LIMITED EDITIONS Sassafras 814ce Koa/Cedar 500 Series Figured Ovangkol 200 DLX

NEW GRAND PACIFIC Blackwood & Mahogany 327e

BEATIE WOLFE’S ALBUM Ben INNOVATIONS Harper 2 www.taylorguitars.com Letters social Email us circles taylorguitars.com/contact Join the Taylor community

Facebook: @taylorguitars conditions of the mill, the people who the playability, and the ease with which My comments on the 717: The back Instagram: @taylorguitars work at the mill, and the community that music flows from me through the guitar. is gorgeous! The case is a work of art. @taylorespanol supports the mill in Cameroon. I also love their consistency! Although I have played several high-end guitars Twitter: @taylorguitars Scott McCord there are tonal changes depending on over the years but have never heard any- YouTube: taylorguitars wood or body shape, you always get thing like this before. The sounds at the a distinctive feel and sound, no matter eighth, tenth and twelfth frets are incred- Acoustic Jewel what model you are playing. ible. Just tuning it up string-by-string is I started getting serious with my When I first read about V-Class incredible because of the Elixir medium music again a couple of years ago after bracing, I was less than impressed. I strings. Play the G chord (holding an unintentional break for around 30 already felt that my Taylor guitars were down the B and E strings on the third years. I have owned many guitars over perfect — how could that be improved fret) when playing and singing “Tequila those years, but never a Taylor. I did a by this new bracing? Would my old Sunrise” by the Eagles. Wow — full, lot of research and played a boatload of guitars be “obsolete”? The whole idea over-the-top fantastic sound. You can guitar models from various makers. I set- made me unhappy, and more impor- make it soft and sweet with the Brazilian tled on a koa T5z. I couldn’t be happier tantly, unwilling to try the new bracing. tune “Quiet Nights of Quiet Stars” and with my “Nani” and have been making Fast-forward a year. I walk into my “How Insensitive,” or you can make it V-Class: Even Better with Age sweet music with her since we met. The local guitar store and what do I find? growl with “Proud Mary” in the key of A. I bought a new V-Class 714ce a versatility is outstanding, and I would An absolutely beautiful 414ce-LTD, And it has improved my singing, too. It’s little more than a year ago. As I play it recommend this guitar to anyone. black limba back and sides, Sitka everything a guy could want in a guitar! in and it ages, it has warmed up and Now Andy comes forward with spruce top, and the Expression System Andy, you have my full gratitude for developed more bass, as I would expect the Grand Pacific, and I was intrigued 2. However, it had the dreaded V-Class creating a masterpiece. of any new guitar. But the aging process with all of the innovations. After waiting bracing — do I dare play it? Well, I Greg Liptow for this guitar is different. Most guitars patiently, my local dealer received a did, and instantly fell in love with it! It South Lyon, Michigan develop more bass as they age, but it 517e and I got my hands on it. Without had that consistent Taylor playability often sounds slightly “muddy.” But with exception, each new feature made it and distinctive sound, and yet the new this guitar, as it develops a warmer, clear that the Grand Pacific was on bracing gave the guitar an even tone Family Values slightly more bassy overall tone, the another level and fit me to a T. I espe- and more volume across all the strings. I am an eight-time Taylor guitar owner. sound is what I can only describe as cially loved the compound-carve neck, The sustain and intonation were sim- From my GS Mini Mahogany (my first) “transparent” — very clear, non-muddy which is incredibly comfortable. ply amazing. I found that the V-Class to my 524ce and all those in between, bass and midrange. That’s one notice- Although I liked the playability of bracing was everything that had been I have enjoyed them all, as they have able difference about this guitar, and I the 517e, I decided to wait for a 717e advertised…and after spending a cou- helped me to progress as a guitar player. really like it. because everything I had read con- ple of hours playing it, I bought it on I also belong to several Taylor-oriented David Sippel vinced me I would love the sound of the spot. Facebook groups, where I network with this particular rosewood Builder’s Edi- Thanks for making such a great gui- other Taylor owners around the world. tion. I saved my money for this special tar, and making me a believer! The amount of praise I hear for both Doing the Right Thing purchase, and, along with trade-ins of Dean Daniel your/our guitars and your customer ser- I just finished listening to the Taylor my others, I was finally able to pick up vice is incredible, not to mention those podcast featuring [Taylor Chief Financial “Jewel” last week. I’m so very happy I with whom I interact at gigs and jams. Officer] Barbara Wight. I enjoyed waited for her. Builder’s Edition 717: Actually, in every encounter I have with hearing the stories from her travels to The richness of tone is even more A Masterpiece other players I find that Taylor is highly Cameroon and Taylor’s ebony mill. satisfying than I’d imagined. She’s com- I wanted to let [Andy Powers] respected and praised by both Taylor I bought my first Taylor a few months fortable to hold and visually stunning! know that after seeing his video on and non-Taylor owners! I live in proximity ago. I initially thought that I wanted an I’ve gigged with her a few times already the Sweetwater website and reading (Palm Springs) to your El Cajon show- acoustic from another manufacturer, to rave reviews for her smooth tonality a customer review of the Builder’s room/factory, have visited there several but after much research was convinced and projection. Edition 717, I bought one on a gamble times, and have always been greeted to turn to Taylor. I have not regretted Thank you for creating “Nani” and that everything he and the reviewer by a friendly and enthusiastic staff. I feel one second of my decision. And then “Jewel,” and for continuing to explore said was true. Well, I sure got lucky compelled to share these thoughts with after getting to know the company and and expand the boundaries of the musi- because everything said was more you because however you are managing the people who founded and currently cal universe. than true. I am 76 years young and your company, you are doing it very well, work for Taylor, I must say that every Clifford Davis, Jr. have been banging on guitars for 64 and all your caring and consideration acoustic purchase I make from now on years or so. My first guitar was the for us, your customers, does not go will be a Taylor. I admire and respect ever popular, mighty Stella, which cost unnoticed. I hope you will continue to be the philosophy of doing the right thing, Believe in the V around $15 and required a fist of steel there for all of us who are a part of the as in the stories of the ebony mill, as I’ve loved Taylor guitars since I start- to pull the strings down. Over the years ever-growing Taylor “family” of owners well as the idea of Taylor’s general ed playing guitar a decade ago. My first I have had Yamahas, Gibsons, Martins, and players. I look forward to my next approach to business in this hectic real acoustic guitar was a Taylor 714ce, Guilds, etc. I had one dreadnought visit to El Cajon and to my next Taylor industry and world. I was delighted to which I still play today. I’ve played doz- guitar for over 10 years; the problem guitar. hear the approach Bob [Taylor], Barbara ens of Taylor models over the years and was that with medium strings the bass Gary Nadeau and others at Taylor took to better the owned a few of them. I love the tone, strings drowned out the other strings. Palm Springs, California Contents WOOD&STEEL | VOLUME 95 | FALL 2019

Features Departments 6 Cross-Generational Jams 8 Ask Bob Shawn Persinger’s experience teaching his daughter Stump wood, guitar weight differences, to play bass taught him a few things as well. teak as a tonewood, why we don’t torrefy koa tops, and more. 10 Artist Spotlight: Beatie Wolfe Part singer-songwriter, part tech visionary, the musical 23 Soundings Flagship Romance charts their own pioneer is creating immersive new formats that reimagine course; Robert Arthur's picking party; the vinyl experience for the modern era. Taylor sponsors AmericanaFest in Nashville; the band America celebrates 50 years of music; and Latin artist Mon Laferte on tour.

26 Sustainability A closer look at the history of wood selection for guitars and how things have changed.

28 Taylor Notes Rosewood and CITES In August, CITES voted to exempt rosewood musical instruments from requiring CITES permits. Taylor’s Scott 10 Paul was there, and explains what it means for instrument makers and owners.

14 The Fall 2019 Limited Howdy, Partner Edition Collection Resident guitar design guru Andy Powers Exotic blackheart sassafras, koa paired with cedar, is joining Bob Taylor and Kurt Listug as and figured ovangkol infuse this carefully curated an ownership partner. guitar mix with uniquely appealing looks and sounds. Ebony Project Update: Stella Falone Kitchenware In Cameroon, our desire to find other socially responsible uses for ebony Columns inspired Bob Taylor to develop a line of kitchenware products, starting with beautiful cutting boards. 4 Kurt’s Corner Taylor VP of Marketing Tim O’Brien sits in for Kurt Fall Refresh and sheds light on how brick-and-mortal guitar retail We’ve made some stylish updates to the On the Cover can thrive. Taylor line: a satin sunburst top for the 18 100 Series; an all-black 12-string in our The Wood&Steel Interview: 5 BobSpeak 200 Deluxe Series; an all-koa Baby Ben Harper Bob talks about producing ebony knife handles Taylor; and a walnut Big Baby. for Buck Knives and reflects on the connection The award-winning singer-songwriter, multi-instrumentalist, between a quality knife and a quality guitar. producer and activist reflects on his scenic journey across the landscape of American roots music. 33 TaylorWare 32 The Craft Our line of Taylor guitar accessories features premium guitar straps, guitar COVER PHOTO: BEN HARPER WITH A GRAND PACIFIC Often a simple guitar question isn’t quite so simple. care products, and plenty more. BUILDER’S EDITION 517 But the answer is usually a lot more interesting. 4 www.taylorguitars.com

Volume 95 Fall 2019

Produced by the Taylor Guitars Marketing Department

Publisher Taylor-Listug, Inc. Vice President Tim O’Brien Director of Marketing Craig Evans Editorial Director Jim Kirlin Art Director Cory Sheehan Photographer Patrick Fore

Contributors Colin Griffith / Kurt Listug / Shawn Persinger Andy Powers / Chris Sorenson / Bob Taylor / Glen Wolff Technical Advisors Ed Granero / Gerry Kowalski / Crystal Lawrence / Andy Lund Rob Magargal / Monte Montefusco / Andy Powers / Bob Taylor Chris Wellons / Glen Wolff Printing / Distribution Kurt’s Corner Courier Graphics / CEREUS (Phoenix, AZ) Translation The City of Light: Beacon of Music Retail The Language Company (Bristol, England, UK) Ed. Note: Taylor co-founder Kurt Listug 10 specialty stores in just that neigh- “flagship” Taylor destination stores invited our Vice President of Marketing, borhood. With excitement and vision, with entire rooms or walls dedicated Tim O’Brien, to contribute a guest col- they explained their plans to continue to to our brand and guitars. Today, there Wood&Steel is distributed to registered Taylor guitar umn this issue. invest in guitar shops, creating unique are more than 150 of these destina- owners and Authorized Taylor Dealers as a complimentary service. experiences that guitar lovers crave. In tion stores around the world, and that While traveling through Europe on the eyes of Patrice and Jean-Pierre, the number grows monthly as more and business in September, I visited a small future of guitar retail is bright. more dealers become inspired by the Manage Your Subscription neighborhood on the north side of Paris Back in the U.S., if you follow the promise of retail greatness. At the same Subscribe called Pigalle. Within it lie the world-fa- news, your view of the future of retail time, we’ve created one of the most To receive a subscription, please register your Taylor guitar at mous Moulin Rouge and white-domed stores might be less rosy. Stores are comprehensive online training platforms taylorguitars.com/registration. Sacré-Cœur church, but for guitar closing. Retail is dead. Long live Amazon. for our dealers’ sales people. This players, Pigalle is best known for its Every day we read about store clo- platform ensures that when you enter a Unsubscribe abundance of small, guitar-centric retail sures, as America’s historically high store with questions about our guitars, To unsubscribe from Wood&Steel, please email stores. rate of brick-and-mortar retail expan- you are met with a knowledgeable, [email protected]. Please include your One particularly colorful street, Rue sion has lately been trending toward expert response. name and mailing address as they appear on this issue, de Douai, is a guitar player’s paradise. retraction. Late last year, also in partnership plus the subscription number located directly above your name. Lining both sides of the lane is a series Despite the grim headlines, I believe with our dealers, we began selling of small specialty guitar stores, one that physical retail is far from dead. guitars at our Visitor Center in our El Change of address right next to the other. You’ll find a store What’s true is that “bad” retail is Cajon factory. We use this unique store To change your mailing address, please visit that only stocks tube amps bumped up dying. And it probably should. Con- environment to understand what it really taylorguitars.com/contact against Metal Guitar, a shop that caters sumers like you and me are demanding takes to sell a Taylor guitar, learning exclusively to metalheads. Bass Maniac more from the stores we enter. We about the most important questions and Online only sells basses, of course, while La expect a friendly and knowledgeable concerns you have during your shop- Read this and other back issues of Wood&Steel at Pédale specializes in effects pedals. staff. We want stores to be clean, com- ping journey. The insight we glean from taylorguitars.com/wood-and-steel One corner houses Guitar Legend, a fortable and inspiring. And we expect our store is in turn used to improve the store that’s well-known among French prices to match those we can find on tools and training provided to that local guitarists for its incredible selection of the phone in our pockets. And if we Taylor dealer near you. high-end custom-shop electrics, while don’t get these things, we will happily If you are ever in the San Diego area, ©2019 Taylor-Listug, Inc. All Rights reserved. TAYLOR, TAYLOR (Stylized); TAYLOR GUITARS, TAYLOR QUALITY GUITARS and Design; BABY TAYLOR; BIG BABY; Peghead Design; Bridge Design; Pickguard up and down the street, many stores shop elsewhere or buy online. It’s the feel free to stop by our factory, take our Design; ACADEMY SERIES; 100 SERIES; 200 SERIES; 300 SERIES; 400 SERIES; 500 SERIES; specialize in acoustics. One of them, bar that has to be met. free tour, talk to our welcoming staff, 600 SERIES; 700 SERIES; 800 SERIES; 900 SERIES; PRESENTATION SERIES; GALLERY; QUALITY Centrale Gallery, has dedicated the The great news for guitar players, and browse our great selection of gui- TAYLOR GUITARS, GUITARS AND CASES and Design; WOOD&STEEL; ROBERT TAYLOR (Stylized); TAYLOR EXPRESSION SYSTEM; EXPRESSION SYSTEM; TAYLORWARE; TAYLOR GUITARS K4; K4, entire first floor of its tiny, high-end especially Taylor owners, is that many tars. Most importantly, let us know how TAYLOR K4; TAYLOR ES; DYNAMIC BODY SENSOR; T5; T5 (Stylized); BALANCED BREAKOUT; R. shop to a beautiful display of Taylor of our dealer partners around the world we can improve so we can do our part TAYLOR; R TAYLOR (Stylized); AMERICAN DREAM; TAYLOR SOLIDBODY; T3; GRAND SYMPHONY; guitars. Though the stores vary, their are investing in their stores to the to keep guitar retail alive and well. WAVE COMPENSATED; GS; GS MINI; ES-GO; V-CABLE; FIND YOUR FIT; and GA are registered trade- marks of Taylor-Listug, Inc. V-CLASS; NYLON SERIES; KOA SERIES; GRAND AUDITORIUM; GRAND goal is the same: brick-and-mortar delight of musicians everywhere. Like CONCERT, TAYLOR SWIFT BABY TAYLOR; LEO KOTTKE SIGNATURE MODEL; DYNAMIC STRING guitar sales. Patrice and Jean-Pierre, our dealers are — Tim O'Brien SENSOR; GRAND ORCHESTRA; GRAND PACIFIC; GO; TAYLOR ROAD SHOW; JASON MRAZ While there, I enjoyed lunch with the creating outstanding guitar shopping Vice President of Marketing SIGNATURE MODEL; NOUVEAU; ISLAND VINE; CINDY; HERITAGE DIAMONDS; TWISTED OVALS; DECO DIAMONDS; SPIRES; DARKTONE; TAYLEX and THERMEX are trademarks of Taylor-Listug, Inc. owners of Star’s Music, one of Taylor’s experiences by investing in their staff, strongest French dealers. Proprietors refining their guitar selection, and rein- ELIXIR and NANOWEB are registered trademarks of W.L. Gore & Associates, Inc. D’ADDARIO PRO-ARTE and brothers Patrice and Jean-Pierre venting their in-store presentation. is a registered trademark of J. D’Addario & Co., Inc. NUBONE is a registered trademark of David Dunwoodie. Since 2015, our team has been Aillot shared with me their passion for Prices, specifications and availability are subject to change without notice. guitar retail, which includes more than partnering with dealers to create 5

