Sloped shoulders and a beautiful burst hint at a dreadnought classic, but inside lurks a thoroughly modern approach to flattop design.
Super-slinky and inviting playability. Balanced output across the frequency spectrum. Top-shelf build quality.
Fans of traditional slope-shouldered dreads might miss the huskier, dustier voices associated with the type.
$2,999
Taylor 417e
taylorguitars.com
The great guitars that Taylor produced in nearly 50 years of existence would probably justify cruising on the back of past successes. But Taylor still seems to genuinely enjoy pushing back against flattop design dogma. They’re very much at ease with the notion that their guitars are alternatives to more traditional fare and perceived in some quarters as “modern” sounding—which in Taylor’s case is generally shorthand for meticulous balance between high, middle, and low registers, immaculate intonation, and easy-on-the-engineer recordability.
Taylor’s 417e doesn’t look particularly modern at a glance. It looks fancy, certainly. But at most angles, the slope-shoulder Grand Pacific profile and tobacco sunburst finish make the Taylor look like a loving, upmarket homage to the Gibson J-45. Prominent as the J-45 influence is, it’s mostly skin deep. Taylor’s V-bracing instead ensures that the 417e tones shine with the modernity that sets many Taylors apart. And the combination of mid-century aesthetic, silky playability, and bright, lively personality make the 417e an inviting instrument that can be hard to put down.
Wave Relations
I once heard Taylor master designer Andy Powers liken his thoughts about sound waves to the experience of watching waves from high on a bluff. When you look inside, or at a picture of a cross section of the 417e’s bracing, it’s easy to see manifestations of that sound-and-sea point of view. The back braces are angled forward toward the bass side of the instrument like breaks coming off a point. The V-bracing on the top, meanwhile, tapers back toward the endpin like the prow of a ship. It’s hard to quantify the effects of different bracing arrangements. But Powers insists that V-bracing improves volume and sustain, and generates more even harmonic response, which is already a Taylor trademark. It only takes a few strums to hear that none of those claims are a stretch.
While the combination of Indian rosewood back and sides and a Sitka spruce top guarantee snappy response in just about any well-made guitar, the 417e is pretty bright for a dreadnought. There’s a lot of high midrange, too. But none of that top-end frequency emphasis results in harshness or stridency. And for all the push in those toppier ends of the frequency spectrum, each of the highest strings exhibits contoured attack and a soft decay. In fact, there were times I felt the attack and decay were almost too civilized on the third and fourth strings. That’s a very personal observation—I’m sure most players would dig the 417e’s even response. (I frequently gravitate toward an aggressive flatpicking touch and certain “ugly” sounds on an acoustic.) Whatever your approach, the combination of soft attack, extra sustain, and gentle decay results in great balance—almost as if you put studio compression on a recording of the instrument.
The 417e’s capacity for sustain, meanwhile, pairs nicely with its capacity for volume. While individual notes don’t always bloom the way they do on some dreadnoughts, the 417e’s sustain means there is room to let notes linger in space. That’s the kind of dynamic that can reshape a songwriter’s compositional perspective. It also makes the 417e a great fingerstyle dread—an animal not often seen nor heard in the wild.
Immaculate Execution
It almost gets boring talking about the construction quality of high-end Taylor instruments, because I never see one that’s anything less than immaculately put together. The 417e is more of the same. Go ahead, look it over with a microscope. You’re not likely to find an obvious flaw inside or out. You should expect as much for nearly $3k, and the 417e delivers. Some small details, like the inlay and rosette, may be just non-traditional enough to put off purists, but the deviations from old-school ways are subtle and distinctive. Some standard Taylor features, like the plastic truss-rod cover, seem a little cheap given the top-shelf price. I also wouldn’t mind seeing the controls for the excellent Expression System 2 electronics moved to a less obtrusive location like the soundhole, but there’s no questioning how easy they are to see and use in a performance situation.
The Verdict
Players that gravitate to the 417e in part for its handsome, J-45-like slope-shoulder profile and pretty tobacco burst finish should expect a guitar that sounds very different than the old Gibson workhorse. It’s louder, brighter, and less dusty. And for a lot of players, the marriage of traditional slope-shoulder style and a balanced-but-high-mid-forward voice will be a winning one. It’s a very forgiving guitar in recording situations. The playability is as nice as you will find on a flattop, and its dynamic and touch-sensitive qualities combine with its volume and headroom to make it well-suited to nuanced fingerstyle every bit as much as hard and heavy strumming. Such range makes the 417e a great performance instrument and helps justify the premium price. And if the 417e’s convergence of “now” tones and mid-century American style suits your own, it will not be hard to extract every penny of that investment from this beautiful and beautifully made guitar.
