taylorsense

I just installed taylorsense. It took 30 minutes to loosen the strings, R & R and battery packs, re-tune and it works as described (very cool).
The humidity sensor is why I bought it and I'm confident to say... it works excellent. (y)
I compared the taylorsense reading to a D'addario hygrometer and they are within 1% of each other so that's good enough for me.
I figured something that will read the humidity from my iPhone is well worth the add-on cost for this device.

The tuner is okay but I'm old school and prefer a fork and my trusty ears.
The temp gauge seems spot on.
Impact reader, well I hope I never see how it works.

I hope they add something that can tell me where my guitar is at at times, that would be a major bonus!

Here is the inside of the 914ce. You can see the armrest bevel. The craftsman ship is stellar. Very clean and precise.
The bevel is the 1 inch area between the rosewood and spruce top. The other image is what the bridge looks like inside the body.

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something like this ?
https://www.amazon…
http://www.musicrad…

Yeah this! https://www.amazon…
It wasn't available for a long time. That's exactly what I want. Stick it in the case. Thanks.

From the negative aspect of having Taylor Sense installed.... I suppose their is now a complete history being recorded. I suspect if my guitar ever dropped into the low humidity range... it could void warranty. :cautious:

that's the main problem i see with all the convinces the internet offers. connectivity is great, but all that info is available to whoever wants to see it bad enough.

as you've pointed out, every thing has two sides to it. kind of like anything we own, also owns us.

Indeed, Kurt. Everything is linking us to a trap or gateway. Software, userfee's, engineered life spans of cars, appliances... its goes on and on and we all keep taking it, accepting it because the alternative, going without... just seems too slow paced or inconvenient etc.

What's ironic... I always wanted and deserve an acoustic guitar that I can play and now that I have it, I am a slave to humidity control. Now that I know how important that is, its unrealistic that I can maintain it perfectly all the time without setbacks as well.

I am so sick of being a slave to the system, and am getting away from all the technology for a while ( I need some peace for a while) yet I can't even have an acoustic guitar that just sits on a stand without having to be worried about humidity lol.

I could just accept the ups and downs... but I am too damn fussy for my own good.

audiokid, post: 450884, member: 1 wrote: I can't even have an acoustic guitar that just sits on a stand without having to be worried about humidity lol.

sure you could. just get a Craigslist cheapo p.o.s. you won't care so much for. there's plenty of decent playing good sounding Asian guitars available.

this facet is one reason i am trying to cash out a lifetime of purchases. i don't play that much and all my recording equipment isn't being helped just sitting there and allowing ll the caps to dry out.

it does make me wonder, what did everyone do before all these humidity sensors came along? seems like it may be a lot of hokum to some degree.

Kurt Foster, post: 450887, member: 7836 wrote: sure you could. just get a Craigslist cheapo p.o.s. you won't care so much for. there's plenty of decent playing good sounding Asian guitars available.

I have a cheapo but its like playing something that will never achieve why I play the way I can or to get inspired to play. But, yes.. example, the Taylor 314ce hung on my stand and never changed nor did I care about humidity. But is is nothing like this 914ce either.

Kurt Foster, post: 450887, member: 7836 wrote: this facet is one reason i am trying to cash out a lifetime of purchases. i don't play that much and all my recording equipment is being helped just sitting there and allowing ll the caps to dry out.

exactly.

Same reason why I've sold most of my recording gear as well. Other factors too but, my justification is for sure about the caps, pots etc all drying out.
I'm a firm believer, if I don't use electronic gear, I sell it. If I ever get to a point where I will do this again for money, I will buy what I need but my throat is so fucked and my career as a singer or songwriter requires me to rely on others and that is like waiting to win the lottery now. ITB, a few high quality pre's, ADDA, mics... I'm good. Sequoia is so awesome on its own... mixing or mastering gear is moot. Total waste of money imho.

Kurt Foster, post: 450887, member: 7836 wrote: it does make me wonder, what did everyone do before all these humidity sensors came along? seems like it may be a lot of hocum to some degree.

