Explore the history and mystery of three classic effects.
Letās take a dive into the swirling, shimmering waters of modulation and investigate the evolution of chorus, flanging, and phasing. Itās no exaggeration to suggest that nearly every electric-guitar-based album of the past 40 yearsāand every hearty pedalboardāfeatures one or more of these classic effects. Their development is integral to the soundtrack of our lives. In charting their history, Iāll cover a mix of classic pedals, vintage studio units, and elusive rarities, giving examples of their use in recorded music.
Iāve had a lifelong fascination with vintage and unusual recording gear and effects, and my company, Soundgas.com, specializes in supplying them. So effects are definitely my bag and I could fill this magazine just writing about vintage phaser pedals. But such passions tend to be personal, so inevitably there will be omissions in this article that, for some readers, are glaring, and for that I apologize.
As a certified delay freak, itās perhaps odd that my favorite of the three modulation effects, phasing, involves no delay at all. And my favorite chorus pedal happens to be a flanger. And my favorite flanger is the Tape Phase Simulator. Confused? Read on.
Modulation Demystified
Whatās modulation? A source signal is modified by another signal, which, in phasing, chorus, and flanging, is a wave created by an oscillator. Chorus and flanging use a modulated delayed signal mixed back in with the source (or dry) signal. The main difference between the two is that chorus requires a longer delay than flanging. Phasing requires no delay: A series of evenly spaced frequency notches are slowly swept across the frequency bandwidth, resulting in phase cancellation. Flanging uses 1 to 5 ms of delay and swept harmonically spaced frequency notches that create deeper phase cancellations. Chorus is very similar to flanging, but uses 5 to 25 ms of delay time to create a thickening or doubling effect, and is often used to shape or widen a stereo image.The Hammond Organ Company was a pioneer in modulation, as they also were in the classic spring reverbs I covered in āLords of the Springsā in the June 2018 issue. And the first electronic modulation effect was Hammondās legendary Scanner Vibrato, which debuted in the mid 1930s. This was an electromechanical device that created a rich, distinctive chorus and vibrato effect. In 2015, Analog Outfitters resurrected this device as their Scanner, which was reviewed in PGās January 2016 issue. That review includes an audio sample where you can hear the Scanner in action, and you can see a demonstration on YouTube, under the search term āAnalog Outfitters The Scanner Vibrato & Reverb Effect Demo.ā
All You Need Is Flange
If you take two tape machines or turntables and simultaneously play the same recording on each while manually slightly reducing the speed of one of them, you get flanging. Flanging got its name because you achieve this effect by pressing on the rim, or flange, of the tape reel. Or the term was coined by John Lennonāin response to a nonsense explanation of automatic double tracking (ADT) by George Martin. Whichever version you prefer, the technique predates the Beatles by at least a decade, and possibly two. Les Paul used acetate discs as far back as 1945 to achieve the effect, and David S. Gold and Stan Ross, the owners of Hollywoodās famed Gold Star Recording Studio, claim to have released the first commercial recording to feature flanging, āThe Big Hurt,ā by Toni Fisher, in 1959.Abbey Road engineer Ken Townsend invented ADT in 1966, when John Lennon became tired of recording double-tracked vocals. A second tape machine, previously used as a delay, was varispeeded by an oscillator to mimic the subtle pitch variations of a separate performance. The creative possibilities of this process were not missed by the Fab Four, and Revolver features many examples, although the most famous, Lennonās vocal on āTomorrow Never Knows,ā is not ADT but an actual doubled recording. The following year, Glyn Johns engineered the Small Faces at Olympic Studios and created one of the most distinctive examples of ā60s flanging: the single āItchycoo Park.ā After that, and, of course, the Beatlesā āLucy in the Sky with Diamonds,ā the studio gloves were off and tape flanging was all over classic ā70s recordings, from David Bowieās āStation to Stationā to Queenās āKiller Queenā to the Eaglesā āLife in the Fast Lane.ā
The Shin-ei Uni-Vibe was a descendent of the companyās Honey Psychedelic Machine and Jax Vibra Chorusāand Soviet propaganda radio transmissions.
