ws_spring_2011.pdf

Tommy Shaw

Gets his bluegrass on

Spring Limiteds

Macassar 12-Fret & T3

Walnut Double Feature

All-Mahogany Roots

Doyle Dykes & the Lights

Inside his new book

Expressionism

The art of the ES

NAMM

Notes

www.taylorguitars.com

Letters

off at our local airport, I lectured him

(it’s the mother in me) not to lose or

let his guitar get stolen.

At the organization there was a

talented young man in his mid 20s

who has the job of leading music to

the children, with his old guitar of

extremely poor quality. This young

man was overtaken by the fact that

my son owned a Taylor guitar, which is

equivalent to five years wages for this

man. My son let him play the Taylor

and was impressed by his talent.

During their visit they had so much fun

singing and playing guitar together

for the children. On the last day of my

son’s trip, he realized how blessed he

has been. He knew he could work for

a few months to buy another guitar, yet

his new friend would probably never

be able to own a guitar like this, and

he felt that there was too much talent

there to bring the guitar home.

When I picked up my son at the

airport, I realized he didn’t have his

guitar! On the drive home, I heard one

of the most beautiful stories of how a

Taylor guitar changed two men’s lives.

B. Rice

bridge pickup, and we agree that the

configuration will appeal to others.

We’ll keep it in mind as a loaded

pickguard option for the future.

learned guitar by picking it up upside-

down. Over the years it only caused a

few problems since I could play most

right-handed guitars. Since I couldn’t

afford a good right-handed guitar, going

through all the trouble to get what was

essentially a custom-built guitar was

never a real option. Until recently.

While visiting Oklahoma Vintage

Guitars in El Reno, Oklahoma, I learned

about the BTO program and took the

plunge. It was a little intimidating to

make all those choices knowing that

I was going to be living with the out-

come, forever probably, but it all came

together. I traded my trusty 2000 310

(the one with the pickguard on the

“wrong” side) for a beautiful ovang-

kol and Adirondack spruce GS. I’ve

owned a few Taylors, and I think this

one sounds less bright than I expected

— which I like. I went light on the embel-

lishments: abalone rosette, a cross-like

inlay on the headstock, and no pick-

guard. I won’t try to describe how it

looks, sounds or plays because, much

like my wife, I learned a long time ago

that such words don’t exist.

I’d like to add that the staff at

Oklahoma Vintage Guitars was terrific

and that the guitar was delivered about

10 days ahead of schedule. There was

even a pickguard thrown-in in case I

changed my mind. Or maybe that was

a hint.

You guys are a class act. Don’t let

success tempt you away from your

core.

any business or field of endeavor. You

and Kurt have lived what is best in the

human spirit, with vision, passion and

perseverance.

One Size Fits All

I just purchased a GS Mini that fits

right into my lifestyle. I’ve been looking

for a travel guitar since I perform in

a variety of locations across Africa. I

used to travel with a Baby Taylor with

a pickup in it. That guitar worked well

when I could plug in, but as a straight

acoustic, it lacked volume in groups of

10-20. With the GS Mini, this problem

has been rectified.

The sound is comparable to a

full-sized Taylor. I am very impressed

with the way the guitar tunes up. I’ve

had trouble with other guitars tuning

up properly, but this tunes up just like

my 714ce. It stays in tune across the

fretboard and remains in tune for an

extended period of time.

The GS Mini is the perfect match

for my itinerant lifestyle, allowing me

the freedom to create and perform in

virtually any situation I find myself in.

Bob Bartz

Lance Morgan

Austin, TX

Out of the Woodwork

Bob, I related to your “Book

Report” story [“BobSpeak,” Vol. 66/

Winter 2011] in many ways. I remem-

ber NOT reading The Grapes of Wrath

during Ms. Seagel’s class but man-

aging a B anyway. But what I really

want to comment on is your statement

that schools don’t offer wood shop

classes anymore. You are right that

many schools don’t offer “shop,” but

there are still a few of us out here

teaching woodworking. The class

might be marketed as something else,

but we are still here, and the kids are

still benefiting from the curriculum. I

have even had a couple kids try their

skills on making guitars. Who knows,

maybe I taught the next Bob Taylor in

one of my classes. As a wood worker,

shop teacher and Taylor owner (I don’t

play very well yet), I have a complete

appreciation for the craftsmanship that

goes into building a guitar. I have also

taught my students how to use CNC

equipment, which I know you use in

your manufacturing processes. In fact,

I have used your website to show

examples of how CNC is used in “real

world” manufacturing.

