Though I’ve never owned a Taylor from the affordable end of their price spectrum, they have brought me a lot of joy and inspiration over the years. My encounters with GS Minis and 100-series dreads whilst lounging on friend’s porches and tour host’s living rooms have inspired little riffs that became more elaborate things over time—all born from a casual hang with a flattop that was fun to hold, easy to play, and sounded sweet enough that I didn’t want to ditch the conversation.
The new 117e is a little extra special to me though. That’s because I love Taylor’s Grand Pacific body style. I adore its curves, its dimensions, its feel, and the way it plays with classic round-shouldered dreadnought shapes while arriving at something distinctive. The 117e is the first Grand Pacific to join the 100-series family. And its responsiveness and playability are quite likely to make it a favorite sibling. It’s a beautiful guitar that delivers a lot for $899.
Fine Tailoring
The designers and builders at Taylor are masters of delivering quality and consistency at an attainable price. That’s no mean feat. You can go through a lot of guitars while shopping for an inexpensive one and deal with a lot of compromises. Taylor’s batting average is impressive though, and the 117e is well-built even by Taylor’s high standards.
Though the back and sides are layered sapele you don’t really give the idea of “laminate” much thought when you look it over, touch it, and play the guitar. The torrefied spruce top is very pretty, with just a little figuring in the otherwise straight grain that adds visual interest. Though the 100-series appointments are simple, no-frills stuff, I’d venture the guitar is better for it. The black binding and black-and-white rosette enhance the Grand Pacific’s beautiful lines and complement the ebony fretboard and bridge. I wouldn’t mind having a look at this model with a tortoise pickguard—the black one falls a little flat to my eye. Then again, it contributes to the visual balance here, and anything that detracted from the Grand Pacific silhouette would be a bummer.
The 117e is built with Taylor’s C-bracing, an asymmetric, cantilevered pattern that was originally conceived to contribute low end and sustain to the company’s smaller GT-class guitars. Though, instinctively, it seems like an odd choice for an instrument with a top as expansive as this one, it succeeds in adding low-end resonance to an instrument that has a natural midrange emphasis. Plus, it’s just plain cool to see Taylor toying with design evolutions that mix up staid, if proven, acoustic construction formulas.
No Bum Notes
There’s no way you can’t be struck by the 117e’s playability, particularly given the price. My partner, who is a pretty ace fingerstylist, likened the neck to playing on silk sheets just seconds into playing it, and I’ve seen her get pretty ruthless with guitars she doesn’t bond with. She’s right, too. Though Taylor calls the neck profile “slender,” there is a just-right heft and thickness to the shape that lends a touch of vintage feel without seeming needlessly fat. The action feels fast and low and almost like a really nice electric guitar—especially between frets 1 and 7. Yet it is totally free of fret buzz, even when you strum with vigor, and the strings ring and sustain with the unmistakable feel of a guitar set up to near perfection. Intonation is also spot on and the tuning stability is excellent.
“The action feels fast and low and almost like a really nice electric guitar.”
The 117e’s tone profile is the one area where it pays to really play the guitar and weigh it against your preferences. Both the Grand Pacific body shape and C-bracing are meant to add resonance and low-end heft, and I’d venture that they lend much in that regard in this instrument. But, perhaps because of the layered sapele back and sides, there is an unmistakable midrange focus. The good thing is that it really only verges on strident when you take to the guitar like Townshend. In more nuanced fingerstyle situations or even strumming where you use a lighter touch, the 117e comes off as balanced, sensitive to picking dynamics, full of range and volume, and ringing with attractive and sometimes enveloping overtones. Those ringing, sustaining qualities also make it a great vehicle for acoustic leads. The Expression System 2 electronics, by the way, are reliably solid and sound lively if a touch midrangey at times. But I would also rate the system as especially well-suited for the detailed kind of playing the 117e invites.
The Verdict
Sure, $899 is not the kind of scratch most of us dig up by peeking under the sofa cushions. But in the contemporary scheme of things, it certainly falls within the accessible category, which makes the 117e a great deal and, in many respects, an overachiever. Another observation from my partner: “This is the kind of guitar you buy because it’s inexpensive. Then it becomes indispensable.” Again, I concur. This sweet player is genuinely hard to put down, and it will be hard to send this one home to the Taylor gang in Southern California. But when I do, it may be with a little request: How about a 117 12-string? I can already see that headstock mated to the lovely Grand Pacific body and hear it chiming away as we all jangle our way toward summer. Given the way this guitar is likely to sell, it doesn’t seem like too much to ask.
