TEST: Mackie MR6

 As with the smaller version MR5 and larger version MR8, the American manufacturer is now bringing the popular 6-inch version onto the market in its third edition, the Mackie MR6 MK3. It is no longer possible to determine today whether the former Boeing employee and namesake Greg Mackie, who achieved world fame in the 1970s with his mixing consoles, was aware that he would one day take an established position in the near-field monitor sector. The fact is, however, that especially in the consumer sector, the comparatively low selling prices due to Chinese production have allowed the customer base to grow continuously.

However, it is also a fact that, especially in recent years, other top dogs in the sound reinforcement sector have increasingly entered the market with a budget line, so Mackie really can't complain about the lack of competition. Especially in the highly competitive area up to €200 per box, Mackie has to assert himself against an entire close-range armada from Asia. It remains to be seen to what extent the field can be maintained in this segment.


construction

A single Mackie MR5 MK3 box weighs around 7.2 kilograms and has dimensions of 322 mm x 221 mm x 305 mm (HxWxD), which requires a little planning when it comes to placement on the direct PC workstation. Although the monitor is much easier to handle compared to the large MR8 variant, placing it directly next to the monitor can lead to space problems at one or another workplace. As with almost all representatives of this performance class, it is also important to ensure that there is enough distance from the nearest wall, as the system quickly tends to boom in the bass range due to the bass reflex opening at the back. Conceptually, the Mackie MR6 MK3 system is based on a 2-way system, which, divided into a 6.5 inch bass speaker and a 1 inch tweeter, has an output of 65 watts A/B with a maximum SPL of 112 dB per speaker .

The housing is made of 12 mm thick MDF, with the front panel made of 25 mm. The whole thing is laminated with an attractive, black textured paint, which leaves a good visual impression, but is comparatively sensitive to scratches. Frequently moving the speakers will inevitably leave unsightly sanding marks on the underside of the housing. However, the workmanship is impeccable and no impurities could be found.

Due to the active orientation of the system, as is often the case with the Mackie MR6 MK3, the system's on/off switch is located on the back of the housing along with a power plug and a slow-blow fuse. If you don't want to switch the monitors on and off with a power strip, you should make sure that you can easily reach behind the box from the control position or reach the desk from behind.

The transmission range of the box is specified by the factory as 46 Hz - 20 kHz, although due to the dimensions of the housing you physically have to leave the church in the village. It would be presumptuous to demand linearity below 80 Hertz for this design, so if you have a corresponding requirement in the sub-bass range, you should think about purchasing a corresponding subwoofer. Mackie offers the appropriate model MR10S, which can cover the low bass range down to 35 Hz with a 10" speaker and set the crossover between 40 - 180 Hertz.

In order to ensure maximum flexibility with regard to the signal input, Mackie also offers the unbalanced RCA (RCA) input in addition to the professional signal routing in the form of an XLR female and 6.25 mm jack (TRS). This means that the Mackie MR6 MK3 can also be used in desktop workstations, where internally installed high-quality connections are still in short supply and you usually have to be content with the built-in RCA-based sound cards.

On the back of the housing, in the settings section, you can configure the high and low frequency range to suit your personal taste using two filters. In the treble range, the manufacturer allows an increase / decrease of +/- 2 dB at 3.25 KHz, the bass range can be increased by 2 dB or even 4 dB at 100 Hz. Both filters have a shelving characteristic.

In general, Mackie has addressed and corrected the criticism of the previous models regarding the volume control in the MK3 variant of its MR series. An axis now acts as a potentiometer, which has a grid in the U position at 12 o'clock and on which a standard knob can be positioned for better visual control if necessary. This means that the important, parallel, even volume adjustment of both speakers can be guaranteed much better than with the MK2 versions of the MR5 and MR8 models.


Practice

As with its sister models, Mackie shows an affinity for the color green, as when you press the power switch, the current Mackie logo lights up in green on the front of the housing and indicates the operating status. In the neutral filter position, the Mackie pair produces a balanced basic sound. When it comes to spatial depth grading, the system leaves a good impression; the resolution of the signal can be described as successful.

The bass range is surprisingly powerful and reproduces the frequency range below the 150 Hertz mark comparatively voluminously even without a subwoofer switched on. Mackie actually manages to reproduce the most important mainstream frequencies well in the low frequency range. However, if you work in electronic music with a strong bass bias, you will quickly push the system to its limits and should therefore rely on the support mentioned above.

As is well known, the crossover area is always a bit tricky with a 2-way system. Mackie chose the 3.25 kHz range as the interface for the MR6 variant, which actually promotes a slight dip in the midrange. Although this gives the monitor a pleasant basic sound, it may tempt the technician to place too much of a good thing about midrange in this sensitive frequency range. Appropriately, Mackie also placed his shelving filter in exactly this area, which at least takes away this slight frequency hole, but at the same time increases the treble range.

Nevertheless, the Mackie MR6 MK3 sound very good in its price segment. Particularly in the hearing-sensitive range between 2-4 kHz, the signal present is captured acoustically well and does not fall into the factory-set “loudness level” of many competitors.

