I’m a Taylor fan. I’ve owned 4 and presently own 2. Your presentation of this new model/design is very nice and your playing brings unique sounds and tones that enhance (to my ears) the basic guitars sound. I’m looking forward to trying one of these when they’re available in the wild!
I have owned several Taylors over the years. I always hear more string in the sound of their guitars rather than the full woody sound as you get with certain other brands when played acoustically. It's hard to tell with these sound samples. I'd love to hear it in the flesh so to speak . . . I doubt it sounds anything like a 30s Martin or Gibson, but endeavor to keep an open mind.
Yeah, I've always struggled with that whole string vs box argument - I suspect there's more to it than that. The voicing of a Taylor guitar since the beginning was aimed at knocking Gibson and Martin off their perches with a detailed, treble-heavy sound and to my ears this guitar certainly follows in that pedigree! Thanks so much for watching Edward, great to hear from you
What design and appointment elements make this anything like a vintage guitar from 1930s? It does sound brighter, but if you own a V-Class braced Taylor Grand Auditorium or Grand Symphony model, I would challenge you to buy a nice set of bone bridge pins and swap out the stock Ebony pins on your Taylor, you'll hear a similar difference.
Michael, Do you think a cutaway has a negative impact on tone and volume of Acoustic Guitars? I know this is hard to test, but you've probably played enough high quality guitars and talked with Luthiers to have an informed opinion about this. I know a cutaway enhances what I can do, and makes it easier to play more complex music on the high frets. Thanks
That is an excellent question - so much depends on who is making the guitar. If a factory is building to the numbers and decides to use a cutaway design then the chances are that there will be an impact on sound - even though not a lot usually happens past the upper transverse brace. That said - I would expect a sole luthier to be able to use a cutaway in their design and voice the guitar accordingly to ensure that any impact on volume and response was kept to the absolute minimum. I hope that helps - I should really do a video on this subject and get deep.
@ It is an interesting topic, and is an important consideration when purchasing a guitar. For any advanced guitar playing, I consider it a must have feature. Thanks
Sounded like a nice guitar or you made it sound like a nice guitar :-) I think what is interesting is how much we are starting to see modern guitars stretch the factory image and start to push further into the single luthier build style of things. These days with the level of computational science on materials a few more trips around the sun you will pretty much able to acoustically reverse engineer any acoustic guitar sound you want through advanced material science using ever more sophisticated algorithm's. So then it will just be a case of companies like Taylor dressing the box up in this years new dress. As for the work Taylor have done here, I remain a fan of Taylor in so much that Bob realised early on I have no legacy to weigh me down like Martin so I can just find a better way to manufacture guitars. Although visiting Martin factory it now looks more and more like the Taylor factory LOL.
Thank you Jez and some really interesting points there. I was intrigued by the recent Legacy Collection 810 that I showcased - it is the first ever "reissue" that Taylor have made of one of their models. They have consistently looked forward.
I'm slightly fascinated by Taylor's place in the acoustic guitar landscape. Interesting that you say mass production feel, which is not a common description that is put on modern Martins', or Gibsons'. Yet they too are mass produced for the most part. Andy Powers presence has maybe shaken free an identity crisis at Taylor that they weren't capable of admitting or resolving prior to him joining.
Thank you so much for watching - I meant Mass Produced as a statement of fact rather than as a pejorative. The key difference in feel (for me) between Taylor and their more established competition is that they don't try and replicate past glories in the same way. This means that their version of mass produced feels necessarily different to that of Martin or Gibson. We have to remember that at the start of the 20th Century mass production and big business was seen as an advantage. Washburn and Martin used to brag about making and exporting hundreds of thousands of guitars on a yearly basis. It was effective marketing then, not so much in the current climate.
