MULTIPLE CHOICE
Taylor racked up the honors in Acoustic Guitar magazine’s 2004 Players’ Choice Awards, pulling in four Gold Awards, two Silver Awards, and a Bronze. As a general rule, the awards are issued to product lines rather than individual models. Our Gold Awards were presented in the categories of Nylon-string Guitars, 12-string Guitars, Acoustic-electric Guitars, and Best Beginner’s Guitar; the Silvers were awarded for Steel-strings over $1,000 and Most Popular Guitar Manufacturer; the Bronze was given for Steel-strings under $1,000. The awards were officially announced in the cover story of AG’s February issue, which was mailed to subscribers on December 8.

AUTUMN ALLURE
Autumn is always a tempting time to be a Taylor enthusiast (well, unless you’re trying to resist buying a guitar), and our tradition of fresh, value-added Fall 2004 Limited Editions once again arouses the senses this October. Tasmanian blackwood is the new kid on the block this year, guesting on the 300 Series and offering both a visual and tonal allure that evokes comparisons to Hawaiian koa.

Our 400 Series Fall LTDs bring the quintessential tonal pairing of Indian rosewood and Sitka spruce into an affordable pricepoint. Fans of maple will have a hard time resisting the allure of our 600 Series Limiteds, featuring premium flamed maple backs, beautifully accented with a narrow wedge of figured koa and a rosette of cocobolo. And due to overwhelming demand, we simply had to bring back our exotic cocobolo 800 Series LTDs, this time accented with a figured maple back-wedge and binding (shown above), and boasting a cocobolo peghead veneer, rosette, and soundboard trim.

How do we improve on the 900 Series? Brazilian rosewood is a good start, along with the classic “Cindy” fretboard inlay and abalone edging around the Engelmann spruce top. Rounding out the fall lineup is a special offering of koa guitars, this time set apart by a beautiful tropical vine fretboard inlay and figured maple binding and abalone trim around the top.

BACK TO THE FUTURE
Although Taylor hasn’t quite reached the 30-year mark yet (the company’s official anniversary is October 15th), Bob Taylor and his product design team have been hard at work developing a guitar model worthy of three decades of guitar-making innovation. As many Taylor enthusiasts know, the way Bob likes to commemorate is to look ahead. Our 20th Anniversary models introduced the Grand Auditorium. Our 25th Anniversary guitars were the first to incorporate our “New Technology” (NT) neck design (which in turn went on to inform the development of our Expression System pickup). So what’s been on Bob’s mind as we approach the beginning of decade four?

In a word, revoicing. It’s been an ongoing theme for the past couple of years, manifested in an extended initiative to enhance the tone of all of our different body sizes and give each of them a distinctive voice.

Since our Grand Concerts were the most recent body shape to undergo a revoicing (for the 2004 Taylor line), Bob decided to take that cue and design a series of 30th Anniversary Limited Edition Grand Concerts that feature forward-shifted bracing and a quarter-inch expansion in body depth, yielding greater volume and bass response. The added “twist” is that the 30th Anniversary LTD Grand Concerts are the first to feature a shorter-scale neck (the shorter string length is 24-7/8 inches instead of our standard 25-1/2 inches). The slight scale reduction makes it easier for players to span several frets in the lower register, while the shorter strings have slightly less tension, giving them a somewhat slinkier, “soft touch” feel, along with other distinctive tonal qualities.

The result is an ultra-playable guitar with a wonderfully fresh new feel and sound — warm, full, and with extra volume. The 30th Anniversary Limiteds, Bob feels, are destined to attract and surprise even players who aren’t normally interested in small-body guitars.

“Suddenly the Grand Concert has become a real contender for an all-around guitar, thanks to its deeper voice and greater volume,” Bob says, also citing the physical appeal of the small body and short-scale neck.

Among the unique appointments are Waverly tuners installed on lovely slotted headstocks that resemble those on our Nylon Series guitars. Each fretboard is adorned with an emblematic mother-of-pearl acanthus leaf inlay, in which the leaves cradle an 18-karat gold rendering of the Roman numeral for 30 (XXX). Each peghead is back-strapped with ebony, then inlaid with a “burning torch” of abalone shell and mother-of-pearl.

We’ll be making the 30th Anniversary Limited Edition Grand Concerts in five different models: XXX-MC (mahogany/cedar), XXX-MS (maple/Sitka spruce), XXX-RS (rosewood/Sitka spruce), XXX-KE (koa/Engelmann spruce), and XXX-BE (Brazilian rosewood/Engelmann spruce).

30th ANNIVERSARY COMMEMORATIVES
In addition to the Limited Edition Grand Concerts, we are also producing a complete line of 30th Anniversary Commemorative Models. Every steel-string guitar we make in the 300 through 900 Series (along with some koa Commemoratives) will be available with upgraded “leaf motif” fretboard inlays and the 30th Anniversary script inlay on the peghead. Tonewoods will remain the same as on standard models, so, for example, a 300ce-L3 will have the 300 Series combination of African mahogany for the back and sides, Sitka spruce for the top, and special inlays on the fretboard, soundhole rosette, and peghead.

The rosettes on the 600, 800, 900, and Koa Commemoratives are especially beautiful, due in part to an ebony ring that contrasts dramatically with an intricate leaf design.

