Photo 1
Hey Jeff,
Okay, Ask Amp Man readers, it turns out Bobby is local to me. Because I thought this might be a cool project, I had him drop off the amp. It has two channels, lead and bass, each with a single volume and tone control. We discussed what Bobby wanted, and it turned out that the single tone control on each channel weren’t cutting it for him—he needed more control over both the treble and bass. He already bridges the channels with a jumper (we used to call this “double jacking”).
I decided the best action would be to retain an individual volume control for each channel, and then install global bass and treble controls for overall tone shaping. Here’s a description of that mod, along with a couple of additional changes to enhance the amp’s performance.
Photo 2
First, I removed the original control set from the amp (Photo 1), leaving it connected as an assembly (Photo 2). This makes it easy for any future owner to return the amp to its stock configuration.
Next, I installed new volume pots in the front panel, placing them between the two sets of input jacks, each next to its respective channel. The other two locations can now become individual treble and bass controls.
Wiring up the volume controls is simple: The CW leg connects to the output capacitor for the individual channel outputs of the first preamp tube. The CCW leg goes to ground, and the wiper connects to the respective 470k mixing resistor.
Photo 3
Now for the tone controls: I didn’t want to add to the existing circuit board, so I simply built the tone stack by attaching the components directly to the controls (Photo 3). This, by the way, is the true definition of “point-to-point” wiring. I chose the tone stack values traditionally found in older Marshall amps: a 470 (or 500) pF treble capacitor, 0.022 ?F midrange and bass capacitors, and a 56k dividing (slope) resistor. The input to the tone stack comes from the junction of the two 470k channel mixing resistors. (The one for the lead channel has a bright cap in parallel). I disconnected the original 220k grounding resistor from this point, since it’s no longer needed, thanks to the new tone stack.
The tone stack’s output (the treble pot’s wiper) is connected to the input (grid) of the phase inverter. Since there’s no midrange control, I chose a value of 10k to approximate a mid-position control setting. This value could be anywhere between zero ohms (jumper) and 25k—or even higher, depending on your personal midrange preference.
Photo 4
That completed the new control set, but I wanted to make a couple of other changes as well. This particular amp design uses only two preamp tubes. One is dedicated to the phase inverter, so there really isn’t much gain in the preamp stage. Most of the amp’s drive characteristics are generated by pushing the output stage into distortion—which is great, since it’s a 20-watt amp with two EL84 output tubes. Since we added a traditional tone stack to the circuit, putting additional load on the signal path, I compensated by increasing the gain in the phase inverter.
Photo 5
I did this by decreasing the value of the cathode resistor of the phase inverter tube. The original value was 8.2k, but I lowered this to a 2.7k (Photo 4), noticeably increasing the gain. The other change I incorporated was to parallel the bass channel’s 220k mixing resistor with another 220k resistor to better match the level of the channels. (Photo 5). (I simply repurposed the disconnected grounding resistor.)
There you have it: a cool Marshall-style 2061 amp with full tone control. Now it’s a more versatile low-power gem. Enjoy!
Warning: All tube amplifiers contain lethal voltages. The most dangerous voltages are stored in electrolytic capacitors, even after the amp has been unplugged from the wall. Before you touch anything inside the amp chassis, it’s imperative that these capacitors are discharged. If you are unsure of this procedure, consult your local amp tech.
Flawless Economy
Though the 150e’s satin finish and the light hue of the layered sapele back and sides hint at a down-market instrument from 10' away, it is, somewhat paradoxically, close inspection that leaves you guessing about the price tag. The guitar is flawless—at every seam, at every joint and fret end, and in every last little nook and cranny where a less careful builder might stash an un-sanded bit of bracing or kerfing.
The layered sapele actually has a very handsome grain with a vaguely tiger-stripe pattern that almost shimmers in the light. The solid Sitka spruce top is comparatively plain. And the stark contrast between the pale spruce top, dark ebony bridge and fretboard, and the 1-ply black pickguard give the guitar a kind of two-dimensional look that you’ll either love or find lifeless, depending on your alignment with minimalist design.
Rigged to Ring Like a Mother
Some guitarists reflexively balk at acquiring an affordable 12-string, citing concerns about high action and poor intonation. There are no such issues in play with the 150e. In standard tuning, the guitar feels slinky and even just a bit rubbery and flexible under the fretting fingers. The 1 7/8" nut width gives the fretboard a spacious feel. Fretting a barre chord at the 9th fret doesn’t take much more effort than it does on a good 6-string. And overall, there’s a relaxed sensation to playing chords on the 150e that, depending on your experience with entry-level acoustic 12s, can be delightfully disorienting and counterintuitive.
Flatpicking and fingerstyle techniques both benefit from the spacious feel of the fretboard. Picking fast, articulate blues leads (or Roger McGuinn-styled lead abstractions, for that matter) feels unexpectedly natural and effortless. Fingerstyle picking-hand techniques also benefit from the string spacing and slinky feel—making everything from Elizabeth Cotton to Fahey and English folk feel smoother and a lot less clumsy.
Well-Mannered and Articulate
In standard tuning, the Taylor is a first-class strumming machine. As with any decent 12-string, 1st-position chords sound fat, alive, and absolutely twitching with overtones. The big dreadnought body is surprisingly responsive to a very light picking touch too. That said, you’re likely to be struck right away by a notable lack of oomph and boom in the low end.
Ratings
Pros:
Flawlessly built. Easy to play. Excellent harmonic balance. Rock-bottom price.
Cons:
Not a lot of low end for a dread.
Tones:
Playability:
Build/Design:
Value:
Street:
$749
Taylor 150e
taylorguitars.com
And this is not all bad. The mid to high-mid focus of the 150e makes it a breeze to record—especially if you use an acoustic 12-string to support a song rhythmically, à la Tom Petty or Jeff Lynne. And all things considered, sacrificing booming bass for balance and midrange emphasis is a trade-off most stage performers and sound engineers will happily make. It may, however, compel fingerstylists who rely on bass-heavy alternate tunings to look to a different guitar.
Despite the relatively quiet low-end output, the 150e excels in C and D-based alternate tunings. High-midrange tones drone and ring with crystalline presence and the warmth of autumnal afternoon sunshine. Overtones and harmonic details are abundant and clear. And even with a light fingerstyle touch, the Taylor feels animated across a wide harmonic spectrum, making it a superb partner for droning Celtic and Hindustani excursions and languid chordal harmonies.
Taylor’s Expression System electronics are a fine match for the 150e’s midrange-heavy voice. There isn’t a whole lot of dimension to the low-end response, but the system emphasizes mids without sounding brash (no mean feat) and the volume and tone controls are effective at taming more strident high-mids and softening undesirable string attack artifacts. Perhaps the only knock on the system is the odd-looking control set on the upper bout, though you can’t argue the effectiveness of the placement or the tactile response of the controls, which are both excellent.
The Verdict
Taylor’s 150e is a very thoughtfully executed instrument. Taylor’s designers rightly focused on the essentials—relatively easy playability, harmonic balance, forgiving, effective electronics, and positively seamless construction that would impress an obsessive aerospace engineer. The few concessions Taylor makes to keep the price low—the no-frills finish and layered back and sides—never crossed my mind while I played the guitar. The exception: the notion that a layered sapele back is a pretty good call if you want a recording guitar that zings in the midrange.
Sonically, the only thing that’s missing on the 150e is some of the low-end push and overall projection you’d expect from a dreadnought body. But for its hard-to-resist street price, the 150e’s balance, sonic warmth, and smooth, inviting playability are nothing short of remarkable.
Watch the Review Demo: