Here is another improv I recorded on a Pono tenor ukulele. Hope you enjoy.
Recorded with a Pono Acacia Tenor Deluxe (ATD) ukulele and a Telefunken M60 microphone.
Here is another improv I recorded on a Pono tenor ukulele. Hope you enjoy.
Recorded with a Pono Acacia Tenor Deluxe (ATD) ukulele and a Telefunken M60 microphone.
The Taylor 912ce is an easy to play guitar with a balanced eq that is ideal for fingerstyle or light strumming. The Grand Concert body gives it a balanced EQ, the advanced performance bracing and vibrant top give it a clear, articulate speaking voice, and the higher grade rosewood back and sides add complexity and richness to both single notes and chords. Gotoh 510 tuners offer greater accuracy and tuning stability – a welcome upgrade to those who use a lot of open or alternate tunings. With the addition of a beveled armrest, the compact guitar is the perfect companion for hours of comfortable play.
Of course, people often notice the cosmetics of the 900 series first, mainly the upgraded inlay work on the headstock, fretboard, and in the rosette & soundboard trim. Yet the inlay work is more subdued than previous incarnations of the 900 series and the upgrades are more tasteful than showy. The guitar does indeed look great, but more importantly it plays and sounds even better. In short, if you’re looking for a small-bodied guitar with upgraded features, the 912ce is a great choice.
Sound demos recorded with a Taylor 912ce (Rosewood/Spruce, with Elixir Nanoweb Phosphor Bronze HD Light strings) and an Ear Trumpet Labs Edwina a Neumann TLM 102 microphone.
Most of you know I have been a fan of TC Electronic’s Polytune Clip for a while now (review linked below). The Polytune Clip does really well with alternate and open-tunings on acoustic guitar; it latches on to notes quickly, has good tracking, and even does well reading the lower bass notes we sometimes tune our sixth strings to which other clip-on tuners can have trouble with. So I still love the PolyTune Clip even though I spend most of my time in open tunings and hardly ever use the PolyTune function. Recently, I learned that TC Electronic had partnered with music retailer Sweetwater to produce the Uni-Tune, which is just like the PolyTune Clip in every respect but without the PolyTune mode. (Also it is about $15 less expensive.)
As with the Polytune Clip, I found that TC Electronic’s Uni-Tune clip-on tuner latches on to notes quickly and accurately, has excellent tracking, and picks up the low 6th string bass notes well (even down as low as Bb). So if you use mostly open / altered tunings, or can otherwise live without the PolyTune function and want to save $15, you might consider the almost identical UniTune clip-on tuner from TC Electronic.
This video gives an overview of Taylor’s nylon stringed guitars, along with some sound samples of my 414ce-NR (sorry, forgot to mention the “R” in the video, which designates the rosewood back/sides). Taylor’s nylon string guitars are not true classical guitars, but rather cross-over nylon models good for a variety of uses. A Taylor nylon guitar would be a good fit if you like the playability of steel string Taylor guitars but want the sound of nylon.
Similar to their steel string models, Taylor nylon guitars are very playable, they work well with alternate and open tunings, and they have a good pick up system (most feature the excellent ES-N pickup) which makes them adaptable for live performance. While you can play some classical pieces on these, they are probably used more for jazz, Latin, Bossa nova, folk, slack key, and anything else you might want try with a nylon flavor.
Playability, versatility, and stage readiness make these guitars great for players looking for a nylon crossover guitar, as well as steel string players looking to add a nylon sound to their palette.
Recorded with a Taylor 414ce-NR (Rosewood/Spruce grand auditorium nylon string) and an Ear Trumpet Labs “Edwina” microphone.
This video gives an overview of my Taylor 414ce-NR (sorry, forgot to mention the “R” in the video, which designates the rosewood back/sides), along with some sound samples. Taylor makes nylon string guitars in a variety of wood combinations, but just two sizes: Grand Concert (smallest body size) and Grand Auditorium (the next size up from Grand Concert, and their most popular body style in general). Though I often prefer Grand Concert Taylors for steel string work, I chose this Grand Auditorium size model as my nylon string guitar for a couple of reasons. First, the larger GA size worked well with the rosewood back/sides to give a nice, rich bass sound. Second, I do like to use notes on the upper frets, and Taylor’s nylon Grand Auditoriums feature 14 fret necks. With the cutaway, that gives ample access to the upper frets. By comparison, the GC nylon strings are only offered in 12 fret configuration; while they usually come with a cutaway, you also lose a few of the upper frets with that design. Overall, I have found the 414ce-NR to be a practical, playable, and enjoyable way to add a nylon sound to my palette.
Note – the song featured at the beginning/end of the video is an adaptation of Leonard Kwan’s famous slack key arrangement of Silver Threads Among the Gold, which was also quoted in the intro to Country Comfort’s Waimanalo Blues, another beloved song in Hawaii.
Recorded with a Taylor 414ce-NR (Rosewood/Spruce grand auditorium nylon string) and an Ear Trumpet Labs “Edwina” microphone.
For extended playing sessions on the guitar, especially when wearing a short sleeve shirt, you can develop a set of creases on your picking arm where it lies over the lower bout of the guitar. Taylor has alleviated this problem by offering armrests on some of its guitars at both low and high price points. Their Academy series offers armrests in a budget priced guitar, while more aesthetically refined versions can be found on some of Taylor’s higher end guitars such as their 900 series. Overall, I figured having an armrest would be an improvement, but I am really surprised at how much I’ve enjoyed it. It does make the playing experience more comfortable, especially on longer sessions.
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.
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.
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.
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.