For additional information on our 30th Anniversary Limited Edition Grand Concerts or Commemorative models, see the Spring issue of Wood&Steel. Models began to ship in early April; contact your local Taylor dealer regarding availability.

[1 Official 30th Anniversary LTD Grand Concert fretboard inlay. 2 Ebony peghead backstrap with burning torch inlay. 3 Rosette detail from 30th Anniversary 900-L30/Koa L-30 Commemorative models. Photos by Pat Boemer/Pacific PreMedia.]

TECH-CELLENCE
On Saturday, October 30, Taylor Guitars was recognized with the highest honor in the pro audio industry: the Technical Excellence & Creativity (TEC) Award, in the category of musical instrument technology, for the Expression System pickup/preamp. The prestigious award was announced at the 20th annual TEC Awards dinner, presented by the MIX Foundation for Excellence in Audio. The audio industry’s equivalent of the Grammy Awards, the TEC Awards honor the individuals, companies and technical innovations used to provide sound for music recordings, films, TV, and live performance.

Taylor’s Acoustic Electronics Product Development Manager and inventor of the Expression System, David Hosler, accepted the award together with audio engineering legend Mr. Rupert Neve, who designed the preamp circuitry for the Taylor ES. Held at the Marriott Hotel in San Francisco and hosted by actor Harry Shearer, the show’s other award winners and presenters included filmmaker George Lucas, renowned recording engineers George Massenburg and Elliot Schiener, and Walter Becker of Steely Dan. Backstage, Hosler was personally congratulated by Lucas, along with storied music producers Al Schmitt and Phil Ramone (both winners of multiple Grammy Awards).

Hosler was deeply moved by the ringing endorsement of the pro audio community. “The Expression System is a completely new concept in acoustic guitar amplification that we feel marks a significant shift in the performing and recording industry,” he said. “It’s truly an honor that a prestigious organization like the MIX Foundation has recognized the work we’ve been doing in such a big way.”

Coinciding with the TEC Awards each year is the convention of the Audio Engineering Society (AES), a professional organization devoted to advancing audio technology. The NAMM of the pro audio world, the show attracts audio gear manufacturers, FOH (Front-of-House) sound engineers, owners of recording studios, and other key audio tech figures. This year’s convention, held October 28-31, marked the organization’s 117th gathering, and Taylor was the only instrument maker to have a booth at the show. Hosler said that there was a constant Taylor buzz running throughout the show, with a lot of visitors to the booth eager to check out the ES and K4. Not surprisingly, many in the pro audio field play guitar, and several pointed out that the guitar is a central ingredient of the pro audio industry. Others, like George Peterson of MIX magazine applauded Taylor’s innovative spirit, noting that the pro audio industry is excited by Taylor’s commitment to develop a better amplification system for the acoustic guitar. And producer Phil Ramone, no stranger to recording guitars on studio projects, had this to say at the Taylor booth: “When you see a Taylor come into a session, you know it’s going to sound good, and that everything is going to work out.”

For more information on the TEC Awards, visit the MIX Foundation for Excellence in Audio, at mixfoundation.org.

[Above photo (L-R): David Hosler (holding Taylor’s TEC award) with producer Phil Ramone at the Taylor booth during the AES convention.]

DOUBLE NECK
Taylor emerged a double winner in Guitar Player magazine’s first annual Readers’ Choice Awards. The Taylor 810 won Best Acoustic Guitar, while the 514ce won Best Acoustic-Electric Guitar. The Taylor Expression System also scored a nomination for Best Acoustic Pickup. The winners were announced at an awards reception hosted by GP editor-in-chief Michael Molenda on July 23, during the NAMM show’s summer session in Nashville.

SELLING ENGLAND BY THE SOUND
The Taylor 110 took top honors in the Acoustic Guitar category at the annual Music Industries Association (MIA) Awards Dinner, held in London on October 6, 2004. The UK’s equivalent of NAMM, MIA is focused on music retailing, and its members include makers of musical instruments and other music-related products, along with music publishers.

Representatives from Taylor’s UK distributor, Sound Technology, including Sales Director John Gowdey, attended the awards dinner and accepted the award on Taylor’s behalf. Forty awards were presented in all, in categories ranging from Classical Instruments to Music Publishing to People.

PICKUP TRICKS
Now that the Taylor Expression System is the standard pickup on all steel-string “ce” models from the 300 Series up for 2004, we’ve created an informative companion user guide DVD to help Taylor owners get the most out of their new electronics. The DVD, Taylor on Guitars: Expression System Pickup, is being included in the guitar case of every ES-equipped Taylor (free of charge) as of mid-January; it will also be available through our website after the Winter NAMM show (Jan. 15-18).

The DVD features a simple introduction to the ES and its tone controls, and demonstrates the proper ways to connect with a mixer, PA system, and amplifier. Several live performances from Taylor clinicians Doyle Dykes, Beppe Gambetta, and Dan Crary, among other artists, are also included as bonus features to showcase the sonic improvements of the pickup.

If you plan to plug in your Taylor, the DVD is essential viewing. For performers interested in even more tone-shaping capability, the Taylor K4 Equalizer will be released later this year, along with its own instructional DVD.

