M AY 2 0 1 5 / G U I TA R P L AY E R . C O M 63

A Guitar Player SpeciAl AcouStic Section

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Andy powerS SteerS new guitAr deSignS At tAylor

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64 G U I TA R P L AY E R . C O M / M AY 2 0 1 5 M AY 2 0 1 5 / G U I TA R P L AY E R . C O M 65

COVER STORY

FINDING A SUCCESSOR HAS TO BE A BIG HURDLE FOR

anyone who has built a hugely respected company, and as

Taylor Guitars reached its 35th anniversary several years

ago, Bob Taylor faced precisely that dilemma when thinking

about someone who could take the reins and create inspir-

ing instruments for decades to come. Bob called it his “dear

god” letter, in which he wrote out a list of qualities such a

person would have. As Taylor recounts, it went something

like this: “I need a guitar maker who’s a better builder than I

am, a pro player, is self taught, has 20 years of experience, is

in his 30s, and can make a lifetime commitment.” A wishful

list for sure, and one that Bob says he put away for a year

or so until a chain of events led him to spending an after-

noon with an extraordinarily talented builder and guitarist

in the San Diego area named Andy Powers.

Coincidentally, it wasn’t the first time the two had met.

Years earlier, at an acoustic concert in San Diego, a then

15-year-old Powers showed Taylor a ukulele he had built.

Impressed by its quality, Taylor told Powers to look him up if

he ever needed a job. That didn’t happen, but approximately

20 years later Andy was playing at the NAMM Show with

Jason Mraz when he had the opportunity to reintroduce him-

self to Bob and recount the story of their previous meeting.

A few months later, Bob says he was at a stoplight when

he started thinking about his “dear god” letter and began

checking off the list of qualities that Andy met. He decided

to give him a call, and, as if by divine intervention, Powers

truly did answer Bob’s dream list to a tee—his middle name

is even Taylor for god’s sake! Some meetings ensued, and

following a two-week long “classical guitar building camp,”

where Taylor, Powers, and luthier Pepe Romero Jr. got

together to build some nylon-string instruments, Bob had

a heart-to-heart talk with Andy and asked him if he could

make a lifetime commitment to building guitars—adding that

he always wants Taylor to be a company driven by build-

ing and craftsmanship, not decisions made in a boardroom.

Andy agreed, and in 2011 he signed on to head-up guitar

design for the El Cajon-based company.

To date, Powers’ list of accomplishments for Taylor include

creating the Grand Orchestra model, redesigning the 800 and

600 Series (we reviewed the new 614ce in the March 2015

issue), and bringing numerous appointments and upgrades

to other models in the line. As far as what the future holds,

Powers brings a combination of building skills and musical

prowess to the table that is nothing short of mindbending.

His influence on evolution of Taylor guitars is bound to have

a far reaching effect for decades to come on the company

and the players who adore its guitars.

How did you get your start in music?

My parents were both huge music fans. My dad played

mandolin, Dobro, and some guitar, and my mom was mostly

piano and guitar. They decided early on that they wanted

to live by the beach and let music and surfing be a big part

of their lifestyle, and so I grew up in this household where

there were instruments around and a ton of music. My dad’s

a carpenter and his friends were carpenters, surfers, fisher-

men, and musicians—everybody played something to some

degree. So, from the time I can remember, I figured this is

what everyone does. I got into guitars mainly because I liked

how they looked, but I actually started on piano first. I took

lessons from this wonderful teacher, and she did a really fine

job of making music approachable for me. More and more,

though, I got into playing guitar because I had an affinity for

it. We had a little small-bodied Gibson acoustic that I played

for a while, and then my parents found me a Stratocaster in

the local classifieds. I was super into the Ventures at the time.

One of the first things I learned on guitar was “Walk Don’t Run.”

Did building guitars come early for you too?I was always around woodworking tools and scraps of

wood that my dad would bring home from his jobs. One

day he brought home a piece of wood that I thought was

big enough to make a guitar out of, and that was my first

attempt. It was the right shape mostly, but I had no idea

what I was doing, and even had to beg a local guitar shop

to give me six mismatched tuning keys. I put set of strings

on it and watched it blow up as I tried to tune it up to pitch.

