TEST: Mackie SRM350V2

 Never change a winning team or you can expand your product range. OK, the comparison seems a bit brittle, but the product developers at Mackie must have felt something similar when it came to the SRM series.

Similar to the instrument amplifier sector, there are relatively identical concepts here, which only vary upwards or downwards depending on the type in terms of speaker configuration or power output. For example, the SRM350v2 active box I was testing has its sister model SRM450v2, a product that was supposed to do very well in one of the last tests.

With the 350 version, the priorities have now been placed on better transportability and the product has been significantly reduced in terms of dimensions. Let's see to what extent the little brother can keep up in terms of sound, workmanship and practicality.


Construction:

The SRM350v2 once again uses polypropylene as a construction material, a robust material that has the right mix of hardness (stable construction) and softness (risk of breakage in the event of strong impacts). The dimensions of the construction are height 53 centimeters, width 34 centimeters, depth 31 centimeters, with a weight of 12 kilograms, ensuring that the box can also be easily transported in a small car.

The shape of the box is an asymmetrical trapezoid, which means the box can be used as a stand-alone or satellite solution for P.A., sidefill or as an approx. 45 degree wedge.

A carrying handle on the side of the housing, equipped with an ergonomically placed core, ensures that the box can be easily lifted onto a high stand. A corresponding flange is attached to the underside of the housing.

In general, the box can be described as very handy, as its center of gravity when approached on this handle can be described as very successful. Thanks to an additional recessed grip on the top of the housing, the box can also be quickly maneuvered vertically. 4 strong plastic feet secure the construction against slipping, but there are no recesses on the top for stacking.

You can see that the SRM350v2 can be flown, and appropriate screws can be attached to the top, but the primary focus is on small standing operations. Compared to the 8 rigging points of the 450 version, the 350 has focused on the essentials.



The SRM350v2 is an active biamping system, which consists of a 1.4 inch titanium tweeter horn with a load capacity of 75 watts and a 10 inch woofer speaker with a load of 250 watts. The speakers are powered by a Class D 165 watt woofer amplifier and a 30 watt Class AB tweeter amplifier.

The woofer amplifier is factory-equipped with a dynamic bass boost, which ensures that the frequencies below 70 Hertz are reduced as the volume increases. This not only ensures that the power-consuming frequencies in the high-load range absorb the lion's share of the power, but it also takes into account the fact that the human ear reacts more sensitively to the low-frequency range at high volumes.

At maximum volume, a limiter regulates the power in the soft knee setting at the first distortion; the use of the limiter is indicated by an LED on the back. In collaboration with additional subwoofers, two SRMv2s can be turned into a small P.A. in no time. put together, which also accounts for small club sound systems. It should be noted that the boxes are not suitable for unconditional outdoor use. When used in public, the components must be protected from rainwater or moisture.

The horizontal radiation is given as 90 degrees. The tweeter horn is recessed approx. 10 centimeters into the housing to protect it from damage during transport. A relatively finely perforated, black steel grille, which was secured with four screws, is used to protect the woofer installed on the rear.

The amplifier unit is located on the back of the box. The central power switch is located next to the cold appliance power socket. The input plug is the well-known variant of an XLR female and a 6.35 jack plug, both of which can be locked.

Using a switch, the input sensitivity can be switched between microphone and line level. A simple input controller is used to determine the input sensitivity for the signal applied. Due to the gain of up to +40 db (microphone) or + 5 db (line), dynamic microphones can also be connected directly.

Phantom power is not provided, which means condenser microphones must be operated with an internal battery. When it comes to sound control, the low frequencies below 100 Hertz and the high frequencies above 12 kilohertz can be increased by three dB using a contour switch.

There is an XLR male above the input plug for daisy chain cascading. Additional passive speakers cannot be connected to the amplifier unit. 19 massive black cooling fins ensure sufficient cooling of the unit.


Practice:

When you press the power switch, a bright blue LED on the front of the device reports the operating status. In general, the SRM350v2 can be said to have the same sound attributes as its big 450 sister. Here too you will encounter a soft, three-dimensional reproduction with the “velvety” sound already mentioned. Despite the lack of internal damping, the plastic housing has no resonance frequencies or standing waves.

The spatial reproduction can be described as successful, although of course you always have to take the acoustic conditions of the area of use into account. Due to the good radiation behavior of the tweeter unit, speech intelligibility remains unusually good even with unfavorable reflections and ensures that everyone's faces are happy.

In addition, the box sounds very pleasant even at low volumes; the voice coils do not require a large stroke as with other products to get a voluminous sound from the speakers.

The only criticism of the design is the fact that an angled power plug should be used when operating as a floor monitor, as a straight plug would be bent relatively sharply due to the angle and positioning of the socket.



Conclusion:

As with its big sister, the SRM450v2, the smaller 350 version ensures a harmonious and all-round successful appearance. For use in moderate volume operation, you will find a handy partner that is unobtrusive, can be set up and ready for use in a very short time, with just a few simple steps and extremely clear cable requirements.

Tons of dance and cover bands will appreciate exactly these features, plus you can start with a couple and then upgrade as needed, both in the monitor and in the P.A. Area.

A coherent system with high practical suitability.

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Additional Informations:

## The History of Multi-way Loudspeakers in the P.A. Industry

Multi-way loudspeakers have become a staple in the P.A. industry, providing superior sound quality and versatility compared to traditional full-range speakers. Their ability to reproduce a wide range of frequencies with clarity and detail has made them essential for a variety of applications, from live concerts and theatrical performances to houses of worship and corporate events.

