5. I had to reset the neck on my 2003
314-CE-L1—I believe the luthier took .015
off the shim—even though I control the
climate in my home and have always kept
the guitar in its case when not playing. Is it
normal to have the neck reset after such a
short amount of time?
No, I would not say it’s normal. But that
doesn’t automatically mean something is
wrong. Our ability to adjust the NT neck
comes in handy when a guitar moves just a
bit more than normal. Once reset, it’s usually
good for a long, long time. The beauty
is it’s so easy to reset the neck that we don’t
have to try to figure out why, unless it moves
again. If something turns out to be wrong,
of course, you know where to find us. But I
wouldn’t worry about it if I were you.
6. I was looking forward to ordering an
8-String Baritone via your Build to Order
program but was disappointed to see the
jumbo body style was not available. I have
seen other manufacturers offer jumbo baritones
and I was wondering what your reasons
were for not offering that option?
Curiously, I’m probably asked why we don’t
do something more often than I’m asked
why we do do something. Honestly, the reasons
we don’t offer the baritone in a jumbo
are boring—not exciting at all. It just has to
do with what we were excited about, and
that was crafting the 8-String with a Grand
Symphony body. It’s our most current design,
it makes a good baritone, its shape has
“Taylor” written all over it, etc. One might call
that marketing, but we’re just more excited
about that guitar. You might still want to
inquire about having an 8-String Baritone
made with a jumbo body through our Build to
Order program; you’d be the first to ask, and
we might say yes.
7. I see summer humidity levels of more than
75% drop to 30% and worse in the winter,
and it’s nearly impossible to manage the
climate in my entire house. I keep the guitar
in its case, use an in-case humidifier in winter,
etc., but I was wondering if you could suggest
any special strategies or products for
dealing with those vast seasonal differences?
Humidipak by Planet Waves! Don’t forget
that name. Buy them. They will absorb
moisture in the summer and humidify in the
winter. They work both ways. Many of you
may know of the early recall of Humdipaks
while some manufacturing issues were solved.
They’re back, and I can’t imagine being without
them. Oh, and by the way, thanks for
storing your guitar in its case. You are miles
ahead of people who want to display them
on their walls. Guitars are not furniture, nor
are they artwork. They’re instruments and
need to be kept in the case when not played.
8. Having the ability to create, play and
own any guitar you could possibly imagine,
what would your dream guitar be?
Please include details such as woods, body
style, bracing, etc.
Oh man, don’t make me, please don’t make
me. Well, it would include Brazilian rosewood
and Adirondack spruce. It would be
a Grand Symphony shape and would have
ebony binding and an armrest, and a Brazilian
back strap behind the peghead. And I’m not
copping out when I say I’d be just as happy
if that same guitar were made from Indian
rosewood and Sitka spruce. That’s the truth.
Or I’d have Bill Collings build me a mahogany
dreadnought with tortoise binding, and then
there is this 000 Martin, made in the ’20s,
that a friend of mine owns. That guitar is
really good. See, I can’t do it!
9. A few years ago, I was watching a Taylor
video and I saw a Taylor amp. What is the
story behind those, and will they ever make
it to the public market?
Well, the story is we’re always tinkering and
working on designs. This was made as a cute
little thing that works well with our Expression
System. It sounds great and has one knob:
Volume. Yeah, it will make it to the public market
sometime, but it’s too hard to say when.
10. What types of woods will Taylor be
experimenting with in the near future—and
what sorts of sounds would those produce?
I think we’re experimenting with the future
woods now. For instance, ovangkol and
sapele are future woods. There’s some neat
South American rosewood species that are
available in very small quantities, so some of
those might find their way into a guitar here
and there. We’re still working on Tasmanian
blackwood, knowing it sounds great; now the
problem is getting it. Also, we’re looking at
some different species to replace ebony if
the day comes when that might be needed.
There’s mesquite too. It sounds like rosewood,
more or less, and is pretty and stable.
Yet there’s no real method of obtaining it. I
think the major woods are defined now, with
lots of “wood du jour” guitars that will be
made along the way.