Florentine Limiteds Blackheart Sassafras Quilted Sapele Flamed Mahogany

Cedar Fever Koa/Cedar GS Rosewood/Cedar 314ce

Shaded Edgeburst 300s 12-string Dreadnought Baritone + 12-Fret

How Picks Affect Tone Dewey Bunnell & Gerry Beckley 45 YEARS OF 2 www.taylorguitars.com

| expectations and industry standards by I was curious to see and feel what all guitar about every six weeks as my now VOLUME 83 FALL 2015 a long shot. After receiving it, I added the hoopla was about. I really like the stiffening fingers lose their collective Letters some custom items: an ebony end-pin emphasis on the sustainability of maple “memory.” with abalone dot, fossilized walrus ivory and after meeting Andy Powers wanted Now my focus is solely on tone, not > CONTENTS < Find us on Facebook. Subscribe on YouTube. Follow us on Twitter: @taylorguitars bridge pins, a pre-ban West African to see what he did with the series. I on speed or intricate chords. I do not on the web and went to the store (Sam hard ivory saddle and nut, and an attended my first Taylor Road Show in seek sympathy, but want you to know Ash in Charlotte, North Carolina) and ebony truss rod cover with abalone and March. What a great way to learn about that I encourage students of mine, par- looked at the 416ce and asked if they mother-of-pearl inlay. The tonal depth, body shapes, woods, tones, etc. [Sales ticularly children and disabled vets, to had a 716ce. They did, brand-new, still clarity and sustain are truly impressive. rep] Michael [Venezia] was so funny, buy any version of your guitar they can in the shipping box from Taylor. It was The guitar is a fingerpicker’s dream and and [product specialist] Corey Witt was afford with tone as the basis of their FEATURES COLUMNS beautiful, so I got it. When I got home a flatpicker’s delight. I was also pleas- fantastic. Before the presentation they skill set. With vets and others who suf- I was very disappointed to see that the antly surprised by how well it projects, answered questions and really made us fer from PTSD (post-traumatic stress 6 BALANCING FLASH AND SUBTLETY 4 KURT’S CORNER fingerboard was discolored. I called the holding its own nicely when strummed feel welcome. During the presentation I disorder), striking the right chord as in Flashy chops may earn you style points, but weaving in Kurt recalls the decision that shaped store, and the salesman briefly told me with other instruments. Thank you so found that the Grand Symphony shape DADGAD tuning [elicits] a change in subtle nuances will give you a richer range of expression. Taylor’s artist relations philosophy. about Bob Taylor and his effort to save much for such a fine guitar. gave me the feel and tone that best their focus and a release from what they ebony. I was a bit more encouraged, as To anyone contemplating standard suited me. There were no 600 Series were dwelling on. This effect sometimes I couldn’t imagine a blemished guitar model options or a fully custom Taylor, GS models available that night, but I got lasts hours, and I’ve received many leaving your factory. Then I watched the I’d say from my experience, “Go for to try out the 614ce and 618ce — beau- thanks from those who suffer from this 8 TONEWOOD UPDATE: 5 BOBSPEAK Updates on production growth and ebony video Bob made regarding his efforts it!” From planning all the way through tiful guitars inside and out with amazing malady. (Curiously, other tunings don’t PRESENTATION SERIES ecology in Cameroon. to save ebony even if it meant using to delivery and final touches, it was a tone. After a couple months of thinking provide the faster satisfaction of being We refresh our most elaborate class of guitars with a shift Maple Memories blemished woods. Now not only will I completely enjoyable and educational about the models and styles, I ordered a able to play more intricate chords more from cocobolo to beautifully striped Macassar ebony. I loved seeing Bob Taylor’s own not return it, I’m very proud to give my experience. Playing an instrument that is 616. Simply put, this guitar is the most simply.) 900 Series 12-string in the article “Fine dad a guitar with two little white spots uniquely your own and maturing along beautiful-sounding, -feeling and -looking I have already requested a Taylor for 32 THE CRAFT Lines” from the latest Wood&Steel. I between the 11th and 14th frets. Maybe with it are pure pleasure, worth far more guitar I’ve ever held. The finish is incred- my 60th birthday and am saving pennies The latest guitar-making technologies wanted to share what I know about the one day I’ll take up guitar playing, and if I than every penny and the short wait. ible. It looks like glass. It’s supposed to here and there. Thanks to your dedica- 18 FALL LIMITED EDITIONS have more in common with traditional Blackheart sassafras, quilted sapele and flamed mahogany other first 900, the one Bob remembers do, it will only be on a Taylor. Steve Mohr be super thin, but it looks like it’s a foot tion, science and innovation, I am thor- methods than we might think. Grand Auditorium models strike a three-part harmony with the selling to Robin Williamson. I believe Steve Bruno Tiffin, OH deep. When I strum a chord, the whole oughly excited by this prospect and will help of shared appointments and a dramatic Florentine cutaway. that one is a 6-string. I’ve read in inter- guitar resonates and sounds like a choir hang onto this guitar with my sore hands views that he found it at McCabe’s, singing. My wife, who doesn’t normally and feet if anyone tries to pry it away. Also: A Grand Symphony featuring premium koa paired with which fits with Bob’s memories about Great Guitars, People Bob’s Buying Advice notice my guitars, even commented on Thank you for being the industry cedar, and a fingerstyle-friendly rosewood/cedar 314ce. it. On a personal note, I saw Robin Today I visited the local Sam Ash In your spring issue, Bob [Taylor] it. I’ve had it now for about two weeks, standard for tone, playability and, now Williamson play this guitar in the mid- store, and Taylor was there with [sales answered my question on cut orientation and I think I’ve played it almost every even more than before, innovation. DEPARTMENTS 1990s, when he was touring as a duo reps] Mike [Ausman] and Zach [Arntz] — vs. tone with maple. His summary was, day. It’s the first guitar I have that, when Joseph Ratledge ON THE COVER 22 SPECIAL EDITION 300s with John Renbourn. The maple struck great people. I brought my 2007 614ce “If you like what you hear, just buy it.” I I put it in its case (which, by the way, is New Bern, NC A shaded edgeburst mahogany top adds vintage character, while my eye (along with Robin’s amazing, with me. I had some static in the vol- took him at his word and purchased a incredible too), I can’t wait to get it back 12 THE WOOD&STEEL INTERVIEW: baritone, 12-fret, and 12-string Dreadnought models supply fresh 10 ASK BOB irreproducible technique), and the next ume knob, and Zach checked it out. like-new 2013 616ce. Wow! It sounds out and play it again. Thank you for your tonal flavors. Cutting layered wood, nut width, thing I knew I had traded everything I He changed the preamp for me and great. I went further and purchased focus on the environment and for making Moving Up the Line AMERICA zero fret nuts, and ebony ethics. could for a used 610 at my local shop. also changed a tuning knob and put a 2015 416 as a backup and was the most beautiful guitars out there. It began with the purchase of a Founding fathers Gerry Beckley and Dewey Bunnell reflect on I have toured with that maple 6-string on a new set of strings. It plays great, amazed at how great it sounded. Now Mike Freed GS Mini a few years back. This was a their long and rich musical history together. 24 PROFILE: DAVID HOSLER Dreadnought ever since. It’s been back like brand-new. I like the new 614 but on Sunday morning I choose the one Thompsonville, IL great-sounding smaller guitar. However, From high-flying trapeze artist to innovative pickup designer, Taylor’s 28 SOUNDINGS to Taylor several times for refrets and won’t part with the one I have. I also that goes with the songs we will play at having been exposed to the Taylor COVER PHOTO (L-R): DEWEY BUNNELL AND David Hosler has pushed the envelope in every direction. Before A young U2 fan’s dream comes true other tour-related wear and tear but only have a new 416ce that I love. And I church. I would venture to say the GS sound, I wanted a larger guitar from the GERRY BECKLEY ON STAGE AT THE FESTIVAL retiring from Taylor in June, he shared what he’s learned about and then some; Bob Weir, ES2 beta sounds better and better with age. have a 12-string 150e. I have my eye [body styles] will become your best sell- regular line and traded up to a 214e. I DU BOUT DU MONDE IN BRITTANY, FRANCE IN Proud Former, Future Owner exploring the unknown and making new discoveries. tester; the She Rocks Showcase in I’ve never acquired a striking tech- on an 814 but need to save for it. I just ers. Thanks, Bob! As a former Taylor Grand Auditorium could not believe the clarity and great AUGUST OF 2014. PHOTO BY JEAN-MICHEL SOTTO Nashville spotlights women in music; nique like Robin Williamson, but maybe wanted you to know that your guys Zach Dave owner (I know that sounds weird, but feel. After a couple of years, I decided I Americana act The River Pilots on somewhere along the line a younger and Mike represent your company very West MI there is a reason), nothing has filled me needed a solid wood model and traded recording with their Taylors. musician saw my gorgeous 610 and well. You should be proud to have good with more pride over the last few years up to a 414ce with the new Expression 26 TAKE YOUR PICK traded everything he could for another people working for you. I have always than to find a kindred spirit who is truly System® 2. Since this recent purchase, Andy Powers explains how a pick’s properties influence acoustic maple Taylor, continuing the ripple from been treated well whenever I have dealt Better Bluegrass with “walking the talk” when it comes to sus- I have been unable to put the guitar tone, and recommends some new Taylor pick options courtesy of that first 900! with your employees. Thanks for building the GS Mini tainable tonewoods. down. I have been playing for over 50 our friends at Dunlop. 30 EVENTS/CALENDAR Damon Krukowski such wonderful instruments. I truly love my GS Mini Koa. It’s my From your efforts to reforest Sitka years and never have heard such a rich We’ve got lots of Road Shows on the Cambridge, MA Fred Olen favorite performing guitar. I can’t wait to spruce to saving wasted ebony in tone, especially through an amp. Last books for fall. New Port Richey, FL afford one of your higher-end guitars. Africa to looking forward to that most night my wife came downstairs thinking The Mini has increased my speed and sustainable of tonewoods, maple, you she had left the stereo on (it sounded Blemished Beauty accuracy in my bluegrass band, and are becoming superheroes in the world that good), but it was only me playing. 33 TAYLORWARE First off, let me say that I don’t play Custom Endorsement enhanced my solo material so much. of environmental responsibility, particu- Now I think I’m done, as the 414ce is New Taylor tees, guitar straps and more. guitar at all. However, I wanted to get It’s been a little over two years It’s such an incredible guitar at such an larly in enriching the various regions of the perfect instrument for me. my dad a guitar for Father’s Day. He has now since my 814c arrived, and it has affordable price. Thank you so much for the world where precious woods were Joey Steiner always worked hard to provide for our far surpassed all my expectations. It your contribution to music. previously wasted in lieu of the perfect University Heights, OH family and never buys nice things for really is an exquisite instrument, a joy to Richard Sharpless slice. Like protecting species of animals himself. Because of his sacrifices, I am play, to hear, and to see. It’s opening up that would otherwise be trophies on the now in a very comfortable position in my very well — of course, it gets played a lot walls of the elite, you have shown locals life, and I wanted to get him a great gift — and the top is starting to take on an Found His Fit a path to make an honest income from to show him how much I appreciate him. attractive, deeper hue. I had exercised In 2011 I splurged and bought my being responsible for other species of The only things I know are that he has some [custom] options: a short-scale first U.S.-made acoustic, a Taylor DN3. trees. been playing for over 50 years, his favor- neck, Gotoh 510 tuners, cutaway but I followed that with the standard GS I had to sell my Grand Auditorium ite guitar is a Taylor (which model I don’t no electronics, no pickguard, no strap Mini, a mahogany GS Mini, and then about 12 years ago when I became hit know), and he likes low action. With this button, and a three-piece back. Even the Holden Village GS Mini. I thought with not only rheumatoid arthritis, but a “wealth” of information, I set off to find so, you had it in my hands in under I was done buying Taylor guitars. After connective tissue disorder (ankylosing 18 22 26 a guitar for him. I did massive research two months, which also surpassed my reading about the updated 600 Series, spondylitis), which makes me “relearn” 4 www.taylorguitars.com 5

gerboards of your guitars, all under our When they say the bushes have special permits and restrictions. ears, I never thought of this! It’s an Volume 83 We needed to contact her recently amazing world we live in. Fall 2015 because the U.S. Embassy wanted to interview her on camera. She works ­­ — Bob Taylor, President where there’s no communication. So here’s how it’s done. We make a phone Publisher Taylor-Listug, Inc. call to the town of Bertoua, a six-hour car drive away. The message is written down, and they send out a guy on a Produced by the Taylor Guitars Marketing Department moto, a little motorcycle. He rides the Vice President Tim O’Brien moto for two or three hours until he Editor Jim Kirlin reaches the end of where a moto can go quickly. Then, for the next distance, Art Director Cory Sheehan and it can be up to 100 miles, they send Graphic Designer Rita Funk-Hoffman the message out into the forest using Graphic Designer James Bowman jungle drums. Yes, you heard me right. Jungle drums. They beat out the mes- Photographer Tim Whitehouse sage, and a local person interprets it for her. She answers, and they drum it back Contributors to the rider of the moto, who drives back Wayne Johnson / David Kaye / Kurt Listug to Bertoua and calls us to say that she got the message and will come in. Shawn Persinger / Andy Powers / Shane Roeschlein Bob Taylor / Glen Wolff / Chalise Zolezzi

Technical Advisors KURT’S CORNER Ed Granero / Gerry Kowalski / Crystal Lawrence BOBSPEAK Andy Lund / Rob Magargal / Andy Powers Artistic Integrity Bob Taylor / Chris Wellons / Glen Wolff The Rhythm of Growth

It’s great to read Jim Kirlin’s inter- decision formed the basis of our artist Hopefully we succeed, and the artist is Contributing Photographers Often I try to write something pro- tion is capped for this year even though They take seeds and move them to view with Gerry Beckley and Dewey relations philosophy. We want artists to inspired by and uses the guitar. We’ve found in my column, but today I just the quantity is very high. where they have a chance to grow. Rita Funk-Hoffman / Katrina Horstman Bunnell in this issue. Gerry and Dewey use Taylors because our guitars serve even worked with artists who are asso- want to share news. There’s so much The GS Mini has become so People are going to have to do that for are among that special group of artists their artistic needs better than anything ciated with other guitar brands and going on that it’s hard for me to focus popular that we’re considering a stand- the trees unless people stop killing the who discovered Taylor guitars in the else. who approached us to explore design Printing / Distribution on one particular item this issue. Where alone factory for just this model. Steve animals. You can see how it’s all inter- early 1990s, when Taylor was a small For that reason, we’ve never ideas. We’ve been willing to help them, Courier Graphics / CEREUS - Phoenix should I start? McMinn, who cuts our spruce tops, related. company known mainly to “insiders.” believed in soliciting artists to play our even though we know the artist is Our production is at an all-time calls it “The Volks-Guitar” (The People’s Guitar makers are seeing what As our brand was little known at the guitars. We want artists to use the unlikely to ever publicly play the guitar high, not only for us but for what any- Guitar) because of its widespread we’re doing with ebony, especially time, artists who chose Taylor guitars instruments that best suit their needs, we make them. We’re willing to invest Translation one has ever done in the realm of what acceptance. Filling demand for that is using the ebony that’s not totally black, 2015 Taylor Factory Tours & Vacation Dates did so because the guitars worked. and hopefully they choose a Taylor. We in the artist and in developing new I’d want to describe as good guitars. a great opportunity. Of course, in order that has streaks of brown or even white Planet Veritas A free, guided tour of the Taylor Guitars factory is given every Monday They were reliable, stayed in tune, don’t want to use guitars as currency, instruments without knowing what we’ll Now, one reason Taylor has such huge to do this, we once again need better in it. After a couple years, many are through Friday at 1 p.m. (excluding holidays). No advance reservations sounded great, were easy to play, and in effect exchanging instruments for get in return. market share is because Kurt and I methods. Right now, it’s pretty much now actually calling me and saying are necessary. Simply check-in at the reception desk in our Visitor Center, worked well for live performances. the exposure of being played publicly. We don’t have exclusive endorse- ©2015 Taylor-Listug, Inc. All Rights reserved. TAYLOR, TAYLOR (Stylized); TAYLOR GUITARS, TAYLOR have always expanded our production. world-class guitar building at Taylor they want to get in on this. They want located in the lobby of our main building, before 1 p.m. We ask that large In early 1977, just a few years And thankfully, the guitar business is a ment agreements with any artists. We QUALITY GUITARS and Design; BABY TAYLOR; BIG BABY; Peghead Design; Bridge Design; Pickguard We’ve done that regardless of sales. Guitars, but it needs to be better, so to be part of the solution rather than Design; 100 SERIES; 200 SERIES; 300 SERIES; 400 SERIES; 500 SERIES; 600 SERIES; 700 groups (more than 10) call us in advance at (619) 258-1207. into business, we were faced with small industry, unlike sportswear, so it’s believe an artist should use whatever I’ve always said that we cannot have we’re adding some great talent to our the problem — in this case, the prob- SERIES; 800 SERIES; 900 SERIES; PRESENTATION SERIES; QUALITY TAYLOR GUITARS, GUITARS While not physically demanding, the tour does include a fair amount our first artist relations decision. An very uncommon for an artist to be paid instruments inspire them, and our job QUALITY TAYLOR GUITARS & CASES and Design; WOOD&STEEL; ROBERT TAYLOR Signature; market share unless we make the gui- roster of engineers, machinists and lem being the habit of only using the of walking. Due to the technical nature, the tour may not be suitable for artist in L.A. for the Grammy Awards endorsement money for using a particu- is to design and make instruments that TAYLOR EXPRESSION SYSTEM; EXPRESSION SYSTEM; TAYLORWARE; TAYLOR ES; DYNAMIC tars. I’m production-driven, with quality craftspeople. We enjoy it to no end. pure black part of the tree and letting BODY SENSOR; T5; T5 (Stylized); BALANCED BREAKOUT; R. TAYLOR; R TAYLOR (Stylized); small children. The tour lasts approximately one hour and 15 minutes discovered a Taylor guitar in a music lar brand of instrument! do that. In fact, many artists associ- being the key component to higher Meanwhile, ebony has gotten into the rest go to waste. I find that very AMERICAN DREAM; TAYLOR SOLIDBODY; T3; GRAND SYMPHONY; WAVE COMPENSATED; GS; and departs from the main building at 1980 Gillespie Way in El Cajon, ated publicly with other guitar brands GS MINI; ES-GO; V-CABLE; FIND YOUR FIT; T5z; T5z (Stylized); STEP FORWARD MUSIC IS WAITING; production. Higher quality equals less my veins. Not the wood as much as rewarding, as I’m able to share ideas California. are also Taylor players, and use our and GA are registered trademarks owned or controlled by Taylor-Listug, Inc. NYLON SERIES; KOA SERIES; struggle and better production. the resource, the forest it comes from, with builders who then begin to change GRAND AUDITORIUM; GRAND CONCERT, TAYLOR SWIFT BABY TAYLOR; LEO KOTTKE SIGNATURE Please take note of the weekday exceptions below. For more information, guitars for writing, scoring movies, or In the past when sales were higher the people, and the country. That’s not how they build to reflect the reality of We don’t have exclusive endorsement MODEL; DYNAMIC STRING SENSOR; GRAND ORCHESTRA; GO; TAYLOR ROAD SHOW; JASON including directions to the factory, please visit taylorguitars.com/contact. recording. than production, we always viewed it saying I don’t love the wood, because the rainforest. I think you’ll start seeing MRAZ SIGNATURE MODEL; NOUVEAU; ISLAND VINE; CINDY; HERITAGE DIAMONDS; TWISTED We look forward to seeing you! agreements with any artists. We Over the past 41 years, our OVALS; DECO DIAMONDS; EXPRESSION SYSTEM BABY; ASCENSION; and SPIRES are trademarks as a success. Nowadays, though, we I do, but it’s the social and ecological more ebony with colorful patterns on believe an artist should use whatever approach to artist relations has served of Taylor-Listug, Inc. view it as a bit of a problem because aspects that cause me to be so pas- fingerboards of guitars other than Taylor us well. We do quality business that ELIXIR and NANOWEB are registered trademarks of W.L. Gore & Associates, Inc. D’ADDARIO PRO-ARTE part of what we stand for is availability, sionate. It’s amazing how this wood has over the next few years. instruments inspire them, and our we believe in, and we’ve retained our is a registered trademark of J. D’Addario & Co., Inc. NUBONE is a registered trademark of David Dunwoodie. so when sales are high and demand is opened doors for greater work. We are I have limited space in my column Factory Closures values. We haven’t had to shift course Prices, specifications and availability are subject to change without notice. climbing and we cannot keep up, we beginning to study its propagation and so I’ll end with this great story. You October 12 job is to design and make instruments or compromise our integrity. We’ve fail on our promise to deliver. What a methods of reforestation. Little is known won’t believe it, but it’s true. Here you’ll Wood&Steel is distributed to registered Taylor guitar owners and Authorized Taylor Dealers as a complimentary (Taylor Guitars Anniversary) that do that. been rewarded with growth and pros- service. To receive a subscription, please register your Taylor guitar at www.taylorguitars.com/registration. balancing act! about it, and little has been done in see a photo of Henriette posing with perity, and great relationships. A spe- To contact us about changing your mailing address or ending your subscription, please visit Demand for layered guitars from the past to grow it. So we are gather- ebony seedlings that we grew in our www.taylorguitars.com/contact. November 26-27 cial thank-you goes out to those artists our factory in Tecate, Baja California, ing what is known, and we’re planting nursery at our factory in Yaoundé. She’s (Thanksgiving Holiday) store and offered to endorse it in We don’t always make the instru- who have continued working with us Mexico, is ridiculously high. So we built seeds to gain our own experience. It’s very happy about this, as are other exchange for the guitar. After Bob and ment that someone has in mind, how- throughout the years, and especially to a new factory that is probably the nic- amazing what I’ve learned so far, like, Cameroonians. You see, she supplies I discussed it, we decided that not ever. We’ve been known to work with Gerry and Dewey for their many years Online est guitar factory in the world. But it’s I never knew that ebony cannot grow us with ebony. This woman knows how Monday, December 21 through Friday, January 1 only could we not afford to give a gui- an artist to develop an instrument, or of loyalty. taking this whole year to move into it, under its mother tree. It dies there. This to rock it! She runs a crew of people (Company Vacation) tar away, but we felt an artist should even make a one-off guitar to help them Read this and other back issues of Wood&Steel at taylorguitars.com as we work from the old and the new is why birds, monkeys, elephants and from her local villages who prospect like the guitar enough to buy it. That find the instrument they’re looking for. — Kurt Listug, CEO buildings simultaneously. Our produc- all other forest animals are important. and find the trees that become the fin- 7