I thought that too until I started measuring everything as humidity increased and decreased. Humidity is very serious. Even the tone changes to good better and wow as the level rises. Less humidity, more thin and tinny sounding. What does that tell you?

audiokid, post: 450893, member: 1 wrote: Less humidity, more thin and tinny sounding. What does that tell you?

the wood is drying out. dry wood will be harder and sound brighter while wood that has more moisture will dampen the highs.

maybe the answer to my own question is with older guitars that were built with old growth woods, the humidity factor isn't so much an issue?

Kurt Foster, post: 450894, member: 7836 wrote: the wood is drying out. dry wood will be harder and sound brighter while wood that has more moisture will dampen the highs.

Exactly my understanding as well.

Think about how many people are tracking dry guitars with poor ADC, cheapo mic pres and mics in less than sweet rooms. From the time I started this thread to now, I have learned a ton about acoustic guitars. Humidity is a huge factor to much of an acoustic performance and sound.
Thinking back in time... tape is once again, a forgiving factor when it comes to recording acoustic guitars as well.

Back to hydration and age of wood. Accordingly to my research on where Taylor gets their wood for this guitar, the top of the 914ce is old growth Sitka harvested close to where I live. The trees around that area are massive. Not saying they are harvesting these old gems, but for conversation, some of the beauties need 12 men all holding hands to circle it. The wood from this guitar in my hands is very old wood. I think tone is a lot more about hydration than I ever realized.

Wow, I just bought a really nice Hygrometer from the 12th Fret. The gold case. I will proudly put it on my wall where my 914ce sits. Its a beautiful addition to any acoustic room.

Update on guitar hydration.
After approx 3 months hydrating, my guitar is absolutely perfect now. It took that long for it to absorb and balance out to an even 48%.

Now if I could only play it. Shortly after I finally got my dream acoustics I unfortunately slammed my fingers between a large steel garage door, damn near cut them off (so lucky). I haven't been able to play but they are healing. Today is the first day I could tolerate string pressure on them.

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audiokid, post: 452844, member: 1 wrote: Now if I could only play it. Shortly after I finally got my dream acoustics I unfortunately slammed my fingers between a large steel garage door, damn near cut them off (so lucky). I haven't been able to play but they are healing. Today is the first day I could tolerate string pressure on them.

OUCH!!! Soon mate, glad you didn't lose any digits.

audiokid, post: 452844, member: 1 wrote: Now if I could only play it. Shortly after I finally got my dream acoustics I unfortunately slammed my fingers between a large steel garage door, damn near cut them off (so lucky). I haven't been able to play but they are healing. Today is the first day I could tolerate string pressure on them.

Careful, don't end up like this :

Oh wow -- watch those fingers man! I played another 814 the other day -- it was critically lacking in the bottom and mid range --- it was the worst one I played yet (found it in Surrey). It makes me so curious to hear/see that 9! Glad it's working out well for you -- hope the finger mend quick. Go easy - you don't want to injure them while they heal.

DogsoverLava, post: 452905, member: 48175 wrote: Oh wow -- watch those fingers man! I played another 814 the other day -- it was critically lacking in the bottom and mid range --- it was the worst one I played yet (found it in Surrey). It makes me so curious to hear/see that 9! Glad it's working out well for you -- hope the finger mend quick. Go easy - you don't want to injure them while they heal.

Thanks.

Wow is how I describe what humidity does for sound and performance.

I’m planning a trip to Vancouver (hopefully this year) and would love to visit you! I’ll bring it with me.

This discussion reminds me most guitarists don’t take care of this aspect. There is certainly never any discussion by guitar sellers normally about storage conditions. I personally am the victim of lack of humidity on my Maton. Courtesy of Denver Colorado in the mid 90s. Lovely big cracks in the top.

Makzimia, post: 452921, member: 48344 wrote: This discussion reminds me most guitarists don’t take care of this aspect. There is certainly never any discussion by guitar sellers normally about storage conditions. I personally am the victim of lack of humidity on my Maton. Courtesy of Denver Colorado in the mid 90s. Lovely big cracks in the top.