Phasers Set to Stun
The first phaser devices came from the Far East, thanks to the propaganda transmissions of Radio Moscow interfering with Japanese medium-wave radio.According to Shin-ei designer Fumio Mieda, the powerful signals bounced off the ionosphere, which varies in height, to create āchanges in pitch, phase, and amplitude.ā That inspired him to build the circuit that first appeared in the companyās Honey Psychedelic Machine and Jax Vibra Chorus. The latter became better known as the Uni-Vibe. Listen to āMachine Gunā by Jimi Hendrix on the live Band of Gypsys to hear the unmistakable sound of the Uni-Vibe at work.
In 1971, a young Tom Oberheim, the designer of many classic pedals and synthesizers, created the first phaser pedal for Gibson/Maestro: the 3-speed Maestro PS-1 Phase Shifter. The sound of Leslie speaker cabinets intrigued him, and he designed the PS-1 as a more compact option. It went on to sell 60,000 units and became very widely used by guitarists and keyboard players, and heralded the rise of the compact pedal phaser. John Paul Jones used a PS-1 live with Led Zeppelin on āNo Quarter,ā although the keyboard effect on the original recording was achieved by running the signal through an EMS VCS3 synthesizer. Three years after Oberheimās PS-1, two of the most influential phaser pedals were introduced: the Electro-Harmonix Small Stone and the MXR Phase 90. Both have had many iterations over the years, and their enduring sonic appeal is a testament to their superb design.
The many flavors of Small Stone include the originals by Electro-Harmonix, with the rare treadle model (upper left) and their more contemporary counterparts, as well as versions made under license by Russiaās Sovtek.
Totally Stoned
Iāve owned a great many incarnations of the David Cockerell-designed Small Stone and still have several early examples from which I would not be parted. They just have that sound. Cockerell was also the designer of the famed EMS Synthi Hi-Fli, which I wrote about in PGās July 2018 issue in āMonster Mutilators: Vintage Guitar Synth Pedals.ā That cumbersome device was a key part of David Gilmourās mid-ā70s recordings with Pink Floyd.When you want the sound of a Small Stone, nothing else comes close, save for the clones several modern boutique pedal makers have been inspired to build. I could write a whole article on the Small Stone alone: from its gestation amongst the circuitry of the EMS Synthi Hi-Fli to the very early Electro-Harmonix versions, through the Sovtek years to todayās Nano.
There can be drawbacks with vintage Stones, from volume drops to noise, and thereās always the potential that used ones have been messed with, but itās rarely something beyond the wit of a competent tech. I believe a good Small Stone is an essential ingredient in any serious audio arsenal, whether itās for the studio or on a pedalboard.
While Iāve been less impressed with some later vintage versions of the Bad Stone variant, I have a very early example that is quite stunning, as is the rare treadle version. You can hear the Small Stone everywhere, from Jean Michel Jarreās OxygĆØne to Radioheadās OK Computer.
In addition to the ubiquitous Phase 90āused by David Gilmour, Jimmy Page, Eddie Van Halen, and many othersāMXR also created the Phase 45 and Phase 100, which have more subtle sonic profiles.
Orange Juice
The MXR Phase 90 is a sonic giant in a minuscule enclosure. It was introduced in 1974 and quickly found favor with the eraās biggest guitarists, including David Gilmour, Jimmy Page, and Eddie Van Halen. Gilmour adopted his after employing the Uni-Vibe for the Wish You Were Here sessions. Page used a Phase 90 live with Led Zeppelin. And Eddie? āEruption.āThe early script-logo Phase 90s are more sought by collectors, and the very earliest, housed in ultra-lightweight aluminum āBud Boxā enclosures, are the ultimate in desirability. Iāve had many Phase 90s over the years, and there is little difference between script and block logo pedals of similar vintage, aside from the paintwork. But once I found a āBud Boxā version, my search ended. It sounds simply stunning. MXR also produced the Phase 45 and Phase 100, and both are excellent.
