Taylor Acoustic Guitar Buyers Guide

THE DEFINITIVE GUIDE
TO BUYING AN ACOUSTIC GUITAR
Table of Contents
3 Introduction

How To Start Thinking About Your Search
5 Why a Good Guitar Matters

5 Why Your Search is Unique
6 Your Player Profile

Identifying Your Playing Needs Will

Help You Narrow Your Search
8 10 Questions to Help You Define Your

Player Profile
12 Bright vs. Dark Tone

14 Playing Comfort

How to Size a Guitar for Your Body and Hands
15 The Body

16 The Neck
18 5 Signs of a Quality Guitar
19 Finding Your Fit

Learn the Three Most Important Ingredients

of a Guitars Sound
20 The Tone Equation:

Your Map to the Right Guitar
21 Balancing the Tone Equation

22 Acoustic Guitar Anatomy 101

Getting a Handle on a Guitars Features

Will Make Your Search Easier
Acoustic Guitar Anatomy 101 (cont.)
How a Guitars Components Work Together

23
24
25
26
27
29
30
The Front
The Back
Interior Bracing
Steel-string vs. Nylon-string
Aesthetic Appointments
Plugging In: Acoustic Pickups
31 Body Shapes

How to Choose the Right Guitar Body
32 Guitar Body Types and Their Sound Profiles

Matching Bodies with Playing Applications

43 Cutaway or Non-Cutaway?

44 Tonewoods

Popular Guitar Woods

and their Unique Tone Profiles

45 How Tonewoods Flavor a Guitars Voice

46 Hardwoods vs. Softwoods
47 Solid Wood vs. Laminate Construction

47 Why Solid Wood Guitars Sound Better with Age

49 Visual Tone Chart

50 Popular Back and Side Woods

51 The Classics: Rosewood, Mahogany & Maple

55 The Modern Alternatives: Ovangkol, Sapele

58 The Exotics: Koa, Macassar Ebony

61 Layered Woods

62 Top Woods

63 Spruce

65 Cedar

66 Hardwood Tops

67 Fretboard Woods

68 Acing the Shopping Experience

How to Find, Try and Buy the Right Guitar

With Confidence
69 7 Tips for Finding a Great Dealer

71 Shopping Online: Pros & Cons

73 Financing Options

74 8 Tips for Test-Driving Guitars

77 In-Store Etiquette: Dos and Donts

79 Bob Taylors Guitar Tips

81 Road Show & Find Your Fit Events

82 The Taylor Guitars Line

A Guided Tour of Taylors Model Selection

83

86

87

88

98

101

104

105
6 Things That Set the Taylor Experience Apart

A Guide to Taylor Model Numbers
The Taylor Line by Series
Solid Wood Models
Layered Wood Models
Compact/Student/Travel Guitars
Nylon-String Guitars
Custom Options
107 A Guide to Guitar Terms

Learn the Lingo and Talk Like an Expert
108 Tone Talk: Acoustic Tone Terms Translated

110 Acoustic Guitar Parts Defined: An Index

The Definitive Guide To Buying An Acoustic Guitar
S E CT I O N
Introduction
Why a Good
Guitar Matters
Why Your Search
is Unique
Introduction
How This Guide Will Help

You Find the Right Guitar
There are a lot of guitar options out there. This guide will help you find the right
guitar for your needs. Why does it matter? Because you wont play the wrong
guitar for long. Thats why a lot of people who take up the guitar dont stick with it.
Here are 4 things this guide will reveal to lead you to

the right guitar:
The essential qualities of a good guitar
The questions you need to ask yourself to narrow

your search
3
4
How a guitars body shape and woods influence its sound
How to test-drive a guitar with confidence, even if youre

a beginner
If you pick up a guitar

and it says, Take me,
Im yours, then thats
the one for you.
Frank Zappa, from Zen Guitar
Introduction
2 Key Thoughts to Guide

Your Guitar Search
1
Investing in a good guitar makes a difference.

As you explore your guitar options, youll find a wide range of features,
price points and quality. Our advice: Buy the best guitar you can afford.
If youre a first-time guitar buyer, you might feel reluctant to invest in
a nice guitar, either due to budget constraints or Im Not Worthy
Syndrome the feeling that your playing level doesnt justify it. We
understand. But the truth is that a beginner will benefit the most from a
well-made instrument. Heres why:
Youll sound better right away, even strumming basic chords.
The playing experience will be easier and more enjoyable.
Youll be more inclined to stick with it.
Youll improve more quickly.
Nothings worse than a guitar thats hard to play and wont stay
in tune. The good news is that quality guitars are available at different
price points.
Like relationships, sometimes its about chemistry.

Any good guitar should deliver certain fundamental qualitiesplayability,
clear tone and good intonation, for example. But each persons
relationship with a guitar is unique. And its a multisensory
experience part visual, part tactile, and part sonic. Embrace it.
Sometimes its love at first strum; other times a guitar reveals itself
gradually over a few playing sessions. However it happens, what matters
is that you find a guitar that inspires you. Take your time and trust your
feelings. If you pay attention, the right guitar has a way of finding you.
Generally speaking,
the stronger and louder
the sound youre
looking for, the bigger
guitar youll need.
Identifying your playing needs will help you narrow your search
S E CT I O N
Your Player Profile
10 questions to
help you define your
player profile
General
recommendations
based on different
playing styles
Bright vs. dark tone
66
The Player
Whats Your Player Profile?

This section is all about you. The guitar you choose should respond well to your
playing style and other aesthetic preferences, both in terms of sound and looks.
If youre a beginner and dont have a defined playing style yet, dont worry. You
can start by thinking about what your musical interests and goals might be.
A guitar is a very
personal extension
of the person playing
it. You have to be
emotionally and
spiritually connected
to your instrument.
Im very brutal on my
instruments, but not
all the time.
Eddie Van Halen
The Player
10 Questions to Help Define Your Player Profile

1
How will you be playing the guitar: fingerpicking,

strumming, flatpicking, or a mix?
This will help you decide whether you want a versatile performer or a guitar
that suits a more specialized playing style.
Do you have a light picking/strumming attack, a heavy

attack, or something in-between?
This will help you focus on the right body style to accommodate the amount
of energy youll be applying to the guitar. Generally speaking, the stronger
and louder the sound youre looking for, the bigger the guitar youll need.
If you have a softer, more delicate attack:
You need a guitar that will come alive in your hands without requiring too
much attack. In general, smaller-body guitars require less energy to get the
top moving and with a light touch will often be louder than a larger body
shape. Its a good option for fingerstyle players.
If you have a heavier picking or strumming attack:
Your playing style may overload a smaller guitar body. Youll be better served
with a full-bodied guitar that will respond to the high energy that comes
from the strong pick attack.
If you have a dynamic or hybrid playing style:
Youre looking for versatility, and a medium-size guitar will usually get you
there. Youll be able to get an immediate response when you play lightly and
a more powerful sound when you dig in. If you want an even wider dynamic
range (one that offers more tonal output), try a bigger body size.
Generally speaking,
the stronger and louder
the sound youre
looking for, the bigger
guitar youll need.
The Player
Where will you be playing the guitar?

If youre looking for a couch strummer, you might want something
thats comfortableprobably with a smaller body thats easy to cradle.
If youll be playing with friends and want a good amount of acoustic
volume without having to plug in, youll likely benefit from a bigger body.
If you plan to play live gigs, youll definitely want a guitar with a pickup.
What style(s) of music do you want to play?

Think of what type of sound you need to express that style or musical genre.
A lively bluegrass picker or someone who plans to strum big, open cowboy
chords might want a bigger body thats capable of producing robust bass,
volume and projection. A fingerstyle player might prefer a more responsive
and articulate sound and lean toward a smaller body.
Bluegrass/flatpicking: Dreadnought or other medium to large body for
maximum volume and projection
Country/Blues fingerpicking: Small to medium body
Acoustic rock strumming: Medium-size body for rich open chords
Guitar is the best form of

self-expression I know.
Slash
The Player
Are there certain tonal properties you have in mind,

such as volume, richness, low-end response, warmth, etc.?
If you have a certain sound profile in mind, this will help steer you toward
both your body shape and tonewoods. Rosewood tends to emphasize the
low end and high end of the musical spectrum; mahogany has a focused,
meaty midrange presence. A cedar top produces warmth that really shines
with fingerstyle playing. Well get into more of those tonal characteristics
in the shapes and woods section. And if you dont really know what you
want, thats okay. Youll just want to sample some different options and pay
attention to which ones sound and feel good to you.
Bigger bodies: More bass response, volume, sustain
Smaller bodies: More tonal clarity
Different tonewoods: Distinctive tonal flavors, from rich and complex
to controlled and focused
Will you be playing more often by yourself or with other

players/instruments?
By yourself: You might want a guitar that provides a more expansive
sonic palette to give yourself a wider range of tonal colors to explore.
With others: You might want a guitar that has enough clarity or volume
to be heard clearly in the instrument mix.
10
The Player
Will you be singing with your guitar?

If so, youll want your guitars tonal personality to complement your voice.
A rosewood guitar tends to create a nice pocket of space for vocals
because it has a scooped midrange, which is the frequency range where
the human voice sits. But its all about your voice and the guitar together.
It might help to visit a music store at a time when you feel comfortable
singing with the guitar or having access to an isolated room where you can
pair your voice with each instrument.
If youre more of a solo instrumental player, does the guitar give you a
colorful enough sonic palette with which to express yourself?
Are there guitarists whose style or tone you would

like to emulate?
You might want to embrace a similar body style or tonewood pairing.
But not necessarily. You might actually need a different type of guitar
to capture that sound.
Do you plan to play lead lines higher up the neck

(toward the body)?
If so, a guitar with a cutaway might be a good idea. It gives you access
to more of the guitars upper register.
10
Do you plan to do any live performing or recording?

If you want to plug in, you should buy a guitar with an onboard pickup.
If you plan to record, think about the instrument mix that might be involved.
If there will be multiple tracks, you might lean toward a smaller body guitar,
since it will have a smaller sonic footprint. Sometimes a bigger, fuller guitar
voice can take up too much space in the mix and cloud the clarity. And
remember, when you record, pure acoustic volume typically isnt as important
because you can control the volume levels with your recording gear.
If you plan to play solo

acoustic guitar, you
might want a bigger or
richer voice to give you
a more dynamic range
of expression.
11
The Player
Bright vs. Dark Guitar Tone

A common descriptive trait with acoustic guitar tone is the degree of sonic
brightness or darkness. This can come from your playing style or the tonewoods
used on a guitar.
Bright guitar tone has a lot of top end, or treble emphasis.
Dark guitar tone has greater low end, or bass emphasis.
Bright Tone
Dark Tone
Bright tone can come from using thin picks or from where you strum the guitar
in relation to the soundhole. The closer to the bridge you get, the brighter and
thinner the attack will sound.
Dark tone can come from using heavier picks. They tend to cross the string with
a darker thud sound, compared to the brighter flap of lighter picks. (In fact,
the pick material and thickness have a major influence on your sound.) A player
with a darker style sometimes wraps around the guitar body more, which pushes
the strumming hand on top of, or in front of, the soundhole (closer to the neck).
The closer to the neck you play, the darker and rounder your attack will sound.
(Good guitarists know how to use these positioning nuances to add variety to
their playing.)
If you have a bright playing style, you might aim for a guitar with a warmer sound
to counterbalance the brightness. A larger body shape can also help by naturally
adding some fullness to the low end to offset the brightness.
Believe it or not, your posture can affect the degree of brightness or darkness
of your playing. The more upright you sit, the more likely youll be to pull your
shoulders back, causing you to strum farther back behind the soundhole
(closer to the bridge).
To offset the round tone, you probably would be well served with a wood pairing
like rosewood and spruce wood because of the added top-end clarity and
tightening of the low end. Whats more, darker players tend to be softer players,
in which case a small- to medium-size guitar body might respond better.
12
The Player
Player Profile Recap:

4 Key Takeaways
Your playing technique is an important contributor to
your overall sound
Look for a guitar with a body shape and tonewood
combination whose sonic attributes are compatible
with your playing style
If youre a beginner and dont really have a defined
playing style, think about the type of music you would
like to play
Your posture and where you pick or strum the guitar
relative to the soundhole can influence the brightness
or darkness of your guitar tone
13
3
S E CT I O N
How to size a guitar for your body and hands
S E CT I O N
Playing Comfort
This section covers

the two features of a
guitar that will have the
biggest impact on your
playing comfort:
The Body
The Neck
14
Playing Comfort
The Body
Guitars come in a range of body sizes, from small and intimate to big
and curvy. Youll want to consider how a guitars overall body dimensions
feel against your body when you hold it. Here are a few things to consider:
Do you plan to play sitting down or standing up?

