The new model features a black satin-finished maple neck that is glued into a mahogany body at the 14th fret and a custom Alluma 90 pickup.
Port Jefferson Station, NY (July 8, 2019) -- Supro has recreated one of the most iconic guitars from its long, storied history: the Ozark. Most famous as Jimi Hendrixās first electric (purchased in about 1959 at Myers Music Shop in Seattle by Jimiās father Al), the late-50ās Ozark is also renowned as a slide guitar. Historically accurate body dimensions and 25ā scale lengthāas well as the signature pinstripe line art from the original instrumentāhave all been meticulously recreated in this limited-edition Ozark for 2019.
Given the opportunity to re-imagine the Ozark, Supro has taken a number of steps to improve the playability and intonation of the original design while still capturing the sound of this classic American guitar. In the new version, a string-through-body hardtail bridge is mounted directly to the steel control plate, allowing individual intonation of each string while delivering the robust sustain of the original instrument. The new model features a black satin-finished maple neck that is glued into a mahogany body at the 14th fret, preserving the geometry of this iconic guitar while vastly improving its playability and tuning stability. A custom-made Aluma 90 pickup developed for Supro by Lace Music captures the tonal splendor of the original Valco lap steel pickup, while eliminating the physical limitations of the vintage string-through design. The new Ozark delivers unmistakable Supro tone in an instrument that can be set up and intonated like a modern guitar, yet still sounds and feels like a vintage classic.
In order to capture the sonic glory of this WWII-era pickup design, Supro worked with Lace Music to recreate the sought-after tone of the vintage Supro lap steel pickup found on the 1958 Ozark that inspired the new model for 2019. Heard on recordings by Aerosmith, Jackson Browne and Ry Cooder, the ancient, humbucking pickup that was used by Supro for the Ozark guitar of the late 50s was borrowed directly from lap steels going all the way back to the 1940s. This unique pickup was mounted on a large, steel baseplate along with the volume and tone controls and bridge, all integrated into a single assembly. In the 1958 catalog, Supro referred to the pickup on the Ozark as a āpowerful Western-Unitā with āextra response that Western Stylists require.ā Put more simply, this axe was designed from the start to be a monster slide guitar. The magic of the original Supro lap steel pickup has been harnessed by such artists as David Lindley, Jason Isbell and Blake Mills.
Features:
- Mahogany body
- Set neck with black satin finish
- Lace Alumitone pickup
- Pau Ferro fretboard
- 24.75ā³ scale length
- Dot inlays
Each Supro Ozark guitar for 2019 is hand-numbered and comes with a signed COA plus a Supro Deluxe Gig Bag. The 2019 Supro Ozark is available now from Supro dealers worldwide for $899 USD.
Watch the company's video demo:
For more information:
Supro
See and hear Taylorās Legacy Collection guitars played by his successor, Andy Powers.
Last year, Taylor Guitars capped its 50th Anniversary by introducing a new guitar collection celebrating the contributions of co-founders Bob Taylor and Kurt Listug to the guitar world. The Legacy Collection revives five of Bob Taylorās classic acoustic models, curated by the legendary luthier and innovator himself. āTo imagine that weāre doing guitars that harken to our past, our present and our future all at the same time,ā Bob says, āI really like that.ā
In developing the collection, Bob preserved the essence of his originals while integrating performance and playability upgrades introduced during his tenure as designer-in-chief. āItās an up-to-date version of what those guitars would be,ā Bob explains, ābut with the same sound.ā
Visually, these guitars feel classicāclean, understated and unmistakably Taylor. While Bobās original aesthetic preferences are showcased in his Legacy models, the nod to the past runs deeper than trade dress.
From his earliest builds, Bob favored slim-profile necks because he found them easier to play. That preference set a design precedent that established Taylorās reputation for smooth-playing, comfortable necks. Legacy models feature slim mahogany necks built with Taylor's patented New Technology (NT) design. āMy first neck was a bolted-on neck but not an NT neck,ā Bob says. āThese are NT necks because itās a better neck.ā Introduced in 1999, the NT neck allowed for unprecedented micro-adjustability while offering a consistent, hand-friendly Taylor playing experience.