You're right -- it's a completely ignored and unknown in terms of guitar retail. I'd wager even builders don't know or want to know.... It's like you are telling buyers there's something they have to do to care for their guitar -- and people don't want to futz with things so the whole conversation is a negative. I certainly thought it was a gimmick. (Did I tell the story earlier of a friend who used a sound hole mounted one on his hand-made classical by a famous maker and spilled a big drop of water right onto the internal label wiping out the signature?) That was my last experience with guitar humidifiers and that was 1991.

She's a beauty.

Latest addition to my collection!. A Taylor 356ce Grand Symphony. Sounds awesome strummed or picked. And yes, it will be living with a two way humidity pack .

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Sick!!!!!!

Nice!
I want a Taylor 12 string and nylon next.thst looks nice, Tony

audiokid, post: 456318, member: 1 wrote: Nice!
I want a Taylor 12 string and nylon next.thst looks nice, Tony

Well, I can definitely say this is very good value. I own a 1981 Ovation celebrity 12 string, it’s a good place to know what a good 12 string should sound like. The Taylor just has more balls. And of course the ES2 pickup system is awesome.

Tony

My guitarist friend just sunk 4 figures (in UKP) into a Taylor. He's still reeling and blissfully happy. He gave to to me and I expected to be blown away with a guitar easier to play and nicer sounding than my £200 ancient thing - and all I can say is I was left stunned - with the small difference. It wasn't easier to play, and while it was louder, I didn't like the tone that much. I know it's me, but I somehow expected one and a half grands worth of wonderfulness and something I'd go wow - I must have one, and I didn't. Don't know why?

My Taylor 914ce is the most glorious sounding guitar I have ever played. Is sounds so exceptional that I want the 12 string and nylon versions of it now. And as far as performance goes, it’s anazing to play.

Being said, the sound of an acoustic guitar improves when it is hydrated to at least 47%. Too dry and they sound bright, too wet and they sound dead.
After I started testing the sound of various guitars I realized every guitar I tried was either over or under the hydration.

The next thing I realized when judging the sound, a guitar sounds different when I am playing it apposed to what it sounds like from the audience.
listen to what your guitar sounds like when it’s being played by someone else and also when it’s in a group of instruments.

After a year of me testing many acoustic guitars I found the Taylor 714 to be the most amazing mid range guitar of them all. What an awesome guitar for cutting through.
The 914 is what I would call the best of all worlds, it has a wonderful balance but it’s not a 714 or a dreadnought though...
and so it goes....

paulears, post: 456383, member: 47782 wrote: My guitarist friend just sunk 4 figures (in UKP) into a Taylor. He's still reeling and blissfully happy. He gave to to me and I expected to be blown away with a guitar easier to play and nicer sounding than my £200 ancient thing - and all I can say is I was left stunned - with the small difference. It wasn't easier to play, and while it was louder, I didn't like the tone that much. I know it's me, but I somehow expected one and a half grands worth of wonderfulness and something I'd go wow - I must have one, and I didn't. Don't know why?

Which model was it, Paul? New or second-hand?

audiokid, post: 456384, member: 1 wrote: My Taylor 914ce is the most glorious sounding guitar I have ever played. Is sounds so exceptional that I want the 12 string and nylon versions of it now. And as far as performance goes, it’s anazing to play.

Being said, the sound of an acoustic guitar improves when it is hydrated to at least 47%. Too dry and they sound bright, too wet and they sound dead.
After I started testing the sound of various guitars I realized every guitar I tried was either over or under the hydration.

The next thing I realized when judging the sound, a guitar sounds different when I am playing it apposed to what it sounds like from the audience.
listen to what your guitar sounds like when it’s being played by someone else and also when it’s in a group of instruments.

After a year of me testing many acoustic guitars I found the Taylor 714 to be the most amazing mid range guitar of them all. What an awesome guitar for cutting through.
The 914 is what I would call the best of all worlds, it has a wonderful balance but it’s not a 714 or a dreadnought though...
and so it goes....

When I test played the 814 for Chris the mistake I made was not listening to someone else play it --- it was a fine fine guitar and felt amazingly responsive in my hands as a player, but Chris' take on it's tonal balance was spot on which was further shown true to me when Taylor announced that they had retooled the 814ce to a DLX to specifically address the tonal balance. (See link).

