Yamaha FS-TA
C
ertain things will make us
smile here at TG, and
Yamaha’s TransAcoustic
is one of them. That is,
once we’d got over the
shock of hearing reverb and
chorus eff ects coming out of an
acoustic guitar that wasn’t plugged
into anything. But how?
If you peek inside the
soundhole, just under the top
there are the electronics of an
actuator, and this responds to the
vibrations of the strings as you’re
playing. These vibrations are
pumped back through the guitar’s
body, moving the air inside and
around it and... bingo! Controllable
reverb and chorus sounds come
from inside the guitar! It takes a
little while to get your head
around, and then you’ll be smiling.
Because it’s really that good.
This technology fi rst surfaced
on two Yamaha models in 2016 –
the all-solid wood LL-TA and
LS-TA – but the guitar on review
here is based on Yamaha’s F Series
instead (there’s also the
dreadnought-esque FR-TA). The
more reasonable price point
refl ects laminate back and sides,
rosewood instead of ebony ’board
and bridge, and there’s no gigbag.
The lack of the latter is a shame
because, as we’ll fi nd out, this is
certainly something you could use
in a live situation.
This concert size is a very nice
player – action is low, no buzz
thanks to a good setup – and its
bright voice is measured by a
welcome warmth in the low-end.
It’s a good foundation for the
eff ects here, activated by holding
down the middle of three rotary
controls for a few seconds. That’s
also your level control, applicable
for both when you’re unplugged or
playing through a PA. The other
two controls select the level of
room or hall reverb and chorus.
We kept going back to the hall
reverb because it’s such an
inspiring place to be – organic and
cinematic. Like an instant church
around you, fi ngerpicking takes on
a new drama.
The chorus needs a little more
subtlety when it’s dialled in to
prevent things getting too clinical
and 80s. But balance it right and
there’s a really useful tool for
thickening rhythm parts.
It’s worth keeping in mind that
the F Series model this is based on
retails for £346. So, there’s no
getting around the fact that
you’re paying nearly double for the
TransAcoustic technology and
piezo. Whether that’s worth it for
you can only really be decided by
trying this unique experience. We
found it both addictive and
inspiring to have the luxury of
reverb and chorus on call wherever
and whenever we wanted. This
could be a superb creative tool, and
the piezo here also represents the
FS-TA’s character well when we
plugged in, so there’s plenty of
scope for live work with onboard
eff ects too. The potential is all here
for you to explore.
Rob Laing
IT’S ADDICTIVE TO HAVE
REVERB AND CHORUS ON CALL
YAMAHA FS-TA
Yamaha’s acoustic innovation
just got more affordable
1
2
3
£676
TYPE: Concert-size
electro acoustic with
reverb and chorus
effects
TOP: Solid spruce
BACK AND SIDES:
Laminated mahogany
NECK: Nato
SCALE: 634mm (25")
FRETS: 20
TUNERS: Die-cast
chrome (TM29T)
FINISH: Brown
Sunburst
CONTACT:
Yamaha
020 8962 5080
uk.yamaha.com
AT A GLANCE
FEATURES
SOUND QUALITY
VALUE FOR MONEY
BUILD QUALITY
PLAYABILITY
OVERALL RATING
SuMMarY
1
MODE
You enter and exit
TransAcoustic mode by
holding down the level
rotary control momentarily
and allowing for a brief
delay before it kicks in. But
there’s no way of knowing if
it’s on or off until you play.
The LED is a battery low
indicator (it takes two AAs
and battery life is quoted
around 10 hours with TA
mode in use)
2
FINISH
There are two other
finishes available for the
FS-TA besides this Brown
Sunburst (Ruby Red and
Vintage Tint) and the
guitar’s projection benefits
from the scalloped bracing
update Yamaha brought in
for the FS Series in 2016
3
ELECTRICS
You can plug the FS-TA
in and use it as an electro
acoustic with level control,
plus the effects via an
end-pin jack and the
battery compartment can
also be found close by
Photography: Neil God win
APRIL 2018 ToTal GuiTar
REVIEW
97
TGR304.gear_yammy.indd 97 3/1/18 10:27 AM