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The Taylor Line by Series

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A snapshot of our series framework and tonewood pairings

The Taylor guitar line is organized by series and collections. Each series features guitars that generally share a combination of tonewoods and aesthetic details such as inlays and binding. Each of our collections is organized based on some other type of unifying design philosophy and might include models with different combinations of tonewoods, features and appointments.

Collections

Builder’s Edition

Conceived as the ultimate expression of Taylor’s player-focused design philosophy, our ultra-premium Builder’s Edition guitars offer supreme playing comfort and exceptionally rich sound thanks to a combination of refined craftsmanship and comfort-enhancing features.

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Gold Label Collection

This new collection reveals a dramatically different flavor of Taylor acoustic tone — inspired by an older, more traditional sound — boasting remarkable warmth, depth and power. The sonic distinctions are reflected in a different visual aesthetic.

Back/Sides

Honduran Rosewood or Figured Hawaiian Koa

Top

Torrefied Sitka Spruce

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Legacy Collection

Launched as the capstone to our 50th anniversary celebration, these guitars honor some of Bob Taylor’s classic models from decades past, updated where appropriate in ways that enhance the overall playing experience.

Back/Sides

Indian Rosewood or Mahogany (Legacy 514ce)

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Sitka Spruce or Western Red Cedar (Legacy 514ce and 714ce)

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The Somos Collection

This family of Latin-inspired instruments, which features a bajo quinto and unison-strung 12-string guitar, celebrates the multicultural heritage of our Southern California region.

Back/Sides

Big Leaf Maple

Top

Sitka Spruce

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All-Solid Wood Guitars

Guitars built with solid-wood backs, sides and tops yield rich, complex tone that will continue to improve as the wood matures with time and play.

Presentation Series

Crafted with exceptional tonewoods and our most elaborate aesthetic appointments, the Presentation Series spotlights the best of Taylor craftsmanship, visual artistry and tonal sophistication.

Back/Sides

Honduran Rosewood or Red Ironbark

Top

Sinker Redwood

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Koa Series

The dazzling beauty of Hawaiian koa takes center stage in this musical showcase for the tropical tonewood, featuring elegant appointments inspired by koa’s island home.

Back/Sides

Hawaiian Koa

Top

Hawaiian Koa, Torrefied Sitka Spruce (Builder’s Edition)

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900 Series

The 900 Series has always exhibited refined visual artistry, and with its recent focus on Builder’s Edition models, players can expect extraordinary playing comfort to complement the stunning details and premium tonewood selections.

Back/Sides

Honduran Rosewood

Top

Sinker Redwood

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photo of Taylor 800 series acoustic guitar close-up on armrest feature

800 Series

From the flagship 814ce to its Builder’s Edition counterparts to the revolutionary Gold Label collection, the 800 Series is such an enduring part of our heritage that it has evolved beyond our standard series and into other collections.

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Indian Rosewood (Standard, Legacy, Builder’s Edition) Honduran Rosewood (Builder’s Edition, Gold Label), Hawaiian Koa (Gold Label)

Top

Sitka Spruce (Standard, Legacy), Adirondack Spruce (Builder’s Edition), Sinker Redwood (Builder’s Edition), Torrefied Sitka Spruce (Gold Label)

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700 Series

Crafted with Select-grade Hawaiian koa, our 700 Series offers an alternate flavor of the beloved koa look and sound, featuring rich variegation and a lively musical character.

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Select-Grade Hawaiian Koa (Standard), Indian Rosewood (Builder’s Edition & Legacy)

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Select-Grade Hawaiian Koa (Standard), Torrefied Sitka Spruce (Builder’s Edition), Western Red Cedar (Legacy)

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600 Series

Our 600 Series guitars prove that maple can produce exceptional warmth and depth to complement the famed transparency that channels each player’s unique touch.

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Figured Big Leaf Maple

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Torrefied Sitka Spruce (Standard & Builder’s Edition), Sitka Spruce (Somos)

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500 Series

The 500 Series blends signature Taylor craftsmanship with a wood we’ve championed, Red Ironbark, allowing us to pursue a more responsible future for acoustic guitar tonewoods while showcasing a unique tone profile we love.

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Red Ironbark (Standard), Mahogany (Builder’s Edition, Legacy)

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Torrefied Sitka Spruce (Standard, Builder’s Edition), Cedar (Legacy)

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400 Series

With Indian rosewood, Sitka spruce and striking appointments, the 400 Series offers a gateway to a time-honored tonewood pairing that’s more accessible to working musicians without sacrificing visual appeal or build quality.

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Indian Rosewood

Top

Sitka Spruce (Standard) or Torrefied Sitka Spruce (Studio)

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300 Series

Our lowest-priced entry point to the sophisticated sound of all-solid-wood construction, the 300 Series boasts an array of workhorse instruments diverse enough to satisfy musicians of virtually any style or skill level.

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Sapele (Spruce Top), Mahogany (Mahogany Top) or Shamel Ash (Builder’s Edition)

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Sitka Spruce, Mahogany or Torrefied Sitka Spruce (Studio)

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Layered-Wood Guitars

Acoustic guitars crafted with layered-wood backs and sides paired with spruce tops allow us to offer bold tone at a more affordable price.

200 Series Standard | Plus | Deluxe

Between standard, Plus and Deluxe options, the 200 Series offers a remarkable variety of wood combinations, aesthetic appointments and price points, offering an enticing blend of musical potential and value.

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Layered Walnut, Koa, Rosewood or Maple

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Hawaiian Koa or Torrefied Sitka Spruce

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100 Series

Offering rich projection, easy-playing necks and performance utilities like built-in electronics and included gig bags, the 100 Series makes it easy to access great tone and an accommodating playing experience regardless of your skill level.

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Layered Sapele

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Torrefied Spruce

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Academy Series

The Academy Series was designed with new players in mind, combining punchy solid-top tone with comfort-enhancing features like a beveled armrest to help you become the musician you’ve always dreamed you could be.

Back/Sides

Layered Walnut

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Torrefied Sitka Spruce, Walnut or Lutz Spruce (Nylon)

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GS Mini Series

Few acoustic guitars can match the sweeping popularity of our GS Mini.

Back/Sides

Layered Koa, Rosewood or Sapele

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Hawaiian Koa, Torrefied Spruce or Mahogany

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Baby Series

With its three-quarter scale and solid-wood top, the Baby Taylor and its Big Baby sibling pack satisfying acoustic tone into compact guitars that can follow you anywhere life takes you.

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Layered Walnut, Sapele (Mahogany Top, TSBT) or Koa (Koa Top)

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Torrefied Spruce, Mahogany or Hawaiian Koa

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Electric Guitars

T5z Series

Outfitted with two humbuckers, an acoustic body sensor and innovative five-way pickup selection, our thinline hollowbody electric-acoustic hybrid guitars serve up an unprecedented range of tones accessible with the flick of a switch.

Body

Shamel Ash

Top

Figured Koa (Custom), Figured Maple (Pro)

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Custom Guitars

Our Custom program offers a wide array of premium-grade tonewoods, unique appointments and other features. View a sampling of our latest configurations at customs.taylorguitars.com.

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Circa 74 Acoustic/Vocal Amp

Circa 74 Acoustic / Vocal Amp

Born from the combined expertise of luthiers, engineers and woodworkers, the Circa 74 acoustic guitar and vocal amp blends warm, rich sound with intuitive controls and a stylish aesthetic that reflects our passion for craftsmanship.

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Finding Your Fit

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Body shapes, tonewoods, neck feel… there are plenty of variables when it comes to choosing a guitar, but what matters most is you.

We get it: the process of finding the right guitar can feel daunting. The breadth of the Taylor guitar line alone tells you a bit about how many options are out there, and we’re just one manufacturer. So, what’s the secret to sifting through the choices and picking a guitar that’s right for you?

There’s no one answer, but we’ve built and sold enough guitars over 50 years to know a thing or two about matching a player with an instrument that will inspire them. The good news is that some of the most player-friendly traits of a good acoustic guitar, such as consistent build quality, an easy-to-play neck, and a guitar’s ability to stay in tune and produce a pleasing musical voice, are found across the entire Taylor line, so by considering a Taylor, you’re already off to a great start! Beyond that, in our experience, the key lies in understanding what kind of guitar player you are — even if you’re completely new to the instrument — and what you aspire to do with it.

Here are a few basic questions you can think about that should help you home in on some good options.

What size and shape of a guitar are you most comfortable holding and playing?

Your physical relationship with a guitar will impact how you interact with it. The answer to this question might relate to your physical stature or the size of your hands. For a more in-depth run-through of the different options offered in our guitar line, see our guide to body shapes.

