I really appreciate the vision and philosophy of Taylor guitars, and I think with Andy at the helm it is in good hands. What other major production guitar company has a CEO with his skill set? He can design and build guitars, he is an expert musician, he understands all the nuances of the wood, body shapes, bracing shapes, the production process and the structural implications of all the components that go into a guitar. Bob Taylor and Kurt Lustig made a good choice in Andy to ensure the future of the company.
That was very enlightening what an approachable very humble man,.Please thank Mr Powers for what he does, pushing the boundaries and not frieghtened to try and then try again. Interesting comment about the size difference in the Builders to the standard editions, wow. Great video kind regards.
Chris has every word that Andy spoke in this conversation committed to memory. Ten years from now, he will be making an Alamo video and pull some nugget from this interview to describe the genesis of the new VX bracing Andy just designed that eliminates the need for amplification because the volume and tone automatically adjusts to the size of the venue. I love how both Chris and Cooper don't even try to hide that they are in awe of Andy as I think all Taylor Guitar owners and fans are. The man shares our passion for playing the instument more than he does selling the instrument. Make guitars with that in mind, and they will sell themselves. I would love to see you two do a sit down with Chris Martin as well. It is a different dynamic because of the long and rich history that Martin has and the weight and undoubtedly different approach to making guitars that go along with that. We expect Andy and Taylor to experiment....A D-28 better look and sound like a D-28, whether it was built in 1937 or 2023. You two are really good together. Your content never fails to inform and entertain.
Also it's different because Chris Martin doesn't design or build guitars. He was a great steward as CEO and did a lot to build the company back up, but he's never designed a model.
@@gabrielobrien21 I agree. I have always preferred Taylor guitars over Martin until recently. Martin's authentic series guitars are just incredible. Used to wonder what all the hype was about regarding Martin. Then I played a 37 Authentic D-18 with the VTS top. I have heard nothing in Taylors offerings that even comes close to the power or fullness of that guitar.
@@benambler1393 I love plenty of Martin stuff. D28s, OM28s, and D15s in particular I've always been a fan of. Overall I much prefer Taylors. The BUilder's Edition 517 is just the best guitar.
Wow! The ultimate guitar nerd faceoff. Fantastic questions and even better answers. What a love of music and players! Brings a bit of a tear (wait … wiped that one away). This was just a treat. And I dug Andy’s “Swiss Army Knife” shout out to the 614ce Builder’s Edition (‘cuz mine is a treasure).
My biggest problem with Taylor 12-fret guitars is the shinny barrel on the slotted head tuners. If the barrel was antiquetied or a different color than bare or woven strings, it would work.
Awesome interview! Enjoyed it immensely. I would like to see a Grand Concert 12 fret builders edition 812 with Adirondack top and pick of neck inlay maybe. Could that be in the making?
It probably was, they even built the staircases in the factory themselves out of rejected wood. They’re like the most beautiful staircases in a factory.
Thanks gentlemen. My views have been stated earlier so I can’t add anything more constructive. I am curious about what Andy’s degree(s) is(are) in. He didn’t waste his time or money.
I just ran across this video. Enjoy your guys videos. I've owned 3 Taylors, 1990's and 2000 older models. After watching I decided to google Andy Powers. First thing I saw was he's starting his own brand of electric guitars completely separate from Taylor. I would think if he was seriously devoted to his position at Taylor he'd bring his new ideas into the Taylor line of Electrics. Makes me wonder if he'll eventually bring Taylor into his Powers Guitars. I think Bob Taylor made a big mistake. I won't buy Taylor again. Martin or Gibson for me. Thoughts?
After buying the 314ce special edition with tortified spruce top, im a believer of the V bracing. Notes sing out of the soundhole with a powerful voice. Amazing AMAZING
Not convinced the V bracing is relevant. Sort like reinventing the wheel. Especially when there is absolutely noting wrong with X bracing. Taylor guitars have made other head scratching decisions like the T5 and the expression system.
While responding to the question about a deep bodied Grand Concert, Andy commented that the Academy and Builder's editions are a bit deeper than the others. The listed specs for the Academy and Builder's Editions are the same as others in their respective series. My AD12e-sb has the same depth as other Grand Concerts. Has anyone personally noticed any variations in dimensions within the same series?
Especially glad to hear Andy's answers to your questions on pinless bridges, redwood and a deeper Concert (33'59), but I'd have asked a few follow-up questions. Does he think that Lowdens would sound better with a traditional, instead of a pinless, bridge? So, it's the age of the redwood tree that matters more than any mineral content; but does sinker redwood tend to come from older trees? If so, what is the difference in sound between older and newer redwood? Supposing that there are practical manufacturing reasons for not making a deeper Concert, I think Andy should consider putting up some of his prototypes for sale! Perhaps with "This is Not a Taylor" on the headstock!
"Sinker" redwood refers to logs that were floated to the mill, that sank along the way. Waterlogged, they sank to the bottom of the waterway for many years until scarcity and legality prompted salvage of such logs, and having incorporated minerals with the water that was absorbed, those crystals remain behind as the wood is dried. "Sometimes a Great Notion" by Ken Kesey comes to mind...
I would have like to know if X bracing was forever gone and if so why .... plus I would have asked if he owns a Martin guitar and what he thinks of them!
I certainly appreciate what Taylor does in terms of conservation and sustainability. I'll tip my hat to them. But the other day I was in a pretty prominent music store in Michigan and tried to play as many guitars as I could. There was not one Taylor I liked. Thought they all sounded terrible. And I played the 800s, 900, a K series, 700s, the different builder editions, all the top end Taylor's that were there. Didn't like a single one. Not sure what they're doing. Maybe the V class bracing? Again, I don't know. But I didn't like what I heard.
Just curious, what “sound” do you like? Or is it how they feel in your hand compared to others? If Taylors are so terrible why did you watch this video?
@@stephenblyskal5666 I watched the vid because I'm curious as to what goes on in the guitar industry. But I don't have the same love affair for Taylor guitars that a lot of people do. Some peoples love affair or brand loyalty towards Taylor is really making them blind towards trying out other brands that sound better and are sometimes cheaper. Taylor has very good marketing. Taylor guitars do feel and look nice. They are easy to play which makes them a joy to play. But I'm not falling in love with their sound. I've played a couple over the years that I've liked, but Taylors often sound thin, a bit muffled, airy, weak, and unbalanced to me. I prefer a warmer sound that's a bit more refined, clean, open, balanced, and full. Not sure I used the right words but that's the best I can come up with. That same day I played a handful of Furch guitars, which sounded better than the Taylors but still seemed like they were missing something. I played a handful of Martins and I only liked one of them. I wasn't even blown away by the Bourgeois, Collings, or Santa Cruz guitars I played that day either. Honestly the guitar that sounded the best of all I played that day was a Breedlove that had Brazillian rosewood back and sides with a European spruce top. I even played a $13,500 McPherson with Brazillian rosewood back and sides and flamed redwood top. It sounded really good, but it didn't sound $10,000 better than the Breedlove, which I thought it would.
