  |
 Introduced in 1999 and a standard feature since 2001, the patented New Technology (NT) neck was designed by Bob Taylor and his team to accomplish the primary goal of building a straighter, more stable guitar neck. While some necks may bend in the face of humidity and other factors, the NT Neck stays stable and straight. |
 |
 |
Neck Pocket/Neck Extension The NT extension or "paddle" fits into a specially cut pocket in the body of the instrument. Since all the frets are now supported equally by the neck, the hump at the 14th fret is eliminated, and a more stable playing surface is created, one that is continually straight, from the bottom to the top of the neck. The NT necks are milled by computer numerically controlled (CNC) machines. These machines follow a software tool path based on a CAD/CAM model of Taylor's best "Classic" (pre-NT) neck. They re-create that model consistently, with accuracy that is impossible to achieve by hand. |
| Spacers In addition to stabilizing the fretboard, the NT neck simplifies repair work by utilizing a system of two laser-cut, tapered "spacers." These spacers are used to set the neck angle of the guitar. They are inserted into the pocket before the neck is attached, and can be easily switched out for a different set, should the instrument require a neck reset. |
 |
 |
Finger Joint The NT design incorporates a finger joint attachment between the peghead and the neck shaft. From a production standpoint, this method yields significantly less waste. From a player's standpoint, the finger joint adds strength to what is a potentially vulnerable area of the guitar. |
| Fret Accuracy Because we start with a flat piece of wood without the heel and the headstock already in place, we can use an Arbor press to insert the frets. This process is more accurate and allows us to use stronger fret wire. We also avoid having to hammer in our frets, which by its very nature damages the frets and requires additional sanding. |
 |
 When it comes to live performance, most players agree that the sound you hear from your "plugged in" guitar isn't always the same as its unplugged or native sound. Using new magnetic pickup technology similar to a microphone, however, The Expression System® changes all that. With the ES, you get pure, high-fidelity acoustic amplification for a natural live sound. |
 |
 |
 Inside every Taylor guitar is an important source of its unique sound: bracing. Bracing exists to strengthen the top and back of the guitar, while allowing enough flexibility and vibration to generate tone. Bracing is so critical that even slight alterations of its design, profile, or thickness can result in discernable differences in tone. |
 |
Dreadnought Most Dreadnought players prefer a flatpicking, heavy-strumming guitar, able to put out some serious volume and beefy bass frequencies. Dreads (and Jumbo six-strings) have more bracing mass, so they shine as "plectrum" or "rhythm" guitars. Revoicing in 2003 (500 Series and up) created a completely new Taylor Dreadnought: louder, with deeper bass frequencies, yet manages to maintain the clarity and balance of our trademark Taylor tone. |
| Grand Concert Smaller in size than the similarly-shaped Grand Auditorium, the Grand Concert is generally considered to be among the more "intimate" guitars. In 2004, however, we expanded its body depth by a quarter-inch and revoiced it to add volume and bass response (500 Series and up), giving it a tone that belies its size. |
 |
 |
Grand Auditorium The Grand Auditorium was Bob Taylor's first original design, introduced in 1994, on our 20th Anniversary. The GA, with its full body—larger than a Grand Concert, but easier to hold than a Dreadnought—quickly became the guitar that personified Taylor's trademark sound. The GA is a strong fingerpicking guitar that also can handle medium strumming. GA braces are narrower than a Dreadnought or a Jumbo. Because we removed mass from the width of the braces to enable the guitar top to move faster, the GAs tends to have a higher component of treble "zing" and a snappy, bell-like tone. That distinctive sound, and the full-but-not-overly-large body, makes the Grand Auditorium our most popular body style. |
| Jumbo The bracing pattern we use for our Jumbo body-style allows these instruments to possess a deep, rich, thunderous voice without sacrificing any of the balanced Taylor-tone we are famous for. The Jumbo's size suits it perfectly for aggressive strumming, but it's capable of sublime subtleties as well. We use the Jumbo for many of our 12-string models because the deep bass tones nicely counterbalance the additional treble strings. We revoiced our Jumbo body-style in 2003 (500 Series and up), which allowed us to further enrich the base tone and to provide even more volume. Up until that point, the Jumbo shared the same bracing pattern as our Dreadnought's, making the two guitars somewhat similar in tone (the main difference being the extra-deep resonance and volume delivered by the Jumbo's larger sound chamber). Now the Taylor Jumbo enjoys its own unique bracing pattern. |
 |
 |
12-String Twelve-strings generally employ heavier braces than 6-strings in order to handle the increased tension of twice the number of strings, and to prevent the top from being overdriven. Taylor 12-strings have thicker tops, thicker pin plates, and heavy, non-scalloped bracing, to support the top and adequately amplify the tone of the guitar. The one exception to this rule is our Leo Kottke Signature Model 12-string (LKSM), which has scalloped bracing designed to work with fat, heavy-gauge, low-tuned strings, to give the guitar its characteristic, "throaty-piano" tone. Taylor 12-strings are available in either a Jumbo or Grand Auditorium body. Although the body shapes are quite different, the bracing pattern employed for both models is relatively similar. |
| Nylon String The bracing on our Nylon Series guitars was inspired from patterns used by Jose Ramirez and Miguel Rodriguez, two builders who, in the 1800s and early 1900s, defined the style of modern classical bracing. Bob Taylor studied the work of these master builders, and after years of careful research and development came up with our unique nylon-string "fan-pattern" bracing. Because nylon strings generate less tension, a typical classical guitar has a thinner top and much lighter bracing, which makes the top prone to distortion. As always, Bob followed his ears while creating our unique ladder-style, asymmetrical fan pattern. His goal: an "open" sound that's clear and bright, strong in treble, and long on sustain. |
 |
 Solid African mahogany backs and sides and gloss-finished Sitka spruce tops provide a clear, balanced tone, while wood fiber binding, pearl fretboard inlays, and chrome Taylor tuners streamline the look. The Expression System pickup, now standard on all acoustic electric models, makes the 300 Series a great introduction to premium-quality, American-made, solid wood acoustic guitars. |
 |
 Guitars in the 400 Series boast backs and sides of solid ovangkol, an African tonewood with olive-brown coloration, intensely varied grain, and rosewood-like tone. Features include a solid, gloss-finished Sitka spruce top, white fiber binding, an ebony fretboard inlaid with pearl dots, and the Expression System pickup, now standard on all acoustic electric models. |
 |
 Controlled overtones and a balanced response make the 600 Series ideal for recording and live performance. Colorful finishes, including a striking new cherry/black sunburst, add drama to maple’s alluring natural figure. Add the Expression System pickup on acoustic electric models and you have powerful guitars with stunning stage presence. |
 |
 The 800 Series traces its roots to Bob Taylor’s first acoustic guitars and reflects many of his most enduring ideas. The 800s feature quartersawn Indian rosewood backs and sides, premium-grade Sitka spruce tops, and an intricate pearl inlay design. A shimmering abalone rosette complements the upgraded white binding with black purfling. |
 |
Useful Information for your Taylor Guitar Stringing your guitar |