Our high-end cable roundup concludes with cables from Solid Cables, DiMarzio, Mogami, Zaolla, Evidence Elixir and more.
The Round Up continues! This time we take a look at 11 high-end guitar cables from nine companies, demonstrating designs that move beyond the conventional in the relentless pursuit of tone. Part One did two things for you. First, it presented the basics of cable design, explaining what goes under a cableās jacket and how design choices can affect sound, handling and durability. Second, rather than covering the vast quantity of basic quality cables that are out there, we connected the theory of cables to practice through our experienced ears and eyes as a long-time guitar player and bass player. For more, listen to our podcast discussing the process of checking out the cables. |
Some Words on Subjectivity For both this article and our previous one, we had to make some choices that would provide you with practical information for future cable decisions. We thought about developing a para-scientific test of some sort ā recording each cable and analyzing sound maps, applying extensive rating scales, listening to a comparison of single-coils to humbuckers ā all of that.
High-End Skeptic? Click here for an update to Part One -- we''ve added a cable company who wants you to know that not everyone is buying into the idea that high-priced cables are worth it. |
Finally, we feel itās important to remind you that weāre not out to pick a winner ā at this level, theyāre all winners. Whatās important is how the sound of a cable fits your needs for a particular situation. The guitar, pickups, and amp youāre using; the sonic mix your playing fits into; and even the acoustics of your musical setting all can favor one cable over another. Change one of those elements and a different cable might make a better choice.
For example, a deeper sounding cable with a warmer top end might be just the thing for one setting, but a cable with a stronger top end, more attack, and less bottom will be whatās called for when you need to change things up. As well, some designers argue that a cable with a wide frequency response lets you have the full sonic palette to work with, shaping the final sound with your guitar and your amp.
How We Compared Cables
Cables Tested This Month: Solid Cables Dynamic Arc Ultra Jena Labs GT Electric Guitar Cable DiMarzio Steve Vai Signature Cable Elixir Cable Mogami Platinum Alleva~Coppolo Artist Cable Klotz La Grange Klotz T.M. Stevens "Funkmaster" Zaolla Silverline Artist Zaolla Silverline Standard Evidence Lyric HG Cables Tested in Part One: ProCo Lifelines Line Cable ProCo Lifelines Guitar Cable Planet Waves Circuit Breaker Planet Waves Custom Series Planet Waves Classic Series George L''s Prepackaged Cable Mogami Gold Whirlwind Classic Standard Whirlwind Leader Whirlwind Leader Elite |
The categories of sound, handling, and durability emerged from our first encounters.
Then we took the cables home to listen carefully through gear that would reveal sonic differences among the cables. We kept things constant for each cable ā one axe, one amp, one amp setting, one room.
For guitar, Bob used a Tom Anderson Cobra Special-S with Anderson mini-humbuckers plugged into a David Allen "Old Flame" with a Weber 15" Californian speaker. For bass, Danās used a passive ā74 Fender Jazz Bass run through an SWR Workingmanās 12" bass combo amp. We tried to set up our gear the way we would for a gig ā relatively flat.
Rather than rehashing cable theory at this point, we refer you back to Guitar Cable Roundup, Part One. For now, just keep in mind that different combinations of conductors, shielding and insulators can produce cables of differing volume and frequency response. Likewise, the materials that are chosen can make a cable feel stiffer or more limber. And the way that plugs are attached and protected can affect a cableās durability.
What we offer here ā in addition to an overview of the cableās construction and our impressions of sound, handling and durability ā are comments by cable designers from these companies. We focus on how their design philosophy has translated into an actual cable.
The CablesSolid Cables Dynamic Arc Ultra |
About the cable: Braided shielding, aerospace-quality single copper conductor, triple carbon/braid shield, satin nickel diecast Amphenol plugs, tear-resistant protective outer armor. MSRP $135.95 for 12ā cable. |
The Solid Cables Dynamic Arc Ultra, dressed in a red, 3D-like jacket has the feel of a reptile ā not annoyingly so, but you can tell this is a cable that will last. You might see something similar under the hood of a high-end European car.
"I come from a hot-rodding background," explains Solid Cables president Nial McGaughey. So when he went in search of a super-durable jacket for his new cable design, thatās where he went ā the world of race cars and aircraft, where everything has to go faster and longer without breakdown. "I kept seeing this protective armor jacket on their wiring and thought it was a perfect match for audio use," said McGaughey.
The result? A cable thatās tough, eliminating twist breakage as well as directional coiling.
