TEST: Mackie MR5

 I still remember it well. About 2.5 decades ago there were only three different monitors in almost every professional recording studio. A “big” monitor from various manufacturers, which was always turned up to full volume when the “delegates” from the record company came over to inspect their “product”, the “midrange bomb” Yamaha NS-10 (“what sounds tolerable here works on every speaker”) ) as a near field and the broadband Quaker Audax for simulating the pathetic kitchen radios or similar background sprinklers.

I don't even remember when I first noticed other near-field monitors, the entire professional sector was so focused on the NS-10. Despite their high recognition value, the near-field monitors were still only “Plan B”, as every sound engineer naturally preferred to focus on the sound of their freezer-sized A-monitors sunk into the masonry rather than the practical near-field range.

Times have changed... The segment of advance-eating high-end studios has shrunk to a minimum worldwide due to the massive budget cuts in all areas of the music industry and is now only used by a few artists in the Bundesliga who have more production costs or less irrelevant, used and paid for.

Near-field monitors are now the bread and butter components of every music/video production and sometimes even have to take on the function of A monitoring in project studios. Flexibility, impulse fidelity and frequency linearity are all the more important these days, even at higher volumes, all packed into the most compact, adequately shielded housing possible. Oh yes, and it would also be nice if it were an active system to minimize transmission losses and coordination problems...

Not exactly a small wish list, is it? Let's see whether the Mackie MR5 can meet these demands, as they are rushing into exactly this gap that has been fiercely defended by the top dog Genelec for years.


Construction:

The individual MR5 box weighs 6.5 kg and measures 19.7 cm x 29.2 cm x 26.6 cm (W x H x D), which makes it appear to be an adequate solution even when space is limited . But as we all know, the speaker shouldn't be placed too close to a rear wall, as the bass range changes dramatically, especially since the system's wide bass reflex opening radiates to the rear.

Technically, the system is two-way, divided into a 5.25 inch bass speaker with 55 watts of power and a 1 inch dome tweeter with 30 watts of power with a maximum SPL of 113 db per pair of speakers. I find the relatively small difference in the design of the power amplifier performance interesting, as I have so far increasingly encountered a split in the ratio of 1:3 in relation to the treble to bass range.

The bass speaker has a fairly deep stroke, but is suspended unexpectedly tightly in order to be able to respond to large impulses.



In addition to a cold appliance plug and a slow-blow microfuse, the system's on/off switch is also located on the back. So if you don't want to switch the monitoring on and off with a power strip, you should make sure that you can easily reach behind (!) the speaker from the control position in order to avoid contortionist-like contortions in front of the customer.

Three different standards are available to the MR5 for feeding the signal. In addition to the professional, balanced inputs with XLR female and 6.25 mm jack (TRS), the system also has an unbalanced RCA (RCA) input. Another indication that the MR5 will be used more in the desktop workstation area, where internal professional connections are always in short supply and you usually have to be content with the built-in RCA-based sound cards.

In the settings section you can use two filters to influence the high and low frequency range and configure the final volume. The high frequency filter allows an increase/decrease of +/- 2 db at 5 KHz, the bass range can be increased by 2 db or even 4 db at 100 Hz. This means you can adapt the basic sound of the monitoring to your personal taste, or generally give the mix a higher-pitched or bass-heavy tendency. Or maybe you just want to compensate for the frequency loss in your hearing from your hard “pre-Marshall stack posing” days ;-)

Next to the filter settings there is a tiny knurled screw with which the power output of the power amplifier can be configured, either with a Phillips screwdriver or, with a little fiddling, by hand. Due to the lack of visual control, precise adjustment becomes a matter of luck.

There is a slight indentation in the plastic frame, but you can neither feel it nor see it without direct light. The only way to set it safely without using the flashlight is to “completely off” or “full load”. A simple potentiometer would certainly have been more helpful here.


Practice:

When you press the power switch, a small blue LED on the front of the housing lights up and indicates the operating status. The first listening impression is quite promising, albeit independent. The MR5 is characterized by a very special sound, which is based on the direct Genelec competition in some areas, but without taking over. The well-known soft focus of the Genelec cannot be heard to the same extent on the Mackie monitor, but the indirect bass swing allows for slight tonal parallels.

The spatial depth gradation of the signal is very successful, a fact that can largely be attributed to the excellent tweeter. Detached from the stereo width, the MR5 pair produced a balanced stereo image, which did not lead to any drops in differentiation.

Personally, I liked a linear filter setting the most in terms of sound; you may be able to activate the treble reduction if necessary. When Hohenboost was activated, the sound became too “biting” and too “sharp” for me. In my opinion, an activated bass boost only makes sense if the monitor is placed in a large open space; the risk of “low-frequency slurring” is too great, which pushes the 5.25-inch woofer to its performance limits.

