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The Taylor GA-K Grand Auditorium 12-String Acoustic Guitar features a Sitka spruce top and exotic Hawaiian Koa back and sides. Hawaiian koa is a rare and exotic tonewood is prized for its stunning golden hues, bold grain figure, and sweet tone. Other features of the GA-K guitar include abalone trim around the top and soundhole, figured Ivoroid binding, and gold-plated tuners. The grand auditorium is Taylor's most versatile and popular shape. The grand auditorium's balanced mid-range and bright tone, great for miking and recording, exemplify the Taylor voice. The GA-K 12-String Guitar has a powerful and rich tone. When people talk about the Taylor sound, knowingly or not they're probably describing the Grand Auditorium. Introduced in 1994 as a limited edition to commemorate Taylor's 20th Anniversary, the GA would go on to establish itself as a definitive Bob Taylor original. Tonally, the guitar embodied the signature qualities of balance, clarity, and versatility that became hallmark Taylor traits. Visually, the shape gave the world an equally balanced and refined aesthetic of smooth curves. In both respects, the GA was at once big enough and small enough to cover a lot of ground. The goal, he says, was simply to make a guitar that was big like a dreadnought, but without a dread- nought's traditionally boomy sound. I was looking for a good, clear tone that had volume when you played fingerstyle, but then when you strummed didn't have too much bass. The GA has the width and depth of a Dreadnought, but its tapered waist and contours give it the appearance of a smaller instrument, making it comfortable to play. The tonal balance means it's full in the lower register, present in the midrange, and sparkling on the treble strings. The GA's tonal balance has made it a favorite among artists AND engineers. You put a mic in front of the guitar and set everything to zero, you turn on the tape, and you play, Bob continues. We had a lot of studio owners and engineers buy those guitars just to put in the studio, because when things started going bad with players' guitars during a session, the engineer would say, We can get this job done today if you just play this guitar.' So that was sort of what we had in mind with that. And a lot of it was the shape. We made a few bracing changes, but we depended on the shape to change that tone. Play a GA if: You want the Swiss Army Knife of acoustics, capable of handling everything from fingerpicking to medium strumming to moderate flatpicking.

The Taylor GA-K Koa Grand Symphony Acoustic guitar has a Sitka spruce top and exotic Hawaiian Koa back and sides. Hawaiian koa is a rare and exotic tonewood is prized for its stunning golden hues, bold grain figure, and sweet tone. Other features of the GA-S include abalone trim around the top and soundhole, figured Ivoroid binding, and gold-plated tuners.Introduced in 2006, the Grand Symphony body style marked an innovative new direction for Taylor guitars. Though there are similarities to the grand auditorium, the grand symphony is unique in both sound and shape. Significant changes in its geometry yield a deeper, more piano-like bass. A wider lower bout and higher, wider waist return ample low-end sustain, in symphony with fuller mids and balanced highs and plenty of volume.When people talk about the Taylor sound, knowingly or not they're probably describing the Grand Auditorium. Introduced in 1994 as a limited edition to commemorate Taylor's 20th Anniversary, the GA would go on to establish itself as a definitive Bob Taylor original. Tonally, the guitar embodied the signature qualities of balance, clarity, and versatility that became hallmark Taylor traits. Visually, the shape gave the world an equally balanced and refined aesthetic of smooth curves. In both respects, the GA was at once big enough and small enough to cover a lot of ground. The goal, he says, was simply to make a guitar that was big like a dreadnought, but without a dreadnought's traditionally boomy sound. I was looking for a good, clear tone that had volume when you played fingerstyle, but then when you strummed didn't have too much bass. The GA has the width and depth of a Dreadnought, but its tapered waist and contours give it the appearance of a smaller instrument, making it comfortable to play. The tonal balance means it's full in the lower register, present in the midrange, and sparkling on the treble strings. The GA's tonal balance has made it a favorite among artists AND engineers. You put a mic in front of the guitar and set everything to zero, you turn on the tape, and you play, Bob continues. We had a lot of studio owners and engineers buy those guitars just to put in the studio, because when things started going bad with players' guitars during a session, the engineer would say, We can get this job done today if you just play this guitar.' So that was sort of what we had in mind with that. And a lot of it was the shape. We made a few bracing changes, but we depended on the shape to change that tone. Play a GA if: You want the Swiss Army Knife of acoustics, capable of handling everything from fingerpicking to medium strumming to moderate flatpicking.