The guitar sounds good. I’m just not convinced that Andy Powers’ innovations are actually that. Whether you like Taylor instruments or not, Bob Taylor is quite possibly the most significant steel-string maker of the last 50 years. Genuine innovation in terms of neck joints, UV-cured finishes, ES pickup systems, along with very high build quality that was missing from Martin and Gibson instruments. Andy seems to have brought with him a penchant for bevels and stained/coloured woods. His early influences on bracing, relief routing, and plate thicknesses brought genuine benefits evidenced in guitars from the mid 2010s. And then came all the V-class bracing hyperbole. Taylor had its own very strong identity, setting the company apart from the established brands. There’s a risk that with the myriad tweaks and variations this will be lost. Would be interested to see the long-tenon neck joint though. The NT neck is a brilliant piece of design and engineering. Is this an improvement or simply more fiddling around the margins?
Thank you for tuning in Nick - What I find interesting is seeing how these designs filter into the fun line over time. I have my own predictions - we shall see!
A nice guitar which you obviously enhance with your playing skill. However, who is it for? It definitely would not make me part with the premium price asked in order to own it. As you mention: you are in the realm of vintage recreations by the likes of Gibson, Martin and Guild. And recently I've been listening to a lot of samples of the Atkin J43, which is the first 'recreation' guitar I do find attractive: still high priced but actually less than both this Taylor and other 'recreations'. I suspect this is for Taylor devotees, they will love it and I wish them enjoyment playing it. PS I like the use of rosewood for bridges but what a shame the fretboard is also not rosewood. That would have been much more authentic to the period.
Hey Alistair and his team make lovely guitars and if you're in the market for that vintage vibe then an Atkin definitely makes sense. This is more of a modern take on classic design - feels to me like an E-type with a spoiler or a Calatrava on a rubber strap...
I envy you your blissful innocence Paul - it feels like every other week I get a press release with his name on it! 😆 Seriously though - Andy Powers is the man responsible for a number of changes in direction at Taylor
Would have liked a much more “Amish” aesthetic. At least no Expression system was evident. Perhaps no headstock logo rather than one that makes it look like a poor Taylor knockoff. The sound was all Taylor. The Gibson Murphy did an excellent job of going quality retro.
Amish? Ok then, that's certainly a unique take! Yeah the logo and headstock threw me a bit at first. There is a Baggs pickup - not the ES2. Interesting times
Aesthetically beautiful but sonically thin and one dimensional! Andy Powers V-Class marketing snake oil really drove me away from Taylor! I have Furch, Walden, and Cort guitars which sound better and are actually less expensive relative to anything similar in the Taylor line!!
Try listening with a good pair of cans. It sounds certainly warmer than the average Taylor. Nice resonance. I don't buy production guitars at all but it has a nice sound.
@ I think you assuming that they do it just to be different isn't particularly sound. They genuinely prefer the sonic footprint of it. It would be ridiculous to stake the reputation of a company of this size behind something they didn't absolutely believe in.
It's a tricky one isn't it Scott - one man's warmth is another man's mud. Thankfully purchase and/or ownership of this instrument is not obligatory at the time of writing.
I’m a Taylor fan. I’ve owned 4 and presently own 2. Your presentation of this new model/design is very nice and your playing brings unique sounds and tones that enhance (to my ears) the basic guitars sound. I’m looking forward to trying one of these when they’re available in the wild!
I have owned several Taylors over the years. I always hear more string in the sound of their guitars rather than the full woody sound as you get with certain other brands when played acoustically. It's hard to tell with these sound samples. I'd love to hear it in the flesh so to speak . . . I doubt it sounds anything like a 30s Martin or Gibson, but endeavor to keep an open mind.
Yeah, I've always struggled with that whole string vs box argument - I suspect there's more to it than that. The voicing of a Taylor guitar since the beginning was aimed at knocking Gibson and Martin off their perches with a detailed, treble-heavy sound and to my ears this guitar certainly follows in that pedigree! Thanks so much for watching Edward, great to hear from you
Looks great and has an amazing amount of sustain. Love your playing as always.
Thank you so much, I'm glad you enjoyed it!
The guitar sounds amazing ,smooth and buttery but definitely NOT vintage .
And the player is amazing. I envy your excellent and in-depth videos !