making ebony parts for our guitars, they trust us to deliver a handle (which they 2019 Taylor Factory Tours & Vacation Dates call an inlay) that’s ready to go. They A free, guided tour of the factory is given every Monday through need ultra-precise production, which Friday at 1 p.m. (excluding holidays). No advance reservations are is easy for us. So here I am, having a necessary. Simply check in at the reception desk in our Visitor Center, piece of the current production of this located in the lobby of our main building, before 1 p.m. We ask that large legacy knife made by Buck Knives, a groups (more than 10) call us in advance at (619) 258-1207 or email us: solid American company that’s over [email protected]. 100 years old, well over twice the age While not physically demanding, the tour does include a fair amount of Taylor Guitars. We make hundreds of of walking. Due to its technical nature, the tour may not be suitable for thousands of these each year, and their small children. The tour lasts approximately one hour and 15 minutes customers are very happy with the natu- and departs from the Visitor Center at 1980 Gillespie Way in El Cajon, ral ebony appearing on the knives again. California. My 50-year-old Buck knife is as solid Please take note of the weekday exceptions below. For more information, as can be. I’m thrilled to have it, espe- including directions to the factory, please visit taylorguitars.com/contact. cially after it’s aged over half a century. We look forward to seeing you! It’s older than some of the managers, directors and executives at Buck Knives now. They like the connection as much as I do. The blade on mine is slim from being sharpened so many times, and I altered it a long time ago by grinding finger grooves into the handle. There are two reasons I bring this up, besides being interesting and mak- ing me proud to be a part of their com- pany like this. One, it’s a “buy-once” product. It’ll last a lifetime. And two, BobSpeak because of that, it’s super-economical and sustainable. Throwaway items are not sustainable. They use up your mon- Built to Last ey and the world’s resources. Nearly 50 years ago, as a teenager, I for longer than Taylor. In fact, they were It reminds me of a column I wrote in bought my first Buck knife, their famous our next-door neighbor for many years, Wood&Steel 15 years ago extolling the Model 110, a folding hunting knife. In so we’ve been friends for a long time. virtues of a good guitar — I noted that a those days things were different, and a Because of their trust in Taylor, and good guitar is not expensive; it’s actual- knife like this was viewed as a tool that because we have great expertise in ly cheap if you consider the whole story. nearly every boy owned and carried. I wore it on my belt to school each day. I used it in my job at the gas station to cut hose and tape, punch holes in oil cans, or pry things loose when I worked on a car. I used it night and day, even at school wood shop class as I made my first guitar. Factory Closures The knife had a wood handle made November 28-29 (Thanksgiving Holiday) of some sort of ebony, which was the Monday, December 23 - Friday, January 3 (Company Vacation) standard handle on their early 110 knives. I think they invented and began producing that model only about five or six years before I bought mine. All us boys had one. After some years passed, At the time I talked about my own mod- Andy Powers’ current guitar de- the company found it hard to find the Bob’s 50-year-old Buck knife (top) and a new knife featuring Crelicam ebony el 810, which was made in 1978 and signs are the best we’ve ever had the ebony and import it, so they switched cost about $1,299 new. I compared it pleasure to build here at Taylor. When to some man-made substitutes, similar to computers, which at the time cost I look at a brand-new Buck knife, it’s to the fingerboards on some of today’s $2,000 for a desktop, and which need- even better than my 1970s Buck. When guitars. My knife was well-made, and I ed to be replaced every two or three I look at a new Taylor guitar, it’s even still have it today. years. Or a business suit that a person better than my old 810 from the ’70s. What is especially satisfying to me may own five of and spend $250, $500 I’m confident that whichever Taylor you is that now we make ebony handles for or more to buy each, and they don’t last buy, whether tomorrow or whenever, if this model for Buck Knives. Yes, they long like a guitar. Shirts, ties, shoes. you keep it and use it, it will prove to be have ebony on them again because So expensive. Cars. Dinners out on the a trusty companion that in the end costs I have access to ebony through our town. Drinks. All those things I men- less than many of the other things you company Crelicam. These ebony pieces tioned I’ve spent untold money on over buy, because it will last, and get better, are too small for guitars or even violins, the 40 years that have passed since my and cooler, and more valued over time. but there is value for our employees in 810 cost $1,200. And that guitar still Cameroon, and that wood deserves to exists today, is viable, somehow cooler, ­­ — Bob Taylor, President be put to good use. So, I called Buck, ready for another 40 years of service, and about a year ago we began produc- just like my Buck knife, which hasn’t Bob's 1978 810 tion. Buck was an El Cajon company failed me in all those years of use. Finding the musical connections between different genres opens the door to fun family music sessions

By Shawn Persinger

his past February, intrigued by role of the bass by playing root notes theme song to a Disney Channel show the size and sound of my of chords using steady quarter notes. wasn’t exactly what I had been hoping Taylor GS Mini-e Bass, my This she also appreciated, realizing how for. (I prefer rock to pop, and the weird- T10-year-old daughter asked if she could it made it easier to sing and play at the er and more progressive the better.) try playing it. same time. I quickly recognized that the However, I was eager to encourage my “Of course!” I responded — a bit GS Mini’s bass strings – due to their daughter, so I quickly made a tablature overexcited. She had been singing thickness and relatively loose tension — chart and was delighted that she was in choir for a couple of years and had were much easier for her to play than able to play along almost straightaway. begun playing violin in the school orches- violin strings, and that the frets allowed I could hardly believe it, yet I did appre- tra five months earlier, so I knew she her perfect intonation compared to the ciate that the combination of a pop had some basic musical ability. Still, I fretless violin. It was also obvious that song — with a formulaic I IV vi V chord was shocked at how quickly she took the short scale of the bass was ideal progression (Fig. 1), emphasizing the to the bass. She had no trouble picking for a child. downbeats (beat one of each measure, out the melodies to “Hot Cross Buns” Excited by her ability to play in time, accented in Fig. 1), repeated with min- and “Twinkle, Twinkle, Little Star” — with a solid sense of rhythm, I asked my imal variation — and the GS Mini Bass songs she had learned on the violin. daughter if there was a song she want- was ideal for a beginner musician. From there, I showed her how to fill ed to learn. “‘Better in Stereo’ by Dove “Another?” I asked after we had the more traditional, accompanimental Cameron,” she enthused. I must say, a played it a few times. “‘We’ll Be the 7

Stars’ by Sabrina Carpenter,” she songs with the same four chords per- requested, and inside I groaned. Did formed formulaically were of the same, she want to play songs by Disney stars more or less creative character as exclusively? But as I transcribed, I songs that had more harmonic, melodic Fig. 1 observed, “Oh, this is the same chord and rhythmic variation. (My music snob- progression in a different key, and it’s bery aside, I’m still striving to figure this even slower and easier to play!” Thus, out myself — my opinion vacillates from I transposed the bass line (Fig. 2) — song to song.) And here we were, a thanks to the symmetry of the fretboard, few days into her bass adventure, and the pattern didn’t change, just the she already aspired for a challenge. strings on which the progression was Gratefully, I did have a similar song, played — and my daughter was thrilled “Hit Me with Your Best Shot” by Pat to double her repertoire within minutes Benatar, which once again uses the I IV Fig. 2 of learning her first song. As musically vi V progression in the chorus, although snobbish as I am, I was half-smart the verses are different and the rhythms enough to know that even though the are considerably more syncopated. As I chord progressions for the two songs suspected, she found the Benatar bass were the same, the melodies were line more formidable, but thanks to the considerably different, and the vocal foundation the easier songs had built, ability of both singers was undeniable, she stuck with it, learning the song over with Carpenter in particular having the course of several days. control over an admirably wide vocal So it is that my daughter continues Fig. 3 Fig. 4 range. So, even though the songs were to request current pop hits while I sug- not my preference, we began to jam gest rock, country and folk songs that on our first two father-daughter songs. possess comparable harmonic move- I strummed chords while my daughter ment, melodies, feels/grooves or other played straight eighths. Her rhythm was analogous features. Granted, she does even solid enough that I could impro- enjoy the luxury of having a musically vise over her accompaniment. obsessed father who has learned thou- Fortuitously, I noticed that the sands of songs in the past 30 years, progression we were playing was the can hear musical connections beyond Fig. 5: C Major Scale Fig. 6: "Ode to Joy" Beethoven same as Tracy Chapman’s “Talkin’ ’Bout surface appearances, and will create a Revolution,” albeit in another new key, a chart for any song she desires. More with two chords per measure instead importantly, I have, reluctantly, set aside of one, and a slight syncopation on the my musical biases and learned more changes (Fig. 3). Suddenly we had a myself. Unbeknownst to me, half of the third song we could play — and one I “classic” repertoire I taught to my daughter could get excited about as Chapman was inspired by former Disney stars. left behind the prosaic lyrical content For example, we found access to of the previous two songs and offered the ubiquitous I V vi IV progression some intellectual nourishment. Even (Fig. 4) with Demi Lovato’s “Made in better, my daughter seemed uncon- the USA,” which connects to countless frequently is true. Still, there are other will change, but it can give you a better included) practice songs you don’t like — cerned that the song was stylistically other songs, most notably, as they are musical reasons as well. Most popu- understanding of music beyond your you might just learn something! and thematically a world apart from so repetitive, The Police’s “So Lonely” lar/commercial styles of music — this personal preferences. Finally, lest you think this has pri- her pop songs; she was happy playing and U2’s “With or Without You.” goes for pop, rock, country, folk, even marily been a self-serving essay on the music. This was promising. I also was delighted to hear Selena classical, any version of those styles Moving Forward talent of my daughter, I can reassure Gomez’s “Bad Liar” for the first time that is mainstream — tend to: 1) be Gradually my daughter has learned you that she is no prodigy. Her ability Complex Layers and immediately recognize The Talking diatonic (played all in one key), which more sophisticated pieces. She became is that of any child with an inclination My daughter played these songs for Heads’ “Psycho Killer” bass line, either gives the ear a sense of stability (Fig. fixated on the Harry Potter theme to play music, basic resources, support a few more days and then asked, “Is sampled or interpolated. (Contemporary 5); 2) include step-wise melodies, i.e., (“Hedwig’s Theme”), learning it from and a regular practice routine. What’s there a song similar to these but maybe songs with samples in them are an melodies that move up and down scale a tab chart I made her and eventually most important to me is that she is a bit more complicated?” Now we were excellent gateway to older material.) degrees via close intervals that are memorizing it after days of incessant having fun playing a variety of musical talking! This I had been hoping for. As a I also noticed that Gomez’s vocal predictable and thus memorable (Fig. playing. Danny Elfman’s “The Simpsons styles — by herself, with me, and with music teacher, I have always strived to phrasing on that song is suspiciously 6); and 3) follow short, formulaic chord Theme” came next. (Maybe starting with others — and any child can do that with find a balance between giving a student similar to Joni Mitchell’s “California.” We progressions (all figures). The biggest a Disney television theme song wasn’t the right encouragement. what they want — songs they like — and learned all three songs. differences between commercial styles such a bad idea after all.) Additionally, what they need — techniques, skills and And though I suspect the bass tend to be production and instrumenta- she’s been taking my weekly Beatles Shawn Persinger, a.k.a. Prester John, exposure to new musical ideas that will line for the funky, glitchy “Replay” by tion — although there is a trend for pop class for the past eight months — that’s owns a Taylor 410, two 310s, a help them become the best musician Zendaya was programmed, it is none- performers to strip arrangements down more than 30 McCartney bass lines! 214ce-N, an 8-string baritone, and a possible. In the here and now of teach- theless perfect for endlessly practicing to acoustic guitar or piano, thus rein- Rest assured, she now appreciates the GS Mini Bass. His music has been ing bass to my daughter, I understood a highly syncopated bass groove not forcing the similarities between genres. difference between generic and cre- described as a myriad of delightful that if I taught her pop songs — with unlike those of James Brown or any It takes no effort to dismiss a pop song ative pop, though, justly, she still likes musical paradoxes: complex but predicable forms and unwavering number of devotees of the Godfather of with slick electronic production and to listen to and play both. catchy; virtuosic yet affable; smart and rhythms — she would be gratified, Soul, from Funkadelic to The Red Hot clichéd lyrics as subpar, but if you take So here are the self-evident sug- whimsical. His book The 50 Greatest practice more, and then perhaps be Chili Peppers. a bit of time to listen beyond superfici- gestions I impart to all generations of Guitar Books has been hailed as a agreeable to working on more elaborate alities — this frequently requires actually musicians as a means of creating a more monumental achievement by readers or stylistically diverse songs as she pro- Why So Many Connections? learning how to play and sing, or at musically engaged world: Embrace all and critics. gressed on the instrument. I also had It’s understandable to think that least learn to play the vocal melody — musical styles, look for the parallels, not (www.GreatestGuitarBooks.com) the ulterior motive of hoping she would these connections exist because pop you’ll conceivably find some redeeming the distinctions, and (this can be the most grow to judge for herself whether music is formulaic and derivative, which value. That doesn’t mean your tastes problematic for many people, myself 8 www.taylorguitars.com Ask Bob Stump wood, guitar weight differences, and why we don’t torrefy koa tops

I notice you are always looking for ways to conserve and utilize wood in the most responsible way. Can you successfully use any wood of the tree from below ground? I have seen some absolutely amazing wood figure from stump wood. I read that it can be rough on saws, but I figure you have some water jet cutters. It might be worth it for the beauty of this wood. It would also utilize more of the tree. Randy Sitz Gadsden, Alabama