The Gerd Schulte Audio Elektronik Compact Phasing āAā is known as the ākrautrock phaser,ā but guitarists can find a more relatable use of the device in āCatch the Rainbowā on the 1975 debut album by Ritchie Blackmoreās Rainbow.
The Krautrock Phaser
Remember when I mentioned that my favorite chorus pedal was actually a flanger? Well, my most coveted phaser is ⦠actually a phaser. (Had you for a moment, didnāt I?) Itās the snappily named Gerd Schulte Audio Elektronik Compact Phasing āAā Number 1. This Germany-made optical phase shifter was used so extensively by many of the most influential German bands of the ā70s that it became known as the ākrautrock phaser.ā If youāve heard the whooshing sound of Tangerine Dreamās Mellotron on āPhaedraā or the thick sweep of Kraftwerkās synthesizers on āAutobahn,ā youāve heard a Schulte. It can be counterintuitive to use, but it sounds like no other phaser and has a wide palette of effectsāespecially when partnered with a custom control pedal, which unleashes several otherwise hidden settings. Ritchie Blackmore and Jon Lord of Deep Purple also used the device, so its credentials are as much ārockā as ākraut.ā
The chorus circuit of the famed Roland JC-120 amp gave birth to the companyās first Boss pedal, the CE-1 Chorus Ensemble, which has been used on tracks by the Red Hot Chili Peppers, Rush, the Smiths, and Cyndi Lauper.
Join the Choruses
Rolandās Jazz Chorus amplifiers have proven hugely popular since their launch in 1975, finding favor with such bands as the Police, the Cure, and Steely Dan. Based on a bucket-brigade device (BBD)āan analog chip developed in 1969 by two engineers at Phillips Research Labsāthe ampās distinctive onboard chorus circuit was a hit, so when Roland launched Boss, their fledgling effects arm, it was with the pedal version of the JCās chorus, known as the Chorus Ensemble or CE-1. As the 1970s gave way to the ā80s, the sound of chorus was everywhere. Red Hot Chili Peppersā John Frusciante used a CE-1 on many of the bandās recordings, perhaps most notably, āUnder the Bridge.āPeter Hook of Joy Division and New Order created his signature bass sound using the original Electro-Harmonix Clone Theory, and Kurt Cobain was another EHX chorus fan, owning both a Polychorus and a Small Clone. The latter contributed greatly to his guitar sound on Nevermind. Iāve never had a vintage Small Clone, but for over a decade my pedalboard chorus has been the Analog Man Bi-Chorus, which is based on the Small Clone.
While more recent examples of the EHX Electric Mistress Flanger/Filer Matrix are 9V, the original versions were 18V and had a distinctive tonal quality that inspired some of David Gilmourās epic tones on Animals, The Wall, and his first solo album.
When a Chorus Is Not a Chorus
So, I mentioned earlierātwice, actuallyāthat my favorite chorus isnāt really a chorus. It happens to be a flanger designed by David Cockerell for Electro-Harmonix. The original 18V Electric Mistress is the stuff of legend. Nothing that came thereafter bearing the name could touch the first version (of which there were several iterations). David Gilmour and Andy Summers both favored this flanger over then-contemporary chorus pedals. If you get a good one, youāll be unlikely to ever let go of it, but do beware if youāre buying untried, for not all 18V Mistresses were created equal. In addition, the effects of age, misuse, and possible tampering by the uninitiated make these an especially tricky vintage item to purchase successfully online. Gilmour adopted his after the recording of Animals with Pink Floyd was completed. He used it for much of that tour and it was featured prominently on his first solo album. While the Electric Mistress was only used sparingly while recording The Wall, Gilmour had two boards built by Pete Cornish for The Wall Tour, with an 18V Mistress on each. Andy Summers used his on many Police recordings.