I just wanted to let you know that

while the ranks of shop teachers have

dwindled over the years, we are still

out here teaching useful, marketable

skills to high school kids. Maybe some-

day you can give one of my kids a job

making Taylor guitars.

80 Years of Expertise

My Wood&Steel (Vol. 66/Winter

2011) arrived in the mail yesterday.

Your “Guitar Guide” feature is the

most attractive, superb and compre-

hensive presentation (print or live) of a

line of guitars I have ever seen. Taylor

folk be proud — you produce fantastic

products!

I’m now 92 years old. So, through

the years I’ve looked at more than a

few guitars in more than a few guitar

shops and industry shows since I was

12, when I began to learn to play. I’ve

owned a Taylor 750 12-string for near-

ly 15 years. It’s a superb partner to

play with my harmonica. Keep up the

good work! Your company’s contribu-

tions to the guitar are most significant!

Lynn K. Huffman

Henry, IL

Pickup Mixup

I am the proud owner of a 2009

cherry burst SolidBody Standard.

What a beautiful guitar! The HD

pickups are incredible. I also recently

purchased the HG pickups to test-

drive them and see how they worked

for me. While I love both, the HDs

have unmatched clarity and really work

well with gain. The HGs are also great

in their own right, and are summed

up very nicely in your videos — a little

darker with even more rawness.

I e-mailed last week with a ques-

tion on running a full-sized HD in the

neck position and an HG in the bridge

position. Well, I just couldn’t wait and

had to try this combination. To my

delight, it’s perfect for me — great clar-

ity and great gain. To me, it’s the best

of all possible combinations. The three

positions where coils from both pick-

ups are used are still fantastic, albeit

just a little different than either two

HDs or two HGs. Maybe one of each

should be an option on your guitars

and loaded pickguards. I think there

are many players out there who would

love the combo as much as me.

It really is a privilege to own such

a beautiful and thoughtfully designed

guitar. Taylor has truly been an innova-

tor over the years, and the SolidBody

is no exception.

A Good Deal of Fun

I’m basically an acoustic player

and love my 2004 614ce, which I

bought used a few years ago. This past

summer, a local charity was having a

fundraising online auction, and the star

item up for bid was a brand new Taylor

T5-S, which had been donated by our

local Taylor dealer, Canyon Music, in

Durango Colorado. Even though I’ve

never been much of an electric guitar

fan (not a light enough touch), I have

always been a sucker for a great deal,

and I became the successful bidder,

winning the guitar for a very good price.

All I can say is WOW! I’ve been lay-

ing down simple rhythm patterns on

my looper with the T5 in the acoustic

position, then switching to one of the

other settings and playing lead. This is

so much fun, plus my overall playing

abilities and techniques are progressing

faster than I ever imagined possible.

Thank you, Taylor folks and Canyon

Music!

John Harris

Secret Ingredient: Love

I don’t quite know how to put this

into words, but sitting here playing

my GS Mini (my second Taylor), I can

feel the love and care that’s gone into

this instrument. There are some very

nice guitars available today, and with

overseas manufacturing, prices are

lower, but I can tell that everyone who

touched this instrument, from the R&D

to final packing, truly cares what they

do. I’m not rich, I’ve lived with a painful

disability most of my life, and music is

my way of dealing with the pain and

limitations that come with it. Thank you

again for making instruments that are

reasonably priced, sound fantastic,

and, most of all, come with love built in.

James Shepherd

Lesson Plan

I am a guitar player of about 40

years, an owner of a beautiful 2004

610ce L-7, a real estate broker, and

a huge Taylor fan. I just finished read-

ing Bob’s book, Guitar Lessons , and

wanted to let him know it is not only a

great story; it’s also quite well-written,

and a remarkably inspirational recipe

for success. It has lit a fire in my

gut and set me on the path of self-

improvement in my business and even

in my personal life. I suppose the fact

that I’ve always been impressed with

Taylor Guitars as a company in gener-

al, and with my 610 specifically, is the

reason the book had such a profound

effect on me. I have already begun rec-

ommending it to business associates

and guitar players alike.

I just want to say thanks for the

book, Bob. I am planning on making

the trip to El Cajon in the next couple

of years, perhaps to see in person how

my next Taylor guitar is made. Thanks

for your shining example to anyone in

David Weber

Rocky Mountain High School

Fort Collins, CO

Bob responds: David, thanks for the

encouraging letter. I’m so glad to hear

that you’re pouring great experiences

into your students’ lives. My shop

years were the foundation of Taylor

Guitars, and no doubt you are teach-

ing the next “somebody.”

