With the addition of the Taylor Expression System® and cutaway, this Indian rosewood Dreadnought exhibits a rich, full tone with the versatility needed for live performances.

Spezifikationen:

Type/Shape 6-String Dreadnought
Back & Sides Indian Rosewood
Top Engelmann Spruce
Soundhole Rosette Abalone
Neck Tropical American Mahogany
Fretboard Ebony
Fretboard Inlay Small Pearl Dots
Headstock Overlay Indian Rosewood
Binding Indian Rosewood
Bridge Ebony
Nut & Saddle Tusq
Tuning Machines Gold-plated Taylor Tuners
Strings Elixir® Medium Gauge Strings with NANOWEB® Coating
Scale Length 25 1/2 Inches
Truss Rod Adjustable
Neck Width at Nut 1 3/4 Inches
Number of Frets 20
Fretboard Radius 15 Inches
Bracing Standard II (Forward Shifted Pattern W/Relief Rout)
Finish Gloss
Color Options Natural
Sunburst Options Tobacco, Honey (Top Only)
Cutaway Venetian
Electronics Taylor Expression System®
Left-Handed Available; No Charge
Body Width 16 Inches
Body Depth 4 5/8 Inches
Body Length 20 Inches
Overall Length 41 Inches
Case Taylor Deluxe Hardshell

Engelmann is also known as white, European or German spruce, although they are technically different species. It is usually visually distinguishable from Sitka by its creamier complexion. We’re almost out of the “good stuff.” Engelmann trees these days are so small and twisted that we get a fair amount of runout (grain that doesn’t run parallel to the surface) and as a result, mismatched tops.

Sonically, Engelmann has a mature tone, and yields a slightly richer midrange than Sitka, which makes a guitar sound a bit older. Old growth Engelmann tends to have a sonic attribute of smoothness or refinement to it, but the days of older growth Engelmann trees are essentially gone for now.

One of the most popular and traditional guitar woods of all time, rosewood takes that basic sonic thumbprint of mahogany and expands it in both directions. Think in terms of a visual spectrum in which low frequencies are on the left, and high frequencies are on the right. (See our visual graph of wood tones relative to each other on page 22.) Rosewood sounds deeper in the low end and brighter on the top end (one might describe the treble notes as zesty, sparkly or sizzly, with more articulation). If you look at its frequency range visually, rosewood would appear to be more scooped in the middle, yielding less midrange bloom than mahogany. Like mahogany, rosewood’s vintage heritage has helped firmly establish its acoustic legacy. It’s a great sound in part because we know that sound. In some music circles in which preserving the traditional sound helps bring a sense of authenticity to the music — certain strains of Americana, for example — rosewood has an iconic status. Also like mahogany, rosewood is a versatile tonewood, which has contributed to its popularity. One can fingerpick it, strum it and flatpick it. It’s very consistent, so players can usually rely on it to deliver.