R Taylor Style 1 Acoustic Guitar, Adirondack Spruce Top

The R Taylor Style 1 Acoustic Guitar
This premium acoustic guitar features the very best in tonewoods with an Adirondack Spruce Top which has a rich and straight grain of the highest calibre. This resonates in a stunning and even way with a very wide dynamic response which aided further with the slightly curved 65 foot radius top.

In addition to this premium Adirondack top, the back and sides of this instrument are Madagascan Rosewood with a gorgeous matched grain down the back of the guitar. Madagascan Rosewood is renowned as being the "new" Brazilian Rosewood with very similar density, colouring and overall tone as the famous Brazilian.

Madagascan Rosewood trees are relatively small which means that getting sets for larger bodied guitars is relatively difficult. This is an R Taylor though - they get the best!

The Style 1 body measures 16-1/4 inches wide at the lower bout and 4-7/16 inches deep at the lower bout. It's closest comparison size wise would be a Taylor GS, or x16 model. The sounds full and rounded perfect for strumming and also defined enough for fingerstylists to produce an excellent guitar with wide appeal.

Other interesting features of this guitar are a slim neck carve, thinner by .050" than the Standard profile, it has a more flattened "C" shape. It’s very fast, and ideal for those who frequently switch between electric and acoustic guitars. This is also aided by the inclusion of Florentine cutaway which improves access to the high frets...as well as looking seriously sporty!!

The nut width is a fraction wider at 1.8125" which is an absolute joy to play and makes it extremely adaptable for a range of playing styles, whether strumming or fingerstyle.

The binding on the guitar is highly figured flamed Koa and looks stunning against the Rosewood back and sides and along the ebony neck. There are small dot inlays along the top side of the neck which are inset abalone...the finest detail has been poured over.

This is quite simply one of the most stunning and "alive" guitars we've ever gotten our hands on and would bring a lifetime of joy to the appreciative player and/or collector. A joy to look at and play, R Taylor's really show the art of guitar building at it's height.

Here are some more details about this R Taylor Guitar.

Core Features (All R Taylor Guitars)

Solid Lining (Non Kerfed)
Here’s a perfect example of a detail that adds several layers of complexity to the building process. But it is worth every extra bit of labor we put into it. Every R. Taylor guitar incorporates a solid lining to join the top and back of the guitar to the sides—a feature we feel puts our guitars into a whole different category. Solid lining has a huge impact on the guitar, creating a body with tremendous torsional strength. That allows us to build a lighter guitar, yet one that’s stronger and livelier. Thinner than traditional kerfed lining, the guitar top has more freedom to vibrate. The result is increased projection, superior overall acoustic response, and a "played-in" tone. We use solid Tropical mahogany lining to join the top and sides. For the lining that joins the back to sides, we match solid strips of the same wood you choose for the back and sides of your R. Taylor guitar. - Picture Here http://www.rtaylorguitars.com/Woods-Details-01.aspx

Hand Shaped Bracing
Whether you choose our Modified X or Asymmetrical X Bracing pattern—in Sitka or Adirondack spruce (optional upgrade)—be assured that Keith Greenwood, Erik Larson and Tim Luranc carefully hand-select and hand-shape the braces to suit your individual guitar. It is with this type of fine-tuning, which is the product of a combined generation of guitar building, that we make your R. Taylor guitar unique. - Picture Here http://www.rtaylorguitars.com/Woods-Details-02.aspx

Inlaid Plate Bracing
Many guitar builders tend to overlook this important aspect, but we think it’s a critical detail. On the underside of the upper bout of the guitar, flanking the neck pocket, we use a cross-grain spruce plate brace that is inlaid into the underside of the top. By taking the time to inlay the plate brace, this traditionally "restricted" area now becomes an active, integral part of the guitar’s top. The result is a difference you can truly hear. - Picture Here http://www.rtaylorguitars.com/Woods-Details-03.aspx

