The solo artist and leader of Asking Alexandria and We Are Harlot finds inspiration in an innovative new guitar that he calls “absolutely game changing.”
“I’m a big fan of old things,” says Danny Worsnop. “From cameras to guitars to microphones to cars, I like the stories they tell and the lives they’ve lived. I think old stuff has more soul.”
Best known as the lead vocalist of rock bands Asking Alexandria and We Are Harlot, British-born Worsnop has also released two solo albums that explore country and blues. He’s currently in the studio working on his third solo release.
With his love of vintage aesthetics and appreciation for instruments that age with character, he’s spent much of his life searching for a guitar that feels like home. “I’m always on the quest to find the perfect thing,” he says.
For years, Taylor’s GS Mini-e Koa Plus has been his go-to songwriting companion. “I don’t need a bunch of things to do the job,” he explains. “This guitar was the first one that did that, and it’s been with me for years. The finish is beat up. It’s got shiny spots from the sweat on my arm. This has been my daily driver and workhorse and life partner since I got it. It’s more than a guitar. It has a life and a personality and a sound. You pick up any other GS Mini-e Koa Plus in the world, it doesn't sound like this one.”
With his love of older things, Worsnop acknowledges the challenges of making a deep connection with an out-of-the-box acoustic. “All the nice, shiny new guitars that anyone has sent me over the years are great—I have fun with them,” he says. “But I've never loved them. I find it hard to love new stuff because it kind of doesn't have a life or personality yet.”
Worsnop’s done his best to infuse them with some of his own personality by tweaking them in different ways–chasing a specific feel and sound that makes a guitar feel more like an extension of himself rather than just another utilitarian tool. But his most recent acoustic arrival was different.
“It’s more than a guitar. It has a life and a personality and a sound.”
Striking Gold
Worsnop recently got his hands on Taylor Guitars’ new Gold Label 814e, designed by Andy Powers, the creative visionary behind many of Taylor’s guitar innovations since 2011. For Taylor’s new Gold Label Collection, Powers drew inspiration from the sound of flattop acoustics from the 1930s and 1940s.
Worsnop was immediately drawn to the Gold Label 814e’s vintage-inspired visual aesthetic—influenced by old banjos and mandolins, early Taylor designs, and Powers’ pre-Taylor archtop guitars. But the true revelation came when he played it.
“When I saw this guitar... I mean, it looks super cool, like an older guitar,” he says. “And the second I picked it up, it was different. It was like, this plays like a guitar that is so old and has stories and songs in it already. I fell in love with it.”
Worsnop says that with other Taylors he has owned, including his GS Mini-e Koa Plus, he would often modify them in some way to give them a more vintage sensibility. But not with the Gold Label.
One of the defining features of the Gold Label 814e is its new Super Auditorium body shape. The non-cutaway body bears a clear family resemblance to Taylor’s popular Grand Auditorium, but the Super Auditorium is slightly longer and wider at the lower bout, with a slightly shallower depth. The new body dimensions, combined with Andy’s version of a long-tenon neck and his new fanned V-Class bracing pattern, are all key ingredients in a new sonic recipe that defines the sound of Taylor’s Gold Label collection. The result is a warm, old-heritage voice that’s unlike anything Taylor has ever produced.
Worsnop says the guitar complements him musically because it supports his dynamic vocals with extraordinary volume and responsiveness to a lighter touch.
“Because I sing loud, having something that’s loud enough, but not so loud that when I do drop down you can’t hear me anymore, is important for me,” he explains.
The Gold Label 814e comes with back and sides of solid Honduran rosewood or solid Hawaiian koa (Worsnop has the Honduran rosewood model) paired with a torrefied Sitka spruce soundboard. Each model is available with a natural or sunburst top.
