TEST: MXR MC 402

 In recent times, it has become more than just popular to bring two or more well-known names in the music industry together and thus make use of the well-known synergy effect. MXR, itself one of the forefathers and big names in the field of floor effects devices, has decided to collaborate with a no less well-known name in the guitar field. We are talking about Bob Bradshaw, probably the most well-known designer of custom guitar pedal boards on the planet. According to the company, Bradshaw's company Custom Audio Electronics (CAE) wanted to make its products available to a larger group of interested parties and has reached an agreement with MXR on this.

Bradshaw himself has a wealth of experience in guitar pedals, having built control centers specially made to their specifications for countless illustrious and wealthy names such as David Gilmore, Steve Lukather and Eric Clapton, which can connect and combine pretty much any amp with any speaker and any FX device. Artists like Gilmore can also end up with stage systems that fill a 7.5 ton truck to the roof with equipment, as seen on the last Pink Floyd tours.

Funny enough, Bradshaw recently attracted attention as Steve Lukather's guitar roadie. A prototype of a sound system was to be tested live during a tour and was supervised by Bradshaw himself, who also took on the job of guitar tech. Lukather will probably never do this arrangement again, all the specialist magazines only wanted to interview Bradshaw, and Lukather himself came away with almost nothing in terms of interviews on this tour ;-)

The MC-401 Booster / Line Driver and its MC-402 variant with an overdrive are available for testing.

Construction:

An overdrive pedal in the classic sense will probably be familiar to every reader, as it is the simulation of an overdriven tube, but what exactly is a booster / line driver?

Let's imagine a guitar signal that is sent from a passive pickup on its way to the amplifier. The high-impedance signal first passes through a higher or lower quality instrument cable before it usually has to pass through a few other floor or 19" effects, which are also connected with higher or lower quality cables or connectors, in order to finally reach the amp's input. In addition, there may be some classics from the stompbox guild in the effects chain that do not yet have a true bypass and, even when deactivated, send the guitar signal through the entire on-board electronics. I myself never used a floor tuner live until the introduction of the true bypass / or buffer amp, despite the practical use, simply because no tuner of the time released the guitar signal without a loss of sound.

Whatever signal is still present at the amp afterwards is sometimes just a tired imitation of what the pickup fed into the signal path several meters of cable earlier. Especially with inferior cables (spending €3,000 on a Paula and then wiring everything else with €5 discount cables...), the result sometimes turns out to be a thin, high-frequency, and undynamic sound, which nips any joy in playing in the bud. For a realistic retro sound (I remember a Hendrix backline where 3 Marshall Heads were connected in series with ultra-thin patch cables stretched tightly across the stage.....) this adventurous mixture may well have its appeal and right to exist, but the majority of artists will be rather negative about this sound.

This is where our colleague Booster comes in, whose area of ​​application is twofold. Connected between the guitar and the amp, it can increase the level of the guitar signal and really "blow up" distortion-resistant old-school all-tube amps (keyword "without master"). (No, we're not talking about Jenna Jameson...), which increases both the subjective pressure, the self-compression and also the distortion. Connected after the effects chain, the booster acts as a catch-up amplifier and gives the signal back some of the tonal shine that it lost on its way through the innards of the pedals.

MXR floor pedals have always had something of an "indestructible" feel to them. These models also leave an extremely solid impression. A solid, black metal housing and sturdy plastic controls are very tough and can withstand even the most rough handling with such footwear. The devices can be operated either with a 9V battery or an external power supply, the standard connections are on the front or side. Solid switches round off the overall impression and give hope for a long life expectancy. The two switches are designed as true bypasses, i.e. when deactivated, the guitar signal is routed around the internal electronics.

The classic MXR knobs have a narrow strip on the top for better control of their settings, which fluoresces in the typical green-yellow color in dim light. The markings do not glow particularly brightly, but do not require any power supply.

Practice:

OK, then let's put the devices into operation. Oh my goodness, does anyone have sunglasses? That's not an LED on the top of the housing, that's a spotlight! I've never seen such a bright LED in my life, and it's a very attractive blue, which lights up the booster section when activated. The LED of the overdrive section, on the other hand, comes in a standard red without any glare, and you can tell these two lights apart really well even in poor lighting conditions on stage.

At 0 db boost, the volume of the signal doesn't change at first, but the "refreshing" of the signal mentioned above already occurs. The signal becomes clearer, has more treble and comes through much better in the band context, especially with clean sounds. As the boost increases, the downstream amp slowly starts to distort, depending on the amplifier type with a very dynamic, interactive crunch. I used a VOX AC15 in the sound examples, and you can see very clearly how the compression of the signal also increases with increasing boost, in addition to the level of distortion.

If you add the overdrive into play, the sound changes significantly. With Bradshaw, MXR has developed a typically "American" overdrive, whose semiconductor configuration is in stark contrast to the British overdrive. Bradshaw cannot deny that he was influenced by the 80s and has given the MC-402 the typical "softener" that graced countless platinum rock productions almost two decades ago. While the British overdrive almost always comes with a touch of scratching and sometimes biting sound, the American version is much less aggressive and places more emphasis on sustain-emphasized, more flattering sound.

If you are looking for the typical MXR sound a la Distortion + or similar, you will not find it here. Bradshaw has put his own, unmistakable sound stamp on the devices, which remains clearly audible in every setting. Here you have to try things out, as you always have to test an FX pedal in your personal setup. What produces phenomenal results in one configuration sounds simply pathetic in the next equipment park.

Conclusion:

Nomen est omen! If it says Bradshaw, there is sound culture inside. The MC-401 is an unobtrusive but effective sound enhancer, whose "bellows" I really liked. Connect a vintage amp, turn it up and give it the right boost level, and you're done. If you still sound irrelevant, you should find a competent guitar teacher. If you are looking for a moderate solo sound in the style of Lukather etc., you will find a suitable partner in the MC-402 combination.

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Additional Informations:

MXR Innovations, commonly known as MXR, has become a household name among musicians, especially guitarists, for its iconic and high-quality effects pedals. Founded in the early 1970s, MXR's journey from a small garage operation to an influential industry leader is a story of innovation, persistence, and a deep understanding of musicians' needs. This comprehensive article explores the history of MXR, highlighting its key developments, groundbreaking products, and lasting impact on the music industry.

#### Early Beginnings

MXR was founded in 1972 in Rochester, New York, by Keith Barr and Terry Sherwood, two audio enthusiasts with a passion for electronics and music. Keith Barr, an electronics engineer, and Terry Sherwood, a business-savvy entrepreneur, combined their skills to address the growing demand for reliable and innovative guitar effects pedals.

The early 1970s were a transformative time for rock music, with guitarists seeking new ways to shape and expand their sound. Effects pedals became essential tools for achieving distinctive tones and experimenting with sound textures. Recognizing this trend, Barr and Sherwood aimed to create pedals that were not only sonically impressive but also built to withstand the rigors of touring and live performance.

#### The Birth of the Phase 90

MXR's first product, the Phase 90, was introduced in 1974 and quickly became a hit. The Phase 90 was a phaser pedal that offered a rich, warm modulation effect, adding depth and movement to the guitar's sound. Its simple design featured a single knob to control the speed of the phase effect, making it incredibly user-friendly.

The pedal's robust construction, compact size, and distinctive orange casing set it apart from other effects on the market. The Phase 90's signature sound was embraced by many notable guitarists, including Eddie Van Halen, whose use of the pedal on Van Halen's debut album helped cement its legendary status.

#### Expansion and Innovation

Building on the success of the Phase 90, MXR rapidly expanded its product line. The company introduced a series of pedals that would become staples in the guitarist's toolkit:

1. **Dyna Comp (1976)**: This compressor pedal became known for its smooth, even sustain and subtle dynamic control. It helped guitarists achieve a more polished, studio-quality sound, both live and in recordings.

2. **Distortion+ (1973)**: One of the earliest distortion pedals, the Distortion+ offered a gritty, overdriven sound that could push amplifiers into new sonic territories. It was particularly popular among hard rock and heavy metal players.

3. **Carbon Copy (2008)**: Although introduced much later, the Carbon Copy analog delay pedal became an instant classic, revered for its warm, vintage delay sounds and modulation options.

4. **Phase 100**: An expanded version of the Phase 90, the Phase 100 offered additional controls for more intricate phase modulation effects, providing greater versatility for musicians.

MXR's innovative approach extended beyond their effects pedals. The company also ventured into rack-mounted processors and other audio equipment, continually pushing the boundaries of audio technology.

#### Challenges and Resilience

Despite their early success, the late 1970s and early 1980s brought significant challenges for MXR. The effects pedal market became increasingly competitive, with new companies and products emerging rapidly. Additionally, economic pressures and internal management issues began to take their toll.

In the early 1980s, MXR faced financial difficulties, leading to a decline in production quality and consistency. By 1984, the company filed for bankruptcy and ceased operations. This period marked a significant downturn for MXR, leaving a void in the market for high-quality, reliable effects pedals.

#### Revival and Acquisition by Dunlop

The MXR brand remained dormant until 1987, when Jim Dunlop, the founder of Dunlop Manufacturing, recognized the enduring value and potential of MXR products. Dunlop, known for its own successful line of guitar accessories and effects, acquired the MXR brand with a vision to revive and rejuvenate it.

Under Dunlop's leadership, MXR saw a resurgence. Jim Dunlop focused on maintaining the original design ethos and quality standards that had made MXR pedals beloved by musicians. The company reintroduced classic pedals like the Phase 90, Dyna Comp, and Distortion+ while also developing new models that embraced modern advancements in audio technology.

#### Modern Innovations and Legacy

Today, MXR continues to be a leading name in the effects pedal industry. The company's product lineup has expanded to include a wide range of effects, from overdrives and fuzzes to delays and reverbs. Each new pedal is designed with the same commitment to quality and innovation that characterized the brand's early years.

MXR's modern pedals often incorporate advanced features such as true bypass switching, LED indicators, and more precise control options. Collaborations with renowned artists and engineers have also led to signature pedals tailored to specific playing styles and preferences, further enhancing MXR's reputation.

#### Iconic MXR Pedals and Their Impact

The impact of MXR pedals on the music industry is profound. Here are a few iconic models and their contributions:

1. **Phase 90**: Beyond its initial success with Eddie Van Halen, the Phase 90 has been used by countless guitarists across genres. Its distinctive sound can be heard on classic rock, funk, and modern rock recordings.

