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Which TransAcoustic Guitar Is Right for Me? Part Two

An in-depth look at the six second-generation models.

In Part One of this two-part series, we looked at the lineup of first-generation Yamaha TransAcoustic guitars — all of which provide onboard reverb and chorus effects without the need for amplifiers, pedals or any other external devices — and talked about the main features of each. In this posting, we’ll talk about the six latest TransAcoustics, all of which are second-generation instruments with advanced features not found in the original models.

As blogger Mac Randall stated in Part One, the first time you play a Yamaha TransAcoustic guitar can be a surreal experience. You may find yourself looking around the room for a hidden amp or a wireless connection to a remote pedalboard, but what you are hearing is actually coming straight from the guitar’s body, directly into the air all around you. (TransAcoustic guitars can also be plugged into an amp, effects device or PA system, via a standard 1/4″ jack that carries the signal from their onboard piezo pickup, but it’s not necessary because they are true acoustic instruments).

The secret of the TransAcoustic sound is a device called an “actuator” that’s attached to the inner back of the instrument. When you play the guitar, the actuator picks up the vibrations of the body and adds its own vibrations that, through a kind of sonic translation process, become effects.

A small round metal device installed on the inside of an acoustic guitar. — *A TransAcoustic guitar actuator.*

That’s what all TransAcoustic guitars have in common, but which model specifically is right for you depends on your musical development and what you prefer in the guitar you play. Here’s a rundown of the six second-generation TransAcoustic models, so you can make a more informed decision as to the one that will best meet your needs.

TAG1 C and TAG1E

Like the first-generation LL-TA and FG-TA TransAcoustics, the TAG1 C and TAG1E both have large dreadnought (sometimes called “western”) body types, which means they project well and have a pronounced bass response, making them ideal for strumming big chords in any musical genre, particularly rock, folk, and country.

The main physical difference between the two is that the TAG1 C has a single cutaway for ease in reaching high notes, so it might be a better choice for players who often find themselves at the top of the fretboard. Both models have a solid spruce top (Sitka in the case of the TAG1 C), mahogany back and sides, and a mahogany neck with a walnut fretboard. The bridge of the TAG1 C is made of walnut, while the bridge of the TAG1E is made of ebony. In both models, the nut is made of urea and the headstock tuners are open gear with a chrome finish. Scale length of both is 25 – 9/16″ (650 mm), with a nut width of 1 – 3/4″ (44 mm), and both come with a gig bag for protection and travel. The TAG1 C and TAG1E are available in both Sand Burst and Natural finishes (shown below); the TAG1E also comes in a striking Translucent Black finish.

Like all TransAcoustic guitars, the TAG1 C and TAG1E are equipped with a pre-amp and an under-saddle piezo pickup system. The control panel on the top of each guitar 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.

Unlike first-generation TransAcoustic guitars, which offer only one kind of built-in reverb (in addition to a built-in chorus effect), second-generation instruments like the TAG1 C and TAG1E provide separate room and hall reverbs, along with a variable chorus. The TAG1 C can also create two different delays, accessed via Bluetooth with the use of the free Yamaha TAG Remote app, available for both iOS and Android. (The TAG1E does not have Bluetooth support.)

Because they are true acoustic guitars, both the TAG1 C and the TAG1E can be played without any kind of power source, but if you want to amplify their sound via the built-in piezo pickup or conjure up those magical built-in effects, you’ll need batteries. The TAG1 C utilizes a built-in rechargeable lithium-ion battery with a magnetic charging connection, giving you up to five and a half hours of playing time, while the TAG1E uses two standard AA batteries. Both instruments power down automatically if the guitar hasn’t been played for about 30 minutes, saving battery life.

The price tag of the TAG1E is a little less than that of the more feature-laden TAG1 C, but they both sound great, with a distinctively rich tone that has been described by guitarist/clinician Robbie Calvo as “warm and woody with strong midrange.”

TAG1 C.

TAG1E.

TAS1 C and TAS1E

The TAS1 C and TAS1E TransAcoustics are virtually identical to the TAG1 C and TAG1E, but they have smaller concert-size bodies, making them a good choice for guitarists who tend to play fingerstyle and/or arpeggiated chords. (Robbie Calvo describes the TAS1 C as sounding “superb” when fingerpicked.) Tonally, they are well-balanced across all frequency ranges, and their manageable size and shape works well for players of all ages and any hand size.

Like the TAG1 C, the TAS1 C has a cutaway, which allows for easier access to the upper frets. This doesn’t reduce the size of the guitar in terms of the lower body bout or instrument depth, but due to the diminished sound chamber, yields slightly less volume and bass response, making for a slightly more delicate sound.

That aside, the physical aspects and features of the TAS1 C and TAG1 C are the same, as are the physical aspects and features of the TAS1E and TAG1E. Both are available in the same Natural and Sand Burst (shown below) finishes as their bigger cousins, but the TAS1E offers a different, stunning third option: the Ultra Marine finish shown below.

TAS1 C.

TAS1E.

TAG3 C and TAS3 C

The flagship, feature-rich TAG3 C and TAS3 C up the ante by adding two onboard chorus effects, three reverbs, two delay types and a chromatic tuner, plus a built-in looper. As the “C” in their model name indicates, both have a single cutaway for easy access to high notes. The only real difference between the two is body style: the TAG3 C has a dreadnought body, while the body of the TAS3 C is concert-sized. As mentioned previously, the larger dreadnought size might be a better choice if your primary guitar technique is chunking out big, full chords, while the smaller concert body might suit you better if you do a lot of fingerpicking and/or play arpeggiated chords, where clear articulation rather than sheer power is the main goal.

Both instruments have similar physical construction: a solid Sitka spruce top with a clear pick guard, solid mahogany back and sides, an ebony fingerboard and bridge, and a satin-finished mahogany neck. The neck profile is super comfortable, and the satin finish can really make a big difference when it comes to fast articulations, as Robbie Calvo reports. The sound hole rosette is quite stunning, with beautiful tonewood inlays and blue accents. Inside the sound hole resides a micro rotary dial for the output volume of the built-in piezo pickup and preamp when connecting these instruments to an amplifier — useful during live performance. Speaking of live performance, the onboard chromatic tuner is especially cool. Once activated, all you have to do is watch the LEDs around the power button on the top of the guitar: Red indicates that the note is out of pitch (either sharp or flat); when the green center LED is lit, the string being played is at the correct pitch.

The built-in looper works much the same as many pedal-based loopers, except you’re using your hands to activate it instead of your feet. All you have to do to start it is to press the LOOP button, followed by the REVERB button, and start playing. When you’ve completed your idea, just tap the Tap Sensor (the circular touch area near the soundhole) or press the REVERB button again. Recording stops playback begins immediately. To add overdubs, just tap the sensor again (or you can press the REVERB button). Both the TAG3 C and TAS3 C will save your loop even after powering down the guitar. You can also save and recall up to ten of your favorite loops with the use of the free Yamaha TAG Remote app, thanks to the Bluetooth support both guitars offer.

Not only are there a lot of effects to choose from — seven in all — the audio quality of the effects, as well as the clarity of the loop playback, is superb. Says Robbie Calvo: “As long as you orchestrate your parts with care, the separation between each overdub is exceptional — maybe even better than you’ll get from a dedicated looper pedal.” In terms of overall sound quality, Calvo raved about both guitars but found the larger-bodied TAG3 C to be a touch louder acoustically, with a little more bass and a little more detail than the smaller TAS3 C, though he points out that the latter “will appeal to those of us that prefer a softer sound, smaller body bout, and compact size for travel.”

As with all TransAcoustic guitars, you can play the TAG3 C and TAS3 C like any other acoustic guitar, but power is required to use the built-in effects, looper and preamp. There’s a built-in rechargeable lithium-ion battery for that purpose, with a magnetic power connector. When fully charged, you’ll have about five hours of playing time — more than long enough for even a marathon live gig! — and the supplied USB cable comes complete with interchangeable plug options for charging the guitar anywhere in the world. Both the TAG3 C and TAS3 C are available in your choice of Sand Burst or Natural (shown below) finishes, and both come with hard gig bags for travel protection.

TAG3 C.

TAS3 C.

So which of these six TransAcoustic guitars are right for you? Again, it depends upon your musical development, your playing style, your evaluation of their sound quality and your personal sense of aesthetics, but the bottom line is that you can’t go wrong with any of them. Just be prepared for the look of astonishment that settles over the face of your listeners the first time they hear you play it!