Randy, yes, we can use that wood, in a theoretical sense. We can get stump wood, cut it on a saw, and make a guitar from it. If it were koa stumps and the grain was straight and strong, we’d do Do Taylor guitars have a radius built it. If it were spectacular walnut stumps, we might do it, unless it was burl, in which case we wouldn’t be able to use into the top bracing? it. If it were odds-and-ends stumps, we wouldn’t do it. The deciding factor is if Don Anderson we make a model where that wood will fit and what effort we have to expend to get a few guitars worth of wood. When you make as many guitars as we do, there are restrictions. But if I made Yes, Don, we have very well-thought-out guitars alone in a workshop, I’d seek out stumps for really cool wood. radii built into the tops and backs. Different models of guitars have different geometry I bought a V-Class 914ce in April 2018. Let me first say that I love it! according to the needs of that model. My question is about the very light color of the top. Will UV light cause it to darken, or does the finish block pletely finished guitar going through newer is an 814ce DLX, and the older or more wood. When we test designs designed by you or Andy? I also note UV light? I am keeping this one in the final inspection before being shipped is a 1999 814ce, both beautiful and and have to make guitars that are as I never see these models in left-hand case and carefully keeping an eye on does not meet the sound quality amazing instruments. Every time I identical as possible, we use sister versions. I realize there is only a the humidity, but I would like to see standards that it should have. If so, pick up the new one, I notice it is pieces of wood between guitars and small market for left-handed models, the top age. what happens to those guitars? significantly lighter than the older weigh each and every part so that we but it would be nice to see one grace Dave Gunter Marc Peters one. I’m curious if your manufac- match the weight perfectly. We do the pages of Wood&Steel. Schinnen, Netherlands turing process and computer-aided other sorting as well, but it just shows Eric Hiltunen Dave, thanks for buying the V-Class engineering have allowed the ability that there can be inherent weight differ- 914ce. I agree, it’s a fine guitar! Your top You’ll either be surprised or relieved, to produce the same and even bet- ences. The other consideration is that Eric, Andy designs them. They’re built will darken both from UV light and just, Marc, to know that this never, ever ter-quality instruments over time you can perceive a few grams or ounc- in the factory by people who have the well, age. It will darken more slowly if happens. The guitars always turn out to while conserving valuable tonewood es of weight difference easily, and one skill and training to do the intricate it’s always in the case, but it will darken sound good. If there’s a little problem resources. No grumbling here — the will feel much heavier, or lighter, when work required. We strive to have more nevertheless. And thanks for keeping it in it would be in the playability, like a fret 814ce DLX sounds and plays like a in fact the real difference is just a very people up to that skill level all the time, the case. That’s the best place to store buzz, or maybe a pickup malfunctioning, dream, and certainly seems sturdy small percentage. but it takes some serious experience a guitar. and we correct those issues. But never enough — but is it my imagination and skill to get to the level of the Build- does a guitar strangely not sound good. that it feels so much lighter? er’s Edition guitars. Thus, the lower Chris Mac production numbers of those. We can Bob, who actually builds the Build- only grow our output as we train more I’m very happy with my recently Chris, it can absolutely feel much light- er’s Edition guitars? Production people. We’ve made a left-hand ver- acquired 414ce-R, but I was won- I’m proud to be the owner of two er. But that would be inherent in the associates or Andy or you? Are sion of nearly everything at Taylor, but dering if it ever happens that a com- awesome 814ce Taylor guitars. The woods used, not because one has less the accoutrements on each model the Builder’s Edition cutaway guitars 9 require very intense and expensive I currently play a Taylor 314ce. I love considered teak wood for the sides some benefit. In koa, doing this tends let the wood age naturally with playing tooling to make the left-hand version. it, but I only play it tuned one whole and back of a guitar? Is it workable, to weaken the fibers, which are further time, the fibers retain their integrity but The non-cutaway Builder’s Editions, step down (D-G-C-F-A-D) so that my and if so, is there enough available loosened up with the presence of any do see an improvement in internal sound of course, are available in left-handed vocals sound better. Naturally, the to use? figuring like curl. When you combine velocity. So, for a koa top, it’s better to versions, but we have not been able to intonation suffers because of this. I Charles Vance those two factors, the resulting piece of play the heck out of the guitar for a long make the required systems yet to do was wondering if you have any tips wood doesn’t have the long-grain fiber time and let it naturally “ripen.” the cutaway versions. for me to improve this issue. I was [Ed. Note: Andy Powers replies.] strength we want to see in a top. If we thinking maybe a bridge saddle that was cut to accommodate that tuning. Charles, there was a time when I never Rob Chewning would have considered using a wood Builder's Edition I have a 31-year-old 12-string 555 like teak, because I was most familiar K24ce (signed by you) with a straight-as- [Ed. Note: Taylor Customer Service with guitars made from rosewood, an-arrow neck. (I hope I fare this well Manager Glen Wolff answered this mahogany or maple. In the decades in 31 years.) My question: There was question when we originally received it.] since then, I’ve realized there are fewer an article in American Lutherie that rules about which woods can make basically said one of the reasons we Rob, we put light-gauge strings (.012- interesting-sounding instruments, so like old guitars is that over the years .053) on the 314ce. If you’re still using long as a maker understands the mate- they are less than perfect. They go those when tuning down a whole step, rial and how to work with its character- out of intonation, they’re “broken I’d try some heavier strings like medi- istics. As you point out, teak has a great down in just the right way,” and “The ums (.013-.056). They’ll be a little stiffer ring to it. There are a few challenges intonation of a guitar is always going and more stable than lights. You may to working with it: It has a high silica to be a little off by nature, but that’s find that a custom saddle isn’t needed. content, which is very tough on cutting the sound we’ve grown to love and tools; it can be tricky to glue due to its want.” It reminds me of the desire to oil content; and the large open pores hear vinyl records rather than perfect can be difficult to finish. Despite those CDs. Do you think this is true about difficulties, it has a great density for a humans — that we enjoy less-than- back and side wood, and once sea- perfect [sounds] because we are all soned, is respectably stable. As with so less than perfect? many of the woods used in guitars, they Jeff Bolek were never traditional instrument woods Ohio until a maker started to work with them and designed instruments around their Well, that’s a good theory, Jeff. I won’t unique qualities. While woods like teak argue with that. We also get used to or oak may not be today’s marquee certain things or conditions. I mean, woods for guitars, they may very well we can get used to being cold, or hot, be woods we work with regularly in the to an extent that the opposite feels future. uncomfortable until you get used to the new situation. Just bring a relative 314ce from Alaska to San Diego for summer vacation — the only thing they notice is I love what Taylor does with koa, and how hot they are! Guitars don’t really I’m happy to see the new Builder’s develop worse intonation over the years Edition K24ce. With the koa top’s unless they’ve pulled into a new shape reputation for taking a long time that shortens the string length, but to “open up,” I’m curious as to why you’ve already stated that your guitar torrefaction isn’t appropriate for this is straight and true. Andy has designed model like it is on spruce-topped wonderfully accurate intonation on our versions. I would imagine you tried it. V-Class guitars, and people are now What happened? getting used to that. Some are having G. S. Thompson a problem going “back” to their other Indianapolis, Indiana guitars they’ve played for years. I do know this: The brain looks for patterns. [Ed. Note: As the designer of our So much so that it can predict. I could Builder’s Edition guitars, Andy Powers end one of my sentences short here responds.] while I write, and, chances are, you’d be able to finish it without my words G. S., a simple answer is because because your brain knows what’s we don’t like the way torrefaction coming. And I think we do get used to I recently laid some teak flooring in works with koa. Essentially, torrefac- things. The problem is living with a bet- a room in my home and didn’t know tion is an oxidation reaction. That can ter and a worse one at the same time. until I got it home how heavy and happen over a short time in higher A good guitar makes a beautiful tone how hard it was. I cut it with a miter heat, or over a long time with lower that your ear loves. That’s the wonderful box saw in my garage, and when heat. Both approaches have different thing about that. The nuances make it a scrap piece would fall out of the side effects. We can roast a piece of Got a question for Bob Taylor? special, and improvements need to be saw and onto the concrete, it “rang.” wood in a special oven fairly quickly, Shoot him an email: [email protected] absorbed slowly, often, because they It reminded me of when I worked in or we can let the piece of wood age at upset the patterns the brain has memo- a music store in the ’70s. We sold room temperature. The difference is that If you have a specific repair or service concern, please call rized. It’s all endlessly interesting, don’t rosewood claves (probably Brazilian), high heat tends to partially break down our Customer Service department at (800) 943-6782, you think? and the teak hitting the concrete the lignin in the wood and redistribute and we’ll take care of you. sounded very similar. Have you ever it. In woods like spruce, this can offer [Artist Spotlight]

VINYL VISIONARY

INSPIRED BY THE IMMERSIVE WORLDS

CONJURED BY THE RECORD ALBUMS

OF HER YOUTH, BEATIE WOLFE

IS USING TECHNOLOGY TO

REIMAGINE THE VINYL

EXPERIENCE FOR THE

DIGITAL ERA

BY JIM KIRLIN 11

London-bred singer-songwriter is quite When the tangible, immersive, ritu- Wolfe recalls having an instinctive an innovator in her own right. Named by alistic experience of consuming record feel for writing songs at a young age, WIRED magazine as one of “22 people albums later gave way to the digital and found that the limited guitar instruc- changing the world,” Wolfe is not only a revolution, Wolfe felt like much of that tion she received, though well-inten- gifted tunesmith, but also a tech vision- storytelling magic was lost. tioned, imposed too many constraints ary who has introduced groundbreaking “Everything I loved became kind of on her blossoming musical ideas. new interactive formats through which to irrelevant in some ways,” she suggests. “I remember a teacher saying some- experience her music, bridging the phys- This impacted her not only as a thing like, ‘You can’t use that suspend- ical and digital realms in transformative listener, but as a young artist embarking ed chord,’ and at that point I thought, ways. Each of Wolfe’s three albums was on a career in music. I’m not interested, because I was writ- developed in tandem with a different “I felt like we’d missed a trick in ing songs; I wasn’t trying to be some interactive technology that draws the lis- going from one to the other so fast and music genius,” she says. “I already had tener into a unique multi-sensory musical not really celebrating the best of the old a natural ear, and I didn’t want to start storytelling experience. formats and what they had to offer,” she doubting that.” For her debut release, 2013’s 8ight, adds. “There wasn’t even an interesting Years later, when she was 20 and Wolfe collaborated with a design studio dialogue between the two. It was liter- working on her first record, she made to create an interactive album app that ally like physical is out, and now it’s all the acquaintance of jazz musician, com- Beatie Wolfe is making the most of her delivers a “3D vinyl” experience for the digital downloads. And I just couldn’t poser, bandleader and educator Wyn- "IT’S NEVER first visit to the Taylor factory. So far, phone. Her second record, Montagu accept that. I thought, that’s so boring ton Marsalis, who became a mentor she’s spent time with our artist relations Square, was released as the world’s first and uninspired. I want it to physically and helped validate her natural musical and marketing folks, sampled our new NFC (near field communication) Album exist in this form, and I want it to tell a instincts. BGrand Pacific, had her workhorse 110e Deck, allowing listeners to tap a series story, and I want there to be a ceremo- “When I met Wynton, I had pretty ABOUT THE tended to in our service department, of song cards to their phone to play ny around it. So, I essentially have been much all the recordings for the first toured the factory, and obliged us for a tracks and access an array of multimedia using technology as a way of reimagin- album, and it was super DIY,” she says. quick photo shoot along the way. At the content. Her third release, Raw Space, ing what the vinyl experience for today “I didn’t know what I was doing. He’s TECHNOLOGY; moment she’s tucked into in an arm- was recorded in the quietest room on could look like. How could I create this musical purist and really only likes chair and holding court in “The Shed,” Earth — an anechoic chamber on the something that makes people feel like jazz and classical, but he was a fan of a room in our product development campus of historic Bell Labs in New they’re stepping back and opening up a my music and what I was doing. We building where we record our “From the Jersey — and released as the world’s record again like I felt as a kid, but it’s played through all my songs; he was on IT’S ALWAYS Factory” podcast. Co-hosts Cameron first live 360° AR (augmented reality) not just something nostalgic; it’s trig- the piano, I was on my guitar, and he Walt and Jay Parkin lead off the con- experience. Featuring real-time AR ani- gering a different pathway and making analyzed them. He was talking to him- versation by getting her impressions of mations, the record was conceived as them see music differently. It’s cutting self and making these annotations and ABOUT THE the tour. a “Fantasia experience for the album in through the noise of music just existing figuring out what I was doing, and [he’d “I loved every minute of it, being the streaming age.” (For a closer look at as part of the background.” say things] like, ‘This is an amazing a super geek,” she says in her velvety each project, see “Beatie’s ‘World-First’ written song [where] you answer this EXPERIENCE." British accent. “A big part of it was Album Experiences,” p. 12.) Finding Her Musical Voice inversion….’ I was so not on that same realizing how many processes go into Wolfe traces each of these ground- Compared to the pioneering media page, but it was nice.” making one guitar, and how each of breaking amalgams of music, art and formats Wolfe has created with each The interaction gave her the confi- those processes is a thing of love and technology back to the same source: of her albums, her approach to song- dence to trust her musical intuition with quality and precision. That attention to her experiences with record albums as writing is fairly traditional, typically other projects that followed. detail is something I admire and value a child. composed on her Taylor acoustic. Her “After that, when I’d work with pro- because when things are made well “I can remember writing songs songwriting influences include John ducers and they’d say something like, they last, and that’s with everything — when I was 6 or 7, and then discov- Lennon, Elliott Smith (her song “Little ‘You know, you should have gone to music, architecture, science, literature.” ering my mom’s album collection and Moth” from Raw Space pays tribute to the A-flat,’ I’d be like, ‘Shut up, Wynton Wolfe especially relates to Taylor’s just seeing these records as musical the late artist, and she performed and says it’s fine,’” she laughs. “It’s that unique marriage of tradition and innova- books,” she says. “And I was obsessed produced it in a similar, intimate style), idea of, if you’re going to learn it, learn tion. with storytelling anyway. For me, song- and Leonard Cohen, whose poetic all of it, which is what he’s done. He “There was that lovely balance writing was just another form of sto- lyricism is imprinted on her own lyrical knows all the rules, and he knows how between embracing the best of the rytelling, but it was the one that made sensibility. you can bend them and intuit around old…but also realizing how you can use the most sense. And vinyls were these Wolfe’s musical talents were them. Or just have an ear. But don’t be tools to enhance and streamline that, musical books that you could read like noticed early on — she was offered a in-between, where you think you know which is essentially what I do — try and a story — you had the artwork and the recording contract at age 15, but upon enough, and you don’t really have an figure out the optimum blend of the old liner notes and the lyrics — and there realizing that she wouldn’t have cre- ear, [because] then you become con- and the new, creating something that is was this ceremony to listening, and ative control, instead opted for college, fined by these not-very-helpful ideas of made well but also feels different and this whole world that opened up from where she studied English literature. what music should be.” magical and has an aspect to it that simply opening the gatefold. And I was She wrote her final thesis on the poetry people haven’t seen before.” just imagining, what worlds will I create of Leonard Cohen, which was later for my albums? What will they feel like? It’s no surprise that this creative published online and even led to corre- continued next page approach resonates with Wolfe. The What will they look like?” spondence with Cohen and his team. 12 www.taylorguitars.com