What makes this collection unique within the Taylor line is Bobās use of his X-bracing architecture, favoring his time-tested internal voicing framework over more recent Taylor bracing innovations to evoke a distinctive tone profile. Since Andy PowersāTaylorās current Chief Guitar Designer, President and CEOādebuted his patented V-Class bracing in 2018, V-Class has become a staple in Taylorās premium-performance guitars. Still, Bobās X-bracing pattern produces a richly textured sound with pleasing volume, balance and clarity that long defined the Taylor voice. All Legacy models feature LR Baggs VTC Element electronics, which Bob says āharkens back to those days.ā
The team at Taylor thought the best way to demonstrate the sound of the Legacy guitars was to ask Andy Powers, Bobās successor, to play them. A world-class luthier and musician, Andy has spent the past 14 years leading Taylorās guitar innovation. In addition to V-Class bracing, his contributions include the Grand Pacific body style, the ultra-refined Builderās Edition Collection, and most recently, the stunning Gold Label Collection.
Below youāll find a series of videos that feature Powers playing each Legacy model along with information about the guitars.
Legacy 800 Series Models
First launched in 1975, the 800 Series was Taylorās first official guitar series. Today, it remains home to some of the brandās most acclaimed instruments, including the flagship 814ce, Builderās Edition 814ce and new Gold Label 814e.
The Legacy 800 Series features the 810e Dreadnought and two Jumbos: the 6-string 815e and 12-string 855e. Each model serves up a refined version of the Dreadnought and Jumbo body shapes Bob inherited from Sam Raddingāthe original owner of the American Dream music shop where Bob and Kurt first met. āI was making my guitars in the molds that Sam had made at American Dream,ā Bob recalls. āThere was a Jumbo and a Dreadnought. Thatās all we had.ā
All three Legacy 800 Series guitars feature one of Bobās favorite tonewood combos. Solid Indian rosewood back and sides are paired with a Sitka spruce top, yielding warm lows, clear trebles and a scooped midrange.
Aesthetic appointments include a three-ring abalone rosette, mother-of-pearl Large Diamond inlays, white binding around the body and fretboard, and Bobās āstraight-earā peghead design. Both Jumbo models also showcase a mustache-style ebony bridgeāa nod to Bobās early Jumbo builds.
Legacy 810e
The 810 Dreadnought holds a special place in Bob Taylorās heart. āMy first 810, the one I made for myself, was a thrilling guitar for me to make,ā he says. āItās the one and only guitar I played. It didnāt matter how many guitars we made at Taylor, thatās the one I took out and played.ā The Legacy 810e brings back that bold, room-filling Dreadnought voice along with the easy playability expected from a Taylor.
Taylor Guitars | Legacy 810e | Playthrough DemoĀ
Legacy 855e
Taylorās first 12-strings found an audience in 1970s Los Angeles. āI was making guitars that would find their way to McCabeās in Santa Monica and Westwood Music,ā Bob says, āand these guitars were easy to play. Twelve-strings were a popular sound in that music. It was a modern country/folk/rock music genre that was accepting our guitars because they were easy to play. They also liked the sound of them because our guitars were easier to record.ā The Legacy 855e, with its resonant Jumbo body, slim neck and gorgeous octave sparkle, carries that tradition forward.
Taylor Guitars | Legacy 855e | Playthrough DemoĀ
Legacy 815e
The Legacy 815e revives Taylorās original Jumbo 6-string, delivering a big, lush sound with beautifully blooming overtones.
Legacy Grand Auditoriums
In the early 1990s, Bob Taylor heard a consistent refrain from dealers: āNot everybody wants a dreadnought guitar anymore.ā Players were asking for something with comparable volume but different proportionsāsomething more comfortable, yet still powerful. This feedback inspired Bob to design a new body style with more elegant curves, more accommodating proportions and a balanced tonal response. The result was the Grand Auditorium, which Taylor introduced in 1994 to celebrate its 20th anniversary.
Thanks to its musical versatility and easy playability, Bobās Grand Auditorium attracted a wide variety of players. āWe came into our own with our Grand Auditorium,ā he says. āPeople were describing it as āall around.ā Itās a good strummer and good for fingerstyle, but itās not totally geared toward strumming or totally geared toward fingerstyle.ā Also referred to as the āSwiss-Army Knifeā of guitars or the āGoldilocksā guitar, the GA quickly became a favorite among guitarists across playing styles, musical genres and different playing applications including recording and live performance. āThat guitar made studio work successful,ā Bob says. It gained a wider fanbase with the debut of the āceā version, which introduced a Venetian cutaway and onboard electronics. āThat became one of our hallmarks,ā says Bob. āIf you want to plug in your guitar, buy a Taylor.ā
Today, the Grand Auditorium is Taylorās best-selling body shape.
