Can This Guy Save Our Guitars?

Bob Taylor of Taylor Guitars aims to make guitar tone wood sustainable forever. Please share this video with your guitar playing friends, it’s an important message!

The ULTIMATE Guitar Practice Routine

Just show up every day, and I'll tell you what to play!

Today is an exciting day. I feel like every day’s exciting, but this one is especially exciting because we are here at the Taylor guitar factory, and sitting here with us today is Bob Taylor.

Hey Tony.

Thank you, thank you. Thanks for being here. What a pleasure, not only to be outside of Bozeman when it’s nice and rainy and cold, but also to be here, and thank you for taking time out to chat with us.

My pleasure. I lived in Bozeman when I was a kid for a couple years.

You did?

Yeah, my folks are from there.

Paul was right. That’s very cool, that’s very cool. When did you move out of Bozeman?

I was 4 or 5 years old, when my dad joined the Navy.

Oh, okay. Any recollection of Bozeman whatsoever?

Yeah, I’ve got memories.

No way, nice.


Very good.

I lived on Durston road. I remember.

That’s awesome, I actually take that road to Music Villa every single day.

Do you really?

Yes, yes. So, here we are at Taylor Guitars, and this is my second time here, and it always impresses me, being here. Being a guitar lover and just an enthusiast and player, seeing the guitars being made, being able to play all the different guitars at once and compare and contrast, et cetera. I have one question just right off the bat, and that is, when you first started this company, did you have this in mind?

No, what I had in mind was that I’d make enough guitars to sell enough guitars to be able to keep making guitars, you know? It was kind of like the sustainability of the business sort of plan.

Sure, sure.

I didn’t want to do anything but this, and I didn’t know what that would look like, but it’s obviously grown beyond what I thought.

Yeah, so there was serious passion, because your main objective at first was to just keep making guitars.

Yeah, people sometimes ask me what I’d do if I didn’t make guitars, and my answer is, I’d make guitars. There isn’t another version of me.

Very cool. In just talking to you in the brief moments before we even started the cameras rolling, I sensed that passion, and we were just chatting about various guitars, et cetera, and we were talking about sustainability, and one of the things that struck me pretty deeply, because being a guitar player, you go to various guitar stores and you see a lot of guitars hanging on the wall, and you go to the next store and you see a lot more guitars hanging on the wall.

Yeah, more than ever.

Going through the shop, guitars are being made. A lot of guitars are being made, and you have what I think is an extremely unique and passionate view of the long term of our industry, and I really want you to shed a little bit of light on that. Where it, first of all, came from, because you’ve done a tone of work with sustainable harvesting of woods and treatment of woods, et cetera, and I know that’s just the tip of the ice berg. I want to know what first got you into that, and if you could share with us some of the projects that you’re working on.

Yeah, I’m glad you are bringing it up. I feel, just generally speaking, like I’m being funneled, my life is being funneled, down in towards this idea of sustainability, and in that I mean healthy forests that can provide guitar wood. Where are they going to be? That’s part of the question. What woods they’re going to be? That’s another part of the question. I started seeing this … You could see it. The handwriting was on the wall during my lifetime as a guitar builder.

We’re hitting our 40th anniversary momentarily, and during that time, I realize that I’m living in the area where you cross the threshold of “there was all the wood in the world” to “there’s not, anymore,” and people have heard about dwindling supplies and what’s happening to the rain forests and these things, but we live up here and we don’t really see it, but if you could go out and see it … I always think, if I could take any client to any wood supplier … I don’t mean a store where they sell it but I mean where the wood is really produced, and show them where wood really comes from, every one of them would go home being an absolute, passionate believer in sustaining these species.

I watched wood change. I watched wood get smaller. Not only just the sizes of the wood that I used to use, but less available. The stacks of them diminished, and so, in order for us to get the wood that we needed, we had to go primitive to get modern. You’ve got to get into a country and quit using logging roads. You’ve got to quit using the normal approach that’s been done for hundreds of years where you take down a lot of trees to get the ones that you want and the others get turned into whatever, and so in Honduras we set up operations through another organization called Funducion Madero Verde, which is spanish for “green wood,” you know, and we got 3 villages going that cut wood for us out of a nice biosphere and the take is so small that it doesn’t really put a dent into it, and the money goes to them.

