
Alan Harrison, E6 Boatswains Mate 1st Class, is a 21-year US Navy veteran who's taking part in the Guitars for Vets program at the Veterans Administration Medical Center in Milwaukee, Wisconsin.
Guitars for Vets organizers Patrick Nettesheim and Dan Van Buskirk help veterans with Post Traumatic Stress Disorder find hope again through music.
In the time it takes to read this story, another US serviceman or servicewoman will lose their life. It won't be to an IED on the battlefields of Iraq or Afghanistan. It will be to suicide on the battlefield of Post Traumatic Stress Disorder (PTSD) and depressionāright here at home. Every day, 19 soldiers take their own lives. Fifty percent of our homeless population is made up of veterans, and more than 250,000 veterans now suffer from PTSD. A 2004 Department of Defense study estimates that 17 to 20 percent of soldiers returning from Iraq āsuffer from major depression, generalized anxiety, or PTSD." And according to a 2008 report cited in Tears of a Warrior: A Family's Story of Combat and Living with PTSDāa book the Veterans Administration uses in its PTSD treatment programā roughly 40,000 troops have been diagnosed since 2003.
It's easy to slap a "Support Our Troops" magnet on the back of a vehicle to show solidarity in times of deployment, but where is that support when these men and women come home physically and emotionally broken? Where do they turn when society is not informed or empathetic enough to understand their state of mind, or when they are shamed into silence by the stigma of "mental illness"?
These are crucial questions too often left both unasked and unanswered. However, two guitarists with their hearts in the right place are doing their best to make a difference. Guitar instructor Patrick Nettesheim and guitar-playing Vietnam War veteran Dan Van Buskirk decided to take matters into their own hands by creating Guitars for Vets (G4V), a unique form of music therapy they're taking to VA medical centers.
Founded in 2008, Guitars for Vets is a nonprofit that provides six free, one-on-one guitar lessons and a new acoustic guitar to veterans in recovery. Its mission is simple: Turn the guitar into a source of healing, communication, and self-expression. Veterans enrolled in the program receive their own new Oscar Schmidt acoustic guitar at their sixth lesson, and thereafter they can continue learning through group lessons. G4V began in Milwaukee, Wisconsin, but has chapters in several other statesāas well as one in Afghanistanāand it's receiving requests from VA centers across the country. Six strings at a time, it's working miracles.
To Hell and Back Again
Van Buskirk and Nettesheim met in 2007, when Van Buskirk became Nettesheim's guitar student. It was a fortuitous step on the long road to recovery for a lifetime pacifist who joined the military to uphold family duty.
Although the Peace Corps was his first calling, Van Buskirk joined the Marine Corps and became a reconnaissance scout and sniper during a time when, he says, "We were a bunch of young men confused by John Wayne movies, masculinity, and serving your country. I was assigned to Albrook, the hottest, best team battalion. We were on patrol schedules in Laos, and it was so dangerous that all the guys left letters and valuables for their loved ones because no one expected to return alive. Because Albrook was so good, the whole team would go on patrol. Except they wouldn't let me goāI was too inexperienced. One day, the North Vietnamese set up an ambush for Albrook. They shot down the helicopter with a rocket and all the guys died."
During Van Buskirk's 1968-1969 tour, he did 40 patrols in Laos and Cambodia, lost his best friend there, and witnessed unspeakable horrors that remain with him today. Upon return, he was hospitalized for a year and told he had "shell shock," as it was called then. "They didn't know how to treat it," he says. "I was in a deep, deep depression. You feel like you are in a black tunnel that has no light on the other side. I just wanted some light, but I couldn't see it."
Van Buskirk struggled to maintain a normal life. He married, became a father, worked, and went back to school to earn degrees in sociology and anthropology. Though he attempted to become an adjusted civilian, Vietnam never left him. "I mostly had a sense that 'I just don't get it,"' he says. "It plagued me. Some people live joyously, but for veterans with PTSD, we're in survival mode." Van Buskirk still experiences flashbacks and nightmares.
In 2005, after losing two jobs, Van Buskirk was placed on full chronic disability. As part of his search for ways to deal with depression, he bought a guitar. He had tried playing years before, but lacked focus due to PTSD. Cream City Music, in Brookfield, Wisconsin, recommended Nettesheim as an instructor. The lessons became educational for both men: Van Buskirk learned to play, while Nettesheim learned about Vietnam and the struggles returning veterans faced. They realized they were on to something.
Guitars for Vets debuted in the Milwaukee VA spinal rehab unit, where Van Buskirk and Nettesheim performed for paralyzed veterans whose lives are spent in wheelchairs and on their backs. "Dan played 'Knockin' on Heaven's Door' and we saw guys who had been staring at the ceiling for 40 years just light up," says Nettesheim. "The smiles, the happinessāthey would hold the guitars while I strummed them. I knew it was magic. These men with broken bodies, broken spirits, and no way out of their situations as prisoners of their own bodiesāI saw the light in their eyes." During their next lesson, Van Buskirk and Nettesheim put a plan in action and created Guitars for Vets.
Asked to explain the source of that rekindled lightāwhy the guitar is a source of comfortā Nettesheim says, "How you hold it against your midsectionāit's a metaphoric shield. When you look at trauma as part of the human condition, in moments of sadness and weeping, you rock back and forth and hold a pillow or a teddy bear to your midsection. It's an innate trait. The guitar is a good surrogate for that. It allows you to speak without words. The cool thing with the guitar, and many instruments, is the universal language: Others get what you're feeling by what you play. It helps us communicate emotions that may be too difficult to verbalize. That's why music touches so many people deeply."
Faces of the Faceless
A group of vets from the St. Louis, Missouri, chapter of G4V gathers to socialize and support each other through song.
Photo by Glen Harris
Miami resident John Miranda understands using music in place of words. He spent a good portion of his adult years entrenched in the rock-musician lifestyle on the West Coast. In 1973, he joined the service and became a parachuter during the final stages of the Vietnam War. "Conflict and war are no picnic," he says. "Nor was the way we were treated when we came home. When I got out of the military, I began drinking heavily, jumped onboard with a band, and played my life away."
Miranda is now in his mid 50s, and not long ago he found the courage and the means to clean up his life. He went to the Miami VA for help in 2009 and met music therapist Elizabeth Stockton, whom he credits for not giving up on him during the hospital's three-month program. Through music and sobriety, he is learning to unlock emotions he believed didn't exist. "I know the power of music and what a program like this can do," says Miranda, who became the first instructor for the Miami chapter of Guitars for Vets. "There's life to music. It's very spiritual."
Guitars for Vets is staffed entirely by volunteers. Instructors must train through a strict VA program, and they're submitted to rigorous FBI background checks that require fingerprinting and official badges for admission to facilities. In addition to government protocol, G4V has three requirements. "Instructors must show gratitude toward veterans for what they have given," says Nettesheim. "They must be empathetic and sincerely able to feel these veterans' stories, and they must be nonjudgmental and throw all political thoughts out the door."
Marc DeRuiter instructs the Grand Rapids, Michigan, chapter of Guitars for Vets. A Navy veteran from 1972ā1975 who was stationed in both the Philippines and Vietnam, he discovered the organization in 2009 through a web search. Based on his experience performing for patients in Alzheimer's Disease units for seven years, he understands the therapeutic effects of music. He has been a musician since his teens, and he has a repertoire of country, bluegrass, rock, and oldies tunes. He has performed with the same musicians for 30 years, and he began teaching guitar at his church 10 years ago. After discovering G4V online, DeRuiter says he emailed Nettesheim because he thought he'd be "a good fit." He explains, "Our philosophies are right in line with each other. I'm sold on the therapeutic value of musicāyou spend an hour a day doing it, and your body treats it like a workout. It relieves your stress. You practice until you get it right, and that provides a sense of accomplishment."
Marc DeRuiter (right), a Navy vet who served in Vietnam from 1972 to 1975, instructs Richard Pierson in a Guitars for Vets class at the Grand Rapids, Michigan, VA center.
Photo by Marc DeRuiter
For that reason, DeRuiter makes a point of teaching actual songs to his students right away, helping them through "He's Got the Whole World in His Hands" and "The Ballad of Tom Dooley." "If you've got a song, you've got something," he says. "Some of these veterans have never played guitar before, and they love it. They practice on their own and get together to practice too."
Nettesheim says that camaraderie is a crucial element of Guitars for Vets. "When you talk to veteransāespecially combat veteransāthey'll tell you that they miss the teamwork and close friendships they formed while in the service. When their tour is over, they often move on and never see each other again. They fight to protect each other's lives, and there is a great sense of loss when those relationships are gone. They go from the battlefield to being thrust back into civilian life. Concentrating on playing and practicing in groups helps them to stop thinking about their grief. Working together brings them feelings of family and belonging."
Dan Van Buskirk (right), a Marines reconaissance scout during the Vietnam War, took up guitar in 2005 after years of PTSD had ravaged his personal and professional lives. In 2008, he and his instructor, Patrick Nettesheim (left), formed Guitars for Vets.
