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George, thanks for your suggestion about a possible recording device I could use for my music.
For the final chapter of my guitar series, here is my main instrument. This is a Taylor 816CE, whose model number indicates that it is their 800 series (the 8), six-string (the 1), in the Grand Symphony body shape (the 6) with a cutaway (the C) and built-in electronics (the E). (Right off the bat, its meaningful model name distinguishes a Taylor guitar from all camera bodies; even its serial number tells the day, month, and year it was made, the location of the factory, and this guitar's position in that day's production sequence.) All of the photos below were shot with the 35 f/1.4 N on my Fuji X-T2. Please see the text below each photo for lots more info about this visually and sonically beautiful guitar that is also an utter joy to play. By the way, just in case you are concerned that this guitar might be contributing to the depletion of certain tree species, you should know that Taylor guitars is actively and directly supporting, initiating, and managing a number of reforestation projects. Their biggest effort so far is aimed at making the use of Camaroonian ebony fully sustainable.
 Taylor 1 front by Glen Rowe, on Flickr
This first image shows the front view of the guitar and the following features of its construction: sitka spruce top (i.e. main sound board), West African ebony bridge, ebony bridge pins with inlaid abalone dots, micarta saddle, Indian rosewood pickguard, abalone rosette (around the sound hole) surrounded on both sides by inlaid rosewood circles, pale maple binding (the inside line of the sound hole, the outline of the whole guitar top, and the outermost lines along the sides and end of the fretboard), more rosewood inlay just inside the binding around the guitar body, and an ebony fretboard with mother-of-pearl fret markers. You can also see the three tiny pick-ups that are built into the bridge.
 Taylor 2 back by Glen Rowe, on Flickr
Here is a section of the back of the guitar, showing the Venetian cutaway shape and the Indian rosewood construction of the back with a maple line down the middle, maple binding around the outside edge, and maple piece at the base of the neck.
 Taylor 3 side by Glen Rowe, on Flickr
This image shows the side of the guitar where the cutaway is located. The purpose of the cutaway is to enable easier access to the highest frets on the fretboard. The sides of this guitar are made of Indian rosewood, and you can also see the maple binding of the top and back of the guitar. As you can see, the Venetian style of cutaway requires an additional piece of molded wood for the cutaway part of the guitar-side.
 Taylor 4 neck by Glen Rowe, on Flickr
Here is an image emphasizing the neck, which is made of a light-coloured tropical mahogany that both contrasts and integrates beautifully with the Indian rosewood and the other "tonewoods" used in the instrument's construction. One of the unique things about Taylor guitars is their ingenious neck construction that enables easy removal of the neck and adjustment of the angle between the neck and the top. Blurred out in the bokeh you can see the volume, bass, and treble controls for the built-in pre-amp.
 Taylor 5 peghead by Glen Rowe, on Flickr
Finally, here is the peghead showing its mahogany base (continuing from the neck), its ebony overlay, its maple binding, its nickel-plated keys, and the Taylor logo made of inlaid mother-of-pearl.
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