Taylor 714ce V-Class

V-Class Bracing w/case

Varenr: 714ce VCB
30 999,-
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714ce

A versatile instrument suitable for a range of musical applications, the Grand Auditorium 714ce boasts a rich and dynamic voice. The Lutz spruce top responds with the sonic power and headroom of old-growth Adirondack spruce, with an extra splash of warmth across the tonal spectrum. Together with Taylor’s patented V-Class bracing scheme and solid Indian rosewood back and sides, this guitar resonates with spectacular power, clarity and sustain. One of the most inspiring attributes of the bracing architecture is the noticeably enhanced in-tuneness of the notes, with more harmonic agreement among chords and extra girth in upper-register notes. The result is a balanced, textured sound that’s rich in tonal nuance with enough dynamic range to support hard hitters and soft pickers alike. Aesthetically, the 714ce sports an aesthetic that balances rootsy and refined elements, featuring wood-rich details like koa binding, a herringbone-style Douglas fir/maple rosette, and bias-cut Douglas fir top trim, along with abalone Reflections fretboard and peghead inlays and a “weathered brown” pickguard. The guitar ships with ES2 electronics in a deluxe hardshell case.

Grand Auditorium

Body Length: 20" / Body Width: 16" / Body Depth: 4 5/8"

Taylor's signature shape embodies the ultimate all-purpose acoustic.

  • An original Bob Taylor design introduced in 1994

  • Full in the lower register, present in the midrange, and sparkling on the treble strings

  • Our most popular shape and a good place to begin your search

Our 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 our bestselling shape. If you want a great all-purpose guitar, the multi-dimensional GA won’t let you down.

Lutz Spruce

Origin: Northwestern North America

A naturally occurring hybrid of Sitka and White spruce, Lutz grows in climate zones between where Sitka and White spruce are found. (Sitka grows in more coastal areas, while White spruce thrives in interior regions.) Lutz has is considered very adaptive within those microclimates, which can yield properties that are superior to either species alone.

In terms of acoustic response, Lutz blends the positive characteristics of Sitka and White spruce and its close cousin, Engelmann spruce. The Lutz that Taylor uses for the 500 Series tends to exhibit characteristics of Adirondack spruce. The result is powerful sonic horsepower that translates into strong volume, projection and tonal richness.

Goes Well With: Most playing styles. Players with a lively attack will enjoy the tonal output and headroom.

 

Indian Rosewood

Origin: East India

Used On: The 700, 800, 900 Series Acoustic/Electrics, Acoustic 7, 8, & 9 Series, Laminate 200 Series

One of the most popular and traditional guitar woods of all time, rosewood takes the basic sonic thumbprint of mahogany (which has a strong midrange) and expands it in both directions. Rosewood sounds deeper in the low end and brighter on the top end (one might describe the treble notes as zesty, sparkly or sizzly, with more articulation). If you look at its frequency range visually, rosewood would appear to be more scooped in the middle, yielding less midrange bloom than mahogany. Like mahogany, rosewood’s vintage heritage has helped firmly establish its acoustic legacy. It’s a great sound in part because we know that sound. In some music circles in which preserving the traditional sound helps bring a sense of authenticity to the music — certain strains of Americana, for example — rosewood has an iconic status. Also like mahogany, rosewood is a versatile tonewood, which has contributed to its popularity. One can fingerpick it, strum it and flatpick it. It’s very consistent, so players can usually rely on it to deliver.

Goes Well With: Most applications. If you like a guitar with fuller low end and brighter treble (bluegrassers, for instance), rosewood will do the trick. Its high-end sizzle and clear articulation will benefit players with “dark hands”. If you’re looking for a traditional acoustic sound, a rosewood Dreadnought or Grand Auditorium is right up your alley.

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.

Behind the ES2 Design: Rethinking the Piezo Pickup

For decades, piezo-electric transducers have been positioned under the saddle of a guitar based on the long-held belief that the string and top vibration cause the saddle to “bounce” up and down. But Taylor’s electronics team, led by developer David Hosler, discovered that the vertical movement is actually heavily restricted, and that the saddle gets “locked down” due to the string tension’s downward pressure. That’s why a traditional under-saddle pickup with piezo-electric crystals often responds with a sound often characterized as thin, brittle, brash or synthetic, especially with more aggressive playing.

The saddle’s natural range of movement as the guitar is being played is actually back and forth like a pendulum. That revelation led Taylor’s design team to relocate the crystals from under the saddle to behind it. The new positioning enables the crystals to respond more naturally to the guitar’s energy as it is transferred through the saddle. Three pickup sensors are installed behind the saddle, through the bridge, with three tiny Allen screws that calibrate the position of the sensors in relation to the saddle.

Like the original Expression System, the ES2 features the same volume and tone control knobs. The preamp is similar but with a slightly different gain structure. As a result it will be about 25 percent hotter, which is more in line with other pickups. This makes it plug-and-play friendly both for artists and live sound mixers.

Read our guide to using the Expression System 2.

How V-Class Works

More Volume

V-Class guitar bracing controls the top’s flexibility, creating a more orderly rocking motion across both sides of the top. The controlled flexing movement produces greater volume.

Longer Sustain

V-Class bracing maintains stiffness along the middle of the guitar, in the direction of the strings. That rigidity keeps the strings in motion, producing notes that resonate longer before fading out.

Better Intonation

V-Class bracing makes the top more in tune with the vibrating strings. This eliminates much of the interference that causes some notes to waver and sound slightly out of tune. As a result, notes and chords played anywhere on the neck are more consistent and in tune with each other.

 

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