2. **Dyna Comp**: This compressor pedal has become a studio staple, used by guitarists and producers to achieve smooth, controlled dynamics. Its influence is evident in the polished sound of many hit records.

3. **Carbon Copy**: The Carbon Copy delay pedal brought analog delay sounds back into the spotlight, offering a lush, musical delay that has been favored by both live performers and studio musicians.

4. **Distortion+**: As one of the first distortion pedals, the Distortion+ paved the way for the development of more advanced overdrive and distortion effects, shaping the sound of rock and metal music.

#### Conclusion

MXR's journey from a small startup to an industry standard is a testament to the power of innovation, quality, and understanding the needs of musicians. Despite facing significant challenges, the brand's revival and continued success under Dunlop Manufacturing demonstrate the enduring appeal of MXR pedals.

Today, MXR remains a trusted name in the music industry, known for its reliable, high-quality effects that inspire creativity and help musicians achieve their desired sounds. The legacy of MXR is not only seen in its classic pedals but also in its ongoing commitment to pushing the boundaries of audio technology, ensuring that the next generation of musicians can continue to explore new sonic possibilities.

TEST: Mackie U420d

 Just a quick thing! Do you know what it's like to "just" record something, "just" mix something together, "just" convert whatever into a different sound?

And in reality, this "just" thing is sometimes so complex and time-consuming that you've already forgotten about 50% of the creative inspiration before even the most important wiring has been done.

I, too, always a big advocate of the "big" and "proper" solution, sometimes find myself in a situation where every second really counts. Many songwriting ideas for the new DOMAIN album, which will be released in February 2009, came to me in the most absurd situations (shower, finger exercises, taking out the trash... ;-) and demanded immediate archiving, because, the composers among you will know the problem: anything that is not immediately written down, at least in rough form, in sheet music or saved on a hard drive is forever banished from the brain's creative RAM memory and never comes back! NEVER!

Therefore, small and mobile desktop solutions of any kind in a personally logistically optimized work area can really save your composition or arrangement skills.

One example of the "bring everything together" solution is the Mackie U.420d, a small, portable desktop mixer that processes almost all signals from microphone to line level to phono feed in the smallest of spaces and, if necessary, forwards them directly to the home Mac/PC workstation via a Firewire interface.

Construction:

In contrast to its close relative, the U.420, which is primarily responsible for managing line signals, the U.420d also offers the option of accommodating 2 microphone signals in the routing.

However, the plastic housing is identical with dimensions of 22.4 cm x 8.7 cm x 21.8 cm (W x H x D) and the similar weight of 1.36 kg. Let's start with the connections on the back of the device.

The microphone channels mentioned above are noticeable on the right-hand side, which can be fed with both XLR and 6.25 mm jack. Both channels can be supplied with 48V phantom power if required, which is activated via a small push button located in the middle of the front panel.

This is followed by two stereo line-ins, which are fed either via jack or, when a vinyl record player is connected, via stereo cinch. To counteract the mains hum that often occurs, there is a grounding screw on the left-hand side, which can be used to additionally ground the record player.

This completes the input section, followed by the output area. In addition to a stereo main out, the device has an additional aux out, a headphone output and the Firewire interface mentioned at the beginning.

In addition, the power connection socket of the included power supply is located next to the Firewire port. All in all, a very tidy appearance, simple in concept and clear in access.

On the front, the user is greeted by an equally clear panel, which is almost self-explanatory in terms of its area of ​​application.

On the left side are the two microphone channels, which have a gain control, a three-band tone control and an adjustable aux path. A cue control allows control via headphones before the signal reaches the short but sufficient fader.

On the right side are the stereo channels, which, in addition to the mono channel features, have an adjustable level control instead of the fader and are connected to an additional crossfade control.

This control is primarily designed for DJ use and can also be used to choose between two crossfade speeds (linear / non-linear) using a curve push button.

Arranged in the middle are an oversized master volume control, the volume control for the headphones, the volume control and activation push button for the incoming Firewire signal, the 48V phantom power switch for the two mono channels, a cue check LED and two 8-digit LEDs for the master output.


Practice:

If you take a first look at the U.420d and are also blessed with a bit of imagination, you will immediately notice the all-encompassing application area of ​​the small mixer. Due to the connection area of ​​2 symmetrical microphone inputs, 2 stereo line-ins and two phono inputs, a wide variety of application areas can be generated:

1.) Music production a.)

Pretty much all common instruments / sound generators can be connected to the U.420d, be it a vocal microphone (dynamic / condenser), an acoustic guitar with pickup, keyboards or even an electric guitar, provided you have an adequately sounding preamp / emulation amplifier.

Active monitoring on the main out, if necessary second monitoring on the aux path, or headphones via headphone out, done!

2.) Music production b.)

The DJ setup. Thanks to the double connection options for two phono players, the "record player" can also carry out his own personal setup in addition to the options mentioned above.

3.) Live performance

Everything as under 1.), but with a corresponding PA on the main out and the monitor system (e.g. wedges) on the adjustable Aux (of course only one way, I don't want anyone to come to me with an individual monitor mix for the dwarf!)

If required, additional sound generation from the laptop via the Firewire interface.

4.) DJ live performance

Everything as under 3.), but with the difference that wedges will probably not be connected to the Aux-Out, but rather another small active monitor for the performer.

5.) Broadcast / podcast

Two microphones for the dialogue / monologue on site, tape recording or external music via Line-In 1, telephone / Skype integration (in/out) via Line-In 2 or Aux-Out and a monitor on the main out.

Live recording via Firewire if required!

But wow, if that isn't a comprehensive range of applications!

To put it briefly, the U.420d masters all of the above-mentioned areas of application with ease. It's great that the equalizer frequencies of the microphone channels are again based on the classic Mackie frequencies of 12 Khz in the high frequency range and 80 Hz in the bass range, plus a semi-parametric mid-range filter (100 Hz - 8 Khz), while the line inputs, like the U.420, have their center frequencies at 4 Khz, 1 Khz and 300 Hz.

The product proves to be low-noise, and all of the values ​​are equally impressive.

Conclusion:

Well done! Like its little brother, the U.420, the U.420d is a flexible, great-sounding mixer that, when used with a multimedia-capable PC, delivers excellent results in many areas and also offers greater flexibility in terms of its application area.

Many users will welcome the small desktop mixing solution as a welcome tool in the project studio or in a manageable live setting. A simple, clearly structured concept that is convincing.

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Additional Informations:

#### Overview of the Mackie U420 Series

The Mackie U420 series is designed for users who need a compact, versatile mixer that delivers professional-quality audio. These mixers are ideal for small recording setups, live performances, and multimedia production. Both the U420 and U420d share many common features, such as a user-friendly interface, robust build quality, and high-fidelity audio components. However, there are several key differences that set these two models apart, making each suited to different specific applications and user preferences.

#### Design and Build Quality

**Mackie U420:**

The Mackie U420 is a 4-channel mixer known for its sturdy construction and intuitive layout. The mixer is built with a rugged metal chassis, ensuring durability and reliability in various environments. Its compact size makes it easy to transport and ideal for mobile setups. The U420 features a simple control panel with clearly labeled knobs and switches, making it easy to use even for beginners.

**Mackie U420d:**

The Mackie U420d shares the same robust construction and compact form factor as the U420 but includes additional digital features that enhance its functionality. The "d" in U420d stands for "digital," indicating the inclusion of digital effects and USB connectivity. This model also features a slightly more complex control panel to accommodate the additional digital functions, but it maintains the user-friendly design characteristic of Mackie products.

#### Input and Output Options

**Mackie U420:**

- **Inputs:** The U420 offers a variety of input options, including two mono mic/line channels and one stereo line input. The mono channels feature Mackie’s high-quality preamps, known for their low noise and excellent headroom. The stereo line input is suitable for connecting instruments, keyboards, or other stereo sources.
- **Outputs:** The mixer includes balanced main outputs and a headphone output, providing flexible monitoring options. There are also RCA outputs for connecting to consumer audio equipment.

**Mackie U420d:**

- **Inputs:** The U420d provides similar input options to the U420 but adds USB connectivity for direct integration with computers and digital audio workstations (DAWs). This feature allows users to record and play back audio directly from their computer, making the U420d a versatile tool for digital recording and production.
- **Outputs:** In addition to the balanced main outputs and headphone output found on the U420, the U420d includes USB output, allowing for easy digital recording and playback. The inclusion of USB connectivity significantly expands the mixer’s flexibility and usability in modern digital workflows.

#### Digital Features

**Mackie U420:**

The U420 is a straightforward analog mixer, focusing on providing high-quality audio with minimal processing. It does not include built-in digital effects or USB connectivity, making it a more traditional mixer ideal for users who prefer an all-analog signal path.

**Mackie U420d:**

The U420d stands out with its digital capabilities, including built-in digital effects and USB connectivity. These features make the U420d more versatile and suitable for a wider range of applications:

- **Digital Effects:** The U420d includes a suite of digital effects, such as reverb, delay, and chorus. These effects can be applied to any input channel, adding depth and character to the sound without the need for external processors.
- **USB Connectivity:** The USB interface allows for direct recording to and playback from a computer. This feature is particularly useful for home studios, podcasters, and live streamers who need seamless integration with digital audio software.

#### Sound Quality and Performance

**Mackie U420:**

The U420 delivers pristine sound quality, thanks to its high-headroom preamps and low-noise design. The mixer’s EQ section is simple but effective, allowing for basic tonal shaping. Its analog nature ensures a warm, natural sound, making it suitable for users who value traditional analog audio characteristics.

**Mackie U420d:**

The U420d also offers excellent sound quality, with the added benefit of digital effects and USB connectivity. The digital effects are of high quality, enhancing the overall sound without introducing significant noise or artifacts. The USB interface provides clean, high-resolution audio transfer between the mixer and computer, ensuring professional-grade recordings.

#### Usability and Workflow

**Mackie U420:**

The U420’s straightforward design makes it extremely easy to use. Its simplicity is its strength, allowing users to focus on the mix without being distracted by complex features. This makes the U420 ideal for live sound applications and small recording setups where ease of use is paramount.

**Mackie U420d:**

The U420d’s additional features make it a more versatile tool, especially for users who work with digital audio. The built-in effects and USB connectivity streamline the recording and production process, reducing the need for external gear. This makes the U420d a great choice for home studios, podcasters, and musicians who need a compact but powerful mixing solution.