I was maybe eight years old at the time and having it blow

up was probably as much fun as if it had actually worked.

But from then I was hooked, and soon as I found another

piece of wood I tried it again. That one blew up too.

Those experiments taught you about bracing I assume?Yeah, after the first one I took the Gibson off the wall and

started looking inside, and saw all these sticks that I figured

must be there to make it stronger. But on my second attempt,

I put them just about everywhere they shouldn’t have gone.

You met Bob Taylor when you were a teen. How did that happen?

I was building ukes as well as guitars, and while they

weren’t amazing instruments, they were working pretty

good because I’d figured out a lot of mechanics, as far as

how to make a top or a back or a neck, how to put frets in,

and how to do binding and finishes. I was about 15 when

HEIR TO THE

THRONEANDY POWERS GUIDES

THE FUTURE OF GUITAR DESIGN AT TAYLOR

BY ART THOMPSON

“I need a guitar

maker who’s a

better builder than

I am, a pro player, is

self taught, has 20

years of experience,

is in his 30s, and can

make a lifetime

commitment.”

—Bob Taylor

Bob Taylor (left) and Powers.

66 G U I TA R P L AY E R . C O M / M AY 2 0 1 5

ANDY POWERS

Bob and I ended up sitting next to each

other at a Harvey Reid concert. I had this

uke with me that I had brought to show

Harvey, and so Bob ended up seeing it

and goes, “Wow, you’re 15 years old and

you built this, huh? If you ever need a job

come look me up.” The point is I’d gotten

pretty good at building by that time, but

I’d also gotten into repairing and restor-

ing instruments, and that’s really when my

guitars and ukes started getting better. I

was getting jobs from professional musi-

cians as well as from some of the local

guitar shops who didn’t have much wood-

working capability, or even any interest

in doing repairs. So I started working on

all kind of guitars that would come my

way. I’d fix them, and it was a huge edu-

cation for me because I got to see every-

thing from the inside out. It started from

simple things like setting guitars up and

fixing bad fret jobs to people bringing in

pre-war Martins that were in paper bags

because they were completely broken. So

by taking that experience and applying

it to the new guitars I was building, my

stuff started to get a lot better.

Did that experience lead you to making archtops and other more advanced instruments?

Yeah, because as guitar player I

couldn’t ever seem to have enough gui-

tars. I guess I had musical ADD, because I

got into so many different styles of music

and so many different types of guitars,

and I never really focused on any one of

them exclusively. I got deep into Django

Reinhardt and started loving the Selmer/

Maccaferri style guitars, and at the same

time I was into Wes Montgomery, Charlie

Christian, Tal Farlow, and all these mon-

ster jazz players. I would look at pic-

tures of archtops, and I got into building

them and working on the old ones that

came in to be repaired. Bob Benedetto

is a magnificent archtop builder, and he

wrote a book on archtop guitar making

that I thought was so cool. I learned a lot

out of that, and I tried building some gui-

tars just like the styles he would build. So

I took that as a sort of starting point, and

then developed more of my own tastes

in archtops. To this day the archtop is

still my favorite type of guitar to build.

Did the styles of music you were playing at the time help you to evolve as a builder?

Yes, and that happened with all sorts

of instruments. I got into mandolin build-

ing because I like bluegrass music, and

I got into Telecasters because I was lis-

tening to groups like the Hellecasters

and really trying to absorb as much of

that as I could. So all of these different

styles of music and influences were kind

of cross-pollinating each other. In fact, I

can’t really separate the guitar building

because it was always tied to the music

and instruments I was playing. I’d go to a

gig and I’d be looking at the guitar I was

holding and thinking about how I might

adjust the action or do this or that. So it

was sort of a continuous feedback loop of

being immersed in instruments of all kinds,

doing shows and playing on records, and

building all these different instruments.

Was there a point when you were considering playing music for a living?