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A rig meant to inspire! That’s Jerry Garcia with his Doug Irwin-built Tiger guitar, in front of his Twin Reverb + McIntosh + JBL amp rig.
“I met Jerry Garcia once, in 1992, at the bar at the Ritz Carlton in New York,” Dark Star Orchestra guitarist Jeff Mattson tells me over the phone. Nearly sixty-seven years old, Mattson is one of the longest-running members of the Grateful Dead tribute band scene, which encompasses hundreds of groups worldwide. The guitarist is old enough to have lived through most of the arc ofthe actual Grateful Dead’s career. As a young teen, he first absorbed their music by borrowing their seminal records, American Beauty and Workingman’s Dead, brand new then, from his local library to spin on his turntable. Around that same moment, he started studying jazz guitar. Between 1973 and 1995, Mattson saw the Dead play live hundreds of times, formed the landmark jam bandZen Tricksters, and later stepped into theJerry Garcia lead guitarist role with the Dark Star Orchestra (DSO), one of the leading Dead tribute acts.
“At the bar, I didn’t even tellGarcia I was a guitar player,” Mattson explains. “I had just heard him play the new song ‘Days Between’ and I told him how excited I was by it, and he told me he was excited too. It wasn’t that long of a conversation, but I got to shake his hand and tell him how much his music meant to me. It’s a very sweet memory.”
The Grateful Dead’s final studio album was 1989’sBuilt to Last, and that title was prophetic. From 1965 to 1995, the band combined psychedelic rock with folk, blues, country, jazz, and even touches of prog rock and funk, placing a premium on improvisation and pushing into their own unique musical spaces. Along the way, they earned a reputation that placed them among the greatest American bands in rock ’n’ roll history—to many, the ultimate. Although no one member was more important than another, the heart and soul of the ensemble was Garcia. After his death in 1995, the surviving members retired the name the Grateful Dead.
“I think Jerry Garcia was the most creative guitarist of the 20th century because he had the widest ears and the sharpest instincts,” opines historian, author, and official Grateful Dead biographer Dennis McNally, over the phone. “What we see after his death are the Deadheads coming to terms with his passing but indicating that it’s the music that was most important to them. And who plays the music now becomes simply a matter of taste.”
Dark Star Orchestra guitarist Jeff Mattson, seen here with Garcia’s Alligator Stratocaster (yes, the real one).
Photo by Susana Millman
This year marks 30 years since Garcia’s passing and 60 years since the band formed in the San Francisco Bay Area. Today, the guitarist’s musical vocabulary and unique, personal tone manifests in new generations of players. Perhaps the most visible of these musicians is John Mayer, anointed as Garcia’s “replacement” in Dead and Co. But dozens of others, like Mattson, Tom Hamilton Jr., and a young new artist named Bella Rayne, strive to keep the Dead alive.
The first few Grateful Dead tribute bands began emerging in local dive bars by the late ’70s. More than mere cover bands, these groups devoted themselves entirely to playing the Dead. A few of these early groups eventually toured the country, playing in college towns, ski resorts, and small theatres across the United States. Mattson started one on Long Island, New York. He tells me, “The first band I was in that played exclusively Grateful Dead was Wild Oats. It was 1977, and we played local bars. Then, in 1979, I joined a band called the Volunteers. We also played almost exclusively the Grateful Dead, and that was a much more professional outfit—we had a good PA and lights and a truck, the whole nine yards.” The Volunteers eventually morphed into the Zen Tricksters.
Garcia’s death turbocharged the Dead tribute band landscape. Fanbases grew, and some bands reached the point where big-time agents booked them into blue-chip venues like Red Rocks and the Beacon Theatre. Summer festivals devoted to these bands evolved.
“The first band I was in that played exclusively Grateful Dead was Wild Oats. It was 1977, and we played local bars.” —Jeff Mattson
Dark Star Orchestra launched in 1997, and they do something particular, taking an individual show from somewhere out of Grateful Dead history and recreating that evening’s setlist. It’s musically and sonically challenging. They try to use era-specific gear, so on any given night, they may be playing through recreations of the Grateful Dead’s backline from 1971 or 1981, for example. It all depends on the show they choose to present. Mattson joined DSO as its lead guitar player in 2009.
