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#100/100 Taylor GSLJ Living Jewel Series
As an introduction to this group of fans of the most innovative guitar company today, let me share my experience with one of the highest examples of their manufacturing skills. I am a very big fan of the 14 series, especially the koa and walnut models. But this guitar is one special piece of wood.
A friend of mine, Bart Ghormley, has had quite a nice collection of guitars, owning Taylors, Breedlove Ed Gerhard, Goodall CJ and Standards, and Lowden D models, but his latest is the #100/100 Taylor GSLJ Living Jewel Series, the very last guitar in this inaugural series of very special guitars. He has his eye on another specialty guitar now so this Taylor is for sale. Pics of this guitar, which do it far better justice than my descriptions can be found at http://albums.photopoint.com/j/albumlist? u=1141467&auth=false and click on "Bart's guitars". If that link doesn't work, here's his email address: [email protected] The background on this series of guitars can be found in Taylor's Wood and Steel issue Volume 23 Winter/2000. Now, this Taylor lives up to its name, Jewel, for the Aqua- blue finish glistens and shimmers in the light. The Spruce top has silking throughout and suggestions of bear claw figure across the very tight grain. The "rosette" is of Japanese nishikigoi carp (koi) in red, black, orange and crystal white inlays of polyester faux- pearl, Color Core, reconstituted turquoise, coral and stone. These precisely cut designs encircle the ivoroid- lipped soundhole and swim up and down the ebony fretboard, overlapping the different surfaces of the top and tongue, creating an image of depth in the "water". There is a state beach , John Lloyd Beach park, here in Ft. Lauderdale. The sand bar reaches far out into the ocean. You can stand in chest deep water over a 100 yards from shore, so the waves usually ripple gently into shore. The waves stir up the sand bed in billowing puffs that settle into winding, criss-crossing, undulating ridges, ridges that are the mirror image of this guitar's highly quilted Maple back. Quilt lines span the entire surface in this beautifully bookmatched back. The straight grained, finger joint neck contrasts with the cotton candy cloud forms of the quilted sides. The guitar is a constantly moving visual experience. Top is bound in white ivoroid with b/w/b purfling, then a wide white band, and a second set of b/w/b purling. The back and sides have b/w/b. The neck and headstock are bound in ivoroid. And what a visual contrast and treat to move your eyes from the swirling blue of the exterior to the natural interior. Superb, exact finish details on all brace surfaces. As I've come to expect from Taylor, a very low, fast set-up from the factory. A bit low for my style; I could make it buzz a bit in solos and chords. As I adjusted my style, played with more finesse (if that's possible) the guitar felt like an electric, with such quick response. A player with real chops would appreciate the fast action. This guitar is brand new. Right from the factory. No time for it to be played and to open up. Time is the final arbiter on any views I might propose. So, I will not judge as much as report on what it is NOW. Crisp, bright, popping tone. Expressions of the Maple b&s and the thin dread(thinner than the Goodall RSC and Lowden Dread) body depth. One could assume it would work well in a recording environment because of the clarity. A very unscientific but fairly reliable 6 to 7 second sustain by my "calculations" without mixture of overtone. In A/B comparison to both the Goodall RSC and the Lowden rosewood Dread, this Taylor has a defined brightness to it. Different woods, though. With my hard playing style, it is brash, curt; a voice I often find in Maple/spruce guitars when I play. It was strung with light Elixirs, which I do not prefer. Not a lot of meat to the strings which certainly curtails the trebles from having any body. I would like to hear the guitar with some Newtone mediums. And raise the action to help drive that beautiful top. Its tight fundamental tone is what I have experienced in many Taylors, regardless of price range. It has a Taylor voice, a voice I find very different from the Goodall and Lowden sound, for example. But perhaps my expectations are unrealistic regarding this guitar, or just off-base regarding Bob Taylor's intentions with this whole line of guitars. They are visual statements. And they fill a need, they perfectly satisfy a particular customer, along the lines of the visual extravagance of Laskin and Robinson and Sakashta and Owsley Smith and all the other superb craftsman that fulfill the fantastic visual whims of their customers. This was not designed for the "player" as I understand that term: someone who puts their music out front, to the audience, in clubs and bars and open mic nights, or performance spaces or outdoor concerts, who makes a living from his music. It's tone, like most Maple/Spruce guitars I've played, except Walker and Lowden, does not fill my needs for my music, for my ear. It will certainly fill the needs of many guitarists who appreciate that clarity, that fundamental. But I want bass and mids that shake my ribs, and trebles that sound like gongs, an "overtone" voice, a complex voice, colored by rosewood probably but that's mostly up to the luthier. This guitar will gorgeously grace the walls of a cherry wood den, alongside Civil war swords or a Rothko. But, it's still the only work of "art" in that room you can take down and flatpick "The Red Haired Boy" on. That does make it special. Marc Durso ------------------ Goodall / Thompson http://communities.msn.com/Handmadeguitars for pics of my guitars www.acttrue.com |
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Marc,
A very good review - very thorough. I agree, that this series of guitars, like the PRS Dragon series, is more about what I call "trophy" guitar collecting instead of playing. It does serve a purpose and much like the Dodge Viper, is more of a "showoff" piece than legitimate series of product. It is stunning to see, no doubt about that though! ------------------ Scott Peterson Marilyn Mack Group Marilyn Mack Group MP3.Com Site My Personal MP3.Com Site Dirty Cow Records My Gear "Sleeping and eating were never as important to me (as playing the guitar)." Chet Atkins |