Category Archives: Tonewood

Taylor Custom Shop Grand Auditorium all Blackwood

Taylor Custom GA BW1

https://www.maxguitarstore.com/products/taylor-custom-shop-grand-auditorium-all-blackwood/

Here’s a great Taylor Custom Shop Grand Auditorium (GA) all blackwood guitar currently on the market at Max Guitars in The Netherlands.

Imagine a unique Taylor guitar that’s just yours, brought to life with Taylor’s legendary craftsmanship. Your Taylor. Your way! It’s possible.

Max Guitar stocks a great selection of these Custom Made Taylor Guitars. And lots of customers either pick one from stock or use our stock to inspire them to compose their own design! Simply Choose your category of guitar, pick your body shape, select from a rich assortment of our finest tonewoods including non-standard species and grades, choose from a full palette of appointments, and more. Then we’ll get to work building your Taylor guitar that’s uniquely personalized for your tastes. Ready? Talk to us?

Taylor Custom Shop 9009 is a Unique Custom shop model made at the Taylor El Cajon factory and picked especially by Robbert for Max Guitar!

The exquisite Grand Auditorium Custom model is a special order made in El Cajon and sports a Venetian Cutaway. Built up out of superb tone woods. A Blackwood back and sides and a very resonant Blackwood top that sounds really full! Furthermore ebony fingerboard, MOP binding, dot inlay, Gotoh 510 tuners, The whole instrument is finished in a warm Sunburst and extremely thin gloss finish. Comes with COA and Hardcase.

Bring Your Dream Guitar to Life! Imagine a Taylor guitar that’s uniquely yours, brought to life with Taylor’s legendary craftsmanship.

At €4930 or $A7480 it’s not cheap.

But then it is a custom build.

Things I like about this guitar:

  • The all blackwood body
  • The shaded edgeburst
  • The gold Gotoh 510 tuners (I think gold goes well with blackwood)
  • Those neat fretboard inlays look pretty cool too!

Taylor Custom GA BW3

Made with farm-grown Tasmanian blackwood courtesy of Tasmanian tonewoods:

https://tasmaniantonewoods.com/

https://www.taylorguitars.com/

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Taylor 2010 Spring Limited Editions

2010SpringLTDsa

Above L-R: Tasmanian Blackwood 514ce-LTD, Walnut 414ce-LTD

For the fourth consecutive year Taylor Guitars included Tasmanian blackwood in a limited edition set. Spring 2010 saw 9 limited edition models of which 2 featured Tasmanian blackwood, this time in the 500 series thanks to the highly figured blackwood.

Bob Taylor and his design team herald spring’s arrival with a quartet of limiteds that promise to invigorate the senses.

Our Spring Limiteds have become one of those typically atypical Taylor design projects. Rather than making a firm commitment to come up with something each spring, Bob and his fellow designers wait to see if the product development stars align. Are there any reserves of exotic woods available that invite special treatment? Which models are generating lots of excitement around the factory? We think you’ll be happy with this year’s outcome (Wood & Steel Vol 63).

Tasmanian blackwood is often compared to its better-known cousin, Hawaiian koa. We gathered an assortment of impressively figured backs and sides for this run, making this a special upgrade to our 500 Series. Tonally, blackwood shares koa’s blend of midrange bloom and top end brightness, and will grow sweetly mellower over time, with great dynamic range.

Both models are topped with Sitka spruce and include Ivoroid binding, an abalone rosette, and an all-gloss finish [and gold-coloured tuners].

Tasmanian blackwood is often compared with Hawaiian koa as a tonewood. It’s a natural comparison to make but it can quickly turn to blackwood’s disadvantage if overdone as a marketing strategy. I think Tasmanian blackwood is more than capable of standing on its own two feet (roots??) as a quality tonewood.

Here’s a Spring Taylor 2010 516ce-LTD for sale on Reverb:

https://reverb.com/item/4445536-taylor-516ce-ltd-spring-limited-2010-tasmanian-blackwood-sitka

Production numbers (courtesy of Taylor Guitars) were:

MODEL PRODUCTION
514ce-LTD 301
516ce-LTD 215

 

https://www.taylorguitars.com/

Over four consecutive years 2007-2010 Taylor Guitars produced almost 2,700 guitars across 9 Limited Edition models featuring Tasmanian blackwood.

My next spotlight will be on the 2012 Spring Limited Edition GS mini models.

Previous Taylor spotlights:

2004 Fall Limited Editions – when Taylor Guitars first introduced Tasmanian blackwood

Taylor GS4e 2007 Fall Limited Edition

Taylor 2008 Spring Limited Editions

Taylor 2009 Spring Limited Editions

The message couldn’t be clearer

CFM.png

Dear Martin enthusiast,

……………………………..

