Could you share numbers of how your production of regular [full size] guitars break out by Series?
Production numbers vary based on a variety of factors, such as sales figures from the previous year and projected orders. But generally speaking, our production traditionally has been evenly split between satins (300 Series and 400 Series) and glossies (500 Series and up). We made, on average, about 140 full-size guitars per day in 2002 (plus about 130 Baby Taylors and Big Babys, bringing our average total daily production to 270). As of the end of the first half of 2003, taking into account the introduction of our 100 Series guitar (the 110), our daily production count was about 290 guitars.

Is there a new bracing pattern for Dreadnought guitars?
We experimented with the bracing patterns on several Taylor Dreadnoughts for our Fall 2002 Limited Edition Series: the 510-LTD, 610-LTD, 710-LTD, and 810-LTD. Subtle changes in the patterns "revoiced" the Dreads to give them increased volume and bass response, without sacrificing the clarity and balance that Taylors are known for. The revoicing was incorporated into subsequent production Dreadnoughts in the 500 Series and up. This led to the revoicing of our Jumbos, and for the 2004 line, our Grand Concerts were revoiced (500 Series and up) to unify them under the same tonal aesthetics, marked by richer, fuller tone and increased volume. (The body depth was also expanded a quarter-inch.)

Dan Crary is touring with a new longneck Taylor. Is there a baritone guitar in the works? Is there a new Dan Crary Signature Model (DCSM) in the works?
Dan's guitar is not really new. We made them for him nearly 9 years ago. There are currently no plans to develop a baritone guitar. We did build a custom baritone for Dave Matthews, but no regular addition to the Taylor line is planned. A new version of the DCSM is a consideration for future development, but details of timing and design are yet to be determined.

Any plans to build a parlor-sized Taylor?
A parlor-sized Taylor is a project that Bob Taylor and his design team would love to do at some point, but no definite plans have been made yet. We dabble with prototypes when time allows. Also, our 30th Anniversary Grand Concert features a shorter scale-length (24-7/8 inches), our nylon-string Grand Concerts have a 12-fret neck, and our Baby Taylor comes in an intimate 3/4-scale dreadnought size.

Any plans to offer the Big Baby with different top woods?
Eventually, the Big Baby may follow the lead of the Baby Taylor, which is now available with a Sitka spruce or mahogany top (Baby Mahogany only). However, there are no current plans to offer the Big Baby in other woods, either for the back and sides, or the top.

Are you going to use the small latches [on the Taylor hard-shell case] permanently?
Although we've been building our own cases for more than 10 years, maintaining a dependable supply of latches has been challenging. As a result, our supply is likely to vary between the small and large latches, depending on availability.

Is Taylor Guitars privately or publicly owned?
Taylor Guitars is a privately owned company that manufactures high-quality acoustic guitars. It was founded in 1974 by co-owners Bob Taylor (president) and Kurt Listug (CEO), who continue to direct and operate the company at its current location in El Cajon, California, a community in the East County area of San Diego. Taylor Guitars employs about 375 full-time workers on three shifts, and manufactures and ships about 280 guitars each day to more than 750 US dealers. We also do business through international distributors in numerous countries around the world.

Is it possible to tour the Taylor factory?
Yes, a free, guided factory tour is given Monday through Friday, at 1 p.m. For larger groups (5 or more), please call in advance. Otherwise, there is no need to make an appointment; merely show up at our El Cajon, California plant by 1 p.m. sharp, and you can take the tour. It runs about an hour and 15 minutes.

How would you describe Taylor guitars, and how do they differ from other acoustic guitar brands?
Taylor makes all-solid-wood guitars in four body styles - the small-body Grand Concert, medium-size Grand Auditorium, larger Dreadnought, and aptly named Jumbo. Taylor combines state-of-the-art, computer-directed milling technology, innovative manufacturing methods, and traditional craftsmanship to produce acoustic guitars that are among the finest in the world. Known for thin-profile, easy-playing necks, wonderful intonation, tonal clarity and balance, and elegant design aesthetics, Taylors are available as 6- and 12-string models in numerous wood combinations. We also offer a Nylon Series, a 3/4-size Baby Taylor "travel" guitar and a 15/16-size Big Baby. (Babys and our 100 Series are the only Taylor instruments that use a wood laminate for the back and sides.) Taylor also produces a number of Limited Edition models each year.