What’s your playing style?

Every player has their own signature touch, and you’ll want something that facilitates your own style. To simplify the question, you can think about two main variables. First, do you use a pick, or are you more of a fingerstyle player? Novices may want a guitar that supports both styles, since you’re still figuring out how you like to play. More experienced players are likely to have a more defined style, which can allow you to focus your search on a guitar geared toward one or the other.

The second factor is your attack: How hard do you strike the strings? A player with a heavier attack may want a larger guitar that can handle all the energy you generate and translate it into clear sound without being overdriven. Players with a softer touch might prefer a smaller instrument that’s more responsive to a lighter attack, sounds clear and articulate, and delivers plenty of separation between notes.

One other tip: If you use a pick, the type you use makes a difference in both feel and sound. You’ll find an array of pick materials, shapes and thicknesses out there (including some good options that we sell). We encourage people to experiment to discover what they like best, so buying a variety pack is a good option.

Where will you primarily play your guitar?

Time to start thinking about practical questions. Will this guitar stay at home? Do you plan to travel with it? Both? If you think you’ll mostly play at home, you might have more flexibility in size and body shape since you won’t have to worry about transporting the guitar, although if you like to play on the couch, maybe a smaller guitar you can comfortably curl up with is right for you. If you plan to travel, you might want something compact that can be easily packed into the trunk of a car or fit in the overhead bin on an airplane.

Do you plan on gigging with your new guitar?

Thinking ahead about your aspirations for your new guitar will help you focus on the most important variables. If you’re a working musician who regularly plays out at clubs or other venues, you’ll want to think about how your guitar will sound through an amp or PA and whether you want an onboard pickup so you can plug in. It’s also important to consider how your guitar will sound in a mix with other instruments. Solo players might favor a guitar with a broader sonic palette for more expressive range. If you’ll also be singing, look for a sound that complements your voice. If you plan to play with other musicians/instruments, you might look for a guitar with a more articulate sound that sonically stays in its lane and won’t take up too much space in a mix. If you’re not planning on gigging or if you’re a novice player, we suggest focusing on playing comfort.

Do you plan on recording your guitar?

Similarly, if you plan to do any recording — either at home or in a professional studio — you’ll want to consider guitars with onboard pickups, which provide the easiest, simplest means of recording a guitar. However, some musicians prefer to use microphones for recording applications; in that case, focus on finding a guitar that will cooperate with industry-standard recording mics. Smaller guitars tend to sound more articulate through a microphone.

Is there a tonal “flavor” that sounds especially good to you?

Think about how the guitars featured in your favorite music sound. Are they clear and vibrant, or woody and warm? Do you like a punchy sound, or something mellower? Also, remember, we all hear and process sound in different ways, so this is often subjective. Taking these things into account will help you land on a tonewood pairing. Rosewood tends to sound rich at both ends of the musical spectrum, mahogany guitars tend to sound a bit “drier” and woodier with a midrange emphasis, and maple and Hawaiian koa might be a bit more vibrant. Likewise, spruce tops tend to generate a dynamic response, while hardwood tops like mahogany and koa tend to have a slightly darker, more compressed response.

How high up on the neck do you plan to play?

If you like to have easy access to the highest notes on the fretboard, we recommend a guitar with a cutaway. Players who mostly strum open chords fretted closer to the headstock may not need the cutaway.

Finally, what inspires you visually?

Besides feel and sound, a guitar’s visual aesthetic is another legitimate consideration because it reflects your personal or artistic tastes. Or, as we like to say, people often hear with their eyes. Whether it’s the beautiful wood grain of Hawaiian koa or sinker redwood, a vintage-look sunburst top, or the guitar’s elegant inlays and other detailing, a guitar’s appearance can be a great source of inspiration.  

Remember, these questions are only intended to help you find a place to start on your guitar search. Guitars, like all instruments, are highly subjective, and the best way to find the perfect one for you is to play a wide range and stick with what sounds and feels right. You’ll find more details on body shapes, tonewoods and how the two come together throughout this guide.

Taylor Body Shapes

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How to find the size and sound that fit you best

Body shape is a great place to start your search for the right acoustic guitar model. That’s because the shapely curves and depth that define the body’s dimensions will influence both your physical relationship to the guitar and the type of voice it produces. Once you find the right shape, you can play and compare versions with different tonewood pairings. (For more on that, see our guide to tonewoods.) Here are a few considerations when it comes to comparing different body styles.

Feel

Comfort is important, so pay attention to how the body proportions feel when you play. A smaller guitar with a more tapered waist and slightly shallower body depth tends to create a more intimate feel. With larger bodies, consider the comfort of your picking/strumming arm in relation to the size of the lower bout, especially if you often play while seated. Body depth can also be a factor. Additionally, some Taylor models have advanced comfort features like chamfered (rounded) body edges or an armrest.

Neck-to-Body Relationship

Though not part of the body, the neck is connected to it, so the orientation of the two is another key comfort consideration. One factor is the point where the neck joins the body (12th or 14th fret). Another is the string scale length (the length of the string from the nut to the saddle), which in some cases varies based on the body shape. These design distinctions will influence how close together your hands are when you play, the amount of string tension, and the spacing between frets.

Sound

An acoustic guitar body is a natural amplifier for the strings. The body dimensions define the air capacity inside the guitar, and the amount of air volume tends to emphasize certain frequencies. In general, the smaller the air volume, the more focused the voice, often with an emphasis on upper-register frequencies. The greater the air volume, the bigger and deeper the voice, with an emphasis on low-end frequencies.

The Secret Sauce: Bracing

An acoustic guitar’s internal bracing architecture works in concert with the body shape and tonewoods to voice the guitar in unique ways. Our proprietary bracing patterns have been designed by master builder Andy Powers to optimize the tonal properties of each model. These include our award-winning V-Class® bracing, featured on most of our U.S.-made steel-string guitars. The patented design enhances the response of the guitar body to the vibrating strings, putting them more in tune with each other and producing more volume, more sustain and better harmonic agreement between notes. It’s also a framework that can be modified in unique ways based on the body style and tonewood pairing, which creates a more distinctive sonic personality for each model.

Travel-size Body Shapes

We also offer several scaled-down versions of existing body styles: the GS Mini (based on the Grand Symphony), the Baby Taylor (a three-quarter-scale dreadnought) and the Big Baby Taylor.

How does a cutaway affect tone?

What people usually want to know is whether a cutaway diminishes a guitar’s tonal output. The answer: not in a discernible way. One might argue that it enhances the tone in the sense that it offers access to more notes along the treble-side of the fretboard where the neck meets the body. We recommend that you decide based on whether you want that extra upper-fretboard range or simply based on your aesthetic preference, as some people prefer the more traditional, symmetrical look of a non-cutaway, while others favor the sleek contouring of the cutaway. Many of our models can be ordered with or without a cutaway, but some guitars are offered exclusively in non-cutaway form, such as the new Super Auditorium and most Grand Pacific models, plus the Academy Series, GS Mini Series and Baby Series.

When you’re searching for the right acoustic guitar, one of the fundamental considerations is body shape. The body’s curves and depth help define our physical relationship with the guitar and literally shape the sound it produces. In addition to our family of full-size guitar bodies, we offer three scaled-down versions of existing shapes — the Baby Taylor (traditional dreadnought shape), the GS Mini (Grand Symphony), and the Big Baby Taylor.

Grand Concert

(Models end in a 2; e.g., 812)

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 warmth and sweetness. We’ve also embraced the GC shape for most of our 12-string models to make the 12-string playing experience more accessible and musically useful.

  • Dimensions

  • Sound

  • Feel & Fit

812e

Grand Auditorium

(Models end in a 4; e.g., 814)

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.

  • Dimensions

  • Sound

  • Feel & Fit

814e

Grand Pacific

(Models end in a 7; e.g., Builder’s Edition 517)

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.

  • Dimensions

  • Sound

  • Feel & Fit

Builder’s Edition 517e

Dreadnought

(Models end in a 0; e.g., 210)

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.

  • Dimensions

  • Sound

  • Feel & Fit

110e

Super Auditorium

(Models end in a 4; e.g., Gold Label 814e)

Exclusive to our Gold Label Collection, the Super Auditorium has proportions that resemble our Grand Auditorium, but the body is slightly longer and the lower bout is slightly wider. With its unique voicing architecture, this body style creates a dramatically different flavor of tone: a more vintage sound that’s deeper, more resonant and more muscular. It has remarkable dynamic range — you can play softly or really lean into it and get a warm response.