Although the sub-range is transmitted confidently, the associated large strokes of the dome take away the presence of the signal and cause it to lose differentiation even at a moderate volume.

Once you get used to the sonic independence of the Mackie MR5 and adjust your subjective hearing to the monitoring using its reference productions, the product is really easy to work with.

Keyboard-heavy productions, drums and vocals in particular sound very good on the MR5, while distorted guitars suffer somewhat from the dome tweeter, which radiates frequencies very “clearly” from around 4 Khz, and a distorted guitar due to its immense overtone spectrum Very “clinical” sound missed.


Conclusion:

The Mackie MR5 offers a really good price-performance ratio. Rarely have I heard such a “grown-up” sound from such a “clear” and comparatively inexpensive construction.

Excellent spatial separation and a wide range of applications make the MR5 a real alternative in the project studio, post-production or video sector. The MR5 can also impress in surround use due to its very good radiation potential.

All in all a very good product! Recommended!

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Additional Informations:

Nearfield monitors, also known as nearfield studio monitors or simply studio monitors, are an essential tool in the music production process. They provide accurate sound reproduction, allowing engineers and producers to make precise adjustments during mixing and mastering. This article explores the history of nearfield monitors, from their origins to their current state, highlighting key developments, technologies, and influential figures in their evolution.

#### Early Audio Monitoring: The Pre-Nearfield Era

Before the advent of nearfield monitors, audio monitoring in studios relied on large-format speakers typically mounted on walls or soffits. These "main monitors" were designed to deliver high SPL (sound pressure levels) and cover wide frequency ranges, intended for playback in large control rooms. While they were capable of producing powerful sound, their accuracy was often compromised by room acoustics and reflections, making precise mixing decisions challenging.

During the 1960s and early 1970s, the focus was on improving the accuracy of these large monitors. Companies like Altec Lansing, JBL, and Tannoy dominated this era, providing high-quality loudspeakers for professional studios. However, the need for a more intimate and precise listening environment led to the development of nearfield monitors.

#### The Birth of Nearfield Monitors: 1970s

The concept of nearfield monitoring emerged in the early 1970s, driven by the need for more accurate and consistent monitoring in recording studios. The term "nearfield" refers to the placement of the speakers relatively close to the listener, typically within 3 to 5 feet. This positioning minimizes the impact of room acoustics, providing a more direct and uncolored sound.

One of the earliest and most influential nearfield monitors was the Yamaha NS-10M, introduced in 1978. Originally designed as a consumer bookshelf speaker, the NS-10M was adopted by engineers for its unique sound characteristics. Its midrange-forward response and revealing nature made it a favorite for mixing, as it exposed flaws that might be masked on more flattering speakers. The NS-10M's iconic white woofer cone and black enclosure became a staple in studios worldwide, setting a precedent for nearfield monitoring.

#### The 1980s: Growth and Standardization

The 1980s saw rapid growth in the adoption of nearfield monitors, as the benefits of close-field listening became widely recognized. Several manufacturers began developing monitors specifically designed for nearfield use, leading to significant innovations in speaker design and technology.

One of the key players during this period was Genelec, a Finnish company founded in 1978. Genelec introduced the S30, one of the first active nearfield monitors, in 1983. Active monitors, which include built-in amplifiers, offered several advantages over passive designs, including better integration between the amplifier and speaker, reduced signal loss, and greater convenience. Genelec's commitment to accurate sound reproduction and innovative engineering earned them a reputation as a leader in the field.

Another influential company was KRK Systems, founded in 1986 by engineer Keith R. Klawitter. KRK's nearfield monitors, known for their distinctive yellow woofers, gained popularity for their precise imaging and balanced frequency response. KRK monitors became a preferred choice in many studios, further cementing the importance of nearfield monitoring in professional audio production.

#### The 1990s: Digital Revolution and Enhanced Accuracy

The 1990s brought significant changes to the music industry with the advent of digital recording and production technologies. The demand for more accurate and transparent monitoring increased as producers sought to exploit the capabilities of digital audio. This era saw several advancements in nearfield monitor design, driven by the need for higher fidelity and precision.

Mackie, an American audio equipment manufacturer, made a notable impact with the introduction of the HR824 in 1996. The HR824 featured a rear-firing passive radiator, which extended the low-frequency response and improved overall accuracy. Mackie's innovative approach to speaker design and their commitment to affordability made high-quality nearfield monitoring accessible to a broader range of users.