At a certain point I realized that I had

three big loves in my life: building gui-

tars, playing music, and surfing. I knew if

I turned into a touring musician most of

my time would be away from my work-

shop and away from the ocean. But if I

built guitars, I could do the two things

I love and still play music. So that’s the

option I chose. There were times when

most of my income came from music—I

did scoring for some video games, I did

shows, and I played on records and things

like that—but all the while I couldn’t quit

building guitars.

How did you get into studio work?There were a couple of recording stu-

dios in San Diego, and I’d get to know

68 G U I TA R P L AY E R . C O M / M AY 2 0 1 5

ANDY POWERS

someone or they’d hear me play, and they’d

say, “Hey, we’re going to make a record and

you should come and play on it.” When I was

younger, though, I was really fortunate to

fall in with John Jorgenson. He was play-

ing at a local club that I wasn’t old enough

to go to, but I knew he was doing an on-air

interview, so I just went down to the radio

station and introduced myself. John was

immensely kind to me. After I got to know

him, he took me around to see how things

worked in studios. He was living in L.A. at

the time, and he’d call my parents and ask

them to bring me there so I could hang

out in the control room and watch him lay

down parts, see how the musicians inter-

acted, and learn how they would go about

making a record. So when it came time to

have opportunities to record with people,

I already had a working knowledge of how

to make a record. I could go into a studio

and bring a couple of guitars, a mandolin,

a Dobro, or whatever, and sit down and say,

“Okay, what are we playing today?” And I

could contribute some good notes to those

parts. So I have done quite a bit of session

work. It was one of those fun facets to put

into my musical experience. But again, I

couldn’t separate it from the building pro-

cess. For example, I got into hand-rubbed

finishes because I noticed that in the studio

a shiny guitar would have a tendency to

squeak in my hands or where my right arm

touched it. So the next handful of guitars I

built had a finish that wasn’t as shiny, and

that would help me record a cleaner part.

How much does your ability to focus on small details like that inform the way you design and build?

I’ve always relied on my ability to hear

things, both as a player and a builder, and

it makes me wonder how some folks who

build incredible instruments—but aren’t

necessarily musicians—can make guitars

without listening as they go? When I play

a finished guitar I know instantly what is

doing what, because I can listen to it as a

player and a builder. It’s like a musician who

has perfect pitch can listen to a note and

know exactly what it is, but the musician

who really has the advantage is the one

who can listen that way, but also has a good

sense of relative pitch, because then they

can hear the relationships between notes.

How did you first approach the design processes at Taylor in order to advance

some of their models?My interactions with Taylor guitars started

when I was doing repairs and restoration,

because a lot of players had them. I was

working for a lot of touring musicians and

session guys, as well as the local guitar

shops, so I saw many Taylors come in that

were built during different eras. When Bob

and I decided to work together, I set up

shop at the factory and went about learn-

ing more intimately what Taylor guitars

were about. Bob and I also spent quite a

bit of time playing together, and I’d listen

to way he approaches a guitar and watch

the way he played it and think, “Okay that

makes sense as to why this guitar would

be made this way.” Once I had that level

of understanding, I’d think about it as a

player—like what am I hoping to get out

of this guitar that is a bit more than what

I’m getting right now?” Whether it’s sus-

tain or balance or volume, I would start with

areas like that and go, “Okay, I’m going to

alter this bracing pattern, or I’m going to

change the thickness of the neck or what-

ever component needs to be changed in

order to get more out of that guitar and

shape it into something I wanted.

Taylor’s 800 series

acoustics have also

been redesigned by

Powers.

70 G U I TA R P L AY E R . C O M / M AY 2 0 1 5

ANDY POWERS

Can you talk about a specific model that benefitted from that approach?

Bob had been building a pretty tradi-

tional jumbo guitar since his beginnings as

guitar maker, and we decided that while

it’s a neat guitar, if I were to reimagine an

instrument this size, what kind of guitar

would I make? So we drew some different

lines and came up with the Grand Orches-

tra model, which has a personality that’s

distinctly Taylor, yet in a more modern and

useable context. I see a lot of fingerstyle

players gravitating toward bigger guitars

because they want that power, but a lot of

them are too bulky to have the touch sensi-

tivity that fingerstylists need. So I designed

the Grand Orchestra from the ground up,

drawing a new shape and giving it a brac-

ing pattern that would work well for a lot

of different styles.