e humans are often drawn musicians have left a legacy that illus- has regrettably not found its way into to things flashy and bold. trates the inclination, and aspiration, the guitarist’s vocabulary. With the Flash vs. Subtlety W We like explosions, from to find strength through the balance “turn,” we now sound ornamental notes, Ex. 1 fireworks to Hollywood action films to of flash and subtlety. One only needs found above and below our primary thunderous E power chords. We like to think of Eric Clapton’s overzealous melodic note, using a combination feats of strength, from world record (though admittedly awesome) play- of hammer-ons, pull-offs, and slides. weightlifting to indomitable monster ing with Cream contrasted with his Examples 1 and 2 are archetypes of trucks to mighty bends of two whole understated Unplugged performance. how you can take any idea and make it steps on the G string. And we like Or consider Sting’s early fast and in- as easy or intricate as you’d like. speed, from Formula One race cars to your-face performances with The Police Regarding the remaining three Olympic sprinters to a torrent of thirty- compared to his Into The Labyrinth variations, I’ll leave readers to decide second notes across the fretboard. recording for voice and lute featuring the balance of subtle to flashy, as I Luckily, most of us also appreciate the music of Renaissance composer find them all to be relatively challeng- Ex. 2 the finer shades of subtlety: the deli- John Dowland. But does this just mean ing when compared to example 1. cate bouquet of a fine wine, the thin the older we get the slower we play? Example 3 demonstrates the melody brownish tint of a Rembrandt brush- Heck no! Leo Kottke still tears into using octaves, not unlike the way Wes stroke, and the understated majesty of “Vaseline Machine Gun” in his 60s as Montgomery or Django Reinhardt might one of Jeff Beck’s whammy bar sighs. fervently as he did when he was in his have played it. Example 4 is an excel- Yet all too often, guitarists focus on 20s, but now, by perfecting a balance, lent bending exercise that will really test the want for more flash in their playing the performance is more refined. So, your ability to bend to pitch. I recom- rather than on the beauty of nuance. how can you do the same? mend this variation for electric guitar, as Why is this? I think the answer is Ex. 3 self-evident: because flash looks and sounds cool! It also allows others to believe, “That guy is good.” But is flash Paco de Lucía was known for his good? I think it certainly has its place. blindingly fast and fluid single-note But without the balance of nuance, flashy playing runs the risk of coming improvisations, but he could also across as showboating and can either provide thoughtful, rhythmically leave listeners feeling fatigued or like something is missing. If so, how can challenging accompanimental music Ex. 4 one artfully reconcile the contrasting, yet complementary, expressions of flash for flamenco dancers. and subtlety?

Contrasts in Harmony Cultivating a Balance I believe the best approach to Finding your personal balance may those third string whole-step bends can becoming a fully realized guitarist is to be as basic as feeling comfortable both be quite difficult on acoustic. Example Balancing practice a little bit of everything, from strumming chords to a Beatles song 5 is a sweeping arpeggio method. flashy to subtle. This goes for genres and playing the solo (I would suggest Finally, example 6 gives us something Ex. 5 as well as stylistic and technical specif- “I’ve Just Seen a Face” or “And I Love less exercise-based, an approach that ics. While I do think that there is much Her” as good places to start for both uses all five variations to provide a to be said for being a specialist, the chords and solo). A more extreme jux- practical and satisfying balance. best of that ilk — B.B. King, blues; Paco taposition could involve performing a A few additional techniques I de Lucía, flamenco; The Beach Boys, range of subtle and flashy variations on recommend experimenting with are Beach Boys music — all displayed hints a simple melody. Such an exercise is tremolo picking, double-stops (start with of other influences like gospel, classical an excellent way of demonstrating both with thirds and sixths), trills (using Flash and jazz, respectively. refined taste and audacious exhibition- notes below or above the melody), You’ll also find that each of the ism that highlights the benefits of both. a fingerstyle arrangement à la Chet aforementioned artists deftly balances Our musical examples are all varia- Atkins, unison bends, and more. For all Ex. 6 flash and subtlety. For example, B.B. tions on “Twinkle, Twinkle Little Star,” — intents and purposes, these variations King’s legendary hummingbird vibrato an exercise practiced by such notables could go on indefinitely; the only limit affects only one note at a time, yet it’s as W.A. Mozart and violinist/music is your imagination. Furthermore, all of one of the flashiest and most recogniz- instructor Shinichi Suzuki (creator of these variations can be applied to any subtlety able sounds (and visuals) in the history the Suzuki method of teaching music). and all melodies, though the simpler the of guitar (it’s also almost impossible The examples are limited to the A sec- original, the easier the application. to reproduce). Paco de Lucía was tion melody, but with some diligence Blazing chops may turn known for his blindingly fast and fluid you should be able to figure out the B Try It Anyway single-note improvisations, but he could section on your own. One last thought on the question heads, but nuanced playing also provide thoughtful, rhythmically Examples 1 and 2 demonstrate of balance: What if you’re simply not At the very least, developing some diver- before. Whether it’s a shortcut that Shawn Persinger, a.k.a. Prester John, challenging accompanimental music two extremes of subtlety and flash. In interested in pursuing it? Perhaps you sity provides you with more expressive gets you to your destination faster or a owns a Taylor 410, two 310s, a will make a more profound for flamenco dancers. And while some example 1 we’ve added simple grace loathe the playing of Mr. Sixty-fourth choices to build dramatic moods and scenic route that moves a little slower 214ce-N and an 8-string Baritone. His listeners might perceive the distinctive notes (the term alone implies elegance Notes, finding that type of playing boor- give your playing an arching trajectory but is much prettier, each has its advan- music has been described as a myriad musical statement Beach Boys vocal harmonies as little and nuance) to the melody (note that ish and egocentric? Or maybe you’re it might not otherwise have. It broadens tages, and these unfamiliar ways will of delightful musical paradoxes: com- more than a cliché surf sound, a closer you can play these with slides and/or on the opposite side of the fence, you your musical palette and can help you keep you alert. And if you don’t like this plex but catchy; virtuosic yet affable; listen reveals some of the most virtuo- hammer-ons). Example 2, on the other find Mr. Slow Lyric Ballad dull and unin- avoid (or escape) a musical rut. I don’t new thoroughfare, you can always go smart and whimsical. His book The sic performances to be found in the hand, presents an elaborate variation spired. Fair enough — we all have our think a musician should ever discount an back to your old one and switch on the 50 Greatest Guitar Books is being By Shawn Persinger entire vocal repertoire. called a “turn.” A “turn” is frequently personal preferences. Nevertheless, it approach without at least giving it a go. cruise control. hailed as a monumental achievement Additionally, many of the world’s performed in both Baroque violin and won’t hurt to explore other techniques Think of it like taking an unexplored by readers and critics. most notable and shall we say “mature” Irish fiddle music but, for some reason, that may not relate to your current style. road on a drive you’ve done many times (www.GreatestGuitarBooks.com) GUITAR SPOTLIGHT: THE PRESENTATION SERIES

SPLENDID BLEND

Richly variegated Macassar ebony replaces cocobolo on our most elaborately appointed series

n many ways, our Presentation Series epitomizes the ultimate Taylor acoustic guitar: a convergence of sublime tonewood I beauty, detail-rich aesthetics, and supreme craftsmanship. Because the series has traditionally showcased our highest grades of rare and exotic wood, the supply is often limited, and over the years the wood we’ve featured for backs and sides has changed to reflect availability. Distinguished tonewood alumni of past PS models include Brazilian rosewood, master-grade Hawaiian koa, and highly figured maple. Of course, more than ever before, it’s vital that our sourcing efforts support a healthy long-term outlook for the woods we consume, which is why Taylor and our supply partners operate within the guidelines of our responsible timber purchasing policy. That’s also why we chose to transition from the use of cocobolo to Macassar ebony starting in August of this year. While cocobolo isn’t considered endangered, we’ve started to see signs of it becoming more vulnerable to exploitation. (It remains legal to possess and has no existing ban on import or export of the wood. It is listed on the CITES Appendix II as an at-risk species.) Our existing cocobolo supply will be reserved for appointment options through our Custom program. That brings us to our stunning supply of Macassar ebony, whose cosmetic virtues include luscious layers of chocolate-and-caramel variegation. In addition to Macassar back and sides, models will also feature a matching Macassar backstrap. All other Presentation Series appointments will remain the same. Tonally, as an ebony species Macassar’s density produces a clear, loud and focused sound while also being fairly overtone-heavy. It yields a strong bass and lower mids, clear highs, and, like rosewood, a slightly scooped midrange. The overtone richness will nicely complement slower and softer playing, including fingerstyle, in the way the notes pleasantly linger on the ear, yet Macassar can also handle more aggressive strumming, making it a bit of a tonal chameleon depending on the technique of the player. Presentation Series model offerings include all five Taylor body styles, plus a 12-Fret Grand Concert and 12-string Grand Symphony. For complete specifications, visit taylorguitars.com. L-R: Front of a PS14ce; Backs of a PS18e and PS14ce 10 www.taylorguitars.com 11

