TEST: One Control Cranberry Overdrive

 The urge for miniaturization in the instrument industry continues unabated. It must be admitted that when it comes to a pedal that has just one effect and does not need to be adjusted during the show, saving space makes a lot of sense for musicians who are plagued by transportation issues. The One Control Cranberry OverDrive - Boost, which we have for testing, is just such a pedal.

The concept of the One Control Cranberry OverDrive - Boost

The One Control Cranberry OverDrive - Boost is the low gain version of the Strawberry Red Overdrive, also from the American manufacturer One Control. Both pedals were developed for One Control by Björn Juhl, who goes by the name BJFE, which stands for "Björn Juhl Förstärkarelektronik", independently of his own company BJFE Guitar Effects.

The pedal belongs to the group of mini pedals and makes the most of the space required down to the last millimeter. Ultimately, the width is only determined by the 6.35 mm jack plug and the depth by the optional use of a 9V battery. Speaking of batteries, the One Control Cranberry OverDrive - Boost has the lowest power consumption of just 4 mA that I have ever heard of, allowing an operating time of almost 150 hours with an alkaline battery, i.e. around 75 regular shows or around 40 Bruce Springsteen shows ;-) According to the One Control website, the One Control Cranberry OverDrive - Boost only has a power consumption of 1 mA, which would almost put it in the same range as EMG pickups. The pedal also has a regular power supply socket on the right side of the housing, which can handle a mains voltage of 9 - 18 volts. P.S. as a little tip, the sound of the pedal changes with the operating voltage, just try it out.

The housing is visually very tasteful and is made of dark red (cranberry) colored and brushed aluminum. Opinions may differ on the color scheme, as only the top has been given a subtle purple coat of paint, while the sides and the base plate have been given a red that is more like strawberry red. Well, it's a matter of taste.

The workmanship is very high quality, and the pedal, which weighs just 160 grams and measures just 100 mm x 47 mm x 46 mm (L x W x H), still leaves a solid impression. The three controls volume, drive and treble are pleasantly stiff and have been secured with corresponding screw nuts on the top of the housing. The on/off switch is a true bypass switch, with a red LED indicating the operating status.

Four screws hold the base plate to the pedal, and the lack of a battery cover draws attention to the long running time of a 9V block. Even with a weekly rehearsal and one show per week, a battery should last around 9 months. However, I would always give preference to a power supply for environmental reasons. To give the housing more stability, the pedal comes with 4 adhesive rubber feet. If you want to use these, you are faced with the dilemma of either attaching them to the corners of the housing in the most effective way possible, thereby covering the 4 screws on the base plate, or placing them inwards, where they can only perform their function in a weaker form. However, attaching the One Control Cranberry OverDrive - Boost is definitely recommended, as the extremely low weight means that the bending stiffness of a patch cable is enough to push the pedal out of position. The optimal placement here is once again a high-quality floorboard, although the size of the pedal means you can go for the smallest size of pedalboards.

There is another special feature on the left outside of the housing. A recessed Phillips screw can be used to adjust a low cut in order to minimize the typical low-frequency pumping that is often used in high gain. If you're sitting alone in a room and playing at a very low volume, you might find strongly resonating bass frequencies very welcome, as they add a kind of "loudness effect" to the sound at low volume. However, as the volume increases and in a band context, the bass frequencies become a real problem, as they radiate into the frequency range of other instruments and also tend to build up into a pumping wave that pushes down the rest of the guitar's frequencies. This is where the Low Cut of the One Control Cranberry OverDrive - Boost can be a real help.

The One Control Cranberry OverDrive - Boost in practice

One Control explicitly points out in its descriptions that the One Control Cranberry OverDrive - Boost has the same characteristics as the Strawberry Red pedal in terms of response and compression behavior, but with a different approach. Due to the comparatively low drive contingent, the pedal relies more on the classic boost effect, as it has been and is used millions of times in the legendary TS9 - JCM 800 combination. The boost effect can be used in the almost clean range, or the pedal can be used as a kind of additional preamp tube that is driven into saturation.

Experienced musicians will already know this, but it is mentioned here again just to be on the safe side. The above-mentioned area of ​​application booster / overdrive, depending on the gain setting, only works optimally in its full range of sounds in front of an all-tube amp. This is not to say that the One Control Cranberry OverDrive - Boost doesn't sound good in front of a solid state amp, but the interaction with the individual components of the amplifier only unfolds in the highest quality in the glass bulb area. For this reason, I created the sound files with a Marshall 2204 and a Marshall 412 cabinet with Celestion G12 75T speakers and used both inputs alternately.

