Pickups
Inspired by Taylor’s Expression System® pickup for acoustic guitars, the T5’s pickup is yet another breakthrough developed here at Taylor. Thanks to its humbucking pickups and proprietary body sensor, the T5 produces a versatile range of pure analog tones from strumming acoustic to crunchy electric and everything in between. A hidden neck humbucker, a visible bridge humbucker, and a body sensor mounted to the inside surface of the top take advantage of the latest technology, utilizing Samarium Cobalt magnets and humbucking coils. The body sensor reads the movement of the top, adding even more warmth to your acoustic tone.
Take a listen to the T5 Soundcheck to get the full range of sonic possibilities.
5-Way Switching
Position 1 is where you'll find the most acoustic-like tones. This is a great position for solos and a good place to experiment with the tone controls. Position 3 will go from "spanky" and clean, all the way to "full-tilt crunch." In position 4 you might find it reminiscent of a '50s hollowbody with a slight scoop. Position 5 creates a full and bright sound that's great for thick lead tones.
Position 1
Under-Fretboard Humbucker and Body Sensor in series
Activating the hidden neck pickup and body sensor, Position 1 is where you'll find the most acoustic-like tones.
Suggested amps:
Acoustic or PA, Electric/clean only (to prevent high-gain feedback in this position).
Position 2
Under-Fretboard Humbucker
The body sensor is switched off, leaving only the neck pickup active and yielding warm, round tones. This is a great position for solos and a good place to experiment with the tone controls. Try rolling back the Treble knob for darker tones.
Suggested amps:
Acoustic or PA, Electric/clean or Electric/overdrive.
Position 3
Bridge Humbucker
We move into the bridge pickup zone and one of the most versatile tonal ranges. Position 3 will go from "spanky" and clean, all the way to "full-tilt crunch." Start out with the Volume at the detent (center) then roll it up to "push" the amp.
Suggested amps:
Acoustic or PA, Electric/clean, Electric/overdrive, or Electric/high-gain.
Position 4
Bridge Humbucker and Under-Fretboard Humbucker in parallel
The neck pickup is re-activated and runs in parallel with the bridge pickup.
You might find it reminiscent of a '50s hollowbody with a slight scoop. In Position 4 you'll find one of many unique T5 tones.
Suggested Amps:
Acoustic or PA, Electric/clean, Electric/overdrive, or Electric/high-gain.
Position 5
Bridge Humbucker and Under-Fretboard Humbucker in series
The neck and bridge pickups are now running in series, creating a full and bright sound that's great for thick lead tones. Change the Volume settings and watch its "personality" change.
Suggested Amps:
Acoustic or PA, Electric/clean, Electric/overdrive, or Electric/high-gain.
Neck
We wrote the book on straight, easy-playing necks. Our innovative T-Lock™ neck joint brings Taylor's trademark consistency and comfort into the electric player's hands.
The Taylor NT neck in 1999 added another major breakthrough in neck design that remains a benchmark for setting an accurate neck angle. It would go on to inspire the single-bolt T-Lock™neck design used on the T5, and now being applied to the solid body. Like the NT neck, The T-Lock employs a neck joint and a precisely milled pocket spacer to dial-in the perfect neck angle. As the neck bolt is tightened in place, it pulls the neck both down and back toward the bridge for perfect alignment and stability. It's simple to put on or take off to switch out spacers for angle adjustment. And once in place, the fit is perfect, allowing no side movement.
Dual Compensated Saddle (12-String)
Each saddle position has been carefully analyzed and positioned to provide the best intonation for each string all over the neck.
Once we had the saddle offsets defined, Bob created this elegant design that incorporated all offsets on a single wave-like line. We call it a Dual Compensated™ saddle. Traditionally, the bottom of all the strings are aligned on an electric 12-string, which means the tops of the fundamental and octave strings are slightly out of line. This makes players have to work harder to get an even sound and leaves them susceptible to mis-striking the strings when they pick.
Taylor has basically re-engineered the electric 12-string by putting the octave strings in the same plane with the fundamentals to give you an equal attack. It¹s super smooth. Whether you¹re using a pick or playing fingerstyle, you¹ll never mis-strike the strings.
The Hybrid Body
Three-plus decades of acoustic expertise informed the way we shaped the hollow body hybrid T5. You can hear the tonal character before you even plug it in. The T5 features a fully hollow body and an active soundboard with a compound radius. The top is a flat piece of wood braced into an arch to capture the acoustic resonance. The f-holes in the top were specially designed and voiced to further enhance the resonance of the body chamber, and to allow the top to breathe in relation to the player¹s dynamic attack.
Despite the f-holes and the slight arch in the top, the T5 is not an archtop guitar. Its acoustic tone is more akin to a flattop style of sound, as opposed to a carved top instrument like a violin, viola, archtop guitar, or mandolin.
Controls
The T5 electronics were inspired by the revolutionary Taylor Expression System®, and then were custom designed to bring out the best electric and acoustic tones from the guitar.
In addition to the 5-way switch, two active preamp/EQ tone controls and a volume control — incorporating the same soft-touch rollers as those used on the ES — allow for a wide range of additional tone-shaping within each switch position. Located on the soundboard near the upper left shoulder of the guitar are the Volume (set apart from the other two controls), Bass (the middle control), and Treble (closest to the fretboard).
Like the Expression System, all three controls have a center detent, which can be felt as a slight “bump” when you roll the control to the center position. For Bass and Treble, the center detent indicates the “off” or “flat” mode. The center point of the Volume knob indicates half of the highest volume output.
Also, keep in mind that despite the lack of a Midrange control knob, you can still easily boost or cut the mids by rolling the Treble and Bass controls past the center detent in either direction, then adjusting the volume. Turning both the Bass and Treble controls up effectively dips the mids, while turning them below the center detent boosts the mids.