Denny Finn

Upside-Down, Left and

Just Right

Last August, I took the plunge

and bought a BTO GS. I figured that

after 30 years in the Air Force I’d treat

myself. I have been playing guitar since

junior high school. The Beatles had

just shown that chicks dig guitar play-

ers, but I had one problem that always

reared its head: I’m left-handed and

We’d like to

hear from you

One-Way Trip

My 18-year-old son went to a Third

World country last month to help an

organization that feeds and ministers

to orphan, homeless children in Asia.

He took his guitar so he could sing

and play for them. While dropping him

Tray Huff

Columbia, SC

Send your e-mails to:

pr@taylorguitars.com

Ed. Note: Thanks for sharing, Tray.

Many electric players like a hotter

Volume 67

Spring 2011

Find us on Facebook. Add us on MySpace. Subscribe on YouTube. Follow us on Twitter: twitter.com/taylorguitars

Features

6 Doyle’s Storied Life

Our leet-ingered friend Doyle Dykes talks about his new book, his new

On the Cover

guitar, and why we all should be happy he took piano lessons.

9 Service Spotlight: The Paisley Guitar

12 Tommy Shaw

Due to a tragic twist of fate, a custom paisley guitar built for Prince never

quite found its home. One auction and 22 years later, it arrived at the factory

Styx rocker Tommy Shaw

for service.

sheds light on the making

of his debut bluegrass record,

18 The Spring Limiteds

The Great Divide , and sizes

Macassar and walnut dole out double delights, while an all-mahogany looker

up his new custom Dreadnought.

strikes a neo-vintage chord.

22 The Expression System

With eight years of gigging to its name, the ES continues to set the standard

for ampliied acoustic tone and ease of use. We revisit the innovative design

that has made players happy to plug in.

26 The Irrational Fretboard

For those who’ve ever felt stymied by guitar theory, Shawn Persinger has your

back. He breaks down scales to help you navigate the fretboard.

28 The NAMM Report

Our little corner of the annual trade show was the scene of good things:

industry awards, the double cutaway debut, and memorable performances.

Departments

2 Letters

4 Kurt’s Corner

5 BobSpeak

5 Editor’s Note

10 Ask Bob

16 Soundings

25 Mixed Media

31 Calendar

32 TaylorWare

www.taylorguitars.com

Volume 67

Spring 2011

Publisher / Taylor-Listug, Inc.

Produced by the Taylor Guitars Marketing Department

Vice President of Sales & Marketing / Brian Swerdfeger

Director of Brand Marketing / Jonathan Forstot

Editor / Jim Kirlin

Senior Art Director / Cory Sheehan

Art Director / Rita Funk-Hoffman

Graphic Designer / Angie Stamos-Guerra

Photographer / Tim Whitehouse

Contributors

Jonathan Forstot / David Hosler / David Kaye / Kurt Listug / Shawn Persinger

Shane Roeschlein / Bob Taylor / Corey Witt / Glen Wolff / Chalise Zolezzi

Technical Advisors

Ed Granero / David Hosler / Gerry Kowalski / Andy Lund / Rob Magargal

Mike Mosley / Brian Swerdfeger / Bob Taylor / Chris Wellons / Glen Wolff

Kurt’s Corner

Contributing Photographers

Rita Funk-Hoffman / David Kaye / Steve Parr

Printing / Distribution

Courier Graphics / CEREUS - Phoenix

Circulation

Katrina Horstman

Playing a Part

700 SERIES, 800 SERIES, 900 SERIES, Baby Taylor, Big Baby, Bridge Design, Doyle Dykes Signature

Model, Dynamic Body Sensor, Expression System, GALLERY Series, K4, Liberty Tree, Peghead Design,

Pickguard Design, PRESENTATION Series, Quality Taylor Guitars, Guitars and Cases & Design, T5, T5

(Stylized), Taylor, Taylor (Stylized), Taylor ES, Taylor Expression System, TAYLOR GUITARS Taylor Guitars K4,

Taylor K4, TAYLOR QUALITY GUITARS and Design, TAYLORWARE, and WOOD&STEEL are registered

trademarks of the company. Balanced Breakout, Dynamic String Sensor, ES Blue, ES-Go, Grand Symphony,

GS, GS Mini, GS SERIES, T5 Thinline Fiveway, Taylor Acoustic Electronics, ES-T, Thinline (T5) Fiveway, T3,

T3/B, T-Lock and V-Cable are trademarks of the company. Patents pending.