ONE TWO, ES BLUE
The 100 and 200 Series are the latest Taylor models to sport the sonic benefits of the Expression System® technology. As of October of 2004, both series are being offered with the ES Blue™, an amplification system derived from the ES that gives our mid-priced guitars an impressive new stage voice.

The ES Blue utilizes the same proprietary Dynamic String Sensorâ„¢ developed for the ES and a Taylor-devised active preamp, powered by a 9-volt battery (accessible through the soundhole). Together, the components produce a high-fidelity, low-impedance signal for a clear, acoustic amplified tone. Unlike the Expression System, the ES Blue does not utilize onboard controls.

The ES Blue is available on the 110e, 210e and 214e, and comes with a user’s guide. Whether you’re a budget-minded beginner hungry to plug in and sound your best, or a road dog looking for a worthy backup axe, the ES Blue should fit the bill.

ES GOES RETRO
We’re pleased to announce the arrival of the eagerly awaited Expression System retrofit for Taylors with “New Technology” (NT) necks, and as of September 2004, for pre-NT Taylors as well. On the heels of the official launch of the Taylor ES at the 2003 Winter NAMM show, the ES retrofits will enable more pre-ES Taylor owners to upgrade electronics without having to buy a new guitar.

“While we love to sell new guitars, we’re also in the service business,” Bob Taylor acknowledges, noting the special, long-term relationships people develop with their instruments. “A lot of people out there have an older Taylor that they just love. If they got themselves a new Taylor with the ES, really like the way it performs, and wish their other Taylor(s) could sound that good plugged in, now they can do something about it.”

The three-knob ES control unit is a nifty piece of industrial design that fits securely into the same pocket originally cut for the Fishman side-mounted control unit. The ES can also be installed on NT guitars previously equipped with a passive pickup (such as the Fishman Matrix), as well as NT Taylors built without electronics. In such cases, the installation is less intrusive, and will resemble the look of standard ES-equipped Taylor models.

The pre-NT ES retrofit is virtually the same pickup system we install on our current guitars (300 Series and up) — featuring three Dynamic Sensors and a preamp designed by Mr. Rupert Neve — with one main difference. Because pre-NT Taylors don’t have a routed body pocket (to accommodate the NT neck joint), the magnetic string sensor is instead imbedded in a specially designed ebony casing, which is then mounted on the rim of the soundhole nearest the fretboard to register string vibration.

The ebony housing is beautifully contoured and beveled into a smooth crescent shape that follows the curve of the soundhole. Another sleek design touch is a laser-etched “Taylor Expression System” along the vertical face of the ebony that resides inside the soundhole. The refined, organic look was designed to blend as naturally as possible with the anatomy of a Taylor.

If the guitar previously was equipped with a side-mounted preamp/blender unit, it will be replaced by the same three-knob control unit we use on the NT retrofit. Otherwise, we can install the control knobs the way we do on new models. The cost of the retrofit is $498, plus the cost of shipping each way. For more information, or to schedule a retrofit, please contact our Customer Service department at (800) 943-6782 before shipping your guitar. The pricing is the same for all NT guitars, with or without existing Fishman or other pickup systems, and all previous pickups will be returned to owners.

PICKUP LINES
We’re pleased to present the Taylor Expression System User Guide. Although many of you may be accustomed to playing acoustic guitars with pickups — or perhaps are already up and running with your ES-equipped Taylor — the innovative design of the ES warrants a brief orientation to help you optimize it for your guitar-playing needs. The good news is that we’ve designed the ES to make it easier than ever to get superb amplified tone from your Taylor.

Formatted as a downloadable PDF file, the 12-page ES User Guide features an introduction from Bob Taylor, followed by a few simple details that will quickly get you up to speed. The instructions cover basic control settings, cable connections and battery basics; explain how to properly set up the ES with an amplifier, mixing console, or PA system; include tips on working with a tuner and neutralizing ground loops; show you how to use the on-board control knobs to compensate for a speaker’s tone or the acoustics of a room; and touch upon considerations for home recording.

If you own an ES-equipped Taylor, simply taking a few minutes to read the manual will get you dialed in without technical tangles, whether you’re a veteran performer or plugging in for the first time. With a basic understanding of the system under your belt, you’ll be free to experiment further with EQ settings and explore other tonal coloration. The Taylor K4 Equalizer, available later this year, will refine that process even further.

MID-PRICE PREMIERE
Taylor Guitars made a big splash into mid-priced market waters in the summer of 2003 with the launch of two new guitar models: the 110 and 214. The 110 leverages technology derived from production of the Big Baby. Sporting a full-scale Dreadnought shape, it’s the Big Baby “all grown up”.

Like the Big Baby, the 110 features a solid Sitka spruce top, laminated sapele back and sides with a slight back arch, a 1-11/16-inch neck, and comes with a gig bag. Unlike the Big Baby, the 110 has a more traditional heelblock, no visible fretboard screws, complete body-binding, and an inlaid rosette. Like all of our guitars, the 110 is being built in our El Cajon, California factory. Limited dealer shipments began in April, ramping up to the 110’s official release at the Nashville NAMM show, July 18-21, 2003.

The 214 picks up where the 110 leaves off. The Grand Auditorium upgrades to solid sapele back and sides with a solid Sitka spruce top, comes with a hardshell case, and like the 110 has a 1-11/16-inch neck. Both models incorporate the same modified heelblock design, which represents a cross between our standard NT neck and the variation on the NT used in the Baby series. The 214 made its official debut at Summer NAMM 2003, and began arriving at Taylor dealerships in early August.