The Legacy Collection features two cedar-top Grand Auditoriums inspired by past favorites: the mahogany/cedar 514ce and rosewood/cedar 714ce. Both models incorporate Bobās original X-bracing pattern for a tonal character reminiscent of their 1990s and 2000s counterparts. Shared aesthetic details include a green abalone three-ring rosette, ebony bridge pins with green abalone dots, a faux-tortoiseshell pickguard and Taylor gold tuning machines.
Taylor Guitars | Legacy 815e | Playthrough DemoĀ
Legacy 514ce
The Legacy 514ce features solid mahogany back and sides paired with a Western Red cedar top, yielding a punchy midrange and dry, woody sonic personality that pairs beautifully with cedarās soft-touch sensitivity and warmth. Itās a standout choice for fingerstyle players and light strummers who crave nuance and depth. Distinct visual details include faux-tortoise body and fretboard binding, black-and-white top trim, and mother-of-pearl small diamond fretboard inlays.
Taylor Guitars | Legacy 514ce | Playthrough DemoĀ
Legacy 714ce
The Legacy 714ce also features a cedar top, this time matched with solid Indian rosewood back and sides. The result is a richly textured sound with deep lows, clear trebles and a warm, mellow response. Inspiring as it is, this specific wood pairing isnāt currently offered in any other standard Taylor model. Additional aesthetic details include green abalone dot fretboard inlays, black body and fretboard binding, and black-and-white āpinstripeā body purfling.
While the Legacy Collection spotlights Taylorās past, newer models from the Gold Label, Builderās Edition and Somos Collections show the companyās legacy is always evolving. Explore the Legacy Collection at taylorguitars.com or visit your local authorized Taylor dealer.
Taylor Guitars | Legacy 714ce | Playthrough DemoĀ
Guest picker Ally Venable
Blues rocker Ally Venable joins PGās editors to imagine what their dream late-night band would sound like.
Question: Whatās your dream late-night show band?
Ally Venable - Guest Picker
By FifthLegend from Eagan, Minnesota, United States of America - Thundercat, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=70617212
A: For my late-night show's house band, Iāve assembled a dream team. This ensemble inspires me with their unparalleled musical talents and diverse backgrounds. Chris Laytonās drumming is unmatched and he will provide a solid foundation. Iāll have Jon Batiste on keys. His creativity and energy is boundless. Eric Gales would be on guitar. I love how emotive his music is, and I strive for that type of connection within my playing as well. Finally, Iād have Thundercat on bass. His playing is infused with jazz and funk sensibilities that would tie the whole sound together in an interesting way.
Obsession: My current obsession is shifting my approach to playingāfocusing on connection over applause. Instead of chasing technical perfection or crowd reactions, Iām leaning into the emotional and spiritual side of music. Itās about creating moments that resonate deeply, whether itās with myself, my bandmates, or the audience.
David Saenger - Reader of the Month
A: I love the idea of supergroups and how each of the players would interact. On guitars I would have Nuno Bettencourt (Extreme) and Isaiah Sharkey. My drum and bass combo would be Stewart Copeland (The Police) and Mohini Dey. On keys and sax, I would have Herbie Hancock and Joshua Redman. My male and female vocalists would be Corey Glover (Living Colour) and Liv Warfield (Prince). All of these players are fantastic improvisers and really know how to put on an entertaining show in any genre.
Bassist Victor Wooten
Obsession: My current obsession has been bass. My 12-year-old daughter started playing electric and upright bass about two years ago, and itās been a blast working with her. Iāve been really focusing on having a solid pocket, and itās forced me to get better at reading bass clef. Iām taking her to see Victor Wooten next week. Canāt wait!
Jason Shadrick - Managing Editor
Jason Shadrick on the SNL stage.
A: The natural move would be to go for a high-energy party band decked out with multiple keyboards, horns, and vocalists. Iād go a different route. Iād go for a more rootsy vibe with Blake Mills leading a band consisting of Jay Bellerose on drums, esperanza spalding on bass, Bob Reynolds on saxophones, and a rotating guest each week. They could cover lo-fi Americana, funky open-tuned blues, and so much more.
Obsession: This month is slightly less obsession and more reflection as this will be my last issue as Managing Editor for PG. Over the last 15 years Iāve worked on 182 issues, which is kinda mind-boggling. Iāve been lucky enough to do some incredible things during my time at PG, including walking through the host door at SNL and spending a few minutes with Brian May. Never could have imagined it. I am very grateful.