Dynaudio, a Danish speaker manufacturer, also rose to prominence during this period. The BM series, introduced in the mid-1990s, featured advanced driver technology and meticulous craftsmanship, providing exceptional detail and clarity. Dynaudio's emphasis on high-quality components and rigorous testing ensured that their monitors delivered consistent and reliable performance.

#### The 2000s: Advancements in Technology and Customization

The early 2000s saw further advancements in nearfield monitor technology, driven by the proliferation of home studios and the increasing availability of high-quality audio production tools. Manufacturers focused on refining driver designs, cabinet construction, and electronic components to achieve even greater accuracy and performance.

One of the key innovations during this period was the use of advanced materials for driver construction. Companies like Adam Audio, founded in 1999, introduced ribbon tweeters and other novel technologies to improve high-frequency response and reduce distortion. Adam Audio's A7, released in 2007, quickly gained a reputation for its detailed and transparent sound, becoming a popular choice among professional and home studio users.

Another significant development was the integration of digital signal processing (DSP) in nearfield monitors. DSP allowed for precise control over crossover frequencies, equalization, and time alignment, resulting in improved accuracy and consistency. JBL's LSR4328P, introduced in 2006, featured built-in DSP and network connectivity, allowing users to calibrate their monitors to their specific room acoustics using software.

#### The 2010s to Present: Precision and Personalization

The past decade has seen continued advancements in nearfield monitor technology, with an emphasis on precision, customization, and user-friendly features. Modern monitors are designed to meet the demands of increasingly sophisticated audio production environments, providing unparalleled accuracy and flexibility.

One of the notable trends in recent years is the focus on room correction and acoustic optimization. Companies like Genelec and Neumann have developed monitors with built-in room calibration systems, such as Genelec's GLM (Genelec Loudspeaker Manager) and Neumann's MA 1 Automatic Alignment. These systems use microphones and software to analyze the acoustic characteristics of the listening environment and adjust the monitor's response accordingly, ensuring optimal performance in any room.

Another significant development is the rise of compact and portable nearfield monitors, catering to the needs of mobile producers and smaller studio spaces. Models like the IK Multimedia iLoud Micro Monitor, introduced in 2016, offer impressive sound quality and features in a compact form factor, making professional monitoring more accessible than ever before.

#### Key Innovations and Features

Several key innovations and features have defined the evolution of nearfield monitors:

1. **Active Monitoring**: The integration of amplifiers within the monitors themselves, pioneered by companies like Genelec, has become the standard. Active monitors provide better control over the audio signal and simplify the monitoring setup.

2. **Advanced Driver Materials**: The use of materials such as Kevlar, carbon fiber, and ribbon tweeters has improved the performance of drivers, resulting in greater accuracy and reduced distortion.

3. **DSP and Room Correction**: Digital signal processing allows for precise control over the monitor's response, while room correction systems help mitigate the impact of room acoustics, providing a more accurate listening experience.

4. **Compact and Portable Designs**: The development of smaller, high-performance monitors has made professional-quality monitoring accessible to mobile producers and those with limited studio space.

5. **User-Friendly Features**: Modern nearfield monitors often include features such as wireless connectivity, built-in equalization presets, and customizable settings, enhancing their versatility and ease of use.

#### Influential Figures and Companies

Several individuals and companies have played crucial roles in the development of nearfield monitors:

- **Yamaha**: The introduction of the NS-10M in 1978 revolutionized nearfield monitoring, setting a standard for accuracy and revealing sound.
- **Genelec**: Known for their pioneering work in active monitoring and room calibration systems, Genelec has been a leader in the field since the early 1980s.
- **KRK Systems**: With their distinctive yellow woofers and commitment to precision, KRK monitors have become a staple in many studios.
- **Mackie**: The HR824, introduced in the 1990s, showcased innovative design features that improved low-frequency response and overall accuracy.
- **Adam Audio**: Their use of ribbon tweeters and advanced materials has set new standards for high-frequency reproduction and transparency.
- **JBL**: The integration of DSP and network connectivity in models like the LSR4328P demonstrated the potential of digital technologies in nearfield monitoring.

#### Conclusion

The evolution of nearfield monitors is a testament to the relentless pursuit of accuracy and innovation in audio engineering. From their origins in the 1970s to their current state as essential tools in modern studios, nearfield monitors have undergone significant transformations. Advances in driver technology, active monitoring, DSP, and room correction have all contributed to the development of monitors that provide unparalleled precision and flexibility. As technology continues to evolve, the future promises even more exciting developments in the world of nearfield monitoring, ensuring that producers and engineers can achieve the highest levels of audio fidelity in their work.