  • Dimensions

  • Sound

  • Feel & Fit

Gold Label 814e

Jumbo

(Models end in a 5; e.g., Legacy 815e)

A big, shapely body that Bob Taylor inherited from his pre-Taylor days and then refined over time, the Jumbo is featured with Taylor’s Legacy 815e and 12-string 855e. It produces a full, robust sound without being bottom-heavy. Its voluptuous curves provide a lot of soundboard real estate, but the contoured waist helps tighten the midrange and temper the overtones, which creates a balanced voice.

  • Dimensions

  • Sound

  • Feel & Fit

Legacy 815e

Taylor Tonewoods

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Explore the full range of Taylor tonewoods and learn about the unique flavors they add to a guitar's sound.

Here’s the thing: Describing the tonal properties of different woods is hard. Well, not hard, but insufficient. That’s because, for starters, an acoustic guitar is made with different wood species that each contribute to the sound: the back and sides (the same species), the top, the neck, the fretboard, the bridge, the internal bracing. Each is just one ingredient in a complex recipe that requires thoughtful design and skillful craftsmanship.

Woods are to a guitar maker what ingredients are to a chef: They have certain inherent properties that translate into sonic flavors, but it’s all about how the guitar maker works with them. So anytime you find yourself hungry to explore acoustic guitar tone, it helps to have an idea of what the guitar “chef” was trying to do in the first place.

Good guitar design is important because it helps harness the best of a wood’s natural sonic characteristics to create a musically pleasing guitar. That’s why we’ve been so excited about breakthrough designs like our V-Class and C-Class bracing, along with other techniques that help us continually refine the voicing and musicality of our instruments.

Another important takeaway is that wood sourcing is a fluid endeavor because we’re trying to be responsible stewards of the natural resources we rely on, which means embracing new wood species (or grades) to help reduce our reliance on others. It means using woods that might not (yet) have the pedigree of, say, rosewood or mahogany, or the exotic allure of figured Hawaiian koa, but have musical virtues we feel we can showcase through Andy’s designs. It also means thinking generations ahead and planting woods like ebony and koa for the future.

Tone Profiles

All that said, we think it’s helpful to highlight some of the innate musical characteristics of the different woods we use to help you better understand the basic tonal nuances that distinguish them. Last year, we enlisted Andy to help us create the tone charts shown here. Even though these woods are just one part of a larger musical recipe, Andy identified four tonal properties that guide his design choices, and in turn, inform the sound of a guitar. Here’s a recap of how they help flavor a guitar’s tone profile.

1. Frequency Range

Think of an EQ curve. We often describe a wood’s sonic attributes in terms of its tendencies to resonate in a certain frequency range (i.e., accentuating lows, mids or highs). For example, rosewood tends to favor low and high frequencies. Spruce tends to have a high-frequency preference.

2. Overtone Profile

At one end of this scale is a wood’s natural harmonic complexity — its tendency to resonate not only with the source note and string harmonics, but to also allow its own overtone additions to be heard. Think of rosewood’s rich voice, with its ringing overtones. At the other end is a wood’s tendency to focus more on the fundamental — basically to dampen its own overtone input, allowing only the source note and harmonics generated by the string to be heard. Think of mahogany’s dry, focused voice.

3. Reflectivity

This spectrum indicates the degree to which the wood is inclined to take on the character of the player and/or guitar design versus asserting its own sonic character. This relates to the overtone profile mentioned above. As an example, we often describe a wood like maple as being player-reflective, which means it has a certain neutral or transparent quality that allows it to channel the player’s style or the design of the instrument more directly. As a result, it can be more of a musical chameleon. Other woods, like rosewood, tend to have more intense character traits that will always flavor the sound, regardless of the player or instrument design.

4. Touch Sensitivity

This suggests how easily and immediately the guitar responds to a player’s touch. It can be a reflection of different factors, such as the wood’s density, strength and weight. At one end of the scale is a guitar that responds immediately to the lightest touch with an open and airy voice; at the other end is a guitar that responds well to a strong attack, producing dense and equally strong projection.

We often talk about touch sensitivity in the context of the soundboard. As an example, a cedar top is lightweight and has a high degree of touch sensitivity, which is why it often appeals to fingerstyle players with a light touch. A wood like Lutz or Adirondack spruce tends to have less touch sensitivity due to its strength and weight. It often shines in the hands of a player with a livelier attack and packs quite a sonic punch. A hardwood top like mahogany has a lower touch sensitivity, and with its natural compression, helps level out a heavier attack.


Solid vs. Layered Woods

One key distinction between the woods we use is whether the tonewood is solid or layered. Solid woods produce the most complex tone, and the sound continues to improve with age. Every model in the Taylor line features a solid-wood soundboard.

Our layered-wood construction (back and sides on our 200 Series and below) consists of a middle core with a thinner layer on each side. Building guitars with layered-wood backs and sides allows us to use our resources efficiently, and we’re able to arrange the woods with an alternating grain pattern to increase the guitar’s stability and resilience.

Back & Side Woods

Hardwoods are used exclusively for the backs and sides of guitars. Acting as the supportive framework for the instrument, the back and sides contribute rigidity and stability that help coax greater sustain from the guitar, along with physical traits that 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.

Indian Rosewood

Series

900, 800, 400 Series

Tone Profile

  • Warm, resonant bass range with sparkling treble tones
  • Complex overtones with rich sustain
  • Scooped midrange, ideal for players who also sing

Hawaiian Koa

Series

Koa Series, 700 Series

Tone Profile

  • Strong midrange presence and an extra splash of top-end brightness
  • Ages gracefully — the more it’s played, the more koa will open and sweeten over time
  • Gorgeous grain lends a striking visual character

Mahogany

Series

300 Series

Tone Profile

  • Fundamental-strong focus without many overtones; the note you play is the note you hear
  • Dry, woody tone; responds well to a strong attack
  • Natural compression smooths out sharp volume edges for a more even response

Sapele

Series

300 Series (with spruce tops)

Tone Profile

  • Similar fundamental focus to mahogany, but with slightly more treble sparkle
  • Consistent and balanced across the entire tonal spectrum
  • Slides in beautifully alongside other instruments

Red Ironbark

Series

500 Series

Tone Profile

  • Dense, hard wood with the piano-like fidelity of Indian rosewood
  • Bold, rich and sweet voice that blends power, clarity and balance
  • Dynamic and versatile voice that amplifies

Featured Models

Shamel Ash

Series

300 Series

Tone Profile

  • Comparable to mahogany
  • Fundamental-focus with direct, dry tone and some natural compression
  • Responds well to most playing styles

Top Woods

The wood used for a guitar’s soundboard plays a key role in defining the overall tone of the instrument. Often, we use “soft” woods, which come from coniferous trees. Spruce and cedar are valued for their combination of being lightweight yet strong, possessing an elastic quality that allows them to be set in motion easily. These woods generally produce a wide dynamic range, and contribute their own unique musical flavor to the mix.

We also use hardwoods such as mahogany and koa as guitar tops. These denser materials require more energy to set in motion, and the vibration tends to move more gradually through them. The result is a kind of natural compression effect that rounds out the guitar’s initial attack, producing a focused voice with fewer overtones. Hardwood-top guitars often amplify well.

Sitka Spruce

Tone Profile

  • Crisp and articulate, with a broad dynamic range
  • Accommodates a wide variety of playing styles and musical genres

Lutz Spruce

Tone Profile

  • Natural hybrid of Sitka and White/Engelmann spruce
  • Like old-growth Adirondack spruce, generates extra power and headroom

Featured Models

Mahogany

Tone Profile

  • Natural compression yields a controlled “roll-in” effect to a note
  • Even, balanced volume response to a varied strumming or picking technique
  • Strong fundamental focus with a direct, dry sound without overtones

Hawaiian Koa

Tone Profile

  • Natural compression yields a controlled “roll-in” effect to a note
  • Even, balanced volume response to a varied strumming or picking technique
  • Similar to mahogany with a touch more top-end shimmer and chime

Western Red Cedar

Tone Profile

  • Less dense than spruce, generating a warmer, more played-in sound
  • Additional midrange presence adds complexity
  • Especially sensitive to players with a soft touch, but with more dynamic range for strumming from V-Class bracing

5 Guitar Care Essentials

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Taylor customer service manager Glen Wolff shares his recommendations for keeping your Taylor looking, feeling and sounding brand-new

Maybe you’re new to the guitar. Maybe you’re a seasoned pro. Maybe you’re looking for gift ideas for a guitarist in your life but don’t want to waste money on something they don’t need. At Taylor, we believe there are a few things every player should have on hand at all times. Owning quality versions of these essential maintenance tools opens the door to a premium playing experience, making each session with your Taylor feel as fresh as the very first time you picked it up.

