Taylor 322e 12-Fret

Taylor 322e 12-Fret

Mahogany & Tasmanian Blackwood
1-3/4" Nut • 24-7/8" Scale • A/E

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Taylor 322e 12-Fret (Acoustic-Electric)

Taylor’s 12-fret necks feature the slightly shorter 24-7/8-inch scale length of the Grand Concert and a repositioned bridge that sits closer to the center of the lower bout. The result is a slinkier handfeel that makes it easier to form chords and bend strings, and tonally, surprising power, warmth, and sustain for the smaller body.

The blackwood back and sides produce a strong midrange focus with a splash of top-end shimmer, while the mahogany top helps even out the tonal response.

Other distinctive features include a shaded edgeburst top, an all-satin finish, small diamond inlays in Italian acrylic, and Taylor’s Expression System 2 pickup.

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.

Mahogany Top

As a top wood, mahogany produces a natural compression, so it won’t yield as quick a response as a spruce-top guitar will. A mahogany-top guitar will produce strong fundamentals, with clear and direct focus. It might be characterized as having a woody, dry tone.

Origin: Central and South America

  • A hardwood top with more density than spruce or cedar
  • The stiffness initially yields a bright tone that gradually gets deeper

Used On: GS Mini Mahogany, Baby Mahogany, Limited Editions, Custom Guitars

Harder, denser woods like mahogany and koa that are used on the back and sides of a guitar are sometimes used as tops. Their stiffness initially translates into a slightly brighter tone, but the more a mahogany-top guitar is played the more it develops overtones that contribute to a fuller, richer sound.

A mahogany-top guitar might appeal to rootsy players who like a little extra punchiness in their tone.

Goes Well With: Blues and roots players, anyone who likes an slightly more burly or punchy quality to their tone.

Tasmanian Blackwood Back & Sides

Blackwood’s tone profile resembles that of koa or mahogany in its midrange focus — a little dry and clear yet also warm — with an added splash of top-end shimmer and richness found in rosewood. Its musicality suits a variety of body sizes and musical styles.

Origin: Australia

Used On: 300 Series, Limited Editions, Custom Models

Tasmanian blackwood is an acacia wood species that is sometimes compared to Hawaiian koa, another acacia species. Its tonal range is similar to both koa and mahogany, featuring a strong midrange focus that is dry, clear and warm, with a splash of top-end shimmer and richness comparable to Indian rosewood.

The overall volume and projection are strong. Blackwood also is sourced from forests that are responsibly managed, making it a sustainable wood for guitar making.

Goes Well With: Different playing styles, depending on the body style and top pairing. A cedar top will help bring out a springy, woody, warm low end with a rich overtone complement that fingerstylists may really enjoy.

Stronger strummers and flatpickers will match up well with a bigger body and might be better suited with a spruce top.

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 WoodMahogany
Back & SidesTasmanian Blackwood
FingerboardEbony
Nut Width1-3/4"
Scale Length24-7/8"
ElectronicsTaylor ES2
StringsElixir Light Nanoweb 16052 (12 - 53)
CaseTaylor Hardshell Case