TEST: Mackie TH-12A

 If you have dealt with the topic of active 2-way sound reinforcement in recent years, you cannot avoid the name Mackie. Especially when it comes to lightweight construction combined with uncomplicated handling, the name comes up again and again. With the Thumb series, in addition to the successful TH-15A, Mackie now also relies on the smaller version TH-12A, which, as expected, comes with the more compact 12-inch version instead of a 15-inch woofer, without reducing the performance specifications.

The construction was designed by the same guild that produced the best-selling SRM450v2. The product was developed in the USA and the active box is built in China.


construction

The Mackie TH-12A is an active two-way speaker, which has a power output of 200 watts sine wave and a peak of 400 watts, with the 12 inch bass speaker having a 150 watt Class D, and the 1 inch tweeter driver a Class AB power amplifier is operated. As is usual in this performance class, the construction is designed as a bass reflex. The woofer is protected from external influences by a solid metal grille, and the driver is installed sufficiently back.

As with its big sister, the very light casing made of polypropylene ensures that the product only has a very moderate total weight of 11.6 kilograms despite generously proportioned performance specifications and casing dimensions of 596 x 367 x 314 mm. Despite the pure plastic design, the housing proves to be scratch-resistant and "deformable", which means that the plastic tray does not break easily under strong mechanical external influences.

Thanks to its trapezoidal shape, the design can be used from the classic vocal system to the floor monitor area to a simple small P.A. expand if you generate a corresponding daisy chain operation of several components and do not need the ultimate sub-bass in your performance. It gives the impression that speech and song transmission in the P.A. Area is the primary area of application of the box.


In order to be able to move the construction at the most ergonomic angle at any time, the product has three handles or recessed grips, two on the outside and one on the top. This means that the box can be maneuvered relatively easily onto a high stand without putting excessive strain on the back area. The construction only has four stacking troughs on the underside, which defines the area of application of the construction even more precisely. The Tower of Babel is not the thing here, but rather the department of additional subwoofers plus a spacer rod. To ensure this operating mode, the box has the standard 35 mm flange on the bottom for stand operation.

The integrated three-band tone control, which is recessed on the back of the box for protection reasons, is always a real plus. Two shelving filters at 80 Hz and 12 kHz, as well as a semi-parametric midband with a selectable frequency between 100 Hz and 8 kHz, ensure post-processing of the applied signal if necessary. If in doubt, the equalizer can also be deactivated using a pressure switch.


As with the TH-15A, the user has to make do with a single XLR socket, which he can loop through via another XLR socket if necessary. A cinch plug might be helpful for connecting an MP3 player or similar equipment; if necessary, you can of course also work with adapters.


Finally, the master volume control, a power plug and the on/off switch, as well as the tone control controls, are all located slightly inwards on the back of the housing. Due to the XLR input, you can also connect a microphone directly if necessary. Due to the lack of a gain control, there may be a slight mismatch, but the basic function will be retained.


Practice

If you apply a signal to the speaker, you will immediately hear the characteristic Mackie sound. The fairly soft highs and the open sound ensure a universal area of use. Once again, the treble control at 12 Khz is particularly pleasing, an area that tends to cause unpleasant scratching in the competition. Even if the sound culture does not reach the range of the VLZ series, the filter section is very appealing for this price segment.

With the necessary sensitivity, spatial problems can be put into perspective with the help of the parametric mid control or source material that is sonically unfavorable can be processed. Remember, to get sound problems under control, you can also lower frequencies! The midrange in particular sometimes prefers the minus dB range rather than the boost sector. At 80 Hz, the bass control is relatively low for a 12-inch speaker, but it works pleasantly discreetly so that, assuming moderate handling, you don't have to worry about a low output.

Due to the 12-inch device, a fact that should not be underestimated can be easily identified. While the large TH-15A version has a slight dip in the high-mid range, as the bass loudspeaker does not quite keep in touch with the tweeter horn in the range between 2 - 3 kHz due to its inert mass, the faster 12 inch version gets out of the starting blocks much faster and conveys a more homogeneous sound spectrum.

What is pleasantly noticeable about this design is the cable routing when using the product as a floor monitor. While the big sister still had problems with plugs bending, especially with the power cables, due to the shape, the TH-12A has thought better of it. For the first time, regular Neutrik plugs can be used without there being any mechanical stress on the quick-release axles, but only if the box with the tweeter horn is on the left side. What remains are the somewhat wobbly controls, which are not countered on the outer panel. Not really bad, but it would have been an additional security point.



Conclusion

With the active TH-12A construction, Mackie is expanding its position in the active 2-way sector and leaves a good overall impression. For just under €300 street price you get an easy-to-use, flexible sound system construction that serves a wide range of applications.

Small, light, well-engineered and with good workmanship, you can't go wrong with this product. Anyone thinking about purchasing in this segment should have the TH-12A on their list.

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Additional Informations:

Two-way loudspeaker systems are a cornerstone of professional audio (PA), celebrated for their ability to deliver a broad frequency range with clarity and efficiency. By dividing audio signals into two frequency bands, each handled by specialized drivers, two-way systems offer a balance between performance and complexity, making them a popular choice in various PA applications. This article delves into the rich history and development of two-way loudspeaker systems, tracing their technological advancements and impact on the audio industry.

