TEST: Mackie ProFX12

 Compact mixer. There's something subconsciously derogatory about the expression alone, don't you think? For market-psychological reasons, the adjective “small” may not be used at all (“Man, he’s small...”), so you decide on an expression that reflects the essence in its basic statement. However, everything is given a subtle upgrade so that nothing seems as it is. You can't imagine how these sales strategies annoy me...

It is not really surprising that an omnipresent company like Mackie also offers some of its products in the small and small class, but it is more surprising that the manufacturer has also been offering some of its products in the budget range for some time. Oh dear, just the word makes experienced engineers cringe. Many people pale as chalk as they remember the merciless cannibalization mistakes of the competition, which relegated their big name to the abyss of second and third class out of pure greed for profit maximization and partly immature Asian production.

A product like Mackie in particular has to be very careful not to mess up the specifications from the former USA production and not to let the workmanship and sound fall below a certain minimum level of quality, even with cheap production in China. The good reputation of the company and the loyalty of the customer will thank you.


construction

The great thing about a Mackie is that if you've ever used a Mackie console, you'll find your way around it straight away. Regardless of whether it is a large F.O.H. console, rack mixer, submixer or project studio, all functional elements are almost always arranged in the same way and are also self-explanatory. With its dimensions of 37 centimeters deep, 35.7 centimeters wide and approx. 9.1 centimeters high, the model can still be classified as a small mixer.

At first glance it is immediately clear that when it comes to design, nothing is left to chance at Mackie. All jack sockets are clearly arranged, adequately labeled and their functionality is self-explanatory. As usual, the housing is made of silver/black anodized and folded sheet metal, impeccably manufactured, but plastic covers have been installed on the side for cost reasons. There are four pleasantly soft rubber feet on the underside of the housing, which offer the product high slip resistance even on smooth surfaces.


The ProFX12 is a 12-channel or 14-channel (channels 5/6 - 7/8 each share a stereo input plus 1 XLR socket) combination of microphone and line mixer, whereby the sound engineer has 6 microphones and 4 Stereo signal paths are available for processing. Channels one to six have XLR female input sockets, which, as is usual with Mackie in this price range, are not equipped with a lock. However, thanks to their upward guidance, the risk of the plugs being unintentionally removed is very low. In addition, the plugs have sufficient support thanks to the slight internal wedging, even without the missing locking mechanism. If necessary, channels 1 - 6 can be supplied with phantom power.

A short stroll through the canals. Below the XLR sockets, which are used to connect dynamic or condenser microphones, there is another input jack socket, which can be connected either symmetrically or unbalanced. Immediately below is the insert path, through which a standard compressor or comparable dynamics processor can be inserted via a Y signal routing. Channel 1 also has an additional selector switch for a directly applied high-impedance signal such as an electric bass. That no one would come up with the idea of connecting a guitar directly here and then complain about the bad, distorted sound ;-)

A low-cut sound filter at 100 Hertz and the gain control are the next steps in the train, followed by a three-band tone control with the center frequencies 12 kilohertz, 2.5 kilohertz and 80 hertz. A panorama control, a mute switch, aux send, FX send and an overload display complete the short description. In the master section, the ProFX12 has the usual Mackie comprehensive features. In addition to the main outs in XLR and jack, we have a monitor out, an FX out, a stereo return, a headphone and a footswitch connection for the internally installed effects device.

Furthermore, a seven-band summing graphic EQ and a USB connection are offered, which ensures that a computer signal can be fed in. There are also four RCA sockets on the panel, which ensure tape-in and tape-out. Two chains, each consisting of twelve LEDs, provide information about the respective water levels.




Practice

In addition to the comprehensive range of connections, Mackie has always been one of the spearheads when it comes to preamplifiers and filters. The first VLZ series was downright legendary, which achieved excellent values in terms of sound culture in relation to its selling price at the time. Even if the selling price of the ProFx12 already suggests that a direct comparison would be made under unfair conditions, unfortunately every Mackie desk still has to be measured against its protagonists.