but remember, my neck is not differ- more and more of the cakes you What ebony needs is a good cutting guitar wood, so I don’t expect Yes, Bob, rock maple, or sugar maple ent in its appearance or craftsman- are making result in the overall operator and for the world to know him to key in on the differences, but from the East Coast, makes good ship from a traditional dovetail neck. increased use of ebony. The true of ebony’s plight. To walk away from there are huge differences. I’ll bet he guitar bodies, but we prefer big leaf Ask Bob Aesthetics play an important role in bottom line is this: The more you it might make a person feel good knows the difference between a ribeye maple — better tone, better beauty, our decisions, and a zero nut fails the promote and use ebony, the more that they have nothing to do with the and sirloin, though, even if another better availability, and better potential aesthetic test. That’s pretty much the trees you cut. decline of it, but it also is a statement person would tell him you can cut up a for regrowth. But big leaf makes lousy Cutting layered wood, nut width, answer, plain and simply put. Peter H.D. McKee that you have nothing to do with the cow any way you want. necks! We can’t have everything, I Seattle, WA preservation of it. It’s like walking away guess, so we use sugar maple for the and ebony ethics from a dying man. Ebony is legal, unlike necks, as it’s more stable in that form, Peter, your question comes from ivory or Brazilian rosewood, so again, and also available. The difference is I am a great admirer of your guitars. what a clear-minded thinking man if we don’t use it, the villagers will still I just purchased a new 616ce and that Eastern maple is hard and stable My wife is also a proud owner of would wonder, and I’m glad you asked. cut those trees. But we are there work- have to say that this is one of the when cut into lumber. The big leaf has your wonderful GS Mini, which I’m happy to explain. You can shoot ing with them on all facets for the first most incredible guitars I have ever a tendency to warp, but in thin pieces I’m very interested in wood, and your dards. But Taylor guitars are popular down to hit the pitch. Those also I gave her for our 30th wedding holes in any one of my answers if you time in their lives. We are proactive, played. Sonically it has such warmth, is stable. It’s lighter in weight and explanations are always very precise. and we set trends, and so others start- affect tone in a good way. When the anniversary four years ago and want to not be convinced, but I’ll start and I firmly and strongly believe that to sustain and clarity, and the build sounds very good. They’re just two So here is my concern: Laminated ed doing that as well. When we made guitar body also joins at the 12th fret, which she even lets me play on by saying that I’m passionate about save ebony, we must use ebony. We quality is absolutely stellar — not different trees, each with its own char- wood is produced and used in order the Baby Taylor, we knew it would be the first fret is closer to you, so the occasion. Recently, I have read my answers. First and foremost, the are the ones who can help, and I can a flaw to be seen! My question is acteristics. to save cost and material. It is made bought by beginners and decided to guitar is more compact. It also places with interest in Wood&Steel of your ebony is being cut anyway, regardless boldly say that there are more people, about the “rock maple” neck. What out of several thin layers of wood make what was once the standard, the bridge more in the belly of the efforts to address the decimation of me. Much of it illegally. Even the like you, who know something about it differentiates this type of maple assembled together. How are these 1-11/16 inches. As the models of top, which impacts the tone. You can of the ebony tree worldwide due to good-thinking NGOs agree that in the and care now than before we started from “big leaf” maple, and could it layers produced? I imagine that it is layered wood guitars developed, like expect the same family of changes to many causes, including, importantly, absence of a good operator there will this project. More and more, because be used for maple guitar bodies as Occasionally I will see a guitar play- not sawn; otherwise there would be the 100 Series, 200 Series, and GS the tone that you hear in your guitar to your industry — instrument makers. be a bad operator. Second, the people of what we are doing, we see fewer big leaf maple is used? er with the strap of his/her guitar even more loss of material. Mini, we kept that size, because most carry through to a Grand Auditorium, Your video discussion of this topic who live in the areas where ebony is trees needed to make more guitars. Bob S. attached up on the head between Christophe Ollivier guitars in the world still are probably exactly how you’ve described them. was candid in acknowledging the cut are villagers, they’re poor, and they And we’ll see ebony planted, and we the tuning keys and nut. For the life France closer to that, being just a little smaller. key role the demand for ebony make their daily rice by selling some already see Africans, local people, of me, I cannot think of any reason We didn’t want to force people into the linked to musical instruments has trees from their forest. It’s not a big log- prospering and beginning to care for this would be beneficial other than Good question, Chris, and you’re right, wider neck knowing that these series played in this tragic ecological ging operation; it’s a village operation. themselves. habit, or they don’t want to drill a if the layers were sawn it would be are often bought by people with less A recent ad from Stewart-MacDonald disaster. What I don’t understand In my work in Africa I’ve learned many I could write a book, but that’s it in hole into the heel of the neck to a disaster in terms of material usage playing experience. Some folks look at talked about Zero Glide nuts. I can is how your continued efforts to things. One is that we have little idea a nutshell. I hope you’re not sorry you install a strap pin. Maybe it’s easier because the sawdust would take away them as being narrow, but historically remember that, some years ago, expand the use of ebony in your from our affluent world what their life asked. I’m very happy you asked. for the audience to see their name more wood than it leaves. But they’re speaking, they’re actually not. several guitars were equipped with instruments fits with your professed is about. I do know now, and I support stamped across the strap? And sliced, on a colossal knife that’s hard zero frets. This always seemed like desires to somehow preserve their ability to make a living. Third, what wouldn’t this also put unnecessary to imagine how big it is. But you’ve a great idea, since the string height the last legal source of ebony, in we’re doing specifically is using the stress on the guitar’s neck? I would probably seen how paper money is with a conventional nut relies on Cameroon. ebony that is a by-product of the ebony I was at a rural sawmill that has never attach a strap onto the head stacked and sliced, so imagine some- I recently attended a Taylor Road the nut grooves being made very Two examples from the summer that’s being cut. That’s right, the yield been in business for 40 years, and of my 2000 Taylor koa 314ce. (It just thing like that. By doing it this way Show, where I was lucky to hear accurately, and a zero fret eliminates 2015 edition of Wood&Steel is so incredibly low from the “eat-the- while waiting for some huge old turned 15 and you should hear the there is no sawdust, and the yield is and purchase a custom all-walnut that issue. Also, I expect that radi- illustrate my concern. In the cover heart-throw-way-the-rind” mentality that cedar logs to be planked out for tone!) Your thoughts? 40 slices per inch rather than four 12-fret Grand Concert. It’s a beauti- cal changes in string gauge might article about the new 900 Series, this has become a huge factor in having some rustic furniture I was making, Galen Jones pieces per inch for solid wood guitars. ful, warm-sounding guitar and was require changes to the nut. Although you are clearly promoting the eye- to constantly go back into the forest for I figured I would chit-chat with the Fort Branch, IN Why don’t acoustic guitars have adjustable 616ce exactly the tone I was looking for. I never play using a capo (I can catching use of more ebony in the more trees. At Taylor, we painstakingly old boy who runs the place. He told Having small hands, I found it to be never remember what key I am in), bridges? I see them on electric guitars, and it “detail-rich curve appeal” of the new fix the ebony, with processes developed me they get some very nice figured Galen, we do put a strap pin on the much easier to fret chords on this I have found that the “open” strings seems to me that an adjustable bridge on an ebony armrest and binding. In that in-house, similar to a diamond with swamp maple and cherry, so I asked heels of our guitars, thinking like you I notice that my 214ce-K DLX has [short-scale] guitar versus a longer when using a capo seem to ring a acoustic would allow for changing the string same edition, Taylor celebrates the its inclusions filled. Well over half our how he would determine what angle, that it’s a way better place to hold a 1-11/16-inch nut width, while the scale (25.5-inch) guitar. My question little brighter than they do without 5-year success of the GS Mini — a guitars are made from what was once or point, on the log to start in order the strap. But I’ll admit that the neck 314 has a 1-3/4-inch nut width. Why concerns the effect of the number of the capo. Also, the action seems height to taste simply by loosening the strings new line of 125,000 instruments rejected, discarded, burned ebony. One to get the best figure. I was told is strong enough to hold the weight the difference between the models? clear frets on the distance between slightly better. However, having and adjusting the bridge accordingly. While on sold so far with ebony fingerboards. day it could be that 90 percent of our straight up that it makes no differ- of a guitar, with a strap attached to How should one decide on neck frets and whether a 12-fret or 14-fret carved up several guitars over the the same topic, locking tuners on acoustics are Why isn’t your company taking a guitars are made that way. We are also ence whatsoever, and that whichever it. Guitars are a lot stronger than you widths — is it more about finger size on a short-scale guitar would be years with varying results, I am not forceful lead in reducing the overall teaching other guitar makers to do the way they put the log in the figure might think. Of course we don’t want or playing style? better with someone like me who about to pry the nut out of my lovely a seldom sight as well. Is there a specific reason demand/lust for ebony by strongly same. Some of them have been quite comes out the same. Is that true? to abuse them, but they’re pretty Gordon Stein has relatively small hands. Do you 614ce and replace it with a zero fret why adjustable bridges and locking tuners on promoting alternative woods and reluctant, but of late, many are now I’ve always been led to believe that strong. I’ll take a moment to congratu- ever carry short-scale and/or 12-fret nut. I have to believe that you folks acoustics are uncommon? synthetics to replace the use of approaching me saying they want to be to get the best figure it was crucial late you on your guitar’s 15th birthday. Gordon, I guess a little steel-string for other body sizes, and would the use a conventional nut for good ebony for fingerboards, binding part of the solution rather than part of that you orient the log properly. I’m Nice! You’ve reached a point in the age guitar history is in order. Back when I effect be similar (more midrange reasons. I just can’t imagine what Mark Von Till and the like, instead of promoting the problem. That’s progress. no authority on this subject and of your guitar where its tone is chang- first started making guitars in the ’70s, punch)? Personally, I would love an they could be. Can you tell me why Green Brook, NJ the allure of the dark, rich “curve We have lowered quotas from always thought that flatsawn, quar- ing for the better, and that’s a great the standard, most common width for all-koa (or walnut) Grand Auditorium you choose not to use a zero nut appeal” of ebony? when we arrived, taking 20 percent tersawn, veneer peeling, etc. all pro- thing about keeping a guitar for a long, guitar necks was 1-11/16 inches (43 short-scale with possibly 12 frets, system? Mark, it has to do with sound on the bridge. The Slowing the decimation of the fewer trees and making more guitars. duced different results. long time! mm). Nearly all acoustics were that but I’m hesitant for a one-off cus- John Telling Cameroon ebony forests by using That’s a very good trend. We’ve started Edward Placha width, and they were considered the tom without knowing how the scale Sacramento, CA best sound is produced with a lightweight saddle colored ebony is just a delaying learning how to propagate ebony, wide ones, because there was also a length and number of frets would fit into a tight slot in a wooden bridge. A metal set tactic that continues cutting the something that is not known yet in Edward, you’re right and he’s wrong. large contingent of 1-5/8-inch (41.2 change the tone. John, a zero fret makes sense for all of screws and bolts just won’t do. As for locking trees until they are finally gone. Your the world because it’s hard to do. We The figure does show no matter what, mm) guitars on the market. All our Geoff Yuen the reasons you said. But there’s also apparent near-monopoly of this last have our first seedlings growing now. but it is quite different figure. For guitars were 1-11/16-inch. Over the Durham, NC some tradition to guitar building. I tuners, they were invented for dive-bombing with legal source of ebony makes a lot of When, in 2014, we won the U.S. State example, a quilted log will present Got a question for Bob Taylor? years we started catering more and won’t make a huge case that a normal the whammy bar on an electric guitar. They ended economic sense to your company’s Department’s ACE award (Award for little bubbles of figure if flatsawn, and more to fingerstyle players and making Geoff, the short-scale is much eas- nut is much better. There are advantag- bottom line, as does, apparently, Corporate Excellence), the deciding if quartersawn, the figure will be the up becoming standard tuners on many electrics Shoot him an e-mail: [email protected] as an option the 1-3/4-inch (44.5 mm), ier for some to play because of two es and disadvantages to both. But the using more ebony in new lines of factor for us receiving it was the work shape of sausages. The “fiddleback”

things: the shorter space between zero fret is at least ugly to many of us after that, but acoustics are a different thing, a and many players liked that because instruments. However, it also speaks we’re doing to use the “bad” and figure of flamed maple only comes with If you have a specific repair or service concern, please call so many were playing fingerstyle. frets, which is very small but perceiv- guitar makers, and also makes us feel different aesthetic, and we don’t see the need for volumes about what ultimately is discarded ebony. What’s impressive quartersawing. If you flatsaw that log our Customer Service department at (800) 943-6782, Eventually we adopted that as our able, and the lower string tension. The like we’re cheating. We like traditional driving your efforts in Cameroon. about that is that the State Department there isn’t fiddleback, but rather short more hardware. and we’ll take care of you. standard width, even though it was tension is lower because a shorter nuts better. That may sound funny com- Unfortunately, you can’t have your both knew and cared about the fate of curls, and we call it “curly.” The old boy considered “wide” by industry stan- string, in essence, needs to be tuned ing from the guy who bolts on necks, cake and eat it too, especially when ebony. at the mill is cutting lumber and not AMERICA CO-FOUNDERS GERRY BECKLEY AND DEWEY BUNNELL REFLECT ON THEIR { SCENIC 45-YEAR MUSICAL RIDE {

BY JIM KIRLIN

ith their tight-braided vocal In retrospect, the band’s rapid their earlier period, yet they continued arrangements and rich ascent is impressive. They graduated to be musically productive. The band’s W acoustic interplay, the high school in 1969, formedJourney in 1970, 2007 release, Here and Now, co-pro- band America is synonymous with the signed their record deal with Warner’s duced by Fountains of Wayne’s Adam harmony-rich California sound of early London office in 1971, released their Schlesinger and James Iha of Smashing ’70s rock. While other iconic artists are debut album that same year, and a year Pumpkins fame (both unabashed fans more closely tied to the storied Laurel later staged their own British Invasion, of the band), delivered something of a Canyon music scene that percolated moving to L.A., where they would soon comeback record, refreshing Beckley Journeyin the Hollywood Hills from the mid- take home a Grammy for Best New and Bunnell’s street cred as compelling ’60s through the early ’70s — a musical Artist of 1972. tunesmiths among a younger genera- melting pot that spawned new hybrid “We were fortunate,” Bunnell tion of popular musicians, and returned strains of acoustic rock thanks to the acknowledges. “Timing is everything. the band to the music charts. And their likes of Joni Mitchell, Linda Ronstadt, Time and place.” passion for performing remains strong — Crosby, Stills & Nash, Neil Young, the America’s most commercially suc- they’ve averaged roughly 100 shows a Eagles, The Byrds, the Mamas and the cessful creative output came during year for the past 30. Papas, Jackson Browne and plenty their prolific early years, encapsulated Now 45 years into their career, more — America also made their way to in a six-year run with Warner from Beckley and Bunnell find themselves in L.A. in 1971 courtesy of Warner Bros. 1971 to 1977. That work is collected a good place, having survived the roll- Records and wasted no time making on the recently released 8-CD box ercoaster highs and lows of the music their mark as well. set America: The Warner Bros. Years, industry, not to mention the trappings Founded by Gerry Beckley, Dewey 1971-1977, a remastered reissue of of fame and success, with their friend- Bunnell and Dan Peek, the band their first seven studio albums, plus ship intact and with a continuing desire crafted some of the era’s most popular their final live record on the label. Five to make music together and connect tunes. Some are richly evocative of of the albums were produced by leg- with fans. classic Western landscapes, like the endary “fifth Beatle” George Martin. We caught up with the two sepa- desert imagery of their breakthrough hit Despite the band’s popularity, they rately in August, in between summer “A Horse With No Name,” or the idyllic took their lumps from rock critics who tour dates. Beckley spoke from his California vibe of “Ventura Highway.” were quick to disparage their melodic home in Los Angeles, while Bunnell Others, like Bunnell’s breezy classic sensibilities and laid-back acoustic chatted from his lake house retreat “Tin Man,” conjure a wistful mood over vibe as emblematic of a new wave of in Wisconsin. Both reflected on their a bed of major seventh chords, while soft rock that was antithetical to both musical influences, the early days of the the buoyant pop hit “Sister Golden the folk and rock traditions (the Eagles band, working with George Martin, their Hair” showcases the band’s ear for endured similar vitriol). After Peek left songwriting chemistry, and, of course, melodic songcraft and love of the the band in 1977, Beckley and Bunnell their Taylors, which have been a staple Beatles. carried on, switching labels and con- of their live shows for 25 years now. Considering the band’s name tinuing to record and tour as America. They also talked about some recent and sound, the irony is that the three (Peek renewed his Christian faith and finds from their music archives, includ- Performance photos shot at the Festival du Bout du Monde bandmates sowed the seeds of their had a few solo hits on the Christian ing previously unreleased studio record- in Brittany, France, August 2014, by Jean-Michel Sotto music career in the UK. All three had pop charts; he passed away in 2011.) ings that form the basis of their latest fathers in the U.S. Air Force, and they As Beckley and Bunnell’s music release, Lost and Found, plus some met while attending high school near shifted into more adult contemporary rare demos from the early days. London, where their fathers were sta- territory, their ensuing releases failed tioned in the late 1960s. to match the commercial success of continued 14 www.taylorguitars.com 15

