ver since their introduction in the early ’60s, Guild’s jumbo 12-strings have been the standard against which other guitars are compared. They’ve turned up in the hands of players as diverse as Ralph Towner and Slash. The plainly appointed and affordable mahogany F212XL has long been a players’ favorite despite the fact that it was discontinued in the 1980s. Guild has now reissued the F212XL with a list price of $1785.

    Taylor’s foray into the 12-string market is no less auspicious than Guild’s. There are many who believe that 12-strings are the company’s claim to fame, and their playability is undisputed. The 355 ($1,558) is the most recent and least expensive addition to Taylor’s impressive 12-string lineup.

    On the surface, the 355 and F212XL have a lot in common. Both feature jumbo bodies, solid mahogany backs and sides, solid spruce tops, ebony bridges and fingerboards, and chrome Grover mini-tuners. But that’s where the similarities end. The F212XL is a slightly heavy instrument, and the chunky, unbound neckâ€"which, like that of all Guild’s 12-strings, features double truss rodsâ€"contributes to its solid feel. The guitar I received was set up very nicely right out of the box, and all the woods used were of high quality. I especially liked the super-dark ebony used for the fingerboard and bridge. The F212XL features a high-gloss nitrocellulose finish and a traditional dovetail neck joint.

    Although the size difference is minimal, the Taylor 355 feels sporty compared to the Guild. It’s quite a bit lighter in weight and has a very flat neck (bolted to the body) and action so low it would make many six-strings jealous. The back and sides of the guitar are attractively striped mahogany with a satin polyester finish, and the high-gloss top shows some nice cross-grain. Except for the streaked and relatively light colored ebony used for the bridge and fingerboard, the materials used to build the 355 are not observably different than what goes into models higher up the Taylor hierarchy. I was disappointed, however, with the guitar’s scratchy frets.

    After playing both guitars, I found it hard to pick a clear favorite. The Guild offers an amazingly rich low-end rumble paired with the kind of volume that is sure to make heads turn. The hefty neck makes playing on the upper frets quite a workout, and the guitar’s tone also changes up in that range. The Taylor, on the other hand, sounds extremely even and feels amazingly playable all the way up the neck. Its tone is brighter and a bit quieter than the Guild’s, but its great sustain and quick response give it a character all its own. I would guess that the Guild’s fat tone and killer volume might win over the player who primarily strums chords and accompanies him or herself singing, while fingerstylists might be more drawn to the Taylor because of its playability, response to a soft touch, and more defined tone.

    I applaud Guild for having reissued an old favorite, and Taylor for offering a remarkable value. The Guild F212XL and Taylor 355 offer the quality of materials and craftsmanship that will make either one the last 12-string you’ll ever need.

    Excerpted from Acoustic Guitar magazine, December 1999, No. 84.