TEST: Mackie Headphones

 This is what can happen if you start with high-quality small consoles and consistently stay on the ball. There is hardly a sound reinforcement area that the American, now market leader in active live sound reinforcement, does not cover. So what do you do when one market has been successfully saturated? That's right, you're tackling a new market. In this case, the manufacturer ventures into the area of headphones, which it tackles with the Mackie MC-150 and Mackie MC-250. Mackie keeps the retail price below €100, which seems particularly interesting for the home recording market.

The area of application of the Mackie headphones

The store prices already suggest that Mackie, despite full-bodied descriptions on the packaging, does not intend to compete with the reference products from the top dogs Beyerdynamic or AKG. Rather, the products at 79 euros (Mackie MC-150) and 99 euros (Mackie MC-250) occupy an area that is already subject to very strong competition. The 250 model in particular has to fear such successful competitors as the Beyerdynamic DT-770 Pro or the AKG K-702, with a surcharge of almost 25%, a task that turns out to be not easy.

The price of the 150 model is significantly more in the consumer range and does not claim to deliver the corresponding high-end, but still has to be, for example. B. fear corresponding competition with the Beyerdynamic DT-240 Pro. The area of application of the headphones goes well beyond the stage area and also extends into the studio area. Both headphones work with 50 mm drivers and, according to the manufacturer, have a frequency response of 8 (15 / MC-150) - 20,000 Hz, which is significantly below and above the perception of the human ear. Yes, I know, an infant can hear up to 20,000 Hz, but rarely sits in the producer's chair in the recording studio as a decision-maker.

The Mackie MC-250 / MC-150 under construction

To put it bluntly, the models 150 and 250 are identical in construction and are like one another. If the name wasn't printed on the inside of the padded temples, you wouldn't be able to tell them apart. Like the last speakers in the Thump series, the appearance of the Mackie headphones has something “Cylon-like” about them. Everything is comparatively angular, sometimes angular in matt black. Unfortunately, the product has to be said to have a touch of “plastic-esque” layout. Not cheap, but in some details not really inspiring. The width of the bracket can be adjusted in 8 levels, over which a tab that presses inwards simply scrapes over it. Not really elegant, but not bad either.

At 265 grams, the Mackie MC-250 / 150 are not heavyweights, but they are not particularly light either. What is noticeable, however, is the low impedance of just 32 ohms, which indicates a high volume even in smartphone devices, a trend that is widespread among many manufacturers. Especially in the budget sector, you are rarely willing to own an appropriate external headphone amplifier that can also handle impedances around 600 ohms. In combination with the closed over-ear design, you can also work in noisy environments such as. B. the DJ can generate enough sound pressure to stand up to the ambient noise.

Both types of headphones can be folded up and thus ensure convenient space-saving storage in the plastic bag provided. A multilingual operating manual is also included with the product. The workmanship of the headphones is good, and the products appear robust and suggest a long shelf life.

The included connection cable is generously sized at 3 meters long and allows a comparatively large range of movement beyond the headphone amplifier. The cable is snapped onto the headphones using a bayonet lock, while the amplifier plug has a standardized mini jack and a screw-on TRS jack attachment. With a simple movement, the cable can be removed again to transport the product. This is particularly advantageous if a cable breaks due to gross motor behavior. In this case, the cable can be easily replaced without having to dismantle the entire headphone and use a soldering iron.

The wearing comfort of the MC-250 / MC-150

First you have to find the left and right channels, which turns out to be quite difficult. Only after my wife and I had been looking for several minutes did we find the subtle notches on the joints of the articulation device. In my opinion, it could have been made a little more obvious, but so be it, where the cable goes in is on the left.

The ear cushions enclose the ears quite well, but the lining is a bit too tight for me personally, which means that the latent pressure on the back of the cheekbones starts to get annoying after about 15 minutes. Continuous studio work lasting several hours is not comfortable with this model, at least given the shape of my face. However, this may depend on the shape of your face. After adjusting the headphones using the bracket, the product sits firmly on the head, although the adjustment itself turns out to be comparatively lengthy due to the slightly unsteady and at the same time slightly slipping grid.

The sound of the Mackie MC-250

The first sound impression that the Mackie MC-250 leaves behind is decent. The majority of the underlying frequencies of my reference mixes are reproduced well, although I think the headphones lack a bit of “size”. The low-mid range is reproduced well, while the bass range is very slim. This can certainly have advantages for the live area, as you are often fighting against an overused bass foundation in combination with a soaring stage construction. Here, a slim low-frequency range helps to better locate the signal.

