Offering a unique combination of traditional and experimental sounds for a wide range of musical applications, the instrument features meticulously sampled recordings of the DI signal with up to four velocity layers and three round robins for both up and down plucked notes, providing nuanced and expressive playability. There are also two different velocities for keystrokes. The dusty old character of the Taishogoto has been captured in all its quirks.
The raw recordings have been processed with a selection of vintage, loft and boutique gear to give the instrument a distinctive character.
The “Electric Taishogoto Bundle” contains these 4 individual volumes:
VOL 01: The main patch features the Taishogoto through some hardware effects units. All processing is done with real hardware units, such as overdrive pedals, various reverb pedals, a guitar preamp and some vintage 90s guitar FX rack units.
VOL 02 (Tokyo Tapes): This volume is dedicated to a lofi character, with authentic lofi and grit from old equipment. All processing is done with real hardware units, no FX software or emulations have been used.
This processing includes effects such as a broken 70’s tape delay, an 80’s reel-to-reel home recorder in 3 settings with lots of buzz and hum, a Japanese spring reverb with an 80’s digital delay, and some lofi pedals, all of which contribute to the unique tonal qualities of the Electric Taishogoto.
VOL 03 (Osaka Overdrive): This volume is dedicated to a distorted and damaged character, with authentic grit and noise. All processing is done with real hardware units, no FX software or emulations have been used. This processing includes effects such as various distortion pedals, vintage 90s rack guitar FX units and some lofi pedals, all of which contribute to the unique tonal qualities of the Electric Taishogoto.
Bonus (Nagoya Nightmare): Two additional playing techniques were recorded for this instrument. First, each note was hit with a violin bow and recorded in three velocity layers, creating a percussive yet resonant sound. Second, a version of each note was recorded using a bowing technique, resulting in an experimental and sustained sound, with two takes per note. A fast up and down “bowing” was also recorded, a scratchy and squeaky variant of this ancient instrument. These sounds were then processed using various hardware pedals or rack units.
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