Digital Tuner

No one wants to hear you play a guitar that’s out of tune — not your audience, not your bandmates and certainly not you. Digital guitar tuners are readily available from our online TaylorWare shop as well as any physical music store or online music retailer. It’s also easy to get a good one without spending a lot of money. The clip-on variety, which attach to your guitar’s headstock, are among the most popular guitar tuners because they’re intuitive, compact and don’t require a cable. Taylor’s clip-on headstock tuner is called the Beacon, and it also includes a metronome, timer, countdown clock and built-in flashlight to illuminate dark performance spaces.

Polish Cloth + Polish or Cleaner

Even the most diligent player ends up with fingerprints and oil on their guitar after a while, not to mention dust, sweat or spills. At Taylor, we suggest choosing your care products based on your guitar’s finish type. Gloss-finish guitars are best treated with a polish, while matte- or satin-finish models need a cleaner. You’ll find both, as well as ultra-soft microfiber cloths that won’t leave streaks on your guitar, at the TaylorWare online store as well as at your favorite local music shop.

String Winder/Cutter

Uh-oh — you just broke a string. It happens to every player, and while it’s certainly an annoyance, a broken string need not derail your performance or inspired writing session. A good string winder makes it easier and faster to replace a string, whether you’ve broken just one or it’s time to replace them all with a fresh set. Grab a string winder with a built-in cutter to make the process even easier.

Digital Hygrometer

Acoustic guitars are made from thin pieces of wood and are highly reactive to relative humidity (RH). Digital hygrometers, which measure relative humidity, are inexpensive and easy to find — just check the TaylorWare shop or your local music store. The sweet spot for acoustic guitars is between 45 and 55 percent RH. Keeping your guitar in drier conditions can cause it to warp and crack, while excessive humidity can cause swelling. Once you have a hygrometer, there’s one more thing you may need…

Humidification System

If you live in a relatively dry climate where relative humidity levels regularly drop below 45 percent (or in a seasonal climate where you heat your home each winter, which will lower the humidity level), it’s essential to add humidification to keep your guitar in great shape. Keeping your guitar in its case and using an in-case humidifier are the simplest ways to keep your guitar in the ideal humidity range and prevent damage. Simple sponge humidifiers or more advanced gel systems are easy to use and go a long way toward keeping your guitar damage-free and playing and sounding its best.

Tone Terminology

Scroll Down

How to talk like a guitar expert

Like wine lovers and foodies, guitar players wield colorful lingo to describe “flavors.” The good news: Guitar talk translates into definable qualities of sound. The flip side: Our ears, like our taste buds or senses of smell, are wired in many different ways, and we each have our own impressions and preferences. Case in point: “Bright” tone can have a positive or negative connotation depending on the listener’s perspective and musical context.

Despite his depth of knowledge about tonal characteristics (or perhaps because of it), master designer Andy Powers is often wary of the ways words are used to describe sounds — even though we do it all the time — due to the different interpretations often associated with those words.

He also emphasizes that there’s a lot going on sonically when guitar notes resonate.

“A note is not a simple, single-frequency tone; it’s a composite of multiple tones originating from one fundamental frequency,” Andy says. “What we hear is a summation of a frequency, with various degrees of complementary frequencies responding and blending with the primary pitch. The composite will take on different characteristics that subtly affect how the note is perceived over the beginning, middle and end of the sound.”  

That said, getting a handle on some frequently used terms provides a helpful reference for talking about tone. Some of these are more technical; others are more descriptive. And these really just scratch the surface. If nothing else, hopefully they’ll help you deepen your appreciation for the different sonic characteristics that shape a guitar’s musical personality.

Attack: The front-end trajectory of a guitar’s tonal response — how quickly it reaches its peak volume. This can be heavily influenced by the type of pick a player uses. Attack can also be used to describe the intensity of the player’s strokes on the strings. Related terms that follow the continuing progression of the sound as it resonates are “sustain” and “decay.”

Boomy: Bass-dominant or bottom-heavy tone, often lacking tonal definition. This can be interpreted differently based on personal preferences and musical applications. Some players favor a big, powerful bass response, often associated with a larger guitar. But in recording scenarios, a boomy guitar can overpower other frequencies in a mix. One of the benefits of Taylor’s V-Class bracing in the Grand Pacific is that the bass response isn’t boomy; it produces clear low-end power.

Bright: Treble emphasized, or with a lower degree of bass.

Buttery: Rich and smooth, with multiple notes easily blending together as if they could be spread from individual notes into a single harmonic entity, especially when the tone of the individual notes has a warm, low-frequency emphasis. These notes usually lack a sharp or fast attack and have a smooth beginning, middle and end.

Ceiling: A defined boundary, often used in reference to volume. A guitar or wood’s ceiling is the point at which it stops delivering volume or tone.

Complex: Rich with sonic detail, often featuring harmonic content from overtones. A rosewood guitar tends to produce a high degree of tonal complexity, especially in the treble frequencies.

Compressed: At Taylor we usually talk about compression in the context of a hardwood top like mahogany and the natural leveling effect it produces. A softer wood like spruce vibrates more freely and often produces a more open and dynamic response, while mahogany, being denser, will control the response of the note, leveling it out to create a more linear or balanced sound. The leveling effect can help smooth out an aggressive strummer. It also helps produce clear, well-behaved amplified sound for live performance.

Crisp: Clear and well-defined, typically with more treble emphasis and without lingering overtones.

Cutting: Often used in the context of a guitar’s ability to “cut through in a mix” with other instruments, either in live performance in a band setting or for recording. Essentially, it means some combination of volume, clarity and definition.

Dark: Bass tones emphasized or tone with a lower degree of treble.

Decay: The way a sustained, ringing note diminishes over time.

Dry: Tone with a strong fundamental focus and minimal overtones. Mahogany’s focused midrange is often described as dry.

Fundamental: The true frequency, or pitch, of a note. A low E, for example, vibrates at a frequency of 82.407 hertz (Hz). (1 Hz = 1 vibration per second.)

Growl: A certain rasp or overdriven sound that a bigger-bodied guitar puts off, often as the result of aggressive playing.

High-Fidelity: Usually used to describe acoustic guitar tone with pleasing clarity and tonal definition, often with more discernible sonic detail from harmonic overtones, and lacking distortion. (Also see “Piano-like.”) Rosewood guitars often have a high-fidelity quality to their voice due in part to the bell-like sparkle of the treble overtones.

Honky: A nasally sound, usually focused in the midrange frequencies.

Meaty: Lots of midrange, usually with a full low end. Also referred to as fat, full or thick.

Midrange: On car stereo or home audio systems, the frequency response often ranges between 20 Hz to 20 kilohertz (kHz). Midrange covers from 110 Hz, which is a low A string, up as high as 3 kHz. High-frequency (treble) tones tend to reside beyond that. If one considers where an acoustic guitar’s pitch range falls, predominantly all the notes on the fretboard occupy the midrange of the frequency spectrum that can be heard. It’s where the human voice resides; it’s the middle part of a piano.

Muddy: Lacking clarity or definition. It’s usually used in the context of describing bass or lower midrange frequencies.

Overtones: Multiples of a fundamental frequency, also referred to as harmonics, which occur as a string vibrates, creates wave patterns, and the harmonics stack up. The term “bloom” is used to describe the sonic effect of the overtones as they stack up over the decay of the note. Although overtones tend to be more subtle than the fundamental, they add richness and complexity to a sound.

Piano-like: Exactly what it sounds like. As if you packed a grand piano inside a guitar’s body and put strings on it. The sound has a bell-like, high-fidelity quality and a brilliance of note separation.

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.

Projection: How the tonal output is propelled and travels from the guitar. The physical range of the sound.

Punchy: Strong tonal output and projection, often focused in the midrange frequencies. An immediate and percussive attack.

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.”

Sustain: The length of time a note audibly resonates.

Throaty: An extremely beefy midrange. The origin might be based partly on the fact that the human voice tends to occupy midrange frequencies.

Warm: A sound with very little low-frequency damping. That lower-frequency emphasis is present in the composition of every note, including the midrange and high-frequency pitches. This is often heard as a note with lots of “body” supporting the note, and often reminds a listener of the naturally firm, strong support of wood, leading to a closely related description of “woody.”

Woody: A seasoned, well broken-in dry tone, often with softer high frequencies. A vintage mahogany guitar will have an especially woody sound.