The treble range is comparatively hard. The cymbals and hi-hat come across as quite stiff and sometimes harsh; there is a slight lack of fine resolution, which can lead to rapid hearing fatigue, depending on the sound material. In general, the Mackie MC-250 feels better with synthetic music than with natural instruments. His impulse behavior is still very good and handles hard and artificial beats with an almost stoic manner.

As expected, spatial imaging is not the Mackie MC-250's strong point, but it is not alone in this. Due to the extreme stereo range, depth grading is actually not possible, if desired at all. As is well known, depth grading is about the spatial representation of a sound experience, e.g. B. a complete band standing in front of you on a stage/rehearsal room and positioning themselves spatially. Since this is rarely or never the case with synthetic sounds, the priority of authentic reproduction is sometimes placed in the second row.

Unless you are concerned with the staggered installation of the drivers, e.g. B. where the Beyerdynamic T1 https://www.amazona.de/test-beyerdynamic-t1/ works, you should e.g. B. get the support of the SPL Phonitor Matrix, which enables a large part of the near/midfield based listening.

The sound of the Mackie MC-150

Compared to the 250 model, the 150 version seems significantly quieter, which is mainly due to the reduction in the low mids. This makes the headphones sound a bit nasal, especially since the high-mid range is more pronounced compared to the Mackie MC-250. All of this leads to a thinner basic sound, which, however, comes through better at high ambient volumes, but loses some sensitivity in its sound aesthetics.

However, due to the robust workmanship and space-saving transport, I can imagine the MC-150 very well in the field or for outdoor use. You will rarely find finely resolved sound material here; instead, the equipment has to be tough at times.

Overall, the two Mackie headphones have to be said to have a flexible range of uses, especially since they also allow for one or two additional purchases in terms of price. The headphones were tested with various reference mixes as well as HD streaming titles via an SPL Phonitor.



Conclusion

With the Mackie MC-250 / MC-150, the American company is largely breaking new ground and also has to assert itself against established competition. The two headphones provide a good basis for a first attempt, although individual details could still use some optimization.

I'm already looking forward to the MK II version and to what extent Mackie will be able to gain ground on its direct competitors from Beyerdynamic and AKG. In terms of price, however, the two products have a very good price/performance ratio.

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Additional Informations:

The journey of studio headphones is a fascinating story of technological advancements and evolving audio engineering standards. From their humble beginnings to their current status as essential tools in professional audio production, studio headphones have undergone significant transformations. This article delves into the history, key innovations, and the pivotal figures and companies that have shaped the development of studio headphones.

#### Early Beginnings: The Birth of Headphones

The concept of headphones dates back to the late 19th century. The earliest known headphones were developed in the 1880s by telephone operators who needed a hands-free way to listen to calls. These rudimentary devices were essentially one-ear listening aids, far from what we recognize as headphones today.

The first significant leap came in 1910 when Nathaniel Baldwin, an American engineer, invented the first modern headphones. Baldwin's headphones were produced in his kitchen and were initially sold to the U.S. Navy. His design featured a headband and two earcups, laying the groundwork for future developments. However, these early headphones were primarily used for radio and telecommunication purposes, not for music or studio use.

#### The 1930s-1950s: Transition to High-Fidelity Sound

The 1930s marked the beginning of the high-fidelity (hi-fi) movement, driven by advances in recording technology and an increasing demand for better sound quality. Companies like Beyerdynamic and AKG, founded in 1924 and 1947 respectively, played crucial roles in this era.

Beyerdynamic, a German company, introduced the DT 48 in 1937, one of the first dynamic headphones. The DT 48 was designed for hi-fi listening and soon became a standard in broadcasting and professional audio. Its robust construction and reliable sound quality set a benchmark for future studio headphones.

AKG, an Austrian company, entered the scene in 1949 with the K120, which was followed by the legendary K141 in 1972. The K141 became a staple in recording studios, known for its comfort and accurate sound reproduction. AKG's innovations in transducer technology and earcup design contributed significantly to the professional audio industry.

#### The 1960s-1980s: The Rise of Studio Monitoring

The 1960s and 1970s saw a boom in the music industry, with recording studios becoming more sophisticated. The need for precise audio monitoring led to the development of specialized studio headphones. Sennheiser, a German audio company founded in 1945, made a notable impact during this period.