er Nadia-Anne Ricketts, founder of a omy, the laser and the transistor. The Beatie’s “World-First” Album Experiences company called Beatwoven, which uses facility also has a rich history of pioneer- software to convert sound into visual ing collaborations between artists and Beatie talks about the interactive formats created for her albums pixels that form graphic patterns, and technologists as part of its Experiments ultimately, woven textile prints. in Arts and Technology (E.A.T.) program “The idea was to record in that room and had recently revitalized the program. 8ight (2013) designer David Mason, an acquaintance recording William Burroughs, all these live, and the architecture of the music During the project, one of their engi- Format: 3D Interactive Album App who had revived the heritage fashion Beat poets, and Hendrix comes to [from the recording] then was translated neers offered to take Wolfe into their and Palm Top Theater brand Mr. Fish (whose namesake had London and needs somewhere to live, into a piece of fabric by this textiles de- anechoic chamber — which had been famously designed clothes for the likes and McCartney’s like, ‘I’m moving out. signer and tailored into a musical jacket the quietest room on earth for many “Everyone had shifted to their phones of Mick Jagger, David Bowie and Jimi Do you want to stay here?’ So, Hendrix by Mr. Fish,” Wolfe explains. “So it was decades. to listen to their music, and digital down- Hendrix in the late ’60s). Mason invited moves in, and he has a terrible argument this idea of music being seen as art and “This is the room where they invent- loads were the primary new thing — this Wolfe for tea at his home, which turned with his girlfriend one night, she runs having this jacket that was an album ed the foil microphone,” she says. “They was pre-streaming. I just found that so out be an historic building in London (on out, and he writes and records “The jacket, but it told these multiple stories. figured out rogue frequencies, psy- dull. The idea was, how do you turn the Montagu Square) where John Lennon Wind Cries Mary” in this living room, The jacket was also embedded with an choacoustics here. It was the original phone into a magic box, with the inspira- and Yoko Ono had lived. While sitting in and then gets evicted for whitewashing NFC chip, so you could tap your phone anechoic chamber. This room is so core tion being the ’80s View-Master. So I the living room, she noticed a series of the walls when he’s high on acid. By onto the fabric to hear the music that to our understanding of audio as we came up with this sort of 3D vinyl experi- black and white photos on the walls — that point Ringo was like, enough’s was woven into it.” know it.” ence for the phone, where you had the pictures of Ringo Starr, Paul McCartney, enough. And then Yoko and Lennon To make the concept more consum- Wolfe, “being a nerd and loving all liner notes and artwork, but then you and Jimi Hendrix — that revealed more of move in. That’s where they do the dou- able to a mass audience, Wolfe had the that stuff,” readily agreed. could slot your phone into this little Jap- the room’s history. Over tea, Mason filled ble virgin naked cover shot and a lot of idea to release Montagu Square as a “And the engineer says, ‘OK, but anese device and it turned it into a in the details, which Wolfe shared during other stuff.” deck of beautifully designed cards also I’ve got to warn you — you’ll probably theater for the palm of your hand. So her Taylor podcast. Wolfe says she could feel the sense embedded with NFC technology. only be able to stay in there 20 minutes then you were able to watch this perfor- “It turns out that the place was of musical history while sitting in the “You opened it up, you had a card because you can hear the blood rushing mance, kind of like the’80s View-Masters, bought by Ringo as his home and his room. for each track off the record, you tapped through your veins.’ So, we go into this stereoscopically, and it felt like holograms drumming rehearsal space because it “I felt like there was a way of telling that card to your phone, and you’d space and he closes this door that’s were jumping out of your phone. And was near Abbey Road, and then he the story of the house, the tailor, and the instantly get the song, the lyrics, the liner several feet deep, and the room itself is it was magical. It was nostalgic, but it leased it to McCartney, who wrote and record in this fashion that was an album notes, the artwork, the music video, all of this gigantic space, like 40 feet by 40 was new.” recorded ‘Eleanor Rigby’ in that room,” jacket,” she says. that content.” feet. You’re walking on a wire-suspend- GQ magazine premiered the release she says. “And then McCartney also has Coincidentally, the day after tea ed floor that puts your ear in the center. across its print and iPad editions. Im- his Apple Studios out of there. He’s with Mason, Wolfe met textiles design- Instead of freaking out, I found it to be pressed by the 3D innovation, Apple Raw Space (2017) the most peaceful, reconnecting experi- invited Wolfe to be the first artist to tour Format: Live 360° AR ence — I was just drinking in this silence its global event theatres in New York, (Augmented Reality) Stream and realizing that we have noise around London, Berlin and Tokyo. us so much off the time. And then hear- Whereas Wolfe’s first two albums ing music in that room — no autotune, were created during a time of digital no EQ, no reverb, super pure — I felt like Montagu Square (2015) downloads, Raw Space was developed this anti-echo chamber was just meant Format: Musical Album Jacket at a time when streaming had become to be.” with NFC Album Deck the norm. So she began to think about This sparked the ambitious idea of an artistic reinterpretation of stream- creating what would be Wolfe’s most The conceptual format for Wolfe’s ing. Around the same time, she began immersive, multisensory experience yet — second release — a play on the idea of working on a project with Nokia Bell what she dubbed the “anti-stream” from an “album jacket” for the 21st Century — Labs (formerly Bell Labs), a renowned the anechoic chamber. With the songs has a fascinating origin story with sev- research institution that has produced for the album recorded, she worked eral interwoven threads (quite literally). numerous breakthrough technologies closely with the design agency Design Wolfe had bumped into British fashion over the years, including radio astron- I/O, which specializes in developing

Palm Top Theater Musical Jacket by Mr. Fish Performing in the anechoic chamber with Augmented Reality animations 13 interactive installations, and Nokia Bell son had discovered cosmic microwave I heard so many people coming out or wrong management. As a result, I written everything like that, where it just Labs to create spatial audio with live background radiation (CMB) using of there saying things like, ‘I’ve never thought, I’ll keep this pure, and then I’ll happens completely naturally. And we’re 360-degree Augmented Reality anima- the Bell Labs’ historic Holmdel Horn seen anything like that,’ or ‘I’ll remember collaborate on the other stuff.” both getting as much out of it, which tions for each song. Antenna, and in the process validated this forever,’” she says. These kinds of Initially Wolfe wasn’t sure if she and is really lovely because it feels like true “I had the idea to have a physical the “Big Bang” theory of the creation experiences can make a deep impres- Perry would gel creatively. collaboration, and it’s pretty magical. We record player playing the album on of the universe. The two hit it off, and in sion when we’re present, there’s some- “Linda had asked me to come with show up and a song comes out.” repeat 24 hours [a day] for a week, the course of explaining her Raw Space thing physical, and you have a story.” a bunch of songs I’d already written, Wolfe elaborates on the experience live 360 streaming that,” she explains. project and the anechoic chamber, which I had,” she recalls. “One of the during the podcast. “It was actually the first live 360 video, Wolfe inspired Wilson to update the first things she said to me was, ‘I feel “For me, music has to be devoid of amongst other things, and people could antenna to beam the music of the album Working with Linda Perry like you have your music behind your ego in the writing process. You can jump log into that space and hear the music into space. After her V&A exhibition, Wolfe hand. Why is that?’” onstage after and give it some Mick played in that pure, focused way. They It turned out to be the first update found herself craving a different type When Perry suggested they write Jagger or whatever, but in the writing couldn’t shuffle; they couldn’t fast-for- to the antenna in 50 years, and the first of creative collaboration, which led her together, Wolfe’s first instinct was to process, it’s not about ego. Even in the ward. And then using live augmented time it was used to transmit rather than to work with legendary producer and bail. production process, it’s like, what does reality, as the record was spinning the receive. In the end, the Raw Space singer-songwriter Linda Perry (Christina “I hate jamming, I hate improvising,” [the song] need? What is that story? lyrics would be [graphically] streaming Beam transmitted the raw anechoic Aguilera, Gwen Stefani, P!nk), who had she says. “For me, [writing songs] How do you authentically tell that story out of the vinyl; the artwork for that par- version of the album (recorded in the launched a combination record label always happened naturally, and it does the best way possible? And that’s the ticular track would surround you in the chamber with no reverb, EQ or audio and publishing house called We Are for her as well. But I just hated that arti- same with her. So that’s where the com- chamber and transform that room into enhancements) into raw space. Wolfe’s Hear with music manager Kerry Brown. ficialization of that, and I didn’t know her patibility is.” the visual landscape of each song. And conceptual idea was that for the first The company’s mission is artist empow- at that point. And then she starts playing The two have released one co-writ- that was happening in real time. For me, time, raw sound would enter raw space erment and development, providing a the Mellotron, and I’m doing this bad ten, Perry-produced track so far, the that was the closest thing to being a as a true reflection of our humanity at a mix of tools, guidance, freedom and Elvis voiceover just to try to get through dark and languid “Barely Living,” in which 7- or 8-year-old and opening up Abbey time of increased airbrushing, auto-tun- other resources to evolve artistically and the exercise…and she’s like, ‘Beatie, Wolfe’s brooding vocals float above a Road and just having this feeling of the ing and AI. professionally. (We wrote about Perry in just loosen up.’ And suddenly it was sultry, haunting groove. artwork, the lyrics, everything coming to “Soundings” last issue.) like there was a hymn sheet here and Wolfe expects to release a new life around you.” Both Wolfe and Perry admired each I’m singing a song that’s already been album next year. She was also invited As part of the project launch, Wolfe The V&A Exhibition other’s artistic accomplishments and written — words, melody, arrangement. by curators from the Art Institute of performed live from the anechoic cham- Wolfe’s pioneering album projects embraced the chance to work together. That’s happened to me on my own, but Chicago to bring her exhibition from the ber. earned her an invitation to exhibit at The irony for Wolfe was that for all her it’s never happened with someone else. Victoria & Albert Museum to Chicago. “Instead of the record player coming London’s Victoria and Albert (V&A) rich collaborations on the tech and And within three minutes of the first 10 The show sparked an idea for a new to life, I was coming to life,” she says. Museum as part of the London Design design side of her art, writing songs had minutes of our first session we had this interactive medium for visitors to experi- “I was being mapped and tracked and Festival in 2018. Her exhibition, “The Art never been a collaborative process. track. We talked about it afterwards, ence her new record there. the lyrics would be streaming out of my of Music in the Digital Age,” recreated “I have many songs because song- and she told me, ‘I’ve done that exercise “It pays homage to this woman Hedy mouth, and the artwork would be com- some of the interactive experiences she writing was never difficult,” she says. with everyone I’ve worked with, from Lamarr,” she says. “She was this bomb- ing off the guitar.” developed, this time in a more porta- “I had always done it entirely on my Christina to Gwen, and no one has been shell actress who everyone knew as this ble, accessible form, including a “Raw own, and I mixed, produced, arranged. able to do that.’ And that’s not me pat- kind of glamour woman. But she was Space Chamber” where visitors could I’ve always been very protective about ting myself on the back; it was just that also an inventor and an amazing pioneer Raw Space: The Raw immerse themselves in a variation of her the music because in the early days obviously something was working where who came up with this binary code Space Beam (2018) 360 AR album stream with the help of a there would potentially be wrong deals the channel was open. Since then we’ve called frequency hopping in World War Format: Space Broadcast vintage coin-operated binoculars view- II, which was a way of sending missiles port and spinning vinyl. undetected. That code has gone on to During her work with Bell Labs, One of her favorite parts of the exhi- influence everything that we now use, Wolfe made the acquaintance of Nobel bition was being there and seeing first- like Wifi. And I thought, wouldn’t it be Prize-winning scientist, radio astronomer hand the reactions from everyone from amazing to pay tribute to her by creating Dr. Robert Wilson. In the 1960s, Wil- kids to grandparents. a way of listening to music that is this sort of 3D secret communication sys- tem, where you’d be able to listen to the album in its individual frequency bands, with the liner notes as these fixed-signal radio stations. We’ll also do some inter- esting stuff in the recording process.” Sounds like a good reason to stay tuned.

You can hear our conversation with Beatie Wolfe on the Taylor From the Factory Podcast, available via most podcast players. Learn more about her album innovations and other projects at beatiewolfe.com

The Holmdel Horn Antenna Wolfe with her well-seasoned 110e BACK PACK

Our latest limited edition collection f you tour the Taylor factory at our standard guitar line and offer players blackheart sassafras makes a dramatic company headquarters in El something uniquely appealing as a limit- return, for the first time powered by our reveals a bundle of bodacious woods: Cajon, California, chances are ed edition release. Inspiration can strike V-Class™ bracing. We’re also excited blackheart sassafras, a sweet koa/cedar Iyou’ll be struck by the variety of tone- from different angles. While working to lend our V-Class architecture to the woods making their way through our with our suppliers, we might discover tonewood pairing of koa and cedar, in combo, and figured ovangkol production process, on their way to a unique trove of wood that speaks to both 12-fret and 14-fret configurations. becoming finely crafted instruments. us. Or we might find a reason to revive Last but not least, we’ve brought a new By Colin Griffith Choosing the right combination of a tonewood pairing we don’t typically layered-wood option — figured ovangkol — woods — the ones that together create offer. However it happens, we do our to our 200 Deluxe Series. an inspiring mix of elegant aesthetics very best to honor the materials we We hope our inspiration is conta- and sonorous sounds — is part art, part select in order to create something gious. science, and in the case of our limited truly special. Read on for more details, and look edition guitars, often part luck. This autumn, we’ve turned our for these guitars in stores starting in L-R: Backs of the koa 514ce LTD, sassafras 814ce LTD We love having the freedom to latest inspiration into a new collection late October. and layered ovangkol 214ce-FO DLX LTD venture outside the boundaries of our of limited edition guitars. Stunning 15

Model: 814ce LTD Back/Sides: Blackheart Sassafras Top: Sitka Spruce

As with songwriting, sometimes the ed increase in volume and sustain, the best inspiration for building a guitar bracing makes this guitar more expres- comes when we least expect it. That sive and player-reflective than ever. pretty well sums up this limited release, “As a guitar maker,” Andy says, “it a cutaway Grand Auditorium 814ce is a genuine thrill to know there will be LTD featuring back and sides of magnif- music coming out of these guitars that icent blackheart sassafras. In this case, you won’t hear anywhere else.” we discovered a handsome batch while Visually, the unique character of sourcing blackwood for other guitars. each set of sassafras in this batch In terms of both internal structure means that each guitar will look as and sound, sassafras is radically differ- distinct as the person who plays it. In ent from Indian rosewood or any other addition to the “blackheart” accents, tonewood we typically use for guitars. the heartwood displays subtle touches Sourced from Tasmania, sassafras of olive, black, yellow, brown and even varies wildly in color and quality, and hints of rosy pink. The swirls of light individual trees can be as distinct as and dark color are also complemented humans. In fact, sassafras can be so by the color variegation in the ebony diverse that even within a single tree, pickguard and fretboard. neighboring sets of the wood can look Many of the guitar’s appointments very different. are borrowed from our standard 800 “A timber’s color and figure typically Series, including rosewood top edge relate to the way the tree grew and are trim and mother-of-pearl fretboard inlays connected to markers like the tree’s in our Element pattern. One exception growth rings,” Andy explains. “With is the choice of West African ebony this blackheart sassafras, the coloring for the binding and backstrip (rather occurs independently of the way the than maple), which provides a pleasing tree grows. As a result, the color pat- contrast against the lighter-colored sas- tern is completely unique to each guitar safras. The guitar comes with onboard set, because the hues can vary so ES2 electronics and a Taylor deluxe greatly throughout a single board.” hardshell case. The “blackheart” label refers to the dark coloration that runs through the blonde-hued heartwood, a result of fungi that propagate inside the tree after branches break off during storms, which allows water to drip down through the tree as it grows. Musically, sassafras has a tone profile that’s hard to pin down because it varies from player to player. In gen- eral, it blends the midrange warmth of mahogany, the top-end sparkle of rosewood, and the clarity of maple. Also like maple, it tends to respond to the unique nuances of a player’s attack. In other words, a guitarist playing softly will coax a dramatically different tone out of one of these 814ce LTD models than a player who really digs in to pro- duce high volume. “It’s an enigma of a wood,” Andy says. “If you play it with a bright attack, it’s a bright wood. If you play it in a dark way, it’ll respond with this dusky tone. If you play it lyrically, it sounds like it’s whispering or humming. One guitar might sound very different among five players.” This chameleonic quality makes the 814ce LTD a versatile option for guitar- ists who like to dabble across different genres and playing styles. The pres- ence of V-Class bracing intensifies the sonic character of the spruce/sassafras pairing. In this case, beyond the expect- 16 www.taylorguitars.com

