Taylor Guitars

Acoustic Guitar Magazine's Taylor GS6-12 Review

Thu, 20 Nov 2008 00:00:00 GMT

By Doug Young

Although Taylor Guitars is well known for its acoustic-electrics, and turned heads by building solid-body electric guitars, the company has never forsaken its purely acoustic roots. Taylor's relatively new Grand Symphony (GS) series is a bold reflection of this commitment. All GS guitars are minimally adorned, noncutaway instruments (unless special ordered otherwise) and include electronics only as an option—focusing instead on pure acoustic tone.

Given Taylor's long history as a builder of exceptional 12-strings (see "The Magnificent Seven," November 2008), it comes as little surprise that the company would add a 12-string version to the GS line (see New Gear review, June 2006). Taylor sent a maple and spruce GS6-12 for this review.

More Than Skin-Deep

The GS6-12 is an attractive and uniquely curvaceous guitar with a Sitka spruce top and beautifully figured, big leaf maple back, sides, and neck. Overall, the instrument's styling is elegant and subdued, featuring unobtrusive appointments including an Indian rosewood headstock overlay, simple abalone rosette, and small, abalone dot inlay markers on the ebony fretboard. The ebony bridge holds a compensated Tusq saddle, and the exceptionally smooth gold Taylor miniature tuning keys are complemented by a gold endpin and heel-mounted strap button. As is typical of a Taylor, construction of the guitar is flawless inside and out.

Easy on the Digits

The GS6-12's top-shelf fit and finish translates into excellent playability, which has always been one of Taylor's strong suits—and it's doubly important with the added tension of a 12-string guitar. The GS6-12 required only a little more hand strength than a six-string, a fact that's due, at least in part, to the exceptionally low action, which on our review guitar measured 5/64 inches at the 12th fret for the low E, and only 3/64 inches for the high E strings.

Guitarists who are used to six-strings may be understandably nervous about the prospect of tuning a 12-string guitar. But with the GS6-12 those fears are unfounded. Intonation is spot-on over the entire neck, and the guitar remained stable even when tuning down to a low C, which may be attributable in part to the stiff maple neck.

Stand Back

Twelve-strings are perfect for anyone seeking projection and a bigger sound, and the GS6-12 is more than up to the task. Strummed or fingerpicked, the guitar creates a stunning wall of sound. It would take a powerful singer to be heard over a GS6-12 strummed with a flatpick. And in spite of the low action and light-gauge strings, even fairly aggressive strumming produced little noticeable buzzing—just a rich and robust serving of 12-string tone. The GS6-12 is about much more than volume or ceiling, though. It also responds well to light fingerpicking, producing distinct, sustaining highs that are nicely balanced by a solid and defined low end and midrange warmth. The maple seems to lend an additional degree of clarity and separation to the notes and produces a bottom end that is tight and solid, but never boomy.

The GS6-12 is a surprisingly versatile instrument, and I found myself returning to it over and over as it sparked new ideas and revealed new colors in existing material. Played lightly, the GS6-12 brought a delicate harp-like flavor to a Celtic O'Carolan melody. With a heavier attack, a driving funky tune I've had under wraps for a long time suddenly had the power it had been missing. Resurrecting some half-forgotten Leo Kottke tunes, I found that I wasn't quite able to achieve his throaty low-end growl with the GS6-12's light-gauge strings tuned to standard pitch (Kottke uses heavy strings and tunes his guitar to C#), but the results were rewarding enough.

The GS6-12's clean and clear sound makes it an excellent recording guitar, too. In the studio, I was able to capture an accurate, full-spectrum tone very quickly, yielding a sound that was full and huge, without overwhelming the mics. The additional color that the GS6-12 provides enabled me to create a rich accompaniment behind a melody played on a six-string. But I was equally intrigued by the sound of flatpicked mandolin-like lines, using the GS6-12 as a lead instrument.

The Wrap

With an elegant body shape, understated but classy appointments, unbeatable playability, and a tone that is clear, punchy, and full of richness and warmth, the GS6-12 is an impressive addition to Taylor's 12-string line. Over the course of this review, I played at least a dozen other 12-strings, and while many were excellent in their own right, the GS6-12's smooth feel, big clean sound, and good looks set it apart. Players who need to play amplified may want to consider Taylor's 656ce (basically a GS6-12 with a cutaway and pickup system), but in a natural acoustic setting, the GS6-12 is an exceptional instrument.

See Video.

Review courtesy of Acoustic Guitar Magazine

Taylor Guitars honored for Environmental Efforts

Mon, 17 Nov 2008 00:00:00 GMT

Taylor Guitars, one of the world’s premier manufacturers of acoustic and electric guitars, was among 1,200 businesses recognized by the California Integrated Waste Management Board as part of its Waste Reduction Awards Program (WRAP). Awarded in the category of “Manufacturer – Musical”, the WRAP awards acknowledge California businesses that show considerable commitment and reduction in the amount of waste produced annually, as well as recognize innovative uses for previously discarded materials, employee education and recycled product procurement.

“These businesses are aggressively tackling waste reduction through innovative business practices,” said Board Chair Margo Reid Brown. “Having exceeded our 50 percent waste diversion mandate, California is looking for resourceful approaches to divert the remaining materials going to landfills. Businesses like these, who create opportunities for waste diversion, will be at the forefront of a more sustainable California.”

Notable achievements by Taylor Guitars in 2007 include:

• 35 tons of cardboard - 95% of the company’s total volume were recycled. The other 7 tons were reused in various ways throughout the factory.

• Over 20,000 pounds of paper were recycled in 2007. Other recycled and reused materials included plastic wrap, used printer toners, electronic equipment and grass trimmings.

• All oil and coolant products used in the factory and in manufacturing were recycled.

• Scrap wood and sawdust was converted into particleboard and mulch leading to its 100% reuse.

• Select pieces of scrap wood were donated to a local woodworking association to be transformed into toys for orphans in Tijuana, Mexico.

Annually, Taylor Guitars reviews its processes to look for ways to eliminate, reduce and reuse waste. One of the most notable and technologically advanced innovations was made in the early 1990s, when Bob Taylor, president and co-founder of Taylor Guitars, sought to eliminate harmful toxins from the process of spraying finish on guitars. After two years of research and development, a proprietary UV-curable finish was created. Shortly thereafter, a robotic arm was installed to hold the guitar as it passes through four coats of the UV-curable spray, eliminating all human contact in the spraying process. The guitar, which is negatively charged, creates an increased rate of transfer of spray to body, translating to less finish waste and a reduction in the levels of volatile organic compounds. For this innovation, Taylor Guitars was recognized by the County of San Diego for its commitment to the environment.

Outside of the factory, and in line with the company’s passion to produce the most aesthetically and musically pleasing guitars in the world, the company is equally committed to procuring wood that is responsibly harvested. In 2007, the company joined the Greenpeace MusicWood Coalition which is committed to FSC certification of Sitka spruce, an Alaskan forested wood that is becoming scarce due to heavy use in the construction industry.

Taylor Swift’s Record Premiere Party

Tue, 11 Nov 2008 00:00:00 GMT

Triple-platinum country music sensation Taylor Swift celebrated the launch of her second album, Fearless, at an exclusive event held at the Taylor factory in El Cajon, California on Wednesday, November 5. Located inside the company’s intimate performance venue, Swift and her band thrilled an audience of nearly 200 contest winners and special guests with a heartfelt acoustic set that included several songs from the new record, which was released on Tuesday, November 11.

The event was hosted by nationally syndicated country radio personality Blair Garner (aftermidnite.com), who rallied the crowd of excited fans, each of whom had been flown in from around the country as winners of a special contest organized by Swift’s label, Big Machine Records, and Verizon Wireless. The lucky winners were also treated to a catered dinner on-site, along with special red carpet treatment that included a “meet-and-greet” and a photo-op with Swift.

Inside the Taylor Guitars venue, Garner welcomed Swift to the stage for a live, sit-down interview in which she talked about the inspiration behind the songs on Fearless, and answered questions that had been submitted by fans. The interview with Garner, along with several album tracks from Fearless, was recorded and scheduled to air on over 500 radio stations across the country.

Following the interview, Swift brought Bob Taylor on stage.

“When I’m playing guitars and you see on the end that it says Taylor, that’s not because I make the guitars,” she deadpanned. “That’s because he makes the guitars.”

Bob shared a warm hug with Swift and welcomed her back to the Taylor factory.

“We’ve been fans of yours since your dad called us six years ago and said, ‘You just have to hear my daughter sing,’” Bob told the 18-year-old star in front of the audience.

Bob has been an avuncular figure to Swift since the two met in person about five years ago. On stage, he was visibly happy to acknowledge the way Swift’s precocious songwriting talents have spawned huge career success at such a young age.

“Everything that has happened to you should have happened because you’re so talented,” Bob said. “A lot of people go into music, but not very many people write great songs.”

Bob said he could personally relate to the way her passion for songwriting inspired her to pursue her craft at a young age.

“I made my first guitar when I was 16 years old,” he told Swift. “I got about halfway through that thing, and it hit me like a ton of bricks that that was what I was going to do.”

Swift and her band finished the night with a five-song acoustic set, leading off with three new tracks. “White Horse,” which debuted on this year’s season premiere of Grey’s Anatomy, touched the crowd with emotionally raw lyrics about a not-so-fairy-tale ending to a relationship. “Love Story” recasts the tragic romance of Romeo and Juliet, only this time with a happier outcome. On the title track from Fearless, Swift accompanied herself on her sparkle-topped GS. She also treated fans to “Change,” which was released earlier this year and used as a soundtrack during coverage of Summer Olympics. Swift closed with her first number-one hit and a fan favorite, “Teardrops on My Guitar.”

The acoustic performance was video-recorded for a special Verizon V CAST program to support the release of Fearless.

Swift has emerged as a huge phenomenon in the music industry in the two years since her debut album was released. She’s already racked up several of country music’s highest awards, and her new album’s lead single, “Love Story,” peaked at number five on the Billboard Hot 100. It also went to number one in all genres on iTunes, which is a first for her.She recently passed the 90 million mark for music streams on MySpace, where she is consistently ranked country’s number-one artist.

And she’s been all over TV lately. CMT’s Crossroads recently paired her with Def Leppard. On Monday, November 10, she appeared on both Good Morning America and The Late Show with Letterman. And on Tuesday, Nov. 11, Ellen DeGeneres featured Swift for the entire duration of her hour-long show.

Visit Taylor Swift's http://www.myspace.com/taylorswift page.

For appearances and info please visit taylorswift.com

Factory Service Packages to Fine-Tune Your Taylor

Fri, 10 Oct 2008 00:00:00 GMT

In response to requests from Taylor owners, our Customer Service department has developed four factory service packages, each designed to return a Taylor to peak form. Whether your guitar is showing the effects of severe dryness or a steady stream of gigs has thrown your guitar out of whack, our skilled repair technicians have you covered. You can send your guitar(s) to the Taylor factory specifically for one of these packages, or add a service package to a guitar that’s sent in for other reasons, such as warranty service, ding repair, etc. We’re currently quoting a two-week turnaround time on all packages.