The Revolutionary Action Control Neck™
One of the standout features of the Gold Label 814e is Taylor’s patented new Action Control Neck™, an innovative neck joint design that allows for quick, easy, and precise neck angle adjustments. It marks another step forward from the patented, micro-adjustable design Bob Taylor introduced back in 1999. Unlike traditional neck resets, this system, like Bob’s, is also glue-less, and in this case enables effortless fine-tuning on the fly without having to remove the neck or even the strings, and without the use of shims. By simply using a 1/4" nut driver (or standard truss rod wrench) on a nut in the neck block (accessible through the soundhole), a player can raise or lower the action to dial in an ideal setup.
“It is a massive deal,” says Worsnop. “When it comes to traveling musicians, it’s absolutely game changing. This allows you to do a micro-adjustment without having to get in the car and drive. When I’m in the studio, I like having that precision to be able to make it just perfect.”
For professional musicians, service techs, and recreational players who want to quickly fine-tune their action, the innovative neck design marks a paradigm shift.
In Studio and Onstage
In his Tennessee home, Worsnop has an upstairs studio where he records most of his music. It’s where he’s tested countless guitars, searching for the right fit. Though his trusty songwriting guitar has been the aforementioned GS Mini-e Koa Plus—perfect for capturing spontaneous new ideas—when it comes to recording, the Gold Label 814e has taken center stage.
“I’m working on the new album right now,” he shares. “If I’m at home and I’m just wandering around downstairs, which is usually where and how writing happens, [the GS Mini] is the guitar I’m walking around with. And then as soon as there’s an idea, I’ll go upstairs, and it’s the Gold Label. Honestly, I don’t play anything else up there now. I put the album recording on hold for this guitar. It’s the only guitar on the album.”
And it won’t just live in the studio. Worsnop plans to bring the Gold Label 814e on tour, making it his primary acoustic guitar for live performances.
Performance Highlight: "Ain't No Use"
In a recently recorded performance of his song “Ain’t No Use”, Worsnop showcases why the Gold Label 814e is such a great fit for him. The song, rich with storytelling and emotional depth, aligns well with the guitar’s vintage aesthetic and warm tonal character. It explores the universal tension between who we are and who we want to be, while emphasizing the transformative power of acceptance despite imperfections. The guitar’s deep, open sound and full-bodied, muscular tone are a perfect complement to Worsnop’s soaring, soulful vocals, amplifying the expressiveness of his performance and highlighting a symbiosis between player and instrument. A video of the performance is featured at the top of this article.
For Worsnop, the Gold Label 814e represents the culmination of years of searching, experimenting and refining his sound. It’s an instrument that feels like it has lived a life, carrying with it the soul and character he always craved in an acoustic.
“I have played music since I was 6 years old, and I’ve spent my entire life looking for my instrument,” he reflects. “At 34, I’ve found it.”
Kurt Listug (left) and Bob Taylor (right) share a lighthearted moment.
This year marks a watershed for Taylor Guitars as the company celebrates its 50th anniversary of building high-quality instruments and contributing to the global music community. Over the past five decades, Taylor has grown from a small guitar shop in California to one of the world’s most innovative and respected guitar manufacturers. This milestone is being commemorated with several exciting initiatives, including a limited-edition anniversary guitar collection and the launch of American Dreamers, a new podcast miniseries featuring Taylor’s co-founders, Bob Taylor and Kurt Listug.
A Limited-Edition 50th Anniversary Collection
Three standouts in Taylor’s new 50th Anniversary Collection.
To kick off the celebrations, Taylor has introduced the first wave of models from its limited-edition 50th Anniversary guitar collection. These instruments, featuring exclusive appointments and designs, are crafted to honor Taylor’s tradition of innovation and excellence. Throughout the year, additional models will be released, each representing a chapter in Taylor’s journey over the past half-century.
In addition to the guitar collection, Taylor has launched a detailed timeline on its website that chronicles the company’s major milestones, innovations, and breakthroughs. This interactive resource allows fans and guitar enthusiasts to explore the evolution of Taylor Guitars and learn about the advancements that have set the company apart in the industry. From pioneering guitar designs to their commitment to sustainability, Taylor’s history is a testament to the company’s enduring passion for quality and innovation.