Photo by Tim Evans
Alan Harrison, another Vietnam vet involved with G4V, learned about the organization through the Milwaukee VA hospital. He had played guitar as a teenager but gave it up when he joined the Navy, where he spent 21 years. He also suffers from severe PTSD. During his time in the service, he says, "I saw a man dismembered, sucked into the intake of a jet, and that wasn't the worst thing I saw."
When Harrison returned to civilian life, he couldn't erase his memories.
PTSD and depression had set in. Two years ago, he signed on for lessons with Guitars for Vets and now he's a volunteer for the program. "When I pick up the guitar, it takes me to a simpler time when I didn't have these memories," he says. "The guitar eases the pain. Without this program, I would still be in serious therapy. It helps me cope." (Visit myspace.com/guitarsforvets to hear "Dusty Old Road," a song Harrison and Meaghan Owens wrote about his experiences as a veteran.)
Of course, Harrison, Van Buskirk, DeRuiter, and Miranda are just a few of the countless veterans of past and present armed conflicts who suffer from the debilitating effects of PTSD. Van Buskirk expresses great concern for those who have served multiple tours in Iraq and Afghanistan. "I see a lot of men and women slip through the cracks when they come home. I see them get fired because employers aren't held accountable for dealing with soldiers with anxiety issues. I see things that sadden me," he says. "But a smiling face, a compassionate heart, a listening ear, and the vibrations of a guitar can help. I can't sit back and not be part of the solution. Medication is a useful band-aid but in no way helps the soldier get their soul back. If a soldier takes meds as the end-all be-all, they will miss out on getting their whole person back. If we take the lead with this program, maybe others will find it easier to help veteransāand maybe the VA will become more progressive and not just say, 'Increase your meds.'"
How to Help
Guitars for Vets has distributed over 600 guitar packs to date, but these instruments are purchased, not donatedāand G4V incurs significant shipping costs to send guitars to its chapters. Each guitar pack consists of an instrument, a bag, and a tuner, and it is paid for by G4V, with the Oscar Schmidt acoustics being purchased at dealer cost. To date, no manufacturer has been willing to donate any instruments, so the organization relies on monetary donations from supporters. For the price of an evening outādinner, movie, and drinksāyou can help pay for one of these packs. Stay home one night and change a veteran's life.
Before receiving their free guitar at their sixth lesson, veterans enrolled in G4V learn to play on donated practice guitars. If you have an acoustic guitar gathering dust in your closet, send it in. Even if the instrument is no longer playable, artists associated with the program can turn it into an art piece that will then be sold to raise funds for G4V. Even if you don't have an old guitar to donate, you can help raise awareness of the program and provide useful funds by purchasing Guitars for Vets merchandise on the organization's website. There are other ways to get involved, too. G4V needs instructors and coordinators to set up new chapters and help with existing groups. Visit their website guitarsforvets.org or G4V's Facebook page for more details on the program and ways you can make a difference.
[Updated 11/10/21]
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This wonky Zim-Gar was one of many guitars sold by importer Gar-Zim Musical Instruments, operated by Larry Zimmerman and his wife.
The 1960s were strange days indeed for import guitars, like this cleaver-friendly Zim-Gar electric.
Recently I started sharing my work office with a true gem of a guy ⦠one of the nicest fellas Iāve ever come across. If youāve been following my column here, you might remember my other work mate Dylan, who is always telling me about new, fad-type things (like hot Honey guitars) and trying to convince me to use AI more. (What can I say, heās a millennial.) But Steve, on the other hand, is about 10 years my senior and is a native New YorkerāBrooklyn actually, from the Canarsie neighborhood. Steve is a retired teacher and spent many years teaching in the Brownsville area of Brooklyn, and man, he has some amazing stories.
Mostly we talk about music and sports (heās exiled here among us Philadelphia sports fans) and heās just endlessly interesting to me. He has a huge appetite and can eat a whole pizza. When he talks, he sounds like one of the Ramones and he still has an apartment in Rockaway Beach. We both love Seinfeld and, like George Costanza, Steve knows where all the great bathrooms are across New York City. Since heās been added to my circle (and is such a mensch), I decided I should work him into a column.
So hereās the connection: Back in the day there were many American importers, dealers, and wholesalers. A lot of them were based in New York, Chicago, and Los Angeles, but I only know of one guitar importer located in Brooklyn: Gar-Zim Musical Instruments. The company was run by Larry Zimmerman and his wife, and the couple had some success importing and selling Japanese guitars and drums. I used to see early Teisco imports with the Zim-Gar badge, which was the brand name of Gar-Zim. Iāve also seen Kawai guitars with the Zim-Gar label, but the Zimmermanās seemed to sell cheaper and cheaper gear as the ā60s wore on, including the piece you see here.
