Taylor® 810ce 800-Series Dreadnought Acoustic-Electric Guitar w/- Sitka-Spruce (Top) & Indian-Rosewood (Back-&-Sides), Taylor® Expression System™ 2 (ES2), Venetian Cutaway Body in Classic Thin Polyester Gloss Finish, Tropical Mahogany Neck, Ebony Fretboar
SKU:
NTM-810ceDN-ES2-U
A$4,495.00
A$3,495.00
A$3,495.00
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Taylor® 810ce 800-Series Dreadnought Acoustic-Electric Guitar w/- Sitka-Spruce (Top) & Indian-Rosewood (Back-&-Sides), Venetian Cutaway Body & Tropical Mahogany Neck, Ebony Fretboard, Taylor® Expression System™ 2 (ES2) Pickup System, Taylor® Nickel Tuners, all on a unique balance of Taylor® Performance Bracing & Wood Thickness Protein Glued under Beautifully Elegant Classic Thin Taylor® Gloss Polyester finish & Maple Edge Binding Finish - Plus FREE Taylor® Deluxe Hardshell Case!
★ NEAR NEW | MINT CONDITION ★ 1-YEAR WARRANTY | LONG LAYBY | PAYPAL
We Are Australia's cheapest - 25% OFF
► $4,495.00 (RRP) reduced to ONLY $3,495.00
► Awesome American Made 100% Taylor® Designed Quality
► Taylor® Expression System™ 2 (ES2) Pickup System
►Beautifully Shaped Venetian Cutaway Body
► New Advanced Performance Bracing Design to orchestrate top & back
► Unique Performance Bracing, Wood Thickness. Protein Glue, Finish Thickness
► Green Abalone Inlays, Rosewood Framed Edges & Indian Rosewood Pickguard
► Beautiful Classic Taylor® Gloss Polyester Finish
► Includes a FREE Taylor® Deluxe Hardshell Case
We Are Australia's cheapest - 25% OFF
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Taylor® 810ce – 800-Series Sitka-Spruce Top & Indian-Rosewood Back-&-Sides Acoustic-Electric Guitar
Taylor® 810ce Sitka-Spruce Top Indian-Rosewood Back-&-Sides Acoustic-Electric Guitar – Overview
The Taylor® 810ce Indian Rosewood Acoustic-Electric Guitar is a beautiful Dreadnought featuring Indian Rosewood back and sides and the warm Mahogany. As a premium tone wood Indian Rosewood back and sides give Taylor® 810ce Indian Rosewood acoustic-electric guitar medium-size cutaway Dreadnought body plenty of tonal and visual character. The combination of Mahogany and Indian Rosewood give the Taylor® 810ce Indian Rosewood Acoustic-Electric Guitar the driving midrange and powerful resonance that acoustic and acoustic-electric guitarists demand. As with all the Taylor Guitars, the Taylor® 810ce Indian Rosewood Acoustic-Electric Guitar delivers consistency, reliability and the best acoustic-electric sound available anywhere. Taylor’s Neo-traditional appointments combined with the dark vintage look of mahogany with a shaded edge burst top and all-satin finish. The Taylor® 810ce Indian Rosewood Acoustic-Electric Guitar has a Venetian cutaway and the Expression System® 2 Electronics which is the industry benchmark for an amplified acoustic sound.
The rosewood/spruce 810ce brings Taylor’s latest tone-enhancing refinements to the traditional steel-string Dreadnought, blending driving low-end power with a vibrant upper register for a turbo-charged flatpicking machine. Bluegrassers will love the strong, crisp top-end punch in any picking circle, with robust projection across the entire tonal spectrum. Premium appointments include maple binding and back strip, rosewood top edge trim, rosewood pickguard, mother-of-pearl Element fretboard inlay, and smoky ebony fretboard. A Venetian cutaway invites lead players up the fretboard, while Taylor’s Expression System 2 pickup translates that potent Dreadnought voice into a clear amplified tone.
Taylor® 810ce Sitka-Spruce Top Indian-Rosewood Back-&-Sides Acoustic-Electric Guitar – Key Features
1. Dreadnought Shape: Taylor’s signature shape embodies the ultimate all-purpose acoustic.
2. Sitka Spruce Top Wood: The hardwood top produces strong fundamentals with clarity and focus.
3. Indian Rosewood Body Wood: Blackwood produces a strong volume, with a focused midrange and rich top-end shimmer.
4.Taylor®’s own Expression System™ 2 (ES2) Pickup: The Expression System™ 2 (ES2) Pickup onboard acoustic guitar microphone captures more of the guitar’s dynamic properties using Taylor®’s wonderful breakthrough ‘behind-the-saddle’ design.
5.Venetian Cutaway Body Type: The Venetian cutaway is known for its soft, round lines. The sloping peak of the cutaway will vary depending on the shape of the guitar.
Taylor® 810ce Sitka-Spruce Top Indian-Rosewood Back-&-Sides Acoustic-Electric Guitar – Specifications Overview
Scale Length: 25½″
o Nut & Saddle: Tusq Nut/Micarta Saddle
o Bracing: Advanced Performance with Relief Rout
o Truss Rod Cover: Ebony
o Pickguard: Rosewood
o Number of Frets: 20
o Tuners: Taylor® Nickel
o Case: Taylor Deluxe Hardshell Brown
o Brand of Strings: Elixir Phosphor Bronze HD Light
o Body Length: None
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THE TAYLOR® 810ce FEATURES
Discover the features that make this guitar unique
Shape: Dreadnought
Taylor’s Dreadnought captures the potent tone flatpickers and strummers love.
Top Wood: Sitka Spruce
The soundboard choice for most guitars, Sitka spruce produces a broad dynamic range and accommodates a versatile range of playing styles.
Body Wood: Indian Rosewood
The tone-wood superstar. Popular, traditional, and versatile, Bob Taylor puts Indian rosewood among the greatest tone-woods ever.
Electronics: Expression System® 2
The Expression System® 2 captures more of a guitar’s dynamic properties using a breakthrough behind-the-saddle design.
Body Style: Venetian Cutaway
The Venetian cutaway is known for its soft, round lines. The sloping peak of the cutaway will vary depending on the shape of the guitar.
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THE TAYLOR® 810ce SPECIFICATIONS
Our commitment to a great playing experience covers every detail of a guitar.
Highlights
Body
Body Length: 20" Inch
Body Width: 16" Inch
Body Depth: 4⅝" Inch
Bracing: Advanced Performance with Relief Rout
Back Configuration: 2-Piece No Wedge
Binding/Edge Treatment: Maple
Top Finish: Gloss 3.5
Pickguard: Rosewood
Backstrap Finish: None
Rosette Size: Single Ring
Bridge Inlay: None
Back/Side Finish: Gloss 3.5
Bridge Pins: Ebony w/ Abalone Dots
Armrest Binding: None
Backstrap Wood: None
Rosette Material: Abalone
Stain/Sunburst: None
Wedge: None
Armrest: No
Neck
Scale Length: 25½" Inch
Neck Width: 1¾" Inch
Fretboard Inlay: Element
Fretboard Binding/Edge Treatment: Maple
Heel Cap Binding: Maple
Type of Neck Joint: Taylor® Neck
Neck/Heel: Tropical Mahogany
Fretboard Wood: Ebony
Number of Frets: 20
Tuners: Taylor® Nickel
Nut & Saddle: Tusq Nut & Micarta Saddle
Neck Finish: Satin
Heel Length: 3½" Inch
Headstock
Logo: Taylor® Mother of Pearl
Finish: Gloss
Binding: Maple
Type: Standard
Truss Rod Cover: Ebony
Purfling: None
Overlay: Ebony
Inlay: None
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THE TAYLOR® 800-SERIES DESCRIPTION
THE 800-Series
Guided by the design strokes of luthier Andy Powers and the manufacturing expertise of Bob Taylor, Taylor has reconceived its flagship rosewood/spruce 800-Series, infusing it with a sweeping array of tone-enhancing refinements. Virtually every element of the guitar’s material construction was optimized: bracing, wood thicknesses, glues, finish, strings and acoustic electronics, topped off with a refreshed design aesthetic. The end result is the perfect type of musical celebration: a more inspiring playing experience.
While there are certain core qualities that Andy Powers says he strives to bring to any guitar — volume, sustain, clarity, uniformity of character — one of his driving goals in redesigning the 800-Series was to accentuate the unique characteristics of each different shape. “I want these models to have a family resemblance, but I don’t want them to sound the same,” he says. “I wanted to consider the 812ce, for example, not as it relates to the 810ce, but as it relates to itself.”
The resulting tonal distinctions between each shape, Bob Taylor feels, are far from subtle. “I think players will really enjoy experiencing these new guitars and comparing different models,” he says. “In a way, there’s a rebirth of every one of them.”
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THE TAYLOR® 810ce DESIGN FEATURES
Our commitment to a great playing experience covers every detail of a guitar.
Bracing
New advanced performance designs bring out greater warmth, mid-range, balance and sustain. A guitar’s bracing patterns orchestrate the movement of the top and back, working with the overall body shape and tone woods to produce a unique acoustic voice.
Wood Thickness
Optimised dimensions help bring out the best of each body shape. Another subtle re-calibration that relates to the bracing is in the top and back thickness specification for each body shape.
Protein Glue
The type of glue used between parts where tone is transferred, such as the bracing and bridge, can influence the tone. Some synthetic glues can partially impede tone, while animal protein glues transfer it well.
Finish Thickness
The thicker a guitar’s finish is, the more it tends to dampen the tonal response. Over the years Taylor has developed innovative techniques to make our polyester gloss finish as thin as possible for maximum tonal benefits.
Electronics
Taylor Guitars "New 800-Series" - The Expression System™ 2 - Another tone-enhancing design stroke is a new version of the Expression System™ pickup, the Expression System™ 2 (ES2). Taylor pickup designer David Hosler had been studying under-saddle piezo transducers and how they capture a guitar’s energy as it is transferred from the strings through the saddle and soundboard.
Binding and Purfling
One classic aesthetic detail for the 800-Series has been light-coloured binding, which had evolved over the years from white plastic on Bob Taylor’s early models to figured maple.
Inlays
Because the 800-Series has traditionally featured a shell material for the rosette, Andy chose green abalone and framed both edges with rosewood to complement the top trim.
Fretboard
Given Bob Taylor’s advocacy for the use of coloured ebony to support a more sustainable model of consumption, Bob and Andy agreed that the 800’s were an appropriate place to use fretboards with light brown coloration.
Pickguard
One of the most dramatic visual distinctions of the new appointment package for the 800’s is a switch from our traditional faux tortoise shell pickguard to one made of Indian rosewood.
Strings
Elixir® NANOWEB™ Phosphor Bronze 16027 Custom Light Gauge .011 - .052 for their ability to sound like the same instrument from the lowest note to the highest note.