### Early Loudspeaker Designs

The origins of loudspeaker technology date back to the early 20th century. Initial designs were rudimentary, often consisting of a single driver tasked with reproducing the entire audio spectrum. These early systems, frequently horn-loaded to boost efficiency, struggled with limitations in frequency response and sound fidelity. The single driver could not effectively cover both low and high frequencies, resulting in significant audio distortion and subpar performance.

### The Concept of Multi-Way Systems

The quest for improved sound quality led to the concept of multi-way loudspeaker systems. By using multiple drivers, each optimized for a specific portion of the audio spectrum, engineers could enhance sound clarity and minimize distortion. This concept laid the foundation for the development of two-way loudspeaker systems, which became the first step towards more sophisticated multi-way designs.

### Birth of the Two-Way System

The two-way loudspeaker system emerged as a solution to the limitations of single-driver designs. It typically consists of a woofer, responsible for low frequencies, and a tweeter, designed for high frequencies. The key innovation in two-way systems is the crossover network, which divides the audio signal into separate frequency bands, directing each band to the appropriate driver.

#### Early Two-Way Designs

The first two-way loudspeaker systems appeared in the 1930s and 1940s. These early models used passive crossovers, which are placed between the amplifier and the drivers. Passive crossovers rely on passive electronic components like capacitors, inductors, and resistors to split the audio signal. These components were relatively simple but marked a significant improvement over single-driver systems, offering better sound quality and higher output levels.

### Advancements in Crossover Technology

Crossover technology quickly became a focal point for innovation in two-way loudspeaker systems. Early passive crossovers had fixed crossover points, which sometimes limited their flexibility and performance. As technology advanced, more sophisticated crossover designs were developed, allowing for adjustable crossover points and improved frequency band separation.

#### Active Crossovers

The introduction of active crossovers in the 1960s and 1970s revolutionized the design of two-way systems. Unlike passive crossovers, active crossovers are placed before the power amplification stage and use active electronic components like transistors and operational amplifiers. This placement allows for more precise control over the frequency division and offers the ability to adjust crossover points more accurately. Active crossovers also enable independent amplification for each driver, improving overall system efficiency and sound quality.

### Driver Technology and Materials

The evolution of driver technology and materials has been integral to the development of two-way loudspeaker systems. Early drivers used paper cones, which, while lightweight and efficient, had limitations in terms of durability and sound fidelity. Over time, new materials such as polypropylene, Kevlar, and carbon fiber were introduced, offering improved performance characteristics.

#### Woofer Development

Woofers in two-way systems are designed to handle low frequencies, typically ranging from 20 Hz to 2 kHz. Advances in woofer design have focused on improving cone materials, motor structures, and suspension systems to enhance low-frequency response and minimize distortion. Modern woofers often use materials like treated paper, aluminum, or composite materials to achieve the desired balance of strength and lightness.

#### Tweeter Development

Tweeters are responsible for high frequencies, usually from 2 kHz to 20 kHz. The development of dome tweeters in the mid-20th century represented a significant leap forward. Dome tweeters, with their lightweight diaphragms and efficient motor structures, offer superior high-frequency response and dispersion compared to earlier cone tweeters. Materials such as silk, aluminum, and titanium are commonly used in modern tweeter designs to achieve the desired performance.

### Integration with Digital Signal Processing (DSP)

The advent of digital signal processing (DSP) in the late 20th century brought about another wave of innovation in two-way loudspeaker systems. DSP allows for precise control over various aspects of the audio signal, including equalization, crossover settings, and time alignment. This technology enables engineers to optimize the performance of two-way systems in real-time, compensating for acoustic anomalies and ensuring consistent sound quality across different environments.

### Applications in Professional Audio

Two-way loudspeaker systems are ubiquitous in professional audio applications due to their balance of performance, cost, and complexity. They are commonly used in live sound reinforcement, installed sound systems, and studio monitoring.

#### Live Sound Reinforcement

In live sound applications, two-way systems offer the clarity and power needed to deliver high-quality audio to audiences of various sizes. They are often used in combination with subwoofers to extend the low-frequency response, creating a full-range sound system capable of handling a wide variety of music and speech content.

#### Installed Sound Systems

Two-way loudspeakers are also prevalent in installed sound systems, such as those found in theaters, stadiums, and houses of worship. Their ability to provide even coverage and high intelligibility makes them ideal for these environments, where both music and speech reproduction are critical.

#### Studio Monitoring

In the studio, two-way monitors are essential tools for recording and mixing engineers. They provide accurate sound reproduction, allowing engineers to make precise adjustments to their recordings. The compact size and high performance of two-way monitors make them a popular choice in both professional and home studios.

### Conclusion

The evolution of two-way loudspeaker systems has been marked by continuous innovation and improvement. From their early beginnings as a solution to the limitations of single-driver designs, two-way systems have evolved into highly sophisticated and versatile tools in the professional audio industry. Advances in crossover technology, driver materials, and digital signal processing have all contributed to the superior performance and widespread adoption of two-way systems. As technology continues to advance, the future of two-way loudspeaker systems promises even greater enhancements, further solidifying their role as indispensable components in the world of professional audio.