In 1968, Sennheiser introduced the HD 414, the world's first open-back headphones. The HD 414's design allowed for a more natural and expansive sound, which was crucial for accurate audio monitoring. These headphones became a massive success, influencing many future designs.

The 1980s brought further advancements with Sony's introduction of the MDR-V6 in 1985. The MDR-V6 featured a closed-back design, providing excellent isolation and a balanced sound profile. These headphones quickly gained popularity in studios for their durability and reliability.

#### The Digital Age: 1990s to Present

The transition to digital recording in the 1990s demanded even greater accuracy and fidelity from studio headphones. Audio-Technica, a Japanese company founded in 1962, rose to prominence during this era. The ATH-M50, released in 2007, became one of the most popular studio headphones, known for its exceptional clarity, comfort, and affordability. It set a new standard for what professional and home studio users expected from their headphones.

Another significant player in the modern era is the German company Neumann, renowned for their high-quality microphones. In 2019, Neumann entered the headphone market with the NDH 20, a closed-back studio headphone designed to provide precise and detailed sound reproduction, further solidifying their reputation in the professional audio industry.

#### Technological Innovations and Features

Several technological innovations have defined the evolution of studio headphones. Key features that have emerged include:

1. **Transducer Technology**: The development of dynamic, planar magnetic, and electrostatic transducers has greatly influenced headphone performance. Dynamic drivers, common in early headphones, are known for their robustness and efficiency. Planar magnetic drivers offer improved accuracy and lower distortion, while electrostatic drivers provide unmatched detail and transparency, albeit at a higher cost and complexity.

2. **Open-back vs. Closed-back Design**: Open-back headphones allow air and sound to pass through the earcups, resulting in a more natural and spacious soundstage. They are ideal for mixing and mastering. Closed-back headphones, on the other hand, isolate the listener from external noise, making them suitable for tracking and recording in noisy environments.

3. **Impedance and Amplification**: Studio headphones often have higher impedance than consumer models, requiring more power to drive them effectively. This has led to the development of specialized headphone amplifiers designed to provide the necessary power and maintain sound fidelity.

4. **Comfort and Ergonomics**: Long studio sessions demand comfortable headphones. Advances in materials and design, such as memory foam earpads, adjustable headbands, and lightweight construction, have greatly enhanced user comfort.

5. **Wireless Technology**: While wired headphones remain the standard in professional settings due to their reliability and consistent audio quality, wireless technology has made significant strides. Bluetooth headphones, with low latency and high-fidelity codecs like aptX and LDAC, are becoming more viable for professional use, particularly in less critical applications.

#### Key Figures and Companies

Several individuals and companies have been instrumental in the development of studio headphones:

- **Nathaniel Baldwin**: Inventor of the first modern headphones, his designs laid the foundation for future advancements.
- **Eugen Beyer**: Founder of Beyerdynamic, his company introduced the DT 48, a milestone in headphone design.
- **Dr. Fritz Sennheiser**: Founder of Sennheiser, his company's innovations, like the HD 414, have had a lasting impact on the industry.
- **Sony Corporation**: Their MDR-V6 set new standards for studio monitoring headphones.
- **Audio-Technica**: Known for the ATH-M50, a modern classic in studio headphones.
- **AKG**: With products like the K141 and K240, AKG has been a key player in the professional audio market.

#### The Future of Studio Headphones

The future of studio headphones is poised to see further innovations, driven by advancements in digital signal processing, artificial intelligence, and materials science. 3D audio and spatial sound technologies are likely to become more prevalent, offering immersive audio experiences that mimic real-world acoustics. Additionally, sustainable and eco-friendly materials are expected to play a more significant role in headphone manufacturing.

As virtual reality (VR) and augmented reality (AR) technologies advance, studio headphones will also need to adapt, providing accurate audio reproduction for these immersive environments. The integration of biometric sensors and health monitoring features could add another layer of functionality, catering to the well-being of audio professionals during long studio sessions.

### Conclusion

From their inception as basic communication tools to their current status as sophisticated devices essential for professional audio production, studio headphones have come a long way. Key innovations in transducer technology, design, and comfort have continually pushed the boundaries of what headphones can achieve. Pioneering companies and visionary engineers have played critical roles in this evolution, ensuring that studio headphones meet the ever-growing demands of the music and audio industries. As technology continues to advance, the future promises even more exciting developments in the world of studio headphones.