Taylors have long been known for having necks that are very accommo-dating to electric players. Is that element essential to maintain?

You know, I don’t care what a guitar

sounds like if I can’t play it. Much of Bob’s

guitar-building energy has been put into

making a neck that plays good, and that

meant a slimmer prolife to fit the playing

styles of the time. If you look at a lot of

early electric guitars, they’ve had necks that

were very much like their acoustic coun-

terparts. Real deep, thick profiles, and lots

of times they were V shaped—which is a

hangover from the mandolin tradition. But

as players’ styles became more fluid and

pyrotechnic, you saw more electric-guitar

influence starting to happen with acous-

tics because people wanted them to play

like a Strat or a Les Paul. I can appreciate a

big, thick neck, but the reality is that, as a

player, I’m most comfortable on something

that is fairly slim. In fact, most of my guitar

making decisions can be brought down to

a pretty simple process: I ask, “What makes

the best music?” The instrument itself might

sound best if the action is really high and it

has big strings. However, the musician’s abil-

ity to play that guitar is going to be hugely

hampered, and the music won’t sound as

good. The flipside would be a musician who

has amazing dexterity on a guitar with tiny

strings and super low action, but the instru-

ment doesn’t sound all that great. Again, the

music suffers. So there’s a perfect harmony

that you’re looking for where an instrument

plays well, the neck is comfortably shaped,

and the guitar has a voice that enables the

musician to do what they want to do. That’s

where the magic happens.

You’ve played a lot over the years with Jason Mraz and you’ve also built guitars for him. How did that association come about?

I met him initially through some mutual

friends at a coffee shop in San Diego called

Java Joe’s. Jason had seen some instruments

I had built for other folks, so we started

spending some time together talking about

guitars and ukes, and he also expressed an

interest in learning how to surf. He was living

in Oceanside [California] and my workshop

wasn’t far from his place, so being an avid

surfer, I said, “Sure, I’ll take you surfing.”

And so we started to go surfing together

and it became a real enjoyable friendship. I

also built some instruments for him and we

started playing more music together. He’d

be out touring the world, and when he came

back to town he’d play different kinds of

shows to contribute to the musical commu-

nity. We still play together at those events,

which can range from a coffee house to a

big theater. We even put together a cover

band to play at my younger sister’s wed-

ding! On his latest album Yes! I was fortu-

nate to be able to contribute some parts

on all sorts of different instruments—acous-

tic and electric guitars, banjo, Dobro, man-

dolin, and pedal-steel. That record was a

long time coming, and I was really thrilled

to be part of it.

What are Jason’s go-to guitars now?Most of what he takes on tour are Taylor

branded instruments that I have built. I get

to use him as one of my road testers, so I’ll

have something I’ve been playing for a little

while and I’ll give it to him to live with for a

couple of months. The guitars in his quiver

have a tendency to change every couple

of months based on what I’ve come up

with. He also has a pretty traditional guitar

made by a small company in Virginia called

Rockbridge that’s a neat instrument, and I

built a solidbody electric for him, which is

loosely based around a ’65 Fender Jaguar

that he owns. It’s a really cool guitar in a

custom color, and he was using it on tour.

He’d bring it back to me every couple of

months to fix up, and one day I said, “You

should leave this one in your studio; it’s got

some years on it, and it’s getting a lot more

years on it really quick going on tour.” So

I built him something with a little longer

scale length and some different things.

I recall you saying once that Elvis Costello had one of your pre-Taylor instruments.

Yes, when I was 18 or 19 I took a uke I

had built with me to a festival in Hawaii, and

I left it there at a shop that sold high-end

ukes. A couple of months later, I was look-

ing through Rolling Stone and there was a

story on Elvis Costello, who had just made

a record called The Delivery Man, and he’s

holding that uke I had built. I heard the tune

he’d recorded with Emmylou Harris, and I

remember thinking, “I built and played that

uke, but I don’t remember it ever sounding

like that.” He really pulled some cool stuff

out of that instrument.

When you set about reinventing the 600 series guitars to be made out of maple, what sort of challenge did that present?

It can be a challenge, but in my case I

have a background of building instruments

out of those woods in the archtops, man-

dolins, and other things I’ve made. Speak-

ing to the new 600s, Bob had built guitars

with curly maple for quite some time, and

like most builders, he would take the design

he came up with and just change the back

and sides to maple. But woods all have their

own personalities, so what I tried to do is

accommodate the personality of maple,

and then see if I could shape it to fit what I

wanted to achieve. In certain scenarios maple

might dictate a really bright sounding stage

guitar, but in the case of the 600s I wanted

a more broadly gratifying kind of playing

experience for a wider range of players. So

what that translates to is a guitar that’s a

little warmer sounding, has longer sustain,

and is more rich and enveloping.

Has the transition from running a one-man shop to directing guitar design for Taylor been an easy adjustment for you?

You know, I love building guitars and play-

ing music, and those two things are all I’ve

ever really done. So I’m in a privileged envi-

ronment here where I get to continue doing

what makes me come alive. It’s so remark-

able to have been able to partner up with

Bob and be looking forward to the next 40

years. Building great guitars and putting

them in the hands of musicians is what I want

to do, and I’m loving every minute of it. g

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REVIEW

BOB TAYLOR’S EFFORTS TO ADVANCE

the use of sustainable tone woods is well known

throughout the guitar community, as he has

been a leader in working with and/or estab-

lishing operations around the world that are

committed to responsible harvesting opera-

tions. Taylor sources the large amount of wood

it uses from suppliers who have stringent stan-

dards by which they obtain mahogany and rose-

wood, and in the case of ebony, the company

even purchased a sawmill in Cameroon, West

Africa, to ensure that sustainable and legal sup-

plies of this valuable wood will be available for

decades to come.

One of Taylor’s most recent endeavors is

right here in the U.S., however, and has involved

the use of highly sustainable big-leaf maple for

guitar production. Maple has been used in gui-

tars for decades, of course, but Taylor recently

put a huge amount of R&D in to developing a

line of instruments that don’t sound or look like

your average blonde maple flat-top.

Setting aside for the moment the fact that

classic archtop guitars of the ’40s and ’50s typ-

ically had maple bodies and necks—and were

known for their warm, burnished tones—the

popular notion when it comes to maple-bod-

ied acoustic guitars is that they sound overly

bright. Taylor tackled this straight on by having

chief builder Andy Powers revamp the design

of the 600 Series guitars (614ce, 616ce, 618e,

and 656ce) to achieve a richer and more com-

plex sound.

Using maple that is harvested exclusively

by Pacific Rim Tonewoods in Washington

state, Powers went on to refine the design by

customizing the bracing schemes and wood

thicknesses for each body shape in order to get

greater warmth, balance, and sustain, while also

using a new maple-specific bracing pattern for

the backs to enhance responsiveness. Protein

glues are invoked for the bracing and bridge to

optimize the coupling of those elements, while

the Sitka top is subjected to a roasting process

called torrefaction, which effectively ages it to

yield greater resonance and responsiveness.

The heating process also alters the color of the

wood to where it looks a little more like cedar

than spruce. To further enhance volume and res-

onance, a thin, 3.5mm gloss finish is applied, and

the back and sides also receive a hand-rubbed

color treatment to create a sumptuous looking

“Brown Sugar” finish that really showcases the

tiger-stripe figuring in the maple.

The 614ce on review here features a Venetian

cutaway, sweet looking grained ivoroid “wings”

inlays on the striped ebony fretboard, an abalone

rosette with ebony and grained ivoroid rings, a

striped ebony pickguard, and peghead facings of

ebony—the rear one with another “wings” inlay.

TAYLOR MAPLE SERIES 614CE

TESTED BY ART THOMPSON

The bindings on the body and neck are flawless,

and the entire guitar radiates a classy elegance

that is highly appealing.