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TAYLOR® BODY SHAPES EXPLAINED
Grand Auditorium
Grand Auditorium model numbers end in 4 - for example, 814ce, 314e etc.
The Grand Auditorium is known as the ‘Jack Of All Trades’ for Taylor. Its popularity is due to its ability to suit a wide variety of players. In fact, it will suit every player from strummers to fingerstyle players to flatpickers. It has a full bass sound with articulate mid-range and sparkling top-end so you can really get a lot out of the guitar, no matter your style.
The Auditorium is also comfortable to play because it’s not too big either. It would be the ideal choice for anyone after a multi-purpose acoustic guitar.
Grand Concert
Grand Concert model numbers end in 2 - for example, 512ce, 712e etc.
The Grand Concert is the smallest body shape on offer. The ‘comfortable friend’ that you could easily use on the couch at home or live on stage because it’s so comfortable to play. The Concert is also amazing in studio because it has a very tight, focused sound and sits comfortably in the mix with all of the overtones that you may get from a bigger body, firmly under control.
The concert has a slightly shorter scale length so is a little bit easier to play. So if you have smaller hands or prefer a lighter feel, or if you simply need a guitar for light strumming and fingerpicking, then the Concert was designed for you.
Grand Symphony
Grand Symphony model numbers end in 6 - for example 316ce, 216e etc.
The Big, Bold Strummer! The Symphony is the second biggest body shape by Taylor and is adored for its powerful sound, with a robust low end. It’s great for strummers or flatpickers because it delivers a big sound with clear articulation. It has a wider waist and bigger lower bout than the Auditorium and so will require heavier right-hand technique to get the most out of it.
Grand Orchestra
Grand Orchestra model numbers end in 8 - for example, 818ce, 618e etc.
The newest shape in the Taylor range, known as ‘The Gentle Giant’, is also the biggest shape on offer. Akin to a Jumbo, this guitar has a BIG acoustic sound with a complex character. Normally, a big body needs a hard strummer to get the most out of it but the inner bracing is both scalloped & parabolic which means that the top is actually able to move very easily (the top is not rigid).
The guitar will respond to the fingerpicker as well as it would to the strummer because the top will move like a speaker cone, giving you a lot of sound that covers a wide frequency range. Perfect for singer/songwriters who want a guitar that’s going to sound like a full band behind them!
The Dreadnought
Dreadnought model numbers end in 0 - for example, 110e, 710ce etc.
Lastly, the famous Dreadnought. This is probably the shape that comes to mind when you think of an acoustic because of its enormous popularity through the ages. The slightly ‘boxy’ shape means you have a subtle midrange scoop (right where the vocal sits in the mix, so it’s great for singers).
Having that slight mid scoop means you get a bold sounding low-end and a snappy top-mid for awesome clarity. You might describe the sound as ‘familiar; the dreadnought is widely regarded as the workhorse. Like the Auditorium, this guitar can do any style, but is particularly good for strummers and flatpickers, or for anyone who just wants a traditional sound and shape.
Summary
By now, you should be feeling a little more comfortable with what's what in the Taylor Guitars range. As you can see, the process of choosing your chosen shape and style is easier than it seemed at first.
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ANDY EXPLAINS TAYLOR® BODY SHAPES
Bob Taylor designed each unique Taylor body shape with a specific playing style in mind.
Grand Concert
Andy says: I like the intimacy of the Grand Concert. It’s the perfect lap guitar. It’s really comfortable to hold, and with the short scale, it has a soft, gentle feel on your hand, plus a really articulate character because of the smaller body cavity. The small body chamber essentially pushes the frequencies it wants to emphasize up in pitch a little bit. That’s where you get the articulation and intimate sound.
Grand Auditorium
Andy says: To me the Grand Auditorium 814ce is the quintessential modern acoustic guitar. It’s about the same width as the Dreadnought, but it has a much curvier shape, so its response is completely different. It’s the ultimate general-purpose guitar — you can play fingerstyle, jazz, strum it in front of a band, support a singer, write songs on it, basically use it anywhere you use an acoustic guitar.
Grand Symphony
Andy says: I set out to make the GS a powerful guitar. It’s a big-body guitar, and I want a really rich sound out of it without sacrificing a bell-like articulation. As a player, that is what I’m looking for from a larger-body guitar: a big, rich response.
Dreadnought
Andy says: The Dreadnought is the quintessential bluegrass guitar, and I wanted to bring a big, robust top-end response out of our 810. As a Dreadnought, it easily provides the low-end power I want, but where I’ve found some Dreadnoughts lacking over the years is that the low-end power comes at the expense of a weak upper register.
Grand Orchestra
Andy says: When I designed the Grand Orchestra, I had many of the elements we’re incorporating into the 800 Series in the back of my mind as designs I was hoping to get to do someday but hadn’t yet worked out how to make them a reality. Now, after a year out in the world, the Grand Orchestra has been embraced by far more players than I had anticipated. It’s a really versatile guitar.
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TAYLOR® ACOUSTIC GUITAR MODEL NUMBERS EXPLAINED
Taylor acoustic guitar models are organized by series, from 100 - 900 along with our Presentation (PS) and Koa (K) Series. Learn how to understand our numbering system, by viewing our quick guide.
The First Digit
The first digit (or letter) identifies the Series. Most guitar models within each series share the same back and side woods and appointment package.
516ce = A 500 Series mode
The Second Digit
The second digit designates two things:
1. Whether the guitar is a 6-string or a 12-string
2. Whether the top features a softer tone-wood like spruce or cedar, or a hardwood like mahogany or koa.
6-String
The middle number will be 1 or 2:
516ce = softwood (spruce) top
526ce = a hardwood (mahogany) top
12-String
The middle number will be 5 or 6:
556ce = a softwood (spruce) top
566ce = a hardwood (mahogany) top
The Third Digit
The third digit identifies the body shape according to this numbering system:
0 = Dreadnought (e.g., 510ce)
2 = Grand Concert (e.g., 512ce)
4 = Grand Auditorium (e.g., 514ce)
6 = Grand Symphony (e.g., 516ce)
7 = Grand Pacific (e.g., Builder's Edition 517e)
8 = Grand Orchestra (e.g., 518ce)
Cutaway & Electronics
If a "c" comes after the number, it indicates a model with a cutaway.
An "e" indicates a model with onboard electronics.
516ce = model with cutaway and electronics
510e = model with electronics, no cutaway
510 = model with no cutaway, no electronics
Nylon Strings
Taylor nylon-string models are integrated into the 200-800 Series and are designated by the letter “N” at the end of the model name.
514ce-N = 500 Series nylon-string Grand Auditorium with cutaway and electronics
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A Brief History of Taylor Guitar Innovations
Taylor, one of the most revered names in acoustic guitars, has earned a place alongside the much-older giants of the industry by crafting instruments with a sound all their own and an easy playability. Strum a chord and a Taylor can seem alive.
The El Cajon, California based Taylor Guitars has developed new ways to put together guitar necks and bodies, pioneered CNC manufacturing techniques and campaigned to save endangered forests. More breakthroughs seem likely to come as the company continues to tweak its designs.
Taylor Guitar OriginsIt’s a streak of innovation that arose from humble beginnings. Bob Taylor’s journey into luthiery began in the early ‘70s, when he built his first instruments in the wood shop at school. At first, he was simply trying to replicate the Echo Ranger 12-string he saw in a store-front window.
Taylor wasn’t even aware of Martin Guitars when he began building instruments, he once admitted in an interview with Acoustic Nation. Thankfully, that blissful ignorance of Martin’s 175-year history allowed him to design an instrument free of preconceived notions of what an acoustic guitar should be. He based his designs only on what he felt and desired.
By 1974, Taylor and Kurt Listug were labouring over instruments in the back of a small guitar store in Southern California. When the owner of the shop decided to move on, the duo bought the place and Taylor Guitars was born. Listug headed the business side of the company, and Taylor took responsibility for the guitars.
The first decade proved difficult. The fledgling company turned out an average of three guitars per day and had a difficult time selling them. But with great sound and superb action, the guitars were slowly-but-surely building the company’s reputation.
About 11 years in, guitar shops and players began understanding what separated a Taylor from other acoustic guitars. That’s when sales skyrocketed.
Neck ProfileTaylor Guitars became known for their effortless playability. When they hit the scene most companies were building necks with larger round or V-Profiles. It’s the way it had been for decades, and many of the most sought-after guitars of all time were made that way.
But from the beginning, Taylor designed his necks with slimmer dimensions so they would feel great in the player’s hand. That carve, along with low, even action, was especially important to acoustic players accustomed to the light touch of electric guitars. And those qualities continue to impress anyone who picks up a Taylor.
NT NeckTaylor was ready when machinery with computer numerical control, or CNC, became a factor in guitar making. He used it to improve the way he joined the guitar’s neck and body, creating what the company called the NT neck. The design uses precision-cut spacers and bolts to attach the neck to the body.
While Old World luthiers may scoff, the process allows for optimal contact of the wood, perfect neck angle on every guitar, fast construction and short adjustment time. What used to take a week now requires five minutes and yields better results.
Expression System™The Taylor Guitars Expression System™ (ES), engineered by Taylor’s David Hosler and audio-industry giant Rupert Neve, creates one of the most natural-sounding acoustic guitar pickup system possible.
It uses sensors to capture the movement of the top wood. Sporting a low-profile set of controls, the system enables a player to plug an acoustic guitar straight into the board and achieve natural, warm and woody tones.
Today, Taylor has improved on the ES with the ES2. It affords players a level of live acoustic tone and ease-of-use that is quickly becoming the new standard.
Taylor’s Conservation EffortsWhile Taylor Guitars has always been environmentally conscious, Bob Taylor has taken on an even more active role in responsible forestry and conservation in recent years. And he’s becoming very well known for his efforts. His “The State of Ebony” video has racked up more than 200,000 views on YouTube.
Much of the wood Taylor Guitars uses is grown in North America. But Taylor is also deeply involved in conservation across the globe. The company operates an ebony mill in Cameroon and work with co-ops in Honduras to source mahogany responsibly.
“By the time I die, I think that Taylor will own wood-growing lots,” Taylor has declared. Conservation is becoming such a large part of Taylor Guitars that Bob himself views that as the trajectory of his storied career.
Introducing Andy PowersTaylor Guitars celebrated its 40th anniversary in 2014, and Bob Taylor decided the time had come to begin the process of finding a successor to bring Taylor Guitars far into the future. Taylor listed the qualities he’d seek in a candidate, and some seemed so specific they’d be impossible to fill.
But then Taylor found Andy Powers, a luthier with his own line of custom acoustic instruments. In his brief time at Taylor, Powers has significantly improved the iconic 600 and 800 series guitars.