Several of us were in Nashville

at the Country Music Hall of Fame

recently to attend the launch party

for Doyle Dykes’ new book, The

Lights of Marfa . The lights of Marfa

are an unexplainable phenomenon of

paranormal lights that can be seen in

the night sky outside the southwest

Texas town of Marfa. Some friends of

ours from Europe read about these

years ago, and have been to Marfa

several times since then during their

U.S. travels to witness the lights. Doyle

heard the stories and decided he had

to see these lights for himself. He

visited Marfa in 2010 with his daughter

Haley, and they, too, experienced the

lights.

Like the lights of Marfa, many things

in life are unexplainable, and Doyle’s

book is full of accounts of events and

people he met that positively altered

the course of his life, guiding him to

where he is today.

One of the stories in the book,

which Doyle told the audience at his

party, was about “Barry the Sailor.”

Doyle was a young man learning guitar,

trying to play Merle Travis and Chet

Atkins tunes he heard on records, and

couldn’t figure out how they did it.

Barry the Sailor came to their church,

asked if he could play Bubba Dykes’

guitar (Doyle’s dad), and proceeded

to play the tunes Doyle had been

struggling to learn. Barry could play

the tunes because he knew how to

fingerpick…something Doyle had never

experienced! Barry taught Doyle how to

fingerpick, and the rest is history.

Throughout the evening, Doyle told

stories about people who had make a

difference in his life, and people came

up to the stage and told their stories

about Doyle. Bob Taylor quipped that

Doyle got to hear all the nice stories

that people would normally tell at

a funeral. There were several great

help, and try to make the best possible

decisions and take the best possible

actions that do the most good. To hear

from someone that you really made a

difference in their life is both surprising

and satisfying. Especially when you

hear from them many years after the

fact about something you did or said

that made a difference for them. It’s

easy to underestimate the positive

2011 Taylor Factory Tours & Vacation Dates

A free, guided tour of the Taylor Guitars factory is given every Monday

through Friday at 1 p.m. (excluding holidays). No advance reservations are

necessary. Simply check-in at our reception desk in the lobby of our main

building by 1 p.m. We ask that large groups (more than 10) call us in advance

at (619) 258-1207.

While not physically demanding, the tour does include a fair amount of

walking. Due to the technical nature, the tour may not be suitable for small

children. The tour lasts approximately one hour and 15 minutes and departs

from the main building at 1980 Gillespie Way in El Cajon, California.

P lease take note of the weekday exceptions below. For more information, in-

cluding directions to the factory, please visit taylorguitars.com/contact/factorytour.

We look forward to seeing you!

To hear from someone that you re-

ally made a difference in their life is

both surprising and satisfying.

musical performances, as different

people shared the stage with Doyle,

including Barry Lackey (the Sailor).

A personal treat for me was David

Pack performing “Biggest Part of

Me,” accompanied by Doyle and Larry

Carlton.

Doyle and his family were very

gracious in thanking me and Bob and

Taylor Guitars for everything we’ve

done to help him and his career. David

Pack also thanked us for helping him

several times with projects he’s been

involved with.

I’m sure a lot of people can relate

to what I’m going to say, but I’m usually

surprised and a little bit taken aback

when someone tells me how much I or

the company helped them or positively

influenced them. We just naturally

impact one person can have on others.

Doyle, you’ve earned every bit

of your success, and we appreciate

everything you’ve done for us!

Holiday Closures

— Kurt Listug, CEO

Monday, May 30

(Memorial Day)

Monday-Friday, July 4-8

(Independence Day/company vacation)

Monday, September 5

(Labor Day)

Friday, October 14

(Taylor Guitars Anniversary)

Editor’s Note

Growing New Roots

Roots revivals seem to sweep across the musical landscape in

regular intervals, and it feels like we’re in the midst of one right now.

You’ve got shining talents like the Punch Brothers, or Mumford & Sons

and the Avett Brothers — both of whom ascended to the mainstream

radar with Grammy nominations this past year — who go back to

the rich wellspring of folk music, drink deeply, and then infuse fresh,

envelope-pushing ideas into the music they create. Then you have older,

established rock & rollers like Robert Plant, Mark Knopfler, and as we

share this issue, Tommy Shaw, who, later in their careers, circle back

to the musical roots that gave birth to rock & roll and their own musical

passions in the first place.

What is it about roots music that captivates us in such a powerful

way? The sweet and plaintive cries of acoustic instruments? Organic

vocal harmonies? Urgent emotion? Personal stories?

Whatever it may be, it seems grounded in something that feels real,

that comes from the soul.