#### Applications and Suitability

**Mackie U420:**

The U420 is well-suited for:

- Small live sound setups, such as solo performances or small bands.
- Basic recording setups where high-quality analog audio is preferred.
- Users who prefer a simple, straightforward mixer without digital features.

**Mackie U420d:**

The U420d is ideal for:

- Home studios and personal recording setups, thanks to its USB connectivity.
- Podcasters and live streamers who need built-in digital effects and direct computer integration.
- Musicians and producers who want a compact mixer with versatile digital capabilities.

#### Conclusion

Both the Mackie U420 and U420d offer high-quality audio performance in compact, durable packages. The choice between the two depends largely on the user’s specific needs and preferences:

- The U420 is perfect for those who prefer an all-analog signal path and require a simple, reliable mixer for live sound or basic recording.
- The U420d caters to modern audio workflows, providing digital effects and USB connectivity, making it a versatile tool for digital recording and production.

Mackie’s commitment to quality and innovation is evident in both models, ensuring that users can achieve professional results regardless of their choice. Whether you need a straightforward analog mixer or a versatile digital hybrid, the U420 series has something to offer.

TEST: Mackie U420

 It is always interesting for me to observe how individual product ranges or areas of application suddenly, almost shot from the hip, skyrocket over the course of a few years or, conversely, after a relatively short gasp, go the way of all things.

If you look, for example, at the development of budget studios, sometimes located in the home office, with the help of the local PC, accompanied by increasingly powerful plugins and CPU performance, you can observe the parallel development of various desktop solutions tailored to this target group in easy step.

Detached from 19" screw connections, you can find more and more simple small and tiny mixers on the home desk or in fast mobile use, which can be quickly set up and dismantled and have the most important interfaces in order to be able to communicate on the digital level in direct connection with the more or less equipped workstation in the form of the personal lap or desktop.

The Mackie U420, a miniature desktop mixer designed to serve the above-mentioned customer group, is one of these all-round carefree packages.

Construction:

The D420 comes in a plastic housing with dimensions of 22.4 cm x 8.7 cm x 21.8 cm (W x H x D) and is very light at just 1.13 kg. The housing is made of impact-resistant plastic, which is also quite scratch-resistant.

To ensure a slightly more comfortable surface for the hand, the lower part of the mixer is made of a softer, black rubber mixture. The product is once again assembled in China.

The mixer's priorities are routing line signals; a microphone input is not available. Instead, it has 4 stereo channels, the first three of which can optionally be fed in mono, and a phono input. So if you finally want to digitize your extensive vinyl collection, or want to DJ the local party scene on the side, here is the right RCA input and amplifier.

The output area has the main out and a stereo aux out, as well as a headphone jack. With the exception of the phone in, all jacks are 6.35 mm jacks.

To avoid ground loops, the D420 has a corresponding ground screw, to which external third-party housings can be connected if necessary. Finally, on the rear panel there is the 18 V power connection and the mixer's real secret weapon, a Firewire 400 interface.

Why Firewire? Well, even if many still consider USB 2.0 with its theoretical 480 Mbit/s to be the faster version compared to 400 Mbit/s, anyone who has ever had to deal with both interfaces in practice will confirm that USB cannot even come close to the Firewire interface in all areas.

Data throughput and communication with other external devices in the Firewire network are faster and more effective, no comparison to the USB environment that constantly communicates with the controller.

The individual channel strip has a gain control (+/- 14 db), a three-band equalizer (according to the label, optionally + 10 db and "kill" ;-)), an AUX control for controlling the volume of an external sum pair such as monitor speakers / second monitors etc. and a rotary volume control.

Channel one has a direct connection for a high-impedance instrument such as an electric guitar, making it unnecessary to feed it through a D.I. box.

The oversized main level control is located in the middle, and its activity can be monitored on an 8-LED display. The volume control for the headphones and the volume control for the return path of the Firewire channel from the PC to the monitor are also located here.



Practice:

Finally! I peel the desk out of its packaging, put it on my desk and... the desk stands BOMB-TIGHT on its little rubber feet and can only be pushed to the side with a lot of pressure. I don't think I've come across such an excellent rubber mixture for ages, which has enough stiffness to equalize the pressure and is still soft enough to literally "stick" to the surface it's standing on.

Even though many will now say "this ride has strange priorities", if you knew how often I've had similar setups spin in circles at the slightest touch, live and in the studio, despite the rubber feet, you would more than understand my praise.

In terms of sound, the filters do their job, sometimes very well, sometimes normal. Anyone expecting the sound quality of the slightly more expensive VLZ series from Mackie will perhaps be a little disappointed; the filters work too "roughly" in direct comparison.

To avoid any misunderstandings, the filters work well, but the controller installed here does not achieve the "silkyness" of the treble control of the higher series, for example, due to its rather low shelving alignment at 4 kHz. The 1 kHz of the mid control is a bit too low for me personally, while the shelving bass control, which already kicks in at 300 hertz, is too high. All in all, however, the filters more than do justice to their field of application.

Unfortunately, the catch-up amplifier does not saturate as nicely as I am used to from Mackie consoles. Here, the gain actually "only" takes on its original function of level adjustment, which it does perfectly, but unfortunately you cannot use it to generate the wonderful compression effect that I know from the VLZ series. Yes, that's complaining at a high level, I know other consoles would be happy if their booster amplifiers didn't completely ruin the sound without level jumps....

The AD/DA conversion works technically flawlessly, and the sound is above average for the selling price. What is noticeable, however, is that the direct analog sound of the console is a touch fresher and more direct from the speakers.

In terms of cabling, it couldn't be easier. I connected the Firewire cable to my iMac and entered the U420 as the sound source in the system settings, and that was it! In terms of level, the Firewire interface could provide a little more amps, but in terms of recording, everything was within the green range.

Conclusion:

With its U420, Mackie delivers a flexible, good-sounding mixer that, when used in conjunction with a multimedia-capable PC, delivers excellent results in many areas. The Firewire interface proves to be a central approach and fully lives up to its function.

Whether as a small production tool, as a small live mixer, as a sub-mixer for keyboard players or as a sound management and tonal point of contact in the multimedia sector, the small desktop solution will find its buyers, I am sure of that.

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Additional Informations:

Mackie, a renowned name in the audio equipment industry, has a storied history of innovation and quality in the production of mixing consoles. Among their diverse product line, Mackie’s smallest mixers have carved out a significant niche, celebrated for their portability, reliability, and impressive sound quality. This article delves into the detailed history and evolution of Mackie’s smallest mixers, exploring the technological advancements, market demands, and design philosophies that have shaped these compact yet powerful tools over the years.

#### Origins and Early Innovations

The journey of Mackie’s small mixers began in the late 1980s. Greg Mackie, the founder of Mackie Designs Inc., was a professional audio engineer who saw a gap in the market for affordable, high-quality mixing consoles. At that time, the available mixers were either too expensive or lacked the necessary features for professional use. Mackie’s vision was to democratize access to professional-grade audio equipment.

The first significant breakthrough came in 1989 with the release of the Mackie CR-1604, a compact 16-channel mixer that offered unprecedented quality and functionality at a reasonable price. While not the smallest mixer, the CR-1604 set the stage for Mackie’s commitment to compact, user-friendly designs. Its success demonstrated a strong market demand for portable mixers, inspiring Mackie to explore even smaller formats.

#### The Birth of the VLZ Series

The VLZ (Very Low Noise) series, introduced in the early 1990s, marked a pivotal moment in the evolution of Mackie’s small mixers. The VLZ series was designed with a focus on reducing noise and improving sound quality, features that quickly became trademarks of Mackie mixers. Among the early models was the 1202-VLZ, a 12-channel mixer that encapsulated Mackie’s commitment to portability and performance.

The VLZ series mixers were characterized by their robust construction, ergonomic design, and high-quality preamps. The use of XDR (Extended Dynamic Range) preamps in the VLZ series set new standards for sound clarity and headroom in compact mixers. The success of these mixers solidified Mackie’s reputation and paved the way for even smaller models.

#### Compact Models and Market Expansion

As the demand for portable audio solutions grew, Mackie responded by developing even smaller mixers that retained the high standards of the VLZ series. The Mackie 402-VLZ3, introduced in the early 2000s, is a notable example. This 4-channel mixer was designed for musicians and audio professionals who needed a portable yet reliable solution for live sound and recording.

The 402-VLZ3 and its successors offered features typically found in larger consoles, such as high-headroom preamps, precision EQ, and rugged construction. These mixers became popular in a variety of settings, from home studios to small live venues, and were particularly favored by solo performers and podcasters for their ease of use and portability.

#### Digital Advancements: The ProFX and Onyx Series

In response to the growing trend of digital audio, Mackie introduced the ProFX and Onyx series, which incorporated digital effects and USB connectivity into their compact mixers. The ProFX series, launched in the late 2000s, included models like the ProFX8, an 8-channel mixer with integrated effects and USB output for easy recording.

The Onyx series took digital integration further, featuring Onyx preamps known for their clarity and low noise. The Onyx 820i, for instance, was an 8-channel mixer with FireWire connectivity, allowing seamless integration with digital audio workstations (DAWs). These advancements reflected Mackie’s adaptability to the evolving audio landscape and its commitment to providing modern solutions for audio professionals.

#### Recent Innovations and the Future

In recent years, Mackie has continued to innovate, introducing ultra-compact mixers that cater to the needs of modern audio professionals. The Mix series, for example, includes the Mix5, a 5-channel mixer that combines Mackie’s signature sound quality with a minimalist design. These mixers are ideal for users who need a simple yet effective solution for small gigs, podcasts, and home recording.

Moreover, the development of Bluetooth-enabled mixers like the Mackie ProFXv3 series shows Mackie’s dedication to incorporating contemporary technology into their products. These mixers offer wireless streaming capabilities, allowing users to easily integrate mobile devices into their setups.

#### Design Philosophy and User-Centric Approach

A significant factor in the success of Mackie’s small mixers is the company’s user-centric design philosophy. Mackie has always prioritized the needs of audio professionals, ensuring their products are not only high-performing but also user-friendly. Features like rugged metal chassis, intuitive layouts, and comprehensive connectivity options make Mackie mixers reliable and versatile tools.

#### Impact on the Industry

Mackie’s innovations in compact mixer design have had a profound impact on the audio industry. By making high-quality mixing consoles accessible to a broader audience, Mackie has empowered countless musicians, producers, and sound engineers to achieve professional results without breaking the bank. The portability of these mixers has also facilitated the rise of mobile recording and live streaming, enabling creators to produce content from virtually anywhere.

