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After celebrating its 50th anniversary in 2024 with special editions, including choice Legacy models honoring Bob Taylor’s most essential acoustic designs, Taylor is all about pushing the envelope further forward with the Next Generation. Primary features include an Action Control neck, scalloped V-Class bracing and Taylor’s new Claria acoustic pickup system.
Of all the Next Gen models, the Builder’s Edition 514ce is particularly interesting. The 514ce has always held a special place in the Taylor line and in the hearts of a great many players, including me. The traditional pairing of solid mahogany back and sides with a red cedar top yields a particularly warm tone that is plenty articulate, making it applicable to practically any musical style.
The Grand Auditorium body with a Venetian cutaway and electronics makes it super versatile and stage worthy. Being in the middle of the main American range means that the 514ce is in the middle of the price range as well, and it looks good without being too fancy. It’s simply a great, all-around workhorse.
The Next Generation Builder’s Edition 514ce promises to take everything to the next level, and it stands on the shoulders of some notable recent developments. In 2018, Andy Powers redesigned the 514ce with V-Class bracing. Taylor is always working with new tonewoods, and in 2022 Taylor revamped the 500 Series using sustainably sourced Urban Ironbark and switching to a torrefied Sitka spruce top.
For the 50th anniversary, they chose the 514ce as a historic model, representing the 30th anniversary of the iconic Grand Auditorium body style. Taylor recognized its significance with a Legacy Edition featuring throwback specs, including X-bracing and a return to the classic mahogany-and-cedar tonewood combination.
I have more experience playing a Taylor 514ce than any other acoustic since I picked up a 1998 edition back in 2008. As a result, I was compelled to review both the 514ce Urban Ironbark and the Legacy 514ce. The Next Generation 514ce is now available in both a standard edition, in traditional mahogany and cedar, and as a luxurious Builder’s Edition in either Natural or Kona Burst finish on a Sitka spruce top with Shamel Ash back and sides. I had to try the Builder’s Edition experience in Kona Burst.
Fresh Face
At first glance, this is the most attractive 514ce yet. The dusky sunburst top with glossy finish and Firestripe pickguard is uniquely beautiful. Large faux pearl Compass fretboard and peghead inlays add a bit of bling. So does the Antique Chrome hardware, although the golden hardware of a classic 514 might look even more complimentary.
The single-ring faux pearl rosette is a bit of a disappointment compared to the three-ring abalone rosette of a classic 514ce. But it’s still an unquestionably beautiful guitar, though perhaps not unquestionably more beautiful than my ’98, simply younger in a new style with a fresh face.
Modern/Classic Tone
The classic 514 tone shone through right away in this Next Gen model, and that’s a great thing. It’s not exactly the same as mahogany and cedar, but Shamel Ash and Sitka combine to render a very similar sound: woody with a dry finish. And it feels great to know that the former is harvested sustainably under Taylor’s Urban Wood Initiative.
While I appreciate the many attributes of V-Class bracing, such as superior sustain and tuning accuracy, I’ve also felt there was little something missing compared to the classic X-braced models. Perhaps V bracing was making the top a bit stiff and therefore slightly stiff sounding.
However, this guitar resonates right out of the box. It’s not quite as balmy in the bottom as some of the new Gold Label Taylors I’ve tried — more like the original 514 tone I’ve grown to know and love. Perhaps scalloping the bracing a bit has allowed the top to flex more freely, resulting in a friendlier tone that still has the deadly note precision of V-class.
Playability, Playability, Playability
This is where the Builders Edition 514ce truly shines. Every note is viable, from the very lowest to the very highest on each string. The neck and frets feel silky smooth, encouraging exploration, and intonation is spot-on everywhere. Chords come together with ease, while notes ring true with individual overtones.
Since this is a Builder’s Edition model, the body has beveled edges under the strumming arm and on the cutaway. That makes strumming feel comfortable and makes notes in those short fret rows at the very top of the fingerboard a bit easier to reach and hold.
I found the factory action agreeable and stable, but having the ability to make my own string height adjustments via Taylor’s Action Control Neck was handy. You can reach the adjustment screw through the sound hole and set string height to your preference. However, it would be nice if Taylor included a tool like the one shown in their demo videos. Either way, I wish every one of my acoustics had beveled edges and an Action Control Neck.
Plugged In with Claria
When Taylor started moving away from its long-standing Expression 2 System on some models, it seemed like maybe something was up, and apparently that was the Claria Pickup System. The new kid in town is actually a classic piezo undersaddle pickup with a flexible, proprietary preamp. It’s kind of crazy that after years of lobbying about piezo sensors sounding better when positioned behind the bridge, as in the ES2, Taylor is now back to the traditional undersaddle piezo strip.
But apparently it’s all about the new preamp. Tested through a Circa 74, it sounded supper peppy. There’s plenty of power with a noticeable zing compared to a basic undersaddle pickup. Controls include volume and tone, plus a handy Mid-Contour. I pegged the volume, put the tone at center indent and focused on the mids.
Rolling it back scoops the mids, which sounds nice and mellow when strumming a simple chord progression with a pick, such as Bob Seger’s “Night Moves.” Pushing it forward makes notes project with ever-increasing articulation, which is perfect when you need a fingerstyle passage to pop.
Claria’s Mid-Contour control location near the fretboard side of the sound hole makes it very accessible on the fly, so you can truly use it to great effect during a performance. The downside, from my perspective, is there’s not enough room left to throw a magnetic pickup to run my usual dual-signal chain. The good news is that I generally use the sound hole pickup to add more string pop, and the Claria offers plenty of that, especially when pushing the Mid-Contour.
Taylor’s Next Generation features are awesome. I appreciate the acoustic-tone improvement from scalloping the V-bracing, the precision flexibility of the Action Control Neck, and the dynamic plugged-in pleasure of the Claria Pickup System. Having them on a fresh-looking, classic-sounding, modern-playing performance machine such as the 514ce is a big win.
I can honestly say that out of all the 514ce models I’ve tried, this is the one I’d prefer to take to the stage right now. Kudos to Taylor for making a lovely modern version of my ol’ fav.
SPECIFICATIONS
BE 514ce
CONTACT taylorguitars.com
PRICE $3,499 street, hardshell case included
NUT WIDTH 1.75″, black Tusq
NECK Neo-tropical mahogany, long-tenon, standard carve, satin finish, faux pearl Compass inlays
FRETBOARD West African ebony, 25.5″ scale
FRETS 20
TUNERS Gotoh 510 Antique Chrome
BODY Solid Shamel ash back & sides, solid Sitka spruce top with scalloped V-class bracing
BRIDGE West African ebony with compensated white Micarta saddle
ELECTRONICS Claria Pickup System with Volume, Tone, and Mid-Contour controls mounted in sound hole
POWER 9V battery
FACTORY STRINGS D’Addario XS Coated Phosphor Bronze Light gauges .012 – .053
WEIGHT 4.5 lbs (as tested)
BUILT USA
PRO Elegant, modern take on the classic 514 with fabulous playability and comfort. Articulate and warm acoustic tone; punchy, sculptable amplified tone
CON None, but it would be so handy if Taylor included a tool for adjusting the Action Control Neck
