Taylor 214ce Deluxe Grand Auditorium Cutaway Acoustic-Electric Guitar Natural

  • “Shape: Grand Auditorium 
  • Body Length: 20″
  • Electronics: Expression System
  • Body Width: 16″
  • Cutaway: Venetian
  • Body Depth: 4-5/8″
  • Nut and Saddle: NuBone Nut/Tusq Saddle
  • Neck Width: 1-11/16″
  • Bracing: Forward Shifted Pattern
  • Fretboard Wood: Ebony Fretboard
  • Inlay: Small Diamonds
  • Headstock Overlay: Indian Rosewood
  • Back/Side Wood: Layered Rosewood
  • Top Wood: Sitka Spruce
Brand Taylor
Color Natural
Top Material Type Spruce
Body Material Rosewood
Back Material Type Rosewood
Neck Material Type Sapele Wood
Fretboard Material Type Ebony
String Material Type Steel
Scale Length 25.5 Inches
Number of Strings 6

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Demo + Review



What’s not to like about a nice-looking, simple-to-play Taylor with a great tone and powerful electronics? Even though most of the improvements over the original 214ce are aesthetic, there is enough substance to justify spending the additional money on the DLX version – unless you already own a 214ce, in which case you might be better off saving for anything in the 300 Series.

Natural 214ce Deluxe Grand Auditorium Cutaway Acoustic-Electric Guitar The Grand Auditorium 214ce DLX is built with layered Indian rosewood back and sides, a Sitka spruce top, a full-gloss body, white binding, Small Diamond fretboard inlay, Venetian cutaway for a steeper slope, and easier access to the treble-side frets, Taylor Expression System electronics, and a Taylor standard hardshell case. The mid-size Grand Auditorium, Taylor’s most popular and flexible body type, debuted in 1994 with refined dimensions that fell between a Dreadnought and a Grand Concert.

While the bigger Dreadnought was traditionally considered a flatpicker’s guitar and the smaller Grand Concert catered to finger stylists, the GA was designed to deliver on both fronts. The shape produced an original acoustic voice that was big enough to handle medium-strength picking and strumming, yet with impressive balance across the tonal spectrum, especially in the midrange, producing clear, well-defined notes that suited both strumming and fingerstyle playing.

The GA was meant to offer on both fronts, whereas the larger Dreadnought was generally regarded as a flatpicker’s guitar and the smaller Grand Concert suited to finger stylists. The shape produced an original acoustic voice that was big enough to handle medium-strength picking and strumming while maintaining impressive balance across the tonal spectrum, especially in the midrange, producing clear, well-defined notes that were suitable for both strumming and fingerstyle playing.

Bracing with a Forward Shift For steel-string models, all of Taylor’s bracing is X-bracing. Despite the soundhole’s position in the middle of the soundboard, the “X” offers a continuous flow of strength from the top bout to the lower bout, providing stiffness. The 214ce K DLX incorporates Taylor’s Relief Rout, a tone-enhancing voicing method in which a groove is cut along the inside corners of the top to bring the X closer to the soundhole.

5 reviews for Taylor 214ce DLX | Pro Acoustic Guitar

  1. Nosey

    This guitar has a fantastic tone, is extremely beautiful, and is well-made. The guitar, on the other hand, was not for me. The nut was too thin for me, and the motion was too fast. I also noticed a lot more fret buzz higher up on the fretboard than I expected, which is unusual for a Taylor. Things might have been easily addressed with a few small modifications to the truss rod. Needless to say, I returned the instrument, not because it was a poor guitar, but because I didn’t connect with it, and it didn’t match my playing style. I’m going to get the 414ce (rather than the 300 series) since I want rosewood and a gloss finish.

  2. Aroma

    Although I did not buy from Amazon, in the spring of 2017 I went to Guitar Center and played every guitar on the wall until I reduced my options down to two: this guitar and a Martin guitar.
    I kept returning to this one because the sound and tone characteristics were so rich and lovely that I felt I’d found a guitar worth keeping for a long time.

    A brown hardshell guitar case with a crimson cushioned velvet lining was included in the purchase. If you want to be completely satisfied with your purchase, I strongly urge you to sit down and play it. If you like the sound, you’ll want to play it more often and appreciate it more. A word of advice: invest in a good guitar strap! An expert advised me that a strap “coated with plastic” would damage and destroy the polish of my guitar. For around $20, I bought a lovely suede strap—definitely worth it for your money.

  3. Sam

    Some of the bad feedback is unjustified. For many years, I’ve been playing and repairing guitars, and the 214CE DLX is one of my favorites. I just got mine a few weeks ago, and so far I’m really enjoying it. One user comments, it was poorly constructed, while another said the strings were excessively long. My guitar is not a cheap imitation; in fact, I consider it to be a really good instrument. There were no faults that I could identify, and the fit and quality are superb. It’s a pleasure to play and sounds fantastic both acoustically and through a PA system, with no feedback concerns thus far. If your strings are too high, adjusting the replaceable neck shims is a simple way to bring them down. This guitar is fantastic. One of the greatest hardshell cases I’ve seen.

  4. Miller Banner

    So far, I have nothing but nice things to say about this instrument. The tone is fantastic, and the sustain is practically unbelievable. And what a lovely instrument it is!

  5. AGD User

    I decided to give this instrument a try as my first Taylor after reading so many great reviews. In September, I bought it from GC. When I first got it, it had a lot of buzz and gave me some really bad feedback when I plugged it in. I switched it for a 214ce deluxe, which produced a better outcome but still left a lot to be desired. It sounded good and performed well unplugged (after some adjustment). It didn’t stand up nearly as well to being mic’d and plugged in as my Martin did, and I felt like I had to put in a lot of effort to keep feedback under control without sounding too thin for my ears. The true test was performing a live show with another guitarist, and we kept hearing how difficult it was to hear the Taylor (with far higher volume) vs. a Martin loaded with LR Baggs. I’m happy this instrument appeals to so many people, but it’s not my cup of tea.

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