āThis build reminds me of the cutting boards I used to make in wood shop back in my high school days.ā
The model name and factory origin of this guitar is a mystery to me, but this build reminds me of the cutting boards I used to make in wood shop back in my high school days. The guitar is just flat across the top and back, with absolutely no contouring or shaping. Its offset body is plywood with a thin veneer on the top and back. From a distance this guitar actually looks kind of nice, but up close you can see a rather crude and clunky instrument that offers little flexibility and playability. The non-adjustable bridge is off center, as is the tremolo. It was really hard to get this guitar playing well, but in the end it was worth it, because the pickups were the saving grace. Another example of gold-foils, these units sound strong and raw. The electronics consist of an on/off switch for each pickup and a volume and tone knob. The tuners are okay, and the headstock design is reminiscent of the Kay ādragon snoutā shape of the mid to late ā60s, which is where I would place the birthdate of this one, probably circa 1966. Everything is just so goofy about this buildāeven the upper strap button is located on the back of the neck. It reminds me of that era when simple wood factories that were making furniture were tasked with building electric guitars, and they simply didnāt know what they were doing. So, you get oddities like this one.
Gar-Zim continued to sell guitars and other musical instruments through the 1970s and possibly into the ā80s. I once even saw a guitar with the label Lim-Gar, which is totally puzzling. I think there shouldāve been a Stee-Gar designation for my new buddy Steve-o! Yes, good readers, with guitars and me, there are always just a few degrees of separation.
In line with the MOOERās recent expansion on the MSC range, the company is excited to announce the new MSC50 Pro, an Alder-bodied electric guitar with gloss finish, available in the new Magic Crystal color.
Featuring a roasted maple neck with a satin finish, a rosewood fingerboard for playing comfort, 22 frets, and a standard C shape, the guitar has been designed with classic guitarists in mind. This is beautifully emphasized with its beautifully resonant tonewoods, all while still being balanced perfectly with style and comfort of use.
The MSC50 Pro features all of the industry-standard features you might expect from such an impressively affordable guitar, such as bolt-on construction, a bone nut, and a dual-action steel truss rod. However, other features make the electric guitar stand out among others at a similar price point, such as its MTN-3LC locking tuning pegs, beautiful Abalone dot inlay, and, of course, its previously mentioned tonewood selection.
In order to capture the MSC50 Pro's balanced tonal profile, MOOER's luthiers have built it with three perfectly balanced pickups: the MSC-II N single coil neck pickup, the similar MSC-II M single coil middle pickup, and, best of all, the MHB-II B bridge humbucker. When these carefully chosen pickups are combined with the guitar's MPW 2-point chrome bridge, guitarists can make the most out of its tonal versatility, all while maximizing tuning stability.
To ensure that the guitar is suitable for a wide range of genres, both softer and higher-gain examples, the MSC50 Pro has a convenient coil split switch built into it, giving users better resonance control. Of course, this is also combined with a classic tone dial, a standard 5-way tone switch, and a volume control dial.
Overall, the MSC50 Pro reminds users of MOOER guitars that the company has never forgotten about its roots in classic-style guitars. Yes, the company is continuing to develop innovative guitar technology in other areas, but this electric guitar also represents a grounded approach, keeping things classic, sleek, and tonally versatileāall at a reasonable price point.
Features:
- Alder Body with a Gloss Finish
- Available in the Magic Crystal color
- Standard C-shaped roasted maple neck with a Satin finish
- Bolt-on construction
- 22-fret rosewood fingerboard
- Abalon dot inlay
- MTN-3LC locking tuners
- Bone nut
- Dual-Action Steel Truss Rod
- 12" radius
- 09-46 strings
- 25.2" scale
- MSC-II N Single Coil neck pickup, an MSC-II M Single Poil middle pickup, and an MHB-II B Humbucker Bridge Pickup
- Chrome guitar strap pin
- Coil Split Switch
- 5-Way Tone Switch
- Volume and tone dials
- MPW 2-Point chrome bridge
The MSC50 Pro will be available from the official distributors and retailers worldwide on 13th May 2025 at an expected retail price of USD419/Euro399/GBP339.