Original Mu-Tron boxes are legendary and have inspired many pedal builders and players with their three-dimensional tones. Their Phasor series of pedals, like the Phasor II (left), were compact and stage-ready, but the Bi-Phase (right) really found its home in the studio, becoming an essential element of dub recordings as well as rock albums, including Smashing Pumpkinsā Siamese Dream.
Phased In
Letās get back to phasers. As I said, I could fill this magazine with ripping yarns about this device. I especially enjoy Mu-Tron Phasors, from their first Phasor though the Phasor II, and on to the big daddy that stretched the definition of a pedal: the Mu-Tron Bi-Phase. All are excellent effects, but itās the Bi-Phase that I have to touch on here. It remains a studio essential much loved by dub producers from Lee āScratchā Perry onwards, and was the effect at the heart of the Smashing Pumpkinsā Siamese Dream. The albumās producer, Butch Vig, has described the Bi-Phase as āOne of the secrets to our secret soundāwe run everything through it. Everything. Itās fabulous.ā And producer Daniel Boyle reunited 82-year-old Lee āScratchā Perry with a Bi-Phase for their 2016 album, Back on the Controls, highlighting the monstrously proportioned blue phaserās impeccable dub credentials once more.
Producer Tony Visconti was an early adopter of Eventideās Instant Flanger, which appears on David Bowieās 1980 Scary Monsters album. It also played a key role in the soundtrack for the 1984 movie of Frank Herbertās sci-fi novel Dune.
Another remarkable phasing device is the Eventide Clock Works Instant Phaser PS 101. Even though tape flanging was faster for John Lennon than doubling his vocal performances, it was a time-consuming process. Because studio time is expensive, pro audio manufacturers were keen to find a more convenient solution. Enter the PS101 in 1971. This rack unit was the result of Eventideās attempts to create an electronic flanger. It delivered thick, lush phasing and mono-to-stereo effects. The PS 101 became a hit and was used on many classic recordings. Jimmy Page employed it while producing Physical Graffiti, both for his guitar and for John Bonhamās kit. Listen to āIn My Time of Dyingā and āKashmirā for epic examples. Page also used an MXR Phase 90 live.
Rolandās Rack Seriesāincluding the SDD-320 Dimension D chorus, the SPH-323 Phase Shifter, and the SBF-325 Stereo Flangerāquickly became studio favorites, employed by a range of producers, engineers, and guitarists.
The next big step in electronic flanging followed in 1976, with the arrival of the Eventide Instant Flanger, which was used by Tony Visconti for the distinctive piano sound on David Bowieās āAshes to Ashes,ā and the famous blue face MXR Flanger/Doubler, which was also loved by dub producers. Rolandās Rack Series brought the excellent SDD-320 Dimension D chorus, the SPH-323 Phase Shifter, and the SBF-325 Stereo Flanger, which all remain widely used and sought-after. Stevie Ray Vaughan fell in love with the sound of the Dimension D when he worked with Nile Rogers and David Bowie on Letās Dance, and it became one of his secret studio weapons, used in the mixing stage to subtly widen his guitar on solos.
More Modulators
The aviary of chorus, phasing, and flanging has even more rare birds. Hereās a smattering of additional species you might find interesting:
These are three iterations of the EMS Synthi Hi-Fli, which was responsible for many of the glorious modulation guitar effects on Pink Floydās Dark Side of the Moon.
EMS Synthi Hi-Fli. It may seem strange to consider using one of the most complex and expensive guitar effects on the planet as a simple phaser, but David Cockerellās masterpiece is quite superb and flexible when put to the task. If you donāt have a Hi-Fli on hand, console yourself with an early Small Stoneāan aural close relative.
Itās double the fun with the AMS DM 2-20 Tape Phase Simulator, which uses two delay lines to achieve the through-zero effect, allowing for more dramatic phasing and flanging sounds.