I’d like to ask you personally to be open to the use of alternative materials.

I love tradition as much as anyone. I believe it’s possible that the new woods we are introducing today can become the accepted and traditional [and sustainable] woods of tomorrow.

 

Sincerely,

C.F. Martin IV

Chairman & CEO

C.F. Martin & Co., Inc.

Having ranted about the guitar industry a few blogs back here I am eating a serve of humble pie.

This is a clear message to guitar buyers everywhere from Chris Martin, CEO at Martin Guitars. This message is in the latest Martin Journal (Vol. 7, p. 9):

https://www.martinguitar.com/about/martin-journal/

Being an old company with a significant product heritage can be a bonus and a drag.

When a large part of your customer base is focused exclusively on your heritage and not on where you want to go in the future then it can be a real problem.

Chris Martin is calling to his “heritage bound” customers –

Loosen up and give us a future……please!

To help drive that message home:

  • CF Martin should start a narrative. A narrative about change and the environment. About customers and guitars. They have made a start (I think) with an article on page 29 of the Martin Journal. It’s a good start but we need more of it; and
  • That message needs to be on the front page of CF Martins website; right there in everyone’s face! You won’t change your customers habits by having the message in the bottom draw of your desk.

The message is clear. There just needs to be more of it.

Good move Mr Martin!

Keep building the momentum for change.

PS. With such a powerful message from Chris Martin, I am surprised that the Martin Journal did not contain a feature article on alternative tonewoods. Was this a missed opportunity?

Guitar Makers Challenged by New Rosewood Restrictions—and What This Means for Players

rosewood2

This article appeared in the August 2017 issue of Acoustic Guitar magazine. It makes for interesting reading.

http://acousticguitar.com/guitar-makers-challenged-by-new-rosewood-restrictions-and-what-it-means-for-players/

It doesn’t provide much in the way of new information, but gives insight into the challenges the guitar industry is facing in a rapidly changing tonewood market, and the different responses.

So will the price of rosewood tonewood increase as a result of the new CITES restrictions?

Of course it will!

As supplies of illegal rosewood become restricted the demand for Indian rosewood will increase. Indian rosewood supply will not increase in the short term so price must go up. The basic laws of economics.

Guitar makers are caught between a guitar-buying public that is resistant to alternative species and a shrinking supply of traditional tonewoods.

But anyone who goes to any guitar maker’s website will see plenty of images and products made from rare and exotic tonewoods. Try and find the word “sustainable” on these websites!

The guitar industry does not seem to be terribly serious about the problem.

Bedell Guitars are one of the few standout examples of a company that is trying hard to build a sustainable tonewood future and pushing the market in that direction. Their website is pretty good.

http://bedellguitars.com/

Bedell still believe that logging rainforest and oldgrowth is sustainable and where their future is; unlike Taylor Guitars who are making the move towards plantation tonewoods.

When it comes to alternatives [tonewoods], there’s much more likelihood of supply chains being erratic in terms of quality and supply.”

Given that most of the world’s forests have been systematically plundered this is not surprising.

The guitar industry needs to start from scratch and help replant and grow new tonewood resources. Taylor Guitars are doing this. It’s time for the rest of the industry to get on board.

Tasmanian farmers are waiting to hear from the tonewood market.

Tasmanian blackwood – the [potentially] sustainable tonewood.

The New Maton Blackwood Series

Maton_Blackwood_Line_up_900_405_s

https://maton.com.au/product/the-maton-blackwood-series

Simplicity and purity of tone lay at the heart of the Blackwood range of Guitars.

Pure Blackwood tone -clear, bright trebles, strong mid range and full bass. The all Blackwood construction produces a unique compression, blending frequencies into a new, unique voice.

The Dreadnought Cutaway and the 808 from the New Maton Blackwood Series will be available from the 14th August 2017, the rest of the range will be available later in the year.

There were rumours of this new series of blackwood guitars earlier this year.

And here they are finally in all their blackwood glory.

As a blackwood enthusiast what can I say?

The all-blackwood acoustic guitar should be an Aussie music icon.

Cole Clark has been doing this for a few years now. And finally Maton has joined the team.

My wish is that Maton would open up and tell us the back story of where the wood comes from.

Does the guitar industry want to encourage farmers to grow more quality tonewoods?

Where does this blackwood timber come from? Who grew it? Please tell us the story so that other farmers are inspired!