Top Relief Rout
An epic battle of physics rages on between strength and flexibility, two opposing forces that are required of all guitar tops. The balance between the two means everything, and our solution is a breakthrough that finds the sweet spot for both. By routing a small, softly concave channel along a portion of the inside perimeter of the guitar’s top, the top gains additional freedom to move—and release its tone. It also means a very quick response, even at whisper-quiet playing levels. It’s a similar technique to "feathering" (reducing the thickness of the top toward the edges), which has the advantage of leaving the mass of an even-thickness top intact, promoting more power. The top relief rout is a patented process used by both R. Taylor and Taylor Guitars. - Picture Here http://www.rtaylorguitars.com/Woods-Details-04.aspx

NT Neck
The NT neck is simply the most efficient, practical, structurally sound, and sonically transparent way to attach the neck to the body. This process allows us to precisely control both the angle of the neck and the relative distance between the guitar’s top and the fingerboard face. What does this mean to the player? A setup with unparallel precision and "goodbye" to the days of sanding or shimming the saddle. R. Taylor necks feature two-piece construction: the neck itself, and a glued-on, beautifully matched heel block. - Picture Here http://www.rtaylorguitars.com/Woods-Details-05.aspx

Body Binding and Purfling
All of our binding and purfling is hand-mitered. Erik Larson has bound literally thousands of guitars, and his body-binding techniques are truly a thing of beauty. Keith Greenwood binds the fingerboards and pegheads, and he is renowned for his craftsmanship and attention to detail. Whether the guitar has our subtle and elegant ebony binding, or any combination of our exotic binding/purfling options, the end result is a harmonious union of function and art.

Bridge
Similar in appearance to a Taylor bridge, there are subtle differences that define a level of evolution rarely seen in guitar construction. Our bone saddle, configured in a "wave" profile, may just be the most accurately intonated acoustic guitar saddle ever designed. It allows full compensation while permitting each string–even the "B" string–to lay on a fully-rounded approach surface. Our design ensures that the strings pass over the saddle at precisely the correct angle for optimum performance.

Adirondack Spruce Top
In a word: power. This tonewood, available in limited quantities, works well with any choice of back and side woods, and with any combination of R. Taylor top geometries and bracing configurations. Players who insist on maximum volume, clarity and cutting power with gorgeous fundamentals and pristine overtones will do well to investigate this species.

Madagascar Rosewood
While this species is relatively new in guitar building, it is proving to be an excellent alternative to other, rarer species of rosewood. It shows a strong bass response with excellent focus, easily articulated midrange clarity and a nice sparkle on top. Though in somewhat limited availability, Madagascar is a great choice for a well-balanced, play-any-style guitar.

Hawaiian Koa Binding
Hawaiian koa grows only between the 300- and 7,000-foot elevations on Hawaii's five major islands (the finest instrument-quality koa trees grow on the Big Island). Like a precious metal, koa's desirability is linked to its relative scarcity, but its aesthetic appeal makes it irresistible to lovers of exotic tonewoods. Koa exhibits a wide range of warm brown hues, often accentuated by exciting grain figure. A hard, dense wood, koa produces a tone somewhere between that of maple and rosewood.

R Taylor Style 1 Acoustic Guitar Specifications
Type/Shape: Style 1
Back & Sides: Solid Madagascar Rosewood
Top: Adirondack Solid Spruce ('65 Radius)
Soundhole Rosette: Green Abalone With Pinstripe
Neck: Tropical American Mahogany
Fretboard: Ebony
Fretboard Inlay: None
Backstrap: None
Binding: Flamed Koa
Bridge: Ebony
Nut & Saddle: Bone (Saddle Intonation Compensated)
Internal kerfing/linings: Solid - Standard - Non Kerfed
Tuning Machines: Gotoh 510 1:21 Ratio
Scale Length: RT Standard 25.5 Inches 
Truss Rod: Adjustable
Neck Width at Nut: 1.8125"
Neck Profile: Slim Carve
Number of Frets: 20
Fretboard Radius: 15 Inches
Bracing: Modified x - Sitka Spruce
Finish: Gloss
Cutaway: Florentine
Electronics: N/A
Case: R Taylor Official Heavy Duty Hard Case

Any further questions - just E-mail us.