Nick Millevoi - Senior Editor
A: Iāve long said that joining one of the late night bands would probably be my absolute top dream gig. So, if I were choosing my own late-night band, from any era, I would go no further than getting a chance to sit with Paul Schaffer and the Worldās Most Dangerous Band or G.E. Smith-era Saturday Night Live Band.
Obsession: The late guitarist Jef Lee Johnson, who spent time in Schafferās band, had a heavy resume that included stars of all genres from Billy Joel to the Roots to McCoy Tyner. I got to see him play some low-key gigs around Philly, and each rearranged my molecules. Itās only now, years after his 2013 death, that Iāve become obsessed with his discography. Though much of his work was as a high-level sideman, his albums show the broad range of this masterful guitarist, whose tone, feel, and phrasing conveyed the instrumentās deepest emotional capabilities.
At its core is GTRSā upgraded G151 intelligent system, offering 128 onboard effects, MNRS amp and cab sims, and even 17 guitar emulationsāexclusive to this model. Everything is controlled via the eye-catching Super Knob, which changes color to match your preset, as well as through the Bluetooth-connectible GTRS app.
GTRSā W902 features select tonewoods and construction: an alder body, poplar burl top, and a sleek bolt-on 5-piece neck made from roasted flame maple and rosewood, with satin natural finish and a rosewood fingerboard. The fanned fret design features 24 white copper frets and a stainless zero fret. A pair of GTRS Alnico V pickups and an HL-II bridge deliver a resonant tone, made particularly versatile thanks to the 5-way tone switch and tone knob.
The W902 offers a truly innovative choice for tech-savvy guitarists. Its features include a wireless transmitter, OTG recording, an 80-second looper, metronomes, and a drum machine, the app-supported guitar boasts up to 12 hours of playtime on a single charge (9 hours with the wireless transmitter in use).
The W902 is an upgraded version of the original W900 Intelligent Guitar, and the W902 most notably features an upgraded GTRS Intelligent Processor System, the G151, which even offers upgrades over the GTRS SL810's recently announced G150 system. The G151 system comes with a staggering 128 effects pre-installed, along with 10 of both MOOER's in-house MNRS amp and cabinet simulation profiles. Exclusive to the W902, the G151 system even includes 17 guitar simulation effects, allowing guitarists to emulate the tonal resonance of some of their favorite guitars.
To activate and browse through presets within the G151 system, which can be connected via Bluetooth 5.0, guitarists can use the guitar's Super Knob, which lights up in different LED colors depending on which preset is activated. Of course, users are able to get stuck into and edit the effects chains of presets through the GTRS app, enabling them to craft their own favorites through their mobile device. The guitar still functions without the G151 system; the Super Knob just needs to be turned off, and the W902 is usable as a regular electric guitar.
Within the GTRS app, there is even an 80-second looper, 10 metronomes, and 40 drum machine grooves built in, providing users with an all-in-one suite for guitar practice and composition. This is especially the case when combined with the W902's OTG-recording support, enabling on-the-go recording without the need for a hardware recording setup.
The W902 comes bundled with a GTRS Deluxe gig bag, three guitar wrenches, a USB 3.0 cable for charging, and a user manual. The guitar even contains a wireless transmitter and an integrated 4000mAh Li-ion battery, providing up to 12 hours of continuous use (9 hours with the transmitter in use), allowing users to enjoy the G151 system through headphones or an amplifier.
Guitarists who want to experiment further with the W902ās technology can connect the intelligent system to the GTRS GWF4 wireless footswitch, which is ideal for switching between presets in live scenarios when control through a mobile device isn't practical.
GTRS W902 Guitar construction features:
- Alder Body, 5-Piece Selected Roasted Flame Maple and Rosewood Neck with Satin Natural Finish (C-Shape)
- Bolt-on neck, 25-1/2" scale length, with dual action steel truss rod
- Rosewood fingerboard, 12ā radius, 24 white copper (0 fret stainless) fanned frets
- Built-in wireless transmitter
- Super Knob, Volume Control Knob, and Tone Knob, 3-way tone-selection switch
- GLB-P1 Li-ion Battery (4000mAh, up to 12 hours of continuous use, 9 hours with the wireless transmitter in use)
- USB port for charging and OTG recording
- GTRS Deluxe gig bag, 3 guitar wrenches
GTRS G151 Intelligent Guitar System features:
- GTRS G151 Intelligent Processing System (and GTRS App)
- 128 effects, 10 MNRS amp (GNR) and cabinet (GIR) simulation models
- 17 guitar simulations
- 80-second looper, 40 drum machine grooves, 10 metronomes
- Bluetooth 5.0 connectivity
- GTRS GWF4 wireless footswitch support (sold separately)
The GTRS W902 is now available worldwide. For more information visit www.gtrs.tech.
