First Look: Yamaha TAG1 C / TAS1 C
Yamaha launched the feature-laden dreadnought TAG3 C TransAcoustic guitar in the fall of 2024, and its smaller TAS3 C concert body counterpart in January of 2026. Both flagship instruments represent the pinnacle of innovation within the second generation of TransAcoustic guitars.
Not only are both constructed with all-solid tonewoods, they also have a built-in tuner and offer two delays, two reverbs, a chorus, and a full-function looper … all accessible from the top body bout of the guitar. The TAG3 C and TAS3 C can also be connected to a free TAG Remote app via Bluetooth® to access and edit the effects, store ten of your favorite loops, and play your favorite tracks from a paired smart device through the guitar for a jamming experience like no other. And, as with all TransAcoustic guitars, they don’t need to be amplified to enjoy the gorgeous sound of their onboard effects, which are generated in the air, without the need for pedals or processors.
If this all sounds too good to be true, well, it is true, and having had first-hand experience with both instruments, I can say that these guitars are game-changers in the world of electric/acoustic guitars.
ENTER THE TAG1 C AND TAS1 C
The latest additions to the second-generation TransAcoustic family are the TAG1 C and TAS1 C. These stylish instruments are aimed at the creative, budget-minded player who wants to embrace TransAcoustic technology for the first time.
The only difference between the two is the body style and size. The TAG1 C has a dreadnought body, and the TAS1 C has a smaller, concert body. In this posting, we’ll take a look at the main features of these extraordinary guitars.
PHYSICAL ATTRIBUTES
Both the TAG1 C and TAS1 C have a solid Sitka spruce top, mahogany back and sides, and a mahogany neck. The fretboard material is walnut, which is a nice departure from the typical rosewood or ebony. The bridge is made of walnut, while the nut is made of urea. The headstock tuners are open gear, with a chrome finish.
Both guitars have a single cutaway for ease in reaching high notes and their scale length is 25 – 9/16″ (650 mm), with a nut width of 1 – 3/4″ (44 mm). A hard gig bag for protection and travel is included.
BUILT-IN EFFECTS
Installed on the inner surface of all TransAcoustic guitars is a device called an actuator (shown below). The TAG1 C and TAS1 C actually have two such devices.
These actuators resonate in response to the vibrations of the strings. In turn, the vibrations they generate are transmitted to the body of the guitar, and then to the air in and around the guitar’s acoustic chamber … resulting in an authentic reverb and chorus sound that radiates from within the body, and outwards through the sound hole. Players experiencing this for the first time often think that there is a speaker system installed in the guitar chamber, but it’s actually these innovative devices that produce the effects.
There are three effects available on the TAG1 C / TAS1 C: room and hall reverb, a sweepable chorus, and two delay types (the latter are accessed via the TAG Remote app — see below). These are controlled from four rotary dials facing the player on top of the upper body bout of the guitar, along with a center push button that turns on the effects and controls.
Note that all onboard effects are generated whether you are playing acoustically or have the guitar plugged into an amplifier via the end-pin output jack.
On/Off button
In the center of the control panel is an on/off button. Press and hold this button down for three seconds, and green lights around the button will illuminate. The lights will then turn white, indicating that the guitar effects are armed and ready to roll.
Reverb dial
The reverb dial allows you to select the amount and depth of room or hall reverb that will be produced through the sound hole of the guitar when played acoustically, and through the end-pin jack when amplified. You can select the type of reverb within the TAG Remote app (see below).
Chorus dial
The amount of chorus is sweepable from 0 (completely off) all the way to fully clockwise. A subtle doubling effect similar to that of a twelve-string guitar is produced at lower settings, while more extreme modulation can be achieved as you move past the center detent of the rotary.
Delay dial
The delay dial allows you to determine the delay volume produced from the guitar’s sound hole and output jack. Tapping the delay knob allows you to set “tap tempo” delay times to sync with a track, or with a Bluetooth song that you’re playing through the guitar (see “TAG Remote App” below).
Volume dial
The volume control has two functions. First, it serves as the master output volume for Bluetooth so you can adjust the volume of the music tracks that are coming from your mobile device. (See the “TAG Remote App” section below for more information.) Note that the volume control doesn’t affect the volume or depth of the onboard effects, nor does it affect the output of the guitar’s pickup system when plugged into an amp or P.A. system: this is adjusted using a separate small dial located in the sound hole.
Secondly, pressing and holding down the volume knob activates Bluetooth connection when syncing to the TAG Remote app on your phone or tablet (see below). Once connected, you can select, edit and change the effects, as well as play music tracks through the guitar’s sound hole.
TAG REMOTE APP
The iOS/Android compatible free TAG Remote app is a dedicated editor for second-generation TransAcoustic guitars such as the TAG1 C and TAS1 C. Various settings such as effect parameter adjustments can be controlled on your smart device for future recall and playback.
The TAG Remote app also adds support for Bluetooth functionality for audio playback. Simply use the app to pair the guitar to your smart device(s) and play your favorite songs through the TAG1 C / TAS1 C body chamber and sound hole.
RECHARGEABLE BATTERY
Both the TAG1 C and TAS1 C utilize a built-in rechargeable lithium-ion battery with magnetic charging connection, giving you up to five and a half hours of playing time. The five-pin connector is found on the top shoulder of the guitar near the neck joint.
The TAG1 C and TAS1 C power down automatically if the guitar hasn’t been played for about 30 minutes. This saves the battery life of the rechargeable lithium-ion battery installed below the end-pin jack. If you are amplifying the sound, remember to unplug the cable from the end-pin jack to preserve the battery life.
PLAYABILITY
The TAG1 C and TAS1 C are beautifully crafted instruments, and their satin-finished mahogany necks allow for easy fretboard transitions. The fret-ends are well dressed, with no sharp edges, and the die-cast chrome tuners keep everything in perfect pitch, even after hours of playing.
The setup on these guitars is also exceptional. The nut and bridge have been cut to allow for a really low buzz-free action, and the intonation is spot-on for open chords and complex voicings further up the fretboard.
AESTHETICS
Both the TAG1 C and TAS1 C are available in Natural and Sand Burst finishes; the TAS1 C in my studio (shown above) has the Natural finish. There’s a lovely figuring to the grain, further enhanced by the black and white body binding to the mahogany back and sides.
The mahogany body and neck have been tinted to a darker red tone, deeper than that of a natural mahogany color, giving the appearance similar to that of rosewood. The slim mahogany neck is satin-finished for smooth and “stick-free” transitions between playing positions, and looks pretty cool in the deeper tint to match the body.
The walnut fretboard has a naturally soft grey / brown hue that really makes it stand out against the crisp, clear tones of the spruce and deeper shading of the body — a nice departure from the usual choice of rosewood or ebony. The fretboard doesn’t have any fret position markers, which keeps the flow of the playing area clean and unobstructed. You can always use the dot position markers on the side of the neck to check your note placements.
The sound hole rosette adds strong visual appeal with its cobalt blue and tan marquetry inlays. Quite the centerpiece set inside the solid spruce backdrop! The clear pickguard is an especially nice touch, allowing the figured Sikta spruce grain and finish to shine through, while at the same time outlining the stunning blue and tan marquetry sound hole rosette.
THE PICKUP SYSTEM
Like all TransAcoustic guitars, both the TAG1 C and TAS1 C are equipped with an under-saddle piezo pickup and a pre-amp — in this case, the advanced second-generation SYSTEM78. The control panel is all part of this pre-amp system, allowing effects as well as the main signal to be amplified through the end-pin 1/4″ jack socket.
TONALITY
The tonewoods used in the construction of the TAG1 C and TAS1 C give these instruments a unique and extremely pleasing sound. The solid Sitka spruce top offers a rich midrange and low-frequency response, while the mahogany back and sides have a slower transient response than many other tonewoods, contributing to a warm and woody tone with strong midrange. If you’re an acoustic purist, you’re going to love the natural acoustic tones coming from this guitar.
Three of the wide variety of tones you can get from these instruments are demonstrated in the audio clips below, created with a blend of a condenser microphone and a send from the direct output of the guitar. All the effects you hear come from my TAS1 C, with no external amplification or processing used.
1. Finger-picking
The first four bars of this first clip serve as the intro to the video below, and demonstrate the pure sound of the TAS1 C, with no added effects. In the next four measures I add double-tracked finger-picked parts (panned hard left and hard right) with a subtle chorus, hall reverb, and a sprinkle of delay. Note that the tones remain sweet, clear and contemporary.
2. Lead tone
In this second clip, also taken from the video below, I’ve included the rhythm parts to give you context of how the single notes sound against the other parts. I’m using a good amount of the onboard hall reverb and simple delay for the lead guitar melodies.
THE VIDEO
Whenever I’m asked to evaluate a new guitar, I generally take a day or so to play it in a variety of musical styles to understand how it responds to both a pick and fingerstyle. As the introduction to this video demonstrates, the TAS1 C sounds superb when fingerpicked. The first four measures have no effects added so you can appreciate the acoustic qualities of the guitar on its own. I then add a subtle chorus, hall reverb and synchronized delay (using the tap tempo feature) to the same fingerstyle part. This gives you a good perspective of the value those incredible effects add.
All the fingerstyle parts were recorded using a condenser microphone, panned hard left in the mix. The double-track overdub was captured using the onboard pre-amp only, and the signal is panned hard right in the mix.
The lead guitar part was captured directly from the end-pin jack and is not double-tracked. I used a moderate amount of the onboard hall reverb, and a tap-tempo’d simple delay, which is set quite high in the mix to let the single notes sit nicely on top of the other instruments.
THE WRAP-UP
Having had the experience of playing most Yamaha TransAcoustic guitars over the years, I can say with confidence that the TAG1 C / TAS1 C are perhaps the best ones in the range so far.
Okay, they don’t have a built-in looper, like their supercharged TAG3 C / TAS3 C siblings, though you can always use a pedal for that. But these guitars look stunning and are easy to play, with a slim satin neck that makes them feel at home right away whether you’re an acoustic or electric guitar player. Most importantly, they have an authentic, captivating tone. Add the onboard effects, and you take an already amazing acoustic guitar to a whole new level of expression.
PHOTOGRAPHS COURTESY OF THE AUTHOR.
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