#### Conclusion

The evolution of Mackie’s smallest mixers is a testament to the company’s commitment to quality, innovation, and user satisfaction. From the early days of the VLZ series to the latest digital and Bluetooth-enabled models, Mackie has consistently pushed the boundaries of what compact mixers can achieve. As the audio landscape continues to evolve, Mackie’s dedication to meeting the needs of audio professionals ensures that their small mixers will remain indispensable tools for years to come.

TEST: Mackie Thump Series

 As is well known, the area of ​​active 2-way PA solutions is a highly competitive market that sometimes needs to be defended or conquered. Mackie, with its Mackie Thump series, is clearly part of the first division, despite a slightly different name, as the American manufacturer was already able to convince in many ways with products such as the TH-12A or TH-15A almost 6 years ago.

The Thump series is not the "market-crier sound solution" that mixes many different signals, some of them mono-compatible, in an internally installed mixing console and then plays them back via a loudspeaker box. Rather, the Mackie Thump series with the Thump 12, Thump 15 and Thump 18S products is a classic, old-school compact PA that is aimed at typical club sound for up to 150/200 people. At moderate volumes, even up to 300 people.

Designs

Let's start with the satellites. Even though 12" and 15" speakers can be placed on the floor or a table, the components are typically used on a subwoofer or a high stand using spacer rods. To ensure this mode of operation, the speaker has the standard 35 mm flange on the bottom for stand operation. While the Thump 12 only has regular feet on the bottom, the Thump 15 comes with stacking feet, which allows the units to be stacked. However, I doubt whether you can get more than 2 units to the sky in a reasonably stable manner without additional clamping units.

The Mackie Thump 12 + 15 are active two-way speakers, which are specified as having 500 watts RMS and a peak of 1000 watts in terms of power, with the bass speakers being powered by an 800 watt Class D, while the 1.4" tweeter is powered by a Class AB power amplifier with 200 watts peak. If we assume values ​​that are common in practice, I estimate a distortion-free sine wave playback power of around 300 watts, the rest is, as always, a matter of making a big deal out of it.

As is usual in this performance class, the design is bass reflex. The woofer is protected from external influences by a solid metal grille, and the driver is installed sufficiently far back. In terms of frequency, the products have a playback range of 50 Hz - 23 kHz or 32 Hz - 23 kHz, according to the manufacturer. However, both figures should be considered "big deal" as the lower limit frequency is only touched, and the upper limit frequency cannot even be heard by a newborn.

Due to the trapezoidal shape, both versions are defined in terms of application, from the classic vocal system to the floor monitor area to a simple small PA. A combo socket (XLR / TRS) and a looped XLR output enable stacking in daisy chain mode.

Both products have a very light housing made of polypropylene, so that despite the generously proportioned performance specifications and the housing dimensions of (H x W x D): 596 mm x 367 mm x 314 mm (Thump 12) and (H x W x D): 702 mm x 427 mm x 394 mm (Thump 15), the product only has a very moderate total weight of 13.2 (Thump 12) and 15.1 (Thump 15) kilograms. Despite the pure plastic design, the housing is very scratch-resistant and stable against external influences.

Both boxes have 3 carrying handles, which are attached to the side and on the top. Due to the low weight, it is possible for less muscular people to set up their system without the help of third parties.

In terms of sound control, both boxes have a three-band sound control, with the mids being semi-parametric (100 Hz - 8 kHz). For the inexperienced user, a few setting examples are printed on the lower part of the panel. The volume is managed via a single level control, which uses a red LED to warn of internal overloads. In terms of price, Mackie really sets the bar very low due to Chinese production and charges real bargain prices of 299 euros (Thump 12) and 349 euros (Thump 15).

Subwoofer

To match the satellites described above, Mackie supplies a subwoofer that has been visually and acoustically coordinated with the products. In contrast to a bass reflex solution, a bandpass solution was preferred here, which delivers a higher level of efficiency, but also loses some definition due to the somewhat sluggish construction.

According to the product name, we can expect an 18-inch woofer, which, with dimensions of 672 mm x 573 mm x 580 mm, weighs a comparatively moderate 37.2 kilograms. Even if this value seems extremely transport-friendly compared to some competing products, one person alone cannot really move this cube, unless you have a hand truck as your constant companion. A few wheels on the back might have solved this problem, but you have to enlist the help of the two strong handles on the side and a good friend.

The built-in Class D power amplifier delivers 600 watts RMS and generates a sound pressure of 130 db SPL. The frequency response is specified as 30 - 132 Hz, i.e. only the lowest frequency spectrum is really addressed here. The woofer has right/left XLR inputs and can either pass the signal completely to the satellites or pass it on at the fixed crossover frequency of 140 Hz. All controls and connections are on the back, which are complemented by a power switch, the cold appliance plug, a phase switch, an on/off LED and a level control.

Practice

Connecting and operating all systems is easy even for inexperienced people, only the parametric midrange control requires some experience in handling frequencies. The high midrange between 2 - 3 kHz in particular needs to be hit tastefully, especially since the tweeter horns of the 12 and 15 speakers tend to "bite" a bit here. In addition, the 15 Thump struggles with the classic midrange hole in the crossover frequency between the bass speaker and tweeter driver. However, all of this is nitpicking at a high level when you consider the retail price of the products.

On the other hand, the bass reproduction of the two satellites in full-range operation is impressive. Even the Thump 12 offers a very powerful boost below 300 Hertz, and it also shines with very good speech intelligibility. In terms of vocals, it is clearly superior to the Thump 15, but the latter has a very powerful bass range, so that it can be used as a stand-alone solution for DJs without any problems.

As expected, both speakers experience significantly more bass when used with the Thump 18S subwoofer, and this combination is particularly effective when used with the 12-inch version. The fixed crossover frequency of 140 Hz makes handling easier, but for my taste, the cut-off is a bit too high with a bandpass woofer. A controller that allows the frequency to be continuously reduced to 80 Hz, for example, would be a bit more practical, especially since the satellites themselves already cover the low-mid range very well.

For just under 1,400 euros, however, you already have a very powerful small PA that covers a wide range of sounds. If you can stretch your budget to €2,000, you can get a second woofer on board, which is already close to official sound.

The high mids and highs are not as finely resolved as you would expect from higher-priced products, but we are already in areas that cost almost twice the retail price.

Conclusion

With the Mackie Thump series, the American manufacturer covers a wide range of small PA sound systems. Priced at the lower end of the scale, the top parts already impress in full-range operation with powerful bass reproduction, which can be increased even further with the help of the 18S subwoofer.

For just under €2,000, you get almost 2,000 watts RMS, which offers an impressive number of sound solutions from band operations to DJ entertainment.

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Additional Informations:

### The Transition from Wood to Plastic in Live Sound Loudspeaker Enclosures: A Comprehensive Analysis

#### Introduction

Loudspeaker enclosures have traditionally been crafted from wood, valued for its acoustic properties and durability. However, recent years have seen a significant shift towards the use of plastic in manufacturing these enclosures, particularly in the live sound sector. This transition is driven by a combination of technological advancements, economic considerations, and practical benefits that plastic offers over wood. This article delves into the reasons behind this shift, the advantages and disadvantages of both materials, and the future implications for live sound technology.

#### Historical Context

The use of wood in loudspeaker enclosures dates back to the early days of audio engineering. Wood’s natural density and stiffness provided excellent acoustic properties, allowing for clear, resonant sound reproduction. Birch plywood, in particular, became a standard due to its strength and relatively light weight compared to other types of wood. However, as the live sound industry evolved, so did the demands placed on loudspeaker systems.

#### The Rise of Plastic Enclosures

In the past two decades, the use of high-impact plastics in loudspeaker enclosures has become increasingly prevalent. The transition is fueled by several key factors:

1. **Weight Reduction**: One of the most significant advantages of plastic over wood is weight. Live sound equipment needs to be transported and set up frequently, often under tight time constraints. Plastic enclosures are substantially lighter than their wooden counterparts, making them easier to handle, transport, and mount.

2. **Durability and Weather Resistance**: Plastic enclosures are more resistant to the elements. Unlike wood, plastic does not absorb moisture, which can lead to warping, swelling, and eventual deterioration. This makes plastic an ideal choice for outdoor events where exposure to rain and humidity is a concern.

3. **Manufacturing Flexibility**: The use of plastic allows for more intricate and aerodynamic designs, which can enhance the acoustic performance. Injection molding, a common manufacturing process for plastic, enables the production of complex shapes that are difficult or impossible to achieve with wood.

4. **Cost Efficiency**: Producing plastic enclosures can be more cost-effective, especially at scale. The raw materials and production processes for plastic are generally cheaper than those for wood. Additionally, plastic enclosures often require less labor-intensive finishing processes.

#### Advantages of Plastic Enclosures

- **Lightweight**: The reduction in weight facilitates easier handling and transport, reducing the risk of injury and lowering shipping costs.
- **Durability**: Plastic enclosures are less prone to damage from impacts and environmental conditions.
- **Acoustic Design**: Modern plastics can be engineered to provide acoustic properties that rival, or in some cases, surpass wood.
- **Cost**: Lower production costs can make high-quality sound systems more accessible to a broader range of users.

#### Disadvantages of Plastic Enclosures

- **Perceived Quality**: There is a long-standing perception that wood enclosures offer superior sound quality. While this is not always the case, it can influence purchasing decisions.
- **Environmental Concerns**: The production and disposal of plastics raise environmental concerns. While wood is a renewable resource, plastic production is reliant on petrochemicals and contributes to pollution.
- **Structural Integrity**: High-impact plastics can be very strong, but in some cases, they may not match the structural rigidity of wood, which can be crucial for maintaining the integrity of large enclosures under stress.

#### Comparative Acoustic Properties

The acoustic properties of an enclosure material significantly impact sound quality. Wood has traditionally been favored for its natural resonance and damping characteristics. However, modern engineering has enabled the development of plastics that can be tailored to specific acoustic requirements. Through the use of additives and advanced molding techniques, manufacturers can create plastic enclosures with optimized resonance and reduced vibration, ensuring high-fidelity sound reproduction.

#### Practical Applications in Live Sound

The practical benefits of plastic enclosures are particularly evident in the live sound environment. For touring musicians and live sound engineers, the weight and durability of equipment are critical considerations. Plastic enclosures can withstand the rigors of constant transport and setup, offering a level of reliability that is crucial for live performances.

