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

Taylor Body Shapes

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.

Sound

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

Fit & Feel

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

Dimensions
- Body Length: 18-1/2”
- Width at Waist: 9-5/16”
- Width at Lower Bout: 15”
- Depth from Soundhole: 4-1/4”
- String Scale Length: 24-1/8”
Sound
- Rich, robust voice for its compact size — sonically punches above its weight
- C-Class bracing accentuates the lower frequencies to produce a warm bass response
- Smaller body optimizes the response to a lighter touch
Feel & Fit
- Compact body and neck dimensions make it ultra-comfortable to hold
- 24-1/8” scale length makes it easy to form chords and bend strings
- Light string tension and condensed fret spacing add to the easy, agile feel

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.

Sound

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

Fit & Feel

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

Dimensions
- Body Length: 19-1/2”
- Width at Waist: 8-3/4”
- Width at Lower Bout: 15”
- Depth from Soundhole: 4-3/8”
- String Scale Length: 24-7/8”
Sound
- Clear, focused voice with pleasing treble chime and controlled overtones
- 14-Fret: modern and articulate
- 12-Fret: warm, sweet tonal character
- Great for recording; fits nicely in a mix
Feel & Fit
- Compact, slightly shallower body frame feels comfortable and intimate
- 24-7/8” scale length provides a slinkier, more relaxed fretting-hand feel
- Highly touch-sensitive, giving the player a lot of nuanced control

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.

Sound

• Vibrant voice with articulate, balanced notes
• Impressive projection and sustain thanks to V-Class bracing
• Appealing midrange presence

Fit & Feel

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

Dimensions
- Body Length: 20”
- Width at Waist: 9-5/8”
- Width at Lower Bout: 16”
- Depth from Soundhole: 4-5/8”
- String Scale Length: 25-1/2”
Sound
- Vibrant voice with articulate, balanced notes
- Impressive projection and sustain thanks to V-Class bracing
- Appealing midrange presence
Feel & Fit
- Medium size with tapered waist makes it physically comfortable
- Large enough to produce room-filling volume
- Musically versatile, making it a great workhorse guitar

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.

Sound

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

Fit & Feel

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

Dimensions
- Body Length: 20”
- Width at Waist: 10-5/8”
- Width at Lower Bout: 16”
- Depth from Soundhole: 4-5/8”
- String Scale Length: 25-1/2”
Sound
- Warm, blended sound with round, broad notes
- Clear, full-range power across the entire musical spectrum
- More versatile than other dreadnought-style guitars
Feel & Fit
- Comfortable for traditional dreadnought players, with Taylor playability
- Offered exclusively as a non-cutaway
- Musically versatile, making it another workhorse option

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.

Sound

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

Fit & Feel

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

Dimensions
- Body Length: 20”
- Width at Waist: 9-7/8”
- Width at Lower Bout: 16-1/4”
- Depth from Soundhole: 4-5/8”
- String Scale Length: 24-7/8”
Sound
- Rich, piano-like voice with symphonic musical response
- Soundport cutaway creates an expansive, surround-sound experience
- Notes sound like they’re growing as they sustain out
Feel & Fit
- Larger footprint and lung capacity than the Grand Auditorium
- 24-7/8-inch scale length and light-gauge strings make it comfortable and responsive
- Expressive instrument for solo acoustic players

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.

Sound

• Powerful, commanding tone that remains balanced across the tonal spectrum
• Remarkable soft-touch responsiveness for a large guitar
• Huge dynamic range offers a broad, textured palette of musical colors

Fit & Feel

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

Dimensions
- Body Length: 20-5/8”
- Width at Waist: 10-3/8”
- Width at Lower Bout: 16-3/4”
- Depth from Soundhole: 5”
- String Scale Length: 25-1/2”
Sound
- Powerful, commanding tone that remains balanced across the tonal spectrum
- Remarkable soft-touch responsiveness for a large guitar
- Huge dynamic range offers a broad, textured palette of musical colors
Feel & Fit
- Large and deep body but with a wider waist than old-style Jumbos
- Responsive — doesn’t require a heavy attack to activate the top
- Great for players who want a deep, bold voice and like to tune down

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. Here, we’ve retained our X-bracing framework. The body shape is featured within the Academy, 100 and 200 Series.