Our spruce comes from a place in the United States, Pacific Rim Tone Woods, and Steve McMinn, who owns that, is a very sustainably minded person. He gets it from the right places. Back in the days before we could do anything about where the wood comes from, our first mandate was, don’t waste any wood that we have, and that’s a lot of what you see in the factory, because we really use the wood efficiently, and we use it down to the squeal if we possibly can.

We ended up getting into Cameroon with our own ebony mill there, because the first step to sustainability anywhere, especially in a third world country, is legality, and to get there and make that thing legal and make it ethical and make it to where you’re taking care of people is the first steps to having something that can be a going concern, because typically, woods in the world, you go in, you take them, you leave. When it’s all gone, you go in somewhere else, you take it and you leave. When that’s all gone, you go in somewhere else and you take it and you leave. That’s how wood has been obtained for thousands of years.

We’re at the end of that. There’s no place to go. There’s no new frontier, so it’s those experiences that have brought me around to the things we’re doing now, like forming a company with Steve McMinn from Pacific Rim Tone Woods in Hawaii, where we can sustainably manage koa, the koa that’s already there. I don’t mean sustainably … A lot of people say, “For how long?” Well, sustainably means forever, but a lot of times we think, “Well, for 30 years or 40 years, that would get me through my life. Oh, I have enough wood to get me through my life.” Well, that’s not sustainable, so you have to think of a plan to get yourself through forever.

I think Taylor will still be here, this company, in a hundred years from now, so Steve and I are planning on probably recovering old sugar cane property, planting mahogany forests on it, which we won’t see, because we’ll be long gone, several generations behind. It’ll take a hundred years, 80 years or so, before that wood is harvestable, yo know?

What was it like … You said you go into a place, you take wood, you leave. You go into a place, you take wood, you leave. The kind of irresponsible way to harvest it. You’ve seen that first hand. What is it like to look out on that and see a clear cut or just see trees just sitting there?

It’s depressing when you see a clear cut that’s huge, especially when you’re trying to use the wood for something like guitars. For example, a spruce tree that we use is this big around. It’s 280, 350, 450, 500 years old, so you can clear cut a temperate forest, a Douglas fir forest, and it’ll grow back. Just drive up the Olympic peninsula and there’ll be signs. Georgia Pacific, “This lot clear cut in 1959,” and you can see it’s ready to be cut again. Well, they’re growing 2 x 4’s and plywood wood and things like that, but you can’t get a guitar out of that, and nobody’s going to wait 400 years, and so, when we see that, we think, how are we going to sustain those?

All of those answers, we’re not really sure about, because it takes the cooperation of a lot of people, but species that we could grow in 75 or 100 years, that’s, believe it or not, short enough term for us to get excited about, even though we’re thinking 100 years.

I think it’s fascinating to have that viewpoint now, and say, “I care about guitar making now, but I also care about guitar making way after me.” I’ve always found that guitar is such an emotional thing. It’s not just a thing you pick up and you play. There’s a lot tied to it. When you look even deeper is to where it actually comes from, the raw materials …

There’s a lot of tropical species in there, and name a first world country on the equator. You really can’t, and you could get into the whole sociology of it and where people … What different climates do to societies, but let’s put it this way. Here’s the theory of the world according to Bob. It takes a winter to teach people how to think ahead. Just go back 10,000 years. You know, really, when you live in a place where every day is the same day … It’s the same 12 hours, it’s the same temperature, it’s the same amount of rain, it’s the same amount of fruit on the tree, you don’t have to think about next season or next year, and so you don’t develop a society in the same way that if you lived in Norway, and if you don’t think about how you’re going to get through the winter, you’re going to die, and so we’re different depending on where we live on the planet.

Sure, for sure.

The climate is hard there, and so what we live in is a world where a lot of the beautiful woods for guitars are tropical, and those locations have been exploited for too long by outsiders, and so when we’re doing something like ebony there, of course, we’re trying to not exploit it. We’re trying to be an insider and bring economy there and have some sustainability, but at the same time, we think, well, if we want to have something for the future, we need to also grow woods that can grow in northern climates where we live.