American Dreamers: A Podcast Miniseries
One of the most exciting parts of Taylor’s anniversary celebration is the release of American Dreamers, a podcast miniseries that offers listeners a unique glimpse into the history of the company through candid conversations with co-founders Bob Taylor and Kurt Listug. The podcast, hosted by Taylor’s Director of Sales, Dave Pelletier, dives deep into the personal and professional lives of Bob and Kurt, tracing their early beginnings and exploring the journey that led to the creation of Taylor Guitars.
The podcast starts with Bob and Kurt’s childhoods in San Diego, where they developed an interest in music and craftsmanship. Bob recalls how, during his teenage years, he became obsessed with making guitars, a passion that would later define his career. In American Dreamers, listeners get to hear the story of how Bob and Kurt first met at the American Dream guitar shop in Lemon Grove, California, when they were just 19 and 21 years old. The shop, with its free-spirited, hippie vibe, was a hub for musicians and guitar enthusiasts in the area. It was here that the seeds of their partnership were planted, leading to a business venture that would last over 50 years.
Bob Taylor (left) and Kurt Listug (right) circa 1973 – on the cusp of launching Taylor Guitars.
The Journey from a Small Shop to a Global Brand
In the inaugural episode of the podcast, titled “Episode 1: The Road to the American Dream,” Bob and Kurt reminisce about those early days, sharing the challenges and triumphs they faced in launching their own guitar company. After meeting at the American Dream shop, the duo eventually decided to buy the business and turn it into something even greater—a company dedicated to creating innovative, high-quality guitars.
Throughout the podcast, Bob and Kurt reflect on the pivotal moments that shaped the company’s growth, including their decision to implement groundbreaking guitar designs and their commitment to sustainability in later years. Taylor Guitars became known for its patented bolt-on neck, a feature that improved playability and ease of maintenance, as well as its forward-thinking use of responsibly sourced tonewoods. These innovations have solidified Taylor’s place as a leader in the guitar industry, setting new standards for craftsmanship and environmental responsibility.
Bob Taylor (left) and Kurt Listug (right) enjoy some of their new instruments in 1985.
American Dreamers isn’t just a historical retelling; it’s a treasure trove of insights for fans of Taylor Guitars and those interested in the art of guitar-making. The conversations between Bob, Kurt, and host Dave Pelletier offer a rare behind-the-scenes look at what it takes to build a successful guitar company from the ground up. For aspiring entrepreneurs, guitar enthusiasts, and anyone curious about Taylor’s success, this podcast provides invaluable lessons in creativity, perseverance, and the spirit of innovation.
A Year of Reflection and Looking Ahead
As Taylor Guitars celebrates its 50th anniversary, the company is using this moment to both reflect on its past achievements and look ahead to the future. The limited-edition anniversary guitar collection and the American Dreamers podcast are just two ways Taylor is commemorating this milestone year. By sharing the personal stories of its founders and showcasing the craftsmanship that has made its guitars world-renowned, Taylor is giving fans and musicians an opportunity to connect with the brand on a deeper level.
New episodes of American Dreamers will be released periodically throughout the year, and listeners can tune in on their favorite podcast platforms or watch video versions of the interviews on Taylor’s website. Whether you’re a longtime fan of Taylor Guitars or someone interested in the art and business of guitar-making, this podcast promises to be an engaging and informative series that highlights the passion and dedication that have driven Taylor’s success over the past 50 years.
Be sure to follow or subscribe to American Dreamers to stay up to date on the latest episodes and visit Taylor’s website to explore the full range of anniversary guitars and learn more about the company’s 50-year journey.
Line 6’s DL4 Delay Modeler turns 25 and gets a supercharged update.
As long as humans have been creating art, they have also been inventing new tools for expressing that art. From the paintbrush to the synthesizer, new technologies have driven paradigm shifts, providing artists with fresh creative avenues. Technology drives the art, as they say.