MOOER Expands Its Popular MSC Guitar Line with the MSC30 Pro and MSC31 Pro
MOOER has never shied away from innovation when it comes to its guitars. However, with the recently announced release of the MSC30 Pro and MSC31, the company reminds us that, sometimes, true innovation lies in mastering and enhancing a proven classic. With this philosophy, MOOER introduces two new exciting additions to their beloved MSC series of electric guitars.
Both the MSC30 Pro and MSC31 Pro continue MOOERās philosophy of creating affordable guitars, but without sacrificing quality or performance, thanks to the poplar bodies and flame maple tops. Some guitarists will be drawn to the bright tones of the MSC30 Proās maple fingerboard, whereas others will prefer the warmer resonance of the MSC31 Proās rosewood alternative.
Each guitar features sturdy bolt-on neck construction, dual-action steel truss rods, bone nuts, and MTN-1 chrome tuning pegs (with the BK upgrade being reserved for the MSC31 Pro), ensuring tuning stability and comfort at all times.At the heart of both models are MOOERās versatile MSC pickups, comprising the MSC-1N single-coil neck pickup, the MSC-1M single-coil middle pickup, and the powerful MHB-1B dual-coil humbucker at the bridge. Further complemented by a versatile 5-way pickup selector and exclusive coil split switch, players can effortlessly switch between a wide palette of tones, such as pristine cleans ideal for jazz or blues, or high-gain tones for heavier genres.
Tremolo support is also provided through both the guitar's bridges, with the MSC30 Pro featuring an MTB-1 2 Point Tremolo bridge, and the MSC31 Pro boasting an exclusive black MTB-1 BK 2 Point Tremolo bridge. Both bridges guarantee guitarists the ability to use tremolo bars in their guitar performances, without compromising the integrity of tuning stability.
Both guitars come with a selection of vivid new colors, complementing the guitarās hardware with undeniable visual appeal. The MSC30 Pro is available in the classic finishes of Sunset Red, Lake Blue, Lemon Green, and Rose Purple. Meanwhile, the MSC31 Pro boasts its own selection of glossy finishes: Grey Burst, Blue Burst, Green Burst, and Purple Burst.
Overall, the MSC30 Pro and MSC31 Pro solidify MOOERās commitment to combining quality craftsmanship, affordability, and versatility, giving guitarists of all levels the chance to own instruments that genuinely inspire.
Features
MSC30 Pro:
- Classic S-style design
- Poplar body with flame maple top
- Maple fingerboard
- Maple neck with satin finish
- Bolt-on neck construction
- 22 nickel silver frets, Abalone dotted inlay
- Coil split switch and versatile 5-way pickup selector
- MSC-1N/M single-coil pickups and MHB-1B humbucker
- 25.5" scale
- MTN-1 Chrome tuning pegs
- Available in gloss-finished Sunset Red, Lake Blue, Lemon Green, and Rose Purple
- Volume and tone dial
- Chrome strap pin
MSC31 Pro:
- Classic S-style design
- Poplar body with flame maple top
- Rosewood fingerboard
- Maple neck with satin finish
- Bolt-on neck construction
- 22 nickel silver frets, White Shell dotted inlay
- Coil split switch and versatile 5-way pickup selector
- MSC-1N/M single-coil pickups and MHB-1B humbucker
- 25.5" scale
- MTN-1 BK tuning pegs
- Available in gloss-finished Grey Burst, Blue Burst, Green Burst, and Purple Burst
- Volume and tone dial
- Chrome strap pin
The MSC30 Pro and MSC31 Pro will both be available from the official distributors and retailers worldwide on 2nd April 2025.
MOOER Gives Bassists What They Want with the New MBJ410 and MBJ420 Electric Bass Guitar Models
For 15 years, MOOER has built a critically acclaimed name for itself thanks to its cutting-edge electric guitars, pedals, and accessories. While the company is no stranger to building electric bass guitars, this has not been its focus for some time, hence why so many bassists are excitedly anticipating the release of the MBJ410 and MBJ420 electric bass guitars.
Both the bass guitars sport glossy Poplar bodies, keeping the price point affordable but without limiting their tonal resonance and versatility, whereas the MBJ420 holds the additional bonus of being built with a Poplar Burl top. Complete with roasted maple C-shaped necks (also accented with a gloss finish) as well as Roasted Maple fingerboards and White Shell dot inlays, the necks are designed to offer as much comfort as possibleāa high priority for bass guitarists.
A 34" fret scale further enhances practicality for bassists, as does the neck's 12" radius. Strings are available in .045, .065, .080, and .100 gauges, providing something for any type of bass style - whether slapping, plucking, or picking techniques are preferred.Thanks to the industry-standard components of a dual-action steel truss rod and bone nut, the tuning and resonant stability of both the MBJ410 and MBJ420 models are also of a high standard. However, this is accentuated further by the guitars' strong and reliable BTN-1 tuning pegs, essential for heavier-gauge bass strings.