Something else significant happened after Jerry died: The remaining living members of the Grateful Dead and other musicians from Garcia’s inner circle embraced the tribute scene, inviting musicians steeped in their music to step up and sit in with them. For Mattson, it’s meant playing over the years with all the core members of the band, Phil Lesh, Bob Weir, Bill Kreutzmann, and Mickey Hart, plus former members Donna Jean Godchaux, who sang in the band from 1971 to 1979, and Tom Constanten, who played keyboards with the Dead from 1968 to 1970.
Tom Hamilton’s Lotto custom built had a Doug Irwin-inspired upper horn.
In the newest post-Garcia tribute bands, many guitar players aren’t old enough to have seen Garcia perform live—or if they did, it was towards the end of his life and career. One of those guys sitting today at the top of the Garcia pyramid, along with Mattson, is Tom Hamilton Jr. Growing up in a musical family in Philadelphia, Hamilton saw Garcia play live only three times. Early on, he was influenced by Stevie Ray Vaughan, but Hamilton’s older brother, who was also a guitar player, loved the Dead and Garcia. “My brother wanted to play like Jerry,” he recalls, “so he roped me in because he needed me to play ‘Bob Weir’ and be his rhythm guitar sidekick.” Eventually, Hamilton leaned more into the Jerry role himself. “Then I spent my entire twenties trying to develop my own voice as a songwriter and as a guitar player. And I did,” Hamilton says. “And during that time, I met Joe Russo. He was not so much into the Dead then, but he knew I was.”
A drummer from Brooklyn, by about 2006, Russo found himself collaborating on projects with members of Phish and Ween. That put him on the radar of Lesh and Weir, who invited Russo to be a part of their post-Dead project Furthur in 2009. (And on guitar, they chose DSO founding member John Kadlecik, opening that role up for Mattson.)
“When Joe played in Furthur, he got under the hood of the Grateful Dead’s music and started to understand how special it was,” Hamilton points out. “After Furthur wound down, we decided to form JRAD. We weren’t trying to do something academic, not some note-for-note recreation. We were coming at it through the pure joy of the songs, and the fact that the five of us in JRAD were improvisers ourselves.”
“We were coming at it through the pure joy of the songs, and the fact that the five of us in JRAD were improvisers ourselves.” —Tom Hamilton Jr.
Today, Joe Russo’s Almost Dead (JRAD) is considered to be one of the premier Grateful Dead tribute bands. They formed in 2013, with Hamilton and Scott Metzger as the band’s guitar frontline, with Hamilton handling Garcia’s vocal roles. Eventually, Hamilton, too, found himself jamming onstage with the ever-evolving Phil Lesh and Friends. That, of course, further enmeshed him in the scene, and in 2015, he started a band with Dead drummer Bill Kreutzmann calledBilly and the Kids.
Now, there’s a new kid on the block, literally. Bella Rayne recently turned 18 and grew up in Mendocino, California. Her parents were into the Dead, but even they were too young to have really followed the original band around the country. At her age, they were big into Phish. By the pandemic, Bella started embracing the guitar out of boredom, woodshedding while social distancing in quarantine. She explains, “Like any other teen, I was bored out of my mind looking for anything to do.” Rummaging through her garage, she came across her mom’s old Strat. “At the time, I was really into ’90s Seattle grunge. I put new strings on the Strat, and then I tried to teach myself Pearl Jam songs, and I learned how to play them by watching YouTube videos. Then, I started posting videos of my journey online as I became more serious about it. I hit a point where I knew it would be my thing. The next thing I knew, one of the Bay Area Dead bands [China Dolls] reached out to me and asked me to sit in. I thought, ‘no way.’“My parents are huge Deadheads,” she continues. “That’s theirthing. I grew up with the Dead being pushed on me my whole life. But I ended up going, and it’s just been this awesome spiral ever since.” Bella calls her current Dead-related project Bella Rayne and Friends, and she, too, has been recognized not only by the new generation of Garcia players in the Dead tribute bands, but also by Melvin Seals, the Hammond organist who played for years in theJerry Garcia Band. “I was hired to just sit-in for a couple of numbers withMelvin and his JGB band,” she recalls, “and we were having so much fun he said to me, ‘Why don’t you just sit in for the whole second set.’ It was an amazing night.”