Both of your fathers were in the our junior and senior years together Do you remember the first time you so people wouldn’t think they were But “Horse” wasn’t on the original It was really in the dark. It goes back to album] Barnstorm, and then we got to to promote the first album, they put us Air Force and ended up in the UK, in high school — senior year was ’68- all sang together and realized it Brits trying to sound American. Dewey release of the debut album in the that feral thing. But it created a certain know Joe very well and spent a lot of in a couple of clubs opening for the but growing up, did you guys move ’69 — and during that time obviously was special? recalls some key figures of London’s U.S., right? tone or voicing that had that loping [feel]. time together. Then Joe was producing Everly Brothers. We did a week in DC, around a lot? Did you grow up in people with like interests gravitate. He GB: I don’t remember the moment or What They Play music scene. GB: No. The minute we put the album Danny Fogelberg, so I played acoustic and there were lines around the block Southern California for the first part had a high school band going…we hit it the day, but when Dan graduated in ’69 Both Beckley and Bunnell have played maple Grand Auditorium out they said, “What else have you got? on “There’s a Place in the World for a because “Horse” was the biggest sell- of your lives? off and formed our own band, and that he went off to college for a semester Taylor models as their primary stage acoustic guitars for years. But DB: There was a guy, Bob Harris, Let’s get you back in the studio.” So, Gambler” [from the album Souvenirs]. ing record in the country. So everybody Gerry Beckley: I was never in Southern morphed. and then came back. In the meantime, when Beckley first started playing Taylors around 1990, the GA didn’t who was, still is, a very influential “Horse” was cut separately, they decid- Going to So that kind of stuff was happening comes to see us play 30 minutes, and California until we came here profession- that whole singer-songwriter thing had yet exist (it debuted in 1994), so he had matching custom 6- and BBC disc jockey. He had a TV show ed it would be a great single, it went California quite a bit. Our dear friends the Beach then they all leave, and there’s Phil and ally in ’72. Dewey, during his travels with It all came together quickly when really kicked into gear. James Taylor was 12-string Jumbo models made, both with a black stain, along with a called The Old Grey Whistle Test on to No. 1 in the UK, and when Burbank Boys were singing on our records; Don, as great as they’ve ever been. In his family, was stationed at Vandenberg you look at the timeline of it all. actually originally signed to Apple, so blonde 6-string. the BBC. He championed us, and as saw that the album was doing well, they When you moved to L.A. after the I was singing on their records; I’m fact, their band had Warren Zevon on Air Force Base up the California coast. DB: It really did. Most of our free time that stuff was starting to stick, so we “I kind of wanted an Everly Brothers style thing,” he told us in soon as that happens in a town like just assumed the single was part of the first album, were you being man- on “Sail on Sailor” and quite a bit of keyboards and Waddy Wachtel on gui- I don’t think Dan had ever been sta- was spent listening to music, going to were, in a sense, setting down our elec- 2013. “I’m also kind of a purist, and the cutaway wasn’t really part of London where everything is concen- same project. When the parts that you aged at that point by David Geffen Holland. So it was a really great time. tar, and everybody was just walking out tioned here. But in the Air Force or Army watch music, fiddling around playing tric guitars and picking up acoustics the aesthetic I wanted.” trated, word-of-mouth is like a wildfire. use to press the vinyl were shipped over and Elliot Roberts? when we were done, which was obvious- upbringing you move every year or two. music. Gerry was raised in a family with and trying to do that. Then Dan came Beckley was an early adopter of the GA upon its arrival, finding People had apparently heard, “There’s to L.A. for pressing, they ran off a hun- GB: We left our English manager with When you had started playing live ly upsetting to those guys. So the next I was actually born in Texas, but I moved piano, piano lessons, and some classical back, and he’d been doing the same the smaller size more physically comfortable and a better fit sonically this American band, these teenagers, dred thousand before they realized the the success of the first album; we just back in the UK, did you have your week we were supposed to do another to England when I was a year old. music. I always like to think of myself as thing. So we just said, hey let’s see how for their live stage sound, with bass, drums and keyboards in the mix, they’ve got some cool songs.” single wasn’t on the album. So, the first didn’t feel that they were quite up to equivalent of the Beatles club week together in Boston, and they kind more of a feral, self-taught musician. I it sounds. That was the moment when particularly a maple GA. We had found two or three pressings that don’t have “Horse” on the task, and both David Geffen and residency in Hamburg, where you of mysteriously bailed — one of them got Did you have a musical background never really had any formal training. all three of us started singing together. “So much of the full sound of a really fine acoustic, when you get really influential mentor/managers who them are considered collector’s [items]. Elliot Roberts had been over to London had to hone your live chops to be ill. So we get up to Boston, and the guy growing up? on stage, that’s the first thing the sound guy is hacking out of there,” walked us around to offices to play our — Elliot in particular because they were able to play and sing together on says, “It’s OK, you guys will headline,” GB: I started piano when I was 3, took he says. “That booming lower mid might be ideal if you’re in a coffee music. One guy, Jeff Dexter, you see Dewey, what was the inspiration for handling Neil Young and Joni. And Elliot stage? and we said, “I don’t think we’ve got lessons until I was about 10. I was a shop, just you and your guitar, but the minute you have bass and his name in a lot of British chronicles the lyrics of “Horse”? says, “You guys ought to come over GB: Well, it was trial by fire, because enough minutes,” and he says, “It’s OK, [music] reader. I’ve always played by “I was the first guy to have a car, Wurlitzer and Rhodes and a lot of other things that are on that same of the time. He was a DJ, scene maker, DB: It was definitely the sights and and join us in L.A.” Obviously it didn’t the majority of our shows were open- we’ve got this comic, this guy in college, ear, but it was hard to not read. Then frequency, it’s just really in the way. So I always felt that with maple whatever you want to call him, and sounds of the desert, having spent time take too much arm-twisting. ing. We opened for Cat Stevens on his he’s gonna do 30 minutes ahead of you. came the Kingston Trio segueing into this old Morris Minor. Sometimes we we were already halfway there. It cuts through.” he introduced bands on stage at big visiting my uncle and his family in New European tour, and for a group called His name’s Jay Leno.” surf music, and I picked up the guitar. I would rehearse in it, and the vocals Beckley’s preference for the maple GA also prompted him to festivals. He got us exposure on these Mexico and having driven through the I don’t know to what extent you Family, which were huge in the UK, started playing at about 10 in ’62, and lobby Taylor to make a 12-string version, which we eventually did. It bills, and we scraped together the Mojave Desert. See, I was the only one interacted with the other artists and so we were doing 30 minutes or then of course, the Beach Boys were were pretty magical. We were excited gets plenty of stage time. money to buy this white panel van and of the guys who had lived in California there, but did you feel welcomed, so. When we came over to the States continued there first, but by that time the Beatles right away.” “Twelve-string was always a pretty signature part of our sound, started playing colleges and pubs. I up until we moved there in ’72. “Ventura or were you guys these young came and that kind of locked in a lot of even if it wasn’t the main guitar,” he says. “I use it on ‘Sister Golden remember we played a couple of cover Highway” is the same thing. That would upstarts who’d kind of come out of our destinies. I’ve seen where Tom Petty — Dewey Bunnell Hair,’ sometimes on ‘A Horse With No Name,’ ‘Sandman,’ and ‘Don’t songs, “Coming in to Los Angeles” by be reminiscing on the actual sun and nowhere, or at least from over in and other people from that era say it’s Cross the River.’” Arlo Guthrie and I think a Bee Gees surf vibes of ’62 and ’63 when we lived England, with this hit? impossible to overstate the effect of The For his acoustic electronics, Beckley is used to the Fishman song, “New York Mining Disaster in California. Living in England it’s pretty GB: The office was very, very kind. We Ed Sullivan Show, tuning in weekly to pickups that were installed in his Taylors for years before the 1941.” standard gray skies and rain, and that actually moved into David Geffen’s what group was next. And it wasn’t just How did being in the UK at that Dan had such a uniquely high register Expression System was offered, so he tends to stick with those, gets old after a while. And it was getting house and lived with him. If you con- British Invasion. There were the Byrds time in your lives affect your per- that it pretty well was a defined place especially for the brighter amplified sound he prefers for the guitars. Didn’t you open for the Who particularly old at that point by ’71, hav- sider that Elliot was managing Neil, and and all the great American bands too. It ception of whatever was happening for him. And then Dewey and I, depend- He says he also prefers the taller volume and tone knobs of the early on? ing lived there from ’66. not only were our album and single a was really a great time. musically and culturally? ing on who was singing lead — I knew onboard preamp over the more discreet knobs of the ES. DB: Yeah, it was one of our first stage hit, but “Horse” took over the No.1 spot DB: I remember that we thought we quite a bit about harmony anyway, so “It’s easier for me to grab them,” he explains. “I’m constantly gigs — it was Elton John, who was just Is the correct tuning DEDGBD? from “Heart of Gold” and Harvest… Dewey Bunnell: I was actually born in were pretty hip. We’d stayed up with it didn’t take long to realize, hey, this messing with changing the volume [on stage]. I play a lot of rhythm to breaking, and the Who was the closer. GB: Yeah, It’s virtually the only song [after] all that wonderful Buffalo England — Yorkshire — and we moved every Beatles recording — Gerry and could be far out. solo, and I always leave a little headroom so that, come the solo, I’ve Jeff Dexter got us on the stage open- you’ll hear with this tuning, because Springfield work and three solo albums, around as most military families do. Dan and I compared notes, everybody got a little space to take it up if need be.” ing for Pink Floyd, and I remember Dewey and Dan and I were always just finally reaching the pinnacle, Neil was We lived in Biloxi, Mississippi, on two was waiting with bated breath for the DB: We were pretty excited right Custom specs for Beckley’s guitars include prominent star inlays, opening for Traffic at this college in messing around. The low E goes down bounced from the top after one week different occasions because that was next Beatles record…then suddenly we away. Sometimes we would rehearse an abalone-edged top, and his name inlaid within a scroll at the 15th London. Johnny Winter was there, and to D, the A goes all the way down to E, by these kids that clearly everybody a training base, so if my dad had to were involved in the Byrds, Yardbirds, in the car. I think I was the first guy to fret. The star inlays, incidentally, were originally offered as a custom he got up on stage and he was say- and then it’s D G B and the high E goes thought were just kind of sound-alikes. I retrain we’d move back. We lived in and the Beach Boys, so there was have a car, this old Morris Minor. We option during Taylor’s early days, in response to customers who liked ing “C’mon up!” We were these new, down to D. So, the weird element there understand the tensions in the dynamic Florida, Nebraska, Massachusetts and always another record to listen to. I’ll would sit in the car, and the vocals in the star inlays in the Gibson J-185 Everly Brothers model. fresh-faced kids, and we’ve got Johnny is the A coming all the way down to E, like that. So Neil was a little bit stand- Long Island, New York, for a bit, and in never forget having to have my mother there were really magical. We thought Beckley also prefers his Taylors without pickguards, even though, Winter asking us to get up and jam but Dewey frets both E strings at the offish. Having said that, I’ve met him California. California first took root when take me down Carneby Street and the we could make a go of it, we really as a self-confessed heavy picker, his spruce tops have paid the price with Steve Winwood and Dave Mason second fret, and he frets the D string at a few times, and he’s been incred- I was in the 7th grade. It was ’62, surf whole burgeoning London scene. When believed in ourselves, and then we got (note the pick wear on his guitar on this issue’s cover photo). But it’s and everybody. We gracefully declined. the second fret, so you’ve got this E E E ibly sweet. I’m very close with David music really grabbed me, and I remem- we got our own land legs as teenag- into a pattern of, let’s keep writing, and become a point of Taylor pride for him. G B E kind of drone-y [sound]. It’s that Crosby; he’s been a friend for decades, ber wanting to play those instrumentals. ers, 16-17 years old, we would go see it became three different writers, three “Looking at the history of who’s been playing [Taylors] for how So you guys graduate high school, slapping A string that’s taken down a and I know Graham very well. We were It was easy single-note stuff — “Walk shows at the Lyceum Ballroom and different styles to some degree, but the many years, I think we’re right up there,” he says. “That’s why I like form the band, and within a year fourth that really is part of the signature all in the same office with Don [Henley] Don’t Run” and Dick Dale and his Del- places that we ended up playing our- songs really came together in the vocal to show off those worn-through ones that I have, because there’s you got a deal with Warner over sound. and Glenn [Frey], and those guys were Tones, the Surfaris and then the Beach selves as a band. I saw the Jimi Hendrix arrangements. Gerry and Dan were no way to fake that; these have really been played and beaten and there. kind of struggling trying to get going, Boys. So that was the first time I remem- Experience at the Royal Albert Hall in very good at arranging guitar parts and battered and fixed.” GB: Yeah, we signed to Warner in Dewey, how did you come up with too. In fact, I think in ’72, the year we ber going, wow, this is kind of my music. ’69, the year we graduated. That was an things. I’m more of a strummer. To this While Beckley has owned nearly 20 Taylors over the years, the UK. Virtually every major label had the tuning? won the Grammy for Best New Artist, Kids are playing it. And I wanted to learn eye opener. day, Gerry really is the musical director Bunnell tends to keep it simple with a pair of black 614e models. a branch in London — it was one of DB: We’d been listening to Joni Mitchell the other nominees were the Eagles, more about it. A neighbor had a guitar, in that sense. Custom specs include abalone top trim and cactus fret marker inlays. the centers of the industry — but not a lot and David Crosby at that point. I Loggins & Messina, Harry Chapin and and that was the first guitar I picked up You guys played in cover bands. “Gerry is much more of the guitar collector and aficionado,” he everything that Warner UK signed nec- mean, it can’t be underplayed that we John Prine. and started fiddling around with. And Were you playing in the same says. “I like what I play and that’s what I do, and I don’t really search essarily made it out of the UK. [With were at that point digesting every note then my dad got me an old used acous- bands or different ones? Exposure much further. We had gone through any number of acoustic guitar us] it was only because the first album, of every new release of everything. Now Any good memories of playing tic, and that’s what I cut my teeth on. My GB: Not all three together at the same arrangements over the years, all leading us to Taylor. Obviously and consecutively the single [“A Horse we’re into ’68, ’69, ’70 and we were music together? mom would say, “Play this song,” and time, but all three of us did play in the in London the criteria was sound and playability first, but then it was all about With No Name”], which was actually huge fans of Crosby, Still & Nash and GB: I did a lot of sessions back in it was “Sleepwalk,” I always remember, same couple of cover bands. Those durability too, and being able to get these things in and out of venues recorded separately, because they Buffalo Springfield. Even the first two those days. I just loved the whole just to play single note stuff. started to morph into, instead of trying One of the remarkable aspects and buses and things like that. I love the ones I’ve had. I’ve been both were big hits in England, that Led Zeppelin albums, we loved the process, so I did a lot of things, but to cover the records, we started to rear- of America’s early development was lucky; mine stand up, and I take them up to my hotel room every now showed up on Burbank’s radar, and acoustic guitars... I remember specifi- Joe Walsh played the guitar solo on a So you both ended up outside range the songs. If it was a ballad we’d how quickly they were signed to a and then. I just take two on the road.” they said, “Oh, we’ll put that out over cally playing this chord and going, that song [“Green Monkey”] from our third London and met in high school. say, OK, let’s see how it sounds sped record deal. The band formed in 1970, here. All we need is a commitment. A string isn’t sounding right, and I just album, and this was before he was DB: Our family moved there in ’66. I up. I think those were the earliest cre- after Dan Peek’s return to London. Can they come over and promote it?” started turning the key until I got it down an Eagle. We were huge James Gang think Gerry came over in ’67. We had ative seeds that led to songwriting. They chose America as their name We said of course. to another E, and I just formed a chord. fans, and that led into [his 1972 solo 16 www.taylorguitars.com 17

lovely studio” — AIR Studios, he’d built with a shared love of similar music. Also, I come from the school of, his own place — “and I just can’t be What is it about the chemistry you’ve got to write 10 to get 2, so I’ve The fact that you guys had the suc- gone three months or so.” He looked musically? How do you guys con- always got a bunch of material…. Also, From the Vault: cess you had as quick as you did, at the previous schedule and figured nect? there is some collaboration. I’ve often and came out the other side for the this could take a while. So we went to GB: First of all, there is a compatibility helped Dewey with bridges, where I Lost & Found + Rarities most part intact after the ups and London, and I remember him telling us, between the two of us where we both think, this thing maybe needs a little America’s latest release, Lost & Found, culls together an assort- downs, is great. “Look, lads, I’ve held two months. I’m have certainly contributed equally. space right here. He’s quite open to ment of previously unreleased studio tracks recorded from 2000 to DB: We appreciate that a lot more not saying we must be done by then, I mean, America was established that kind of structural stuff. 2011. The material was sourced from the archives of Gerry Beckley’s now. We don’t take it for granted but let’s see how we go,” and we were with “Horse with No Name,” “Ventura longtime home studio in Los Angeles by friend and musical associate that we’re still here, that we’re done with the album in 13 days, includ- Highway,” and Dewey’s contributions. Lyrically, do you feel like you have Jeff Larson, a multi-talented singer-songwriter/producer (and multiple still able to play these shows ing overdubs, strings and mixing — the So, although I by numbers might be distinctive points of view? Taylor owner) who has worked with Beckley on a number of projects with lots of people showing up. entire Holiday album with “Tin Man” more prolific, there’s certainly no GB: Completely different avenues. The over the years. The project initially began as an overdue cataloging of We’ve reached this plateau, and “Lonely People.” debate over each of our [contributions], joke line is Dewey writes the outdoor Beckley’s extensive recordings. and not in a bad way. We as opposed to a kind of dynamic where songs and I write the indoor songs. “I work constantly,” Beckley says, “and I wasn’t quite as diligent were on a rollercoaster there Did you come in with the songs we’ve got to sit there and vote on the Like, once, Dewey was coming over in backing up and making copies on different hard drives. That got from I’d say the mid- to late fully written and arranged? quality of each other’s material. With and I was trying to sketch a tune…I put me thinking, we’ve got to start keeping track of what all this stuff is ’80s through about the mid- to GB: They were written and we had because in the digital world you can go on forever. And then I went late ’90s, where it could’ve rehearsed and arranged them. Geoff through a divorce and was closing out the studio. So before all the really gone away, and I think [Emerick], the engineer, was the added cables were coiled and tied, we thought, we’d better go through and hanging in there and still trying to bonus, and so we’d do a few takes and “The joke line is that Dewey writes make sure we copied everything.” produce a record here or there… he’d go, “I think we’ve got that one, the outdoor songs and I write the Beckley says that although the archiving began with hard drives, it we were on our own a little bit, and sounds great,” and before we knew it covered a variety of recording eras and gear. had to persevere. Let’s face it, we have we were cutting three or four a day. indoor songs.” “There were boxes of ADAT mixes and DAT tapes, then it goes families and kids and things that are And at the end of it, George said to — Gerry Beckley back to Fostex 16-track, and it led piece by piece all the way down to very important to us, but in terms of us, “This can’t possibly be a success. this actual two-inch reel, where we said, OK, let’s see what’s really on top of that, and once I’ve got a verse L.A., because we were based in L.A. doing a job, this is what we do, having Nothing this easy succeeds.” And so it this analog stuff.” and a chorus — I’m terrible at writing from ’72 on. Gerry’s lived there ever grown up in the business. started a seven-album run with George, Larson went through everything, resurrecting damaged drives in bridges — unless a word or a phrase since. and followed up with Hearts, which some bands, it’s basically one guy writ- some major sevenths together and start some cases, transferring data to consolidate it in one place, and then or a line has popped out during that With Gerry, I can bring my pieces It’s great to go through a period of had “Sister Golden Hair,” another No. ing everything. So not only between to [create] a Dewey kind of a thing. catalogued everything based on criteria like completed songs versus process, I’ll go to my list and…oh yeah, down to [his studio], lay down the skel- again, maybe not having as much 1, George’s first big hit outside the Dewey and I, but clearly with Dan at It turned out he couldn’t make it over partly finished ones, and Beckley’s solo work versus America songs, I always wanted to write a song about eton, and he might sit there and say, commercial success as your prime Beatles, so it was really a great time. the start, with three guys who were and I finished the song, so I ended up including a number of sessions that Beckley and Bunnell had started this, or, oh yeah, that line, I remember; “Here’s a good thing,” and “let’s put this years, but to be able to retain the contributing, and that particular process with an outdoor song. But that’s kind of in between releases. That material became the basis for Lost & Found. maybe I’ll have two rhyming lines that piano part on,” and then I could hum or pleasure of playing music together. What stands out in terms of what we cemented very early I think by fol- rare. Normally I’m writing a little more Larson curated choice selections, created a medley, and sent an mp3 I put on my little digital notepad in my sing a line, and I’d say “Why don’t we DB: And we really do have to work. you learned from working with him lowing “Horse With No Name” with “I internally. to Gerry and Dewey for review. laptop or on my cell phone. And that’s try that with a sax or some other instru- It’s not like the Eagles or some bands over the course of those records? Need You” — not only was it a com- “I don’t think they remembered some of it,” Larson says, “so it was the way it works. I’d like to think I was ment?” which he could pull up vis-à-vis whereby it’s really just to keep their GB: The thing that comes to the top is pletely differently styled song, it was a Dewey, can you share your take on a nice rediscovery for them.” relatively prolific in the ’70s, because it his samples, and we would start to paint juices flowing, because they’re wealthy, focus. When you’re young and you’re different singer, different writer…. Also, how lyrics come together for you? Among Larson’s loose criteria for the cuts was that they be songs seems like there were songs left over a picture that way. There’s a great song they’ve got a catalog that is produc- starting to mess with new equipment, it encouraged each of us to step up DB: I have always kept a little list of without outside guests or producers, in an effort to capture the essen- that didn’t make the cut. called “Ohloololo,” which I’d written ing. Ours does well, but we need to and synthesizers are coming into the to the plate and do our best work, so snippets of thoughts or words that tial personality of the band. about a trip to Africa, and Gerry found do those hundred shows a year. If we After the first album you guys ing more than the first one, so we got [mix], the whole notion of, “let’s see there was certainly a little bit of compe- go together nicely, or a quote from “There’s a lot to be said for the two guys working together in this As Gerry put it, you have to write these great sounds that sounded like had the option not to work, I think we were able to self-produce the next off to a pretty good start. what our options are” is literally an end- tition. Having said that, it’s very much a someone or something or another that environment as in the early days,” he says. “I think that comes through 10 to get 2. the Massai tribesmen when they bang still would. I think the fact that we need couple, which is impressive for less loop. And George would just keep democracy. If Dewey came to me and I think, I’ll go back to that when I put on these tracks. It’s their songs, their voices, their guitars, piano, etc., DB: Gerry’s really good at that. I have their spears and shields together, and to do it creates a drive, where we gear being as young as you were. Did How did you come to work with his eye on the [song], and where we said, “Y’know, Ger, I don’t really hear some chords together. My system, my and also the production values behind the band.” to give him credit; he’s always put his we used that as a percussive device. It up every time, and we look forward to you have to fight for that with the producer George Martin? Was he were heading with this. It didn’t mean that song of yours,” he would certainly whatever, is to sit strumming — I was Beckley recalls the collaborative nature of that period. shoulder into it. He’s always been into was cool. When we are immersed and it it and the shows… At the end of the label? just on your wish list? that there wasn’t immense variety. If defer to me and me likewise on what- strumming this morning — and find a “I might build a track and say, ‘Dew, you come over, I’ll play you this the studio itself. He familiarized himself really is a meditation, we really click. It’s night, that’s when we come off stage GB: I don’t remember a big fight about GB: The third album [Hat Trick], which you think about the scope of his work ever material. I don’t think he would say, chord progression that I like. Once it track, you absorb it, you go home. The next time you come over, come with equipment, the technology, he’s similar to those days when we [sang] in and go, “Yeah, that was a good one; it. I think we basically said, “We got we produced, was a much longer with the Beatles, from the string quartet “I don’t like that one.” locks in, I’ll come up with a melody on back with some lyrics.’ That was the vital ingredient of having some of worked in Pro Tools, and that’s been the car and were really taken away by we pulled that one off,” and it’s moving this.” The only thing that Elliot and project, and I was shouldering a little on Eleanor Rigby to those unbeliev- Dewey’s work on there. Otherwise it would have just been a collec- great because that’s helped me. I the process. on to the next. maybe David contributed was, we bit more each time. It was, frankly, a able backward tapes and collages and tion of my home studio [work]. Jeff realized that we had five complete moved to San Francisco within a year knew we wanted drums and bass — lot of work, so that album took months things, there was not just one avenue things with Dewey singing, and then Dewey had a couple of things of of us all moving to L.A., so I wasn’t That’s special. You can’t take that In the shows that you guys are Dan and I had played the bass on the to do, it had eaten up a bunch of the they were going down; they were going his own that he thought, well, if we’re going to do this maybe we ought physically there as much. I would com- for granted. doing now, besides your longtime first album. So we thought, let’s get year, and I was pretty burned [out]. down every avenue, but George could, to consider this track. So that’s how it came together.” mute from the Bay Area down to the DB: A lot of that is that Gerry and I fanbase, are you also seeing young a rhythm section, and we tried to get Dan and I agreed to consider getting a within that, focus on what each song Larson was credited as executive producer, and also handled much have been joined at the hip really faces who are discovering your [drummer Russ Kunkel] and [bass- producer before diving into this again, needed. And it was a real wakeup call, of the mixing and editing. since high school. We haven’t music? ist] Lee Sklar. I’m not sure if they just because most of us acts were on the a reminder, that I still to this day apply: “Jeff started to burn us CDs, and as they came over they were had huge valleys. We’ve GB: Yes, more now than ever. I sup- passed on doing it because we hadn’t one album a year [schedule], and there let’s not overcomplicate this. He used starting to sound more and more like albums,” Beckley says. “It would had moments pose it’s cyclical. Years ago we used to quite earned the cred, and they were wasn’t much of a window when you’re to call it “gilding the lily” — you know be one of my songs, then something that Dewey sang, and I could that weren’t espe- tour with the Beach Boys and I would just like the pinnacle — they were doing also playing a bazilian concerts. So [imitates Martin’s voice], “Let’s not gild see him approaching this like a producer to make a whole listening cially bonding, look out and see the audience and the all of James [Taylor]’s records and we basically just gave it some thought the lily.” experience. I think he did a great job.” but we’ve kids of the fans all singing along to all Jackson [Browne]’s. They might’ve just and put George at the top of the list, One of the other serendipitous yields from Larson’s archiving really always these incredible tunes, and I thought, been too busy. So we said, “Who else under the [belief] that there’s not a efforts was the rediscovery of some vintage America recordings, known there look, those kids weren’t even born could we get?” and Elliot said, “Well, chance it would work, but all you can Songwriting including demos from the band’s early days. These include a two- was more to it when this music came out, yet they we’ve got [drummer] Hal Blaine and do is ask. We were not unknown at that inch tape reel with the original session recording of “A Horse With than any kind of know every word. How incredible is [bassist] Joe Osborne.” [Both were part point. We’d had a number-one album, Chemistry No Name” from 1971; alternate versions of “Ventura Highway” fea- bull---- that might have that. And now, lo and behold, we’ve got of the legendary L.A. studio session two platinum albums. And although turing different harmony approaches (1971); Gerry’s original 4-track been going on at any the same thing. We’ve got almost three ensemble that came to be known as George was doing a lot of wonderful Gerry, I wanted to ask about the demo of “Sister Golden Hair” (1973-74); and other rarities. Larson time. It was a pretty disrup- generations — you’ll see the whole The Wrecking Crew.] We look them things, he was looking for something nature of your collaborative rela- says there’s a good chance the material will be released at some tive period when we were top family sitting there, and they’re singing L-R: Peek, Beckley and Bunnell at a photo shoot for their second album, up, and yeah, they’ll do! So we had to get his teeth into, and it was just tionship with Dewey over the years. point in the future. dogs and a bestseller in ’75, and along or playing air drums to “Sister Homecoming, in 1972. Photo by Henry Diltz the two of them on the second album, great timing. He said, “The only thing You guys have been writing for 45 getting accolades, warranted or not, Golden Hair.” Homecoming, and that ended up sell- I ask is you come to England. I have a years, and presumably it began The 8-CD box set from Warner Bros. because we were very popular then. 19