That’s certainly been the case with Line 6’s DL4 Delay Modeler. Originally conceived as a humble digital delay, the Big Green Monster has created a niche of its own, serving as ground zero for entire new genres of indie and experimental music. Since its release 25 years ago, the DL4 has enhanced the creative palettes of artists ranging from Joe Perry, Mike Campbell, Dave Grohl, and Joe Satriani to Bill Frisell, Thom Yorke, and Ed O’Brien.
Nearly a quarter century later, Line 6 has introduced the DL4 MkII. The updated version features a smaller footprint, as well as increased delay time, sampling and recording via built-in micro-SD card reader, MIDI functionality, and a host of new effects algorithms from Line 6’s legendary HX family of amp and effects processors.
Inauspicious Beginnings
In the late 1990s, fresh from making a disruptive splash with their eye-catching POD amp modeler, the fledgling startup Line 6 set their sights on creating a series of pedals that would further extend their reach into digital emulations of effects. Plans called for the DM4 distortion modeler, the MM4 modulation modeler, the FM4 filter modeler, and the DL4 delay modeler.
The DL4 would include models of classic delays like the Echoplex and Roland Space Echo, as well as Line 6’s own innovative delay algorithms. But it was the DL4’s other features that would pique the interest of adventurous musicians, including a first-of-its-kind tap-tempo function and, of course, its now-legendary looper.
Jeorge Tripps was running his own boutique pedal company, Way Huge, when he was invited to consult with Line 6 on modeling vintage pedals. A few months into the project he was offered a position with the company. “Line 6 was like college for me,” Tripps recounts. “I had worked on things on my own, but developing a product with a team was really an education. Ideas are easy, but bringing a product to fruition as a team was a whole different experience.”
The team comprised the cream of the Line 6 brain trust, including co-founders Michel Doidic and Marcus Ryle, as well as product developers Greg Westall, Jeff Slingluff, and Patrick O’Connor, engineers Nigel Redmon and Kevin Duca, industrial designer Lucien Tu, and numerous other contributors. As Tripps observes, the input of those different perspectives was critical to the project.
“Most of us were also players, and that made a difference. You can create a product that’s great from an engineer’s perspective, but when you put it the hands of an artist, they might see something completely different in it.”
Keep It Simple
Simplicity was part of the design goal of the DL4. “The idea was to create a digital pedal with analog functionality,” explains Tripps, adding that he had limited input into the design. “Much of it was already planned out by the time I joined the project. The industrial design was there. I had to figure out how to map functions to the existing hardware.”
The interface was straightforward: a 16-position mode selector knob, five knobs to adjust parameters, and four analog-style footswitches: Record/Overdub, Play/Stop, Play Once, and 1/2 Speed/Reverse. It was Tripps who suggested the fourth button be used for tap-tempo function.
The DL4 also incorporated stereo outputs, which was something of a last-minute addition. “When the DL4 first came out, very few guitarists were playing stereo rigs,” Tripps reports. “We put it in there just because it was cheap and easy to implement. Only after it was out for a while did people start discovering it.”
Tripps also played a key role in promoting the looper, which was in some ways almost an afterthought. Of course, looping itself was nothing new. The Echoplex and other tape-based delays had been around for decades. But analog delays were expensive and unwieldy for live work, and the early digital pedals didn’t have a lot of memory—certainly not enough for looping.
In fact, it was digital’s limitations that contributed to another of the DL4’s characteristic sonic features. “Technically, we couldn’t get quite 15 seconds of loop time; it was like 14 and change,” Tripps recalls. “So we decided to take that remaining few hundred milliseconds of delay time and run that through the looper.”
A Slow Build
Despite Line 6’s aggressive advertising, the DL4 and its siblings were not an immediate hit. “People didn’t really know what it was at first,” says Tripps. “It didn’t really explode until a handful of people started doing stuff with it.” Slowly and steadily, artists as varied as Dimebag Darryl, Ed O’Brien, The Edge, and Thom Yorke started squeezing whole new sonic landscapes from the diminutive box.