I really hope you’re enjoying my conversation with Bob Taylor. This is a really important topic and it’s one that I think is going to effect all of us guitar enthusiasts, so if you could please share it, I would really, really appreciate it, and while you’re at it, if you could please subscribe to my Youtube channel, I would greatly appreciate it. Just click the red button down in the corner and you won’t miss any of the awesome reviews, interviews and other things I have coming up. Now back to Bob.

I’m going to die. It’s going to happen. I’m getting closer all the time. I’m not 30 anymore, so we can’t depend on me forever. We want this to go beyond me.

So, you have these situations where a lot of wood comes from tropical places that go into guitars, but not all of it. Maple doesn’t. Spruce doesn’t. Koa is tropical but it comes from Hawaii and we love Hawaii, I love Hawaii, I have renewed interest in it, because it’s a tropic on US soil, which means that there’s potential there for something really long term that we …

I believe that Hawaii will still be Hawaii a century from now, and that we’ll still have the same types of laws, ownership of property and use of wood and these types of things, and so I see something really valuable there for us to develop that, and then my colleague from Pacific Rim Tone Woods, Steve McMinn, is now starting to do work in doing better starts, either from better seed banks or even cloning, of the most magnificent maple trees that we’ve harvested, and he’s working with Simon Fraser University up there, and they’re doing these cloning starts, and we’re trying to learn how to detect figure in wood, straightness in wood, how tall they’re going to grow.

Eventually there will be property where this wood is actually planted on the property and 50 years from now, 40 years from now, 60 years from now, maple trees could be harvested, and maple is really the great hope for a good number, a good percentage, of guitars in the future, and later we can talk about why I feel that and what we can do with guitars, and I know we can speak with Andy about the maple guitars he’s designing, so we bring all this in, and it’s like, yeah, we have to be involved in the third world countries. We want to make those a better place, but at the same time, we want to start doing things here in the US, up in Washington, Oregon, Alaska and in Hawaii to give us stuff. My only regret is I won’t be here to see it.

I sent Steve a picture the other day of some guy with some mahogany trees this big around in a forest and I said, “We have to have a picture of you and me standing by trees this big before we croak,” and he’s saying, “I’m all about it.”

It’s just so cool, it’s so diverse in the approach to having sustainable sources of tone wood. We’ve got science at play, we’ve got controlling and helping out local saw mills, et cetera, and you were saying things about having land to actually grow the stuff. It’s huge. It’s broad perspective. It’s not just like, “Oh, we need to do this one thing now.” It’s like, you’ve got your hands in everything. It’s incredible.

It’s amazing. I’ll paint just a little picture here to give listeners, viewers, a concept of what it is we’re talking about. I was just with 10 journalists from around the world last week, and we were up there, and we cut some logs so they could see what it looks like and they could see, “Wow, there’s flaws in there.” “Yeah, there is.” They’re like, “You don’t even know what’s in there until you buy it and cut it.” No, we don’t. I don’t see as many guitars … There’s a … Yeah, so it was blowing their minds, and then we said, “Now let’s go look at a forest.”

We knew a piece of acreage. It was only 35 acres, but it’s forest, because it’s up in Washington. It’s forest and it’s being taken down for development right now because there’s development on all 4 sides, and so somebody’s going to log it, and we went in and did a complete survey, and there’s 3,000 trees on that 35 acres. Now, imagine, 3,000 trees, big ones, on 35 acres, and out of those 3,000, 80 of them were maple trees, and out of those 80 maple trees, one of them was a guitar maple tree, and that is the percentage of wood that gets to make it into a guitar.

Now, imagine if there was 35 acres that we planted superior maple starts in. Mix some other species so it’s not a monoculture, and it’s prone to disease. You’ve got to do good forestry and know how to do it, but imagine how many trees could be on 35 acres, or how many trees could be on a hundred acres. You could have thousands of them and you could make guitars in a perfectly legitimate, sustainable fashion, so that puts a little story, a little picture, to it.

Wow, I’m kind of wowed. I’m speechless. I just want to say thanks. As a guitar player, you play it and you enjoy this end product, and then to get the back story even before it’s been cut and quarter sawed and et cetra, that’s a huge deal, and to have that forward thinking is just … Thank you. That’s incredible. That’s incredible.