Furthermore, plastic enclosures often feature integrated handles and mounting points, making them more user-friendly for quick setups and teardowns. This ergonomic advantage is particularly beneficial in high-pressure situations where time is of the essence.

#### Case Studies

Several leading manufacturers in the audio industry have successfully transitioned to plastic enclosures for their live sound products:

1. **JBL Professional**: JBL’s EON series is a prime example of high-quality plastic enclosures. These speakers are renowned for their durability, lightweight design, and excellent sound quality, making them a popular choice for both professional and amateur live sound applications.

2. **QSC**: The QSC K Series showcases the potential of plastic enclosures in delivering premium sound performance. These speakers combine sophisticated acoustic design with the practical benefits of plastic, resulting in a versatile and robust product line.

3. **Electro-Voice**: The ZLX series by Electro-Voice utilizes high-impact polypropylene to create enclosures that are both lightweight and acoustically optimized. This series is a testament to how modern materials can be used to meet the demanding requirements of live sound reinforcement.

#### Future Trends and Innovations

As the live sound industry continues to evolve, so too will the materials and technologies used in loudspeaker enclosures. Future trends may include:

- **Advanced Composites**: The use of advanced composite materials that combine the best properties of plastic and other materials, such as carbon fiber, to enhance strength and acoustic performance.
- **Eco-Friendly Plastics**: Development of biodegradable or recyclable plastics to address environmental concerns associated with traditional plastic production.
- **Smart Enclosures**: Integration of smart technology within enclosures to provide real-time monitoring and adjustment of acoustic properties based on the performance environment.

#### Conclusion

The shift from wood to plastic in live sound loudspeaker enclosures represents a significant evolution in the industry. While wood remains a beloved material for its traditional qualities, the practical advantages of plastic—lightweight, durability, manufacturing flexibility, and cost efficiency—make it an increasingly popular choice for modern live sound applications. As technology advances, we can expect further innovations that will continue to enhance the performance and sustainability of plastic enclosures, ensuring they remain at the forefront of live sound technology for years to come.

TEST: Mackie Thump 15BST

 After Mackie recently gave its Thump series a new design with expanded functions with the A version, the console pioneer is presenting a further upgrade with the Mackie Thump 15BST, which allows its sister model to come up with a greatly expanded concept. The housing, performance and area of application have remained identical, so what could justify the additional charge of 130 euros?


The basic data of the Mackie Thump 15BST

Let's first turn to the master data of the 15/1 construction as it is also available in the Thump 15A version. A 15-inch speaker handles the bass range, while a 1.4-inch tweeter with a titanium compression driver dome covers the high frequency range. Separated at 2 kHz, the frequency response is given as 32 Hz - 23 kHz. As a sticker on the front tells us, both systems deliver 1300 watts peak, with 1000 watts being delivered to the woofer via a Class D power amplifier and 300 watts to the tweeter via a Class A/B power amplifier. It should be clear to everyone that these are peak values.

The stable but comparatively light housing has dimensions of 686 mm x 442 mm x 356 mm and weighs just 15.9 kg and can therefore be considered a lightweight given the performance specifications offered. The flexible orientation in terms of operating modes has also been adopted, so the speakers can be operated in standard operation, in high stand mode via the internally installed commercially available 35 mm flange or, due to the trapezoidal shape, also as a floor monitor. In contrast to the A series, the BST series has 4 flight points for stationary operation, a facility that will prove to be a very useful function, especially due to the expansions that will be mentioned in the test report.

For international operation, a multi-voltage power supply was installed, which can process all voltages from 120 - 240 V via a cold device plug. In addition to the flexibility when it comes to international use, these power supplies also have the advantage that they compensate for voltage fluctuations in the network, which are particularly common in rural areas of southern Europe. A protective cover or rolling bag can also be purchased for the Mackie Thump 15BST as an optional accessory. There are 2 combination sockets (XLR / TRS) available as inputs on the back, as well as a mix out for daisy chain operation.


What's new?

The Mackie Thump 15BST breaks new ground on the back of the case. In addition to the physical inputs/outputs, there is only a single rotary control with a push function, which leads through a menu that is shown on the display next to it. If you activate the box, after the “Running Man” logo appears, a menu will be displayed, which consists of six submenus. In the “Mixer” area you can now make a pre-selection for which area of application you would like to use the Mackie Thump 15BST, such as Music, Live, Speech, Monitor, Music + Subwoofer and Live + Subwoofer. Depending on the preselected preset, the tone control is tweaked a lot, with mainly bass being cut or boosted. In addition, each input has a three-band tone control with center frequencies and individual volume control.


Bluetooth

As a crucial expansion to the sister model, a Bluetooth module was installed in the Mackie Thump 15BST, which enables signals to be streamed via mobile devices such as iPhone / iPad or laptops. In order to be able to optimally use this quality in conjunction with the physical inputs, the Bluetooth signal is evaluated as a separate channel and can also be used with the above-mentioned. Parameters can be edited. Several speakers can be linked in mono or stereo via DSP, with a range of up to 100 meters (in open terrain) being possible, according to the manufacturer.

So far, so impressive. But the real joy only comes when you download the appropriate Thump Connect app for iOS and have internet access. Not only can you control all the functions that are available within the box's menu navigation via the app, but you also get functions that go beyond the box's access area.

For example, you can access operating instructions, videos or further documents for the Mackie Thump 15BST. The highlight, however, comes at the end. For recurring situations, three different snapshots with all parameters can be stored within the app. Depending on which event you are currently holding, you can quickly distinguish between a speech event, a DJ event or a music performance. This function has great advantages, especially in a permanent installation.

You can also set up a zone sound system in which the different boxes are defined as “Primary” and “Secondary”. The transmission of the Bluetooth signal remains the same for both units, but both boxes can be controlled independently of each other.


The Mackie Thump 15BST in practice

To get straight to the point, the Mackie Thump 15BST is sonically identical to its sister model 15A, which is not surprising since all the components that are crucial for the sound are the same. Here, too, there is a powerful, subtly bass-emphasized basic sound that handles the center hole of a 15/1 construction comparatively well, but sounds a bit harsh in the high mids and also has very little resolution in the highs beyond 8 kHz. However, considering the UK, the sound can be considered decent.

As befits a 15/1 combination, one can certainly speak of a full-range solution, although there are limitations to the design. DJ operations in garden party style, moderately playing cover bands in the background without pressure and speech events for up to approx. 200 people with microphone-experienced speakers can be easily implemented with the Mackie Thump 15BST. However, if you need to amplify a real kick or generally need more headroom, especially in the bass range, you should think about 2 suitable Thump 18S.

Let's now turn to the main focus of the product, the Bluetooth connection. Pairing is basically the same as with any other Bluetooth device and is usually problem-free. Activate the Bluetooth function using the push encoder, the box appears in the Bluetooth window of the device, select it, done. However, there was a data jam on my iPhone in connection with my still activated Airpods and my Apple Watch. It was only on the second attempt that my iPhone recognized the Thump Box and paired without any problems. It is therefore advisable to first deactivate all other Bluetooth devices to ensure a smooth signal flow.

To connect the second box, you can now choose between the options, with stereo streaming probably being the most used option. Here too, no problems with the connection. If you now activate the “Auto Connect” and “Auto Link” functions, the previously selected connection will be activated automatically after the components are switched on. Additional functions can be activated via the iOS app, such as a right/left switch, separating the speakers via Unlink and switching between zone and stereo management. Very useful and practical!

The stability of the Bluetooth signal is largely determined by the device used. With my iPhone 6, a working connection was generated even after 30 meters in open terrain, which is a very good value. However, the extent to which this stability shrinks with an audience, partition walls or additional devices could not be determined.


Conclusion

With the Mackie Thump 15BST, the American manufacturer takes a decisive step forward compared to its sister model Thump 15A with its Bluetooth connection. The possibility of signal processing in combination with the very practical iOS app increases the flexibility of the product many times over and opens up new possibilities for individual sound reinforcement without any further string-pulling, especially in a permanent installation.

The comparatively low sales price for what is on offer will do its part to make the product a bestseller and will probably attract several copyists to the scene in the near future.

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Additional Informations:

### Economic Development of Mackie Audio Since Its Founding

Since its founding in 1988 by Greg Mackie, Mackie Audio has undergone remarkable economic development. The company has evolved from a small, locally rooted business into a significant player in the global audio industry. Here are the key milestones and developments in the history of Mackie Audio:

### Founding and Early Years (1988-1990s)
- **1988:** Greg Mackie, a former Boeing technician, founded Mackie Designs Inc. in Woodinville, Washington. His vision was to develop affordable, high-quality mixers for musicians and sound engineers.
- **First Product:** The first successful product was the CR-1604, a 16-channel mixer that quickly gained popularity. It was known for its robust construction and user-friendliness, making it popular with both professional and amateur musicians.
- **Rapid Expansion:** Thanks to the success of the CR-1604 and other innovative products, Mackie experienced rapid growth. The company expanded its product line to include speakers, amplifiers, and other audio accessories.

### IPO and Growth (1995-2000s)
- **1995:** Mackie went public and offered shares under the ticker symbol "MKIE" on NASDAQ. The IPO provided the company with the necessary funds to continue expanding and investing in new technologies.
- **Expansion and Acquisitions:** In the late 1990s and early 2000s, Mackie acquired several companies to expand its product line and strengthen its market position. These included the acquisitions of EAW (Eastern Acoustic Works), a leading brand of professional speaker systems, and RCF, an Italian manufacturer of speakers and audio equipment.
- **Technological Innovations:** During this period, Mackie introduced several groundbreaking products, including digital mixers and software solutions that addressed the growing demand for digital audio technology.

### Challenges and Restructuring (2000s)
- **Market Changes:** Despite initial success, Mackie faced increasing competition and technological changes in the early 2000s. The market demanded increasingly advanced digital solutions.
- **Restructuring:** To address these challenges, Mackie underwent several restructurings. This included both organizational changes and a focus on core products and markets.
- **Rebranding:** During this phase, the company was renamed LOUD Technologies Inc. to reflect the broader product range and various brands under its umbrella.

### Realignment and Innovation (2010s to Present)
- **Refocusing on Core Business:** In the 2010s, Mackie refocused on its core competencies in mixers and speakers. The company launched a series of new, innovative products tailored to the changing needs of musicians and audio professionals.
- **Digital Integration:** Mackie invested heavily in developing digital solutions and integrated modern technologies like wireless control and digital signal processing into its products. This enabled a wider range of applications and increased user-friendliness.
- **Strong Online Presence:** Strengthening online marketing strategies and direct sales over the internet helped Mackie reach new target audiences and improve customer service.