Detail of Tedās 1997 National resonator tricone.
What instruments should you bring to an acoustic performance? These days, with sonic innovations and the shifting definition of just what an acoustic performance is, anything goes.
I believe it was Shakespeare who wrote: āTo unplug, or not to unplug, that is the question. Whether ātis nobler in the mind to suffer the slings and arrows of acoustic purists, or to take thy electric guitar in hand to navigate the sea of solo performing.ā
Four-hundred-and-twenty-four years later, many of us still sometimes face the dilemma of good William when it comes to playing solo gigs. In a stripped-down setting, where itās just us and our songs, do we opt to play an acoustic instrument, which might seem more fittingāor at least more common, in the folksinger/troubadour traditionāor do we bring a comfy electric for accompaniment?
For me, and likely many of you, it depends. If Iām playing one or two songs in a coffeehouse-like atmosphere, Iām likely to bring an acoustic. But if Iām doing a quick solo pop up, say, as a buffer between bands in a rock room, Iām bringing my electric. And when Iām doing a solo concert, where Iāll be stretching out for at least an hour, itās a hybrid rig. Iāll bring my battered old Guild D25C, a National tricone resonator, and my faithful Zuzu electric with coil-splitting, and likely my gig pedalboard, or at least a digital delay. And each guitar is in a different tuning. Be prepared, as the Boy Scouts motto states. (For the record, I never made it past Webelos.)
My point is, the definition of the āacousticā or ācoffeehouseā performance has changed. Sure, there are still a few Alan Lomax types out there who will complain that an electric guitar or band is too loud, but they are the last vestiges of the folk police. And, well, acoustic guitar amplification is so good these days that Iāve been at shows where each strum of a flattop box has threatened to take my head off. My band Coyote Motel even plays Nashvilleās hallowed songwriter room the Bluebird CafĆ© as a fully electric five-piece. Whatās key, besides a smart, flexible sound engineer, is controlling volume, and with a Cali76 compressor or an MXR Duke of Tone, I can get the drive and sustain I need at a low level.
āMy point is, the definition of the āacousticā or ācoffeehouseā performance has changed.ā
So, today I think the instruments that are right for āacousticā gigs are whatever makes you happiest. Left to my own devices, I like my Guild for songs that have a strong basis in folk or country writing, my National for blues and slide, and my electric for whenever I feel like adding a little sonic sauce or showing off a bit, since I have a fluid fingerpicking hand that can add some flash to accompaniment and solos. Itās really a matter of what instrument or instruments make you most comfortable because we should all be happy and comfortable onstageāwhether that stage is in an arena or theater, a club or coffeehouse, or a church basement.
At this point, with instruments like Fenderās Acoustasonic line, or piezo-equipped models from Godin, PRS, and others, and the innovative L.R. Baggs AEG-1, itās worth considering just what exactly makes a guitar acoustic. Is it sound? In which case thereās a wide-open playing field. Or is it a variation on the classic open-bodied instrument that uses a soundhole to move air? And if we arrive at the same end, do the means matter? There is excellent craftsmanship available today throughout the entire guitar spectrum, including foreign-built models, so maybe we can finally put the concerns of Shakespeare to rest and accept that āacousticā has simply come to mean ālow volume.ā
Another reason Iām thinking out loud about this is because this is our annual acoustic issue. And so weāre featuring Jason Isbell, on the heels of his solo acoustic album, a piece on how acoustic guitars do their work authored by none other than Lloyd Baggs, and Andy Fairweather Low, whose new solo albumāand illustrious careerāincludes exceptional acoustic performances. If youāre not familiar with his work, and you are, even if you donāt know it, he was the gent sitting next to Clapton for the historic 1992 Unplugged concertāand lots more. There are also reviews of new instruments from Taylor, Martin, and Godin that fit the classic acoustic profile, so dig in, and to heck with the slings and arrows!