We’re also offering Expression System® pickup installation and upgrade packages so you can optimize your amplified tone. Guitars shipped to us will be returned in a brand new shipping carton with Taylor-engineered inserts designed to stabilize the case and cushion the ends. For the complete rundown on our service packages, click here. For additional information on package details, or to arrange to send your guitar in, contact our friendly Customer Service folks at (800) 943-6782

For a full overview of the Service Packages available you can download this PDF.

Taylor Guitars "Official" Guitar of Hotel Café Tour

Thu, 09 Oct 2008 00:00:00 GMT

The Hotel Café Tour announced that Taylor Guitars, one of the world’s premier manufacturers of high-end acoustic and electric guitars, has been named the “Official Guitar of the Tour”. Taylor Guitars, known for its blend of beautiful and musically inspiring guitars, is already the choice instrument for many of the tour’s past and current artists.

“Like the Hotel Café Tour, Taylor is committed to fostering emerging artists,” commented

Bob Borbonus, director of entertainment relations. “We’re proud to share the stage with such talented musicians and to be a sponsor of this tour.”

Named for the coffee shop-turned-venue in LA, The Hotel Café Tour is now in its fourth year.

For the first time ever, this year’s tour will feature an all female lineup of eighteen singersongwriters ranging from established musicians, Ingrid Michaelson and Rachael Yamagata, to rising stars Meiko, Thao Nguyen, Kate Havnevik, and Brooke Fraser. With so much talent, and a focus on community and camaraderie, concert goers can anticipate impromptu jam sessions and collaborations.

The Hotel Café Tour is set to kick-off on October 9 in Santa Barbara, California. The tour will stop in thirty-three North American cities as it makes its way to Europe for twenty tour stops. Visitors to Taylor’s website will have the opportunity to enter an exciting giveaway for a Taylor DN5 acoustic guitar. Later in the month, visitors to the site can also check out performances from the tour.

Tour schedules, as well as show tickets are available at http://www.thehotelcafetour.com

Taylor Guitars and Yamano Announce Distribution Agreement

Mon, 06 Oct 2008 00:00:00 GMT

Taylor Guitars, one of the world’s premier manufacturers of acoustic and electric guitars, announced a strategic distribution partnership with Japan’s oldest and foremost distributor of musical instruments, Yamano Music Company (http://www.yamano-music.com). The agreement will facilitate expanded distribution of Taylor guitar models and accessories in Japan, with Yamano providing an expansive distribution channel and the first line of support for Taylor’s Japan-based customers.

“As the demand for Taylor guitars continues to grow, we are confident that Yamano can best leverage its dealer network to give buyers the complete Taylor experience,” shared Kurt Listug, co-founder and CEO of Taylor Guitars. “From warehousing and distribution, to product expertise and service, Yamano has a solid history of bringing major American guitar brands into the market, with sound results. We consider the company to be the premier guitar distributor in Japan and the best partner for our brand.”

Beginning this month the full Taylor model line will be available through Yamano’s dealer network. Japan-based customers can be assured of receiving the complete “Taylor Experience”, from having questions like “which Taylor is right for me?” answered by knowledgeable dealers, to receiving the same superior guitar service and repairs that Taylor customers enjoy all over the world.

With a commitment to musical education and a premium on customer service, the Yamano Music Company has been a leader in building Japan’s music market for over 100 years. The company was founded in 1892 by Seitaro Yamano, who believed music was a tool to help people from different cultures and languages communicate. Yamano established his first music store in the Ginza district in Tokyo, the same spot where the Yamano Music flagship store stands today. Through the past 100 years, Yamano has grown to represent international leaders in the musical instrument industry while remaining a family-owned company.

Earlier this year, Taylor Guitars announced a similar sales and distribution partnership in Europe and the Middle East with Fender Musical Instruments Corporation.

MusicWood Madagascar Tour 2008

Wed, 01 Oct 2008 00:00:00 GMT

Taylor VP of Production Richard Berry recently traveled to the African island country of Madagascar as part of a fact-finding delegation from the Greenpeace-organized MusicWood Coalition. The organization was founded in 2007 in conjunction with several major guitar manufacturers that currently include Taylor, Martin, Fender, Gibson and Yamaha, with the overarching goal of promoting environmentally sustainable methods of harvesting tonewoods that are certified by the Forestry Stewardship Council (FSC). While the coalition’s first initiative has focused on preserving the future of Sitka spruce in Alaska, additional initiatives targeting other tonewoods are concurrently being developed in other regions of the world, including Madagascar.

The group’s mission in Madagascar was to explore the prospect of developing a source of sustainable, certified rosewood and ebony, as well as the potential use of nato as a mahogany substitute for necks. Madagascar has long been known for its many unique and rare species of flora and fauna, which are attributed to its island isolation from the African continent.

For all of its exotic beauty, however, the country is in acute need of conservation policies, as poverty conditions there have led to aggressive deforestation over the last 60 years. This in turn has threatened the country’s flora and fauna and, according to some reports, diminished the forest cover from about 25 percent of the island to less than 15 percent today. The challenge is to lessen the forest depletion while trying to develop sustainable harvesting initiatives that can provide economic support to the Malagasy people. Instrument makers offer the prospect of a high-value/low impact market.

During his 12-day trip, Richard and the MusicWood group met with governmental officials and NGOs to discuss the feasibility of FSC certification. They also visited local villages, and made two treks into rainforests to see rosewood and ebony trees firsthand.

“It really revealed the delicate nature of the conditions there and the current lack of infrastructure, Richard says. “The potential is there, but it could 3-5 years before any music wood could realistically be exported. Or maybe never. That’s always a possibility.”

Richard documented his adventure through photographs and video footage, which he edited into a travelogue that he narrates. The video offers a glimpse of Madagascar’s beauty, the friendly charm of the Malagasy people and their timeless culture, and the challenges the country faces as it works to responsibly manage its natural resources.

Watch a short video of Richard's trip to Madagascar.

SolidBody Shine

Fri, 26 Sep 2008 00:00:00 GMT

Platinum-selling hard rockers Shinedown cranked up the riffs at their House of Blues show in San Diego in September. One of the band’s two guitarists, Zach Myers, has been touring with a SolidBody Standard electric guitar equipped with our new HG (high gain) pickups, which he says he loves. Zach played the SolidBody on several tunes during the HOB show, and the pickups sounded ferociously tasty, adding to the band’s arena-ready, distortion-fueled tunes.

“The guitar works great,” Zach said from the road before a recent show. “The tone really sticks out among everything else I play. The high gain pickups definitely help with that. They have an output level that can cut through anything else in the PA and in my rig. I love them. They sound great.”

The HG pickups are likely to appeal to other rock acts looking for a darker, edgier sound with more front-end drive. Zach also recently picked up a SolidBody Classic with the HG pickups and another Classic, an SC with single coil pickups, and said he was looking forward to exploring their tonal flavors, as well.

“Devour,” the first single from Shinedown’s chart-riding new record, The Sound of Madness, is the official theme song for the pro wrestling’s WWE “Night of Champions” for 2008, and the song “Second Chance” has been used in the promo for TV’s Terminator: The Sarah Connor Chronicles. In late September, the band was on the tail end of a tour with Buckcherry and Avenged Sevenfold, before heading to Europe in October for a string of shows with Disturbed.

check out a live performance of the band in our video section

Koa and Cocobolo Fall Limiteds

Tue, 23 Sep 2008 00:00:00 GMT

Taylor Guitars is celebrating Fall with an exciting array of 2008 Fall Limited Editions, which feature two of the world’s most beautiful and sought-after tonewoods, Hawaiian koa and Mexican cocobolo. Set for an October retail debut, the 2008 Fall Limiteds are offered in two distinct koa/cocobolo combinations on the Grand Symphony (GS), the Grand Auditorium (GA) and the Grand Concert (GC), while the 700 series limited includes a unique koa touch.

With a bold voice and tone, the Koa GS Limited features exquisite, shimmering Hawaiian koa back and sides, and a mini back-wedge and binding of rich, exotic cocobolo. On a Cocobolo GS Limited, the woods are reversed, with swirling red-figured cocobolo forming the back and sides, and visual accents provided by a koa mini-wedge and koa binding. Non-cutaway Koa GS Limited and Cocobolo GS Limiteds are also available.

Taylor’s popular Grand Auditorium body shape is well-represented in the 2008 Fall Limited lineup by the Koa GA Limited (pictured right) and Cocobolo GA Limited (pictured right), with premium appointments of gold Gotoh tuners, a bone nut and saddle, as well as an abalone top. The small-bodied, non-cutaway Grand Concerts, the Koa GC Limited and Cocobolo GC Limited, are topped with an elegant slotted headstock and feature a Sitka spruce top, and a cocobolo backstrap, with delicate pinstripe binding along the fretboard and peghead.

For the limited release, a new, premium, tone-enhancing feature was added to the GS, GA and GC styles: Adirondack spruce bracing. Adirondack is known for its extra elasticity that emits a sweeter, more balanced acoustic voice, a sound enhancement that company President Bob Taylor calls “magical.”

“All the notes across the spectrum become both more powerful and sweeter with Adirondack,” says Taylor. “It has a curious elasticity which is really exploited when we use it for bracing.”

To round out the Fall Limited Editions, an upgraded version of one of Taylor’s most popular deluxe models, the 714ce-LTD (pictured right), features back and sides of rich Hawaiian koa, a gently sloping Venetian cutaway, and a top of Western Red cedar, for the distinctive “airy” sound and excellent note definition that fingerstylists love. Appointments include dusky Indian rosewood body binding, sparkling abalone fretboard dots, and an abalone soundhole rosette. Gold-plated tuners complete the feature upgrade for this limited edition version of the 714ce-LTD which includes a Taylor deluxe hard-shell case. All of Taylor’s 2008 Fall Limiteds come with Taylor’s Expression System® pickup, for premium quality amplified acoustic sound.

Taylor Celebrates 8 Years of Music In Schools

Thu, 18 Sep 2008 00:00:00 GMT

On Wednesday Sept. 17^th , Taylor Guitars and the San Diego Music Foundation celebrated eight years of supporting music education at the 18^th Annual San Diego Music Awards Show at Viejas Concerts in the Park in San Diego County. The night began with a rocking performance by longtime Taylor player, Steve Poltz whose album, Traveling, was nominated for “Album of the Year.” Another Taylor player, Joel Rafael, had fists in the air as he sung Woodie Guthrie inspired protest songs to a packed house. Backed by his sultry voiced daughter, Jamaica Rafael, Joel performed songs from his SDMA nominated Best Americana or Country Album, Thirteen Stories High.

SDMF and Taylor Guitars have raised close to $500,000 in the past eight years for music education programs in San Diego County. In addition to monetary support, Taylor has donated nearly 1,500 Baby Taylors (3/4-scale acoustic guitars) to local elementary schools. The guitars are typically for use of students in grades 3-6.