Powers is taking on more responsibility at the company, freeing Bob Taylor to devote more of his attention to his passionate concern about wood and forest conservationism. It's just coincidence that Andy’s middle name is Taylor.
The Next 40 YearsThe last 40 years have seen Taylor Guitars become a world leader in acoustic guitar manufacturing. The company has introduced technology, revolutionized the sound of live acoustic performance and worked toward 100% responsible wood sourcing. With Powers onboard and Bob Taylor pursuing conservation, the next 40 years could prove as revolutionary as the past 40.
Electric GuitarsTaylor Guitars has also had a strong presence in the electric guitar market. And the same adherence to quality and innovation are found throughout their electric lines as their acoustics.
Taylor’s flagship electrics are their T5 line hybrids. Far from an acoustic with a piezo, the hollow body T5 line boasts an array of different pickup options that can be combined for anything from pure acoustic tones to high-gain humbucker rock sounds. These are finding favour with many artists that need both sounds at the flick of a switch.
But Taylor also dipped their foot into the solid-body guitar market for a time. The solid-body electrics featured a new type of wide-range pickup designed by David Hosler, Taylor’s resident pickup guru.
Available as single and double-cutaway body styles, these guitars are still highly regarded for their quality and tone though no longer available from Taylor.
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The History of Taylor Guitars: The Evolution And Innovations Of Taylor Guitars
The history of Taylor Guitars spans over 40 years and Taylor Guitars has evolved into one of the world’s leading designer, builder and seller of acoustic guitars.
The Early History Of Taylor Guitars
The company was originally started in El Cajon, California and was owned by Sam Radding and named American Dream, a guitar making shop. In 1972 they hired a young 18-year-old by the name of Bob Taylor. Taylor worked for American dream for 2 years before Radding decided to sell his business.
Taylor along with two other co-employees, Steve Schemmer and Kurt Listug, decided to buy the business and called it Westland Music Company. They began to design and produce their own style of guitars.
The new owners decided that Westland Music Company was too long of a name and logo to put on the head of their guitars. At first considering Listug as their new brand, they reconsidered and decided that Taylor would be a more suitable name for the American guitar market.
As the new partners settled into business Listug took control of the company’s business responsibilities while Taylor focused on guitar design, innovations and production.
In 1976 the company expanded from a simple guitar making shop into retail stores and began their growth path that has today grown to a worldwide name brand with two state of the art factories and over 900 employees that produce hundreds of top line guitars every day.
Taylor Guitars History of Innovation
In the early 80’s Bob Taylor began pioneering the combination of high-tech manufacturing with old fashion craftsmanship, marking him as one of the most visionary guitar producers of his time.
Taylor have established a solid reputation for being easy to play, having a great sound, a beautiful design and with a famous neck recognized by guitar lovers everywhere.
The patented Taylor Neck was the first major innovation in acoustic guitar designs in over 100 years. Some of Taylor’s other unique designs include the T5, a hybrid acoustic and electric guitar and the Expression System which was the revolutionary pickup for acoustic guitar amplification.
Today the company has an active network of dealers and sells the popular Taylor Guitar through hundreds of retailers in locations across North America as well as distributing internationally in 60 countries including a European distribution warehouse and factory service centre in the Netherlands.
A Chronological History & Highlights Of Taylor Guitars:
1972 – 18-year-old Bob Taylor begins working for American Dream, a guitar making store in El Cajon, California
1974 – Bob Taylor partners with fellow employees Kurt Listug and Steve Schemmer to purchase American Dream and rename the store Westland Music Company
1974 – Westland Music Company is renamed Taylor Guitars for the sake of branding and a shorter logo for the company’s guitar heads.
1976 – Taylor Guitars expands from a guitar designing and producing single store to retailers throughout the United States for the first time.
1981 – The guitar company takes out a business loan for expansion and innovation through modern technologies and manufacturing equipment such as lasers, computerized mills and other proprietary machinery that will eventually lead Taylor to becoming a global innovation leader and designer in acoustic guitars and guitar manufacturing technology.
1995 – Bob Taylor begins replacing traditional luthier techniques for guitar making with a priority on exotic tone woods. Using old pallets from the warehouse as a resource he creates a guitar from the oak wood of the pallets that he names “Pallet Guitar”. The famous guitar also features a Formica and pearl fret that resembles a forklift. The original unique Pallet Guitar is on display at the Taylor Guitar factory in El Cajon, California. 25 replicas of the guitar have been reproduced and sold to collectors.
1999 – Taylor releases a new design labelled NT (New Technology) featuring a bolt on neck that differs from any other guitar design by using a single piece of continuous wood that reaches all the way to the 19th fret supporting the fretboard. This design simplified the neck realignment or reset service sometimes required on acoustic guitars.
2004 – The ES system is introduced, also known as the “Expression System”. Taylor’s own patented pickup system for acoustic guitars. The ES system was an option available on 500 series and above plus the 30th anniversary limited edition series. ES was also offered as a customization for 300 and 400 series orders as well as some of the older Taylor designs.
2011 – Taylor Guitars expands into the European market with the opening of a distribution warehouse in the Netherlands.
2014 – The United States State Department awards Taylor Guitars with the ACE Award – Award for Corporate Excellence. Recognizing Taylor’s commitment to responsible practices on obtaining ebony for its instrument’s raw materials.
Today – Taylor’s modern factory and headquarters remains in El Cajon, California, a small town east of San Diego. The factory has expanded and grown to over 145,000 square feet and is available for public tours Monday through Friday at 1:00 pm except for holidays.
Notable Taylor Guitar Artists:
· Taylor Swift
· William Ackerman
· Dave Carroll
· Billy Joe Walker
· Snuffy Walden
· Zac Brown
· Dave Matthews
· And thousands of more famous, professional and novice guitar players alike.
A Great Company Is More Than Just World Class Guitars
Taylor has always been not only an innovator in the guitar industry but a forward-thinking conservationist company as well.
Sourcing their wood with environmental sustainability is at the front of priorities. The company is dedicated to best practices in bringing ethically harvested tone woods to the market with involvement in forest management best practices and new models of reforestation.
With this responsible and proactive action combined with the beautiful sounds, attractive designs, flawless and innovative craftsmanship, it’s no wonder the Taylor Guitar is still one of the most desired acoustic guitars in the world maintaining the fine reputation in the marketplace today that it has throughout its history.
You never know what the future is going to bring when an 18-year-old kid walks into a guitar store and asks for a job. He or she may just grow up to become one of the most successful guitar designers and producers in the world. Just ask Bob Taylor and Kurt Listug.
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Taylor Guitars History
Address:
1980 Gillespie Way
El Cajon, California 92020-1096
U.S.A.
Telephone: (619) 258-1207
Toll Free: 800-943-6782
Fax: (619) 258-3799
Private Company
Incorporated: 1974 as Westland Music Company
Employees: 400
Sales: $43.6 million (2001 est.)
NAIC: 339992 Musical Instrument Manufacturing
Website: www.taylorguitars.com
Company Perspectives:
Established in 1974, Taylor Guitars evolved from a small venture between cofounders Bob Taylor and Kurt Listug to its current status as one of the world's most successful and highly regarded acoustic guitar manufacturers. As a leader in the industry, Taylor continues to revolutionize the design and manufacture of high-end acoustic guitars with significant innovations that produce superior instruments.
Key Dates:
1974: Bob Taylor and two partners buy a music store and begin making guitars.
1977: The firm begins distributing through an outside firm, but profits are small.
1981: New manufacturing equipment is purchased to increase production.
1983: Bob Taylor and cofounder/CEO Kurt Listug buy out their third partner's stake in the firm.
1987:The growing firm moves to a new 5,000-square-foot factory.
1989:Company buys its first computer-assisted manufacturing equipment.
1992:The company moves to a larger site in El Cajon, California.
1996:New three-quarter size "Baby Taylor" debuts.
1999:"New-Tech" neck design is introduced and wins accolades for innovation.
2002:A run of 400 Liberty Tree guitars, made from a historic tree, sells out on release.
Company History:
Taylor Guitars is a leading maker of acoustic guitars for the mid-price and high-end market. The company produces over 40,000 instruments a year that range from the three-quarter size "Baby Taylor," retailing for under $500, to more than 60 different full-size models that start at $1,200 and go up to $10,000 and beyond. Taylor also occasionally makes limited edition guitars like the Liberty Tree of 2002, constructed from wood salvaged from a 400-year old tulip poplar under which American colonists gathered to plot the revolution. The company's guitars, prized for their tone and ease of play, are owned by many celebrated musicians, including Paul McCartney, Eric Clapton, Neil Young, and Bonnie Raitt. The privately-held firm is run by co-founders Bob Taylor and Kurt Listug.
Beginnings
The roots of Taylor Guitars go back to the summer of 1973, when two young men began working together at a music store called American Dream in Lemon Grove, California. Kurt Listug, 20, had been painting buildings at nearby San Diego State University when he convinced owner Sam Radding to hire him to work in his repair shop, though he had no prior experience. A week later he was joined by another new hire, 18-year-old Bob Taylor, who had impressed Radding with several homemade guitars he had brought into the store to show off. Both Listug and Taylor started out doing instrument repairs and then moved up to making guitars.
Just a year after the pair were hired, Radding decided to sell American Dream, and his staff split into two factions that both sought to buy the business. Taylor, Listug, and a third partner, Steve Schemmer, won out, and they took possession on October 15, 1974, renaming the store Westland Music Company. They continued in much the same vein as before, repairing instruments and making some guitars for sale at the shop. The young luthiers soon decided to put the name Taylor on the headstock of the company's instruments, as Bob Taylor was their chief builder, changing the company's name to Taylor Guitars.
In 1976, the company's guitars were sold to outside dealers for the first time when Kurt Listug visited music stores in Los Angeles with a selection of the firm's instruments. Among other features, the early Taylor guitars had bolt-on, low-profile necks, which allowed for easy repair, and were made in several different neck widths.
Though Taylor was taking steps toward growth, the market for acoustic guitars had virtually bottomed out by the mid-1970s, and the firm was often on the edge of financial insolubility. In 1977, a distributor was engaged to help sell the company's guitars, but the low wholesale price received (between $150 and $380) made it difficult to turn a profit. After two years the distribution contract was terminated.
Struggling in the Early 1980s
At the dawn of the 1980s, the firm continued to trudge along, making about ten guitars a week but seldom earning more than enough to cover expenses. Taylor had hired additional employees to boost output but let them go so that the owners could write themselves pay cheques rather than simply piling up more unsold guitars.