@@greekflatpicker that’s very kind of you, thank you!
Andy always delivers
He has had an undeniable impact with Taylor definitely - It's always a pleasure to see what he comes up with next!
Sounds wonderful.........very bright
It has a lively top end to be sure! Thank you for watching!
You've always been a great player but I feel like your playing has gotten to another level!
Well that's very kind - thank you!
Great playing!
Thank you very much!
I think it looks and sounds absolutely killer.
Haters gonna hate.
Glad you like it - that's kind of what they do! Shame really
What design and appointment elements make this anything like a vintage guitar from 1930s? It does sound brighter, but if you own a V-Class braced Taylor Grand Auditorium or Grand Symphony model, I would challenge you to buy a nice set of bone bridge pins and swap out the stock Ebony pins on your Taylor, you'll hear a similar difference.
I wish they would have used European Spruce, Red Spruce or Redwood on this one instead. Sounds nice though! Thanks Michael for the timely review!
You're very welcome! I'm sure Andy Powers has his reasons for the terrified/horrified spruce top
Thanks for explaining WHY it doesn't sound like a normal Taylor.
I tried my best! Thank you so much for watching!
Michael, Do you think a cutaway has a negative impact on tone and volume of Acoustic Guitars? I know this is hard to test, but you've probably played enough high quality guitars and talked with Luthiers to have an informed opinion about this. I know a cutaway enhances what I can do, and makes it easier to play more complex music on the high frets. Thanks
That is an excellent question - so much depends on who is making the guitar. If a factory is building to the numbers and decides to use a cutaway design then the chances are that there will be an impact on sound - even though not a lot usually happens past the upper transverse brace. That said - I would expect a sole luthier to be able to use a cutaway in their design and voice the guitar accordingly to ensure that any impact on volume and response was kept to the absolute minimum. I hope that helps - I should really do a video on this subject and get deep.
@ It is an interesting topic, and is an important consideration when purchasing a guitar. For any advanced guitar playing, I consider it a must have feature. Thanks
Sounded like a nice guitar or you made it sound like a nice guitar :-) I think what is interesting is how much we are starting to see modern guitars stretch the factory image and start to push further into the single luthier build style of things. These days with the level of computational science on materials a few more trips around the sun you will pretty much able to acoustically reverse engineer any acoustic guitar sound you want through advanced material science using ever more sophisticated algorithm's. So then it will just be a case of companies like Taylor dressing the box up in this years new dress. As for the work Taylor have done here, I remain a fan of Taylor in so much that Bob realised early on I have no legacy to weigh me down like Martin so I can just find a better way to manufacture guitars. Although visiting Martin factory it now looks more and more like the Taylor factory LOL.
Thank you Jez and some really interesting points there. I was intrigued by the recent Legacy Collection 810 that I showcased - it is the first ever "reissue" that Taylor have made of one of their models. They have consistently looked forward.
I'm slightly fascinated by Taylor's place in the acoustic guitar landscape. Interesting that you say mass production feel, which is not a common description that is put on modern Martins', or Gibsons'. Yet they too are mass produced for the most part. Andy Powers presence has maybe shaken free an identity crisis at Taylor that they weren't capable of admitting or resolving prior to him joining.
Thank you so much for watching - I meant Mass Produced as a statement of fact rather than as a pejorative. The key difference in feel (for me) between Taylor and their more established competition is that they don't try and replicate past glories in the same way. This means that their version of mass produced feels necessarily different to that of Martin or Gibson. We have to remember that at the start of the 20th Century mass production and big business was seen as an advantage. Washburn and Martin used to brag about making and exporting hundreds of thousands of guitars on a yearly basis. It was effective marketing then, not so much in the current climate.