Taylor president and CEO Bob Taylor states, “It's well known that children who study music do better in all their other studies. With guitar being the instrument most kids want to learn, there lies a problem with the fact that there are few choices of guitars that are sized for children and fit for the school environment. By partnering with SDMA we've been able to bring nearly 60 elementary schools, up to 24 guitars each to run their programs. It is wildly popular and we're very proud of our accomplishment in the schools.”

The night concluded with Taylor players and friends, Slightly Stoopid, taking home the coveted “Album of the Year,” award for their record Chronchitis. It was a fabulous night and Taylor Guitars is proud to be part of a vibrant local music community and honored to provide musical instruments for children in schools.

For a complete list of this years winners please visit http://sandiegomusicawards.com

Taylor Extends No-Interest Consumer Financing

Tue, 26 Aug 2008 00:00:00 GMT

Taylor has a new plan that will allow you to satisfy your innermost guitar cravings while minimizing wallet strain. Beginning in June, 2008, participating Taylor dealerships are offering special 12-month interest deferred financing on Taylor guitars (acoustic and acoustic/electric "5" Series and up, T5 and SolidBody). See your local Taylor dealer for details.

While you’re there, take a look around. Does it appear that your favorite Taylor dealer has more Taylor guitars in stock than ever before? We’ve been working with our dealers to widen their selection, so that whether you’re interested in checking out a different body style for an acoustic or you’d like to put a T5 through its electric/acoustic paces, you’re likely to find the models you need in stock.

Special financing and expanded Taylor inventory: two good reasons to visit your Taylor dealer now.

Demand and You Shall Recieve a Road Show

Tue, 26 Aug 2008 00:00:00 GMT

You demanded it and now we’re bringing the Taylor Guitars Road Show to your hometown!

People all over the country have been demanding a Road Show in their city for the past few months, but after only a couple of weeks, the Chicago metro area surged ahead as the leader of the pack. When the city reached 50 demands, it became pretty obvious to us that there would be a great turnout if we scheduled a show in that area. Since booking the show, demands have continued to climb to 74 – that’s almost triple the number of demands that the second place city has!

The lucky store that the Road Show will be passing through is Tobias Music in Downers Grove, Illinois. Due to the high amount of demands, the owners of the shop have rented an offsite venue to accommodate all of the people they are expecting! It will be held at Lincoln Center on September 10, 2008. We will have an all-star Taylor crew out there for the show as well: Regional Sales Manager Rick Fagan and Product Specialist Bobby Coverston.

If you’re not from the Chicago area, don’t despair. Keep demanding the Taylor Guitars Road Show for your city and who knows – your town could be the next stop on the Road Show tour!

September 10, 2008, 7:00 p.m.
Lincoln Center
935 Maple Ave.
Downer’s Grove, IL 60515

For more information, call Tobias Music at (630) 960-2455.

Greenpeace MusicWood Coalition

Sun, 24 Aug 2008 00:00:00 GMT

Taylor and three other prominent guitar companies — Martin, Fender and Gibson — have teamed up with the environmental organization Greenpeace to promote changes in logging practices that would secure the longterm sustainability of tonewoods.

The partnership, the Greenpeace MusicWood Coalition, launched its initiative with a focus on Sitka spruce, commonly used for guitar and piano soundboards. The main location of Sitka spruce trees is the coastal rainforest regions of Alaska and Canada, which for many decades have provided a source of old-growth trees that are coveted by instrument makers.

“In many regions we could be a short time away from the end of the Sitka spruce trees large enough to provide wood for guitar parts”, said Bob Taylor, referring to the reliance of guitar makers on trees that are more than 250 years old for their exceptional tonal properties. “That could change through different logging practices.”

Though the guitar industry is not a major consumer of Sitka spruce (American guitar companies together use about 150 spruce logs a year, Bob says), the wood has been steadily depleted by other industries. According to an extensive, several-year analysis of the region's timber market initiated by Greenpeace, over eighty percent of Southeast Alaskan timber ships to Asia, primarily for home-building, with the bulk of the remaining wood used for door and window frames in the United States.

The intent of the MusicWood Coalition is to leverage the high profile of the guitar industry to draw attention to the need to develop sustainable forest management systems. Greenpeace laid the groundwork for the coalition when it arranged an educational tour in Alaska with representatives of all four guitar companies in the summer of 2006. (Bob Taylor wrote about this trip in his BobSpeak column in the fall issue of Wood&Steel.) As Bob comments in a video on the MusicWood website (musicwood.org), it's easy to think that the region could never be overlogged as one sees a dense forest in an untouched region — until one sees firsthand a clearcut mountainside and the realization becomes starkly clear — literally — that aggressive, unmanaged logging could severely deplete the region in a relatively short time.

During their Alaska trip, the guitar group met an assortment of parties with a vested interest in the region, including local loggers, ecology experts, and board members of Sealaska, a Native American corporation and the largest private landowner in Southeast Alaska. The corporation owns 290,000 acres of surface land.

Currently the MusicWood Coalition is encouraging Sealaska to apply for certification by the Forest Stewardship Council (FSC), which would entail adopting logging practices that would safeguard the survival of the region's remaining ancient forests while continuing to produce high quality wood.

During the 2007 NAMM music trade show in Anaheim in January, Taylor hosted a breakfast meeting involving Greenpeace, Sealaska, and representatives from the aforementioned guitar companies, along with personnel from Walden Guitars and Asian instrument companies Yamaha and Kawai. Discussions of the Sitka spruce campaign were positive, and the group also addressed other tonewoods that are in jeopardy in other regions of the world, including mahogany.

To learn more about the Greenpeace MusicWood Coalition, visit www.musicwood.org

Artie Traum - 1943 - 2008

Thu, 24 Jul 2008 00:00:00 GMT

We’re immensely saddened to report the passing of Artie Traum, a longtime member of Taylor’s extended family whose heartfelt music, gentle spirit and playful sense of humor touched countless people during his life. Artie had been undergoing treatment for a rare ocular melanoma for the past four years, but it spread to his liver and in its advanced state was untreatable. He died peacefully at home on Sunday, July 20, with his wife Beverly at his side. A message from the Traum family is posted on his website, www.artietraum.com. “Like everything else in his life, Artie handled his diagnosis with dignity, strength and acceptance — and even a little of his irreverent humor,” his family noted.

A man of copious musical gifts, Artie emerged from the vibrant Greenwich Village folk scene of the ’60s and would go on to distinguish himself among critics and audiences alike over a career that spanned nearly four decades. Artie adventurously explored a variety of musical idioms, from folk to blues to jazz to pop, absorbing American music’s rich heritage and then blending elements of different genres in fresh ways to brew his own signature blend of contemporary acoustic music that was at once rootsy and sophisticated.

Artie’s appetite for diverse musical ideas stretched far and wide, and his wonderful way with people invited creative collaborations with some of the world’s finest musicians along the way, bringing exotic flavors to his music. Beyond his work as a singer-songwriter, Artie donned many other musical hats during his career, among them session player, producer, bandleader, arranger, film/TV composer, video producer, teacher, radio host and writer. One might call Artie a modern day Renaissance man; of course, if Artie were around, he’d probably fire back a self-deprecating zinger without missing a beat and crack everyone up. You can read more about Artie’s career here.

In 1999, Artie joined the Taylor clinician program, which proved to be a great fit for his talents. Beyond his musical versatility, Artie was an entertaining and witty storyteller, an encouraging guitar instructor, and ever-gracious in his exchanges with people during and after a workshop. Whether sharing the secrets of DADGAD tuning or breaking down blues licks or jazz chords, Artie always left people with a warm feeling and a smile, as many of you who attended his workshops can surely attest.

For several years, our “Artie Traum and Friends” set on the Taylor stage at the Winter NAMM show was a perennial centerpiece of Taylor’s Winter NAMM show performances, packing the room and bringing down the house. Although Artie was perched center stage, performing his own material, and serving as bandleader, it was the ego-free way he allowed his all-star musical cast — including regulars Jeff Pevar on guitar, Scott Petito on bass, Neil Wilkinson on drums, and occasionally, John Sebastian on harp — to coalesce around him that made the sets memorable.

Artie’s life was rich with friendships and love, and he lived with complete integrity. For those of us fortunate enough to have known him, his spirit was an inspiring example of how fulfilling life can be when filled with great people, great conversation, great food, and great music.

Our deepest condolences go out to Artie’s wife Beverly, Artie’s brother Happy and his wife Jane, and to the rest of their family. You’ll be deeply missed by many, Artie. We hope you’re jamming with your musical heroes in the great beyond.

You’re invited to visit www.artietraum.com, where you can read or post messages in remembrance of Artie’s life. A memorial celebration of Artie’s life will be held on Thursday, July 24 at 2 p.m. at the Bearsville Theater on Rt. 212, approximately two miles west of Woodstock, New York. For directions, the theater’s website is www.bearsvilletheater.com.

You can also view a video clip of some of Artie’s Taylor performances here http://www.youtube.com/watch?v=9JuDln63BhU.

Taylor Guitars Gives A Guitar Away Every Week in July!

Tue, 15 Jul 2008 00:00:00 GMT

The musicians’ fight for free, legal tablature (a form of text-based music notation) has finally paid off. Today MXTabs.net officially launched as the world’s first free, legal tablature network, providing guitarists, bassists and drummers with an online community in which to freely create tablature and share their knowledge of how to play tens of thousands of songs.

The month of July is MXTabs launch month, starting with the premier of the official, and newly redesigned MXTabs.net web site on July 1^st. MXTabs has also partnered with Taylor Guitars^® to give away four guitars from the legendary company throughout the month, including two of their new electric guitars. Additional prizes, including MXTabs t-shirts, messenger bags and other branded merchandise will also be awarded.

Featuring licenses from Alfred Publishing, Sony/ATV, Universal MGB, Domino Publishing, BUG Music and several thousand additional publishers, MXTabs boasts a catalog of nearly 50,000 licensed, user-created tablatures (tabs), with more being added daily. The tabs for the songs are created and shared by the users of the site, with a focus on a free and legal distribution of knowledge and information. Publishers and songwriters are paid for their intellectual property through an advertising revenue-share model.

All songwriters, whether they are part of a large global publisher or simply an individual who has written a song can participate in MXTabs. In what is a first for user-generated arrangements of copyright-protected material, a full 50% of ad revenues is paid directly to publishers, songwriters and copyright holders, while the community receives free, unlimited access to the tablature on the site.

In addition to music tablature, MXTabs offers a fully-featured social network community, including the ability for users to find and add friends, participate in the MXTabs musician forums, post blogs and video lessons, as well as show off photos of their music gear.

“The purpose of MXTabs is to allow musicians to freely share their knowledge and to participate in a community with other musicians,” said Bill Aicher, MXTabs’ project manager. “The rebirth of MXTabs was done with the direct input of previous users of the site and what we’ve built is directly based on what musicians have been asking us for.”