What are the differences between Taylor guitars and guitars that are hand-made by individual luthiers?
Taylor guitars are "hand-made production" guitars. That sounds like an oxymoron, but it's true. We manufacture relatively large numbers of guitars with the aid of state-of-the-art tools and technology that can cut and shape wood to tolerances of two-thousandths of an inch, but much of the actual guitar building is done by hand. We use computer design programs and computer-controlled milling machines to perform the most time-consuming, laborious processing of the raw wood into various guitar components with much greater speed, efficiency, accuracy, and consistency than is possible with hand tools. However, all Taylor guitars are hand-made from these components by trained guitar craftsmen who use both traditional and Taylor-devised techniques. Qualitatively, in terms of tone, playability, construction, and aesthetic beauty, Taylor guitars are every bit as good, if not better than, guitars made one-at-a-time by luthiers - we just make more of them, and with more reliable consistency.

What kind of woods does Taylor use, and where do they come from?
Taylor works with specialized cutters all over the world to select only the finest available tonewoods for its instruments. These woods include Big Leaf Maple, Sitka spruce, Western Red cedar, Claro walnut, and Engelmann spruce from the Western regions of North America; mahogany from Central America and Africa; rosewood from East India and Brazil; imbuia from Southern Brazil; koa from Hawaii; sapele and ovangkol from Africa; and ebony from India.

How does an Engelmann spruce top differ from a Sitka spruce top? Why is Engelmann more expensive?
Sitka spruce, which grows in a coastal pocket from Northern California to Alaska, is a dense, straight-grained wood that has the highest strength and elasticity-to-weight ratio among available tonewoods. Its strength and toughness, in fact, make it ideal soundboard material for steel-string acoustic guitars. Engelmann spruce is found in the Rocky Mountain range (a lot of the best Engelmann comes from New Mexico, Idaho, and Montana). It has many of the desirable traits of German spruce - including workability and a lustrous "ivory" hue. Because its stiffness and weight differ from that of Sitka spruce, Engelmann soundboards produce a different, slightly mellower tone, one that many players describe as "more mature." These factors, and Engelmann's scarcity, explain its use in our higher-end guitars.

How important is my choice of strings? What kind of strings does Taylor install on its guitars? Does the gauge matter, or should I use whatever feels best to me?
Strings are very important - they can alter the feel (action) and the sound (tone) of your guitar. Since June 1, 1999, we've been installing Elixir strings on all Taylor guitars, and we currently use Elixir's ultra-thin NANOWEBs. If you want your guitar to perform to Taylor factory specs - to sound, feel, and play as it was designed to - then use light gauges on the Grand Concerts, Grand Auditoriums, and 12-strings (except for the Leo Kottke Signature Model - see following question); and use medium gauges on the Dreadnoughts and Jumbo six-strings. Generally, if you were to put light-gauge strings on a Dreadnought or a Jumbo six-string, the reduced string tension probably would result in the neck back-bowing. That would give you lower action, but could lead to string-buzzing. To prevent or correct that, you'd have to do a neck adjustment. And, after all that, you might find that the Dreadnought or six-string Jumbo produces a "thinner" tone than you'd prefer from such an instrument.

Conversely, putting medium strings on a Grand Concert or Grand Auditorium might work well for you, but the added string tension will raise the action. Even after having the neck adjusted, the action might remain a little higher than "normal." Some people who use mediums on the smaller bodies also notice a slight "bubble" behind the bridge, due to the extra pull of the higher-gauge strings. Another thing: we build our Grand Concerts and Grand Auditoriums to be used with light-gauge strings, and we size the nut slots accordingly. If you put medium-gauge strings on those models, they might start binding in the smaller nut slots, thereby making tuning more difficult. To remedy that problem, you'd want to take the guitar to a luthier or repair person to have the nut slots enlarged.