The One Control Cranberry OverDrive - Boost does indeed have a very high boost component when required, with which it can raise even low-performance vintage pickups to a very high output level. You can also drive the preamp of a corresponding amp accordingly "hot". The key is to find the optimal balance between volume and drive on the pedal, as the two controls influence each other. If the drive control is turned towards zero, no signal is output. Only from the approx. 9 o'clock position does the pedal produce a good working level, which still remains largely stuck in the clean sound.

If you now drive the preamp too subtly, the sound remains thin and cannot really develop, but if you overdrive the preamp with too high an output level, the signal sounds compressed and undynamic. So it's important to find the exact sweet spot, which involves a bit of trial and error. However, once you have successfully completed this task, the sound improvement is really enormous. The One Control Cranberry OverDrive - Boost can play to its strengths particularly well in the subtle crunch range by expanding the sound possibilities of the amp with an additional channel without the sound deviating too much from the original. The character of the amp is retained, it is simply "expanded", which sets the One Control Cranberry OverDrive - Boost apart from some competing models.

Overall, the One Control Cranberry OverDrive - Boost has to be given a very good rating, as it turns out to be a high-quality alternative to the classics of a TS9 or SD1, especially since the adjustable low cut can also implement the bass cancellation of a TS9 that many musicians appreciate. The extent to which you want to use the treble control depends on the amp you are using and your personal taste; for my part, I found the 12 o'clock position to be the best.

Conclusion

With the One Control Cranberry OverDrive - Boost, the American manufacturer has a top-class low overdrive pedal in its portfolio. The pedal impresses with its very good workmanship in combination with high-quality components in production.

The very small and extremely light pedal offers a wide range of boost and overdrive options, provided you take the time and patience to find the respective sweet spot of the combination in interaction with your amp. The pedal is particularly impressive in the very subtle crunch range, where the amp is only blown gently to create a consistently powerful sound without the amp becoming too aggressive in its basic design.

If you have the right amp, definitely give it a try!

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Additional Informations:

One Control is a relatively new but highly innovative player in the world of guitar effects pedals. Since its inception, the company has carved out a niche for itself with its high-quality, compact, and versatile pedal designs. This article delves into the detailed history of One Control, tracing its origins, key products, and the technological advancements that have solidified its reputation among musicians worldwide.

## The Founding of One Control

One Control was founded in 2010 by Tomokazoo Saito in Tokyo, Japan. The company emerged during a time when the market for guitar effects pedals was already saturated with numerous established brands. However, Saito, an experienced musician and electronics enthusiast, saw a gap in the market for pedals that combined high-quality sound with innovative design and usability.

### Early Vision and Goals

Saito’s vision for One Control was to create pedals that were not only sonically superior but also user-friendly and adaptable to various musical settings. He wanted to offer musicians tools that would inspire creativity and enhance their playing experience. This vision has guided the company’s product development and business strategy from the beginning.

## The First Products

### The Crocodile Tail Loop

One Control’s first major product was the Crocodile Tail Loop, a programmable loop switcher that quickly gained popularity among guitarists for its versatility and ease of use. Released in 2011, the Crocodile Tail Loop allowed musicians to control multiple effects pedals with a single unit, effectively streamlining their pedalboards and making it easier to manage complex signal chains.

The success of the Crocodile Tail Loop was a pivotal moment for One Control, establishing the company as a serious contender in the effects pedal market. It demonstrated the company’s commitment to solving practical problems for musicians while maintaining a high standard of quality and innovation.

### BJF Series Effects

Building on the success of the Crocodile Tail Loop, One Control began collaborating with renowned Swedish pedal designer Björn Juhl, known for his work with brands like Mad Professor and BJFe. This partnership led to the creation of the BJF Series effects pedals, which combined Juhl’s expertise in circuit design with One Control’s focus on usability and aesthetics.

The BJF Series included a range of overdrive, distortion, and modulation pedals, all designed to deliver superior sound quality in a compact format. These pedals quickly gained a following among guitarists for their rich, musical tones and intuitive controls.

## Expansion and Innovation

### The Minimal Series

One Control continued to innovate with the release of the Minimal Series, a line of ultra-compact pedals designed to save space on pedalboards without sacrificing sound quality. The Minimal Series included effects like the Mosquito Blender Trail, which allowed guitarists to blend their dry signal with effects, and the Tri Loop, a compact loop switcher.