To participate, publishers and administrators are encouraged to visit the site at www.mxtabs.net.

About MXTabs.net: MXTabs.net is the first legitimately licensed online social community designed to provide musicians with access to free guitar, bass and drum tablature, while also compensating music publishers and songwriters through a share of advertising revenue. Originally launched in 1999, MXTabs was one of the first, largest and most popular destinations for freely available online tabs. In 2006 the site voluntarily closed its doors due to issues of copyright, and the assets have since been acquired by Musicnotes, Inc. It officially re-launched on July 1, 2008.

Eventful and Taylor Guitars

Fri, 11 Jul 2008 00:00:00 GMT

Eventful and Taylor Guitars today announced that music artists anywhere in the world can register for the “Fire Up The Fans” summer competition to compete for a grand prize of $5,000 and three Taylor guitars. To help showcase a 2008 line that positions Taylor as a full line acoustic and electric guitar company, Taylor is leveraging digital platforms like Eventful to get guitars not only in the hands of musicians but in front of thousands of music lovers. As musicians register for the competition, fans across the country can “Demand” which artist they want to perform in their city using Eventful’s Demand service.

This year, Taylor Guitars is giving away brand new guitars to the top five bands participating in the “Fire Up The Fans” competition. Fans and musicians can log on to: http://eventful.com/taylorguitars or http://eventful.com/fireupthefans to participate.

Launched today, July 9, the “Fire Up The Fans” Summer Demand competition will continue through 2:00 p.m. PT, September 23, on Eventful. The winning bands will be announced on September 24.

“We’re excited to see how fans and musicians get behind this competition,” said Bob Borbonus, Director of Entertainment Relations for Taylor Guitars. “Bands receive top of the line gear from Taylor and a load of cash, while fans get a live show from the winning band in their city — everyone wins. We’ve learned that fans love it when an opportunity arises for them to truly show support for their favorite bands. The element of fan participation and advocacy will only enhance the opportunity for emerging artists to showcase their talent by way of a game-changing music industry tool like Eventful Demand.”

Along with MySpace, YouTube and iTunes, Eventful is an essential part of the online marketing toolkit for performers and artists. Eventful is transforming the way that tours get routed by empowering fans to influence the tours of their favorite performers and by enabling performers to make the best decisions about where to tour.

“We love helping build stronger connections between fans and artists,” said Eventful CEO Jordan Glazier. “We’re excited to work with the Taylor Guitars to give the fans the power to shape their favorite artists’ tours.”

About Eventful, Inc.

San Diego-based Eventful, Inc., operates Eventful.com, the leading events website which enables its community of users to discover, promote, share and create events throughout the world. Eventful users select from nearly 8 million events taking place in local markets throughout the world, from concerts and sports to singles events and political rallies. Eventful’s Demand service enables users to influence where their favorite performers appear by creating viral grass-roots campaigns to “Demand” them in their town. Visit Eventful at http://www.eventful.com.

The New Noiseless Single Coil

Thu, 26 Jun 2008 00:00:00 GMT

Single coil pickup fans take note: In late July, Taylor will release its new SolidBody Classic SC model, marking the debut of our proprietary Style 3 noiseless single coil pickup. The Classic SC captures all that’s great about the single coil sound, but leaves behind the characteristic hum.

“They’re as hum-canceling as a regular humbucking coil,” says Taylor Product Development Manager David Hosler. “The challenge isn’t in making a quiet single coil, but to do it without losing the single coil’s tonal character. Using our ‘flavor’ of design, we did that, and on top of it, we were able to maintain what we call a modern output level.”

Hosler says that for most of his life as an electric player, he preferred humbuckers to single coils. “I’ve owned probably three or four Strat-style guitars in my life — I’ve built two or three for myself — but they weren’t my main axe,” he says. “A lot of it was because I only found that sound usable for my style of playing here and there. But when we did these single coils and got them up and running, I found something I really liked. I like the power and the edge and the fidelity.

“I think your standard single coil player will find something extremely appealing that he hasn’t heard before, and I think the guy who normally plays full-shred humbuckers will find fresh inspiration.”

Taylor VP of Marketing Brian Swerdfeger underscores Hosler’s points in a video demonstration of the single coil, showing off the Classic SC’s ability to convey all the characteristic sweetness, breathiness and sparkle, without the hum. Brian plays the SC clean through a Vox AC30, then dirty through a Marshall DSL50 for a crunchier sound. Playing through the Vox, Brian works through the different pickup positions and reels off some bright, funk tones. Switching to the Marshall, he squeezes out a thicker, fatter sound. “I’m leaving the guitar wide open while I’m playing, but there’s no noise,” he notes during the demo. “You can turn the volume control down and the tone will clean up…. So, it’s a real versatile guitar without any of the traditional hum and buzz and artifacts of a regular single coil.”

Guitarist/producer Steve Mandile from the Nashville-based band Sixwire was one of the first pro players outside the factory to get his hands on a Classic SC. An early adopter of the Classic with the humbucker when it came out late in 2007 (Sixwire rocked the Taylor room at the 2008 Winter NAMM show), Mandile was also effusive about the SC’s sonics.

“I love it,” Mandile said before a gig in Nashville. “I did a session the other day where we had to replicate all these old popular songs from the ’70s, and I took both the humbucker and the single coil Classic and used them both a lot. They’re really, really versatile. The single coil sounds great, plays great.”

Mandile says he considers himself mostly a single coil guy, and liked the SC’s ability to deliver the tones he loved along with some fresh sounds, too.

“It seems a bit thicker, which is good. The single coils on my main guitar are really bright, so I kind of have that sound, but the [SC] seems a little bit thicker, and I think a little bit more usable than your typical single coil.”

Taylor Readies Release of Liberty Tree T5

Thu, 26 Jun 2008 00:00:00 GMT

The final design touches are being applied to the Liberty Tree T5, the second offering of Taylor’s elite Builder’s Reserve Series. This electric guitar represents a continuation of Taylor’s heartfelt homage to a historic tree that became an enduring symbol of the quest for American independence.

The limited edition T5 is crowned with a solid top of cream-and-chocolate-hued tulip poplar milled from the wood of the Annapolis, Maryland Liberty Tree, the last survivor of the original Liberty Trees from the Revolutionary period. The majestic Annapolis tree lived on the grounds of what became St. John’s College for over 400 years, until severe damage from Hurricane Floyd in 1999 led experts to declare it a safety hazard and order it felled.

Company president Bob Taylor, an avid history buff, subsequently purchased about 80,000 pounds of the iconic tree’s wood, and in 2002 released a limited edition run of 400 Liberty Tree Grand Concert acoustic guitars as a musical tribute to the American colonists who struggled for freedom from English rule.

The guitars sold out quickly to professional players, guitar enthusiasts and collectors who wished to own a unique, playable piece of American history. Taylor later used smaller surplus pieces of the tulip poplar to make veneer backs and sides for a batch of roughly 400 Baby Liberty ¾-size guitars. These also sold quickly.

While some additional Liberty Tree wood remnants still were left, none were of adequate length to form acoustic sides. This appeared to close the book on the Liberty Tree guitar saga, much to the disappointment of many would-be buyers, along with Bob Taylor.

“I had no idea what would become of that precious remaining wood, but I couldn’t bring myself to throw it away,” Bob said of the unusable tulip poplar. “We locked it up and moved on to other projects.”

Little did Bob know at the time that several years later, Taylor would enter the electric guitar world with the hybrid electric/acoustic hollowbody T5. Released in 2005 to much industry acclaim, the T5 is a true hybrid; it can function as a “clean-sounding” amplified acoustic guitar, or as a full-on electric guitar, suitable for high-distortion jamming. Prince, Tommy Shaw and Serj Tankian (System of a Down) are among the rockers who have adopted the T5 into their guitar arsenals.

Bob happened to be pondering the suspended fate of the remaining Liberty Tree wood one day when it occurred to him that it could be used for T5 tops. As luck would have it, there were just enough sets to make 50 Liberty Tree T5 tops, so Bob and his development team hatched a fresh design blueprint: Each guitar would be individually identified by the name of a different state and a corresponding serial number designating the order in which the state entered the Union.

“It’s an honor to be able to use the last few pieces of this important tree to make something as totally cool as this guitar,” Bob reflected during the guitar’s development.

The Liberty Tree T5 borrows some key design elements from the original Liberty Tree acoustic guitar. A stylized, hand-inlaid Revolutionary period battle banner adorns the guitar’s shoulder, and a post-Revolution American flag is inlaid on the peghead. Eleven mother-of-pearl stars decorate the fretboard, plus two more stars in the banner, for a grand total of thirteen. Maple binding with red, white and blue trim embellishes the body, neck and headstock edges.

Liberty Tree wood is used not only for the top, but also for a decorative satin-finish backstrap and a laser-cut, inlaid Liberty Tree shape on a satin-finish maple back panel, under which the word “Liberty” is laser-burnished in a stylized script. On the back of the headstock, the name of each state and its order of entry into the Union are elegantly hand-inscribed. All hardware, including the vintage-style Gotoh tuners, exhibits an antique gold finish. Each Liberty Tree T5 also will come in a special custom case with a stencil treatment that includes the word “Liberty” and 13 stars. The Liberty Tree T5 is scheduled to arrive in stores in mid-summer.

Please visit www.taylorelectricguitars.com to view a gallery of Liberty Tree T5 images and watch a brief trailer from the award-winning DVD Taylor produced in 2002 about the Liberty Tree’s life and transformation into our Liberty Tree acoustic guitar.

SolidBody Review from Musicplayers.com

Mon, 16 Jun 2008 00:00:00 GMT

Do you wish you had a Taylor SolidBody? So do the folks at musicplayers.com. The SolidBody scored their WIHO (Wish I Had One) Award. Read the review.

American Songwriter reviews the T5

Wed, 14 May 2008 00:00:00 GMT

“Taylor has really created something special with the T5,” says Marshall Alexander in American Songwriter. “The true beauty of this instrument, aside from the gorgeous wood finish, is the versatility and range of its voices. There are five different pickup combinations — all controlled by a five-way switch. The array of tonal possibilities is easily recognizable, even to an amateur musician, when you begin moving positions with the 5-way switch.” (Read the full review, here.)

Vintage Guitar Reviews the Solidbody

Wed, 14 May 2008 00:00:00 GMT

Vintage Guitar writer Bob Dragich gives Taylor’s SolidBody Series all the attention he obviously feels it deserves in an in-depth review, published in the magazine’s July 2008 issue. The article, aptly titled “Worth the Wait,” starts at the very beginning of the SolidBody story.

“For years, Bob Taylor fended off the question, ‘When are you going to build a solidbody guitar?’ Well-known as a builder of top-notch acoustics, for his company, Taylor Guitars, the step seemed logical and maybe even a little overdue. And when Taylor introduced the semi-acoustic T5 three years ago, it was treated by many as a tantalizing hint. But again, ‘When?’

‘When we have something to offer…’ was Bob’s oft-repeated reply.