Bella Rayne with her Alligator-inspired Strat, with a JGB Cats Under the Starssticker on the body.
Photo by Sean Reiter
Jerry Garcia played many different guitars. But for those guitarists wanting to emulate Garcia’s tone, the focus is on four instruments in particular. One is a1955 Fender Stratocaster known as “Alligator,” which Garcia had heavily modified and began playing in 1971. The other three guitars were hand built in Northern California by luthier Doug Irwin: Wolf, Tiger, and Rosebud. Garcia introduced them in 1973, 1979, and 1989, respectively. Sometimes, in a jam-band version of being knighted by the Excalibur sword, a chosen member of this next generation of Dead players is handed one of Garcia’s personal guitars to play onstage for a few songs or even an entire set.
Although they started their journeys at different times and in separate ways, Mattson, Hamilton, and Rayne all have “knighthood” in common. Rayne remembers, “In March of 2024, I was sitting in one night with anall-girl Dead tribute band called the China Dolls, and no one had told me that Jerry’s actual 1955 Strat, Alligator, was there that evening. My friend [roots musician] Alex Jordan handed me the guitar unannounced. It’s something I’ll never forget.”What’s it like to strap on one of Jerry Garcia’s iconic instruments? Tom Hamilton recalls, “It wasRed Rocks in 2017, and I played with Bob Weir, Melvin Seals, and JGB at a tribute show for Jerry’s 75th birthday. I got to play both Wolf and Tiger that night. I was in my head with it for about one song, but then you sort of have a job to do. But I do recall that we were playing the song ‘Deal.’ I have a [DigiTech] Whammy pedal that has a two-octave pitch raise on it, real high gain that gives me a lot of sustain, and it’s a trick I use that really peaks a jam. That night, while I am doing it, I had the thought of, ‘Wow, I can’t believe I am doing this trick of mine on Garcia’s guitar.’ Jerry would have thought what I was doing was the greatest thing in the world or the absolute worst, but either way, I’m cool with it!”
“I was sitting in one night with an all-girl Dead tribute band called the China Dolls, and no one had told me that Jerry’s actual 1955 Strat, Alligator, was there that evening. My friend [roots musician] Alex Jordan handed me the guitar unannounced. It’s something I’ll never forget.” —Bella Rayne
Jeff Mattson has played Alligator, Wolf, Garcia’s Travis Bean 500, and his Martin D-28. He sums it up this way: “I used to have posters up in my childhood bedroom of Garcia playing his Alligator guitar. I would stare at those images all the time. And sowhen I got a chance to play it and plug it in, suddenly there were those distinctive tones. Those guitars of his all have a certain mojo. It’s so great to play those guitars that you have to stop in the moment and remind yourself to take a mental picture, so it doesn’t just fly by. It’s just a tremendous pleasure and an honor. I never imagined I would get to play four of Jerry Garcia’s guitars.”
With young people like Bella Rayne dedicating herself at the tender age of 18 to keeping the Dead’s music going, it feels like what the band called their “long strange trip” will keep rolling down the tracks and far over the horizon. “People will be listening to the Grateful Dead in one hundred years the same way they will be listening to John Coltrane, too,” predicts McNally. “Improvisational music is like jumping off a cliff. Sometimes you fly, and sometimes you land on the rocks. When you take that risk, there’s an opportunity for magic to happen. And that will always appeal to a certain segment of people who don’t want predictability in the music they listen to. The Grateful Dead is for people who want complete craziness in their music—sometimes leading to disaster and oftentimes leading to something wonderful. It’s music for people who want to be surprised.”
Lloyd Baggs made his first acoustic guitar when he was a fine-art lithographer and soon found himself building instruments for Ry Cooder, Jackson Brown, Janis Ian, and other stars. Today he is an innovator in acoustic guitar pickup design.
If you have made your first few guitars but somehow they didn’t sound like pre-war D-28s, you may have a few questions about why and how to get closer. If you’re brave enough to continue and are committed to bridging the gap from just being able to assemble a guitar to knowing how to build great-sounding instruments predictably and consistently, you’ve just entered The Twilight Zone.
