Fall G uys Andy Powers and Larry Breedlove dream up the Fall LTDs

Sonia Leigh

The Script

Javier Colon & Vicci Martinez from The Voice

Find Your Fit 2 www.taylorguitars.com

This time Taylor technician Sam and we had walked through some much for my smallish hands and arms. Eakins serviced both of my guitars. amazing forests of spruce and cedar, There was nothing to do but sell the Great guy to talk with and a great so there was a sense of at least part guitar and give up this wonderful musi- Letters technician. We put heavier gauge of the guitar returning home. Kurt said cal hobby. strings on the 510 and tuned it to that he had a guitar at home (coastal Lo and behold, I came across In October 1999 an epic hurricane, D rather than E, allowing me to play Washington State) but had never many rave reviews of the GS Mini. It Mitch, devastated the area with more it as a 12-fret by using the capo on had one at his cabin in Alaska, and occurred to me that a smaller guitar than one meter of rainfall. In Novem- the second fret. Sam did the same proceeded to beautifully sing a few might improve the situation, but I need- ber of that year I wrote a song where I to the NS54ce. I played many of the songs. ed to try a guitar for several days and took the viewpoint of a villager watch- new models, including several 12-fret The guitar really added to the find a left-handed model to boot. I am ing his town being swept away by the guitars. I love them and the attention spirit and sense of community on this new to Taylor, but I have always heard mountain flood waters. Taylor pays to detail. Thanks for the retreat. Kurt was clearly taken with this of their quality build and their musical- In 2008 our NWS office held guitars and the great technicians you small guitar that was still a pleasure ity. When I heard that Taylor came out an open house. My co-worker Chris send out. to play, and which had a top of local with a lefty Mini, I contacted Southpaw Strong, singer Lisa Dougherty and I Don Wright wood. In the end, I decided that the Guitars in Texas and took the plunge. performed an hour-long show, “Weath- guitar should stay there, and gave it Now, after two straight weeks of er in Music and Prose,” comprised of to Kurt. I will enjoy thinking about oth- playing, I have had no recurrence of weather-related music and poetry, with Soothing Sounds ers hearing its sound in the amazing pain and am thoroughly enjoying this PowerPoint presentations displayed My name is Marco and I work for beauty of that place surrounded by a guitar. The build quality is excellent, the behind us while we played, dealing the Moline Fire Department in Moline, spruce forest. playability terrific, and my mood greatly with the theme of each song. We did IL. Our job is very demanding, and The point of all this is to thank you improved. Thanks to everyone involved Backwards Guitar a number of covers but also included we see a lot of very bad things. While for the guitar, and also to note that, in making these fine instruments. You In the [summer] issue, the finger- a few originals, including my song trying to deal with the emotions that despite the enthusiasm for the GS have really added to my days. board diagrams in Wayne Johnson’s “Mitchell.” Two towns I feature promi- go along with responding to these Mini, there is still a place for the Jay Peters article about playing scales appear nently in PowerPoint are La Ceiba and calls, my fellow brothers and I all have smaller guitar. to have been rotated 180 degrees. San Pedro Sula, which are chronicled hobbies. I play my 1999 Taylor 914c. John Eckstein It took me a few seconds to realize in your article. Given the destruction As a longtime Taylor player, I wanted Classical Spark that his approach to scales was not that occurred 12 years ago, it is great to thank you guys for such fine gui- I have played guitar since I was as radical as it first appeared. I made to see the economic recovery. tars and for helping me deal with bad For Pete’s Sake very young, beginning with rock and copies of the diagrams and flipped Andy Woodcock times. You have a great dealer in Hono- jazz. As I grew older I turned to softer, them — it was much easier to deal with Ashburn, VA Marco Leone lulu. Island Guitars has served my “unplugged” music. A few years ago, upside-down numbers than misori- guitar needs for the past decade, and I decided to learn classical. I let my ented diagrams. Pete, their repair guy, is fantastic! I nails grow and ventured into the Thanks for the interview with Ruthie Fit to Be Tried Baby Comes Home have now purchased a total of five arena of Bach, Sor and others. As the Foster. She is one of my favorites. I’ve missed the last few times Since 1992 I have purchased a Taylors from Pete, and he has set up years passed, so did my enthusiasm. Max Honn that Taylor was in Austin for a Road 512, Baby, 555, T5 and GS Mini. I got and done the occasional repair on all Knowing that I needed a new spark, I Show or similar event, but I was able the Baby the first year you made them, of them. I could not be happier with recently purchased a Taylor NS34ce. Ed. Note: Several folks wrote in with to attend the Find Your Fit event at as I really liked the idea of a small, the quality of information in the sales I am so pleased with my decision. I’ve a similar observation. We should Austin Bazaar today (8/11/11). JR was “go-anywhere” guitar, and then bought process or the quality of service in had the guitar for about a month and have run a note to properly set up an excellent representative and was the GS Mini, well, just because. setup and repair. I picked up my T5 devote approximately two hours each the unorthodox nature of Wayne’s very patient with me as we surveyed We planned a trip to Alaska from Pete yesterday — after a problem day to my music. I absolutely love the notation, as he presented it this way the Taylor body styles and types that I for 17 days this summer, centered with the selector switch and a loose challenges faced by classical guitar intentionally. He explains: “I chose don’t already own (I have a Baby and a around a seven-day kayaking spiritual pickup wire — and Pete helped me players, and truly enjoy my “medita- the reverse approach because this is 714ce). It was transformational to get retreat near Petersburg in Southeast understand what happened. Then we tion” time with the guitar. I am thrilled the exact perspective a student has my hands on a Baritone and the GS, Alaska. The retreat was run jointly by ran it through its paces to make sure with my Taylor; it fits me very well, at a lesson while he/she is listening, and I was sorely tempted by the T3 and Inside Passages (Kurt Hoelting) and the electronics were working to my plays and sounds wonderful, and looks visualizing and trying to absorb not T5 that found their way into my hands the Institute for Jewish Spirituality. Kurt satisfaction before I left the store. The awesome! Thank you and your staff only shapes and patterns, but even the as well. The hands-on demo of the T5 is a remarkable person who is a Har- only place I have had that kind of treat- for their devotion to craftsmanship and proper string order from low to high. was especially informative, and it gave vard Divinity School graduate, author, ment was at my old Mercedes Benz quality, and thank you for the “spark.” I started writing diagrams this way me all sorts of ideas as to how to put teacher, guide, and former minister and dealer before they were swallowed Scott K. Smith because it seems to help my students that model to use. commercial fisherman. up by a big car conglomerate. Thanks relate much faster as they look at a So, thank you to Austin Bazaar I decided that I would really like to for the good training and excellent diagram and then watch my demon- for hosting the event, and to Taylor have a guitar along for this, and in the products you provide for Pete at Island stration of it, since both views are the for sending your people out into the end decided that the original Baby Guitars, and for the amazing instru- identical perspective. And in this case, field to educate and tempt those of us was just more portable. The worship/ ments you make. I knew I would also be presenting a who need that personal touch when it spiritual part of our retreat involved George Benda companion video, so I was striving for comes to choosing the next guitar(s) some silence (not much use for a gui- consistency. Depending on the feed- for our arsenal! tar) and some singing, where it was back, I’m open to changing it next time Jay Clement really a happy addition to the group. Small Wonder around.” Austin, TX That portability turned out to be If it wasn’t for my new GS Mini, I especially helpful when we left our would not be able to play guitar any- cabin for two nights to camp on a more. Because of age and diabetic Weather Songs Finding a Re-Fit much smaller island. I put the guitar in neuropathy, I developed severe neck I’m a meteorologist with the On Tuesday, July 26 I attended the its gig bag and into two plastic bags, and back pain while playing. After We’d like to Washington DC office of the National Find Your Fit session at Harry’s Guitar and lashed it to the back of the kayak. numerous tests and medical treat- hear from you Weather Service, an amateur musi- shop in Raleigh, NC. The event was ter- As we sat around the campfire, I led ments, it became obvious that play- cian, and owner of three Taylors (614, rific, and I plan to attend more of these a few songs. Kurt asked to see the ing my beloved [other guitar] caused Send your e-mails to: 410, Baby). I read the article “Forest in the future. I always get my Taylor guitar and commented on the Sitka these problems due to the guitar’s size [email protected] Friends,” regarding the use of Hondu- 510ce and my Taylor NS54ce serviced spruce top. Of course we were sitting and dimensions. Both the scale length ran woods, with great interest. by Terry at Harry’s. Great service. on an island filled with Sitka spruce, and width of the guitar were just too 3

Volume 69 Fall 2011 Find us on Facebook. Subscribe on YouTube. Follow us on Twitter: twitter.com/taylorguitars Features

6 Sonia Leigh Steps Out The Georgia singer-songwriter unveils her vintage Southern sound on Zac Brown’s label.

On the Cover 8 How to Become a Natural Shawn Persinger explores the “nature versus nurture” issue among guitar players. The good news? You can develop into a natural. 12 The 2011 Fall Limiteds We spice up the season with 16 The Next Wave: Andy Powers a wood-rich collection led by He’s Bob Taylor’s favorite new luthier and player. Gifted guitar maker Cover photo: (L-R) Guitar designers Andy Powers AA-grade koa, blazing cocobolo, Andy Powers brings a heap of talent to our product development team. and Larry Breedlove with a koa Fall Limited. and fresh new inlay designs. 20 Voice Recognition Meet Javier Colon, winner of the show The Voice, and runner-up Vicci Martinez, 28 8 both of whom are passionate Taylor players. 22 Backstage Pass: Mark Sheehan, The Script The guitarist from one of Ireland’s most popular rock acts compares his 816ce to Harry Potter’s wand and can’t live without his GS Mini. 28 What Are You Working On? A lot goes into making a Taylor guitar. We thought we’d drop in on a few folks to give you a closer look. 30 A Fitting Experience Our first-ever “Find Your Fit” tour made a big splash this summer. Here’s a recap.

Departments 2 Letters 5 Editor’s Note 27 Taylor Notes 4 Kurt’s Corner 10 Ask Bob 31 Calendar 5 BobSpeak 24 Soundings 32 TaylorWare

4 www.taylorguitars.com

Volume 69 Fall 2011

Publisher / Taylor-Listug, Inc. Produced by the Taylor Guitars Marketing Department Vice President of Sales & Marketing / Brian Swerdfeger Director of Brand Marketing / Jonathan Forstot Editor / Jim Kirlin Senior Art Director / Cory Sheehan Art Director / Rita Funk-Hoffman Graphic Designer / Angie Stamos-Guerra Photographer / Tim Whitehouse

Contributors Jonathan Forstot / David Hosler / David Kaye / Kurt Listug / Shawn Persinger Shane Roeschlein / Bob Taylor / Corey Witt / Glen Wolff / Chalise Zolezzi

Technical Advisors Ed Granero / David Hosler / Gerry Kowalski / Andy Lund / Rob Magargal Mike Mosley / Brian Swerdfeger / Bob Taylor / Chris Wellons / Glen Wolff

Contributing Photographers Rita Funk-Hoffman / David Kaye / Steve Parr

Circulation Printing / Distribution Kurt’s Corner Katrina Horstman Courier Graphics / CEREUS - Phoenix

©2011 Taylor Guitars. 100 SERIES, 200 SERIES, 300 SERIES, 400 SERIES, 500 SERIES, 600 Taking the Reins SERIES, 700 SERIES, 800 SERIES, 900 SERIES, Baby Taylor, Big Baby, Bridge Design, Doyle Dykes Signature Model, Dynamic Body Sensor, Expression System, GALLERY Series, K4, Liberty Tree, Peghead Design, Pickguard Design, PRESENTATION Series, Quality Taylor Guitars, Guitars and Cases & Design, T5, One of the nice benefits of starting jewelry, hand-crafted shoes and boots, Montana Dreamwear. She also does T5 (Stylized), Taylor, Taylor (Stylized), Taylor ES, Taylor Expression System, TAYLOR GUITARS Taylor Guitars and growing a company to where it’s handmade furniture and home furnish- her own photography, writes the script, K4, Taylor K4, TAYLOR QUALITY GUITARS and Design, TAYLORWARE, and WOOD&STEEL are registered established and mature, and you have ings, and antique western furniture. The and composes the music for her run- trademarks of the company. Balanced Breakout, Dynamic String Sensor, ES Blue, ES-Go, Grand Symphony, GS, GS Mini, GS SERIES, T5 Thinline Fiveway, Taylor Acoustic Electronics, ES-T, Thinline (T5) Fiveway, a great team of people helping you run best part is you get to meet and chat way shows. Celeste does it all, and her T3, T3/B, T-Lock and V-Cable are trademarks of the company. Patents pending. Prices and specifications it, is being able to take time to explore directly with the designers and crafts- vision comes through loud and clear. subject to change without notice. other areas of interest, whether busi- ness or personal. As I write this I’m in Wyoming, and Bob is in Africa. I’m A business, no matter how large, 2011 Taylor Factory Tours & Vacation Dates enjoying the fall in the mountains, and has to stay willing to completely A free, guided tour of the Taylor Guitars factory is given every Monday Bob is researching sources of guitar through Friday at 1 p.m. (excluding holidays). No advance reservations are wood. change, sacrifice and remake itself necessary. Simply check-in at our reception desk in the lobby of our main For the third year in a row, my wife in order to stay fresh and relevant. building by 1 p.m. We ask that large groups (more than 10) call us in advance Jenny and I attended the Western at (619) 258-1207. Design Conference here in Jackson While not physically demanding, the tour does include a fair amount of Hole. It’s the preeminent western people who have chosen this creative I mention these artisans because walking. Due to the technical nature, the tour may not be suitable for small design show and competition, and and rewarding life. this is how every business starts, with children. The tour lasts approximately one hour and 15 minutes and departs it attracts artisans from all over the Until I attended this show last year creativity and a vision. As a business from the main building at 1980 Gillespie Way in El Cajon, California. country and abroad. What I enjoy and met Dr. Jim Ciaravella, I hadn’t grows and matures, this is the most Please take note of the weekday exceptions below. For more information, in- about this show is similar to what I like quite realized that surgeons are crafts- important thing to hold onto. I think cluding directions to the factory, please visit taylorguitars.com/contact/factorytour. about the musical instrument industry there’s a tendency for a business to get people who enjoy working with their We look forward to seeing you! and our trade shows: It’s made up of hands. Jim, you see, is the proprietor of stale as it gets bigger, but it can’t be really creative people who are excited Dr. C’s Designs, and he crafts incred- allowed to. That creative spark has to about their ideas and their crafts. ible western artifacts with leather, in be nurtured, and a business, no matter They’re excited enough, and self-reliant addition to painting and sculpting. Jim how large, has to stay willing to com- Holiday Closures enough, to risk putting their ideas and is a retired cardiac surgeon who, dur- pletely change, sacrifice and remake their finances on the line in the hope ing his medical career, performed 200 itself in order to stay fresh and relevant. Friday, October 14 of being well-received and achieving surgical procedures each year. If you like western design and (Taylor Guitars Anniversary) success. The most beautiful ladies’ knitwear culture and would like to be inspired, The key element, of course, is their I’ve ever seen is designed and made by make a point of attending the Western Thursday-Friday, November 24-25 level of persistence — their ability to Gretel Underwood of Santa Fe, New Design Conference in Jackson Hole (Thanksgiving Holiday) firmly take hold of their dream and not Mexico. Gretel left Los Angeles more during the annual Fall Arts Festival. let go until they master the skills they You’ll be glad you did. than 20 years ago, learned about natu- Monday, December 19 through Friday, December 30 need to achieve whatever level of suc- ral plant dyes and techniques, and took (Company Vacation) cess they envision for themselves. I up weaving. Her handmade clothing ­­ — Kurt Listug, CEO can’t tell you how much I admire this and throws are stunning. trait. Celeste Sotola is a gifted artist who The Western Design Conference designs and crafts each piece of her features western-themed clothing and western haute couture line known as 5 Editor’s Note

Fits Found This summer brought our first wave of Find Your Fit events to music stores across the U.S. As we note in our recap this issue, the in-store hang time proved to be fun and informative for the many who participat- ed. Each interaction between our staff and interested players served to spotlight the process of personal discovery that accompanies each per- son’s search for a guitar. As many of us can appreciate, the right guitar inspires us in a special way, inviting us to express our musical ideas more freely, without the obstacles that otherwise might have been blocking our creative paths. As we coax sounds out of a well-matched guitar, that guitar often coaxes something out of us in return. This issue is filled with stories of people who have found the right guitars to express themselves. For guitarist Mark Sheehan from The Script, it was a 514ce, followed by an 816ce and a GS Mini. For Javier Colon, winner of The Voice, it was his NS62ce and 814ce. For runner- up Vicci Martinez, it was a 510ce. For singer-songwriter Sonia Leigh, it was a custom Grand Auditorium that we built to complement her musical approach. Our profile of guitar designer Andy Powers looks at the guitar-making side of the equation, revealing Andy to be something of a guitar whis- perer who understands how a complementary instrument can raise an BobSpeak artist’s game. Having a designer with his level of talent and sensitivity on our team portends well for Taylor’s continued guitar development, and An Age-Old Discussion Andy’s insights about guitars and tone on these pages — including his take on this year’s Fall Limiteds — will no doubt help players enrich their I’ve been thinking. that’s when a guitar sounds its best. don’t think it’s because we made better understanding of tonal nuances. People trade their guitars too Then they talk about trading guitars guitars then. Instead, remember that it’s Last but not least, we’re happy to mark the one-year anniversary of often, like they were baseball cards or again, which leads back to the discus- had 10 or 12 birthdays and is begin- the GS Mini, a guitar that, in a short time, has already captivated so many marbles. I see this a lot when I read the sion about old Taylors being better. ning to age nicely. people in interesting ways, a few of which you’ll see in Soundings. One forums or when our service department I always have an urge to post and I get reminded of this over and over of the best things about the Mini is that the appeal is nearly universal — helps owners. Now, before I continue, point out that the old guitars do sound when I visit dealers or do appearances. it’s a guitar that seems to fit everyone. I’ll acknowledge that this same group better, because they’ve aged! There When people know I’m coming to town, As you read this, we’re already into a new season of Taylor Road of guitar enthusiasts might be our best isn’t anything a maker can do to a new some want to show their guitar to me. Shows, with more Find Your Fit events sprinkled in as well. We hope customer group, if measured by the guitar to make it sound aged. Even if I’ve met people who’ve disappeared you’ll join us if you can. number of guitars they buy. And I’ll con- they did, that guitar would age as well from the event only to return 45 min- fess that we like selling multiple guitars and sound better. Then you compare utes later because they drove home to one person, as it helps our economy it and forget that it aged, and think the to get their guitar. It’s very nice to see — Jim Kirlin here in El Cajon. But there seems to be new guitar isn’t made as well. these guitars. In the ’90s people would a lot of people buying guitars that they I still have every Taylor I’ve ever bring guitars made in the ’80s, and I’d plan to keep for a year or two before made for myself or bought. (Yes, I have play them and think, “Wow, we made they trade out of them. I’ve even read to buy them. Hard to believe, but I really good guitars back then!” A decade forum posts from guys who’ve kept do!) I have a 20th Anniversary model later, I’d play guitars made in the ’90s guitars for a week or two, and traded that sounds incredible now; nothing and think the same thing. I’ve experi- five or six times until they felt like they like when it was new. A new guitar can enced this so many times that I’m sure got a “keeper.” sound wonderful, but as it ages, and it’s completely real. Right next to these posts, which I’ve noticed that it starts noticeably So, trade away your guitars if have lots of participants, might be a after the 8- to 10-year mark, it just gets that’s fun for you; it helps the world go thread titled something like, “When more beautiful tonally. It doesn’t have around in many ways. But keep one or were Taylor’s best production years?” more highs or lows, just a better tone two, and let those guitars stay in your Open that thread and many of the of the highs and lows. It’s like the dif- possession for years and years. You’ll same people are part of the discussion. ference in tone between the singing enjoy the benefits of letting them grow You’ll read posts saying that the mid- to voices of people. Some people have old. The more worn they get, like your late ’90s were our best years. A person beautiful voices and some don’t, even old leather jacket, the more cool they has proof because they have a 1997 though they sing the same notes. And become. model that sounds better than their your guitar’s voice, or tone, will improve 2009 model. Others post that they, too, with age. have an old one that they think edges Don’t ask me why. I don’t really ­­ — Bob Taylor, President out their new one. know. I don’t think anyone really knows, Online On another post, someone will ask and it really doesn’t matter. What mat- how this or that guitar will “age.” Then ters is that if you trade your guitars Read this and other back issues of Wood&Steel at people start discussing how guitars every few years you never get there, taylorguitars.com under “Resources.” age and recommend that a player get unless you’re acquiring an older guitar. their guitar to that aged point because When you do, if it sounds so incredible, SONIA LEIGH AMERICAN GIRL

