THE DEFINITIVE GUIDE

TO BUYING AN ACOUSTIC GUITAR

Table of Contents
3 Introduction Acoustic Guitar Anatomy 101 (cont.)
How a Guitar’s Components Work Together
22
67 Acing the Shopping Experience
How To Start Thinking About Your Search How to Find, Try and Buy the Right Guitar
23 The Front
5 Why a Good Guitar Matters
24 The Back
With Confidence
5 Why Your Search is Unique
68 7 Tips for Finding a Great Dealer
25 Interior Bracing
27 Steel-string vs. Nylon-string
70 Shopping Online: Pros & Cons

72 Financing Options
6 Your Player Profile 29
30
Aesthetic Appointments
Plugging In: Acoustic Pickups
73 8 Tips for Test-Driving Guitars
Identifying Your Playing Needs Will
76 In-Store Etiquette: Do’s and Dont’s

78 Bob Taylor’s Guitar Tips
Help You Narrow Your Search
8 10 Questions to Help You Define Your 31 Body Shapes
Player Profile
12 Player Profile Recap

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

80 The Taylor Guitars Line
Matching Bodies with Playing Applications
A Guided Tour of Taylor’s Model Selection
81 5 Things That Set the Taylor Experience Apart
13 Playing Comfort
33
Small Body
36
Medium Body 85 A Guide to Taylor Model Numbers
86 The Taylor Line by Series
How to Size a Guitar for Your Body and Hands 41
Large Body
87 Solid Wood Models
43
Sub-Compact & Travel
14 The Body

45
Cutaway or Non-Cutaway?
100 Layered Wood Models
15 The Neck
103 Compact/Student/Travel Guitars
17 5 Signs of a Quality Guitar
106 Nylon-String Guitars
45 Tonewoods
107 Custom Options

18 Finding Your Fit Popular Guitar Woods

Learn the Three Most Important Ingredients and their Unique Tone Profiles 109 A Guide to Guitar Terms
of a Guitar’s Sound
47 How Tonewoods “Flavor” a Guitar’s Voice Learn the Lingo and Talk Like an Expert

48 Hardwoods vs. Softwoods
19 The Tone Equation:
110 Tone Talk: Acoustic Tone Terms Translated


49 Solid Wood vs. Layered Wood Construction
Your Map to the Right Guitar 112 Acoustic Guitar Parts Defined: An Index


49 Why Solid Wood Guitars Sound Better with Age
20 Balancing the Tone Equation


50 Popular Back and Side Woods

59 Layered Woods

21 Acoustic Guitar Anatomy 101

60

65
Top Woods
Hardwood Tops
Getting a Handle on a Guitar’s Features
66 Fretboard Woods
Will Make Your Search Easier
The Definitive Guide To Buying An Acoustic Guitar 2
 1
`

S E CT I O N
Your Player Profile
Identifying your playing needs will help you narrow your search

• Why a Good Guitar

Matter

• Why Your Search is

Unique

The Definitive Guide To Buying An Acoustic Guitar 3

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 won’t play the wrong
guitar for long. That’s why a lot of people who take up the guitar don’t stick with it.

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

the right guitar:

1 The essential qualities of a good guitar

2 The questions you need to ask yourself to narrow

your search

3 How a guitar’s body shape and woods influence its sound

4 How to test-drive a guitar with confidence, even if you’re

If you pick up a guitar
a beginner

and it says, “Take me, I’m

yours,” then that’s the one
for you.
— Frank Zappa, from Zen Guitar

The Definitive Guide To Buying An Acoustic Guitar 4

Introduction

2 Key Thoughts to Guide Your

Guitar Search
1 Investing in a good guitar makes a difference.
As you explore your guitar options, you’ll find a wide range of features,
price points and quality. Our advice: Buy the best guitar you can afford.

If you’re a first-time guitar buyer, you might feel reluctant to invest in

a “nice” guitar, either due to budget constraints or I’m Not Worthy
Syndrome — the feeling that your playing level doesn’t justify it. We
understand. But the truth is that a beginner will benefit the most from a
well-made instrument. Here’s why:

• You’ll sound better right away, even strumming basic chords.

• The playing experience will be easier and more enjoyable.
• You’ll be more inclined to stick with it.
• You’ll improve more quickly.

Nothing’s worse than a guitar that’s hard to play and won’t stay
in tune. The good news is that quality guitars are available at different
price points.

2 Like relationships, sometimes it’s about chemistry.

Any good guitar should deliver certain fundamental qualities—playability,
clear tone and good intonation, for example. But each person’s
relationship with a guitar is unique. And it’s a multisensory experience —
part visual, part tactile, and part sonic. Embrace it.

Sometimes it’s 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.

The Definitive Guide To Buying An Acoustic Guitar 5

 2

S E CT I O N
Your Player Profile
Identifying your playing needs will help you narrow your search

• 10 questions to
help you define your
player profile

• General
recommendations
based on different
playing styles

The Definitive Guide To Buying An Acoustic Guitar 66

The Player

What’s 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 you’re a beginner and don’t have a defined playing style yet, don’t 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.
Eddie Van Halen

The Definitive Guide To Buying An Acoustic Guitar 7

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.

2 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 you’ll be applying to the guitar. Generally speaking, the stronger
and louder the sound you’re looking for, the bigger the guitar you’ll 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. It’s a good option for fingerstyle players.

If you have a heavier picking or strumming attack:

Generally speaking,
Your playing style may overload a smaller guitar body. You’ll be better served the stronger and louder
the sound you’re looking
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:

for, the bigger guitar you’ll
You’re looking for versatility, and a medium-size guitar will usually get you need.
there. You’ll 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.

The Definitive Guide To Buying An Acoustic Guitar 8

The Player

3 Where will you be playing the guitar?

If you’re looking for a couch strummer, you might want something

that’s comfortable—probably with a smaller body that’s easy to cradle.

If you’ll be playing with friends and want a good amount of acoustic

volume without having to plug in, you’ll likely benefit from a bigger body.

If you plan to play live gigs, you’ll definitely want a guitar with a pickup.

4 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 that’s 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 Definitive Guide To Buying An Acoustic Guitar 9

The Player

5 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. We’ll get into more of those tonal characteristics
in the shapes and woods section. And if you don’t really know what you
want, that’s okay. You’ll 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

6 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.

The Definitive Guide To Buying An Acoustic Guitar 10

The Player

7 Will you be singing with your guitar?

If so, you’ll want your guitar’s 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 it’s 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 dguitar or having access to an isolated room where you can
pair your voice with each instrument.

If you’re more of a solo instrumental player, does the guitar give you a
colorful enough sonic palette with which to express yourself?

8 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.

9 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 guitar’s upper register. If you plan to play solo
10 Do you plan to do any live performing or recording? acoustic guitar, you
If you want to plug in, you should buy a guitar with an onboard pickup. might want a bigger or
If you plan to record, think about the instrument mix that might be involved. richer voice to give you
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 a more dynamic range of
voice can take up too much space in the mix and cloud the clarity. And
remember, when you record, pure acoustic volume typically isn’t as important
expression.
because you can control the volume levels with your recording gear.

The Definitive Guide To Buying An Acoustic Guitar 11

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 you’re a beginner and don’t 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 your guitar tone

The Definitive Guide To Buying An Acoustic Guitar 12

 3 3

S E CT I O N

S E CT I O N
Playing Comfort
How to size a guitar for your body and hands

This section covers

the two features of a
guitar that will have the
biggest impact on your
playing comfort:

• The Body
• The Neck

The Definitive Guide To Buying An Acoustic Guitar 13

Playing Comfort

The Body
Guitars come in a range of body sizes, from small and intimate to big
and curvy. You’ll want to consider how a guitar’s 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?

Shown: Taylor 614ce

The Definitive Guide To Buying An Acoustic Guitar 14
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. You’ll also be less prone to
experiencing hand fatigue with extended playing. Because the size of people’s
hands can vary considerably, the feel of the neck is important.

Here are 5 neck attributes that will influence the playability:

1 The Profile
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.

2 The Width
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

Nut
spacing with enough room to cleanly fret individual strings.

• 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.

The Definitive Guide To Buying An Acoustic Guitar 15

Playing Comfort

The Neck
3 Action
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 it’s too high, the strings require more pressure to fret, especially
as you slide up the neck toward the body. If you’ve had a bad experience
playing a cheap guitar, chances are it had high action and was hard to play.

4 Intonation
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 Side view of neck (nut at left) showing action.
creates a pleasant, musical uniformity that makes the playing experience
easier and more enjoyable, because you don’t have to play around any
weak, off-pitch or “dead” spots on the fretboard.

5 Scale Length Saddle Scale Length Nut

This refers to the maximum vibrating length of the strings and is typically
measured from the guitar’s nut to the saddle. Differences in scale length
can affect the string tension (and as a result, the playability) as well as
the guitar’s 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 shorter-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 guitar with a shorter
scale length. The Definitive Guide To Buying An Acoustic Guitar 16
Playing Comfort

5
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

Shown: Builder’s Edition K24ce

The Definitive Guide To Buying An Acoustic Guitar 17
 4

S E CT I O N
Finding Your Fit
Learn the three most important ingredients of a guitar’s sound

• 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
guitar’s basic sound

• The unique sonic

personalities of popular
guitar tonewoods

The Definitive Guide To Buying An Acoustic Guitar 18

Finding Your Fit

Use This Tone Equation to

Find a Guitar That Fits You
When we talk about guitar tone, here’s a simple way of breaking down the three
key ingredients that contribute to a guitar’s sound:

Player + Body Shape + Tonewoods = Your Guitar Sound

These are the three most important variables that can change a guitar’s sound.
Here’s 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
everyone’s hands, because of each person’s 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 guitar’s sound.

The next three sections will explore each of these key ingredients in depth.

The Definitive Guide To Buying An Acoustic Guitar 19

Shown: Taylor 214ce Plus
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 you’re a lively acoustic rock strummer who likes big, long-sustaining
chords, tonally speaking, a small-bodied guitar probably isn’t the best option for
you because it won’t be able to handle that playing energy. You’ll probably want
a bigger guitar, along with woods that produce rich sustain.

In the next section, we’ll take a more in-depth look at each part of the tone
equation to give you some options.

The Definitive Guide To Buying An Acoustic Guitar 20

Shown: Taylor 814ce
 5

S E CT I O N
Acoustic Guitar Anatomy 101
Learning about the components and parts of a guitar will help you differentiate between models.

• How a Guitar’s
Components Work
Together
• The Front
• The Back
• Interior Bracing
• Aesthetic
Appointments
• Pickups

The Definitive Guide To Buying An Acoustic Guitar 21

Acoustic Guitar Anatomy 101

How a Guitar’s Components

3
Work Together

Design Ingredients
A guitar’s 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 guitar’s 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,
That Influence a
projecting it through the soundhole.
Guitar’s Sound
1 The Body Dimensions
A guitar’s contours literally shape the fundamental
voice of the guitar.

2 The Woods
Each different species has its own unique tonal
personality that helps “flavor” the sound.

3 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. The Definitive Guide To Buying An Acoustic Guitar 22
Acoustic Guitar Anatomy 101

The Front
For a more detailed explanation of the function of these components, see our index of guitar features beginning on page 114.

Lower bout
Upper bout
Waist
Rosette Strings Frets Fretboard Nut Peghead/Headstock
Soundboard
Bridge

Bridge pins

Saddle

Cutaway Inlays Truss rod cover Tuning machines

Soundhole Pickguard

Finish Sides
Binding

Purfling

The Definitive Guide To Buying An Acoustic Guitar 23

Acoustic Guitar Anatomy 101

The Back

Back Heel Heel Cap Neck

The Definitive Guide To Buying An Acoustic Guitar 24

Acoustic Guitar Anatomy 101

Interior Bracing
Bracing is the internal structure that
provides stability and strength against
the tension of the strings while helping to
shape the vibration of the top, contributing
to the guitar’s unique voice.

At Taylor, we utilize three main categories

of bracing in our steel-string guitars.

(Note: Bracing patterns shown have been

simplified to highlight the basic form.)

V-ClassTM Bracing C-ClassTM Bracing

Our patented V-Class bracing is a revolutionary new Taylor’s proprietary C-Class bracing leverages some
pattern — a new sonic engine — that marks a major of the foundational, tone-enhancing ideas behind
shift away from traditional steel-string bracing patterns. the V-Class design to boost the volume and sustain.
By allowing the soundboard to flex naturally while Featuring an asymmetrical, cantilevered design
maintaining rigidity along the center (in the direction (thus the “C” in C-Class), this unique architecture
of the strings), V-Class helps enhance the volume emphasizes the lower frequencies to produce a
and sustain. It also creates a more orderly response surprisingly powerful bass response from a smaller-
from the soundboard. Up and down the fretboard, bodied guitar. The overall sound is sweet, focused and
notes are full, true and consistent, with more harmonic responsive, with a tonal output that sonically punches
agreement. It represents an entirely new design above its weight class.
platform that can be adapted to different body styles
in different ways to infuse each with a unique
sonic personality.

The Definitive Guide To Buying An Acoustic Guitar 25

Acoustic Guitar Anatomy 101

Interior Bracing

X-Bracing Nylon-String Bracing (Fan Bracing)

The “X” pattern provides a continuous flow of strength Fan bracing is a completely different bracing style
from the upper bout to the lower bout, which provides used on our nylon-string models. It was inspired by
rigidity despite the soundhole’s location in the middle patterns used by classical guitar builders. Because
of the soundboard. Our refined interpretations of nylon strings generate less tension and energy, a
this traditional bracing style have been adapted to nylon-string guitar typically has a thinner top and
produce pleasing volume, sustain and responsiveness, much lighter bracing. Fan bar styles come in different
with signature clarity and balance across the tonal arrangements, and we use both five-bar and three-bar
spectrum that has long been associated with our patterns. The three-bar pattern shown here (used for
guitars. X bracing is used on our Baby, GS Mini, Academy, 100 and 200 Series nylon-string models)
Academy, 100 and 200 Series. is a unique Taylor design that master builder Andy
Powers adapted from his ukulele designs. It produces
a signature Taylor nylon-string voice: clear, open,
responsive to a light touch, and long on sustain.

The Definitive Guide To Buying An Acoustic Guitar 26

Acoustic Guitar Anatomy 101

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? Taylor Academy 12 Taylor Academy 12-N

Steel-string Nylon-string
Many instructors suggest a nylon-string guitar because it’s 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 that’s 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.

The Definitive Guide To Buying An Acoustic Guitar 27

Acoustic Guitar Anatomy 101

Hybrid Nylon-String Options

In the modern era, some guitar makers, Taylor included, offer crossover or
hybrid nylon-string guitars that blend nylon’s 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.
Taylor 314ce Taylor 314ce-N
Steel-string Nylon-string
Can steel and nylon strings be used interchangeably
on the same guitar?
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 wouldn’t 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.

The Definitive Guide To Buying An Acoustic Guitar 28

Acoustic Guitar Anatomy 101

Aesthetic Appointments
A guitar’s cosmetic details reflect the builder’s design aesthetic. And yours.

From a guitar body’s curves to the look of exotic woods to its package of people, a guitar’s visual aesthetic contributes to the way they perceive it.
decorative appointments, the visual elements of a guitar undeniably play into If the visual artistry enhances your appreciation of it, embrace it. After all,
our attraction to it. If you’re simply trying to find the best-sounding guitar for a guitar provides a multi-sensory experience.
your preferences, you might pay less attention to these things, but for most

There are many options available, Woods Inlay Areas Inlay Materials
from clean and simple to detail-rich. Color variegation, grain pattern and Fretboard, rosette, peghead Wood, mother-of-pearl,
If you like a vintage look, a sunburst orientation, figure abalone, ivoroid
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:
Rosewood Fretboard Rosette Mother-of-pearl Abalone

Edge Treatments Finish Color Treatments

Wood, ivoroid, plastic, etc. Gloss, satin, matte Sunburst, edgeburst, custom colors

Wood binding Plastic binding Gloss Satin Sunburst Custom stain

The Definitive Guide To Buying An Acoustic Guitar 29

Acoustic Guitar Anatomy 101

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 you’re a beginner and don’t 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:

1 You have the ability to manipulate your sound.

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.

2 You can incorporate other effects into your sound.

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.

3 You can easily balance volume levels if you play with

other instruments.
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. The Definitive Guide To Buying An Acoustic Guitar 30
 6

S E CT I O N
Body Shapes
Shape matters — discover the best shape for your playing preferences

• 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

Shown: Builder’s Edition K24ce, 618e, AD22e

The Definitive Guide To Buying An Acoustic Guitar 31
Body Shapes

Choosing a body shape is

a good place to narrow your guitar
search because a guitar’s 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 that’s 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, we’ll be using Taylor’s
standard body styles.

GT811e , 814ce, Builder’s Edition 816ce

The Definitive Guide To Buying An Acoustic Guitar 32

Body Shapes

Small
Body

The Definitive Guide To Buying An Acoustic Guitar 33

Shown: GS Mini Mahogany
Body Shapes

Small Body
Taylor Shape:
Grand Theater (GT)
The GT sports the curves of the Grand Orchestra, but they’re scaled into
uniquely compact proportions, including a shorter scale length. Its dimensions
position it between our Grand Concert and travel-friendly GS Mini. Thanks to
Andy Powers’ new C-Class bracing wizardry, the GT packs the tonal depth of Grand Theater Grand Theater
a full-size guitar into a form that’s easy and fun to play. If you crave a parlor- GT Urban Ash GT 811e
style guitar reimagined for the modern era, wrap yourself around this body
style and enjoy. (“GT”; most models end in a 1; e.g., GT 811)

Sound
• Rich, robust voice for its compact size — sonically punches above its
weight
• C-Class bracing accentuates the lower frequencies to produce a warm
bass response
• Smaller body optimizes the response to a lighter touch

Feel & Fit

• Compact body and neck dimensions make it ultra-comfortable to hold
• 24-1/8” scale length makes it easy to form chords and bend strings
• Light string tension and condensed fret spacing add to the easy, agile feel

The Definitive Guide To Buying An Acoustic Guitar 34

Body Shapes

Small Body
Taylor Shape:
Grand Concert (GC)
This compact shape blends an intimate feel with an articulate, touch-sensitive
response. Voiced with V-Class bracing, these guitars produce impressive
volume and sustain. The 14-fret models lean toward a vibrant, high-definition
sound, while 12-fret editions feature a slinkier handfeel and produce extra Grand Concert Grand Concert
warmth and sweetness. We’ve also embraced the GC shape for some of our 812e 522ce 12 fret
12-string models to make the 12-string playing experience more accessible
and musically useful. (Models end in a 2; e.g., 812)

Sound
• Clear, focused voice with pleasing treble chime and controlled overtones
• 14-Fret: modern and articulate
• 12-Fret: warm, sweet tonal character
• Great for recording; fits nicely in a mix

Feel & Fit

• Compact, slightly shallower body frame feels comfortable and intimate
• 24-7/8” scale length provides a slinkier, more relaxed fretting-hand feel
• Highly touch-sensitive, giving the player a lot of nuanced control

The Definitive Guide To Buying An Acoustic Guitar 35

Body Shapes

Medium
Body

The Definitive Guide To Buying An Acoustic Guitar 36

Body Shapes

Medium Body
Taylor Shape:
Grand Auditorium (GA)
Taylor’s flagship shape remains our most popular for its comfort and musical
range. The quintessential modern workhorse, its notes are vibrant, well-
defined, and balanced across the tonal spectrum, thanks in part to having
a more tapered waist that a traditional dreadnought. It responds well to
both fingerstyle and strumming, and it’s a reliable tool for recording and live
performance. Among our shapes, it’s the Swiss Army knife of the line. (Models
end in a 4; e.g., 814) Grand Auditorium
Grand Auditorium
314ce
714ce
Sound
• Vibrant voice with articulate, balanced notes
• Impressive projection and sustain thanks to V-Class bracing
• Appealing midrange presence

Feel & Fit

• Medium size with tapered waist makes it physically comfortable
• Large enough to produce room-filling volume
• Musically versatile, making it a great workhorse guitar

The Definitive Guide To Buying An Acoustic Guitar 37

Body Shapes

Medium Body
Taylor Shape:
Grand Pacific (GP)
Our round-shoulder dreadnought delivers a different flavor of Taylor tone: a
warm, seasoned voice in which notes overlap in a way that recalls traditional
acoustic recordings. The difference is that no studio enhancements are
needed to produce great acoustic tone here. V-Class bracing pumps out clear
low-end power, making this a more musical, usable voice that’s as versatile as
the Grand Auditorium and as assertive as a traditional dread. (Models end in a
7; e.g., 517)

Sound Builder’s Edition American Dream

• Warm, blended sound with round, broad notes 517 WHB AD17e Blacktop
• Clear, full-range power across the entire musical spectrum
• More versatile than other dreadnought-style guitars

Feel & Fit

• Comfortable for traditional dreadnought players, with Taylor playability
• Offered exclusively as a non-cutaway
• Musically versatile, making it another workhorse option

The Definitive Guide To Buying An Acoustic Guitar 38

Body Shapes

Medium Body
Taylor Shape:
Dreadnought (DN)
The most traditional body design in the Taylor family, our Dreadnought
shape has continuously been refined over the years to create a clearer, more
balanced sound (to go with our ultra-playable necks). The Dread’s wider waist
contributes to a robust voice with low-end power, a snappy midrange, and
brilliant treble notes. Here, we’ve retained our X-bracing framework. The body
shape is featured within the Academy, 100 and 200 Series. (Models end in a
0; e.g., 210)
Dreadnought
210ce Plus
Sound
• Warm, powerful low end with punchy trebles for a “modern vintage” voice
• Throaty midrange character
• Lots of headroom for players who like to dig in

Feel & Fit

• Wider waist causes the guitar to sit slightly higher in the player’s lap
• Traditional look and sound fit bluegrass and other roots music
• Responds well to flatpicking and a strong attack

The Definitive Guide To Buying An Acoustic Guitar 39

Body Shapes

Medium Body
Taylor Shape:
Grand Symphony (GS)
Featuring a larger air chamber than the Grand Auditorium, the Grand
Symphony combines V-Class bracing with an innovative soundport cutaway.
The two components work together to produce a high-fidelity, symphonic
voice that’s truly unique. The way the sound radiates creates an immersive,
reverb-like effect with remarkable sustain. Together with its slightly shorter
scale length and light-gauge strings, the GS is a great option for a seasoned
player looking for a whole new acoustic experience. (Models end in a 6;
Grand Symphony Grand Symphony
e.g., 816)
Builder’s Edition 816ce 326ce

Sound
• Rich, piano-like voice with symphonic musical response
• Soundport cutaway creates an expansive, surround-sound experience
• Notes sound like they’re growing as they sustain out

Feel & Fit

• Larger footprint and lung capacity than the Grand Auditorium
• 24-7/8-inch scale length and light-gauge strings make it comfortable
and responsive
• Expressive instrument for solo acoustic players

The Definitive Guide To Buying An Acoustic Guitar 40

Body Shapes

Large
Body

The Definitive Guide To Buying An Acoustic Guitar 41

Finding
Body Shapes
Your Fit

Large Body
Taylor Shape:
Grand Orchestra (GO)
Our biggest, deepest body shape has evolved from our former Jumbo shape.
Our V-Class voicing architecture harnesses the Grand Orchestra’s huge
air capacity to unleash a powerful sound, capable of deep rumble and rich
sustain. Yet equally impressive is its touch sensitivity, giving it remarkable
dynamic range and impressive versatility. Currently the GO shape is offered
with two wood pairings: rosewood and spruce or maple and torrefied spruce.
(Models end in an 8; e.g., 818)
Grand Orchestra
Sound 618e

• Powerful, commanding tone that remains balanced across the tonal

spectrum
• Remarkable soft-touch responsiveness for a large guitar
• Huge dynamic range offers a broad, textured palette of musical colors

Feel & Fit

• Large and deep body but with a wider waist than old-style Jumbos
• Responsive — doesn’t require a heavy attack to activate the top
• Great for players who want a deep, bold voice and like to tune down

The Definitive Guide To Buying An Acoustic Guitar 42

Body Shapes

Sub-Compact
& Travel

Shown: GS Mini Koa Plus

The Definitive Guide To Buying An Acoustic Guitar 43
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
people’s 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.

General Sound Profile: A Good Option For:

• Baby Taylor: A more diminutive • Travelers, songwriters, and anyone
voice due to its 3/4-scale looking for an extra portable guitar
• GS Mini: Surprisingly full-voiced • Couch strummers looking for a
due to optimized design features comfortable guitar
• Kids and players with small hands Baby Taylor GS Mini-e
due to the shorter scale length Mahogany

Baby Taylor
The ¾-size mini-Dreadnought offers impressive playability and musicality, broadening
its identity beyond simply being a children’s 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
Taylor’s 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 Taylor’s shapely Grand Symphony
body style and incorporated many of Taylor’s 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.

The Definitive Guide To Buying An Acoustic Guitar 44

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 doesn’t 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 don’t plan to
venture that far up the neck, or simply prefer the aesthetic symmetry of a
non-cutaway, opt for that.

Shown: Builder’s Edition K14e, K26e, GTK21e

Cutaway Non-Cutaway The Definitive Guide To Buying An Acoustic Guitar 45

 7

S E CT I O N
Tonewoods
Popular guitar woods and their unique tone profiles

• How tonewoods
“flavor” a guitar’s
sound

• Commonly used
guitar woods and their
unique tonal properties

• The types of playing

styles that match up
well with each

Shown: Builder’s Edition K14e, GS Mini Rosewood

The Definitive Guide To Buying An Acoustic Guitar 46
Tonewoods

How Tonewoods “Flavor”

a Guitar’s 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.

Shown: Builder’s Edition 816ce

The Definitive Guide To Buying An Acoustic Guitar 47
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 guitar’s top, or soundboard. Such woods include spruce,
cedar and redwood. Sitka spruce is far and away the most commonly used
tonewood for guitar tops. It’s 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.

The Definitive Guide To Buying An Acoustic Guitar 48

Finding Your Fit
Tonewoods

Solid Wood vs.

Layered Wood Construction
One of the distinguishing wood-related features among guitars
Why Solid Wood Guitars
is whether they are made from solid wood or laminated layers of
wood (or other materials).
Sound Better with Age
One of the interesting characteristics of a well-made solid-wood guitar is
Solid wood construction tends to convey a wood’s tonal spectrum in the fullest, that, if it’s properly cared for, its sound will improve with age. Guitarists
most complex way, resulting in a superior sound. 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
Solid wood guitars also tend to be more expensive to produce because of the have a certain degree of inherent stiffness — they aren’t used to vibrating
material costs and because the wood must be sawn, kiln-dried, book-matched, under the tension of strings. But through the playing process, the woods
and handled under climate-controlled conditions. become more relaxed and broken in. (Think of the way a stiff new pair of
jeans becomes softer with extended wear.)
Layered woods incorporate a plywood construction, usually with exterior
and interior veneers and a middle core layer, and typically yield a slightly less The natural aging process also contributes to this, changing the cell structure
complex tone. Among the benefits of layered wood guitars are: 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
• Affordability often be more resonant and responsive to a player’s touch.
• Durability
• The ability to use visually exotic wood veneers to add aesthetic appeal Certain hardwoods with a higher density tend to take a bit longer to open
• Stability within changing climate (humidity) conditions 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
If you’re on a budget, a guitar with layered wood back and sides can be vintage guitars often have an appealing sonic character associated with
a good option if the guitar is well made. them. That’s also why comparing a new guitar to an old guitar, even if they
both incorporate the same woods and construction methods, often isn’t 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!

The Definitive Guide To Buying An Acoustic Guitar 49

Tonewoods

Comparing Tonewood
Sound Profiles
Ahead we’ve 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 you’ll find other exotic species, some of which
you’ve 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 tree’s growth patterns

• The interaction of the top wood with the back and side woods
• The guitar’s body dimensions
• Bracing and other construction nuances
• Your playing style and ear
The guitar is a small
While modern technology has brought high levels of production consistency to
guitars (especially at Taylor), each individual guitar ultimately is crafted from a
orchestra. It is polyphonic.
different set of tonewoods, which means that each will often present its visual and Every string is a different
sonic character in slightly different unique ways. The proof, we like to say, is in the
playing. And that’s all part of the fun of sampling guitars — tuning in to the unique
color, a different voice.
character traits of each. Like food, it often comes down to your personal tastes. Andres Segovia

The Definitive Guide To Buying An Acoustic Guitar 50

Tonewoods

Back and Side Woods

Hardwoods are used exclusively for the backs
and sides of guitars. Acting as the supportive
framework for the instrument (they essentially
form the speaker cabinet of the body’s shapely
acoustic “box”), the back and sides contribute
rigidity and stability that help coax greater
sustain from the guitar. Different tonewoods
emphasize different resonant frequencies.
Think of them as natural tone controls for an
acoustic guitar, adding bass, midrange and
treble along with varying degrees of overtones.

The Definitive Guide To Buying An Acoustic Guitar 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.

The Definitive Guide To Buying An Acoustic Guitar 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 rosewood’s

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. It’s a
good guitar wood to try if you’re not sure what tonal personality you want.
Its controlled response makes it a forgiving wood for beginner-level players.

The Definitive Guide To Buying An Acoustic Guitar 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

• Taylor’s maple guitars were revoiced to produce more warmth, complexity,

volume, sustain, responsiveness and overall versatility, while retaining
maple’s 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.

The Definitive Guide To Buying An Acoustic Guitar 54

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
doesn’t have as established a heritage as mahogany, sapele guitars tend to be
a more affordable option.

The Definitive Guide To Buying An Acoustic Guitar 55

Tonewoods

Blackwood
Tonal Properties

• Strong volume and midrange focus — dry and clear yet warm,
like mahogany and koa

• Top-end shimmer and richness similar to rosewood

• Its all-around musicality suits a variety of body sizes and playing styles

Consider blackwood if:

You’re looking for a great all-around acoustic sound. Blackwood responds
well to a variety of playing styles, making it a versatile performer. Its strong
tonal output makes it a dynamic voice that responds well to lively strumming,
while fingerstyle players will love the clarity, warmth and top-end shimmer.
It makes a great choice for recording and live performance applications.

The Definitive Guide To Buying An Acoustic Guitar 56

Tonewoods

Ovangkol
Tonal Properties

• African relative of rosewood, sharing many tonal qualities including

a wide tonal spectrum from lows to highs

• Popular choice among players at every level

Consider ovangkol if:

You like the sound of rosewood with a little more midrange. Ovangkol’s
versatility makes it a great choice for a wide range of playing styles.
And because it’s a lesser known wood than rosewood, an ovangkol guitar
may be available at a more affordable price point.

The Definitive Guide To Buying An Acoustic Guitar 57

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:

You’re 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.

The Definitive Guide To Buying An Acoustic Guitar 58

Tonewoods

Layered
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 that’s sawn for solid-wood guitar sets) and offer players a resilient,

Woods affordable and because of Taylor’s building techniques, a great-sounding

instrument. Taylor’s 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, we’ve actually moved away
from using the term “laminate” to avoid confusion with the growing number of
laminate products in the marketplace made from synthetic, non-wood materials
such as High Pressure Laminate.
The Definitive Guide To Buying An Acoustic Guitar 59
Tonewoods

Top Woods
A guitar’s top, or soundboard,
is a vital part of its tonal equation.
It’s 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.

Shown: 526ce, 214ce-N

The Definitive Guide To Buying An Acoustic Guitar 60
Tonewoods

Sitka Spruce
Tonal Properties

• The most commonly used wood for tops because it’s light and stiff
in the right ways

• Its lighter weight gives the top the freedom to move, which helps translate
the player’s 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.

The Definitive Guide To Buying An Acoustic Guitar 61

Shown: Taylor 912ce
Tonewoods

Lutz Spruce
Tonal Properties

• Naturally occurring hybrid of Sitka and White/Engelmann spruce

• Blends tonal characteristics of Sitka and Adirondack spruce to produce

extra power, richness and volume

• The midrange tones tend to have a slightly richer, sweeter quality

Goes well with:

Players with a driving attack who crave strong acoustic horsepower
and dynamic range.

The Definitive Guide To Buying An Acoustic Guitar 62

Shown: Taylor 714ce
Tonewoods

Western Red Cedar

Tonal Properties

• Less dense than spruce

• Its relative softness adds warmth to a guitar’s 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.

The Definitive Guide To Buying An Acoustic Guitar 63

Shown: Jason Mraz Signature Model
Tonewoods

Sinker Redwood
Tonal Properties

• Tight grain structure leads to a naturally bold, punchy response with plenty
of volume

• Brilliant high end complemented by warm overtones similar to cedar

• High headroom for aggressive playing without topping out

Goes well with:

Players seeking a richly variegated visual aesthetic matched with a powerful out-
put and a responsive, woody low end.

The Definitive Guide To Buying An Acoustic Guitar 64

Shown: PS12ce
Tonewoods

Hardwood Tops
A hardwood-top guitar, such as an all-koa or mahogany-top model,
produces a natural compression, so it won’t 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

Shown: Builder’s Edition K24ce

The Definitive Guide To Buying An Acoustic Guitar 65
Tonewoods

Fretboard Woods
True to its name, a guitar’s slotted fretboard holds the frets in
place. In the acoustic guitar world, ebony is widely used due to
its density.

At Taylor we use ebony for most 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.

The Definitive Guide To Buying An Acoustic Guitar 66

Acing the
8

S E CT I O N
Shopping Experience
How to find, try and buy the right guitar with confidence

• 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:
Do’s and Don’ts

The Definitive Guide To Buying An Acoustic Guitar 67

Acing the Shopping Experience

7 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:

1 Ask around.
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.

2 Visit stores.

If it’s a good store, the

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 you’re
not a gear expert, if it’s a good store, the staff should make you feel comfortable
there. For more tips, see our section, “8 Tips for Test-Driving Guitars.” staff will make you feel
comfortable there.
3 Look for authorized dealers.
Especially if you’re interested in particular brands, authorized dealers for those
brands will tend to have a strong model selection and product knowledge.
They’ll also be more inclined to feature in-store events sponsored by guitar
manufacturers. For example, Taylor’s 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. The Definitive Guide To Buying An Acoustic Guitar 68
Acing the Shopping Experience

4 Look for a healthy guitar selection.

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.

5 Check the store’s return policy.

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.

6 Visit the store’s website.

While a slick website isn’t 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.

7 Check their involvement with the local community.

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.

8 Counterfeit warning.
As will happen with any high-quality product, numerous counterfeit
manufacturers have built and sold fake guitars claiming to be authentic
Taylors. If you’re looking for a Taylor online, especially from a second-hand
seller or an unauthorized online retailer, be aware that you might not be
purchasing a genuine Taylor product. These guitars often resemble Taylors
down to the small details, but they are built with inferior materials. We’ve
encountered counterfeit Taylors on sites like Amazon, eBay, Craigslist,
Alibaba, Aliexpress, and Taobao, among others. General rule of thumb: If a
deal seems too good to be true, it probably is.
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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 you’re 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.
Let’s set aside the category of used guitars and websites like eBay, Craigslist
and Reverb.com 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 Premier Online
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 Premier Online Dealers
at: www.taylorguitars.com/dealers/online

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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 don’t 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 you’re considering this, be sure to find out what an online retailer’s 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 you’re interested in a specific model and a local dealer doesn’t 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
If you’re interested in a
about the product specs for the brands they sell, and they generally offer helpful specific model and a local
dealer doesn’t have it,
customer support.

many are willing to order it

for you.

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Financing as a Buying Tool

Financing a guitar purchase may allow you to “step up” to the
guitar you really want. Here’s 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 can’t seem to put down before someone else claims it?

Here are 4 tips as you consider your budget and financing options:

1 You’re not just investing in a guitar; you’re investing 3 Financing can allow you to buy other gear to go with your
in yourself. new guitar.
You’ve probably heard the expression, “Buy nice or buy twice.” Beginners If you’re also looking into picking up a PA system, amplifier, accessories,
or recreational players will sometimes find a guitar that they love but think, etc., an interest-free financing program can help.
“How can I justify spending the money? I’m not that good a player.” But
do you want to be? A good guitar will help get you there. Even if you’re
on a budget, try not to skimp on fundamental qualities like playability, 4 A good guitar will sound better over time.
intonation, and sound. If you do, you might end up with a guitar that never This is one of the unique pleasures of a well-crafted instrument.
gets played or hampers your progress. 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 road—possibly to upgrade to a better guitar—it will tend to
2 Financing can help you take home The One. hold its value well.
Some guitar manufacturers offer interest-free financing through
participating authorized dealers. Ask a dealer what their layaway or
financing options are. If you’re 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.
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8 Tips for
Test-Driving Guitars
If you’re 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 you’re thinking about buying a guitar, you’re the one
in the driver’s 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.

1 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, don’t forget to bring it with you.

2 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 guitar’s nuances more naturally.

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3 Play the same thing on every instrument.

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 guitar’s versatility.

4 Isolate the particular features you want to compare.

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, you’ll get a better idea of what is responsible for
those tonal differences.

5 Take notes.
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.

6 Use your phone to record yourself.

Your phone’s Voice Memo app can be a really useful tool for comparing
the tone profiles of different instruments. It’s 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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7 Make friends with the sales person.

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 you’ll be more likely to come back if you have a good
experience. If you’re just looking, it’s okay to say, “I’m 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.

8 Take your time.

Your 30-minute lunch break isn’t 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 don’t 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 aren’t 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 you’ll become.

You want to look, play,

make notes and ask
questions without being
hurried. And don’t feel like
you need buy the first time
you walk in.

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In-Store Etiquette: Do’s and Don’ts

Here’s how to act like a good customer in a store.

DON’T: Plug into an amp and crank it all the way up when there are lots
DON’T: Lean a guitar against the wall or amp. of other customers around.

DO: Use a guitar stand or hanger. DO: Ask if there is an isolated room where you
can crank up without disturbing others.

DON’T: Start using advanced percussive guitar techniques on a new,

vintage or really any guitar. DON’T: Plug (or unplug) into an amp that is already turned on with the
volume up.
DO: Tell the salesperson you are interested in
modern percussive techniques and ask DO: Flip the amp’s “stand-by” switch and turn
their opinion on any given guitar’s the volume down (amp and guitar) before
compatibility with these concepts. you plug in.

DON’T: Ask to borrow a pick and then put it in your mouth (ew), do a pick DON’T: Leave amps on when you’re finished.
scrape, and walk out of the store with that pick in your pocket.
DO: Turn amps off when you’re finished.
DO: Bring your own pick(s).

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In-Store Etiquette: Do’s and Don’ts

DON’T: Sample a guitar with a heavy hand. Remember, you don’t own it yet. DON’T: Change the guitar to a different tuning to play it and then leave the
guitar in that tuning when you are finished.
DO: Be respectful of the instrument.
DO: Return the guitar to standard tuning when
you are done.

DON’T: Play a guitar with dirty hands.

DO: Wash your hands before playing. DON’T: 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
DON’T: Wear a big belt buckle. It could damage the guitar. This goes for toward a guitar as you play. No one will
big zippered/buckled/buttoned jackets as well. know better than you what feels and
sounds right.
DO: Wear clothes that won’t leave marks on
the back of the guitar.

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Bob Taylor’s Guitar

Buying Tips
Taylor Guitars co-founder Bob Taylor answers four
common questions about finding and caring for the right
guitar.

1 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. It’s 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.

2 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 you’ve 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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3 How will an acoustic guitar’s sound change over time?

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

4 What are the most important things to remember about

caring for a guitar?
Caring for a guitar is easy if you consider heat and humidity. Low humidity
ravages a good guitar. Also, heat, as in leaving your guitar in the trunk of
your car while you shop or eat at a restaurant on a summer day, will wreak
havoc on your guitar. But in our experience, it’s the long, slow lack of
humidity that does more damage than anything else. Store your guitar in
its case rather than displaying it in your living room or music room, unless
Digital Hygrometer
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 doesn’t 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. In our experience,
it’s the long, slow lack
of humidity that does more
damage than anything else.

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 9

S E CT I O N
The Taylor Guitars Line
How a Taylor contributes to a great playing experience

• 5 Things that set

Taylor apart

• A guide to Taylor
model numbers

• The Taylor line

by series

• Additional model
options

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The Taylor Guitars Line

Why a Taylor?
We all crave an instrument that inspires us. That’s 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 experience—tuning issues, high action, murky tone,
and lack of serviceability, among others.

Here are 5 things that set the Taylor experience apart:

1 Playing Comfort
Easy-playing necks are a hallmark feature of a Taylor guitar and the gold
standard of playability across the acoustic guitar industry. This makes
our guitars more accessible to beginners, reducing hand fatigue and
accelerating their progress. For seasoned players, the slim profile and
comfortable string setup of our necks translates into a fast feel that allows
them to express themselves more fluidly.

Our obsession with playability has led to innovative designs like the
patented Taylor neck, which improves both stability and adjustability.
This allows the geometry of our guitars to be set precisely for optimal
performance, with unprecedented micro-adjustability to ensure a lifetime
of playability.

We offer a range of other comfort-centric playing features within our guitar

line, including different scale lengths, string tension profiles and neck
profiles, along with ergonomic refinements to the guitar body, such as
armrests and other contouring features.
L-R: Master Guitar Designer Andy Powers and Bob Taylor

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The Taylor Guitars Line

2 Tone-Enhancing Innovation
Our passion for ear-pleasing musicality has fueled our efforts to voice our
guitars to inspire and perform at the highest level. It starts with guitars
that stay in tune and readily respond with clear and balanced articulation.
With Taylor master designer Andy Powers at the helm, our drive to refine
the sound of our guitars has led to a steady stream of tone-enhancing
designs, such as our award-winning V-Class® bracing. This powerful
tone-shaping platform allows us to create a wide range of musically
inspiring acoustic flavors, offering something for every level and style of
player. For many pro musicians and recording engineers, having a Taylor
means having a reliable tool to get the job done, whether for songwriting,
recording or performance.

3 Precision Craftsmanship
A guitar design is only as good as the ability to produce it. One of
Bob Taylor’s greatest accomplishments as a guitar maker has been his
pioneering work to transform guitar making from its old-world heritage into
an innovative manufacturing operation that enables us to craft instruments
with remarkable precision and consistency. We have an entire tooling
and engineering division devoted to making our latest guitar designs
production-ready. This includes everything from developing the software
programs we use with our sophisticated computer-controlled mills and
robots to fabricating our own tools and machines to help our skilled
craftspeople produce our guitars. That unique integration of technology,
tooling and skilled hand-craftsmanship makes our guitar factory operation
truly one of a kind. Not only does this allow us to imbue our guitars with
impeccable detail work, but the superb build quality gives players an
heirloom-quality instrument.

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The Taylor Guitars Line

4 Sustainability Leadership
We are deeply committed to safeguarding the future of the natural
resources we use. Beyond our pursuit of ethical, socially responsible
sourcing practices, we have pioneered several innovative sustainability
initiatives around the world. Flagship programs include the Ebony Project
in Cameroon, which funds research about ebony’s ecology and has
shaped a robust replanting initiative; Paniolo Tonewoods in Hawaii, a
collaboration with supply partner Pacific Rim Tonewoods to ensure a
healthier future for koa by regenerating native forests; and a new Urban
Wood initiative in tandem with an innovative California arborist to create
new markets for wood from previously discarded trees that have been
removed from municipal areas at the end of their life cycle. Not only does
some of this wood, such as Urban Ash, make wonderful guitars, the
project aims to support the re-greening of urban areas. Bob Taylor’s vision
of environmental stewardship at Taylor also led him to hire a forest policy
expert to become our Director of Natural Resource Sustainability, a unique
position within the guitar industry.

Service & Support

5
Taylor is more than just a company that makes and sells guitars. We’re
equally passionate about providing the resources to support your guitar-
playing journey, whether you need help choosing the right guitar or taking
care of it. One of the best things about a well-made and well-maintained
guitar is that it will continue to sound better over time, and we love helping
Taylor owners enjoy their instruments to the fullest. From friendly service to
expert repair, you can count on a lifetime of attentive Taylor support.

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The Taylor Guitars Line

Grand Theater (GT) - GTe Urban Ash

The Taylor Line at a Glance

How to easily navigate our selection of model offerings
Grand Concert (GC) - 812e
Below is the basic framework of our guitar line. This should help you navigate
through our options. We’ll also explain how our model naming structure works.

Choose from Seven Body Shapes Grand Auditorium (GA) - 814e

From smallest to largest:

Grand Theater (GT)

Grand Concert (GC)
Grand Auditorium (GA) Grand Pacific (GP) - 317e

Grand Symphony (GS)

Grand Pacific (GP)
Dreadnought (DN)
Grand Orchestra (GO) Dreadnought (DN) - 110e

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.

Taylor Guitars By Series Grand Symphony (GS) - 816e

Most Taylor acoustic models are organized by series, featuring the numerical
100 through 900 Series, along with the Baby, GS Mini, Academy, American
Grand Orchestra (GO) - 818e
Dream (AD), Koa (K) and Presentation (PS) 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.

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The Taylor Guitars Line

Understanding Taylor’s Acoustic Model Numbers

Taylor acoustic models are organized within about a dozen different series.

The majority of Taylor’s 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)
The full-size guitar models in our line are organized by series, featuring the 100 through
900 Series, along with our Academy, Presentation (PS) and Koa (K) Series.

Here’s how our model numbering system works:

The first digit (or letter) identifies the series (e.g., 800 Indicates a model with a cutaway
Series). Each series is distinguished by the type of
back and side woods and other material/aesthetic 814ce
appointments used, such as inlays and binding. Indicates a model with onboard electronics

The second digit designates two things: first, whether the guitar is The third digit identifies the body shape according to this numbering
a 6-string or a 12-string, and second, whether the top features a system:
softwood like spruce or cedar or a hardwood like mahogany or koa.
0 = Dreadnought
1 = Grand Theater
6-string Models:
2 = Grand Concert
• If the middle digit is 1, it has a softwood top (e.g., 514ce)
4 = Grand Auditorium
• If the middle digit is 2, it has a hardwood top (e.g., 524ce)
6 = Grand Symphony
7 = Grand Pacific
12-string Models:
8 = Grand Orchestra
• If the middle digit is 5, it has a softwood top (e.g., 352ce)
• If the middle digit is 6, it has a hardwood top (e.g., 362ce) Some Taylor models include additional letters. This can identify several things:

Nylon-string models (e.g., 812ce-N), Alternative back/side woods within a series

(e.g., 414ce-R = rosewood; 214ce-K = koa), Color treatments (e.g., 214ce-SB = Sunburst;
517 WHB = Wild Honey Burst; 214ce-BLK = Black)
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The Taylor Guitars Line

Guitars by Series
Here’s 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.

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The Taylor Guitars Line

Series with All-Solid Woods

One of the hallmarks of a premium acoustic guitar is the use of solid wood for the back, sides and top.

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Shown: Taylor 814ce
The Taylor Guitars Line

Builder’s Edition
Our Builder’s Edition collection
presents a remarkably diverse
array of models, yet all embody the
singular design philosophy of master
builder Andy Powers: to offer the
best possible playing experience
in both feel and sound. Originally
launched to celebrate the debut of
our tone-enhancing V-Class bracing
architecture in 2018, the family has
since grown to nine models (plus
several sunburst-top variations)
ranging from a fantastic 12-string
Grand Concert to a pair of premium
Grand Pacific siblings to the first
Grand Symphony to feature our
innovative soundport cutaway. Each
model showcases next-level Taylor
design and craftsmanship. Playing
comfort is elevated on some models
with premium features like a beveled
cutaway and armrest, and on others
with a compound-carve neck profile.
Sonically, each instrument offers a
uniquely vivid musical personality to
explore.

Shown: PS14ce
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The Taylor Guitars Line

Presentation Series
Boasting top-shelf tonewoods,
deluxe comfort features and ornate
appointments, the Presentation
Series is the ultimate showcase of
Taylor’s guitar-building sophistication.
This family of heirloom-quality
acoustic guitars offers the best of
Taylor craftsmanship at every level,
from premium tonewoods such as
Honduran rosewood and sinker
redwood to player-focused comfort
features that elevate the playing
experience to unmatched heights.
That dedication to excellence
extends to aesthetic details, which
include our most lavish inlay work
and complementary touches that put
these guitars in rarefied company. If
you’re looking for a truly exceptional
guitar that will be appreciated for
generations, look no further.

Shown: PS14ce
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The Taylor Guitars Line

Koa Series

Hawaiian koa has long inspired

guitar lovers with its unique blend
of stunning visual character and an
acoustic voice that grows warmer
and sweeter over time. With our
Koa Series, we treat koa like the
superstar tonewood it is, presenting
a thoughtfully curated mix of guitars.
Players will hear a vibrant midrange
response with clear trebles and
a dash of low-end warmth for a
balanced sound that can adapt
across playing styles. Models include
a pair of ultra-premium Builder’s
Edition gems that offer a choice
between a koa or torrefied spruce
top, the compact GT K21ce, an all-
koa 12-fret Grand Concert and an
all-koa Grand Symphony featuring our
soundport cutaway. Elegant wood
detailing and a shaded edgeburst
elevate koa’s natural aesthetic appeal.

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Shown: Taylor K24ce
The Taylor Guitars Line

900 Series
Indian rosewood’s rich musical range
has made it one of the most venerable
acoustic guitar tonewoods of all time.
We love it enough to feature it across
several series; with our 900 Series,
its musical virtues are matched with
elegant appointments that give these
models a level of sophisticated
visual artistry and put them in a class
all their own. Distinctive features
include a radius-style armrest, Gotoh
510 tuning machines, our beautiful
Ascension inlay scheme, paua/koa
edge trim, an ebony backstrap and a
pickguard-free top. Tonally, V-Class
bracing brings even more definition to
rosewood’s natural bell-like overtones.
For a next-level playing experience, try
the Builder’s Edition 912ce.

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Shown: Taylor 914ce
The Taylor Guitars Line

800 Series
Rosewood and spruce yield a
stunning blend of musical versatility,
articulation and rich presence across
the tonal spectrum.

With all-star tonewoods, refined

appointments, top-tier craftsmanship
and a distinctively bold, contemporary
voice, Taylor’s 800 Series blends a
seamless playing experience with
unmatched clarity and balance. As
with our 900 Series, the time-honored
combination of solid Indian rosewood
with Sitka spruce produces versatile
tone that’s rich with harmonic texture
and ringing overtones, with V-Class
bracing inside most models to dial
up greater volume and sustain.
With sharp aesthetic details, a sleek
Taylor neck, player-focused features
and a wide selection of body styles
that range from our compact GT
to the burly Grand Orchestra, the
American-made 800 Series sits at the
intersection of craft and wide-ranging
musical inspiration.

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Shown: Builder’s Edition 816ce
The Taylor Guitars Line

700 Series
Our 700 Series delivers a fresh
take on the classic rosewood/
spruce sound with a distinctive
aesthetic personality. Each model
features solid Indian rosewood back
and sides paired with either Lutz
spruce (Grand Auditorium/Grand
Concert models) or torrefied Sitka
spruce (Builder’s Edition Grand
Pacific models), resulting in a richly
textured sound with strong projection
and sustain along with blooming
overtones. All steel-string models
feature our V-Class bracing, and
appointments include wood-centric
details like koa binding and a Douglas
fir herringbone-style rosette with fir/
maple top edge trim. Anchored by
signature Taylor playing comfort, the
700 Series represents a versatile
family of guitars that look as inspiring
as they feel and sound.

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Shown: Taylor 714ce
The Taylor Guitars Line

600 Series
Maple’s sonic transparency makes
it reflective of both the guitar design
and the player’s touch. Using V-Class
bracing, Taylor master builder Andy
Powers has voiced our maple 600
Series guitars to respond with an
even broader spectrum of tonal
colors, from warm to bright, all
depending on the player’s nuanced
attack (or type of pick or choice of
strings). Torrefied spruce tops on
several models, together with V-Class
architecture, add depth, projection
and sustain. Maple’s clarity makes this
series a great choice for fingerstyle
players or lead guitarists, but virtually
any type of player will appreciate
the musical versatility and visual
beauty these instruments offer. A
wide array of model options includes
two Builder’s Edition beauties plus
the Grand Orchestra 618e and the
GT 611e LTD, voiced with C-Class
bracing.

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Shown: Taylor 618e
The Taylor Guitars Line

500 Series
Mahogany boasts a storied heritage
as a tonewood for acoustic guitars,
favored by players for its woody
response and dry, focused quality
that emphasizes the fundamental
note, especially with meaty midrange
frequencies. In the Taylor 500 Series,
we combine solid neo-tropical
mahogany backs and sides with tops
of Western Red cedar, mahogany
or torrefied Sitka spruce (Builder’s
Edition models), offering a mix of bold
voices in a range of body shapes
to accommodate different playing
styles and musical applications. With
V-Class bracing to boost volume,
sustain and pitch accuracy, these
guitars serve up an appealing blend
of projection, midrange presence and
warmth.

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Shown: Taylor 562ce
The Taylor Guitars Line

400 Series
For musicians craving solid-wood
tone and premium craftsmanship
without getting too precious for
the rigors of everyday play, the 400
Series offers marquee tonewoods
and workhorse utility in a sleek
package. The series is thoughtfully
distilled to showcase two body styles,
the Grand Auditorium 414-ce-R and
Grand Concert 412ce-R, made with
Indian rosewood back and sides
and Sitka spruce tops and voiced
with V-Class bracing to produce
varying flavors of that wood pairing’s
signature sparkle, warmth and clarity.
An elegant Renaissance inlay motif
and other crisp appointments support
a stage-ready aesthetic that practices
tasteful restraint. With onboard ES2
electronics and a deluxe hardshell
case, these models are well equipped
for a lifetime of music.

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Shown: Taylor 414ce-R
The Taylor Guitars Line

300 Series
Our 300 Series offers musicians
of all styles and abilities an array of
rich, versatile acoustic voices and
a comfortable playing experience.
Choose from two all-solid tonewood
pairings: sapele and spruce for
a traditional look or Tasmanian
blackwood and mahogany, which
presents a duskier visual aesthetic. All
300 Series steel-string guitars feature
V-Class bracing to enhance sustain
and volume, and with a wide selection
of body shapes, players will find
plenty of choices in feel and sound,
all channeling the spirit of workhorse
utility. The series also features 12-fret
and 12-string models, nylon-string
options and the Grand Auditorium
Builder’s Edition 324ce.

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Shown: Taylor 322ce
The Taylor Guitars Line

GT Series
Players love the physical comfort of
smaller acoustic guitars but don’t
want to compromise on sound.
The Grand Theater (GT) delivers
on both fronts. Scaled down from
the contours of our larger Grand
Orchestra body, the GT’s overall
proportions are slightly smaller than
the Grand Concert, with a 24-1/8-
inch string scale length that translates
into a slinky and responsive handfeel.
Tonally, the GT generates bold tone
with surprising low-end power for
its size, thanks to our new C-Class
bracing — inspired by our V-Class
framework and adapted for the GT.
Each GT model serves up a distinct
musical flavor, and with the growth
of offerings, players now have more
tonewood pairings than ever to
explore.

The Definitive Guide To Buying An Acoustic Guitar 98

Shown: Taylor GT Urban Ash
The Taylor Guitars Line

American Dream Series

Designed to blend the essentials
of rich acoustic tone and fine
craftsmanship into a broadly
appealing collection, the American
Dream Series opens the gates to a
dynamic family of solid-wood, U.S.-
made acoustic guitars. Outfitted with
our tone-enhancing V-Class bracing,
these guitars boast all the projection,
sustain and tonal depth players
expect from a Taylor, with signature
playability. Choose from several
Grand Pacific models, including
the new AD27e Flametop, plus
the mahogany-top Grand Concert
AD22e. Chamfered body edges
and modest appointments support a
rootsy aesthetic and extend a broad
invitation to anyone looking for an
inspiring workhorse guitar.

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Shown: Taylor AD22e
The Taylor Guitars Line

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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Shown: Taylor Academy 10e
The Taylor Guitars Line

200 Series
Whether you’re a newer player on
the hunt for an inspiring musical
companion or an experienced
guitarist craving a reliable pro-level
tool, our 200 Series is loaded with
options. Crafted with solid tops for
optimal projection, clarity and tonal
balance, the series spans a range of
Standard, Plus and Deluxe models,
offering a colorful mix of tonewoods
and appointments that include
nylon-string and 12-string options.
Whatever your preference, you can
count on an easy-playing Taylor neck
and onboard electronics for natural-
sounding amplified tone. Explore the
extended 200 Series family to find
the combination of tone and style to
guide your musical journey.

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Shown: Taylor 214ce-K-SB
The Taylor Guitars Line

100 Series
Designed to produce rich acoustic
tone at an accessible price, the
100 Series combines great value
and signature Taylor craftsmanship.
Every 100 Series guitar boasts a
solid spruce top that serves up bold,
assertive acoustic tone with strong
projection, clarity between notes,
and a dynamic response, making
these models a fit with strummers,
flatpickers and fingerpickers alike.
A slightly narrower fretboard makes
these guitars feel comfortable and
inviting for every skill level, and
onboard ES2 electronics let you plug
in and play on the fly. With Grand
Auditorium and Dreadnought models
available — including the popular
12-string 150e — the 100 Series
delivers everything a developing
player could need and robust tone to
satisfy seasoned musicians.

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Shown: Taylor 114e
The Taylor Guitars Line

Academy Series
The mission of our Academy Series
has always been to offer entry-level
players an inviting guitar and remove
the barriers that get in the way. The
result is a family of guitars that’s been
distilled to their essential ingredients,
combining playing comfort, inspiring
sound and a minimalist aesthetic that
translates into an accessible price.
Beyond our reliably playable necks,
comfort-centric features include an
armrest and a narrower 1-11/16-
inch nut width (steel-string models)
for easy fretting and barre chords.
Together with light-gauge strings
and a 24-7/8-inch scale length,
those elements add up to a slinky
handfeel that makes it easier express
yourself. Solid tops produce clear,
balanced tone, and models with
electronics include a built-in digital
tuner. Whether you’re hunting for your
first guitar or a more affordable Taylor
experience, the Academy Series is
there for you.

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Shown: Taylor Academy 12e-N
The Taylor Guitars Line

GS Mini Series
Everyone loves the GS Mini. In a
dozen years, it’s become one of the
most popular acoustic guitars ever
by blending comfortably compact
proportions that make it a great travel
companion with a big, bold sound
that punches far above its size. And
it’s not too precious, which means
it fits almost any situation, making
it a guitar you can pass around a
campfire or play on stage and sound
like a pro. The popularity of the
series has spawned a colorful family
of model options featuring different
tonewood pairings. It’s also home to
the GS Mini Bass, which makes an
incredible addition to any musician’s
creative toolbox. Whether you’re
looking for a starter guitar, an on-the-
go guitar, a songwriting muse, or just
a great-sounding acoustic that’s up
for anything, the GS Mini has you
covered.

The Definitive Guide To Buying An Acoustic Guitar 104

Shown: Taylor GS Mini Walnut
The Taylor Guitars Line

Baby Series
The Baby Taylor launched an entire
category of sub-compact, travel-
size acoustic guitars, helping bring
the experience of playing a great-
sounding instrument to new players
of all ages. Perfectly sized for small
hands, it makes a great first guitar for
a young learner — but its full sound
and portable size also make it a great
travel guitar for anyone who wants to
keep practicing on the road. (They also
sound cool as high-strung guitars.)
Built with solid tops and comfortable,
easy-playing necks, the Baby is all
about making it fun and simple to enjoy
acoustic sound and build your skills
as a musician. And with the included
gig bag and the option of onboard
electronics, these guitars have
everything you need to get going.

The Definitive Guide To Buying An Acoustic Guitar 105

The Taylor Guitars Line

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.

Taylor’s 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.
Taylor’s nylon-string guitars are offered in two body styles: Grand Concert
and Grand Auditorium.

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The Taylor Guitars Line

Custom Options
As you become clearer on what features you’d 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 company’s 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, we’ve made thousands of custom guitars, we know what works
and what doesn’t, and we’re happy to help customers design a guitar that they’ll
love. One important consideration is the turnaround time for a custom order.
Typically, the smaller the guitar company, the longer the wait. Because of Taylor’s
size and manufacturing sophistication, our turnaround time is much shorter.

For more details and visual inspiration, visit taylorguitars.com/guitars/custom or

talk to an authorized Taylor dealer for more information.

The Definitive Guide To Buying An Acoustic Guitar 107

The Taylor Guitars Line

Sustainability
As a company, we feel a deep responsibility to safeguard the future of the natural
resources we rely on, and to act responsibly toward the people, communities and
businesses we source from. Here are some examples.

Ethical Wood Sourcing

We source a variety of tree species from all over the world. It’s important for us to visit
these regions — places like Central America, Africa and India — spending time with our
supply partners, sometimes venturing to remote forest areas, to clearly understand
how our purchasing decisions impact people and the environment. That’s because the
global trade in forest products is complicated, and things are not always as they appear
from afar. That’s why we also work to develop healthy long-term relationships with our
suppliers, which ensures that they are aligned with our ethical policies and helps create
greater stability in our supply chain.

In Cameroon, Taylor has been the co-owner of an ebony mill since 2011. Bob Taylor has
used Taylor’s manufacturing expertise to upgrade the harvesting and milling efforts there,
improving working conditions for employees, introducing better tools and machines,
training employees to improve the mill’s processing capability, and reducing waste in the
process. Ultimately, this is helping Cameroonian communities to build a better economy
through responsible management of an important natural resource. Taylor’s work there
was honored in 2014 with the Award for Corporate Excellence (ACE) from the U.S.
Department of State.

Forest Restoration
Forests are a uniquely renewable resource, and we believe it’s not enough to source
wood responsibly. We need to help restore. In 2015, we partnered with one of our
longtime wood suppliers, Pacific Rim Tonewoods, and launched Paniolo Tonewoods, a
joint venture to help restore the native koa forests of Hawaii. In 2016, Taylor partnered
with The Congo Basin Institute to launch The Ebony Project in Cameroon, where
thousands of ebony trees have been planted. More recently, closer to home in California,
we have partnered with West Coast Arborists in a pioneering effort to utilize urban
woods and to stimulate the greening of our urban environment. Other projects are in
development. The Definitive Guide To Buying An Acoustic Guitar 108
 10

S E CT I O N
A Guide to Guitar Terms

• 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

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A Guide to Guitar Terms

Talking Tone:
How Guitar Players Describe Acoustic Tone
Like wine lovers and foodies, guitar players wield colorful lingo to describe tonal Below is an earful of commonly used expressions relating to acoustic guitar
“flavors.” The good news: Guitar talk actually translates into definable qualities of tone. A few are technical, while others are more descriptive. Even if you’re not a
sound. The bad news: Our ears, like our taste buds or senses of smell, are wired great player, with these in your guitar vocabulary you’ll be able to talk tone with
in a multitude of different ways, so we don’t always hear tone in the same way. the best of them.
In the end, using words to describe sounds is, at best, an approximation, since
sounds don’t always neatly translate into words. Don’t get hung up on the lingo.
Understanding a few basic terms will take you a long way.

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. Midrange: On car stereo or home audio systems, the frequency response
More commonly used regarding chords. 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
Ceiling: A defined boundary, often used in reference to volume. A guitar tend to reside beyond that. If one considers where an acoustic guitar’s pitch
or wood’s ceiling is the point at which it stops delivering volume or tone. range falls, predominantly all the notes on the fretboard occupy the midrange
of the frequency spectrum that can be heard. It’s where voice is; it’s the middle
Crisp: More treble emphasis, without lingering overtones. part of a piano.

Dark: Bass tones emphasized or tone with a lower degree of treble. Overtones: Multiples of a fundamental frequency, also referred to as harmonics,
which occur as a string vibrates, creates wave patterns, and the harmonics stack
Decay: The way a sustained, ringing note diminishes over time. 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
Dry: A tone with a strong fundamental and little to no overtones, with subtle than the fundamental, they add richness and complexity to a sound.
under-pronounced or very subtle frequency peaks. Mahogany’s focused
midrange is often described as dry. Piano-like: Exactly what it sounds like. As if you packed a grand piano inside a
guitar’s body and put strings on it. A bell-like quality to the notes and a brilliance
Fundamental: The true frequency, or pitch, of a note. A low E, for example of note separation.
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.
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A Guide to Guitar Terms

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 it’s not overly bright.

Woody: A seasoned, well broken-in dry tone. A vintage mahogany guitar will
have an especially woody sound. You’re always learning
about this thing every time
you pick it up.
Keith Richards

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A Guide to Guitar Terms

Anatomy of an Acoustic Guitar: An Index

Learn the lingo and sound like a guitar expert.
Fretboard: The part of the neck into which frets are inserted and on which
Action: The distance of the strings above the frets, typically measured the strings are pressed when the guitar is played.
at the 12th fret of the neck.
Frets: Raised metal bars inserted into the fretboard, against which the strings are
Back: The thin, wide wood behind the guitar, opposite to the top. pressed to change their pitch.

Body Binding: Strips of fiber, plastic, or wood glued around the edges of the Heel: The end of the neck the joins the body. The neck is attached to the
body. The purpose of binding is to protect and decorate the edges of the guitar. body at the heel and the extension using three bolts.

Braces or Bracing: The strengthening bars glued to the top and back of the High Angle: The plane of the frets aimed above the surface of the bridge.
guitar to provide stability and to control how the guitar vibrates. The size, shape, Raising the angle lowers the action.
and placement of the braces play a vital role in determining the tone, volume,
and balance of the guitar. 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.
Bridge Pins: Small plastic or ebony pins that hold the strings in the bridge
of the guitar. 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.
Bridge Plate: Part of the bracing for the guitar top. The bridge plate, or pin plate, Kerfing increases the glue surface where the top and back are glued to the sides.
is a thin piece of maple or other hardwood that is placed directly under
the bridge to support the top under string tension. 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.
Endpin: A knob or button inserted through the tailstrip and tailblock that allows
the player to attach a strap to the guitar. Low Angle: The plane of the frets aimed below the surface of the bridge.
Lowering the angle raises the action.
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 Lower Bout: The widest part of the guitar body, below the waist. The
of the guitar. dimensions of the lower bout play a role in the bass response of the guitar.

Fretboard Inlays: Decorations of wood, shell, or other materials set into Neck Angle: The alignment of the fret surface relative to the top of the guitar. On
hollowed-out areas called pockets in the fretboard. a Taylor, the neck angle is set so that the plane of the frets aligns with the top sur-
face of the bridge.

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A Guide to Guitar Terms

Nut: A bar, usually of bone or plastic, placed between the fretboard and the peg- Relief: The slight forward bow in a guitar neck; 0.004” to 0.007”
head veneer. The nut provides a bearing surface for the strings and holds them (4 to 7 thousandths of a inch) is the desired amount of relief in a Taylor neck.
at the correct height above the fretboard and the correct distance from one an-
other. Rosette: The circular inlays around the soundhole of the guitar.

Peghead Binding: Strips of fiber, plastic, or wood glued around the edges Saddle: The narrow bar of hard plastic or bone set into the bridge to
of the peghead. The purpose of binding is to decorate and protect the edges provide a bearing surface for the strings, and to transmit string vibration
of the guitar. through the bridge and into the body.

Peghead Inlay: A decoration of wood, shell, or other material set into Shaft: The straight section of the neck between the peghead and the heel.
a hollowed-out area called a pocket in the peghead veneer.
Side Dots: Small round inlays on the side of the fretboard that mark positions on
Peghead Logo: The guitar maker’s brand name or trademark design, the neck. Single side dots are inserted at the 3rd, 5th, 7th, and 9th frets. Double
usually of pearl, wood, or plastic, inlaid into the peghead veneer. side dots are inserted at the 12th fret.

Peghead Veneer: A thin piece of wood, often Indian rosewood or ebony, glued Sides: The thin bent panels of wood that connect the top to the back
over the peghead as a decorative cover. of the guitar. The sides are made of the same wood as the back of the guitar.

Peghead/Headstock: The section of the neck that holds the tuners. The headstock Soundhole: The round opening in the top of the guitar.
on a Taylor guitar is cut from the shaft and glued back on at an angle using a
scarf joint. Sticker: An adhesive label with the Taylor logo that attaches to the
heelblock to cover the heel bolts.
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 Strap Pin: A knob or button that is screwed into the heel of the neck
from fingerpicks or a plectrum. and used to hold one end of a guitar strap.

Pickup: Generic term for any electronic component that converts mechanical Tailblock: A wooden block (usually made of mahogany) used to join
vibration into an electrical signal for amplification. the two sides of the guitar body together at the butt or tail of the guitar.

Pin Bridge: On a steel-string guitar the strings pass through this wood part (usu- Tailstrip: A piece of wood that is inlaid where the two sides meet at
ally ebony) that is glued to the top of the guitar. The strings are held in the bottom of the guitar.
place with bridge pins. This type of acoustic bridge is called a pin bridge.

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.
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A Guide to Guitar Terms

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.

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Taylor Guitars
We’re 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

The Definitive Guide To Buying An Acoustic Guitar 115