Minus the Bear’s David Knudson made the DL4 an integral part of the band’s sound. “At first I was mesmerized by the rad stereo sounds. Playing in a hardcore/metal band at the time, in the beginning I was using one half-stack amp. At some point down the line, I realized that as the only guitar player I should get another half-stack for the other side of the stage. Once I plugged in the DL4 to each half-stack and found the Ping Pong delay, my mind was instantly blown. The melodic guitar parts had never sounded so huge and epic. It was the beginning of an epic journey to discover what all the delays were about.”
For Joff Oddie of indie rockers Wolf Alice, the experience was equally liberating. “I actually don’t think I’d even used a delay pedal before and it blew my mind. There were sounds that I expected, and then other settings like the Sweep delay and reverse sounds, which to me sounded so otherworldly yet at the same time organic. I never gave my manager the pedal back. I hope he doesn’t read this.”
As Knudson notes, it was many years later and a happy accident in the studio that led to his discovering the DL4’s looping function. “We were recording some demos after our first LP came out and I think out of boredom I played a little tapping lead into the looper. That song would become “Fine +2 Points,” which features a re-triggered loop section in the bridge that really opened the door for me. After that little successful experiment, for our next record, Menos El Oso, I was in full-on loop and sampler mode. I realized that with multiple DL4s I could emulate some of my favorite cut-up and glitchy sounds coming out of artists like Four Tet, DJ Shadow, Caribou, and other early EDM pioneers. The one-shot function allowed me to re-trigger samples and create riffs that sounded like they should have originated on an MPC. Eight of the 11 songs on that record have sampled riffs and re-defined what guitar playing meant for me.”
Of course, looping was only part of the DL4’s broader appeal, which also offered sounds and tactile control previously unavailable on most effects pedals. “I loved how cranking the feedback knob made it go crazy,” opines Oddie, “how the time knob sounded when you wiggled it and the delays pitch shifted. Part of its charm is how incredibly tactile it is.”
“I’ve yet to find another sampler pedal that works as well as the DL4,” adds Knudson. “It’s super easy to use and so straightforward that it’s perfect for the live setting. I don’t want a bank of digital menus to scroll through, and the fact that it can get everything I need done with four buttons is perfect. If it were any more complicated I don’t think it would have been nearly as successful as it has become.”
Like most legends, the DL4 has spawned a host of imitators. Looping and sampling have become powerful tools for guitarists and other musicians, and while the DL4 may not have been the first, it’s largely seen as the big daddy of the art form.
“The DL4 didn’t really break any new ground, yet it was a major leap,” observes Tripps. “It didn’t improve on existing delays as much as it created a whole new instrument. It put a lot of power on the floor for guitarists, along with a really intuitive interface. Almost by accident, it made looping accessible for live performance.”
It’s hard to believe it’s been nearly 25 years since the DL4 made its debut. Technology has obviously come a long way since then, and Line 6 has recently unveiled a new commemorative 25th Anniversary edition of the iconic pedal. The Mk II version adds to the legend without taking away the features that made it what it is. “The MkII just improves upon an already great pedal,” Knudson observes. “Honestly, one of the best things is just the smaller footprint on the pedalboard. As we know, boards are increasingly becoming competitive as to how much stuff you can squeeze on there! But I love the additional delays and reverbs. The classics are obviously my go-to choices, but I love how it has evolved and elevated with current trends with guitarists but still stayed true to form in what made it so wonderful in the first place.”
The quiet impact of the DL4 is something no one would have foreseen. Much like a band making a record, all the best laid plans won’t predict the public’s response. Will it thud like a tree in an empty forest, or be gone tomorrow like a flash in the pan? Like a hit single, only time will tell if it has the staying power to become a legend. As Tripps concludes, “It was the right combination of great minds, great ideas, and great execution, at the right time.”