Models: harmonically rich tone, which together terbalance to koa’s sweet, bell-like 512ce 12-Fret LTD have traditionally appealed to finger- response. The result is a beautifully 514ce LTD style players. dynamic sound in which overtones can Back/Sides: Hawaiian Koa When you marry cedar’s traits with resonate and sustain while the funda- Top: Western Red Cedar koa’s midrange mojo and then add our mental note remains clear. V-Class bracing to the mix, you have a “For me, the magic is in the mid- Though the tonewood pairing of recipe for a new dimension of acoustic range,” Andy says of koa. “In a way, it Hawaiian koa and cedar isn’t currently sound. Andy describes the impact of sounds like the Hawaiian language: offered in our Koa Series, the two V-Class on a cedar top in terms of its sweet, lyrical, melodic. The way the woods have a harmonious history at ability to spread the soundboard energy notes flow from the guitar makes them Taylor, a special sonic kinship that in a way that allows a note to bloom sound effortless.” traces back to the early days of our and develop. In the Grand Concert 512ce 12-Fret, Grand Auditorium body style in the mid- “We want the sound to disperse those qualities are even more pronounced. 1990s. Andy is excited to reunite these evenly over the top so it vibrates in The compact body/neck configuration complementary woods on this limited a cohesive way,” he explains. “Cedar gives this guitar a featherweight feel, edition offering, in the form of Grand tends to be relatively stiff across the and the bridge has been shifted toward Auditorium and Grand Concert models grain in proportion to its resiliency the center of the lower bout, which dressed in our 500 Series appoint- along the grain, which makes a mechan- alters how the cedar top is articulated. ments. ically efficient sound transmitter. As a Sonically, this allows the small body “Those two woods are a heavenly result, only a little harmonic content is to punch above its weight, producing match,” he says. absorbed, making the overtone content a bigger, more powerful voice. That Though koa brings instant cachet rich and full. It feels like the guitar lights change affects the player, too — the thanks to its exotic beauty, Andy is up without the need to hit it hard.” strings feel slightly more slinky under quick to emphasize cedar’s virtues: It’s a “smoky, thick, complex” sound, your fretting hand, making it easier to soft-touch responsiveness and broad, to use Andy’s words — a natural coun- bend notes and form difficult chords.

514ce LTD

The Grand Auditorium 514ce LTD, plate,” Andy explains. “By using nar- meanwhile, blends versatility with the rower pieces, we have the luxury of modern-sounding clarity that you might matching for grain consistency and expect from a Taylor, but with a bit of stability, rather than being constrained sonic sweetener added. Koa brings by the wood’s width, or having a center more presence in the midrange, and wedge with uneven characteristics with the cedar top, players can expect from side to side. We’ll be using the a pleasing mix of warmth and sparkle. bookmatched Simons wedge design The koa sets we selected for the more in the future because it looks and backs of these models incorporate functions so well.” what we call a Simons wedge, named Aesthetically, the guitars feature after its creator, Spanish luthier Jorge our 500 Series appointment package, Simons from Madinter, one of our wood including faux tortoiseshell binding and suppliers and our ownership partner grained ivoroid Century inlays, along with our Crelicam ebony mill in Camer- with one additional finishing detail that oon. Both Andy and Bob Taylor prefer sets these models apart: a beautiful the symmetrical look of the back’s shaded edgeburst finish treatment four-piece bookmatched configuration, that wraps the entire body and neck in featuring a two-piece bookmatched vintage warmth and complements the wedge, along with other structural ben- golden-brown color tones of the body efits for players. and neck woods. Both guitars ship with The back features a two-piece bookmatched Simons wedge “The reality is the four-piece setup our proprietary ES2 electronics and gives you a more consistent back include a Taylor deluxe hardshell case. 17

loved the look so much that we chose browns and other earth-toned variega- looking to add some 12-string sounds songwriting will find these guitars to be Models: to design a pair of companion 6- and tion that players might recognize from to their repertoire. inspiring tools to expand their musical 214ce-FO DLX LTD 12-string models, both in our Grand our 400 Series — only here, they’re Though visually distinct from other palette. 254ce-FO DLX LTD Auditorium body style. naturally embellished with elegant, standard 200 Deluxe Series models, Our 200 Deluxe Series Limited Back/Sides: Layered Figured The figured ovangkol veneer is more rippling figure. The guitars feature crisp these guitars share many fundamental Edition models come with a Taylor Ovangkol than just beautiful — its physical quali- white binding, gold tuners, Italian acryl- design elements, like a solid Sitka deluxe hardshell case. Top: Sitka Spruce ties are well-suited for our guitar-mak- ic Small Diamond inlays, a full-gloss spruce top and similar internal bracing. ing needs. body, a Venetian cutaway, and ES2 The payoff: a big sonic punch, with the For more details on all of our limited If you’re familiar with the Taylor line, “This wood has the right kind of electronics. clear, balanced response that continues editions models, including complete you know we use solid African ovan- workability, grain structure and density,” The 12-string edition (not shown) to make our Grand Auditorium a favor- specifications, visit taylorguitars.com. gkol for our 400 Series. Recently, we Andy says. “All the qualities are right finds a sonic sweet spot thanks to the ite body style of guitarists around the discovered some richly figured ovang- in the ‘Goldilocks’ zone of instrument Grand Auditorium body, which deliv- world. Working musicians will love the kol veneer and knew it would make an wood characteristics.” ers gorgeous octave shimmer without reliable performance of these guitars attractive limited edition offering within Visually, the ovangkol’s warmer, oversaturating a mix. One of these will on the road and in studio, while play- our 200 Deluxe Series. In fact, we complex appearance blends chocolatey make a compelling tool for any guitarist ers focused on their development and STEP through the doors of the Folk Music Center, located in the leafy Los Angeles suburb of Claremont, California, and you’ll find yourself surrounded by an assortment of exotic musical instruments and folk artifacts from around the world. Part store and part museum, the shop, located about The Wood&Steel Interview 30 minutes east of downtown LA, has been dedicated to preserving international roots music culture since its founding in 1958 by Ben Harper’s maternal grandparents, Charles and Dorothy Chase. For years, Dorothy, a talented musician, taught guitar, banjo, dulcimer and autoharp. Charles repaired instruments and put the repair shop on the map as a go-to spot BEN HARPER REFLECTS ON HIS ECLECTIC for the restoration of vintage instruments. MUSICAL JOURNEY, WHAT HE’S LEARNED Over time the family store grew into a hub of the community. It was FROM HIS HEROES, AND WHY THERE’S NO also a second home to Harper, who grew up working there, learning to

TRUTH LIKE THE BLUES play guitar and other instruments, and getting an immersive education in American roots music and the social issues that informed it. By Jim Kirlin Harper was exposed to guitars and other musical instruments most people will never see or hear, and learned to repair them. He also heard many of those instruments brought to life in the hands of the skilled musicians who visited the store — some unknown, others renowned, like world blues icon Taj Mahal, guitarist Ry Cooder, singer-songwriter Jackson Browne, and virtuosic multi-instrumentalist David Lindley, a

regular customer who lived nearby and introduced a young Harper to the Weissenborn lap slide guitar he would later master. Those years would stoke Harper’s desire to decode the mesmerizing guitar sounds he heard on blues records, like the syncopated fingerpicking techniques of Mississippi John Hurt and the slide work of Robert Johnson. Both the store and the family record collection would nurture Harper’s Ben eclectic Harpermusical journey across the broad landscape of roots music. The genre-blending musical exploits of his 30-year career, spanning 14 studio albums, draw deeply from his knowledge of blues, folk, gospel, soul, funk, Ben Harper Harper in the back of his family's store 20 www.taylorguitars.com

reggae, rock, hip-hop and other musical connective tissue. Wherever Harper’s Wood&Steel: Your family’s music complained, and they soon had to find first places that housed music and store seems like a special place. Can a larger space. I realized, even as a instruments from all over the planet. musical instincts have led him, his songs have tapped into the essence of a you paint a picture of the kind of envi- teenager, that music and instruments The term “world music” was coined great folk, blues or country song: They come from the soul, tell a story, and ronment your grandparents set out to may have been the currency, but social in the ’60s, but at the Claremont Folk create and what it meant for you to be progress and politics were the busi- Music Center, it was not a genre or empathize with the struggles and hopes of the human experience. immersed in that growing up? ness. Literature, poetry and art were the catchphrase; it was a way of life. The breadth of Harper’s catalog reveals him to be a tireless musical explorer, language. I wish I could converse with Ben Harper: My grandparents opened my grandparents today. Every day in W&S: Was there a particular artist or and no matter what genres his songs inhabit, they always resonate with deep the Folk Music Center with financial that environment was a cacophonous record or experience that first inspired conviction and soulful humanity. He’s done the work of absorbing — and often help from my maternal great-grand- symphony from the minute the door you to play guitar? parents Albert and Bessie Udin. Up opened at 9:30 until it closed at 5:30. seeking out — his influences and putting in the time to carefully hone his own until that point, my grandmother had Not only was it my home, but it was BH: Hearing Mississippi John Hurt for musical point of view. And it’s a process that’s ever-evolving, which is why one of been teaching guitar in the living room home to every artist who cared to walk the first time did it for me. My grand- of their family home, and my grandfa- through the doors — David Lindley, mother played one of his records, and the key attributes he says he looks for in a guitar is whether he can grow with it. ther had been repairing her students’ Chris Darrow, Jackson Browne, Taj I asked her who “they” were. I was At this stage of his career, Harper has pretty much done it all — he’s been instruments in the basement. After a Mahal, Leonard Cohen, Sonny Terry, sure there were two guitar players. couple of years, it was taking over the Brownie McGhee…the list is just so She assured me it was one man doing a guitar magazine cover boy; he’s sold scads of records and played stadiums entire house, so they decided to open long. all the guitar playing and singing at with his bands the Innocent Criminals and Relentless7; he’s won multiple a music store. They rented the small the same time. Right then and there I back storage room of a real estate W&S: I’ve heard you say that the family knew for myself there was nothing on Grammy Awards; he’s worked with many of his musical heroes, including Taj agency. The owner of the building told store was largely responsible for popu- the planet that was going to be better Mahal, reggae/R&B kings Toots & the Maytals, gospel gurus The Blind Boys of my grandfather they’d never make a go larizing the term “world music.” than that. of it in music retail, so they could rent Alabama and Mavis Staples (he wrote and produced Staples’ latest record, We it for cheap. The early ’60s folk boom BH: Customers would often comment W&S: How did you learn to play differ- Get By), and blues harmonica legend Charlie Musselwhite (with whom he made happened, and before long, there were that coming to the Folk Music Cen- ent styles, from acoustic fingerpicking way more people coming in for guitars ter was like taking a musical journey to slide? Your mom? Other players who two critically acclaimed records). He’s rocked out with longtime friends and than houses. The real estate agency around the world. We were one of the showed you things in the store? Or peers Eddie Vedder and Pearl Jam. He was among the invitees who performed a tribute to Bruce Springsteen as part of the prestigious Kennedy Center Honors. He and his mother, Ellen, even made a beautiful folk record, 2014’s Childhood Home, which showcased her talents as a songwriter and singer. Yet, for all his musical successes, he says he has managed to stay grounded by his failures along the way. Harper connected with Taylor last year after finding a rosewood/spruce 810 he liked in a music store. He and Director of Artist Relations Tim Godwin already knew each other but hadn’t been in touch in a while, and as they caught up, Godwin suggested that Harper might like the Grand Pacific guitars we were developing. We sent him a couple of prototypes, and Harper felt a musical connection — the feel, the sound, and the new avenue of expression they offered. The conversation continued, and a few months ago, we met up with Harper in Claremont to shoot some video with him both at his home and in his family’s music store, where he talked about a range of topics: his musical influences, his relationship with guitars, how listening to records inspires his creative process, and the parallels between the music business and another passion of his: skateboarding. We encourage you to check out those interview segments, which you’ll find at taylorguitars.com/artists. In early October we followed up with another conversation via email, when Harper was fresh off a string of tour dates with the Innocent Criminals. He’d had an opportunity to play some shows with his two rosewood Grand Pacific 717 guitars (he also owns a 517), so we thought we’d check in with him on his impressions of the guitars. In the store's instrument repair area 21