These products showcased One Control’s ability to address the practical needs of musicians while pushing the boundaries of pedal design. The Minimal Series was particularly popular among touring musicians and those with limited pedalboard space, solidifying One Control’s reputation for innovation and practicality.

### Advanced Switching Systems

In addition to effects pedals, One Control also developed advanced switching systems to further streamline the performance and recording processes for musicians. Products like the Agamidae Tail Loop and the Iguana Tail Loop provided even more options for controlling multiple pedals and managing complex signal chains.

These switching systems highlighted One Control’s commitment to providing comprehensive solutions for musicians, allowing them to focus on their playing rather than dealing with technical issues. The company’s emphasis on user-friendly design and functionality was evident in every product they released.

## Key Products and Technological Advancements

### The Honey Bee OD

One of the standout pedals from the BJF Series is the Honey Bee OD, an overdrive pedal designed to emulate the warm, natural breakup of a vintage tube amp. The Honey Bee OD became a favorite among guitarists for its dynamic response and versatile tonal range, capable of producing everything from subtle overdrive to rich, saturated distortion.

The success of the Honey Bee OD underscored One Control’s ability to combine classic tones with modern features, appealing to a wide range of musicians. Its intuitive controls and compact design made it a staple on many pedalboards, further establishing One Control as a leader in the effects pedal market.

### The Prussian Blue Reverb

Another notable product from One Control is the Prussian Blue Reverb, a high-quality reverb pedal designed to offer a wide range of ambient effects. The Prussian Blue Reverb features controls for decay, mix, and tone, allowing guitarists to dial in everything from subtle room reverb to expansive, atmospheric soundscapes.

The Prussian Blue Reverb’s combination of lush, natural-sounding reverb and user-friendly design made it a popular choice among musicians looking to add depth and dimension to their sound. It exemplified One Control’s commitment to quality and innovation in every aspect of their pedal design.

### The Gecko Series MIDI Controllers

Recognizing the growing importance of MIDI in modern music production, One Control developed the Gecko Series MIDI Controllers. These compact, versatile controllers allowed musicians to integrate their pedals and other gear into a MIDI setup, providing greater control and flexibility.

The Gecko Series demonstrated One Control’s forward-thinking approach and willingness to embrace new technologies to meet the evolving needs of musicians. By offering products that bridged the gap between traditional analog effects and modern digital control, One Control positioned itself at the cutting edge of pedal design.

## Collaborations and Endorsements

### Partnerships with Artists

One Control has collaborated with numerous artists over the years to develop signature pedals and gain valuable feedback on their products. These collaborations have helped the company refine their designs and ensure that their pedals meet the demands of professional musicians.

Artists like Josh Smith, Paul Gilbert, and Richard Fortus have all used One Control pedals, contributing to the company’s reputation for quality and reliability. These endorsements have helped One Control reach a wider audience and establish itself as a trusted name in the industry.

### Collaborations with Other Brands

In addition to working with artists, One Control has also partnered with other brands to develop new products and expand their reach. Notable collaborations include their work with Xotic Effects on the BB Preamp and with Mad Professor on the Forest Green Compressor.

These partnerships have allowed One Control to leverage the expertise of other leading companies in the industry, resulting in products that combine the best of both worlds. By working with other brands, One Control has been able to continue innovating and offering unique, high-quality pedals to musicians.

## The Future of One Control

### Continued Innovation

As One Control looks to the future, the company remains committed to innovation and quality. They continue to explore new technologies and design concepts to create pedals that meet the evolving needs of musicians. Whether through the development of new effects, advanced switching systems, or integration with digital technologies, One Control is dedicated to pushing the boundaries of what is possible in the world of guitar effects pedals.

### Expanding Their Product Line

One Control’s product line has steadily expanded since its inception, and this trend is likely to continue. The company is constantly exploring new ideas and seeking out collaborations to bring fresh, exciting products to market. By staying attuned to the needs and preferences of musicians, One Control aims to maintain its position as a leading innovator in the industry.

### Commitment to Musicians

At the heart of One Control’s philosophy is a commitment to serving musicians. The company’s founder, Tomokazoo Saito, remains dedicated to creating products that inspire creativity and enhance the playing experience. This commitment is evident in every pedal and product One Control releases, ensuring that they continue to earn the trust and loyalty of musicians worldwide.

## Conclusion

One Control’s journey from a small startup in Tokyo to a respected name in the world of guitar effects pedals is a testament to their dedication to quality, innovation, and practicality. Through their partnerships with renowned designers, collaborations with artists, and continuous exploration of new technologies, One Control has consistently delivered products that meet the needs of modern musicians.

As the company looks to the future, it is clear that One Control will continue to play a significant role in shaping the sounds of musicians around the world. Their pedals offer a unique blend of classic tones and modern features, ensuring that they remain a favorite among guitarists of all styles and genres. Whether you’re a professional musician or a hobbyist, One Control’s pedals provide a gateway to a world of sonic possibilities, cementing their place as a pivotal force in the world of guitar effects.

TEST: MXR Distortion Pedals

 What was the first effects pedal that almost every guitarist bought around 25 years ago? A distortion pedal! Why? Because the powerhouses of the time mostly had a very good crunch sound, but they were completely out of touch when it came to a standing, singing lead sound. One of the main reasons for the resounding success of the Mesa Boogie amplifiers that first appeared at the time was the factory-made solo sound, which was characterized by, among other things, much greater gain reserves than its competitors.

Rock musicians can generally be divided into two camps. Some prefer an amp that can produce the various gain levels from clean to lead in one housing thanks to an extensive choice of channels, while others value the one official sound of their amp and rely on different pedals, or boosters, overdrive, distortion and fuzz to vary the distortion patterns. The second type of "half-wave prohibition fans" mentioned above will certainly have come across the name MXR. Under the aegis of Dunlop, it was the American company that was one of the first to come out with the legendary Distortion + to offer the all-tube heads additional flexibility in terms of distortion.

I have the Distortion + in its current form for testing. To make the test more meaningful, I included two other successful models from the MXR catalog in a comparison test, the Distortion III and a custom-made model from the Dunlop Custom Shop, the GT-OD.

Construction:

Lined up neatly next to each other, the landmines remind me a little of the unspeakable "traffic light coalition" that is threatening us again in some federal states these days. One thing is certain, however, even if the pedals turn out to sound pathetic in the test, a product cannot sound as pathetic as the current political representatives of the people are behaving across all parties in all their corruption, even if it were just an empty cardboard shell filled with excrement!

Strictly speaking, a direct comparison within the products mentioned is not possible, as the three distortion pedals cover three different categories within the distortion segment. The Distortion+ is primarily a fuzz pedal, the Distortion III is nomen est omen under the distortion category, while the GT-OD is a real overdrive. However, since all products come from the same company, it is interesting to show parallels and contrasts.

All devices come in very sturdy metal housings, which will probably ensure a long life. All test candidates are equipped with a true bypass, an LED, phosphorescent marking lines on the controls and work with either a 9V block or a mains adapter. The two distortion guys come in a kind of light hammer finish, while the Custom Shop colleague has been given a green metallic finish.



Practice:

Distortion+: I think I remember that this distortion pedal was actually the first distortion pedal that little Axel bought around 27 years ago. It sounded terrible in front of my Peavey Deuce Combo, but it was in front of my Marshall 2210 that it first developed its potential. My ears were completely undeveloped at the time, so I can't even remotely remember the Distortion+ producing such a high proportion of fuzz. In fact, from around 1 o'clock on the distortion control, the bright yellow box develops the typical artifacts that make up a real fuzz. Even at full deflection, the "ring modulator sound" that occurs in other representatives of this genre cannot be detected, but the sometimes deliberately crude overtone generation leaves no doubt as to where the Distortion+ should be placed. For straight chord work beyond the power chord duos, however, things get tight for the Distortion+ at a certain gain factor, the overall sound becomes too muddy. However, the fuzz is great for single lines or scratchy Black Sabbath riffs. You should also try the pedal as a booster with low gain and high output.

Distortion III: The Dist. III is relatively new to the range, with MXR striving to make the Distortion III another classic in its product range. Even though the time has passed due to the variety of products when it was possible to generate a real classic regardless of product quality, it actually has what it takes. For a distortion, the Dist. III comes with an unexpectedly soft distortion, although all MXR products in this range have always been known for a high proportion of "smooth". The Dist. III does not cover the sound with a high proportion of its own, but gives the artist plenty of freedom to create his own personal playing style. The tone control is quite ineffective, there is no difference in sound between the left and right stops, which of course also has the advantage that you can't really mess up the sound. In the words of Jim Marshall, "my amps have an ineffective tone control on purpose, so you can't set the amps wrong"! Beautiful singing lead sounds are just as possible as powerful chords, here you definitely have to lug your own amp with you to the music store as a reference, only then can you decide whether the soft sound suits your own equipment.