In 1981, Taylor took out a loan to purchase additional manufacturing equipment, which helped speed up the processing and tooling of raw materials. The following year, with a backlog of instruments piling up, Listug took to the road to market the firm's guitars. On a route that took him to dealers as far away as Maine, he managed to sell all the stock he had taken with him. Finally paying more attention to marketing, and with improved efficiency due to its new manufacturing equipment, Taylor Guitars began to turn a profit at last. In 1983, Listug and Taylor bought out third partner Steve Schemmer, who had been less involved with the firm.
In 1984, with the acoustic guitar market still soft, the company received an unanticipated promotional boost from pop musician Prince. The "Purple Rain" star needed a purple 12-string instrument made for recording and video use, and Taylor built him one of its 655 series models in that colour. Though Prince specified that it could not feature Taylor's logo, the news got around among guitar connoisseurs, which led to more orders for the company's high-end Artists Series instruments. Custom Taylors were subsequently built for Bonnie Raitt and Billy Idol, among others. The company's guitars were owned by a growing list of famous performers, including Neil Young, James Burton, and John Fogerty. By 1985, Taylor was grossing an estimated $400,000 annually and had 11 employees. Its instruments were now sold at 130 retail outlets around the United States.
The company was building its guitars mainly for the high end of the market, with most instruments priced between $800 and $2000, and specially built custom models costing as much as $4,500. With production beginning to increase rapidly, the firm announced plans to add a $600 mid-price line as well. In 1986, the company also introduced its first Signature Model, named for flatpicking guitarist Dan Crary.
Move to Larger Quarters in 1987
In 1987, Taylor's growing success led it to move to a new 5,000-square-foot facility in Santee, California. The company's staff now numbered 35 and was producing 50 guitars per week. The following year saw revenues top $1 million for the first time. In 1989, Taylor bought its first computer-assisted manufacturing equipment, which allowed for greater precision in milling wood and more consistent quality across the product line. The machines also reduced costs and increased output. At the same time, the firm began making cases for its guitars in-house. The arch-topped cases, priced at $200, were made of poplar that was covered with vinyl, and lined with velvet. They replaced the generic models Taylor had previously outsourced; they also fit the guitars better while providing more protection. In 1990, a second Signature model bearing the name of Leo Kottke was introduced, this time a 12-string instrument.
July 1992 saw Taylor move to larger quarters yet again, with a new 25,000-square-foot facility in El Cajon becoming a combined headquarters and manufacturing site. The company's growth continued to be strong, and in 1993 it had an estimated $5 million in revenues. Eighty workers were employed by the firm, which was nearing production of 10,000 guitars per year. 350 U.S. dealers and 20 foreign distributors carried the Taylor line. The company's legion of well-known owners now included Eric Clapton, Bruce Springsteen, and Paul McCartney.
By this time, interest in the acoustic guitar had rebounded dramatically, due in part to the "Unplugged" phenomenon launched by MTV, which had spawned a best-selling Clapton album of acoustic versions of his hits. Technology also played a role, with improved electronics enabling the amplification of acoustic guitars in live rock band settings while preserving much of their natural sound and significantly reducing the troublesome feedback and distortion that was previously unavoidable when a hollow-body guitar was amplified either by external microphones or pickups mounted on the instrument. Taylor continued to seek new manufacturing solutions and 1994 saw the purchase of a special fretboard sanding machine and an ultraviolet finishing system, which cut the time required to varnish a guitar from several weeks to a single day. Sales continued to soar, rising 52 percent during the year.
"Baby Taylor" Introduced in 1996
In 1996, the company brought out a scaled-down guitar, the Baby Taylor, which was priced at less than $500. The three-quarter sized instrument was aimed at guitarists who wanted portability, such as backpackers or frequent travellers, as well as beginning musicians. It sold over 1,000 units during the year. A new full-size guitar, the "Grand Auditorium" model, was also added to the company's regular line, and it was pronounced by Bob Taylor "the best we've ever made." Many customers and critics agreed. Taylor began offering branded clothing and accessories during 1996 as well. Sales for the year hit a record total of $20 million.
In January 1997, a custom Taylor guitar was presented to President Bill Clinton at the Arkansas Inaugural Ball in Washington. The so-called "Presidential Guitar" featured extensive mother-of-pearl inlays that depicted the Inaugural Seal and Inaugural Ceremonial Ribbon, as well as the names of Clinton and his home town of Hope. It was presented to him for Taylor by guitarist David Pack, who had been a featured performer at the event and had gotten the idea of making it for him.
In October 1997, the company built a special limited edition "Cujo" guitar in conjunction with author and semi-professional guitarist Stephen King, whose novel of the same name inspired the instrument. Wood for the guitar came from a black walnut tree that had been featured in the 1983 movie version of the book. A run of 250 of the instruments was produced, each of them with "dog tag" labels hand-signed by King. The guitars sold out in five days. By this time, Taylor had 190 employees and was shipping 100 guitars per day to more than 600 U.S. dealers and international distributors. The firm had an order backlog of one year.
In 1998 Taylor's guitars were celebrated on an album called "Sounds of Wood and Steel," which featured celebrity guitarists--including Clint Black, Amy Grant, Vince Gill, Michael Hedges, and Leo Kottke--all playing their favourite Taylor instruments. The CD sold well and was later followed by a second volume. The albums were great publicity, and the company itself produced a quarterly newsletter and sponsored guitar clinics at shops around the country which were conducted by respected musicians like Doyle Dykes, Chris Proctor, and Artie Traum. Tours of the company's factory were offered as well.
During 1998, the company constructed a new 44,000-square-foot factory adjacent to its existing plant in El Cajon, which would house most manufacturing operations as well as the offices of its administrative, advertising, and financial departments. The older facility would be used for final assembly and finishing as well as hosting the firm's research and development and sales offices.
"NT Neck" Debuts in 1999
In 1999, Taylor introduced another technical innovation, a new neck design that was made possible by the greater cutting precision of computerized manufacturing equipment. The joint where the guitar neck was attached to the body had always presented problems for musicians wanting to adjust it to a different tension setting for playability, since the frets on the part of the neck away from the guitar's body and those that extended onto the body would go out of alignment, which adversely affected the fingering on each part of the fretboard. Taylor's NT ("New Tech") neck system united the previously separate elements so that string tension remained consistent on both. The NT design was a hit with guitarists and was later named "Product of the Year" by Music Trades magazine. Bob Taylor subsequently received a patent for the technology.
A survey of Taylor owners at this time found the majority to be married homeowners between the ages of 35 and 49 with household income of nearly $70,000. Ninety-seven percent were male, and most played the guitar daily for an hour or more. Many owned more than one instrument, including both acoustic and electric models. A typical Taylor guitar buyer was a "baby boomer" who had become interested in music during his formative years in the 1960s, then gotten away from playing until financial success allowed him the luxury of purchasing a high-end instrument.
In 2000, Taylor laid plans for another limited-edition guitar, the Liberty Tree model. Much of its wood came from a 400-year-old tulip poplar, the last remaining "Liberty Tree" from the 13 original U.S. colonies. One tree in each colony had been given this name through its use as a gathering place where patriots plotted the American Revolution. Over the years all save the one in Maryland had been lost, but in September of 1999 Hurricane Floyd fatally damaged that tree as well. Some of the wood was cut up and distributed as mementos to the staff at St. John's College in Annapolis, where the tree had stood, but most was trucked to landfills. Mark Mehnert, a local landscaper, spent $70,000 to acquire the wood after discovering its fate by accident. A Taylor dealer in Baltimore who heard the story contacted the company, which was able to acquire the remnants of the tree, paying $78,000 for it and shipping it cross-country in a refrigerated truck. In addition to using it in the guitars, 14 seedlings were generated for planting in each of the 13 founding colonies and at the United States Botanic Garden in Washington, D.C.
The year 2000 also saw Taylor adding to its Signature line with new models signed by Clint Black, Kenny Loggins, Doyle Dykes, Jewel, and several others, and launching its first mass-market advertising campaign with an ad in Rolling Stone magazine. Taylor guitars remained popular, with 40,000 now made per year by the firm's 325 employees, up from annual production of 6,000 just seven years earlier. A new model introduced during the year was the "Big Baby," a 15/16 size model that was priced to appeal to guitar students. By now Taylor was offering more than 60 different models of acoustic guitars ranging in price from $1,248 to $10,494, with the Baby Taylor just $348. They were sold by more than 800 dealers in the United States and Canada and by 13 foreign distributors internationally. The year 2000 also saw the company start a program called Taylor Guitars for Schools to donate Baby Taylors to San Diego area elementary schools. During the first year the company gave away 240 instruments.
In 2001, Taylor installed an "acoustic room" at its factory, a specially-designed space that was used to analyse the sound of its guitars in a live performance setting. The room was also used for concerts and special events. In April 2002, Taylor's Liberty Tree guitars went on sale. The limited edition run of 400 instruments, priced at more than $6,000 each, sold out immediately.
After more than a quarter-century in business, Taylor Guitars had become one of the best-known makers of acoustic guitars in the world. Esteemed for their quality and technical innovation, the company's instruments were played by many famous musicians, as well as thousands of others who prized their clear tone and ease of use.
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MORE ABOUT THE TAYLOR COMPANY
HISTORY
Taylor Guitars was founded in 1974 by Bob Taylor and Kurt Listug and has grown into the leading global builder of premium acoustic guitars. Renowned for blending modern, innovative manufacturing techniques with a master craftsman's attention to detail, Taylor acoustic guitars are widely considered among the best-sounding and easiest to play in the world. The company is a pioneer in the use of computer mills, lasers and other high-tech tools and proprietary machinery, and today, Bob Taylor is widely recognised throughout the musical instrument industry as the visionary acoustic guitar manufacturer.
Our site has a wealth of information about what goes into making a Taylor guitar and how to make this very important decision. We have guides for how to find the right fit for you. Learn about the subtle differences in shapes and styles. Delve into different types of woods and construction, which are vital to the flavour and tone of an acoustic. Explore the Taylor line by series to find the look and style you want for your instrument.
Every guitar player needs a great acoustic guitar – or several – in their collection. Finding the right acoustic guitar for you can be a daunting process even for the most seasoned player. If you are new to shopping for guitars, then it is even more critical that you learn all you can before you make your first purchase. If your first acoustic guitar is not the appropriate choice for you, then it can dramatically reduce the enjoyment you will get out of your instrument. If you are a new guitar player, the wrong guitar can be downright discouraging. You want a guitar that fits you, is effortless to play, and has the rich, beautiful tone you love to make it the instrument you dream of playing hour after hour.
A free, guided tour of the Taylor factory is given every Monday through Friday at 1 p.m. (excluding holidays). Groups of 10 or more guests are required to make a reservation to guarantee space on the tour. Please contact us to schedule a tour for your group.
