Maple makes the dread grow mellower.
Exceptional playability and intonation. Sweet midrange focus. Records well in dense mixes.
Some will find the maple voice quirky. Not a lot of low-end resonance for a dread. Satin finish doesn’t suit a $2K-plus instrument.
$2,199
Taylor AD27e Flametop
taylorguitars.com
One of the nice things about designing guitars for a company like Taylor is that you’re less burdened by tradition. Even though the builder is now nearly a 50-year-old institution—not to mention one of the biggest guitar makers in the world—to many acoustic traditionalists they are still very much the new kid on the block. While such fresh-faced “newness” may mean flattop classicists look askance at your every move, it also means you can introduce a design departure like the company’s V-Class bracing without risk of rebellion from your consumer constituency—or, for that matter, build a dreadnought with a top fashioned from big leaf maple.
A maple top is one of those things that, according to traditional acoustic design think, shouldn’t work very well. Yet the AD27e Flametop proudly makes its maple top both a centerpiece of its sound signature and its visual identity. The results, in both respects, are unique and, in typical Taylor style, prove that acoustic guitar design still has room for imaginative deviations from the norm.
V Lets Maple Be
In spite of the simplicity and musical purity it projects, an acoustic guitar is a complex organism. Small changes in design or materials can be transformative. V-Class bracing is no small change, however. Certainly not when compared to the X-bracing that has been the standard for flattops for generations. Fundamentally speaking, V-Class bracing situates the most substantial braces in a V shape that tapers gently along the body’s center from a point just forward of the endpin. While it can be hard to say definitively what V-Class bracing does and doesn’t do to a flattop’s sound, an increasing sample size suggests that it tends to improve sustain, and even intonation, by leaving larger sections of the top to vibrate freely and aligning the biggest braces with the strings. In the case of the AD27e, V-Class bracing didn’t just improve the sound. According to designer Andy Powers, V-Class bracing is, in fact, what made the use of a big maple top feasible.
If we assume that V-Class bracing definitively improves sustain (and certainly our colleague Joe Gore heard as much in his review of the K14ce), then Powers’ assertion makes sense. Maple is generally less lively and works better as a reflective surface for backs and sides. Few if any large-scale production flattops have used maple as a top wood, and those that have, like Gibson’s acoustic/electric Starburst, employed a maple top because its less resonant properties reduced feedback in amplified situations. But the maple top on the AD27e resonates beautifully. And though the appeal of its sound won’t be universal, it occupies a very cool niche.
Unlike a lot of dreadnoughts, the AD27e also responds dynamically to a gentle touch.
Big Body Makes the Maple Go Boom
Taylor’s American Dream dreadnought is a beautiful shape. Its curvaceous lines project hints of J-45 influence and big Taylors like the 855. It’s a lovely reconfiguration of the classic dreadnought profile. But it also likely serves a very practical purpose in the AD27e, in the sense that the big body does much to compensate for the maple top’s less lively characteristics. The tones that result have a beautiful and interesting sense of balance. You won’t find the thumping grand-piano-like low-end resonance of a D-28 in the AD27e, yet it projects volume as a dreadnought should and gets loud without sounding brash or overdriven—probably because there is less low-end woof to obscure the pretty midrange and clear, chiming top end. Unlike a lot of dreadnoughts, the AD27e also responds dynamically to a gentle touch. And I found its sensitivity in these settings more reminiscent of a 00- or 000-sized instrument.
Shaped To Cradle
The AD dreadnought shape isn’t just pretty to look at. It’s also an ergonomic delight. The aft end of the body is considerably slimmer than a Martin D. That, and its slightly more pinched waist and sloped shoulder, make the whole body feel more compact and easier to hold for extended periods. But, as with so many higher-end Taylors, the foundation of its inviting personality is its playability up and down the neck. The action feels exceptionally low and fast, yet there isn’t a trace of string buzz or a dead spot anywhere—even when you strum vigorously. The low action also has the effect of making fingerstyle chord melodies feel extra fluid and lyrical—a quality well suited to the AD27e’s more subdued but ringing tonality. And while our review Taylors have almost always shown up with impeccable intonation, the AD27e’s spot-on intonation—even after two-cross country journeys in the dead of winter—makes us wonder if there isn’t something to Taylor’s claim of V-Class bracing improving intonation.
The Verdict
Yes, $2,199 is a lot of money for a guitar that, by design, presents a player with many unknown variables. The AD27e sounds different enough from a spruce-topped dread that many players will need to spend time to understand how it works within their style and relates to their musical objectives. Others will find its concise tonality immediately appealing. Given that, one should take our value score with a grain of salt and adjust according to personal experience.
