Taylor's 900 Series Grand Concert combines Taylor's newest innovation - V-Class bracing - with its most sophisticated and luxurious rosewood model. This finely calibrated instrument features impeccably rendered appointments that strike a balance between wood and abalone shell trim, with ebony binding and koa purfling framing colorful abalone. The Radius armrest embodies the highest level of woodworking while enhancing player comfort. It also bolsters tonal output by reducing the damping effect one's strumming arm might otherwise have on the top.

Additional details include Taylor's abalone/pearl Ascension fretboard inlay, genuine West African ebony binding, single ring paua rosette with koa and ebony purfling, koa and pau edge trim, and koa purfling on the top, back, sides, fretboard and peghead. For ultimate tuning precision, the guitar is outfitted with premium 21:1 ratio Gotoh 510 tuners. This instrument ships in a deluxe hardshell case made by Taylor for optimal fit and protection.

Body Shape
Taylor's Grand Concert is slightly smaller that its Grand Auditorium and yields controlled overtones, so the sound won't occupy a lot of sonic space. This is often a key consideration when other instruments are in the mix, such as in a performance or recording environment, and it allows the guitar to be heard more clearly. The Grand Concert pairs well with both 14-fret and 12-fret neck-to-body construction, and offers an articulate voice with top-end chime. It's perfect for fingerstyle players and light strummers, though flatpickers are known to enjoy its tonal character too. Its intimate size makes it lap/couch-friendly, and a great fit for players who find smaller instruments more physically comfortable. 

Tone Wood Pairing
A guitar's top is the primary filter and distributor of vibrating string energy through the guitar, which means it has a huge impact on its sound. Lutz Spruce is a naturally occurring hybrid of Sitka and White spruce. Sitka is the most prevalent guitar top wood of the modern era because it blends stiffness and elasticity in just the right proportions which translates into broad dynamic range with crisp articulation. Lutz spruce takes these attributes and blends them with those of White and Englemann spruce, with an end result resembling old Adirondack spruce. When combined with Taylor's bracing architecture, guitars are more powerful, richer and louder than before.

Solid Indian rosewood back and sides complement the Lutz top with sound that's made it one of the most popular tone woods ever. Rosewood produces the strongest bass response among the tone woods commonly used for guitars, with a slightly scooped midrange. Rosewood's sweeping frequency range - deep lows that assert a throaty growl with sparkling highs - rings out with bell-like, high-fidelity clarity. It yields a full-range acoustic voice with complex overtones and extended sustain.

Electronics
Taylor's 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. Because the pickup doesn't sit under the saddle, the bottom of the saddle comes in full contact with the bridge, allowing all the nuance of the guitar's tone to come through clearly whether playing acoustically or plugged-in. The location of the sensors enables a more dynamic range of acoustic sound to be captured than ever before while playing plugged-in.

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. The Taylor Expression System 2 operates through a proprietary 9-volt battery compartment and easy-to-use volume, and active bass and treble controls.

Other Features
Taylor's V-Class bracing is a fundamental innovation in acoustic guitar design. It marks an important evolution beyond traditional X-bracing, introducing an entirely new platform for acoustic performance. It is essentially an "engine" that optimizes the response of an acoustic guitar in three key ways: by boosting volume, sustain, and by largely resolving the intonation issues that have long plagued acoustic guitars. V-Class bracing creates purer, more orderly notes that don't cancel each other out or sound "off". They have clearer, more consistent response, and the whole fretboard is brought into greater sonic alignment for a more musical playing/listening experience.

Guitars with V-Class bracing are easier to tune; the pitch sounds purer and more solid, and electronic tuners can more easily locate notes for quick, precise tuning. Other benefits: harmonics ring more uniformly down the neck, notes are louder with more projection and sustain, and notes are more consistent, i.e., upper register notes don't get choked out or swallowed. Fewer "sour" sonic qualities exist with chords; a more agreeable relationship is created between notes as they ripen, bloom and decay.