Taylor 417e-R Demo | First Look
Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Mason’s hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Mason’s solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Mason’s playing.
For the first time ever, two guitar greats, John 5 and Richie Kotzen will be heading out on the road this year. The tour will launch October 16 and run through November, hitting markets across the U.S.
Find the full tour itinerary right plus a link for tickets & VIP, including additional dates featuring John 5 only. Reserved seating tickets will go on sale Friday May 16 though a fan presale will begin today at noon local time and fans are strongly encouraged to buy early to get the best seats.
Meet and Greets for both artists will be available. For John 5 please go to: https://john5store.com/collections/vip.
Today, John 5 also announces more details of his anticipated new album. Called The Ghost, it will be released October 10 and is led by the new track “Fiend,” featuring Kenny Aronoff.
John 5 continues running public tours this month for his Knights In Satan’s Service Museum of KISS Memorabilia in Los Angeles, California. Guided tours are open to the public for one month only (with a possible expansion). Current dates available are May 12-16, May 19-23 and May 27-30. Each will be led by John 5 himself who will provide tons of rich detail and answer any questions. Secure your place HERE.
JOHN 5 continues to tour with Mötley Crüe including an upcoming residency in Las Vegas in 2025.RICHIE KOTZEN &
JOHN 5 FALL 2025 TOUR
October 16 El Cajon, CA @ Magnolia
October 17 Riverside, CA @ Fox Performing Arts
October 18 Roseville, CA @ Goldfield Trading Post
October 19 San Jose, CA @ The Ritz
October 21 Phoenix, AZ @ Celebrity Theatre
October 22 Albuquerque, NM @ KiMo Theatre
October 24 Dallas, TX @ Granada Theater
October 25 Leander, TX @ The Haute Spot
October 27 New Orleans, LA @ House of Blues
October 28 Memphis, TN @ Minglewood Hall
October 29 Nashville, TN @ Fogg Street Lawn Club
October 30 Atlanta, GA @ Variety Playhouse
October 31 Orlando, FL @ House of Blues
November 1 Fort Lauderdale, FL @ Culture Room
November 2 Clearwater, FL @ Capitol Theatre
November 4 Richmond, VA @ The National
November 5 Leesburg, VA @ Tally Ho Theater
November 6 Patchogue, NY @ Patchogue Theatre
November 11 Glenside, PA @ Keswick Theatre
November 12 Derry, NH @ Tupelo Music Hall
November 13 Foxborough, MA @ Six String Grill & Stage
November 14 Stroudsburg, PA @ Sherman Theater
November 15 Lorain, OH @ Lorain Palace Theatre
November 16 Columbus, OH @ The King Of Clubs
November 17 Warrendale, PA @ Jergels
November 19 Wyandotte, MI @ District 142
November 20 Flint, MI @ The Machine Shop
November 21 Fort Wayne, IN @ Piere’s
November 22 St. Charles, IL @ Arcada Theatre
November 23 Belvidere, IL @ Apollo Theatre
November 25 Denver, CO @ Oriental Theater
November 29 Pioneertown, CA @ Pappy & Harriet's*
*John 5 only
AEROSMITH guitarist and songwriter JOE PERRY is set to return to the road for a series of August performances with THE JOE PERRY PROJECT. The 8-date run kicks off August 13 in Tampa, FL and wraps August 23 in Port Chester, New York, with an August 19 performance in PERRY’s Boston hometown (see the itinerary below). For the North American trek—which marks the first solo shows for PERRY this year—the legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowes’ Chris Robinson (vocals), and Stone Temple Pilots’ Robert DeLeo (bass), and Eric Kretz (drums).
“Well…it’s time to let the music do the talkin again,” PERRY says. “I’m really excited about the JPP line up this year!!!! Most of these guys played with me at The Roxy in L.A. at the debut event for my latest solo album [Sweetzerland Manifesto] in January 2018. They’re all busy as hell but thankfully they’re able to carve out some time for this run. And I’m not only lucky enough to have Brad Whitford onstage with me but Chris Robinson of The Black Crowes! [who sang ‘Fortunate One’ on Sweetzerland Manifesto MKII], Robert DeLeo and Eric Kretz from STP!!! and Buck Johnson who plays keys and sings with Aerosmith, the Hollywood Vampires, and is also a solo artist in his own right.”
For the shows, the Rock and Roll Hall of Fame inductee says “the set list is gonna include my fav JPP cuts, STP, Black Crowes, and with Brad we’ll be hitting the Aero hits and some deep cuts and then ya never know!!!! Gonna be a BLAST, and if you’ve ever been to one of my shows you know the words GARAGE BAND on STEROIDS come to mind! See you there!!!!”
DATE | LOCATION | VENUE |
Wednesday, August 13 | Tampa, FL | Seminole Hard Rock - Tampa |
Thursday, August 14 | Hollywood, FL | Seminole Hard Rock - Hollywood |
Saturday, August 16 | Toronto, ON | HISTORY |
Sunday, August 17 | Muskoka, ON | Kee to Bala |
Tuesday, August 19 | Boston, MA | Wang Theatre |
Wednesday, August 20 | Hampton Beach, NH | Hampton Beach Casino Ballroom |
Friday, August 22 | Mashantucket, CT | The Premier Theater at Foxwoods Resort Casino |
Saturday, August 23 | Port Chester, NY | Capitol Theatre |
A sample page from the author’s analog log.
Seasonal changes are tough on your acoustic. Here’s how you can take better care of your prized instrument.
As you read this, spring is in bloom in most of the US, or maybe it has been for some time. I’m timing this column specifically to ask acoustic guitarists, in this season of increasing humidity and comfortable conditions, to prepare for what’s coming. It’s never too soon, and time flies. Before you know it, we’ll be back to the maintenance phase and you might be blowing up the phones of your local guitar shops, luthiers, and techs. I’m here to encourage a decidedly old-school approach to preventative guitar maintenance, and yes, it starts now.
Why, you ask? Well, as the lead luthier at Acoustic Music Works, I can tell you that in my nearly 15 years in this position, this was the worst winter ever for preventable repairs on acoustic guitars. Fret sprout, bridge lifts, top sink, soundboard cracks, back cracks, loose binding, general malaise… These hit us very hard in the winter that spanned 2024 and 2025. Am I complaining? On the one hand, no. This is part of how we make our money. On the other hand, yes! Repair schedules related to dryness and humidity issues can stretch into weeks and even months, and nobody wants to be without their favorite instruments for that amount of time. With a little thoughtfulness, however, you might get through next winter (and every one thereafter) without hefty repair bills or time apart from your musical companion.
Our preparation is going to start with an unlikely but very important guitar accessory: the humble notebook. Plain, lined, grid, day planner… it doesn’t matter. We all need to actively participate in our instrument maintenance, and in my experience, fancy apps that track humidity via Bluetooth breed a kind of laziness, a feeling of safety that might prevent us from actually physically looking in on conditions. Better we keep an analog, well, log, so that we know where things stand, and I suggest checking in daily.
“This was the worst winter ever for preventable repairs on acoustic guitars.”
Track your relative humidity, both in the case and in the room where your instruments mostly reside, but also take notes on your action height, top deflection (StewMac has some great tips for measuring this) and anything related to playability that you believe you can observe empirically.
Dryness is the root cause of most guitar issues that manifest in the fall and winter months. Symptoms of dryness include sharp fret ends, falling action and dead frets, sunken top around the sound hole, and cracks and bridge lifts. With your trusty notebook, you’ll get a feel for the sensitivity level of your instrument, and that knowledge is power!
A few other basic implements will not only assist you in your observations, but may also satisfy your need to buy guitar-related things (at least for a minute). Getting quick and comfortable with a fret rocker is a great skill to have, and is invaluable in diagnosing buzzes due to high frets or frets that have come unseated due to dryness. A well-calibrated relief gauge might seem luxurious, but it can prevent you from making unnecessary or extreme truss rod adjustments. A string action gauge, or even a simple machinist’s rule or set of feeler gauges, will help you keep track of your action. Get a three-pack of hygrometers so you can average their readings, rather than depending on one.
Lest we forget: A guitar can not only be too dry, it can also be too wet. By beginning your maintenance diligence in the spring/summer, you’ll also be able to tell if your instrument is the victim of a too-humid environment. The signs of over-humidification are subtle: Your action may rise from a puffed-up top, and in extreme cases, glue joints could begin to fail. In my experience, an over-humidified guitar will suffer from dulled tone, almost like a sock in the sound hole. If you’re sensing a lack of clarity in your guitar all of a sudden, start with new strings. If it persists, it might be due to over-humidification, and you may want to introduce a desiccant to the case for a time. The more lightly built your guitar is, the more sensitive it will be to seasonal changes.
By getting into these habits early, you’ll be empowered by knowing your instrument more intimately. You’ll understand when and why changes in tone and playability might have occurred, and you’ll hopefully save on repair bills year-round. Feel free to reach out with any questions. Who knows? I might just send you a notebook with an AMW sticker on the cover!