A TRIO OF EXOTIC FLORENTINE CUTAWAY

MODELS BRINGS A SHARP FLAIR TO THIS CHOICE CUTS FALL’S LIMITED EDITIONS By Jim Kirlin

Taylor’s design team, sonic quality, the three share similari- one. (For more on this, see our sidebar, surveying our tonewood ties in aspects of their personalities,” “Making the Cut.”) In addition to its F OR reserves is like a chef’s he elaborates. “The sapele is similar eye-catching appeal, Andy notes that early morning stroll through the local to mahogany in its clarity, although the Florentine’s scooped contour high- market in search of fresh inspiration slightly more vibrant with a touch more lights the upper-register playability of for the day’s menu items. Among the upper register chime. The blackheart Taylor necks and engages the full sonic appetizing ingredients chosen for this sassafras has balance very much like palette of the woods chosen for these season’s limited editions: three rare mahogany and sapele, but with a slight- instruments. and alluring woods — flamed mahogany, ly more present midrange overtone “It really encourages guitarists to quilted sapele, and blackheart sassa- response. Together, the three woods explore the articulate and expressive fras — each arousing the senses with make a unique suite of three instru- high notes of these guitars,” he says. exotic looks and satisfying tonal flavors. ments that fit in a collection, yet with The tonewoods form the centerpiece of subtle tonal distinctions.” our seasonal medley as a trio of unique Both the flamed figure of the Aesthetic Inspiration Grand Auditorium models, aligned in mahogany and quilted figure of the from Italy aesthetic three-part harmony with a dra- sapele are a rare treat, as both woods Another shared aesthetic compo- matic Florentine cutaway and a shared are known for their straight-grained nent among the models is the premium appointment scheme. growth patterns. The blackheart sas- appointment package. Details include Two other featured “dishes” on our safras was selected from an allotment a new Capstone fretboard inlay motif, seasonal menu showcase the warm, Taylor sourced from Tasmania and used which features rosewood outlined in woody overtones of a cedar top paired to craft a series of limiteds last fall — mother-of-pearl, with a similarly ren- with different back and side woods: a harvested from storm-felled and over- dered rosette. The capstone inspiration, premium-grade koa Grand Symphony mature old-growth trees on privately Andy says, came from time spent in topped with cedar, and a 300 Series owned farmland. As with last year’s Sarzana, Italy, in May for a Taylor event rosewood/cedar Grand Auditorium. models, each set of sassafras is visually in conjunction with the city’s annual Read on for more details, and look different from the next, often dramatical- Acoustic Guitar Meeting. for these beauties at your local Taylor ly so, with a mix of blond, pink, brown “The capstone motif is everywhere dealer. and other subtle hues. The unique color and seemingly ancient,” he says. “The spectrum is accented by bold lines streets are ‘paved’ with these little, caused by fungi that form in the tree as slightly wedge-shaped rocks that form The Florentine Limiteds a result of branches that break off dur- interlocking arches. You see the motif ing storms, enabling water to drip down over doorways and windows as well. I 514ce-FM LTD within the tree while it grows. thought it was an interesting shape to Back/Sides: Flamed Mahogany “This particular batch is very heavily build with.” Top: Sitka Spruce colored and variegated,” Andy says. “In Andy also related the shape to the fact, sassafras with this sort of black- heritage of block-style position marker 514ce-QS LTD heart color and figure is nearly impos- inlays in the guitar world, particularly in Back/Sides: Quilted Sapele sible to find. I never expect to see this archtop guitars. Top: Sitka Spruce species with this dramatic coloring until “I realized that by combining the two a tree happens to become available, traditions of blocks, I could compose 714ce-S LTD which is very rare.” a shape that looks modern and fits the Back/Sides: Blackheart Sassafras All three tonewoods were paired guitar’s personality, while keeping it well Top: Sitka Spruce with Sitka spruce tops featuring grounded in the classics.” Adirondack spruce CV bracing for a The guitars feature rosewood bind- Taylor master builder Andy Powers boost of sonic horsepower. A single ing (including the soundhole) with curly says he chose to relate his selections body style was chosen for all three: maple top edge trim, a rosewood back of flamed mahogany, quilted sapele, a Grand Auditorium, with a sharp strip, an all-gloss body, Gotoh Gold and blackheart sassafras together as a Florentine cutaway chosen to give the tuners, and Expression System® 2 series because they all shared a com- trio a distinctive family resemblance. electronics. The three models include a parable degree of visual rarity along The Florentine is a much rarer cutaway limited edition guitar label and ship in a L-R: Quilted sapele, blackheart sassafras and flamed with a certain tonal compatibility. style than the Venetian at Taylor due to Taylor deluxe hardshell case. mahogany LTDs, featuring a Florentine-style cutaway “While each has a unique visual and the time-consuming nature of crafting continued 20 21

314ce-RW LTD black pickguard and binding, Italian cedar and koa, you get this thick and Back/Sides: Indian Rosewood acrylic dot inlays, 3-ring rosette, white warm midrange, with a sweet undertone.” Making the Cut Top: Western Red Cedar top purfling, satin-finish back and The Grand Symphony body brings Why “Florentine”? By many accounts, the origin of the term “Florentine” to Compared to the rounded Venetian sides with a gloss top, and Expression an expressive dynamic range to the ® identify the sharp cutaway traces back to Gibson mandolins. cutaway of Taylor’s standard cutaway models, As the saying goes, sometimes System 2 electronics. playing experience with the wood pair- Andy Powers shared some thoughts based on his research over the sharp Florentine version is considerably less is more. A rosewood/cedar guitar ing, responding well to a lighter touch, the years. more complex and labor-intensive to rewards players who employ a lighter while also expanding the overall depth “My understanding is that the Florentine designation was construct. (This difference was made even attack, from fingerstylists to light strum- and tonal output. Gibson’s way of describing a ‘fancy’ design at the turn of the more dramatic when the bending process mers, with a warm and richly musical K16ce LTD “The GS has a bit more lung space 20th century. The Florentine art style was filled with curves, for our Venetian cutaway became largely voice. Compared to a spruce-top Back/Sides: AA-Grade Koa to support the low-end notes and scrolls and filigree, with gold-leafed, gilded and inlaid fanciness. automated thanks to the use of proprietary guitar, a cedar top reveals itself with Top: Western Red Cedar seems to have a slightly more serious The early American mandolins carried this elaborate inlaid style sidebending machines fabricated by our a mature, played-in sound right away, personality,” Andy suggests. “There is a over into the shape. From Gibson, you first saw a mandolin tooling team.) For the Florentine, the process and fans of rich overtones will enjoy This 6-string Grand Symphony bit more gravity when it speaks.” with one scroll or curlicue and three points, with one of the begins with a fully assembled non-cutaway playing this Grand Auditorium limited showcases the honey-brown hues and An elegant appointment scheme points forming a sharp cutaway. This carried over a few years body, from which a section of the treble- edition. Cedar’s midrange bloom rich figure of AA-grade koa paired with features figured maple binding (body, later into one of the first cutaway guitars — their Style O Artist side upper bout is sliced out using a band provides a wonderful complement to a cedar top. Darker cedar was inten- fretboard, peghead, soundhole and guitar — which was guitar-shaped in the lower bout, with a saw and vacuum jig. The exposed edges of rosewood’s scooped midrange and tionally chosen to match koa’s color heel cap) with a matching backstrip, 1 scroll and a pointed cutaway on the upper bout. It was known the scooped-out section are then sanded treble sparkle. tones, and a shaded edgeburst art- adding a creamy counterpoint against to Gibson during the teens as a Florentine-style guitar body. It smooth on a spindle sander (photo 1). From “Cedar lends a strong, woody fully wraps the entire guitar in toasted the edgeburst treatment. Other details was basically a giant mandolin strung like a guitar. Blues legend there, several pieces of kerfing (similar to the overtone component to the mix,” Andy warmth, including the mahogany neck. include a fretboard inlay of golden Big Bill Broonzy was known for playing one. The sharp point kerfing strips that line the inside edges of the says. “Its complex overtone profile is The koa/cedar pairing harkens boxwood Split Diamonds, an abalone remained tied to the Florentine description. Later on, shortly guitar body where the top and back meet more immediate than spruce. When back to some of the Koa Series Grand rosette complemented with abalone before World War II, select archtop guitars started to receive the sides) are carefully fitted and glued along combined with the bell-like upper over- Auditorium models we crafted in the dot bridge pins, a lustrous all-gloss rounded cutaways. Again, it was Gibson that started describing the cut edges to reinforce the area and to tone character of rosewood, together late ’90s and into the early 2000s, body, and Gotoh Gold tuners. Our the round-style cutaway as ‘Venetian’, although they first marketed provide a solid glue surface for the cutaway they impart a really thick flavor to each before the Grand Symphony was born. onboard Expression System 2 pickup the feature with the name ‘Premier’. One could point out the piece to eventually be attached (photo 2). An note, even when played lightly.” The two woods complement each will faithfully translate this guitar’s natu- Moorish/Gothic-influenced arched window shape prominent in additional strip of mahogany is glued in place The Grand Auditorium’s respon- other well, with cedar’s warm, mid- ral overtone warmth and sweetness the architecture around Venice and make a case the Florence vertically at the point, or “horn,” of the cutaway siveness to both fingerpicking and range-centered overtones embellishing into a clear and rich amplified sound. style has elaborate scrolls and points, and that the Venice style area, between the guitar’s top and back light to medium strumming makes it a koa’s natural midrange focus. Availability for this model will be has these arched windows. Eventually, guitar makers adopted kerfing, to reinforce the side. great match for the tone profile of the “Koa has the midrange emphasis extremely limited. the two descriptions as a way to denote the two cutaways.” Next, the piece of wood designated to woods. Players with a relaxed attack of mahogany, but with a little more form the scooped cutaway — a flat panel that can expect an expressive and easily upper register sweetness and chime,” For more details on all limited was matched with the sides when the guitar’s 2 accessible voice. Clean appointments Andy says. “There’s a bit more sugar edition models, including complete back and side sets were initially selected — is borrow from our standard 300 Series: up there. When you bring together the specifications, visit taylorguitars.com. manually bent over a heated pipe that has been draped with a wet paper towel (photo 3). (The resulting steam permeates the wood and helps it bend.) Once bent into proper form, the piece is cooled down in a jig to hold the shape. The wood edges that will be mated are cleaned, sanded and dry-fitted, and then the bent cutaway piece is trimmed to proper size. Wood glue is then applied to the kerfing surfaces, and the bent cutaway piece is aligned and glued. A glue-up press and wood caul are used to secure the surfaces together (photo 4). The area will be inspected for proper fit and glue squeeze-out, and any 3 excess glue will be removed. Once the glue has dried, the body will be transferred to our bind and sand department. A stroke sander will be used to remove excess cutaway material from the top and back, and then a belt sander will be used to remove excess material from the sides near the horn and neck joint. The point of the horn will then be sanded to create a flat surface, after which a wood cutaway cap (matched to the back, side and cutaway pieces) is prepped, fitted and glued to the horn to cover the seam. Any excess material will be trimmed, and after the glue dries, the cap will be sanded and properly shaped with a belt sander. 4 The Capstone inlay motif for the fretboard and rosette features rosewood outlined in mother-of-pearl. Other appointments include rosewood binding with curly maple top trim 13

Shaded edgeburst mahogany tops, plus new 12-fret, 12-string and baritone models, infuse our 300 Series special editions with roots-rich character

By Jim Kirlin

s the first stop in our line of natural visual cohesion between the spectrum. If you crave a fresh tonal all-solid-wood guitars, Taylor’s mahogany and sapele, especially the palette to reinvigorate your playing or A sapele/spruce 300 Series well-matched mahogany neck with the songwriting, this may make an inspiring has introduced many players to the sapele back and sides. White purfling addition to your acoustic arsenal. Our finer pleasures of solid-wood acoustic around the body and rosette add a natural-sounding Expression System® tone. In recent years we’ve refined crisp visual pop that highlights each 2 pickup will capture that rich baritone the series both aesthetically and soni- model’s unique body contours. The end depth for live settings or recording. cally to broaden its appeal. In 2013 result is an all-around classic look with we added mahogany-top models to undeniable stage appeal. coincide with the launch of our 500 12-Fret Fun Series hog-top expansion. Earlier this Meet your favorite new fingerpick- year we updated all acoustic/elec- ing dynamo. The non-cutaway 322e tric 300s to feature our Expression Model Highlights 12-Fret-SEB packs a lot of player- System® 2 pickup. This fall we’re at it friendly features into our comfortably again with a run of vintage-look special Double-Course compact Grand Concert body. edition models that sport a shaded Dreadnought Power Between the pairing of sapele with a edgeburst (SEB) mahogany top, fea- While most Taylor 12-strings feature mahogany top and the location of the turing three distinctive guitar voices our Grand Symphony body style, our bridge as part of the 12-fret design, that have never been offered within special edition Dreadnought 360e-SEB players can expect plenty of warmth, the series: a Dreadnought 12-string, blends a traditional body style with a midrange punch, and impressive pro- a Grand Symphony Baritone, and a uniquely compelling 12-string sound. jection for a smaller body. The 24-7/8- Grand Concert 12-Fret. Rounding out The Dreadnought shape produces a inch neck makes it easier to fret and the collection are cutaway and non- robust voice with a powerful lower reg- bend strings, inviting snappy plucking, cutaway Grand Concert and Grand ister, which adds authority to balance while the mahogany top can also hold Auditorium models, a cutaway Grand the 12-string’s naturally shimmering up to some lively strumming, even with Symphony, and a non-cutaway 6-string character. The sapele/mahogany wood the smaller Grand Concert body size. Dreadnought. Between the “old-soul” pairing yields a clear, woody and dry Players can also count on a nicely aesthetic and modern Taylor craftsman- midrange that’s especially emphasized focused and balanced tone across the ship, these guitars promise to look, feel with the mahogany top. frequency spectrum, making it a viable and sound great in your hands. “The mahogany top has a unifying option for both solo and ensemble play- effect in the way it compresses the ing, and with the ES2 pickup, gigging initial attack,” says Taylor master builder and recording as well. Unique aesthetic Darkness on the Andy Powers. “This helps balance the touches on this model include a slotted Edge of Brown volume across the tonal spectrum. headstock and small diamond fretboard Mahogany’s heritage as a classic Players can expect an exceptionally inlays rather than the dots found on the guitar tonewood has a way of inform- clear and powerful 12-string sound other special edition models. ing its aesthetic treatment, especially with smooth string-to-string balance.” when displayed front and center as Taylor’s Expression System® 2 electron- Additional special edition 300 Series the soundboard. With its dusky, rich- ics bring all that acoustic detail into models include: grained complexion, a mahogany top a dynamic amplified sound for perfor- projects an earthy look that is sonically mance and recording. Grand Concert: well matched by its meaty, midrange- 322-SEB, 322e-SEB, 322ce-SEB emphasized voice. On our special edi- tion 300s, the artful hand-application Baritone Bravado Grand Auditorium: of a shaded edgeburst adds a subtle Taylor’s baritone Grand Symphony 324-SEB, 324e-SEB, 324ce-SEB splash of sepia-hued visual warmth that guitars produce a husky voice (tuned underscores the natural character of from B to B) loaded with warmth, low- Grand Symphony: the wood. From there, simple appoint- end richness, midrange growl, and 326ce-SEB a e ments add workmanlike refinement treble presence. The lower register will Vint g without over-ornamentation. The solid appeal to singers with a lower vocal Dreadnought: black pickguard plays well with the range, and the guitar’s voice adds 320-SEB, 320e-SEB ebony bridge and fretboard, along with a complementary acoustic texture the dark grain accents of the mahogany for weaving bass lines with another For model availability near you, check top. An all-satin finish brings a tastefully acoustic guitar in a duo setting. The with your local authorized Taylor muted sheen that highlights the wood mahogany top on our 326e Baritone- dealer. For more photos and complete F esh grain of the body and neck without SEB evens out the dark and woody specifications, visit taylorguitars.com. r overly glossing up the rootsy vibe. character of the low end for a pleasant- L-R: Baritone Grand Symphony, 12-Fret Grand Concert, and 12-string Dreadnought 300 Series models The satin treatment also enhances the ly balanced response across the tonal 326ce-SEB 24 www.taylorguitars.com 25

