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.
Today’s song from the vaults is a cover of My Morning Jacket’s “At Dawn.” The song and its eponymous album came to me at a formative period, becoming both anthem and inspiration for pursing musical goals in life. Sometimes you wonder if music guides you in a certain direction, finds you at the right moment, or if you attract it when you need change and encouragement. There’s a Nick Drake style intro not on the original cut, but it seemed to work. Hope you enjoy.
Recorded with a Taylor 412ce LTD (Rosewood/Spruce, strings are Elixir Nanoweb Phosphor Bronze HD gauge set) and a single Beyerdynamic MC 930 microphone in Honolulu, 9/20/14.
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.
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 another Ray Kane cover – this time his classic song Punahele. According to the Dancing Cat liner notes, Punahele (“favorite” or “pet”) came to Ray “one night in 1938 at Zablan’s Beach in Nanakuli. ‘Back in those days there were no cars, it was pitch black. So I sit there in the dark in the nice cool breeze and I hear the waves bouncing on the sand and see the moonlight flicker on the water. It inspired me, something so nice. So mellow. That’s what gave me my inspiration.’”
Similar to other songs Ray composed on the beach (Keiki Slack Key for example), this mellow laid back songs exemplifies Ray’s nahenahe approach that to me represents the archetype of ‘old style’ slack key. Like Keiki Slack Key, Punahele is one of the first slack key songs I learned, and has stayed on my setlists ever since. I recently improvised a few new licks into the song, and recorded a half dozen takes – some 5-6 minutes long. I think this short three and a quarter minute version gets the point across though. Hope you enjoy.
Recorded with a Taylor 414ce-NR (Rosewood/Spruce nylon string) and a Neumann TLM 102 microphone.
Here is my arrangement of Si Bheag, Si Mhor (Little Fairy, Big Fairy), reportedly the first song composed by famous 17th century bard Turlough O’Carolan. This version of the song is played a little on the slower side of what you normally hear, but I may record a slightly more uptempo version later on. I think the song works well both ways to be honest, one of the many interesting things about it. Hope you enjoy.
Recorded with a Taylor 412ce LTD (Rosewood/Spruce, Gotoh 510 tuners, strings are Elixir Nanoweb Phosphor Bronze HD gauge set) and a Neumann TLM 102 microphone.