THE Georgia troubadour blends her Americana roots into a soulful Southern mash

By Jim Kirlin 7

when I was growing up, and of course, A modest but receptive crowd Melissa Etheridge and Sheryl Crow. I’m a huge Springsteen fan, and Jackson greets Sonia Leigh and her Browne. I was home for eight hours last night, and the first thing I did was put band as they take the stage on my Jackson Browne record [Late For The Sky] .” at the House of Blues in Anaheim, Sometimes the good ones will be the Coming up in Georgia’s music California on a Thursday night in late first riff that I play, and then the lyrics circles, two of Leigh’s biggest influ- July. Leigh has top billing on the eve- start coming.” ences were Zac Brown (custom ning’s country radio-sponsored new art- In conversation and through her NS74ce), who she’s known for seven ist showcase, the latest stop on a tour music, Leigh comes across as both years, and acclaimed blues artist Sean that’s found her courting radio stations young and old. She has a youthful Costello, one of the scene’s brightest and playing on-air acoustic sets around energy, a tomboyish look, and one talents, who passed away unexpectedly the country. Her new single, “My Name can sense that she’s still acclimating in 2008. The loss inspired the opening is Money,” just dropped, and her debut to the higher-profile exposure she’s track on her record, “Ain’t Dead Yet,” album on Zac Brown’s Southern starting to receive nationally. But she and helped reaffirm her commitment as Ground label is due for release in also has the poise of a seasoned trou- a musician. Before she plays the tune in Sonia with “Jackson” on stage at the House of Blues in Anaheim September. badour who’s put in the time, logged Anaheim, Leigh tells the crowd it’s one Though tonight’s crowd is a far cry the miles, learned her craft, and who of her favorite songs that she’s written. from the 70,000 she played to the pre- genuinely loves being on stage. At the Leigh had put out a couple of times it’s like you’re opening up the “A lot of artists are on labels with vious month in Nashville as part of the House of Blues, the interplay of her independent releases (one of them diary. I think I had a little bit of Percy people whose music they don’t really CMA Fest, when she joined Zac and band is tight and fluid. It’s clear that produced by John Hopkins from Zac’s Sledge in mind when I was writing it. I know or don’t pay attention to, but his band on stage, it doesn’t matter. As they’ve all gelled and enjoy playing Band) before signing with Southern wanted to get into that vein of the blues. we’re all really in each other’s corner,” Leigh’s rhythmic acoustic picking on together. Ground. The way she describes the I almost can’t even listen to him; his she says. “We all really enjoy writ- her custom Grand Auditorium ignites If there’s an “old soul” vibe to environment and the people sounds music pierces your spirit that hard, kind ing together, hanging out together, the chugging country-rocker “A Poem Leigh’s persona, it may come from the ideal for a developing artist — a com- of like Adele. It’s so incredibly touching and being on the road together. We From the Ocean Floor,” the band’s fact that music is in her blood. Her fortable place that nurtures creativity, that it’s overwhelming sometimes.” definitely represent for one another musical energy fills the room, and the grandfather, Roy Harmon Rolling, who provides a home base for working with One of the album’s grooviest tunes because we really love each other’s attendance seems to double as listen- passed away this year, was a song- other like-minded artists, and chal- is “Roaming,” a sweet acoustic ditty music.” ers slowly swarm in front of the stage. writer who penned a tune for Hank lenges her to push herself artistically. that Leigh started writing years ago but Leigh will be part of Zac’s fall tour By the time she belts out the spirited Williams. She recorded 1978 December at shelved until the recording sessions and says she’s looking forward to play- line, “I feel alive, feel alive, I feel alive” with Zac. ing with some of her label mates. midway through the song, so does the “It had kind of a reggae-ish vibe to “There’s so much coming out of entire room. it, and I think that’s why I brought it out Southern Ground that I’m excited about Leigh’s voice is rich with character — “When I found my guitar player, with Zac,” she says. “And we just sat — Nic Cowan, Levi Lowry, the Wood husky, gritty, punchy, and well-suited to Will, I told him, ‘Don’t make any there and finished it.” Brothers — it’s a plethora of talent that infusing her songs with soulful South- Leigh says she feels fortunate to I’m proud to be a part of.” ern passion. At times she’ll wrap her plans for the rest of your life; you’re be part of the supportive, collaborative www.sonialeigh.com Georgia drawl boozily around words, in this band.’” culture that Zac has created with his not unlike Lucinda Williams. It’s a voice Southern Ground roster. that’s unvarnished and real, loaded with conviction and capable of channeling the many moods that make up her col- “He was a great inspiration for my Zac’s studio, with Zac producing and Sonia Finds Her Fit lage of Americana — vintage country, music and for me as a person,” she occasionally collaborating, and with When Taylor guitar designer Andy Powers was enlisted to help rock, folk, gospel, blues. It’ll likely be reflects. “I actually dedicated the record his band as her session players. She Sonia select a Taylor model, he was happy to oblige. country radio that plays her stuff, but to him. He really had that old country credits Zac with pushing her vocals to “She’s got this real powerful voice,” he says. “So, we got to like a lot of young, emerging Southern sound.” another level, and says he understood talking, and I said, ‘OK, I’m going to build you something.’ So I built acts these days, Leigh’s music is a Leigh’s dad also plays guitar, and her desire to let each song be what it a guitar that matches her voice, something that complements her melting pot of different cross-strains taught her her first guitar chords when was meant to be. powerful register. It has a little warmer low-end response, and a bit of soulful American music. Leigh’s she was a girl. At holidays the whole “Working with Zac as a fellow artist, more of a low-end punch continuing through the midrange…it’s a wide-angle musical lens definitely family would get together and play. it was easier for me to listen to his sug- powerful-sounding guitar. comes across on her new record, 1978 “My uncle plays drums, and my gestions on things,” she says. “I’m very The guitar is a Grand Auditorium with mahogany back and sides December. I tell Leigh as much when grandfather’s brother and my grand- satisfied with the versatility of the mate- and an Adirondack spruce top. we chat by phone a week later — that mother’s brother played the fiddle rial, but it still walks a thin line of country “It gives her tons of headroom, because I knew she would be like her friend and mentor Zac Brown, and mandolin, so, especially at family radio, which is really unique.” playing the snot out of the thing,” he says. In terms of the look, Andy the songs feel cohesively Southern, reunions, we would have big old shin- The lead single, “My Name is envisioned something more traditional. “A little darker looking, not yet each one seems to forge its own digs.” Money,” one of the album’s hookiest super polished, not real glossy, not overly flashy,” he says. “I worked unique stylistic path. She says she’s gotten into collect- tunes, wraps Leigh’s raspy vocals with with our finish guys and we did a more traditional sunburst with a “I appreciate that you notice ing records lately, which has helped tasty electric licks, as the lyrics assume real dark, rich fade toward the center, and then did a classical guitar- because that’s absolutely how I write,” spur memories of the music she lis- the point-of-view of money. “Bar” has a style finish. It’s a real thin, hand-rubbed final polish, so it doesn’t she says. “I don’t sit down to write a tened to growing up. boozy honky-tonk swagger; “Ribbon of have that bright, wet, polished-out gloss to it. It’s a real responsive, country song or a rock & roll song. I “The Oak Ridge Boys, Willie Nel- Red” is an uptempo Southern rocker; immediate kind of a sound, and it has this sort of vintage persona. start to feel something inside when son, Waylon Jennings, Alabama, Kris The Indigo Girls’ Amy Ray lends harmo- And it fits her music really well. When she came to get it in Nashville, I know I’m about to write. I mean, it Kristofferson,” she rattles off. “Old time nies on the catchy folk-rocker “Virginia.” she was like, ‘It’s exactly what I wanted.” would be great to sell records, but to gospel, too. My dad was into CCR and The bluesy, slow-burning “I Just Might” Leigh paid tribute to her new Taylor by naming it Jackson, in me it’s about a need for expression. I got into the Steve Miller Band…I love evokes visceral heartache like the soul- honor of one of her favorite songwriters, Jackson Browne. So, when I start to feel like I’ve got all kinds of music, from Ozzy Osbourne ful Bettye LaVette might. “With a guitar, it’s really all about the ju-ju for me,” Leigh says. something to say, I sit down and kind of to Tupac to George Strait. I was a “That one was definitely a very “And you can feel it almost immediately. Jackson has ju-ju.” just let it roll. I’ll start to strum a little bit. huge Crystal Gail and Loretta Lynn fan personal song to me,” she says. “Some- NATURALHow to Become a Think you lack the innate talent of other players? Santana songs, by ear, after playing lot. I was spending most of my time With enough desire and commitment, you can the guitar for only a month! I’d been skateboarding and mostly just listen- playing for over a year, could barely ing to guitar music. transform yourself into a “natural.” By Shawn Persinger play a major scale without making a Taking all of these factors into mistake, and the F chord was com- consideration, it’s easy to see why Jeff pletely out of the question. So, how was such a fine player and I was so hen it comes to my makes me particularly sympathetic progress and give you a solid founda- did Jeff do it? I found out much later crummy. He simply played more than guitar-playing ability, to students who struggle with their tion for years to come. I’ll also debunk that although Jeff had only been play- I did, took it a little more seriously, W people often say to own playing, and who, despite their some myths that supposedly account ing guitar briefly, he had been playing had training from a young age, and me, “You really have a gift. You’re a genuine desire, make only scant prog- for making a great guitarist. upright bass in the school orchestra had a musical role model in the family. natural.” While I’ve learned to stop ress on their instruments. As a result, for three years. I, on the other hand, As good as Jeff was (and still is, even resenting this statement, I still feel I have come up with several tips for The Truth Behind the Natural had no musical training whatsoever. though he is now a pharmacist), he compelled to explain that the only gift players who are grappling with growth, Perhaps you know of a seemingly Jeff’s mother was quite musical and was not a natural. So, if you find your- I may have is one of tenacity. I am in have plateaued, or are simply looking natural guitar player — someone who had played woodwinds since she was self bemoaning the state of your talent, fact a very unnatural guitar player. for a new approach to the instrument. can play anything they want or figure a teenager. As supportive as my par- particularly if you are comparing your- I practiced a lot to get where I am While these guidelines are not guar- out any song instantly. I had a good ents were, and as much as my father self to someone else, get the full story. today, and I continue to practice, anteed to make you a better guitarist friend like this when I started learning, loved bluegrass music, he would often In all my years of teaching and sur- study and refine what I do. overnight, hopefully they will help you and it made me incredibly discour- say, “I can’t even play the bass on the rounding myself with musicians, I have It is this lack of natural ability that through the rough patches as you aged at first. Jeff was playing Carlos radio.” Finally, Jeff played the guitar a yet to find a great player who wasn’t, if 9 not obsessive about practicing, at the music for complex compositions. Have very least highly habitual and persis- you ever seen an orchestra perform a How to Become a Natural tent regarding their playing time. symphony from memory? And I’ll let When I have come across young you in on another little secret: When players who I initially regarded as I sight-read, I read the tab! While my “naturals” with ostensibly boundless notation sight-reading is passable, my talent, I soon learned that they typi- tab reading is better than most clas- cally were excellent players only at sical musicians’ notation, so I usually what they liked to play, and at what start with the tablature first and use came easily to them. It was difficult to the notation for rhythmic fine-tuning. convince them to practice something that was a challenge, something that Design a Meaningful lay outside their comfort zone or their Practice Routine innate ability. Instead, they would dis- A regular exercise routine is count the challenge with a shrug and certainly helpful, but if you are prac- the dismissive statement, “I don’t want ticing aimlessly or without tracking to play that.” Their natural talent was your progress, your growth will be expressed only in a narrowly defined much slower and difficult to evaluate. range. Here are a few tips that will help you improve your guitar playing by leaps Play to Remember and bounds. My “off the top of my head” rep- ertoire includes several hundred pop/ Keep a notebook. I can’t emphasize rock/country/jazz songs, a dozen clas- enough the importance of keeping a sical pieces, and about 50 of my own notebook of all the music you work on. compositions. Now, to some of you While ultimately it is best if the book that might sound like a lot, but in the is organized into techniques, songs, grand history of song that is a minis- genres, etc., simply having all your cule amount of music. While I do have music in one place is of tremendous enough memorized material to last me value. I strongly suggest keeping more three or four sets, my recall is by no than one. I have over three dozen means flawless. I have studied every three-ring binders filled with almost Beatles song in-depth, but I could only everything I have ever played, com- tell you something trivial about each posed or taught over the course of 20 tune. I could not play every one of years. them perfectly from memory. Perhaps this is obvious, but I, and most profes- Buy songbooks. Your ear is a fabu- sionals, remember the songs we play lous tool, and judicious use of the the most. It’s the old cliché, “Use it or Internet can be extremely useful, but I lose it.” There are in fact many mne- also encourage you to invest in some monics for remembering songs, but published music books. Though you most of them require a pretty thorough will still find mistakes in books from understanding of theory. Chances even the finest publishers (legend has are if you can’t recall the chord pro- it Beethoven had nine proofreaders for gression to a common jazz standard his symphonies and they all found mis- (Ex. 1), you will have even less luck takes), the skill level of most profes- remembering that the progression is sional transcribers is far beyond that just the circle of fourths starting on of the average guitarist. A good book the ii chord. (This circle of fourths pro- can highlight, among other things: gression shows up in several songs, proper fingerings, unusual chord voic- including: “Fly Me to the Moon,” “Take ings, altered tunings and subtle nota- Five,” “My Favorite Things,” and even tional nuance unavailable from DIY the Gloria Gaynor disco classic, “I tabs. For starters, I recommend “The Will Survive.”) If you really want to Beatles Complete Chord Songbook” remember more songs, you just have (Hal Leonard). While it contains no to play them more often. And I don’t tabs, it does include every chord voic- mean just practice them but play them ing and all the words, for every song memorized songs should give you you have to explain it in its simplest guitarist, I don’t think I’ve ever stopped in public, with friends and for an audi- they released. Seriously, if it was the confidence and inspire you to play terms to someone who is looking to being a student, no matter how many ence. Repetition will reinforce your only music book you owned, you’d be your best. Keep the list updated with you for answers (and possibly paying players I’ve taught. memory and expand your repertoire. doing OK. your ever-increasing titles, and keep for your time), you find out very quickly That said, why do you actually playing them whenever and wherever how much you really understand about Shawn Persinger, a.k.a. Prester John, need to memorize a piece? I play at Keep a core list of songs you do you can. rhythm guitar and how your right is a self-proclaimed “Modern/Primi- least two dozen Bach compositions, know. Regardless of the number of hand functions. You may also be lucky tive” guitarist who owns Taylor 410s but I have to sight-read every single songs you know, whether it’s 10 or Teach. One of the surest ways to enough to have smart students who and 310s. His latest CD, Desire for a one — there are far too many complex 100, when put on the spot, many play- really prove whether you know what ask multifaceted questions that require Straight Line, with mandolinist David passages, unusual fingerings, and ers become a deer in the headlights. you are talking about is to teach it to you to go beyond your realm of exper- Miller, showcases a myriad of delight- notes (Ex. 2) for casual playing. I am Make a list and keep it in your guitar someone else. You might think you tise and become a bit more studious. ful musical paradoxes: complex but not planning a classical recital; I’m case or tape it to your instrument (à know how to strum the intro to a folk- It would be fair to say I’ve learned catchy; virtuosic yet affable; smart playing Bach for my own enjoyment. la McCartney’s Hofner bass). A quick rock classic (Ex. 3) or the chorus of more as a teacher than I did as a and whimsical. There is no shame in using sheet glance at your personal repertoire of a hard rock staple (Ex. 4), but once student. Then again, as an “unnatural” www.PersingerMusic.com 10 www.taylorguitars.com Ask Bob Spruce runout, stainless steel frets, and gloss necks made slick