The tonewoods and structural integrity of the MBJ-series electric bass guitars wouldn't be complete without the accompaniment of the guitarās two single-coil JB-style pickups. Combined with the MOOER BSC-2 bridge, both bass guitars have been carefully designed to amplify bass resonances excellently, complemented even further by their simple but effective tone dials. Two volume controls are also built in, ensuring that bassists can customize their sonic output to have the perfect tonal blend.
In terms of standout features, the main difference between the two bass guitars is the MBJ420's added poplar burl top, but most notably, the color selections. For the MBJ410, the bass guitar is available in Gunmetal Gray, Metal Green, and Metal Blue, perfectly suiting the stages of higher-gain performances. In contrast, the aesthetics of the MBJ420 are more classic, purchasable in Red Burst, Blue Burst, and Tobacco Burst. Finally, both guitars are topped with a chrome strap pin, enabling stylish and energetic live performances.
Overall, bassists will no doubt be excited to see MOOER return to electric bass guitars with the MBJ410 and 420 models. Of course, electric guitars will remain the focus for the company, but the release of these two new products is a reminder of just how accommodating MOOER is for its wide audience of musicians.
Features
- Electric bass guitar built with gloss-finished Poplar body (MBJ420 also features a Poplar Burl Top)
- Roasted maple C-shaped neck with a gloss finish
- Roasted maple fingerboard
- White Shell dot inlay
- 12ā neck radius
- MOOER BSC-2 bridge
- VBJ-1 and VBJ-2 Single Coil pickups
- MOOER BTN-1 tuning pegs
- Bolt-on construction
- Bone nut
- Dual-action steel truss rod
- Pre-installed strings available in .045, .065, .080, and .100 gauges
- 21 frets
- 34"fret scale
- Colors available in Gunmetal Gray, Metal Green, and Metal Blue (MBJ410), and Red Burst, Blue Burst, and Tobacco Burst (MBJ420)
- Chrome strap pin
- 2 x volume control dials
- 1 x Tone dial
The MBJ410 and MBJ420 will both be available from the official distributors and retailers worldwide on 29th April 2025 at an expected retail price of USD319/Euro299/GBP249(MBJ410), USD399/Euro379/GBP319(MBJ420).
See and hear Taylorās Legacy Collection guitars played by his successor, Andy Powers.
Last year, Taylor Guitars capped its 50th Anniversary by introducing a new guitar collection celebrating the contributions of co-founders Bob Taylor and Kurt Listug to the guitar world. The Legacy Collection revives five of Bob Taylorās classic acoustic models, curated by the legendary luthier and innovator himself. āTo imagine that weāre doing guitars that harken to our past, our present and our future all at the same time,ā Bob says, āI really like that.ā
In developing the collection, Bob preserved the essence of his originals while integrating performance and playability upgrades introduced during his tenure as designer-in-chief. āItās an up-to-date version of what those guitars would be,ā Bob explains, ābut with the same sound.ā
Visually, these guitars feel classicāclean, understated and unmistakably Taylor. While Bobās original aesthetic preferences are showcased in his Legacy models, the nod to the past runs deeper than trade dress.
From his earliest builds, Bob favored slim-profile necks because he found them easier to play. That preference set a design precedent that established Taylorās reputation for smooth-playing, comfortable necks. Legacy models feature slim mahogany necks built with Taylor's patented New Technology (NT) design. āMy first neck was a bolted-on neck but not an NT neck,ā Bob says. āThese are NT necks because itās a better neck.ā Introduced in 1999, the NT neck allowed for unprecedented micro-adjustability while offering a consistent, hand-friendly Taylor playing experience.
What makes this collection unique within the Taylor line is Bobās use of his X-bracing architecture, favoring his time-tested internal voicing framework over more recent Taylor bracing innovations to evoke a distinctive tone profile. Since Andy PowersāTaylorās current Chief Guitar Designer, President and CEOādebuted his patented V-Class bracing in 2018, V-Class has become a staple in Taylorās premium-performance guitars. Still, Bobās X-bracing pattern produces a richly textured sound with pleasing volume, balance and clarity that long defined the Taylor voice. All Legacy models feature LR Baggs VTC Element electronics, which Bob says āharkens back to those days.ā
The team at Taylor thought the best way to demonstrate the sound of the Legacy guitars was to ask Andy Powers, Bobās successor, to play them. A world-class luthier and musician, Andy has spent the past 14 years leading Taylorās guitar innovation. In addition to V-Class bracing, his contributions include the Grand Pacific body style, the ultra-refined Builderās Edition Collection, and most recently, the stunning Gold Label Collection.
Below youāll find a series of videos that feature Powers playing each Legacy model along with information about the guitars.
Legacy 800 Series Models
First launched in 1975, the 800 Series was Taylorās first official guitar series. Today, it remains home to some of the brandās most acclaimed instruments, including the flagship 814ce, Builderās Edition 814ce and new Gold Label 814e.
The Legacy 800 Series features the 810e Dreadnought and two Jumbos: the 6-string 815e and 12-string 855e. Each model serves up a refined version of the Dreadnought and Jumbo body shapes Bob inherited from Sam Raddingāthe original owner of the American Dream music shop where Bob and Kurt first met. āI was making my guitars in the molds that Sam had made at American Dream,ā Bob recalls. āThere was a Jumbo and a Dreadnought. Thatās all we had.ā
All three Legacy 800 Series guitars feature one of Bobās favorite tonewood combos. Solid Indian rosewood back and sides are paired with a Sitka spruce top, yielding warm lows, clear trebles and a scooped midrange.
Aesthetic appointments include a three-ring abalone rosette, mother-of-pearl Large Diamond inlays, white binding around the body and fretboard, and Bobās āstraight-earā peghead design. Both Jumbo models also showcase a mustache-style ebony bridgeāa nod to Bobās early Jumbo builds.
Legacy 810e
The 810 Dreadnought holds a special place in Bob Taylorās heart. āMy first 810, the one I made for myself, was a thrilling guitar for me to make,ā he says. āItās the one and only guitar I played. It didnāt matter how many guitars we made at Taylor, thatās the one I took out and played.ā The Legacy 810e brings back that bold, room-filling Dreadnought voice along with the easy playability expected from a Taylor.
Taylor Guitars | Legacy 810e | Playthrough DemoĀ
Legacy 855e
Taylorās first 12-strings found an audience in 1970s Los Angeles. āI was making guitars that would find their way to McCabeās in Santa Monica and Westwood Music,ā Bob says, āand these guitars were easy to play. Twelve-strings were a popular sound in that music. It was a modern country/folk/rock music genre that was accepting our guitars because they were easy to play. They also liked the sound of them because our guitars were easier to record.ā The Legacy 855e, with its resonant Jumbo body, slim neck and gorgeous octave sparkle, carries that tradition forward.
Taylor Guitars | Legacy 855e | Playthrough DemoĀ
Legacy 815e
The Legacy 815e revives Taylorās original Jumbo 6-string, delivering a big, lush sound with beautifully blooming overtones.
Legacy Grand Auditoriums
In the early 1990s, Bob Taylor heard a consistent refrain from dealers: āNot everybody wants a dreadnought guitar anymore.ā Players were asking for something with comparable volume but different proportionsāsomething more comfortable, yet still powerful. This feedback inspired Bob to design a new body style with more elegant curves, more accommodating proportions and a balanced tonal response. The result was the Grand Auditorium, which Taylor introduced in 1994 to celebrate its 20th anniversary.
Thanks to its musical versatility and easy playability, Bobās Grand Auditorium attracted a wide variety of players. āWe came into our own with our Grand Auditorium,ā he says. āPeople were describing it as āall around.ā Itās a good strummer and good for fingerstyle, but itās not totally geared toward strumming or totally geared toward fingerstyle.ā Also referred to as the āSwiss-Army Knifeā of guitars or the āGoldilocksā guitar, the GA quickly became a favorite among guitarists across playing styles, musical genres and different playing applications including recording and live performance. āThat guitar made studio work successful,ā Bob says. It gained a wider fanbase with the debut of the āceā version, which introduced a Venetian cutaway and onboard electronics. āThat became one of our hallmarks,ā says Bob. āIf you want to plug in your guitar, buy a Taylor.ā
Today, the Grand Auditorium is Taylorās best-selling body shape.
The Legacy Collection features two cedar-top Grand Auditoriums inspired by past favorites: the mahogany/cedar 514ce and rosewood/cedar 714ce. Both models incorporate Bobās original X-bracing pattern for a tonal character reminiscent of their 1990s and 2000s counterparts. Shared aesthetic details include a green abalone three-ring rosette, ebony bridge pins with green abalone dots, a faux-tortoiseshell pickguard and Taylor gold tuning machines.