It's even more important to address the mistaken assumption that putting heavier strings on a small-body will increase its volume. We down-scale a lot of components of the Grand Concert (including a thinner top and different bracing) to retain good sound qualities in a smaller framework. Accordingly, light-gauge strings enable the top to move enough to produce plenty of volume and projection. If you put medium-gauge strings on a Grand Concert, the extra tension actually can bind the top, holding it too taut to allow for the kind of movement that results in projection and "loudness." In other words, medium-gauge strings probably won't give you more volume, and they might give you less tone.

What kind of strings should I use on my Baby Taylor?
We install light-gauge Elixir NANOWEB strings (.012 on high E) on Baby Taylors. We recommend that you stick with lights when you replace them, and keep the Baby in standard tuning. After the Baby was introduced, we said that it would be okay to use F# tuning on the Baby, and that you could even use medium-gauge strings if you didn't venture above standard tuning. Well, our ever-vigilant repair guys, who are the ultimate judges of what works and doesn't work on our guitars, finally prevailed in convincing us that tuning a Baby higher than standard and/or using anything but light-gauge strings puts too much tension on the top of the guitar. Putting mediums on a Baby at standard pitch exerts about the same tension as lights exert in F# tuning, so neither is advisable. When there's too much "pull" on a Baby, the intonation and one's ability to keep them in tune become problematic.

For additional information, read the Strings, Part 1 Tech-Sheet (PDF, 48K).

The heavy-gauge strings used on my Leo Kottke Signature Model [LKSM] 12-string don't come in a pre-packaged set. What are the gauges of each string, so I can put together my own set?
The LKSM is built to be tuned low, and requires heavier-gauge strings to achieve optimal results. The strings for the LKSM are Elixir custom gauges, tuned to C#: .013/.013, .017/.017, .030/.014, .038/.018, .047/.026, .056/.035. Unfortunately, a pre-packaged 12-string set of this gauge is very difficult to find. You can buy each string from a music store or website, but making an entire set in this fashion will be very expensive. Certain string manufacturers will make custom sets for their authorized dealers, and some dealers may be willing to put together sets for their customers.

One cost-effective way we've found is to combine one set of 12-string light gauge (.010-.047) with one set of 6-string medium gauge (.013-.056), and add one plain .017 and one plain .013. Use the two .013s to make the 1st, or high C#, pair (one from the 6-string set and one being the extra single). The two .017s then make the 2nd (or G#) pair. The .030 and the .014 make the 3rd or E pair (both from the 12-string set). The .039 and .018 make the 4th or B pair (both from the 12-string set) and the .047 and .027 (sub for .026) for the 5th or F# pair (both from the 12-string set). Finally, use the .056 and the .035 to make the 6th or low C# pair (both from the 6-string set).

I go through strings faster than normal, and I think it's because I have more acid in my fingers than other players. What can I do about that?
You might have a fairly common condition called hyperhidrosis, in which one's fingers have a higher-than-normal acid content. If you're serious about dealing with this condition - which can be bothersome for a guitarist - you should contact a dermatologist. For relatively mild cases of hyperhidrosis, some specialists prescribe Drysol, a liquid aluminum chloride solution you apply to your hands nightly before going to bed. Another home remedy we've heard of involves a special electric pad (about $100, we're told) that sends a mild electrical current through your hands. Neither treatment is without its potential side effects. One guitarist we know says that Drysol was "a little rough" on his hands after a while, and that the electric pad occasionally gave him blisters. [One dermatologist we consulted said the pad "doesn't work" anyway.]

One acid-fingered guitarist we know claims he can go through a brand-new set of strings in about two hours of gigging or in two days of playing at home. His recommended "home remedy" begins with a preventative: simply wash your hands before you play, then wait five or 10 minutes to let your skin oils go to work (to avoid the sticky fingers that don't slide well). Washing helps remove some of the acidity, as well as any dirt or grime that also can eat away at the strings. Then, when you're finished playing, wipe down the strings thoroughly, using a dry rag to go over each individual string.