Not only is McGaughey into hot-rods, but he also loves ideas from the 1950s. And thatās where he began his design of the Dynamic Arc Ultra, drawing on the classic design of a single conductor, an insulator, and a shield. From there, he added triple carbon/braid shielding. For his conductor, he sought out the purest copper he could find ā aerospace quality. And to keep the cable working, the plugs are chemically welded using the same material as on dragsters and fighter jets. No nonsense, certainly!
In all, this cable was four or five years in the works. "I tried to strike a balance in playability. Extremely low capacitance cable sounds too clinical. I wanted a cable that transfers sound beautifully without coloring it." McGaughey feels he has created a cable that sounds great in multiple settings, from the music store to the stage to the recording studio.
Bob says: The low mids on this cable are very warm sounding. There is also a sweet, non-hyped top end and solid bottom. Transients were good but not particularly punchy. It seems to sound a bit more solid with the logo end plugged into the amp. The handling characteristics are good, with the unusual jacket material seemingly unkinkable. Visually, the cable gave off a very cool high-tech vibe.
Dan says: This cable has a full bottom, clear and detailed. A nice transient response, yet not brittle sounding. The jacket is a bit smaller than some, but itās the sexiest material ever. A tiny bit stiff, but easy to manage on stage. As far as durability, the jacket is probably alligator proof. Between the potted plugs and the strain relief, this is one cable you can count on.
Jena Labs GT Electric Guitar Cable |
About the cable:Two high-purity, cryogenically treated copper conductors in separate cables twisted together, lifted shields on one end, fully potted thermoplastic terminations, MSRP $159 for 12ā cable. |
"Itās not like something new," says Jennifer White Wolf Crock of Jena Labs, where this cable has been made by special order over the last 15 years. Recently, though, Jena Labs began selling the GT Electric Guitar Cable through Rockett Pedals (rockettpedals.com).
One of the central goals of this cable is very high bandwidth, meaning that it has the potential of reproducing a wide frequency response from its signal source, such as your prize guitar. The cable is also designed for greater dynamics and better phase alignment across the audio spectrum. "The cable uses high purity copper, the best grade on the planet," Crock adds.
The late legendary jazz bassist Leroy Vinegar was one of the early users of this cable. While he valued its audio purity, he also took advantage of the sonic difference resulting from connecting the shield end to either an amplifier or an instrument. "The tone is shaped by the lowest net ground impedance. Just flip the cable end for end and you have a choice of sounds," Crock explains. And as you look at the cable, you can see that one end has a blue plug, the other a black one, just to help keep things straight. A well-known jazz guitarist also favors the GT Cable, but Crock declined to offer a name because of endorsement complications.
Along with the cryogenic conductors and the lifted shield, the thermoplastic potting in the plugs creates a very reliable connection. Sonically, this potting has a benefit, too, damping any chance of metallic resonance.
In all, this cable is one of the most unusual designs we worked with. A friend saw it and dubbed it "the umbilical cord" because of its pair of cables twisted together. But this innovation produces positive sonic results, and surprisingly, isnāt as awkward to use as it might appear.
Bob says: For guitar I much preferred to plug the blue end into the amp; giving excellent detail. The black end into the amp was a bit muddy. Transients were good and a sweet top end made for a cable that was easy to listen too. Its appearance brought to mind the DNA double helix. It was the heaviest cable per foot tested and felt unwieldy while coiling. Both ends are potted in resin, giving good support to the weight and providing strain relief.
Dan says: Great presence, yet an even, rounded top and a great bottom with the blue end on the amp. With the black end on the amp, there is greater clarity and more emphasis on the mids, yet it still sounds full. As far as handling, what can I say? Itās two cables in one, yet itās still manageable. And I think youād probably break your guitar before you could break the cable while playing.
DiMarzio Steve Vai Signature Cable |
About the cable:Copper braid and conductive PVC shield, single stranded center conductor, PVC jacket with black nylon overbraid, silver solder connections, Switchcraft gold-plated plugs with integrated PVC strain relief. MSRP $150. |
"I donāt believe a cable should attenuate any frequency, but a louder overall cable is better," says DiMarzioās Steve Blucher, who has worked in R&D for the company since its early days. "Steve Vai is very precise about what he wants in frequency response. Heās a very careful listener."
Blucher explains that true frequency response was therefore important in the design of the cable. He says that Vai is one of the worldās best players at double tracking, disciplined and focused in his musical judgments. That drive for high fidelity was a key ingredient in designing this cable for Vaiās needs.
"This cable is, to my ears, pretty uncolored and efficient," Blucher asserts. He feels that any changes to a guitarās signal should be made by a guitarist who has the whole tonal palette available to work with. Some cable designs, he acknowledges, are intentionally designed to shape the sound for a specific instrument or sound, but he has chosen to avoid that route.
"You have to know frequency response of the instruments, but guitar and bass pickups have the same frequency response so something has to be left out. And a vibrating bass string produces a hellava lot of harmonic content."
Summing up the outcome of the Steve Vai cable design, Blucher adds, "Mr. Vai seems very happy with the cable!"
Bob says: One of the least sonically hyped cables tested, its strength is in its midrange detail. I suspect this cable would be excellent in a high overdrive situation. The neutral sound made it easy to listen to. The custom plugs, complete with mystic amulet are cool, and the braided jacket has a retro vibe but seemed to contribute to increased handling noise and some difficulty with coiling. I would have liked to see more strain relief.
Dan says: This cable is sonically in the middle ground, not overly bright or deep. Slightly less punch than some others weāve tested, but sounds nice in the mids. Itās a slightly thinner cable, a bit stiff and coily. Thereās a nice feel to the black braided cloth jacket. The strain relief is something different, using a plastic fitting right at the plug without any heat shrink. I always like some heat shrink with traditional plugs like the Switchcraft plugs this cable uses.
Elixir Cable |
About the cable:Alloy center conductor, 95% coverage braided shield, patent-pending insulation, proprietary plug design with gold-plated sleeve and tip. MSRP $69.95 for 20ā cable. |
A starting premise for this cableās design was that the inductance of a pickup combines with the capacitance of a cable to create a guitar signalās frequency response and decay. "We asked them to sample and model a pickup and cable so we could see what was happening," says Craig Theorin, product manager at Elixir.
What they discovered was that a typical Strat pickup has a peak response at 4 khz and rolls off 3db by 6.5 khz. And thatās with a 3ā cable of typical capacitance. Their testing further discovered that a typical 20ā cable peaks at 2 khz and goes down 3 db by 3.5 khz.
Elixirās goal, then, was to create a 20ā cable that would produce a frequency response similar to that of the 3ā cable.
"I canāt share a lot of the design details, because weāve applied for a patent, but I can say that we use a high strength alloy conductor rather than plain copper," Theorin explained. "And to get the capacitance down, you need to build a lot of air into the dielectric." This design consideration adds more separation between the shield and the cableās center, making for a thicker cable.
In all, Theorin believes his sonic design goal was achieved while also making the cableās price reasonable. "We donāt want to be a premium cable that you canāt find in stores," he adds.
Bob says: A bright cable with good sustain and detail which gives it an aura of transparency. Attack transients and dynamics were good. Not as punchy as some but well balanced and easy to listen to. The cable handled a bit stiffly but coiled okay. I didnāt care for the non serviceable proprietary plugs, but of course this helps protect the secret of the structure. Maybe once the patents are received we will see more easily serviced plugs with better strain relief.
Dan says: This cable has nice detail, clear and even sounding response across the spectrum, with a full bottom. Itās a thicker cable, but flexible and relaxed ā maybe a little toward the heavy side. The proprietary plugs seem sturdy and the heat-shrink strain relief is okay, but could be a bit longer. I think this cable will be a survivor.
Mogami Platinum |
About the cable:$145 for 20'' cable at select Guitar Centers |
The step up in quality and sound has a lot to do with a step down in Capacitance of the cable.
The new cable features Mogamiās fine-stranded 20 ga center conductor now surrounded by a fairly thick foamed, high dielectric poly insulator, which is in turn surrounded by a double spiral wrap of fine copper shielding and a lead-free poly jacket.
Mogami believes in trying to optimize the overall sound intended by the pickup designer without revealing frequency anomalies often found in some other high end cables.
In Philās words: "I would definitely clarify that I donāt think revealing is the right concept, but that the designers are expecting a specific range of electrical load on the pickup. If it is too far off the mark, the frequency response will be messed up."
The Platinum is terminated by Neutrik connectors, with the instrument end utilizing their cleverly designed "Silent Plug," which silences the signal automatically when the plug is removed and reinstates it immediately and automatically when it is plugged into the instrument
Bob says: This cable sounds good enough to eat. With its ample tight bottom, muscular mids, and sweet voluptuous highs⦠well, you get the picture. It has great dynamics and punch as well. It is somewhat thick and heavy, possibly due to the extra layer of spiral wrap shielding, but is flexible and handles well.