AMS DM 2-20 Tape Phase Simulator. My favorite flanger is, indeed, this phaser. The AMS DM 2-20 is without equal, and one of the only vintage units to really perfectly nail the through-zero effect by using two delay lines rather than one.
Now, itās worth taking one more digression to explain the through-zero effect. In flanging, one signal is played back at a fixed rate while the other is alternately slowed down and speeded up, and it either lags behind or moves in front of the original signal. When the modulated signal momentarily aligns in time with the original, total phase cancellation briefly occurs. Thatās called the āzero point.ā In the AMS Tape Phase Simulator, this effect is far more pronounced and dramatic than with most traditional flangers and requires complex and clever circuitry. Achieving the through-zero effect also requires two delay lines, as both the original and the modulated signal haveĀ to be capable of moving in time.
Marshall Time Modulator 5002 A System. Legend has it that Stephen St. Croixās incredible device was designed in 1975 to win a bet and was promptly exhibited at the AES convention a few days later. Finally released in 1979, the MTM is capable of a mind-bending array of effects, including positive (or additive) flanging, negative (or subtractive) flanging, automatic double and triple tracking, resonant flanging, and Leslie sounds. Stevie Wonder used one on Songs in the Key of Life. Soundgasā studio MTM came from Musicland Studios in Munich and was used on Queenās āAnother One Bites the Dust.ā That songās reversed piano sound displays all the hallmarks of an MTM. The later 5402 A System is even rarer and features extended delay times for even wilder effects.
AMS DMX-1580S Digital Delay and DMX-K Chorus Controller. The AMS stereo digital delay, fitted with a controller board and paired with the ultra-rare Chorus Controller, is your ticket to an ultimate classic ā80s stereo pitch-shifting chorus and vibrato that ranges from subtle sweetening to full-blown craziness.
Roland PH-830 Stereo Rack Phaser. The ultimate Roland monster rack phaser features two channels for true stereo operation. Itās very rare and simply superb.
Foxrox Paradox TZF. Iāve not heard later versions, but the original blue TZF was the first pedal I found that completely blew me away with its classic through-zero flanging effect. I still have it and use it almost daily.
Publison DHM 89 B2 Stereo Digital Audio Computer. This is a super-rare early digital pitch shifter/delay thatās capable of classic chorus sounds. Listen to the guitars on Cyndi Lauperās āTime After Timeā for an example. But beware when buying: Publison scratched off all chip IDs and schematics are non-existent outside of France. Repairs can be expensive, but these are stunning units and worth the trouble.
Pefftronics Super Rand-O-Matic SB-101. Dating from the end of the last millennium, but sounding unlike anything that had gone before or has come since, this unassuming little box of joy does chorus, flanging, and phasing, and a whole lot more. Check out this rare stomp if you can.
Lovetone The Flange With No Name. This is the rarest Lovetone pedal of all, and Iāve yet to corral one. If itās half as good as the Doppelganger (their gorgeous twin phaser), then Iām not going to stop searching until I finally find mine.
Another futuristic-looking member of the Mu-Tron clan, the Flanger has parameters that are manipulatedāafter their initial settingsāby a treadle.
Mu-Tron Flanger. The monster Mu-Tron treadle-controlled Flanger is by no means the wildest of the Mu-Tron family of devices, but, in keeping with its phase-shifting brethren, itās a sonic delight. As with many Mu-Tron stomps, you might need a bigger pedalboard to accommodate it.
This pair of Gelf Auto Phasing Units reside in the authorās studio, but were originally in Pink Floydās legendary room, Britannia Row. Their dials are basic but allow for precise control of phasing effects.
Gelf Auto Phasing Unit. These are insanely rare and very little is known about their development and manufacture, but their sound is legendary. We have a pair in the Soundgas studio that came from Pink Floydās Britannia Row Studios.