Also, you might find that the Elixir strings we install on all Taylors provide a hedge against this problem because they feature a "NANOWEB®" coating that we have found substantially reduces string corrosion. If nothing seems to help, just change your strings as often as necessary.

As a professional musician, I travel quite a bit, so my questions relate to traveling with my Taylor. What would you recommend in the way of a travel case? Should I loosen the string tension during prolonged periods of disuse, or should I leave it tuned to concert pitch? When traveling by air, should I de-tune, or loosen the strings on my Taylor guitar to reduce the tension on the neck and top? Is it really "bad for the neck" to de-tune all six strings? Do you have any other travel tips?
All full-sized Taylors currently come in a Taylor hardshell case [see "Cases" in the "Features" section of the website]. The outer shell of the Taylor hardshell case is quite strong and should be equal to most tasks when it comes to travel (since late-summer 1997, we've been covering the Taylor-made case with Nubtex - a much hardier, more scratch-resistant vinyl than we've used in the past). The SKB case uses vacuum-molded ABS plastic for its outer shell, which is lighter in weight, scuff-resistant, and less expensive, but, in our opinion, offers slightly less protection. For travel by auto, either style of case should be fine, but neither should be checked as airline baggage. The only case acceptable for the baggage hold would be an ATA (Air Transportation Approved) flight case, though even these can be broken occasionally by forklifts or other hazards.

The airline companies are becoming more and more strict about carrying your guitar onboard the plane, which leaves you with limited options. Some try to help by offering various services, and others want you to purchase an extra seat for your guitar if you want to carry it on the plane. If you travel a lot, then that's the best reason we can site for your second option - to ship the guitar to your final destination, in which case you can also insure the instrument through the carrier for a minimal charge. On an average day, we ship 140+ guitars via regular ground transport methods, yet we encounter very few damage claims each year. A third option would be to invest in an ATA flight case (which can be checked as baggage, but still might be broken).

Many players and repairpersons believe it's best to de-tune a guitar for long-distance flights, due to changes in air pressure and temperature in the baggage compartment. We don't recommend doing so, because if you de-tune a guitar for any length of time, you also have to loosen the truss rod. Otherwise, the neck may develop a back bow, and it could prove difficult to completely correct that. In other words, you actually could do long-term damage to the instrument by loosening the strings and not loosening the truss rod at the same time. On a Taylor guitar, it's best to simply leave it as is, even on relatively long flights. Otherwise, just use your best judgement when it comes to traveling with your Taylor. For example, don't leave it sitting in a car for any length of time, because not only can it be stolen, but the extreme temperatures can cause serious damage resulting in costly repairs.

What kind of finish does Taylor use on its guitars?
Since 1995, we've been using a polyester finish which is cured by ultraviolet light. This UV-finish has many advantages over the polyurethane and lacquer-based finishes previously used. It contains as many "solids" as thicker finishes, so a thinner application provides the same protection while allowing for better tone production. It also is clearer, so the wood grain is more distinct; is more user-friendly; is much easier to sand; is more flexible; doesn't produce any cold-checking [see following question]; allows for aging; and requires a fraction of the curing time (three 23-second passes through the UV oven, versus several days using the old method). Also, because polyester is about 85 percent resin and only 15 percent solvents (almost the exact reverse of the polyurethane ratio), UV-curing it produces a greatly reduced VOC rate - the measure of the "volatile organic compounds" released into the airstream. This environmental bonus earned Taylor Guitars a commendation from the San Diego County Air Pollution Control District.

For additional information, read the The Finish Line/What UV Means to You (PDF, 117K) Tech-Sheet.