This new blackwood series would be the ideal opportunity to start that journey.

In the mean time congratulations to Maton.

I hope they sell like hot blackwoods!!

When someone does a video review of these I’ll post it here.

Cheers!

So here is a video of the new all-blackwood EBW70c from Maton Guitars courtesy of The Acoustic Centre in Melbourne, Victoria:

Nice guitar!

Here’s another video from Music Junction in Melbourne:

This new Blackwood Series from Maton seems to be creating quite a stir.

Enjoy!

Unintentional path dependence: Australian guitar manufacturing, bunya pine and legacies of forestry decisions and resource stewardship

Bunya-Mountains-Bunya-Pines

Back in July last year I wrote about two academics from The University of Wollongong, NSW (Chris Gibson and Andrew Warren) who came down to Tasmania as part of a project they are working on concerning the guitar industry and its response to changes in the tonewood market.

At that time they had just published the first paper from their research:

https://blackwoodgrowers.com.au/2016/07/10/resource-sensitive-global-production-networks-gpn-reconfigured-geographies-of-timber-and-acoustic-guitar-manufacturing/

They have now published a second paper which looks specifically at the Australian industry and its use of Bunya pine (Araucaria bidwillii).

http://www.tandfonline.com/doi/abs/10.1080/00049182.2017.1336967?journalCode=cage20

Once again like the first paper, this is not an easy paper to read, containing dense academic text.

Being a forester I was already aware of the history of Bunya pine, and the trial plantings made by the Queensland Government in the early to mid 20th century on public land.

New to me was some of the history about the use of native timbers in the local guitar industry, particularly Maton and Cole Clark. Bunya pine is a major sound board tonewood for these two companies.

But the article makes clear that both these companies are now relying on the old Government Bunya trials for their supply, and the future of those trials is clearly subject to the whims of political fortune. The pressure to clear the Bunya trials and replant with the faster growing more profitable Hoop Pine is always there. Future Bunya tonewood supply hangs by a thread unless alternative supplies can be established.

BunyaPineS

Maton and Cole Clark are clearly struggling to secure and control their future tonewood supply.

It’s a complex and difficult challenge. Not the least of the challenges is that Bunya takes 60+ years to reach a size that allows soundboards to be sawn from the logs.

Unfortunately the article provides few clues as to how the problem can be resolved.

Long term thinking and commitment is needed.

Both of these companies appreciate that relying on Governments for their timber supply doesn’t work.

What we need here is a business model that encourages farmers/landowners to plant tonewoods for both commercial return and non-commercial planting. This will involve the collaboration and support of many players, especially Maton and Cole Clark. These companies are too small to have the resources to grow their own tonewoods.

Perhaps a “Tonewood Alliance” is needed to get the ball rolling?

Taylor 2009 Spring Limited Editions

2009SpringLTDs

Above (L-R): Tasmanian blackwood/Sitka spruce, 416ce-LTD, Sapele/ovangkol T5-LTD, Madagascar rosewood/Sitka spruce 714ce-LTD

Following the release of the mysterious 2008 Spring Limited Editions Taylor Guitars continued its steady promotion of Tasmanian blackwood in 2009 with 4 Spring Limited models.

With value on people’s minds, we’ve cooked up a special batch of LTDs for spring — inspired by Madagascar rosewood, Tasmanian blackwood and ovangkol — and added premium features, all at a sweet price point (Wood & Steel, Vol. 59).

The blackwood models were once again released in the 400 series.

Sounding just as good as they look, the 400 Series Limiteds feature a honey-colored Tasmanian blackwood back and sides and are dramatically accented with creamy maple binding and [back] mini-wedge. With a Sitka spruce top, a sparkling abalone rosette, stylish mother-of-pearl diamond fretboard inlays and a high-gloss finish on the top, back and sides, the blackwood 400 Series Limited Edition is available as a 410ce-LTD, 412ce-LTD, 414ce-LTD or 416ce-LTD. Along with the 700 Series, the 400 Series features a sloping Venetian cutaway and Taylor’s Expression System® for high fidelity plugged-in playing.

Production numbers (courtesy of Taylor Guitars) were:

MODEL PRODUCTION
410ce-LTD 115
412ce-LTD 62
414ce-LTD 332
416ce-LTD 241

 

https://www.taylorguitars.com/

My next spotlight will be on the 2010 Spring Limited Edition models.

Previous Taylor spotlights:

2004 Fall Limited Editions – when Taylor Guitars first introduced Tasmanian blackwood

Taylor GS4e 2007 Fall Limited Edition

Taylor 2008 Spring Limited Editions