“Then, as part of the general process of exploration and experimentation that goes on at the company,” writes Dragich, “longtime employee David Hosler devised a new pickup. Instead of dropping it in yet another Strat or Les Paul clone, Hosler and Bob Taylor agreed the new pickup demanded a new guitar.

“What they came up with is the SolidBody series with variations dubbed Classic, Custom, and Standard. All are flat-front/single cutaway guitars with two pickups, a standard Taylor C-shaped neck (the same used on their acoustics), a 24 7/8” scale, and a nut that measures 1 11/16” wide.”

Dragich then describes the various tonewoods, aesthetic decisions, construction details, exclusive hardware and electronics that go into each SolidBody model, taking the necessary time to linger over specific details that intrigue him most.

“The basic shape of the Taylor solidbodies is captivating, and they are also extremely comfortable to hold and play. The neck has a “three bears” quality — it’s not too thick, not too thin…this one is just right. The fret ends are perfect and the action suspiciously low for a neck with almost no relief. The bevels on both sides of the cutaway encourage exploration of tones in the upper register, and the contour at the top of the back will come as a relief during long practice and recording sessions while seated.”

He gives the all-aluminum SolidBody bridge and T-Lock neck joint high marks for design ingenuity and playability: “The bridge common to all three [models] is cast aluminum with an art deco appearance designed to remain free of sharp edges. Individual bridge saddles are adjustable and can be locked down through a plate in the back of the guitar. That means the strings can be replaces without having the saddles move at all.

“The neck is attached with Taylor’s proprietary T-Lock system, where an Allen bolt goes through the body and pulls the neck into a pocket shaped like a W…The T-lock neck system is so tight that, viewed from any angle but the back, the neck appears to be glued on the body.”

Dragich works methodically through each position of the five-way switch on each model in turn, describing the sounds he gets in terms any electric player can relate to. For example, here is his SolidBody Classic tour du tone:

“Sonically, the five-way blade switch in position one on the Classic (the least expensive of the group) offers a warm, jazzy tone with just a little more treble edge than a traditional humbucker. Dialing up a mild overdrive from a tube amp, the neck pickup gives off a deep, throaty growl with a hint of that magic steel-on-glass tone of a great Stratocaster-type pickup. In position two, the Classic solves that age-old problem of adjusting for too much low-end when you go from lead to rhythm. Its open, airy sound is still distinctly electric, but won’t muddy up the mix.”

Moving to the third position: “The central position adds midrange and lower-mids, offering a deeper, more forceful rhythm sound that is still unobtrusive. … position five (both coils in the bridge pickup) dishes out a tone very reminiscent of a Telecaster, though not quite as bright or with the same edge.

“Backing up a notch to position four takes the tone of the bridge-only spot on the blade and boosts it with lower-mids and adds just a hint of cluck; in other words, a great lead tone,” Dragich notes.

In addition to the SolidBody review, this issue of Vintage Guitar also includes a sidebar interview with Bob Taylor, David Hosler, and Brian Swerdfeger, in which the team elaborates on the development of Taylor’s first-ever solidbody electric guitar. Other subjects touched upon in the three-way interview include the challenges of getting the sound you want as an electric player and the de-mystification of Taylor’s all-important culture of innovation and exploration as it pertains to guitar design.

Performing Songwriter Solidbody Reveiw

Mon, 12 May 2008 00:00:00 GMT

Performing Songwriter’s Dave Jones experimented with a trio of SolidBody guitars and fell down the rabbit hole into a wonderland of tone. He begins his tale by relaying the developmental origins of Taylor’s humbuckers and noting their tonal distinctions.

“There’s plenty of power, but you can also hear the quality of the woods and their response,” Jones writes, before exploring the “wildly varied qualities” of the pickups, courtesy of the five-way switch. (To read the full review, click here)

Win a Solidbody Classic!

Mon, 12 May 2008 00:00:00 GMT

Courtesy of Guitar Player magazine, you can enter now to win a Taylor SolidBody guitar signed by multi-platinum rockers Everclear, and a copy of Everclear’s new album of the band’s favorite cover tunes, The Vegas Years.

Colorful frontman and long-time Taylor player Art Alexakis is an outspoken fan of the SolidBody, and the guitar up for grabs is just like the one you’ve seen him play in the NAMM videos and photos on the Taylor website – a Classic in Trans White, with Taylor’s proprietary Style I humbuckers for unbelievably rich tonal possibilities; a svelte 24 7/8-inch neck of Hard Rock maple; contoured body of solid swamp ash; luxuriously-designed cast-aluminum bridge; sculpted tone and volume knobs, and vintage crushed pearl pickguard.

The Everclear Vegas Years Giveaway runs May 1-June 1 2008. No purchase is necessary. Contest details and entry may be found at: http://www.guitarplayer.com/article/everclear-vegas-years/may-08/35145

Everclear Live From Mandalay Bay 4-20-08

Wed, 16 Apr 2008 00:00:00 GMT

Everclear’s April 20 concert at the Mandalay Bay Resort in Las Vegas will be simulcast live on the Taylor Guitars website. Expect to see colorful bandleader and multi-platinum songwriter Art Alexakis banging out tunes on his new electric guitar of choice, a low-slung Taylor SolidBody.

“I love the pickups on it,” Alexakis raved during a recent interview. “I love everything about this guitar. I’ve been a Gibson guy my whole life. I’ve got 32 Les Pauls, and this is my main guitar now.”

Everclear will be celebrating its new Capitol CD and digital release, The Vegas Years, a collection of classic cover songs, including rare versions culled from live Everclear recordings done between 1994 and 2008. 1980s pop, ’60s rave-ups, blue-eyed soul, country, R&B and classic rock are all represented on The Vegas Years.

“I have wanted to do this record since 1997, as soon as I realized that this was the closest I was ever going to get to being Frank Sinatra!” Alexakis writes in the liner notes.

Tune in at www.taylorelectricguitars.com/events for the Everclear simulcast at 8 p.m., Pacific Standard Time, on Sunday, April 20.

For more information, visit www.everclearonline.com

Grind for Life and Taylor Guitars

Fri, 04 Apr 2008 00:00:00 GMT

On March 8, Taylor Guitars hung out at Krause Family Skate Park in Clairemont, California, along with a group of legendary skateboard and BMX pros and nearly 2,000 fans, for “Clash2,” a charity event sponsored by PacSun and the Mission Valley YMCA. The event’s purpose was to raise funds for Grind for Life, the San Diego-based non-profit dedicated to supporting cancer patients and their families.

Taylor and PacSun provided Baby Taylors to a select group of athletes who donated their time to demo their skills at Clash2, including Tony (“Birdman”) Hawk, Kevin Staab and Adrian Demain, who, in addition to being a skateboard pro, is also an accomplished musician, having played guitar with Stray Cats’ bassist and solo artist, Lee Rocker. Demain now heads up the electric guitar department at Buffalo Brothers Guitars, in nearby Carlsbad.

At Clash2, fans jammed all day long at “The Tonewoods” booth on the donated Baby Taylors, a T5 and a SolidBody Classic. BMX giant Matt Hoffman, a developing musician determined to take his music to the next level, was especially thrilled with his Baby Taylor. “I am leaving for Hawaii with my family and the timing couldn’t have been more perfect as I wanted to take a guitar with me on the plane and to the islands,” Hoffman enthused. “This Baby Taylor is perfect!”

$14,000 was raised for Grind for Life at Clash2, according to Grind for Life founder Mike Rogers, a lifelong skateboarder and two-time cancer survivor. There were quite a few big names in attendance including Bucky Lasek, Andy MacDonald, Pierre Luc Gagnon, Tony Magnusson, Steve Alba, Neil Hendrix, Mat Hoffman, Rick Thorne.

Taylor Guitars is lending a hand to raise money and support for Grind for Life by raffling off a Baby Taylor Guitar signed by world-famous athletes. The bidding is still open at ebay.com. Search: Maple Baby Taylor Acoustic Travel Guitar or Search: Item # 300215191196.

For more information about Grind for Life, log on to www.grindforlife.org

Clash at Clairemont II website

http://www.clash2.com

Check out the Video recap:

http://www.shredordie.com/videos/1407acf84c

SD International Airport Honors Taylor Guitars

Mon, 10 Mar 2008 00:00:00 GMT

On Friday, February 29, 2008, San Diego International Airport held a press conference and reception featuring Taylor Guitars co-founder and president, Bob Taylor. As part of the Airport Art Cultural Exhibits Program, Taylor Guitars was invited to curate an exhibit for the Commuter Terminal in November, and the press conference centered on the Taylor exhibit.

Before an audience comprised of music fans, guitar players, local media and airport officials, Bob reflected on his more than 35 years of guitar building in the San Diego area with a humbleness and sense of humor that stands in contrast with his record of accomplishment. Working since 1974 with his partner, co-founder and CEO Kurt Listug, Bob has grown his company from a three-man shop to the world’s leading manufacturer of high-end acoustic, acoustic/electric and electric guitars played by artists such as Prince, Dave Matthews and Taylor Swift. He is respected worldwide as an industry leader, responsible for many innovations that have enhanced the art of building guitars forever.

After his speech, Bob chatted amiably with the public and signed Taylor T-shirts for some of the younger members of the crowd.

VP of Marketing Brian Swerdfeger and Product Development Director David Hosler then demoed the groundbreaking electric/acoustic hybrid T5-12 string and Taylor’s new SolidBody electric guitar. For some in the audience, it was their first introduction to Taylor’s electric guitars, and both men answered numerous questions from excited guests.

The Taylor Guitars Airport exhibit will run through the beginning of April, 2008. The exhibit presents an informative display of the company’s past and present, with four glass cases, each wrapped with specially-created posterized graphics and showcasing several beautiful Taylor guitars and other Taylor items. Descriptive passages in each case support various aspects of the company’s history and identity: “Taylor’s Heritage of Innovation,” “Artists Who Play,” “Taylor in the Schools,” and “The Body Electric.”

To see the Taylor Guitars Airport exhibit, visit the San Diego International Airport Commuter Terminal, 3225 N. Harbor Drive, San Diego, CA, 92101.

Come Celebrate Taylor Guitars with the San Diego Airport!

Fri, 15 Feb 2008 00:00:00 GMT

On Friday, February 29, 2008, San Diego International Airport will host a special free event featuring our own Bob Taylor and Kurt Listug. As part of the Airport Art Cultural Exhibits Program, Taylor Guitars was invited in November to curate an exhibit for the Commuter Terminal. We invite you to come down and see the exhibit at this time. (The Taylor exhibit will run through the second week of April, so if you’re traveling to San Diego in the next couple of months you will be still able to see it.)

At the Taylor event, Bob and Kurt will each give a short presentation, and introduce the new SolidBody electric guitar to San Diego players. Key members of Taylor’s Product Development team will perform on the SolidBody, the T5 and the new GS cutaway acoustic/electric. There will be free Taylor T-shirts, while they last, and a reception catered by the award-winning 4-star Anthology restaurant.

