Taylor 514ce Cedar Top
• 1-3/4" Nut • 25-1/2" Scale • A/E
This guitar is a Taylor Road Show sample. It's still in perfect, like-new condition and includes the Taylor lifetime warranty.
It'll only be at our shop until August 17th, so if you're interested call or come in today!
Grand Auditorium Body Size
A versatile guitar shape equally suited for fingerpicking and strumming.
Body Length: 20" / Body Width: 16" / Body Depth: 4-5/8"
- An original Bob Taylor design introduced in 1994
- Full in the lower register, present in the midrange, and sparkling on the treble strings
- Taylor's signature shape embodies the ultimate all-purpose acoustic
- Their most popular shape and a good place to begin your search
As Taylor's most popular and versatile body shape, the mid-size Grand Auditorium arrived in 1994 bearing refined proportions that fell between a Dreadnought and Grand Concert.
While the bigger Dreadnought was traditionally considered a flatpicker’s guitar and the smaller Grand Concert catered to fingerstylists, the GA was designed to deliver on both fronts.
The shape produced an original acoustic voice that was big enough to handle medium-strength picking and strumming, yet with impressive balance across the tonal spectrum, especially in the midrange, producing clear, well-defined notes that suited both strumming and fingerstyle playing.
The GA’s overall presence tracks well with other instruments both in a studio mix and on stage, and singer-songwriters have embraced its utility both for composing and traveling with one guitar.
Many people want a single guitar that can cover a variety of styles, which is why the GA continues to be Taylor's bestselling shape. If you want a great all-purpose guitar, the multi-dimensional GA won’t let you down.
A true performer for those with a lighter touch, cedar tops yield extra warmth and pair nicely with mahogany and rosewood.
Origin: Western North America
Cedar is less dense than spruce, and that softness typically translates into a sense of sonic warmth. If Sitka has a full dynamic range, cedar makes quieter tones louder, but it also imposes more of a ceiling on high volume levels driven by an aggressive attack.
If one tries to drive a cedar top hard, at a certain point it will reach a volume limit. Typically, players with a lighter touch sound wonderful on a cedar-top guitar, fingerstyle players especially — that lighter touch will be amplified a little more, and one's attack never reaches the ceiling. Flatpickers are likely to hit the ceiling fast, and might be frustrated by an inability to get the tonal output to match their attack.
Cedar's color can range from lighter to darker.
Goes Well With: Fingerstylists, players with a lighter touch, mahogany and rosewood GA, GS and GC bodies.
Mahogany Back & Sides
Mahogany is known for its meaty midrange character, featuring a strong fundamental focus often described as “punchy,” “woody,” or “dry,” because it doesn’t produce a lot of ringing overtones. Mahogany’s earthy voice has been featured on many roots music recordings over the years.
Origin: Central and South America
Used On: The 500 Series, Acoustic 5 Series, LKSM
Mahogany is a good wood to anchor a discussion of tones, as a lot of other wood tones can be described in relation to it.
Its essential sonic profile is well represented in the midrange frequencies. Acoustic guitars in general tend to live in the midrange portion of the sound spectrum, but mahogany in particular displays a lot of midrange character.
That thick, present midrange sound is sometimes described in guitar circles as meaty, organic or even "chewy" wherever a player digs in on the fretboard, they're tapping into the core of the harmonic content of what a guitar produces.
Those great midrange frequencies produce overtones that stack up and produce bloom, giving the sound extra girth. When one hears the resulting harmonics, the "chewy" tone serves up a big mouthful of midrange. As a popular tonewood for many decades, mahogany has been used on scads of old school acoustic recordings, and that sonic heritage carries across various strains of roots music, from blues to folk to slack key.
Goes Well With: A broad range of players and musical styles; people who like a well-balanced tone, nice dynamic range and a healthy serving of overtones.
Blues and other rootsy players tend to respond well to mahogany's midrange character. A smaller body mahogany guitar (GC or GA) might appeal to fingerstyle players, whereas more aggressive flatpickers might opt for a mahogany Dreadnought or GS.
For versatility, a mahogany GA is a good bet. Because of mahogany’s midrange, a player with"dark hands" will tend to sound darker on a mahogany guitar. A bright player will sound slightly less bright.
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 Size||Grand Auditorium (GA)|
|Back & Sides||Mahogany|
|Case||Taylor Hardshell Case|