Dan says: Great detail, with a high-mid emphasis and excellent transients. Really a clear-sounding cable that should be nice for slappers. Itās a bit heavier and thicker than some, but still flexible and relaxed. The Neutrik silent plug is a nice touch, letting you change axes without any buzzing. The built-in strain relief in these plugs makes for a sturdy cable.
Alleva~Coppolo Artist Cable |
About the cable:Sold directly through Alleva~Coppolo. Call for pricing. |
Jimmy Coppolo is a renowned guitar and bass maker located in New York (though he''s relocating to California soon). He designed his cable to optimize the sound of his instruments when played through high quality amplification. He has been working for several years with a cable designer/manufacturer in the U.S. to get it just right and prefers to keep the details of design in house.
Bob says: The Alleva~Coppolo exhibited excellent tonal balance with a slightly hyped, but sweet high end. There was excellent detail. Both natural and artificial harmonics came through nicely and there was good sustain.
Dan says: Excellent definition, both in the transients and the high end. Good bottom, too. This should make an excellent bass cable for muddy rooms. It made my Jazz bass bark. The cable design is a bit thinner than some, yet somewhat stiffer than expected ā probably because of the 95 percent shield. The single heat shrink under the G&H plugs could be a bit longer, but it does the job.
Klotz |
About the cables:The slim profile of the La Grange guitar cable and the even slimmer T.M. Stevens "Funkmaster" Signature cable belie the underlying sophistication of the cable design. There are six layers to these cables: an inner core of stranded copper is surrounded by insulation. This inner insulation layer is surrounded by the key ingredient in the design, which is a white conductive plastic layer that is not terminated at either end. That conductive plastic is in turn surrounded by another layer of insulation which separates it from the spiral copper shield; it is all held together by a rubber jacket. |
Kendrick Amplifiers provided two cables, both manufactured by Klotz in Germany, a very large cable company making a wide variety of cables for the European pro audio market. Kendrick is the US distributor and vendor.
Gerald Weber, master of vintage sound and head of Kendrick Amps sums up the theory behind the cable design:
"The German engineers at Klotz have rethought guitar cable design. Instead of using the standard ācenter conductor/insulation/shieldingā scenario, which is used by virtually all other cable manufacturers, Klotz adds a conductive plastic material in between the center conductor and the copper shielding. Of course, this conductive plastic is insulated on both sides from the conductors (center conductor and the shielding). The conductive plastic is not connected to anything electrically, so it is not a path to ground. The electrons on the copper shielding cannot "see" the center conductor through the conductive plastic shielding and the electrons on the center conductor cannot "see" the copper shielding through the conductive plastic shielding, so the electrons are forced to go all the way to the amplifier''s input rather than "jumping ship" across the cable. How does this affect tone? The signal getting to the amp is the same signal that came from the guitar, resulting in noticeably longer sustain, more focus, and better clarity. The clarity is particularly noticeable when playing close voicings, such as a major 7th or a minor 9th. But most of all, it lacks the filtered sound found in other cables."
The LaGrange is terminated by premium Neutrik plugs and the "Funkmaster" by custom spun anodized gold aluminum connectors that would look just right with that silver lame jump suit youāve been just dying to wear, but didnāt have the proper accessories.
LaGrange ($89.99 for 20'')
Bob says: The LaGrange was loud and punchy, with a full range guitar spectrum that was well balanced. The mids were well-detailed and highs very present without being strident. Good picking attack transients combined with excellent sustain. Definitely a cable I could listen to for hours.
Dan says: The LaGrange has a big bottom and clear top, nicely detailed with super transient response. The traditional diameter cable is a bit stiff and coily, but not really a problem. The built-in strain relief of the Neutrik plugs should help this cable last a long time.
T.M. Stevens "Funkmaster" ($88.99 for 20ā)
Bob says: The "Funkmaster" is designed primarily for bass but is a pretty nice sounding guitar cable. I sort of nicknamed it the "smile" cable because it had strong lows and highs, with the mids sounding a bit attenuated. Both cables handled very well in their rubber jackets, with the thinner Funkmaster getting the nod for flexibility. Both are well made and should hold up well under duress.
Dan says: The "Funkmaster" has a warm but clear top with good detail and transient response and a bit of midrange emphasis. It has a typical cable diameter with good flexibility. Its unusual orange aluminum plugs have heat shrink over the connections, plus an unusual spring strain relief. Should be a sturdy cable that brings home the funk.