### Current Position and Future Prospects
Today, Mackie Audio is an established brand in the audio industry, known for its reliable and innovative products. The company has successfully adapted to the digital changes in the industry and remains a preferred supplier for musicians, sound engineers, and audio enthusiasts worldwide.

- **Continuous Innovation:** Mackie continues to strive to set new standards in audio technology through continuous research and development.
- **Global Market:** Mackie's global presence continues to grow, supported by a strong network of distributors and a dedicated community of users.

Overall, the economic development of Mackie Audio shows a story of innovation, adaptability, and a commitment to quality. From a small start-up to a globally recognized company, Mackie has had an impressive journey, characterized by a deep understanding of the needs of the audio industry and an unrelenting pursuit of excellence.

TST: Mackie Thump 12BST

 After we recently tested the big brother, we now have the little sister in the form of the Mackie Thump 12BST, which scores significantly in terms of transportability with its more compact dimensions and moderate weight. While Mackie was recently able to establish a new design with expanded functions with its Thump A series, the manufacturer has also gone a step further in terms of functionality with the smaller version. Let's take a look at the key data and make a direct sound comparison.

The basic data of the Mackie Thump 12BST

Why change a basic system that already meets almost all the requirements of a “working horse” in countless variations? The developers at Mackie must have had similar thoughts, which led to a new edition of the 12/1 loudspeaker combination. A 12-inch speaker handles the bass range, while a 1.4-inch tweeter with a titanium compression driver dome covers the high frequency range.

The crossover frequency is 2 kHz, the frequency response is given as 50 Hz - 23 kHz. As a sticker on the front tells us, both systems deliver 1300 watts peak, with 1000 watts being delivered to the woofer via a Class D power amplifier and 300 watts to the tweeter via a Class A/B power amplifier. As always, in the live range you can safely ignore all information above 16 kHz, downwards the 50 Hz is also reproduced as usual with a corresponding reduction from around 100 Hz and it is also likely that the power information is peak values be clear to everyone.

The weight of the Mackie Thump 12BST is comparatively moderate at 13.3 kg and is almost 20% less than its big brother. The dimensions: 615 mm x 358 mm x 356 mm also enable easy transport in the trunk of a car. The flexible orientation in terms of operating modes has been adopted, so the speakers can be operated in standard operation, in high stand mode via the internally installed commercially available 35 mm flange or, due to the trapezoidal shape, also as a floor monitor. As a complement to the A series, the BST series has 4 flight points for stationary operation, a facility that will prove to be a very useful function, especially due to the DSP extensions that will be mentioned in the test report.

Even if many users don't think it makes sense at first glance, the built-in multi-voltage power supply, which can process all voltages from 120 - 240 V via a power plug, offers a number of advantages. In addition to the flexibility when it comes to international use, these power supplies also have the advantage that they compensate for voltage fluctuations in the network, which are often encountered in rural areas of southern Europe or in mobile voltage generators. I recently had a floorboard disabled again while the show was running because the voltage generator couldn't hold 230 V.

A protective cover or rolling bag can also be purchased for the Mackie Thump 12BST as an optional accessory. There are 2 combination sockets (XLR / TRS) on the back for the input area, as well as a mix out for daisy chain operation.



What's new with the Mackie Thump 12BST?

The decisive further development of the Thump series is visible on the back of the case. In addition to the physical inputs/outputs, a push rotary controller attracts attention, which leads through a menu that is shown on the display next to it. After activating the box, a menu consisting of six submenus is displayed after the “Running Man” logo is displayed.

In the “Mixer” area you can now make a pre-selection for which area of application you would like to use the Mackie Thump 12BST, such as Music, Live, Speech, Monitor, Music + Subwoofer and Live + Subwoofer. Depending on the preselected preset, the tone control is adjusted accordingly, with mainly the bass range being cut or boosted. In addition, each input has a three-band tone control with corresponding center frequencies and individual volume control.

The Bluetooth range is Mackie Thump 12BST

As a crucial expansion of the system, a Bluetooth module was installed in the Mackie Thump 12BST as well as in the 15BST variant, which enables signals to be streamed via mobile devices such as iPhone / iPad or laptops. In order to be able to optimally use this quality in conjunction with the physical inputs, the Bluetooth signal is evaluated as a separate channel and can also be used with the above-mentioned. Parameters can be edited. Several speakers can be linked in mono or stereo via DSP, and according to the manufacturer, a range of up to 100 meters (in open terrain) should be possible.

However, in order to be able to use this extension to its full extent, you should definitely download the appropriate Thump Connect app for iOS and have constant internet access. The app in question not only enables the control of all functions that are available within the menu navigation of the box, but it also enables a range of functions that go beyond the manual access area on the box housing.

For example, it is possible to access videos, additional operating instructions or even further documents for the Mackie Thump 12BST. However, what far outshines the normal scope of comparable systems is the total recall function for recurring occasions. Three different snapshots with all the necessary parameters can be stored within the app. Depending on which constellation is required, you can quickly distinguish between a language event, a DJ event or a music performance. As expected, this range of functions has great advantages, especially in a permanent installation where you have to adapt the sound system accordingly depending on the venue booking.

You can also set up a zone sound system in which the different boxes are defined as “Primary” and “Secondary”. The transmission of the Bluetooth signal remains the same for both units, but both boxes can be controlled independently of each other. This is how you can, for example Reduce the volume significantly in an area away from the stage if the audience might want to have a conversation there and adjust the sound control accordingly.






The Mackie Thump 12BST in practice

Although the housing dimensions and speaker configuration are identical, the DSP processor of the Mackie Thump 12BST seems to change the sound marginally in direct comparison to the A version. Frequency response and spatial gradation seem identical, but the BST version seems a little more compressed, although this should not be taken as a judgmental thing. You should only clarify in advance whether there are any differences in sound in a setup that may contain both components.

In general, the sound of the Mackie Thump 12BST is the same as in the A version, meaning a powerful, bass-emphasized basic sound with a comparatively subtle midrange dip in the crossover spot and a slightly harsh treble reproduction. A particularly fine resolution from around 8 kHz is not necessarily the strength of the Mackie Thump 12BST, but the product shines with great flexibility in terms of possible uses.

As expected, the Mackie Thump 12BST finds its main area of application in the vocal range, singing as well as speech, or in the transmission of instruments beyond the real deep bass ranges. The design cannot be viewed as a full-range solution, but that was never the intended application of the system. For this area you cannot avoid purchasing one or more subwoofers.

Once again, the Bluetooth area is the outstanding feature for an active speaker in this price range. This time, too, the pairing was carried out without any problems with any Bluetooth device available to me in the form of the iPhone 6 and the iPad Air. Activate the Bluetooth function using the push encoder, the box appears in the device's Bluetooth window, select it, and you're done.

To connect a second box, you can now choose between the various options in the menu, although stereo streaming will be preferred by most people. Here too, no problems with the connection. After activating the “Auto Connect” and “Auto Link” functions, the previously selected connection is automatically activated after the components are switched on. Additional functions can be activated via the iOS app, such as a right/left switch, separating the speakers via Unlink and switching between zone and stereo management. Everything makes sense and is practical for the intended area of application.

In order to check the stability of the Bluetooth signal, it is recommended to test several devices in advance. Depending on the version and operating system, the range of the signal may vary. With my iPhone 6 I was once again able to generate a working connection of up to 30 meters in open terrain, which is a very decent value. However, the user still has to take stability into account even in the event of disruptive factors such as an audience, partition walls or additional devices.


Conclusion

With the Mackie Thump 12BST, the American manufacturer offers a decisive advantage in live operation with its Bluetooth connection. The possibility of signal processing in combination with the well-designed iOS app increases the flexibility of the product many times over and opens up new possibilities for individual sound reinforcement, especially in a permanent installation.

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Additional Informations:

Mackie Audio, also known as Mackie, is a brand of professional audio equipment founded in 1988 by Greg Mackie. The company was established in Woodinville, Washington, a suburb of Seattle. The location played a significant role in the company's identity and development.

### Founding Location: Woodinville, Washington

#### Historical Context
Woodinville is situated in the Pacific Northwest, an area known for its rich musical heritage and vibrant tech industry. During the late 1980s and early 1990s, the Seattle area became a hub for innovation, particularly in music and technology. The local culture was influenced by the burgeoning grunge movement, with bands like Nirvana, Pearl Jam, and Soundgarden gaining international fame. This environment provided fertile ground for a company like Mackie, which aimed to deliver high-quality audio equipment to both professional and amateur musicians.

### Key Features and Significance of Woodinville

1. **Proximity to Seattle:**
   - Woodinville’s close proximity to Seattle allowed Mackie to tap into the city’s dynamic music scene. The company could easily collaborate with local artists and sound engineers, ensuring their products met the needs of musicians and audio professionals.
   - Being near a major metropolitan area also facilitated access to a skilled workforce, including engineers, designers, and marketing professionals.

2. **Tech Industry Influence:**
   - The Seattle area is also known for its tech industry, with major companies like Microsoft and Amazon headquartered there. This tech-driven environment influenced Mackie’s approach to product development, emphasizing innovation and quality.

3. **Community and Networking:**
   - Woodinville’s location in the greater Seattle area allowed Mackie to build strong relationships within the music and audio production community. Networking with local studios, venues, and artists provided invaluable feedback and opportunities for product testing and improvement.

4. **Quality of Life:**
   - The quality of life in Woodinville, with its scenic beauty and outdoor recreational opportunities, made it an attractive place to live and work. This helped Mackie attract and retain top talent, contributing to the company’s long-term success.

### Evolution and Expansion

As Mackie grew, the company expanded its operations but remained rooted in the Seattle area. The choice to stay close to its founding location reflects the company’s commitment to its origins and the advantages the area provides.

- **Production Facilities:**
  Mackie initially manufactured its products locally, ensuring stringent quality control and fostering a culture of innovation. Over time, as demand increased, production expanded, but the company continued to maintain high standards.

- **Global Reach:**
  While Mackie began as a local company, it quickly gained international recognition. The strategic location in the Pacific Northwest facilitated both domestic and international shipping, helping Mackie grow its global presence.