It’s our pleasure. To me, it’s incredibly important to have that long outlook. That really long term outlook where you’re saying, “No, it really is time to plan. Go ahead and do it. Let’s just do it.” You know, I always say, time goes by whether you do something or not, and that hundred years is going to go by, so let’s get the things in the ground and tend them, and set up an organization, a company that would be there to take care of it until their time comes.

You’ve talked about maple quite a bit, and I want to pose this question to you. We have this sustainability piece and we’re seeing a lot of changes in Taylor in the last couple years, changing models, et cetera. How are these sustainability concepts, i.e. maple is the one that’s on my mind, playing into development of new models?

Well, why don’t we talk about Andy Powers for a minute first, and then I can move into those answers. So, I’m going to die. It’s going to happen. I’m getting closer all the time. I’m not 30 anymore, so we can’t depend on me forever. We want this to go beyond me, and so Andy Powers joined us, and of course Andy is the best guitar maker I’ve met in my life. He’s brilliant, and so taking this company and setting it up so Andy can really influence what good guitars are for the next 40 years or however he can work, and one day he’ll find himself in my position, deciding who’s going to take over for him, but he’s the well spring of our design now, so he’s improving our guitars a lot because he’s got a knack for it, and that knack has been honed through the 10,000 hours of hard work that you hear about, and he’s also an incredible player, so he knows the difference himself between a good guitar and a great guitar, whereas I have to ask somebody the difference.

He redid the 800 series, of course, and people know about that, and it’s a wonderful guitar, so we thought, “Well, what are we going to do next?” We don’t want to cut and paste these improvements all over the place and, “Oh, it’s all filtered down into everything.” That’s not what we’re interested in. We’re interested in fine guitars, and those guitars need to have more than one reason to exist, and so the sustainability component becomes a big issue, so we looked at our 600 series, and Andy can tell you more about this than I do when you talk to him.

Sure, sure.

The idea is, take a rosewood … This is the way maple guitars have been made in the past. You take a rosewood and spruce guitar and you take off the rosewood and you put on the maple, and then now that’s a maple guitar, but in reality, the guitar needs to be different than that to be an incredible guitar, and so Andy knows how to do that, and he is doing that. One of the reasons is because we need to start to train the world over the next … I’m talking a generational thing. Maybe one or two generations, to where more maple guitars are being made and played 40 years from now than today. Why? Because of all the things I just said before.

We have to have some woods that are in there as a big player in the market. We make more maple guitars than anybody, but it’s a couple thousand maple guitars a year out of 140,000 guitars.

Right, right.

It’s not enough. I want to see that grow bigger because I would like … The maple guitar that we make now can be American maple, American spruce, and ebony that comes from our mill, so when you think about it, our reach into the world isn’t very far that way. I love that guitar for that reason.

I like to try and make things really simple, and I go, “Well, probably the main reason people don’t buy maple guitars is because they’re not brown,” and in reality, you just look down this wall of guitars that’s behind us and you go, “brown guitar, brown guitar, brown guitar, brown guitar. Which one of those do I want? Oh, there’s a white guitar. I’m not ready for my white guitar yet, my blonde guitar. I want to buy 7 more guitars before I get a blonde one,” and really, after 40 years, I know that to be true, so we’ve worked real hard to get the color right on it, so it’s more of like a violin color. It’s going to be easier on people’s eyes. Andy’s worked on the sound, and that all fits in with the sustainability, which we can expand on a little more.

That is great. That’s the one thing I notice in seeing the back of that. That’s the first thing I thought of, was the violin. The coloring and just the way it picks up the figuring, I was just like, very cool. It’s a very visually striking model, and sound wise, I was pretty astonished at how far from my idea of a maple guitar it actually was. Not saying that it didn’t exhibit the characteristics that maple commonly does. It just had a little bit more …


It’s funny because Acoustic Life viewers probably know me. I always preface any maple guitar as, “I’m not a big maple fan, but …” That’s usually how it starts, and that’s why, going into that, it was the mindset I had, and I was like, “Wow, this is the most not-maple sounding maple guitar that I’ve played.” It just had a warmth, and I think that’s just outstanding, and definitely a tip of the hat to both you and Andy for using it and making it sound that way. It’s pretty incredible.

