Category Archives: Acoustic

LIVE 052 • Kona Snow

Kona Snow is another improvisatory piece recorded for my “Awake Again” project, which included a handful of songs that were connected by mostly shorter and improvisatory ‘transitions’ such as this. This song is named for the early spring blooming of the coffee trees on the slopes of Hualalai. People merrily dubbed the effect of white blossoms covering row after row of coffee trees “Kona Snow.” At the time I recorded this song, I was living next to a coffee orchard in Holualoa, Hawaii, just mauka of Kailua Kona. The setting amidst a wonderful agricultural tradition over a century old inspired me probably more than I knew at the time. Hope you enjoy.

Recorded with a Taylor 310ce (Elixir Polyweb 80/20 Bronze) and a matched stereo pair of Shure KSM 141 microphones in Holualoa, Hawai’i, 6/20/09.

LIVE 051 • Hand Dancing

Hand Dancing started out as an introductory fingerpicking study I wrote for students back when I was teaching guitar full time at a music store. I kept the song in my set for a number of years, playing it on both nylon and steel string. This version was recorded as a demo for my “Awake Again” project. The wallpaper shows me with my old Taylor 310ce that I used to record this song. Hope you enjoy.

Recorded with a Taylor 310ce (Elixir Polyweb 80/20 Bronze) and a matched stereo pair of Shure KSM 141 microphones in Holualoa, Hawai’i, 6/20/09.

LIVE 045 • Transition One (3/16/09)

Here is an improvisatory piece recorded for a project I had a few years back. The idea behind the project, called “Awake Again,” was to have a handful of songs that were connected by mostly shorter and improvisatory ‘transitions’ that would act as both glue and palette cleanser between the slightly more structured songs. The wallpaper shows me with my old Taylor 310ce that I used to record this song. Hope you enjoy.

Recorded with a Taylor 310ce (Elixir Polyweb 80/20 Bronze) and a matched stereo pair of Shure KSM 141 microphones in Holualoa, Hawai’i, 3/16/09.

GEAR 509 • Taylor Grand Concert Guitars (feat. 912ce)

Today, we explore the essentials and benefits of Taylor’s smallest full size guitar, the Grand Concert (GC for short). Grand Concert guitars have a model number that ends in “2” such as the 912ce featured here, and are offered in a variety of styles.

The advantages of Grand Concert guitars is that they are super comfortable, super playable, and super easy to EQ alone or in a mix. These are short scale guitars, which means easier reaches because the frets are slightly closer together and an easier playing feel because of slightly lower string tension. Soundwise, the Grand Concert has a wonderfully balanced EQ and controlled overtones that make it perfect for fingerstyle and recording applications. Grand Concerts sound great on their own and also sit well in a mix with other instruments. Also note, this is Taylor’s featured size for 12 fret models, where the neck joins the body at the 12th rather than the 14th fret. The 12 fret models have a punchier sound that is perfect for roots music.

Overall, Grand Concerts are perfect for fingerstyle and light strumming. They are comfortable to play, and their focused and articulate sound make them great guitars for recording and stage use. Of course they’re also very nice to play at home.

GEAR 507 • My Taylor 412ce-LTD (Rosewood / Spruce)

After doing several tangential videos on the acoustic guitar I’ve been using for performances, lessons, etc. on this channel (see links below), I thought it would be fun to do an overview of the guitar and its features for those who are curious. The guitar is a Taylor 412ce, a Fall Limited Edition with what was then a non-standard wood combination of Rosewood/Spruce (400 series typically used Ovangkol/Spruce) that also featured notch diamond inlays not normally used on 400 series guitars. In addition to the grand concert size body and short scale length, I also touch on how the top has aged, the addition of Gotoh 510 tuners, and replacing the nut / saddle with another Tusq set.

LIVE 044 • Makalawena – Slack Key Guitar

I named this seemingly easygoing yet still restive song after a charmingly beautiful and relatively isolated beach on the Kona Coast. Makalawena is part of that long stretch of white sandy beaches you see right before landing at Kona International Airport at nearby Keahole Point. The beach is generally accessible via a short hike from the neighboring Mahaiʻula Bay section of Kekaha Kai State Park. I remember camping out at Makalawena as a kid, exploring the rare anchialine ponds with their delicate red shrimp, and swimming in the waters of the bay. Today still, the neighboring marsh is a protected nesting ground, home to rare birds such as the Hawaiian coot. The song’s bridge seems to capture the strange sense of converging energies that I feel in special places such as these. Hope you enjoy.

Recorded with a Taylor 414ce-NR (Rosewood/Spruce grand auditorium nylon string) and an Ear Trumpet Labs “Edwina” microphone.

LIVE 043 • Earlybird Sunrise

Today’s song is a demo from years back called “Earlybird Sunrise.” Earlybird is a fingerstyle song with an expansive palette and ambitions of invoking a wide landscape. I also thought it would be fun to pull an old photo of myself – replete with long hair – from around the time I recorded this song. I have my old Taylor 310ce in the photo – a trusty guitar – but Earlybird was probably recorded with a budget model from another brand that was nonetheless fairly playable. It’s in an alternate tuning that I haven’t used since and I can’t recall how to play the song, but I still find it fun to listen to and hope you will enjoy as well.

GEAR 508 • Elixir HD Light Strings Review

Elixir HD Light strings are made the same as other elixirs, but the gauge of the set is unique. Basically they married medium gauge treble strings with light gauge bass strings to find the optimal string gauge for small bodied Taylor guitars (GA/xx4 and GC/xx2).
The idea behind HD Lights is that both string tension and EQ would be more balanced across the strings, resulting in better playability and better tone.
On the high end, the thicker gauge treble strings give you more body, better definition, and improved action. The lighter bass strings keep the bass clear – it’s not muddy even when you tune down. Along with the balanced EQ and improved playability, you also get a more even volume resulting in easier to control dynamics.
Andy Powers at Taylor came up with the idea for these after redeveloping the 800 series, and these strings are indeed great with the revoiced 600, 800, and 900 series GC and GA guitars. The revoiced models have a stronger, more focused bass in particular, so using lighter bass strings helps keep the low end form being overpowering or becoming muddy. The revoiced models also have a livelier top – so the lighter bass strings still have enough presence without being boomy, and the thicker trebles still have snap, but without being too thin.
Overall, their more balanced EQ coupled with more balanced string tension make HD Lights especially conducive to alternate tunings and ideal for fingerstyle guitar.

Other notes:

Phosphor Bronze vs 80/20 Bronze:
⁃ 80/20 Bronze will be brighter with more zing.
⁃ Phosphor Bronze will be a little warmer with more heft or body. I prefer them for fingerstyle because of their combination of warmth, clarity, and detail.

Nanoweb vs Polyweb: HD Lights are only available in Nanoweb (as of now), which works fine for me, but prior to using this gauge I used Elixir’s Polyweb strings. Though they have slightly different characteristics, I have found both Nanoweb and Polyweb coatings to produce good sounding strings.

GEAR 705 • Neumann TLM 102 Review

Here is my review of the TLM 102 large diaphragm condenser microphone from Neumann. In short, this mic is smooth and velvety throughout the frequency range with an overall balanced sound. It adds a nice body and presence to the bass, while smoothing out the highs at the same time – perfect for my Taylor 412ce, which is a bright, focused guitar. The microphone’s small size makes it easy to work with and the large sweet spot makes it easy to place. This would be a good mic for someone who wants to experiment with a lot of different mic positions, or just someone who wants an unfinicky mic that is easy to work with.