Gear Myths and Pitfalls
This page is dedicated to evaluating various myths that seem to regularly occur, as well as avoiding common pitfalls that trip up novice (as well as experienced) guitarists.
Is The BBE Sonic Maximizer Simply a Bass and/or Treble Boost?
The BBE Sonic Maximizer is a highly controversial piece of gear that always seems to make its way into guitar discussions. It features only two variable controls, one of which boosts low frequencies ("Low Countour") and one that boosts highs ("Process"), and an on/off switch ("BBE Process"). It is often assumed that with the variable parameters set fully counter-clockwise, the unit is not doing anything - thus, it is no different from cutting midrange and boosting volume. Since midrange is the most important part of a guitar signal, the devices have been referred to as nothing more than "tone sucks" that cause your guitar to get "buried" (inaudible) in a mix.
BBE on the other hand claims the unit is compensating the signal for phase misalignment and timing delays between frequencies that is inherent in the nature of speakers. See their own description of their product:
- "Loudspeakers have difficulty working with the electronic signals supplied by an amplifier. These difficulties cause such major phase and amplitude distortion that the sound reproduced by a speaker differs significantly from the sound produced by the original source.
In the past, these problems proved unsolvable and were thus delegated to a position of secondary importance in audio system design. However, phase and amplitude integrity is essential to accurate sound reproduction. Research shows that the information which the listener translates into the recognizable characteristics of a live performance are intimately tied into complex time and amplitude relationships between the fundamental and harmonic components of a given musical note or sound. These relationships define a sound’s “sound”.
When these complex relationships pass through a speaker, the proper order is lost. The higher frequencies are delayed. A lower frequency may reach the listener’s ear first or perhaps simultaneously with that of a higher frequency. In some cases, the fundamental components may be so time-shifted that they reach the listener’s ear ahead of some or all of the harmonic components.
This change in the phase and amplitude relationship on the harmonic and fundamental frequencies is technically called “envelope distortion.” The listener perceives this loss of sound integrity in the reproduced sound as “muddy” and “smeared.” In the extreme, it can become difficult to tell the difference between musical instruments, for example, an oboe and a clarinet."
However, BBE fails to go into detail on what exactly the product does to fix this outside of generalizations such as their description of the problem above, and what to expect when using the products. Many perceive no difference in tone unless dialing up the low contour and process controls, which reduce relative midrange frequencies and make guitars more difficult to hear in a mix. So what's actually going on? Here is an excellent analysis of the Sonic Maximizer's circuit on jvmforum.com.
Essentially, BBE's claims about what their device does are true. There is phase shifting that varies on frequency from 20 - 20,000 Hz and group delay that gets progressively larger - ~2.4 ms at 40 Hz to ~0.4 ms at 400 Hz. These are fixed values - they are not changed by the variable low contour or process controls, and they are no dynamically reactive to the nature of the input signal. However, I have yet to read a single post or find a single audio clip where any of this makes a perceivable difference to the listener. The only audible changes that are noticed are when the unit has "low contour" or "process" set off of 0 (fully counter-clockwise). And in that case it is simple EQ - and one that is always increasing the volume of bass and treble, making the tone sound more "hi-fi" or modern, which is usually unnecessary or detrimental to a guitar tone.
Bottom line: A BBE Sonic Maxmimizer is likely no more influential to your guitar tone than a simple EQ with bass and treble controls. While BBE's claims about what its product is doing are true, they are impercievable, at least for guitar applications.
Furthermore, the Sonic Maximizer is not the only device that performs similar phase shifting or group delay. Thus, it may be "overcompensating" or "undercompensating"; and there is no way to adjust this. Even if there was, you would have to analyze every piece of your signal chain to know the "correct" value; and BBE would have to provide the technical details of how their product works for you to dial it in. It seems they are instead content to keep the device shrouded in mystique and hype, perhaps hoping to fool gullible customers who don't take the time to really test their claims into believing they are improving their tone.
I have personally owned the Sonic Stomp pedal, and I found it to be useless for guitar applications. For reference, the Low Contour control's EQ is centered around 50 Hz and the Process's around 5 kHz.
Peavey 5150 Block Letter (Mk 1) vs. Later Models
The first version of the Peavey 5150 featured the letters "EVH" in a block-letter style on the right side of the control panel near the power and standby switches. Later models feature Eddie Van Halen's signature in the same location, known as the script version. Many believed that the circuit was changed in between versions, and the first version had a better tone.
Actually, the block letter version has the same circuit as later versions; however, the tonal difference is real, if slight, due to Peavey including different power tubes in the first version. This difference is moot by this point, as all such amps have more than likely been retubed, and those with remaining original tubes probably need to be retubed.
The 5150 II is the same amp as the 5150, but with an extra pre-amp tube to add headroom for the clean channel. While the lead channel's circuit should be identical to the 5150, there could be different impedance differences that change the tone slightly.
After Eddie Van Halen quit his Peavey endorsement, the 5150 name reverted to him, and Peavey changed the 5150 to 6505 and 5150 II to 6505+. To make matters more complicated, Peavey continued to expand the line with the 6534+, which is a 6505+/5150 II, but with EL34 power tubes instead of 6L6. Meanwhile Eddie founded his own EVH brand, which released the 5150 III, manufactured by Fender. This is a 3-channel amp with a different design, although bearing large similarities to the 5150 II. Some refer to the 5150 II as "5152" and 5150 III as "5153", making things more confusing.