TEST: Mackie U420

 It is always interesting for me to observe how individual product ranges or areas of application suddenly, almost shot from the hip, skyrocket over the course of a few years or, conversely, after a relatively short gasp, go the way of all things.

If you look, for example, at the development of budget studios, sometimes located in the home office, with the help of the local PC, accompanied by increasingly powerful plugins and CPU performance, you can observe the parallel development of various desktop solutions tailored to this target group in easy step.

Detached from 19" screw connections, you can find more and more simple small and tiny mixers on the home desk or in fast mobile use, which can be quickly set up and dismantled and have the most important interfaces in order to be able to communicate on the digital level in direct connection with the more or less equipped workstation in the form of the personal lap or desktop.

The Mackie U420, a miniature desktop mixer designed to serve the above-mentioned customer group, is one of these all-round carefree packages.

Construction:

The D420 comes in a plastic housing with dimensions of 22.4 cm x 8.7 cm x 21.8 cm (W x H x D) and is very light at just 1.13 kg. The housing is made of impact-resistant plastic, which is also quite scratch-resistant.

To ensure a slightly more comfortable surface for the hand, the lower part of the mixer is made of a softer, black rubber mixture. The product is once again assembled in China.

The mixer's priorities are routing line signals; a microphone input is not available. Instead, it has 4 stereo channels, the first three of which can optionally be fed in mono, and a phono input. So if you finally want to digitize your extensive vinyl collection, or want to DJ the local party scene on the side, here is the right RCA input and amplifier.

The output area has the main out and a stereo aux out, as well as a headphone jack. With the exception of the phone in, all jacks are 6.35 mm jacks.

To avoid ground loops, the D420 has a corresponding ground screw, to which external third-party housings can be connected if necessary. Finally, on the rear panel there is the 18 V power connection and the mixer's real secret weapon, a Firewire 400 interface.

Why Firewire? Well, even if many still consider USB 2.0 with its theoretical 480 Mbit/s to be the faster version compared to 400 Mbit/s, anyone who has ever had to deal with both interfaces in practice will confirm that USB cannot even come close to the Firewire interface in all areas.

Data throughput and communication with other external devices in the Firewire network are faster and more effective, no comparison to the USB environment that constantly communicates with the controller.

The individual channel strip has a gain control (+/- 14 db), a three-band equalizer (according to the label, optionally + 10 db and "kill" ;-)), an AUX control for controlling the volume of an external sum pair such as monitor speakers / second monitors etc. and a rotary volume control.

Channel one has a direct connection for a high-impedance instrument such as an electric guitar, making it unnecessary to feed it through a D.I. box.

The oversized main level control is located in the middle, and its activity can be monitored on an 8-LED display. The volume control for the headphones and the volume control for the return path of the Firewire channel from the PC to the monitor are also located here.



Practice:

Finally! I peel the desk out of its packaging, put it on my desk and... the desk stands BOMB-TIGHT on its little rubber feet and can only be pushed to the side with a lot of pressure. I don't think I've come across such an excellent rubber mixture for ages, which has enough stiffness to equalize the pressure and is still soft enough to literally "stick" to the surface it's standing on.

Even though many will now say "this ride has strange priorities", if you knew how often I've had similar setups spin in circles at the slightest touch, live and in the studio, despite the rubber feet, you would more than understand my praise.

In terms of sound, the filters do their job, sometimes very well, sometimes normal. Anyone expecting the sound quality of the slightly more expensive VLZ series from Mackie will perhaps be a little disappointed; the filters work too "roughly" in direct comparison.

To avoid any misunderstandings, the filters work well, but the controller installed here does not achieve the "silkyness" of the treble control of the higher series, for example, due to its rather low shelving alignment at 4 kHz. The 1 kHz of the mid control is a bit too low for me personally, while the shelving bass control, which already kicks in at 300 hertz, is too high. All in all, however, the filters more than do justice to their field of application.

Unfortunately, the catch-up amplifier does not saturate as nicely as I am used to from Mackie consoles. Here, the gain actually "only" takes on its original function of level adjustment, which it does perfectly, but unfortunately you cannot use it to generate the wonderful compression effect that I know from the VLZ series. Yes, that's complaining at a high level, I know other consoles would be happy if their booster amplifiers didn't completely ruin the sound without level jumps....

The AD/DA conversion works technically flawlessly, and the sound is above average for the selling price. What is noticeable, however, is that the direct analog sound of the console is a touch fresher and more direct from the speakers.

In terms of cabling, it couldn't be easier. I connected the Firewire cable to my iMac and entered the U420 as the sound source in the system settings, and that was it! In terms of level, the Firewire interface could provide a little more amps, but in terms of recording, everything was within the green range.

Conclusion:

With its U420, Mackie delivers a flexible, good-sounding mixer that, when used in conjunction with a multimedia-capable PC, delivers excellent results in many areas. The Firewire interface proves to be a central approach and fully lives up to its function.

Whether as a small production tool, as a small live mixer, as a sub-mixer for keyboard players or as a sound management and tonal point of contact in the multimedia sector, the small desktop solution will find its buyers, I am sure of that.

