Chords for Taylor T5 Guitar Series Demo

_ _ _ _ _ [D#] _ _ _
[Cm] _ _ _ _ _ _ _ _
_ _ _ Hey guys, I'm Mike, alongside Grammy-winning guitar player Wayne Johnson, and we're from
Taylor Guitars showing you the Taylor T5.
This beautiful instrument has really captured people's hearts and imaginations.
It's been out since [A] 2005, and as the years have gone, it's just gathered more great stability
in the guitar playing world, and we wanted to tell you why.
This particular instrument is a flame maple top with a honey sunburst finish.
It's a custom, so it shows you the custom series inlays, but they also come in oven
call tops, Sitka spruce, and even some exotic timber like koa, coca bolo, and even redwood.
It's been really great to see.
So the T stands for thin line, that's how thin the body of the guitar actually is, so
there's not a lot of mass, but it's completely hollow, hence the F holes that are on the
front allows the guitar chamber to breathe, and the 5 is for the 5-way selector switch
or toggle switch on the upper shoulder that allows you to move through the electronics
that are on board the guitar.
It's a short scale instrument, so it's 24 7 8 inches, and it has a 1 11 16th nut, so
it's a really slim profile for really fast and accurate playing, and we wanted to showcase
the first position on this guitar, which is really the most acoustic of all the 5 positions,
which showcases there's a humbucker underneath the 20th fret, just like the expression system
on our acoustic guitars, including the body sensor, which lives in the belly of the guitar
that's very similar to the expression system controls on our acoustic guitars.
_ _ [E] _ _ _ This is position 1, right here, you can see that, and you can actually hear the sensor
if I tap it.
If I pull it into position 2, it gets rid of it, so position 1 is the only position
with the sensor, hence the most acoustic sound.
_ A lot of really nice top [G] end from this thing.
[C] _ _
[Em] _ _ _ _ [G] _ _ _ _
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_ _ _ _ _ _ [Em] Moving into position 2, it's just the humbucker that's going to be underneath that 20th fret,
removing the body sensor altogether.
_ Alright, so position 2, I would use this for like a jazz kind of thing.
What I would do is I pull the treble back this way, and boost the low end a little bit
this way, so they're kind of looking, the detemp markers are actually kind of looking
at each [F] other, so you could do _ _ [G] _ _
[E] _ [Am] _ _ _ _ [E] a_
[F#] So that's a nice little sound.
Also, it's really good for Latin.
I'll leave it right about there, I can do like [Am] a_
_ _ _ [F] _ _ _ [Am] _
_ _ _ _ [G#] _ [C] Alright, leaving it in 2, I'm going to go back to detemp position.
I'm going to put a little distortion on it, and this is detemp position.
[D] _ _ _ _
[Am] _ _ Now if I want to make this brighter, and get kind of like that second strat pickup sound,
I'm going to thin it out a little bit, I'm going to add top end.
It's just the opposite [E] of the jazz EQ, where the detemp was looking at each other, now
they're away from [Em] each other.
Or [F] _ I [E] _ _ _
_ [A] _ _ _ [D] could do a little warmer sound, like a jazz, kind of a fusion-y sound.
[Em] _ _ [A] _ _
_ [E] _ _ _ _ _ _ _
[G] _ _ _ _ _ _ _
[Em] Very, very cool position.
That is position 2.
[D#] Moving into position 3, what we have is that tone control slides right back to the middle,
and what we're utilizing now is simply the humbucker that's mounted on the top that you visually see.
That's the only thing that's running, and it starts to focus the tone a little bit more.
_ This is a nice, bright, crisp, thumb-picking, chicken-picking sound, if [Dm] you want.
_ [C] _ _
_ [E] And I'm just going to leave it detemp.
_ [D] _ _
_ [Em] _ Or the rhythm [E] thing. _ _ _
[Bm] _ [C#m] _ _ _ [Bm] _ _ [G] _ _
[C#m] _ _ Also, it's got a nice edge for distortion.
[B] _ _
[Fm] _ _ [E] _ _ _ [A#] _ _ _
_ [E] _ _ _ As we move back into positions 4 and 5, they're very similar in nature.
One is going to be in parallel, which means that both the humbucker that are underneath
the fretboard and the humbucker that you visually see are running to the power source at the same time.
Whereas, in series, in position 5, one is running physically through the other to boost
the signal just a little bit.
So first, you want to listen to position 4, which is in parallel, where both humbuckers
are going out of the guitar to the jack and meeting at the same time.
_ Position 4 reminds me of the Gretsch semi-acoustic electric tone, much like the Chet Atkins sound.
So I put a little slap delay on here, and I'm going to do a little hybrid picking for you. _ _
[F#] _ _ [Em] _ _ [D#] _ [D] _ _ [G] _
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_ _ [C] _ _ [A] _ _ _ _
[G] _ _ _ _ Also, position 4 in distortion mode.
_ _ [F] _ _ [C] _ _
_ _ _ _ [A] _ Real [E] fat, warm sound.
_ _ _ _ [Em] _ _ [A#] _ _
_ [F#] Very cool tones.
_ _ And this position 5 reminds me a lot of the Gibson 335.
I played one for years.
I'm a big fan of the 335.
So this is kind of like that on steroids.
It does so much more.
So I'm going to play kind of a fat, jazzy tone, but a nice top end.
I like to play these [E] open kind of fusion chords.
_ [C#] _ _ [B] _ _ _ _
[C] _ _ [E] _ _ _ _ _ _
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_ _ [Em] It's great on distortion, too. _
[E] _ _ _ _ _ _ _ _
Really nice tone on this one.
It's hard to believe it's the same guitar that opened up