For Doyle Dykes, there was something about hearing pickers like

Merle Travis and Chet Atkins and the powerful strains of gospel music

that enveloped him growing up in the South. For fingerstylist Chris

Proctor (see “Soundings” this issue), he soaked up the blues, then Celtic

folk, and then acoustic interpreters like Leo Kottke and his propulsive

12-string. After steeping themselves in their influences, artists have

to decide whether to set out on their own paths. Doyle certainly has,

bringing sophisticated new fingerstyle arrangements to the songs he

embraces. Chris has dedicated himself to his own adventurous acoustic

alchemy. And as Bob Taylor points out in his column, Tommy Shaw

ventured out of the rock world to craft a cycle of fresh story-songs in the

bluegrass vein.

These days, as Tommy mentions in his interview, people have instant

access to virtually any style of music, right from their fingertips. And when

modern life seems over-fabricated or over-hyped, and people crave music

that feels a little more real, and that moves them, they have the means to

dig down and discover it on their own. Maybe that’s why this latest wave

of roots acts brings so much to the table. And why these new strains of

roots music are likely to serve as a tap root for the musicians who follow

them.

BobSpeak

Stretching Out

Doyle Dykes is writing books,

Tommy Shaw is playing bluegrass, and

Taylor Guitars is deep into prototyping

classical and flamenco guitars! The

next thing you know, our company

dog and cat will be hanging around

together.

Doyle’s book, The Lights of

Marfa , shares stories like the ones

he shares in concert, but expanded

with more background. Many of you

have heard Doyle’s concerts and

listened in amazement to stories that

make you go “Whoa!” afterward. In

Marfa, Texas, there are lights in the

sky, a complete spectacle of moving

lights that nobody understands. But

they are there, there’s no denying it.

There are lookout points along the

highway to stop and watch, so even

the highway department knows they

exist. It’s just that nobody really knows

what they are. Doyle tells stories of

his strange encounters where God

has paved a way for him, all centered

around guitars. You’ll be amazed and

entertained.

From Styx and 80s rock to blue-

grass, Tommy Shaw has jumped off the

deep end and landed safely. I mean,

no kidding! What a brave move, and

what an incredible musician he is. You

can imagine that voice of his, from

the Damn Yankees hit “High Enough,”

singing tenor bluegrass ballads. Tommy

knows how to play, and he knows the

difference between a good song and a

ho-hum song. He writes good songs.

In an upcoming issue I’ll tell you

more about Andy Powers, who has

joined us at Taylor Guitars as a master

guitar builder. Andy is talented not

only as a builder but as a player. He

and I are working to design a quality

classical guitar, most likely with a

flamenco guitar in there as well. Andy

is doing the lion’s share of the work,

but we’re working closely together.

people try something new and don’t

stop until it’s good.

The same thing goes for Taylor

Guitars. We ventured into making the

T5, pickups, the SolidBody and the T3,

and now we’re working on classicals.

I’ve read comments where people

warn us to “stick to our knitting,” but I

don’t let those people impose their will

on us. We have a need to create, and

I’ve read comments where people

warn us to “stick to our knitting,”

but I don’t let those people impose

their will on us. We have a need to

create.

— Jim Kirlin

Correction: In last issue’s Guitar Guide (p.27), a photo showing the

Taylor Balanced Breakout Box was actually a photo of an earlier proto-

type and not the final product.

in fact, that is our knitting. To create

good guitars and bring them to the

market so that players can have a

great playing experience along with a

great ownership experience. I think you

need both the product and the support

from the company in today’s world to

get complete value for your money.

So, we work toward that end, even

if it’s not something we’re known for.

I’m not ready to announce a release

date yet, but like Doyle and Tommy, we

feel like conquering new horizons. I’m

happy to stick my neck out, but at the

same time, we’re serious about getting

it right.

I believe we have a real chance to do

a superb job and introduce something

that Taylor hasn’t done yet, and do a

fine job of it!

So, what’s the tie-in? The tie-in is

that here are three examples of people

(or a company) who’ve mastered

one form of their craft and added

something different to what they want

to do. It’s not easy, but it is possible.

Reading Doyle’s book and hearing

Tommy’s bluegrass songs makes me

smile because they’re doing it for their

own reasons. There’s no guarantee of

success; they have to do a good job.

And so they buckle down and do a

good job. It’s impressive. I love it when

Online

Read this and other back issues of Wood&Steel at

taylorguitars.com under “Resources.”

— Bob Taylor, President

Plik z chomika:

Inne pliki z tego folderu:

Inne foldery tego chomika: