The 322e 12 Fret Grand Concert produces a robust voice. Dynamic players love the clarity and responsiveness to fast picking runs or a light fingerstyle touch. Taylor’s 12-fret necks feature the slightly shorter 24-7/8-inch scale length of the Grand Concert and a repositioned bridge that sits closer to the center of the lower bout. The result is a slinkier handfeel that makes it easier to form chords and bend strings, and tonally, surprising power, warmth, and sustain for the smaller body.
The blackwood back and sides produce a strong midrange focus with a splash of top-end shimmer, while the mahogany top helps even out the tonal response. Other distinctive features include a shaded edgeburst top, an all-satin finish, small diamond inlays in Italian acrylic, and Taylor’s Expression System 2 pickup.
Grand Concert GC Body Shape
Taylor's grand concert body shape is a small bodied guitar that is easy to handle. Its compact size make this the ideal guitar for fingerstyle guitar players. It is very balanced in tone and performs well on both stage and studio. Taylor first introduced this body shape in 1984 and has been a popular model since then. You will find these bodies with both 12 and 14 fret versions. The difference between the two is where the neck attaches to the body.
Expression System® 2
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.
Behind the ES2 Design: Rethinking the Piezo Pickup
For decades, piezo-electric transducers have been positioned under the saddle of a guitar based on the long-held belief that the string and top vibration cause the saddle to “bounce” up and down. But Taylor’s electronics team, led by developer David Hosler, discovered that the vertical movement is actually heavily restricted, and that the saddle gets “locked down” due to the string tension’s downward pressure. That’s why a traditional under-saddle pickup with piezo-electric crystals often responds with a sound often characterized as thin, brittle, brash or synthetic, especially with more aggressive playing.
The saddle’s natural range of movement as the guitar is being played is actually back and forth like a pendulum. That revelation led Taylor’s design team to relocate the crystals from under the saddle to behind it. The new positioning enables the crystals to respond more naturally to the guitar’s energy as it is transferred through the saddle. Three pickup sensors are installed behind the saddle, through the bridge, with three tiny Allen screws that calibrate the position of the sensors in relation to the saddle.
Like the original Expression System, the ES2 features the same volume and tone control knobs. The preamp is similar but with a slightly different gain structure. As a result it will be about 25 percent hotter, which is more in line with other pickups. This makes it plug-and-play friendly both for artists and live sound mixers.
Standard on “ce” models in the 300 Series and up, the Venetian cutaway is known for its soft, round lines. The sloping peak of the cutaway will vary depending on the shape of the guitar. The Grand Concert, Grand Auditorium, and Grand Symphony have a steeper slope, while the Dreadnought is a bit flatter.