ally can do things that you’re pretty “It had been 50 years of everybody was a few days away from moving back much held in bondage from otherwise doing it in a way that was less effective,” to his home state of Florida with his wife not doing because you’re afraid,” he he says. “But right now, we’re installing Tami and two dogs. In fact, by now he’ll Hosler Riffs says. “Doc got to the root of the things almost 400 a day and they just balance already have set up a small business in Random musings from David Hosler on what he has learned that make us fearful in life, and even [so easily]. It makes you feel like you’ve St. Petersburg. It’s a combination guitar throughout his career, gleaned from conversation in June of 2015: more than that, he was always one of learned how to make a car that gets 80 repair shop — naturally, it’s an authorized Invention Over Convention these guys who said, anything that’s miles to the gallon. But I only had the Taylor service center — and small music There are people who are good at gathering information worth doing is worth doing badly.” idea and prototyped it to the point that gear gallery/cooperative called Seven but bad at coming to the right conclusions. It’s good to have For two decades, David Hosler’s creative thinking It’s a trait that Hosler recognized in it worked. It was really Matt [Guzzetta] C Music (www.sevencmusic.com). The people with the ability to take information and say, “Maybe that’s Bob Taylor when he joined the company. and David Judd and a team that figured cooperative component of the business not the reason.” has embodied the company’s innovative spirit and “Bob is so great at what he does out how to turn the idea into something will bring together seven small-scale, turned solving guitar problems into envelope-pushing because he’s not afraid of failing, that could work and then how to build independent craftsmen, selected by I believe there’s a difference between knowledge and skill. because he figures he’ll just keep work- the stuff to make it work.” Hosler, who make unique guitars, amps Skill is acquired; you learn how to do something. I remember it pickup designs By Jim Kirlin ing at it and working at it until it works,” “Dave’s a very inquisitive guy,” says or pedals, but whose work might lan- was like this with guitars when I first started working on them. Hosler says. “Or he’ll say, ‘OK, I learned Guzzetta, Taylor’s longtime industrial guish in a traditional music store. Hosler Everything felt so clumsy, and yet I was reading some things and a lot from that that will help me with the design guru (now semi-retired), and sees the coop arrangement as an oppor- trying things, and then one day I just started knowing what to do. next thing.’ When you have a chance clearly a kindred spirit in terms of devel- tunity to provide a better environment in to work with Bob, one of the things he oping innovative solutions to refine which to showcase young and talented Mentoring requires the most difficult of tasks, which is to put does so well is empower you to uncover the guitar-making process. “He never industrial artists. He’s also happy to lend up with people who don’t know what you know, and you think they things as though there were no rules in quits, and he’s not afraid to venture into a bit of mentoring guidance along the should. the world.” unknown territories.” way as others have in his life. At a Taylor farewell luncheon held in Hosler’s magnetic pickup work for “It gives me purpose,” he says. “It To be a good leader you have to be willing to be inconve- his honor in June, Hosler reflected on the original ES laid the foundation for gets me around these really bright, tal- nienced. Most people don’t realize why Bob chose that office over how his diving experiences had informed Taylor’s subsequent electric guitar de- ented guys, who think different from me, there. He was going to take this one. But then he said, “No, I want his approach to R&D and pickup design signs, first with the T5 and then the and that’s awesome. I can help them. I to be by the door where people walk by so they can walk in and at Taylor. T3 and SolidBody. He has especially know people in the industry. I can get inconvenience me. Because how am I going to do what I do for “It’s just the idea that if you want to fond memories of the way the T5 was materials.” people if I’m not accessible?” make new discoveries, you often have brought to market and the positive re- And if they ever want to learn to fly to look where other people haven’t ception among dealers and customers. on a trapeze or race hydroplanes or go You have tons of information hanging on hooks that seems looked,” he says. “I think a lot of the “No one expected that guitar to be blackwater diving, they’ll know just the completely disconnected but can potentially build itself time we follow a course of doing things as popular as it was right out of the guy to ask. into a mosaic. That’s the best way I can describe it — that in my a certain way without even consider- gate,” he says. “I’ll never forget watching mind, I’m constantly picking things up and I’m hanging them. It’s ing that there are other ways of doing that all happen, and the way different all there. I know Bob does this too. And I think this is something them.” departments within the company came that gets missed in our culture, in our world: You get disciplines ydroplane racer. Circus trapeze single individual,” says David Judd, a “Willie Edelston, who was one of the And then swimming with alligators He relates it to the work that led together. It was two years before we of things so compartmentalized that people never really see how artist. Stunt man. Underwater 23-year Taylor veteran and a longtime main [trapeze] flyers with the Ringling and snakes. to Taylor’s original Expression System even met demand.” they’re connected to other things, and for greater value. H archeologist. It sounds like member of our product development show back in the ’40s and ’50s, some- Hosler remembers his first div- pickup and preamp. Over the years, Hosler has been the resume of the “Most Interesting Man team who has worked as closely with how got me to try out,” Hosler says. ing excursion with Malwin in the “When we first started, I contacted instrumental in implementing change in I got interested in a concept a while ago called information in the World” character from the popular Hosler as anyone at Taylor over the “Being the uncommitted person I was, I Steinhatchee River in northern Florida. everybody I could find who had ever other ways at Taylor. He managed our cascade. You could call it following the herd. There’s a great study ad campaign for Dos Equis beer, but years and become a good friend along didn’t show up a couple of times. Then “I’ve decided that ‘Steinhatchee’ is made a pickup and asked them the Repair and Final Assembly departments about why people get caught in the things they do, and it talks David Hosler brought his own manly mix the way. “I think a large part of our jobs when I did, he just gave me hell. It was Indian for ‘You’re just gonna die here,’” same questions: Why did you do what when Taylor’s patented NT neck design about voluntary and involuntary use of info. The best example is, of job skills to Taylor’s Repair depart- here is problem-solving, and since nei- what good coaches did. They didn’t he laughs. Malwin helped him overcome you did? Why did you choose to use was put into production in 1999, and you decide you’re going to eat at a restaurant where you’ve never ment when he arrived in 1996. Luckily, ther of us were good students in school, give you hell like, ‘Go away,’ but rather, his fear, and Hosler took the plunge, piezo crystals? And the predominant helped revamp the workflow for the been before. So you research all these places and finally decide he also brought an extensive musical we came up with ideas that were out- ‘Are you gonna straighten out?’ And I leading to many subsequent diving thing I found was, first, the lack of real neck assembly process. While serving on one, and when you pull up in your car, another restaurant over background. Hosler was a seasoned side the box.” needed it really bad.” excursions with him, swimming with car- information about how guitars work; as VP of Customer Service, Repair and here is full, but the one where you are, that you did all this research guitar player and live sound engineer Hosler remembers being outside Having the right mentor figures battery-powered lights to cut through also, the materials were not available Quality Control, Hosler was deployed to on, doesn’t have anybody there. So now you start questioning your who’d toured with a number of bands in plenty of boxes growing up in Sarasota, along the way proved to be an impor- the inky murk. While he’s seen gators, to do anything else. So the approach Europe in 2008 to set up Taylor repair judgment. This is the pivot of risk and reward. You have to decide the ’80s and ’90s. He had also owned Florida. tant and recurring theme in Hosler’s he’s never been attacked. His worst became entrenched. It helped me real- and service centers in four countries whether you’re willing to follow everything you know and go into a guitar shop in South Carolina, where “In the ’60s I was a troubled kid,” development. One was Jarl “Doc” encounter was almost drowning while ize that if we have new materials, and while Fender was handling our European this place where there are no cars or go over there. The thing is, if he built and serviced guitars, includ- he says. “I got arrested in 7th grade for Malwin, a big, charismatic Norwegian being pursued by a big, territorial water now we have more information, maybe distribution. A couple of years later he you go to the place that’s empty, the next person who pulls in now ing Taylor warranty repairs, for over a auto theft because I got in with a group 20 years Hosler’s senior who was a moccasin. there’s another path that’s better.” moved to Amsterdam to establish our realizes there’s another car there…. decade. of guys. Then when drugs came through pioneering river scuba diver. In his blackwater diving experiences, Hosler found another intellectual European headquarters, creating the At Taylor, Hosler found a place to Florida, that was the end of it all. I took “He was one of the early div- Hosler retrieved numerous artifacts mentor in brilliant audio designer Rupert infrastructure for Taylor to take on its thrive, thanks to Bob Taylor and an my first LSD in 7th grade and just kind ers back in the ’50s,” Hosler says. that had never been found in the area Neve, whose recording consoles are own distribution, including warehous- innovation-minded culture that was of went from there.” “Back then, no one did what they did. before — mastodon bones and remnants revered in the music industry and with ing, sales, and a factory service center in the midst of a growth period. Over But Hosler was also a gifted athlete These guys pioneered stuff when the of other extinct animals like a giant whom he worked closely on the devel- equipped to provide the full range of a 19-year tenure that ended with his who enjoyed sports. His father was a first aqua-lungs came out and when tortoise the size of a VW Beetle and a opment of the ES. Taylor repairs offered at our factory retirement from the company in June, he record-setting hydroplane racer, so he Jacques Cousteau was there; they glyptodon, a giant armadillo-like animal. He and I just connected,” Hosler headquarters in El Cajon. synthesized his experiences as a player, followed suit and started racing com- were almost the Les Pauls of that The many discoveries he made, and the says. “Everything he taught me I just After nearly 20 years at Taylor, Hosler builder, soundman and repair technician petitively when he was 12. genre.” lengthy conversations he enjoyed with absorbed.” feels like this is the right time for him to into a variety of roles that have helped “They just told everybody I was 14 Malwin and several others had Malwin during their drives to different Reflecting on his product develop- move on to other creative endeavors. He propel Taylor forward on several fronts. so I could compete,” he recalls. explored Florida’s rivers and discovered rivers, about everything from diving to ment work at Taylor over the years, notes that our Electronics department is Clockwise from top down: Hosler and a circus colleague perform Ultimately, he carved out a special place He also competed as a gymnast, hundreds of ancient artifacts. They physics to life, helped Hosler under- Hosler says he’s probably proudest of in great shape with 12-year Taylor veter- the “French Trap” on the trapeze; piloting a hydroplane; in a Florida as an envelope-pushing problem solver and when trying out for the Junior formed the Florida Indian Foundation to stand, among other things, the impor- the Expression System 2 design, whose an Trenton Blizzard, a brilliant pickup and blackwater river with part of a mastodon jawbone; with the T3/B on Taylor’s product development team, Olympics, his trainer also encouraged promote archeological research. Malwin tance of confronting one’s fears. key innovative twist — the repositioning preamp designer, managing things. shortly before its release; holding the coveted TEC award from the perhaps best known among Taylor play- him to try out to become a trapeze art- introduced Hosler to blackwater river “When you finally get the courage to of piezo sensors behind the guitar’s “I love Taylor,” Hosler says. “It just Mix Foundation for the design of the Expression System with Rupert ers for spearheading the design of our ist for the Sailor Circus in Sarasota, diving. not be afraid to do something because saddle rather than beneath it — was feels like the right time to let other peo- Neve; circa 2000, when he managed the Final Assembly and Repair proprietary Expression System® pickups. a youth circus founded by performers “These rivers are black with tannic you might swim up on an alligator — it’s sparked by a memory of putting up tents ple do their thing and for me to find the departments; Right: With David Judd; Opposite page: With an “David is a great problem seer and from the renowned Ringling Bros. cir- acid,” he says. “You can’t see a thing. gonna happen, and it’s not fun — you back in his circus days. (So that circus next thing I’m supposed to do.” Expression System 2 pickup element fixer, a combination you rarely find in a cus company. It’s like going to a swamp and diving in.” realize that in facing your fear you actu- experience actually did come in handy). And he has. When we spoke, Hosler 26 27

goes to impart its energy into the string, own inertia into the complex alchemy of Ultex the pick flexes as it is pushed past the a player’s articulation hand in motion. Ultex® picks are formed from a stiff string. At a certain point, the pick Picks were traditionally made from the dynamic and responsive-sounding, releases and snaps past the string. This shell of the long endangered hawksbill long-wearing material. The thinner flexing and snapping action absorbs sea turtle. Synthetic materials have gauges are more flexible depending on HOW DIFFERENT PICK ATTRIBUTES some energy and tends to even out the been in common use for decades, the player’s finger pressure and grip, player’s attack. In this case, the string’s two of the most common being cel- which tends to even out the attack and response depends more on the flexing luloid and nylon. In reality, nearly any string volume, making them a good INFLUENCE ACOUSTIC TONE By Andy Powers characteristic of the pick rather than hard and long-wearing material can match for strumming chords where how forcefully the player drives the pick work, with each material displaying even volume is beneficial, or for players past the string. For this reason, a stiffer unique characteristics in how the pick who enjoy the feel of a pick that evens pick will always offer the player’s hand addresses the string before the note is out their string attack. The thicker gaug- more dynamic range than a flexible one. allowed to sound, as well as how the es allow for more dynamic range and Ed. Note: If you’re hip to the recent ing deserve a carefully considered pick. either the wider or more acutely pointed Besides reducing dynamic range, this pick will wear. are more reflective of the player’s right- wave of tone-enhancing guitar develop- Picks have been used on string areas of the pick’s perimeter. flexing action takes time. Not much, hand finger pressure, offering great ments here at Taylor, most notably our instruments for millennia. Nearly every but it takes time for the pick to bend Pick Recommendations touch sensitivity and a direct connec- Pick variables revoiced 600, 800 and 900 Series, culture whose music includes plucked Striking Surface and snap past the string. As a result, With these parameters in mind, it tion to the strings. and how they you know that Taylor master builder string instruments use plectra of some The shape of the pick’s actual strik- rapid articulation is greatly facilitated by becomes clear that there is no one The tumbled and Andy Powers has carefully con- sort. From the long and slender picks ing surface, or its edge profile, is a a more rigid pick. Lest they get a bad definitive pick to choose for every play- carefully formed impact tone sidered virtually every material used by oud players, to the vaguely subtle extension of the pick’s profile. reputation, flexible picks have a place in er and guitar. The perfect pick should edge profile of ingredient of a guitar in his triangular bachi picks used by Japanese This edge profile might be squared off the musical universe. Because of their blend the shape, edge, rigidity and these picks has a redesign efforts. Another shamisen players, to the familiar tear- perpendicular to the face of the pick; tendency to absorb energy and even material characteristics in a way that smooth release off key contributor to a gui- drop shape favored by guitar players, it might be rounded over, or beveled out the string’s response, flexible picks complements your articulation hand and the string, creating a Pick Shape tar’s sound, of course, the pick is a vital part of string instru- to a knife-like taper. A pick is typically can be a great asset when playing a instrument, along with your repertoire. well-defined note. Rounder Striking Area is the technique of ment playing. For players who use one, held at a variety of angles and rarely rhythm part where an even, controlled For a wide variety of acoustic guitar • More overtone dampening you the player. And in the pick is the actual connection: the strikes with its face perfectly parallel to string response is desired. playing styles, most players tend to Primetone • Dark, warmer, deeper sound between you and your point where musical expression trans- the string. This edge profile will wear prefer the classic teardrop shape, rec- Primetone™ picks are made with a guitar may be another fers from the player’s articulation hand with use, and the texture that develops Material ognizable the world over as the distinc- similarly responsive, long-wearing mate- More Pointed Shape variable: a pick. Not sur- to the instrument through the strings. will slowly alter how easily the pick Finally, the material the pick is made tive guitar pick shape. This outline pro- rial. These picks have formed edge pro- • Less dampening of high frequency overtones prisingly, Andy has some Indeed, picks are important. But slides and releases off the string, as from imparts its own influence into vides both a smaller point for brighter files that have been carefully smoothed • Brighter sound insights on this subject. In what makes them different from one well as how the overtone dampening is these physical factors: how smoothly sounds and two more broadly rounded off to simulate the wear pattern that fact, his own experimentation another? To a degree, guitar picks affected. As the edge of the pick wears the pick glides from the string; the tex- corners for imparting warmer sounds. forms on a well broken-in pick, but with has led Taylor to partner with mostly look the same, but then again, in, it will gradually become broader than ture of the striking surface both when Extra thickness is a big asset for most a highly polished texture. The result is a our friends at Dunlop to offer some so do most acoustic guitars. Subtle when it was new. This slow widening new and as the material wears; and musical circumstances, as the dynamic pick that glides quickly and definitively new pick options (available through distinctions in shape, thickness and increases the overtone dampening how the string overtones are damp- range helps draw the most from the off of the string, making for Striking Surface TaylorWare) that Andy feels will serve material all matter in significant ways, and darkens its tone. If the pick had a ened by the softness or hardness of guitar’s voice. a clear and fast feel Smooth Edge Profile players well. as each variable influences how a string sharp, pointed profile to begin with, this the material. The weight of the pick’s We here at Taylor are thrilled to with wonderfully • Less overtone dampening We asked Andy to share his thoughts responds to the player’s attack, much will quickly wear away, making a signifi- material also provides feedback to the partner with our friends at Dunlop to intact string over- • More precise note definition and a faster response on the key physical attributes that dif- like the ways a guitar’s shape, design cantly darker sound. The texture that player in a tactile way as the pick is offer some of our favorite acoustic gui- tones. The raised ferentiate picks, and how they can influ- and materials influence its sound. Let’s develops with use is typically rougher swung past the string, contributing its tar picks. grip ensures a sure Roughened/Worn Surface ence a guitar’s tonal response. In the dissect the key variables that differenti- than a newly polished or tumbled sur- hold and a positive • More overtone dampening end, his observations are meant to help ate picks: the shape, the striking sur- face. Wound guitar strings in particular player connection. • Darker sound you arrive at the sound you want, but he face, the rigidity and the material they act like files, grinding away at the pick’s • More resistance and additional pick noise admits that for some, his pick “nerdery” are made from. striking edge. A roughened surface will Experiment to • Extra sonic space in front of a note might be more technical detail that you drag against the string during the pick Find Your Fit need. If you enjoy exploring the nuances Shape stroke, grabbing the string and pulling Each player and each instrument of tone, you’re likely to find his guiding The shape of the pick determines it along with the pick, introducing some is a unique individual, as is the music thoughts helpful. If not, that’s fine too. how much overtone dampening occurs resistance and additional pick noise. drawn from them. With that in mind, Rigidity But if nothing else, you might find it fun during the pick stroke. Along the length A rough pick edge will translate into a experimentation is a great way to find Thin/Flexible to experiment with different picks to find of a vibrating guitar string, there are more audible pre-note pick noise. This your fit in a pick. We’ve combined six • Absorbs energy; evens out the player’s attack out if you can feel or hear a difference. sub-vibrations, or overtones, in addition isn’t necessarily a bad thing — the resis- of our favorite Dunlop picks from the • Consistent response for rhythmic playing The good news is that picks are inex- to the fundamental or simple note the tance can be a benefit to playing styles Ultex and Primetone series into a vari- pensive, so spending just a few bucks player articulates. The higher the pitch where the player is seeking extra sonic ety pack offered through TaylorWare Thicker/Stiffer might put some inspiring new tonal fla- of the overtone, the shorter the length space in front of each note. To hear so each player can discover what • Faster articulation vors at your fingertips. of string these individual wave motions stellar examples of pre-note pick noise, works best for their style and instru- • Greater dynamic range occupy. At very high frequencies, these try listening to Eric Clapton’s playing on ment. You can also purchase individual s guitar players, it’s easy to vibrations are very short in physical John Mayall’s Bluebreakers record or packages of a single type and gauge. become fixated on the length — to the extent that a pick with a some of Biréli Lagrène’s fantastic gypsy One final thought: If for some rea- A objects of our musical affec- wide or round striking area will dampen jazz playing. Conversely, a pick with son you find the acoustic tone lacking tion. We swoon over beautiful curves and diminish their presence from the a very smooth edge profile will glide on a guitar you currently have, the Material • Most are made of celluloid or nylon for long wear and appointments. Our hands caress sound we hear. This overtone dampen- off the string and reduce drag, which solution might be as simple as switch- • Harder materials produce less dampening a smooth, inviting neck. We reach for a ing results in a dark or warmer, deeper will translate into precise note defini- ing to a different pick. For example, if a • Weight of material affects both stroke and sound pick. But wait. Are you really going to sound. On the other hand, a sharply tion and a fast, responsive feel in the guitar sounds too dark for your taste, pour your soul into those strings using pointed pick will contribute a very bright player’s hand. a brighter sounding pick might do any old piece of plastic? Trees hun- sound, as the slender striking point will the trick. Remember, a pick provides dreds of years old were felled and trans- dampen very few high-frequency string Rigidity the tie that binds us to those guitar formed into a beautiful instrument, with overtones. Often, once players clue The thickness, or rigidity, of the strings. As such, we should choose a careful thought given toward creating into this, they learn to manipulate their pick is an important variable in the pick great one. the most musically dynamic instrument pick tone by rotating their pick in their equation. Thin and flexible picks act like possible. That instrument and your play- fingers to coax different sounds from shock absorbers. As the player’s hand 28 29

