What makes Taylor Acoustics so consistently "playable" ??

[Judson H]

I have to honestly admit that I am a big fan of the "Martin" sound and I didn't think I'd ever be a candidate for a Taylor as long as Martin was in business ...

But, everytime I play any Taylor of the 300-level or higher, it's almost like it plays itself!  A sheer pleasure each and every time.

I can't get into the 100-200 level or the Minis and Babys because of the nut width, but the 300 models and up with the 1.75 inch nut all play like a dream.  Consistently, guitar-to-guitar, GA, GS, Dread ... 6-string, 12-string, no matter, I have yet to pick up a Taylor and put it down un-impressed.

I cannot say that about Martins, or Gibsons, or Larrivees, or Breedloves or blah, blah, blah , well you get the picture.

I know, this being the "Taylor" Forum, it goes without saying that most here will be predisposed to agree with me, but can anyone verbalize exactly WHY ??

What makes Taylors so dang consistently playable??

[GSMC Bob]

I'd vote for the NT neck as a big contributor to Taylor's playability.  The NT adustable neck design allows each guitar to have the same consistent neck angle adjustment coming out of the factory.  Over the years I have bought 7 brand new Taylors and each came with the string height at the 12th fret of exactly 6/64" and 4/64" (6th and 1st strings respectively) with good saddle height.  These were all steel string "sixers".  As a bonus, if your guitar ever needs a neck reset, there's no steaming, ungluing, chiseling... etc. involved to get the neck angle back to original spec relative to the bridge or any reasonable spec you prefer.

I see you have a Martin PA Series guitar.  I have one too and love the neck profile (feels very much like Taylor's standard carve to me) but I have seen the string height all over the map on the ones hanging in local guitar stores.  The playability in my experience is not as consistent as a Taylor and may require you to do a set up.  I have never needed a set up on a new Taylor!  It is my understanding that the best way to adjust string height on an NT Taylor is to have the neck reset to slightly change the angle so that you don't have mess with the saddle and perhaps shave it down (or shim it up) in a way that detracts from tone or volume.  But as I said, I have never found fault with the factory set up on a Taylor!

[Edward]

You know, a question like this on a Taylor-specific forum can easily make us all sound like koolaid-drinking fanboys.  Awww, what the heck

First off, I have to agree that I have liked the tone of others, Gibbys, Larrys, Guilds, kind of liked Martins but not so much as the former, but never could come to grips (literally?  ) with their necks.  Sure I've owned other acoustics prior to my Taylors.  But never bonded with them like I have my Taylors.  Perhaps part of the reason is that I have spent equal time in these decades with electrics as well, and all the aforementioned marques just felt like acoustics.

Enter Ovation.  I got a ca.1970s Ovation sometime in the 80s ...a deep-bowl that was soon-to-be shunned by the company for their shallow versions that became their new norm.   It was this Ovation Legend that made me love acoustics.  And here's my oblique response to the original post: it's all about the neck/action.  This Ovation felt nothing like the typical acoustics of the day, and even felt akin to my Strat.  And yes, to the naysayers of the "salad-bowl," she sounded great, even surprised an experienced player weilding a D18 once (I was just a kid player craving to rock) who picked mine up and he dug it.

Fast-forward to recent history.  I have long since sold my Ovation (should not have, in truth, but needed the cash, ugh!), but I've come to this koolaid-drinking crowd primarily because of what you identified: that nothing plays like a Taylor.  There are other guits that sound great, to be sure, but nothing feels like a Taylor.  The neck width and thickness, the carve, and the action all make the guitar more playable to the electric player, the beginner, or the seasoned performer alike.  I can't tell you how many times I've heard that folks don't like the Taylor tone, but respect how they feel.  Makes sense.  Tone is in the ears of the beholder.  But the "feel" you enjoy is the neck they have created in concert with the overall action of the guitar.   And with the advent of the NT neck, the guitar you love today will hold that action for you to continue to love.

Suffice it to say I love my Taylors for their tone, their beauty, and even the technology of the NT and ES which for me is all part of the package that makes Taylors great guitars (ok, and their unparalleled customer support is icing).  But for me, it is the neck feel that makes them more than wonderfully "playable," but sets them apart from the crowd.

Edward

[dangrunloh]

1. Good consistent low action through design
2. neck like an electric guitar (fast)
3. Nut width of 1-3/4 gives easier cleaner play

All together = playability

[not darth]

First of all, WELCOME to the forum!

Second, enjoy the heck out of the GA3-12 when you get it, it's a fantastic guitar!  I've been visiting one at my favorite place recently, but it's not in the cards because I just bought a different guitar, and I don't have the skill/experience to justify owning a 12er, but it is a great one and someday.....   

Third, as to Taylor's consistent playability, I think it does come down to the cutting edge manufacturing techniques (CNC, etc) and sound engineering innovations (NT neck, Expression system, quality tuning machines, CV bracing).  The resultant product is nearly identical to the next one on the line. 

There are those that say such things destroy the 'soul' of a guitar, and that only a more handmade approximation of a guitar has real 'mojo'. 
Nonsense. 
Inconsistent and imprecise workmanship results in inconsistent and imprecise sound and playability. 