The Taylor GC-K Grand Concert Acoustic Guitar features a Sitka spruce top and Hawaiian koa back & sides. Hawaiian koa is a rare and exotic tonewood is prized for its stunning golden hues, bold grain figure, and sweet tone. Other appointments include abalone trim around the top and soundhole, figured maple binding on the body, fingerboard, soundhole, peghead, and Heelcap. The slotted headstock and tuners add a traditional folk touch. The Grand Concert is the quintessential small-bodied guitar and defines intimacy in its size and sound. The scaled-down proportions and short scale make the Grand Concert ideal for fingerstyle playing. With clarity and balance it's also perfect for miking and home recording.Bob Taylor introduced the small-bodied Grand Concert in 1984 as an alternative to the boomier tonal tendencies of traditional, larger-bodied guitars. The GC spoke to the evolving styles of acoustic guitarists at that time, as solo instrumental fingerstyle music was growing in popularity. Bob developed the GC with input from Chris Proctor, the 1982 National Fingerpicking Champion, who would go on to be Taylor s first guitar clinician. Proctor wanted a comfortable body shape with clarity and balance from bass to treble, a cutaway, and a wider neck than the 1-11/16 then used on the Taylor Dreadnought and Jumbo. Beyond its compatibility with fingerstyle players, the GC s smaller body and tapered waist made it the ultimate studio and stage guitar. With its controlled overtones, it doesn t take up too much sonic space an important consideration if other instruments are being recorded, and it records well with a microphone. The GC also curbed the kind of sonic bloom that often caused feedback with bigger guitars on stage. The GC body geometry and sound have continued to evolve in recent years. In 2004, the body depth was expanded by a quarter-inch, and it was revoiced to add volume and bass response, giving the GC a tone that belies its intimate size. In 2007 a slotted headstock was added, and the guitar was made as a short scale, which proved to be a wonderful match for the body shape. It paid dividends both in terms of its soft touch feel (less string tension), enhanced playability (less stretching across the frets), and a deeper, richer tone. Play a GC if: You prefer a guitar with controlled overtones for recording or performance, and like the physical comfort of a smaller-bodied guitar.

The Taylor GA-K Koa Grand Auditorium Acoustic guitar features a Sitka spruce top and exotic Hawaiian Koa back and sides. Hawaiian koa is a rare and exotic tonewood is prized for its stunning golden hues, bold grain figure, and sweet tone. Other features of the GA-K include abalone trim around the top and soundhole, figured Ivoroid binding, and gold-plated tuners. The grand auditorium is Taylor's most versatile and popular shape, excelling at both light-touch fingerstyle to full-blown strumming. Great for miking and recording, The grand auditorium's balanced mid-range and bright tone exemplify the Taylor voice.When people talk about the Taylor sound, knowingly or not they're probably describing the Grand Auditorium. Introduced in 1994 as a limited edition to commemorate Taylor's 20th Anniversary, the GA would go on to establish itself as a definitive Bob Taylor original. Tonally, the guitar embodied the signature qualities of balance, clarity, and versatility that became hallmark Taylor traits. Visually, the shape gave the world an equally balanced and refined aesthetic of smooth curves. In both respects, the GA was at once big enough and small enough to cover a lot of ground. The goal, he says, was simply to make a guitar that was big like a dreadnought, but without a dreadnought's traditionally boomy sound. I was looking for a good, clear tone that had volume when you played fingerstyle, but then when you strummed didn't have too much bass. The GA has the width and depth of a dreadnought, but its tapered waist and contours give it the appearance of a smaller instrument, making it comfortable to play. The tonal balance means it's full in the lower register, present in the midrange, and sparkling on the treble strings. The GA's tonal balance has made it a favorite among artists AND engineers. You put a mic in front of the guitar and set everything to zero, you turn on the tape, and you play, Bob continues. We had a lot of studio owners and engineers buy those guitars just to put in the studio, because when things started going bad with players' guitars during a session, the engineer would say, We can get this job done today if you just play this guitar.' So that was sort of what we had in mind with that. And a lot of it was the shape. We made a few bracing changes, but we depended on the shape to change that tone. Play a GA if: You want the Swiss Army Knife of acoustics, capable of handling everything from fingerpicking to medium strumming to moderate flatpicking.

The Taylor 910 is an enduring favorite, achieving "icon" status with its premium Indian rosewood and beautiful "Cindy" fingerboard inlay. The 910 guitar is a true representation of what a rosewood dreadnought can be. It pairs Taylor's finest tonewoods with some of their most beautiful cosmetic detailing.The clarity, balance, sustain, excellent bass response, and wonderful coloration and figure of India Rosewood is without equal. Paired with Sitka spruce, it is an unstoppable combination. Aesthetic appointments include gold Gotoh tuners, an ebony headstock overlay, Indian rosewood binding, "Cindy" fingerboard inlays, and abalone rosette and top purfling.

The Taylor DN-K Dreadnought Acoustic Guitar has a Sitka spruce top and Hawaiian koa back & sides. This rare and exotic tonewood is prized for its stunning golden hues, bold grain figure, and sweet tone. The visual allure of the koa is complemented with shimmering abalone trim around the top and Soundhole. Other features include Ivoroid binding on the body, fingerboard, soundhole and peghead, an ebony headstock overlay, and gold-plated tuners.The Taylor DN-k dreadnought is focused and assertive with plenty of presence and volume. The time-honored heritage of the dreadnought body style makes it the choice of the traditional guitarist.The traditional shape and sound have been refined to blend power with a more balanced response Bob Taylor launched his career crafting Dreadnoughts, working with shapes he inherited from Sam Radding, the owner of the American Dream guitar shop, where he and Taylor co-founder Kurt Listug got their start. The legacy of this shape carried a powerful, traditional sound that Bob gradually reworked into a refined Taylor tone and more smoothly contoured look. The rosewood/spruce 810 became a Taylor stalwart and was for many years Bob s preferred model, favored for its robust tone and understated, workmanlike aesthetic. In 2003 the Dread underwent a major revoicing to give it a more competitive identity among old school flatpickers. A cannon, it boasted 50 percent more volume (which also meant more dynamic range), yielded an appreciably stronger bass response, and let out a hearty growl when pickers dug in, all without upsetting Taylor s sonic balance. As Bob put it during the revoicing process: I want to be able to play a Dreadnought on the bass strings and then on these middle D and G strings and have it sound like the same guitar. Bob later applied some of his short-scale ideas to the 710ce-L9 limited in 2005, and it proved to be a winner. Like the short-scale GC, the slinkier feel allowed players to lighten up on their attack and play up the neck. It gave the Dreadnought more versatility than it had ever seen. Short-scale or standard, the Taylor Dreadnought delivers a vintage sound for the 21st Century. Play a Dreadnought if: You re a flatpicker or strummer looking for a potent, traditional sound.

One of the most celebrated and popular 12-string guitars ever made, the Taylor Leo Kottke Signature Model combines tropical American mahogany back and sides, Sitka spruce top, Indian rosewood binding, and special bracing for an instrument that lives up to the Kottke name.

The lerft-handed Taylor GS5-12 is a 12-string Grand Symphony acoustic guitar that combines the exceptionally warm and articulate tones of tropical mahogany with a Western red cedar top. You get a guitar with wide dynamic range and mellow warm tone. The traditional acoustic guitar styling of the Taylor GS5-12 creates an elegant, understated look, but with the power and richness only a 12-string guitar can deliver.Though you might see similarities to a Grand Auditorium, the Grand Symphony guitar is unique in both sound and shape. Significant changes in its geometry yield a deeper more piano like bass. A wider lower bout and higher, wider waist return ample volume and low-end sustain in symphony with fuller mids and balanced highs.The finish used to create this Taylor 12-string guitar's lustrous gloss top, back, and sides was developed at Taylor for maximum durability and resistance to cold-checking. This ultraviolet-cured finish is also more environmentally friendly than traditional lacquer finishes.

The Taylor GS8-12 is a left-handed 12-string acoustic guitar that belts out a lot of volume with tight bass and pronounced, crisp highs. The GS8-12 guitar features a solid Sitka spruce top supported by gorgeous Indian rosewood back and sides. Comely cosmetics on the Taylor GS8-12 guitar include gold-plated tuners, ivoroid body and fretboard binding, abalone rosette and microdot fret markers, bound ebony fretboard, and ebony bridge.Bob Taylor personally designed the grand symphony body style for a unique sound. The higher, wider waist and a rounder lower bout of the GS8-12 guitar result in distinctive tone with deep piano-like bass, rich mids, and clear, balanced highs all with plenty of volume.

The 6-string cutaway version of the Taylor LKSM acoustic guitar. The LKSM-6 combines tropical American mahogany back and sides, Sitka spruce top, Indian rosewood binding, and Gold Grover Tuners. Simple and elegant in line, Jumbo in size and shape, mesmerizing in its effect on player and listener alike.

Taylor GA6-12 Grand Auditorium Acoustic is a 12-string guitar with traditional styling that creates an elegant, understated look. Figured big leaf maple is paired with a Sitka spruce top, resulting in an acoustic guitar that impresses in both tone and appearance. Appointments include a bound neck, gold-plated tuners, an Indian rosewood headstock overlay, and a beautiful abalone rosette.The 12-string is part of acoustic guitar lore, and a major part of Taylor history. This acoustic guitar is a contemporary take on the tradition.