To put it bluntly, the console performs satisfactorily, although the preamp and EQ have to admit defeat more or less in a direct comparison. Unexpectedly, the preamplifier cuts a consistently good figure. The well-known saturation immediately before the onset of the first clippings could easily be saved in the budget class.

The filters sound more appropriate to the selling price, quite valuable in terms of price, but still rather unspectacular and a bit flat. Although the treble control, which is generally considered difficult, fortunately avoids harsh and scratchy highs, the mids come across as a bit inconsequential without the necessary character of their own. The bass filter also lacks a little volume, but this can be attributed to the budget range used. All in all, the section offers a good cut, which will be sufficient for home recording and live shows, but cannot meet professional standards. However, this was never the approach of the product.

The same applies to the FX section as to the filter area. What is on offer can certainly be described as successful for the selling price, but in detail it can only keep up with the midfield. In terms of processor technology, the spatial depth and resolution of the reverb tails must be able to cope with the algorithms that the manufacturer has given you. These make a passable impression, but nothing more. Once again quite satisfactory for the live area, less so for the ambitious studio area.



Conclusion

Mackie does well, even within the budget range. Despite the overpowering legacy of some of the protagonists of the small mixer scene, the ProFX12 impresses with good workmanship, clear management, good preamps and appropriate filters. In addition to sufficient connection peripherals, the USB connection also makes live recording or feeding in a PC signal child's play.

All in all, neat!

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Additional Informations:

## The History of Compact Audio Mixers

Compact audio mixers have revolutionized the way sound is mixed and recorded, providing a versatile and portable solution for a wide range of applications. Their compact size and comprehensive features have made them indispensable for musicians, sound engineers, and broadcasters alike.

The history of compact audio mixers can be traced back to the late 1970s, when the demand for portable and affordable mixing consoles began to grow. At that time, traditional mixing consoles were large, expensive, and often required specialized training to operate. This made them impractical for many musicians and sound engineers who needed a more portable and user-friendly solution.

In response to this demand, several companies began to develop smaller and more affordable mixing consoles. One of the first companies to introduce a compact mixer was Mackie Designs, which released the CR-1604 in 1978. The CR-1604 was a 16-channel mixer that featured a compact design, affordable price, and easy-to-use controls. It quickly became a popular choice for small bands and home studios.

Other companies soon followed suit, and by the early 1980s, the market for compact audio mixers was booming. Some of the most popular brands of the era included Yamaha, Tascam, and Behringer. These mixers offered a variety of features and price points, making them accessible to a wide range of users.

The development of compact audio mixers was further fueled by the advancement of semiconductor technology. In the 1980s, new integrated circuits made it possible to create smaller and more powerful mixing consoles. This led to the development of even more compact and feature-rich mixers, such as the Mackie 8-Bus Series, which was released in 1988.

The 1990s saw the introduction of digital audio technology, which had a profound impact on the development of compact audio mixers. Digital mixers offered several advantages over analog mixers, including superior sound quality, increased flexibility, and greater ease of use. As digital technology became more affordable, it quickly became the standard for compact audio mixers.

Today, compact audio mixers are available in a wide variety of sizes and configurations, from small 4-channel mixers to large 64-channel consoles. They are used in a wide range of applications, including live sound, recording, broadcasting, and post-production.

Here are some of the key milestones in the history of compact audio mixers:

* **1978:** Mackie Designs releases the CR-1604, one of the first compact audio mixers.
* **1980s:** The market for compact audio mixers booms, with companies like Yamaha, Tascam, and Behringer introducing popular models.
* **1988:** Mackie releases the 8-Bus Series, a compact mixer with advanced features.
* **1990s:** Digital audio technology revolutionizes compact audio mixers, offering superior sound quality and flexibility.
* **Today:** Compact audio mixers are available in a wide variety of sizes and configurations, used in a wide range of applications.

Compact audio mixers have played a significant role in the evolution of music and sound production. Their compact size, affordable price, and comprehensive features have made them an essential tool for musicians, sound engineers, and broadcasters alike. As technology continues to advance, we can expect to see even more innovative and powerful compact audio mixers in the years to come.