For more information, read the cover story in the summer (2003) issue of Wood&Steel, or visit your local dealer.

[1 The 110. 2 The modified heel of the 110/214.]

GOOD VIBRATIONS
After an intensive three-year period of R&D, we’re proud to promote the Taylor Expression Systemâ„¢, an exciting breakthrough in acoustic guitar amplification. The Taylor ES officially debuted at the Winter 2003 NAMM show in Anaheim, California (Jan. 16-19), as Bob Taylor presented a series of demo sessions at the Taylor booth to highlight the technology behind the pickup, and the substantial enhancements the system brings to the performing guitarist.

The main goal of the project was to improve the quality of amplified acoustic sound to better capture both the natural tones of a Taylor guitar and the feel of the player. Piezo crystal technology has been the prevailing pickup source on acoustic guitars for more than 30 years now, yet its inherent limitations have left hordes of discerning acoustic performers dissatisfied with their live tone. Such pickup systems were notorious for limiting the ability of players to convey the stylistic nuances of their music because the pickup simply couldn’t capture them. Piezo technology traditionally yields a “native” tone that, when amplified, often sounds edgy, brittle, nasally, thin, or “quacky”. Beyond that, the piezo pickup is a “square law” device, meaning that if you double your attack, the output of the pickup quadruples, and so on. In simple terms, the harder one plays, the worse the sound; instead of dynamic range, one gets a distorted tone.

The Taylor Expression System employs a technology of magnetic sensors, but they’re unlike the magnetic pickups you might associate with an electric guitar. The ES is actually a network of three acoustic sensors: a Dynamic String Sensor registers string vibration, while two Dynamic Body Sensors capture the vibrations of the soundboard. The three interact together, in a phase configuration that accurately interprets the complex nuances of vibration, and communicate both the liveliness and depth of sound. One of the most substantial benefits of the system is that it yields amazing dynamic range, enabling the guitarist to intensify his or her attack and achieve enough volume, as Bob Taylor puts it, “to scare yourself,” without distortion and without feedback.

“I think what’s going to happen with the new pickup is that an audience listening to a performer will really experience the true sensation of the person playing,” says David Hosler, Taylor’s Acoustic Electronics Product Development Manager, who developed the pickup.

And the pickup is only half of the equation. The Expression System’s pre-amp was designed by none other than Mr. Rupert Neve, one of the world’s preeminent audio architects and the originator of the sound-mixing console. The pre-amp delivers Mr. Neve’s signature EQ in the frequency ranges suitable for the acoustic guitar. When the tone controls are flat, the tone is not colored in any way. The pre-amp is truly a Pro Audio device that in many cases will be the best piece of gear in the whole house for performers.

“If you had told me 10 years ago than an amplifier this size would achieve this kind of quality, I wouldn’t have thought it possible,” Rupert reflects. “But a lot of things have come together.”

Both Rupert and David Hosler participated in the NAMM show demos, and were on-hand throughout the show to discuss the ES with dealers, performing artists, and other attendees.

For the full story, read the cover story of the Winter 2003 issue of Wood&Steel, “Good Vibrations: Taylor Re-invents the Acoustic Pickup”. You can also refer to the ES Tech Sheet, “Understanding the Taylor Expression System”, or watch Taylor’s ES user guide DVD.

[Photos by Rita Funk-Hoffman —1 Cover of the Winter 2003 issue of Wood&Steel. 2 (L-R) Mr. Rupert Neve, David Hosler and Bob Taylor sample the new Taylor Expression System at the company’s performance venue.]

MIX REACTION
Taylor’s acoustic electronics earned sweet accolades from Mix magazine editorial director George Petersen in the pro audio monthly’s November issue. We sent Petersen a 614ce and a K4, and before he even plugged in, he found the guitar itself to be an “amazing instrument.” It only got better from there.

“For the first time from a pickup, I heard a natural, uncolored sound that required little tonal tweaking,” he wrote of the ES. “This is miles removed from the surgical, radical EQ needed on a standard pickup to make it sound even vaguely natural.” Petersen tested the guitar in both coffeehouse and festival performance environments and loved the resistance of the ES to feedback.

“Another point worth noting is the amazing amount of headroom…offering clean reproduction at any playing level from subtle harmonics to heavy slammed chording. Yeah!”

After putting the K4 through its paces, Petersen tagged it “plug-and-go.”

“The EQ is smooth and musical, whether using the shelving LF (450 Hz) and HF (1.6 kHz) or the parametric MF band. Calling the latter a “mid” band is somewhat misleading, as it has an extremely wide 80 to 8,000 Hz range. With a touch of EQ, ES truly rivals a well-miked acoustic guitar setup. I particularly liked the convenience of overdubbing acoustic guitar parts in the control room — something I would have never attempted before the ES.”