The Taylor exhibit presents an informative display of the company’s past and present, with four glass cases, each wrapped with specially-created posterized graphics and holding several beautiful Taylor guitars and other Taylor items. Descriptive passages in each case support various aspects of the company’s history and identity: “Taylor’s Heritage of Innovation,” “Artists Who Play,” “Taylor in the Schools,” and “The Body Electric.” According to airport personnel, the exhibit is super-popular – people are initially lured in by the guitars, and end up reading every printed word in the cases. We’ve even had folks showing up on our daily factory tour specifically because of this exhibit!

The Taylor event kicks off at the San Diego International Airport Commuter Terminal, 3225 N. Harbor Drive, on Friday, February 29, at 5:30 p.m. (Bob and Kurt will speak at 6:00.)
The Commuter Terminal is the big building with a large mural depicting Charles Lindbergh on its side. Public parking will be available directly in front of the terminal.

We hope you can join us for this one-of-a-kind Taylor Guitars event!

Music Trades February 2008 Review

Fri, 15 Feb 2008 00:00:00 GMT

Back in November 2007, when Tommy Shaw’s enthusiastic blogging leaked the news that Taylor was making a solid body electric, Music Trades editor Brian Majeski was on the horn asking the obvious question: “Why would Bob Taylor introduce a solid body electric into a crowded, tradition-bound market?” In the subsequent interview with Bob and two of his design team specialists, Brian Swerdfeger and David Hosler, Bob himself puts forth the idea that it wasn’t something he’d actually planned on doing. His stock response to the question of when he would build a solid body electric had always been, “I’ll only do it when we come up with a really original design. We’re not going to make another Fender or Gibson copy.”

You can view the article in its entirety here.

Guitar Player / February 2008

Fri, 15 Feb 2008 00:00:00 GMT

“I know what you’re thinking,” writes Guitar Player magazine’s Matt Blackett. “Does the world need another electric guitar? Does Taylor really want to risk its stellar rep in the acoustic world by trespassing into the parallel universe of electric solidbodies?”

Blackett follows by pointing out that Taylor has maintained a good track record of converting skeptics over the years, from the bolt-on acoustic neck to the T5. Suspecting that Taylor’s calculated risk-taking would pay off once again, Blackett plugs the SolidBody Classic, Standard and Custom into a Fender Super Reverb, Fender Deluxe Reverb, a Savage Rohr 15, and a Hughes & Kettner zenTera, for an extensive review of each model.

Download the review here.

Music Trade News (UK) / January 2008

Tue, 12 Feb 2008 00:00:00 GMT

Writer Gary Cooper sets up his interview with Kurt Listug by citing the critical acclaim the new SolidBody electrics have received. Cooper wonders if, given Taylor’s success with acoustics, the company’s entrance into the crowded electric guitar market isn’t a bit like starting over. Why has Taylor now decided to build a solid body electric guitar?

“Bob and his crew are always tinkering with new ideas,” Kurt says. “Some of them rise to the surface and some of them don’t. There wasn’t a plan to make a solid body electric…. We don’t want to make something unless it’s original, unless we think we’ve added value.

“I’m always skeptical about new ideas,” Kurt continues, “but I got convinced that these guitars were really special and that the positive feedback we were getting meant we should do it. Yes, the whole guitar market is very crowded now, compared with when we started in 1974. Now there are zillions of brands, but most of them are ‘me too’ products with very little innovation, in my opinion, and we think there’s always room for original ideas.”

Does Kurt see difficulty in crossing “the great conceptual divide” that exists between companies that are successful with acoustics and those that are successful with electrics?

“Absolutely! I think a brand can’t mean too broad a concept, but then look at other industries. Sony’s image is a high quality, innovative brand in consumer electronics. I think of Taylor as an innovative brand as opposed to a legacy brand, in guitar terms. Obviously people think of Taylor as acoustics. However, we’re a younger company with a more contemporary acoustic guitar, and we’ve changed the guitar industry with guitars that are easier to play — with our electronics and how easy our guitars are to service. So I think people are willing to give us a chance with our solid bodies." Check out the piece here or you can read the interview in its entirety at www.garycooper.biz.

The Birth of Builder’s Reserve

Tue, 05 Feb 2008 00:00:00 GMT

Taylor is excited to introduce its Builder’s Reserve program, in which Bob Taylor taps into the company’s private wood reserves to design a series of extra-special, ultra-limited guitars using wood that he has been accumulating over the course of 30-plus years.

For our inaugural Builder’s Reserve collection, Bob and his design team are celebrating the launch of our SolidBody electrics by crafting a very small quantity of exotic SolidBody Customs, which feature a neck, body and top of exquisite Bastogne walnut. (Bob wrote about the wood in his “BobSpeak” column in the summer 2007 issue of Wood&Steel and is pictured atop a section of the log.) Bob personally supervised the cutting of the log at one of our longtime wood suppliers, Pacific Rim Tonewoods.

The walnut was flatsawn, and the body was made from a single piece of the beautiful wood. The top boasts our nicest walnut burl and incorporates a gorgeous pickguard made entirely of solid, genuine pearl, which was hand-inlaid into the top by guitar designer Larry Breedlove. The fretboard inlay is a mother-of-pearl gothic vine motif.

Each SolidBody features a customized chrome back panel that is laser-engraved with our Builder’s Reserve logo and its individual number in the building sequence. The guitars come with a deluxe guitar case of walnut-colored suede with black, crushed velour interior.

Each Bastogne SolidBody will also include a specially designed collector’s book featuring glossy photos that chronicle the entire spectrum of development, from the tree’s growth to the guitar being built.

By design, each Builder’s Reserve collection will be completely unique, from the type of guitar to the quantity produced to the aesthetics to the price. This gives Bob and his team the ultimate freedom to let the wood inspire the guitar.

Rocking the Solid at NAMM

Thu, 31 Jan 2008 00:00:00 GMT

With a wall of new SolidBody electrics in the Taylor room at NAMM, this year’s performance lineup tilted toward the rock end of the musical spectrum. The acts included Everclear, young, upbeat bands The Material, Future of Forestry, and The Red Jumpsuit Apparatus; smokin’ country rock groups Lonestar and Sixwire; plus country-pop sensation Taylor Swift and her six-piece band. Familiar Taylor faces Marc Seal and Doyle Dykes also played, even jamming together at one point. On the more acoustic side of the spectrum were crooning tunesmith Christopher Cross, Nashville singer-songwriter Dillon Dixon, and Los Angeles-based artists Jim “Kimo” West and Jenni Alpert. Monster fingerstylist Tim Thompson delivered some amazing instrumental arrangements on his T5.

It was fun to hear the rockers plug in those SolidBodys and let them rip. Art Alexakis of Everclear looked iconic with his low-slung white SolidBody Classic and tatted arms as he and the band (with lead guitarist Davey French on a Standard) cranked through a set of crowd-pleasers, including “I Will Buy You a New Life,” “Father of Mine,” and “Santa Monica.”

“I love the pickups on it,” Alexakis said after the band’s soundcheck. “I love everything about this guitar. I’ve been a Gibson guy my whole life. I’ve got 32 Les Pauls, and this is my main guitar now.”

Both Alexakis and French were impressed with the pickups and the five-way switch.

“You can actually get a lot of different sounds, from the Gibson sound to the Strat. Anything,” French said. “And sounds that don’t even sound like either of them,” Alexakis added. “That’s what really makes them special. There’s so many unique sounds working with your volume and your tone that you get can a very unique sound going. And with these pickups here [referring to French’s Standard] you can get the big, big crunch that you like. Plus, for a guitar that’s lighter than I’m used to, they have just as much punch. You’ll see in a little bit. They want us to rock today, so we’re turning it up.”

A pair of high-energy young acts, Jacksonville, Florida’s The Red Jumpsuit Apparatus and San Diego’s The Material, also cranked up their SolidBody electrics and drew some younger faces into the room, as well.

Guitarist Jon Moreaux from The Material has had a SolidBody Classic for a couple of months now and loves it. “The first time I plugged mine in and Roi [Elam], our other guitarist, plugged his in, we just started laughing hysterically [because of] how good it sounded,” Moreaux said after the band’s set. “The bridge is so perfect for your wrist or palm. The neck just feels great. The weight is awesome. Everything just really seems like it was thought out for the guitarists.” Elam was equally effusive. “You know how a lot of times when you get a new guitar, you put it on and it feels foreign? As soon as I put this guitar on it felt like I’d been playing it for like 10 years.”

Lonestar and Sixwire each left the crowds hooting after tight sets with huge vocal harmonies and sizzling fretwork. Lonestar guitarist Michael Britt (614ce, GS), said afterward that the SolidBody Standard felt great on stage.

“I’ve tried all three different models,” offered Britt. “The Standard to me just fits what I do. I think they’re all great; it’s just a matter of personal taste, which is the cool thing about the fact that y’all have three different models. You can kind of find one that fits your style and flavor.

“The body contours are great, the bridge is really comfortable — there’s no risk of stabbing your hand with a screw sticking up,” he continued. “It’s a beautiful guitar.... I have no complaints. To me, an instrument should just be a tool for you to be creative, and you do feel creative when you pick up that guitar.

“The coolest thing about that guitar also is the 5-way switch and the way the humbuckers are split,” he said. “You get some really unique tones. And when you’re doing rolling picking things like Doyle Dykes, it’s just so articulate. A lot of note separation. It’s a phenomenal sounding guitar.”

For Sixwire, it was their first live set since the Fox TV show The Next Great American Band, where they made it to the final round. Guitarist Steve Mandile, who officially debuted a white Classic on national TV on the show, confessed during their NAMM set that it had been a while since the band played more than a minute and a half of a song. Musician Sheila E, one of the judges from the Fox show, caught their set in our booth and chatted with the band afterward. The band killed with a medley they call “The Beast,” which was stuffed to the gills with familiar electric guitar riffs from so many great classic rock songs they grew up listening to, including “Layla,” “Life in the Fast Lane,” “Ramblin’ Man,” “Freebird,” and many others. The best part: both Mandile and fellow guitarist Robb Houston played them on SolidBody models, and the tones were tasty.

Mandile, who also arranges and produces the band’s songs, called the SolidBody “a blast to play.”

“When I plugged it in, [the sound] was just humongous,” he said afterward. “It was like driving a little sports car.”

Taylor Swift and her band wowed the crowd, showing how much she’s matured as a performer since first playing the Taylor booth by herself in 2004 when she was 14. For all the recent media publicity surrounding Swift (a reporter and photographer from the Los Angeles Times tagged along with her at the show), she charmed the audience and seemed genuinely appreciative of her slingshot rise to success. “I really do try to be a nice person,” she said on stage between songs, “but if you break my heart or hurt my feelings, I will write a song about you,” which elicited laughs from the crowd. Her well-constructed songs are certainly attracting fans: her self-titled debut record recently went double platinum, and at press time she was vying for a Best New Artist Grammy.