Most recreational players play sitting down. If so, how high does the
guitar sit in your lap? The taper of the waist and the other contours of
the body will influence how high the guitar sits in your lap. For example,
a guitar with a wider waist will sit higher on a person.
How does the body feel with your picking/strumming

arm draped over it?
If you sit while you play, a big, curvy lower bout can push your strumming
arm higher and cause discomfort. Can you play freely?
If youre a woman, does the guitar bodys anatomy

match up favorably with your own?
Sometimes a guitars curves can interfere with your own, especially
since youll be holding the guitar against your body. If so, a smaller body
style might prove to be more comfortable.
15
Playing Comfort
The Neck
One of the most important contributors to a comfortable playing experience is
the feel of the neck. The more comfortable a neck feels in your hands,
the easier it will be to form notes and chords. Youll also be less prone to
experiencing hand fatigue with extended playing. Because the size of peoples
hands can vary considerably, the feel of the neck is important.
Here are 5 neck attributes that will influence the playability:
The Profile
The Width
This refers to the shape of the back of the neck, which will rest in the palm
of your fretting hand when you play. Some guitars have chunkier profiles,
while others feature slimmer dimensions. A slimmer profile tends to be
easier to play.
This is typically measured at the nut, where the neck meets the headstock.
The wider the neck, the wider the spacing between each string.
A narrower neck width, such as 1 11/16 inches, makes it easier to
form barre chords. Players with small hands might prefer this.
A medium width, such as 1-3/4 inches, offers a balance of compact
spacing with enough room to cleanly fret individual strings.
Nut
A wider neck, such as 1-7/8 inches or even wider, might appeal to

a predominantly fingerstyle player with bigger hands or longer fingers.
Traditional classical guitars have very wide necks, usually of 2 or
more inches.
16
Playing Comfort
The Neck
3
Action
Intonation
This refers to how high above the fretboard the strings are. Guitars with
lower action tend to be easier to fret. If the action is too low, the strings
will buzz; if its too high, the strings require more pressure to fret, especially
as you slide up the neck toward the body. If youve had a bad experience
playing a cheap guitar, chances are it had high action and was hard to play.
When an instrument is properly intonated, all the open strings and every
fretted note on the fretboard sound at their correct pitches. In other
words, the instrument is in tune with itself all along the fretboard.
This creates a pleasant, musical uniformity that makes the playing
experience easier and more enjoyable, because you dont have to play
around any weak, off-pitch or dead spots on the fretboard.
Scale Length
Side view of neck (nut at left) showing action.
Saddle
Scale Length
Nut
This refers to the maximum vibrating length of the strings and is

typically measured from the guitars nut to the saddle. Differences in
scale length can affect the string tension (and as a result, the
playability) as well as the guitars tone. For example, if two guitars
with different scale lengths are strung with strings of the same gauge and
then tuned to standard concert pitch, the guitar with the shorter scale
length will have less string tension, which creates a slightly slinkier feel.
This can make it easier to fret or bend strings.
Different guitar manufacturers each have their own standard scale length
specifications. On short-scale necks, not only is the string tension
looser, but the more compressed spacing between the frets also
makes it easier to reach more notes with your fingers. If you have
small hands or suffer from any hand ailments, you should consider a
short-scale guitar.
17
Playing Comfort
Signs
of a
Quality
Guitar
It stays in tune
The neck is comfortable
and easy to form chords
It has good intonation
all the way up the neck
The sound is clear and
consistent along the
tonal spectrum
It produces a pleasing
level of volume and
sustain
18
Learn the three most important ingredients of a guitars sound
S E CT I O N
Finding Your Fit
How a simple Tone

Equation will guide you
toward the right guitar
How to identify your
personal guitar playing profile
How different body
shapes define a
guitars basic sound
The unique sonic
personalities of popular
guitar tonewoods
19
Finding Your Fit
Use This Tone Equation to

Find a Guitar That Fits You
When we talk about guitar tone, heres a simple way of breaking down the three
key ingredients that contribute to a guitars sound:
Player + Body Shape + Tonewoods = Your Guitar Sound

These are the three most important variables that can change a guitars sound.
Heres why:
Player
This is all about you and the nuances of how you play. Think of it this way: If a
group of guitar-playing friends are hanging out and they pass around the same
guitar, each playing a tune, chances are the guitar will sound a bit different in
everyones hands, because of each persons unique playing style.
Body Shape
As mentioned earlier, different guitar body dimensions tend to produce
distinctive tone profiles.
Tonewoods
These sonically flavor or season the guitars sound.
The next three sections will explore each of these key ingredients in depth.
20
Finding Your Fit
Balancing the
Tone Equation
In terms of getting the best sound, the key is for you to choose a guitar with a
body style and tonewoods that are most compatible with the way you play. For
example, if youre a lively acoustic rock strummer who likes big, long-sustaining
chords, tonally speaking, a small-bodied guitar probably isnt the best option for
you because it wont be able to handle that playing energy. Youll probably want
a bigger guitar, along with woods that produce rich sustain.
In the next section, well take a more in-depth look at each part of the tone
equation to give you some options.
21
Getting a handle on the material components of a guitar will give you a great foundation for differentiating models
S E CT I O N
Acoustic Guitar Anatomy 101
How a Guitars
Components Work
Together
The Front
The Back
Interior Bracing
Aesthetic
Appointments
Pickups
22
How a Guitars Components

Work Together
A guitars body serves as a natural sound box, or acoustic amplifier, for the
vibrating strings. The string tension is adjusted by tuning each string to a certain
frequency and by fretting the strings along the fretboard. When you pluck or
strum the strings, the vibrational energy is transferred to the guitars top, or
soundboard, with the help of the saddle and bridge, which anchor the strings
to the top. The top vibrates together with the back and sides to produce sound,
projecting it through the soundhole.
Design Ingredients
That Influence a
Guitars Sound
The Body Dimensions
The Woods Used
A guitars contours literally shape the fundamental

voice of the guitar.
Each different species has its own unique tonal

personality that helps flavor the sound.
The Internal Bracing

This controls the movement of the top, back and
sides, working in concert with the body shape and
woods to voice the guitar.
Taylor guitar body interior view with the soundhole above. The internal bracing for the top,
back and sides is visible.
23
The Front
For a more detailed explanation of the function of these components, see our index of guitar features beginning on page 110.
Lower bout
Upper bout
Waist
Rosette
Soundboard
Strings
Frets
Inlays
Truss rod cover
Fretboard
Nut
Peghead
Bridge
Bridge pins
Saddle
Cutaway
Soundhole
Finish
Tuning machines
Pickguard
Sides
Binding
Purfling
24
The Back
Back
Heel
Heel Cap
Neck
25
Interior Bracing
Theres often a lot going on under the hood
to influence a guitars sound. The bracing
is designed both to offer structural support
in response to the string tension, while also
optimizing the movement of the top, back
and sides for tonal purposes.
Bracing patterns may vary based on the
body geometry or particular tonewoods
used for a guitar.
Top Bracing
Back Bracing
26
Steel-string Versus Nylon-string Guitars

What are the main differences?
Besides the strings themselves, the tone and playing experiences are different.
A steel-string acoustic guitar has more string tension and tends to produce
a louder, brighter sound with a lot more tonal sustain from the plucked or
strummed strings. A nylon-string guitar has less string tension and produces
a much mellower sound with a faster note decay (less sustain).
Which is better for a beginner?

Many instructors suggest a nylon-string guitar because its easier for beginners
with sensitive fingers to press down the strings to form chords. But you also
should take into account the dimensions of the neck. Most classical-style
(nylon-string) guitars have wider necks and other differences in the neck shape
that can make it more challenging to form chords comfortably. A well-made
steel-string guitar (like a Taylor) will be set up in a way thats very comfortable
for beginners, making it easier to form chords. In such a case, it may come
down to which tone you prefer, or which style(s) of music you want to play.
Taylor 714ce
Steel-string
Taylor 714ce-N
Nylon-string
27
Hybrid Nylon-String Options

In the modern era, some guitar makers, Taylor included, offer crossover or
hybrid nylon-string guitars that blend nylons tonal flavors with the familiar
playing features of a steel-string guitar, including a slightly narrower neck, a
cutaway, and onboard electronics. As a result, these nylon-string guitars are
very comfortable for a steel-string player (or a beginner), whereas a traditional
classical guitar could be a struggle to adapt to.
Can steel and nylon strings be used interchangeably

on the same guitar?
Taylor 512ce
Steel-string
Taylor 512ce-N
Nylon-string
No, because the construction of each type of guitar, especially features like
the internal bracing, is very different in order to accommodate the differences
in tension between steel and nylon strings. Because nylon strings have less
tension, nylon-string guitars are built and braced in a different, much lighter way.
Putting nylon strings on a steel-string guitar wouldnt produce enough tension
(and energy) to activate the top and get a good sound. The strings would also
be cramped, and the saddle would not be correct. Steel strings on a nylon-string
guitar would add too much tension for the more delicately designed nylon-string
guitar to handle and would end up damaging the guitar.
28
Aesthetic Appointments
A guitars cosmetic details reflect the builders design aesthetic. And yours.
From a guitar bodys curves to the look of exotic woods to its package of
decorative appointments, the visual elements of a guitar undeniably play into
our attraction to it. If youre simply trying to find the best-sounding guitar for
your preferences, you might pay less attention to these things, but for most
There are many options available,

from clean and simple to detail-rich.
If you like a vintage look, a sunburst
top makes a great choice. If you
crave an organic aesthetic, you might
opt for wood inlays and bindings. If
you like a splash of color and sparkle,
abalone trim might be a good option.
Here are some visual characteristics
to consider:
people, a guitars visual aesthetic contributes to the way they perceive it.
If the visual artistry enhances your appreciation of it, embrace it. After all,
a guitar provides a multi-sensory experience.
Woods
Inlay Areas
Inlay Materials
Color variegation, grain pattern and

orientation, figure
Fretboard, rosette, peghead
Wood, mother-of-pearl,
abalone, ivoroid
Cocobolo
Body Bindings
and Purflings
Fretboard
Rosette
Mother-of-pearl
Abalone
Finish
Color Treatments
Gloss, satin, matte
Sunburst, edgeburst, custom colors
Wood, ivoroid, plastic, etc.
Wood binding
Plastic binding
Gloss
Satin
Sunburst
Custom stain
29
Plugging In:
Acoustic Pickups
If you want to plug in and amplify your sound, a pickup is
a feature worth considering.
These days, many acoustic guitars come equipped with onboard pickups. Having
one enables you to plug into an acoustic amp or PA system and enjoy an amplified
acoustic sound. A pickup is also useful for plugging into a interface for recording
software to record a direct track as an alternative to playing into a microphone.
Even if youre a beginner and dont plan to plug in right away, it might be worth
considering getting a guitar with a pickup for some point down the road.
Here are 3 other benefits of having a guitar with a pickup:
You have the ability to manipulate your sound.
You can incorporate other effects into your sound.
You can easily balance volume levels if you play with

other instruments.
Some acoustic guitars equipped with electronics include onboard tone

and volume knobs. These allow you to adjust the bass, midrange and treble
levels of the guitar in an amplified setting, which gives you a broad range of
acoustic colors to suit different songs or playing scenarios.
While you might not crave the heavy distortion or other crunchy effects often
associated with a wailing electric guitar, adding effects like reverb, delay and
other flavors gives you a whole new sonic palette with which to experiment.
As one gigging Taylor player shared, he regularly performs house concerts

accompanied by a mandolin player. In an intimate setting, the natural
acoustic volume of the mandolin overpowers that of his acoustic guitar.
By plugging in, each can control his output level to create a clear and
balanced sound together.
30
Shape matters discover the best shape for your playing preferences
S E CT I O N
Body Shapes
Basic types of guitar

bodies and their
general sound profiles
A breakdown of
body shapes made
by Taylor Guitars
for reference
The types of playing
applications that match
up well with each
31
Body Shapes
Choosing a body shape is

a good place to narrow your
guitar search because a guitars
physical dimensions are very
tangible and play an important
role in producing its fundamental
sound. The guitar body should
feel comfortable since your arms
will be wrapped around it.
A simple way to classify body shapes
is in terms of overall size. Basically,
think small, medium and large, plus
a sub-compact size thats scaled
down for portability and to fit kids.
Remember, in general, a smaller-size
guitar will produce a more controlled
voice with a smaller sonic footprint,
while a bigger size translates into a
louder, more substantial voice with
more low-end presence.
To provide examples of different
guitar body shapes and their general
sound profiles, well be using Taylors
five standard body styles.
LR: 618e, 814ce

32
Body Shapes
Small
Body
33
Body Shapes
Small Body
Taylor Shape:
Grand Concert (GC)

General Sound Profile:
A Good Option For:
Responsive to a lighter touch
Fingerstyle players
More focused, articulate,

well-defined tone
People with smaller frames or hands
Fits well in a mix with other

instruments
Players who dont need a super

loud guitar
Taylors smallest full-size shape has compact dimensions all around, which make
for a physically comfortable, lap-friendly playing experience. The Grand
Concerts slight waist and shallower body depth help produce a balanced
sound across the tonal spectrum, with the kind of note definition that
fingerstyle guitarists and session and stage players tend to appreciate.
The smaller body also means the guitars voice wont take up too much sonic
space in a mix with other instruments.
Grand Concert
812ce
Taylors Grand Concert models feature a shorter scale length (24-7/8 inches
compared to 25-1/2 inches on other models), which makes it easier to form
chords, and the reduced string tension also makes it easier to bend the strings.
This makes the GC a good match for people with smaller hands, older
players, people with hand ailments, and really anyone looking to
reduce the stress on their fretting hand.
34
Body Shapes
Medium
Body
35
Body Shapes
Medium Body
Taylor Shape:
Grand Auditorium (GA)

General Sound Profile: A Good Option For:
Louder and more dynamic than
a smaller body
Generalists who want a great

multi-purpose guitar
Well balanced, with more bass

response, sustain and projection
Light to medium strummers
A beginner who doesnt know what

A versatile performer that
they want
accommodates a mix of playing styles
The Grand Auditorium is the most popular and versatile of Taylors body shapes.
The next size up from the Grand Concert, it actually shares the same basic body
dimensions as a Dreadnought body (a traditional guitar shape), but with a more
tapered waist, enabling the guitar to fit more comfortably in your lap. Tonally, it
lives in the sweet spot between a Dreadnoughtknown for robust flatpicking
and rhythmic strummingand a Grand Concertdesigned with fingerstylists in
mindto give players the best of both worlds. The GAs well-defined midrange
helps maintain the balance and clarity, yet with enough power on the
top and bottom for medium-strength strummers and flatpickers to let
loose. Its a smart choice for a musician looking for one guitar to cover a diverse
mix of music. If youre a novice or generalist and want a guitar that can cover a lot
of ground or dont quite know what your playing style may be, you cant go wrong
with a Grand Auditorium.
Grand Auditorium
814ce
36
Body Shapes
Medium Body
Taylor Shape:
Grand Symphony (GS)

A Good Option For:
Slightly bigger and louder than

the Grand Auditorium
Players with a strong

strumming/picking style
Powerful voice with strong

bass response
Acoustic/roots-rock players
looking for a full-voiced sound
Wide dynamic range
Players with a dynamic (light to heavy)

playing approach
The Grand Symphonys dimensions are slightly up-sized from the Grand
Auditoriumexpansions include a higher and wider waist, and a bigger, more
rounded lower bout. The result is a more potent all-around sound with
a deeper, more piano-like bass, thicker trebles, and increased volume
and low-end sustain, all without disrupting the tonal balance and clarity
of the guitar. Consequently, the GS can really be driven dynamically.
The lower mids have an extra roundness and girth that add richness
and complexity to the voice. Those who find the Grand Auditorium to be a
little bright for their ears will enjoy the greater depth and resonance of the GS.
Grand Symphony
816ce
37
Body Shapes
Medium Body
Taylor Shape:
Dreadnought (DN)
A Good Option For:
Robust voice with low-end power

and upper midrange
Flatpickers and strummers with an

aggressive picking attack
Strong, clear treble notes
Players who gravitate toward a

traditional guitar sound & shape
A neo-vintage voice for traditional

flatpickers and strummers
Playing acoustic leads that

require strong, clear treble notes
This classic body is one of the most traditional and recognized shapes in the
acoustic guitar world. Due to its wider waist, the Dreadnought tends to sit
slightly higher in a players lap, making it feel more like a large body. (After all,
its name comes from an early 20th century battleship). The extra width helps
produce a loud, robust voice, especially on the low end, along with a
snappy quality in the midrange that will appeal to traditional strummers
and flatpickers. Its ability to handle a driving attack has given it something of a
workhorse personality in the guitar world.
Dreadnought
810ce
38
Body Shapes
Large
Body
39
Finding
Body
Shapes
Your Fit
Large Body
Taylor Shape:
Grand Orchestra (GO)

General Sound Profile
A Good Option For
A bold and complex voice
Fans of big-bodied, big-voiced guitars
Broad dynamic range with

strong sustain
Players looking for sonic depth

and complexity
Surprisingly balanced and

responsive for a big body
Players with a dynamic style
Among large guitar bodies, the Jumbo shape is perhaps the best known.
Gibson borrowed the outline of its archtop electric guitars to create the footprint
for their Jumbo acoustic shape in the late 1930s, and Guild also made a number
of Jumbo-style guitars. For years, Taylor made its own version of a Jumbo.
The shape evolved into our Grand Orchestra (GO). The new guitar dramatically
improved the capabilities of a big-body guitar to make it a more versatile instrument.
Grand Orchestra
818ce
The GO is Taylors biggest, boldest, most complex-sounding body style.

But what really distinguishes it from other big guitars is that its balanced
from bottom to topeven the treble notes exude richness and powerand it
responds to a light touch, rewarding players who have a dynamic playing style.
If you crave a guitar sound thats brimming with power and rich detail,
the Grand Orchestra wont disappoint. Driving flatpickers will love the deep
growl and strong, clear highs. Solo performers will be inspired by the expansive
palette of sonic colors and textures. Whether you plan to strum big, open cowboy
chords or pluck lush fingerstyle arrangements, the Grand Orchestra gives you
a versatile and expressive tool.
40
Body Shapes
Sub-Compact
& Travel
41
Body Shapes
Sub-Compact/Travel
Portability has always been part of the appeal of a guitar, and in recent years
guitar makers have scaled down their designs even further to accommodate
peoples active lives and their desire to have a guitar on hand when they travel.
There is also a demand for guitars that are downsized to be more comfortable
for children to play.
A Good Option For:
Baby Taylor: A more diminutive

voice due to its 3/4-scale
GS Mini: Surprisingly full-voiced

due to optimized design features
Travelers, songwriters, and anyone

looking for an extra portable guitar
Couch strummers looking for a
comfortable guitar
Kids and players with small hands
due to the shorter scale length
Baby Taylor
GS Mini-e
Mahogany
Baby Taylor
The -size mini-Dreadnought offers impressive playability and musicality, broadening
its identity beyond simply being a childrens guitar. It offers a legitimate musical
instrument for players at every level. Adult players buy them for their kids but also
embrace the Baby as a slide guitar, songwriting guitar, an alternate tuning guitar, etc.
Its popularity helped establish the travel guitar category.
GS Mini
Taylors next-generation version of a scaled-down guitar after the Baby Taylor was
designed to create a bigger, richer guitar sound, yet still retain the compact feel of
a travel-friendly guitar. The guitar borrowed from Taylors shapely Grand Symphony
body style and incorporated many of Taylors latest design ideas. Right out of the
gate, the guitar was major success, yielding a full-size voice in a comfortably
intimate package that suited both an active lifestyle and relaxed couch strumming.
More than 125,000 GS Mini models have been made.
42
Body Shapes
Cutaway or Non-Cutaway?
Some acoustic guitar bodies feature a cutaway on the treble-side upper bout
of the guitar. This gives players greater access to the frets near the soundhole
and broadens the playing range of the instrument.
Does a cutaway diminish the tonal output of the guitar?

Not by much. Even though a cutaway does reduce the soundboard surface
area and the overall air cavity inside a guitar, in reality, the part of the upper
bout where a cutaway is located doesnt vibrate as much as other areas of
the guitar. The tonal output is affected more by the taper of the waist.
Which is better?
Our opinion is that the access to the upper register offered by a cutaway far
exceeds the negligible tone loss. If you want to be able to reach those high
notes or simply like the aesthetic of a cutaway, go for it.If you dont plan to
venture that far up the neck, or simply prefer the aesthetic symmetry of a
non-cutaway, opt for that.
Cutaway
Non-Cutaway
43
Popular guitar woods and their unique tone profiles
S E CT I O N
Tonewoods
How tonewoods
flavor a guitars
sound
Commonly used
guitar woods and their
unique tonal properties
styles that match up
well with each
44
Tonewoods
How Tonewoods Flavor

a Guitars Sound
The types of tonewoods used for the top, back and sides of an acoustic guitar
provide the core ingredients for its sound. The unique physical properties of
each different species of wood stiffness and density, for example translate
into different tonal personalities, meaning that different wood species will
yield different degrees of bass, midrange, treble and overall sustain relative
to each other.
The techniques of a guitar builder, like the cooking techniques of a chef, play
an important role in voicing the instrument. The way they season and mix their
ingredients is intended to coax a pleasing blend of flavors from their creations.
45
Tonewoods
Hardwoods vs. Softwoods

Tonewoods are often separated into hardwood and
softwood categories.
Hardwood trees generally have a slower growth rate and higher density,
while softwood trees tend to have a faster growth rate and lower density.
The backs and sides of most acoustic guitars feature hardwoods. Some of
the most popular are rosewood, mahogany, maple and koa.
Softwoods, by comparison, are fairly lightweight but have a high tensile
strength. That balance of lightness, strength and elasticity makes softwoods
a popular choice for a guitars top, or soundboard. Such woods include spruce,
cedar and redwood. Sitka spruce is far and away the most commonly used
tonewood for guitar tops. Its stiff in the right ways, yet also flexible, which helps
produces a clear acoustic tone with good dynamic range and sustain. (Spruce,
incidentally, is also used for soundboards on pianos and bowed instruments
such as violins.) Some hardwoods, such as mahogany and koa, also can be
used for guitar tops.
46
Finding Your Fit

Tonewoods
Solid Wood vs.

Layered Wood Construction
One of the distinguishing wood-related features among
guitars is whether they are made from solid wood or
laminated layers of wood (or other materials).
Solid wood construction tends to convey a woods tonal spectrum in the
fullest, most complex way, resulting in a superior sound.
Solid wood guitars also tend to be more expensive to produce because of the
material costs and because the wood must be sawn, kiln-dried, book-matched,
and handled under climate-controlled conditions.
Layered woods incorporate a plywood construction, usually with exterior
and interior veneers and a middle core layer, and typically yield a slightly less
complex tone. Among the benefits of layered wood guitars are:
Affordability
The ability to use visually exotic wood veneers to add aesthetic appeal
Stability within changing climate (humidity) conditions
If youre on a budget, a guitar with layered wood back and sides can be
a good option if the guitar is well made.
Why Solid Wood Guitars

Sound Better with Age
One of the interesting characteristics of a well-made solid-wood guitar is
that, if its properly cared for, its sound will improve with age. Guitarists
often talk about the need to give a new guitar some play-in time to
allow the sound to open up. Initially, the woods used for a guitar tend to
have a certain degree of inherent stiffness they arent used to vibrating
under the tension of strings. But through the playing process, the woods
become more relaxed and broken in. (Think of the way a stiff new pair of
jeans becomes softer with extended wear.)
The natural aging process also contributes to this, changing the cell structure
of the wood over time as its sugar content naturally crystallizes. It makes the
wood less resistant to motion, and as a result, a played-in or aged guitar
will often be more resonant and responsive to a players touch.
Certain hardwoods with a higher density tend to take a bit longer to open
up. Koa comes to mind. But as a guitar goes through this process, the
sound tends to get warmer, richer and sweeter. This is one reason why
vintage guitars often have an appealing sonic character associated with
them. Thats also why comparing a new guitar to an old guitar, even if they
both incorporate the same woods and construction methods, often isnt a
fair comparison. This is also why a quality guitar will tend to hold its value
well over time. It wears in rather than out!
47
Tonewoods
Comparing Tonewood
Sound Profiles
Ahead weve compiled general sound profiles for some of
the commonly used woods in the acoustic guitar industry.
The more you get into the realm of boutique builders and
individual guitar makers, the more youll find other exotic
species, some of which youve probably never even heard of.
These tone profiles are merely meant to be a general reference, especially since
other variables factor into the overall tone of a guitar, things like:
The climate conditions that shaped a particular trees growth patterns
The interaction of the top wood with the back and side woods
The guitars body dimensions
Bracing and other construction nuances
Your playing style and ear
While modern technology has brought high levels of production consistency to
guitars (especially at Taylor), each individual guitar ultimately is crafted from a
different set of tonewoods, which means that each will often present its visual and
sonic character in slightly different unique ways. The proof, we like to say, is in the
playing. And thats all part of the fun of sampling guitars tuning in to the unique
character traits of each. Like food, it often comes down to your personal tastes.
The guitar is a
small orchestra. It is
polyphonic. Every string
is a different color,
a different voice.
Andres Segovia
48
Tonewoods
Tone Chart
One of the most common ways to
describe a woods tonal properties
is in terms of its frequency range,
which is often broken down into
low-end frequencies, midrange and
high-end frequencies. Picture it as
a visual spectrum, as weve done in
the chart to the right, with the lower
frequencies on the left and the higher
frequencies on the right.
The graph line for each wood visually
depicts its general tonal range.
Rosewood and ovangkol, for example,
tend to resonate with more low-end
frequencies, whereas koa and maple
tend to sound brighter from having
more top-end frequencies. Note also
rosewoods scooped midrange
and ovangkols fuller midrange.
The dotted lines for koa denote the
expansion of low-end frequency range
as the guitar opens up after a period
of playing it.
Low
Frequency
Midrange
Frequency
High
Frequency
Mahogany
Rosewood
Maple
Koa
Ovangkol
Sapele
Macassar Ebony
The chart is only meant to provide a general reference for wood tones relative to each other.
Keep in mind that this is not based on any scientific measurement of frequencies and is based
on our collectiveand subjective experiences with these woods. Acoustic tone will always
occupy some gray area, based on the uniqueness of each set of wood and other variables.
49
Tonewoods
Back and Side Woods

The Classics
Rosewood, Mahogany and Maple
The Modern
Alternatives
Ovangkol, Sapele
The Exotics
Koa, Macassar Ebony
Layered Woods
Laminate construction with
an appealing outer veneer
50
Tonewoods
The Classics
These tonewoods claim a rich heritage in the acoustic

guitar world:
Indian Rosewood
Tropical Mahogany
Maple
51
Tonewoods
Indian Rosewood
Tonal Properties
A rich, musical tone with ringing overtones that add complexity and sustain
Broad frequency range with deep lows, bell-like highs, and a slightly
scooped midrange
One of the most enduring and popular tonewoods
Consider rosewood if:

You crave a rich, high-fidelity, acoustic voice with strong bass and treble, complex
overtones, and plenty of sustain. Rosewood is a very versatile tonewood, so it
matches up well with a wide range of playing styles.
52
Tonewoods
Tropical Mahogany
Tonal Properties
Its tonal character comes through its meaty midrange, featuring a strong
fundamental focus often described as punchy, woody, or dry, without
a lot of ringing overtones
Has a more controlled response that responds well to a strong playing
attack; it can help even out the harshness of a heavy strummer
Clear and direct tonal character makes it a great option for playing with
other instruments
Sometimes referred to as an earthy, low-fi sound in contrast to rosewoods
richer, high-fidelity characteristics
Mahogany guitars have been featured on many roots music recordings over
the years, from country blues to folk to rock
Consider mahogany if:

You like a clear, direct tone with a lot of midrange, rootsy character. Its a
good guitar wood to try if youre not sure what tonal personality you want.
Its controlled response makes it a forgiving wood for beginner-level players.
53
Tonewoods
Maple
Tonal Properties
Revered in the bowed instrument world for centuries for its linear,
transparent response; very reflective of the player rather than imposing
its own personality
Traditionally known for having a clean, bright and focused tone,
with a quick attack and fast note decay that cuts through a mix well
Taylors maple guitars were revoiced to produce more warmth, complexity,
volume, sustain, responsiveness and overall versatility, while retaining
maples naturally clear qualities
Consider maple if:

You want a great all-around wood that can respond well to a variety of different
playing styles. Keep in mind that Taylor has voiced its maple guitars to produce
greater warmth, complexity and sustain. With other acoustic guitar brands,
maple tends to have a brighter sound with less warmth or sustain.
54
Tonewoods
The Modern
Alternatives
These tonewoods are lesser known than their classic

counterparts but have similar tone profiles:
Sapele
Ovangkol
55
Tonewoods
Sapele
Tonal Properties
Alternative to mahogany, with extra top-end sparkle
Consistent and balanced output across the tonal spectrum
Compatible with a diverse range of playing styles
Consider sapele if:

You want a versatile-sounding guitar with good clarity and overall balance.
It does everything that mahogany does, with a little more top end. Because it
doesnt have as established a heritage as mahogany, sapele guitars tend to be
a more affordable option.
56
Tonewoods
Ovangkol
Tonal Properties
African relative of rosewood, sharing many tonal qualities including
a wide tonal spectrum from lows to highs
Slightly fuller midrange a treble than rosewood, resembling koa
Popular choice among players at every level
Consider ovangkol if:

You like the sound of rosewood with a little more midrange. Ovangkols
versatility makes it a great choice for a wide range of playing styles.
And because its a lesser known wood than rosewood, an ovangkol guitar
may be available at a more affordable price point.
57
Tonewoods
The Exotics
These tonewoods are admired for their striking looks

as well as their musical properties:
Hawaiian Koa
Macassar Ebony
58
Tonewoods
Hawaiian Koa
Tonal Properties
Prized for its exotic visual appeal; guitar sets are often beautifully figured
Fairly dense tropical hardwood that shares some of the same tonal
properties as mahogany, i.e., namely a strong midrange but with extra
top- end brightness and chime
The more a koa guitar is played and the wood ages, the warmer and
sweeter its voice gets
Consider koa if:

Youre inspired by the visual appeal of exotic looking woods and crave midrange
tones with a little extra top-end brightness. And remember, a koa guitar will age
gracefully, rewarding you with a sound that improves with time.
59
Tonewoods
Macassar Ebony
Tonal Properties
Dense hardwood produces a clear, focused sound with good
projection and volume
Strong bass and lower mids, clear highs, and a slightly scooped
midrange like rosewood
Rich overtones complement slower, softer playing
Also responds well to aggressive playing
Consider Macassar ebony if:

Youre either a fingerstyle player who savors rich, lingering overtones
or have a strong picking/strumming attack and crave a strong, clear sound.
With the right body shape, Macassar can accommodate a wide array of
playing styles.
60
Tonewoods
Layered
Woods
Crafting guitars with backs and sides of layered, or laminated,woods allows

us to conserve tonewood resources (a veneer log will produce eight times the
yield of a log thats sawn for solid-wood guitar sets) and offer players a resilient,
affordable and because of Taylors building techniques, a great-sounding
instrument. Taylors laminated construction features three layers of wood,
incorporating a middle core of poplar with a veneer on each side. The process
allows us to bend an arch into the back of the guitar for added strength, and
together with the layered approach, produces a durable guitar that travels well
and holds up better to fluctuating humidity conditions. Between the all-wood
layers, solid-wood soundboard, and signature Taylor construction techniques,
players can expect a full spectrum of acoustic sound.
Note: All laminates are not created equal. At Taylor, weve actually moved away
from using the term laminate to avoid confusion with the growing number of
laminate products in the marketplace made fromsynthetic, non-wood materials
such as High Pressure Laminate.
61
Tonewoods
Top Woods
A guitars top, or soundboard,
is a vital part of its tonal equation.
Its the first filter and generator
of sound from the vibrating
string energy. The top resonates
together with the strings, saddle,
bridge and the rest of the body
to produce a complex range of
tones. Think of the top as the
equivalent of a speaker driver.
62
Tonewoods
Sitka Spruce
Tonal Properties
The most commonly used wood for tops because its light and stiff
in the right ways, especially when quartersawn

Its lighter weight gives the top the freedom to move, which helps translate
the players picking or strumming into clear acoustic tone
Generates a broad dynamic range
Accommodates numerous playing styles, from aggressive strumming
to light fingerpicking
Goes well with:

Virtually every playing style. If you have an extremely aggressive strumming or
picking style, you might consider Adirondack spruce. If you have an especially
light touch or play fingerstyle, cedar is a good alternative.
63
Tonewoods
Adirondack Spruce
Tonal Properties
Once commonly used for guitar tops but currently limited in availability
Produces a robust output and has a higher volume ceiling than Sitka,
allowing it to be driven more aggressively for greater volume without
distortion
The midrange tones tend to have a slightly richer, sweeter quality
Goes well with:

Players with a very strong attack who crave maximum tonal output without
overdriving the guitar.
64
Tonewoods
Western Red Cedar

Tonal Properties
Less dense than spruce
Its relative softness adds warmth to a guitars tone, especially for players
with a lighter touch, like fingerstylists or light to moderate strummers
and pickers
Players with a stronger attack are often better paired with spruce
Cedar pairs well with nylon-string models because of its responsiveness
to the strings, which produce less overall energy than a steel-string guitar
Goes well with:

Fingerstyle players and players with a light picking or strumming touch who
crave a warm, responsive sound.
65
Tonewoods
Hardwood Tops
A hardwood-top guitar, such as an all-koa or mahogany-top
model, produces a natural compression, so it wont yield
as quick a response as a spruce-top guitar will. There
tends to be more of a controlled, sustaining roll-in effect
to a note.
A mahogany-top guitar will produce strong fundamentals,
with clear and direct focus

Its natural tonal compression will help even out the response
of an aggressive strummer
An all-koa guitar will sound similar to mahogany but with a touch
more shimmer and chime in the upper register because of its slightly
denser nature
Players with a strong picking or strumming can often dig in
on a hardwood top guitar without overdriving it
66
Tonewoods
Fretboard Woods
True to its name, a guitars slotted fretboard hold the frets
in place. In the acoustic guitar world, ebony is widely used
due to its density.
At Taylor we use ebony for all of our fretboards because it holds frets
extremely well and its density provides resilience in the face of the rigors
of fretting the strings.
Some guitar makers use rosewood fretboards (even more so in the electric
guitar world), but because it has a lower density we find it to be less resilient
than ebony. Inexpensive guitars sometimes incorporate fretboards made of
Richlite, a composite material.
67
How to find, try and buy the right guitar with confidence
S E CT I O N
Acing the
Shopping Experience
How to Find a Quality

Guitar Dealer
The Pros & Cons of
Shopping Online
Financing as a
Buying Tool
Test-Driving Tips at a
Guitar Store
In-Store Etiquette:
Dos and Donts
68
Acing the Shopping Experience
Tips for Finding

a Quality Dealer
Buying an acoustic guitar from a brick-and-mortar music store is ideal for

many customers for a simple reason: It lets them play, feel and compare
actual models. That tangible playing and listening experience can be
invaluable. Plus, a good store will have a knowledgeable staff that can help.
Here are 7 tips for finding a quality guitar dealer:
Ask around.
Visit stores.
Find out where other local musicians buy their gear. Between traditional
word-of-mouth recommendations and small business review sites like Yelp,
you should be able to get a sense of which stores are popular and why.
You can usually get a good sense of the vibe and philosophy of a store and its
staff by spending time there. Even if you feel a little intimidated because youre
not a gear expert, if its a good store, the staff should make you feel comfortable
there. For more tips, see our section, 8 Tips for Test-Driving Guitars.
If its a good store, the

staff will make you feel
comfortable there.
69
Look for authorized dealers.
Look for a healthy guitar selection.
Check the stores return policy.
Visit the stores website.
Check their involvement with the local community.
Especially if youre interested in particular brands, authorized dealers

for those brands will tend to have a strong model selection and product
knowledge. Theyll also be more inclined to feature in-store events
sponsored by guitar manufacturers. For example, Taylors Road Show
events are presented at Authorized Taylor Dealers around the world. You
can find a list of authorized dealers on most guitar companies websites.
A great dealer will carry a broad array of guitar brands and models at
different price points. It makes the store a more appealing destination
point and gives you more options to compare. The best-performing
dealers always stock a robust selection of models.
A good dealer wants a happy, long-term customer, and its return and other
service policies will help you gauge their level of customer support.
While a slick website isnt a sure sign of a great dealer, the website gives
you a basis for how the store operates and engages with customers.
Many share their history and story there, and a good dealer will usually
feature up-to-date product information on their site.
If you want to support your local independent businesses, find out how
the store interacts with the local music scene, either through their lesson
program, sponsored events, etc.
70
Shopping Online Pros & Cons

Nothing beats a hands-on, in-store playing experience,
but a good online retailer can offer access to broader
model selection.
If youre reading this, you know there are lots of online resources available for
researching guitars. You can find everything from photos and specs to video
demos to customer reviews and guitar forum discussions among enthusiasts.
There has also been a rise in the number of online retailers who sell new guitars.
Lets set aside the category of used guitars and websites like eBay and
Craigslist for the moment and focus exclusively on buying a new guitar from
a music instrument retailer.
Buying a Taylor Online

Taylor Guitars is well known for having a high level of manufacturing
consistency. Consequently, many people feel comfortable purchasing
a Taylor online. While we continue to be major advocates of the in-store
experience, we also sell through a network of Taylor Online Preferred
Dealers. These dealers have committed to serving the online community
with high standards of Taylor guitar selection, product knowledge, customer
satisfaction and professionalism. You can find our Online Preferred
Dealers at: www.taylorguitars.com/dealers/online
71
Here are a few considerations for shopping online:

Consistent quality breeds consumer confidence.
One of the obvious challenges of buying a new acoustic guitar sight unseen and sound
unheard is exactly that: You dont get to play and experience the unique nuances of a
particular guitar. But as the modern manufacturing methods of some companies have
brought more consistency to guitars, people have grown more comfortable buying
online. If youre considering this, be sure to find out what an online retailers return
policy is. They may also offer attractive financing options.
Online retailers often offer expanded model selection.

Depending on the music stores in your general area, you might not have access to
the model selection you want. A good brick-and-mortar retailer understands the value
of a robust selection, but online retailers usually have the ability to offer an expanded
inventory. If youre interested in a specific model and a local dealer doesnt have it,
many are willing to order it for you, but online retailers can be a good outlet, with a
quick shipping turnaround.
If you plan to buy online, look for reputable retailers who are
authorized dealers for the brand you want.
They will tend to have the best selection, their staff will typically be knowledgeable
about the product specs for the brands they sell, and they generally offer helpful
customer support.
If youre interested in
a specific model and a
local dealer doesnt have
it, many are willing to
order it for you.
72
Financing as a Buying Tool

Financing a guitar purchase may allow you to step up
to the guitar you really want. Heres some advice on how
financing can work for you.
Given the broad range of guitar price points (from a couple hundred to
thousands of dollars), a big question for many customers, especially beginning
players, is how much to spend. Should you buy one of those inexpensive player
packs? Would you be happier saving and buying a mid-level instrument with
better features at a higher price point? Should you consider financing to nab
that special guitar you cant seem to put down before someone else claims it?
Here are 4 tips as you consider your budget and financing options:
Youre not just investing in a guitar; youre investing

in yourself.
Youve probably heard the expression, Buy nice or buy twice. Beginners
or recreational players will sometimes find a guitar that they love but think,
How can I justify spending the money? Im not that good a player. But
do you want to be? A good guitar will help get you there. Even if youre
on a budget, try not to skimp on fundamental qualities like playability,
intonation, and sound. If you do, you might end up with a guitar that never
gets played or hampers your progress.
Financing can help you take home The One.

Some guitar manufacturers offer interest-free financing through
participating authorized dealers. Ask a dealer what their layaway or
financing options are. If youre really interested in a guitar, a good
dealer should be willing to work with you to help you secure it. Using a
combination of money saved and financing can also be a good option.
Financing can allow you to buy other gear to go with

your new guitar.
If youre also looking into picking up a PA system, amplifier, accessories,
etc., an interest-free financing program can help.
A good guitar will sound better over time.

This is one of the unique pleasures of a well-crafted instrument.
This should give you some additional peace of mind as you consider
a purchase. It means that if for some reason you need to sell the guitar
down the roadpossibly to upgrade to a better guitarit will tend to
hold its value well.
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Tips for
Test-Driving Guitars
If youre fairly new to the guitar, going to a music store can feel a little
overwhelming. But a good music store knows how to create a welcoming
environment, and if youre thinking about buying a guitar, youre the one
in the drivers seat. With a little planning, test-driving guitars should be
a fun experience. Here are 8 tips to help you get the most out of your visit
to a music store.
Have an idea of what you plan to play.

Thinking about which riff/chord pattern/or song you want to play ahead
of time will help you properly audition each guitar. And if you have a
certain type of pick you like, dont forget to bring it with you.
Most music stores have a dedicated acoustic room.

Use it.
If you can, go on a weekday morning or another off-peak time when
the store is less busy. Privacy and time alone with an instrument will
allow you to feel uninhibited and relaxed, which in turn will let your
ears and hands hear and feel a guitars nuances more naturally.
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Play the same thing on every instrument.
Isolate the particular features you want to compare.
Take notes.
Use your phone to record yourself.
Some guitars feel perfect for fingerpicking. Others make barre chords
almost effortless. Some are so smooth you can solo for hours. Ultimately,
let the guitar take you where it wants to. But it helps to demo each guitar
the same way. If you know how to play, strum some chords (using the
same pick each time), play a single-note melody, fingerpick. These three
different approaches will allow you to assess the guitars versatility.
Limiting the variables between two guitars makes it easier to decide which
you prefer. If you want to compare different tonewoods, play models with
the same body style to lend consistency to that part of the equation. Or if
you want to compare different body shapes, play models that have the same
wood pairings. That way, youll get a better idea of what is responsible for
those tonal differences.
It might sound nerdy, but writing down what you hear and what you like
about a guitar really helps when trying out instruments. After playing three
guitars you might find yourself asking, Wait, which one was brighter?
Which one had the wider neck? Which one felt good against my body?
Take notes and refer back to them. This will especially come in handy if
you visit a store on different occasions and want to refer back to your
previous playing sessions.
Your phones Voice Memo app can be a really useful tool for comparing
the tone profiles of different instruments. Its like having a second set
of ears, and it captures the sound of each instrument from a different
listening perspective. Just be sure to position the phone in the same spot
to have a consistent source point for your evaluation.
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Make friends with the sales person.
Take your time.
A good sales person is interested in building a lasting relationship with

customers. Even if you buy a guitar the first time you walk into a store,
they know that youll be more likely to come back if you have a good
experience. If youre just looking, its okay to say, Im just looking. No
plans to buy today. That will help put everyone at ease and allow you to
feel that the salesman is working for you, not for your money.
Your 30-minute lunch break isnt enough time to shop for a guitar. Instead
plan to spend at least an hour or more in a music store. You want to look,
play, make notes and ask questions without being hurried. And dont feel
like you need buy the first time you walk in, although, if you find what you
want, go for it. In your ensuing visits, try the same (and other) instruments
every time. Even if you arent looking to make a purchase, this will get you
in the habit of being comfortable in the store, getting a feel for different
instruments, and slowly educating yourself about guitars in general. The
more test-driving experience you have, the more discerning youll become.
You want to look, play,

make notes and ask
questions without being
hurried. And dont feel
like you need buy the
first time you walk in.
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In-Store Etiquette: Dos and Donts

Heres how to act like a good customer in a store.
DONT: Lean a guitar against the wall or amp.

DO: Use a guitar stand or hanger.
DONT: Start using advanced percussive guitar techniques on a new,

vintage or really any guitar.
DO: Tell the salesperson you are interested in
modern percussive techniques and ask

their opinion on any given guitars
compatibility with these concepts.
DONT: Ask to borrow a pick and then put it in your mouth (ew), do a pick

scrape, and walk out of the store with that pick in your pocket.
DO: Bring your own pick(s).
DONT: Plug into an amp and crank it all the way up when there are lots

of other customers around.
DO: Ask if there is an isolated room where you
can crank up without disturbing others.
DONT: Plug (or unplug) into an amp that is already turned on with the

volume up.
DO: Flip the amps stand-by switch and turn
the volume down (amp and guitar) before

you plug in.
DONT: Leave amps on when youre finished.

DO: Turn amps off when youre finished.
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In-Store Etiquette: Dos and Donts
DONT: Sample a guitar with a heavy hand. Remember, you dont own it yet.

DO: Be respectful of the instrument.
DONT: Change the guitar to a different tuning to play it and then leave the

guitar in that tuning when you are finished.

DO: Return the guitar to standard tuning when

you are done.
DONT: Play a guitar with dirty hands.

DO: Wash your hands before playing.
DONT: Wear a big belt buckle. It could damage the guitar. This goes for

big zippered/buckled/buttoned jackets as well.
DO: Wear clothes that wont leave marks on
DONT: Be afraid to ask dumb questions. Salespeople truly are there

to help.

DO:

Listen to thoughtful answers to your

questions. And trust your own feelings
toward a guitar as you play. No one will
know better than you what feels and
sounds right.
the back of the guitar.
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Bob Taylors Guitar

Buying Tips
Taylor Guitars co-founder Bob Taylor answers four
common questions about finding and caring for the
right guitar.
What advice would you give someone in their

guitar search?
Try to define what you want the guitar to do for you. Is it a one-time
purchase to solve all your guitar needs, or is a guitar to fit a particular
musical style, desire or application? Many people own multiple guitars
because they have multiple needs and play many styles. For instance, a
small-bodied guitar might be perfect for fingerstyle, but you might want
a larger guitar for strumming. Its often easier if you try not to make each
guitar solve every musical problem, especially if you already know you
need more than one guitar.
How will I know when I find the right guitar?

Sometimes this is easy, sometimes this is hard. Try not to second-guess
a feeling when you feel youve found the right one. All too often a person
laments the one that got away. When a guitar inspires you in a way that you
know is right, act on it.
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How will an acoustic guitars sound change over time?

It will develop more clarity, depth and volume. In short, it will just sound
better and better. Its one of the amazing treats of buying a guitar.
Whereas your clothes, car, computer, TV and furniture wear out with age,
your guitar wears in with age. Sure, a guitar gets worn cosmetically, but
the tone just improves.
What are the most important things to remember

about caring for a guitar?
Caring for a guitar is easy if you consider heat and humidity. Low humidity
ravages a good guitar. Also, heat, as in leaving your guitar in the trunk of
your car while you shop or eat at a restaurant on a summer day, will wreak
havoc on your guitar. But in our experience, its the long, slow lack of
humidity that does more damage than anything else. Store your guitar in
its case rather than displaying it in your living room or music room, unless
you are controlling the humidity in those rooms. Between 45 and 55
percent relative humidity is ideal. If necessary, use a soundhole humidifier
to restore lost humidity to the wood in your guitar. Sharp fret ends or low,
buzzy action are signs of a guitar drying excessively. Other than humidity
control, in my opinion a guitar doesnt need too much other care. Just
play it, wipe it down, polish it once in a while, and change the strings
periodically to keep the tone sounding good.
Taylor Digital Hygrometer
In our experience,
its the long, slow lack
of humidity that does
more damage than
anything else.
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The Taylor Guitars

Road Show
Another great resource to help you learn more about acoustic guitars is the
award-winning Taylor Guitars Road Show. These are fun and informative in-store
events presented at the music stores of authorized Taylor dealers across North
America and around the world. The events are free, and all are welcome.
At our Road Shows, a guitar expert from the Taylor sales staff is joined by a
Taylor product specialist in a lively interactive presentation that helps guests
better understand what sets a Taylor apart and the differences between different
types of guitars. One of the best parts is that the Road Shows feature playing
demonstrations that help you hear the tonal differences being discussed.
Heres what you can expect:

Find Your Fit Events

In addition to Road Shows, our staff offers an even more personalized
approach to helping customers with our Find Your Fit events. These are
personal one-on-one in-store consultations. Just schedule an appointment
and a Taylor expert will talk with you about your playing style, musical
interests, and goals, and then recommend a guitar body shape and wood
pairings that best match your needs. Theyll also answer any questions you
have. And if youre not sure where to begin, theyll help you understand the
basics.
Youll find a current listing of Find Your Fit events here:
taylorguitars.com/events/find-your-fit
A playing demo to show how guitar shapes and woods affect tone
Helpful tips on how to find the right guitar for your particular needs
A chance to test-drive the latest Taylor models
The opportunity to ask questions
Our staff is super friendly and genuinely loves helping people find a guitar
that will inspire them for years to come. Youll come away with a much better
understanding of what to look for in a guitar, and have a great time in the
process.
For the latest Taylor Road Show tour dates,
visit taylorguitars.com/events/road-show
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How a Taylor contributes to a great playing experience
S E CT I O N
The Taylor Guitars Line
6 Things that set

Taylor apart
A guide to Taylor
model numbers
The Taylor line
by series
Additional model
options
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Why a Taylor?
We all crave an instrument that inspires us. Thats why people love
picking up a Taylor. It puts inspiration within reach of anyone, anytime,
from beginners to pro musicians. For years, Bob Taylor and his
development team have worked painstakingly to remove the obstacles
to a good playing experiencetuning issues, high action, murky tone,
and lack of serviceability, among others.
Here are 6 things that set the Taylor experience apart:
Manufacturing Precision
Superb Playability
Clear, Balanced Tone
Led by Bob Taylor, our world-class operation has set the standards for
modern-day, precision guitar craftsmanship. The result is industry-leading
consistency in the build quality of our guitars.
Our patented NT (new technology) neck design delivers exceptional

playability and spot-on intonation. The neck assembly process allows us
to control the neck angles accuracy to .001 inch, which also makes
micro-adjustments easy throughout the entire life of the guitar. Its the
best neck/body attachment in the industry.
Taylor guitars are known for their overall clarity and balance across the
tonal spectrum. The clear articulation makes our guitars easy to record
and mix with other instruments in the studio and on stage.
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Model Options
The Taylor product line gives players a rich musical palette to explore.
Beyond our robust selection of acoustic models, weve built additional
flexibility into our line with an array of standard model options, while
our extensive Custom program makes designing your dream guitar a
convenient reality.
Service & Support
Sustainability
We take pride in providing personalized customer service every step

of the way, whether you need help choosing a guitar or taking care of
it. From our friendly and knowledgeable staff to our network of repair
technicians, we want to provide you with a lifetime of great Taylor service.
When customers purchase a Taylor guitar, they are supporting the

highest levels of ethical, eco-conscious business. Bob Taylor has applied
innovative thinking to support the sustainable use of tonewoods for
generations to come. Our manufacturing methods are designed to reduce
waste and maximize the amount of usable wood yielded from each tree
harvested. Weve also partnered with environmental groups and local
communities around the world to create pioneering programs that serve
as healthy models for responsible forestry. Weve embraced alternative
woods with sustainable growth cycles. Weve gone beyond simply
complying with environmental laws to assume an industry-wide leadership
role in the way we source and purchase wood.
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The Taylor Line at a Glance
Grand Concert (GC) - 812e
How to easily navigate our selection of model offerings

Below is the basic framework of our guitar line. This should help you navigate
through our options. Well also explain how our model naming structure works.
Grand Auditorium (GA) - 814e
Choose from Five Body Shapes

From smallest to largest:
Grand Concert (GC)

Grand Auditorium (GA)
Grand Symphony (GS)
Dreadnought (DN)
Grand Orchestra (GO)
Note: Two offerings from our Travel category are scaled-down versions of
existing shapes. The Baby Taylor is a 3/4-size Dreadnought. The GS Mini
is a smaller version of the Grand Symphony.
Grand Symphony (GS) - 816e
Dreadnought (DN) - 810e
Taylor Guitars By Series

The full-size guitar models in our line are organized by series, featuring the
100 through 900 Series, along with our Presentation (PS) and Koa (K) Series.
The models within most series share the same wood pairings and appointment
packages, and are offered in a variety of body shapes. In general, the higher the
series, the more premium the guitar features are.
Grand Orchestra (GO) - 818e
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Understanding Taylors Acoustic Model Numbers

Taylor acoustic models are organized within about a dozen different series.
The majority of Taylors acoustic guitars are offered in three model variations:
Cutaway body with onboard electronics (e.g., 814ce)
Non-cutaway body with onboard electronics (e.g., 814e)
Non-cutaway body with no onboard electronics (e.g., 814)
Heres how our model numbering system works:

The first digit (or letter) identifies the
Series. All guitar models within each
series share the same back and side
woods and appointment package.
The second digit typically indicates whether the guitar is a 6-string
(1) or a 12-string (5). For example, a 12-string Grand Symphony in
the 600 Series would be a 656ce. The second digit can also identify
a model that features a hardwood top (2). For example, within the
Taylor Koa (K) Series, the K22ce is a six-string Grand Concert with a
koa top. If its a 12-string with the same top as the back and sides, 6
is used instead of 5. (A 12-string koa/spruce GS would be a K56ce;
with a koa top it becomes a K66ce.)
614ce
Indicates a model with a cutaway
Indicates a model with onboard electronics

The third digit identifies the body shape according to this numbering
system:
0 = Dreadnought (e.g., 610ce)
2 = Grand Concert (e.g., 612ce)
4 = Grand Auditorium (e.g., 614ce)
6 = Grand Symphony (e.g., 616ce)
8 = Grand Orchestra (e.g., 618ce)
Taylor nylon-string models are integrated into the 200-900 Series and are
designated by the letter N at the end of the model name. For example, a
nylon-string Grand Auditorium with a cutaway and electronics within the
600 Series is a 614ce-N.
86
Guitars by Series
Heres a basic breakdown of the distinguishing features of each series in descending order,
starting with our ultra-premium offerings and ending with our most affordable options.
87
All Solid Wood Series

One of the hallmarks of a premium acoustic guitar is the use of solid wood for the back, sides and top.
88
Presentation Series
Back/Sides: Macassar Ebony
Top: Sitka Spruce
The entrancing appeal of Taylors
Presentation Series begins with
richly striped Macassar ebony back
and side sets, paired with top-shelf
Sitka spruce that boasts consistently
even grain structure. Each guitar
demands the highest levels of
craftsmanship, and it shows in the
harmony of intricate appointments
that adorn them. Ebony binding flares
smoothly into a contoured armrest
that heightens playing comfort, while
paua inlay artistry adds elegant
sparkle to the fretboard, bridge and
body. Each model we make renews
our commitment to a detail-rich
design aesthetic.
89
Koa Series
Back/Sides: Hawaiian Koa
Top: Hawaiian Koa
Hawaiian koas evocative natural
beauty is unparalleled, especially
the figured sets we select for our
Koa Series. Our models showcase
koas rich character upfront with a
koa top (Sitka spruce and cedar are
available as options), and the overall
aesthetic is enhanced with a shaded
edgeburst finish on the top, back,
sides and even neck. An all-wood
appointment package features our
fluid Island Vine fretboard/headstock
inlay in maple and blackwood, with
Hawaiian plumeria flowers doubling
as fret markers, along with rosewood
binding, maple top trim, and a
rosewood/maple rosette. One of the
most rewarding traits of an all-koa
guitar is the way its tone sweetens
over time and with extended play.
90
900 Series
Back/Sides: Indian Rosewood
Top: Sitka Spruce
Among the three classes of rosewood
guitars in the Taylor line, the 900
Series models project an aura of rich
sophistication. It begins with Indian
rosewood thats been graded for
consistently straight and tight grain,
often displaying a rich range of color
variegation. The 900s also boast an
array of tone-enhancing touches,
from Taylors Advanced Performance
bracingcustomized for each body
shapeto optimized wood thicknesses,
ultra-thin gloss finish, and protein
glues that enhance the tonal transfer.
Distinctive aesthetic features include
ebony binding that flares into an
ergonomic contoured armrest on the
lower bout; a paua rosette outlined
in koa and ebony; paua and koa
trim around the edges of the body
and neck, including the fretboard
extension; fretboard inlays of
Mother-of-pearl and pink abalone;
and a striking striped ebony pickguard.
Other premium touches include a
bound soundhole and gold Gotoh
tuners. From top to bottom, the 900s
radiate impeccable craftsmanship.
91
800 Series
Top: Sitka Spruce
Taylors flagship rosewood/spruce
series was completely reconceived
for 2014 in celebration of Taylors
40th anniversary year, and showcases
a comprehensive array of tonal
enhancements that uniquely optimize
the tone profile of each body shape.
Voicing refinements include
custom-calibrated bracing and
wood thicknesses for each shape;
protein glues that enhance the tonal
transfer; thinner finish to reduce the
tonal dampening on the wood; and
customized string sets for the Grand
Concert and Grand Auditorium.
Among the fresh aesthetic strokes
are rosewood purfling that outlines
the top and frames the abalone
rosette; a rosewood pickguard;
a new Element fretboard inlay; and
a marbled ebony fretboard. Inside
and out, the new 800 Series reaffirms
Taylors ongoing commitment to
improving the acoustic experience
with better-playing, better-sounding
guitars. The Grand Auditorium 814ce
is one of the best-selling acoustic
guitars in the entire industry.
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700 Series
Top: Sitka Spruce
Rosewood fans who crave a vintage
acoustic vibe will be naturally drawn
to our 700 Series. The rosewood
we select for these models leans
toward rich chocolate hues that
feature a slightly wider grain structure.
Our aptly named Vintage Sunburst
finish saturates the top in a warm,
gradual fade that blends well with the
rosewood sides and faux tortoise shell
pickguard. Creamy ivoroid outlines
the body, fretboard, headstock and
soundhole, and also is used for the
neo-traditional Heritage Diamonds
fretboard inlay. Think of a guitar thats
an old soul at heart, but with all the
modern Taylor touches effortless
playability, clear, balanced tonethat
make our guitars so rewarding to play.
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600 Series
Back/Sides: Maple
Top: Sitka Spruce
Maple guitars are known for their
clear articulation and a level of
transparency that enables the guitars
to easily take on the personality
of the player. Although maple has
traditionally been characterized
as a bright-sounding guitar wood
with quick note decay, Taylor has
brought significant tone-enhancing
refinements to the 600 Series to
elicit greater warmth, complexity and
responsiveness. A specially roasted
spruce top helps produce the more
seasoned sound of an older, played-in
guitar, while attractive visual touches
include a hand-rubbed Brown Sugar
stain that highlights the rich figure of
the maple back and sides.
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500 Series
Back/Sides: Mahogany
Top: Mahogany
In addition to spruce tops, our 500
Series also features mahogany-top
models. The natural compression
of the mahogany top produces a
focused midrange punch, can handle
the liveliest of pickers and strummers,
responds well to players with a strong
rhythmic attack, and because of its
strong fundamental tonal character,
behaves well with other instruments
in a stage or recording context.
Smaller-body models like the Grand
Concert (standard or 12-Fret) make
a great choice for snappy blues
fingerpicking, while an all-mahogany
Dreadnought will hold up to rootsy
flatpickers. Throwback appointments
include a black pickguard, ivoroid
binding, and our Heritage Diamonds
fretboard inlay in ivoroid.
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400 Series
Back/Sides: Ovangkol
Top: Sitka Spruce
Year after year, Taylor 400 Series
owners testify to the tonal properties
of their ovangkol-bodied guitars. We
relate its tone to that of rosewood
in terms of its frequency range, with
perhaps a bit less ringing complexity
but a slightly fuller midrange
presence. Its blend of clarity, balance
and sustain give it an expressive
versatility that resonates with many
different types of players. Visually, its
appearance can exhibit golden brown
hues with a wide range of variegation
and, occasionally, wispy tendrils of
figure. Understated appointments,
including white binding and
progressive pearloid dots, dial down
the flash in favor of a clean, modern
look that fits any musical setting.
If youve been looking for a new
tonewood discovery and havent tried
ovangkol, its worth a test-drive.
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300 Series
Back/Sides: Sapele
Top: Sitka Spruce or Mahogany
The premium-sounding solid wood
Taylor experience starts with our
sapele 300 Series. While the
African hardwood shares some of
mahoganys tonal characteristics,
its higher density yields a more
pronounced treble, which contributes
to a brighter overall sound. The
series features a mix of spruce- and
mahogany-top models, in this case for
three body shapes: Grand Concert
(322), Grand Auditorium (324),
and Dreadnought (320). The amber
hues and rich grain of both woods
match well, and the compression of
hardwood tops produces a warmer,
throatier soundless crystalline than
a spruce topthat balances well with
sapeles zesty highs. High-contrast
appointments on the mahogany-top
models include black binding with
white top edge trim, a white 3-ring
rosette, and a black pickguard.
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Full-Size Layered Wood Series

These guitars featured a back and sides of three-ply all-wood layers, with a solid wood top.
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200 Deluxe Series

Back/Sides: Layered Rosewood,
Koa or Sapele
Top: Solid Sitka Spruce
The 200 Series has continually
evolved to elevate its performance
and aesthetic appeal among players.
Our distinctive Deluxe category
is loaded with high-end looks and
features. Choose from a layered
rosewood body with a solid Sitka
spruce top and optional sunburst;
layered koa and solid spruce; or
layered sapele and solid spruce
with an all-black finish. All feature
a full-gloss body, Small Diamond
fretboard inlays, Expression System
2 acoustic electronics, and a Taylor
standard hardshell case. Two
body styles are offereda Grand
Auditorium and Dreadnoughtand
all models come equipped with a
Venetian cutaway. Whether youre
a beginner looking to invest in your
first quality guitar or a seasoned pro
looking for a reliable stage partner,
these guitars wont let you down.
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200 Series
Back/Sides: Layered Rosewood
100 Series
Back/Sides: Layered Sapele
Our 100 and 200 Series guitars
are kindred spirits, linked by our
desire to make the Taylor experience
broadly accessible to all types of
players without compromising on the
essentials of a great guitar: playability,
tonal clarity and workmanship. These
qualities can make all the difference
to a player who is near the front end
of the guitar journey, or anyone trying
to progress to the next level. These
guitars feature a slightly narrower
1-11/16-inch neck than our standard
neck width of 1-3/4 inches. These
two series also are limited to two
body style options: Grand Auditorium
and Dreadnought, with an optional
cutaway and pickup.
100
Travel-Size Layered Wood Series
101
GS Mini
Back/Sides: Layered Sapele,
Koa or Rosewood
Top: Solid Sitka Spruce or Mahogany
We think the world would be a better
place if everyone had a GS Mini.
Since its debut in 2010, our
modern-day parlor guitar has wowed
the world with its fun-size appeal,
packing a grown-up guitar voice into
a scaled-down form that fits perfectly
into everyday life. As active or relaxed
as you want to be, having a Mini on
hand is like having your songwriting
muse on instant demand. A 23-1/2
inch scale length puts more notes
within easy reach, while the full-size
soundhole helps surround you with
great tone. Both the original spruce-top
and the mahogany-top models come
pre-fitted for our easy-to-install
ES-Go pickup. Additional models
include the GS Mini-e RW, featuring
layered rosewood back and sides
with a solid spruce top, and the GS
Mini-e Koa, featuring layered koa back
and sides with a solid koa top. Both
models include Taylors our ES-T
pickup for instant plug-and-play fun.
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Baby Series
Back/Sides: Layered Sapele or Koa
Top: Solid Sitka Spruce, Mahogany
or Koa
From the moment of its birth, our
original portable picking partner, the
3/4-size Baby Taylor, declared that
it was more than just a starter guitar
for kids. It was immediately embraced
by adult musicians and travelers as a
legitimate instrument and has inspired
endless creative uses because of
its portability and playfulness. From
acoustic lap slide to Nashville highstrung guitar to godsend for people
with hand ailments, it gave many folks
the creative spark they were craving.
Our little Dreadnought has given
thousands of kids a wonderful outlet
for learning to express themselves
through music, and along with its
up-sized sibling, the Big Baby, it is
still going strong. Standard models are
now available with an optional acoustic
electronics package, featuring the
Expression System Baby (ES-B)
pickup, which incorporates piezo
design elements from the Taylor ES2.
The pickup is powered by an onboard
preamp unit that includes a built-in
digital chromatic tuner, low battery
indicator, and Tone/Volume controls.
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Nylon-String Guitars
In addition to steel-string acoustic guitars, the mellow-toned character and
rhythmic textures of nylon-string acoustics offer players another distinctive
sonic palette to explore. A traditional classical-style neck has a much different
feel marked by a width of two or more inches and a flat fretboard.
Taylors hybrid-style nylon-string guitars were designed to be inviting and
comfortable for steel-string players. The radiused fretboard makes fretting
easier, and the slimmer neck profile makes for a smooth crossover from a
steel-string. If you find it difficult to play a steel-string acoustic, you might
consider the lighter string tension of a nylon-string guitar. Other modern
amenities of a Taylor nylon-string include a cutaway and onboard electronics.
Taylors nylon-string guitars are offered in two body styles: Grand Concert
and Grand Auditorium.
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Custom Options
As you become clearer on what features youd like with your first or next acoustic
guitar, you might gravitate toward certain custom options. In addition to the
standard models that make up a guitar companys line, many also offer additional
flexibility through standard model options or a full-blown custom program.
Standard Model Options

These deliver a minor twist on a stock guitar model. This might mean substituting
a cedar top for spruce, a different neck width option, a different scale length,
a different type of tuning machines, or a cosmetic option like a sunburst top or
shaded edgeburst. Taylor offers a menu of standard model options; some are
available at no additional charge, while others have an upcharge.
Custom Orders
A custom program usually offers a broader array of options and enables customers
to select their specifications from a variety of categories. For some customers, this
enables them to essentially design their dream guitar from the ground up to reflect
their personal preferences to the fullest. A custom program usually offers additional
species and grades of woods, along with a rich menu of appointment options.
Taylor offers a robust custom program through our authorized dealer network.
Over the years, weve made thousands of custom guitars, we know what works
and what doesnt, and were happy to help customers design a guitar that theyll
love. One important consideration is the turnaround time for a custom order.
Typically, the smaller the guitar company, the longer the wait. Because of Taylors
size and manufacturing sophistication, our turnaround time is much shorter.
105
Tonewood Sourcing
and Sustainability
As with any consumer product that relies on natural resources, responsible
sourcing and sustainability have become important considerations for customers
as they make buying decisions.
Taylors commitment to conservation-minded tonewood consumption has led
to some industry-leading initiatives. One is a pioneering mahogany sourcing
partnership with remote forest communities in Honduras. The well-managed
program has become a model of sustainable social forestry and enabled
communities to improve their quality of life while properly managing the forest
resources around them for the long-term future.
In Cameroon, Taylor has been the co-owner of an ebony mill since 2011. Bob
Taylor has used Taylors manufacturing expertise to upgrade the harvesting and
milling efforts there, improving working conditions for employees, introducing
better tools and machines, and training employees to improve the mills processing
capability. Ultimately, this is helping Cameroonian communities to build a better
economy through responsible management of an important natural resource.
Taylors work there was honored in 2014 with the American Corporate Excellence
(ACE) Award from the U.S. Department of State.
Other forward-thinking sourcing programs currently being explored by Taylor
involve the planting of certain desirable tonewood species for future generations
to be able to use.
106
S E CT I O N
A Guide to Guitar Terms
10
Basic types of guitar

bodies and their
general sound profiles
A breakdown of body
shapes made by Taylor
Guitars for reference
applications that match
up well with each
107
Talking Tone:
How Guitar Players Describe Acoustic Tone
Like wine lovers and foodies, guitar players wield colorful lingo to describe tonal
flavors. The good news: Guitar talk actually translates into definable qualities of
sound. The bad news: Our ears, like our taste buds or senses of smell, are wired
in a multitude of different ways, so we dont always hear tone in the same way.
In the end, using words to describe sounds is, at best, an approximation, since
sounds dont always neatly translate into words. Dont get hung up on the lingo.
Understanding a few basic terms will take you a long way.
Below is an earful of commonly used expressions relating to acoustic guitar

tone. A few are technical, while others are more descriptive. Even if youre not a
great player, with these in your guitar vocabulary youll be able to talk tone with
the best of them.
Bright: Treble emphasized, or with a lower degree of bass.
Meaty: Lots of midrange, with a full low end. Also referred to as fat, full, rich, thick.
Buttery: Warm, rich notes, that melt away rather than decay.
More commonly used regarding chords.
Ceiling: A defined boundary, often used in reference to volume. A guitar

or woods ceiling is the point at which it stops delivering volume or tone.
Midrange: On car stereo or home audio systems, the frequency response

often ranges between 20 Hz to 20 kilohertz (kHz). Midrange covers from 110
Hz, which is a low A string, up as high as 3 kHz. High frequency (treble) tones
tend to reside beyond that. If one considers where an acoustic guitars pitch
range falls, predominantly all the notes on the fretboard occupy the midrange
of the frequency spectrum that can be heard. Its where voice is; its the middle
part of a piano.
Crisp: More treble emphasis, without lingering overtones.