I keep hearing guitar repairmen talk about "cold-checking." Assuming they're not discussing hockey, what exactly is that?
Cold-checking is that web-like pattern of fine cracks in a guitar's finish frequently caused by expansion and contraction due to extreme cold (hence the name) or heat. Age also can be the culprit, as the finish gets old and brittle and more susceptible to the effects of dryness, wetness, temperature, and the like. Throughout the years, cold-checking has been relatively common to all finishes and makes, including Taylors - until we developed the UV-curable finish we've been using since 1995. We have an environmental chamber at the factory, in which we test the effects of various climatic and humidity conditions on our guitars. To our amazement, no matter what we subject our UV finish to, we have not been able to make it "check". This has been something of a revelation. While we can't guarantee that our finish won't cold-check, our tests show it to be the most impervious finish to date.

Can I put a different-width neck on my Taylor? The one that came on my guitar is too wide/narrow for my playing style?
All full-size, 6-string Taylors come standard with a 1-3/4 inch neck. However, you can substitute a 1-11/16 inch neck or a 1-7/8 inch neck when you order your new Taylor. Additional charges may apply. Our 12-string models have a 1-7/8 inch neck and Baby Taylors have 1-11/16 inch neck. Currently, there are no neck-width substitutions on 12-strings or Baby Taylors.

Do Taylor guitars come with pickups installed? What kind of pickups do you recommend for Taylors?
The majority of Taylor models come with a pickup as a standard feature (the model number will include an "E" for "electric," as in "710ce". For years, we installed Fishman electronics in Taylors; in January of 2003, Taylor debuted its own proprietary pickup, called the Expression System (ES), installed in the 500 Series and up (we continued to equip our 300 and 400 Series with Fishman products throughout 2003, but made the transition to ES for both series as of 2004). The product of three years of extensive R&D, the ES has transformed the way a Taylor sounds when plugged in, capturing and conveying the natural acoustic tones of the instrument, enabling greater dynamic range without distortion, and virtually eliminating feedback, even at high volume levels. It truly lets the nuances of the player and the particular tonal properties of a guitar's woods to come through in a performance setting. An ES User Guide DVD is included with all ES-outfitted Taylors, and can be ordered through the website. We also encourage you to visit your local authorized Taylor dealer to experience the amplified tone of an ES-equipped Taylor first-hand.

How does the regular use of different tunings affect my guitar?
Alternate guitar tunings are becoming increasingly popular, and occasional use of these tunings will neither adversely affect your guitar nor require any adjustments. However, frequent or sustained use of alternate tunings requires specific allowances that necessitate adjustments to the guitar.

If you want to use lower overall tunings, the neck might need adjusting, because the decreased tension might back-bow the neck and cause buzzing. You also might want to switch to heavier strings, which are less likely to buzz under the reduced tension of lower tunings (heavier strings can be used on any guitar, if a lower overall tuning is used). More caution should be taken when using higher overall tunings. Light-gauge strings are the most "user-friendly" to your guitar in these modes, and will not do any harm. Medium strings tuned higher can put too much stress on the whole guitar, and particularly on the top. Eventually, this stress can cause structural damage, make the instrument difficult to play, and necessitate a premature neck reset. Tuning higher for a song or two in performance or in the studio is okay, but do not leave your guitar tuned high for extended periods.

If you use multiple alternate tunings on one guitar, you might experience buzzing problems caused by the repeated movement of the neck - the result of constantly changing string tension. An experienced repairperson can easily correct this by adjusting the neck and action to a "sweet spot" that accommodates a variety of alternate tunings and the individual tensions they create.

Also, frequent tuning changes create an up-and-down, back-and-forth pull on strings that makes them lose their tone faster, and makes them more prone to breaking. If you change your strings fairly often anyway, this shouldn't pose much of a problem.

I'm a fingerstyle (fingerpicking) guitarist. Which Taylor model would be best-suited for my style of playing?
Certain Taylor models are especially well-suited for specific playing styles, but that doesn't guarantee that owners will use them for those purposes. A "fingerstyle" guitar - say, a 912ce - sounds wonderful when lightly strummed. A "flatpicker's" guitar (710, 810, Dan Crary Signature Model) sounds great when fingerpicked, and so on. But, to some extent, a guitar's body size and bracing pattern do determine its level of performance for specific types of playing.

The Grand Concert is an ideal guitar for fingerstyle and recording because it's smaller (more comfortable), and because its scalloped bracing was designed to produce the "Taylor tone" without the "boominess" of a Dreadnought. The Grand Auditorium is designed to be a strong fingerpicking guitar that also can handle medium strumming. That's because its braces are narrower; we removed mass from the width of the braces to enable the guitar top to move faster, thus creating a higher component of treble "zing" across the guitar and resulting in a snappy, bell-like tone. Dreadnought and Jumbo six-strings have more bracing mass, and shine as "plectrum" or "rhythm" guitars, because they respond well to flatpicking or light-to-heavy strumming. [Because the Dreadnought and Jumbo utilize exactly the same bracing pattern, it's hard to describe the tonal differences between the two. They are, in fact, very similar guitars.]

How do I know if and when my Taylor needs a neck re-set?
To maintain the structural integrity of your guitar over its long life, you should get the neck re-set only when it truly needs it. Of course, determining if a neck needs a re-set is the most difficult part of the process. Some people adjust the neck angle in their search for that tonal "sweet spot" (which really does exist). However, unless there's another, more technical reason to do that, adhere to the dictum, "If it's not broken, don't fix it." Many guitars undergo needless repairs due to poor diagnosis of a given problem.

Please read the Taylor Tech-Sheets Symptoms of a Dry Guitar (PDF, 84K), Symptoms of a Wet Guitar (PDF, 70K), and Truss Rod Adjustment (PDF, 652K), before making any decision about having the neck re-set. There is an ideal neck angle for a Taylor, and you need to leave room to adjust the saddle either way. If your saddle is so low that there isn't enough available height to adjust your action, then chances are it does need a neck re-set to bring it back to factory specs. One advantage of our neck-joint design is that, in the event it should ever need a neck reset, it's a very simple and non-invasive procedure that can be done under warranty (for the original owner). The only expense the owner incurs is shipping the guitar both ways.

How does Taylor's "New Technology" [NT] neck differ from the neck joints on other guitars?
Introduced in January 1999, Taylor's revolutionary neck design completely changed the way the guitar neck attaches to the body, the relationship of the fingerboard to the neck and body, and the way the neck itself is made. In a New-Tech or NT neck, instead of the neck’s wood ending with the heel block at the 14th fret, it continues as a joint or "tongue" along the underside the fingerboard extension. Prior to the NT neck, the fingerboard extension would be glued directly to the guitar top (soundboard), but now, the extended neck joint is set into a pocket precisely routed into the guitar body and top, where it is secured to the interior blocking system. This leaves the fretboard independent from and unaffected by changes in the top caused by humidity, i.e., sinking or swelling -- an important factor for an artist encountering climatic change on the road, for example. Special laser-cut "spacers", machine-tapered in graduated increments of two-thousandths of an inch, are set into the pocket regions, enabling our production staff in the Final Assembly department to set every neck angle perfectly, refining even further the properties of impeccable intonation, low action, and ultra-playability long associated with Taylors. The neck is bolted to the body in three places, and no glue is involved, facilitating the transfer of tone between the body and the neck, and making it easy for a repair person to remove the neck if any service is required. The key advances of the NT neck are greater neck stability and precision micro-adjustability.

Another distinction is that the NT neck is a three-piece design, featuring a "stacked" heel and a fingerjoint at the peghead (the fingerjoint significantly strengthens the area where the headstock meets the neck). The three-piece design also conserves mahogany, an important benefit especially as mahogany resources have become more constricted in recent years. In April 2000, the U.S. Patent and Trademark Office granted Taylor patent number 6,051,766 for the "adjustable guitar neck".

Prior to the NT neck, Taylor had employed a simpler bolt-on neck, which also also allowed for the kind of micro-adjustment that enables Taylor craftsmen and other repairmen to set and/or re-set the neck angle to ultra-precise measurements.