I hope you’re having fun listening in to my conversation with Bob Taylor. This is a really important message that Bob’s trying to get across, so I really want you to share this video, and, so you don’t miss any other cool reviews or interviews just like this one, please subscribe to my YouTube channel. Just click the red button in the corner. It won’t even interrupt your video and you can keep on watching my conversation with Bob.

It’s not all about the guitar player. Sorry, guitar players, it’s not all about you, and it’s not all about the business owner, and it’s not all about the forest, and it’s not all about the dealer, and it’s not all about any one of these single things. It’s about this one guitar that we make, every day. We do it hundreds of times a day, but it’s about this guitar serving a lot of people.

We spoke about the 600 series, and last year, the 800 series being revamped with Annie Powers’s help, and I do have a question, and the reason the question exists is because this has seemed like a very organic integration, meaning Andy’s integration into helping design, having an impact with design, and I’m interested at the actual story of how you met him and how this integration came to be, because as an outside viewer, it seems incredibly smooth.

It’s a modern day miracle, is really what it is, so you have to believe in miracles to hear this story, but I just reached a point where I realized that somebody has to take over for me. Larry Breedlove, who worked with me as my guitar design partner for years retired this year, 5 years ago, I said, “Larry, when are you going to retire?” He said, “In 5 years.” He kept his word. He did, and I thought, “Well I’m going to have to find somebody not to replace Larry, but to replace me and Larry,” and how do you do that?

I didn’t really want to bring someone up from the factory because that’s not what I want. I need a well spring. I need someone who’s learned all of this stuff on their own and has ideas of their own, but ideas that we can live with, better ideas than what I have. I really, literally sat down and I wrote this on a piece of paper. I said, “Dear God, I need one guitar maker who is a better guitar builder than me, who’s self-taught, that didn’t learn how to do it by working in another factory, who’s a pro player and can play with anybody at the drop of a hat, could be on stage with the best of them, who’s a great person, who won’t get into this 15 years and then screw up his life and we have to start all over, who knows the history of guitars, knows how to make guitars.”

I wrote all of these things down, and it’s like, this one’s going to blow your mind. He needs to have 20 years of experience and be less than 30 years old. I wrote it down. I am totally not kidding you, and then I said, “Oh yeah, and he’s got to be from San Diego,” and then I looked at it, it laid on my desk for a while, it went in a drawer, laid on my desk, and finally ended up just being, you know …

Then one day I met Andy because he was playing guitar for Jason Mraz at our booth at the NAMM show. “Oh, Andy Powers, blah blah blah, oh yeah, you’re the guy that makes arch tops up in Oceanside, I remember. Yeah, okay, all right, cool, nice meeting you.” I also know another guitar maker in town named Pepe Romero, Jr., whose father is the great classical player, Pepe Romero, and they both live in Oceanside, Andy and Pepe. They both surf the waves every morning. They’re both newly married. They both have new kids. They both are guitar makers that work by themselves.

They don’t even know each other, and I call them and I go, “You guys have to know each other. I’m putting together a play date. Let’s do it. I have a house up there in Solano Beach. Meet me there. We’ll hang out for 8 hours, have a good time. The only rule is, each one of us have to bring a guitar we made,” so we did that, had a great time. The next day I’m driving to work and I visualize that list. I had known Andy for 8 hours now but I could check every box on the list. Andy was 28 years old at the time. He started building when he was 7. Legitimately building when he was 7, right?

That list of criteria is pretty …

It’s impossible. No, you can’t … It doesn’t exist. It totally doesn’t exist, and I’m not into the “name it and claim it” type of philosophy, but I am into, if you write down some of the things you want, sometimes you can see it when it’s standing right in front of you, otherwise you might not even notice that, and so I talked with Andy and he came, and Andy’s got a take on what happened here, but it was just good, and it’s only been better than what we both envisioned. It’s really wonderful, so Andy and I worked great together, and I’m completely confident in turning things over to him.