I have a new 814ce I ordered with a Nope, Charles, we’ve never experiment- not that severe, and your guitar will be short-scale neck and Engelmann top. ed with that. Not that it wouldn’t sound just fine. Don’t put a potato in there. Very nice! Can you explain why half good, but because there’s probably That’s gross. the top appears to be a lighter shade not a sellable application. I’ve seen and of wood? played guitars that I didn’t make, with John C. spruce all around, and they sounded good. All theory aside, it sounds like it A few years ago, I became the proud You bet, John. Imagine standing in a sounds, which is nice, but not amaz- owner of a Taylor T5 Standard. My forest of spruce in Southeast Alaska, ing. It also looks a little unlike how you beautiful “Belle” is everything I’ve the rain water dripping down from the naturally think a guitar should look, so ever dreamed of, and she’ll do things forest canopy into the soft moss on the we shy away. I don’t even ask her to do. But I have ground. Think about looking up the trunk a bit of a problem. Like every other of that tall spruce tree that’s been grow- guitar I’ve ever owned, I’m beginning ing for 500 years. Now, what you see to groove the frets already! The first is the trunk of the tree, the bark, and if For many years I lived where humidi- solidbody electric I ever owned was you look closely you can see if the tree fying my instruments was unneces- an original Vox, and I grooved the grew straight and without twist. Imagine sary. Now I live in the Midwest. I was frets so badly it couldn’t be tuned. discovering that the tree twists round using Dampits in my Taylors (355, My guitarist friends tell me I need and round, almost like the stripes on a 614ce and 710-L9) and switching an to switch to stainless steel frets, that barber pole. Some trees do this. Some Oasis hygrometer from case to case they are harder and wear better. My have a lot of twist, some have a little, every few days. Things were pretty question is, will there be a notice- and a rare few have none at all. Those consistent. Then I had a conversation able difference in tone between are the prized trees, but there aren’t with the guy who makes the hygrom- nickel and stainless, and do I have many left in the world. eter, and he said the accessory com- to have all of my frets changed, or So, you pick the tree with the least partment makes the headstock area can I change just the ones I’m wear- twist. Now, you cut that log into two- like a completely different case, and ing out? (I tend to play a lot of open foot lengths and split wedges from it to so the Dampit does nothing for the chording, so the trouble is all in the saw tops from. The wedges naturally headstock area. I know the Planet first three or four frets.) Even though I don’t yet own a Taylor guitar, I have a twisted face. I hope that makes Waves [Humidipak] has a piece for On another note, have you ever sense. Now you saw a straight piece under the headstock, but the one heard of anyone using stone or have been reading past issues of Wood&Steel and off the face of that split wedge. What time I did try that they leaked stuff ceramic for the nut and saddle? I’m scouring the Taylor website for many months. you’ll have is some grain running out all over my case. A friend who is a just wondering what the tone would I’ve even had the opportunity to play my friends’ the face of your cut because your saw world-class violist says just cut a be like for those? cut a straight surface right through the potato and put it under the head- Tim Carr 414ce and 354ce guitars. Now I am on the hunt for twisted surface. Now cut a sister piece, stock. What are your thoughts about my very own Taylor guitar. I primarily play con- the book-matched second piece of your the compartment causing a problem, Pretty sneaky, Tim, getting two ques- temporary praise and worship songs at church. Do top, and open it up like a book and glue and if it is one, what do you recom- tions in like that! OK, stainless steel the two together. When you look at that mend? frets. Yes, they do sound different. I you think the GA or the GS is a better fit in P&W top, there is grain running slightly out of Ben Sendrow don’t prefer them on acoustic guitars, music? Also, does Taylor have any plans to release the face of both halves, but at different at least based on the last time we a GS3e or 316ce in the near future? angles, so it catches the light differently. Ben, there is some truth to everything decided to try them in production. We Look at your guitar and make a mental you say and what your friend said. decided we preferred the sound of Kyle Dobbins note of which half is lighter, and then First, let’s start with Humidipaks. They nickel-silver. By the way, Tom Anderson Bossier City, LA rotate it 180 degrees, like from right have figured out the leaking problem, Guitars uses SS frets on their electrics, side up to right side down, and you’ll so feel free to use them. However, if and they sound great. Yes, the 316ce is coming. Soon. And truthfully, I notice that now the other half looks light. you like using Dampits, they work very As for stone and ceramic nuts: We call that “runout,” and it’s pretty nor- well. If you put them in the body but ceramic, yes; stone, no. The Tusq nut think neither fits into P&W music better than the mal. We allow up to about a half-inch of leave out the plastic soundhole cover, and saddle we use is almost ceramic. other. The GS is bigger and louder, so use it for your twist per foot of length of the tree trunk, the neck will receive the benefit, even It stops shy and sounds great because joyful noise. Strum it hard! The GA fits in the pocket and that will make a good guitar. up to the headstock. Your whole case of it. Pure ceramic sounds, well, kinda and guitar become one humidity level like ceramic. I’m not trying to be smart, with other instruments very well. In this case, Kyle, and tend to equalize together over but it’s amazing how you can imagine get the one that speaks to you personally the most, time. Be sure to leave your case closed in your head the properties of ceramic because your playing situation will change, but you I have never seen an acoustic guitar when you remove the guitar; that way it and know before you listen what it will with spruce sides and back. Have you won’t be sitting there drying out while sound like. Shrill, overly brilliant, and not will always want to love your guitar when it gets guys experimented with one? What you play. So, bottom line, I wouldn’t all that great. That may be a moot point down to just you and it! sound qualities would it have? worry about the two halves of the case. because even if it delivered tonal nir- Charles Vance While what your friend says is true, it’s vana, it still wouldn’t be used because 11 it’s ridiculously hard to work, and there a smaller body like the GA or GC. I pared it to several other brands and 12-string I’ve ever played seems to Paul, the “why not” question is the is a practical side to guitar building to happen to like dreadnoughts. Would they all had the same sticky neck. lose its acoustic warmth and just hardest of all questions to answer, consider. the Taylor BTO style police be out in My hands were clean. Can you or will sounds like 12 strings strapped because sometimes the answer is full force if I ask for the following: a you be offering a neck finish similar across a 2x4! Is it not possible to get “because we don’t want to,” and that 6-string, short-scale Dreadnought in to the acoustic product line on the a warm, full-bodied tone, but with makes people think we’re arrogant and ovangkol/Sitka spruce with a Vene- electrics so that the hand slides that 12-string chime? Most of the don’t care about them. But in this case, If I could, please let me gloat about tian cutaway, 1 7/8-inch neck, with easier? work I use acoustics for is for strum- we don’t make a T5 with a Bigsby my brand new 2011 GS8e! It has full gloss, ebony headstock (gloss), John Hazell ming to thicken up guitar tracks in a simply because we don’t want to; we growling bass, tremendous mids, ebony binding, abalone single-ring mix. Lots of a rhythmic tone, but not don’t like the idea. We just can’t see a and glorious, soaring trebles. It is the rosette with bound soundhole? John, yes, some people dig a gloss fin- too cutting. I like the warmth and the Bigsby with an acoustic guitar bridge most even guitar I’ve ever played. Dave Weresin ish, and others think of it as shiny gunk! body, but [with] some sparkle to sup- like that on a T5. You can get it on a T3 How did you determine how thick But remember, our SolidBody Classics port the rhythm. because that makes sense; it’s part of the top, back and sides should be? No, Dave, the style police would wave have a maple neck with a satin finish Steven G Kelly the model, and you can buy it all day Was it trial and error? If it’s too thin, you on saying, “This is not the droid very much like our acoustics. Give them long. And it’s really cool. I could see it being brittle and not we are looking for. Let him pass!” And a try. Also, for any of you others read- Well, I hope our 2x4 models aren’t as strong acoustically. If it were too there you have it. ing this who have a gloss-neck guitar the ones you’re talking about, Steven. thick I could see it really deadening and are raising your fist with John in Compared to other brands, I think ours the sound. agreement, here’s a tip. Go to the auto are at least a 2x8! This is a hard ques- I live in the Pacific Northwest and Josh Reynolds care store and buy some nice car wax. tion to answer because it’s so subjec- I proudly own a 210ce. Since the After reading about how you created Come home and put a nice little wax tive. But I’ll give you a hint. Whatever humidity in my house never really Josh, you have guitar building rules a nylon-string guitar for Zac Brown job on your shiny neck, and your hand 12-string you’re playing, tune it down a drops below 60 percent, do I need to down pat! But kinda like how I know that could be tuned down a half step, will slide freely just like your butt slides full step to D, or even further with fatter worry about a humidifier? Since the how to fly a plane. Push the stick I got to wondering. I’ve tuned my off your fender after you wax your car. strings, and then back your tracks with humidity can get into the 70 percent forward and the houses get bigger. 1995 Taylor 412 down a whole step You learned it here. a lower-tuned 12-string. See if you like range, do I need a dehumidifier? Pull the stick back and the houses get for years (DGCFAD). I use medium that better. The guitar will be warmer, Russell Moser smaller. And like a pilot who knows D’Addario EJ17 strings and then richer, looser, and maybe have the tone Sedro-Woolley, WA the rest of the story, so do we when replace the E and B strings with a you’re looking for. Use mahogany gui- it comes to making the best-sounding .014 and a .018. This tightens up My 15-year-old granddaughter has tars. Maybe try a Leo Kottke Signature Russell, I drive through Sedro-Woolley guitars. Trial and error? Certainly, but the feel on the treble strings, which begun playing the guitar and is suc- Model, because the last time I heard every time I visit our spruce cutter. that was done a long time ago. Now, works well for fingerstyle and drives ceeding very well with it. About two him in concert it sounded way better Did you know all our tops are cut from we just know what to do. The differ- the soundboard a little better. My years ago, I bought her a cheap one than a 2x4. And he tunes low. spruce trees right down Highway 20 ence between a side that’s too thin question is whether a Taylor Bari- just to see if she would get inter- from you, in Concrete? No, you don’t and one that’s too thick is the smallest tone would be a better fit for tuning ested in playing it, and in the last six need to humidify your guitar living micro-fraction of an inch, and we just a whole step down than other Taylor months she has gotten very serious there. The only time you’d need to know what they should be on a Taylor models. For me, the DGCFAD tuning about it. She is a country music I am aware of taking care not to leave would be in the winter, when you heat guitar. is here to stay. I’m a baritone singer, singer and now is learning to accom- a guitar in a hot car, but we are in your home, if that humidity drops below and this tuning allows me to trans- pany herself as she sings. Now I the midst of record heat. As I type 40 percent, but it rarely does. Keep pose songs more easily into keys would like to buy her a better guitar this my Taylor 555 is sitting next to your guitar in its case and you’ll be that suit my vocal range. to continue her playing, but I am me in my home at 93 degrees and fine. By the way, a Humidipak will also I just received my new 416ce from Jim Lowry lost as to which one to get. She 70 percent humidity. How hot does it dehumidify, and if you tossed a couple Trinity Guitars a couple days ago, wants an amplified acoustic. I know need to get in a house to damage a of those in with your guitar, it would be and some friends and I have been Jim, the answer to that is “yep.” Zac’s the price range on guitars goes guitar? a safe bet. An over-humidified guitar enjoying it like no other guitar I’ve guitar isn’t “tuned down,” but rather from one extreme to the other, and Jeff Bolek sounds “wet,” and it’s not too hard to had recently. The sound of ovangkol tuned the same. It just has an extra fret, I can’t afford to pay over $1,000 for Cleveland, OH imagine that you don’t want that. happens to be what moves me more so it’s naturally a half step lower. Do one. Can you make any suggestions than a lot of other tonewoods. A you remember the Dan Crary Signature as to which guitar(s) I should be A lot hotter than that, Jeff. A lot hotter. question came up while a buddy was Model from way back? Well, the guitars considering? A car can get up to 180 degrees in the playing the guitar last night. What we made for Dan himself had two extra Joan Granger back window. I’ve measured! But keep would ovangkol sound like if used as frets, so it was a long-neck guitar. That Louisiana your guitar in its case when you don’t the top of the guitar? allowed him to play in the lower key play it. And maybe loan it to Steven Dennis Miller of “D” with normal tuning tension, and Will you be my grandma, Joan? I mean, Kelly (previous question) for a recording Miami, FL then he’d put a capo on the second whose grandma spends $1,000 on session if you guys ever hook up. Let Got a fret to be at standard pitch. them for a guitar? We’re all jealous. him hear the glory of a 555 tuned low. Dennis, if you’ve ever heard a koa- If you started with a baritone guitar, Buy her a 114ce or a 214ce and she’ll question for topped guitar, it would sound a lot like it would tune to your desired pitch very be set for life, except I’m lying because Bob Taylor? that. A little more compressed than nicely, and you wouldn’t be forced to everyone always wants a new guitar, spruce, a little more centered. Boy, use super fatty strings for loosening the but let’s say it won’t be your problem As the owner of a 714ce and a 912c, Shoot him an e-mail: it’s hard to describe tone with written tension. anymore, if you know what I mean. I really like your guitars. My dream [email protected]. words. Think of a koa-topped guitar. If I would have had a 114ce that my guitar for my jazz/swing gigs is a

grandma bought me when I was a kid, Gibson ES-330 with a Bigsby. I got If you have a specific Taylor Guitars might not exist today — excited when Taylor introduced the I have two acoustic Taylors and I’d just be happily playing, to this day, T3 and T5 models, because I thought repair or service I’m saving up for a BTO acoustic thought I’d go check out the Solid- and would never have had to build one. I could get a Taylor thinline fully hol- concern, please call and was wondering if you could Body. I love the sound and look and lowbody [T5] guitar with a Bigsby our Customer Service share your thoughts on the follow- couldn’t wait to get my hands on one vibrato. When I inquired about this department at ing BTO specs I have in mind from to try it out. But once I did, I found with your custom shop, I was disap- (800) 943-6782, the standpoint of my playing style. it an awful experience. All that shiny I’ve always wanted a 12-string but pointed that it was not an option. and we’ll take Although I play fingerstyle, I tend gunk on the neck (which makes it have never been able to find one Why not? care of you. to go against the fingerstyle stan- pretty) makes it hard to slide your that I like. Perhaps I can’t get what Paul Metzger dards such as cedar/mahogany in hand up and down the neck. I com- I hear in my head, but to me, every Denton, TX F aa ll ll 11 F LL ii mm 00 11 ii 22 tt e ee e dd hh ss TT Guitar Circles

A new rosette anchors the wood-rich of Mexican cocobolo called out, each series, but with different wood pairings series within the guitar line. This bonded by bold visual complexions. The for each to uniquely complement the year solid rosewood makes a guest look of our koa and cocobolo limiteds, rich personalities of the woods in turn respective woods. From there, the appearance on the 400 Series, and inspired the notion of a wood-centered rosettes informed the aesthetic of the we bring a cedar top to the rosewood rosewood sits in on the 400 Series, and appointment package. fretboard inlays: For the cocobolo laminate Nylon Series. Bob Taylor and guitar designers models, Larry designed a new “Split For full details, read on. To see a cedar top warms up the NS24. Larry Breedlove and Andy Powers felt a Diamond” motif, while the koa models additional photos and complete new rosette was in order. Bob recalled inspired the return of our “Engraved specifications, visit taylorguitars.com. One of the aesthetic virtues of aside for special occasions such as a design that Larry had worked up a Twist” inlay, which debuted with last The Fall Limiteds are currently available Taylor’s annual Fall Limiteds is that these. Inevitably the wood assumes the year earlier that he had liked but that year’s Fall LTDs, only this time the at your local Taylor dealer. each year begins with a clean creative role of muse, sparking ideas that begin hadn’t been used. Larry refined the materials would be wood. slate. The design process is often to coax new models to life. rosette further within the fresh design Speaking of twists, one of the other catalyzed by a stroll through our wood This year, a cache of dazzling context, and the group decided to aims of the Fall Limiteds has been to reserves to revisit what’s been set AA-grade koa and an arresting batch use it for both the koa and cocobolo put a value-added spin on an existing Thanks to a reliable sourcing and precision mechanical parts like is a band of cocobolo trim around the partner in Mexico, we’ve been able clock gears and piano actions, and with top, which pops nicely between the to acquire some choice cocobolo in a density comparable to ebony. spruce soundboard and figured maple Cocobolo LTDs recent years. We’ve also fine-tuned our Larry also used boxwood as the binding. A cocobolo backstrap adds a milling specifications (milling it thinner) material for a new Split Diamond refined finishing touch. Back/Sides: Cocobolo to optimize its tonal properties, as it’s fretboard inlay, and visually referenced Tonally, cocobolo yields a bright, Top: Sitka Spruce one of the heaviest, densest rosewoods the S-curve to relate to the rosette. articulate voice. “These guitars have Key Appointments: CV Bracing, Cocobolo/Boxwood Rosette, around. For this offering, the design While light-colored woods like maple a beautiful bell-like tone, especially on Boxwood Split Diamond Fretboard Inlay, Figured Maple Binding, team wanted to bring cocobolo’s bold, are often less practical for fretboard the low notes,” Andy says. “There’s ® Cocobolo Backstrap, ES Electronics vibrant hues to the guitar top. Larry inlays — they can get grimy over a certain clarity when you strike the Models: Cocobolo GAce-LTD, Cocobolo GSce-LTD Breedlove’s rosette motif incorporates time — boxwood’s density makes it a note; it sounds like you’re hitting the cocobolo as an S-curve that contrasts favorable choice, since it has almost no low notes on a big, giant piano. It’s the with buttery boxwood, a slow-growing discernable grain line. density of the wood that gives you that.” wood traditionally used for tool handles Another wood-rich aesthetic touch Koa LTDs

Back/Sides: AA-grade Koa Top: AA-Grade Koa or Premium Engelmann Spruce Key Appointments: CV Bracing, Koa/Cypress Rosette, Koa/Cypress Engraved Twist Fretboard Inlay, Indian Rosewood Binding, Gotoh Tuners, Bone Nut/ Saddle, ES® Electronics Models: Koa GAce-LTD, Koa GSce-LTD, Koa 12-Fret GC-LTD, Koa 12-Fret GA-LTD

The flamey AA-grade koa earmarked organic quality of thin wood lines. A tend to be well-suited for the stage, as Auditorium and Grand Symphony, center of their drum,” Andy explains. “By for this series was so seductive we shaded edgeburst around the entire Andy Powers explains. along with a pair of non-cutaway 12-fret articulating the top from a more central couldn’t resist going all-koa (although guitar — including the neck — adds a “That initial attack isn’t quite so models, a Grand Auditorium and Grand location, you end up with a warmer a premium Engelmann spruce top is touch of vintage Hawaiian charm that’s boomy,” he says. “The emphasis is on Concert. Players can expect a warmer, response overall. Most players will end optional). Larry Breedlove’s rosette complemented by rosewood binding, a the sweetness in the middle register. richer overall tone with the 12-frets due up attacking the strings farther away design incorporates a serpentine swath thin white purfling accent, and Gotoh An aggressive player could really go to to the bridge’s more central placement from the saddle when they play in their of koa set against creamy Mexican tuners. town, and the guitar will respond with on the lower bout. natural position, which contributes to the cypress. The koa/cypress pairing carries Tonally, a koa top should make koa’s this really well-behaved, well-balanced, “If you imagine the lower bout of warmth.” over to the Engraved Twist fretboard natural midrange sweetness even more sweet response.” the guitar as a snare drum, moving the inlay, in which the design’s swirling pronounced, especially after the guitar The koa LTDs are offered in four bridge is similar to a drummer moving complexity is tempered with the subtle, has been played in. Koa guitars also model options: a cutaway Grand their hit spot from near the rim to the Cedar-Top NS24 LTDs Back/Sides: Indian Rosewood Laminate Top: Cedar Models: NS24ce-LTD, NS24e-LTD

