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Acoustic Guitars Taylor 514ce V-Class Bracing Acoustic/Electric Guitar

Acoustic Guitars Taylor 514ce V-Class Bracing Acoustic/Electric Guitar

Original price was: $520.00.Current price is: $93.99.

SKU: acoustic-guitars-6019121250495 Categories: Acoustic Guitars, Guitars & Basses Tags: Body Style_OM & Auditorium, Brand_Taylor, Color_Natural, Condition_New, Cutaway_Yes, Electronics_Yes, Number of Strings_6

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514ce
Cedar’s warm midrange overtones and quick response make it a coveted top wood among fingerstylists and other players with a lighter touch. On this mahogany/cedar cutaway Grand Auditorium, V-Class bracing lifts those sonic virtues to new heights, serving up an even more powerful all-around response with billowing sustain. Add to that the bundle of sonic refinements that V-Class brings, including more powerful notes all the way up the fretboard and greater in-tuneness between the notes (thanks to a more orderly response from the top), and you’ve got a guitar that can cover a lot of ground. Mahogany’s naturally dry, focused voice emphasizes the midrange, lending a warm, clear punch that strummers, blues players will especially appreciate. Appointments include faux tortoise shell binding and pickguard, a faux tortoise/ivoroid rosette, and our striking Century fretboard inlay scheme in grained ivoroid with a new peghead inlay to complement the motif. With onboard Taylor ES2 electronics, you can count on natural-sounding amplified acoustic tone whenever you need it. The guitar also features a Venetian cutaway for upper-fretboard access, and ships in a deluxe hardshell case.

GRAND AUDITORIUM BODY SHAPE
Taylor’s most popular and versatile body shape, the mid-size Grand Auditorium arrived in 1994 bearing refined proportions that fell between a Dreadnought and Grand Concert. While the bigger Dreadnought was traditionally considered a flatpicker’s guitar and the smaller Grand Concert catered to fingerstylists, the GA was designed to deliver on both fronts. The shape produced an original acoustic voice that was big enough to handle medium-strength picking and strumming, yet with impressive balance across the tonal spectrum, especially in the midrange, producing clear, well-defined notes that suited both strumming and fingerstyle playing. The GA’s overall presence tracks well with other instruments both in a studio mix and on stage, and singer-songwriters have embraced its utility both for composing and traveling with one guitar. Many people want a single guitar that can cover a variety of styles, which is why the GA continues to be Taylor’s bestselling shape. If you want a great all-purpose guitar, the multi-dimensional GA won’t let you down.

WESTERN RED CEDAR TOP
Cedar is less dense than spruce, and that softness typically translates into a sense of sonic warmth. If Sitka has a full dynamic range, cedar makes quieter tones louder, but it also imposes more of a ceiling on high volume levels driven by an aggressive attack. If one tries to drive a cedar top hard, at a certain point it will reach a volume limit. Typically, players with a lighter touch sound wonderful on a cedar-top guitar, fingerstyle players especially – that lighter touch will be amplified a little more, and one’s attack never reaches the ceiling. Flatpickers are likely to hit the ceiling fast, and might be frustrated by an inability to get the tonal output to match their attack.
Goes well with: Fingerstylists, players with a lighter touch, mahogany and rosewood GA, GS and GC bodies.

TROPICAL MAHOGANY BACK & SIDES
Mahogany is a good wood to anchor a discussion of tones, as a lot of other wood tones can be described in relation to it. Its essential sonic profile is well represented in the midrange frequencies. Acoustic guitars in general tend to live in the midrange portion of the sound spectrum, but mahogany in particular displays a lot of midrange character. That thick, present midrange sound is sometimes described in guitar circles as meaty, organic or even chewy; wherever a player digs in on the fretboard, they’re tapping into the core of the harmonic content of what a guitar produces. Those great midrange frequencies produce overtones that stack up and produce bloom, giving the sound extra girth. When one hears the resulting harmonics, the chewy tone serves up a big mouthful of midrange. As a popular tonewood for many decades, mahogany has been used on scads of old school acoustic recordings, and that sonic heritage carries across various strains of roots music, from blues to folk to slack key.
Goes well with: A broad range of players and musical styles; people who like a well-balanced tone, nice dynamic range and a healthy serving of overtones. Blues and other rootsy players tend to respond well to mahogany’s midrange character. A smaller body mahogany guitar (GC or GA) might appeal to fingerstyle players, whereas more aggressive flatpickers might opt for a mahogany Dreadnought or GS. For versatility, a mahogany GA is a good bet. Because of mahogany’s midrange, a player with “dark hands” will tend to sound darker on a mahogany guitar. A bright player will sound slightly less bright.

EXPRESSION SYSTEM 2
The Taylor Expression System 2 (ES2) is a revolutionary pickup design that delivers the latest in Taylor’s ongoing innovation in acoustic guitar amplification. The heart of the Expression System 2 is Taylor’s patented behind-the-saddle pickup, which features three uniquely positioned and individually calibrated pickup sensors. The location of the sensors enables a more dynamic range of acoustic sound to be captured than ever before. Together with Taylor’s custom-designed – professional audio-grade preamp, this system produces exceptional amplified tone and responsiveness. On stage through a PA, plugged into your favorite acoustic amplifier, or direct into recording software, the Expression System 2 faithfully conveys the voice of your Taylor guitar.

V-CLASS BRACING
Bracing is the internal framework that helps shape the sound of an acoustic guitar. V-Class bracing is a groundbreaking new Taylor design – a new sonic “engine” that transforms the way an acoustic guitar top vibrates to dramatically improve the sound. Developed by master guitar designer Andy Powers, it marks a bold departure from traditional X-bracing, producing notes that are louder, longer sustaining, and more in tune with each other. Discover the history and inspiration that brought us to this turning point in guitar design.
While traditional X-bracing has stood the test of time for over 100 years, it creates an inherent trade-off between two key elements of an acoustic guitar’s sound: volume and sustain. A guitar’s top (the soundboard) contributes to both. Volume comes from the flexibility of the top, while sustain comes from the stiffness. The trade-off is that when you make something stiffer, you reduce its flexibility, and vice versa. With an X-braced guitar top, increasing one comes at the expense of the other. V-Class bracing changes that. Now an acoustic guitar top can be both stiff and flexible in ways that produce more volume and sustain. And as it turns out, this innovative bracing design also improves the intonation of the guitar.

SPECIFICATIONS