The Taylor Guitars factory tour takes guests through the steps of acoustic guitar construction. From wood selection to final assembly, guests will experience each process as a guitar evolves from raw wood into a finished instrument. You will also have an opportunity to visit the TaylorWare store. Here you will find everything for the Taylor fan, from apparel to gift items to replacement guitar parts. The tour lasts approximately one hour and 15 minutes and departs from the main building at 1980 Gillespie Way in El Cajon, California.
FACTORY
Taylor's 145,000 square foot manufacturing facility is about 20 miles east of downtown San Diego in El Cajon, California. A free, guided tour of the Taylor Guitars factory is open to the public at 1:00 p.m., Monday through Friday except some holidays. For those too far away to visit the factory, Premier Guitars published a four-part tour of the Taylor Factory, narrated by Bob Taylor in 2008.
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We are the NSW Mid-North Coast Franchise Dealer for these (and more) quality musical instruments & equipment plus loads more guitar, drum, keyboard, recording, and live brands.
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►Beautifully Shaped Venetian Cutaway Body
► New Advanced Performance Bracing Design to orchestrate top & back
► Unique Performance Bracing, Wood Thickness. Protein Glue, Finish Thickness
► Green Abalone Inlays, Rosewood Framed Edges & Indian Rosewood Pickguard
► Beautiful Classic Taylor® Gloss Polyester Finish
► Includes a FREE Taylor® Deluxe Hardshell Case
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Taylor® 810ce – 800-Series Sitka-Spruce Top & Indian-Rosewood Back-&-Sides Acoustic-Electric Guitar
Taylor® 810ce Sitka-Spruce Top Indian-Rosewood Back-&-Sides Acoustic-Electric Guitar – Overview
The Taylor® 810ce Indian Rosewood Acoustic-Electric Guitar is a beautiful Dreadnought featuring Indian Rosewood back and sides and the warm Mahogany. As a premium tone wood Indian Rosewood back and sides give Taylor® 810ce Indian Rosewood acoustic-electric guitar medium-size cutaway Dreadnought body plenty of tonal and visual character. The combination of Mahogany and Indian Rosewood give the Taylor® 810ce Indian Rosewood Acoustic-Electric Guitar the driving midrange and powerful resonance that acoustic and acoustic-electric guitarists demand. As with all the Taylor Guitars, the Taylor® 810ce Indian Rosewood Acoustic-Electric Guitar delivers consistency, reliability and the best acoustic-electric sound available anywhere. Taylor’s Neo-traditional appointments combined with the dark vintage look of mahogany with a shaded edge burst top and all-satin finish. The Taylor® 810ce Indian Rosewood Acoustic-Electric Guitar has a Venetian cutaway and the Expression System® 2 Electronics which is the industry benchmark for an amplified acoustic sound.
The rosewood/spruce 810ce brings Taylor’s latest tone-enhancing refinements to the traditional steel-string Dreadnought, blending driving low-end power with a vibrant upper register for a turbo-charged flatpicking machine. Bluegrassers will love the strong, crisp top-end punch in any picking circle, with robust projection across the entire tonal spectrum. Premium appointments include maple binding and back strip, rosewood top edge trim, rosewood pickguard, mother-of-pearl Element fretboard inlay, and smoky ebony fretboard. A Venetian cutaway invites lead players up the fretboard, while Taylor’s Expression System 2 pickup translates that potent Dreadnought voice into a clear amplified tone.
Taylor® 810ce Sitka-Spruce Top Indian-Rosewood Back-&-Sides Acoustic-Electric Guitar – Key Features
1. Dreadnought Shape: Taylor’s signature shape embodies the ultimate all-purpose acoustic.
2. Sitka Spruce Top Wood: The hardwood top produces strong fundamentals with clarity and focus.
3. Indian Rosewood Body Wood: Blackwood produces a strong volume, with a focused midrange and rich top-end shimmer.
4.Taylor®’s own Expression System™ 2 (ES2) Pickup: The Expression System™ 2 (ES2) Pickup onboard acoustic guitar microphone captures more of the guitar’s dynamic properties using Taylor®’s wonderful breakthrough ‘behind-the-saddle’ design.
5.Venetian Cutaway Body Type: The Venetian cutaway is known for its soft, round lines. The sloping peak of the cutaway will vary depending on the shape of the guitar.
Taylor® 810ce Sitka-Spruce Top Indian-Rosewood Back-&-Sides Acoustic-Electric Guitar – Specifications Overview
Scale Length: 25½″
o Nut & Saddle: Tusq Nut/Micarta Saddle
o Bracing: Advanced Performance with Relief Rout
o Truss Rod Cover: Ebony
o Pickguard: Rosewood
o Number of Frets: 20
o Tuners: Taylor® Nickel
o Case: Taylor Deluxe Hardshell Brown
o Brand of Strings: Elixir Phosphor Bronze HD Light
o Body Length: None
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THE TAYLOR® 810ce FEATURES
Discover the features that make this guitar unique
Shape: Dreadnought
Taylor’s Dreadnought captures the potent tone flatpickers and strummers love.
Top Wood: Sitka Spruce
The soundboard choice for most guitars, Sitka spruce produces a broad dynamic range and accommodates a versatile range of playing styles.
Body Wood: Indian Rosewood
The tone-wood superstar. Popular, traditional, and versatile, Bob Taylor puts Indian rosewood among the greatest tone-woods ever.
Electronics: Expression System® 2
The Expression System® 2 captures more of a guitar’s dynamic properties using a breakthrough behind-the-saddle design.
Body Style: Venetian Cutaway
The Venetian cutaway is known for its soft, round lines. The sloping peak of the cutaway will vary depending on the shape of the guitar.
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THE TAYLOR® 810ce SPECIFICATIONS
Our commitment to a great playing experience covers every detail of a guitar.
Highlights
Body
Body Length: 20" Inch
Body Width: 16" Inch
Body Depth: 4⅝" Inch
Bracing: Advanced Performance with Relief Rout
Back Configuration: 2-Piece No Wedge
Binding/Edge Treatment: Maple
Top Finish: Gloss 3.5
Pickguard: Rosewood
Backstrap Finish: None
Rosette Size: Single Ring
Bridge Inlay: None
Back/Side Finish: Gloss 3.5
Bridge Pins: Ebony w/ Abalone Dots
Armrest Binding: None
Backstrap Wood: None
Rosette Material: Abalone
Stain/Sunburst: None
Wedge: None
Armrest: No
Neck
Scale Length: 25½" Inch
Neck Width: 1¾" Inch
Fretboard Inlay: Element
Fretboard Binding/Edge Treatment: Maple
Heel Cap Binding: Maple
Type of Neck Joint: Taylor® Neck
Neck/Heel: Tropical Mahogany
Fretboard Wood: Ebony
Number of Frets: 20
Tuners: Taylor® Nickel
Nut & Saddle: Tusq Nut & Micarta Saddle
Neck Finish: Satin
Heel Length: 3½" Inch
Headstock
Logo: Taylor® Mother of Pearl
Finish: Gloss
Binding: Maple
Type: Standard
Truss Rod Cover: Ebony
Purfling: None
Overlay: Ebony
Inlay: None
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THE TAYLOR® 800-SERIES DESCRIPTION
THE 800-Series
Guided by the design strokes of luthier Andy Powers and the manufacturing expertise of Bob Taylor, Taylor has reconceived its flagship rosewood/spruce 800-Series, infusing it with a sweeping array of tone-enhancing refinements. Virtually every element of the guitar’s material construction was optimized: bracing, wood thicknesses, glues, finish, strings and acoustic electronics, topped off with a refreshed design aesthetic. The end result is the perfect type of musical celebration: a more inspiring playing experience.
While there are certain core qualities that Andy Powers says he strives to bring to any guitar — volume, sustain, clarity, uniformity of character — one of his driving goals in redesigning the 800-Series was to accentuate the unique characteristics of each different shape. “I want these models to have a family resemblance, but I don’t want them to sound the same,” he says. “I wanted to consider the 812ce, for example, not as it relates to the 810ce, but as it relates to itself.”
The resulting tonal distinctions between each shape, Bob Taylor feels, are far from subtle. “I think players will really enjoy experiencing these new guitars and comparing different models,” he says. “In a way, there’s a rebirth of every one of them.”
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THE TAYLOR® 810ce DESIGN FEATURES
Our commitment to a great playing experience covers every detail of a guitar.
Bracing
New advanced performance designs bring out greater warmth, mid-range, balance and sustain. A guitar’s bracing patterns orchestrate the movement of the top and back, working with the overall body shape and tone woods to produce a unique acoustic voice.
Wood Thickness
Optimised dimensions help bring out the best of each body shape. Another subtle re-calibration that relates to the bracing is in the top and back thickness specification for each body shape.
Protein Glue
The type of glue used between parts where tone is transferred, such as the bracing and bridge, can influence the tone. Some synthetic glues can partially impede tone, while animal protein glues transfer it well.
Finish Thickness
The thicker a guitar’s finish is, the more it tends to dampen the tonal response. Over the years Taylor has developed innovative techniques to make our polyester gloss finish as thin as possible for maximum tonal benefits.
Electronics
Taylor Guitars "New 800-Series" - The Expression System™ 2 - Another tone-enhancing design stroke is a new version of the Expression System™ pickup, the Expression System™ 2 (ES2). Taylor pickup designer David Hosler had been studying under-saddle piezo transducers and how they capture a guitar’s energy as it is transferred from the strings through the saddle and soundboard.
Binding and Purfling
One classic aesthetic detail for the 800-Series has been light-coloured binding, which had evolved over the years from white plastic on Bob Taylor’s early models to figured maple.
Inlays
Because the 800-Series has traditionally featured a shell material for the rosette, Andy chose green abalone and framed both edges with rosewood to complement the top trim.
Fretboard
Given Bob Taylor’s advocacy for the use of coloured ebony to support a more sustainable model of consumption, Bob and Andy agreed that the 800’s were an appropriate place to use fretboards with light brown coloration.
Pickguard
One of the most dramatic visual distinctions of the new appointment package for the 800’s is a switch from our traditional faux tortoise shell pickguard to one made of Indian rosewood.
Strings
Elixir® NANOWEB™ Phosphor Bronze 16027 Custom Light Gauge .011 - .052 for their ability to sound like the same instrument from the lowest note to the highest note.
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TAYLOR® BODY SHAPES EXPLAINED
Grand Auditorium
Grand Auditorium model numbers end in 4 - for example, 814ce, 314e etc.
The Grand Auditorium is known as the ‘Jack Of All Trades’ for Taylor. Its popularity is due to its ability to suit a wide variety of players. In fact, it will suit every player from strummers to fingerstyle players to flatpickers. It has a full bass sound with articulate mid-range and sparkling top-end so you can really get a lot out of the guitar, no matter your style.
The Auditorium is also comfortable to play because it’s not too big either. It would be the ideal choice for anyone after a multi-purpose acoustic guitar.