Dark: Bass tones emphasized or tone with a lower degree of treble.
Decay: The way a sustained, ringing note diminishes over time.
Dry: A tone with a strong fundamental and little to no overtones, with
under-pronounced or very subtle frequency peaks. Mahoganys focused
midrange is often described as dry.
Fundamental: The true frequency, or pitch, of a note. A low E, for example
vibrates at a frequency of 82.407 hertz (Hz). (1 Hz = 1 vibration per second.)
Growl: A certain rasp or overdriven sound that a bigger-bodied guitar puts off,
often as the result of aggressive playing.The alpha dog, if you will.
Overtones: Multiples of a fundamental frequency, also referred to as harmonics,

which occur as a string vibrates, creates wave patterns, and the harmonics stack
up. The term bloom is used to describe the sonic effect of the overtones as
they stack up over the decay of the note. Although overtones tend to be more
subtle than the fundamental, they add richness and complexity to a sound.
Piano-like: Exactly what it sounds like.As if you packed a grand piano inside a
guitars body and put strings on it.A bell-like quality to the notes and a brilliance
of note separation.
108
Presence: Generally, the treble frequencies that provide articulation and

definition. If you put your hand over your mouth and talk, your voice has less
presence. One can still hear and understand the words, but they will have less
presence because they lack the articulation of a clearly defined high frequency.
Scooped: Attenuated, or slightly diminished. Picture the visual connotation,
like on a graphic equalizer. If you scoop the midrange, you dip those middle
sliders down a bit, which would look like a smiley-face curve. The result would
be a level low end and high end, but a little less of the midrange.
Sparkle: In a general sense, the opposite of warm; some excited high
frequencies. Koa or maple tends to have a high-end sparkle. Same idea
as zing. Sparkling treble frequencies might also be described as zesty.
If they appear to linger, you might say they shimmer.
Throaty: An extremely beefy midrange. The origin might be based partly
on the fact that the human voice tends to occupy midrange frequencies.
Warm: Softer high frequencies, like if you took a little of the very top off the
treble. A rosewood Grand Auditorium has a warm treble sound; the treble is
there but its not overly bright.
Woody: A seasoned, well broken-in dry tone. A vintage mahogany guitar will
have an especially woody sound.
Youre always learning

about this thing every
time you pick it up.
Keith Richards
109
Anatomy of an Acoustic Guitar: An Index

Learn the lingo and sound like a guitar expert.
Action: The distance of the strings above the frets, typically measured
at the 12th fret of the neck.
Fretboard: The part of the neck into which frets are inserted and on which
the strings are pressed when the guitar is played.
Back: The thin, wide wood behind the guitar, opposite to the top.
Frets: Raised metal bars inserted into the fretboard, against which the strings are
pressed to change their pitch.
Body Binding: Strips of fiber, plastic, or wood glued around the edges of the
body. The purpose of binding is to protect and decorate the edges of the guitar.
Heel: The end of the neck the joins the body. The neck is attached to the
body at the heel and the extension using three bolts.
Braces: The strengthening bars glued to the top and back of the guitar to
provide stability and to control how the guitar vibrates. The size, shape, and
placement of the braces play a vital role in determining the tone, volume, and
balance of the guitar.
High Angle: The plane of the frets aimed above the surface of the bridge.
Raising the angle lowers the action.
Bridge Pins: Small plastic or ebony pins that hold the strings in the bridge
of the guitar.
Bridge Plate: Part of the bracing for the guitar top. The bridge plate, or pin
plate, is a thin piece of maple or other hardwood that is placed directly under
the bridge to support the top under string tension.
Endpin: A knob or button inserted through the tailstrip and tailblock that allows
the player to attach a strap to the guitar.
Fretboard Binding: Strips of fiber, plastic, or wood glued around the edges
of the fretboard. The purpose of binding is to protect and decorate the edges
of the guitar.
Fretboard Inlays: Decorations of wood, shell, or other materials set into
hollowed-out areas called pockets in the fretboard.
Heel Block: A wooden block (usually made of mahogany) used to join the
two sides of the guitar body together at the neck joint, opposite the tailblock.
Kerfing: Strips of wood, triangular in cross-section, slotted with a saw to make
them flexible, and wrapped and glued to the inside edges of the guitar sides.
Kerfing increases the glue surface where the top and back are glued to the sides.
Label: A sticker placed on the back inside the guitar body, that has the model and
serial number printed on it. The label is visible through the soundhole of the top.
Low Angle: The plane of the frets aimed below the surface of the bridge.
Lowering the angle raises the action.
Lower Bout: The widest part of the guitar body, below the waist. The
dimensions of the lower bout play a role in the bass response of the guitar.
Neck Angle: The alignment of the fret surface relative to the top of the guitar.
On a Taylor, the neck angle is set so that the plane of the frets aligns with the top
surface of the bridge.
110
Nut: A bar, usually of bone or plastic, placed between the fretboard and the
peghead veneer. The nut provides a bearing surface for the strings and holds
them at the correct height above the fretboard and the correct distance from
one another.
Relief: The slight forward bow in a guitar neck; 0.004 to 0.007

(4 to 7 thousandths of a inch) is the desired amount of relief in a Taylor neck.
Peghead Binding: Strips of fiber, plastic, or wood glued around the edges
of the peghead. The purpose of binding is to decorate and protect the edges
of the guitar.
Saddle: The narrow bar of hard plastic or bone set into the bridge to
provide a bearing surface for the strings, and to transmit string vibration
through the bridge and into the body.
Peghead Inlay: A decoration of wood, shell, or other material set into

a hollowed-out area called a pocket in the peghead veneer.
Shaft: The straight section of the neck between the peghead and the heel.
Rosette: The circular inlays around the soundhole of the guitar.
Peghead Logo: The guitar makers brand name or trademark design,

usually of pearl, wood, or plastic, inlaid into the peghead veneer.
Side Dots: Small round inlays on the side of the fretboard that mark positions
on the neck. Single side dots are inserted at the 3rd, 5th, 7th, and 9th frets.
Double side dots are inserted at the 12th fret.
Peghead Veneer: A thin piece of wood, often Indian rosewood or ebony, glued
over the peghead as a decorative cover.
Sides: The thin bent panels of wood that connect the top to the back
of the guitar. The sides are made of the same wood as the back of the guitar.
Peghead: The section of the neck that holds the tuners. The peghead on a
Taylor guitar is cut from the shaft and glued back on at an angle using a scarf joint.
Soundhole: The round opening in the top of the guitar.
Pickguard: A thin protective plate of plastic or wood attached to the top

of a steel-string or electric guitar to protect it against marking or damage
from fingerpicks or a plectrum.

Pickup: Generic term for any electronic component that converts mechanical
vibration into an electrical signal for amplification.
Pin Bridge: On a steel-string guitar the strings pass through this wood part
(usually ebony) that is glued to the top of the guitar. The strings are held in
place with bridge pins. This type of acoustic bridge is called a pin bridge.
Sticker: An adhesive label with the Taylor logo that attaches to the
heelblock to cover the heel bolts.
Strap Pin: A knob or button that is screwed into the heel of the neck
and used to hold one end of a guitar strap.
Tailblock: A wooden block (usually made of mahogany) used to join
the two sides of the guitar body together at the butt or tail of the guitar.
Tailstrip: A piece of wood that is inlaid where the two sides meet at
the bottom of the guitar.
Purfling: Thin strips of fiber, plastic, or wood set between the binding and the
wood of the top, back, or sides. Purfling is typically arranged in alternating black
and white, or white and color patterns.
111
Tie Bridge: On the nylon-string guitar, the strings pass through holes in the
bridge itself and are tied in place. This type of bridge is called a tie bridge.
Look for this obvious clue to identify a nylon-series model.
Top: The front surface of the guitar body that has the soundhole cut into it and
the bridge attached to it.
Truss Rod Cover: The small piece of wood or plastic screwed to the peghead
to cover the truss rod opening.
Truss Rod: A metal bolt set into the neck of a guitar to counteract the
forward-bowing force of the guitar strings. The tension on the truss rod
determines the amount of relief in the neck. The truss rod is not designed
or intended to raise or lower the action of the strings.
Tuner: A mechanical device attached to the peghead of the guitar, used
to adjust the tension of the strings. The string winds around the tuner and
can be tightened or loosened to change the pitch.
Upper Bout: The part of the guitar body between the waist and the neck.
The upper bout plays a role in the treble response of the guitar.
Waist: The inside curve in the sides of the guitar body between the upper
and lower bouts. The waist plays a role in the midrange response of the guitar.
112
Taylor Guitars
Were here for any questions you may have.
Customer Service
North America
1-800-943-6782
Customer Service
Europe
+31 (0) 20 667 6033
www.taylorguitars.com
To locate the Taylor dealer nearest you, visit:
www.taylorguitars.com/dealers
113

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THE DEFINITIVE GUIDE

TO BUYING AN ACOUSTIC GUITAR

How To Start Thinking About Your Search

5 Why a Good Guitar Matters

6 Your Player Profile

Identifying Your Playing Needs Will

8 10 Questions to Help You Define Your

How to Size a Guitar for Your Body and Hands

19 Finding Your Fit

Learn the Three Most Important Ingredients

20 The Tone Equation:

22 Acoustic Guitar Anatomy 101

Getting a Handle on a Guitars Features

Acoustic Guitar Anatomy 101 (cont.)

How a Guitars Components Work Together

How to Choose the Right Guitar Body

32 Guitar Body Types and Their Sound Profiles

Matching Bodies with Playing Applications

Popular Guitar Woods

68 Acing the Shopping Experience

How to Find, Try and Buy the Right Guitar

69 7 Tips for Finding a Great Dealer

82 The Taylor Guitars Line

A Guided Tour of Taylors Model Selection

6 Things That Set the Taylor Experience Apart

107 A Guide to Guitar Terms

Learn the Lingo and Talk Like an Expert

108 Tone Talk: Acoustic Tone Terms Translated

The Definitive Guide To Buying An Acoustic Guitar

The Definitive Guide To Buying An Acoustic Guitar

How This Guide Will Help

Here are 4 things this guide will reveal to lead you to

The essential qualities of a good guitar

The questions you need to ask yourself to narrow

How a guitars body shape and woods influence its sound

How to test-drive a guitar with confidence, even if youre

If you pick up a guitar

The Definitive Guide To Buying An Acoustic Guitar

2 Key Thoughts to Guide

Investing in a good guitar makes a difference.

Like relationships, sometimes its about chemistry.

The Definitive Guide To Buying An Acoustic Guitar

Your Player Profile

The Definitive Guide To Buying An Acoustic Guitar

Whats Your Player Profile?

The Definitive Guide To Buying An Acoustic Guitar

10 Questions to Help Define Your Player Profile

How will you be playing the guitar: fingerpicking,

Do you have a light picking/strumming attack, a heavy

The Definitive Guide To Buying An Acoustic Guitar

Where will you be playing the guitar?

What style(s) of music do you want to play?

Guitar is the best form of

The Definitive Guide To Buying An Acoustic Guitar

Are there certain tonal properties you have in mind,

Will you be playing more often by yourself or with other

The Definitive Guide To Buying An Acoustic Guitar

Will you be singing with your guitar?

Are there guitarists whose style or tone you would

Do you plan to play lead lines higher up the neck

Do you plan to do any live performing or recording?

If you plan to play solo

Bright vs. Dark Guitar Tone

Bright guitar tone has a lot of top end, or treble emphasis.