Better, Not Bigger...

If you're a fan of acoustic guitars, like us, you know how hard it is not to get excited during the weeks surrounding the Winter NAMM Show in Anaheim, California. Guitar manufacturers, both large and small, roll out new specs on older models and, sometimes, brand new guitars altogether.

Such is the case with Taylor Guitars. We were a little bummed when Taylor announced they wouldn't be producing their Jumbo guitars in 2012. There's just something about the throaty response of a Jumbo to get your pulse racing. But when Carrie and Steve attended Taylor University late last year, they got a glimpse into things to come. You see, they were able to get their hands on some prototypes; prototypes which are now known as the Grand Orchestra models.

They're designated as an "X18" body style (X14 being Grand Auditorium, X16 being Grand Symphony, etc), and they're the manifestation of an idea that Taylor luthier Andy Powers has had bouncing around his head for a while. The Grand Orchestra guitars, size-wise, seem to fit between the Grand Symphony and what was the Jumbo of years past, but they definitely lean towards the former.. We were impressed with the prototypes, and couldn't wait to see what the production models would be like.

Well, we've found out. They got to our store this past Monday, and they are stunning. 

There are three initial offerings: a 518e, a 618e and a 918e. The "First Edition", as Taylor is referring to them, will be limited to only 100 of each model. Each guitar comes with a commemorative "First Edition" plate on the case (class move there, Taylor). And, despite being limited to 100 of each model, they're not priced any differently than other models in their respective series.

The bracing pattern for the Grand Orchestra is all new, designed by Powers to help achieve uniformity throughout the tonal spectrum. It's sort of a hybrid between scalloped bracing and what some builders refer to as parabolic bracing. Essentially, the design (without getting into the brain-swelling technical aspects of it) allows the lower bout of the guitar to move like the cone of a speaker.

The 518e has Mahogany back and sides with a Sitka Spruce top. As you might expect from Mahogany, the guitar is tonally flat, in that no one frequency range is accentuated. The bass is rich and luxurious, The mids sit where they need to, nestled between the rich lows and the shimmering higher frequencies. It's like every other Mahogany/Spruce guitar you've ever played, only, well, better. Louder. Fuller. Powers describes it as "strong and powerful, and really warm, friendly and appealing.

Sounds like a good combination to us:

The new Taylor 518e Grand Orchestra..

The elegantly inlaid peghead of the 518e...

The 618e was probably the most surprising guitar of the three. We've come to know Maple guitars as being a bit brighter sounding than their Rosewood and Mahogany counterparts. The 618e, though, sounds incredibly balanced for a Maple guitar, and the bass just reaches out and wraps its arms around you.

While we expected a higher-end shimmer from the 618e, what we didn't expect were the solid, piano-like lows. This guitar just sings, and it just begs to be played:

The Taylor 618e Grand Orchestra...

Taylor never disappoints with its selection of curly Maple...

The peghead inlay on the 618e. Pure class...

The 918e is the pièce de résistance of the Grand Orchestras. It's everything you would hope to get from a Rosewood and Spruce guitar, and so much more. The lows from this guitar are downright cavernous. You can feel them rumble in your chest as you strum, yet the highs aren't nearly lost. What's most notable is the presence of the midrange, which can often get lost in a Rosewood/Spruce guitar, especially a larger bodied one.

The 918e sports typical 900 Series appointments, which is to say that it's a feast for the eyes, with Taylor's "Cindy" inlay along the ebony fretboard, an abalone trimmed top, red purfling and a bound soundhole:

The 918e Grand Orchestra...

The 918e is most definitely not at a loss for abalone. It also boasts a nice fretboard extension...

900 Series inlay on the peghead of the 918e...

The Marketing folks at Taylor really know how to take something and it a little "extra special", and the Grand Orchestra "First Editions" are no exception. When you buy your Grand Orchestra guitar from Portland Music Co. (and, really, why would you go anywhere else?), you'll get a "FIRST EDITION" case. These cases are limited to the first 100 guitars produced in each series, as are the special "INAUGURAL COLLECTION" labels:

The "FIRST EDITION" case for the Grand Orchestra...

The "Inaugural Collection" label, reserved for the first 100 of each series...

Included in the case is the guitar registration, for which Taylor has graciously included a self-addressed stamped envelope. When the lucky owner mails that registration paperwork in to Taylor, Taylor will, in turn, send that owner a commemorative "FIRST EDITION" guitar strap, as well as a specially designed photo book with photos of the process of the design and construction of the Grand Orchestra guitars.

Taylor Guitars has always been a company of innovation, development and, well, just shakin' things up a little from time to time. The Grand Orchestra guitars certainly fit that mold, as they fly in the face of convention while, at the same time, offering us the sound and flavor of the great acoustic guitars we've come to expect from Taylor Guitars.

So come on by Portland Music Co. on Broadway and play these fantastic new instruments. You'll be glad you did.









Thanks to Angie Stamos-Guerra, of Taylor Guitars, for her help with some details...