The more traditional neck joint used by luthiers, a dovetail joint, is a mortise-and-tenon-type joint shaped somewhat like a dove's tail. The dovetail joint used in most non-Taylor guitars actually is a compound, "blind" dovetail. That means it's dovetailed in two directions: the mortise-and-tenon is dovetail-shaped, so it will slide in, and it's wedge-shaped, so that when it slides in it eventually hits bottom. Without question, this makes a very strong wood joint.

Unfortunately, the glue-joint is buried up inside that connection, and if you have to remove the neck, you might have a problem. A dovetail needs that glued joint in order to work; without it, the connections won't hold. So, if you want to set the angle back a little bit, you remove wood at the back of the heel, and you slide it in and set it down. And, guess what? - it's going to rock, because it no longer sits flat against the surface where it connects to the body. Now, you have to glue shims to the back side of the dovetail, and sand the shims down to make it fit again. With any type of adjustment to the dovetail joint, if you take wood away from the neck joint to angle it back, you have to compensate by adding it to the opposite side of the dovetail.

If you're making a guitar by hand, it's hard enough to make the original joint, so when you have to re-do it by hand, it's very difficult. It's a chore just taking the neck off, because the glue joint is hidden under the fingerboard. Various methods for dealing with that have been developed over the years. There are many repairmen in this country and around the world who can successfully take apart a dovetail joint. There also are many who cannot. Even in those cases where the repairman knows how to remove a dovetail joint, it's a risky and time-consuming task, and the customer literally pays the price.

How do I know if my guitar is drying out?
Classic symptoms of dryness can include string "buzzing," especially in the high registers (see following question); extremely low action; a huge lump at the 14th fret; the sinking of the arch in the top; a forward-bowed neck; and sharp fret ends produced when shrinkage of the fingerboard width causes the frets to protrude beyond the edge of the neck.

For additional information, read the Symptoms of a Dry Guitar (PDF, 84K) Tech-Sheet.

The strings on my guitar recently started buzzing. What does that mean?
The culprit could be excessive fret wear or, during the summer, a back-bowed neck, but most likely, your guitar is drying out. Your warranty card expresses the importance of using a soundhole humidifier to keep your guitar from drying out and cracking. This is especially important in areas of the country that are either very dry (such as Colorado or Arizona), or very cold (where one is tempted to crank up the heat, thereby lowering a room's relative humidity). Most problems can be prevented simply by leaving your guitar in its case when you're not playing it. If a guitar is exposed to low humidity for any length of time, the wood will dry out, causing buzzing and other problems listed in the answer to the preceding question.

To remedy your situation, you need to purchase a Dampit (or a similar soundhole humidifier) at your nearest dealer. Soak the Dampit, then wring out the last drop of excess water and dry off the tube. Insert the Dampit into the guitar, put the guitar in its case, and leave it closed for three days. Repeat this process for another three days if your guitar hasn't regained the playability it had when you bought it. If your guitar is very dry, you might even need to add a couple of days to this process.

For additional information, read the Using a Guitar Humidifier (PDF, 231K) and Typical Areas of String Breakage and Buzzing (PDF, 320K) Tech-Sheets.

Is it true that Taylor guitars are more delicately constructed than other makes, and therefore more vulnerable to humidity variances, and generally more fragile?
Taylor guitars are every bit as stable as any solid-wood guitar made today (plywood, or laminated-wood guitars obviously are more stable, as are very heavily built guitars, but these come with their own inherent disadvantages). In fact, we have taken numerous, frequently expensive steps to provide our customers with a far superior product in terms of stability. Over the years, our persistent emphasis on humidification, and our ongoing efforts to educate guitarists about it, have led some to conclude that Taylors are structurally less sound than other guitars.

This is partly the result of our conscious decision, several years ago, to be the ambassadors of humidification for the sake of all acoustic guitars (indeed, we get letters from non-Taylor-owners thanking us for "saving" their guitars). We've taken the position that the best long-term solution to the problems associated with humidity is education - simply raising people's awareness of the subject, at least as it concerns solid-wood guitars. So, we write articles about humidity in Wood&Steel and contribute them to other national publications; we offer "Tech-Sheets" to those interested in learning about humidity; and we keep raising the issue in other forums because, until recently, it has been grossly neglected. By being vocal about this, we've attracted a lot of attention, which has led some to believe that Taylor Guitars has a problem with humidity that other manufacturers do not.