Dytronics CS-5 Tri-Stereo Chorus. Session royalty, including Michael Landau, Steve Lukather, and Dann Huff, used this huge-sounding rack chorus to achieve thickly layered ā80s guitar tones.
A/DA Final Phase and A/DA Flanger. Both of these pedals are worth investigatingāwhether vintage originals or ā90s and more recent reissues. The flanger, in particularly, is a serious contender for the sonically astute, and especially if you love getting wilder results.
If youāre looking for classic phaser āswoosh,ā a Roland Jet Phaser is the charmāgreat for adding sonic magic to both guitar and bass.
Roland Jet Phaser. It wasnāt what Ernie Isley used on āThat Ladyāāhe actually plugged into a Big Muff and a Maestro PS-1ābut it gets you very close in a single pedal. And itās part of the core sonic strategy of bass great Larry Graham.
Apologies for any omissions, but please feel free to chip in with comments and suggestions at the end of this article on premierguitar.com.
Classic recordings have a wealth of timeless examples of phasing, flanging, and chorus.
First up:
Jimi Hendrixās āMachine GunāThis distinctive guitar tone is practically part of the genetic code of the rock guitar canon. And, of course, itās live, unadulterated Hendrix at his improvising best, displaying the virtues of the Uni-Vibe phaserāset on stun.
David Bowieās āLetās Danceā
Itās Bowieās song, but the scene-stealing solo is by Stevie Ray Vaughan, aided by the Roland Rack Series SDD-320 Dimension D chorus. After producer Nile Rodgers turned Vaughan on to the device, it became his secret studio weapon.
David Gilmourās āMihalisā
Listen to one of the most hallowed flanger pedals, the Electro-Harmonix Electric Mistress, and go deep and wide under the control of David Gilmour on āMihalis,ā the opening track from his debut solo album, simply titled David Gilmour.
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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
Taylor Guitars, one of the worldās leading acoustic guitar brands, has teamed up with Sony Pictures Consumer Products and HBOĀ®to unveil a replica of the acoustic guitar featured in the award-winning HBO Original series The Last of Us, which is now streaming its second season on Max. This collaboration brings fans and musicians alike an exact replica of the guitar Joel gives Ellie in the critically acclaimed show.
Taylorās The Last of Us Replica 314c guitar is based on its best-selling 300 Series and features Taylorās most popular body style, the Grand Auditorium. Crafted with Taylorās hallmark playability, pro-level sound and refined workmanship, the guitar showcases a visual aesthetic that matches the guitar featured in the series.
For fans of the show, the guitarās most recognizable design element is a custom moth inlay at the third fret. The guitar also features a Tobacco Sunburst top finish and grained ivoroid accents, along with a satin-finish body and neck, creating a vintage, well-worn aesthetic that fits seamlessly into the gritty post-pandemic world Joel and Ellie inhabit.
This acoustic-only model features a solid Sitka spruce top and solid sapele back and sides, delivering a clear, warm, balanced voice with appealing midrange presence ā an ideal sonic tool for storytelling through song. Additional appointments include grained ivoroid body binding, grained ivoroid fretboard inlays that include the moth and large dot position markers, and a custom double-ring rosette also in grained ivoroid. The Grand Auditorium body features a Venetian cutaway for easy access to upper-register notes. Each guitar comes with a Taylor-built deluxe hardshell case to ensure safe transport, whether across the country or across the quarantine zone.
Built for the Journey Ahead
āThe Last of Us is a story of resilience, connection and finding beauty amid harsh realities ā themes that resonate with the emotional expression a Taylor guitar offers players,ā says Tim OāBrien, Vice President of Marketing at Taylor Guitars. āWeāre honored to collaborate with HBO and Sony Pictures Consumer Products to bring this iconic instrument to fans and players alike.ā
Availability and Ordering
The Taylor x The Last of Us Replica guitar is available for purchase now via TaylorGuitars.comand select authorized Taylor dealers. Orders are built on demand in Taylorās Southern California factory, with an expected delivery time of 6ā10 weeks. Due to the nature of this release, quantities are limited.