Taylor clinician Doyle Dykes performed twice, the second time with frequent bass accomplice Dave Pomeroy. Doyle covered all the Taylor bases, switching between his “Brown Sugar” DDSM, a T5 and the SolidBody. He also brought guitarist Marc Seal on stage for a tune, and the two flew without a safety net, having never played together before. Of course, a trainwreck from those two is still comically better than most of us will ever play.

Marc played his own set on Saturday, ripping through his tunes on a SolidBody, inserting a heavy rocker called “Yes,” which showed off the SolidBody’s prowess as a sonic power tool. Seal, in turn, brought out a special guest to jam with him, 11-year-old guitar wunderkind Grant Austin Taylor. A softspoken kid offstage, Taylor absolutely tore it up on a blues jam with Seal to close out the set, and the crowd went nuts.

Singer-songwriter Christopher Cross (414ce, W14ce, four GS acoustics, T5C2) definitely tapped a more acoustic vibe, performing to a full house, his voice still impossibly pristine and pitch-perfect as he delivered a parade of his ubiquitous soft rock hits, including “Sailing,” “Never Be the Same,” and “Arthur’s Theme (Best That You Can Do).”

“I’ve been a Taylor devotee for many years,” Cross said on stage, playing a GS. “They’re the only acoustic guitars that actually stay in tune, especially when you capo them.” Cross used a T5 for “Ride Like the Wind,” and showed how its versatility can serve a song as he reeled off a tasty electrified solo. It was cool to see a room full of such diverse listeners enjoying the set, from Boomers to young, tattoo-clad rockers.

For all the great music on stage, some of the coolest NAMM moments are the unscheduled jams that unfold spontaneously away from the spotlight and slowly attract a crowd. On Sunday, the show’s last day, as things typically begin to wind down, fusion guitar giant Frank Gambale (Chick Corea’s Elektric Band) stopped by and ended up weaving funky grooves with Stevie Wonder guitarist Morris O’Connor for nearly an hour. Gambale had a walnut SolidBody Custom; Morris played a koa T5.

At a show that’s so concentrated with musical products and companies vying for people’s attention, making a good impression has as much to do with creating a fun, welcoming and inspiring “destination” experience for visitors. It’s certainly something that Taylor has tried to do.

“The most rewarding moment for me is when someone comments on how beautiful and functional our NAMM room is,” reflected Taylor Trade Show Manager David Kaye after the show. “Invariably they will ask me, ‘Who designs your room for you?’ With a sense of pride, my response is, ‘We do.’”

Special acknowledgements are in order both for Stuart Liniger, who handled stage lighting, and sound engineers Gary Hedden and his assistant Joseph, whose deft ears helped every band sound superb.

Look for more NAMM performance footage and backstage interviews on taylorguitars.com and in our video section.

Add us at www.myspace.com/taylorqualityguitars

Showstopping!

Thu, 31 Jan 2008 00:00:00 GMT

The 2008 Winter NAMM show is history, but the Taylor buzz created over the course of the four-day trade show, January 17-20, at the Anaheim Convention Center continues to ring out over the guitar world like a thunderous power chord.

This show saw the official music industry debut of the Taylor SolidBody, establishing Taylor as a full line guitar company that has bolstered its industry-leading acoustic heritage with a boffo electric guitar line as well. The buzz had already spread in the wake of our SolidBody limited pre-launch in late November. By showtime, people were clearly primed to check out these beauties firsthand, and by the end of the show, the SolidBody had already been honored with an award from NAMM’s “Best in Show” panel of judges, comprised of six industry experts, including Zach Phillips, editor of Music Inc. and UpBeat Daily magazines. Phillips selected Taylor in the “Trendsetters” category (“Acoustic Guitar Makers Go Electric”).

The entire layout of Taylor’s exhibition space was reconfigured this year to balance the presentation of our Acoustic and Electric lines. The room was effectively comprised of two wings, each featuring a long wall festooned with guitars. On one side were our acoustics, representing the 2008 Acoustic and Acoustic/Electric line — including new GS “ce” models — along with some beautiful one-off fruits of our Build to Order program for the year. On the other side was an eye-popping wall of electrics — a mix of SolidBody and T5 models — which formed a stunning gallery of cascading guitars. Also showcased was an array of custom SolidBody offerings, plus the debut entry in our new Builder’s Reserve program, featuring a small batch of all Bastogne walnut SolidBody guitars.

There was a bold statement to be made by the balanced presentation of acoustics and electrics (totaling about 170 guitars!): that Taylor is every bit as committed to making inspiring electric guitars as we are to acoustics. This was underscored by the fact that more and more guitar players play both acoustic and electric guitars, as many of our guests demonstrated firsthand, wandering from one side of the room to the other, picking and strumming both. Maybe at times it did sound a little more like your local guitar store on a Saturday afternoon than people might expect from Taylor. But they sure seemed happy to be there.

“Watching customers move so effortlessly between acoustics and electrics brought home the fact that these worlds really do converge,” said Taylor’s Brand Marketing Director Jonathan Forstot. “That’s obvious to most players, but as a manufacturer with a largely singular focus up until now, it definitely hit home.”

Spanning between the two display walls and facing the entrances to the room, the central focal point was the Taylor performance stage. Between the pro-caliber truss lighting, the sound (our sound engineer, Gary Hedden, has worked with everyone from Pink Floyd to Michael Jackson), and the 14-foot-long vertical banners that formed a warm, colorful Taylor backdrop to the stage, the whole set-up transformed the room into an intimate Taylor venue with vibe to spare and a killer sound mix that both artists and listeners loved. Virtually every spot in the room offered a good view of the performances.

Win a Taylor SolidBody

Thu, 24 Jan 2008 00:00:00 GMT

Taylor Guitars and Sonoma Wire Works™ have teamed up for “RiffRumble VIII,” an online song contest for RiffWorks™ recording software users. Prizes worth a total of $4,000 are being offered, including a Taylor SolidBody Standard electric guitar, a StompIO, AmpliTube Jimi Hendrix, a subscription to Recording Magazine and more.

Winners will be chosen in three categories, including “Taylor’s Choice,” where Taylor Guitars staff will pick a winning song. To enter the contest you must record an original song in RiffWorks and submit it between January 24 and February 6, 2008. There is no contest entry fee.

RiffRumble VIII celebrates the launch of RiffWorld.com™, an online community for RiffWorks users. RiffWorks software offers automatic track creation, guitar effects, loop recording, professionally recorded drum loops and much more. Product Development’s David Hosler is a RiffWorks fan. “Riffworks is the most musically inspiring recording package I have found. It makes recording feel more like painting with sound than tracking with technology. The ability to write, record, and instantly share what I've created just by pushing the Riffcast button is an amazing feature. The bottom line for me is that it’s recording software that inspires!”

For detailed contest rules & entry information visit http://www.sonomawireworks.com.

Taylor and Fender Join Forces in Europe

Tue, 15 Jan 2008 00:00:00 GMT

Taylor Guitars and Fender Musical Instruments Corporation announced a strategic relationship between the two companies which will now work together to raise Taylor’s brand awareness throughout Europe. Fender Europe’s new Taylor Division will be the exclusive distributor for Taylor guitars in Europe, Africa, and most of the Middle East, and is expected to commence distribution operations on July 1, 2008.

“The world has become more and more flat, with cultural, currency and trade barriers becoming less and less. With the advent of the European Union, the adoption of a common currency and the free movement of goods across borders, a huge opportunity has been created to do more commerce at a higher level,” said Kurt Listug, co-founder and CEO of Taylor Guitars. “Fender has proven the concept of an American guitar and amp company successfully exporting their business model to Europe, and achieving much higher sales and brand awareness as a result.”

Listug said he approached Fender with the idea of distributing Taylor guitars in Europe, after learning how successful Fender had been with their overseas sales model. “Bill (Mendello) shared his experiences in creating Fender Europe with me a few years ago, and invited me to see their European operations first hand. I spent a week visiting their warehouse, sales offices, and even their Düsseldorf custom shop showroom. I was blown away by their incredible success in Europe, and the huge potential of their sales model for Taylor.”

“We are extremely pleased to be working closely with Bob Taylor and Kurt Listug, two admired industry leaders who have built Taylor into a premier guitar brand,” said Bill Mendello, Chairman and CEO of Fender Musical Instruments Corp. “By providing our expertise in sales, marketing, warehousing and logistics, we look forward to enhancing their success throughout the European market.”

Taylor evaluated creating its own European distribution arm versus partnering with Fender. “We considered doing it ourselves, but distribution is expensive and requires specialized expertise. Having the opportunity to work with Fender, leveraging their resources and experience into much higher European sales for Taylor, is the best decision.”

NAMM Show Artists Announced

Fri, 11 Jan 2008 00:00:00 GMT

Taylor Guitars will present an incredible array of talent at NAMM this year, including teenage country music sensation, Taylor Swift, modern rock band, Everclear, smooth pop hit-crafter, Christopher Cross, and country crossover megaband, Lonestar.

Taylor Swift is a 2007 Grammy nominee for “Best New Artist” after winning the prestigious Country Music Association “Horizon Award” and becoming a double platinum selling artist (more than 2 million copies of her self-titled debut CD). Her third single, “Our Song,” reached #1 on Billboard magazine’s Country Single’s Chart in December, around the same time her MySpace page topped 30 million music streams. Earlier in the year, Swift was named “Songwriter/Artist of the Year” by her songwriting peers at the Nashville Songwriters Association International; she also won the 2007 CMT Music Award for “Breakthrough Video” and was named “Country’s Hottest Female Artist of 2007” by AOL Music.

Everclear rose to prominence from the Northwestern grunge-rock scene in the mid-nineties. The band’s hallmarks were the excellent songwriting and Gen-X-friendly lyrics of colorful frontman, Art Alexakis, which, coupled with relentless touring, landed them a deal with Capitol Records. With a string of Alternative radio hits on Capitol, Everclear became certified platinum and eventually double platinum sellers, and Alexakis himself became a major alternative media figure, reporting from political conventions for MTV, and testifying before Congress regarding child support laws, among other efforts.

Now off Capitol, Alexakis is thriving in the indie rock world once again with a revamped Everclear. In 2006, the group released Welcome to the Drama Club on Eleven Seven Music (in association with ADA/Warner Music Group). The album cracked the Billboard Top 200 and climbed to number eleven on the Top Independent Albums chart, testifying to Alexakis’ songwriting strength, charisma and ongoing musical vitality.

Christopher Cross is considered one of the most influential soft rock artists of all time, having made his debut in 1980 with the self-titled Grammy Award-winning album that contained his first three hits, “Sailing,” “Ride Like the Wind,” and “Never Be the Same.” Christopher Cross won the sophisticated pop balladeer a record-setting five Grammy’s, including “Best New Artist” and “Song of the Year.” He also received an Academy Award and Golden Globe Award for “Best Song 1981” with “Arthur’s Theme (Best That You Can Do),” which he sang and co-penned with Burt Bacharach, Carole Bayer Sager and Peter Allen for the Dudley Moore comedy, Arthur. Cross has toured and recorded steadily ever since; in 2007 he released a Christmas album exclusively on iTunes, and he is currently working on a new studio album for release in 2008.

