Taylor Guitars K22ce 12-Fret
A Koa KillerWildwoodians, we are proud to showcase the K22ce 12-Fret. With its other high-end appointments like maple binding, a wooden spring vine inlay, and shaded edgeburst finish, the K22ce 12-Fret cuts a stunning figure. It looks elegant and refined, yet it maintains a tasteful, earthy aesthetic.
And the K22ce 12-Fret sounds wonderful, too! Koa is a spectacular tonewood that produces sweet, singing highs, focused midrange, and tight, well-defined bass. As a result, the all-koa K22ce 12-Fret has a clear, woody voice with that inimitable Taylor sparkle in the high end. Though it certainly sounds spectacular now, the cool thing about koa is that it sounds better and better the more you play it. The midrange broadens and becomes richer and more harmonically resonant, and the highs become lusher as you put in more play hours. So, the K22ce 12-Fret is a guitar that will grow with you and sound better and better as you practice and grow as player!
I've Got to Admit it's Getting BetterAnd that really is the heart of the K22ce 12-Fret’s appeal. It's a beautiful guitar of heirloom quality, it's ridiculously comfortable to play, and when you pass it down to your children or grandchildren it will sound even better than it did the day it came out of the box. We're proud to showcase such a spectacular instrument for our exceptional customers, and we know the K22ce 12-Fret will inspire you endlessly.
Grand Concert GreatnessTaylor's Grand Concert body shape offers a host of strengths to both fingerstyle players and strummers. Guitars with this shape produce punchy midrange response, well-defined low-end, and plenty of that classic Taylor sparkle and chime. Their articulation is incredible, and their woody attack captures every detail and nuance of your right-hand dynamics. When you dig into them, more and more overtones pop out of the top as the sound becomes more piano-like and full, like a box full of lush resonance. This is because the Grand Concert's smaller body has less headroom, which makes it easier to get the top moving and get some natural-sounding compression.
A Twelve-Fret TerrorA guitar with a 24 7/8"-scale 12-fret neck always has slinkier handfeel than its 14-fret cousins. There's less tension on the strings, which reduces the player's left-hand effort and makes bending much easier. But, a 12-fret neck doesn't just affect feel. To make it work, the luthier must position the bridge in the sweet spot where the top is most flexible. This makes the top vibrate in a different way, and it gives the guitar exceptional punching power, projection, and woody warmth.
A V-ClassicI would be remiss if I did not mention how the K22ce 12-Fret utilizes Taylor's new V-Class bracing. It's an elegant solution to a problem that has plagued luthiers for decades. For years, acoustic guitar builders had to compromise between volume and sustain. Flexibility equals volume, and stiffness equals sustain. Obviously, a piece of wood cannot be rigid and flexible at the same time, so builders had to go for one or the other.
Andy Powers wanted to have his cake and eat it, too. After much tinkering, V-Class bracing was his elegant solution to the problem that has plagued luthiers for centuries. As the name implies, V-Class bracing features two long pieces of wood that make a "V" shape together. The bracing is quite thin and flexible near the rear bout, but it becomes thicker as you get closer to the soundhole.
So, you get volume from the flexible parts of the bracing, and sustain from the rigid parts! Many areas of the guitar neck that typically sound weak (ninth fret on the G string, for instance) have just as much presence, resonance, and sustain as the low E. As a result, the K22ce sounds supremely balanced and sculpted. When you hear one played live in the room, you'd swear a mix engineer had already done a bunch of post-production work on it. And, it gives the guitar piano-like note separation and crystalline clarity even when you play fancy jazz chords!
Intonation StationV-Class bracing also does wonders for the guitar's intonation. Are you ready to have your mind blown? When I visited the Taylor headquarters El Cajon, Andy Powers explained that an acoustic guitar's intonation is not necessarily just the sum of the typical adjustments like saddle height, nut slots, and neck angle (though they do a play a part). The way that the actual guitar itself vibrates also has a lot to do with how in-tune it sounds.
Andy told me to picture it like this: when you take close-up slow-motion footage of a guitar's top with a high-speed camera as someone plays it, you can see the top move vividly. On a traditional X-braced guitar, the top vibrates in a disorderly, disjointed manner. This can cause a guitar with the perfect saddle height and neck angle to sound out of tune when you play a big open chord.
By contrast, guitars with V-Class bracing vibrate in a much more orderly manner. The graduated braces compel the energy from the player's attack to move from the thin outer part of the bracing to the thicker inner part in an efficient manner. If you were to take a high-speed shot of a V-Class top, you would see it rock back and forth evenly in a pleasing pattern. Because of that V-Class magic, the K22ce 12-Fret sounds so in-tune that it's scary.
|Top Wood||Solid Koa|
|Top Finish||Gloss Shaded Edgeburst|
|Back & Sides Wood||Solid Koa|
|Back & Sides Finish||Gloss Shaded Edgeburst|
|Neck Wood||Tropical Mahogany|
|Neck Dimensions||.840 1st - .890 7th|
|Fretboard Material||West African Crelicam Ebony|
|Fingerboard Inlays||Spring Vine|
|Scale Length||24 7/8"|
|Nut Material||Black Graphite-Infused Tusq|
|Rosette||Single-Ring Big Leaf Maple|
|Electronics||Expression System 2|
|Bridge||West African Crelicam Ebony|
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