Whether youāre a musician, collector or a devoted fan of the series, this guitar offers a one-of-a kind connection to the legacy of Joel, Ellie and the enduring spirit of survival.
Guest picker Ally Venable
Blues rocker Ally Venable joins PGās editors to imagine what their dream late-night band would sound like.
Question: Whatās your dream late-night show band?
Ally Venable - Guest Picker
By FifthLegend from Eagan, Minnesota, United States of America - Thundercat, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=70617212
A: For my late-night show's house band, Iāve assembled a dream team. This ensemble inspires me with their unparalleled musical talents and diverse backgrounds. Chris Laytonās drumming is unmatched and he will provide a solid foundation. Iāll have Jon Batiste on keys. His creativity and energy is boundless. Eric Gales would be on guitar. I love how emotive his music is, and I strive for that type of connection within my playing as well. Finally, Iād have Thundercat on bass. His playing is infused with jazz and funk sensibilities that would tie the whole sound together in an interesting way.
Obsession: My current obsession is shifting my approach to playingāfocusing on connection over applause. Instead of chasing technical perfection or crowd reactions, Iām leaning into the emotional and spiritual side of music. Itās about creating moments that resonate deeply, whether itās with myself, my bandmates, or the audience.
David Saenger - Reader of the Month
A: I love the idea of supergroups and how each of the players would interact. On guitars I would have Nuno Bettencourt (Extreme) and Isaiah Sharkey. My drum and bass combo would be Stewart Copeland (The Police) and Mohini Dey. On keys and sax, I would have Herbie Hancock and Joshua Redman. My male and female vocalists would be Corey Glover (Living Colour) and Liv Warfield (Prince). All of these players are fantastic improvisers and really know how to put on an entertaining show in any genre.
Bassist Victor Wooten
Obsession: My current obsession has been bass. My 12-year-old daughter started playing electric and upright bass about two years ago, and itās been a blast working with her. Iāve been really focusing on having a solid pocket, and itās forced me to get better at reading bass clef. Iām taking her to see Victor Wooten next week. Canāt wait!
Jason Shadrick - Managing Editor
Jason Shadrick on the SNL stage.
A: The natural move would be to go for a high-energy party band decked out with multiple keyboards, horns, and vocalists. Iād go a different route. Iād go for a more rootsy vibe with Blake Mills leading a band consisting of Jay Bellerose on drums, esperanza spalding on bass, Bob Reynolds on saxophones, and a rotating guest each week. They could cover lo-fi Americana, funky open-tuned blues, and so much more.
Obsession: This month is slightly less obsession and more reflection as this will be my last issue as Managing Editor for PG. Over the last 15 years Iāve worked on 182 issues, which is kinda mind-boggling. Iāve been lucky enough to do some incredible things during my time at PG, including walking through the host door at SNL and spending a few minutes with Brian May. Never could have imagined it. I am very grateful.
Nick Millevoi - Senior Editor
A: Iāve long said that joining one of the late night bands would probably be my absolute top dream gig. So, if I were choosing my own late-night band, from any era, I would go no further than getting a chance to sit with Paul Schaffer and the Worldās Most Dangerous Band or G.E. Smith-era Saturday Night Live Band.
Obsession: The late guitarist Jef Lee Johnson, who spent time in Schafferās band, had a heavy resume that included stars of all genres from Billy Joel to the Roots to McCoy Tyner. I got to see him play some low-key gigs around Philly, and each rearranged my molecules. Itās only now, years after his 2013 death, that Iāve become obsessed with his discography. Though much of his work was as a high-level sideman, his albums show the broad range of this masterful guitarist, whose tone, feel, and phrasing conveyed the instrumentās deepest emotional capabilities.