was it simply your own obsessive drive W&S: How old were you when you W&S: What did you learn being out on knowing them inside and out. However, him in his apartment! Winter, South to figure out how the players that capti- knew you wanted to make music for a tour with Taj? I rarely work on my own instruments. Chicago. Wild. vated you did what they did? living? And because of the environment It’s the theory of the doctor not having in which you grew up, did being a pro- BH: Touring with Taj was the single himself as a patient, but sometimes I W&S: Along similar lines, you have BH: I studied and obsessed over the fessional musician naturally seem like greatest moment in my creative life, on just can’t resist. a rich track record of working with music that moved me. In my early an attainable profession? par with getting my own first record some of the legends of folk, blues and twenties I made it my life’s work to sit deal. Taj is the keeper of the flame, and W&S: Social justice has been a strong gospel. Besides Taj Mahal, you’ve col- at the feet of as many legendary blues BH: I never knew it was something I has one-of-a-kind depth and a wealth of through-line of your music throughout laborated with The Blind Boys of Ala- players that would take me in. Brownie wanted to do for a living. I simply never firsthand knowledge of the music that your career. I imagine this naturally bama, Charlie Musselwhite, and Mavis McGhee, John Lee Hooker, Louis and thought it possible. I was surrounded is most important to me. His musical resonated with you because of your Staples. Can you talk about the unique Dave Myers, Blind Joe Hill, Taj Mahal, by extraordinary world-class musicians, instruction and guitar tutorials, as well family values and your immersion into musical connection you have with each David Lindley, Chris Darrow. And the humble working-class heroes whose as [his knowledge of] how to stay true the stories and messages in blues, of those artists? folk, reggae and soul music. Do any particular experiences stick out as cat- BH: The Blind Boys of Alabama record alysts (for example, seeing Bob Marley [2004’s There Will Be a Light] recali- perform when you were a kid), showing brated my entire trajectory. I was com- “WHEN DAVID LINDLEY WOULD SIT DOWN AND PLAY you the power of music to amplify these ing off two of the bestselling records of themes to the world? my career to that point (Burn to Shine, THE WEISSENBORN, IT WAS THE SONIC EQUIVALENT and Diamonds on the Inside), and it BH: Social justice was a major part was naturally expected of me to follow OF WATCHING MICHELANGELO SCULPT THE PIETÀ.” of my upbringing, so it’s always been it up with something that could build instinctual for me to represent that on that commercial success. It was at musically. Seeing Bob Marley at a that time that the opportunity presented young age definitely spoke to me as to itself for me to work with The Blind how deeply that could resonate, and Boys. Three of the five original mem- I was also raised with a healthy dose bers of the group were still alive. They ones who had long since passed, like names you won’t know, and many of to one’s creative visions, were exactly of Joe Hill, Woodie Guthrie and Pete were old, but their singing was stronger Robert Johnson, Blind Willie Johnson, them don’t want you to know it. They all what I needed at that exact moment Seeger. Those voices solidified how than ever, and I knew the opportunity Furry Lewis, Reverend Gary Davis (who had their hearts broken beyond repair for me to take a next step, if there even important and inextricably linked music wouldn’t come around again. I felt a was a friend of my family’s and played by music, or more so by the music was a next step. Taj revealed to me a and social justice could be. sense of urgency, as if there was no at the music store). I studied them as business. But business be damned, world I could’ve barely dreamt of up choice but to do drop everything and if my life depended on it. This music they did and still do it anyway, because until that point. W&S: When you were 20 you spent make that record. was so lonely yet hopeful, so desperate we have to. That’s the school I’m from. time in Chicago hanging some of the Working with Charlie Musselwhite is yet confident, I had to get close to it When I was in my early 20s, Taj Mahal W&S: People might not know that you’re old blues players — people like Brownie life-affirming. A rare and exciting expe- and stay close. I looked at the world saw me play and brought me on tour also a skilled luthier and repaired instru- McGhee and one of the members of the rience, one that is still being lived and as clearly as I could at age 20, and with him to play lap steel in his band as ments at the store. How did your under- Aces. It’s obvious that you have great written every day. My entire adult life nothing made as much sense to me as well as to do some writing and record- standing of how instruments were made respect for their music and stories. Why has somehow been aimed at collabo- the blues. I took all that and applied it ing with him. That was the first time I impact your relationship with them? was it important for you to seek them rating with Charlie, and we have a lot of to my own material that I was writing was paid real money to make music, out? What sort of truths were you after? work still to be done. at the time, filtered it through my own and once that happened, once I had a BH: I grew up learning to repair instru- Mavis is the sister I always wanted. instincts, and that’s what ended up glimpse of that as reality, it was over, ments, and in my late teens appren- BH: There’s no truth like the blues. I felt She and I are like brisket and bread, a being my first album on Virgin Records, there was no going backwards, there ticed with the late, great Jack Willock. it to be priceless that these older cats coat and top hat, Michael Jordan and Welcome to the Cruel World. was no backup plan — matter of fact, Jack worked for Gibson in Kalamazoo, would let me spend time with them. I Scottie Pippen. I still wake up every day there was no plan. I just knew I had to Michigan, through the late ’30s and was just a 20-year-old kid who deeply and am overwhelmed with gratitude W&S: I understand that David Lindley, find a way to either survive by making early ’40s. Becoming friends and loved and lived their music. They were and appreciation for having the chance who lived nearby and was a regular at music, or discipline myself to live so apprenticing with him are some of the all so gracious with me, and this was to know her and to collaborate with her. the store, first introduced you to the very simply, so that I could afford to best times and memories for me. The well before I had released a record. Weissenborn. What about that instru- make music the driving force in my life cats who would drop into his shop to They wanted nothing from me, and W&S: Anyone (living) come to mind ment spoke to you? above all else. have him work on their instruments good thing because I had nothing to who you’d love to collaborate with but And something else happened. were wild! One day it would be John give them other than wide-eyed enthu- haven’t had a chance to yet? BH: Growing up in an eclectic music Early on I passed through Nashville on Collins, the next day Howard Roberts, siasm. store, I developed a recognition of my way back from playing Austin City or Al Viola. Crazy! It has definitely They literally took me in. Louis Mey- BH: Bill Withers, Bob Dylan, Alison sonic and tonal uniqueness at a young Limits with Taj, and I made a point of impacted my relationship with guitars, ers from the Four Aces let me stay with Krauss, Paul Simon, Chuck D. age, so as a kid, I knew the Weissen- going into Gruhn Guitars. This would’ve born sounded special even before I been 1992 or ’93. I went in, grabbed heard anyone play it professionally. But an acoustic lap steel off the wall, sat when David would come in, sit down down and started playing. I looked up and play the Weissenborn (which to and saw a man with a massive snake “THE BLUES WAS SO LONELY YET HOPEFUL, SO this day is a regular occurrence), every- around his shoulders. It was George body in the store would immediately Gruhn! He was so kind to me in regard DESPERATE YET CONFIDENT, I HAD TO GET CLOSE TO stop whatever they were doing to listen to my playing, and in the many ways he and end up slack-jawed, barely breath- wanted to support me. This stood out IT AND STAY CLOSE.” ing while marveling at his playing and to me as a signpost that I might be able sound. For me it was the sonic equiv- to get somewhere. alent of watching Michelangelo sculpt the Pietà. 22 www.taylorguitars.com

would you compare the sonic personal- informative than people. Sometimes the the exhilaration of executing a move ities of each? instrument leads the charge and you compare to the feeling of playing a follow. It’s great when that’s happening great show? BH: Rosewood and mahogany tend to because it’s often unchartered territory. favor their own set of frequency/wave BH: Yeah, that definitely was an issue forms and respond accordingly. More W&S: What has kept you grounded early on until everyone recognized my importantly, the 517 and the 717 are throughout the high and low points of skill set, and even still it’s always high both sonically at the top of the food your career? risk, but that’s what it’s gonna be. My chain, so at this point it’s more about dentist is a skater, and he needs his which one the song tonally requires. BH: Failure and fatherhood. hands every bit as much as I do. More important than the connection W&S: What type of strings do you use W&S: Having absorbed so much musi- between a good show and landing a on them? And when you play them, are cal knowledge and experience from skate trick is the correlation between you in standard tuning or do you use older established artists and collabo- falling off the board and humility. The different alternate tunings? rated with them, at this stage of your best thing I’ve ever done is fall off career, do you find yourself starting to a skateboard in public. I mean slam BH: I use D’Addario strings. Always. I become the “older established artist” really hard. Skateboarding is by far the do a lot in standard tuning as well as that younger artists want to collabo- most humbling endeavor in my life. I alternate tunings. If I’m writing in stan- rate with? After all, you’ve become a owe a huge amount of my humility to dard tuning but not finding what I want next-generation torchbearer of Ameri- skateboarding. Not the makes, but the to say, I take that as a sign that it’s time can roots music. falls. Don’t get me wrong, landing a to shake it up tuning-wise and explore. skate move and playing a song well are BH:Well, if that’s the case, I’m honored nearly identical emotions for me. Those W&S: Not only have you made records to be that, and yes, I have noticed this rare moments where you feel like you’re in different styles, but you seem to have shift starting to happen. It’s cool to doing something you’re born to do with a unique ability to connect with each have that much road behind me and no compromise. But all the falls that it instrument you play and find the best of still to this day feel like it’s all brand- takes to earn the makes, all the shit you what it has to offer. Do you sometimes new and the best is yet to come. have to deal with to just sing your damn With his mom, Ellen feel like an instrument tells you want song, who you become out of that is it wants to say and you become the W&S: Skateboarding is another pas- what matters to me. interpreter? sion of yours, so much so that when you recommitted yourself to it in your W&S: Not many artists can say they BH: That soulfulness for me is where BH: Instruments have personalities 30s, it sounds like you made your cut a record with their mom. The record experience and imagination meet. that are often more interesting and management a little nervous! How does you made with your mom (2014’s Where rules and structure fall away and Childhood Home) is a beautiful col- are replaced by learning what can’t be lection of folk-flavored songs, and taught. showcase your mom’s vocal and song- writing chops, not to mention sweet W&S: You’ve mentioned three things vocal harmonies between the two of that you consider when you pick up a you. One thing that impressed me was new guitar: sound, feel and potential. that it really felt like a genuine 50/50 You’ve obviously owned many different collaboration — your mom is the real types of guitars over the years, so I’m deal. What was the most satisfying part curious about your initial impressions of about making that record? these Grand Pacific guitars. And then speaking to the idea of potential, now BH: Thank you. It was a 50/50 collab- that you’ve had the guitars for some oration. The most satisfying part above time now, what have they been reveal- all was that we were able to actually ing to you musically, both at home and accomplish it after talking about it for on stage? so many years. Another very satisfying aspect of it for me is how it will always BH: The Grand Pacific guitars seem to be there for my kids and their kids and resonate even when not being played. so on down the line. A sonic family My favorite instruments tend to do this. heirloom. Also, when I’m doing something else non-music-related, I tend to find myself W&S: In one of your previous conver- thinking about playing them. On stage sations, you said: “A lot of writing is they have a massive, full-bodied sound, just about interpreting silence with as and at home and in studio they have much soulfulness as you can.” What that intimate clarity that for me is a does soulfulness mean to you, and is requirement with acoustic guitars. that something that anyone can learn to express, or do you either have it or W&S: You’ve got the mahogany/spruce you don’t? 517 and rosewood/spruce 717. How On stage with a 717. Photo: Mathieu Bitton

24 www.taylorguitars.com Soundings

Taylor at AmericanaFest In September, the Americana Music Tennessee, flowed into dozens of music country, folk, bluegrass, R&B, the blues, Association hosted the annual gath- venues throughout Music City, featuring and other rootsy styles that have cross- ering of musicians, fans, and industry nightly showcases and music industry pollinated and evolved over the course pros known as AmericanaFest, one panels, culminating with the gathering’s of generations. Artists including Emmylou of the nation’s largest genre-based Americana Honors & Awards at the his- Harris, Keb’ Mo’, John Prine, Steve Earl, music festivals and an event that Taylor toric Ryman Auditorium. Gillian Welch, Sturgill Simpson, Jason Guitars was proud to sponsor. The The festival celebrates the rich melt- Isbell and Loretta Lynn are mainstays of 20th annual festival and conference, ing pot of American roots music, taking the genre, which continues to grow in Brandi Carlile with bandmates Phil and Tim Hanseroth held September 10-15 in Nashville, a big-tent approach that welcomes popularity as new creators step forward Getty Images for the Americana Music Association to raise their voices and bring new fla- vors to the mix. Thanks to the efforts of our market- ing and artist relations teams, working in tandem with experts from across the Taylor factory and the folks at AmericanaFest, this year’s event was a wild success. It was an opportunity not just to share the Taylor creative philos- ophy and show off some of our newest guitars, but also to form connections with emerging artists whose sound will define the future of roots music. Many of those artists, both new and established, were honored at the festi- val’s awards ceremony, where trophies designed by local Nashville artists were handed out to some of the genre’s most influential musicians. It was a night for celebrating accomplishments and ushering in new voices, some of which made special appearances to perform their music at the show. Taylor artist Jade Bird was among them Steve Poltz with her custom-built all-white Grand Concert in tow, while others like Brandi Carlile, Mavis Staples, Bonnie Raitt and Elvis Costello stepped up for perfor- mances of their own. After the awards ceremony, the Taylor team spent the rest of the festival chatting with artists, fans, and guitar players about the Grand Pacific and some of the other major innovations developed here in El Cajon over the past year. More than 100 players came to demo various Taylor guitars, while other members of the Taylor team set up a video studio at a nearby hotel to capture performances by Taylor players like Maggie Baugh, Brent Cobb, Rising Appalachia, Trey Hensley, and many more.

Jade Bird - Getty Images for the Americana Music Association Brent Cobb 25

Wolfe’s Acoustic Darkness 50 Years of American History Enigmatic singer-songwriter Chelsea a backdrop for the intimacy and vulner- What were you doing 50 years ago? Wolfe has carved a niche for herself in ability of her words. As an album, Birth Gerry Beckley and Dewey Bunnell between the ruts of established genres of Violence is more than just her latest were living in London and on the verge with her smoky, apocalyptic sound- release — it’s evidence of a musician of launching what would turn out to scapes and darkly poetic lyrics. This taking a major step toward the clearest be an enduring, hit-filled career as past summer found Wolfe at her haunting embodiment of her artistic self. the band America that continues to best with the release of her sixth studio Wolfe has been a Taylor player for this day. Beckley (multiple 6- and album, Birth of Violence. The collection years, and for this record and the 12-string custom maple Grand of mostly acoustic tracks showcases accompanying acoustic tour, she’s Auditoriums) and Bunnell (custom her keen, piercing voice, an asset that been relying on her 416e-R, a rose- 614e), whom we profiled back in our draws a stark contrast against the sub- wood/spruce Grand Symphony model Fall 2015 edition, are revving up for the dued guitars and channels of electronic with a custom-made pickguard, the band’s golden anniversary in 2020 with noise that characterize all but her most product of a collaboration between a series of special releases that long- stripped-back recordings. From start to Taylor and Glaser Instruments. Wolfe time fans are bound to love. finish, the album’s songs are poignant will be playing her Taylor live throughout The first is a multi-format anthology. and personal, with Wolfe’s light but her North American tour, which began America – 50th Anniversary: The Col- confident touch on the guitar serving as in October. lection (Warner Bros./Rhino) dropped this summer as a 3-CD, 50-track box set; a vinyl 2-LP set (24 tracks); a sin- gle-disc greatest hits compilation (for Old Grey Whistle Test TV show). Beckley will be adding to his robust big box retailers); and digital versions. Though founding member Dan Peek Taylor collection soon. As of our press Here at Taylor, we’ve been spinning left the band in 1977 (he passed away deadline, he had just ordered a Grand through the 3-CD box set, soaking up in 2011), Beckley and Bunnell continued Pacific with a custom star inlay to the band’s classic vocal harmonies on to write, record and tour, and they still match his other custom Taylors. Mean- tracks like “A Horse with No Name,” play about 100 shows a year. In the liner while touring guitarist Steve Fekete, “Ventura Highway,” “Tin Man,” “Lonely notes for the box set, Beckley reflects on who handles much of the lead work on People,” “I Need You,” “Sister Golden the band’s longevity. stage, has been playing a sunburst-top Hair,” “Sandman” and more. Devoted “We’ve had more success than many Grand Pacific 517e. fans will enjoy hearing some of the artists achieve, but we’ve never flown so Coming soon from the band: a con- other, more obscure cuts in the collec- high that we’ve been scorched beyond cert DVD and 2-CD release, Live at the tion, including rarities, demos (“Sister repair,” he says. “On the other hand, London Palladium (recorded in 2018), Golden Hair”), alternate takes (“Ventura we’ve never bottomed out or had to and in 2020, a 50th anniversary tour, Highway,” Take 4), and live recordings reform. It’s a consistency we’re quite an authorized biography and more. (a couple of tracks from the BBC’s The proud of.”