Rosewood 400 Series LTDs Back/Sides: Indian Rosewood Top: Sitka Spruce Key Appointments: Small Diamond Fretboard Inlay, Gold Tuners, ES® Electronics Models: 410ce-LTD, 412ce-LTD, 414ce-LTD, 416ce-LTD

L-R: Cedar-Top NS24ce-LTD, Rosewood 412ce-LTD

Cedar-Top NS24 LTD Our rosewood laminate NS24 mod- an affordable, reliable nylon on hand is builder and a designer here at Taylor,” cal tool to be a great-sounding, reliable A nylon-string guitar has the els in particular are priced affordably a great way to keep yourself musically says Andy Powers. “Our production workhorse without it being so highly ability to evoke so many different musi- enough to justify as a non-primary gui- inspired. methods allow us to give any musician appointed that they’re wary of using it cal flavors from around the world, or tar that can diversify your six-string tool a pro-level instrument at a reasonable out in the world. simply add an interesting acoustic tex- box. This year we’re pleased to offer a Rosewood 400 Series LTD price.” “You could play club dates, stadium ture to contemporary pop music. Our pair of limiteds – One advantage of being a manufac- The 400 Series LTDs feature the shows, backyard parties, you name it,” Nylon Series has always been about either with or without cutaway – turer is our ability to periodically offer time-honored pairing of solid rosewood Andy says. “You could take these gui- making that distinctive tonal palette featuring a cedar top, which is normally premium quality at a more accessible and Sitka spruce, while cosmetic tars anywhere and they’ll perform at a more accessible to steel-string players only available at the NS72/74 level. price point, and that’s just what we did upgrades include a small diamond high level.” through slimmer necks, inviting them Maybe you’ve always wanted to learn a with this year’s rosewood 400 Series fretboard inlay and gold tuners. These to explore fresh musical genres and little Brazilian music, explore some Latin limiteds. guitars make a great choice for gigging expand their repertoire. jazz, or master a classical piece. Having “That’s one of the things I love as a musicians who want a top-notch musi- super Powers

Photo by Sam Wells honor to have a relationship with a with drywall screws or whatever was work with one of Boss’s guitars. and chew you up as a pop sensation luthier; someone who’s going to give convenient. It didn’t work. But I had fun “He had a 1930s Gibson L7 arch- or some teen type thing. That’s not a you the gift of music to your specifica- doing it, so I thought, I’ll try it again.” top — it was a guitar that had been good way to live. And you’d be a prime tions, creating for you a one-of-a-kind He was only 8 or 9 when he built used in Tex Ritter’s band a lot back in candidate for it.’ So I kind of heeded instrument,” he says. “Andy always did his first guitar. With his dad’s encour- the day,” he remembers. “The bridge his warning. I already knew that I didn’t so with genius and grace, able to see agement — and a steady stream of was broken; it couldn’t be played. He really want be a huge touring musician and hear the finished product in my wood scraps ­— he kept at it, shifting asked if I could fix it, and being kind of because I liked being around the ocean hands and on my stage before I could. to ukuleles because they didn’t require naïve enough to believe that I could, and building guitars.” I relish his instruments, especially his as much wood. “The ukes actually got I said I’d try. So I made a bridge, got Another experience that would baritone ukulele that’s traveled with me pretty decent,” he says. the guitar put back together, and it profoundly affect Andy’s development, on many tours.” By the time he was 13 or 14, fam- sounded great.” both as a player and as a builder, was Andy was raised in an environment ily friends were offering him $50 to Encouraged by his success, Andy attending college at the University of that sounds ideal for nurturing a guitar $100 for his ukes. “I realized that if I would ride from garage sale to garage California, San Diego (UCSD). He had Andy Powers retraces his guitar-making builder. His father was a carpenter who built a uke and sold it, it would give me sale on his bike looking for cheap gui- earned a scholarship, and the fact that journey over an afternoon espresso, specialized in high-end custom-finish enough money for a new surfboard. So tars. the school’s location was two blocks one can’t help but be caught in the woodworking. His mom had an artistic I did a lot of that.” Eventually he started “I’d buy them and either cut them from his favorite surf spot sealed the AS up to see what they looked like inside, deal. While there, he played in the current of his enthusiasm. For starters, eye and painted, sculpted and arranged making and selling guitars, too. there’s a mellow California coolness flowers. Meanwhile, he was also playing in or if they looked like maybe I could fix school’s big band, which was led by about the 30-year-old luthier, and as “My dad would bring home wood several bands, honing his chops and them, I’d pay the $5-10 and try. So I jazz trombonist Jimmy Cheatham, who the conversation unfolds, other quali- scraps for us to play with,” he recalls. exploring a mix of musical styles. He got into repairing and restoring gui- had played with Count Basie, Charlie ties resonate like notes that form a rich “He taught me how to use his tools, and says he was lucky to be exposed to a tars after that because word spread. Parker and Duke Ellington. chord: a zen-like clarity that belies a there was a huge stack of Fine Wood- number of older, established musicians I ended up doing a lot of work with “He was one of the last classic old- deep thinker; a rekindled sense of working magazine issues that I pored who lived in the area. music stores in the area.” timers from around here who lived that Multi-talented guitar maker Andy Powers is poised to push Taylor’s guitar designs to the next level. By Jim Kirlin wonder as he revisits his woodworking over. I got a lot of good instruction from “A lot of times it was through my He was also starting to build a era of music,” Andy says. “He was amaz- epiphanies as a kid; a tone of humility those.” dad, because he ended up working reputation as a versatile player. ingly good. He could play one note as as he shares his accomplishments; and He grew up in the coastal commu- on different clients’ houses,” he says. “I was in a rockabilly band, a jazz a solo and it would be incredible. I got a calm air of contentment that confirms nity of Oceanside, California, located “Some days I’d work with him. That’s band, a surf band, a classic rock band, to spend a lot of good one-on-one time that he’s doing exactly what he wants on the northern edge of San Diego how I got to meet a bunch of folks who a country band — all kinds of stuff,” he with him, learning about the roots of jazz to do in life. County. His dad was a surfer, so Andy were really influential, because at that says. A career as a pro musician was music and his experience in it.” In conversation, Andy often uses the was always down at the beach and got age I was thinking, maybe I’ll play music starting to sound like a possibility. As a At the same time, Andy also studied word “neat” to describe things he likes, into surfing early on as well. Both par- for a living. I’m pretty good at it.” young teenager, he met another estab- with modernists like Roger Reynolds which adds a wholesome throwback ents were also hobbyist musicians, so One of them was jazz guitarist Bob lished guitar player, John Jorgenson, and Steven Schick and Ed Harkins, all charm to his ruminations. In fact, it’s there were always instruments around Boss, who lived around the corner from known for his fretwork with the Desert of whom were on the cutting edge of one of the many things his music and the house. Andy picked up the guitar his family. Rose Band and, at the time, the Helle- modern, intellectual music. surf buddy, singer-songwriter Jason early enough that he doesn’t remember “I fell in with him when I was proba- casters. Jorgenson’s advice would help “We’d spend ridiculous amounts of Mraz, admires about him. how old he was. Music, surfing and bly 12-ish,” Andy says. “He’s played with guide his career. time listening, thinking about the ways “I can think of no other man who woodworking all blended into an idyllic people like Sarah Vaughan, B.B. King “He was doing an interview at a music is put together, thinking about the refrains even from saying the word SoCal youth. and other greats. He was playing every local radio station about two miles from instrument,” he says. “UCSD was and ‘crap,’” offers Mraz. “Bad words just “I was doing all this woodworking night of the week, so we both had days the house one day, so we went down still is such a modern music school and don’t exist in his lexicon. THAT is most and playing music, and then I started open. I’d go over there in the morning there and met him, and we stayed in such a forward-thinking environment — a inspiring to me.” to get really into the Ventures and with my guitar, he’d make some coffee, touch,” Andy recalls. “He gave me a lot of the real well-known composers Mraz owns several of Andy’s instru- ’60s surf music,” he says. “So, when I and we’d get his record collection out lot of good direction as a musician the and musicians who came out of there ments, and has enjoyed the one-on-one got into guitar playing, because of my and just sit there listening for an hour, more I got to know him. He told me, were developing their own instruments. connection with Andy that has helped woodworking hobby, I started making two hours, three hours, and we’d play. ‘You’re a good guitar player; be really You saw guys who were really trying to produce them. surfboards, and then I thought, hmm… He really showed me a lot about how careful in the music world. You could push the boundaries and get as many “Just like knowing your local farmer, make a guitar. So I started cutting the jazz world works.” go out with some band and make some chef, or surfboard shaper, it’s a real some stuff out, screwing it together Andy also started doing guitar repair records. A record label will grab you continued next page 18 www.taylorguitars.com different sounds, colors and textures out leader and author, who said that you of the mechanics of instrument making ing together 25 years, and I feel like across the fretboard. It even travels of their instruments as possible. It was shouldn’t ask yourself what the world are really similar. So rather than limiting I’m hearing you for the first time.’ We up the vertical face of the fretboard a neat environment because it fostered needs; you should ask yourself what myself by thinking, I’m only a steel- played a couple more tunes, and he binding. careful listening and clear, well-devel- makes you come alive, and then go and string builder or an electric builder or says, ‘So this is what you’ve been try- “The whole thing is breathtaking,” oped thought.” do that. Because what the world really an archtop builder, I would take what ing to do all along?’” Boss laughs. Boss says. “People often tell me, ‘I Another payoff from life at UCSD needs is people who have come alive. I learned from this and apply it to the Even the instruments that weren’t think that’s the prettiest guitar I’ve ever was that Andy ended up working on the whole package.” individually commissioned but were seen,’ and I say, ‘Yeah, it is.’” instruments of almost all of his profes- One particular guitar-making skill simply discovered in a store have On an electric guitar he built for sors and building guitars for them and The Guitars that Andy’s customers love is his ability made a big impact on people. Like Jason Mraz, he designed a unique his classmates. By the time he gradu- A survey of Andy’s body of work to process their playing nuances and the time Elvis Costello strolled into a fingerprint fretboard inlay. ated, he had a waiting list for his guitars, reveals a luthier who has covered apply that understanding to the instru- high-end ukulele store in Hawaii and “It was inspired by an early ’60s he was doing a lot of restoration work, remarkable ground. (To see a sampling ment he’s building to help them better picked out the uke Andy had built and Fender Jaguar he had,” Andy says. and was handling repairs for several of the custom guitars Andy has built in express themselves artistically. Three left for consignment after playing at a “When it came time to think of inlays, stores. his shop, visit www.andypowersinstru- years ago he built an archtop for his festival there. we were out surfing one morning, talk-

“At that point I had more time to ments.com.) Steel-string acoustics, jazz friend Bob Boss that was meant “I didn’t know about it,” he says. ing about it between waves, and he do all the work I had in front of me,” nylon-strings, ukuleles, mandolins, to be a backup to the one he had been “And the next month I was glancing said, ‘Hey, have you ever inlaid finger- he says. “So I started making more archtops, solidbody electrics — all are playing for 30 years. When he got it, through Rolling Stone and there’s a prints?’ After we got out of the water, guitars. I feel like guitar making wasn’t represented. He relates the breadth Boss was floored. two-page spread of him with this uke we drove over to the shop and I pulled something I chose to do. It was some- of his craft to the cross-pollination of “What he came up with and how that I had made. Well, dang! I reached out an ink pad, like, alright, let’s take thing that chose me because I was musical interests he’s embraced over well it played the minute I got it was out through some distantly related your prints.” doing what I was interested in. I had the years. way beyond my wildest dreams,” Boss associates and asked, ‘Did Elvis end It was a Taylor gig that Andy the interests and the desire, and when “I have such a wide interest in dif- explains. “He says to me, ‘I watch peo- up with a uke that I made?’ And the played with Mraz at Winter NAMM in I combined all those things, it just so ferent music styles,” he says. “I love ple play and I see what they do to over- guy said, ‘Oh, you built that? He won’t 2010 where Andy reconnected with happened that it paid my bills. I also some of the old country western stuff, come the shortcomings of the instru- go anywhere without that thing now. Bob Taylor after a long hiatus. They’d got to play with a couple different I love bluegrass, I love classic rock and ment. I’ve seen you play a lot, and I kind He made us stop the photo shoot so first met years earlier at a Harvey Reid bands, and I was doing some session the singer-songwriter stuff, and all this of knew what those were, so I just got I could run back to the hotel and get concert, when Andy was a teenager work with different guys. So it was just jazz and classical, especially romantic rid of those.’ I was too dumfounded to it for him.’ That made me feel good who’d brought a ukulele to show Reid, this kind of whole musical thing that classical music. And what I would even ask him what they were.” because I was 18 when I made it.” and ended up showing it to Bob, too. kept moving forward.” find is that figuring out a new tech- Boss wasn’t the only one to notice Another distinctive trait of Andy’s Their paths had crossed intermittently Despite the organic way that Andy’s nique while I was building a mandolin the improvement. instruments is his stunning and often over the years, and they had mutual career path unfolded, he says it wasn’t could also be used on this guitar. Or “My friend Marshall Hawkins is a envelope-pushing decorative inlay friends, but at NAMM, he and Bob always easy. I learned things in the way the top of great bass player who’s worked with work, in which he breaks the bound- had a chance to talk, which led to “Like anything, there are days when a guitar wanted to move that affected Miles Davis and Roberta Flack and all aries that traditionally confine the more conversations. the work in front of you is a struggle,” he everything else. So in certain ways, kinds of people, and he just happened designs. His archtop for Boss fea- “As a guitar maker, there aren’t a maintains. “But the flip side is that I did spreading out what I was interested by my house with his bass on the day tures a “four seasons” tree motif that whole lot of other people to relate to what I wanted to do. I remember a quote in increased my understanding of the that I got the guitar. So we played, includes an inlay of a tree that starts on that level,” Andy points out. “So from Howard Thurman, a civil rights way things tend to work, because a lot and later he said, ‘We’ve been play- in the pickguard and branches out we got together for lunch a couple of 19 times. What’s funny is the more we form. People get to take this thing that “That’s just a straight-up, old school get to know each other, the more star- we’ve made and make it uniquely their guitar-making shop,” Andy says. “I even tlingly similar I realize we are. It’s kind own and present their ideas with it. So brought in a bunch of my old hand Bob on Andy: Born to Build of freakish. I was reading Bob’s book that’s a really exciting place to be as tools because I still use them every day. a while back, and I’m going through a guitar maker and a musician. I can’t We’ve got benches set up. We put the There’s no doubt that Bob Taylor has found a kindred guitar-making these stories from when he was a kid. think of anything better.” radio on and go to town making some spirit in Andy Powers. Little things like taking apart a bicycle Since his official arrival in January, sawdust.” “From my perspective, I thank his dad for making my son,” he muses. brake, and how it went everywhere. Andy says he’s been blown away by Larry has enjoyed the fresh infusion “When I go down the list of the qualities I would want for the person who I did the exact same thing with the the talent that surrounds him in every of talent and energy. could be the wellspring for the next generation of guitars at Taylor, I can exact same bicycle brake! It’s kind of department at Taylor. “You can’t get past Andy’s enthusi- check every box with Andy.” uncanny. But where we’re different in “The people here are the real asm,” he says. “He’s like the wide-eyed, While Bob has no plans of checking out anytime soon, as the chief some regards is my goal was always resource,” he says. “We have people bushy-tailed kid who just wants to do steward of Taylor’s guitar-making vision, he knows the importance of to build the very best guitar at any who are amazingly talented in their everything, which is great. But the fact planning ahead. cost that I could possibly build, and specialty fields. Take the guys in the is that he brings an incredible amount “My feeling is that I’ve built a solid foundation and a weather-proof of knowledge and a background that roof on this company, and the next generation gets a chance to do the you wouldn’t expect at his age. He has decorating inside,” he explains. “We’ve come a long way. We have great already done a lot of amazing things products, but I don’t expect to go six feet under and our products just that can work their way into what we try and stay as good as they were. I expect them to advance because do. We think we’re outside the box, and we have the right people here. And we need someone like Andy to come yet he’s outside our box,” he laughs. around while I’m here and still interested.” Among the projects Andy currently Bob says he had compiled a mental list of qualities he wanted in the has on his plate are the continued next guitar designer for the development team. development of a classical guitar — a “I need a guitar maker who’s better than me as far as raw guitar- project he began last summer when making talent goes,” he says. “He doesn’t need to be the same Bob Taylor assembled an informal gui- industrialist or factory builder as me, but as far as just building a great tar camp to jump-start the process. He guitar, he needs to be better than me. He also needs to be self-taught. worked with Larry on the Fall Limiteds That was important because there’s a difference between someone I [see page 12]. And as many of you are bring along as my protégé and someone who was born to do it and is surely wondering based on his back- going to do it one way or another.” ground, he’s been developing some Bob also wanted someone relatively young but with experience. “I ukulele prototypes, including a tenor joked that he needs to have 20 years experience and be less than 30,” he uke that Bob Taylor has had a hard time shares. putting down. He also recently made a It was also important to bring someone in who was from the San beautiful Taylor uke for Taylor Swift that Diego area. she loves and has been playing live on “That was very, very important to me,” he says. “Southern California tour. guitar is different than Northeast guitar. It just is. We think differently here. Other R&D work includes a lot of So I needed someone who understood what Southern California was experimental building in pursuit of new about. I didn’t want to teach that culture. And being from around here, tonal frontiers, including the use of chances are they would already know a lot about us and feel a sort of ultra-thin, tone-enhancing finishes, as kinship with us because we’re from the same place.” well as new bracing ideas. Andy says Having a guitar designer who was also a pro-level player was another he’s excited about the prospect of vital prerequisite. pushing Taylor tone to the next level. “Andy’s ability to play makes a big difference,” he says. “By being “Taylor makes arguably the best pro- Bob Taylor I’ve sort of been able to transcend that. Andy is as good as duction guitars on the planet,” he says. anybody, and better than most. That will be his entrance into the circles “These are really consistently high-qual- he needs to be in to gain respect with pro players, and we do a lot of ity, well-designed, beautiful and musical work that way. in his case, he ultimately wanted to finish department. Those guys are so guitars. And they’re going to continue “What’s also fabulous about Andy’s playing ability,” Bob notes, “is build a lot of guitars and be able to crazy good at doing finishes. They’re to get better. I see myself taking this that he really puts these guitars to the test. He sits down and plays them put them in the hands of more players. really good at doing colors and sun- amazing thing that Bob has created his for a half hour or hour every day when he comes in. It’s actually one of Both of those are noble goals.” bursts, and they know the chemistry entire working life and developing the my favorite times of the day, to hear him playing. He’s my favorite guitar behind the finishes. The guys here in guitar even further into something that’s player right now, because he just plays like a songbird. While I look at a the machine shop are really talented a little better than any musician could guitar as a musical instrument, I really look at it as kind of an engineered Transitioning from machinists and designers who can ever ask for.” item. Most people will agree that Taylor makes the best-playing guitars, One-man Shop to build amazing tools and figure out or the best intonated guitars, or the most consistent guitars. But they Taylor ways to do things. And by narrowing won’t all agree that they’re the best-sounding. I believe Andy can take The more Andy pondered the pros- their focus they got so good in those the sound to another level than I’ve been able to, in part because he can pect of bringing his talents to El Cajon, areas. It’s liberating to not be stumbling play. He’s a sensitive player and he listens really carefully, and he gets in the more he realized that despite the over my own weaknesses in certain there and he plays beyond what the guitar designers here at Taylor, me Opposite page, from left: dramatic change from working solo, in fields. I got good at using certain finish and Larry, are able to play. How can that not be anything but better for Andy’s beautifully detailed reality it allowed for the continuation of materials, but I don’t know half as much the guitar? oak tree inlay on Bob Boss’s his core mission as a builder to build about the modern materials as these “So here he is. Andy can make fabulous guitars, and we know how to archtop guitar transitions the best possible guitars — only with guys do.” manufacture them. It’s pretty neat for him to come up with a guitar and from the pickguard to the more resources and on a larger scale. Andy’s work environment at Tay- fretboard; Bob Taylor with know that he can replicate it 10,000 times over, or for 20 years in a row “I still want to build guitars that are lor is located in the company’s R&D Andy in Taylor’s design as a standard model. It’s a really good thing for Taylor, and for Andy, and going to allow musicians, whether they building, which houses the company’s studio for players, to know that there’s a person who has found this home and know three chords or are reinventing machine shop, electronics development who can bring all that goodness to a lot of people. Andy’s unique. I’m the repertoire for the instrument, to team, and custom woodworking shop, excited to have him here.” contribute to their artistic vision,” he a domain that he and longtime Taylor says. “Only it’s on a far broader plat- guitar designer Larry Breedlove share. Javier Colon and Vicci Martinez were already seasoned performers when they went prime time on The Voice. They hoped the show would let their true voices shine through.

