The Taylor Guitar Series 500, 600, 700 and 800 fall into the price range $3,400-4,000 – not a large variation for so many different models. So what makes the difference?
The answer is
- tone woods and
- body shapes
In this article, we’ll examine how different tone woods affect the character of the guitar.
The woods used on the top, back and sides of an acoustic guitar interact with the fundamental sound profile established by the shape, adding distinctive tonal “flavors.” A wood’s stiffness and density, for example, will influence its tonal frequencies, meaning that different species of woods will yield different degrees of bass, midrange, treble and overall sustain relative to each other.
The description of each series in Taylor Guitar’s acoustic/electric line on the following pages includes a note on the distinguishing properties of the tonewoods used on the back and sides of the guitar. These are just generalizations for reference; keep in mind that each set of wood is unique, which of course adds to the fun of sampling guitars.
Taylor 500 Series Back and Sides – Mahogany
Mahogany sits alongside rosewood in terms of its enduring appeal among acoustic guitar makers and players. Tonally, mahogany flourishes in the midrange zone, yielding a “bloom” of overtones that add richness to the overall acoustic sound.
You’ll hear that midrange resonance sometimes described as meaty or earthy.
As a traditional tonewood, mahogany is associated with a lot of vintage acoustic music like blues and folk, although plenty of contemporary players (including Leo Kottke) are devoted to mahogany’s tone. That midrange character, along with superb dynamic range, records well and offers a lot to a musician who appreciates character and texture — singer- songwriters, fingerstyle players, and blues/roots artists come to mind. Mahogany also sounds wonderfully resonant in alternate tunings.
Taylor’s 500 Series offers a choice of cedar tops on the popular 514ce (GA) and 516ce (GS) — adding even more warmth for fingerpickers and strummers — and Engelmann spruce on the Dreadnought 510ce and Grand Concert 512ce.
Taylor 600 Series Back & Sides – Maple
Maple’s focused tone is strong on the fundamental and produces a clean, bright sound. Its physical density translates into fewer overtones and quicker note decay. (It has less low end and more high end than rosewood.) Consequently, it has been a preferred guitar wood for ensemble playing, both on stage and in the studio, because it articulates clearly through a mix with other instruments. It’s also more immune to feedback.
Maple’s tonal properties work well for smaller-bodied guitars where the tone is being amplified, and with bigger-bodied guitars, including 12-strings, because it’s not bottom-heavy, so the sound tends not to be overly boomy. Of course, tone is often only half of maple’s equation, as its blonde complexion, coupled with varying degrees of figure, from flame to quilt, invite a variety of vibrant color shades and bursts that enhance the dimension of the figure while evoking vibrant personalities.
On Taylor’s 600 Series, white binding adds a crisp counterpoint to more than 15 available color shades, including sunburst options, offering more visual “pop” to the abalone rosette. And through the Modify a Model program, you can order any color or burst treatment offered through your dealer, at no additional charge.
Taylor 700, 800 and 900 Series Back & Sides – Indian Rosewood
East Indian rosewood’s sweeping tonal range is matched by its broad appeal, having carved out a deservedly rich heritage among acoustic players for decades. Boasting deep, full lows, bright, articulate highs, and rich sustain, rosewood’s tone is both complex and responsive to the player, and pairs well with a variety of guitar shapes.
With a small guitar body, fingerstylists and lighter pickers have access to a crisp, full-range tonal palette. With larger body shapes, flatpickers can drive basslines and pick out clean melodies, while strummers benefit from the dynamic range and the tonal balance. A rosewood Grand Auditorium lives in both worlds, making it one of the most versatile Taylor guitars a player can own.
Rosewood is appealing and abundant enough that it is used for three different Taylor series.
- The premium 900 Series rosewood has the broadest range of colors and tends to display tighter, straighter grain. The overall aesthetic is of elegant sophistication rooted in tradition.
- The 800 Series has evolved from its workmanlike appearance during Taylor’s early days into a stylish appointment package featuring figured maple trim.
- The 700 Series displays rosewood’s most organic personality, often with thick chocolate-hued bands and complemented by rosewood binding. The 700s also feature alternative soundboard offerings — cedar for extra warmth and richness and Engelmann spruce for a creamier look and slightly mellower response.
Whichever series you favor, rosewood will simply sing in your hands.
Top – Soundboards
When it comes to soundboards, Sitka spruce is far and away the tonewood used most often for guitar tops. It’s strong yet flexible, which produces a clear acoustic tone. Here is a brief rundown of soundboard properties among the woods Taylor commonly use for guitar tops:
Sitka Spruce — Used on the majority of Taylor acoustics, it yields a broad dynamic range and accommodates a versatile range of playing styles.
Western Red Cedar — Cedar’s softer density adds an element of warmth to a guitar’s tone, especially for players with a softer touch, like fingerstylists or moderate strummers and pickers. More aggressive players are better matched with spruce, as they might run out of headroom with cedar.
Adirondack Spruce — Compared to Sitka, it has more dynamic range and can be driven hard for greater volume without losing clarity. Some players also perceive an additional sweetness in the midrange tones. Its availability is limited.
Engelmann Spruce — Compared to Sitka, Engelmann often has a hint of additional richness that sounds like an aged or played-in guitar. Its availability is also limited.
Hardwood Tops — Woods like koa and walnut that are used on the back and sides of a guitar are sometimes used as tops, as well. Their stiffness translates into a bright tone initially, but the more the guitar is played, the more full-bodied the tone becomes.
