BTO OVANKOL?

[SkyHigh]

My favorite tone wood for Taylor to date has been Ovankol. It has mids and clear bass that Indian lacks. It also has but more warmth and overtone compared to Mahogany. I have own more than six 414ce in the past  and currently have two. Everytime I sell for higher model(814/616)for sake of bling, I always come back to ovankol for sake of tone but again WISH IT HAD MORE... Bling!

My definition of bling: wooden binding, ablone rosette, veneer on back of the headstock, Gotoh tuners. I HATE WHITE PLASTIC BINDINGS ON 400 series!!! I would rather like black bindings on 300 series if given and option.

1. Quality of ovankol is BTO higher quality with more flame than standard 414ce?
2. Please show your BTO ovankol.
3. Am I a dumb_ as_ for spending twice or more for BTO for same of bling when standard 414ce tone is already perfect to my ear???
4. What is current lead time for BTO?

Cheers!!!

[Steve]

First, if a 414ce fits you from a tonal perspective, I'm of the opinion that you should go that route, assuming that's all you're concerned about: Tone.

If you want something that someone can't simply pull off the wall at GC, then the BTO route is the way to go. You'd be surprised at how unique you can make your guitar by including some no cost or low cost options. You'd have a unique guitar, in the tonewood you like (and Ovangkol is a no-cost option on BTO), and it'll be just a few dollars more than a standard 414ce.

As for the Ovangkol set which would actually be used, my experience has always been that a BTO with Ovangkol is going to be built with a higher grade of wood than a production 400 Series guitar. This, in no way, means that will happen if you order an Ovangkol BTO. It depends on what wood sets they have ready to go at the time. I've seen some pretty striking Ovangkol used on BTO's, though, and I would be confident that I would get some nice grain/figuring.

Also, if you do opt for a BTO, don't use one of the BTO sheets that someone on any internet forum would be able to send you. The BTO worksheets change regularly, and there's no way someone on a forum can guarantee that they're sending you the most up to date version. The only exception to that is if the person on the forum happens to be an authorized Taylor dealer.

Hope that helps...

[DennisG]

My local shop (Dusty Strings in Seattle) had a gorgeous ovangkol GA BTO that totally changed my mind about the potential of that tonewood.  It sounded at least as full across the entire tonal spectrum as my 814, and even had punchier mids.  Aesthetics-wise, I think the wood gains a lot of booty in a gloss finish.

[Steve]

Aesthetics-wise, I think the wood gains a lot of booty in a gloss finish.

Boy, that's no lie. Glossy Ovangkol is just sexy...

[Fire]

I HATE WHITE PLASTIC BINDINGS ON 400 series!!! I would rather like black bindings on 300 series if given and option.

That too, is the only thing I hate about my 416ce-LTD. I wish the binding was a shade of brown if Taylor wants to differentiate it from the 300 series black binding.

[Steve]

I HATE WHITE PLASTIC BINDINGS ON 400 series!!! I would rather like black bindings on 300 series if given and option.

That too, is the only thing I hate about my 416ce-LTD. I wish the binding was a shade of brown if Taylor wants to differentiate it from the 300 series black binding.

On a BTO, the black plastic binding is a no-cost option...

[egkor]

Fuller's Vintage Guitars has had several Custom Taylors built to their specs that are glossy Ovangkol B&S (I forget what the tops were).  They looked great and sounded heavenly.   

-Gary K

[Magazine]

I feel EXACTLY how you do.  I have a 314ce now because of the binding colors.  I also prefer gold tuners and they look good with darker woods.  Check out this 414ce I've had my eye on at sweetwater.  Best looking back and sides, love the new inlays this year too. 

http://www.sweetwater.com/guitargallery/electric/custom/s1102242043

[michaelw]

I HATE WHITE PLASTIC BINDINGS ON 400 series!!! I would rather like black bindings on 300 series if given and option.

That too, is the only thing I hate about my 416ce-LTD. I wish the binding was a shade of brown if Taylor wants to differentiate it from the 300 series black binding.

creme binding would be nice, imho, which is used on the acoustic
non cutaway 3 & 4 series & on the 99 25th anniversary 300Ms also

rosewood binding is an option on a BTO, but it is a bit pricey &
faux 'tortoise' is available too, as on the current 500 series,
but there is no option to have the headstock bound in 'tortoise'