Taylor Guitars | Legacy 815e | Playthrough DemoĀ
Legacy 514ce
The Legacy 514ce features solid mahogany back and sides paired with a Western Red cedar top, yielding a punchy midrange and dry, woody sonic personality that pairs beautifully with cedarās soft-touch sensitivity and warmth. Itās a standout choice for fingerstyle players and light strummers who crave nuance and depth. Distinct visual details include faux-tortoise body and fretboard binding, black-and-white top trim, and mother-of-pearl small diamond fretboard inlays.
Taylor Guitars | Legacy 514ce | Playthrough DemoĀ
Legacy 714ce
The Legacy 714ce also features a cedar top, this time matched with solid Indian rosewood back and sides. The result is a richly textured sound with deep lows, clear trebles and a warm, mellow response. Inspiring as it is, this specific wood pairing isnāt currently offered in any other standard Taylor model. Additional aesthetic details include green abalone dot fretboard inlays, black body and fretboard binding, and black-and-white āpinstripeā body purfling.
While the Legacy Collection spotlights Taylorās past, newer models from the Gold Label, Builderās Edition and Somos Collections show the companyās legacy is always evolving. Explore the Legacy Collection at taylorguitars.com or visit your local authorized Taylor dealer.
Taylor Guitars | Legacy 714ce | Playthrough DemoĀ
The Oceans Abyss expands on Electro-Harmonixās highly acclaimed reverb technology to deliver a truly immersive effects workstation. The pedal is centered around dual reverb engines that are independently programmable with full-stereo algorithms including Hall, Spring, Shimmer and more. Place these reverbs into a customizable signal path with additional FX blocks like Delay, Chorus, Tremolo, or Bit Crusher for a completely unique soundscape building experience.
Electro-Harmonix has paved the way for powerful, accessible reverbs since the release of the original Holy Grail and now weāve pushed the envelope deeper with the fully-equipped Oceans Abyss. Featuring a customizable signal path with up to 8 effects blocks, the Oceans Abyss can be configured as individual reverb, modulation, EQ, delay, bit crusher, saturation or volume effects, or as countless combinations for incredibly creative effect shaping. From a simple Spring reverb to a lush stereo field featuring stereo hall and shimmer reverbs, chorus, delay, overdrive, and tremolo, you can go from surf to shoegaze instantly, without breaking a sweat.
Deep parameter editing is accessible via the high-visibility OLED display with multiple graphical views and easy-to-read designs. Expression/CV control over nearly every parameter gives artful control of your effects and dynamics. Fully-stereo I/O plus an FX Loop allows for use with any instrument, recording set up, or live rig. 128 programmable presets via onboard footswitching or MIDI ensure perfect recall in all performance situations. MIDI IN/OUT ports with MIDI IN support of PC, CC, and Tempo Clock expand the already immense talents of the Oceans Abyss. Connect with UBS-C to Windows or Mac for effects editing, preset management, and more with the free EHXport⢠app (coming soon).
- Two Stereo Reverbs available at once, each fully pannable in the stereo field
- 10 reverb types to choose from: Room, Hall, Spring, Plate, Reverse, Dynamic, Auto-Infinite, Shimmer, Polyphonic, Resonant
- Additional FX blocks: Delay (Digital, Analog and Tape emulations), Tremolo, Chorus, Flanger, Phaser, Graphic EQ, Saturation, Bit Crusher, External FX Loop, Volume
- Create custom signal path routing with up to 8 effects blocks. Two blocks may be re-verb, the rest may be any of the additional FX blocks.
- Infinite reverb sustain with the press of a footswitch
- Stereo Audio I/O
- Stereo FX Loop routing on TRS Jacks
- Dual action footswitches allow for momentary or latching use
- Easily enable or disable tails
- 128 fully customizable presets
- All controls can be saved to presets
- Dive deep into global and preset settings to set up Oceans Abyss for your specific needs
- Illuminated slide pots and buttons
- High-visibility OLED graphical display
- Multiple graphical views: Signal Path, Performance, Settings, Physical, Explorer
- Easy-to-navigate menu system
- Ergonomic NavCoder knob allows rotary and directional navigation through menus
- EXPRESSION / CV input to control nearly any parameter in any FX block
- Footswitch input allows for adding up to three external footswitches, each assigna-ble to a number of functions
- MIDI In and Out. MIDI IN supports PC, CC (over nearly every available parameter), and Tempo Clock
- USB-C port to connect to Windows or Mac and interface with EHXport⢠app (coming soon)
- 96kHz / 24-bit sample rate conversion
- Supplied with 9.6VDC / 500mA power supply