The fact is, Taylor guitars are built to be just as tough as most other high-end brands, and are more heavy-duty than others. Generally, we use the same woods (frequently purchased from the same suppliers); kiln-dry it; and build guitars at the same temperature/humidity ratings as other fine guitar makers who have humidity control. Here is the key to understanding why your Taylor will exhibit the adverse effects of drying earlier than other high-end acoustics: It is precisely constructed with a neck angle that ensures optimal performance, and as soon as that angle is compromised by dryness, it will let you know, usually before any serious damage can occur. Ironically, the same qualities that attract players to Taylor guitars in the first place are directly related to their apparent "sensitivity" to dryness - namely, sleek necks, low action, excellent tone, and so on.

But all solid wood guitars face problems caused by humidity swings. We just decided to be the first to bring the issue to light. And, apparently, people are listening.

How should I clean/polish my guitar?
For all "glossy" Taylor models, we recommend a non-abrasive (very important!) carnauba wax or a brand-name guitar polish to rub out minor scratches and to preserve the high-gloss finish. However, our 300 and 400 Series models, two of the four Taylor acoustic basses, our 100 and 200 Series, and all Baby Taylors have a "satin" (non-gloss) finish. On these Taylors, you don't want to use any type of polish, wax, or Murphy's Oil Soap anywhere on the body, because they can damage the finish. The only polish we recommend for a satin finish is Ken Smith Pro Formula, likely sold wherever Ken Smith basses are sold. Otherwise, simply use a clean, damp cloth to wipe the surface, and follow quickly with a clean, dry cloth. Think of a non-gloss surface as a glass window; if you don't immediately wipe it dry, it will "streak." As for cleaning the ebony fingerboard, we recommend dry, extra-fine steel wool (.000 to .00000). You can rub pretty hard without damaging the fingerboard; just be careful not to touch the body with it!

A guitar technician assured me that I would experience no problems with my solid-wood guitar as long as I took proper care of it. What is "proper care?" I'm concerned about the validity of any warranty if a slight variance in temperature/humidity could void it.
No matter where you live, and no matter where your guitar was made, taking simple, common-sense precautions likely will maintain its original condition for a long time. "Proper care," in this instance, means leaving your guitar in its case when you're not playing it, and monitoring it for signs of either drying or over-humidification during severe swings in temperature and/or humidity (the "slight variances" you mentioned usually will not cause problems). To monitor the humidity levels inside the guitar case itself, we recommend using a thermal hygrometer, available at your local music dealer, at Radio Shacks, and/or at good hardware or building-supplies stores.

For additional information, read the Sight-reading Humidity (PDF, 43K) Tech-Sheet.

I live in a very humid region of the country. What precautions should I take to protect my Taylor guitars from these conditions?
Here are some suggestions for people living in extremely humid locales:

1. Keep your guitars in the driest area of your house - this is such a logical preventive measure that it's easy to overlook.

2. Put about five or six silica gel packs in the open area of your guitar case, up by the guitar's headstock (putting them in the closed accessory compartment is much less effective). Silica gel packs can be purchased at some guitar dealers; another good source is your local professional photo/camera store.

3. Leave your guitars in their closed cases when you're not playing them. Every couple of weeks, take the guitars out of their cases, line the open cases against a wall in your house, and train a fan on their interiors for a couple of hours. If that doesn't help, use a blow-dryer on the interior of the case for 15 minutes or so (at medium heat, from several inches away). This will help dry up any dampness that might have accumulated in the lining.

4. If you have several quality guitars, or are planning to collect guitars, you might consider building a special "music room," complete with a dehumidifier and a good hygrometer to monitor the air's moisture. [Read our Tech-Sheets: Symptoms of a Wet Guitar (PDF, 70K), and Making Room for Music: Acoustic Rooms for Consumers (PDF, 97K).]