[michaelw]

comparing satin ovangkol models i've seen & owned



& the gloss models i've seen, i think that the gloss finish process
may  end up possibly taking some of that 'flame' away a little -
http://www.taylorguitars.com/guitars/acoustic/features/finish

i feel that the 2nd application of the same polyester finish may  have an effect similar to a polarized filter,
where at certain angles, the refraction/reflection of light that intensifies the 'flame' can  be diminished

sort of like if one is looking that the surface of a lake & the ripples ('flame') reflect the sunlight on a clear day -
if one were put on a set of sunglasses with polarized lenses, the glare is reduced & for some companies
it is a selling point to where they claim that in shallow water (a creek), one can see a bit 'below the surface'

satinwood & imbuia seem to exhibit this to a certain degree as well, to me,
as i've had & seen some JKSM models with very extremely flamed figuring &
the gloss finish satinwood has either been stained to accentuate the
characteristics of the wood, or it has lost a bit of it's 'prismatic' quality

on-the-other-hand, gloss walnut & koa seem to keep
their 'fiddleback' figuring more consistently, imho
http://www.gbase.com/gear/byid?item=1778617
http://www.unofficialtaylorguitarforum.com/index.php?topic=273

ymmv



edited to correct finish process misinterpretation

[zeebow]

this reminds me of the path I took to my 914ce, with a cedar top

I suggest that you play the 2011 714ce (Im not sure what changed in the 2012)
. the 2011 714 cedar/rosewood combo made me realize there was a tone in which I'd prefer over my 414ce.

long story short (full details in a link to my thread below) - the cedar/rosewood combo provided the wide range of rosewood, with a warm blanket of midrange.

my 914 sounds even deeper and crisper than the 714ce I played, but was noticeably less audible.

I'm not sure if the difference is the bracing or the bone saddle.

either way, to prefer the tone to the cedar 914 over my 414.

I wouldn't buy a BTO with ovangkol without exhaustively playing more wood combos.

check out the ltd's too.

the 2011 814 and 2010 914 I played (Sitka/rosewood) left much to be desired finally for me; and it sounds like you have a similar taste.

it's not a 914, but check out "broken angel" - live and acoustic at the fort studios by Boyce avenue on YouTube.
it reminds me of how my 914 sounds...without being mixed. the guitar bring used on the video is a w14ce.

finally, here is a link to my cedar 914ce
http://www.unofficialtaylorguitarforum.com/index.php?topic=935.0

[zeebow]

comparing satin ovangkol models i've seen & owned



& the gloss models i've seen, i think that the gloss finish process
may  end up possibly taking some of that 'flame' away a little -
http://www.taylorguitars.com/guitars/acoustic/features/finish

i feel that the 2nd application of the same polyester finish may  have an effect similar to a polarized filter,
where at certain angles, the refraction/reflection of light that intensifies the 'flame' can  be diminished

sort of like if one is looking that the surface of a lake & the ripples ('flame') reflect the sunlight on a clear day -
if one were put on a set of sunglasses with polarized lenses, the glare is reduced & for some companies
it is a selling point to where they claim that in shallow water (a creek), one can see a bit 'below the surface'

satinwood & imbuia seem to exhibit this to a certain degree as well, to me,
as i've had & seen some JKSM models with very extremely flamed figuring &
the gloss finish satinwood has either been stained to accentuate the
characteristics of the wood, or it has lost a bit of it's 'prismatic' quality

on-the-other-hand, gloss walnut & koa seem to keep
their 'fiddleback' figuring more consistently, imho
http://www.gbase.com/gear/byid?item=1778617
http://www.unofficialtaylorguitarforum.com/index.php?topic=273

ymmv
edited to correct finish process misinterpretation

my 414ce has no flaming

[michaelw]

my 414ce has no flaming

this one didn't either, but it didn't bother me in the least

the 414 that's here now doesn't, but it's not going anywhere

imho, it's all about the tone

[Steve]

A cheaper option is just to get inlay stickers:

http://www.inlaysticker.com/

Honestly, I've never seen a fingerboard inlay sticker that was worth much.

That said, I'm not familiar with these. How durable are they?

[michaelw]

A cheaper option is just to get inlay stickers:

http://www.inlaysticker.com/

Honestly, I've never seen a fingerboard inlay sticker that was worth much.

That said, I'm not familiar with these. How durable are they?

TP516 has had a set on her guitar for about 3 months or so
http://www.unofficialtaylorguitarforum.com/index.php?topic=775
i would guess it could depend  the environment the guitar is exposed to
(temperature/humidity) the player's style (bending, etc) & body chemistry
(excessively oily/acidic fingertips), but i doubt the adhesive backing is 3M

the ab-look dots or small slotted diamond fretmarker could cover MOP/pearloid dots
http://www.ebay.com/sch/Musical-Instruments-/619/i.html?_from=R40&_nkw=fret+sticker

... Pac-Man anyone