Seldom before has an innocent-looking pedal offered such devilish delights.
Combining a ferocious fuzz circuit with remarkably powerful pitch-shifting capabilities, Keeley’s new Octa Psi pedal makes it easy to blow your mind … and have a ton of fun in the process.
It’s capable of creating pleasing and/or demented intervals, subtle harmonizing, expansive octaves up and down, and swooping pitch changes—all turbocharged by one of the gnarliest fuzzes this side of Armageddon.
Simply Psychoactive ... By Intent
If you’ve ever craved a user-friendly freakout, this is it. With just five knobs, two 3-way toggle switches, and a pair of footswitches—as well as an expression pedal input—the Octa Psi presents a comfortable, inviting portal to a universe of crazy sonic exploration.
That’s exactly what Robert Keeley intended from the moment he started designing the Octa Psi.
“The finished pedal is true to the original idea that I had in November 2021,” Keeley says. “I wanted it to have a high-gain vintage Muff, all-analog and all-transistor, going into an octave pitch shifter—something in the neighborhood of a Pitch Fork or POG. And then when I added the expression pedal function, it could resemble a whammy.”
Ah yes, the expression pedal input. Linking the Octa Psi with a standard expression pedal opens the door to a whole new dimension of pitch shifting mayhem. Rest assured, you don’t have to use an expression pedal to derive crazy fun from the Octa Psi. But it sure helps.
With all of the pedal’s deep functionality, Keeley felt that simplicity would be a key factor in broadening its appeal, starting with this elemental item: “From the get-go I wanted it to have order switching, allowing the fuzz feeding the pitch shifter or vice versa, because it gives you two distinctly different sounds if you have pitch going before or after the fuzz. And it had to be pretty effortless for the player to switch the order on the fly. And I wanted it to be easy to switch between using it either as a harmonizer or as an all-wet octave-down thing.” That desire for ease-of-use, even in the middle of a live gig, drove the design of the pedal’s controls and functions.
“I wanted to come up with something that Jack White, Steve Vai, or Frank Zappa would have fun with.”
It Ain't Easy to Create Easiness
The Octa Psi exemplifies an old adage: Sometimes a simple solution can be the most difficult to achieve. “I knew this was going to be a challenging project,” Keeley admits. “It’s very tough to combine a high-gain, full-analog distortion with a DSP [digital signal processing] section in one box. It took a long time to get the switching just right. It was particularly difficult because the Octa Psi’s analog and DSP sections are so intimately entwined. You can’t have gaps in the audio when you’re switching back and forth. Those kinds of complications drove us crazy.
“We also addressed a lot of issues that have raised concerns about other products on the market. The Octa Psi is a true-bypass pitch shifter, and it has our killer buffer system as well. There’s nothing else out there like this, so we had to figure it all out for ourselves.“
An essential challenge: voicing the fuzz so that it would sound great as a standalone effect, while also playing nicely with the Octa Psi’s harmonizer functions. “You would think that the fuzz was easy, but it was actually one of the last things we ironed out,” Keeley notes. “I had to ask myself, ‘Do I want this to be a bass-y fuzz?’ Probably not, since the pitch shifter can add octave down. But it’s got to be an amazing sounding fuzz if I want people to consider buying it. It has to sound great when compared to any Big Muff, and it has to effortlessly pair with a DSP section. So, getting the fuzz just right turned out to be the hardest part!”
The pedal design process also encountered some last-minute wrinkles. “The ramping and momentary switching capability was the last big feature that was added. That ramping function is like having an onboard expression pedal. We talked about it in the beginning of the process with Sarah Lipstate [also known as the artist Noveller], when Aaron Pierce [a key member on the Keeley team] was working on the initial concept. Later, Michael Kaye—the guitar tech for Pete Townsend and Trey Anastasio—asked, ‘Does it have momentary switching?’ and I was like, ‘Oh crap, I forgot about that!’” Keeley laughs.