Grand Concert
Grand Concert model numbers end in 2 - for example, 512ce, 712e etc.
The Grand Concert is the smallest body shape on offer. The ‘comfortable friend’ that you could easily use on the couch at home or live on stage because it’s so comfortable to play. The Concert is also amazing in studio because it has a very tight, focused sound and sits comfortably in the mix with all of the overtones that you may get from a bigger body, firmly under control.
The concert has a slightly shorter scale length so is a little bit easier to play. So if you have smaller hands or prefer a lighter feel, or if you simply need a guitar for light strumming and fingerpicking, then the Concert was designed for you.
Grand Symphony
Grand Symphony model numbers end in 6 - for example 316ce, 216e etc.
The Big, Bold Strummer! The Symphony is the second biggest body shape by Taylor and is adored for its powerful sound, with a robust low end. It’s great for strummers or flatpickers because it delivers a big sound with clear articulation. It has a wider waist and bigger lower bout than the Auditorium and so will require heavier right-hand technique to get the most out of it.
Grand Orchestra
Grand Orchestra model numbers end in 8 - for example, 818ce, 618e etc.
The newest shape in the Taylor range, known as ‘The Gentle Giant’, is also the biggest shape on offer. Akin to a Jumbo, this guitar has a BIG acoustic sound with a complex character. Normally, a big body needs a hard strummer to get the most out of it but the inner bracing is both scalloped & parabolic which means that the top is actually able to move very easily (the top is not rigid).
The guitar will respond to the fingerpicker as well as it would to the strummer because the top will move like a speaker cone, giving you a lot of sound that covers a wide frequency range. Perfect for singer/songwriters who want a guitar that’s going to sound like a full band behind them!
The Dreadnought
Dreadnought model numbers end in 0 - for example, 110e, 710ce etc.
Lastly, the famous Dreadnought. This is probably the shape that comes to mind when you think of an acoustic because of its enormous popularity through the ages. The slightly ‘boxy’ shape means you have a subtle midrange scoop (right where the vocal sits in the mix, so it’s great for singers).
Having that slight mid scoop means you get a bold sounding low-end and a snappy top-mid for awesome clarity. You might describe the sound as ‘familiar; the dreadnought is widely regarded as the workhorse. Like the Auditorium, this guitar can do any style, but is particularly good for strummers and flatpickers, or for anyone who just wants a traditional sound and shape.
Summary
By now, you should be feeling a little more comfortable with what's what in the Taylor Guitars range. As you can see, the process of choosing your chosen shape and style is easier than it seemed at first.
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ANDY EXPLAINS TAYLOR® BODY SHAPES
Bob Taylor designed each unique Taylor body shape with a specific playing style in mind.
Grand Concert
Andy says: I like the intimacy of the Grand Concert. It’s the perfect lap guitar. It’s really comfortable to hold, and with the short scale, it has a soft, gentle feel on your hand, plus a really articulate character because of the smaller body cavity. The small body chamber essentially pushes the frequencies it wants to emphasize up in pitch a little bit. That’s where you get the articulation and intimate sound.
Grand Auditorium
Andy says: To me the Grand Auditorium 814ce is the quintessential modern acoustic guitar. It’s about the same width as the Dreadnought, but it has a much curvier shape, so its response is completely different. It’s the ultimate general-purpose guitar — you can play fingerstyle, jazz, strum it in front of a band, support a singer, write songs on it, basically use it anywhere you use an acoustic guitar.
Grand Symphony
Andy says: I set out to make the GS a powerful guitar. It’s a big-body guitar, and I want a really rich sound out of it without sacrificing a bell-like articulation. As a player, that is what I’m looking for from a larger-body guitar: a big, rich response.
Dreadnought
Andy says: The Dreadnought is the quintessential bluegrass guitar, and I wanted to bring a big, robust top-end response out of our 810. As a Dreadnought, it easily provides the low-end power I want, but where I’ve found some Dreadnoughts lacking over the years is that the low-end power comes at the expense of a weak upper register.
Grand Orchestra
Andy says: When I designed the Grand Orchestra, I had many of the elements we’re incorporating into the 800 Series in the back of my mind as designs I was hoping to get to do someday but hadn’t yet worked out how to make them a reality. Now, after a year out in the world, the Grand Orchestra has been embraced by far more players than I had anticipated. It’s a really versatile guitar.
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TAYLOR® ACOUSTIC GUITAR MODEL NUMBERS EXPLAINED
Taylor acoustic guitar models are organized by series, from 100 - 900 along with our Presentation (PS) and Koa (K) Series. Learn how to understand our numbering system, by viewing our quick guide.
The First Digit
The first digit (or letter) identifies the Series. Most guitar models within each series share the same back and side woods and appointment package.
516ce = A 500 Series mode
The Second Digit
The second digit designates two things:
1. Whether the guitar is a 6-string or a 12-string
2. Whether the top features a softer tone-wood like spruce or cedar, or a hardwood like mahogany or koa.
6-String
The middle number will be 1 or 2:
516ce = softwood (spruce) top
526ce = a hardwood (mahogany) top
12-String
The middle number will be 5 or 6:
556ce = a softwood (spruce) top
566ce = a hardwood (mahogany) top
The Third Digit
The third digit identifies the body shape according to this numbering system:
0 = Dreadnought (e.g., 510ce)
2 = Grand Concert (e.g., 512ce)
4 = Grand Auditorium (e.g., 514ce)
6 = Grand Symphony (e.g., 516ce)
7 = Grand Pacific (e.g., Builder's Edition 517e)
8 = Grand Orchestra (e.g., 518ce)
Cutaway & Electronics
If a "c" comes after the number, it indicates a model with a cutaway.
An "e" indicates a model with onboard electronics.
516ce = model with cutaway and electronics
510e = model with electronics, no cutaway
510 = model with no cutaway, no electronics
Nylon Strings
Taylor nylon-string models are integrated into the 200-800 Series and are designated by the letter “N” at the end of the model name.
514ce-N = 500 Series nylon-string Grand Auditorium with cutaway and electronics
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A Brief History of Taylor Guitar Innovations
Taylor, one of the most revered names in acoustic guitars, has earned a place alongside the much-older giants of the industry by crafting instruments with a sound all their own and an easy playability. Strum a chord and a Taylor can seem alive.
The El Cajon, California based Taylor Guitars has developed new ways to put together guitar necks and bodies, pioneered CNC manufacturing techniques and campaigned to save endangered forests. More breakthroughs seem likely to come as the company continues to tweak its designs.
Taylor Guitar OriginsIt’s a streak of innovation that arose from humble beginnings. Bob Taylor’s journey into luthiery began in the early ‘70s, when he built his first instruments in the wood shop at school. At first, he was simply trying to replicate the Echo Ranger 12-string he saw in a store-front window.
Taylor wasn’t even aware of Martin Guitars when he began building instruments, he once admitted in an interview with Acoustic Nation. Thankfully, that blissful ignorance of Martin’s 175-year history allowed him to design an instrument free of preconceived notions of what an acoustic guitar should be. He based his designs only on what he felt and desired.
By 1974, Taylor and Kurt Listug were labouring over instruments in the back of a small guitar store in Southern California. When the owner of the shop decided to move on, the duo bought the place and Taylor Guitars was born. Listug headed the business side of the company, and Taylor took responsibility for the guitars.
The first decade proved difficult. The fledgling company turned out an average of three guitars per day and had a difficult time selling them. But with great sound and superb action, the guitars were slowly-but-surely building the company’s reputation.
About 11 years in, guitar shops and players began understanding what separated a Taylor from other acoustic guitars. That’s when sales skyrocketed.
Neck ProfileTaylor Guitars became known for their effortless playability. When they hit the scene most companies were building necks with larger round or V-Profiles. It’s the way it had been for decades, and many of the most sought-after guitars of all time were made that way.
But from the beginning, Taylor designed his necks with slimmer dimensions so they would feel great in the player’s hand. That carve, along with low, even action, was especially important to acoustic players accustomed to the light touch of electric guitars. And those qualities continue to impress anyone who picks up a Taylor.
NT NeckTaylor was ready when machinery with computer numerical control, or CNC, became a factor in guitar making. He used it to improve the way he joined the guitar’s neck and body, creating what the company called the NT neck. The design uses precision-cut spacers and bolts to attach the neck to the body.
While Old World luthiers may scoff, the process allows for optimal contact of the wood, perfect neck angle on every guitar, fast construction and short adjustment time. What used to take a week now requires five minutes and yields better results.
Expression System™The Taylor Guitars Expression System™ (ES), engineered by Taylor’s David Hosler and audio-industry giant Rupert Neve, creates one of the most natural-sounding acoustic guitar pickup system possible.
It uses sensors to capture the movement of the top wood. Sporting a low-profile set of controls, the system enables a player to plug an acoustic guitar straight into the board and achieve natural, warm and woody tones.
Today, Taylor has improved on the ES with the ES2. It affords players a level of live acoustic tone and ease-of-use that is quickly becoming the new standard.
Taylor’s Conservation EffortsWhile Taylor Guitars has always been environmentally conscious, Bob Taylor has taken on an even more active role in responsible forestry and conservation in recent years. And he’s becoming very well known for his efforts. His “The State of Ebony” video has racked up more than 200,000 views on YouTube.
Much of the wood Taylor Guitars uses is grown in North America. But Taylor is also deeply involved in conservation across the globe. The company operates an ebony mill in Cameroon and work with co-ops in Honduras to source mahogany responsibly.
“By the time I die, I think that Taylor will own wood-growing lots,” Taylor has declared. Conservation is becoming such a large part of Taylor Guitars that Bob himself views that as the trajectory of his storied career.
Introducing Andy PowersTaylor Guitars celebrated its 40th anniversary in 2014, and Bob Taylor decided the time had come to begin the process of finding a successor to bring Taylor Guitars far into the future. Taylor listed the qualities he’d seek in a candidate, and some seemed so specific they’d be impossible to fill.
But then Taylor found Andy Powers, a luthier with his own line of custom acoustic instruments. In his brief time at Taylor, Powers has significantly improved the iconic 600 and 800 series guitars.
Powers is taking on more responsibility at the company, freeing Bob Taylor to devote more of his attention to his passionate concern about wood and forest conservationism. It's just coincidence that Andy’s middle name is Taylor.
The Next 40 YearsThe last 40 years have seen Taylor Guitars become a world leader in acoustic guitar manufacturing. The company has introduced technology, revolutionized the sound of live acoustic performance and worked toward 100% responsible wood sourcing. With Powers onboard and Bob Taylor pursuing conservation, the next 40 years could prove as revolutionary as the past 40.
Electric GuitarsTaylor Guitars has also had a strong presence in the electric guitar market. And the same adherence to quality and innovation are found throughout their electric lines as their acoustics.