Playing this guitar is a joy too, as the neck

shape feels awesome and the superb fretwork

and setup provide low, buzz-free action, and tune-

ful intonation in all positions. Light and nimble,

the 614ce is a guitar that invites people to pick

it up and play it—something I have witnessed

continuously since the guitar arrived at the GP

office. The sound is captivating too, as the 614ce

is unlike a traditional maple guitar in the sonic

department. Its girthy low-end is instantly inspir-

ing, and the rich and complex midrange provides

that sense of notes blossoming when you finger-

pick or play arpeggiated chords. Musical sound-

ing and with superb balance across the frequency

spectrum, this guitar never sounds overly bright,

yet it punches through with a stringy attack when

you drive the strings with a flatpick. The 614ce’s

warm, encompassing response gives the sense

of intimacy that singer-songwriters crave, yet

the guitar has plenty of motive power for playing

bluegrass or supporting the rhythm groove in a

loud country band. The Elixir custom-gauge HD

Lights that were developed especially for Taylor’s

Grand Auditorium and Grand Concert models

optimize the response at both ends of the fre-

quency curve, helping to make the 614ce a guitar

that leaves little to be desired when playing it in

an acoustic setting.

Plugged in, the 614ce delivers a nicely detailed

amplified sound, and this is due in large part to

the Expression System 2, a patented design in

which the piezo transducer is located behind the

saddle and mechanically coupled to it, instead

of being sandwiched beneath the saddle as in

a traditional piezo configuration. The benefit of

Taylor’s approach is that it allows the piezo ele-

ment to move freely as the saddle is vibrated for-

ward and backward by the strings and the top.

The result is a truer representation of the sound

of the guitar, and without any of the harsh arti-

facts that piezos are prone to when crushed by

downward pressure of the bridge saddle. (For

more on ES2 technology, check out our inter-

view with the inventor, David Hosler, in the May

2014 issue of GP.)

Played though guitar amplifiers, Electro-Voice

ETX-10P powered speakers, and Focal Alpha 65

monitors, the 614ce sounded open and natu-

ral, without any of the synthetic weirdness that

often accompanies the electro-acoustic expe-

rience. Listening closely through quality head-

phones (Alessandro Music Series) I could detect

a bit of twanginess in the upper midrange that

wasn’t noticeable when playing the guitar acous-

tically, but that was it, as everything else sounded

remarkably consistent when auditioning between

’phones and the guitar’s acoustic sound. The

Bass and Treble controls have plenty of range,

and the 3-knob interface is a welcome thing for

those who like to keep things simple—and can

live without an onboard tuner, phase switch, etc.

Battery changes are easy too, as the holder for

the 9-volt cell is incorporated into the strap jack

unit at the tail end of the body.

In all regards, the new 614ce is an impres-

sive guitar that pushes the boundaries both in

its creative use of sustainable woods and its rev-

olutionary pickup system. Taylor’s Maple Series

instruments should go a long way toward chang-

ing the mindset of people who think that maple

is too bright sounding, and that great tones can

only be attained using endangered tonewoods.

It’s a fait accompli that woods like mahogany

and rosewood are going to become very scarce

in the future, and in that light we can only cele-

brate the current efforts that Taylor and their part-

ner Pacific Rim Tonewoods are making toward

using one of the most sustainable tonewoods

available to build pro-quality guitars that look

as great as they sound. g

Maple Series 614ceCONTACT taylorguitars.com

MODEL 614ce Grand Auditorium

PRICE $2,599 street

NUT WIDTH 1.75"

NECK Hard rock maple

FRETBOARD Ebony, 25.5" scale

FRETS 21

TUNERS Taylor nickel

BODY Big leaf maple back and sides, Sitka spruce top

BRIDGE Ebony with compensated saddle

PICKUPS Taylor Expression System 2

CONTROLS Volume, Treble, Bass

FACTORY STRINGS Elixir Phosphor Bronze HD Light

WEIGHT 6 lbs 5 oz.

BUILT USA

KUDOS Excellent tone. Expression System 2 electronics. Advanced maple con-

struction.

CONCERNS None.