Woofy: Similar to boomy, a dominant low-end sound, usually lacking clarity, giving it a “muddy” or “mushy” quality. This can interfere with other notes and cause feedback.

The 2025 Guitar Guide

This year, our ever-evolving guitar line is more musically diverse than ever

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Finding Your Fit

Body shapes, tonewoods, neck feel… there are plenty of variables when it comes to choosing a guitar, but what matters most is you.

Learn More

Welcome to the 2025 Taylor Guitar Guide

From the sketchbook of Andy Powers to our tooling team to the Taylor production floor, our designers, engineers and craftspeople work together each day to bring our latest guitar ideas to life. Our 2025 Guitar Guide offers a snapshot of our current crop of guitar models, all designed to make the playing experience inviting and rewarding for anyone who decides to pick up a guitar.

On the pages ahead, we present the framework of our guitar line. We’ll start with some tips to help you find a guitar that fits you best. Next, we’ll break down two important ingredients that distinguish our guitars: body shapes and the tonewoods that help flavor their sound. We’ll also explain our model numbering system.

A Guide to Taylor Acoustic Model Numbers

Here’s how our model numbering system works.

Learn More

*Prices, specifications and availability are subject to change without notice.

The Taylor Story: A Passion for Player-Friendly Design

It all started in 1974, when 19-year-old Bob Taylor and 21-year-old Kurt Listug bought the small guitar-making business in San Diego where both had been working, called the American Dream, and launched Taylor Guitars. They’d bonded over a shared passion for guitars and set out together to offer players a great product. Over time, Bob and Kurt transformed their tiny guitar shop into an industry-leading acoustic guitar manufacturer that sells guitars in 65 countries around the world. Our headquarters are in El Cajon, California (in San Diego County).

What’s the secret of our success? It started with making acoustic guitars easier to play. Bob Taylor’s slim-profile, ultra-playable necks were a game changer, and players quickly gravitated toward the comfortable feel, which is still one of the most appealing qualities of our guitars. A guitar that’s easier to play will be more inviting to beginners and more expressive to skilled players.

Along the way, Bob Taylor modernized the guitar-making process by harnessing modern technology to develop many innovative manufacturing tools and techniques that brought new levels of accuracy, refinement and consistency to acoustic guitars. This allowed us to set new quality standards in feel, sound and aesthetic beauty — and inspire generations of players in the process. (For more on what sets Taylor apart, see “The Taylor Difference.”)

Meet Our Chief Guitar Designer, Andy Powers

Taylor’s innovative design culture continues to propel us forward in an obsessive pursuit of improving the guitar-playing experience. That’s why Bob Taylor hired a brilliant guitar maker named Andy Powers back in 2011 to be his design successor. Since then, Andy has served as our chief guitar designer and continues to bring enhancements to the feel and sound of our guitars, which have earned many industry awards and are played by some of the world’s finest musicians. Andy is also Taylor’s President and CEO.

A Taylor for Every Type of Player

With Andy adding to the heritage of premium quality established by Bob Taylor, the Taylor guitar line currently boasts a wide range of guitar models. It’s a diverse palette of musical flavors, but all Taylor models share important fundamental traits: exceptional playability, a clear, balanced musical voice, and premium craftsmanship that will allow your guitar to serve you reliably for many years.

In the end, even if you don’t end up choosing one of our guitars, we hope our guide helps you find an instrument that does inspire you to play. Because making music is good for the soul.

Happy strumming!

The Taylor Difference

Five things that set the Taylor experience apart

Why do people choose to play a Taylor guitar?

We can think of lots of reasons. From our perspective, they all flow from the same wellspring: our underlying passion for improving the guitar-playing experience. That creative drive set a teenage Bob Taylor on a path of innovation nearly a half a century ago, and that push for continuous improvement laid the creative foundation of our culture, guiding our approach to everything we do. For anyone curious about what makes us unique, here are five things that players can count on from us.

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 setprecisely for optimal performance, with unprecedented micro-adjustability to ensure a lifetime ofplayability. 

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.

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 chief guitar designer Andy Powers at the helm, our drive to refine the sound of our guitars has led to a steady stream of tone-enhancing and award-winning designs, such as our patented V-Class® bracing. This powerful tone-shaping platform allows us to create a wide range of musically inspiring acoustic flavors, offering something for every skill 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.

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.

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; Siglo 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 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 Sustainability, a unique position within the guitar industry.

Service & Support

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.


New for 2025

We’ll walk you through the models in our guitar line, starting with our distinctive collections, including Builder’s Edition and our new Gold Label guitars, followed by each of our series. Our series structure follow a (mostly) logical, linear progression. Here, we present them starting from the top of the line, the Presentation Series.

Headlining the additions to our line this year is the Gold Label Collection, which we detail in our cover story. Other exciting offerings for 2025 include:

New Builder’s Edition Guitars

The collection grows with beautiful new Honduran rosewood models.

The Legacy Collection

Officially unveiled last October, these guitars honor classic, Bob Taylor-designed Taylor models from the past.

The Somos Collection

Two uniquely voiced Latin-inspired instruments include a 10-string bajo quinto and a unison-strung 12-string we’re calling a doce doble.

300 and 400 Series Studio Models

These new guitars make the all-solid-wood acoustic experience more accessible within each series.

New Grand Auditorium 12-strings

Our ultra-playable 12-strings are once again available in our most popular body style with new models in the 300, 400, 800 and Presentation Series

The Jacob Collier Signature Model

Designed in collaboration with the brilliant, GRAMMY-winning artist, these all-koa instruments include a custom-voiced 5-string and a traditional 6-string.

Ultimately, we hope you’re able to play and compare some guitar models that interest you at a Taylor dealer near you. In the meantime, to learn more about our guitars, browse models here at TaylorGuitars.com, where you’ll find photos, specifications and video content.

Tone Terminology

Scroll Down

How to talk like a guitar expert

Like wine lovers and foodies, guitar players wield colorful lingo to describe “flavors.” The good news: Guitar talk translates into definable qualities of sound. The flip side: Our ears, like our taste buds or senses of smell, are wired in many different ways, and we each have our own impressions and preferences. Case in point: “Bright” tone can have a positive or negative connotation depending on the listener’s perspective and musical context.

Despite his depth of knowledge about tonal characteristics (or perhaps because of it), master designer Andy Powers is often wary of the ways words are used to describe sounds — even though we do it all the time — due to the different interpretations often associated with those words.

He also emphasizes that there’s a lot going on sonically when guitar notes resonate.

“A note is not a simple, single-frequency tone; it’s a composite of multiple tones originating from one fundamental frequency,” Andy says. “What we hear is a summation of a frequency, with various degrees of complementary frequencies responding and blending with the primary pitch. The composite will take on different characteristics that subtly affect how the note is perceived over the beginning, middle and end of the sound.”  

That said, getting a handle on some frequently used terms provides a helpful reference for talking about tone. Some of these are more technical; others are more descriptive. And these really just scratch the surface. If nothing else, hopefully they’ll help you deepen your appreciation for the different sonic characteristics that shape a guitar’s musical personality.

Attack: The front-end trajectory of a guitar’s tonal response — how quickly it reaches its peak volume. This can be heavily influenced by the type of pick a player uses. Attack can also be used to describe the intensity of the player’s strokes on the strings. Related terms that follow the continuing progression of the sound as it resonates are “sustain” and “decay.”

Boomy: Bass-dominant or bottom-heavy tone, often lacking tonal definition. This can be interpreted differently based on personal preferences and musical applications. Some players favor a big, powerful bass response, often associated with a larger guitar. But in recording scenarios, a boomy guitar can overpower other frequencies in a mix. One of the benefits of Taylor’s V-Class bracing in the Grand Pacific is that the bass response isn’t boomy; it produces clear low-end power.

Bright: Treble emphasized, or with a lower degree of bass.

Buttery: Rich and smooth, with multiple notes easily blending together as if they could be spread from individual notes into a single harmonic entity, especially when the tone of the individual notes has a warm, low-frequency emphasis. These notes usually lack a sharp or fast attack and have a smooth beginning, middle and end.

Ceiling: A defined boundary, often used in reference to volume. A guitar or wood’s ceiling is the point at which it stops delivering volume or tone.

Complex: Rich with sonic detail, often featuring harmonic content from overtones. A rosewood guitar tends to produce a high degree of tonal complexity, especially in the treble frequencies.

Compressed: At Taylor we usually talk about compression in the context of a hardwood top like mahogany and the natural leveling effect it produces. A softer wood like spruce vibrates more freely and often produces a more open and dynamic response, while mahogany, being denser, will control the response of the note, leveling it out to create a more linear or balanced sound. The leveling effect can help smooth out an aggressive strummer. It also helps produce clear, well-behaved amplified sound for live performance.

Crisp: Clear and well-defined, typically with more treble emphasis and without lingering overtones.

Cutting: Often used in the context of a guitar’s ability to “cut through in a mix” with other instruments, either in live performance in a band setting or for recording. Essentially, it means some combination of volume, clarity and definition.

Dark: Bass tones emphasized or tone with a lower degree of treble.

Decay: The way a sustained, ringing note diminishes over time.

Dry: Tone with a strong fundamental focus and minimal overtones. Mahogany’s focused midrange is often described as dry.

Fundamental: The true frequency, or pitch, of a note. A low E, for example, vibrates at a frequency of 82.407 hertz (Hz). (1 Hz = 1 vibration per second.)

Growl: A certain rasp or overdriven sound that a bigger-bodied guitar puts off, often as the result of aggressive playing.

High-Fidelity: Usually used to describe acoustic guitar tone with pleasing clarity and tonal definition, often with more discernible sonic detail from harmonic overtones, and lacking distortion. (Also see “Piano-like.”) Rosewood guitars often have a high-fidelity quality to their voice due in part to the bell-like sparkle of the treble overtones.

Honky: A nasally sound, usually focused in the midrange frequencies.

Meaty: Lots of midrange, usually with a full low end. Also referred to as fat, full or thick.

Midrange: On car stereo or home audio systems, the frequency response often ranges between 20 Hz to 20 kilohertz (kHz). Midrange covers from 110 Hz, which is a low A string, up as high as 3 kHz. High-frequency (treble) tones tend to reside beyond that. If one considers where an acoustic guitar’s pitch range falls, predominantly all the notes on the fretboard occupy the midrange of the frequency spectrum that can be heard. It’s where the human voice resides; it’s the middle part of a piano.

Muddy: Lacking clarity or definition. It’s usually used in the context of describing bass or lower midrange frequencies.

Overtones: Multiples of a fundamental frequency, also referred to as harmonics, which occur as a string vibrates, creates wave patterns, and the harmonics stack up. The term “bloom” is used to describe the sonic effect of the overtones as they stack up over the decay of the note. Although overtones tend to be more subtle than the fundamental, they add richness and complexity to a sound.

Piano-like: Exactly what it sounds like. As if you packed a grand piano inside a guitar’s body and put strings on it. The sound has a bell-like, high-fidelity quality and a brilliance of note separation.

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.

Projection: How the tonal output is propelled and travels from the guitar. The physical range of the sound.

Punchy: Strong tonal output and projection, often focused in the midrange frequencies. An immediate and percussive attack.

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.”

Sustain: The length of time a note audibly resonates.

Throaty: An extremely beefy midrange. The origin might be based partly on the fact that the human voice tends to occupy midrange frequencies.

Warm: A sound with very little low-frequency damping. That lower-frequency emphasis is present in the composition of every note, including the midrange and high-frequency pitches. This is often heard as a note with lots of “body” supporting the note, and often reminds a listener of the naturally firm, strong support of wood, leading to a closely related description of “woody.”

Woody: A seasoned, well broken-in dry tone, often with softer high frequencies. A vintage mahogany guitar will have an especially woody sound.

Woofy: Similar to boomy, a dominant low-end sound, usually lacking clarity, giving it a “muddy” or “mushy” quality. This can interfere with other notes and cause feedback.

5 Guitar Care Essentials

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Taylor customer service manager Glen Wolff shares his recommendations for keeping your Taylor looking, feeling and sounding brand-new

Maybe you’re new to the guitar. Maybe you’re a seasoned pro. Maybe you’re looking for gift ideas for a guitarist in your life but don’t want to waste money on something they don’t need. At Taylor, we believe there are a few things every player should have on hand at all times. Owning quality versions of these essential maintenance tools opens the door to a premium playing experience, making each session with your Taylor feel as fresh as the very first time you picked it up.

Digital Tuner

No one wants to hear you play a guitar that’s out of tune — not your audience, not your bandmates and certainly not you. Digital guitar tuners are readily available from our online TaylorWare shop as well as any physical music store or online music retailer. It’s also easy to get a good one without spending a lot of money. The clip-on variety, which attach to your guitar’s headstock, are among the most popular guitar tuners because they’re intuitive, compact and don’t require a cable. Several manufacturers also make tuners that include a metronome if you’re looking for additional utility for practice sessions.

Polish Cloth + Polish or Cleaner

Even the most diligent player ends up with fingerprints and oil on their guitar after a while, not to mention dust, sweat or spills. At Taylor, we suggest choosing your care products based on your guitar’s finish type. Gloss-finish guitars are best treated with a polish, while matte- or satin-finish models need a cleaner. You’ll find both, as well as ultra-soft microfiber cloths that won’t leave streaks on your guitar, at the TaylorWare online store as well as at your favorite local music shop.

String Winder/Cutter

Uh-oh — you just broke a string. It happens to every player, and while it’s certainly an annoyance, a broken string need not derail your performance or inspired writing session. A good string winder makes it easier and faster to replace a string, whether you’ve broken just one or it’s time to replace them all with a fresh set. Grab a string winder with a built-in cutter to make the process even easier.

Digital Hygrometer

Acoustic guitars are made from thin pieces of wood and are highly reactive to relative humidity (RH). Digital hygrometers, which measure relative humidity, are inexpensive and easy to find — just check the TaylorWare shop or your local music store. The sweet spot for acoustic guitars is between 45 and 55 percent RH. Keeping your guitar in drier conditions can cause it to warp and crack, while excessive humidity can cause swelling. Once you have a hygrometer, there’s one more thing you may need…

Humidification System

If you live in a relatively dry climate where relative humidity levels regularly drop below 45 percent (or in a seasonal climate where you heat your home each winter, which will lower the humidity level), it’s essential to add humidification to keep your guitar in great shape. Keeping your guitar in its case and using an in-case humidifier are the simplest ways to keep your guitar in the ideal humidity range and prevent damage. Simple sponge humidifiers or more advanced gel systems are easy to use and go a long way toward keeping your guitar damage-free and playing and sounding its best.

Bonus Tool: TaylorSense

TaylorSense is the modern Taylor player’s perfect solution to guitar maintenance. It’s a smart sensor box that installs neatly into the battery compartment of any Taylor model with electronics powered by a 9-volt battery. Once installed, the unit sends relative humidity, temperature and impact data to the paired app on your iOS or Android smartphone, alerting you if conditions change enough to require your attention. It’s especially useful for players who take their guitars on the road or in the air. You’ll find it at your local Taylor dealer or in our online TaylorWare store.

taylor acoustic guitar with back facing camera to show grain of wood

Taylor Tonewoods

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Explore the full range of Taylor tonewoods and learn about the unique flavors they add to a guitar's sound.

Here’s the thing: Describing the tonal properties of different woods is hard. Well, not hard, but insufficient. That’s because, for starters, an acoustic guitar is made with different wood species that each contribute to the sound: the back and sides (the same species), the top, the neck, the fretboard, the bridge, the internal bracing. Each is just one ingredient in a complex recipe that requires thoughtful design and skillful craftsmanship.

Woods are to a guitar maker what ingredients are to a chef: They have certain inherent properties that translate into sonic flavors, but it’s all about how the guitar maker works with them. So anytime you find yourself hungry to explore acoustic guitar tone, it helps to have an idea of what the guitar “chef” was trying to do in the first place.

Good guitar design is important because it helps harness the best of a wood’s natural sonic characteristics to create a musically pleasing guitar. That’s why we’ve been so excited about breakthrough designs like our V-Class and C-Class bracing, along with other techniques that help us continually refine the voicing and musicality of our instruments.

Another important takeaway is that wood sourcing is a fluid endeavor because we’re trying to be responsible stewards of the natural resources we rely on, which means embracing new wood species (or grades) to help reduce our reliance on others. It means using woods that might not (yet) have the pedigree of, say, rosewood or mahogany, or the exotic allure of figured Hawaiian koa, but have musical virtues we feel we can showcase through Andy’s designs. It also means thinking generations ahead and planting woods like ebony and koa for the future.

Tone Profiles

All that said, we think it’s helpful to highlight some of the innate musical characteristics of the different woods we use to help you better understand the basic tonal nuances that distinguish them. Last year, we enlisted Andy to help us create the tone charts shown here. Even though these woods are just one part of a larger musical recipe, Andy identified four tonal properties that guide his design choices, and in turn, inform the sound of a guitar. Here’s a recap of how they help flavor a guitar’s tone profile.