There’s not very many people that I can say, “Well, I like the inlay he designs. I like the shape he designs. I like the sound he designs. I like his thinking about glue. I like his ability to do a trial on something and see how it works and give me data,” and so between him doing that and me taking my lumps and successes of 40 years and kind of melding it together, and of course the factory that we have that’s capable of producing things that he likes, and if we’re not, we become capable, because we have a real can-do spirit out there.

We build whatever needs to be built and we teach and learn whatever needs taught and learned, and we adapt however we need to adapt to make a better guitar, and so that’s great for Andy because he’s designing stuff and we’re actually building it authentically, the way he designed. He doesn’t have to make compromises, so when it came time to do a 600 series, I completely trust him to take this concept, put it together. I’ll work on the wood, Steve will work on the wood. I’ll work on telling the story. Andy can make the good guitar. He can tell the story, and I think we can change the world a little bit.

That’s awesome, and you notice that, just walking around from building to building, the … It is a can-do attitude. Everybody here really has that can-do attitude, and I think it’s incredible in an industry that has such strong opinions, such strong tradition, to have people come together with the common vision, and just work together to do it, and not say, “Well, this is the way we’re going to do it because I designed it and of course I’m a guitar player and I have the best idea.” Just to be open to that, we’re going to do this for … We’re going to make a good guitar. We’re going to sustainably access and harvest and make sure that these woods are around for years to come. It’s just a really cool story and I admire the … I’m going to use the word “organic” again, integration of Andy to this whole Taylor Guitars that was here, and pretty well established. It wasn’t like a new startup. I think that’s fascinating. It’s incredible.

I feel we’re in really safe hands with Andy as he takes this guitar design into the future. I mean, it’s like we’re working with today’s Lloyd Lohr or something like that, and we both realize that we have to serve a lot of, I’m going to say “clients,” when we make a guitar.

It’s not all about the guitar player. Sorry, guitar players. It’s not all about you, and it’s not all about the business owner, and it’s not all about the forest, and it’s not all about the dealer, and it’s not all about any one of these single things. It’s about this one guitar that we make, every day. We do it hundreds of times a day, but it’s about this guitar serving a lot of people. Serving our employees, serving even people like you who are interested in it or want to report … It’s serving the industry, serving the sustainability of the earth, serving music, serving players, and if you put all of … If you think about all of those when you’re building a guitar, it can become more than a guitar, and I think it’s great for it to be more than a guitar.

That’s awesome. What a perfect takeaway. It is more than a guitar. Absolutely. Thank you, Bob Taylor, for taking time out of your schedule and sharing with us some of the really cool stuff that you have going on, and just keep on doing what you’re doing. Thank you, sincerely.

Thanks. We’ll do it. I’m not tired yet.

Thank you, I appreciate it.

You bet.


  1. Ken

    Love the forward thinking here, and I own a Taylor that I would not trade for anything. I also other guitars. At some point it will not be enough just for Bob Taylor to be thinking this way. In the Grand scheme their market share of total guitars made is very small. At some point the guitar industry, and the general public will need to drive this type of thinking throughout the market. There are more guitar manufacturers coming on the market every day, and most of them probably cannot tell you where their wood came from. The purchasing public is the driving factor in this whole matter, as it is in all business markets. When this type of thinking drives sales, then it will eventually prevail. Until then every guitar maker (there are thousands all over the world) will be using the same “lowest cost no matter what” thinking that they always have. Clearly there are guitar makers (and some of them are the big names in guitars) who not only don’t care about sustainability, but also could care less about laws currently on the books, not to mention any kind of social responsibility. Until pressure on guitar sales forces their hands, they will do as they always have.
    Hooray for Taylor guitars and being the thought leaders in this matter!!! Lets hope it doesn’t take another 20 years for the rest of the industry to follow them.

  2. Profile photo of Sandra M
    Sandra M

    Thanks Tony,
    This interview brought to mind what I had seen about how Bob Taylor learned about ebony wood color from a native–the fact that, at the time, only black was used, and the rest was discarded, and Mr. Taylor decided to use ebony how it grew, complete with stripes of light colors. This interview comfirms his insight, his foresight, and its implementation in his company, for the benefit of the earth as well as the future of the guitar world. Thank you Taylor Guitars!

  3. Profile photo of Joseph S
    Joseph S

    Great interview very insightful should be mandatory viewing for manufacturers of all goods.