"The 814ce’s evergreen appeal comes from its impressive musical versatility, along with recent internal voicing upgrades that boost the warmth and produce a richer low-end response."

When you are holding the guitar you feel the low end more than you hear it - it's a lesson to remember for me for future. I'd be curious to know how the new 814 ce dlx compares to his 914.

The biggest hurdle for me traditionally when buying and playing acoustics is getting a guitar that is playable -- neck and intonation and action set correctly etc... after that comes stability - the need for it to hold its "ready to go state"..... that's hard enough to find in a guitar of any price and that's where combing through the stacks and finding that one factory production guitar that stands out from the rest is a big benefit -- It can make a $400 Yamaha into a $2400 Larivee or Taylor in terms of playability quite quickly....

But then there's everything else -- the magic - the sound -- the balance across the spectrum -- the depth and responsiveness of the guitar to the body and fingers -- all this stuff is like the scoring differences between Olymic medalist in gymnastics getting a 9.9 or a 10.0 ---- and basically the last place guy getting a 9.6 ---------- 9.6 is pretty bloody awesome beyond any lay measure but it ain't world class. This becomes one of those you'll know it when you see it/hear it/play it arguments ------ but for most of us 8 or 9 (or even 7) can be absolutely awesome for us -- we just want to avoid the dogs that you see in the 6 and below scores. So as the big $$ goes up on guitar pricing, you get smaller increments of "better" . Economics usually means we maximize our value for the dollar in a bang for buck scenario....

paulears -- what you've seen is that you've already identified an awesome playable guitar at an attractive value maximizing price point ---- but just like everything else that cost us money the marginal difference for that next jump up i smuch less dramatic -- you gotta make bigger jumps to get the obvious differences -- Play that 914 next to the guitar you have and it will be so obvious. Play a 214 or a 314 (or a 414) and it might be harder to see the gain/difference in terms of value for $ spent.

I'm a bass player, but I manage OK on electric, but hate the feel of my cheap electro-acoustic. The pressure needed to hold down the strings and how different that is to my fairly lowish action Les Paul. I just expected the Taylor to be much, much nicer to play - and it was a surprise that it was just a nicer version of my old Crafter! I could appreciate the wood, the quality of the finish and how nice it looked and felt until I played it.

paulears, post: 456394, member: 47782 wrote: I'm a bass player, but I manage OK on electric, but hate the feel of my cheap electro-acoustic. The pressure needed to hold down the strings and how different that is to my fairly lowish action Les Paul. I just expected the Taylor to be much, much nicer to play - and it was a surprise that it was just a nicer version of my old Crafter! I could appreciate the wood, the quality of the finish and how nice it looked and felt until I played it.

My first experience with Taylors was when I was about to buy a professional level Classical guitar in the very early 90's.... the one's I was looking at were about $2400 at the time and were barely better than my $300 Yamaha student model. I ended up buying a hand made guitar that so far and away killed the Taylor that I literally had no respect for the brand for many many years ----- such was my initial underwhelming experience with them....

Testing out Taylor guitars for Chris was an amazing experience because I really did feel the top models I played were pretty amazing ------ so they were redeemed in my mind -- but for the lower level stuff you might find the marginal difference is really not that great of leap beyond what you already have.

I have really changed my approach to acoustic guitar as a result of recording and mixing. I record lots of strummed acoustic parts and it is not so much what the guitar sounds like alone, but how does it fit in a mix. My main instrument is a 1970 Martin D-18. I like using a beyer M160. It requires some equalization. Lately I am using a cloudlifter and a Daking pre -eq. recording it with equalization-cutting 200hz nothing drastic.
I am also trying to eliminate filler habits like runs that are not necessary. Learning how to change chords without some sort of percussive junk attached to the change. I also have been playing around with a maple back and sides Goya steel string. I have a bunch of acoustics and this is not the most beautiful sounding guitar alone. The maple seems to be very focused and requires less eq. It is a good rhythm strum acoustic. I hear more of this in pop music, I think that is what producers gravitate towards.