Taylor’s flagship electrics are their T5 line hybrids. Far from an acoustic with a piezo, the hollow body T5 line boasts an array of different pickup options that can be combined for anything from pure acoustic tones to high-gain humbucker rock sounds. These are finding favour with many artists that need both sounds at the flick of a switch.
But Taylor also dipped their foot into the solid-body guitar market for a time. The solid-body electrics featured a new type of wide-range pickup designed by David Hosler, Taylor’s resident pickup guru.
Available as single and double-cutaway body styles, these guitars are still highly regarded for their quality and tone though no longer available from Taylor.
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The History of Taylor Guitars: The Evolution And Innovations Of Taylor Guitars
The history of Taylor Guitars spans over 40 years and Taylor Guitars has evolved into one of the world’s leading designer, builder and seller of acoustic guitars.
The Early History Of Taylor Guitars
The company was originally started in El Cajon, California and was owned by Sam Radding and named American Dream, a guitar making shop. In 1972 they hired a young 18-year-old by the name of Bob Taylor. Taylor worked for American dream for 2 years before Radding decided to sell his business.
Taylor along with two other co-employees, Steve Schemmer and Kurt Listug, decided to buy the business and called it Westland Music Company. They began to design and produce their own style of guitars.
The new owners decided that Westland Music Company was too long of a name and logo to put on the head of their guitars. At first considering Listug as their new brand, they reconsidered and decided that Taylor would be a more suitable name for the American guitar market.
As the new partners settled into business Listug took control of the company’s business responsibilities while Taylor focused on guitar design, innovations and production.
In 1976 the company expanded from a simple guitar making shop into retail stores and began their growth path that has today grown to a worldwide name brand with two state of the art factories and over 900 employees that produce hundreds of top line guitars every day.
Taylor Guitars History of Innovation
In the early 80’s Bob Taylor began pioneering the combination of high-tech manufacturing with old fashion craftsmanship, marking him as one of the most visionary guitar producers of his time.
Taylor have established a solid reputation for being easy to play, having a great sound, a beautiful design and with a famous neck recognized by guitar lovers everywhere.
The patented Taylor Neck was the first major innovation in acoustic guitar designs in over 100 years. Some of Taylor’s other unique designs include the T5, a hybrid acoustic and electric guitar and the Expression System which was the revolutionary pickup for acoustic guitar amplification.
Today the company has an active network of dealers and sells the popular Taylor Guitar through hundreds of retailers in locations across North America as well as distributing internationally in 60 countries including a European distribution warehouse and factory service centre in the Netherlands.
A Chronological History & Highlights Of Taylor Guitars:
1972 – 18-year-old Bob Taylor begins working for American Dream, a guitar making store in El Cajon, California
1974 – Bob Taylor partners with fellow employees Kurt Listug and Steve Schemmer to purchase American Dream and rename the store Westland Music Company
1974 – Westland Music Company is renamed Taylor Guitars for the sake of branding and a shorter logo for the company’s guitar heads.
1976 – Taylor Guitars expands from a guitar designing and producing single store to retailers throughout the United States for the first time.
1981 – The guitar company takes out a business loan for expansion and innovation through modern technologies and manufacturing equipment such as lasers, computerized mills and other proprietary machinery that will eventually lead Taylor to becoming a global innovation leader and designer in acoustic guitars and guitar manufacturing technology.
1995 – Bob Taylor begins replacing traditional luthier techniques for guitar making with a priority on exotic tone woods. Using old pallets from the warehouse as a resource he creates a guitar from the oak wood of the pallets that he names “Pallet Guitar”. The famous guitar also features a Formica and pearl fret that resembles a forklift. The original unique Pallet Guitar is on display at the Taylor Guitar factory in El Cajon, California. 25 replicas of the guitar have been reproduced and sold to collectors.
1999 – Taylor releases a new design labelled NT (New Technology) featuring a bolt on neck that differs from any other guitar design by using a single piece of continuous wood that reaches all the way to the 19th fret supporting the fretboard. This design simplified the neck realignment or reset service sometimes required on acoustic guitars.
2004 – The ES system is introduced, also known as the “Expression System”. Taylor’s own patented pickup system for acoustic guitars. The ES system was an option available on 500 series and above plus the 30th anniversary limited edition series. ES was also offered as a customization for 300 and 400 series orders as well as some of the older Taylor designs.
2011 – Taylor Guitars expands into the European market with the opening of a distribution warehouse in the Netherlands.
2014 – The United States State Department awards Taylor Guitars with the ACE Award – Award for Corporate Excellence. Recognizing Taylor’s commitment to responsible practices on obtaining ebony for its instrument’s raw materials.
Today – Taylor’s modern factory and headquarters remains in El Cajon, California, a small town east of San Diego. The factory has expanded and grown to over 145,000 square feet and is available for public tours Monday through Friday at 1:00 pm except for holidays.
Notable Taylor Guitar Artists:
· Taylor Swift
· William Ackerman
· Dave Carroll
· Billy Joe Walker
· Snuffy Walden
· Zac Brown
· Dave Matthews
· And thousands of more famous, professional and novice guitar players alike.
A Great Company Is More Than Just World Class Guitars
Taylor has always been not only an innovator in the guitar industry but a forward-thinking conservationist company as well.
Sourcing their wood with environmental sustainability is at the front of priorities. The company is dedicated to best practices in bringing ethically harvested tone woods to the market with involvement in forest management best practices and new models of reforestation.
With this responsible and proactive action combined with the beautiful sounds, attractive designs, flawless and innovative craftsmanship, it’s no wonder the Taylor Guitar is still one of the most desired acoustic guitars in the world maintaining the fine reputation in the marketplace today that it has throughout its history.
You never know what the future is going to bring when an 18-year-old kid walks into a guitar store and asks for a job. He or she may just grow up to become one of the most successful guitar designers and producers in the world. Just ask Bob Taylor and Kurt Listug.
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Taylor Guitars History
Address:
1980 Gillespie Way
El Cajon, California 92020-1096
U.S.A.
Telephone: (619) 258-1207
Toll Free: 800-943-6782
Fax: (619) 258-3799
Private Company
Incorporated: 1974 as Westland Music Company
Employees: 400
Sales: $43.6 million (2001 est.)
NAIC: 339992 Musical Instrument Manufacturing
Website: www.taylorguitars.com
Company Perspectives:
Established in 1974, Taylor Guitars evolved from a small venture between cofounders Bob Taylor and Kurt Listug to its current status as one of the world's most successful and highly regarded acoustic guitar manufacturers. As a leader in the industry, Taylor continues to revolutionize the design and manufacture of high-end acoustic guitars with significant innovations that produce superior instruments.
Key Dates:
1974: Bob Taylor and two partners buy a music store and begin making guitars.
1977: The firm begins distributing through an outside firm, but profits are small.
1981: New manufacturing equipment is purchased to increase production.
1983: Bob Taylor and cofounder/CEO Kurt Listug buy out their third partner's stake in the firm.
1987:The growing firm moves to a new 5,000-square-foot factory.
1989:Company buys its first computer-assisted manufacturing equipment.
1992:The company moves to a larger site in El Cajon, California.
1996:New three-quarter size "Baby Taylor" debuts.
1999:"New-Tech" neck design is introduced and wins accolades for innovation.
2002:A run of 400 Liberty Tree guitars, made from a historic tree, sells out on release.
Company History:
Taylor Guitars is a leading maker of acoustic guitars for the mid-price and high-end market. The company produces over 40,000 instruments a year that range from the three-quarter size "Baby Taylor," retailing for under $500, to more than 60 different full-size models that start at $1,200 and go up to $10,000 and beyond. Taylor also occasionally makes limited edition guitars like the Liberty Tree of 2002, constructed from wood salvaged from a 400-year old tulip poplar under which American colonists gathered to plot the revolution. The company's guitars, prized for their tone and ease of play, are owned by many celebrated musicians, including Paul McCartney, Eric Clapton, Neil Young, and Bonnie Raitt. The privately-held firm is run by co-founders Bob Taylor and Kurt Listug.
Beginnings
The roots of Taylor Guitars go back to the summer of 1973, when two young men began working together at a music store called American Dream in Lemon Grove, California. Kurt Listug, 20, had been painting buildings at nearby San Diego State University when he convinced owner Sam Radding to hire him to work in his repair shop, though he had no prior experience. A week later he was joined by another new hire, 18-year-old Bob Taylor, who had impressed Radding with several homemade guitars he had brought into the store to show off. Both Listug and Taylor started out doing instrument repairs and then moved up to making guitars.
Just a year after the pair were hired, Radding decided to sell American Dream, and his staff split into two factions that both sought to buy the business. Taylor, Listug, and a third partner, Steve Schemmer, won out, and they took possession on October 15, 1974, renaming the store Westland Music Company. They continued in much the same vein as before, repairing instruments and making some guitars for sale at the shop. The young luthiers soon decided to put the name Taylor on the headstock of the company's instruments, as Bob Taylor was their chief builder, changing the company's name to Taylor Guitars.
In 1976, the company's guitars were sold to outside dealers for the first time when Kurt Listug visited music stores in Los Angeles with a selection of the firm's instruments. Among other features, the early Taylor guitars had bolt-on, low-profile necks, which allowed for easy repair, and were made in several different neck widths.
Though Taylor was taking steps toward growth, the market for acoustic guitars had virtually bottomed out by the mid-1970s, and the firm was often on the edge of financial insolubility. In 1977, a distributor was engaged to help sell the company's guitars, but the low wholesale price received (between $150 and $380) made it difficult to turn a profit. After two years the distribution contract was terminated.
Struggling in the Early 1980s
At the dawn of the 1980s, the firm continued to trudge along, making about ten guitars a week but seldom earning more than enough to cover expenses. Taylor had hired additional employees to boost output but let them go so that the owners could write themselves pay cheques rather than simply piling up more unsold guitars.
In 1981, Taylor took out a loan to purchase additional manufacturing equipment, which helped speed up the processing and tooling of raw materials. The following year, with a backlog of instruments piling up, Listug took to the road to market the firm's guitars. On a route that took him to dealers as far away as Maine, he managed to sell all the stock he had taken with him. Finally paying more attention to marketing, and with improved efficiency due to its new manufacturing equipment, Taylor Guitars began to turn a profit at last. In 1983, Listug and Taylor bought out third partner Steve Schemmer, who had been less involved with the firm.
