which is located on the preamp<br />
board inside the soundhole.<br />
ES-N / Nylon Series<br />
New for <strong>2010</strong>, the ES-N applies<br />
our ES pickup technology to our<br />
Nylon Series. It’s similar to the ES-T,<br />
but the preamp design and tone controls<br />
were customized to complement<br />
the nylon-string voice. Our standard<br />
ES control knobs replace the Fishman<br />
EQ control unit formerly installed in<br />
the guitar’s upper bout, adding more<br />
tone-shaping control and preserving<br />
the natural design aesthetic.<br />
ES Installation and Retrofits<br />
Whatever model of acoustic guitar<br />
you own, whether an older Taylor with<br />
pre-ES electronics or a model without<br />
electronics, our Factory Service<br />
Center can install or retrofit the<br />
Expression System. A retrofit for “classic”<br />
Taylor necks (featuring a onepiece,<br />
pre-NT neck design) incorporates<br />
the same type of a neck/string<br />
sensor used on the standard ES, only<br />
the pickup housing is mounted in the<br />
soundhole. <strong>The</strong> Baby and Big Baby<br />
can be equipped with an active undersaddle<br />
transducer ($150).<br />
• <strong>The</strong> ES install adds the ES to a<br />
Taylor that doesn’t currently have<br />
electronics or that has other electronics<br />
inside the body of the guitar<br />
and won’t present an obstruction<br />
to the installation process. NT neck<br />
design only. ($500)<br />
• <strong>The</strong> ES retrofit is used on a Taylor<br />
that has the Fishman Onboard<br />
Blender, Fishman Prefix or the<br />
L.R. Baggs pickup used on the<br />
Doyle Dykes Signature Model.<br />
Side-mounted controls fill the<br />
existing preamp hole in the guitar.<br />
($500)<br />
• <strong>The</strong> ES upgrade will modify your<br />
ES-equipped Taylor guitar from<br />
the AA battery power source to the<br />
9v system currently used. <strong>The</strong><br />
latest version of the ES also<br />
includes a fused string ground,<br />
battery indicator LED, and a switch<br />
that allows you to turn off the body<br />
sensor. ($300)<br />
• <strong>The</strong> ES-NC (no controls) is an<br />
option for customers who want<br />
the ES electronics but also want<br />
to preserve the pure acoustic<br />
aesthetic of their guitar. This<br />
version features the ES sensors<br />
and preamp, but has no volume or<br />
tone controls. <strong>The</strong> pickup installation<br />
also features a standard<br />
endpin jack along the tail line<br />
instead of the ES battery carriage.<br />
(<strong>The</strong> 9v battery is housed inside<br />
the soundhole.) ($500)<br />
ES installation includes our<br />
Refresh service package. For more<br />
information, see our service package<br />
listings on page 41, or feel free<br />
to call Taylor’s Customer Service<br />
Department at (800) 943-6782.<br />
<strong>The</strong> K4<br />
Another Taylor toneshaping<br />
product that we feel<br />
deserves a place in any serious<br />
musician’s toolbox is the<br />
K4 Preamp and Equalizer. Like<br />
the ES, it incorporates the<br />
ultra-musical analog circuitry of<br />
Mr. Rupert Neve and expands<br />
the degree of tone control<br />
of the ES, allowing you to<br />
precisely shape your guitar’s<br />
tone by honing in on the notes<br />
or frequencies of your choice<br />
and then cutting or boosting<br />
them to taste. It’s perfect<br />
for studio or home recording<br />
and live performance. Among<br />
the K4’s features are a tuner<br />
output, phase reverse switch,<br />
headphone jack, and an effects<br />
loop, which allows you to use<br />
reverb, a stomp box, a volume<br />
pedal or other effects and<br />
maintain a balanced signal<br />
chain. Multiple, transformercoupled<br />
balanced outputs give<br />
you routing flexibility, enabling<br />
you to drive an amp, PA or<br />
both. <strong>The</strong> K4 is also handy for<br />
enhancing the amplified sound<br />
of other types of acoustic/<br />
electric guitars. If you like to<br />
detail your tone, the K4 is an<br />
essential piece of gear.<br />
Tip: Because of its flexible,<br />
smooth EQ section, the K4<br />
can come in handy in a mixing<br />
session. Try using the K4 as a<br />
channel insert on your mixing<br />
console the next time you do<br />
a mix.<br />
40
Customer<br />
Service<br />
Taylor’s commitment to service extends well beyond<br />
guitar repairs. From tech support to guitar care tips,<br />
we provide a direct line to a great guitar experience.<br />
Part of Bob and Kurt’s long-term<br />
vision for Taylor <strong>Guitar</strong>s has been to<br />
redefine what service from a guitar<br />
company means. We’re passionate<br />
about making guitars but also about<br />
helping customers find the right ones,<br />
get the most out of them, and keep<br />
them in great condition. <strong>The</strong> beautiful<br />
thing about a well-made guitar is that<br />
if it’s well cared for, its tone will only<br />
get better over time.<br />
<strong>Guitar</strong> service used to simply<br />
mean repairing a broken instrument if<br />
it was under warranty. For us, service<br />
has come to mean many things. It<br />
starts with open, direct lines of communication<br />