1. Frequency Range

Think of an EQ curve. We often describe a wood’s sonic attributes in terms of its tendencies to resonate in a certain frequency range (i.e., accentuating lows, mids or highs). For example, rosewood tends to favor low and high frequencies. Spruce tends to have a high-frequency preference.

2. Overtone Profile

At one end of this scale is a wood’s natural harmonic complexity — its tendency to resonate not only with the source note and string harmonics, but to also allow its own overtone additions to be heard. Think of rosewood’s rich voice, with its ringing overtones. At the other end is a wood’s tendency to focus more on the fundamental — basically to dampen its own overtone input, allowing only the source note and harmonics generated by the string to be heard. Think of mahogany’s dry, focused voice.

3. Reflectivity

This spectrum indicates the degree to which the wood is inclined to take on the character of the player and/or guitar design versus asserting its own sonic character. This relates to the overtone profile mentioned above. As an example, we often describe a wood like maple as being player-reflective, which means it has a certain neutral or transparent quality that allows it to channel the player’s style or the design of the instrument more directly. As a result, it can be more of a musical chameleon. Other woods, like rosewood, tend to have more intense character traits that will always flavor the sound, regardless of the player or instrument design.

4. Touch Sensitivity

This suggests how easily and immediately the guitar responds to a player’s touch. It can be a reflection of different factors, such as the wood’s density, strength and weight. At one end of the scale is a guitar that responds immediately to the lightest touch with an open and airy voice; at the other end is a guitar that responds well to a strong attack, producing dense and equally strong projection.

We often talk about touch sensitivity in the context of the soundboard. As an example, a cedar top is lightweight and has a high degree of touch sensitivity, which is why it often appeals to fingerstyle players with a light touch. A wood like Lutz or Adirondack spruce tends to have less touch sensitivity due to its strength and weight. It often shines in the hands of a player with a livelier attack and packs quite a sonic punch. A hardwood top like mahogany has a lower touch sensitivity, and with its natural compression, helps level out a heavier attack.


Solid vs. Layered Woods

One key distinction between the woods we use is whether the tonewood is solid or layered. Solid woods produce the most complex tone, and the sound continues to improve with age. Every model in the Taylor line features a solid-wood soundboard.

Our layered-wood construction (back and sides on our 200 Series and below) consists of a middle core with a thinner layer on each side. Building guitars with layered-wood backs and sides allows us to use our resources efficiently, and we’re able to arrange the woods with an alternating grain pattern to increase the guitar’s stability and resilience.

Back & Side Woods

Hardwoods are used exclusively for the backs and sides of guitars. Acting as the supportive framework for the instrument, the back and sides contribute rigidity and stability that help coax greater sustain from the guitar, along with physical traits that 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.

Indian Rosewood

Series

900, 800, 400 Series

Tone Profile

  • Warm, resonant bass range with sparkling treble tones
  • Complex overtones with rich sustain
  • Scooped midrange, ideal for players who also sing

Hawaiian Koa

Series

Koa Series, 700 Series

Tone Profile

  • Strong midrange presence and an extra splash of top-end brightness
  • Ages gracefully — the more it’s played, the more koa will open and sweeten over time
  • Gorgeous grain lends a striking visual character

Maple

Series

600 Series

Tone Profile

  • Popular in the world of bowed instruments thanks to its transparent, linear response
  • Highly player-reflective; adapts to your unique approach and technique
  • V-Class adds more warmth, sustain and dynamic range

Mahogany

Series

300 Series

Tone Profile

  • Fundamental-strong focus without many overtones; the note you play is the note you hear
  • Dry, woody tone; responds well to a strong attack
  • Natural compression smooths out sharp volume edges for a more even response

Sapele

Series

300 Series (with spruce tops), American Dream Series (Mahogany tops)

Tone Profile

  • Similar fundamental focus to mahogany, but with slightly more treble sparkle
  • Consistent and balanced across the entire tonal spectrum
  • Slides in beautifully alongside other instruments

Featured Models

Urban Ironbark

Series

500 Series

Tone Profile

  • Dense, hard wood with the piano-like fidelity of Indian rosewood
  • Bold, rich and sweet voice that blends power, clarity and balance
  • Dynamic and versatile voice that amplifies

Featured Models

Urban Ash™

Series

300 Series

Tone Profile

  • Comparable to mahogany
  • Fundamental-focus with direct, dry tone and some natural compression
  • Responds well to most playing styles

Walnut

Series

American Dream Series

Tone Profile

  • Pleasing blend of woodiness and clarity
  • Similar to mahogany, but with more tonal support in the lower register
  • The low end will continue to fill out after being played in

Featured Models

Top Woods

The wood used for a guitar’s soundboard plays a key role in defining the overall tone of the instrument. Often, we use “soft” woods, which come from coniferous trees. Spruce and cedar are valued for their combination of being lightweight yet strong, possessing an elastic quality that allows them to be set in motion easily. These woods generally produce a wide dynamic range, and contribute their own unique musical flavor to the mix.

We also use hardwoods such as mahogany and koa as guitar tops. These denser materials require more energy to set in motion, and the vibration tends to move more gradually through them. The result is a kind of natural compression effect that rounds out the guitar’s initial attack, producing a focused voice with fewer overtones. Hardwood-top guitars often amplify well.

Sitka Spruce

Tone Profile

  • Crisp and articulate, with a broad dynamic range
  • Accommodates a wide variety of playing styles and musical genres

Featured Models

Mahogany

Tone Profile

  • Natural compression yields a controlled “roll-in” effect to a note
  • Even, balanced volume response to a varied strumming or picking technique
  • Strong fundamental focus with a direct, dry sound without overtones

Featured Models

Hawaiian Koa

Tone Profile

  • Natural compression yields a controlled “roll-in” effect to a note
  • Even, balanced volume response to a varied strumming or picking technique
  • Similar to mahogany with a touch more top-end shimmer and chime

Walnut

Series

Academy Series, Baby Series

Tone Profile

  • As a hardwood top, it brings extra compression to smooth out the attack, producing a more balanced tone
  • Airy, open midrange character with a strong focused sound

Western Red Cedar

Tone Profile

  • Less dense than spruce, generating a warmer, more played-in sound
  • Additional midrange presence adds complexity
  • Especially sensitive to players with a soft touch, but with more dynamic range for strumming from V-Class bracing

Featured Models

two taylor acoustic guitars, one standing and one leaning, facing front to display body shapes

Taylor Body Shapes

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How to find the size and sound that fit you best

Body shape is a great place to start your search for the right acoustic guitar model. That’s because the shapely curves and depth that define the body’s dimensions will influence both your physical relationship to the guitar and the type of voice it produces. Once you find the right shape, you can play and compare versions with different tonewood pairings. (For more on that, see our guide to tonewoods.) Here are a few considerations when it comes to comparing different body styles.

Feel

Comfort is important, so pay attention to how the body proportions feel when you play. A smaller guitar with a more tapered waist and slightly shallower body depth tends to create a more intimate feel. With larger bodies, consider the comfort of your picking/strumming arm in relation to the size of the lower bout, especially if you often play while seated. Body depth can also be a factor. Additionally, some Taylor models have advanced comfort features like chamfered (rounded) body edges or an armrest.

Neck-to-Body Relationship

Though not part of the body, the neck is connected to it, so the orientation of the two is another key comfort consideration. One factor is the point where the neck joins the body (12th or 14th fret). Another is the string scale length (the length of the string from the nut to the saddle), which in some cases varies based on the body shape. These design distinctions will influence how close together your hands are when you play, the amount of string tension, and the spacing between frets.

Sound

An acoustic guitar body is a natural amplifier for the strings. The body dimensions define the air capacity inside the guitar, and the amount of air volume tends to emphasize certain frequencies. In general, the smaller the air volume, the more focused the voice, often with an emphasis on upper-register frequencies. The greater the air volume, the bigger and deeper the voice, with an emphasis on low-end frequencies.

The Secret Sauce: Bracing

An acoustic guitar’s internal bracing architecture works in concert with the body shape and tonewoods to voice the guitar in unique ways. Our proprietary bracing patterns have been designed by master builder Andy Powers to optimize the tonal properties of each model. These include our award-winning V-Class® bracing, featured on most of our U.S.-made steel-string guitars. The patented design enhances the response of the guitar body to the vibrating strings, putting them more in tune with each other and producing more volume, more sustain and better harmonic agreement between notes. It’s also a framework that can be fine-tuned in unique ways based on the body style and tonewood pairing, which creates a more distinctive sonic personality for each model. Another proprietary voicing system, C-Class bracing, is used with our Grand Theater body to coax more low-end warmth from the smaller guitar.