The frequency boost should only be treated with caution in the bass range. As a personal sound system, for example in a 5.1 setup, you can switch the boost to experimental mode, provided your lovely wife doesn't use the usual bass veto. As a classic near-field monitor in the studio, I would personally use this area with caution so as not to jeopardize the neutral mix.


Conclusion

With the Mackie MR6 MK3, the American company is introducing a 6-inch variant in its range for the first time, which scores with good to very good values at a comparatively low retail price.

A good spatial separation with a decent resolution means that the Mackie MR6 MK3 looks good in the project studio, in post-production or in the video sector. The system can also be used in surround applications if there is enough space to set it up.

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Additional Informations:

In the realm of audio engineering, precision and accuracy are paramount, particularly when it comes to recording, mixing, and mastering music. Among the essential tools that have revolutionized the way sound engineers achieve these sonic ideals are nearfield monitors. These compact loudspeakers have become ubiquitous in professional studios worldwide, yet their rich history and the innovative advancements that led to their widespread adoption are often overlooked. Let's delve into the captivating narrative of nearfield monitors, tracing their evolution from humble beginnings to their status as indispensable studio mainstays.

**The Early Days: Pioneering Efforts in BBC Studios**

The genesis of nearfield monitors can be traced back to the BBC's legendary Maida Vale Studios in the 1960s. As the British Broadcasting Corporation sought to enhance the quality of its radio broadcasts, engineers grappled with the challenge of accurately monitoring audio in the less-than-ideal acoustic environments of control rooms. Existing loudspeaker technology at the time, primarily designed for home listening, struggled to provide the precision and detail required for critical audio evaluation.

In response to this need, BBC engineers embarked on a series of experiments, utilizing smaller loudspeakers placed closer to the listener. This approach, termed "nearfield monitoring," offered several advantages. By reducing the influence of room acoustics and focusing on direct sound from the speakers, engineers could better discern the nuances of their recordings, leading to more precise mixing and mastering decisions.

**The Auratone 5C: A Legendary Nearfield Monitor Emerges**

Among the BBC's early nearfield monitor prototypes, one particular design stood out: the Auratone 5C. Developed by BBC engineer Arnold Groves in the 1970s, the Auratone 5C featured a 5-inch woofer and a 1-inch tweeter housed in a compact wooden cabinet. Its unremarkable appearance belied its remarkable sonic capabilities.

The Auratone 5C's reputation quickly spread beyond the confines of the BBC, garnering widespread acclaim among professional audio engineers for its ability to reveal even the subtlest flaws in recordings. Despite its limited frequency range and lack of bass extension, the Auratone 5C's unflattering honesty made it an invaluable tool for identifying and correcting audio imperfections.

**Commercialization and the Rise of Industry Standards**

The success of the Auratone 5C spurred the commercialization of nearfield monitors, leading to an influx of new designs from various manufacturers. Yamaha, JBL, and Dynaudio were among the first companies to introduce their own nearfield monitor models, each with unique characteristics and sonic signatures.

As the popularity of nearfield monitors grew, so did the demand for standardized performance criteria. In 1986, the Audio Engineering Society (AES) published its AES-4 standard for nearfield monitor specifications, establishing guidelines for frequency response, distortion levels, and dispersion characteristics. This standardization helped ensure consistency and reliability among nearfield monitor designs, further solidifying their position as essential studio tools.

**Technological Advancements and the Evolution of Nearfield Monitors**

Over the decades, nearfield monitors have undergone continuous technological advancements, driven by the pursuit of ever-greater accuracy and fidelity. The introduction of new materials, such as aluminum and composite cones, improved speaker drivers, and advancements in cabinet design have all contributed to the refinement of nearfield monitors.

Digital technology has also played a significant role in the evolution of nearfield monitors. The integration of digital signal processing (DSP) has enabled more precise control over equalization, filtering, and room correction, allowing engineers to tailor the sound of their nearfield monitors to specific acoustic environments.

**Nearfield Monitors Today: Indispensable Tools for Audio Professionals**

Today, nearfield monitors have become indispensable tools for audio professionals across various disciplines, from music production and recording to post-production and broadcast. Their compact size, precise sound reproduction, and versatility make them suitable for a wide range of applications, from intimate home studios to large professional facilities.

Modern nearfield monitors offer a remarkable level of sonic performance, capable of reproducing audio with stunning detail, clarity, and dynamic range. They have become the cornerstone of critical listening in professional audio environments, enabling engineers to make informed decisions that result in high-quality audio productions.

**Conclusion: A Legacy of Innovation and the Future of Nearfield Monitors**

The journey of nearfield monitors from their humble beginnings in BBC studios to their ubiquitous presence in professional audio environments is a testament to the power of innovation and the relentless pursuit of sonic excellence. These remarkable loudspeakers have transformed the way sound engineers approach recording, mixing, and mastering, ensuring that the music we hear is of the highest possible quality.

As technology continues to evolve, the future of nearfield monitors is undoubtedly bright. With advancements in materials, processing power, and artificial intelligence, we can expect even more sophisticated and versatile nearfield monitors to emerge, further enhancing the capabilities.