When I started building acoustics in the 1970s, there was no literature on how they work—let alone how to manipulate tone. Luckily, there was a wealth of information on this in violin-making literature. There were discussions about how mass and stiffness interact, top and back tuning, air resonances, standing waves, etc. Pioneers discovered that a top does not move in and out at once like a perfect speaker, but, as the frequencies get higher, it keeps dividing into smaller and smaller vibrating parts, like a bunch of mini speakers. Each of these mini speakers has a place where it’ll be the loudest, called a resonant frequency. (More recently, laser interferometry has been used to reveal or “freeze” body vibration patterns to see how the various resonances in the body behave and at what frequencies.)
Thinking that some science would be a shortcut to becoming a better builder, I crudely adapted some of the violin makers’ tests. My “laser” was a cheap guitar speaker, power amp, and frequency sweeper. Sprinkling some salt or pepper on the top or back of a guitar and playing a loud frequency sweep into the nearby speaker would excite the wood, and the salt would dance around until, at some frequency, it would congeal into a shape to reveal the vibrating patterns of its resonant frequency. It was like having X-ray glasses—to observe the resonances and see the effects of shaving braces, adding or subtracting some mass, thinning the top here or there. Once one could see under the hood, a luthier could then deliberately alter some part, move a brace, or make some other change to alter or move some resonance.
This 1937 Martin D-18 is an example of steel-string perfection for many acoustic guitar aficionados.
“From the loudspeaker standpoint, the guitar is a lousy speaker because not only does the top move, but the back, sides, and neck are moving with every note, too.”
The Glittering Present
Fortunately for aspiring luthiers today, we are living in a golden age. There is a wealth of information available about every aspect of building and more tools to study vibration in apps for our phones than what was available collectively back in the day. There are also a number of individuals who have more deeply studied the physics of the acoustic guitar and have made immense strides to quantify material characteristics and predict acoustic behavior. Bryan Galloup, Giuliano Nicoletti, Andy Powers, Richard Hoover, and Tom Bedell come to mind as builders who have embraced science to enhance predictable outcomes. Giuliano has published an excellent book called Mastering the Sound of the Acoustic Guitar. There are also a number of excellent lutherie schools that use and teach students the scientific methods.
So, on a deeper and eye-watering level, how does the acoustic guitar actually work? If you think of an acoustic guitar like a loudspeaker, the sides and the back are the box, and the top is the speaker. The strings, connected to the top via a saddle and a bridge, are the energy source. The best loudspeaker manufacturers go to extreme lengths to be sure the box is rigid, with minimal vibration, and that only the speaker cone moves. The guitar is a lousy speaker because not only does the top move, but the back, sides, and neck are moving with every note, too. Every piece has multiple resonances that interact with each other. The way these resonances interact is a big factor in how the guitar sounds.
Unlike a typical 3-way speaker, where each individual speaker acts as a perfect piston to cover a range of sound, a guitar top converts energy into sound at all frequencies and only behaves as a pure piston or “good speaker” in the lower frequencies. Above those low frequencies where the top moves in and out as one, called the primary resonance or piston mode, the vibration of the top is chaos orchestrated largely by the position, stiffness, size, and weight of the bracing plus the mass, stiffness, and curvature of the top. About an octave above the primary resonance, roughly half the top will actually be going up while half of the top will be going down simultaneously. Then, moving up still further in frequency, one third of the top may be going up and down while the other two thirds are moving down and up. As the frequencies get higher, smaller and smaller pieces of the top move simultaneously and sometimes in opposition to each other.
It would be helpful to think of the guitar top as a string where only the fundamental moves the entire string as one piece. After that, the string divides into higher and higher frequencies. In a guitar, the top divides into smaller and smaller “mini speakers” as the frequencies get higher. The big difference between a guitar top and a string vibration is that strings divide evenly into resonant modes or harmonics in halves, quarters, eighths, and so on, while the places where the guitar top divides into individual resonances are seemingly random. The places where these resonances occur are often where the string energy will be translated into the loudest acoustic output. Most of the resonances are active at the same time, influencing and interacting with each other and determining what of the strings’ energy pool will be heard. The most important concept to understand is that the available string energy is lost or absorbed by the structure in ways largely determined by the resonances. The way string energy is lost into the structure of the guitar and converted or traded for acoustic energy is largely responsible for why a particular guitar sounds like it does.
“Add to this the wide variations in strength, mass, and tonal characteristics of various woods and how the neck is attached (yes, even the neck has its own resonances), and the acoustic guitar is a crazy complex soup of interacting parts.”