The How-To Guide for Octa Psi's Hidden Features
For all of its readily accessible capabilities, the Octa Psi boasts several essential features that can only be accessed by using more than a single knob or switch. To unlock these features, it helps to have a few simple, specific instructions. For this reason, Keeley has included a brisk, handy primer on the back of each pedal. The Octa Psi’s key “hidden features” include:
EFFECT ORDER: You can instantly switch the effect order by simultaneously holding the octave and fuzz footswitches.
WET/DRY SELECTION: Double-click the blend control knob for switching between wet/dry blending or wet-only.
MOMENTARY/LATCHING OPTION: Press and hold the fuzz footswitch to choose between momentary or latching operation. This is crucial if you plan on using the Octa Psi’s adventurous pitch shift ramping capability: the output signal begins with the initial note(s) you’re playing, and then veers up or down to the effected pitch. The ramp speed—i.e. how quickly this veering effect lasts—is controlled by….
RAMP SPEED: If you’re using pitch shifting in the momentary mode, you can adjust the ramp speed by pressing and holding the octave footswitch down, then adjusting the blend knob control.
Part of an Ongoing Evolution
The Octa Psi underscores the continuing evolution of Keeley’s product line. In particular, it benefits from a pair of preceding Keeley devices: the I Get Around Rotary Simulator pedal and California Girls Twelve String Simulator—two pedals that were released in summer 2024 as exclusive offerings for the U.S. retailer Sweetwater, timed to coincide with The Beach Boys documentary on Disney+.
“That Beach Boys project did so much to help the DSP side of the Octa Psi,” says Keeley. “I got audio analyzers in so I could study the signals. We found out that we had to make our power supplies better because of the Beach Boys pedals, and that revolutionized our design. Everything that comes out since the Beach Boys pedals is going to sound even better. Plus, it was a lot of fun working with Sweetwater and JHS Pedals.”
Interestingly, for the Octa Psi project, the Keeley design team did not rely on much input from the company’s long list of affiliated artists. “I didn’t really have an artist that is a pitch/fuzz guru, so I had to keep it pretty much to ourselves. I knew that it had to be very musical—as musical as we could get it. And thankfully we have a team that can make this happen.”
The Keeley product development squad includes electrical engineer Craighton Hale, programmer Aaron Tackett, and Aaron Pierce—the “golden ears” member of the design group who helps analyze the sounds. “I’m just one part of the team of engineers that help make the products come to life,” Keeley notes.
Fun for Everyone
In the end, Keeley hopes that the Octa Psi pedal finds new and unconventional uses in the real world. “I wanted to come up with something that Jack White, Steve Vai, or Frank Zappa would have fun with—something that does all the crazy pitch-shifting with a purpose. And I’m hoping that musicians of all types will be attracted to this. People who want to distort their drums or bass or synth, and then start taking advantage of the pitch shifting. It’s almost like you get a great fuzz with the pitch shifter for free. On the other hand, I wouldn’t be surprised if some people use just the pitch shifter, if they’re not a fuzz maniac. You can get a lot of fun out of it without an expression pedal.”
Whether you’re a brazen sonic adventurer, or simply looking for a great-sounding dual function fuzz/harmonizer pedal, the Octa Psi offers a galaxy of tones for your arsenal.
Throughout 2024, Taylor Guitars is celebrating its 50th anniversary. This is not just a milestone birthday, but a tribute to the innovative spirit that has always driven the company forward.
American Dreamers
n 1974, Bob Taylor and Kurt Listug, two ambitious guitar enthusiasts from San Diego, embarked on a journey that would transform the world of acoustic guitars. They met at a guitar-making shop called the American Dream, and their passion led to the founding of Taylor Guitars.
The journey was challenging, and Bob and Kurt had a lot to learn. “Things were hard for a really long time,” Kurt recalls. “We had to learn everything. How to build guitars. How to sell guitars. How to build a business.”
Relentless Innnovation
Despite the steep learning curve, innovation was a core value from the beginning. In 1976, Bob Taylor introduced an early version of Taylor’s soon-to-be-famous slim-profile, bolt-on guitar necks. This design was a departure from the bulky neck profiles common at the time and made neck resets easier.
Musicians were impressed by the slender neck profile and low action, making Taylor’s guitars remarkably easy to play. Notable artists such as Neil Young, Prince, Dan Crary, and Leo Kottke have played Taylor guitars, contributing to their reputation.
Taylor was also the first acoustic guitar company to adopt computer-numerical-controlled (CNC) mills, introducing these machines in 1990 for precise cutting, pocketing, and shaping of complex guitar components.
The Birth of the Grand Auditorium
In 1994, Taylor introduced the Grand Auditorium, a body shape with refined dimensions between a Dreadnought and Taylor’s small-bodied Grand Concert. This versatile acoustic voice offered remarkable balance across the tonal spectrum, suitable for strumming, picking, and fingerstyle playing.
The Grand Auditorium’s medium-sized body redefined the acoustic guitar to better meet the needs of modern players. Its versatility made it a popular choice among session musicians and gigging players, becoming Taylor’s best-selling body shape.
To celebrate their 50th anniversary, Taylor is releasing a collection of limited-edition guitars that highlight the best from their line over the past five decades.
The all-purpose Grand Auditorium takes center stage in this commemorative collection.
Several models are now available at authorized Taylor dealers, including the 50th Anniversary Builder’s Edition 814ce LTD, 314ce LTD, and AD14ce-SB LTD.
Builder's Edition 814ce LTD
The 50th Anniversary Builder’s Edition 814ce LTD is an ultra-refined version of the popular Builder’s Edition 814ce (released in 2023). It retains comfort-enhancing elements from the original, such as a beveled armrest, beveled cutaway, chamfered edges, and a Curve Wing bridge. A solid sinker redwood top and solid Indian rosewood body offer a harmonious blend of rich lows, sparkling highs, bold projection, and dynamic range. Features include an abalone rosette, mother-of-pearl inlays, maple binding, maple purfling, and Gotoh 510 tuners.
Street Price: $4,999.
314ce LTD
One of the best-selling U.S.-made acoustic guitars, Taylor’s 314ce gets a premium upgrade with the 50th Anniversary 314ce LTD. Taylor’s special roasting process has been applied to the solid Sitka spruce top, offering aged-in depth and sweetness from day one, along with enhanced soundboard stability and responsiveness. Paired with solid sapele back and sides, this guitar delivers a rich and versatile sonic profile with Taylor’s signature warmth, clarity, and balance. Eye-catching aesthetic touches include a tobacco shaded edgeburst and a bold firestripe faux-tortoise pickguard.
Street Price: $2,799.
AD14ce-SB LTD
The 50th Anniversary AD14ce-SB LTD combines workhorse versatility with neo-vintage aesthetics. Featuring a Sitka spruce top and walnut body, it offers a pronounced midrange with a balanced blend of warm lows and clear highs, ideal for fingerpicking and strumming. This model harks back to Taylor’s early guitars, many of which were built in the shop where Bob and Kurt met.
Street Price: $1,999.
All three Grand Auditoriums feature V-Class bracing, a groundbreaking sonic “engine” developed by Andy Powers, Taylor’s Chief Guitar Designer (and President and CEO). Andy, who joined the team in 2011, ensures that innovation continues to be a central focus.
Each guitar in the collection includes celebratory appointments, such as a commemorative 50th Anniversary label, ebony bridge pins with gold acrylic dots, and gold tuning machines and buttons.
You can explore Taylor’s full 50th Anniversary Collection of guitars here. All models are available exclusively at authorized dealers.
Plus, check out Taylor’s 50th Anniversary Timeline to learn more about the history of innovation and some of the amazing artists who have played their guitars over the past five decades.