Zaolla Sliverline Cables |
About the cables:Zaolla cables are distributed by Hosa Technology and use hi-tech coax design combined with unique material choice: a solid silver center conductor. The cable itself has nine, yes nine separate layers. Thatās a lot of jam in that jelly roll. |
The core conductor of the cable is 20 ga pure silver wire; with an emphasis on the pure. More on that later. That core is encased in a high dielectric insulator which is in turn wrapped with enameled copper wire. The copper and the silver are connected on both ends at the tip of the plug. The next layer is an FPE precision foam high dielectric insulator which is encased in a conductive PVC shield which is then surrounded by a braided oxygen-free copper braid. There is then a surround of Teflon lubricated paper to provide some slippage between the conduction core and the jacket, which has two layers of PVC.
In other words there are redundant center connectors and shields.
The cable is terminated by premium grade G&H connectors. In the Artist series, the cable is sent to G&H and the connections are crimped by a proprietary pneumatic process which provides solder-free contact. In the Standard series, the plugs are soldered at the factory using high silver content solder.
The only difference between the standard series and the Artist series is the method of attachment of the plug.
There is no dispute that silver is a more efficient conductor. However, there have been some concerns about its durability. Rob Manning of Zaolla has assured us that there is a very large difference in the durability of alloyed silver used in other applications and the pure silver used by Zaolla, with the pure being far tougher. In fact, Rob states, "We never had a cable returned because of breakage." He says there had been some problems with the plug previously used on their cables, but absolutely no problem since switching to the G&H premium plugs. A trip to the G&H website demonstrated to me exactly how well these plugs are built.
Silverline Artist (MSRP $178 for 20'')
Bob says: I found this cable to be very revealing of tones not heard previously from my Tom Anderson. The top is very bright and uncovered a certain brittleness in the very high overtones. The midrange sprang from the speaker cone with super detail and the lows were full and weighty. Transients were handled well with a bit of extra sparkle. All of this detail and top end detracted a bit from single note punch and chords came through as overly bright. I was able to compensate with EQ adjustment; but this just shows how much more signal is present in this cable than the average. Oh, yeah, this cable is loud. Considering how much "stuff" is built into this little gray snake it was agreeably flexible, but a bit on the heavy side.
Dan says: A bit thicker sound than the standard version, this cable seems to have great bandwidth, detail and transparency. As with the standard model, itās a thicker cable, a little stiffer and heavier than many.
Silverline Standard (MSRP $155 for 20'')
Bob says: This is the exact same cable as the Artist except for the soldered connectors. It sounded the same except that it was not quite as bright. I found this cable much easier to listen to with my reference settings. If you have a guitar with an "ice pick" bridge pickup, this might balance things out a bit better.
Dan says: A bit rounder sounding top end, with a liquidy tone on the Jazz and an even low end, although not overly deep. Well-defined sound without being harsh. As might be expected from this cableās construction, itās a thicker cable, a bit stiff, coily, and heavy. Theyāve made this one with a nice heat shrink over the top of the plug. I wonder about the durability of a solid center conductor, but that should be taken care of by the thicker jacket and stiffer design.
Evidence Lyric HG |
About the cable:Twin 20 ga solid copper signal conductors of extra high grade copper surrounded individually by conductive carbon wrap provides the core which is then insulated from the braided copper shield by a high dielectric foamed poly. All is surrounded by a two-color woven nylon jacket and terminated by premium Neutrik connectors. $155 for 20'', distributed by Audionova. |
Tony states that if he could build a perfect cable it would have absolutely no effect on the sound emanating from the output of the source device, and that has been his design goal over these many years. To accomplish this, he relies on premium solid copper conductors in 20 gauge size, which he feels is compulsory for unimpeded signal flow. The conductive carbon wrap around each conductor reduces microphonics in high gain situations. The high air content of the foamed poly insulator greatly reduces cable capacitance. The high density braided copper shield does not carry signal; that task being the sole responsibility of the conductor pair; one carrying the hot side and the other the return side.
Tony is the first to admit that the necessary components of this cable add up to it being rather stiff.
An interesting aside is that this same cable is terminated with XLR connectors and sold as a microphone cable for studio use, where it has developed a devoted following of well-known engineers. Now, that is saying something about signal quality.
The cable specs out with a bandwidth of 20-20k Hz. With this kind of bandwidth, the Lyric HG is ready for any complexity of signal thrown at it and will handle it with ease, adding no coloration of its own.
Very open mindedly Tony recognizes the validity of other cable design philosophies and realizes that a very revealing cable is not for everyone, saying, "I would prefer that no one purchase anything without listening to it."
Bob says: The Lyric HG cable was very open sounding with an extended high end that I had heard somewhat on the Silverline Artist. The extended top was combined with a smooth bottom and a detailed mid to give the Anderson mini-buckers a rather clinical sound. I did miss the punch of a couple of the other cables, but good dynamics helped make up for that.