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Additional Informations:

Mackie, a renowned name in the audio equipment industry, has a storied history of innovation and quality in the production of mixing consoles. Among their diverse product line, Mackie’s smallest mixers have carved out a significant niche, celebrated for their portability, reliability, and impressive sound quality. This article delves into the detailed history and evolution of Mackie’s smallest mixers, exploring the technological advancements, market demands, and design philosophies that have shaped these compact yet powerful tools over the years.

#### Origins and Early Innovations

The journey of Mackie’s small mixers began in the late 1980s. Greg Mackie, the founder of Mackie Designs Inc., was a professional audio engineer who saw a gap in the market for affordable, high-quality mixing consoles. At that time, the available mixers were either too expensive or lacked the necessary features for professional use. Mackie’s vision was to democratize access to professional-grade audio equipment.

The first significant breakthrough came in 1989 with the release of the Mackie CR-1604, a compact 16-channel mixer that offered unprecedented quality and functionality at a reasonable price. While not the smallest mixer, the CR-1604 set the stage for Mackie’s commitment to compact, user-friendly designs. Its success demonstrated a strong market demand for portable mixers, inspiring Mackie to explore even smaller formats.

#### The Birth of the VLZ Series

The VLZ (Very Low Noise) series, introduced in the early 1990s, marked a pivotal moment in the evolution of Mackie’s small mixers. The VLZ series was designed with a focus on reducing noise and improving sound quality, features that quickly became trademarks of Mackie mixers. Among the early models was the 1202-VLZ, a 12-channel mixer that encapsulated Mackie’s commitment to portability and performance.

The VLZ series mixers were characterized by their robust construction, ergonomic design, and high-quality preamps. The use of XDR (Extended Dynamic Range) preamps in the VLZ series set new standards for sound clarity and headroom in compact mixers. The success of these mixers solidified Mackie’s reputation and paved the way for even smaller models.

#### Compact Models and Market Expansion

As the demand for portable audio solutions grew, Mackie responded by developing even smaller mixers that retained the high standards of the VLZ series. The Mackie 402-VLZ3, introduced in the early 2000s, is a notable example. This 4-channel mixer was designed for musicians and audio professionals who needed a portable yet reliable solution for live sound and recording.

The 402-VLZ3 and its successors offered features typically found in larger consoles, such as high-headroom preamps, precision EQ, and rugged construction. These mixers became popular in a variety of settings, from home studios to small live venues, and were particularly favored by solo performers and podcasters for their ease of use and portability.

#### Digital Advancements: The ProFX and Onyx Series

In response to the growing trend of digital audio, Mackie introduced the ProFX and Onyx series, which incorporated digital effects and USB connectivity into their compact mixers. The ProFX series, launched in the late 2000s, included models like the ProFX8, an 8-channel mixer with integrated effects and USB output for easy recording.

The Onyx series took digital integration further, featuring Onyx preamps known for their clarity and low noise. The Onyx 820i, for instance, was an 8-channel mixer with FireWire connectivity, allowing seamless integration with digital audio workstations (DAWs). These advancements reflected Mackie’s adaptability to the evolving audio landscape and its commitment to providing modern solutions for audio professionals.

#### Recent Innovations and the Future

In recent years, Mackie has continued to innovate, introducing ultra-compact mixers that cater to the needs of modern audio professionals. The Mix series, for example, includes the Mix5, a 5-channel mixer that combines Mackie’s signature sound quality with a minimalist design. These mixers are ideal for users who need a simple yet effective solution for small gigs, podcasts, and home recording.

Moreover, the development of Bluetooth-enabled mixers like the Mackie ProFXv3 series shows Mackie’s dedication to incorporating contemporary technology into their products. These mixers offer wireless streaming capabilities, allowing users to easily integrate mobile devices into their setups.

#### Design Philosophy and User-Centric Approach

A significant factor in the success of Mackie’s small mixers is the company’s user-centric design philosophy. Mackie has always prioritized the needs of audio professionals, ensuring their products are not only high-performing but also user-friendly. Features like rugged metal chassis, intuitive layouts, and comprehensive connectivity options make Mackie mixers reliable and versatile tools.

#### Impact on the Industry

Mackie’s innovations in compact mixer design have had a profound impact on the audio industry. By making high-quality mixing consoles accessible to a broader audience, Mackie has empowered countless musicians, producers, and sound engineers to achieve professional results without breaking the bank. The portability of these mixers has also facilitated the rise of mobile recording and live streaming, enabling creators to produce content from virtually anywhere.

#### Conclusion

The evolution of Mackie’s smallest mixers is a testament to the company’s commitment to quality, innovation, and user satisfaction. From the early days of the VLZ series to the latest digital and Bluetooth-enabled models, Mackie has consistently pushed the boundaries of what compact mixers can achieve. As the audio landscape continues to evolve, Mackie’s dedication to meeting the needs of audio professionals ensures that their small mixers will remain indispensable tools for years to come.