Baggs built this eye-catching acoustic for Ry Cooder, a demanding expert on tone, in 1977. He built another for the artist two years later.`
With his book, Mastering the Sound of the Acoustic Guitar, Giuliano Nicoletti has created a manual for organic lutherie that applies scientific principles to building steel- and nylon-string acoustic guitars.
Aim Low?
For a great-sounding guitar, the first trick is to make the top flexible enough so that its primary resonance is low enough to absorb enough string energy at low frequencies for a rich, warm response, while not exploding under string pressure. And, while you’re at it, to deliberately tune the remaining resonances so they work together in some sort of harmony. If you think of the guitar’s resonances as notes in a chord, a major third will sound warmer and more pleasing than a minor seventh with an augmented ninth. The top bracing in conjunction with the top radius, thickness, mass, and stiffness will determine the frequencies and character of the multiple resonant modes. If you’ve ever heard of a luthier “tuning the top” or “tap tuning,” this is what’s going on here.
Add to this the wide variations in strength, mass, and tonal characteristics of various woods and how the neck is attached (yes, even the neck has its own resonances), and the acoustic guitar is a crazy complex soup of interacting parts. But then, with a little shave here, a slight readjustment of bracing position there, a change in the bridge height, reduction or addition of some mass, some adjustment of top thickness here or there, altering the doming radius of the top or back, and hundreds of other variables, the modes can be adjusted in frequencies so the major resonances will work together in greater harmony and the tone of the guitar will be pleasing. Sounds easy enough, right?
It’s common knowledge that a larger guitar will usually have better low frequencies, but what the heck is the air inside the box and soundhole doing? If you blow sideways across the soundhole, you’ll hear what’s called the pop-bottle or air resonance of the guitar. Air is springy, and as the top vibrates up and down, “plugs” of air are forced in and out of that hole at the air resonance frequency, which then reinforces the lower frequencies. The size of the hole can also influence where this resonance occurs. In practice, the air resonance of a typical guitar is about an octave lower than its top resonance.
L.R. Baggs’ popular Element pickup system is centered on an undersaddle transducer designed to follow the movement of a guitar’s top.
And just what does the back do? Besides enclosing the box and playing along with the top, a major structural purpose of the back is to hold the neck from collapsing into the top. Because of this function, backs tend to be stiffer than tops and resonate at higher frequencies. Of course, the back also has multiple resonances that interact with those of the top. How exactly is still a mystery to me, but for sure the back plays a big role in the sound of the guitar.
One question I hear a lot is, “How does the saddle affect tone?” In the whole scheme of things, not too much, really, but it is important. All materials act as a filter to pass certain frequencies and block others, so the material choice of the saddle will color a guitar’s tone. Bone has generally garnered the most affection as a saddle material as it seems to transmit harmonics well while not being screechy, providing a nice, full-balanced tone. Many have, with moderate success, attempted to duplicate its qualities in synthetic material.
How does all of this influence pickup design? Amplification is just that, and one hopes that what comes out of the speaker faithfully resembles the guitar, but only louder. Going back to the X-ray glasses, an intimate knowledge of how the guitar works has certainly been very helpful to recognize and capitalize on the unobvious modal stuff in the vibration of the instrument to create more faithful pickup systems.
Finally, I get a lot of questions about pickup choice. The best pickup largely depends on what sort of music you play, where you play, and how loud it is. For instance, a studio miked sound would not be appropriate for a loud heavy metal band as the guitar would be lost. What works on a loud electric-guitar-oriented stage would be an unfortunate choice for a singer-songwriter or a bluegrass musician. And while there are lots of great choices nowadays, there is still no such thing as a perfect pickup. Ultimately, you are always going to sound like you.
Taylor’s The Last of Us Replica 314c guitar is based on its best-selling 300 Series and features Taylor’s most popular body style, the Grand Auditorium. Crafted with Taylor’s 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 guitar’s 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 — 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
“The Last of Us is a story of resilience, connection and finding beauty amid harsh realities — themes that resonate with the emotional expression a Taylor guitar offers players,” says Tim O’Brien, Vice President of Marketing at Taylor Guitars. “We’re honored to collaborate with HBO and Sony Pictures Consumer Products to bring this iconic instrument to fans and players alike.”
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 Taylor’s Southern California factory, with an expected delivery time of 6–10 weeks. Due to the nature of this release, quantities are limited.
Whether you’re 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.