Trying to coil this 20 footer was like wrestling with a live snake, and if I were to use one for gigging I would probably go for a shorter length. Tony also mentioned that the cable tended to loosen up with time. Iām not sure if that is good or bad, as the solid conductors already would tend to have a shorter service life. A fine sounding cable especially for studio and complicated stage rigs.
Dan says: This cable has one of the brighter top ends weāve heard, extra transparent. It has nice bandwidth and transient response, with superb focus on the lower end. However, this is the stiffest cable Iāve tested, which isnāt a surprise given the two solid inner conductors. The nice braided cloth jacket is somewhat coily on the floor. The Neutrik plug provide great strain relief.
For more, listen to our podcast |
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
Guitarist William Tyler, a restless sonic explorer: āI would get bored staying in the same place.ā
The expansive instrumental guitarist/composer pushes himself out of his comfort zone, beyond the boundaries of his neo-Americana wheelhouse on Time Indefinite.
Mastering an instrument and an artistic styleāand then being recognized and rewarded for itāis a daunting enough accomplishment that one might be forgiven for feeling that, once reached, itās the be-all to end-all. Guitarist William Tyler, for all the praise and opportunity that have come his way over the past decade and a half, isnāt content to plow the same furrow. With his evolutionary new album, Time Indefinite, this son of the South is pushing further afield, not completely forgoing his virtuosic neo-Americana lyricism but incorporating it into static-friendly, otherworldly studio experimentation.
The disorienting opener of Time Indefinite, āCabin Six,ā begins with a loop of hovering blare that, lasting nearly a minute, might lead listeners to think something is amiss with their turntable stylus; this gradually dissipates into an eddy of railroad-like whine from which a chiming 6-string hook emerges only to finally sink into a murky, detuned drone. The simple, lovely āAnima Motelā and almost naĆÆve āConcernā are eminently approachable, and āHowling at the Second Moon,ā with its alternate, Joni Mitchell-inspired tuning, feels like something that could have appeared on one of Tylerās previous albums (even if it was recorded on his iPhone then texturized via a bump to a cassette recorder and dosed with added effects). But the distressed sonic sculptures of āThe Hardest Land to Harvestā and āElectric Lakeā or the sampled, distorted church choir laced through āStar of Hopeā have a ghostly resonance unlike anything the guitarist has done before.
SoundStream
āI think itās important for artists to push themselves into new ways of working,ā Tyler says. āMost of my favorites, artists I follow over the long trajectory of their careers, have done that, whether itās in music, film, visual art, novels. Of course, some people have a method or style that they stick to, and it serves them. And I wouldnāt want to put anything out into the world that I wouldnāt myself, as a consumer, enjoy spending time with and taking seriously. That said, I would get bored staying in the same place. The new record is about making something that was a little less chained to certain kinds of guitar music, where I felt like I might be running up against my creative limitations or enthusiasms in that area. I wanted to reinvent myself for myself, to explore fresh possibilities, even with the guitar as my primary tool.ā
Tyler, whose parents were hitmaking Nashville songwriters, made his name early on as a young guitar phenom playing in such alternative-minded, country-influenced bands as Lambchop and Silver Jews, before appearing on the fourth volume of the influential Tompkins Square āImaginational Anthemā series of new-era American Primitive guitar and then making his full-length debut as a solo artist with the 2010 album Behold the Spirit. As a player and composer, he was recognized for subsuming the early influence of John Fahey and the Takoma style into something vibrantly his own.
Tyler keeps his tools simple and his ears open.
Photo by Angelina Castillo
William Tylerās Gear
Guitars
- Mid-1950s Martin D-18
- 1974 Gibson SG
Pedals
- Hologram Electronics Microcosm
- Strymon El Capistan
- Line 6 DL4 Mark II
Once Tyler signed to the stalwart indie-rock label Merge, the guitarist released a string of warmly received electro-acoustic albums: Impossible Truth (2013), Deseret Canyon (2015) and Modern Country (2016). There was also a marvel of a solo performance at Nashvilleās Third Man Records released as an LP in the āLive at Third Manā series. A few years later came the album Goes West, its title alluding to a pre-pandemic move to Los Angeles, and its arrangements flecked with atmospheric swirls and sunny, almost pop-like touches. Tyler also created an aptly rustic score for First Cow, director Kelly Reichardtās 2019 art house Western, and the guitarist capped his Merge run in 2023 with Secret Stratosphere, a live album of soaring full-band versions of numbers from his back catalog, credited to William Tylerās Impossible Truth.
āI wanted to reinvent myself for myself, to explore fresh possibilities, even with the guitar as my primary tool.ā
Tyler has released covers of such disparate artists as Alex Chilton, Michael Chapman, Fleetwood Mac, Yo La Tengo and Neu!/Harmoniaās Michael Rother, not to mention classical composers Handel and DvorĆ”k. The broad listening palette suggested by these choices always pointed toward a more intrepid path. But the album that most presaged the spirit of Time Indefinite is New Vanitas, a small masterpiece of pandemic creation that found him threading beautiful, involved guitar melodies through hypnagogic soundscapes, often haunted by lo-fi snatches of radio broadcasts and sotto-voce dialogue, as on the evocatively titled āSlow Nightās Static.ā New Vanitas even includes a woozy track called āTime Indefinite,ā the foreshadowing title a favorite that he borrowed from a film by documentarian Ross McElwee.
On Time Indefinite, Tyler says, āI was drawn to more ambient music, including by guitarists like Christian Fennesz and Norman Westberg, but also groups like Stars of the Lid and Boards of Canada.ā
Another signpost on Tylerās new road was a collaboration with Four Tetās Kieran Hebden that yielded the folktronica single āDarkness, Darkness.ā Then last year brought the standalone track āFlight Final,ā Tylerās first release for the artist-led imprint Psychic Hotline, and a slice of musique concrĆØte that brings to mind Brian Enoās association with German ākosmischeā pioneers Harmonia and Cluster. That recording, the first fruit of an association with collaborator and co-producer Jake Davis, set the stage for their work together on Time Indefinite. Most of the pieces on this album, whether blown-out lullabies or spectral hymns or folk-art abstractions, feel like memories refracted in a dream diary.
āThe process of working on this album helped me get better at tempo, just feeling more comfortable playing slower.ā
āThe new album started out as a series of experiments, without necessarily thinking that they were going to make for a whole recordāthough, eventually, Jake and I heard a thematic coherence to what we were coming up with,ā Tyler explains. āIt took a long while to come together, but the roots of the music are in the Covid lockdown. The emotional landscape of that time changed the things I was listening to as well as the music that was coming out of me. I was drawn to more ambient music, including by guitarists like Christian Fennesz and Norman Westberg, but also groups like Stars of the Lid and Boards of Canada. I had gone back to Nashville and was dealing with a problematic mental state. Among other issues, I can tend to approach things too fast, spiritually, emotionally, and physically. Beyond using different recording techniques and learning new ways of creating a piece of music, the process of working on this album helped me get better at tempo, just feeling more comfortable playing slower.ā
The guitars Tyler used in the studio for Time Indefinite were his āfamily heirloomā Martin D-18 and a beloved Gibson SG, both of which are his main live instruments. For effects pedals, he favored a Hologram Electronics Microcosm (āfor low-pass filter looping and really weird granular stuffā) and a Strymon El Capistan (āfor delays kind of like the old Electro-Harmonix Memory Manā), though Davis also did a lot of processing with an array of his own. One serendipitous piece of gear was a 1959 Webcor Regent reel-to-reel machine deck that Tyler liberated, still new in the box, while helping to clear out his grandfatherās storage space in Mississippi. Davis was inspired to make old-school tape loops with it, including that startling sound that opens the album. Tyler would play arrhythmic, asymmetrical parts that Davis would record and chop up for the loops.
Tyler at this yearās Big Ears Festival with Jake Davis and Cecilia Stair.
Photo by Ross Bustin
Tylerās recent spate of collaborations, from Davis and Four Tet to pedal-steel guitarist Luke Schneider, āhas kept me on my toes, challenged me and recharged me,ā he says. āThe insularity of being a solo instrumentalist and writing everything by yourself can be freeing at first. And it can be motivating, as when I first started learning how to play fingerstyle guitar, with all the practicing. But I donāt like the isolation of it now. These days, I prefer working with other people. It pushes you into other genres, those different modes of communication.ā
Another recent colleague, Marisa Anderson, has credited Tyler for his open, venturesome spirit as a studio partner, with his default attitude of āyesā when they were making their absorbing duo album, Lost Futures. āThat was something I really enjoyed about playing with Williamāhe was up for everything,ā she said. āI was like, āThereās the diving board,ā and heād say, āLetās go.āā
āThese days, I prefer working with other people. It pushes you into other genres, those different modes of communication.ā
Tyler is quick to credit artists and albums that have inspired him. Along with the aforementioned players, he namechecks a vast range of others, from Jimmy Page to Jeff Parker, Bill Frisell to Fred Frith, Bruce Langhorne to Nels Cline, William Ackerman to Sandy Bull. Tyler muses about how some of his Nashville session heroes should āhave gotten weirderā¦. I wish Chet Atkins had dropped acid, listened to a Sonny Sharrock LP, and made his own noise record, you know?ā Regarding his touchstones for sonic left turns, he points to Wilcoās Yankee Hotel Foxtrot, as well as Talk Talkās emotive, avant-minded swansongs Spirit of Eden and Laughingstock.