Taylor's techniques result in near-perfect intonation, 'fast necks', predictable (NOT a bad word) sound from the various tonewood combinations, and many many satisfied/inspired musicians, both on sofas at home and on stages in arenas.  Whatever variations exist between a 414 made on Monday morning and one made on Monday afternoon comes down to the natural inconsistencies of the wood, which is actually desired by many and adds to the natural character of each. 

Acoustic players tend to lean towards the appreciation of the natural, the basic, the intimacy of a musician and his/her instrument without lots of bells/whistles, effects, production gimmicks, etc. 
Which may also explain why the fanbase for carbon guitars, although numerous and dedicated, remains a fairly small portion of acoustic players on the whole.  Carbon fiber makes for an extraordinarily consistent product, so much so that it may take away something from the shopping experience since it really doesn't matter which Ovation model XYZ you try, it will sound identical to the XYZ next to it.
To me, that does seem a little lifeless. 
(I do realize that I'm biased, as a wood carver I really feel every chunk of wood has its own story inside, and whether it comes out in sculpture or in sound, no piece is identical.)

Not saying there aren't other great makes, but hey, like it's been mentioned, you asked this question on a fanboy forum, so......   

Again, welcome, glad to have you here!
-K

[michaelw]

the profile, being able to use the same bridge dimensions & saddle height, adjusting the depth/pitch
of the neck consistently for the desired action, minimal relief & action at the nut is what does it, imho

[Judson H]

Well, it looks as if Taylor has had the question asked so many times they just put out an official statement.
I wholeheartedly endorse this ad!!   

the profile, being able to use the same bridge dimensions & saddle height, adjusting the depth/pitch
of the neck consistently for the desired action, minimal relief & action at the nut is what does it, imho

[Rango]

I'd vote for the NT neck as a big contributor to Taylor's playability.  The NT adustable neck design allows each guitar to have the same consistent neck angle adjustment coming out of the factory.  Over the years I have bought 7 brand new Taylors and each came with the string height at the 12th fret of exactly 6/64" and 4/64" (6th and 1st strings respectively) with good saddle height.  These were all steel string "sixers".  As a bonus, if your guitar ever needs a neck reset, there's no steaming, ungluing, chiseling... etc. involved to get the neck angle back to original spec relative to the bridge or any reasonable spec you prefer.

THIS 

I've been a couple of knock down, drag outs with "Martinites" after pointing out that a neck adjustment on a Taylor is simple and makes it easy to get a great set up on any Taylor.  Where a Martin "MAY" take a neck reset....  They don't like that pointed out. 

[michaelw]

Well, it looks as if Taylor has had the question asked so many times they just put out an official statement.
I wholeheartedly endorse this ad!!   

that ad was actually from 89, a couple years before
CNC was utilized & 10 years before the NT neck

the pre NT neck still allows for a much easier neck reset than a dovetail neck joint &
the mortise & tenon joint was only used through around the middle of 76 ...
still, it's nice to know Taylor was (& is) 'ahead of the curve', imho

[Strumming Fool]

Taylors have always been the most consistently playable guitars, including those from the pre-NT neck days. When I think of vintage guitars, made mostly by hand individually, there is a temptation to wax romantic about the love and personality placed into each instrument. However, no two were alike. So on occasion, you would find that special instrument whose neck had been hand-shaped just right for you; otherwise, it was a crap-shoot.

Taylor got a bit ahead of the curve with CNC technology, but more importantly, adopted the philosophy that great guitars could be built not by copying the past, but by finding better, more precise ways to build a good instrument. Through this attitude and with the aid of CNC, Taylor builds consistently good instruments with an almost zero tolerance for variance (taking into account that two pieces of wood are not identical).

As far as personality and love placed into each guitar, that's now up to us, the players. By the way, I love some aspects of  the Martin sound as well, and went for those aspects through Taylor's BTO program. Based upon shape (GA which is essentially a dreadnought with a narrow waist), bracing and wood choices, my last BTO is a very "Martinesque -sounding" Taylor. So you can have it all!

[Judson H]

I know a fellow who has a classic 1967 Mustang in cherry condition.  As for me, I love the "idea" of owning a classic car in mint condition.  It's cool to cruise around in and fun to show it off.  It looks good ... it sounds good, but let's face it ... it's hard to drive!  It's ancient technology and there is no way that i could stand to drive it as my everyday car.  A brand new Mustang is just a better car in every conceivable respect (and this analogy is not necessarily Mustang-specific) 

Taylors have always been the most consistently playable guitars, including those from the pre-NT neck days. When I think of vintage guitars, made mostly by hand individually, there is a temptation to wax romantic about the love and personality placed into each instrument. However, no two were alike. So on occasion, you would find that special instrument whose neck had been hand-shaped just right for you; otherwise, it was a crap-shoot.

Taylor got a bit ahead of the curve with CNC technology, but more importantly, adopted the philosophy that great guitars could be built not by copying the past, but by finding better, more precise ways to build a good instrument. Through this attitude and with the aid of CNC, Taylor builds consistently good instruments with an almost zero tolerance for variance (taking into account that two pieces of wood are not identical).

As far as personality and love placed into each guitar, that's now up to us, the players. By the way, I love some aspects of  the Martin sound as well, and went for those aspects through Taylor's BTO program. Based upon shape (GA which is essentially a dreadnought with a narrow waist), bracing and wood choices, my last BTO is a very "Martinesque -sounding" Taylor. So you can have it all!