### Conclusion

Mackie Audio’s founding in Woodinville, Washington, is more than just a historical fact; it is a key element of the company’s identity. The location offered numerous benefits, from proximity to a vibrant music scene and tech industry to an attractive quality of life that helped the company attract top talent. These factors contributed significantly to Mackie’s success and its reputation for producing high-quality, innovative audio equipment. Today, Mackie continues to be a prominent name in the audio industry, with its roots in the Pacific Northwest serving as a testament to the importance of location in the company’s growth and development.

TEST: Keeley MK3 Driver

 The Keeley MK3 Driver Pedal is a signature pedal for guitarist Andy Timmons, which can perform both overdrive and distortion functions.

Who is Andy Timmons?

Most readers will know Andy Timmons as an endorser of the Ibanez company. His signature model, which has been in the Asian manufacturer's portfolio for many years, is an integral part of the Ibanez catalog and it feels like there is no music trade fair in the world where Timmons does not appear as a demonstrator.

Most music listeners outside of the Musicians-Musician scene will probably remember Andy Timmons as the blonde sonny boy of the hard rock band Danger Danger, on whose first two albums 35 years ago he made a real impression with his virtuoso guitar playing.

The construction of the Keeley MK3 Driver

Robert Keeley was able to experience with the Keeley MK3 Driver Pedal how international trademark protection law can put the brakes on you in an unpleasant way and thus bring entire marketing and production processes to a standstill. Originally released under the name Muse Driver, the pedal came into conflict with another brand, resulting in Keeley being forced to change the name of the pedal due to a warning. This is all the more annoying because, according to Robert Keeley's own statements, the Muse Driver Pedal was one of the biggest revenue generators within his portfolio.

Be that as it may, the identical MK3 Driver sits in the same housing in which the other copies of the Driver series are installed and is identical to the Muse Driver apart from the name. The housing is once again of very high quality, the sheet steel used is very durable, and the dimensions (L x W x H): 127 mm x 67 mm x 70 mm are appropriate.

The controls have the classic division into Tone, Drive and Level, although the controls are once again pleasantly difficult to operate. This means that accidentally turning the controls is almost impossible. There are also two mini switches on the housing, one below the tone control and one below the drive control. These take on the function of a high pass, the switch of which is located below the tone control and the switch between silicon or germanium transistors, which is located on the right side.

The pedal can be switched between a buffered and a true bypass circuit using a flexible foot switch. This is extremely useful, because in the true bypass area the sound of the distortion, which is usually at the front of the signal chain, does not affect other pedals, and in the buffered area you compensate for the impedance of the cable lengths, which are partly in one A demanding set, especially with passive pickups, can result in a loss of sound.

On the front side, in addition to the input and output jack sockets, there is also the input for the power supply. Although the Keeley MK3 Driver only has a power consumption of 27 mA, battery operation is not provided for the overdrive pedal. Interestingly, you can use a power supply with a voltage between 9 and 18 volts as the internal voltage. On the one hand, this increases flexibility, but above all it can be used if you want to change something about the sound of the Keeley MK3 Driver. As a rule of thumb, the higher the voltage applied, the tighter the sound emitted.

The pedal, made in the USA, is delivered in a sturdy cardboard box, equipped with a fabric bag, simple operating instructions, stick-on rubber feet and a Keeley plectrum.

The sound of the Keeley MK3 Driver

Although the Keeley MK3 Driver is a signature pedal from Andy Timmons, the pedal can definitely be described as a real all-rounder. The drive level can be turned up from a comparatively subtle overdrive to real distortion and the usual controls such as tone and level intervene in the overall sound as far as they can.

The high-pass filter is a very good tool when it comes to getting the low-frequency pumping that occurs on the amplifier, depending on the tuning and instrument, under control. Especially when it comes to placing an instrument on a PA or the low-frequency range in the transition phase in studio recordings to keep the bass in check, a high-pass filter is always a good thing.

In my opinion, personal taste decides when it comes to silicon and germanium, the two transistor choices. A silicon transistor is a little softer in approach and more pleasing, but the germanium transistor performs better, but occasionally bites a little more. The sound here depends in particular on the instruments or pickups, so it is not possible to make a general statement as to which setting is best suited here.

The sound files were created with a Hagström Super Swede via a Sound City Master One Hundred, a 412 Marshall cabinet with Celestion G12 T 75 speakers and 2 pcs. Recorded with Shure SM 57 microphones.

Conclusion:

With the Keeley MK3 Driver, the American manufacturer has a good all-rounder in the area of overdrive and distortion pedals in its portfolio. The pedal impresses with a good basic sound, which can be used in both fusion and rock.

If you are looking for a flexible and neutral overdrive / distortion pedal, you should give the MK3 Driver a try.

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Additional Informations:

Title: The Fascinating Origin Story of Keeley Pedals

Introduction:
Keeley Electronics is a renowned manufacturer of guitar effects pedals, known for their exceptional quality and innovative designs. This article delves deep into the captivating history of Keeley Pedals, tracing their humble beginnings, evolution, and the impact they've had on the music industry. Join us on this journey to uncover the story behind the creation of these iconic pedals.

Early Beginnings:
The story of Keeley Pedals starts with its founder, Robert Keeley, a passionate guitarist and electronics enthusiast. In the late 1990s, Keeley began modifying pedals for his own use, seeking to enhance their sound and functionality. Word quickly spread about the remarkable improvements he made, and soon, fellow guitarists were knocking on his door, eager to have their pedals "Keeley-fied."

As demand grew, Robert Keeley decided to turn his passion into a business. In 2001, he officially launched Keeley Electronics, setting up shop in Oklahoma City. With a small team of dedicated individuals, Keeley began producing his modified pedals, offering guitarists a new level of tone and performance.

Innovation and Expansion:
Keeley Electronics quickly gained a reputation for pushing the boundaries of pedal design. Robert Keeley constantly sought to innovate and create pedals that would inspire musicians worldwide. With a keen ear for tone and a deep understanding of electronics, he introduced several groundbreaking designs that became instant classics.

One of Keeley's earliest successes was the Keeley Compressor, a pedal that revolutionized compression in the guitar world. Its transparent and studio-quality compression became highly sought after, earning Keeley Electronics a loyal following among guitarists of all genres.

Building on this success, Keeley continued to introduce new and exciting pedals. The Keeley Modded Boss DS-1, the Keeley Katana Boost, and the Keeley Super Phat Mod are just a few examples of the innovative and popular offerings from the company. Each pedal was meticulously designed to deliver exceptional tone, versatility, and reliability.

Collaborations and Artist Endorsements:
Keeley Electronics' commitment to excellence and innovation led to collaborations with renowned musicians and artists. Robert Keeley worked closely with guitarists like John Mayer, David Gilmour, and Andy Summers to develop signature pedals that captured their unique playing styles.

These collaborations not only showcased the versatility and adaptability of Keeley Pedals but also solidified their reputation as a go-to choice for professional musicians. The endorsement and support of these esteemed artists further propelled Keeley Electronics into the spotlight, making their pedals highly coveted among guitarists worldwide.

Continued Success and Legacy:
Over the years, Keeley Electronics has continued to expand its product line, introducing new pedals that cater to the evolving needs of guitarists. The company's commitment to quality, innovation, and customer satisfaction has remained unwavering, ensuring that each pedal that bears the Keeley name is a testament to their legacy.

Today, Keeley Pedals are recognized as a benchmark for excellence in the industry. Guitarists of all levels, from amateurs to professionals, rely on Keeley's pedals to shape their tone and enhance their musical expression. The company's dedication to producing top-notch effects pedals has cemented its place in the history of guitar gear.

#### Keeley Pedals: A Legacy of Tone and Innovation

In this final section, let's delve deeper into some of the iconic Keeley Pedals that have played a significant role in their journey and have become staples in the guitar world:

**1. Keeley Compressor:** The Keeley Compressor, introduced in the early 2000s, quickly became a game-changer in the realm of compression pedals. Robert Keeley's innovative design offered transparent, studio-quality compression, allowing guitarists to enhance sustain, even out dynamics, and add a touch of magic to their tone. The Keeley Compressor set a new standard for compression pedals and remains one of the most popular choices among guitarists.

**2. Keeley Overdrives:** Keeley Electronics offers a diverse range of overdrive pedals that cater to various tonal preferences. The Keeley-modded Boss Blues Driver and Boss DS-1 are highly regarded for their enhanced tone and responsiveness. The Keeley Katana Boost, known for its clean boost capabilities, has become a go-to pedal for many guitarists seeking to push their amps into saturated overdrive territory. These overdrive pedals offer a wide range of tonal options, from smooth and bluesy to crunchy and aggressive.

**3. Keeley Modded Pedals:** Keeley Electronics gained recognition for their modifications of existing pedals, taking popular models from other manufacturers and enhancing their performance. The Keeley-modded Ibanez Tube Screamer, for example, is highly sought after for its increased clarity, improved low-end response, and smoother saturation. These modifications have allowed guitarists to achieve their desired tones with greater precision and flexibility.

**4. Keeley Delay and Modulation Pedals:** Keeley Electronics expanded their pedal lineup with a range of delay and modulation effects that have garnered praise for their exceptional sound quality and versatility. The Keeley Caverns Delay/Reverb offers lush, atmospheric delay and reverb sounds in a compact pedal. The Keeley Dark Side combines multiple modulation effects, including phaser, flanger, rotary speaker, and U-Vibe, to create a comprehensive modulation solution for guitarists seeking to explore new sonic territories.

**5. Keeley Workstation Pedals:** In recent years, Keeley Electronics introduced the concept of workstation pedals, which combine multiple effects in one unit. The Keeley Eccos Delay/Looper and the Keeley Delay Workstation exemplify this approach, offering a wide range of delay and looping options in a single pedal. These workstation pedals have become go-to choices for guitarists who value versatility and convenience without compromising on sound quality.

Keeley Pedals' commitment to innovation, attention to detail, and dedication to meeting the needs of guitarists have contributed to their enduring legacy. Whether it's their signature compressors, overdrives, or modulation pedals, Keeley Electronics continues to set the bar high for quality and performance.

Conclusion:
The journey of Keeley Pedals from a small workshop in Oklahoma City to becoming a global leader in the guitar effects industry is a testament to the passion, innovation, and commitment of its founder, Robert Keeley. With their exceptional sound, reliability, and versatility, Keeley Pedals have left an indelible mark on the music world, shaping the tones of countless guitarists. As the company continues to innovate and push the boundaries of pedal design, the legacy of Keeley Pedals will undoubtedly endure for generations to come.