SUPERSIZING
The Taylor 815 was one of nine jumbo flattops reviewed in the November issue of Acoustic Guitar magazine. Gear editor Teja Gerken enlisted fellow AG staffer Andrew DuBrock (whose main axe is a Taylor 314k) and singer-songwriter Christopher Smith to help evaluate the models. Teja began with a little historical background, tracing back to the birth of the jumbo size with Gibson’s J-200, introduced in 1937, and noting the design tweaks from different luthiers along the way to transform the jumbo from a big and sturdy gitbox that required a strong attack into a more refined instrument that yielded greater versatility and dynamic range. The 815, not surprisingly, exemplified these latter traits, excelling both for flatpicking and fingerstyle. Our signature Taylor qualities of playability, precision tuning, intonation, along with “great definition and a balanced sound” registered among the players, and as Teja wrote, “made this guitar shine.”

“It had a nice, round bottom end that got increasingly brighter as it was played harder,” Teja continued, adding that the 815 “easily handled all of the playing styles we threw at it…its versatility means that it would be an excellent choice for a player looking for one guitar to handle all flattop duties.”

INTO HIGH GEAR
Outside reviews of the Taylor K4 Equalizer have begun hitting the pages of guitar and pro-audio magazines, and the response so far has been overwhelmingly positive. Russ Long, a Nashville-based producer/engineer put the K4 preamp/EQ unit through its paces for the July issue of Pro Audio Review, while Guitar Player gear guru Andy Ellis extols its merits in the magazine’s August issue.

Both tested the system’s versatility, using not only ES-equipped Taylors, but other gear as well. Ellis plugged in with an ES-endowed 512ce, a ‘92 Taylor 512c with a Duncan MagMic soundhole pickup, and a Takamine ENV760S with a CTP-1 Cool Tube preamp. Long used an ES-equipped 514ce, another brand of acoustic guitar that had a quality acoustic tone but poor piezo sound, a Shure SM57 to record a snare drum, and a classic studio mic, the ElectroVoice EV RE-20, to capture voice.

In Guitar Player, Ellis makes the point that beyond its virtues as an EQ tool, the K4 excels as a studio-grade analog preamp that offers many of the relevant features of a recording console’s input strip. He liked the unit’s intelligent, user-friendly controls, as well as its flexibility, noting that the K4’s input connection will accommodate active or passive, and high- or low-impedance input signals.

“Thus, you can plug in a guitar equipped with an onboard preamp system, a passive saddle or soundboard transducer, a magnetic soundhole pickup, or even just an onboard low-impedance dynamic mic.”

Ellis was also jazzed by the K4’s “potent yet straightforward tone-shaping circuitry”, and the switchable effects loop, which enables the user to apply effects either before or after the tone is EQ’d.

“Compared to the passive tone controls of a vintage tube amp, the K4 wields shocking sonic power,” Ellis writes, also noting the unit’s ease of use. “Using the K4, I was able to quickly refine my amplified tone, whether I was running a flat-top through studio monitors or a combo amp. If I needed to soften the bite of a saddle pickup, add shimmer to a magnetic pickup, clarify strummed chords, or surgically reduce feedback, the K4 was up to the task.”

Ultimately, what helps set the K4 apart from the crowd of other, less expensive outboard EQ products, Ellis says, is the “undeniable magic” of Mr. Rupert Neve’s circuitry. “Acoustic players who are serious about their amplified sound will appreciate the rich warmth of the K4’s preamp, EQ, and transformer-coupled inputs and outputs. When you realize you can bring some classic Neve voodoo to your next gig, suddenly the K4 seems like a bargain.”

In his “Project Studio” column for Pro Audio Review, Russ Long refers to the K4 as “the ultimate second stage of an acoustic guitar’s direct output”. Long kicks off his test application with a 514ce and says: “In every instance (with the Expression System-equipped guitar) I was able to attain the desired sound by solely using the high and low bands.”

The K4 turned out to be a “miracle worker” when applied to another acoustic guitar with an “awful” sounding piezo pickup. “I was able to take an apparently unusable sound and shape it into a perhaps not flattering but nonetheless completely usable sound,” Long writes. From there, Long plugged the SM57 into the K4’s XLR input and had “good results” EQ’ing the snare drum he mic’d, while the K4 also came in handy with the EV RE-20 he used for voiceover recording. Long concluded that the K4 is feature-packed, and that it will do the trick for both studio and live applications.

Look for more K4 reviews coming soon. Also, don’t miss Taylor clinician Pat Kirtley’s article, “The Versatile K4″, in the Summer 2004 issue of Wood&Steel.

STUDIO STALWART
Although the Taylor Expression System was developed for live performance, it has quickly emerged as a viable tool for recording as well. This isn’t surprising, given that the magnetic sensors of the ES function more like a quality studio microphone than other types of acoustic pickups. Pro Audio Review scribe Russ Long put the ES to the test for the magazine’s January 2004 issue, recording a cedar-top 514ce first with a microphone (an AKG C28) and then using the output signal from the ES.

Long found the tone captured by each pickup source to be of comparably high quality, and instead of recording with two mics, opted to use one mic and the ES direct.

“When sitting in front of the monitors with the signals panned to 9 and 3, the artist, the producer, and myself found it extremely difficult to tell which was the direct and which was the mic,” Long writes. “The ES system faithfully reproduced every nuance of a performance, including subtle picking, hand dynamics and stylistic performance techniques.”

When he plugged into an amp, Long was also impressed with the Expression System’s feedback resistance. Ultimately, he concluded that the ES offers a quality alternative to miking a Taylor.

“The Taylor Expression System is downright amazing in its natural warm sound and its ability to reduce feedback.”

ALMOST ORCHESTRAL
The March 2004 issue of Guitar World features a nice review of our Brazilian rosewood 810ce-L1, from our Fall 2003 LTDs. Writer Emile Menasché wanted to explore both the acoustic and amplified tone of the guitar, and came away doubly impressed.

“The 810ce’s tone is so complex — with shimmering harmonics, bold, percussive low notes, and rich, resonant chords — that the guitar sounds almost orchestral,” Menasché wrote. Plugged in, he took note of the Expression System’s feedback resistance and overall performance. “Its ability to handle variations in dynamics and attack was especially noticeable with high-impact playing…. It also captured the depth and nuance of the guitar’s tone without the noise, phase, feedback and coloration issues introduced by onboard — or external — microphones. The variations in technique you would use in a purely acoustic setting came through the pickups in all their glory. Taylor has definitely raised the standard in electro-acoustic tone.”

INSPIRINGLY COMPLEX
Guitar Player Senior Editor Art Thompson was plenty impressed with our Walnut 754ce-L1 LTD in his “Bench Test” review for the magazine’s February 2004 issue. Among his comments:

“Though not as loud as one of Taylor’s Jumbo 12s, the compact 754ce-L1 speaks with a voice that is wide, dimensional, and inspiringly complex. Strum a chord and you’re rewarded with a balanced ringing sound with round bottom and strong, but not honky, mids. Probably due to the resonant qualities of the walnut body, the 754ce-L1 sounds open and encompassing. Notes pop from the soundhole with plenty of sustain and presence, but the 754ce-L1 isn’t about cannon-like projection — instead, this intimate guitar satisfies with its openness, sweetness, and incredible warmth.”

Thompson also gave the Expression System high marks, noting the warmth and balance of the amplified tone (he played it through Schertler Unico and Trace Elliot TA 100R acoustic amps). “I noticed no harsh tonal artifacts, even when pounding the snot out of the strings, and by keeping the EQ flat on both the amp and the guitar, the tones sounded rich and well-represented.” As for tone-shaping, the soft-touch ES knobs gave him all the control he needed (”I found it unnecessary to use any midrange cut or bass boost on the amplifiers, which is pretty unusual”). Thompson also noted the “organic textures” that distinguish the tone of the ES from that of a piezo pickup. Thompson wraps up by dubbing the guitar one of the nicest production-line 12-string acoustics available. “Factor in its rare woods, great setup, velvety sound, and superb build quality, and you’ve got a mighty attractive instrument for live performing or studio work.”

THE REAL McCOY
Our 214 earned a rave review in Issue 67 of Guitar World Acoustic (featuring Dave Matthews on the cover). Reviewer Emile Menaché spent some time with the affordable model to assess how its tone and playability measure up with our higher end models, and came away charmed.

“It’s a player’s neck,” Menaché wrote, taking note of the “comfortable, fast and stable” feel and true intonation that yield a “tight, responsive feel and quick, percussive attack.” He goes on to distinguish the 214 from our upper end models: “Taylor’s more expensive guitars remind me of high-end sports sedans that successfully offer both luxury and performance. The 214, on the other hand, is more like a tough little pickup, ready to go anywhere and maybe even get a little dirty along the way.”

Tonally, Menaché liked the comfort of the Grand Auditorium body, and was impressed with its volume, along with its clarity, fullness, and resonance.

“The tone is sharp, with plenty of midrange, and harmonics played on the instrument will shimmer your timbre…Lows are strong but not boomy, and the highs cut without being too strident. These qualities are enhanced by the 214’s excellent sustain.”

STRONG BENCH PRESS
Guitar Player senior editor Art Thompson reviewed the 110 for the August 2003 issue’s “Bench Test” feature (along with our 514ce), giving it high marks for “excellent playability”, “loud, crisp tones with lots of bottom”, and “superb value”. Thompson also had this to say:

“Among the first things you notice about the 110 are how big it sounds and how nicely it plays. In true dreadnought style, its bright, deep voice booms out of the soundhole with cannon-like authority, and you get a palpable kick in the chest when you dig into the low strings. The bass/treble balance is very satisfying, the volume is impressive, and the response to touch is very immediate…. Factor in its inviting feel…and you’ve got a guitar that should find favor with flatpickers, folk strummers, fingerstylists, singer-songwriters — and anyone else who needs a powerful, affordable acoustic for solo or ensemble work.”

As for the 514ce (”a masterful statement of guitar craft”), Thompson liked its rich, complex sound (”deep bottom, sweet highs, and robust mids”) and responsiveness: “little effort is required to obtain blossoming response — yet it doesn’t cave-in or lose focus when you strum hard”. As much as Thompson dug the 514ce’s natural tone, he seemed equally fond of the Expression System’s ability to capture its sonic identity, noting its “astonishingly accurate representation” of its tone. He even recorded with the ES — to ADAT and to hard disk — and found the recorded sound “rich and detailed, with a mic-like sense of warmth, clarity, and dimension.”

Thompson ends on a high note, observing that “the future is here for acoustic guitarists who simply crave the same plug-in-and-play satisfaction that solidbody players have always enjoyed. Getting great amplified acoustic tone shouldn’t be any more complicated than plugging a Les Paul into a Marshall, and Taylor’s Expression System is definitely a great leap forward in the realization of that dream.”

FEELS LIKE THE FIRST TIME
The July 2003 issue of Guitar World includes a stellar review of our ES-equipped 512ce and 610ce. One of the enjoyable discoveries about the ES among discerning players is the way the acoustic nuances of each model’s respective tonewoods and body size are conveyed through the pickup system. In GW’s gear column, “The Hole Truth”, reviewer Eric Kirkland tunes into the distinctive voices of the 512ce and 610ce — first acoustically — and then through the ES (played through a Fender Acoustasonic SFX amp).

“Honestly, I felt like I was hearing the acoustic guitar amplified for the first time,” Kirkland enthuses. “The Expression System captures the very essence of the instrument. It reveals the guitar’s full range and is sure to change the face of amplified acoustic performance. More than a vastly improved pickup system, this innovative advancement represents a new approach to amplifying all instruments.”

PLAYS LIKE A CHAMP
Our 712 ranks among 14 “Featherweight Champs” profiled in the July issue of Acoustic Guitar magazine, in a survey of appealing small-bodied flattops under $3,000. Gear editor Teja Gerken (whose main axe is a 712c) enlisted a few associates to round out his playing panel, including AG music editor Andrew DuBrock, whose main guitar is a Taylor 314K. In the evaluation process, the reviewers opted to hone in on the individual strengths that distinguished each guitar, and to identify the playing techniques that best suited them. The 712 stood out for its versatility and for its signature Taylor traits: playability and tonal balance.

Also in the July issue, Taylor clinician Chris Proctor contributes a fingerstyle lesson, focusing on evoking rich melodies on the 12-string guitar.

“LOUD & LOUDER”
The June 2003 issue of Guitar One includes a sweet review of the K20ce. From all angles — the guitar’s aesthetic beauty and immaculate craftsmanship, its bold new dreadnought voice, and the responsiveness of the Expression System — reviewer Douglas Baldwin was clearly smitten. “No matter how hard you hit it, the highs remain crisp and detailed, and the bass feels like a BMW’s tricked out audio system,” he comments. Later, he confesses: “Reviewing this guitar was not easy. Since its volume so greatly surpassed that of any guitar I currently own, I had nothing to compare it to.”

SWEETNESS
The May issue of Guitar Player (featuring Ry Cooder on the cover) hones in on some of the hottest new guitar gear of 2003, and the Taylor Expression System earned a special mention as one of the magazine’s “Top 50 Hits” from the Winter 2003 NAMM show. In an expanded “Tech Talk” sidebar, Senior Editor Andy Ellis raved about the ES, noting the demo session he attended at the Taylor booth during the trade show in January.

“The Expression System produced the most natural, sweet, and dynamic amplified acoustic sound I’ve ever heard,” Ellis wrote, referring later to clinician Dan Crary’s on-stage A/B comparison between a piezo-equipped Taylor and an ES-outfitted model. “The difference was profound and immediately obvious: offering a cleaner, more open sound with far more dynamics, the ES smoked the piezo pickup.”

CANNON FODDER
In case there was any question of whether our revoiced Dreads are winning over old-school flatpickers, consider guitar reviewer Kevin Stevenson one of the latest converts. Stevenson, a recurring contributor to Flatpicking Guitar magazine, had visited the Taylor factory back in 2001 with other acoustic guitar journalists to get a more in-depth understanding of our innovative production methods. While Kevin clearly appreciated our quality standards and the Taylor tone for applications like fingerstyle, as a flatpicker he was the skeptic of the bunch: it was obvious that he felt our ‘10s were lacking compared to his boomier Martin and Collings axes.

We sent him a revoiced 810 to review for Flatpicking Guitar, and he liked it so much that he bought it. He asked the PR Department’s Andy Robinson to congratulate everyone who worked on his guitar, and we thought we’d include a little slice of his review, which runs in the May/June 2003 issue of FG:

“OK, it’s a beautiful piece of woodcraft, but how does it sound? I was able to conduct an extensive taste test with several ‘holy grail’ Dreadnoughts in my arsenal, over several weeks. These included a Collings D-2H, a ‘70s Gallagher, a 1949 Martin D-18 and the Dan Crary Signature Model Taylor that I bought from Dan at Flatpick Kamp a few years back. Everything got a new set of strings, and I was able to swap back and forth at will.

“By comparison to these other guitars, the new Taylor 810 is loud. Most of the comments I received suggested that the Taylor was louder than all these other guitars, except the Collings, and about the same as it. This new Taylor also has a big low end. If you hammer on that low sixth string from F# to G, it just growls. Still, the voices of the inner strings remain very distinct and crisp. It has what I’ve heard called a dry sound….If you’re a player interested in the ultimate bluegrass cannon, then you’ll need to seek out one of these re-voiced Taylor Dreadnought guitars for your own comparison.”

STYLIN’ NYLONS
Our NS62ce and NS72ce recently cast a seductive spell on Guitar Player senior editor Andy Ellis, who reviewed the nylons in the magazine’s April 2003 issue.

“Both guitars are a gas to play, providing comfortable low action, yet full, ringing notes along the entire, gently radiused fretboard,” opined Ellis in his “Bench Test” review. “And thanks to their compensated saddles, they have the best intonation of any classical guitars I’ve ever plucked.”

