Processing for speakers?

I'm interested in the BBE Sonic Maximizer, which I gather delays frequencies for the purpose of controlling interference in the speaker's vibration. I'm sure I've over-simplified, but at any rate it's a neat idea. However, this unit is placed in the effects chain which is a problem for me. I'm trying to keep my chain all tube, which is working out great.

So, this leads me to wonder if such a device as the Sonic Maximizer could be designed to operate between the amp and the speaker. I'm not very knowledgeable about these things, but I wonder nonetheless what kinds of "processing" are possible between amp and speaker.

From what I can tell, this item is a sw program for computer recording. I Googled "BBE Sonic Maximizer".

With a guitar amp, there's not much you can do for the way the speaker performs, aside from some kind of EQ. Fundamentally, the amps damping factor will contribute most significantly to the speaker's cone control.

Just off the cuff, I'd submit that this device is prolly more of a gee-gaw than anything else. JMHO.

There are a few hardware versions of the Sonic Maximizer. I'd certainly like to hear it, but their website was a little flaky yesterday.

I use one in my PA in series with the signal chain. It makes a noticeable difference in the sound; highs are crisper, mids are punchy, and lows are richer and smoother. It especially shines when playing prerecorded music through the house cabs. I can take it or leave it for sound PRODUCTION, but for sound REPRODUCTION it definitely adds flavour.

I think the thing to keep in mind is the difference between sound production and reproduction. The originator of the sound - vocals, guitars, guitar amps- play under a completely different set of rules than does sound reproduction. This is the primary reason guitar amp builders tend to employ amplifier circuits that display less than ideal electronics characteristics as compared to stereo amplifiers. The character that the player, guitar, strings, techniques, amp, speakers and a million other variables impart into a 'sound' can are, to a degree, unique to that situation. That's the reason you can tell the difference between Mark Knopfler and Michael Hedges.

However, to accurately REPRODUCE the sound of those players from the session demands a completely different electronic approach. Thus, there is gear designed for sound production, and different gear for sound reproduction. Without a doubt, the BBE, or any of the other flavours of Sonic Maximizers, are designed solely for the purpose of the latter.

Still, you can always stick one in your signal chain and try it. You might just find it gets you closer to THE TONE you've been working towards!

I'm interested in the BBE Sonic Maximizer, which I gather delays frequencies for the purpose of controlling interference in the speaker's vibration. I'm sure I've over-simplified, but at any rate it's a neat idea. However, this unit is placed in the effects chain which is a problem for me. I'm trying to keep my chain all tube, which is working out great.

So, this leads me to wonder if such a device as the Sonic Maximizer could be designed to operate between the amp and the speaker. I'm not very knowledgeable about these things, but I wonder nonetheless what kinds of "processing" are possible between amp and speaker.

I suspect that signal processing devices will generally need to operate before the power amp stage, because once you are on the speaker side of the power amp, you need to be designing for much higher voltages and a greater range of possibilities i.e. would you design for a 12W Princeton or a 1000W solid state power amp?

However, I expect that a device like the SM could sit between the pre-amp and the power amp if the amp has an insert/FX loop function. The difference between doing this and putting it between the guitar and the amp is that it is then driven by line level voltage (~1V) rather than signal level (~10 mV), and the effect becomes considerably more pronounced.

I suspect that signal processing devices will generally need to operate before the power amp stage, because once you are on the speaker side of the power amp, you need to be designing for much higher voltages

Got it. I wondered if there was a theoretical/practical reason for this.