412CE

Grand Concert Cutaway Electric
SKU: 412CE
Brand: TAYLOR

412ce

The solid ovangkol/spruce 412ce features Taylor’s compact Grand Concert body shape, a short-scale neck, and a Venetian cutaway for an ultra-playable fretting experience. Ovangkol shares rosewood’s full-spectrum tonal range, with a slightly fuller midrange and a bright, focused top end. The smaller body will curb the overtones and fit well in a mix with other instruments. Taylor’s Expression System® 2 pickup delivers clear, natural sounding amplified tone for gigging or recording. Aesthetic details include white binding, Italian acrylic dot fretboard inlays, a three-ring rosette, and a full-gloss body. The guitar ships in a Taylor deluxe hardshell case.

$4,799.00

Body Length: 19 1/2" / Body Width: 15" / Body Depth: 4 3/8"
 
A smaller bodied guitar ideally suited for fingerstyle.

The small-body Grand Concert debuted in 1984 to meet the needs of a new wave of adventurous acoustic fingerstyle players. In contrast to the traditionally darker, boomier voices of bigger body styles like dreadnoughts and jumbos, the GC’s compact size and tapered waist kept the overtones in check. It was also more comfortable to play while sitting down, and the guitar’s slightly wider neck gave players more room for complex fingerings. The GC’s smaller sonic footprint also fit cleanly in a mix with other instruments when tracking in the studio and with a band on stage, making it a useful tool for professional session and side players. Our current generation of GC models continues to accommodate fingerstylists with finger-friendly traits like a shorter 24 7/8-inch scale length, which makes fretting easier and adds a slightly slinkier feel on the strings due to the lighter string tension. If you feel more comfortable with a small body or favor controlled overtones, a Grand Concert is a great option.

 

Sitka Spruce

Origin: Northwestern North America (Coastal Rainforests of Alaska and Canada)

Used On: Most models

As a guitar soundboard, or top, Sitka spruce is the tonewood standard of the modern era. It’s used on 85-90 percent of the guitars that Taylor makes. Its combination of strength and elasticity translates into a broad dynamic range, yielding crisp articulation and allowing for everything from aggressive strumming and flatpicking to fingerpicking. Sitka spruce is Bob Taylor’s personal favorite for an all-around great guitar.

Goes Well With: All styles of guitars and players.

 

Origin: Tropical West Africa

Used On: The 400 Series, Acoustic 4 Series

Over a decade ago, Taylor introduced the guitar world to a sustainable tonewood known as ovangkol. An African relative of rosewood, it's a great sounding wood that shares many of rosewood's tonal properties, with a slightly fuller midrange and a top end that's not quite as bright as maple. Being lesser known than rosewood, ovangkol has been a sleeper hit over the years, asserting itself as an instant contender among unsuspecting players who test-drive a variety of Taylor models.

Goes Well With: Most applications. Players who perhaps don't have predefined tonal preferences, who may be generalists in their style of play, and who are looking for a well-rounded, all-purpose solid wood guitar. It works well with different body shapes.

 

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 proprietary behind-the-saddle pickup (patent pending), 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.

 

Standard on all “ce” models in the 300 Series through the Presentation Series, the Venetian cutaway is known for its soft, round lines. The sloping peak of the cutaway will vary depending on the shape of the guitar. The Grand Concert, Grand Auditorium, and Grand Symphony have a steeper slope, while the Dreadnought and Jumbo are a bit flatter. Our Grand Concert nylon-string models also feature a subtle, flatter slope, while our 100 and 200 Series cutaway models incorporate our flattest slope.