Sound

• Warm, powerful low end with punchy trebles for a “modern vintage” voice
• Throaty midrange character
• Lots of headroom for players who like to dig in

Fit & Feel

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

Dimensions
- Body Length: 20”
- Width at Waist: 11-1/16”
- Width at Lower Bout: 16”
- Depth from Soundhole: 4-5/8”
- String Scale Length: 25-1/2”
Sound
- Warm, powerful low end with punchy trebles for a “modern vintage” voice
- Throaty midrange character
- Lots of headroom for players who like to dig in
Feel & Fit
- Wider waist causes the guitar to sit slightly higher in the player’s lap
- Traditional look and sound fit bluegrass and other roots music
- Responds well to flatpicking and a strong attack

110e

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

Taylor Tonewoods

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How different woods flavor 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 like 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.

Watch Video

That’s why, elsewhere in this issue, we talk with Taylor master designer Andy Powers about guitar making. One of the takeaways is that 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, 700, 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

Featured Models

Hawaiian Koa

Series

Koa 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

Featured Models

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

Featured Models

Tropical Mahogany

Series

500 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

Featured Models

Ovangkol

Series

American Dream Series

Tone Profile

A rosewood-esque African tonewood with a broad, balanced tonal spectrum
Punchy midrange scales up to a shimmery, articulate top end
Pleasing depth and character from a responsive bass range

Featured Models

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

Tasmanian Blackwood

Series

300 Series (with mahogany tops)

Tone Profile

Extra headroom lends volume without having to dig in too hard
Dry, clear sound similar to mahogany, with a stronger low-end response
Versatile and adaptable to a wide range of styles and situations

Featured Models

Urban Ash™

Series

300 Series (Builder’s Edition 324ce, 326ce), GT/GTe Urban Ash

Tone Profile

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

Featured Models

Walnut

Series

Grand Theater

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

GTe Blacktop

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

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

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

Featured Models

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

Taylor Body Shapes

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Each body’s dimensions create a distinctive feel and sound.

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Feel

Choosing a body style that fits you both physically and musically is important. Start by looking for a body with proportions that feel comfortable when you play the guitar. The width at the waist and across the widest part of the lower bout, plus the body depth, will define your physical relationship with the body (especially when you’re sitting). Another comfort consideration — though technically not a body feature — is the string scale length, since that will influence how close your hands are when you play, and in many cases, the string tension, too.

Neck-to-Body Relationship

Body dimensions literally shape the guitar’s sound. Think of the air volume inside a guitar as its lung capacity. The size of that air chamber tends to emphasize a particular set of frequencies. In general, the smaller the air mass, the more focused the voice, often with emphasis on the upper register. The larger the air mass, the deeper the low-end response and overall voice. Think about the role you want the guitar to perform, and the kinds of sounds you want to get from it. If nothing else, think in terms of small, medium and large sizes, which will help you narrow your search.

Sound

Travel: Baby, GS Mini
Small: Grand Theater, Grand Concert
Medium: Grand Auditorium, Grand Pacific, Dreadnought
Large: Grand Symphony, Grand Orchestra

The Secret Sauce: Bracing

Another influential design element is the internal bracing architecture, which helps voice the instrument. Our innovative V-Class^® bracing, designed by Taylor master builder Andy Powers and featured on almost all our U.S.-made steel-string guitars, provides an enhanced voicing platform. The design optimizes the response of the guitar body to the vibrating strings, putting them more in tune with other and producing more volume, more sustain, and better harmonic agreement between notes as a result. The V-Class framework is uniquely tailored for each body style, which creates a more distinctive sonic personality for each. Andy’s design also informed the development of another proprietary voicing system, C-Class^™ bracing, used with our new Grand Theater body to coax more low-end warmth from the smaller guitar.

Addition by Subtraction: The Cutaway

A common question among the acoustic guitar curious is how much a cutaway impacts (i.e., diminishes) the tonal response. The truth: not much at all. And what you gain is access to more of the treble-side fretboard high up the neck. So whether you decide based on musical utility or aesthetics, the choice is yours. Many of our models can be ordered with or without a cutaway, but some guitars are offered exclusively in non-cutaway form: all Grand Pacific and Grand Orchestra models, plus the 100 Series, Academy Series, GS Mini Series and Baby Series.

Grand Theater

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

Sound

Fit & Feel

Dimensions
- Body Length: 18-1/2”
- Width at Waist: 9-5/16”
- Width at Lower Bout: 15”
- Depth from Soundhole: 4-1/4”
- String Scale Length: 24-1/8”
Sound
- Rich, robust voice for its compact size — sonically punches above its weight
- C-Class bracing accentuates the lower frequencies to produce a warm bass response
- Smaller body optimizes the response to a lighter touch
Feel & Fit
- Compact body and neck dimensions make it ultra-comfortable to hold
- 24-1/8” scale length makes it easy to form chords and bend strings
- Light string tension and condensed fret spacing add to the easy, agile feel

811e

Grand Concert

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

Sound

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

Fit & Feel

Dimensions
- Body Length: 19-1/2”
- Width at Waist: 8-3/4”
- Width at Lower Bout: 15”
- Depth from Soundhole: 4-3/8”
- String Scale Length: 24-7/8”
Sound
- Clear, focused voice with pleasing treble chime and controlled overtones
- 14-Fret: modern and articulate
- 12-Fret: warm, sweet tonal character
- Great for recording; fits nicely in a mix
Feel & Fit
- Compact, slightly shallower body frame feels comfortable and intimate
- 24-7/8” scale length provides a slinkier, more relaxed fretting-hand feel
- Highly touch-sensitive, giving the player a lot of nuanced control

812e

Grand Auditorium

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

Sound

• Vibrant voice with articulate, balanced notes
• Impressive projection and sustain thanks to V-Class bracing
• Appealing midrange presence

Fit & Feel

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

Dimensions
- Body Length: 20”
- Width at Waist: 9-5/8”
- Width at Lower Bout: 16”
- Depth from Soundhole: 4-5/8”
- String Scale Length: 25-1/2”
Sound
- Vibrant voice with articulate, balanced notes
- Impressive projection and sustain thanks to V-Class bracing
- Appealing midrange presence
Feel & Fit
- Medium size with tapered waist makes it physically comfortable
- Large enough to produce room-filling volume
- Musically versatile, making it a great workhorse guitar

814e

Grand Pacific

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

Sound

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

Fit & Feel

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

Dimensions
- Body Length: 20”
- Width at Waist: 10-5/8”
- Width at Lower Bout: 16”
- Depth from Soundhole: 4-5/8”
- String Scale Length: 25-1/2”
Sound
- Warm, blended sound with round, broad notes
- Clear, full-range power across the entire musical spectrum
- More versatile than other dreadnought-style guitars
Feel & Fit
- Comfortable for traditional dreadnought players, with Taylor playability
- Offered exclusively as a non-cutaway
- Musically versatile, making it another workhorse option

Builder’s Edition 517e

Grand Symphony

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

Sound

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

Fit & Feel

Dimensions
- Body Length: 20”
- Width at Waist: 9-7/8”
- Width at Lower Bout: 16-1/4”
- Depth from Soundhole: 4-5/8”
- String Scale Length: 24-7/8”
Sound
- Rich, piano-like voice with symphonic musical response
- Soundport cutaway creates an expansive, surround-sound experience
- Notes sound like they’re growing as they sustain out
Feel & Fit
- Larger footprint and lung capacity than the Grand Auditorium
- 24-7/8-inch scale length and light-gauge strings make it comfortable and responsive
- Expressive instrument for solo acoustic players