TEST: Keeley Blues Disorder

 The Keeley Blues Disorder pedal is a double pedal in which two well-known overdrive pedals have been merged into a single pedal using two circuits.

The construction of Keeley Blues Disorder

You might think that there is now pretty much every single pedal on the market that you can even remotely imagine. So what do you do if you're an established pedal designer and still want to take your products to a new level? You go and take two well-known pedals from the competition, construct two separate circuits and make them accessible on just one pedal via mini switches. This is what Robert Keeley and his team did with the Keeley Blues Disorder pedal, in which two very well-known pedals, the Marshall Blues Breaker and the OCD from Fulltone, are merged into a single pedal.

There are also two further plus points. On the one hand in the form of the fact that you only need half the space on your pedalboard to be able to access two classic blues-rock sounds and on the other hand you only have about half the costs that you would otherwise have to access for two pedals .

The structure of Keeley Blues Disorder

Several points ensure that a certain aha effect arises as soon as you get to grips with the pedal. The structure is quite classic, meaning it has three pleasantly stiff controls that regulate the level, tone and drive, all packed into a clear, classic housing that is very solid. The pedal is also manufactured in the USA and has an LED for the status display and a special feature in the foot switch area.

The footswitch is designed as both true bypass and buffered bypass, depending on whether the pedal is active or not. This combines the two features that, on the one hand, you do not want the sound of the pedal to have an influence on the other devices in bypass mode, but on the other hand, you also want to avoid the increased resistance that inevitably occurs due to the length of the cable when the pedal is in operation. balances.

The real special feature, however, takes place behind the two mini switches, which are each located below the tone and drive controls. On the left side you can set a more or less unprocessed frequency range by moving the mini switch up, which goes towards Marshall Blues Baker. If you switch the mini switch down, you increase the midrange in OCD style by approx. 20 dB, which causes a very strong boost in both volume and frequency range with an accompanying increase in distortion.

Using the right mini-switch you can switch up between soft clipping, again in Bluesbreaker style, or switch down with hard clipping in OCD style. Depending on how the other three controls are set, you have a very large choice of sound and you can basically say that you have more or less four pedals combined in one pedal.

The normal input and output are located on the front of the Keeley Blues Disorder in the form of jack sockets. In between is the mains connection, which is designed at 9 volts, but can also be increased to up to 18 V if necessary with a correspondingly changed sound response. Battery operation is not provided, although the pedal only has a current consumption of 29 mA.

The Sound of Keeley Blues Disorder

I have to get straight to the point, the pedal sounds excellent. Both in the rather soft Bluesbreaker orientation and in the rather hard OCD response, the pedal impresses with very good interaction between instrument and amplifier. The way it works together with the guitar's volume control is exemplary and the two basic sounds set are legendary anyway. In addition, the originals are achieved very well in terms of the tonal aspect.

Through clever experimentation, you can set up the two typical areas of application of these two overdrive and distortion pedals exactly as you would expect from a corresponding pedal. Both work particularly well in front of an amplifier that is set to completely clean or slightly crunchy, so that you can ultimately add a second channel to the amp or use the pedal to boost a basic sound for lead sounds or heavy use.

The pedal is convincing in all respects and if you want to give the pedal any negative point, it would be the fact that you unfortunately cannot switch between the two sounds using the foot switch, which would be the absolute highlight of the pedal. But who knows, maybe there will be an MK2 version of the pedal in a few months or years.

The sound files were created with a Hagström Super Swede via a Sound City Master One Hundred, a 412 Marshall cabinet with Celestion G12 T 75 speakers and 2 pcs. Recorded with Shure SM 57 microphones.

Conclusion

With the Keeley Blues Disorder, the American manufacturer has a very good 4 in 1 pedal in its portfolio. The adaptation of the two original products, Blues Breaker and OCD, works very well and ensures a wide range of good sounds.

Be sure to check it out.

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Additional Informations:

In the vast world of music, the search for the perfect sound has led musicians to an endless array of tools and gadgets. Among these, guitar pedals stand out as pivotal in shaping the tones that define genres and eras. Keeley Electronics, founded by Robert Keeley, has become a beacon for those in pursuit of exquisite audio quality. This article delves into the fascinating journey of Keeley Pedals, tracing its roots, milestones, and the innovations that cemented its place in the music industry.

#### Early Beginnings: Robert Keeley's Background
Robert Keeley's passion for electronics and music began early. Born in the late 1960s, Keeley grew up during a time when rock and roll was evolving rapidly. His fascination with music and technology led him to pursue studies in electrical engineering. His academic background provided him with the technical expertise necessary to understand and manipulate sound at a granular level. Keeley's early work involved repairing and modifying guitar amplifiers, which honed his skills and deepened his understanding of audio circuits.

#### The Birth of Keeley Electronics
Keeley Electronics was officially founded in 2001. The inception of the company was driven by Keeley's desire to create high-quality, reliable effects pedals that addressed the shortcomings he observed in the market. The early 2000s were a transformative period for the music industry, with digital technology starting to make significant inroads. Keeley, however, saw the enduring value in analog circuits and aimed to blend traditional craftsmanship with innovative designs.

The company's first product was the Keeley Compressor, which quickly garnered attention for its superior sound quality and build. Unlike many mass-produced pedals, Keeley's products were hand-assembled and rigorously tested, ensuring consistent performance and durability. The success of the Keeley Compressor laid the foundation for the company's reputation as a producer of premium guitar effects.

#### Key Innovations and Products
Keeley's approach to pedal design is characterized by meticulous attention to detail and a deep understanding of musicians' needs. Over the years, Keeley Electronics has introduced several groundbreaking products that have set new standards in the industry.

1. **Keeley Compressor (2001)**
   The Keeley Compressor is arguably the pedal that put Keeley Electronics on the map. It was celebrated for its ability to maintain the integrity of the guitar's tone while providing smooth, musical compression. The pedal's popularity was fueled by endorsements from high-profile guitarists and its frequent appearance in gear reviews.

2. **Keeley Katana Blues Driver (2002)**
   Following the success of the Compressor, Keeley introduced the Katana Blues Driver. This pedal became famous for its transparent overdrive, allowing guitarists to add grit and sustain without losing the character of their instrument's sound. The Katana was another hit, solidifying Keeley's reputation for producing pedals that enhance, rather than mask, the guitar's natural tone.

3. **Keeley MOD Plus Pedals (2003-2005)**
   Keeley also became known for his modification services. He offered "MOD Plus" versions of popular pedals from other manufacturers, such as the Boss DS-1 Distortion and the Ibanez Tube Screamer. These modified pedals featured upgraded components and circuitry improvements, which enhanced their performance and reliability. The success of these modifications demonstrated Keeley's deep understanding of audio circuits and his ability to innovate upon existing designs.

4. **Keeley Caverns Delay Reverb (2015)**
   In 2015, Keeley released the Caverns Delay Reverb, a pedal that combined two essential effects in one unit. The Caverns became popular for its lush, ambient soundscapes and its versatility, making it a favorite among guitarists looking to expand their sonic palette. The success of the Caverns highlighted Keeley's ability to create complex, multi-function pedals that maintained high audio quality.

#### Expansion and Evolution
As Keeley Electronics grew, the company expanded its product line to include a wide range of effects, from overdrives and distortions to modulations and delays. Keeley's commitment to quality remained unwavering, with each pedal undergoing rigorous testing and quality control.

In addition to expanding its product line, Keeley Electronics also invested in research and development. This investment led to the creation of new technologies and innovations that kept the company at the forefront of the industry. For example, Keeley's work on digital signal processing (DSP) allowed the company to create pedals that combined the warmth and character of analog circuits with the versatility and precision of digital technology.

#### Artist Collaborations and Endorsements
One of the factors that have contributed to Keeley's success is its strong relationships with artists. From the beginning, Keeley sought feedback from professional musicians to refine and improve his designs. These collaborations have resulted in pedals that are not only technically superior but also meet the practical needs of working musicians.

High-profile guitarists such as John Mayer, Brad Paisley, and David Gilmour have used Keeley pedals, providing valuable endorsements that have boosted the company's credibility and visibility. Keeley's willingness to listen to and collaborate with artists has ensured that his products remain relevant and desirable in a constantly evolving market.

#### Community and Culture
Keeley Electronics is not just a company; it's a community. Robert Keeley's commitment to customer service and his genuine passion for music have fostered a loyal following among guitarists. Keeley's presence at trade shows, guitar clinics, and online forums has helped to build a sense of community around the brand. This engagement has created a feedback loop, where customer input directly influences product development.

The company also places a strong emphasis on education. Keeley and his team regularly produce content that explains the technical aspects of their pedals, helping musicians to understand how to get the most out of their gear. This educational approach has further solidified Keeley's reputation as a trustworthy and knowledgeable source in the world of guitar effects.

#### Challenges and Resilience
Like any company, Keeley Electronics has faced its share of challenges. The rapidly changing music industry, economic fluctuations, and the pressures of maintaining high standards of quality have all tested the company's resilience. However, Keeley's commitment to innovation and quality has allowed the company to navigate these challenges successfully.

One significant challenge has been the competition from larger, mass-produced pedal manufacturers. Keeley Electronics has maintained its competitive edge by focusing on niche markets and offering products that cater to discerning musicians. By emphasizing quality over quantity, Keeley has been able to build a brand that stands out in a crowded marketplace.

#### Looking Ahead: The Future of Keeley Electronics
As Keeley Electronics moves forward, the company continues to innovate and expand its product line. The integration of digital technology with analog circuits remains a key focus, as Keeley seeks to create pedals that offer the best of both worlds. Additionally, the company is exploring new markets and opportunities, such as collaborating with other manufacturers and expanding its presence in international markets.

Robert Keeley's passion for music and electronics shows no signs of waning. As the company looks to the future, it remains committed to its core values of quality, innovation, and customer satisfaction. Keeley's journey from a small repair shop to a renowned pedal manufacturer is a testament to the power of dedication and a love for music.

#### Conclusion
The story of Keeley Pedals is one of passion, innovation, and a relentless pursuit of excellence. From its humble beginnings to its status as a leading name in the industry, Keeley Electronics has made a lasting impact on the world of music. Through a commitment to quality, an understanding of musicians' needs, and a willingness to embrace new technologies, Keeley has created products that stand the test of time. As the company continues to evolve, it remains a beacon for those in search of the perfect sound.