The history of multi-way loudspeakers can be traced back to the early days of sound reinforcement, when engineers began experimenting with dividing the audio spectrum into different frequency bands and reproducing each band with a dedicated driver. This approach offered several advantages over full-range speakers, which were often limited in their ability to reproduce both high and low frequencies accurately.

One of the pioneers of multi-way loudspeaker design was Paul Klipsch, who founded the Klipsch company in 1946. Klipsch was a firm believer in the benefits of multi-way design, and he developed a number of innovative loudspeaker systems that helped to popularize the technology.

In the 1960s and 1970s, multi-way loudspeakers continued to evolve, as engineers developed new materials and techniques for driver design. This led to the development of more efficient and powerful loudspeakers that could handle a wider range of frequencies.

The 1980s saw the introduction of a number of new technologies that further improved the performance of multi-way loudspeakers. These included the use of computer-aided design (CAD) software to optimize driver design, the development of new materials such as titanium and kevlar, and the use of advanced crossover networks to divide the audio spectrum more precisely.

Today, multi-way loudspeakers are available in a wide variety of configurations, from simple two-way systems to complex line arrays with dozens of drivers. They are used in a wide range of applications, from small clubs and bars to large stadiums and arenas.

Here are some of the key milestones in the history of multi-way loudspeakers:

* **1946:** Paul Klipsch founds the Klipsch company and begins developing multi-way loudspeaker systems.
* **1960s and 1970s:** New materials and techniques for driver design lead to more efficient and powerful multi-way loudspeakers.
* **1980s:** Introduction of CAD software, new materials, and advanced crossover networks further improves the performance of multi-way loudspeakers.
* **Today:** Multi-way loudspeakers are available in a wide variety of configurations and are used in a wide range of applications.

Multi-way loudspeakers have played a significant role in the evolution of sound reinforcement. Their superior sound quality and versatility have made them an essential tool for sound engineers and musicians alike. As technology continues to advance, we can expect to see even more innovative and powerful multi-way loudspeakers in the years to come.

## Paul Klipsch and the Pioneering Spirit of Multi-way Loudspeakers

Paul W. Klipsch, a renowned American audio engineer and founder of the Klipsch company, stands as a pivotal figure in the development of multi-way loudspeaker systems. His innovative designs and unwavering belief in the benefits of separating the audio spectrum played a crucial role in shaping the P.A. industry and the way we experience sound today.

**Early Inspiration and the Klipsch Horn:**

Klipsch's fascination with acoustics began during his studies at the University of Arkansas, where he conducted research on horns for phonographs. He recognized the limitations of traditional full-range speakers, particularly their struggles with reproducing both high and low frequencies efficiently. Inspired by the natural amplification properties of horns, Klipsch began experimenting with horn designs that could improve speaker performance.

**The Klipschorn: A Cornerstone of Multi-way Design:**

In 1936, Klipsch unveiled his revolutionary creation - the Klipschorn. This horn-loaded loudspeaker system represented a significant leap forward in loudspeaker technology. The Klipschorn utilized a folded bass horn design to efficiently reproduce low frequencies. This freed up the other drivers in the system to focus on reproducing midrange and high frequencies with greater clarity and detail. It wasn't just a two-way system though.  The Klipschorn incorporated a tweeter and a squawker (midrange driver) alongside the bass horn, effectively creating a three-way design. This approach not only improved sound quality but also allowed for increased efficiency, meaning the Klipschorn could produce louder sound with lower amplifier power compared to traditional full-range speakers.

**Beyond the Klipschorn:**

The success of the Klipschorn solidified Klipsch's reputation as a pioneer in loudspeaker design. He continued to refine and develop multi-way concepts, creating new horn designs and exploring different driver configurations. He advocated for the benefits of high efficiency and accurate frequency response, challenging the prevailing industry norms. His work inspired other engineers and companies to explore the potential of multi-way loudspeakers, leading to further advancements in the field.

**Klipsch's Legacy:**

Klipsch's dedication to multi-way loudspeaker technology laid the foundation for the high-fidelity sound reproduction we experience today. His principles of efficient horn design, accurate frequency response, and meticulous crossover networks have become cornerstones of modern loudspeaker construction. While technology and materials have evolved significantly since his time, the core concepts he championed remain relevant. Today, Klipsch continues to be a leading manufacturer of high-performance multi-way loudspeakers for a variety of applications, from home audio to professional sound reinforcement systems.

**Further Exploration:**

Here are some additional points to consider when exploring Klipsch's work with multi-way loudspeakers:

* **The Importance of Crossover Networks:** Klipsch recognized that simply separating the audio spectrum wouldn't be enough. He developed sophisticated crossover networks to ensure each driver received the correct frequencies and prevent overlap between them.
* **The Klipsch Synergy:** Klipsch believed in a holistic approach to loudspeaker design. He emphasized the importance of integrating the drivers, crossover networks, and enclosure design to achieve optimal performance.
* **The Debate Over Horn Design:** Not everyone embraced Klipsch's horn-loaded designs. Some audiophiles argued that horns could introduce coloration to the sound. However, Klipsch constantly improved his designs to minimize this effect.

By delving deeper into these aspects,  you can gain a richer understanding of Paul Klipsch's groundbreaking contributions to the world of multi-way loudspeakers and their lasting impact on the P.A. industry.