When I received word from Taylor Guitars' Andy Robinson that
the new Solidbody® Standard and the T5 12-String models I had expressed
interest in reviewing were ready for pickup, he said simply, "I have guitars
for you, and they are beauties!" True that. I hustled down to their El
Cajon-based complex at the next available opportunity and made sure to take the
tour of the factory (presented each Monday through Friday at 1pm) while I was
there.
The factory
tour offers an incredible amount of information and an insightful peek behind
the scenes of its manufacturing facility. Apart from the marvel of efficiency
that comprises the bustling goings on within, what most impressed me were the
amount of ingenious solutions not only in evidence, but also in actual daily
practice. Unique tooling, woodworking methods, and even complex robotics that
were all invented and utilized by Taylor's builders to fulfill a need or meet
one of the myriad challenges that presented themselves somewhere along the
line, during this successful company's sure and steady growth into the
juggernaut acoustic guitar maker it is today. It is this very emphasis on
intelligent innovation that led to the development these two excellent electric
guitars.
The T5 is
an obvious child of Taylor's commitment toward applying its understanding of
acoustic tone with an amplified version that not only does it justice but also
expands upon the instrument's functionality. The guitar's natural finished
Sitka Spruce top was an eye catcher that seems to beg you to pick it up and
play it. Upon doing so, you can instantly hear the guitar's beautifully
balanced tone and an amazing array of upper harmonic overtones via it's
chambered mahogany body. The neck actually feels quite a bit narrower than many
other 12-string electrics that I've played, and I'd say it plays a bit "faster"
for it as well. The T5 12-string employs the company's Dual CompensatedTM
saddle, which improves intonation and actually levels all the strings along the
top surfaces, so that the fundamental and octave strings are struck more
evenly. This makes playing riffs and leads easier, with less mis-striking and
more of what 12-string electric players want: that unmistakable chime.
Whether
you're looking for the tones exemplified by the Byrds, the Smiths, Tom Petty,
Leo Kottke, R.E.M., or even Leadbelly, chances are you'll be able to find it
easily via the T5's unique and versatile pickup system. A humbucker pickup is
hidden under the neck, and there's also a visible gold bridge humbucker that
actually looks like a vintage "lipstick" type. Additionally, a body sensor
mounted to the inside surface of the top adds in the warmth of the guitar's
previously mentioned acoustic tone.
The T5's
ergonomic center-detented treble, bass, and volume knobs were obviously
inspired by the company's Expression System®. These are conveniently located in
the soundboard's upper shoulder, at the top of which lies the five-position
switch, which is housed nearly flush with the guitar's surface. For a basher
like myself, the "up and out of the way" location of these controls not only prevents
accidentally hitting them while performing, but they're also just plain easier
to get to when you do want to change tones.
Changing
tones is where a lot of the fun really begins with this guitar. The first
position engages the hidden neck pickup and body sensor, yielding the most
acoustic-like tones. This is great for going directly to the PA, or for
recording. In fact, I had great success recording multiple layers of this
guitar in that manner, which resulted in a heavenly 48-string orchestra that would
give any mid-'70s era Fleetwood Mac fan a nostalgic twinge or two. Position 2
utilizes the neck pickup only, for a richer darker solo tone. The middle
position engages the bridge humbucker, where you'll find more of the "classic,"
sharper electric guitar sounds. Adjusting the tone and volume controls here
gave the most varied results, from subtle edginess to grinding overdrive. The
fourth position uses both humbuckers and the fifth uses the bridge humbucker
with the body sensor. By this time, you really begin to realize that just about
any sound you've previously heard associated with the 12-string electric is
easily attainable, as are a veritable cornucopia of unique tones yet to be
discovered. You may want to play it through a few different amps to find your
personal faves.
Of course,
12-string guitars in general and electric models specifically have long given
fits of dubious intonation to those brave enough to undertake the task of
getting them in tune, not to mention keeping them there. In addition to the
compensated saddle, the Grover tuners and Taylor's T-Lock neck design go a long
way toward keeping you in "performance" rather than "tuning" mode. Those of you
with any experience in this area can fully appreciate the significance of this,
yes?
Overall, I
found this to be a beautifully crafted and manufactured instrument. The frets
were even and beautifully dressed, and the white binding along the neck, body,
and f-holes was as smooth as it is visually striking. I found the extra endpin
at the bottom a bit disconcerting at first, but I guess it's there for more stable "footing." The narrowness of
the neck, while helping the guitar's playability for single-note runs felt a
little cramped for complicated chord shapes, but these were the only things I
could find to nitpick about
All in all,
the Taylor T5 String Electric/Acoustic guitar is a well-crafted winner, with
enough versatility to inspire even the most wary of us in search of the perfect
chime.
Sven-Erik Seaholm is an award-winning independent producer
and performer. He can teach and/or consult with you on any of your recording
endeavors.
Websites: www.kaspro.com, www.svensongs.com,
myspace.com/svenseaholm