for prospective customers<br />
and owners alike to interact with us.<br />
It’s Ben Benavente on the phone<br />
helping a customer decide on a koa<br />
or cocobolo guitar and then informing<br />
him which dealer near him might<br />
have the model in stock. It’s a Road<br />
Show Q&A or hands-on demo with<br />
Taylor employees at your local music<br />
store. It’s an “Ask Bob” response,<br />
straight from Bob Taylor himself, in<br />
Wood&Steel. It’s a friendly and informative<br />
factory tour. It’s the instructive<br />
tech sheets and videos on the Taylor<br />
website, designed to educate owners<br />
on everything from properly changing<br />
their strings to swapping out pickups<br />
to keeping their guitar humidified. It’s<br />
helping a traveling singer-songwriter<br />
get to a qualified repair technician on<br />
the road so they can get their guitar<br />
fixed in time for their next gig. And of<br />
course, it’s the expert care and repair<br />
of your favorite guitar, whatever its<br />
condition may be. As a full-service<br />
company, we’re committed to providing<br />
all the resources you need to<br />
enjoy your guitars as long as you own<br />
them.<br />
As Taylor and our customer<br />
base have grown over time, we’ve<br />
expanded the scope of our authorized<br />
service network to support customers<br />
throughout North America and the<br />
rest of the world. At taylorguitars.com<br />
you’ll find a growing list of repair contacts<br />
who have gone through extensive<br />
training at the Taylor factory. We<br />
encourage you to call our Customer<br />
Service department here at our factory<br />
complex in El Cajon, California,<br />
where our service staff can refer to<br />
our list of over 300 repair techs to<br />
find the right tech for your needs in<br />
your area. We also have four international<br />
factory service centers located<br />
in England, Sweden, Germany and<br />
France, staffed by repair techs<br />
who’ve trained here at Taylor’s headquarters.<br />
In 2008, in response to customer<br />
requests, we put together a series of<br />
service packages designed to help<br />
owners keep their Taylors primed.<br />
In 2009, we opened an expanded<br />
Factory Service Center in El Cajon<br />
and extended our reputation for great<br />
service beyond Taylors to include<br />
other guitar brands. We know that<br />
quality service can be hard to come<br />
by, and it’s gratifying when someone<br />
drives in from out of state to drop off<br />
their Martin or Gibson because of the<br />
work we did on their Taylor.<br />
Some of you may own 20 Taylors,<br />
while others may be encountering<br />
Taylor for the first time. Either way,<br />
our service team has your back<br />
throughout your guitar journey, wherever<br />
it may take you, and whatever<br />
your questions or concerns may be.<br />
Need help finding a guitar?<br />
If you’re interested in a Taylor<br />
but aren’t sure which model is right<br />
for you, or if you want a particular<br />
model but can’t find it, give Taylor’s<br />
Ben Benavente a call. Ben helps<br />
customers locate elusive Taylor models<br />
and answers questions that help<br />
people hone in on the right Taylor<br />
for their needs. He’ll be happy to<br />
answer questions about tonewoods,<br />
body shapes and other appointment<br />
details, and because he is able to<br />
track dealer inventories, he can direct<br />
you to a store that carries the specific<br />
Taylor model you’re looking for. Ben<br />
can also assist customers with Build<br />
to Order questions. Whatever information<br />
you need, Ben is here to help,<br />
without any sales pressure. Just call<br />
1-888-2TAYLOR.<br />
Taylor Service Packages<br />
We currently offer four service<br />
packages that cover any level of<br />
maintenance a guitar might need.<br />
Send your guitar(s) to the Taylor<br />
factory specifically for one of these<br />
packages, or add a service package<br />
to a guitar that’s sent in for other<br />
reasons, such as warranty service,<br />
ding repair, etc. Our Factory Service<br />
Center can also perform Expression<br />
System ® pickup installations and<br />
upgrades. <strong>Guitar</strong>s shipped to us will<br />
be returned in a brand new shipping<br />
carton with Taylor-engineered inserts<br />
designed to stabilize the case and<br />
cushion the ends.<br />
Refresh<br />
Includes: Stabilizing the guitar at<br />
the proper humidity level<br />
• Tuner tightening and adjustment<br />
• Fretboard cleaning and<br />
conditioning<br />
• Installation of new Elixir ® strings<br />
• Installation of new battery<br />
• Truss rod adjustment<br />
• Cleaning and polishing<br />
$95 All models<br />
Revive<br />
Includes the Refresh package plus:<br />
• Neck angle adjustment (reset)<br />
• Fret dress<br />
• Acoustic models: Nut and saddle<br />
adjustment or replacement (Tusq)<br />
as needed<br />
• SolidBody models: Nut adjustment<br />
or replacement (bone) and bridge<br />
adjustment<br />
• T5 models: Nut and saddle<br />
adjustment or replacement (bone)<br />
as needed<br />
$200 Acoustic models<br />
$200 SolidBody models<br />
$300 T5 models<br />
Renew<br />
Geared toward the gigging player,<br />
Taylor’s repair techs will return your<br />
guitar to perfect performance condition.<br />
Includes the Revive package plus:<br />
• Partial refret up to 10 frets (full<br />
refret add $100)<br />
• Full check of the electronics<br />
system<br />
$325 Acoustic models<br />
$325 SolidBody models<br />
$425 T5 models<br />
Rejuvenate<br />
<strong>The</strong> ultimate hydrating solution for a<br />
dry guitar. Your guitar and case are<br />
returned to optimum humidity levels<br />
with our rehydrating process. Once<br />
the guitar is stabilized, we repair any<br />
cracks in the fretboard or bridge, file<br />
sharp fret ends smooth, level any<br />
uneven frets, and finish with all the<br />
services in the Refresh package.<br />
(<strong>Guitar</strong>s with additional wood cracks<br />
will incur further charges.)<br />
$200 All models<br />
Bone Upgrade<br />
Add a bone nut and wave-compensated<br />
bone saddle upgrade to any<br />
acoustic service package for $100.<br />
Customers in the U.S. and Canada<br />
are encouraged to contact our<br />
Factory Service Center staff toll free<br />
at 1-800-943-6782 with any service,<br />
maintenance or repair questions<br />
concerning their guitars. Our hours<br />
are 8 a.m. to 4:30 p.m. Pacific Time,<br />
Monday through Friday. We’ve found<br />
that a personal conversation is the<br />
most effective way of answering<br />
questions and quickly troubleshooting<br />
problems. So, please call, and<br />
we’ll be happy to help you. Outside<br />
North America, sales and service<br />
questions are best answered by our<br />
international distribution partners. For<br />
contact information, go to taylorguitars.com/dealers/international<br />
Taylor Care:<br />
Restringing and<br />
Tuning Tips<br />
Taylor Customer Service Manager<br />
Glen Wolff shares a few tips that<br />
will help you keep your guitar in<br />
tune when you change strings.<br />
• Every time you change your<br />
strings, tighten your peghead<br />
tuning machines and check for<br />
loose tuner buttons.<br />
• When installing new strings,<br />
make sure the ball end of the<br />
string is seated firmly against<br />
the underside of the top.<br />
• Install strings neatly on the<br />
tuner post, 3-5 wraps straight<br />
down, never crossing over<br />
wraps.<br />
• Stretch and retune new strings<br />
several times to help them<br />
stabilize and settle in.<br />
• Always tune strings up from flat,<br />
never down from sharp.<br />
• Electronic tuners all react a little<br />
differently. Spend a little time<br />
with a new tuner to learn its<br />
“personality.”<br />
• Using harmonics to tune will<br />
help your tuner lock onto the<br />
note faster, especially on the<br />
bass strings.<br />
• Wash your hands before playing<br />
and wipe down your strings<br />
afterward with a clean, dry<br />
cloth.<br />
For a video demonstration of how to<br />
properly clean, polish and restring<br />
a guitar, visit taylorguitars.com and<br />
look for our maintenance videos<br />
under “Service & Support.”<br />
41
Dimensions by Shape<br />
<strong>2010</strong> <strong>Guitar</strong> <strong>Guide</strong> Specifications<br />
Overall Length<br />
6-String<br />
12-String<br />
Body Length<br />
Body Width<br />
Body Depth<br />
Scale Length<br />
Standard<br />
Short<br />
Baritone<br />
Frets<br />
Neck Width<br />
6-String<br />
12-string<br />
100/200 Series<br />
Strings / Gauge<br />
GA<br />
41”<br />
41”<br />
20”<br />
16”<br />
4 5/8”*<br />
25 1/2”<br />
24 7/8”<br />
•<br />
20<br />
1 3/4”<br />
1 7/8”<br />
1 11/16”<br />
GS<br />
41”<br />
41”<br />
20”<br />
16 1/4”<br />
4 5/8”<br />
25 1/2”<br />
24 7/8”<br />
27”<br />
20<br />
1 3/4”<br />
1 7/8”<br />
•<br />
GC<br />
40 1/2”<br />
•<br />
19 1/2”<br />
15”<br />
4 3/8”<br />
•<br />
24 7/8”<br />
•<br />
20<br />
1 3/4”<br />
•<br />
•<br />
DN<br />
41”<br />
•<br />
20”<br />
16”<br />
4 5/8”<br />
25 1/2”<br />
24 7/8”<br />
•<br />
20<br />
1 3/4”<br />
•<br />
1 11/16”<br />
JM<br />
42”<br />
43”<br />
21”<br />
17”<br />
4 5/8”<br />
25 1/2”<br />
24 7/8”<br />
•<br />
20<br />
1 3/4”<br />
1 7/8”<br />
•<br />
Acoustic<br />
GC, GA, Baby, Big Baby: Elixir ® NANOWEB Light Gauge (.012-.053)<br />
All 12-string Models: Elixir ® NANOWEB Light Gauge (.010-.047)<br />
GS, DN, JM, GS Mini: Elixir ® NANOWEB ® Medium Gauge (.013-.056)<br />
LKSM: Elixir ® NANOWEB ® Custom Medium Gauge (.013-.056)<br />
Nylon Series: D’Addario Pro-Arté ® Extra Hard Tension<br />
Baritone: Elixir ® Baritone (.016-.070)<br />
GS Mini<br />
35 5/8”<br />
•<br />
17 5/8”<br />
14 3/8”<br />
4 7/16”<br />
23 1/2”<br />
•<br />
•<br />
20<br />
1 11/16”<br />
•<br />
•<br />
Baby<br />
33 3/4”<br />
•<br />
15 3/4”<br />
12 1/2”<br />
3 3/8”<br />
22 3/4”<br />
•<br />
•<br />
19<br />
1 11/16”<br />
•<br />
•<br />
Big Baby<br />
40 1/4”<br />
•<br />
19 1/2”<br />
15”<br />
4”<br />
25 1/2”<br />
•<br />
•<br />
20<br />
1 11/16”<br />
•<br />
•<br />
T3<br />
41 3/16”<br />
•<br />
20”<br />
16”<br />
2 1/3”<br />
•<br />
24 7/8”<br />
•<br />
21<br />
1 11/16”<br />
•<br />
•<br />
T5<br />
40 3/4”<br />
40 3/4”<br />
20”<br />
16”<br />
2 1/3”<br />
•<br />
24 7/8”<br />
•<br />
21<br />
1 11/16”<br />
1 11/16”<br />
•<br />
SolidBody<br />
38”<br />
•<br />
17 2/5”<br />
13 13/20”<br />
1 3/4”<br />
•<br />
24 7/8”<br />
•<br />
22<br />
1 11/16”<br />
•<br />
•<br />
Electric<br />
T3, SolidBody: Elixir ® NANOWEB ® Electric Light Gauge (.010-.046)<br />
T5: Elixir ® NANOWEB ® Electric Medium Gauge (.011-.049)<br />
T5 12-string: Elixir ® NANOWEB ® Electric Light Gauge<br />
*DDSM body depth is 4 1/8”<br />
Models by Shape<br />
GA GS GC DN JM GS Mini Baby Big Baby T3 t5 SolidBody<br />
K14ce<br />
K24ce<br />
K54ce<br />
K64ce<br />
914ce<br />
954ce<br />
814ce<br />
854ce<br />
714ce<br />
614ce<br />
654ce<br />
514ce<br />
414ce<br />
454ce<br />
314ce<br />
354ce<br />
214<br />
214e<br />
214ce<br />
114<br />
114e<br />
114ce<br />
GA-K<br />
GA-K-12<br />
GA8<br />
GA8-12<br />
GA7<br />
GA6<br />
GA6-12<br />
GA5<br />
GA4<br />
GA4-12<br />
GA3<br />
GA3-12<br />
NS74ce<br />
NS64ce<br />
NS34ce<br />
NS24ce<br />
NS24e<br />
DDSM<br />
DMSM<br />
K16ce<br />
K26ce<br />
K56ce<br />
K66ce<br />
916ce<br />
816ce<br />
856ce<br />
716ce<br />
616ce<br />
656ce<br />
516ce<br />
GS-K<br />
GS8<br />
GS8-12<br />
GS7<br />
GS6<br />
GS5<br />
GS5-12<br />
Baritone 8<br />
Baritone 6<br />
K12ce<br />
K22ce<br />
912ce<br />
812ce<br />
712ce<br />
612ce<br />
512ce<br />
412ce<br />
312ce<br />
GC-K<br />
GC8<br />
GC7<br />
GC6<br />
GC5<br />
GC4<br />
GC3<br />
NS72ce<br />
NS62ce<br />
NS32ce<br />
12-Fret<br />
JMSM<br />
K10ce<br />
K20ce<br />
910ce<br />
810ce<br />
710ce<br />
610ce<br />
510ce<br />
410ce<br />
310ce<br />
210<br />
210e<br />
210ce<br />
110<br />
110e<br />
110ce<br />
DN-K<br />
910 Legacy<br />
dn8<br />
810 Legacy<br />
DN5<br />
DN4<br />
DN3<br />
K65ce<br />
LKSM<br />
LKSM-6<br />
815ce<br />
855ce<br />
615ce<br />
655ce<br />
455ce<br />
315ce<br />
355ce<br />
GS Mini BT1<br />
BBT T3<br />
BT2<br />
T3/B<br />
TSBT<br />
T5-S<br />
T5S-12<br />
T5-S1<br />
T5S1-12<br />
T5-C<br />
T5C-12<br />
T5-C1<br />
T5C1-12<br />
T5-C2<br />
T5C2-12<br />
T5-C4<br />
T5C4-12<br />
T5-C5<br />
T5C5-12<br />
T5 Classic<br />
T5 Classic 12<br />
STSM-T5<br />
SB Classic<br />
SB Standard<br />
SB Custom Koa<br />
SB Custom Walnut<br />
Models and specifications are subject to change without notice.<br />
46<br />
42
Build To Order Menu Categories<br />
<strong>2010</strong> <strong>Guitar</strong> <strong>Guide</strong> Specifications<br />
Taylor’s Build to Order program enables you to custom-design your<br />
dream Taylor by choosing from a robust menu of guitar specifications.<br />
Here you’ll find a list of BTO categories for our steel-string and<br />
nylon-string acoustics, as well as the T5 and T3. For a complete list<br />
of options and pricing within each category, contact your preferred<br />
Taylor dealer, who will have a comprehensive BTO worksheet and<br />
will be able to help you with your order. If you live in the U.S. or<br />
Canada and have specific questions about the BTO program, call<br />
us at 1-888-2TAYLOR, and Ben Benavente will be happy to help<br />
you. For customers outside North America, contact the international<br />
Taylor distributor in your country.<br />
Please note that some options, particularly wood choices, may<br />
change on a quarterly basis.<br />
Acoustic, Acoustic/Electric<br />
<strong>Guitar</strong> Type (6-, 12- or 9-string)<br />
Baritone<br />
12-Fret<br />
Body Shape<br />
Cutaway<br />
Electronics<br />
Right or Left Handed<br />
Left Handed strung Right Handed<br />
Nut Width<br />
Scale Length<br />
Neck Profile<br />
Peghead<br />
Back/Sides<br />
Top<br />
Back Configuration<br />
Wedge Material<br />
Headstock Overlay<br />
Truss Rod Cover<br />
Neck Wood<br />
Binding (Body, Fretboard, Peghead)<br />
Bound (Peghead)<br />
Purfling<br />
Rosette<br />
Abalone Top<br />
Fretboard Inlay<br />
Peghead Inlay<br />
Bridge Inlay<br />
Top Finish<br />
Back/Sides Finish<br />
Neck Finish<br />
Peghead Finish<br />
Color<br />
Tuners<br />
String Type<br />
Bridge Pins<br />
Pickguard<br />
Nut/Saddle<br />
Strap Pin<br />
Bracing<br />
Armrest<br />
Backstrap<br />
Nylon<br />
Body Shape<br />
Cutaway<br />
Electronics<br />
Right or Left Handed<br />
Back/Sides<br />
Top<br />
Back Configuration<br />
Wedge Material<br />
Headstock Overlay<br />
Neck Wood<br />
Binding (Body, Fretboard)<br />
Rosette<br />
Abalone Top<br />
Fretboard Inlay<br />
Top Finish<br />
Back/Sides Finish<br />
Neck Finish<br />
Peghead Finish<br />
Color<br />
Strap Pin<br />
Peghead Logo<br />
T5 / T3<br />
<strong>Guitar</strong> Type (6- or 12-string)<br />
Electronics<br />
Right or Left Handed<br />
Bridge (T3)<br />
Neck Profile<br />
Headstock Overlay<br />
Truss Rod Cover<br />
Neck Wood<br />
Binding (Body, Fretboard, Peghead)<br />
Purfling<br />
Abalone Trim<br />
Fretboard Inlay<br />
Peghead Inlay<br />
Top Finish<br />
Back/Sides Finish<br />
Neck Finish<br />
Peghead Finish<br />
Color<br />
Tuners<br />
String Type<br />
Bridge Pins<br />
Strap Pin<br />
Build To Order Wood Choices<br />
Back/Sides<br />
(Steel-string Acoustic & Nylon)<br />
Tops<br />
(Steel-string Acoustic)<br />
Tops<br />
(Nylon)<br />
Hawaiian Koa, A<br />
Hawaiian Koa, AA<br />
Hawaiian Koa, Master<br />
Indian Rosewood, A<br />
Indian Rosewood, AA<br />
Macassar (Striped Ebony)<br />
Madagascar Rosewood<br />
Mahogany<br />
Maple, A Flame<br />
Maple, A Quilt<br />
Maple, AA Flame<br />
Maple, AA Quilt<br />
Ovangkol<br />
Sapele<br />
Walnut, A<br />
Walnut, AA<br />
Walnut, Grafted<br />
Adirondack Spruce<br />
Adirondack Spruce, Premium<br />
Engelmann Spruce<br />
Engelmann Spruce, Premium<br />
Hawaiian Koa, A<br />
Hawaiian Koa, AA<br />
Hawaiian Koa, Master<br />
Mahogany<br />
Redwood, Premium<br />
Redwood, Standard<br />
Sinker Redwood<br />
Sitka Spruce<br />
Sitka Spruce, Premium<br />
Walnut<br />
Western Red Cedar<br />
Engelmann Spruce<br />
Engelmann Spruce, Premium<br />
Redwood, Premium<br />
Redwood, Standard<br />
Sinker Redwood<br />
Sitka Spruce<br />
Sitka Spruce, Premium<br />
Western Red Cedar<br />
43
Standard Features<br />
Koa Series<br />
Acoustic Koa<br />
900 Series<br />
800 Series<br />
Acoustic 8<br />
700 Series<br />
Acoustic 7<br />
600 Series<br />
Acoustic 6<br />
500 Series<br />
Back / Sides<br />
Hawaiian Koa<br />
Hawaiian Koa<br />
Indian Rosewood<br />
Indian Rosewood<br />
Indian Rosewood<br />
Indian Rosewood<br />
Indian Rosewood<br />
Big Leaf Maple<br />
Big Leaf Maple<br />
Tropical Mahogany<br />
Top<br />
Sitka Spruce or<br />
Hawaiian Koa<br />
Sitka Spruce or<br />
Hawaiian Koa<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
Engelmann Spruce /<br />
Western Red Cedar<br />
Western Red Cedar<br />
Sitka Spruce<br />
Sitka Spruce<br />
Engelmann Spruce /<br />
Western Red Cedar<br />
Neck<br />
Tropical Mahogany<br />
Tropical Mahogany<br />
Tropical Mahogany<br />
Tropical Mahogany<br />
Tropical Mahogany<br />
Tropical Mahogany<br />
Tropical Mahogany<br />
Hard Rock Maple<br />
Hard Rock Maple<br />
Tropical Mahogany<br />
Bracing<br />
CV w/ Relief Rout<br />
CV w/ Relief Rout<br />
CV w/ Relief Rout<br />
CV w/ Relief Rout<br />
CV w/ Relief Rout<br />
Standard II (Forward<br />
Shifted Pattern w/<br />
Relief Rout)<br />
Standard II (Forward<br />
Shifted Pattern w/<br />
Relief Rout)<br />
Standard II (Forward<br />
Shifted Pattern w/<br />
Relief Rout)<br />
Standard II (Forward<br />
Shifted Pattern w/<br />
Relief Rout)<br />
Standard II (Forward<br />
Shifted Pattern w/<br />
Relief Rout)<br />
Rosette<br />
Single Ring Abalone<br />
3-Ring Abalone<br />
Single Ring Abalone<br />
Single Ring Abalone<br />
3-Ring Abalone<br />
3-Ring Abalone<br />
3-Ring Abalone<br />
Single Ring Abalone<br />
3-Ring Abalone<br />
3-Ring Abalone<br />
Fretboard<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Fretboard<br />
Inlay<br />
Abalone Koa Series<br />
Abalone Dots<br />
Pearl 900 Series<br />
Pearl 800 Series<br />
Abalone Dots<br />
Pearl Dots<br />
Abalone Dots<br />
Pearl 600<br />
Series “Leaf”<br />
Abalone Dots<br />
Pearl Dots<br />
Top Inlay<br />
Abalone<br />
Abalone<br />
Abalone<br />
None<br />
None<br />
None<br />
None<br />
None<br />
None<br />
None<br />
Headstock<br />
Overlay<br />
Ebony<br />
Ebony<br />
Ebony<br />
w/ Pearl Inlay<br />
Indian Rosewood<br />
Indian Rosewood<br />
Indian Rosewood<br />
Indian Rosewood<br />
Ebony<br />
Indian Rosewood<br />
Indian Rosewood<br />
Binding<br />
Curly Maple<br />
Ivoroid<br />
Ivoroid<br />
Curly Maple<br />
Ivoroid<br />
Indian Rosewood<br />
Ivoroid<br />
White<br />
Ivoroid<br />
Indian Rosewood<br />
Bridge<br />
Ebony<br />
Ebony<br />
Ebony<br />
w/ Pearl Inlay<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Bridge Pins<br />
Ebony w/<br />
Abalone Dots<br />
Ebony w/<br />
Abalone Dots<br />
Ebony w/<br />
Abalone Dots<br />
Ebony w/<br />
Abalone Dots<br />
Ebony w/<br />
Abalone Dots<br />
Ebony w/<br />
Abalone Dots<br />
Ebony w/<br />
Abalone Dots<br />
Ebony w/<br />
Abalone Dots<br />
Ebony w/<br />
Abalone Dots<br />
Ebony w/<br />
Abalone Dots<br />
Nut / Saddle<br />
Tusq<br />
Tusq<br />
Bone<br />
Tusq<br />
Tusq<br />
Tusq<br />
Tusq<br />
Tusq<br />
Tusq<br />
Tusq<br />
Tuning<br />
Machines /<br />
Buttons<br />
Taylor Gold<br />
Taylor Gold<br />
or Taylor Slot<br />
Head (GC)<br />
Gotoh<br />
Taylor Gold<br />
Taylor Gold<br />
or Taylor Slot<br />
Head (GC)<br />
Taylor Gold<br />
Taylor Gold<br />
or Taylor Slot<br />
Head (GC)<br />
Taylor Gold<br />
Taylor Gold<br />
or Taylor Slot<br />
Head (GC)<br />
Taylor Chrome<br />
Taylor Gold (514ce,<br />
516ce)<br />
Truss Rod<br />
Cover<br />
Ebony<br />
Ebony<br />
Ebony<br />
Indian<br />
Rosewood<br />
Indian<br />
Rosewood<br />
Indian<br />
Rosewood<br />
Indian<br />
Rosewood<br />
Ebony<br />
Indian<br />
Rosewood<br />
Indian<br />
Rosewood<br />
Back / Side<br />
Finish<br />
Gloss<br />
Gloss<br />
Gloss<br />
Gloss<br />
Gloss<br />
Gloss<br />
Gloss<br />
Gloss<br />
Gloss<br />
Gloss<br />
Top Finish<br />
Gloss<br />
Gloss<br />
Gloss<br />
Gloss<br />
Gloss<br />
Gloss<br />
Gloss<br />
Gloss<br />
Gloss<br />
Gloss<br />
Neck Finish<br />
Satin<br />
Satin<br />
Satin<br />
Satin<br />
Satin<br />
Satin<br />
Satin<br />
Gloss<br />
Gloss<br />
Satin<br />
Electronics<br />
Expression System ®<br />
Expression System ®<br />
Expression System ®<br />
Expression System ®<br />
Optional<br />
Expression System ®<br />
Expression System ®<br />
Optional<br />
Expression System ®<br />
Expression System ®<br />
Optional<br />
Expression System ®<br />
Expression System ®<br />
Pickguard<br />
None<br />
None<br />
None<br />
Tortoise<br />
None<br />
Tortoise<br />
None<br />
Tortoise (Amber)<br />
None (colors/bursts)<br />
None<br />
Tortoise<br />
Case<br />
Taylor Deluxe<br />
Hardshell (Brown)<br />
Taylor Deluxe<br />
Hardshell (Brown)<br />
Taylor Deluxe<br />
Hardshell (Brown)<br />
Taylor Deluxe<br />
Hardshell (Brown)<br />
Taylor Deluxe<br />
Hardshell (Brown)<br />
Taylor Deluxe<br />
Hardshell (Brown)<br />
Taylor Deluxe<br />
Hardshell (Brown)<br />
Taylor Deluxe<br />
Hardshell (Brown)<br />
Taylor Deluxe<br />
Hardshell (Brown)<br />
Taylor Deluxe<br />
Hardshell (Brown)<br />
Models<br />
K10ce, K12ce,<br />
K14ce, K16ce,<br />
K20ce, K22ce,<br />
K24ce, K26ce,<br />
K54ce, K64ce,<br />
K65ce, K56ce,<br />
K66ce<br />
GA-K, GA-K-12<br />
GC-K, GS-K<br />
DN-K<br />
910ce,<br />
910 Legacy<br />
912ce, 914ce,<br />
916ce, 954ce<br />
810ce, 812ce,<br />
814ce, 815ce,<br />
816ce, 854ce,<br />
855ce, 856ce<br />
GA8, GC8,<br />
GS8, DN8,<br />
810 Legacy<br />
GA8-12, GS8-12<br />
710ce, 712ce,<br />
714ce, 716ce<br />
GA7, GC7,<br />
GS7<br />
610ce, 612ce,<br />
614ce, 615ce,<br />
616ce, 654ce,<br />
655ce, 656ce<br />
GA6, GC6,<br />
GS6, GA6-12<br />
510ce, 512ce,<br />
514ce, 516ce<br />
44
Standard Features<br />
Acoustic 5<br />
400 Series<br />
Acoustic 4<br />
300 Series<br />
Acoustic 3<br />
200 / 100 Series<br />
GS Mini<br />
Baby Taylor<br />
Nylon Series<br />
Back / Sides<br />
Tropical Mahogany<br />
Ovangkol<br />
Ovangkol<br />
Sapele<br />
Sapele<br />
200 Series:<br />
Rosewood Laminate<br />
100 Series:<br />
Sapele Laminate<br />
Sapele Laminate<br />
Sapele Laminate<br />
Indian Rosewood (NS72ce, NS74ce)<br />
Big Leaf Maple (NS62ce, NS64ce)<br />
Sapele (NS32ce, NS34ce)<br />
Indian Rosewood Laminate<br />
(NS24ce, NS24e)<br />
Top<br />
Sitka Spruce (DN) /<br />
Western Red Cedar<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
BT1, BBT: Sitka<br />
Spruce, BT2: Tropical<br />
Mahogany<br />
Western Red Cedar (70s)<br />
Engelmann Spruce (60s)<br />
Sitka Spruce (20s, 30s)<br />
Neck<br />
Tropical Mahogany<br />
Tropical Mahogany<br />
Tropical Mahogany<br />
Tropical Mahogany<br />
Tropical Mahogany<br />
Sapele<br />
Sapele<br />
Sapele<br />
Tropical Mahogany<br />
Bracing<br />
Standard II (Forward<br />
Shifted Pattern w/<br />
Relief Rout)<br />
Standard II (Forward<br />
Shifted Pattern w/<br />
Relief Rout)<br />
Standard II (Forward<br />
Shifted Pattern w/<br />
Relief Rout)<br />
Standard II (Forward<br />
Shifted Pattern w/<br />
Relief Rout)<br />
Standard II (Forward<br />
Shifted Pattern w/<br />
Relief Rout)<br />
X Bracing<br />
X Bracing<br />
X Bracing<br />
Nylon Series Bracing<br />
Rosette<br />
3-Ring Abalone<br />
3-Ring<br />
3-Ring<br />
3-Ring<br />
3-Ring<br />
3-Ring<br />
3-Ring<br />
Laser Etched<br />
Mexican Cyprus & Myrtle<br />
Geometric Pattern<br />
Fretboard<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Fretboard<br />
Inlay<br />
Abalone Dots<br />
Large Pearl Dots<br />
Pearl Dots<br />
Large Pearl Dots<br />
Pearl Dots<br />
Pearloid Dots<br />
Pearloid Dots<br />
Pearloid Dots<br />
None<br />
Top Inlay<br />
None<br />
None<br />
None<br />
None<br />
None<br />
None<br />
None<br />
None<br />
None<br />
Headstock<br />
Overlay<br />
Indian Rosewood<br />
Indian Rosewood<br />
Indian Rosewood<br />
Indian Rosewood<br />
Indian Rosewood<br />
Indian Rosewood<br />
Lexan<br />
Lexan<br />
Indian Rosewood (20s, 30s, 70s)<br />
Ebony (60s)<br />
Binding<br />
Ivoroid<br />
White<br />
Cream<br />
Black<br />
Cream<br />
White (200s)<br />
Black (100s)<br />
None<br />
None<br />
Indian Rosewood (60s, 70s)<br />
Black (20s, 30s)<br />
Bridge<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Bridge Pins<br />
Ebony w/<br />
Abalone Dots<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Black<br />
Black<br />
Black<br />
None<br />
Nut / Saddle<br />
Tusq<br />
Tusq<br />
Tusq<br />
Tusq<br />
Tusq<br />
Tusq<br />
NuBone ®<br />
Tusq<br />
Tusq<br />
Tuning<br />
Machines /<br />
Buttons<br />
Taylor Gold or<br />
Taylor Slot Head (GC)<br />
Taylor Chrome<br />
Taylor Chrome<br />
Taylor Chrome<br />
Taylor Chrome<br />
Chrome<br />
Chrome<br />
Chrome<br />
Ping Classical Gold w/Ivoroid btns<br />
Classical Chrome w/cream btns<br />
(20s)<br />
Truss Rod<br />
Cover<br />
Indian<br />
Rosewood<br />
Indian<br />
Rosewood<br />
Indian<br />
Rosewood<br />
Indian<br />
Rosewood<br />
Indian<br />
Rosewood<br />
Rosewood<br />
Lexan<br />
None<br />
None (32, 62, 72)<br />
Indian Rosewood (24, 34, 74)<br />
Ebony (64)<br />
Back / Side<br />
Finish<br />
Gloss<br />
Satin<br />
Satin<br />
Satin<br />
Satin<br />
Varnish (100s)<br />
Satin (200s)<br />
Varnish<br />
Varnish<br />
Gloss (60s, 70s)<br />
Satin (20s, 30s)<br />
Top Finish<br />
Gloss<br />
Gloss<br />
Gloss<br />
Gloss<br />
Gloss<br />
Varnish (100s)<br />
Gloss (200s)<br />
Varnish<br />
Varnish<br />
Gloss<br />
Neck Finish<br />
Satin<br />
Satin<br />
Satin<br />
Satin<br />
Satin<br />
Varnish (100s)<br />
Satin (200s)<br />
Varnish<br />
Varnish<br />
Satin<br />
Electronics<br />
Optional<br />
Expression System ®<br />
Expression System ®<br />
Optional<br />
Expression System ®<br />
Expression System ®<br />
Optional<br />
Expression System ®<br />
Taylor ES-T ®<br />
(E and CE models)<br />
Pre-fitted for<br />
ES-Go TM<br />
Optional<br />
ES-N ®<br />
Pickguard<br />
None<br />
Tortoise<br />
None<br />
Tortoise<br />
None<br />
Tortoise<br />
Tortoise<br />
Tortoise (BBT)<br />
None<br />
Case<br />
Taylor Deluxe<br />
Hardshell (Brown)<br />
Taylor Hardshell<br />
(Black)<br />
Taylor Hardshell<br />
(Black)<br />
Taylor Hardshell<br />
(Black)<br />
Taylor Hardshell<br />
(Black)<br />
Gig Bag (100 Series)<br />
Hard Bag (200 Series)<br />
GS Mini Hard Bag<br />
Gig Bag<br />
Hard Bag (20s)<br />
Taylor Hardshell Black (30s)<br />
Deluxe Brown (60s, 70s)<br />
Models<br />
GA5, GC5,<br />
GS5, DN5,<br />
GS5-12<br />
410ce, 412ce,<br />
414ce, 454ce,<br />
455ce<br />
GA4, GC4,<br />
DN4, GA4-12<br />
310ce, 312ce,<br />
314ce, 315ce,<br />
354ce, 355ce<br />
GA3, GC3,<br />
DN3, GA3-12<br />
110, 110e,<br />
110ce, 114,<br />
114e, 114ce<br />
210, 210e,<br />
210ce, 214,<br />
214e, 214ce<br />
GS Mini<br />
BT1 (Sitka)<br />
BT2 (Tropical<br />
Mahogany)<br />
BBT (Big Baby)<br />
NS24ce, NS24e<br />
NS32ce, NS34ce<br />
NS62ce, NS64ce<br />
NS72ce, NS74ce<br />
45<br />
48
Standard Features - Signature Models<br />
Standard Features - Specialty<br />
DDSM<br />
(Doyle Dykes)<br />
LKSM<br />
(Leo Kottke)<br />
TSBT<br />
(Taylor Swift)<br />
STSM<br />
(Serj Tankian)<br />
JMSM<br />
(Jason Mraz)<br />
DMSM<br />
(Dave Matthews)<br />
Baritone<br />
12-Fret<br />
Back / Sides<br />
Big Leaf Maple<br />
Tropical Mahogany<br />
Sapele Laminate<br />
Sapele<br />
Indian Rosewood<br />
Indian Rosewood<br />
Back / Sides<br />
Indian Rosewood<br />
Indian Rosewood<br />
Top<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
Maple<br />
Western Red Cedar<br />
Sitka Spruce<br />
Top<br />
Sitka Spruce<br />
Sitka Spruce<br />
Neck<br />
Hard Rock Maple<br />
Tropical Mahogany<br />
Sapele<br />
Sapele<br />
Tropical Mahogany<br />
Tropical Mahogany<br />
Neck<br />
Tropical Mahogany<br />
Tropical Mahogany<br />
Bracing<br />
Standard II (Forward<br />
Shifted Pattern w/<br />
Relief Rout)<br />
LKSM Bracing<br />
X Bracing<br />
Standard T5<br />
Nylon Series<br />
Bracing<br />
CV w/ Relief Rout<br />
Bracing<br />
Baritone<br />
Bracing<br />
12-Fret<br />
Bracing<br />
Rosette<br />
Single Ring Abalone<br />
3-Ring<br />
Screen Printed<br />
Custom<br />
N/A<br />
Mexican Cypress/<br />
Bubinga/Koa Zodiac<br />
Symbols<br />
Single Ring Abalone<br />
Rosette<br />
Fretboard<br />
3-Ring Abalone<br />
Ebony<br />
Single Ring Abalone<br />
w/ Bound Soundhole<br />
Ebony<br />
Fretboard<br />
Fretboard<br />
Inlay<br />
Top Inlay<br />
Ebony<br />
Pearl DDSM<br />
Abalone<br />
Ebony<br />
None<br />
None<br />
Ebony<br />
Pearloid Dots<br />
None<br />
Ebony<br />
Serj Tankian<br />
Energy Wheel<br />
N/A<br />
Ebony<br />
Mexican Cypress<br />
“Be Love” w/Circle/<br />
Triangle<br />
None<br />
Ebony<br />
Pearl Cindy /<br />
“Grux”<br />
None<br />
Fretboard<br />
Inlay<br />
Top Inlay<br />
Headstock<br />
Overlay<br />
Small Pearl<br />
Diamonds<br />
None<br />
Indian<br />
Rosewood<br />
Pearl Dots<br />
None<br />
Indian<br />
Rosewood<br />
Headstock<br />
Overlay<br />
Ebony w/ Pearl /<br />
Abalone Rose Inlay<br />
Indian<br />
Rosewood<br />
Lexan<br />
Ebony w/Energy<br />
Wheel Inlay<br />
Indian<br />
Rosewood<br />
Ebony<br />
Binding<br />
Indian<br />
Rosewood<br />
Ivoroid<br />
Binding<br />
Ivoroid<br />
Indian<br />
Rosewood<br />
None<br />
Black<br />
Indian<br />
Rosewood<br />
Ivoroid<br />
Bridge<br />
Ebony<br />
Ebony<br />
Bridge<br />
Bridge Pins<br />
Ebony<br />
Ebony w/<br />
Abalone Dots<br />
Ebony<br />
Ebony<br />
Ebony<br />
Black<br />
Ebony<br />
Ebony<br />
Ebony<br />
None<br />
Ebony<br />
Ebony<br />
Bridge Pins<br />
Nut / Saddle<br />
Ebony w/<br />
Abalone Dots<br />
Bone<br />
Ebony w/<br />
Abalone Dots<br />
Tusq<br />
Nut / Saddle<br />
Tuning<br />
Machines /<br />
Buttons<br />
Truss Rod<br />
Cover<br />
Back / Side<br />
Finish<br />
Top Finish<br />
Tusq<br />
Taylor Gold<br />
Ebony<br />
Gloss<br />
Gloss<br />
Tusq<br />
Taylor Gold<br />
Indian<br />
Rosewood<br />
Gloss<br />
Gloss<br />
Tusq<br />
Chrome<br />
None<br />
Varnish<br />
Varnish<br />
Bone<br />
Chrome<br />
Black<br />
Gloss<br />
Gloss<br />
Tusq<br />
Ping Classical Gold<br />
with Ivoroid Buttons<br />
None<br />
Gloss<br />
Gloss<br />
Bone<br />
Gotoh<br />
Ebony<br />
Gloss<br />
Gloss<br />
Tuning<br />
Machines /<br />
Buttons<br />
Truss Rod<br />
Cover<br />
Back / Side<br />
Finish<br />
Top Finish<br />
Taylor Gold Mini<br />
(8-String)<br />
Taylor Gold (6-String)<br />
Indian<br />
Rosewood<br />
Gloss<br />
Gloss<br />
Taylor<br />
Slot Head<br />
Indian<br />
Rosewood<br />
Gloss<br />
Gloss<br />
Neck Finish<br />
Gloss<br />
Satin<br />
Varnish<br />
Gloss<br />
Satin<br />
Satin<br />
Neck Finish<br />
Gloss<br />
Satin<br />
Electronics<br />
Expression System ®<br />
or Baggs / DDSM ®<br />
None<br />
Optional<br />
T5 Electronics<br />
w/ Five-Way Switch<br />
ES-N ®<br />
Expression System ®<br />
Electronics<br />
Expression System ®<br />
Expression System ®<br />
Pickguard<br />
Case<br />
Models<br />
None<br />
Taylor Deluxe<br />
Hardshell (Brown)<br />
DDSM colors:<br />
Natural<br />
Black (opaque)<br />
Black (translucent)<br />
Orange<br />
Brown Sugar<br />
None<br />
Taylor Deluxe<br />
Hardshell (Brown)<br />
LKSM<br />
LKSM-6<br />
None<br />
Gig Bag<br />
TSBT<br />
None<br />
Taylor T5<br />
Hardshell (Black)<br />
STSM-T5<br />
None<br />
Taylor Deluxe<br />
Hardshell (Brown)<br />
JMSM<br />
None<br />
Taylor Deluxe<br />
Hardshell (Brown)<br />
DMSM<br />
Pickguard<br />
Case<br />
Models<br />
None<br />
Taylor Deluxe<br />
Hardshell (Brown)<br />
Baritone 8-String<br />
Baritone 6-String<br />
None<br />
Taylor Deluxe<br />
Hardshell (Brown)<br />
12-Fret<br />
46
Standard Features - <strong>The</strong> Electric Line<br />
T5<br />
T5 Classic<br />
T3<br />
SolidBody<br />
Body<br />
Sapele<br />
Sapele<br />
Sapele<br />
Alder (Classic)<br />
Sapele (Standard, Custom Walnut)<br />
Tropical Mahogany (Custom Koa)<br />
Top<br />
Sitka Spruce (T5-S, T5-C); Figured Maple<br />
(T5-S1, T5-C1); Koa (T5-C2);<br />
Walnut (T5-C4); Macassar Ebony (T5-C5)<br />
Ovangkol<br />
Quilted Maple<br />
Maple (Standard)<br />
Walnut (Custom Walnut)<br />
Koa (Custom Koa)<br />
Neck<br />
Tropical Mahogany<br />
Sapele<br />
Sapele<br />
Sapele (Standard, Custom Walnut)<br />
Tropical Mahogany (Custom Koa)<br />
Maple (Classic)<br />
Fretboard<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony (Standard, Custom)<br />
Indian Rosewood (Classic)<br />
Fretboard<br />
Inlay<br />
Pearl Dots (T5-S, T5-S1)<br />
Pearl T5 “Artist” (T5-C, T5-C1,<br />
T5-C2, T5-C4, T5-C5)<br />
Small Diamonds<br />
Pearl Dots<br />
Pearl Dots<br />
(Classic, Standard)<br />
Pearl Progressive Diamonds<br />
(Custom Walnut)<br />
Koa Series (Custom Koa)<br />
Headstock<br />
Overlay<br />
Ebony<br />
Ebony<br />
Ebony<br />
Ebony<br />
Fretboard<br />
Binding<br />
White<br />
Black<br />
White<br />
None (Classic)<br />
Black (Standard, Custom)<br />
Bridge<br />
Ebony<br />
Ebony<br />
Chrome Roller-style w/Stop Tail<br />
(T3) or Bigsby Vibrato (T3/B)<br />
Taylor Stoptail Aluminum, fully adjustable<br />
Optional tremolo<br />
Nut<br />
Bone<br />
Tusq<br />
Tusq with Teflon ®<br />
Bone<br />
Tuning<br />
Machines /<br />
Buttons<br />
Taylor Chrome (T5-S, T5-S1 and blue bursts)<br />
Taylor Gold (T5-C, T5-C1, T5-C2, T5-C4,<br />
T5-C5)<br />
Taylor Chrome<br />
Taylor Chrome<br />
Taylor Chrome<br />
Back / Side<br />
Finish<br />
Gloss<br />
Satin<br />
Gloss<br />
Satin (Classic Natural, Standard Natural)<br />
Gloss (All other models)<br />
Top Finish<br />
Gloss<br />
Satin<br />
Gloss<br />
Satin (Classic Natural, Standard Natural)<br />
Gloss (All other models)<br />
Neck Finish<br />
Gloss<br />
Satin<br />
Gloss<br />
Satin (All Classics)<br />
Gloss (All other models)<br />
Electronics<br />
T5 Electronics w/ Five-Way Switch<br />
T5 Electronics w/ Five-Way Switch<br />
Taylor HD Humbuckers w/Coilsplitting<br />
Capability<br />
Full-size or Mini Humbuckers (HD or<br />
HG), Vintage Alnico Humbuckers, Single<br />
Coils, available in different configurations<br />
(see page 32)<br />
Pickguard<br />
None<br />
None<br />
None<br />
White Pearloid<br />
Black Pearloid<br />
Tortoise Shell<br />
Black<br />
Parchment<br />
None (optional on Standard and Custom)<br />
Case<br />
Taylor T5 Hardshell (Black)<br />
Gig Bag<br />
Taylor T3 Hardshell (Black)<br />
Deluxe Hardshell<br />
Color / Burst<br />
Options<br />
Natural, Red, Blue, Black (Translucent Black<br />
Optional) w/ Edgeburst; Sunburst Options:<br />
Tobacco, Honey, Cherry<br />
None<br />
Natural, Ruby Red Burst, Black,<br />
Translucent Orange;<br />
Sunburst Options: Tobacco, Honey<br />
Classic: Translucent White, Translucent<br />
Red, Black, Natural, Sage Green, Sublime,<br />
Magenta Pearl, Tobacco Sunburst, Purple<br />
Flake, Jewelescent Orange, Viper Blue,<br />
Lava Red Pearl, Titanium Pearl, Blue Metallic;<br />
Standard: Aged Cherry Sunburst,<br />
Custom: Shaded Edge<br />
Models<br />
T5-S, T5S-12, T5-S1, T5S1-12, T5-C,<br />
T5C-12, T5-C1, T5C1-12, T5-C2, T5C2-12<br />
T5-C4, T5C4-12, T5-C5, T5C5-12<br />
T5 Classic<br />
T3, T3/B<br />
Classic, Standard, Custom Walnut,<br />
Custom Koa<br />
48 49<br />
47
A Publication of Taylor <strong>Guitar</strong>s<br />
<strong>Guitar</strong> <strong>Guide</strong> / Summer <strong>2010</strong><br />
Taylor <strong>Guitar</strong>s | 1980 Gillespie Way | El Cajon, CA 92020-1096 | taylorguitars.com<br />
Presorted<br />
Standard<br />
U.S. Postage<br />
PAID<br />
Phoenix, AZ<br />
Permit No. 1225<br />
<strong>The</strong> paper we used is certified by the Forest Stewardship Council. <strong>The</strong> FSC is a<br />
non-profit organization that supports environmentally friendly, socially responsible<br />
and economically viable management of the world’s forests.<br />
Aloha, Gorgeous<br />
This stunning custom 6-string Grand<br />
Symphony was crafted through Taylor’s<br />
Build to Order program. <strong>The</strong> top, back<br />
and sides feature exquisitely figured<br />
master-grade Hawaiian koa, whose<br />
beautifully bookmatched soundboard<br />
exhibits rich variegation. A mother-ofpearl<br />
tropical vine fretboard inlay helps<br />
evoke an exotic Island motif that suits<br />
koa’s hallowed heritage, while rosewood<br />
binding and white purfling accentuate<br />
the voluptuous GS contours and sharp<br />
Florentine cutaway.