Builder’s Edition 816ce

Grand Orchestra

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

Sound

Fit & Feel

Dimensions
- Body Length: 20-5/8”
- Width at Waist: 10-3/8”
- Width at Lower Bout: 16-3/4”
- Depth from Soundhole: 5”
- String Scale Length: 25-1/2”
Sound
- Powerful, commanding tone that remains balanced across the tonal spectrum
- Remarkable soft-touch responsiveness for a large guitar
- Huge dynamic range offers a broad, textured palette of musical colors
Feel & Fit
- Large and deep body but with a wider waist than old-style Jumbos
- Responsive — doesn’t require a heavy attack to activate the top
- Great for players who want a deep, bold voice and like to tune down

818e

Dreadnought

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

Sound

• Warm, powerful low end with punchy trebles for a “modern vintage” voice
• Throaty midrange character
• Lots of headroom for players who like to dig in

Fit & Feel

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

Dimensions
- Body Length: 20”
- Width at Waist: 11-1/16”
- Width at Lower Bout: 16”
- Depth from Soundhole: 4-5/8”
- String Scale Length: 25-1/2”
Sound
- Warm, powerful low end with punchy trebles for a “modern vintage” voice
- Throaty midrange character
- Lots of headroom for players who like to dig in
Feel & Fit
- Wider waist causes the guitar to sit slightly higher in the player’s lap
- Traditional look and sound fit bluegrass and other roots music
- Responds well to flatpicking and a strong attack

110e

Taylor Tonewoods

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How different tonewoods flavor a guitar’s sound.

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For tops, we frequently use softwoods, such as spruce or cedar, which come from coniferous trees. They tend to have a winning combination of being lightweight yet stiff and strong, possessing an elastic quality that allows them to be set in motion easily. And that’s an important part of their job, because they harness the energy of vibrating strings to move the air inside the guitar body. These woods generally produce a wide dynamic range.

Sometimes we use hardwoods such as mahogany or 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.

For the back and sides, hardwoods are always used. They essentially form the speaker cabinet of the shapely acoustic “box,” helping to naturally flavor and amplify the tone based on their own unique acoustic characteristics. The thing is, describing the inherent sonic identity of each wood species we use can feel a bit reductive because we never hear that particular wood in isolation — it needs to interact with other components, including one of the most influential ones: you. So in some ways, describing the sound of a tonewood is kind of like describing the flavor of a spice — yes, it has a distinct identity, but it works its magic based on the role it plays in a larger recipe, determined by the chef (or in our case, luthier). And sometimes the effort to simplify a wood’s sonic properties can lead to misunderstanding or overgeneralization.

That said, we love exploring the world of woods with guitar enthusiasts in the hope of shedding light on their natural musical flavors and how they contribute to a guitar’s sound. If nothing else, this will give you some food for thought when you play and listen to different guitars. And the more you do that, the more you’ll enrich your own musical palette and come to appreciate the nuances that distinguish guitars made with different woods. It’s a pretty fun exercise, if we do say so ourselves.

Tone Profiles

This year, we asked Taylor master builder Andy Powers to highlight the properties he thinks matter most in considering the tonewoods used for a guitar. Or as he described it, “the characteristics that directly relate to a player’s experience with the guitar.” He picked four categories, each of which covers a sonic spectrum. Then we asked him to use those to sketch out a sonic profile for each tonewood. These are not in order of importance.

1. Frequency Range

2. Overtone Profile

At one end of this scale is a wood’s natural affinity toward 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. One point Andy emphasizes is to avoid thinking of harmonic complexity as good and damping as bad. “The two extremes are neither good nor bad,” he says, “although depending on our own preferences as players, we can be quick to label them as such.”

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 harmonic content scale 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 clearly. 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 is pretty self-explanatory. A player will understand this as how easily and immediately the guitar responds to their 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.