Backstage with Bob Acoustic Co-Pilots San Francisco-based photographer Jay Blakesberg has shot some of the big- A warm acoustic current flows L.A.,” Natt shares. “‘When the Levee Tools of the Trade Soundings gest names in music over the years. In May he was backstage at the Sweetwater through the recent self-titled release Breaks’ was mixed on them, four Music Hall in Mill Valley, California, for a special concert to benefit Music Heals from The River Pilots, an Americana Van Halen records were cut through International, featuring Lukas Nelson and an array of musical friends, including duo comprised of singer-songwriters them, as well as numerous other great Robert Natt and Zach Wiley talk about recording with their Taylors Grateful Dead co-founder Bob Weir. While hanging in the green room, Blakesberg Robert Natt and Zach Wiley. Based records.” snapped a shot of Nelson and Weir, who had his Taylor 714ce on hand. In fact, in Roanoke, Virginia and Raleigh, The album was recorded at White What do you like sonically successive grits to achieve a glass-like parts and interwoven fingerstyle Weir actually was one of the early, unofficial beta testers for the Expression North Carolina, respectively, the two Star Sound outside Charlottesville, about your Taylors? Do you feel edge that gives a really smooth release parts that worked so well with them. System® 2 in 2013 and became a fan of the pickup. Taylor pickup developer David bonded a few years back through Virginia. Helping to shape their sound like the 714ce and 414ce have on each string. That’s the real tone I probably brought 10 guitars, but the Hosler (see his profile on page 24) met Weir at a NAMM Show years ago and they shared musical tastes that favor a in the studio were producer (and stu- unique nuances in their acoustic secret! There’s really no substitute. Taylors were just so versatile. struck up a friendship based on their love of guitars and tone. melodic acoustic sound, sweet vocal dio owner) Chris Keup (Jason Mraz), personalities, and do you find For picking or strumming parts, I Aside from the tone, my favorite “Bob is really into audio quality,” Hosler says. “He has the Myer Sound Con- harmonies, and tastefully distilled recording engineer Stewart Myers yourselves favoring either for use a Dunlop .73 pick and a light to thing about Taylor guitars is play- stellation acoustic system [a state-of-the-art sound system for venues] installed his arrangements. Their resulting musical (Lifehouse, Jason Mraz, Shawn Colvin), certain things? moderate attack. String balance is ability. It’s so rare to find guitars that place. We saw each other a few times and it just led to asking him to try the ES2.” collaboration manages to shine with and mastering engineer Fred Kevorkian critical for me, so I don’t like to dig in sound so good and are consistently According to Weir’s guitar tech, he’s been enjoying the 714ce and has used it tonal richness while also embracing (Ryan Adams, Willie Nelson, Dave Robert: There are definitely key too hard. playable all the way up the neck. I for a number of live gigs. the simplicity of a good melody. Matthews, Phish). Their production distinctions between the two. I On “In Time (Our Day is Coming play with a lot of capos and partial “Simple music can have a very preserves the melodic essence of the own the 714ce and Zach owns Soon),” I actually just used the side capos, so maintaining proper intona- powerful emotional feel,” says Wiley, tracks, highlighting the organic charac- the 414ce, but we both used them who contributed piano, keys, organ, ter of the acoustic instrumentation and interchangeably on a lot of our drums, guitar and vocals to the proj- pushing the vocal harmonies forward in recordings. We wrote most of the ect. “Pair the simplicity of a 1-4-5 a way that gives them added intimacy. songs on our record with these two progression with a sweet, simple, “And When It Rains,” a sweet ode guitars. I play a lot of fingerstyle, so catchy melody and you have a song to buying a house and building a life I love the cedar top on the 714ce. It worth singing that runs deeper than together, captures the emotional acces- has a beautiful, warm tone and a anything musically.” sibility of Natt and Wiley’s songwriting. perfect string balance. I use light Natt and Wiley used a cedar- The lilting rhythm of “Devil Woman” gauge Elixir Nanoweb Phosphor top 714ce and a 414ce throughout conjures the timeless sound of The Bronze strings with it. With my play- the record (both were purchased Band as the lyrics take the perspective ing style, it’s important for each from Taylor dealer Fret Mill Music in of a performer surveying a troublesome note to have its own voice and not Roanoke). Natt says that as a writer audience member from the stage. get lost in a sea of chords. It’s like and arranger, he takes a minimalist “Come Home” calls to mind the melod- a perfectly dialed-in compressor approach. ic melancholy of Elliott Smith as Natt without any loss in tone. The 414ce “I’m really drawn to great tone,” he and Wiley’s wistful harmonies float over definitely has a brighter vibe with the says. “I wanted this record to have shimmering acoustic arpeggios. On spruce top. We used it to add some sparkle and sometimes paired it with a darker guitar for an added dimen- sion. It’s a bit punchier and can take of my thumb without any fingernail. tion is critical. I can do this so much heavier strumming without overdriv- While we were recording the album, easier with Taylor guitars, without ing the top. Zach wrote the initial parts to that the hassle of constant re-tuning and She Rocks Taylor Showcase in Nashville song and came up with a great part constant setups that some of my After the opening day of the 2015 Summer NAMM Show in Nashville on July 9, Zach: My 414ce tends to lean on a nylon-string guitar. While we other guitars require. the She Rocks Showcase filled the music venue The Listening Room. Sponsored toward the bright and chimey tone rehearsed in the studio, I added the We had the pleasure of using a Double Dream Come True asked by Bono to take it in the key by Taylor Guitars and hosted by the Women in Music Network, the event pre- that is great for strummy rhythm strumming part, capo’d high on the great assortment of great vintage Thirteen-year-old U2 fan Brian of C. He began to strum the first few sented singer-songwriter Bryce Hitchcock, soul singer Pearl, and guitar duo the parts throughout the record, as is 714ce with a very light attack. It’s a and modern gear. I used a 1961 Hartman is too young to even have chords to the delight of the crowd. Constable Sisters (featuring Chelsea and her 13-year-old sister, Grace), whose Robert’s 714ce, although that guitar perfect combination. C-37A on 99 percent of my acoustic a bucket list, but getting to play on Hartman says he wasn’t nervous smoking set included covers that ranged from Django Reinhardt to Dire Straits has less treble and a bit more body. guitar parts. It’s one of those desert- stage with the iconic Irish band would during the performance. “I was too (“Sultans of Swing”). (Check out their videos on YouTube; you won’t be disappoint- Zach: Writing pretty much the entire island mikes with an incredible his- no doubt be on it. After receiving focused on the band,” he explains. “I ed.) They were followed by singer-songwriters Katie Garibaldi and Taylor Tote. There’s a lot of fluid fingerpick- record on our Taylors gave us a lot of tory in some amazing recordings. All front row tickets for Christmas, the didn’t even notice the people.” At the Videos of each performance are available at: YouTube.com/thewimn ing throughout the record. Is time to really home in on our different of the guitars were run through Massachusetts native, who’s also a end of the song, as he stood there there anything distinctive about parts, which became a very distinct early ’70s API preamps that were developing guitar player, attended his dazed in the afterglow of the moment, your picking style or playing and prominent part of sound on the salvaged from a console in Sunset first U2 show in Boston in July at the Bono told him, “I might have to take L-R: Robert Natt, Zach Wiley approach on the record? Are you record. When it comes to fingerpick- Sound’s Studio B. Zach’s 414ce TD Garden with his family. He knew that back, young man,” motioning to strictly fingerstyle guys, or do ing, neither of us has ever used picks was miked with a mid-’70s Neumann the band was inviting audience mem- the guitar. “Actually, I’m not taking huge, beautiful guitar sounds. We gave “For I Know,” an earthy kick drum adds you also use a pick? unless it’s a strumming rhythm part. KM 86. We were in tone heaven! bers on-stage to join them each night that back,” he added. “It’s for you.” a lot of attention to very rich chord voic- a buoyant heartbeat as the tune builds for their hits “Desire” and “Angel of Hartman’s jaw dropped as the crowd ings. We try to keep melodies straight- on an ascending vocal line to express Robert: I play a mix of fingerstyle How were the Taylors to record? Zach: That Sony is what a lot of the Harlem,” so he came prepared. roared. forward, but build lush, modern chords.” the hopeful optimism of not-yet requited and picking on the record. As far as I’m curious what studio mikes jazz cats (Sinatra, Nat King Cole) “I had learned ‘Desire,’ Hartman “I was not expecting to get the Top: Brian Hartman performing “The beauty,” Wiley adds, “comes love. “August’s Sentiments” embellishes fingerstyle approach is concerned, you used. Your website had a used on their vocal performances, shares, “but my dad said they were guitar at all,” he shared with us a cou- with Bono and the Edge; in finding the musical layers to move a the acoustic fingerpicking with cello I’m totally obsessive about it. I used photo of what looked like a Sony so it was a thrill to have access to pulling people up on stage for ‘Angel of ple of days later. “I’m so happy with it Above: Hartman learns the simple song forward. Then the studio and subtle string arrangements to add to geek out on James Taylor’s tech- C-37A. Is that unit an older piece one. Part of the joy in recording that Harlem’ too, so he taught me the song.” and play it all the time.” guitar is his to keep (photos by becomes an empty canvas.” emotional depth. “The Water’s Edge” nique as a teenager. I also studied of gear? Also, did you blend the album was the gear we had at our Hartman also brought a sign that Hartman left that night with the John Gillooly); Above right: The duo’s interest in rich, warm adds a rich sheen of layered back- classical guitar for a while and that Expression System in as another disposal. We kept it as analog as we said “I PLAY GUITAR.” guitar but without a case, so when Lukas Nelson and Bob Weir tones led them to use some vintage ground vocals reminiscent of a classic helped my right-hand technique. I signal source or just stick with could and focused on great parts. His chance came halfway through we heard his story, we made sure he (photo by Jay Blakesberg); analog recording gear in the studio. Eagles track. Together, the album tracks use the pads of my fingers in com- the mikes to get as warm an That became the foundation of our the show when Bono leaned over the received one. He says he plans to Right (L-R): She Rocks To mike his acoustic parts, Natt went form a cohesive collection that demon- bination with natural fingernails. The analog sound as possible? sound and it really showcased the side of the stage and said, “You play enjoy his once-in-a-lifetime gift and Showcase performers Pearl, with a Sony C-37A, and they used API strate that these co-Pilots have a natu- pad gives each note plenty of body, natural tone of the guitars. guitar? Come on, young man. Can you play it a lot. Bryce Hitchcock, Katie Garibaldi, preamps with an impressive musical ral sense of musical direction, and one Taylor Tote, and Chelsea and and the nail provides the attack. I file Robert: The Taylors were great in play ‘Angel of Harlem’?” After climbing “Hopefully, someday I’ll be playing pedigree. that’s pleasant for listeners to follow. Grace Constable my nails to a rounded shape and use the studio! We did a lot of doubled on stage, Hartman was handed The my own music at the Garden.” “They were salvaged from the www.theriverpilots.com Edge’s Grand Orchestra 718e and Studio B console at Sunset Sound in 30 www.taylorguitars.com 31

Calendar For all the latest Taylor event listings, visit taylorguitars.com/events Seasonal Tips