āThose two Talk Talk albums are beyond masterpieces, with some great guitar playing,ā Tyler says. āThey were in essence made by an artist, Mark Hollis, who did not care about being commercial anymore and certainly not about being able to replicate the stuff live. When Jake and I were recording āHowling at the Second Moon,ā that sort of attitude was a reference point, kind of like, āWell, instead of trying to get away from the lo-fi weirdness of my original iPhone demo, why donāt we lean into it?āā
Ever thoughtful and candid in conversation, Tyler has been exceptionally transparent about coping with personal loss and midlife crises, as well as going to rehab for the over-indulgence of alcohol. Knowing that, one can hear grief and anxiety in the whorls of Time Indefinite, with the passages of guileless 6-string representing a nostalgia for less complicated times. āItās a mental landscape record for sure,ā he says. āFor fans of my previous albums, it might not hit the same way, I realize. But I hope this record says to people that itās all right to take chances with how you express yourself, with how naked and raw that can be. It has a purposeful arc and is meant to prompt things that arenāt super fashionable in todayās ephemeral, constant-content culture, like deep listening, emotional ambiguity, self-reflection, you know?āYouTube It
This three-song set from last year showcases the expansive cosmic country sound of Tyler and his Impossible Truth band, which includes a Kraftwerk cover.
The country virtuoso closes out this season of Wong Notes with a fascinating, career-spanning interview.
Weāve saved one of the best for last: Brad Paisley.The celebrated shredder and seasoned fisherman joins host Cory Wong for one of this seasonās most interesting episodes. Paisley talks his earliest guitar-playing influences, which came from his grandfatherās love of country music, and his first days in Nashvilleāas a student at Belmont University, studying the music industry.
The behind-the-curtain knowledge he picked up at Belmont made him a good match for industry suits trying to force bad contracts on him.
Wong and Paisley swap notes on fishing and a mutual love of PhishāPaisley envies the jam-band scene, which he thinks has more leeway in live contexts than country. And with a new signature FenderĀ Telecaster hitting the market in a rare blue paisley finish, Paisley discusses his iconic namesake patternāwhich some might describe as āhippie pukeāāand its surprising origin with Elvisā guitarist James Burton.
Plus, hear how Paisley assembled his rig over the years, the state of shredding on mainstream radio, when it might be good to hallucinogenic drugs in a set, and the only negative thing about country-music audiences.
PG contributor Tom Butwin profiles three versatile - and affordable - acoustic guitars from Cort, Epiphone, and Gold Tone. These classic designs and appointments offer pro-level sound for an accessible price.
Cort Essence Series ES-GA4 Grand Auditorium Cutaway Acoustic Electric Guitar, Natural Semi Gloss (GA4NSG)
Epiphone Slash J-45 Acoustic Guitar - November Burst
The classic J-45 has been the choice of legendary musicians ever since it was first introduced in 1942. Known as The Workhorse, it is Gibson's most famous and most popular acoustic guitar model. Now Epiphone has released a new Inspired by Gibson"' J-45"' with all of the features players want, including all solid wood construction, a comfortable rounded C neck profile, 20 medium jumbo frets, the 60s style Kalamazoo headstock shape and a gorgeous Aged Vintage Sunburst finish. The FishmanĀ® Sonicore under-saddle pickup and Sonitone preamp make this Workhorse stage-ready too. Optional hardshell or Epilite"' case available separately. A battery is not included. To power your pickup, you will need a 9-volt battery.
Gold Tone The Bell Acoustic-electric Guitar - Natural
Gold Toneās Festival Series: The Bell stands out by blending classic craftsmanship with stage-ready versatility. Its all-solid wood constructionāfeaturing a Sitka spruce top and mahogany back and sidesāproduces a rich, balanced tone that shines in any setting. The slope-shoulder design offers both comfort and clarity, perfect for fingerstyle or strumming. With a slim "D" neck, Fishman electronics, Grover tuners, and DāAddario strings, The Bell is crafted for players who demand tone, playability, and reliable performanceāon stage or in the studio.