The bold and balanced voice of the rosewood/spruce cutaway Grand Symphony 716ce delivers a blend of powerful bass, meaty midrange, and equally thick trebles.
A Lutz spruce top paired with updated Performance bracing bolster the all-around sound, yielding a strong fundamental focus to balance rosewood’s natural bell-like overtone sparkle.
Players with a dynamic picking or strumming attack will love the responsiveness to both a light and heavy touch. Wood-rich details include Hawaiian koa binding, a herringbone-inspired rosette of Douglas fir with maple/black accents, and bias-cut Douglas fir top trim, with a “weathered brown” pickguard that complements the earthy Americana appeal of the aesthetic.
Taylor’s proprietary ES2 pickup and preamp serve up natural-sounding amplified acoustic tone.
This strong Taylor strummer produces a rich, bold voice.
Body Length: 20" / Body Width: 16-1/4" / Body Depth: 4-5/8"
Designed by Bob Taylor in 2006
Rich, piano-like bass, strong midrange, and thick trebles
Strong volume when strumming or flatpicking, and responsive clarity with a light attack
The Grand Symphony shape joined the line in 2006 and delivers a rich, powerful acoustic voice. Think of it as a Grand Auditorium with a turbo boost, thanks to expanded physical dimensions, including a slightly wider waist and a bigger lower bout.
Strummers and pickers with a driving attack will love the fullness, volume and sustain. Yet for such a robust voice, the GS is also clear and responsive to fast picking runs or a light fingerstyle touch, so if you’re a dynamic player, this shape is a true contender.
The big voice doesn’t come at the expense of balance. The piano-like bass, meaty midrange, and thick, shimmering highs blend seamlessly. These traits also make the GS a great vehicle for 12-Strings. If you like a lush, potent guitar tone that has the horsepower to compete with other acoustic cannons out there, the GS shape is a worthy choice.
With a slightly larger footprint than the Grand Auditorium, the GS yields a slightly more potent and dynamic all-around sound. Players can expect deeper bass, thicker trebles, and increased volume and low-end sustain, all without disrupting the tonal balance and clarity of the guitar.
Lutz Spruce Top
A naturally occurring hybrid of Sitka and White spruce, Lutz blends the positive characteristics of Sitka and White spruce (and its close cousin, Engelmann spruce) with the robust tonal output of Adirondack spruce. It will respond well to a strong attack.
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 Back & Sides
Indian rosewood’s sweeping frequency range at both ends of the tonal spectrum has made it one of the most popular and musically rich tonewoods. Its deep lows can assert a throaty growl, while bright, sparkling treble notes ring out with bell-like, high-fidelity clarity.
Origin: East India
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 (ES2)
The Expression System® 2 captures more of a guitar’s dynamic properties using a breakthrough behind-the-saddle design
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.