By Chalise Zolezzi

or the two talented musicians, Colon signed with Capitol Records he says, was to let viewers know the it was a long shot, but the and released two R&B albums under “real me.” F payoff would be a level of their management: his debut, Javier, “On a show like that, song choice success both had long dreamed of. followed in 2006 by Left of Center. is everything,” he says. “I wanted to One was a bluesy, progressive Ani After poor sales, withering label inter- make sure those [songs] represented DiFranco-type songstress who found est, and little creative control, Colon who I really was. Starting out with her footing near grunge music’s ground struck out on his own, releasing 2010’s ‘Time After Time,’ doing it the way I do, zero. The other was a soulful singer- The Truth-Acoustic EP, which featured was a good representation of myself songwriter who had flipped-flopped a mix of soul, folk and original acoustic as an artist and the stuff that really genres at a record label’s urging to try material. But his dreams of stardom moves me.” to hit it big. were tempered by the realities of pro- Because the contest relied heav- Vicci Martinez and Javier Colon viding for his wife Maureen and their ily on vocal development over guitar both arrived in Hollywood with Taylors two little girls, Solana and Amaia. Then playing, Colon says the performances in tow to compete on The Voice, a an e-mail arrived from a producer of proved to be much different than he vocal talent show based on Holland’s The Voice. was used to. top-rated The Voice of Holland. Hosted “I knew I had to do something if I “Musically, I’m a singer-songwriter by former MTV VJ Carson Daly, the U.S. wanted to keep performing and sing- at heart, and when I sit down to write show paired hopeful stars with one of ing as a career,” Colon shares. “As a song, 99 percent of the time it’s several popular recording artists turned recently as two weeks before we got with my guitar in my hands,” he “coaches”: vocalist Christina Agu- the e-mail, we had a showcase for explains. “My guitar is a huge ilera, Cee Lo Green (Gnarls Barkley), Blue Note records, and unfortunately part of who I am and what I do. Maroon 5’s Adam Levine, and country they passed on me. They said they had When I write songs, I’m thinking star Blake Shelton. Each coach blindly too much on their plate. It was devas- about what it’s going to look selected the contestants they wanted tating, as it had been about five years like on stage. And nine times to mentor, based on their voices alone. since I had another deal, and I really out of ten, I’m going to be The contestants were then free to thought that was going to work out.” playing the guitar or the choose from the interested coaches. With high hopes, Colon audi- piano.” The winner would score a recording tioned for The Voice, and his stirring From an early age, contract with Universal Republic and performance of Cyndi Lauper’s “Time Colon knew music would a cash prize of $100,000, not to men- After Time” made a strong impression be his life’s pursuit. tion instant fans and fame. By the end — every coach lobbied for Colon to At just of the show’s 12-episode run, it came join their teams. He says he went with seven down to fan votes. Martinez was named Adam Levine because of his energy, years old, runner-up, while Colon was crowned and over the course of the season, he began the new “Voice.” Colon consistently wowed the live taking guitar For Colon (814ce, NS62ce), a audience and at-home viewers with his lessons at the lefty guitarist with a degree in music renditions of songs like Coldplay’s “Fix insistence of his mother, education from Hartford, Connecticut’s You” and “Stitch by Stitch,” an original but found very little consistency with it. Hartt School of Music, winning The tune that was released as a single “I had a love-hate relationship with Voice meant a new direction for his and peaked at #17 on Billboard’s that because I wanted to play outside music — and his family. Back in 2003, “Hot 100” chart. His underlying goal, and hang out with friends,” he says. 21

“My mom was like, ‘I’m not going to Vicci Martinez: Voice’s producers assured her that’s tinez. Let’s work on that,’” she laughs. a Battlefield,” Dolly Parton’s “Jolene,” pay if you’re not going to practice.’ So Real or No Deal what she’d get. A tour through Martinez’s discogra- and in the finale, a duet with Train’s Pat I would take lessons for ten months to Like her Voice counterpart, when “They called my managers and said, phy will showcase her stylistic progres- Monahan (GSMC, 414ce, GS Mini) on a year, and then I would stop, and then Vicci Martinez first heard of the show, ‘We’re really trying to make a different sion. his band’s song, “Drops of Jupiter.” start again. I really started getting into it wasn’t through scouring the Internet show. And we know who she is and “My solo projects have gone from Recognizing that she was quickly it when I got into seventh grade and or industry publications. It, too, came in what she’s done, and those are the pretty little ballads to crazy jam band becoming a fan favorite, Universal started writing songs.” a call from a producer encouraging her kind of people we’re looking for. We’re music, to funk, to folk, to almost gospel Republic signed Martinez to a record Colon’s vocal development and to try out for the show. Martinez was not going to disrespect her, we’re not R&B stuff,” she details. “It’s just been deal, which she says will yield an songwriting skills blossomed with the admittedly hesitant. After a successful going to make her compromise. It’s whatever I’m into at the moment. Meet- album later this year. Asked which encouragement of his seventh grade appearance on Star Search a decade going to be a good experience, and ing so many different musicians turned stylistic vein she’s feeling this time music teacher, and, not surprisingly, in earlier at age 16, and later landing a we’d love for her to try out.’” me on to so many styles of music. It’s around, she hints at the nature of the the quest to win a girl’s heart. spot on American Idol — which she After much circumspection, Marti- an evolution of the things I’ve put out; songs: “Soul, rock/pop-based with a “In seventh grade, my music teach- eventually walked away from after it nez decided that the show gave her an I’m all over the map.” lot of energy, and then a couple that er made me sing for the eighth grade was suggested that she change her opportunity to be herself, further her Her 510ce can physically attest to are really pretty and weird,” she shares. girls’ choir class, and that was scary,” appearance — she was reluctant to go vocal talents, and open new avenues her musical journey. “You can see the “I love that: pretty and weird together.” he recalls. “Then I wrote a song, ‘Lost down a path she feared would lead in her playing. She showed up with her marks on my Taylor. I play my guitar as In retrospect, both Colon and Mar- Without Your Love,’ for a girl [laughs]. toward manufactured, sugarcoated 510ce, which means a lot to her in part a percussion instrument.” tinez appreciate the kind of platform It was super cheesy and bad, but for- pop. because it was hard-earned. Martinez’s Taylor playing isn’t lim- that The Voice gave them to share their tunately I continued to write and got The Tacoma, Washington native “I bought it when I was 18, and I ited to her 510ce. She picked up a talents and musical identities with an better at it.” had been playing the violin since still play the same one,” she says. “I 114ce when she was in a pinch. audience, and acknowledge that the Over the next decade, Colon began she was five, and with the help of an was so happy because I bought it with “I went somewhere without my gui- success they experienced exceeded to develop his playing style, and along instructional booklet of Beatles tunes my own money.” tar and I really needed one, so I bought their wildest expectations. Martinez the way joined the band EmcQ, a soul given to her by her father, she taught Martinez discovered Taylor guitars myself the 114,” she says. “I perform says it represented so much more to band dedicated to Stevie Wonder. He herself to play the guitar at 15. As a at an early age thanks to Dave Mat- with it. It has such a great sound for her than just a singing competition. left when a successful audition landed result, Martinez began to build a thriv- thews, whom she cites as a big musi- the price, and it comes across well “It’s not just about your singing him a coveted spot as the lead vocalist ing career in the greater Northwest, cal influence. with the percussive playing that I do.” voice, but your voice as a person and with the Derek Trucks Band in 2000. gigging three to four nights a week “I would go to his shows and mimic On The Voice, Martinez chose your message,” she says. “I felt like I He toured with the band for two years and releasing her first album, VMB, at a lot of what he has done,” she says. “I Cee Lo Green as her coach because, had something to say.” before signing with Capitol. 16, followed by several more, including love his band, I love his style, I love the after her blind audition, where she per- www.viccimartinez.com As a guitar player, Colon is primarily 2011’s Live from Jazzbones. experience when you go to a concert. formed “Rolling in the Deep” by Adele, a fingerpicker and incorporates lots of This time around, she was after I used to say, ‘I want to be the next Green told her, “You touched my heart.” Travis-style picking, hammer-ons and more than a record deal — she wanted female Dave Matthews,’ and my par- Under his direction, Martinez would go pull-offs into his playing, with alternat- to be the real deal. She says The ents would say, ‘Be the next Vicci Mar- on to perform Pat Benatar’s “Love is ing bass to complement his voice. He remembers his first Taylor, an NS62ce that came from his days at Capitol Records. “I absolutely love it,” he says. “I could never afford a Taylor back when I was younger, and being left-handed, I didn’t have the luxury of going into a store and trying out a bunch of guitars. I was so thrilled to get my hands on it; it’s still one of my favorites to play. Nylon-string is so different. I just love the sound of it, I love writing on it, and it’s just been an amazing, amazing guitar.” Buoyed by his win on The Voice, Colon feels as though he’s charted an exciting new course for his career. “It feels like I’ve stepped into some- one else’s life, someone who had a much cooler life than I had,” he reflects. As the winner of the show, Colon earned a recording contract and at press time was busy laying down tracks for his yet-to-be titled album, set for release on November 22, followed by a tour. Both the record and the shows, he says, will heavily feature his 814ce. “I make sure my songs have the instrumentation that I need them to have to pull off a great live show, and since they start from an acoustic place, I like to break it down to where it’s me and my Taylor.” www.javiercolon.com Backstage Pass Backstage Pass Following The Script

Guitarist Mark Sheehan from The Script runs through his Taylor acoustics, shares his antidote for writer’s block, and explains why he loves recording with his GS Mini.

By Jim Kirlin

Photos by Heiko Prigge

By all accounts the road has risen prelude, and The Script had theirs. relationships and the struggles that so much that I got it. Since then it’s development, because a lot of guitarists to meet Irish pop band The Script. O’Donoghue and bandmate Mark play into them — and distills them been used in every single session had to deal with the extra strain every Their self-titled debut in 2008 climbed Sheehan (guitar, vocals) met as teens into emotionally honest songs with we’ve ever been in. time you went up the guitar. Mine, the to No. 1 on the UK and Irish charts and in Dublin, bonded through their shared undertones of resilience, healing and weight distribution on my hand felt has since gone nearly double platinum. musical aspirations, and showed hope that their fans have embraced as What do you like in an acoustic? similar all the way up and down the They’ve opened stadium shows for Sir enough promise as young songwriters a soundtrack to their lives. It’s very personal. I really marry myself neck. That was really important to me, Paul McCartney and fellow Dubliners to land a publishing deal early on. Their Guitarist Mark Sheehan took some to an instrument and try to get really too. So, I guess I’ve married those U2. Their well-received sophomore love of American R&B and soul led time during The Script’s U.S. tour in comfortable with it. It’s the sound at things in my head, where now when I release, Science & Faith, showcases them to the U.S., where they lived for September to talk about his Taylors — first that drives me. I start to hear extra play the Taylor, I generally feel from my a band confidently coming into its several years, working as commercial he has a 514ce, 816ce, GS Mini tones and extra melodies coming off right to left hand the comfort zone just own on a surging wave of heartfelt songwriters and learning studio and Baby Taylor — and the band’s the guitar. And I really enjoy recording fits me perfectly. pop grandeur, so far spawning the hits production under the tutelage of some songwriting evolution. the guitar before I give myself wholly “For the First Time” and “Nothing.” In of R&B and hip hop’s most respected to it. I like mic’ing them up. Take the Before The Script, you and Danny July, the band celebrated their return names. But it wasn’t until they struck You’ve had your 514ce for a while. 816ce at the moment. I believe the lived in the States for a few years to Dublin with a sold-out homecoming out on their own, adding drummer Glen How did you come to choose it? one I’ve got is actually the Harry Potter and worked as songwriters and show at the city’s Aviva Stadium Power to the mix and starting to write I was in Sheffield [UK] about 12 years wand of the 816s — it found me. The producers, right? that was filmed for a DVD release and perform for themselves, that they ago working with a producer, and he sound from that guitar is incredibly Yeah. We had a publishing deal and due in November. In a gesture that found their true voice and began to had a 514 sitting there. I played it and magical. we just wrote an awful lot. We used conveyed the band’s connection with connect with listeners. thought it was absolutely beautiful, The next thing is playing it. For to have mutual friends in Principal its audience, at the end of their final Fueled by O’Donoghue’s but what I’m big into is playing a few me, the fretboard is paramount to my Management, U2’s management, and encore lead singer Danny O’Donoghue expressive tenor and the band’s guitars and finding one that has a absolute love of a guitar, and I love we’d go in there and play [longtime handed his Taylor acoustic to an soulful melodicism, The Script’s special sound. He’d bought it at a what Taylor does. You keep it the U2 manager] Paul McGuinness music. audience member to keep. music resonates with uplifting emotive music shop down the way, so Danny same pretty much all the way up the He thought we were talented kids, so Like many acts that ultimately taste power. Lyrically, the band taps into and I went in there, and when I picked neck. When I was a beginner guitarist, he helped open a lot of doors for us success, there is often a long, bumpy the complex realities of life — often that model up and played it, I loved it that was hugely important to my to come to America. He would say, 23