Tonewood Pairings

Again, remember that an acoustic guitar’s sonic personality comes from a combination of tonewoods, the body shape, the bracing architecture and other design elements, the player and other attributes. But let’s assume that the design elements, shape and player are the same across the board and just look at the way the tonewoods paired on a guitar body (the top wood together with the wood used for the back/sides) might work together. As an example, let’s take a Taylor Grand Auditorium body with a cedar top and rosewood back and sides, and walk through that pairing sonically based on those four categories.

The cedar top will have a tendency to: 1) prefer low frequencies; 2) have medium to high harmonic complexity; 3) sound much like itself; 4) and have a high degree of touch sensitivity. The rosewood will: 1) favor low and high frequencies; 2) have a high degree of harmonic complexity on the high end and somewhat lower harmonic complexity on the low end; 3) be extremely wood-reflective; 4) and have little touch sensitivity by itself.

With those elements working together, the resulting guitar will respond with a warm, harmonically rich sound that is very characteristic of itself, and respond quickly to a light touch, making this a good choice for a fingerstyle player who wants a warm-sounding guitar.

How about a Grand Auditorium body with a Lutz spruce top and mahogany back and sides?

The spruce will: 1) have a somewhat high-frequency preference; 2) with medium to high harmonic complexity; 3) be in the middle of the player- to wood-reflective scale; 4) with less touch sensitivity than cedar due to its strength and weight. The mahogany back and sides will: 1) prefer the low frequencies; 2) be very fundamental strong; 3) be substantially player- and design-reflective; 4) with a higher level of touch sensitivity. As a whole, this guitar will have a balanced frequency response, pleasing harmonic balance, tend to be player-reflective, and have a slight preference toward a stronger playing style.

Here’s another example featuring a hardwood top: an all-koa Grand Auditorium.

Koa will: 1) have a mild midrange preference, bordering on neutral; 2) fall near the middle of the range of harmonic complexity; 3) fall near the middle range of reflectivity, sounding somewhat like the player, somewhat like the design, and somewhat like itself; 4) and fall in the middle of touch sensitivity, preferring to be strummed or played with fingers.

In this example, using the same wood for the entire body reveals some characteristics becoming more important due to the role the wood plays. As a top, koa displays less touch sensitivity than it does as a back, due to the direct coupling with the strings. As a result, this all-koa combination produces an even string response, responding well to strumming and fingerstyle playing, with a well-balanced tonal response, offering a hint of its inherent sweetness, and reflecting some of the design, playing style and its own personality. Finally, it smooths out the player’s articulation without requiring an aggressive strumming style. And, oh yes, koa also happens to be visually gorgeous. (Let’s face it: sometimes we “hear” with our eyes too!)

As a final note, Andy acknowledges that while some players and builders are tempted to quantify the contributing role the top wood plays in producing the overall sound compared to the back and side wood, in reality, it can vary based on the woods and the design.

“I’ve heard folks say that 95 percent of an acoustic guitar’s sound comes from the top selection,” he explains. “If that were true with our guitars, you could take a spruce and maple Grand Auditorium and a spruce and rosewood Grand Auditorium, play them next to each other, and they would sound 95 percent the same. It might be just my ears, but I don’t hear them that way. I’ve long thought that not all percentages are equal, and that this last five percent is actually a lot more meaningful than the first 95 percent.” We can’t emphasize enough that our tone chart merely paints a partial picture. But hopefully it gives you some helpful criteria for evaluating the acoustic properties of any guitar you play.

Solid vs. Layered Woods

One important distinction between the materials 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 layers with an alternating grain direction to increase the guitar’s stability and resilience.