In 1984, with the acoustic guitar market still soft, the company received an unanticipated promotional boost from pop musician Prince. The "Purple Rain" star needed a purple 12-string instrument made for recording and video use, and Taylor built him one of its 655 series models in that colour. Though Prince specified that it could not feature Taylor's logo, the news got around among guitar connoisseurs, which led to more orders for the company's high-end Artists Series instruments. Custom Taylors were subsequently built for Bonnie Raitt and Billy Idol, among others. The company's guitars were owned by a growing list of famous performers, including Neil Young, James Burton, and John Fogerty. By 1985, Taylor was grossing an estimated $400,000 annually and had 11 employees. Its instruments were now sold at 130 retail outlets around the United States.
The company was building its guitars mainly for the high end of the market, with most instruments priced between $800 and $2000, and specially built custom models costing as much as $4,500. With production beginning to increase rapidly, the firm announced plans to add a $600 mid-price line as well. In 1986, the company also introduced its first Signature Model, named for flatpicking guitarist Dan Crary.
Move to Larger Quarters in 1987
In 1987, Taylor's growing success led it to move to a new 5,000-square-foot facility in Santee, California. The company's staff now numbered 35 and was producing 50 guitars per week. The following year saw revenues top $1 million for the first time. In 1989, Taylor bought its first computer-assisted manufacturing equipment, which allowed for greater precision in milling wood and more consistent quality across the product line. The machines also reduced costs and increased output. At the same time, the firm began making cases for its guitars in-house. The arch-topped cases, priced at $200, were made of poplar that was covered with vinyl, and lined with velvet. They replaced the generic models Taylor had previously outsourced; they also fit the guitars better while providing more protection. In 1990, a second Signature model bearing the name of Leo Kottke was introduced, this time a 12-string instrument.
July 1992 saw Taylor move to larger quarters yet again, with a new 25,000-square-foot facility in El Cajon becoming a combined headquarters and manufacturing site. The company's growth continued to be strong, and in 1993 it had an estimated $5 million in revenues. Eighty workers were employed by the firm, which was nearing production of 10,000 guitars per year. 350 U.S. dealers and 20 foreign distributors carried the Taylor line. The company's legion of well-known owners now included Eric Clapton, Bruce Springsteen, and Paul McCartney.
By this time, interest in the acoustic guitar had rebounded dramatically, due in part to the "Unplugged" phenomenon launched by MTV, which had spawned a best-selling Clapton album of acoustic versions of his hits. Technology also played a role, with improved electronics enabling the amplification of acoustic guitars in live rock band settings while preserving much of their natural sound and significantly reducing the troublesome feedback and distortion that was previously unavoidable when a hollow-body guitar was amplified either by external microphones or pickups mounted on the instrument. Taylor continued to seek new manufacturing solutions and 1994 saw the purchase of a special fretboard sanding machine and an ultraviolet finishing system, which cut the time required to varnish a guitar from several weeks to a single day. Sales continued to soar, rising 52 percent during the year.
"Baby Taylor" Introduced in 1996
In 1996, the company brought out a scaled-down guitar, the Baby Taylor, which was priced at less than $500. The three-quarter sized instrument was aimed at guitarists who wanted portability, such as backpackers or frequent travellers, as well as beginning musicians. It sold over 1,000 units during the year. A new full-size guitar, the "Grand Auditorium" model, was also added to the company's regular line, and it was pronounced by Bob Taylor "the best we've ever made." Many customers and critics agreed. Taylor began offering branded clothing and accessories during 1996 as well. Sales for the year hit a record total of $20 million.
In January 1997, a custom Taylor guitar was presented to President Bill Clinton at the Arkansas Inaugural Ball in Washington. The so-called "Presidential Guitar" featured extensive mother-of-pearl inlays that depicted the Inaugural Seal and Inaugural Ceremonial Ribbon, as well as the names of Clinton and his home town of Hope. It was presented to him for Taylor by guitarist David Pack, who had been a featured performer at the event and had gotten the idea of making it for him.
In October 1997, the company built a special limited edition "Cujo" guitar in conjunction with author and semi-professional guitarist Stephen King, whose novel of the same name inspired the instrument. Wood for the guitar came from a black walnut tree that had been featured in the 1983 movie version of the book. A run of 250 of the instruments was produced, each of them with "dog tag" labels hand-signed by King. The guitars sold out in five days. By this time, Taylor had 190 employees and was shipping 100 guitars per day to more than 600 U.S. dealers and international distributors. The firm had an order backlog of one year.
In 1998 Taylor's guitars were celebrated on an album called "Sounds of Wood and Steel," which featured celebrity guitarists--including Clint Black, Amy Grant, Vince Gill, Michael Hedges, and Leo Kottke--all playing their favourite Taylor instruments. The CD sold well and was later followed by a second volume. The albums were great publicity, and the company itself produced a quarterly newsletter and sponsored guitar clinics at shops around the country which were conducted by respected musicians like Doyle Dykes, Chris Proctor, and Artie Traum. Tours of the company's factory were offered as well.
During 1998, the company constructed a new 44,000-square-foot factory adjacent to its existing plant in El Cajon, which would house most manufacturing operations as well as the offices of its administrative, advertising, and financial departments. The older facility would be used for final assembly and finishing as well as hosting the firm's research and development and sales offices.
"NT Neck" Debuts in 1999
In 1999, Taylor introduced another technical innovation, a new neck design that was made possible by the greater cutting precision of computerized manufacturing equipment. The joint where the guitar neck was attached to the body had always presented problems for musicians wanting to adjust it to a different tension setting for playability, since the frets on the part of the neck away from the guitar's body and those that extended onto the body would go out of alignment, which adversely affected the fingering on each part of the fretboard. Taylor's NT ("New Tech") neck system united the previously separate elements so that string tension remained consistent on both. The NT design was a hit with guitarists and was later named "Product of the Year" by Music Trades magazine. Bob Taylor subsequently received a patent for the technology.
A survey of Taylor owners at this time found the majority to be married homeowners between the ages of 35 and 49 with household income of nearly $70,000. Ninety-seven percent were male, and most played the guitar daily for an hour or more. Many owned more than one instrument, including both acoustic and electric models. A typical Taylor guitar buyer was a "baby boomer" who had become interested in music during his formative years in the 1960s, then gotten away from playing until financial success allowed him the luxury of purchasing a high-end instrument.
In 2000, Taylor laid plans for another limited-edition guitar, the Liberty Tree model. Much of its wood came from a 400-year-old tulip poplar, the last remaining "Liberty Tree" from the 13 original U.S. colonies. One tree in each colony had been given this name through its use as a gathering place where patriots plotted the American Revolution. Over the years all save the one in Maryland had been lost, but in September of 1999 Hurricane Floyd fatally damaged that tree as well. Some of the wood was cut up and distributed as mementos to the staff at St. John's College in Annapolis, where the tree had stood, but most was trucked to landfills. Mark Mehnert, a local landscaper, spent $70,000 to acquire the wood after discovering its fate by accident. A Taylor dealer in Baltimore who heard the story contacted the company, which was able to acquire the remnants of the tree, paying $78,000 for it and shipping it cross-country in a refrigerated truck. In addition to using it in the guitars, 14 seedlings were generated for planting in each of the 13 founding colonies and at the United States Botanic Garden in Washington, D.C.
The year 2000 also saw Taylor adding to its Signature line with new models signed by Clint Black, Kenny Loggins, Doyle Dykes, Jewel, and several others, and launching its first mass-market advertising campaign with an ad in Rolling Stone magazine. Taylor guitars remained popular, with 40,000 now made per year by the firm's 325 employees, up from annual production of 6,000 just seven years earlier. A new model introduced during the year was the "Big Baby," a 15/16 size model that was priced to appeal to guitar students. By now Taylor was offering more than 60 different models of acoustic guitars ranging in price from $1,248 to $10,494, with the Baby Taylor just $348. They were sold by more than 800 dealers in the United States and Canada and by 13 foreign distributors internationally. The year 2000 also saw the company start a program called Taylor Guitars for Schools to donate Baby Taylors to San Diego area elementary schools. During the first year the company gave away 240 instruments.
In 2001, Taylor installed an "acoustic room" at its factory, a specially-designed space that was used to analyse the sound of its guitars in a live performance setting. The room was also used for concerts and special events. In April 2002, Taylor's Liberty Tree guitars went on sale. The limited edition run of 400 instruments, priced at more than $6,000 each, sold out immediately.
After more than a quarter-century in business, Taylor Guitars had become one of the best-known makers of acoustic guitars in the world. Esteemed for their quality and technical innovation, the company's instruments were played by many famous musicians, as well as thousands of others who prized their clear tone and ease of use.
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MORE ABOUT THE TAYLOR COMPANY
HISTORY
Taylor Guitars was founded in 1974 by Bob Taylor and Kurt Listug and has grown into the leading global builder of premium acoustic guitars. Renowned for blending modern, innovative manufacturing techniques with a master craftsman's attention to detail, Taylor acoustic guitars are widely considered among the best-sounding and easiest to play in the world. The company is a pioneer in the use of computer mills, lasers and other high-tech tools and proprietary machinery, and today, Bob Taylor is widely recognised throughout the musical instrument industry as the visionary acoustic guitar manufacturer.
Our site has a wealth of information about what goes into making a Taylor guitar and how to make this very important decision. We have guides for how to find the right fit for you. Learn about the subtle differences in shapes and styles. Delve into different types of woods and construction, which are vital to the flavour and tone of an acoustic. Explore the Taylor line by series to find the look and style you want for your instrument.
Every guitar player needs a great acoustic guitar – or several – in their collection. Finding the right acoustic guitar for you can be a daunting process even for the most seasoned player. If you are new to shopping for guitars, then it is even more critical that you learn all you can before you make your first purchase. If your first acoustic guitar is not the appropriate choice for you, then it can dramatically reduce the enjoyment you will get out of your instrument. If you are a new guitar player, the wrong guitar can be downright discouraging. You want a guitar that fits you, is effortless to play, and has the rich, beautiful tone you love to make it the instrument you dream of playing hour after hour.
A free, guided tour of the Taylor factory is given every Monday through Friday at 1 p.m. (excluding holidays). Groups of 10 or more guests are required to make a reservation to guarantee space on the tour. Please contact us to schedule a tour for your group.
The Taylor Guitars factory tour takes guests through the steps of acoustic guitar construction. From wood selection to final assembly, guests will experience each process as a guitar evolves from raw wood into a finished instrument. You will also have an opportunity to visit the TaylorWare store. Here you will find everything for the Taylor fan, from apparel to gift items to replacement guitar parts. The tour lasts approximately one hour and 15 minutes and departs from the main building at 1980 Gillespie Way in El Cajon, California.
FACTORY
Taylor's 145,000 square foot manufacturing facility is about 20 miles east of downtown San Diego in El Cajon, California. A free, guided tour of the Taylor Guitars factory is open to the public at 1:00 p.m., Monday through Friday except some holidays. For those too far away to visit the factory, Premier Guitars published a four-part tour of the Taylor Factory, narrated by Bob Taylor in 2008.
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