“Why don’t you go try to work with this to it like it’s the first song you’ve ever road for two years, you can’t deny the producer?” and we started to go in written. So, it’ll come from anywhere, experiences that you gain from playing as writers, just to cut our teeth in the really. Even though Glen plays drums every night, like the parts of each song music industry, but our main focus was he also plays guitar, piano, bass and that people react to. That’s something producing music. sings, and all of us are really pretty you can’t get out of your head because We went back and forth between much like that. But the idea is generally, you’re a songwriter at the end of the between Florida and California, working like you say, we go away, we come out day, and that’s what you gauge things with as many producers as we could, with a bunch of ideas. Sometimes I’ll by. It’s really weird to think of an idea in from David Foster to Dallas Austin to sit in a studio on my own just writing your head, to internalize that emotion, to Teddy Riley, a lot of it heavily in the songs and ideas, and Danny is pretty then play an instrument and write a song R&B world. We ended up working in much the same. And I take it to a point about it to make somebody else then Nashville with Tommy Sims and people where I’m just kind of stuck, or Danny internalize that sound and emotion and like that. We really fell in love with sometimes; it just really depends. He’ll to feel the same as you felt when you American R&B and wanted to go back come in and go, “I got a great chorus first conceptualized it, if you’re with me. to the grassroots level of it, but we also idea for that,” and he’ll jam something wanted to experience the studio life to out. Sometimes we’ll just pick up a But it’s powerful when it works. the fullest, and that’s literally what we guitar, the three of us together in a And I think that’s what people chase did. That’s what kept the lights on for room and it happens as organically all the time in music. That’s the drug, so many years living here. They started as that. I guess the point is that our I think. flickering really badly toward the end formula is no formula, so we just do it [laughs]. as many different ways as we can. Do you test new songs in front of an audience to have a barometer, What happened? Does any writing happen when or do you know when you’re We hit a wall with getting other you’re out on tour? writing demos that it’s intrinsically Singer Danny O’Donoghue on stage at the band’s homecoming show in Dublin artists to sing our music, because the Actually, I’ve just built an on-the-road good? emotional content was just lacking. We touring studio system. I have this flight We have a very good barometer for wanted to focus more on music that we case that basically sits on the table, knowing what is good for The Script. broken down so much that we don’t favorite thing. It’s stuck to my back all could relate to. Any artist who came in I open it up, the speakers go left and I can’t tell you what’s good for the really attract the real scene. I think the time. I have it everywhere, and I’m to sing just wasn’t giving us the meat right, and the laptop sits right in the commercial market or what will or won’t our music is very much universal in not joking — I even walk into restaurants that we felt was needed for the lyrics middle of it. I’m able to hook up my sell. We know what we like and what the sense that people have absolutely with it now. It’s incredible for a smaller we were putting on the songs. So we audio interface and record all my we can attach ourselves to, and that’s related to us before they come and guitar because, when you sit down and decided to record a bunch of demos guitars directly in. So what I’ve got now kind of the meter for us. That’s what see us, and when they come it’s really mic a guitar like the 816, for example, for a record label friend of mine, Steve is a way to program and write music we have to live and die by. But we’re about sharing that moment with us. it has a beautiful sound to it already Kipner, who I’d known for many years Audiences definitely feel the same, you in the room, but no matter what, just and written with a bunch of times, and know — they go nuts when we’re on because of where a guitar naturally sits I just said, “Listen to this.” I was more stage and they really hold the energy in the blend, you naturally have to EQ playing him the music than playing “I believe the 816ce I’ve got is actu- up for the whole show. And at the end off some of the low end of the guitar. him the band, but he said, “Who’s this of the show we’ll take a TwitPic of them When you think about that, the GS Mini band?” and I said, “Eh…they’re called ally the Harry Potter wand of the and there isn’t an empty seat in the already has that low end rolled off, and The Script.” I just kind of lied at the 816s — it found me. The sound from place. it’s actually in the perfect position for time and told him that we were a band recording anyway. So, it’s a really super even though it was just me, Danny that guitar is incredibly magical.” The band has had enormous little guitar. And the playability of it feels and Glen jamming in a small rehearsal success abroad and you’re really like a big guitar. I also have the Baby room in Venice Beach. Later on I ran building your audience here in Taylor, which is what I used on our home panicked and called the guys and the States. Despite that, you guys hit “For the First Time” — the opening said, “They think we’re a band. They on the road, on the bus, in the dressing pop writers, so we don’t tend to go too seem to maintain a relatively guitar on that is actually the Baby. want us to showcase for them.” We’d room. I’ve just implemented that about left field. We like Top 40 music, and normal perspective and stay never really sat down and played this two weeks ago, and that’s so much fun. we like popular bands, so we tend to grounded. What’s the secret to What did playing the homecoming music; we were just writing this music write in that sort of vein. Occasionally that? show that was filmed for the DVD together. So Glen flew back over and Your most recent album, Science we’ll bring a song out on stage that I believe it’s just friendship at the end mean to you? we just jammed out in a small room for & Faith, seems to have a bigger, we’ll try out on an audience, but with of the day. We are mates first and It meant a crazy amount of mixed them, and they offered us a deal on the grander sound than the first the Internet, we can already pre-do that that’s how we really got together. We emotions, to be honest. We had taken spot. record. Did that come out of the through our website or Facebook or enjoy being on the road together. I that show on after we had just sold out fact that you were playing bigger Twitter, where we can upload a small think the secret is, as you do with your three nights at the O2 arena in Dublin. How do you guys write? Do you venues, including stadiums, and piece of a song, and see what the friends, you can’t let one mate just go So we weren’t sure if it would sell out go off and do your own thing and you wanted a sound that would be reaction is from people. to his head. We believe that everybody or if people would show up at all. There then come together? Our is it able to play to a bigger venue, or around us is a reflection of who this were all these questions and a lot of all organic, where you’re sitting were you just naturally progressing Have you felt any difference band is. What happens is the team mixed emotions, but actually it came around in a room together with in that direction anyway? between playing to audiences in around you just sort of builds that together like clockwork. Certain shows guitars and hatching ideas at the I think we were naturally progressing, the UK versus the US, or does perspective and it just happens that were just meant to be. All the stars same time? but I also think it was confidence on your music tend to connect with everybody keeps you grounded. And aligned, the weather came out for us, Well, it’s really different with us our part. I was really getting more everyone in a universal way? if one person does float up there for a everything we had planned production- because what Danny and I have confident as a player, and we were all Yeah, it’s a little bit like that. I think minute it’s very easy to pop that balloon wise, on stage, lighting-wise, just went learned over the years is that writer’s just getting more comfortable in our music used to say a whole lot about and float them back down again. off so well. block is what happens when writers skin about the type of band we actually a person years ago, where, if you have a system or formula for writing a are. [At first] you don’t know what your were into punk music, for example, Have you been playing your GS Look for The Script’s live DVD later song and that fails them. What we’ve band is; everybody else is telling you you dressed like a punk rocker. Or if Mini much? this fall. For the latest on the band, managed to do over the years was what your band is. You just write songs you were into reggae, you dressed I’ve played it probably every single visit www.thescriptmusic.com. change it up every time — we believe and play music and people pigeonhole like a reggae artist, and that was the day since I got it. It goes absolutely that each song needs you to come you into a genre. After being on the way it was. But now the genres are everywhere with me. It’s my new 24 www.taylorguitars.com

acoustic guitars to resonate. It’s often When the time came to pop the easy to forget that these are Doors big question and put the long-distance songs, especially in the fresh acoustic courtship to rest, Lovine says he knew context, and that’s OK, because the Southwest and his GS Mini would be Soundings guitar playing is tasty and sensitive, part of his surprise proposal. “Music with the kind of economy and note is such a big part of our hearts, and I selection you’ll find when you hear sea- always knew I wanted to serenade her Hungry for the GS Mini Reframing Doors soned musicians who understand the for the proposal!” The BBC show Three Hungry with “Last Hot Night,” they dished A few years back we offered an beauty of restraint. “All my solos were Lovine worked out his plan, and Boys challenges three men to live off out classics such as “Black Balloon,” enthusiastic review of singer-songwriter played on my 810ce with the Expres- with the help of his GS Mini and South- the land for an entire month or go hun- “Name,” “Broadway,” “Slide” and “Iris,” James Lee Stanley’s collaboration sion System,” Stanley says. west, surprised Kat on her flight from gry. Shot at various locations in Great as well as some selections off their with John Batdorf on All Wood and www.allwoodanddoors.com Oakland to Burbank. He came walking Britain, the “boys” and their trusty van, 2010 album, Something for the Rest of Stones, an album of Rolling Stones down the aisle, serenading her with nicknamed “Daisy,” find ways to survive Us. Frontman John Rzeznik alternated tunes reinterpreted as a collection of the Beatles’ “Real Love” on his GS in remote locales with no food, water between a seemingly endless supply soulful acoustic tracks laden with fresh Mini, accompanied by their dog, Nickel, or money. While they rough it in the of guitars, which included a bevy of guitar and vocal arrangements. Well, Music Box Answer who wore a custom-made hatbox that elements, one thing Hungry Boy Tim Taylors, most notably his 914ce and his Stanley is back at it, this time with For Tom Kelley, a retired Green opened to display an engagement ring. Cresswell can’t live without is music. sunburst 915ce. talented musical pal Cliff Eberhardt, Beret, his “Music Box” had toured the Passengers joined in, too, singing along “This summer we spent five weeks and giving similar treatment to their world with him. A Baby Taylor he pur- to the lyrics with a special handout outside catching and foraging for our favorite Doors tracks on All Wood and chased in 1998, dubbed “Music Box,” Lovine made to mark the occasion. own dinner with no money,” Cresswell Doors. served two tours in Afghanistan, and At 30,000 feet, with GS Mini in hand, reports. “I wanted to take a guitar, but Musical Comedy had seen most of Europe, Latin Ameri- Lovine asked Kat to be his wife, and my dreadnaught case weighs as much For the San Diego blues-folk act ca and the United States. As the story she happily said yes. as the guitar inside it, which is still pret- The Silent Comedy, the GS Mini has goes, Kelley was awaiting a transfer ty heavy, so I got myself a GS Mini.” found a secure place in their instrument home, and while his Baby was well pro- Even after returning to the comforts repertoire as a modern-day parlor guitar tected in a hard case, a shipping error of the civilized world, Cresswell says for their acoustic sets. Josh Zimmerman left it stuck in a warehouse in Asia for a Toeing Capacity his other guitars remain in their cases. (vocals, bass, guitar), says it didn’t take month, where temperatures can reach During the summer, Taylor’s backyard “It’s ridiculous how good this guitar much to pick up a Mini. 120 degrees, and caused the wood to of San Diego is a beehive of leisure as is and how much noise it makes. Let “My brother (Jeremiah Zimmer- crack, the glue to separate, and Music locals and tourists flock to the beaches me make this clear: This guitar is abso- man, piano, guitar, vocals) was looking Box to suffer irreparable damage. and parks. Among the popular destina- lutely no compromise on sound. None. around and saw the video of Jonah Fast-forward a few years. Kelley tions is Balboa Park, home to a cluster The technical spec is great and the [Matranga] playing it and talking about had picked up another guitar, but not of museums and a botanical garden, and solid top is awesome. It sounded great it. We love Jonah’s stuff, so it piqued his beloved Baby Taylor. Taylor dealer a repository of San Diego’s rich histori- out of the well-thought-out [gig bag] our interest. We didn’t even play one Justin Walters of JW Music heard cal and cultural heritage. It’s common and hasn’t stopped sounding and play- before we ordered them; we just looked The project couldn’t have had a about his situation at his shop, where to see artists busking along the park’s ing sweet. If you have to carry a guitar online at reviews and saw other musi- more authentic catalyst. Doors drum- Kelley was taking lessons. “I asked him picturesque promenade. One local artist with you anywhere, or even if you don’t, cians talking about it. The thing that mer John Densmore told Stanley he to let me see the guitar,” Walters says. who invariably makes an impression is this guitar hits it right on the button.” appealed to us the most is how much loved his treatment of the Stones tunes, “He told us the story, and that’s when Mark “Big Toe” Goffeney, who was www.3HungryBoys.com it really projects for being so small. and that if he ever wanted to do an I called Taylor to see if they could help born without arms and plays guitar with We ordered two blindly, and when we album of Doors covers he’d be happy us honor this soldier who served us so his feet. Goffeney, whom we’ve written got them we were blown away by how to play percussion. Game on. willingly and freely.” about before, has played a 314ce for practical they are.” Stanley and Eberhardt enlisted During an on-site Taylor workshop, a more than a decade, so when the guitar Ladies and Dolls The band spent the summer of some talented guitar friends, including crowd watched as Kelley was surprised was recently stolen out of the trunk of There was no shortage of Taylors 2011 touring and performing at a slew Paul Barrere (Little Feat), Laurence and delighted to receive a 110. We his car a couple of days before an out- in Saratoga Springs, New York on July of venues on the West Coast and has Juber (Wings), Scott Breadman hear he also loves his recently pur- of-town gig, he was understandably 31, as the Goo Goo Dolls and Bare- used the guitar for radio and in-store (Lindsey Buckingham), Peter Tork (The chased cocobolo BTO. crushed. When we learned about his naked Ladies took to the stage at the appearances, and anytime an acoustic Monkees), Rick Ruskin, and in another plight, we helped him out with a replace- Saratoga Performing Arts Center. show pops up. Josh is also a fan of the ringing endorsement, Doors alum ment 314ce, and he was deeply appre- Ed Robertson and Kevin Hearn of ES-Go, the Mini’s easy-to-install pickup. Robby Kreiger. Chad Watson (Janis ciative when he dropped by the factory BNL had their Taylors front and center. “It’s super practical,” he says. “I Ian) played bass and mandolin, while Love at 30,000 Feet to pick it up. Hearn played his 656ce, while Rob- don’t like to work on any of my gear John Batdorf and Timothy B. Schmit For the past six years, long- www.markgoffeney.com ertson played his two main Taylors, a myself, but it was easy as pie. When added vocal harmonies. distance couple Lovine and Kat W10 and a W20, throughout the show. we do acoustic shows, we mic the gui- As on the previous project, the have taken hundreds of trips between Marching through a ten-song set list, tars or run them through amps. We’ve songs here are artfully deconstructed Oakland and Burbank, California to see the Ladies led off with a number of never had a problem with the pickup. and reimagined acoustically. Stanley, each other. For this guitar-playing duo, L.A. Story favorites, including “The Old Apart- They just seem to be really consistent Eberhardt and guests slow down the both their airline of choice, Southwest, A writer, photographer and videog- ment,” “Brian Wilson,” “It’s All Been and work well.” song tempos and bring an earthy funki- and their guitar of choice, Taylor, have rapher from the Los Angeles Times Done,” and their theme from the CBS With a new album due in 2012 and ness, beautiful harmonies, and gently held a special place in their hearts, as visited the Taylor complex in the early comedy The Big Bang Theory. They fin- top-secret tour plans in the mix, Josh swinging grooves to them. Eberhardt’s both had figured prominently in their summer, and with the visit came an ished their set with their sellout crowd assures us that the GS Minis will con- weathered vocals inject a potent, relationship. Lovine explains: “I bought extensive piece on the company. As part sing-along “If I Had A Million Dollars,” tinue to be a part of their rig. The only bluesy grit to tracks like “Love Me [Kat] the Baby Taylor as a Christmas of the paper’s series, “Made in Califor- before launching into a pseudo-rap concern among the brothers is mixing Two Times,” “Touch Me,” People Are present in 2009, and decided to get nia,” business writer Ron White spent presentation of Pilot’s “Magic,” with up the two guitars. But Josh has a Strange,” and “Riders on the Storm,” the GS Mini as soon as I could a year the day with Bob and Kurt, learning some Cee Lo Green, Justin Bieber, solution. “I have plans to draw all over while Stanley’s voice shimmers sweetly later when I realized what wonderful about the company’s history and unique Katy Perry, Black Eyed Peas and Alicia mine.” You can watch performance foot- on tunes like “Light My Fire” and voices they have. I’m a small guy and innovations that make Taylor an industry Keys all thrown into the mix. age of the band on the GS Mini page “Moonlight Drive.” With the inspired prefer the small sizing of the GS Mini, leader. The story, titled “Taylor Guitars When the Goo Goo Dolls took the at taylorguitars.com. phrasing and vocal arrangements, the but did not really imagine how useful it has thrived by being different,” ran in stage, the crowd let out a roar to wel- textures blend well together, yet leave would be actually travelling with it and come the band. Ripping into their set plenty of space for the character of the playing onboard the plane!” continued next page Clockwise from top left: The Goo Goo Dolls’ John Rzeznik (photo by Steve Parr); Mark “Big Toe” Goffeney; The Silent Comedy (photo by Rebecca Joelson); “Hungry Boy” Tim Cresswell enjoys the view with his GS Mini; Cresswell makes some noise

photo: Rebecca Joelson

HiRes 26 www.taylorguitars.com early June and highlighted key turning Black Stallion the T3’s range of tones, he played Balancing Act Taylor Ten-Spot points in the company’s history, along In the UK’s Guitar Buyer maga- through the different pickup positions, Fans of Taylor signature artist Doyle On August 15, Acoustic Guitar with quotes from Taylor players Jewel zine, a publication whose credo is “By observing that they “impress right from Dykes rejoiced when the maple magazine announced the winners of and Zac Brown, who said, “I got my Guitarists for Guitarists,” editor-in-chief the off as we’re treated to some really laminate Doyle Deluxe (DDX) was its 2011 Player’s Choice Awards first Taylor when I was 14 — an 810 — Alun Lower was anxious to find out if full and pristinely clear sounds with released, and the editors at Acoustic (PCAs), a biennial vote cast by play- and that was like the Holy Grail.” As the T3/B was able to deliver an elec- plenty of sparkly treble, but lovely mids Guitar magazine were no exception. ers and enthusiasts about their favorite of our press date, the article remained trifying performance. Lower starts his coming from the sapele, and it’s all The magazine reviewed the guitar ear- guitars, gear and instructional products. archived on the newspaper’s website. review by noting the guitar’s impres- backed up by superb bass response.” lier this year and had plenty of compli- Taylor Guitars was recognized with a www.latimes.com sive construction. Eager to experience After noodling for a bit, he finds the ments for its “well-balanced tone.” record-breaking 10 awards. Below is neck pickup to be “wonderfully warm “Between its tight bass, throaty the rundown: without being woolly or muddy, and midrange, and crystalline treble, the the middle position adds the right DDX has an excellent tonal balance,” Gold Medal amount of brightness.” Splitting the observes Adam Perlmutter. “As it was Small-Body Flattop (612ce) coils in the volume knob’s pot leads clearly designed for fingerpicking, I first Acoustic-Electric Guitar (714ce) him to assess that “the real star of the tried some basic Travis-picking pat- Travel Guitar (GS Mini) show here…is the tone control, which terns using open chords…when I dug 12-String Guitar (GS6-12) really opens up the sonic possibilities into the strings I was impressed by the Nylon-String Guitar (NS72ce) of this guitar.” instrument’s sonic clarity — everything Lower goes on to note that with the sounded crisp and articulate.” Silver Medal T3, “We never find ourselves strug- Perlmutter goes on to say that the Dreadnought (810ce) gling to get the sounds we want to DDX is an affordable alternative to the Guitar of the Year (GS Mini) achieve….” His bottom-line verdict: Doyle Dykes Signature Model, is “easy Mid-Size Flattop Guitar (814ce) The T3/B is one heck of a guitar and to play, and its neck is very inviting. The Jumbo Guitar (455ce) for the right guitarist may well be the guitar’s well-balanced acoustic sound only electric they’ll ever need.” The is suitable for both fingerpicking and Bronze Medal magazine gave the guitar a 4.5 out of strumming in a variety of idioms.” Electric Guitar (SolidBody Custom) 5 rating, citing that the only drawback www.acousticguitar.com was that it was “too perfect.” www.guitarbuyermagazine.com

Choice Cuts with Shanks It’s a singer-songwriter showdown! Guitar Center, Taylor Guitars and other industry players, it’ll take a little more than flash and sizzle to impress this seasoned pro. “Every once in a while, including Fender, Yamaha, Ernie Ball and Shure, have launched a songwriting contest to offer there’s an artist who gets up on stage, and you feel it in every bone in your body; you feel it in your one artist a career-boosting opportunity: a three-song EP with Grammy-winning Producer of the heart. If I walk away [after] seeing a band thinking, yes, this makes me want to continue doing what Year John Shanks. The prize package includes studio time at Converse Rubber Tracks Studio in I do, then that’s what I look for. That’s what inspires me; that’s what moves me. Can we find it? New York City, worldwide distribution through TuneCore, gear from the presenting sponsors, and Let’s try.” www.johnshanks.com www.guitarcenter.com/songwriter $10,000 cash. Taylor’s contribution will be a GS Mini for 10 semi-finalists, and an 814ce for the Grand Prize winner. The contest runs from October 1 through November 30, and artists can get the full details and enter the contest via www.guitarcenter.com/songwriter. It’s probably easy for Shanks to relate to what an opportunity like this could mean to an up-and- coming artist. In the late ’80s he was a session and touring guitarist for Melissa Etheridge, when the opportunity to write, produce and publish came knocking. Now, instead of life on the road, he spends his time in the studio, writing and producing with the likes of Kelly Clarkson (“Break- away”), Bon Jovi, Michelle Branch (“Everywhere”), Keith Urban (“Somebody Like You”), and Stevie Nicks, to pluck a few names from a sizeable roster of artist clients, which spans genres and decades. While the creative juices are always flowing in the studio, Shanks says it’s also easy to draw inspiration for a hit in everyday conversation. “Songwriting is the most bizarre thing,” he shares. “Someone will say something to me and I’ll walk away grinning because, when you really listen, it’s amazing how many great titles come out of people.” Shanks says there’s no strict method to his songcrafting approach, but that the writer and producer are always looking for three elements to align. “Once in awhile, you hear a hook, and it inspires you to try [to] match it with the music and mood. When all three match, you’re on to some- thing.” His results showcase a golden touch as a hitmaker: 60 million albums sold, 43 No. 1 singles, and 67 No. 1 albums. “John’s records have become the sound of Top Forty Radio,” music industry icon Clive Davis told Rolling Stone. “He’s the father of that guitar-driven kind of pop sound.” Shanks knows his Taylors, too. He has a 914ce, a Baritone 8-String, and an 855ce, which was his main guitar during his years with Etheridge. A collector of vintage acoustics, Shanks tells us that picking up the Taylor can provide a source of inspiration and often be the perfect fit for a more modern, fresh sound. “It is the guitar you go to,” he explains. “There are times when I’m work- ing on a song, and I’ll pick up the Taylor and be like, ‘Oh, there it is.’ It just fits in with the track and speaks a certain way. It’s very focused, but not harsh, very comfortable to play, and responsive.” The talented writer and producer says that identifying the next headline act is no easy task, but rather one that’s rooted in the intrinsic need to be musically inspired. For the Guitar Center contest, 27 Taylor Notes