But just because the AD27e’s design, materials, and tonality are unusual and specific doesn’t mean its appeal or musical potential is limited. It’s easy to hear how the AD27e would be a recording superstar. It rings sweetly without overpowering a mix and provides beautiful counterpoint in arrangements and mixes where the low-end is occupied by other instruments—no small consideration in modern effects-laden mix styles. But while its voice is focused, the AD27e can still sound big, and it most certainly sounds sweet. Any curious flattop aficionado should check out the AD27e to hear what it does differently. Just don’t be surprised if its sweet tonality and ace playability put their hooks in you.
Taylor AD27e Demo | First Look
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Lutefish, the real-time music collaboration device and platform, is excited to announce a suite of new features designed to simplify setup, streamline collaboration, and offer more flexible subscription options for Lutefish Stream users. These latest updates, Audio Presets, Automatic Session Recall, Improved Scheduling with Contact Visibility, and a new Yearly Subscription Plan, are all about making it easier than ever for musicians to jam together, no matter where they’re based.
Save Time and Stay in the Flow with Audio Presets & Session Recall
Musicians can now save and reuse their exact audio settings, reducing setup time and ensuring every session sounds exactly as they want.
- Automatic Session Recall: When users leave a session, their current audio levels are automatically saved and restored when they rejoin.
- User-Defined Audio Presets: Each user can create and name up to five custom presets, like “Band Practice,” “Studio Mic Setup,” or “Quick Jam,” making it effortless to jump back in with the perfect sound.
“These tools are all about saving time and hassle,” said Patrick Finn, Business Manager at Lutefish. “Musicians want to make music, not spend time rebalancing levels every session. With presets and recall, we’re giving them time back and helping them sound their best, every time.”
Smarter Scheduling and Contact Visibility
The latest update to Lutefish also made it easier to find collaborators and book sessions. Users can now:- View all their contacts at a glance when scheduling a session.
- Instantly identify which contacts own a Lutefish Stream device—so they will always know who’s ready to jam.
Go Yearly and Save 20%
Lutefish now offers a Yearly Subscription Plan, providing users with the same great access as the monthly plan at a 20% discount.
This option is now available within the Lutefish app and web platform, and current monthly users are eligible for a discount with an upgrade to a yearly subscription.
Lutefish’s mission has always been to empower musicians to connect and collaborate without boundaries. With these new updates, Lutefish Stream continues to break down barriers—whether you’re jamming with a friend across town or collaborating with a bandmate 500 miles away.
For more information and to start jamming today, visitlutefish.com.
Few musical acts did more to put their fame and fortune to good use than punk rock icon Wayne Kramer. Known for his enduring commitment to activism, especially in justice reform, his life story embodies the defiant, DIY ethos of punk, directly inspiring generations of bands and musicians who followed. Now, fans and fellow musicians alike can attempt to emulate Kramer’s incendiary sound with the new, limited-edition pedal.
Designed before his death in February 2024, Wayne Kramer—together with friend Jimi Dunlop (Dunlop CEO) and Daredevil Pedals owner Johnny Wator —the pedal features artwork from artist and activist Shepard Fairey (Obey Clothing founder). A majority of profits from the sale of the pedal goes directly to Kramer’s charity supporting the rehabilitation of incarcerated people of all ages, genders, and backgrounds.
In honor of his close friend, Tom Morello—the innovative guitarist behind Rage Against the Machine, Audioslave, the Nightwatchman, and more—demoed the pedal, showcasing its sound and shining light on Wayne Kramer’s incredible legacy.
Tom Morello Introduces MC5 Wayne Kramer-Inspired Pedal For Charity: MXR Jail Guitar Doors Drive
"What they've tried to bake into the MXR® Jail Guitar Doors Drive distortion pedal is not just Wayne's sound but Wayne's attitude, and the grit and the rawness of Detroit and of the MC5," said Morello, one of Kramer’s best friends, during his demo of the pedal. "This is the guitar pedal that was used on the song 'Heavy Lifting' that I recorded with Wayne for the last MC5 record.
"Named after the late rocker's charity—which provides instruments and art workshops to incarcerated individuals as rehabilitation tools—the MXR® Jail Guitar Doors Drive pedal aims to capture all of the high-voltage energy of Wayne Kramer's sound. It features two uniquely voiced gain circuits cascaded together with a singular pot controlling both the output level of each circuit and the overall saturation level of the distortion.
Music makers looking to capture Kramer’s raw, fiery sound can pick up the new MXR® Jail Guitar Doors Drive pedal, exclusively on Reverb via The Official MXR Jail Guitar Doors Drive Reverb Shop for $199, here: https://reverb.com/shop/the-official-mxr-jail-guitar-doors-reverb-shop.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).