Mon Laferte’s Alt-Latino Ascent Several members of Taylor’s market- At her San Diego show, Laferte Olvidar” and the up-tempo, ultra-catchy ing team spent time with Chilean singer performed with a full band, complete “El Beso.” The show also gave fans to and Taylor artist Mon Laferte before a with a boisterous horn section that experience some of the singer’s more captivating performance at San Diego’s made itself known from the opening subdued, emotionally affecting music, House of Blues in August as part of her notes of her hit “Por Qué Me Fui a including the acoustic breakup anthem La Gira de Norma tour. Enamorar de Ti.” Laferte showcased the “Funeral,” which both she and her guitar- Since launching her career in 2003, dynamism and diversity of her music ist, Sebastián Aracena, each performed the singer-songwriter has established throughout the evening, with highlights on a Taylor nylon-string 714ce-N. herself as a powerhouse in Latin pop including the smooth jam “Cumbia Para music, currently sitting at the top of the streaming charts among all Chilean art- ists and selling out venues in California, across the United States and beyond. Her star has continued to rise over the course of six studio albums. After earn- ing Latin Grammy Award nominations in 2016 for Best New Artist and Best Alternative Music Album on the strength of her release Mon Laferte: Vol 1., she followed with 2017’s critically acclaimed Le Trenza, which scored her five Latin Grammy nominations, including a win in the “Best Alternative Song” category for “Amárrame,” featuring Columbian singer Juanes. On her latest release, Norma, which debuted to critical and popular fanfare in November of 2018, Laferte puts her own stylistic spin on classic Latin music genres and dance rhythms.

28 www.taylorguitars.com Taylor Notes (Dalbergia nigra), which was listed has resulted in a global run on many created in Johannesburg was hastily separately in 1992 on the much stricter red-colored rosewoods, decimating drafted with insufficient consultation. CITES Appendix I. several rosewood species in Asia and In contradiction to CITES’ own guiding Rosewood Musical Instruments Manufacturers will still be required thus sending would-be traders into principles, which state that Annotations Exempted from Requiring CITES Permits to secure all necessary permits for tropical Africa and the Americas in should address impacts on species that rosewood material used in making search of similar-looking species. It’s first appear in international trade and on instruments — a policy they have always definitely a problem. However, it should those that dominate trade and demand supported — but they will now be free, be noted that in the lead-up to the for the wild resource, the new Anno- for example, to ship finished musical original 2016 Johannesburg rosewood tation covered the entire genus in any Taylor’s Director of Natural Resource exempt finished musical instruments, instruments to stores around the world listing, the focus was almost exclusively form, new or used, from now to eternity. Sustainability, Scott Paul, reports on parts and accessories made with rose- without permits. Further, owners of on this market, and at that time no one Regardless, in 2016 it passed. the recent amendment to rosewood’s wood from requiring CITES permits. instruments made with rosewood was thinking about musical instruments. So, for the last three years a small CITES listing, what it means for musi- The vote, taken during a two-week components will once again be able Regardless, in the grand scheme ensemble of music industry interests, cal instrument makers and owners, and CITES conference (CoP18), amend- to ship an instrument internationally of things, the decision to act was including representatives of instrument the new normal of instrument manufac- ed the original CITES listing made in for service, or to sell, without needing appropriate, but the manner in which manufacturers, associations and touring turing looking ahead. 2016, which had mandated permits for a permit. And traveling internationally CITES did so had profound unintended orchestras, attended CITES meetings, commercial trade of Dalbergia rose- with a musical instrument made with consequences on a very unexpected met with various governments, and par- On August 28, 2019, in Geneva, wood products in any shape or form. rosewood will now be easier. The new target — the manufacturers and owners ticipated in countless conference calls. Switzerland, the Conference of the The new exemption will take effect CITES exemption ends what has been of musical instruments — and indeed on Finally, after three years, the CITES Parties (CoP) to the International 90 days following the August vote — a tumultuous three-year period for both the Convention itself. In short, the new Conference of the Parties formally Convention on International Trade in November 26, 2019. The exemption the musical instrument community and listing generated the need for tens of reconvened in Geneva and revised the Endangered Species (CITES) voted to does not pertain to Brazilian rosewood the Convention itself. thousands of new permits for musical rosewood annotation to exempt musical instruments, both new and old, which instruments, parts and accessories, and What CITES Does quickly overwhelmed many national also sought to accommodate handi- CITES is a multilateral treaty government Management Authorities crafts, both shipped and as personal designed to protect endangered plant who are responsible for reviewing and effects, which were also impacted unin- and animal species by subjecting their issuing all manner of CITES permits. tentionally. international trade to certain controls. To give one example, prior to the I wish I could tell you that’s the end Participation is voluntary, and countries listing, the U.S. Fish & Wildlife Service of the story, but it’s really just the begin- that are signatories to the Convention processed on average roughly 20,000 ning. The CITES Secretariat is mandat- are known as Parties. Currently, there CITES permits per year for plants ed to undertake a study to assess the are 183 Parties, and the body has met or animals, alive or dead, in parts or impact of the musical instruments, parts faithfully more or less every three years extracts covered by the Convention. and accessories exemption, as well since 1976. It’s a good thing. In fact, a Two years after the 2016 rosewood as the language designed to exempt very good thing. CITES listing, that permit number handicrafts. Of course, the musical spiked to over 60,000. The vast major- instrument community, as represented What Happened in 2016? ity of new permit requests were for at CITES meetings, welcomes any Prior to this recent meeting in musical instruments, mostly guitars, but such review, but, personally, I hope that Geneva, the CoP had last met in 2016 also other instruments used by touring CITES spends at least as much time in Johannesburg, South Africa and, orchestras. And trust me, the good attempting to understand the Annota- as many musicians know, approved a people at U.S. Fish & Wildlife did not tion’s impact on, for example, the Asian rather dramatic proposal subjecting receive increased budget or staffing. furniture trade that appears to have the entire Dalbergia (rosewood) genus, It was a similar story for many other started all the trouble in the first place. excepting Brazilian rosewood, along CITES Management Authorities around This said, instrument manufacturers with several Guibourtia (bubinga) spe- the world, and as the permit requests are held to a high standard, and right- cies, to CITES Appendix II. The deci- piled up, frustration mounted. All this fully so. Further, in the years to come, sion to act was justified. However, the fuss for an industry that was never CITES will continue to discuss addi- manner in which it did so was another considered part of the problem when tional tree species, and it is only logical matter altogether. the listing was originally made, and that that some of these will be species used To be clear, the outlook of many I estimate uses less than one one-tenth by musical instrument manufacturers. rosewood species around the world of one percent of the global rosewood It doesn’t matter what percent of the is indeed dire. As I chronicled in the trade. trade we use. It’s the new normal. And Winter 2018 and Winter 2019 editions To be fair, it was not so much the that’s OK. It only matters that the sec- of Wood&Steel, many rosewood spe- listing of the Dalbergia genus itself on tor is transparent, acts responsibly, and cies are being seriously over-exploited, Appendix II that caused the trouble, is a partner in forest conservation and often illegally. The primary culprit is but rather the listing’s accompanying restoration moving forward. The music the seemingly insatiable appetite for annotation. Let me provide context. Any community, as represented at CITES rosewood furniture, principally a style species listed is placed on one of three meetings, fully supports CITES and called hongmu, produced largely for Appendices, according to the degree looks forward to working closely with Asia's emerging middle class. The of protection they need. The majority of the Convention in the years to come. word “hongmu” means “red wood” in listed plant species are also assigned Chinese, and the term refers to a range a governing “Annotation” that defines of red-colored tropical hardwoods used when and in what forms trade in the to produce a certain style of furniture. listed species requires CITES docu- Photos by IISD/Kiara Worth (enb.iisd.org/cites/cop18/27aug.html) Escalating demand for this furniture mentation. The rosewood Annotation 29

Andy Powers Named Ownership Partner

V-Class Bracing

We’re happy to share that Taylor tually every series in our line, including nessman and sales and marketing master guitar designer Andy Powers the flagship 800 Series in 2014, Andy person,” he says. “That combination, is joining founding partners Bob Taylor introduced our Grand Orchestra body together with our shared ethics and val- and Kurt Listug as a third ownership style, 12-fret Grand Concerts (including ues, is what has set us apart. Bob on partner of the company. Andy’s own- our small-body 12-strings), the Acade- his own would have been a successful ership stake underscores Taylor’s my Series, the GS Mini Bass, our pat- guitar maker, but probably at a smaller commitment to industry-leading guitar ented V-Class™ bracing, the Builder’s level. I would have created a sales design for decades to come. Edition collection, and most recently, and marketing success, but without a 800 Series “I’m thrilled to continue this fascinat- our new Grand Pacific body style. With uniquely great product.” ing work I’ve been pursuing since I was each new design, Andy has given the For his part, Andy has great respect a young boy,” Andy shared with Taylor world another compelling reason to for what Bob and Kurt have accom- employees in conjunction with the play a Taylor guitar and expanded the plished and how they’ve done it. announcement. “It’s a genuine pleasure expressive range of our instruments in “For decades, Bob and Kurt have to be able to design the best instru- playability and sound. exemplified what quality craftsmanship ments I can and, within the context of “Andy is the best guitar builder I looks like,” he says. “With integrity, Taylor Guitars, have an opportunity to have ever met and I believe the best attention, effort and creativity, they serve musicians around the world for alive today,” says Bob. “If anyone ever have developed a company that rests years to come.” deserved to be called ‘partner’ with on these ideals. They’ve built a vibrant As many readers know, Andy has me and Kurt, it’s Andy. He’s vital to our business that values every touchpoint been the creative wellspring of our gui- future, and together as we combine along a guitar’s journey — from those tar development here at Taylor for some our talents, we can continue to bring who plant trees to wood harvesters time. When he accepted Bob’s invita- a great musical experience to our cus- and suppliers; from Taylor employees to tion to join the team, setting up shop in tomers.” retailers, and ultimately, to musicians.” early 2011, Andy already had carved Kurt notes that a strong partnership Andy is excited to build upon Tay- out a reputation as an immensely tal- with Bob has been one of the keys to lor’s heritage of innovation for decades ented guitar builder — not to mention a Taylor’s success, and that neither he to come. great player — even though he was only nor Bob would have grown the compa- “We have the opportunity to con- 30 years old. ny into an industry leader without the tinue lighting a way in our industry, and Since then, he has delivered a complementary skill sets of each. I’m thrilled to embrace the work leading steady stream of innovative and musi- “What’s unique about our partner- us into a bright future.” cally inspiring guitar designs to the ship is that one of us is a guitar maker Grand Pacific Taylor line. In addition to revoicing vir- and engineer, and the other is a busi- 30 www.taylorguitars.com

The Ebony Project: From Fingerboards to Cutting Boards If you’ve been following our work In our summer 2018 issue, we with ebony in Cameroon, you’ll recall introduced ebony guitar slides, which that there are several different initiatives we’ve been selling through our dealer under the banner of what we call The network. In Bob’s column this issue Ebony Project. (For an introduction, (p. 5), he talks about making ebony check out our multimedia series at tay- knife handles for Buck Knives. Another lorguitars.com.) market he has pursued is ebony kitch- One is our ongoing transformation enware, inspired by his love of quality of the Crelicam ebony mill, which we’ve kitchen tools that blend elegant design owned with our partner, Spanish wood and functionality. supplier Madinter, since 2011. We’ve made major renovations, installed bet- Introducing Stella Falone ter machines and tools, and brought Exotic Kitchen Woodcrafts skills training to employees in an effort In late 2018, guided by Bob’s to reduce ebony waste and enable efforts, we quietly launched a company Cameroonians involved in our supply called Stella Falone (named after two chain to increase in-country value-add- women who work at Crelicam), which ed processing. As guitar makers, we’ve produces a premium line of socially also committed to reducing waste by responsible ebony kitchenware. Our adopting and promoting the use of first product offering is a cutting board ebony with coloration, which tradition- collection, crafted from fingerboard ally has been eschewed by instrument blanks that can’t be used for musical makers for aesthetic reasons. (It turns instruments. out that a lot of ebony has some color- “​Stella Falone is an outgrowth of ation in it.) our commitment to the Cameroonian Meanwhile, we’ve also committed communities who contribute to the simply use pieces they already have on Visually, each board is truly unique. So one side. They also make striking serv- resources — including private funding ebony trade,”​ Bob said shortly after the hand at the mill. Currently, the ebony much so, in fact, that each available ing boards for entertaining. from Bob Taylor — to ebony research company’s official debut. “​After travel- selected for each cutting board is cut board is photographed and displayed Eventually, Bob would like to add being conducted by the Congo Basin ing to Cameroon for more than eight and processed there, and the manu- on the Stella Falone website. This other ebony kitchenware products to Institute, a forest and agroforestry years and working with employees at facturing process is completed on the allows customers to view and select the mix, including pepper grinders and research center located in Yaoundé, the mill and others involved in sourcing Taylor campus in California. This allows their personal favorite. tongs. Cameroon. The research is producing ebony, I’m in love with the people. Their us to leverage our sophisticated man- Currently we’re making the boards To learn more about these boards groundbreaking scientific insights into ability to add value to an important ufacturing capability in order to meet in two sizes: large and small. The large and the mission behind our new ven- the basic ecology of West African native natural resource with Stella Taylor’s high standards of quality and version has a carved juice groove on ture, visit stellafalone.com. ebony, including a better understand- Falone products gives them a greater performance. ing the of the pollinators of the ebony stake in their future.”​ The cutting boards are two-sided, flower and the distributors of the ebony No additional ebony wood is cut featuring dark coloring on one side seed. Elsewhere, advancements in to craft the cutting boards; Crelicam and beautiful variegation on the other. plant propagation have jump-started a community-based planting program. As we shared in our summer edition, in April, members of five different Cameroonian communities participated in the planting of 2,000 ebony trees Coming Soon: and hundreds of fruit trees as part of a promising agroforestry program. That Ebony Guitar Wall Hangers brings our total ebony tree-planting count to about 4,500, and we’re on track to exceed our goal of planting 15,000 ebony trees by the end of 2020. Another ebony product we’ve been developing and Our latest initiative, led by Bob plan to release soon is a line of Taylor guitar wall Taylor, has been to develop other hangers. Also crafted with wood from our Crelicam socially responsible products and mar- ebony mill, the hangers feature an elegant curved kets for ebony pieces at the mill that design and will be offered with several Taylor inlay are either too small or otherwise don’t options. Look for these at your local Taylor dealer meet the particular specifications for in the coming months. instrument components such as finger- boards. Doing this allows the mill to create more value with existing wood, which helps support the livelihood of the mill’s employees and their families. 31

Fall Refresh: New Looks Refine the Line This fall we’ve rolled out some new eye-catching aesthetic updates

100 Series: 200 DLX Series: Baby Series: Baby Series: Satin Sunburst Tops All-Black 12-String All-Koa Baby Taylor Walnut Big Baby A sunburst adds artful aura to any spruce top, and Depending on your aesthetic tastes, an all-black How does a pint-sized guitar make a big impres- While our Baby Taylor might draw more immediate for our 100 Series, we’ve formulated a new satin guitar can come across either with bold outlaw sion? By sporting a body crafted with soul-stirring attention due to its ultra-compact form, the larger sunburst. The color gradient is slightly lighter than swagger or elegant understatement. Our new Hawaiian koa. This handsome model (BTe-Koa) Big Baby (15/16 scale) has long been a staple our tobacco sunburst, featuring toasted amber 12-string Dreadnought, the 250ce-BLK DLX, features a solid koa top and layered koa back and among new players and guitarists looking for a hues that complement the layered walnut back offers a lush-voiced companion to our all-black sides, so from every angle, you can count on musi- portable, affordable, not-too-precious instrument and sides. Available on all 100 Series models, 6-string Grand Auditorium 214ce-BLK DLX. A full- cal inspiration. A thin varnish finish preserves the that can pump out a full-bodied voice for practices from the versatile Grand Auditorium 114ce SB to gloss finish adds a rich sheen to the jet-black body natural beauty of the wood grain while allowing and jam sessions. Our latest iteration features the vibrant 12-string 150e SB to the nylon-string (layered maple topped with solid spruce) and neck the guitar to resonate to the fullest. The onboard layered walnut back and sides, a solid spruce top, 114ce-N SB, the stage-friendly look is matched by (maple), and the dark-hued theme continues with ES-B electronics include a built-in tuner, while a and a maple neck, plus optional onboard ES-B our signature playability and clear, balanced tone. an ebony fretboard, bridge and peghead veneer, lightweight, protective gig bag makes it a ready electronics. While the body’s footprint is nearly plus a black pickguard. White binding and a sin- travel companion. full-size, the slightly slimmer body depth translates gle-ring Italian acrylic rosette supply crisp finish- into a more intimate and accessible feel, making ing details. Onboard ES2 electronics prime this this an endlessly playable favorite. 12-string for room-filling amplified tone. 32 www.taylorguitars.com