The guitar sounds good. I’m just not convinced that Andy Powers’ innovations are actually that. Whether you like Taylor instruments or not, Bob Taylor is quite possibly the most significant steel-string maker of the last 50 years. Genuine innovation in terms of neck joints, UV-cured finishes, ES pickup systems, along with very high build quality that was missing from Martin and Gibson instruments. Andy seems to have brought with him a penchant for bevels and stained/coloured woods. His early influences on bracing, relief routing, and plate thicknesses brought genuine benefits evidenced in guitars from the mid 2010s. And then came all the V-class bracing hyperbole. Taylor had its own very strong identity, setting the company apart from the established brands. There’s a risk that with the myriad tweaks and variations this will be lost. Would be interested to see the long-tenon neck joint though. The NT neck is a brilliant piece of design and engineering. Is this an improvement or simply more fiddling around the margins?
Thank you for tuning in Nick - What I find interesting is seeing how these designs filter into the fun line over time. I have my own predictions - we shall see!
Never understood why there are 3 screws for the truss-rod cover? Just put a magnet .... ffs
Oh dude I know...
A nice guitar which you obviously enhance with your playing skill. However, who is it for? It definitely would not make me part with the premium price asked in order to own it. As you mention: you are in the realm of vintage recreations by the likes of Gibson, Martin and Guild. And recently I've been listening to a lot of samples of the Atkin J43, which is the first 'recreation' guitar I do find attractive: still high priced but actually less than both this Taylor and other 'recreations'. I suspect this is for Taylor devotees, they will love it and I wish them enjoyment playing it.
PS I like the use of rosewood for bridges but what a shame the fretboard is also not rosewood. That would have been much more authentic to the period.
Hey Alistair and his team make lovely guitars and if you're in the market for that vintage vibe then an Atkin definitely makes sense. This is more of a modern take on classic design - feels to me like an E-type with a spoiler or a Calatrava on a rubber strap...
Who is Andy Powers?
Apologies in advance.
The head luthier and guitar designer at Taylor.
Powers guitars ..check em out
I envy you your blissful innocence Paul - it feels like every other week I get a press release with his name on it! 😆 Seriously though - Andy Powers is the man responsible for a number of changes in direction at Taylor
Would have liked a much more “Amish” aesthetic. At least no Expression system was evident. Perhaps no headstock logo rather than one that makes it look like a poor Taylor knockoff. The sound was all Taylor. The Gibson Murphy did an excellent job of going quality retro.
Amish? Ok then, that's certainly a unique take! Yeah the logo and headstock threw me a bit at first. There is a Baggs pickup - not the ES2. Interesting times
Aesthetically beautiful but sonically thin and one dimensional! Andy Powers V-Class marketing snake oil really drove me away from Taylor!
I have Furch, Walden, and Cort guitars which sound better and are actually less expensive relative to anything similar in the Taylor line!!
Try listening with a good pair of cans. It sounds certainly warmer than the average Taylor. Nice resonance. I don't buy production guitars at all but it has a nice sound.
@@gerald5175The V Bracing is still a losing attribute. Different for difference sake isn’t a strategy.
yes I owned Taylors and they just dont have it..thin bright and too defined..thats why I play Martins
@ I think you assuming that they do it just to be different isn't particularly sound. They genuinely prefer the sonic footprint of it. It would be ridiculous to stake the reputation of a company of this size behind something they didn't absolutely believe in.
It's a tricky one isn't it Scott - one man's warmth is another man's mud. Thankfully purchase and/or ownership of this instrument is not obligatory at the time of writing.
Taylor continues to try a reinvent themselves to no avail....sounds flat and un-colorful for $4500.
Well, they have to give it a go right?
Yes, it does sound nice. Settle down, Michael. No need to be quite so effusive.
$$$$
I speak like I play and will apologise to absolutely no-one for that fact.
MUSIC is notes. You have a singing voice first and last. Get thee to a butchery.
@@LoveOneAnotherHeSaid that’s the most confused comment I’ve read today but 👌 🤣
𝙊𝙝 𝙩𝙝𝙞𝙨 𝙞𝙨 𝙗𝙚𝙖𝙪𝙩𝙞𝙛𝙪𝙡.🔥🔥🔥🔥🔥
Glad you enjoyed it - thanks for watching!