Ellis put the guitars through their paces both acoustically and amplified, and also explored their tonal attributes in a recording environment.

“While these guitars hold their own acoustically against other production classicals, they really shine when plugged in. I was astounded at how well they record when connected directly to a mixer. The soundboard transducer sounds especially sweet, although it’s much quieter than the saddle pickup, which brings muscle and definition to the party. To my ears, a ratio of 90 percent soundboard to 10 percent saddle produces an ideal blend of warmth and edge. Add an external condenser mic to the equation, and you’ll revel in a stunning amalgam of acoustic and direct tone.”

REVOICED DREADNOUGHT “LOUD AND PROUD”
A pair of revoiced Taylor Dreadnoughts scored a nice dual-review in the October 2002 issue of Guitar Player magazine. The 610-LTD and 810-LTD, both offerings from our 2002 Fall Limited Edition lineup were dubbed “Daring Dreadnoughts” by Senior Editor Art Thompson, who had this to say: “[Taylor’s] revoiced 610 and 810 guitars are fresh designs that blend dreadnought muscle with the balance and clarity of the company’s Grand Auditorium models. Like fine wines that combine two or more varietals, these new Fall Limited Edition models excite the senses while incorporating flavors that are very familiar.”

On the visual appeal of the guitars, Thompson calls the 810’s vibrant three-piece cocobolo back “one of the most explosive displays of exotic wood I’ve ever seen on a production acoustic”. He also cites the “radiating golden beauty” of the 610’s quilted maple back/sides and spruce top, and the striking hues of the cocobolo bridge and peghead veneer. Thompson gives both axes high marks on all fronts, including tone, playability, workmanship, hardware, vibe, and value. He gives the 610 a slight edge — and a Guitar Player Editor’s Pick Award — for its “zingier” response, and tags it “loud and proud”, a good match for an aggressive bluegrasser, although he notes that either of the two new Dreadnought flavors may well lure country and bluegrass traditionalists into the Taylor camp.

SETTING THE TONE
Around the Taylor complex, 2003 was undeniably a watershed year in terms of enhancing acoustic tone. We launched our Expression System pickup, gave our Dreadnought and Jumbo models a robust revoicing, and released the 110 and 214, two of the best-sounding acoustic guitars for the money in the marketplace. We also issued several waves of gorgeous, value-added Limited Editions throughout the year. Overall, in the face of an uncertain economy, we made more guitars (about 70,000) and introduced more new products than any other year in the company’s history.

Last year’s creative surge propels the company into 2004 — our 30th Anniversary year — with strong momentum, characterized by another round of exciting developments that further our quest (and yours) for exceptional tone. Leading the charge is the addition of the ES pickup to the 300 and 400 Series, supported with a handy new ES user guide DVD.

We’re also revoicing our Grand Concert in the 500 Series and up, expanding its body depth by a quarter-inch and modifying the bracing to boost the volume, bass response, and overall richness. Grand Auditorium 12-strings contribute another fresh new voice to the line, bringing greater refinement and tonal balance, as well as a more comfortable body shape. Our nylon-string family continues to evolve with the addition of a 14-fret, cutaway Grand Auditorium model that manages to be both more “classical” and more “hybrid”. And our 300 Series gets a wood upgrade, from sapele to African mahogany.

Among our aesthetic changes this year, our longtime stalwart, the 800 Series, gets a stylish inlay makeover, while the cherry/blackburst finish we introduced with last year’s fall LTDs joins the 600 Series. We’re also shifting our approach with koa and walnut guitars, removing them from the standard production line and releasing them in more select offerings that allow us to respond in a more unique way to the distinctive nuances of each batch of wood.

To top it all off, our beautiful new 2004/2005 catalog is hot off the press. Acclaimed photographer Marshall Harrington (who shot our last catalog) once again captures our guitars in stunning detail, along with captivating “lifestyle” shots of an eclectic array of amateur and professional Taylor players. We distributed the “wish book” at the Winter NAMM show in Anaheim, January 15-18, and in the coming weeks you’ll be able to order one through the website or pick one up at your local Taylor dealer.

For the full scoop on the 2004 Taylor guitar line, read the cover story in the Winter 2004 issue of Wood&Steel.

[1 ES-equipped 310ce. 2 654ce. 3 2004/05 catalog image of Taylor artist Joel Hosler. Photos by Marshall Harrington.]

LIKE CLOCKWORK
In mid-June of 2003, Taylor began installing its own brand of custom tuning machines on its steel-string models in the 300 Series and up. The Taylor tuners continue the industry-leading 18:1 gear ratio that we’ve been using, yet yield even greater precision with the help of a manufacturing process that employs the same gear-cutting machine that Swiss watchmakers use. The more precisely machined gears virtually eliminate the slight “slop”, or slack, typical among tuners, which should make it even easier for Taylor owners to get — and stay — in tune.

The Taylor tuners also feature an elegant aesthetic touch: our logo cleanly etched on the back.

We’ve also upgraded our ebony buttons to a more resilient compound of synthetic material and ebony shavings. The “ebonoid” buttons can be precisely molded to fit more securely around the tuner, are less susceptible to cracking (which can result from dry conditions), and will help conserve ebony, whose supply on the African continent is diminishing. Aesthetically, the buttons retain the grain and overall look of ebony.