Back & Side Woods

Indian Rosewood

Series

900, 800, 700, 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

Featured Models

Hawaiian Koa

Series

Koa 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

Featured Models

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

Featured Models

Tropical Mahogany

Series

500 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

Featured Models

Ovangkol

Series

American Dream Series

Tone Profile

A rosewood-esque African tonewood with a broad, balanced tonal spectrum
Punchy midrange scales up to a shimmery, articulate top end
Pleasing depth and character from a responsive bass range

Featured Models

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

Tasmanian Blackwood

Series

300 Series (with mahogany tops)

Tone Profile

Extra headroom lends volume without having to dig in too hard
Dry, clear sound similar to mahogany, with a stronger low-end response
Versatile and adaptable to a wide range of styles and situations

Featured Models

Urban Ash™

Series

300 Series (Builder’s Edition 324ce, 326ce), GT/GTe Urban Ash

Tone Profile

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

Featured Models

Walnut

Series

Grand Theater

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

GTe Blacktop

Top Woods

Sitka Spruce

Tone Profile

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

Featured Models

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

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

Featured Models

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

The Taylor Line by Series

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A snapshot of our series framework and tonewood pairings.

All-Solid-Wood Guitars

A guitar made with a top, back and sides of solid wood will produce the most complex sound and continue to improve with age.

American Walnut (Spruce Top), Sapele (Mahogany Top) or Big Leaf Maple (AD27e Flametop)

Top

Spruce or Neo-Tropical Mahogany

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

Top

Torrefied Spruce, Mahogany or Hawaiian Koa

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Electric Guitars

Hollowbody or Semi-Hollowbody

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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T3 Series

The semi-hollowbody T3 builds off the classic archtop electric designs that took over the music world decades ago.

Body

Sapele

Top

Layered Figured Maple

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Custom Guitars

The Taylor Custom shop has produced some of our most stunning works of craftsmanship, allowing players to create their dream guitar by selecting a body shape, tonewoods and aesthetic features.

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The 2021 Guitar Guide

From the Baby Taylor to Builder’s Edition, our guitar lineup is loaded with inspiring musical tools for every type of player.

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Taylor Body Shapes

Each body’s dimensions create a distinctive feel and sound.

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Taylor Tonewoods

How different tonewoods flavor a guitar’s sound.

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The Taylor Line by Series

A snapshot of our series framework and tonewood pairings.

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We love helping people find the right guitar for their needs. Whether you’re looking for your first guitar or expanding your acoustic arsenal, it’s important to find an instrument that feels comfortable in your hands and sings with a voice that resonates with your soul.

Our Guitar Guide takes you on a tour of the 2021 Taylor guitar line. We start with two core ingredients that help define an acoustic guitar’s musical personality: body style, which literally shapes its voice, and tonewoods, which infuse it with additional sonic flavors. From there, we’ll walk you through the framework of the Taylor line, organized by series. Each is defined by a combination of tonewood pairings and aesthetic details, presenting an array of options in feel, sound and looks. Whichever way your tastes lean, you can always count on a reliable musical companion that’s built to last.

Our website is also a robust resource for information on all of our models, including photos, videos, specifications^* and pricing. And if you have specific guitar questions, feel free to contact our Customer Service team; they’ll be happy to help you.

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

A Guide to Taylor Acoustic Model Numbers

Here’s how our model numbering system works.

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The Taylor Difference

5 things that set the Taylor experience apart

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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 46 years 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 set precisely for optimal performance, with unprecedented micro-adjustability to ensure a lifetime of playability.

We offer a range of other comfort-centric playing features within our guitar line, including different scale lengths, string tension profiles and neck profiles, along with ergonomic refinements to the guitar body, such as armrests and other contouring features.

Tone-Enhancing Innovation

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

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; Paniolo Tonewoods in Hawaii, a collaboration with supply partner Pacific Rim Tonewoods to ensure a healthier future for koa by regenerating native forests; and a new Urban Wood initiative in tandem with an innovative California arborist to create new markets for wood from previously discarded trees that have been removed from municipal areas at the end of their life cycle. Not only does some of this wood, such as Urban Ash, make wonderful guitars, the project aims to support the re-greening of urban areas. Bob Taylor’s vision of environmental stewardship at Taylor also led him to hire a forest policy expert to become our Director of Natural Resource Sustainability, a unique position within the guitar industry.

Service & Support