0% Financing on Taylor Seasonal Tips: Purchases Extended Through Humidity Control December 31 It’s that time of the year again, when the change of seasons often leads to shifts in relative humidity (RH) in people’s homes. As we regularly remind owners, managing humidity conditions is important for the health of their guitars. In the summer months, many of us run air conditioners; in the autumn and winter, we use heaters. Both scenarios can create dry condi- tions that can compromise a guitar’s performance, and in some cases, lead to serious damage. The good news is that with proper monitoring and some Dry conditions can cause the wood on a guitar to shrink and eventually crack simple-to-use tools, keeping your gui- tars healthy is not difficult. First things first: All wooden instru- Guitar Humidifier Options fier. As vapor is released, the container a leading manufacturer of commercial ments are affected by relative humid- There are several types of humidi- begins to shrink, making it easier to see humidification systems, also makes a ity conditions. The fact that guitars fiers available to guitar owners. We when it’s empty. residential unit that works indepen- have finish on them may give some like the Planet Waves Humidipak® For owners who have multiple dently from an in-home heating/air con- If paid in full within 12 months, minimum payments required. For a limited time only, on approved credit. Ask for details. folks a false sense of security, but as because it’s effective and easy to guitars and like to display them, a ditioning system. Other options include Bob Taylor pointed out last issue in use. The beauty is that the gel-filled free-standing room humidifier is April Aire, which works in conjunction “Ask Bob,” humidity is water in vapor packets are engineered to maintain an option worth considering. Depend- with the heater. We’re happy to announce that form, and the finish on a guitar is not 48% RH, meaning they give you two- ing on the model you choose, these our GE Money Consumer Financing a vapor barrier. Here are a few tips to way humidity control — they will either come with an array of features. The Over-humidified Guitars program has been extended through help you keep your guitar in optimal add or remove moisture from the air better versions have a sensor for the Although over-humidified guitars December 31, 2011. You can get 0% condition. on their own. One point to remember: humidity reading, which turns the unit tend to be a less frequent occurrence interest on select Taylor purchases (on The Humidipak is great for maintaining on automatically when the RH level than dry guitars, some climates that approved credit) if they’re paid in full Keep your guitar in your case humidity levels, but if you’re starting drops, although it’s still good to have a experience extended periods of high within 12 months. Monthly payments when you’re not playing. It will offer with a dried-out guitar, you’ll want to hygrometer in the room on an oppos- humidity, like Central America and are required, and some restrictions some protection against dry condi- use a sponge-style humidifier or the ing wall as a cross-reference. There certain areas in Asia and the Pacific, apply. Eligible Taylor models include: tions. Because it’s such a small, con- gel-style Oasis® humidifier to replen- are also models that can do the job can cause a guitar to swell to a point • All 500 Series/Acoustic 5 Series fined space, it’s fairly easy to manage ish the guitar more effectively. You without the auto feature, but they have where glue joints and binding separate, and up, including Limited Editions the humidity level. can purchase the Humidipak through to be maintained by the person using and finish lifts. Our Customer Service • T5 Standard and T5 Custom TaylorWare. the device. You can pick one up at a department has found bamboo char- • All T3 Models Use a digital hygrometer to Sponge-style humidifiers such department store like Sears or Target. coal and silica gel packs to be effective • All SolidBody models monitor the humidity of the space as the Planet Waves Acoustic Room size needs to be taken into dehumidification tools. In fact, there where you keep your guitar. You Humidifier or Dampit are also effec- account when choosing a room humidi- are some silica gel products available New Owner Resource can pick one up for about $30. Don’t tive, although they require slightly more fier. The capacity of the humidifier must that are compact and plug into the wall get an analog/needle-style one; they’re effort to maintain. The most important be adequate for the number of cubic to be recharged. Room dehumidifiers Web Page less accurate. It might even be good thing to remember, especially for the feet of air space in the room. A very can also be effective. Another tip is to We recently finished retooling our to get two — one to keep in the case Dampit tube-style humidifier, is to make small humidifier, for example, will not be periodically blow-dry the interior of your Owner Resources page at Taylorgui- and one to monitor the room where sure the sponge is completely wrung able to maintain the correct RH level in guitar case (after removing the guitar). tars.com to showcase the level of you play. out and any excess water is wiped from a large room. You have the best chance If you have any questions about support you receive as a Taylor owner. the outside. This is a key point. Our of keeping your guitars in good condi- humidity control, feel free to call our As a full-service company, we’re with Your humidity target zone should Customer Service department received tion if the humidifier’s capacity exceeds Customer Service department in North you every step of the way, whether you be 45-55% RH. Solid-wood instru- several guitars over the summer that the size of the room. America at (800) 943-6782, or in need help choosing the right model or ments are structurally and sonically at needed repairs because the wood had One other point on room humidi- Europe at +31 (0) 20 667 6030. Toll keeping your guitar in tip-top condition. their best when they are kept at the warped due to sponges dripping inside fiers: They should never be placed free numbers for Europe and contact The page is a hub of helpful informa- same RH as the environment in which guitars. underneath or too close to the guitars. information for other countries can tion, where you can register a guitar, they are built. At the Taylor factory, we The Oasis guitar humidifier Doing so can over-humidify the area be found at: www.taylorguitars.com/ learn about Taylor innovation and our maintain an environment of 47%. incorporates a leak-proof container that immediately around the guitars. It’s dealers/international/. You can also commitment to the environment, access allows vapor transmission. Once it’s best to place the humidifier in a corner download Tech Sheets from the Taylor tips for changing strings and humidify- If you use a guitar humidifier, be filled with water, it interacts with super or central spot on the wall, away from website (under Service & Support) that ing your guitar, and get the most out of sure to close your case when you absorbent polymer crystals inside that where the instruments are hanging. detail the symptoms of dry and wet your acoustic electronics. It’s located take your guitar out to play. This together form a leak-proof gel. The Owners who have an extensive guitars, and offer more instruction on at: www.taylorguitars.com/owners/ will ensure that the humidity level in Oasis has a larger capacity for holding instrument collection might consider using guitar humidifiers. resources there is maintained. water vapor than a sponge-style humidi- a more sophisticated system. Nortec, WHAT ARE YOU

Working On?By Chalise Zolezzi On any given day, the Taylor factory is abuzz with creative activity, as our production team works through the myriad of detailed processes that contribute to our guitar-making operation. With that in mind, we’re pleased to launch a recurring feature to give you an inside view of our people and our processes. We’ll be dropping in on the action throughout the factory and talking with employees about their work. As visitors see every day on our guided factory tours, our people are our most valued resource, and their dedication, enthusiasm and skill are an integral part of transforming raw materials into beautiful instruments.

Cutaways, and necks to match, all of After mixing paint and attaching the for paint overspray and then to use an which will take on a new hue through a small canister to the paint gun, Ronnie air gun to facilitate the drying process. process designed to ensure an immacu- inspects the guitar and spots a small He’ll go over the outer perimeter again, late finish. issue: too much tape around the bind- and then into detail along the exterior, Ronnie Though Ronnie had no prior artis- ing on the shoulder of the guitar. “If I the most intensely hued area. Then Loftin tic training, he discovered a knack for were to paint over that,” he explains, he begins blending, inching in from spraying color when he was mentored “there’d be a missing portion, and I’d the edge, leaving the center open for by Taylor senior painter Martin De La have to start over tomorrow.” With a the golden color that will set off the Torre. Martin, Ronnie and Abel Suarez- razor blade and a delicate touch, he tobacco burst effect. In total, he’ll make Color Specialist Krauss comprise the team of finishers begins to remove the excess tape until a dozen-plus passes at the guitar top Finish responsible for color treatments. Martin the thin, black purfling is showing. in nearly four minutes to make sure it’s Department developed the refined technique of Satisfied, he wipes the guitar with a right. “It gets to the point where you spraying the Taylor burst to create a soft cloth to remove any remaining dust can feel the paint hitting the guitar in “glow,” or smooth gradient, and not just particles. your arm,” he says. a “band” of color. “We want to make With paint gun in hand, he works Once the burst is finished, he’ll What he’s it the best-looking sunburst out there,” from the outside in, carefully spraying spray a clear top coat to seal in the working on: Ronnie says. a fat but well-controlled mist along color. After about 16 hours the gui- Hand-spraying After donning a thin jumpsuit, a hair the outer perimeter on the top, and tar will be dry and ready to be lightly cloth, gloves and a ventilation mask, then passes again, this time gingerly sanded to reduce paint overspray. As a a sunburst Ronnie surveys the guitars before him rotating the guitar to inspect his work. final step in the process, it will receive and selects a 912ce whose top is He’s checking for one of the most a final gloss coat of Taylor’s proprietary destined to receive a tobacco sunburst. challenging details on a guitar: small, UV-curable finish in the robotic/elec- “We’ll need about three to six ounces of naturally occurring variations in the trostatic spray booth, a job handled by paint, depending on the wood, and two wood. “Grains, for instance, can have another team member. colors: tobacco first, and then yellow a knot, and while it’s part of the wood, Ultimately, each guitar tells its own For all the precision tools used at to,” he shares. “When I see a Taylor on to give it the glow,” he explains. “Cherry you don’t want it to be that noticeable, story, but for Ronnie, the common Taylor, the application of color to a gui- TV, I know there’s a 50-50 chance that sunbursts are probably the hardest — so you have to compensate for that,” he thread is a personal passion for perfec- tar remains a manual art form. Ronnie I’ve painted it.” they take four colors to really create a explains. He takes the guitar into the tion. “I’m doing the very best I can to Loftin, a six-year Taylor veteran, takes Today’s production schedule deliv- burst effect. Dark cherry, regular cherry larger spray room for inspection. Satis- help make a great guitar,” he says. great pride in his work. “Each guitar is a ers 35 guitars into his care: 23 acous- and a little bit of tobacco and yellow fied with his work, he returns to his canvas that I feel personally connected tic/electrics, 7 T5s, 5 SolidBody Double take it from dark to light in the middle.” booth, this time to wipe down the guitar 29

Jorge Tobar is usually busy over- studies the placement of a piece. “I pieces and gaps, we have to make sure Jorge seeing all aspects of the Laser Parts want to make sure everything is perfect everything gets filled or else the sand- department, from the 200-watt laser because if you go through a whole ers will have to keep adding glue to Tobar mills that precisely cut Taylor’s tops rosette and at the very end find a little keep filling the gaps,” he says. backs and sides, binding, truss rod detail that won’t work, the top is no In total, Jorge will inlay 45 different Production covers and smaller inlay pieces, to good.” pieces of cocobolo and boxwood to the rosette room, where each Taylor For the 12-year veteran, the pro- complete the rosette, some as thin as Supervisor soundhole is adorned with a decorative cess of inlaying the rosette begins by 1/29 inch, sealing the rosette in place Laser Parts inlay. Depending on the day’s produc- selecting a set of component pieces, using cyanoacrylate glue. After the glue Department tion demands, Jorge may step in to which are often secured together with sets, the excess will be removed. lend a hand, which he’s doing today, the help of blue painter’s tape. Jorge While a typical rosette for a stan- thanks to a detailed new rosette design starts with a lattice ring of cocobolo, dard model takes on average five What he’s that’s part of this year’s Fall LTDs (see which will serve as a guide to fit each minutes to complete, a more detailed working on: page 12). The rosette incorporates piece. Next, he unwraps the boxwood design like the Fall LTDs will take up to laser-milled cutouts of cocobolo and pieces and counts the 14 cream- 15 minutes. Jorge says he enjoys the Inlaying the boxwood. Jorge understands the limited colored parts, which he will inlay. He added challenge. “These are fun and rosette for a availability of the boxwood, and he’s follows a similar process with the coco- different, and they take longer, which cocobolo fall quick to note the exacting standards bolo pieces, fitting the largest pieces I like.” that are required in the rosette room. first, using his hands to press in the limited edition “It’s important to get it right the first pieces and then the end of his cutters time,” he says as he inlays and then to secure them. “With so many little

Nikki DeaMude knows her way pre-amp component which sits below guitar, Nikki will install the Fused String around the inside of a Taylor guitar so the external control knobs (the knobs Ground, which protects players from well she’s confident that she can install are installed once the motherboard being shocked due to improper electri- Nikki our Expression System electronics is positioned correctly). Reaching in cal ground. with her eyes shut. The 10-year staffer through the soundhole, she’ll posi- After double-checking the body DeaMude estimates she’s installed thousands of tion the two magnetic sensors. The sensor’s orientation, Nikki taps on the Taylor’s acoustic pickups, along with Dynamic String Sensor™ is affixed top once again. “I’m making sure every- plenty of T5 electronics. We caught up beneath the fretboard extension; the thing levels out with each other and Assembler with her during the 10-minute process Dynamic Body Sensor™ is properly that the pickups are positioned just Final Assembly of adding an ES unit to a 416ce. located using a template that will key in right — not too high, not too low,” she Her workstation consists of a foam- on the precise spot in the lower bout. explains. “These are all things you have padded workbench complete with a The template also includes a piece to make sure are right on the dot.” What she’s mini amp, an assortment of tools, and of magnetic film that helps her rotate Once the installation is complete, working on: boxes which house ES kits — orga- the sensor into proper orientation (the she’ll return the guitar to its slot on the Installing the nized, complete systems ready for sensor’s magnetic field makes a visible large carrier crates that sit behind her installation. She’ll start by inserting pattern in the film) so the north-south station. “I probably do about 20 per Expression the battery box, whose housing cavity polarity is aligned with the grain of day, but that mostly has to do with pro- System® was milled earlier, and then running the wood. Next, she’ll test the Body duction,” she says. “If I were doing a lot its wires along the bass side and clip- Sensor by plugging into her desktop of the T5s, I’d have less to do as they ping them in place. From there she’ll amp and tapping the top. As with each take more time, but regular acoustics, install the motherboard, the interior Taylor acoustic/electric and electric 20, definitely.”

For finisher Luis Lopez, six years at circular scratches left from a previous flaws, including tiny specks of paint Taylor have rolled by seemingly as fast step of sanding with a random-orbital on the white binding of the f-holes. If as the buffing wheel that whirls in front pneumatic sander.) necessary, he’ll clean it with a double- Luis of him. Lopez will work on seven T5s Luis proceeds to buff the guitar, edged razor blade. today. Before the guitar makes it to his starting on the “18” buffing wheel — With each guitar, Luis will spend Lopez hands, it will have gone through a pair so named for the type of buffing com- approximately 8-10 minutes before of robots — one that manipulates the pound used. After several minutes, he’ll each of the wheels, holding the guitar Finisher guitar in a finish spray booth that uses move onto the “16” wheel, which incor- body’s lower bout and neck-free top electrostatic attraction to apply two porates a finer compound to restore the end and moving in an up-and-down Finish coats of UV-curable finish, followed by guitar to an orbital-free, pristine sheen. motion on his toes to ensure that all Department sanding; and later to “Buffy,” a precisely From there, he’ll walk the guitar over to angles of the guitar have been brought programmed robotic buffing arm that the fluff wheel, which will complete the to glossy perfection. In total, he’ll spend uses pressure, motion, and an abrasive buffing cycle, bringing the finish to a anywhere from 24 to 30 minutes manu- What he’s buffing compound to polish the surface lustrous state. ally buffing each guitar. “A lot of detail working on: of the finish to a gloss. For each of the guitars on his goes into making a guitar shine,” he Completing the “Buffy removes 99 percent of what schedule today, Luis will detail any observes, “but everything will come out needs to come off,” Luis explains, “but necessary parts, which includes remov- right.” buffing of a T5 we inspect them before they get to the ing the tape that has covered and pro- wheels.” He holds out a black T5. “This tected the binding of the guitar during one has a few orbitals on it and needs the spraying of color. As he inspects to be buffed out.” (Orbitals are tiny the guitar, he is looking for color finish e must confess that when we cooked up W our Find Your Fit events, we weren’t entirely sure what kind of turnout we’d get. After all, we scheduled most of them in August, Fitting a historically slow month for music retailers, when many people are vacationing, or, as it turned out this year, when a hurricane decides to drop in for a surprise visit. “Honestly, I thought if we sold a couple guitars I’d be happy,” admits Rob Mock, owner of Melodee Music in Frenzy Leesburg and Sterling, Virginia. Little After helping people understand the 20 years ago when her house was did he know the few e-mail blasts to basic ingredients of acoustic guitar broken into, and as a result, hadn’t local customers would pack his store — tone at Road Shows, the natural next played much since. She was recently or that Hurricane Irene would stir things step was to take things to a personal, inspired to play again when her up along the Eastern Seaboard and one-on-one level in a way that was granddaughter began playing a Baby douse his region in heavy rains. “We hard to pull off during the group Taylor, but admits that at first, she was All across the were busy all day long. And everyone “petting zoo” play time intermission at intimidated by the event. was worried about the hurricane. It a Road Show. By talking with people “I was thinking, I’m certainly no country, this summer’s was raining out, so it gave everyone an individually and watching how they play, pro,” she explains. “I’m just going to excuse to come inside, hang out and our sales reps were able to give them see beautiful guitars.” At the store, her Find Your Fit events play guitars.” meaningful feedback that helped them opening line to Taylor sales rep Billy Mock, his staff, and Taylor sales understand their “player profile” and Gill was, “I’m vertically challenged and got personal rep Zach Arntz were on the go all day, help them find the best tool to connect look at these fingers.” As they talked, working closely with attendees and with their musical aspirations. Gill gave her a few models to play. putting different guitars in their hands For Taylor owner Michael Frazier Eventually, a 12-Fret GC-LTD wound up to try. Arntz even made light of Irene, (710, 355ce, T5, 310ce), attending in her hands. turning it into a faux sales pitch: “If you a Find Your Fit event led to “the find “The guitar picked me,” she says. have a power outage at home, you’re of a lifetime.” Frazier was in search “Everything ‘fit.’ It was comfortable in gonna want a good acoustic guitar,” of fresh inspiration when he visited my lap, the action was right, and after he reminded people. By the end of the Gracewinds Music in Corvallis, Oregon, having not played for years I was able day, 12 folks had been fitted with new where he met Taylor sales rep Eric to bar right away.” Taylors. Sakimoto. Sakimoto and store sales She later reflected on the overall Taylor’s Aaron Dablow, whose associate Mike McLauren learned more experience. sales territory covers the Gulf Coast, about Frazier’s personal playing style, “I am so grateful for the concept of played guitar concierge during his week of FYF events, helping scores of customers, including Mike Helton, President of NASCAR, who picked up an NS62ce and a koa Build to Order model. A gentleman who was a devotee of another guitar brand discovered that his fit was a 516ce. Dablow even helped an employee at The Fret Shop in Huntsville, Alabama, who was looking for the right Taylor model. “I told him that I had watched him play some guitars hours ago, and ‘found’ that he was probably into metal and would probably like a 614ce or 616ce because he needs all of those lead notes to be pronounced and out front, or the Baritone if he played and walked him through a diagnostic ‘Finding Your Fit.’ What a difference detuned,” Dablow recalls. “He was exercise that led him to a surprise: a it makes to play a guitar that actually amazed, because the 614ce is the Baritone 6-String. fits me, my playing style and my size. one he fell in love with.” During a “As I began playing it, I discovered What joy!” lull at another store, Dablow playfully something very enlightening,” Frazier While the Find Your Fit events showed off his ear for acoustic tone shares. “I could sing along without were designed to help players find by successfully identifying a few pushing my vocal cords at all. It was so the right guitar, they’ve also been a models that he was handed to play easy, full and clear, almost like my voice personally rewarding experience for while blindfolded, including a couple of had lost 15 years. This guitar will totally our sales team, as Gill can attest. Top right: Taylor sales rep Billy Gill demonstrates an ovangkol customs. change the way I write and sing.” “I got such sincere ‘thank-yous’ 400 Series guitar; Bottom right (L-R): Jeff Baumgart, manager Part of the beauty of the Find Your At Guitar Trader in San Diego, from so many players,” he says. “The of San Diego dealer Guitar Trader, with Becky Campbell and Fit events is that they pick up where the it was love at first strum for Becky ability to connect different players her “fit”: a 12-Fret GC-LTD. Photos by Steve Parr popular Taylor Road Shows leave off, Campbell, who came with her husband with the information they need makes allowing more focus on the individual. John. Becky had lost her guitars over events like this really worth it.” 31

