Taylor 220ce-K DLX

Taylor 220ce-K DLX

Solid Koa & Layered Koa
1-11/16" Nut • 25-1/2" Scale • A/E

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Taylor 220ce-K DLX (Acoustic-Electric)

This handsome all-koa cutaway Dreadnought from our 200 Deluxe collection blends a solid Hawaiian koa top, featuring a shaded edgeburst, with layered koa back and sides.

The overall look is vintage organic beauty, with the help of a black pickguard and black binding that complement the dark edgeburst and the ebony fretboard and bridge from our mill in Cameroon. A full-gloss body highlights the rich character of the wood.

Tonally, the Dreadnought responds well to lively strummers and flatpickers, as the hardwood koa top adds natural compression that evens out a player’s attack to produce a nicely focused, balanced sound.

Additional appointments include Italian acrylic small diamond inlays, a single-ring faux pearl rosette in an interlocking “fishbone” pattern, Taylor ES2 electronics, chrome tuners, and a Taylor deluxe hardshell case. 

Grand Concert Body Size

A smaller bodied guitar ideally suited for fingerstyle.

Body Length: 19-1/2" / Body Width: 15" / Body Depth: 4-3/8"

  • The smaller body and tapered waist make it the ultimate studio and stage guitar
  • Clarity and balance reign in this small, comfortable body shape
  • Features a short scale and lighter string tension making it easier to play

The Grand Concert is the smallest of Taylor’s full-size body shapes. Its compact dimensions make for a physically comfortable guitar with an intimate feel and sound. The compact size keeps the overtones in check, contributing to a focused, articulate sound that’s well-suited for recording and stage work.

The Grand Concert debuted in 1984 to meet the needs of a new wave of adventurous acoustic fingerstyle players. In contrast to the traditionally darker, boomier voices of bigger body styles like dreadnoughts and jumbos, the GC’s compact size and tapered waist help minimize overtones. It was also more comfortable to play while sitting down, and the guitar’s slightly wider neck gave players more room for complex fingerings.

The GC’s smaller sonic footprint also fit cleanly in a mix with other instruments when tracking in the studio and with a band on stage, making it a useful tool for professional session and side players.

Taylor's current generation of GC models continues to accommodate fingerstylists with finger-friendly traits like a shorter 24 7/8-inch scale length, which makes fretting easier and adds a slightly slinkier feel on the strings due to the lighter string tension. If you feel more comfortable with a small body or favor controlled overtones, a Grand Concert is a great option.

Hawaiian Koa Top

A hardwood top such as koa produces a natural compression, so there tends to be more of a controlled, sustaining “roll-in” effect to a note. An all-koa guitar will produce strong fundamental focus, with a splash of top-end shimmer.

Origin: The Big Island of Hawaii

Used On: The Koa Acoustic and Acoustic/Electric Series

As a tropical hardwood, a koa top will initially project a bright and focused tone, especially together with koa back and sides, but as it's played, it matures into an increasingly warm, rich, sweet sound with healthy overtone "bloom," especially in the midrange.

A common mistake is when a "bright" player buys a koa-top guitar in part for its visual beauty, finds it to be too bright, and doesn't play it enough to allow the wood to develop its resonant tone.

Goes Well With: Fingerstylists who play more with the pads of their fingers and tend to have a meatier touch. Bright players need to be careful because of koa's existing brightness.

Layered Koa Back & Sides

Taylor’s layered backs and sides incorporate three layers of wood, featuring a middle core of poplar with a veneer on each side. While layered woods won’t produce quite as complex a sound as solid woods, they allow for exotic looks with climate-resilient construction.

Like Taylor’s other layered wood options, layered koa features an all-wood laminated construction, in this case with interior and exterior layers of beautifully-figured koa veneer separated by a middle core layer of poplar.

Though the tonal properties of layered wood aren’t as complex as solid wood, the construction method enables Taylor to conserve tonewood resources and offer attractive, durable instruments at a more inviting price.

A solid spruce top and Taylor craftsmanship ensure a clear, balanced tonal response.

Expression System 2 (ES2)

The Expression System® 2 captures more of a guitar’s dynamic properties using a breakthrough behind-the-saddle design

The Taylor Expression System® 2 (ES2) is a revolutionary pickup design that delivers the latest in Taylor’s ongoing innovation in acoustic guitar amplification.

The heart of the Expression System 2 is Taylor’s patented behind-the-saddle pickup, which features three uniquely positioned and individually calibrated pickup sensors. The location of the sensors enables a more dynamic range of acoustic sound to be captured than ever before.

Together with Taylor’s custom-designed “professional audio”-grade preamp, this system produces exceptional amplified tone and responsiveness. On stage through a PA, plugged into your favorite acoustic amplifier, or direct into recording software, the Expression System 2 faithfully conveys the voice of your Taylor guitar.

Behind the ES2 Design: Rethinking the Piezo Pickup

For decades, piezo-electric transducers have been positioned under the saddle of a guitar based on the long-held belief that the string and top vibration cause the saddle to “bounce” up and down. But Taylor’s electronics team, led by developer David Hosler, discovered that the vertical movement is actually heavily restricted, and that the saddle gets “locked down” due to the string tension’s downward pressure.

That’s why a traditional under-saddle pickup with piezo-electric crystals often responds with a sound often characterized as thin, brittle, brash or synthetic, especially with more aggressive playing.

The saddle’s natural range of movement as the guitar is being played is actually back and forth like a pendulum. That revelation led Taylor’s design team to relocate the crystals from under the saddle to behind it.

The new positioning enables the crystals to respond more naturally to the guitar’s energy as it is transferred through the saddle. Three pickup sensors are installed behind the saddle, through the bridge, with three tiny Allen screws that calibrate the position of the sensors in relation to the saddle.

Like the original Expression System, the ES2 features the same volume and tone control knobs. The preamp is similar but with a slightly different gain structure. As a result it will be about 25 percent hotter, which is more in line with other pickups. This makes it plug-and-play friendly both for artists and live sound mixers.

Body SizeGrand Concert (GC)
Top WoodKoa
Back & SidesLayered Koa
FingerboardEbony
Nut Width1-11/16"
Scale Length25-1/2"
String Spacing2-3/16"
ElectronicsTaylor ES2
StringsElixir Medium Nanoweb 16102 (13 - 56)
CaseTaylor Hardshell Case