Travel-size Body Shapes

We also offer several scaled-down versions of existing body styles: the GS Mini (based on the Grand Symphony), the Baby Taylor (a three-quarter-scale dreadnought) and the Big Baby Taylor.

How does a cutaway affect tone?

What people usually want to know is whether a cutaway diminishes a guitar’s tonal output. The answer: not in a discernible way. One might argue that it enhances the tone in the sense that it offers access to more notes along the treble-side of the fretboard where the neck meets the body. We recommend that you decide based on whether you want that extra upper-fretboard range or simply based on your aesthetic preference, as some people prefer the more traditional, symmetrical look of a non-cutaway, while others favor the sleek contouring of the cutaway. Many of our models can be ordered with or without a cutaway, but some guitars are offered exclusively in non-cutaway form: all Grand Theater, Grand Pacific and Grand Orchestra models, plus the Academy Series, GS Mini Series and Baby Series.

When you’re searching for the right acoustic guitar, one of the fundamental considerations is body shape. The body’s curves and depth help define our physical relationship with the guitar and literally shape the sound it produces. In addition to our family of full-size guitar bodies, we offer three scaled-down versions of existing shapes — the Baby Taylor (traditional dreadnought shape), the GS Mini (Grand Symphony), and the Big Baby Taylor.

Grand Theater

(Models end in a 1; e.g., 811)

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’ C-Class bracing wizardry, the GT packs the tonal depth of a full-size guitar into a form that’s easy and fun to play. If you crave a parlor-style guitar reimagined for the modern era, wrap yourself around this body style and enjoy.

  • Dimensions

  • Sound

  • Feel & Fit

811e

Grand Concert

(Models end in a 2; e.g., 812)

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 warmth and sweetness. We’ve also embraced the GC shape for most of our 12-string models to make the 12-string playing experience more accessible and musically useful.

  • Dimensions

  • Sound

  • Feel & Fit

812e

Grand Auditorium

(Models end in a 4; e.g., 814)

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.

  • Dimensions

  • Sound

  • Feel & Fit

814e

Grand Pacific

(Models end in a 7; e.g., Builder’s Edition 517)

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.

  • Dimensions

  • Sound

  • Feel & Fit

Builder’s Edition 517e

Grand Symphony

(Models end in a 6; e.g., 816)

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.

  • Dimensions

  • Sound

  • Feel & Fit

Builder’s Edition 816ce

Grand Orchestra

(Models end in an 8; e.g., 818)

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.

  • Dimensions

  • Sound

  • Feel & Fit

818e

Dreadnought

(Models end in a 0; e.g., 210)

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. The body shape is featured within the Academy, 100 and 200 Series.

  • Dimensions

  • Sound

  • Feel & Fit

110e

Finding Your Fit

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How to choose the Taylor guitar that’s right for you.

Each person’s relationship with a guitar is unique. The connection we make is part visual, part tactile and part sonic, and we each respond to sound in unique ways. Finding the “right” guitar is a courtship of sorts. You might find your match in one glorious strum or after weeks of test-driving and comparing models. However it happens, have fun and trust your feelings. If you do, the right guitar has a way of finding you.

What We Mean by “Fit”

Here are two basic ways to think about finding a guitar that “fits” you:

1. Physical Fit: A guitar should be physically comfortable to hold and play.

2. Musical Fit: A guitar’s sonic attributes should complement your playing style and fit into the musical scenarios in which you plan to use it.

How Much to Spend?

If you want to enjoy your playing experience, investing in a quality guitar makes a big difference, especially if you’re a developing player. A good guitar will be easier to play, stay in tune, and accelerate your progress as a player.

While you’ll find a range of features and price points across the Taylor line, the good news is that all of our guitars deliver a high level of quality and are built to last. Plus, if you buy a well-made guitar and take care of it, the sound will improve as the guitar ages. So you’ll be able to enjoy it for many years.

The Tone Equation

Here’s a simple framework to help guide you toward the right guitar. It highlights three key ingredients that contribute to an acoustic guitar’s tonal personality:

Player + Body Shape + Tonewoods = Your Guitar Sound

Player

That’s right — you are an important component of a guitar’s sound! The more you understand about your playing style and musical needs, the easier it will be to find a guitar that complements what you do. Ahead, we’ll share some questions to help you define your needs as a player.

Body Shape

A guitar’s body dimensions literally help shape its fundamental voice. Besides physical comfort, you want a body style that responds well to what you do. This is often a good place to narrow your search. Once you find a body style you like, you can focus on your choice of tonewoods.

Tonewoods

If a guitar’s body style produces its fundamental voice, think of the tonewoods used for the top, back and sides as the sonic flavor or seasoning. The distinctive physical properties of each tonewood species (and sometimes even a particular set of wood) help define the tonal character, such as the degree of warmth, richness and sustain the guitar produces.

Next, we’ll break down each component of the tone equation, starting with you.

Your Player Profile: 9 Questions to Help Guide Your Search

The more you understand about your preferences as a player the better. If you’re a beginner and don’t have a defined playing style, that’s OK. Think about playing comfort and your musical interests. Here are some questions to help you.

Will you be strumming, flatpicking, fingerpicking? A mix?

This will help you decide whether you need a versatile, general-purpose instrument like our Grand Auditorium body style or a guitar that suits a more specialized playing style. If you’re a novice and don’t have a clearly defined playing style, leaning toward versatility will give you the most latitude to explore different techniques and musical genres. Also, if you play with a pick, keep in mind that its shape, thickness and material can influence the tonal response, so feel free to experiment with different picks.

Do you have a light, medium or heavy picking/strumming attack, and how much dynamic range do you want?

This will help you choose 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: Look for a responsive guitar that will come alive in your hands without requiring too strong an attack. In general, smaller-body guitars require less energy to get the top moving and with a light touch actually will often be louder than a larger body shape. It’s a good option for fingerstyle players.

If you have a heavier attack: Your playing style may overload a smaller guitar body. You’ll be better served with a larger-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: You’re looking for versatility, and a medium-size guitar will usually get you 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. 

Where will you be playing the guitar?

If you’re looking for a casual couch strummer or portable option: You might want a guitar that’s more compact, physically comfortable and/or travel-friendly.

If you’ll be playing with friends or somewhere that demands a good amount of natural volume and projection without having to plug in the guitar, or if you like a deeper low-end response: You’ll likely benefit from a bigger body.

If you plan to play live gigs: You’ll want a guitar with a pickup so you can amplify it.

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

Think of the type of acoustic sound you need to express that style or musical genre. A lively 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 and sonic balance

Are there certain tonal properties you have in mind, like volume, richness, low-end response, warmth, etc.?

If so, this will help steer you toward an appropriate shape/tonewood pairing. For example, rosewood produces a deep low end and sparkling high end with a rich overtone complement. Mahogany yields a focused midrange presence and a balanced, “dry” sound (producing fewer overtones). If you don’t really know what you want, that’s OK. Just sample some different wood options and pay attention to which tonal qualities appeal to you.

Bigger bodies: More bass response, volume, sustain

Smaller bodies: More tonal clarity, slightly more upper-register emphasis

Different tonewoods: Distinctive tonal “flavors,” from rich and complex to controlled and focused

Will you be playing more often by yourself or with other players/instruments?

By yourself: You might want a guitar that provides a more expansive sonic palette to give yourself a wider range of tonal colors to explore.

With others: You might want a guitar that has enough clarity or volume to be heard clearly in the instrument mix.  

Will you be singing with your guitar?

If so, you’ll want your guitar’s tonal personality to complement your voice. You might consider visiting a music store at a time when you feel comfortable singing with the guitar or having access to an isolated room where you can pair your voice with each instrument.

If you’re more of an instrumental player: Does the guitar offer a pleasing tonal palette for you to express yourself?

Do you want access to higher notes up the neck (toward the body)?

If so, a cutaway model will give you more access to the guitar’s upper tonal register.

Do you plan to do any live performing or recording?

If you want to plug in: You should choose a guitar with an onboard pickup.

If you plan to record: Think about the instrument mix that might be involved. If there will be multiple tracks, you might lean toward a small or medium-size guitar, or maybe a tonewood pairing that produces a more focused voice, since it will tend to take up less sonic space in the mix. If you plan to play solo acoustic guitar, maybe you want a bigger, richer voice to explore.

The pages ahead explain Taylor’s body shapes and tonewood options.