Lonestar landed squarely on the country charts in 1995 with the Top Ten hit, “Tequila Talkin’.” Since then, the band has chalked up twenty-seven singles on the Billboard Hot Country Songs charts, nine of which have traveled all the way to Number One. Lonestar’s signature song, “Amazed,” was a crossover hit, topping both the country charts and Billboard’s Hot 100 and ensuring this multiple gold- and platinum-selling band a vaunted place in music history.

At press time, other artists performing for Taylor Guitars at NAMM include Fox TV’s Next Great American Band finalists, Sixwire; dynamic fingerstylist and well-loved Taylor clinician, Doyle Dykes; T5 slinger and Ultimate Guitar Show host, Marc Seal; energetic hard rockers, Red Jumpsuit Apparatus; and two fast-rising young Southern California-based bands, post-punkers, The Material, and alternative rock group, Future of Forestry.

As always, special guest artists will make unannounced appearances at the Taylor booth throughout the show. Check the posted schedule in the booth for updated performance dates and times.

SolidBody Raves

Fri, 21 Dec 2007 00:00:00 GMT

Taylor Guitars’ innovative SolidBody is breathing new life into the electric guitar experience for many players. Customers have responded with an outpouring of genuine excitement and heartfelt appreciation for the cutting-edge design, great playability and fresh sounds of the SolidBody.

Joe Palmer, Miami, Florida (SolidBody Custom): “The neck was spectacular, the walnut was unbelievable, and the sound of those pickups was to die for! I’m just a straight garage/church playing rhythm guy, not Tommy Shaw by any stretch of the imagination, but I’m very picky about the sound of the guitar and the overall presentation and feel of playing. I congratulate everyone at Taylor who put [the Solidbody] together. I think it’s probably the ultimate electric guitar!”

Robert Farquhar, Markham, Ontario (SolidBody Classic): “I’m very impressed with this little ‘White Stallion!’ I’ve been using it in my home studio, and it’s just beautiful. The simplicity of the five-way switch and controls is wonderful. And the Taylor neck — what can you say about that? If you can’t play barre chords on a Taylor guitar, quit playing!”

Darin Barter, Calgary, Alberta (SolidBody Classic, T5 Custom): “In the past two months, I have been fortunate enough to purchase a Taylor T5 Custom and a Taylor SolidBody Classic. I was completely enamored with the T5, its playability, attention to detail, unique and strong sounds and high quality. With this experience in mind, I visited the local Taylor dealer [after] reading the Guitar World [SolidBody] review and admiring photos of the Classic.

“After plugging it in, I bought the Classic. The statement [in the review] about Taylor ‘reinventing the electric guitar’ was not overstated. This guitar does it all.”

Farquhar asked the dealer to call him when they receive a SolidBody Custom.

“I sense a third Taylor in the very near future.”

Midnight Madness

Fri, 30 Nov 2007 00:00:00 GMT

Taylor Guitars’ new SolidBody electric guitar went on sale at select dealers across the country on “Black Friday,” November 23. The father and son team of Ken and Paul Tobias of Tobias Music in Downers Grove, Illinois were among the early birds to kick off the holiday season by opening their store at midnight, allowing another father and son duo, Jerry and Joe Campbell, to be first in line to take home a Taylor SolidBody.

“[The Campbells] had seen the SolidBody at the Taylor Road Show we had in October,” Paul reported afterward. “They’d been badgering us ever since — ‘When are they coming in, when are they coming in?’ We were joking with them about the way the final Harry Potter book was released, with bookstores opening up at midnight so that kids could get it as soon as it went on sale.

“They left the store that day, but they called us a little later, asking how serious we were about opening at midnight. My dad and I looked at each other and said, ‘let’s just do it.’ So after Thanksgiving dinner and watching football, we came back up here about ten minutes to twelve. We put some Christmas music on, turned on our Christmas lights, and they met us at about five ’til. They bought the Standard model. My dad waited until 12:01 a.m. to print the invoice, and we snapped some pictures. We hope they were the first people to buy a SolidBody.”

Another Tobias Music customer reserved both the Custom and Classic. Paul invited the buyer to the store for the late-night rendezvous, but he said he lived a little too far away to make the trek.

“He asked that we save all the original packaging [for the 2007 pre-launch SolidBody guitars],” Paul said. “He wants the original boxes, because down the road they will add to their value!”

Great reports from other SolidBody dealers continue to pour in, including one of a single customer purchasing all three models. Many dealers have reported selling their initial stock in a matter of hours, hearkening back to customer response during the 2005 release of Taylor’s revolutionary and best-selling electric/acoustic hybrid T5.

The growing excitement around Taylor’s expanding Electric line will be reflected in a re-designed NAMM booth to showcase the new guitars, and the number of SolidBody dealers is expected to expand significantly once the official launch takes place in January, 2008.

L-to-R: Jerry Campbell, Paul Tobias, Joe Campbell, Ken Tobias. Photo by Chris Tobias.

Sixwire Debuts SolidBody

Fri, 30 Nov 2007 00:00:00 GMT

Millions of TV viewers witnessed the television debut of Taylor's new SolidBody electric guitar on Fox's Next Great American Band show on Friday night, November 23, as the Nashville-based pop group Sixwire ripped through an incendiary cover of the Rolling Stones tune, "Last Time." NGAB judge John Rzeznik (Goo Goo Dolls frontman and a Taylor player himself) told the group, "You tore that song up.... That song is yours now!"

Guitarist Steve Mandile, who played the song's signature Keith Richards lick on a white SolidBody Classic, checked in via e-mail after the performance. "I had a ton of compliments on the look and sound of this guitar. It's simply an excellent guitar. The pickups had a classic humbucker sound, but it was nice and light with just the right amount of jangle and character. As far as the way it played, well, it's a Taylor - it plays amazing! The world needs to know about this guitar."

Sixwire lead vocalist Andy Childs strummed a Taylor acoustic, a maple/spruce GS6e, during the song.

The group's intense performance of "Last Time" kept Sixwire riding the crest of the NGAB wave for its sixth straight week.

Taylor SolidBody's Arrive

Wed, 21 Nov 2007 00:00:00 GMT

Taylor’s highly anticipated SolidBody electric guitar is arriving in select stores with an “on-sale” date of November 23 looming ahead, and excitement is running high.

At The Blue Guitar, in San Diego, California, owner DeForest Thornburg sounds happy, although he does have a caveat: “We’re looking forward to getting our next re-load, because we’ve only got one [SolidBody] left out of our three. [The customers] aren’t allowed to take them home yet, but one customer has already paid in full for the Custom, and will pick it up first thing on Friday morning. Another good customer is buying the Classic, just until he can get a koa one! If I had another Custom, another customer would have bought it. He said ‘Call me when you get the next one in.’”

“As soon as Taylor released information that there was going to be a solid body electric, our phones started ringing,” says Scott Smith, of Guitar Gallery, in Tuscaloosa, Alabama. “We think it’s going to be the guitar of the year 2008.”

Adrian Schumacher, proprietor of Guitars Etc. (Tucson, Arizona) enthuses, “I have them! Customers are playing them! It was really loud in here this morning! I haven’t even plugged in a Custom, though, since my Customs are pre-sold. I spent two minutes with one, showing it to a customer, then I put it back in the box, because he bought it!”

Chris Leitz, of Leitz Music, Panama City, Florida, says, “I don’t think we’ve plugged
one in yet, and to tell you the truth, that’s the way I like it! I’m happy with the way it works — take [a SolidBody] out of the box, show it to the customer, and put it back in the box, because it’s sold!

“I’ll probably get around to playing one sometime next year, when the excitement has died down a little!”

Excitement for the SolidBody is being fueled by a rave review in the Holiday 2007 issue of Guitar World magazine; surprise SolidBody appearances at Taylor Guitars Road Shows; a cover story in Taylor’s quarterly, Wood&Steel; videos on www.taylorguitars.com; and the launch of an all-new, state-of-the-art website devoted entirely to the Taylor SolidBody and the award-winning T5 electric/acoustic hybrid, www.taylorelectricguitars.com.

2010 Design Leads Taylor Innovation

Mon, 12 Nov 2007 00:00:00 GMT

The nondescript “business campus” exterior of Taylor’s newest building belies the current of guitar-building creativity that has been churning inside it over the past year. The building, known by its address, 2010, is the home of Taylor’s product design group, where an integrated team of design engineers, luthiers, machinists, and electronics tinkerers have brought a holistic approach to the craft of making guitars. Here, innovative ideas, high-tech machines and hands-on craftsmanship all harmonize together.

Assembling all of this creative talent together under the same roof has paid off in a big way, judging by the first tangible fruit of this design collective: the Taylor SolidBody electric, developed entirely from the ground up, down to component-level design that includes all-original pickups, bridge, neck joint, and body aesthetics.

Bob Taylor maintains a second office at 2010, where he can steward the flow of development ideas in real time. He and Product Development Manager Ed Granero designed the layout of the building in a way that both facilitates the development process and mirrors the refined aesthetics that characterize everything that Taylor does. Across from Bob’s office, an acoustically tuned room houses a couple of gear rigs for test-driving prototypes and for visiting artists to plug in. Around the corner from Bob’s office, a long hallway doubles as a guitar gallery; display recesses along both walls showcase experimental one-offs like an acoustic guitar with T5 f-holes and an exposed humbucker.

On one side of the hall is the office space of the industrial design group, whose workstations are situated to encourage collaboration. On the other side are an expansive machine shop and a fully functioning wood shop. At the end of the building is a guitar-building studio where prototypes and custom models are born. Filled with natural light, it manages to feel clean and spacious, yet with a lived-in look that projects the warm, intimate feel of a workshop. R Taylor, a specialty studio that dedicates fervent attention to the finest nuances of acoustic guitar craftsmanship, also calls 2010 home.

A random tour of the building would reveal the diversity of this Product Development team: design engineer Adam Forney refining a bridge design using a 3-D computer modeling program; a CNC machine milling a guitar body; an electronics room littered with parts, and in the guitar studio, builder David Judd setting up a fresh prototype for assessment.

For a glimpse into the design process that inspired the SolidBody’s development, check out the video segment with Bob Taylor, David Hosler and Brian Swerdfeger from the design group.

Guitar World Review

Sun, 11 Nov 2007 00:00:00 GMT

"Taylor's revolutionary SolidBody electric guitars come as close to reinventing the wheel as is conceivable using traditional materials and forms of signal generation."

Solid State of Mind
By Eric Kirkland

Several months ago, one of my industry contacts called to alert me to a top-secret project at the Taylor factory. He didn't say anything specific, yet his voice suggested a breakthrough akin to the successful reverse engineering of alien propulsion hardware at Area 51...

For the complete Guitar World Review by Eric Kirkland, download the PDF here.