We’re well into a new season of Taylor Road Shows, which bring our Ottawa, ON Canada Ellisville, MO Olympia, WA Quebec City, OC, Canada Wadsworth, OH Don’t Let Your Guitar Get Parched This Fall tandem of sales experts and product specialists to authorized dealers to Lauzon Music Fazio’s Music Music 6000 Musique Gagne Larry’s Music Center share the latest from the Taylor factory. Our crew will share helpful information Thu., Oct. 22, 7 p.m. Tue., Oct. 27, 6:30 p.m. Tue., Nov. 10, 7 p.m. Tue., Nov. 17, 7 p.m. Sat., Nov. 7, 11 a.m. – 4 p.m. The arrival of fall brings colder cess, making it easy to maintain prop- to a healthy humidity level. on choosing the right guitar based on body style and tonewood options, (613) 725-1116 (636) 227-3573 (360) 786-6000 (418) 525-8601 (330) 334-4433 temperatures to many regions. This er humidification for your guitar in its To give you a visual idea of how featuring guitar demos with models from the 2015 Taylor line. As always, we’ll means many of you will be running case. The moisture-filled packets have extremely dry conditions can impact have a fresh assortment of inspiring custom guitars to show off, too. We’ve Auburn, CA Sterling, VA Lafayette, LA Asbury Park, NJ Westminster, MD an indoor heater in your home (or a leak-proof, water vapor-permeable a guitar, take a look at the two pho- also put together a “Find Your Fit” guide for the Road Shows that you can Encore Music Melodee Music Lafayette Music Russo Coffey Music store) throughout the fall and winter membrane that provides two-way tos shown here. Taylor repair expert take home with you. The shows are lively and fun, and we love to meet fellow Thu., Oct. 22, 7 p.m. Tue., Oct. 27, 7:30 p.m. Wed., Nov. 11, 6:30 p.m. Wed., Nov. 18, 7 p.m. Tue., Nov. 10, 5 p.m. – 9 p.m. months. Remember that the more humidity control, allowing them to Rob Magargal, who currently serves guitar enthusiasts and answer questions. (530) 889-0514 (703) 450-4667 (337) 984-3700 (732) 455-8397 (410) 848-5003 you heat your home, the lower the either release or absorb moisture to as our Service Network Manager and In addition to Road Shows, our Find Your Fit events take things a indoor humidity will drop, which in maintain a constant relative humidity trains our authorized service techni- step further by giving you a chance to schedule a one-on-one personal White Plains, NY Falls Church, VA Tukwila, WA New London, CT La Plata, MD turn means your guitars will be more (RH) level of 45-50 percent. When cians around the world, intentionally consultation with Taylor experts to help you choose the right guitar for your Sam Ash Music - White Plains Guitar Center - Falls Church Guitar Center Southcenter Spindrift Guitars Island Music susceptible to drying out. That’s why you take your guitar out of its case dried out and then rehydrated a playing style and needs. Thu., Oct. 22, 6:30 p.m. Wed., Oct. 28, 6:30 p.m. Wed., Nov. 11, 6:30 p.m. Wed., Nov. 18, 6:30 p.m. Wed., Nov. 11, 3 p.m. – 8 p.m. it’s important to monitor the humid- to play it, be sure to close the lid to 314ce as part of a training project. Below you’ll find our latest Taylor event listings. We hope to see you! (914) 949-8448 (703) 533-8500 (206) 243-9077 (860) 444-2112 (301) 392-3960 ity level in your home. Use a digital preserve the humidified environment. We photographed the guitar in its hygrometer, as they provide the most If you notice your guitar top sink- different states, lighting the shots Concord, NH Heath, OH Greenfield Park, QC Canada Porltand, OR accurate readings, and you’ll prob- ing, or your action getting low and in a dramatic way that accentuates North American Road Shows Strings and Things Guitar Guys Steve’s Music Portland Music Company ably need to use a guitar humidifier buzzy, or fret ends that feel like they how much the back of the guitar can Wed., Oct. 28, 6:30 p.m. Wed., Nov. 11, 7 p.m. Wed., Nov. 18, 7 p.m. Sat., Nov. 14, 11 a.m. – 6 p.m. of some kind to maintain a healthy protrude slightly as your fretting hand physically change when it gets dry. (603) 228-1971 (740) 522-0277 (450) 912-2216 (503) 228-8437 humidity level for your guitar (45-55 glides up and down the neck, it’s an In the photo of the dry guitar, the percent is ideal). indication that your guitar is dry and back is concave — the straight edge Rolla, MO Houston, TX North Wales, PA Tucson, AZ One product our Service depart- needs more moisture. only comes in contact with the back Merle’s Music Great Southern Music George’s Music Rainbow Guitars ment recommends is the D’Addario Remember, if you allow your guitar at the outer edges, and the space Wed., Oct. 28, 6:30 p.m. Thu., Nov. 12, 6:30 p.m. Thu., Nov. 19, 6:30 p.m. Fri., Dec. 4, 12 p.m. – 5 p.m. Two-Way Humidification System® to dry out, it will take longer (and in between reveals how much the (573) 341-3020 (281) 550-4545 (215) 412-4400 (520) 325-3376 (available through TaylorWare), which possibly require a more intensive back has sunk due to dryness. In the automates the humidity control pro- humidification process) to restore it photo of the rehydrated guitar, the Catonsville, MD Portland, OR Dover, NH Phoenix, AZ shape is convex, with the straight Appalachian Bluegrass Portland Music Company Ear Craft Music Bizarre Guitars edge only contacting the back in Thu., Oct. 29, 6:30 p.m. Thu., Nov. 12, 7 p.m. Thu., Nov. 19, 6:30 p.m. Sat., Dec. 5, 12 p.m. – 5 p.m. the center, showing the proper arch (410) 744-1144 (503) 228-8437 (603) 749-3138 (608) 248-9297 that the guitar back should have. It’s important to note that a dry guitar is Collinsville, IL Fraser, MI Montreal, QC, Canada Rochester, NY in danger far before it displays the AAA Swing City Music Huber & Breese Music Musique Diplomate House of Guitars extreme symptoms of the dry guitar Thu., Oct. 29, 6:30 p.m. Thu., Nov. 12, 6:30 p.m. Thu., Nov. 19, 7 p.m. Sat., Dec. 5, 1 p.m. – 5 p.m. shown. (618) 345-6700 (586) 294-3950 (514) 274-5413 (585) 544-3500 Rob Magargal offers one other bit of humidity control advice relating to Lexington, MA Keizer, OR Eugene, OR using a digital hygrometer. Most units The Music Emporium Uptown Music McKenzie River Music have a “Min/Max” button that shows Thu., Oct. 29, 6:30 p.m. Fri., Nov. 13, 7 p.m. Fri., Dec. 11, 11 a.m. – 7 p.m. the fluctuation range of the humid- Taylor product specialist Wayne Johnson during a Road Show at The Guitar Bar in Santa Barbara, California in September (781) 860-0049 (503) 393-4437 Find Your Fit Sales Events (541) 343-9482 ity levels. That can be an important reading to monitor. Winnipeg, MB Canada Springfield, NJ Lewisville, TX Downers Grove, IL Carlisle, PA Winnipeg, MB, Canada Bend, OR “A person might open the guitar Quest Musique Sam Ash Music - Springfield Guitar Center - Lewisville Tobias Music JW Music Quest Musique Music Makers case or check their room and see the Fri., Oct. 16, 7 p.m. Tue., Oct. 20, 6:30 p.m. Thu., Oct. 22, 6:30 p.m. Fri., Oct. 30, 4 p.m. & 7 p.m. Mon., Nov. 16, 7 p.m. Sat., Oct. 17, 12 p.m. – 6 p.m. Sat., Dec. 12, 11 a.m. – 6 p.m. current reading of, say, 43 percent, (204) 231-1677 (973) 376-5161 (972) 459-1864 (630) 960-2455 (717) 258-6765 (204) 231-1677 (541) 382-3245 Extremely dry guitar but the lowest humidity could have been 25 percent,” he explains. “That San Diego, CA Longview, TX Lynchburg, VA Boardman, OH Wappingers Falls, NY Sterling, VA is a true sign they need to use a The Blue Guitar Mundt Music - Longview Point Source Audio Guitar Center - Youngstown Alto Music - Wappingers Falls Melodee Music humidifier to make sure the guitar Mon., Oct. 19, 7 p.m. Tue., Oct. 20, 6:30 p.m. Mon., Oct. 26, 6:30 p.m. Mon., Nov. 9, 6:30 p.m. Mon., Nov. 16, 6 p.m. Tue., Oct. 27, 2 p.m. – 6:30 p.m. doesn’t get damaged slowly over (619) 283-2700 (903) 758-8872 (434) 237-9091 (330) 629-7588 (845) 297-0011 (703) 450-4667 Taylor Guitars winter. When combined, 43 and 25 Takeover Weekend percent translates into a much lower Philadelphia, PA Westminster, CA St. Louis, MO Seattle, WA Chicoutimi, OC, Canada Catonsville, MD average humidity. Without checking Sam Ash Music - Franklin Mills Sam Ash Music - Westminster Guitar Center - Crestwood Dusty Strings Ivonick Desbiens Musique Appalachian Bluegrass Addison, TX the Min/Max readings, people might Mon., Oct. 19, 6:30 p.m. Tue., Oct. 20, 6:30 p.m. Mon., Oct. 26, 6:30 p.m. Mon., Nov. 9, 7 p.m. Mon., Nov. 16, 7 p.m. Thu., Oct. 29, 2015 2 p.m. – 6 p.m. Tone Shop Guitars get a false sense that everything is (215) 612-1339 (714) 889-2122 (314) 918-7660 (206) 634-1662 (418) 696-2224 (410) 744-1144 (972) 661-TONE (8663) fine.” If you have questions about Toronto, ON, Canada Sacramento, CA Springfield, MA Monroe, LA Carle Place, NY Houston, TX • Road Show humidity care for your guitar, visit Steve’s Music Skip’s Music Falcetti Music Matt’s Music Sam Ash Music - Carle Place Fuller’s Guitar Thu., Nov. 5, 6:30 p.m. taylorguitars.com/support or feel Mon., Oct. 19, 7 p.m. Wed., Oct. 21, 6:30 p.m. Mon., Oct. 26, 6:30 p.m. Tue., Nov. 10, 6:30 p.m. Tue., Nov. 17, 7 p.m. Sat., Nov. 7, 11 a.m. – 5 p.m. free to call our Service department (416) 593-8888 (916) 484-7575 (413) 543-1002 (318) 387-3628 (516) 338-8700 (713) 880-2188 • Open House toll-free in North America at 1-800- Fri., Nov. 6, 3 p.m. – 7 p.m. 943-6782. Taylor owners in other Burlington, ON, Canada Mesquite, TX Clifton Park, NY Lyndhurst, OH Phillipsburg, PA Burlington, WA countries will find additional contact Rehydrated guitar Long & McQuade Guitar Center - Mesquite Parkway Music Sam Ash Music - Lyndhurst Dave Phillips Music and Sound Hugo Helmer Music • Find Your Fit & Trade-Up Event information listed on the website. Tue., Oct. 20, 7 p.m. Wed., Oct. 21, 6:30 p.m. Tue., Oct. 27, 6:30 p.m. Tue., Nov. 10, 6:30 p.m. Tue., Nov. 17, 7 p.m. Sat., Nov. 7, 12 p.m. – 6 p.m. Sat., Nov. 7, 10 a.m. – 6 p.m. (905) 319-3330 (972) 279-1607 (518) 383-0300 (440) 446-0850 (908) 454-3313 (360) 757-0270 32 www.taylorguitars.com 33

upon the foundation of wisdom and chosen to do that. Along similar lines, values held by the craftspeople of sending a text message for rapid com- previous generations, rather than chal- munication seems very modern, until lenging or opposing it. I was explaining I remind myself I have essentially just this idea to a guest recently as he sent the 21st century equivalent of a TaylorWare watched our automated side benders telegram. CLOTHING / GEAR / PARTS / GIFTS shape a pair of carefully bookmatched These lessons from generations wooden sides into their elegantly of past artisans continue to teach curved form. The gentleman stood us. Over the last two decades, I’ve there in disbelief, watching this tool learned about properly condition- do its work, while I explained how the ing wood. When a tree is felled, it NEW process was exactly the same whether contains a lot of water. The water will Ladies’ Birdsong Long Sleeve T I used a hot pipe to hand-bend the come out, and the tree will shrink. A 100% combed cotton featuring guitar/bird design. sides or an automated machine to good craftsman understands this, and slowly direct the sides around a heat- in most circumstances, allows the Loose cut with a rounded hem and open, ribbed neckline. ed form to set the fibers of the wood water to come out before transform- Soft-wash treatment for an ultra-comfy, worn-in feel and a into a new shape. The two tools are ing the wood into an object of desire. superior drape. (Black #4510; S-XL, $34.00) certainly different in complexity. From Otherwise the craftsman will turn the the wood’s perspective, however, the tree into a piece of work, and when two tools are the same. The wood the water evacuates, the wood will NEW gets hot, sinuous curves are gradually shrink, ruining both the work and the Sherpa Lined Jacket introduced, and the wood fibers are wood. In ages past, removing the allowed to cool, setting the shape and water meant rough-sawing boards 60/40 cotton/polyester body with 100% polyester Sherpa forming the outline we love so much. from the tree, and then stacking them lining. Pre-washed/shrunk for warm, comfortable feel. Full One tool allows infinite flexibility, while under a cover for years to allow sum- zip front with embroidered Taylor logo on left chest. the other eliminates inconsistency. For mer’s warmth and winter’s coolness Athletic fit. (Charcoal #3950; S-XL, $65.00; XXL, $67.00) this reason, I bend sides for the instru- to slowly tease out moisture from the ment prototypes I design using a hot wood, one molecule at a time. Over pipe. Once a design is settled on, we generations, craftspeople have devel- make a more complex tool to do that oped ovens to help speed the process job without variation. along. Currently, despite the myriad I was taught by an older craftsman of options we employ to remove this that a good craftsman uses the tools water from freshly fallen trees, we are he has to do exemplary work. A great considering using a cover, summer’s craftsman uses the most appropriate heat, and winter’s mild coolness to tools to do exemplary work. In reality, slowly draw the water out of our wood this ideal usually translates into great before we build it into instruments. craftsmen becoming tool makers. As Here in Southern California, we find a tangent to my guitar-making life, I ourselves geographically positioned on became fascinated at an inappropri- the western edge of a large, hot desert ately early age with building and main- and just inland of a large, cool ocean. L-R: Shelby from Human Resources models our Ladies’ taining tools. In the course of building Our climate is ideal for using light and Fall an instrument, I’d discover the need wind to prepare this wood. This seems Birdsong Long Sleeve T, while Zach from our Sales team to make a particular cut or profile on a almost laughably old-fashioned in our rocks our new Sherpa Lined Jacket, which will come in piece of wood. I’d stop working on the modern times, yet from the perspec- handy for his dealer visits in Pennsylvania and New Jersey 2015 instrument for a while and build a hand tive of a craftsman, it seems like the this fall and winter. plane specifically for the task. Other most appropriate tool to use for the times I might replace the bearings on a job. The parameters of the task remain powered machine or make some other the same as they always have been, THE CRAFT careful alteration in order to better per- so it seems logical that a tool that has form a job. In these ways, seemingly worked well for ages would remain mundane activities such as oiling a appropriate now. Same as it Ever Was rotating part on a machine or sharpen- So it is that the more things Modern methods aren’t always as removed ing my chisels became joyfully integral change, the more they stay the same. parts of the guitar-building process. Guitar making remains a traditional from the past as they might seem Like toolmaking, finishing the craft with us here at Taylor, standing instrument is another vital component among the ranks of craftspeople from of the process. At Taylor, we employ ages past, and offering our knowledge ultraviolet light to dry the finishes we and ability to future craftspeople who ’m often bewildered by the variety a completed instrument. Tools and from past ages, I try to see through apply to our instruments. This seems take up the saw and chisel. We share of seemingly unrelated tasks that machines need to be built, working the sophisticated trappings of the very modern, until I remind myself that in celebrating the intrinsic beauty I go into modern instrument mak- methods need refinement, and mate- modern era to bring into focus the real Stradivari and generations of other of special woods like those species ing. In the course of an average day rial needs procurement. Visitors to our picture of what instrument making is. instrument makers essentially did the we’ve formed into this season’s limited as a guitar maker, there will be con- shop here at Taylor leave wide-eyed Whether a craftsman uses tools from same thing by hanging their instru- edition instruments. We are thrilled to versations about finishes cured with at the modernity of our instrument the 21st, 20th or 19th centuries, the ments in the sunlight to dry. Without continue learning, and privileged to ultraviolet light, lasers to cut wood, the production, having witnessed roboti- craft remains a complex alchemy of a doubt, if craftsmen of Stradivari and share our ability and efforts through metallurgy behind a specific cutting cally assisted polishing and computer- seemingly disparate processes, which Amati’s caliber could keep dust from the instruments we make. NEW NEW tool, kilns for drying and seasoning guided neck shaping. find common ground in the form of an the cobblestone streets off their wet Case Label Hoody Taylor Long Sleeve Logo T Men’s Long Sleeve Chambray Shirt Men’s Fleece Jacket wood, and electronic methods of ana- Having formerly worked as a solo instrument. Moreover, I’m fascinated to varnish by drying the finish in a dust- ­­ — Andy Powers, Taylor Master Builder Standard fit. 50/46/4 poly/cotton/rayon. Fashion fit. 100% cotton. Slim fit. 80/20 cotton/poly. Standard fit. 60/40 cotton/poly. lyzing the quality of work or evaluating craftsman with tools handed down watch how current technology builds free area, they certainly would have (Black #2817; S-XL, $42.00; XXL, $44.00) (Black #2250; S-XL, $30.00; XXL, $32.00) (#3500; M-XL, $49.00; XXL, $51.00) (#2896; S-XL, $64.00; XXL, $66.00) 34 Caps Glassware 35 NEW Taylor Guitar Straps Three new premium NEW leather guitar strap Taylor Trucker Cap designs join our collection Plastic snap adjustable this fall: Badge, Guitar backstrap. (Black #00388, Basketweave, and Wave Olive #00389; $20.00) Appliqué, plus new suede straps in fresh colors. See them all at our online TaylorWare store.

1 2 3 Peghead Patch Cap Cap sizes: S/M (#00165): 22-3/8”, 57cm, size 7-1/8 L/XL (#00166): 23-1/2”, 60cm, size 7-1/2 NEW (Gray, $25.00) Moto T Lightweight 100% cotton. Fashion Fit. (Black #1571; S-XL, $24.00; XXL-XXXL, $26.00) Men’s Cap 4 5 One size fits all. (Black #00378; $25.00) NEW NEW 3) Etched Pub Glass Taylor Hot Rod T 1) Tumbler 20 oz. (#70010, $10.00) 100% preshrunk cotton. 12 oz. Porcelain/Stainless. Standard fit. (Light Gray (#70004, $18.00) 4) Taylor Etched Peghead Mug #1560; S-XL, $24.00; XXL- 15 oz. Ceramic. (Black #70005, $15.00) XXXL, $26.00) NEW NEW 2) Water Bottle 5) Taylor Mug Contrast Cap 24 oz. (#70016, $16.00) 15 oz. Ceramic. (Brown with cream interior, Snap back, flat bill. One size fits all. L-R: David, a supervisor in our Body department, astride a sweet ride in #70006, $10.00) (Charcoal #00381; $25.00) our Hot Rod T, as Philip from our Finish department looks on in our new Moto T.

NEW Gift Ideas Ultex® Picks Six picks per pack by gauge (#80794, .73 mm, #80795, 1.0 mm or #80796 1.14 mm; $5.00).

NEW Taylor Bar Stool Primetone PicksTM 30” high. Three picks per pack by gauge. (Black #70200, (#80797, .88 mm, #80798, 1.0 mm $99.00) or #80799 1.3 mm; $8.50).

NEW NEW Taylor Messenger Bag 24” high. Variety Pack (shown) Adjustable canvas/web strap. (Brown #70202, Six assorted picks per pack, featuring one of (Brown #61168, $69.00) $99.00) each gauge. Ultex (.73 mm, 1.0 mm, 1.14 mm) and Primetone (.88 mm, 1.0 mm, 1.3 mm). (#80790; $10.00)

Men’s Factory Issue T NEW NEW Cross Guitars T Digital Headstock Tuner Fashion fit. 60/40 cotton/poly. Taylor Two Color Logo T Men’s La Guitarra T Fashion fit. 100% cotton. TaylorWare Clip-on chromatic tuner, CLOTHING / GEAR / PARTS / GIFTS (Olive #1740; S-XL, $28.00; XXL, $30.00) Standard fit. 100% cotton. Slim fit. 60/40 cotton/poly. (Black #1535; S-XL, $24.00; XXL-XXXL, $26.00) back-lit LCD display. (Brown #1660; S-XL, $20.00; (Navy #1485; S-XL, $24.00; XXL, $26.00) (#80920, $29.00) Guitar Stand Travel Guitar Stand Black Composite Travel XXL-XXXL, $22.00) (Sapele/Mahogany #70100, Sapele, lightweight (less than Guitar Stand 1-800-494-9600 $70.00; assembly required) 16 ounces) and ultra-portable. Accommodates all Taylor models. Visit taylorguitars.com/taylorware To see the complete TaylorWare line with full product descriptions, visit taylorguitars.com/taylorware (#70198, $59.00) (#70180, $39.00) to see the full line. Presorted A Publication of Taylor Guitars Standard Volume 83 / Fall 2015 U.S. Postage PAID Phoenix, AZ | | | Taylor Guitars 1980 Gillespie Way El Cajon, CA 92020-1096 taylorguitars.com Permit No. 5937

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

Pro Players The sweeping electric/acoustic appeal of the T5z has inspired us to roll out a pair of limited-release T5z Pro models this fall, each sporting a handsome hardwood top. The T5z Pro-RW LTD will seduce Indian rosewood lovers, bringing the wood’s dark, rich hues front and center, with a matching shaded finish on the sapele body and neck. The T5z Pro- QM LTD substitutes quilted maple for the curly maple normally used on T5z Pro models, bringing extra complexity to the wood’s shimmering figure. A clear gloss finish highlights the subtle variations in golden color as the light reflects off the figure in different ways. Both models are loaded with sonic flavors thanks to the T5z’s three-pickup setup, featuring an acoustic body sensor, concealed neck humbucker, and visible bridge humbucker, plus five-way switching and onboard tone controls. Contact your local dealer for availability, as quantities are limited.