  4. Greg

    Maybe its just me, but I find a little strange that during your “commercial breaks” your holding a Martin! Next time at least hold a Taylor

    1. Profile photo of Tony P
      Tony P Post author


      Hehe, my Taylor Bari was at home otherwise I would have been holding it… and I am wearing a Gibson shirt… double whammy there.


  5. Jo Rigg

    I have been following Bob Taylor’s efforts for some time in the magazine published periodically by Taylor Guitars. Hurray for his/ their forward thinking to ensure that future guitar makers and players will have instruments. I don’t know much about the nuts and bolts of guitar design, but Andy Powers and Taylor are definitely doing it right.

    I especially liked Bob’s idea that it takes winter to make people plan ahead. We Montanans should be among the best planners on the planet!

    Thank you, Tony, for getting Bob’s ideas and message out to a wider audience.

  6. Dave

    I have 3 Brazilin, 2 Madagascar, 3 Mahogany and 1 steel. All FULL “Whole Guitars” acoustic with no pickup’s … I am a lucky man… I know that… I DON’T LOSE ANY SLEEP KNOWING THAT I HAVE KILLED A FEW TREES TO MAKE MUSICAL FINE INSTERMENTS .

  7. John Simms

    I have had my Taylor for a few months now and find it to be a fine and well made guitar. My favorite by far. After watching the interview and other interviews with Bob Taylor and the pure enjoyment I get out of my Taylor, I will likely buy a 12 string made by this fine American company.

    Thank you Tony for providing us with this interview!

  8. Jo

    I’ve been following Bob Taylor’s efforts in the magazine Taylor Guitars puts out periodically. Hurray for their forward thinking and concern for future guitar makers and players. And I loved Bob’s statement that it takes winter to make a culture plan ahead. That should make us Montanans some of the best planners on the planet!

    Thanx, Tony, for spreading the word and getting Bob’s ideas out to a bigger audience.

  9. Profile photo of Mackeye

    Makes me want to go out and buy a Taylor guitar. It’s great to think my great grandson might actually be able too as well!

  10. aaron jackson

    I listened to Bob Taylor talk about this last year and was deeply impressed by his passion, sincerity, and the clarity of his vision. Watching this interview, I was no less impressed. A very good and very important interview,

    Thanks Tony. Good work.

  11. Dale Hazlehurst

    Great interview, I cringe when I see old growth being logged and of course I’m no fan of clear cutting.
    On Vancouver Island and BC in general a number of old growth forest areas are in danger, industry claims they need the trees to turn a profit. On a provincial level that means jobs. It’s old school thinking, I find it hard to believe we can’t turn a profit, protect jobs and save our forests at the same time.
    Big fan of Taylor Guitars I own two and with luck someday will be able to afford a 600 series maple.
    I’m forwarding this interview to a friend of mine, retired PhD in forestry, talented and shares concerns regarding the health and sustainability of our forests.
    Thanks Tony, great interview.

  12. pete ridlon

    Master guitar Jedi Tony,
    Thanks for bringing that interview to our attention. It was a dynamic interview, one which I am going to archive. I knew that we were ‘running out of wood’, but had no idea as to the extent of it.
    Mr. Taylor seems like an intelligent, sensible man and even a spiritual person. I plan on forwarding this interview to my guitar friends and also to the Guitar Center manager that I know. Thanks again Tony for bringing this to us! (padawan Pete) 🙂
    P.S. I feel kinda dumb since I emailed Taylor corporate about 2 weeks ago telling them about your Taylor review that persuaded me to buy the 710e. LOL ! As you say…cheers!

  13. Profile photo of Dom T
    Dom T

    Bob Taylor, CFMartinIV, and others are striving to help save the planet in their own ways, as best they can. Kuddos to them.

  14. Profile photo of leslie c
    leslie c

    What a future thinking person, I loved listening to his vision
    not only for Guitars, but the sustainability for forests, which
    help nature survive to.
    I saw trees cut down in South America it was a sad sight.
    Keep doing what you doing Mr Taylor

    1. Profile photo of Curt T
      Curt T

      Exactly my thought.
      What’s good for guitars is good for the Earth.

Leave A Comment

Your email address will not be published. Required fields are marked *