At its core is GTRSā upgraded G151 intelligent system, offering 128 onboard effects, MNRS amp and cab sims, and even 17 guitar emulationsāexclusive to this model. Everything is controlled via the eye-catching Super Knob, which changes color to match your preset, as well as through the Bluetooth-connectible GTRS app.
GTRSā W902 features select tonewoods and construction: an alder body, poplar burl top, and a sleek bolt-on 5-piece neck made from roasted flame maple and rosewood, with satin natural finish and a rosewood fingerboard. The fanned fret design features 24 white copper frets and a stainless zero fret. A pair of GTRS Alnico V pickups and an HL-II bridge deliver a resonant tone, made particularly versatile thanks to the 5-way tone switch and tone knob.
The W902 offers a truly innovative choice for tech-savvy guitarists. Its features include a wireless transmitter, OTG recording, an 80-second looper, metronomes, and a drum machine, the app-supported guitar boasts up to 12 hours of playtime on a single charge (9 hours with the wireless transmitter in use).
The W902 is an upgraded version of the original W900 Intelligent Guitar, and the W902 most notably features an upgraded GTRS Intelligent Processor System, the G151, which even offers upgrades over the GTRS SL810's recently announced G150 system. The G151 system comes with a staggering 128 effects pre-installed, along with 10 of both MOOER's in-house MNRS amp and cabinet simulation profiles. Exclusive to the W902, the G151 system even includes 17 guitar simulation effects, allowing guitarists to emulate the tonal resonance of some of their favorite guitars.
To activate and browse through presets within the G151 system, which can be connected via Bluetooth 5.0, guitarists can use the guitar's Super Knob, which lights up in different LED colors depending on which preset is activated. Of course, users are able to get stuck into and edit the effects chains of presets through the GTRS app, enabling them to craft their own favorites through their mobile device. The guitar still functions without the G151 system; the Super Knob just needs to be turned off, and the W902 is usable as a regular electric guitar.
Within the GTRS app, there is even an 80-second looper, 10 metronomes, and 40 drum machine grooves built in, providing users with an all-in-one suite for guitar practice and composition. This is especially the case when combined with the W902's OTG-recording support, enabling on-the-go recording without the need for a hardware recording setup.
The W902 comes bundled with a GTRS Deluxe gig bag, three guitar wrenches, a USB 3.0 cable for charging, and a user manual. The guitar even contains a wireless transmitter and an integrated 4000mAh Li-ion battery, providing up to 12 hours of continuous use (9 hours with the transmitter in use), allowing users to enjoy the G151 system through headphones or an amplifier.
Guitarists who want to experiment further with the W902ās technology can connect the intelligent system to the GTRS GWF4 wireless footswitch, which is ideal for switching between presets in live scenarios when control through a mobile device isn't practical.
GTRS W902 Guitar construction features:
- Alder Body, 5-Piece Selected Roasted Flame Maple and Rosewood Neck with Satin Natural Finish (C-Shape)
- Bolt-on neck, 25-1/2" scale length, with dual action steel truss rod
- Rosewood fingerboard, 12ā radius, 24 white copper (0 fret stainless) fanned frets
- Built-in wireless transmitter
- Super Knob, Volume Control Knob, and Tone Knob, 3-way tone-selection switch
- GLB-P1 Li-ion Battery (4000mAh, up to 12 hours of continuous use, 9 hours with the wireless transmitter in use)
- USB port for charging and OTG recording
- GTRS Deluxe gig bag, 3 guitar wrenches
GTRS G151 Intelligent Guitar System features:
- GTRS G151 Intelligent Processing System (and GTRS App)
- 128 effects, 10 MNRS amp (GNR) and cabinet (GIR) simulation models
- 17 guitar simulations
- 80-second looper, 40 drum machine grooves, 10 metronomes
- Bluetooth 5.0 connectivity
- GTRS GWF4 wireless footswitch support (sold separately)
The GTRS W902 is now available worldwide. For more information visit www.gtrs.tech.