Calendar For the latest Taylor Road Show listings, visit taylorguitars.com/roadshow A new season of award-winning Taylor Road Shows is Stillwater, OK Frederick, MD Augusta, GA Morges, Switzerland officially underway, both in North America and Europe. Tue., October 25, 7 p.m. Thu., November 3, 7 p.m. Tue., November 15, 7 p.m. Wed., November 23, 7:30 p.m. Boullard Musique Admission to the events is free, and each attendee will Daddy O’s Music Make N Music Center Stage Music (405) 624-0333 (301) 662-8822 (706) 860-8600 41 21 811 28 28 have a chance to enter to win a custom Taylor guitar.

We’ll also be presenting more Find Your Fit sales Jacksonville, FL Catonsville, MD Corpus Christi, TX Annemasse, France events, featuring personal, one-on-one consultations Tue., October 25, 7 p.m. Fri., November 4, 7 p.m. Tue., November 15, 6 p.m. Thu., November 24, 6 p.m. with one of our friendly factory experts to help you find Guitar Center Appalachian Bluegrass Shoppe Sound Vibrations Decibel the Taylor model that’s right for you. If we make it to your (904) 721-2307 (410) 744-1144 (361) 884-8981 334 50 95 00 36 area, we hope you’ll join us! Cedar Falls, Iowa Corvallis, OR Manalapan, NJ Saint Laurent Du Var, France Wed., October 26, 7 p.m. Mon., November 7, 7 p.m. Wed., November 16, 7 p.m. Tue., October 11, 6 p.m. Bob’s Guitars Gracewinds Music Musicians Workshop Music 3000 (319) 277-8863 (541) 754-6098 (732) 972-1118 334 93 07 64 31

Louisville, KY Littleton, NH Burlington, VT Greenwood, IN La Garde, France Mon., October 17, 7 p.m. Wed., October 26, 7 p.m. Tue., November 8, 6:30 p.m. Wed., November 16, 7 p.m. Wed., October 12, 7 p.m. Steilberg String Instruments Northern Lights Music Advance Music Guitarworks Steel Music (502) 491-2337 (603) 444-7776 (802) 863-8652 800-233-9907 334 94 21 18 46

San Rafael, CA Holland, OH Flagstaff, AZ Sammamish, WA Asheville, NC Castelnau le Lez, France Mon., October 10, 6:30 p.m. Tue., October 18, 7 p.m. Wed., October 26, 6 p.m. Tue., November 8, 6:30 p.m. Wed., November 16, 7 p.m. Thu., October 13, 7 p.m. Bananas at Large Tumbleweed Guitars Arizona Music Pro Moore Brothers Music Musician’s Workshop Azema Musique (415) 457-7600 (419) 861-3512 (928) 556-9054 (425) 836-2263 (828) 252-1249 334 67 02 03 00 EVENTS

Augusta, GA Wooster, OH Fort Smith, AR Clifton Park, NY Atlanta, GA NÎmes, France Bogart, GA Tue., October 11, 7 p.m. Wed., October 19, 7 p.m. Wed., October 26, 7 p.m. Wed., November 9, 7 p.m. Wed., November 16, 7 p.m. Fri., October 14, 7 p.m. Sat., October 15, 10 a.m. – 6 p.m. Jay’s Music Larry’s Music Center Sigler Music Parkway Music Maple Street Guitars, Inc. Broc N Roll Musician’s Warehouse (706) 736-1250 (330) 262-8855 (479) 783-1131 (518) 383-0300 (401) 231-5214 334 66 21 67 31 (706) 548-7233

San Jose, CA Cincinnati, OH Winter Park, FL Seattle, WA San Antonio, TX Berlin, Germany Springfield, MO Tue., October 11, 6 p.m. Thu., October 20, 6 p.m. Wed., October 26, 7 p.m. Wed., November 9, 7 p.m. Wed., November 16, 7 p.m. Mon., November 7, 7 p.m. Sat., October 22, 10 a.m. – 6 p.m. Guitar Showcase Buddy Roger’s Music Guitar Center Dusty Strings Alamo Music Just Music Springfield Music (408) 377-5864 (513) 931-6780 (407) 975-9119 (206) 634-1662 (210) 525-1010 030 88775500 (417) 881-1373

St. Johns, Newfoundland Tucson, AZ Littleton, MA Lexington, MA Lewes, DE Hannover, Germany Sand Springs, OK Tue., October 11, 7 p.m. Sat., October 22, 1 p.m. Thu., October 27, 7 p.m. Thu., November 10, 7 p.m. Thu., November 17, 7 p.m. Tue., November 8, 7 p.m. Sat., October 29, 10 a.m. – 4 p.m. Long & McQuade Rainbow Guitars The Minor Chord The Music Emporium B&B Music & Sound PPC Music Firey Music Co. (709) 753-1885 (520) 325-3376 (978) 486-0112 (781) 860-0049 (302) 645-0601 0511 67998161 (918) 245-7730

Chattanooga, TN Downers Grove, IL Tulsa, OK Portland, Oregon Birmingham, MI Wuppertal, Germany Catonsville, Maryland Wed., October 12, 7 p.m. Sun., October 23, 2 p.m. Thu., October 27, 7 p.m. Thu., November 10, 7 p.m. Thu., November 17, 7 p.m. Wed., November 9, 7 p.m. Sat., November 5, 11 a.m. – 5 p.m. Guitar Galleria Tobias Music Guitar House of Tulsa Portland Music Company Detroit Guitar Hardline Music Appalachian Bluegrass Shoppe (800) 304-7111 (630) 960-2455 (918) 835-6959 (503) 228-8437 (734) 276-4532 0202 4468800 (410) 744-1144

San Luis Obispo, CA Dover, NH Clearwater, FL Buford, GA Rock Hill, SC Cologne, Germany Saratoga Springs, NY Wed., October 12, 7 p.m. Mon., October 24, 6 p.m. Thu., October 27, 7 p.m. Mon., November 14, 7 p.m. Thu., November 17, 7 p.m. Thu., November 10, 7 p.m. Fri., November 11, 11 a.m. – 5 p.m. Blue Note Guitars Ear Craft Music Guitar Center Jackson’s Music Woody’s Music Music Store Saratoga Guitar (805) 541-6188 (603) 749-3138 (727) 791-7464 (770) 904-2535 (803) 324-9663 0221 88841210 (518) 581-1604

Clarenville, Newfoundland Mesa, AZ San Pedro, CA Nashville, TN Alpharetta, GA Nürnberg, Germany Virginia Beach, VA Wed., October 12, 7 p.m. Mon., October 24, 7 p.m. Tue., November 1, 7 p.m. Mon., November 14, 7 p.m. Thu., November 17, 7 p.m. Mon., November 14, 7 p.m. Sat., November 19, 11 a.m. – 6 p.m. A&P Music Milano Music Alvas Music World Music Nashville Ken Stanton Music BTM Guitars Alpha Music (709) 466-3265 (480) 827-1111 (800) 403-3447 (615) 425-0256 (770) 670-4424 0911 317741 (757) 486-2001

Cumming, GA Hallandale, FL Toms River Twp., NJ Horseheads, NY Austin, TX München, Germany Thu., October 13, 7 p.m. Mon., October 24, 7 p.m. Tue., November 1, 7 p.m. Mon., November 14, 7 p.m. Thu., November 17, 7 p.m. Tue., November 15, 7 p.m. Music Authority Guitar Center Toms River Music Store Robert M. Sides Family Music Ctr. Strait Music Hieber Lindberg (770) 886-9066 (954) 456-7890 (732) 240-5454 (607) 739-1559 (512) 476-6927 089 55146184

Santa Barbara, CA Augusta, ME Brea, CA Rockaway, NJ Rochester, NY Freilassing, Germany Thu., October 13, 7 p.m. Tue., October 25, 7 p.m. Wed., November 2, 7 p.m. Tue., November 15, 7 p.m. Thu., November 17, 6:30 p.m. Wed., November 16, 7 p.m. Instrumental Music Musician’s 1st Choice Rockit Music Ritchie’s Music Center The House of Guitars Musikhaus Öllerer (805) 569-5055 (207) 623-0400 (714) 674-0640 973-625-2500 (585) 544-3500 08654 462831

Corner Brook, Newfoundland Phoenix, AZ Wheaton, MD Columbus, IN Traverse City, MI Biberach, Germany Fri., October 14, 7 p.m. Tuesday, October 25, 6 p.m. Wed., November 2, 6 p.m. Tue., November 15, 7 p.m. Fri., November 18, 7 p.m. Thu., November 17, 7 p.m. Gary Bennett Music Bizarre Guitars Washington Music Center Tom Pickett’s Music Center Marshall Music Co. Musikhaus Hermann (709) 639-9879 (602) 248-9297 (301) 946-8808 (812) 372-6700 (231) 922-9503 07351 9789

Conyers, GA Rockford, IL San Diego, CA Knoxville, TN Houston, TX Lyon, France Fri., October 14, 7 p.m. Tue., October 25, 7 p.m. Thu., November 3, 7 p.m. Tue., November 15, 6 p.m. Sat., November 19, 2 p.m. Tue., November 22, 8 p.m. Firehouse Guitars Atlanta Randee’s Music Rick’s Guitar Shop Pick N Grin Fuller’s Vintage Guitar Ralph Musique (770) 483-9508 (815) 399-1500 (619) 276-4478 (865) 588-5361 (713) 880-2188 334 78 72 05 63

TaylorWare® CLOTHING / GEAR / PARTS / GIFTS

fall 2011

Pat, our production manager, keeps things running efficiently throughout the factory. He’s wearing our new Half-Zip Pullover by Tommy Bahama. shirts for every Taylor fan

New Pictured left: Taylor Half-Zip Pullover 100% yarn-dyed French rib cotton with embroidered Taylor logo, New A imported by Tommy Bahama. Warm and soft, with relaxed style. E (Brown #2800; M-XL, $96.00; XXL, $98.00)

A) Men’s Logo T 100% pre-shrunk cotton. (Prairie Dust #1700; S-XL, $20.00; XXL-XXXL, $22.00) B) Men’s Long-Sleeve Logo T 100% pre-shrunk cotton, ribbed cuffs. (Black #2060; S-XL, $25.00; XXL-XXXL, $27.00) C) Men’s Long-Sleeve Zodiac T New B F 100% combed cotton, ribbed cuffs. Zodiac rosette design. (Navy #2000; M-XL, $28.00; XXL, $30.00) D) Ladies’ Long-Sleeve Vintage Peghead T Form-fitting 100% preshrunk cotton. Subtle stretch, delicate texture. Screen-printed Taylor peghead in pink. (Black #4600; S-XL, $25.00) E) Men’s Vintage Peghead T 100% combed cotton. G (Black #1480; S-XL, $24.00; XXL-XXXL, $26.00) F) Taylor Sketch T 100% combed cotton. (Navy #1419; S-XL, $24.00; XXL, $26.00) New C G) Taylor Logo Stamp T 100% combed cotton. Logo stamp design with reverse silhouette guitar neck. (Silver #1200; S-XL, $24.00; XXL, $26.00) H H) Case Label T 100% cotton, fashion fit. Small guitar on front, large case label design on back. (Black #1000; S-XL, $24.00; XXL, $26.00)

New D great gift ideas for the holidays

New

New

New

1) Men’s Wallet. Genuine leather with embossed Taylor logo. Card back. (Case color/Peghead color: Black/White #72000, White/Black 11) Polishing Cloth. Ultra-soft microfiber with Taylor logo. slots, I.D. window and bill compartment. By Fossil. (Brown #71302, #72001, Blue/White #72002, Gray/Black #72003, Pink/Black (#80905, $6.00) 12) Taylor Picks. Marble or solid color. $40.00) 2) Money Clip/Pickholders. Two motifs: one with a #72004, Green/Black #72005, Red/Black #72006, $12.00) Ten picks per pack by gauge. Thin, medium or heavy. ($5.00) built-in pick holder, the other with a teardrop-shaped tonewood 6) Digital Headstock Tuner. Clip-on chromatic tuner, back-lit LCD 13) Elixir Strings. Acoustic or electric sets. All Elixir sets embellishment. Titanium or “raindrop”-patterned mokume. For full display. (#80920, $29.00) 7) Taylor Silver Dial Watch. By available through TaylorWare feature Elixir’s ultra-thin NANOWEB™ details and pricing, see taylorguitars.com/taylorware 3) Suede Fossil. Stainless steel, Taylor-branded tin gift box included. coating. Visit our website for complete offerings and pricing. Guitar Strap. (Black #62001, Honey #62000, Chocolate #62003, (#71025, $99.00) 8) Leather Guitar Strap. (Burgundy #64000, 14) Taylor Coffee Mug. Black with white logo, 13 oz. (#70009, $35.00) 4) Web Guitar Strap. (Black #65000, Brown #65010, Black #64010, Red #64020, Brown #64030, $70.00) $10.00) On desk, L-R: Taylor Pub Glasses. 20-oz glass, Camouflage #65030, $24.00) 5) iPhone Case (iPhone 4). 100% 9-10) Taylor Roadhouse Mug Set (2). Diner style. 14 oz. natural set of four. (#70011, $25.00); TaylorWare Gift Card. Visit our silicone, shock absorbent, secure grip, no sliding. Full access with- glossy ceramic. Dishwasher/microwave safe. Front: “Guitars and website for more information; Guitar Lessons by Bob Taylor. out removing your phone. Screen-printed Taylor peghead outline on Grub”; Back: Taylor logo. (Crème #70012; $22.00) (Wiley Publishing, 2011, 230 pages; #75060, $20.00) A) Men’s Appliqué T 100% cotton, fashion fit. Distressed-edge TG appliqué on new for Fall front, Taylor Guitars label on side, small round logo on back. (Smoke #1250; M-XL, $28.00; XXL, $30.00) B) Full Zip Hooded Sweatshirt, Cross Guitars Unisex, regular fit eco-fleece with kangaroo front pocket. Enzyme-washed for a super soft feel. Taylor screen-print with crossed guitars and label on side. New A (Black #2812, Olive #2813; M-XL, $48.00; XXL, $50.00) C) Tattered Patch Cap Flex fit, two sizes. (Brown, S/M #00150, L/XL #00151, $25.00) D) Military Cap Enzyme-washed 100% cotton New B chino twill, Velcro closure, one size. (Black #00400, Olive #00401, $22.00) E) Driver Cap Classic style, wool blend, sweat band for added comfort. Taylor label on back. One size fits most. (Black #00125; $25.00) F) Taylor Guitar Beanie Featuring Taylor name with a guitar emblazoned along the side. 100% acrylic. (Black #00116, $16.00) G) Trucker Cap Organic cotton twill front with Taylor patch; mesh sides/back. Structured, mid-profile, six panel, hats precurved visor. Plastic tab adjust. (Black/Crème #00387, one size, $25.00) H) ES-Go™ Pickup Exclusively for the GS Mini. H (#84022, $98.00) C D I) Loaded Pickguards Swappable pickup/pickguard accessories unit for your SolidBody. For a complete list of ordering options, go to taylorguitars.com/tay- lorware. $195.00 (Single HG I Humbucker: $148.00) J) Travel Guitar Stand Sapele, lightweight (less than New E 16 ounces) and ultra-portable. Small enough to fit in the pocket of a Baby Taylor gig bag. Accommodates all Taylor models. (#70198, $59.00)

TaylorWare® CLOTHING / GEAR / PARTS / GIFTS F G J

Visit taylorguitars.com/taylorware to see the full line. Presorted A Publication of Taylor Guitars Standard U.S. Postage Volume 69 / Fall 2011 PAID Phoenix, AZ | | | Taylor Guitars 1980 Gillespie Way El Cajon, CA 92020-1096 taylorguitars.com Permit No. 5937

The paper we used is certified by the Forest Stewardship Council. The FSC is a non-profit organization that supports environmentally friendly, socially responsible and economically viable management of the world’s forests.

Kind of Blue Striking blue purfling and ebony binding highlight the svelte con- tours of this custom Grand Concert, which features a sinker redwood top, Macassar ebony back and sides, and an outlined mini wedge. Visually, the purfling calls out the vibrant blues of the paua rosette and the Gothic Vine fretboard inlay. Tonally, the guitar will have a darker voice, drawing from a wide palette of Macassar overtones, while the redwood top will yield the warmth of cedar, only with more headroom on the attack. The small GC body will keep the low end in check, balancing the rich overtones with crisp articulation.