An instrument functions as a system,“ in which each part affects every other part to some degree. ” The Craft sounds, the impact one performer or some of the finest classical guitars song had on their musical life, and a lis- built by makers of every era. Over the tening experience they can never forget course of an afternoon, we played all The Questions Behind the Question all contribute to a highly individual and these guitars next to each other. While Sometimes a simple guitar question isn’t engaging criteria of a best guitar. each was technically wonderful, what Within the realm of guitar construc- stood out was the unique personality quite so simple. The more we embrace this tion, there are similar questions to face. each guitar had, and the way its sound idea, the more we open ourselves up to a How do we make a guitar sound one and feel reflected the maker and the way versus another? Which sound is choices each made in building the deeper level of understanding. best? An answer is rarely as specific as instrument. Each builder, within the saying make this part thinner here, and boundaries of the guitar’s mechanics, that part thicker. An instrument functions had linked their ideas together in a way ike many people, there are times in a guitar I was about to build for him. ward question, but it’s one that can’t as a system, in which each part affects that took the finished instrument in a when I crave a definitive yes This player wanted to know how much be answered in the form in which it every other part to some degree. It’s like unique and personal direction. Was or no answer to a question, sound was lost by including a cutaway. was asked. Sure, a great instrument a sheet of fabric — to change an attri- there a best within the collection? Not Lespecially one that’s specific in nature. I was younger, with only a few years of does many things very well, and there bute is like carefully pinching and lifting to me. Each one had a story to tell. But in so many aspects of life, the more guitar-making experience at the time, so are woods that function very well for one area of the sheet. The elevated area Sure, we all like a clear answer, we learn about a subject, the less binary I wasn’t really sure how to answer. various parts of a guitar, but there is may be exaggerated, but it certainly isn’t or at least the idea of a clear answer, an answer becomes — at least a sat- “It’s just a little different,” was about no one best wood for a guitar. In place cut off from its surroundings; those closely when one is available. But in the isfying one. Perhaps this reflects the all I knew and could say. As it turns of a single best wood, there is a story related attributes are influenced as well. world of guitars and music, stories beauty of a curious mind that aspires to out, this is a common question. And involving the function each part of the Playing music itself can be like seem to give us far more than simple a new level of understanding. my decades of learning since then, I’ve guitar performs, the different char- this. We might be tempted to ask which answers. Whether building a guitar, a I witness this constantly with our discovered that my original response acteristics of woods, and how those are the right notes to play. When a song, or trying to gain a better under- three kids in a scenario every parent remains a wholly viable answer. It seems influence the particulars of a guitar’s musician learns the mechanisms of standing of what catches our attention, is surely familiar with. One of them will like this question cannot be directly design. This query is closely related music and the way notes, chords, keys asking the unanswerable questions is ask a question and get a response. But answered in the form in which it was to what I think of as the king of guitar and rhythms function together, they can worthwhile, so long as we are willing to rather than resolving things, the expla- asked. As far as a cutaway goes, sound questions: Which is the best-sounding improvise and create new music using hear out the story. nation prompts many more questions. isn’t lost, or reduced, in a manner mea- guitar? I’d love to be able to answer those tools as guidance to intentionally This season we’re deep into the I’ve noticed that musicians tend to surable with something like a percent- this question, both for the musicians steer their compositions however they process of making all sorts of new be similar when it comes to the gui- age. Instead of a deduction, the guitar’s who ask and for myself. But I’m con- desire. Rather than rules to limit their instruments. Some will be ready to tars we love. We’ll ask a question and set of resonance responses shift in a vinced that there is no single answer, creativity, within these parameters, they play soon; others are for further down expect a specific answer, like it’s an direction that complements the high and that each attempt at an explanation find that their ideas connect together the road. Is there a true best among elementary arithmetic problem. Often, notes we gain access to by having the only leads to more questions. and lead in a direction, an aesthetic, all them? I don’t think so — we love them what seem like straightforward ques- cutaway. In other words, the sound isn’t While there have been times when I their own, reflecting their personality all, along with the stories they will tell. tions actually lead to answers that feel reduced, or made better, or worse. It’s was disappointed to learn there was no and expression. To ask which are the more like a story, because the answer just...a little different. definitive answer, I’ve also discovered right notes to play isn’t nearly as useful ­­ — Andy Powers demands more of the question. Another frequent question among there is vastly more richness and inter- as asking which direction we want to go. Master Guitar Designer Years ago, an experienced musician guitar enthusiasts: Which is the best- est in the story lurking behind the ques- Recently, I made the acquaintance was weighing the merits of a cutaway sounding wood to make a guitar from? tion. The narrative of each musician’s of a fellow guitar enthusiast who has and whether or not to include that feature Again, this seems to be a straightfor- experience, their fondness of specific assembled an incredible collection of 33

TaylorWare Original Trucker Hat One size fits all. CLOTHING / GEAR / PARTS / GIFTS (Black/Khaki #00390, $20.00)

Men’s Cap One size fits all. (Black #00378, $25.00)

Guitar Stands New and improved Taylor floor guitar stand in Danish beechwood with rubber pads to protect your guitar’s finish. Some assembly required. (#TDS-02, $69.99)

Mahogany guitar stand features a Guitar Straps laser-etched Taylor logo, a rich satin Made in North America, our new line of premium guitar straps finish, and rubber pads to protect the features a range of all-natural materials that include genuine leather, guitar’s finish.( #TDS-01, $240.00) suede and natural cotton, plus vegan materials, in a variety of colors and designs that complement the aesthetic diversity of the Taylor line. Strap widths include 2-inch, 2-1/2-inch, and 3-inch options, and all are slotted to easily fit the tail-end strap pin on a Taylor guitar. Choose from series-specific styles with embossed inlay motifs and other designs that will complement an array of models. Each strap is comfortable, durable and uniquely Taylor, ensuring that you’ll wear your guitar with renewed pride.

Guitar Care Products Our guitar-friendly care products will help you polish, clean and condition your guitar to keep it in great condition. Our new Satin Finish Guitar Cleaner is the first of its kind, and the ultimate product to preserve the original satin sheen. The wax-free formula removes residue from finger oils without leaving silicone or waxy residue. Our new Premium Guitar Polish enhances the luster of your high- gloss guitar. Our Fretboard Conditioner cleans and nourishes your fretboard, leaving it looking new, playing great, and feeling smooth. We also have two new polish cloths — a suede microfiber version that folds up small to fit in your case compartment, and our premium Tuners plush microfiber towel. With our new line of genuine Taylor replacement hardware, you can easily customize the look and feel of your guitar. If you have a 100 or 200 Series guitar, you might consider upgrading your 14:1 gear ratio to a tuner with an 18:1 ratio. Choose from different plating Guitar Picks finishes, including satin black, polished gold, polished nickel, smoked nickel, and polished bronze. (It’s easy to change the tuners yourself.) A new assortment of Taylor guitar picks expands your acoustic Premium options include Gotoh tuners (18:1 or 21:1) in Antique palette with materials that produce greater warmth and sparkle. Aged Logo Thermal Gold or Antique Chrome (professional installation recommended), Available in several shape, color and thickness options. Long Sleeve 60/40 cotton/ or for guitars that already feature Gotoh tuners (800 DLX Series poly waffle thermal with gray and up), you can upgrade to beautifully engraved Gotoh luxury Taylor logo on front with edition tuners (quantities are limited). Featured Picks contrast stitching. Slimmer fit Taylor Thermex Ultra (sizing up recommended). (Black #2022X; S-XXL, The unique composition and $35.00) tapered edge produce a rich, blended tone with enhanced Visit taylorguitars.com/taylorware to browse warmth and sparkling highs. our complete line of Taylor apparel, guitar care Thicknesses - 1.0, 1.25 and 1.5mm products, parts and accessories, gift cards, Blue Swirl, Ruby Swirl and more. 1-800-494-9600 The Taylor Line 800 Deluxe Series Woods by Series Back/Sides: Indian Rosewood Top: Sitka Spruce A snapshot of our series framework, 814ce DLX 812ce DLX Available Models 12-Fret tonewood pairings, and current models. 812ce 12-Fret DLX, 812ce DLX, For complete details, including photos 814ce DLX and specifications, visit taylorguitars.com.

Presentation Series Woods 800 Series Back/Sides: Figured Blackwood Woods Top: Adirondack Spruce or Back/Sides: Indian Rosewood Sinker Redwood Top: Sitka Spruce Available Models Available Models PS12ce, PS12ce 12-Fret, PS14ce 812e, 812ce, 812ce-N, 812ce 12-Fret, 814ce

PS12ce Bambaata Marley, 814ce

Koa Series 700 Series Woods Woods Back/Sides: Hawaiian Koa Back/Sides: Indian Rosewood Builder's Edition Top: Hawaiian Koa or Top: Lutz Spruce or Torrefied Sitka Spruce 717e Torrefied Sitka Spruce (Builder's Edition) Natural 714ce (Builder’s Edition K14ce) Available Models Available Models 712ce, 712ce-N, 712e 12-Fret, K22ce, K22ce 12-Fret, 712ce 12-Fret, 714ce, 714ce-N, Builder’s Edition K14ce, Builder’s Edition 717, Builder’s Edition 717e Builder’s Edition K24ce, K24ce

Builder's Edition K14ce

900 Series 600 Series Woods Woods Back/Sides: Indian Rosewood Back/Sides: Figured Big Leaf Maple Top: Sitka Spruce Top: Torrefied Sitka Spruce

Available Models Available Models 912ce, 912ce 12-Fret, 914ce 612ce, 612ce 12-Fret, 614ce, Builder’s Edition 614ce, Builder’s Edition 614ce Wild Honey Burst

Brennley Brown, 914ce Builder's Edition 614ce 500 Series 100 Series T5z Specifications Woods Woods Body: Sapele (Hollowbody) Back/Sides: Tropical Mahogany Back/Sides: Layered Walnut Top: Koa or Cocobolo (Custom), Top: Mahogany, Lutz Spruce Top: Sitka Spruce Figured Maple (Pro), Spruce (GS), Cedar (GC, GA) or Torrefied 522ce 514ce 114ce 110e (Standard) or Mahogany (Classic) Sitka Spruce (Builder's Edition) Available Models Electronics: Proprietary 3-pickup 110ce, 110e, 114ce, 114ce-N, configuration (magnetic acoustic 114e, 150e Available Models body sensor, concealed neck 512ce, 512ce 12-Fret, 522ce, humbucker, visible bridge 522e 12-Fret, 522ce 12-Fret, humbucker), 5-way switching, 552ce, 562ce, 514ce, 524ce, onboard tone controls Builder’s Edition 517, Builder’s Edition 517e

T5z Pro 800 Series 400 Series Academy Series Borrego Red Woods Woods Woods Back/Sides: Indian Rosewood Back/Sides: Ovangkol or Back/Sides: Layered Sapele Academy Academy Top: Sitka Spruce Indian Rosewood Top: Sitka Spruce or Lutz Spruce (Nylon) 10e 12e Available Models Top: Sitka Spruce T5z Custom K, T5z-12 Custom K, Available Models Available Models T5z Custom C, T5z Pro (Tobacco 812e, 812ce, 812ce-N, Available Models Academy 10, Academy 10e, Sunburst, Molasses Sunburst, 812ce 12-Fret, 814ce 412e-R, 412ce, 412ce-R, Academy 12, Academy 12e, Pacific Blue, Borrego Red, 414ce, 414ce-R Academy 12-N, Academy 12e-N Gaslamp Black), T5z Standard (Black, Tobacco Sunburst, Honey Sunburst), T5z Classic, T5z-12 Classic, T5z Classic DLX

414ce-R 300 Series GS Mini T3 Woods GS Mini Bass Specifications Back/Sides: Sapele (Spruce Top) Body: Sapele (Semi-Hollowbody) or Blackwood (Mahogany Top) Woods Back/Sides: Layered Sapele, Top: Figured Maple Top: Sitka Spruce or Mahogany Koa, Walnut or Maple Electronics: Proprietary high- definition humbuckers (optional Available Models Top: Sitka Spruce, Mahogany or Koa vintage alnicos), 3-way switching, 312ce, 312ce-N, 312ce 12-Fret, onboard tone controls, and coil- 322e, 322ce, 322e 12-Fret, Available Models splitting capability 322ce 12-Fret, 352ce, 362ce, GS Mini, GS Mini-e Mahogany, 314, 314ce, 324e, 324ce, GS Mini-e Koa, GS Mini-e Walnut, 317, 317e, 327, 327e GS Mini-e Bass, GS Mini-e Maple Bass

Lights, 317e Slightly Stoopid T3/B Orange

200 Deluxe & Baby Series Available Models 200 Series Woods T3 (stoptail bridge), T3/B Back/Sides: Layered Sapele or (Bigsby vibrato tailpiece) Woods 214ce 214ce Layered Walnut (BBT, BBTe) BT1 B BTe Back/Sides: Layered Koa, Rosewood SB DLX Top: Sitka Spruce or Mahogany To see our full range of top or Maple (BLK Model) options, color finishes, and other Top: Sitka Spruce or Koa Available Models appointments for each series, BT1, BT2 (Mahogany Top), visit taylorguitars.com. Available Models TSBTe (Taylor Swift Model), 214ce, 214ce DLX, BBT, BBTe (Big Baby) 214ce-BLK DLX, 214ce-SB DLX, 214ce-K DLX, 224ce-K DLX A Publication of Taylor Guitars Volume 95 / Fall 2019 ENG US DLR

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Old Soul Made New We’re thrilled to introduce a new sonic flavor to our Grand Pacific family. Meet the 327e, featuring blackwood back and sides, a richly-grained mahogany top, and a soulful personality that channels the past, only it’s wiser from experience. With our V-Class™ bracing shaping the sound, you can expect a warm, blended voice with all the signature tonal traits of other Grand Pacific models — enhanced volume, sustain and intonation, with clear low-end power. This marks our first Grand Pacific model with a hardwood top, which evens out the sonic edges, while blackwood delivers plenty of acoustic horsepower and woody midrange muscle. A satin finish and shaded edgeburst top, accented with a black pickguard and satin black tuners, conjure a rootsy vibe that’s as inviting as your favorite pair of jeans. Look for the guitar in stores starting in November.