GT-OD: As a real overdrive, the greenhorn from the Custom Shop appeals to a completely different clientele than its two predecessors. Connected in front of a clean amp, the GT-OD produces a soft crunch that works very well in blues or AOR. It very subtly complements the artist's dynamic playing and allows a high degree of interaction. The listener is also spared the notorious treble cut or mid-range boost. Quite neutral in sound, it actually seems like another tube in the signal path. Connected to a distorted amp, you can generate a very nice solo sound. The tone has enough sustain and yet still has enough power to not drown in the "gain softener". The tone control works a little more effectively than on the Distortion III, but without causing any sludge or sawtooth sounds. A very nice piece of equipment!

Conclusion:

Despite the differences, it cannot be denied that all pedals come from the same workshop. MXR actually has its own sound across all products, which is always characterized by a high level of "analogy", that is to say a high degree of warmth and softness. In my opinion, these products are not built for ultra-aggressive metal applications; rather, they embrace the different styles of rock at the highest level, be it 70s crunch, 80s hard rock or 90s grunge howl.

The GT-OD has emerged as my personal favorite. In my opinion, the components and overall sound are even better than the already high quality of its product colleagues. Of course, opinions can differ on the colorful design of the pedals in "8-bit mode" ;-)

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Additional Informations:

The world of guitar effects pedals is vast and diverse, with numerous companies contributing to the rich tapestry of sound possibilities available to musicians. One company that has left an indelible mark on the industry is MXR. Renowned for their innovative and high-quality pedals, MXR has been a staple in the world of guitar effects since the early 1970s. This article delves into the detailed history of MXR, focusing specifically on the development and impact of their distortion pedals.

## The Birth of MXR

MXR was founded in 1972 in Rochester, New York, by Keith Barr and Terry Sherwood. The company’s inception came at a time when the demand for guitar effects was burgeoning, driven by the burgeoning rock and roll scene. Barr and Sherwood, both engineers with a passion for music, saw an opportunity to create reliable, high-quality effects pedals that could withstand the rigors of touring and performance.

### The First Pedal: The Phase 90

While not a distortion pedal, the Phase 90 was MXR’s first product and it laid the groundwork for the company’s approach to pedal design: simplicity, durability, and great sound. Released in 1974, the Phase 90 quickly became a favorite among guitarists for its lush, swirling phasing effect. Its success provided the financial stability and brand recognition necessary for MXR to expand their product line.

## The Introduction of Distortion Pedals

### The MXR Distortion +

The MXR Distortion +, released in 1975, was one of the company’s earliest forays into the world of distortion. This pedal was designed to provide a warm, tube-like overdrive that could push an amp into heavier territories. The Distortion + featured a simple two-knob layout: one for output level and one for distortion amount. This straightforward design made it easy for guitarists to dial in their desired sound without getting lost in a sea of controls.

The circuit of the Distortion + was based around a single operational amplifier (op-amp) and used germanium diodes to clip the signal, creating its distinctive distortion character. This design choice was crucial in shaping the pedal’s sound and set it apart from other distortion pedals available at the time.

### The MXR Distortion II

Following the success of the Distortion +, MXR continued to innovate with the release of the Distortion II in the late 1970s. The Distortion II was a more complex pedal, featuring additional controls that allowed for greater tonal flexibility. It included knobs for output, distortion, and two-band EQ (high and low), enabling guitarists to fine-tune their sound with more precision.

The Distortion II's circuit design was more intricate than its predecessor, utilizing multiple op-amps and a more sophisticated clipping stage. This resulted in a pedal that could produce a wider range of distortion tones, from mild overdrive to aggressive fuzz.

## The 1980s: Expansion and Innovation

### The MXR M-104 Distortion+

As the 1980s rolled in, MXR continued to expand its range of distortion pedals. One notable release was the M-104 Distortion+, an updated version of the original Distortion +. The M-104 maintained the core characteristics of the original pedal but featured improved components and a more robust build, ensuring its place on pedalboards for years to come.

### The MXR M-117 Flanger and the Distortion III

In addition to their distortion pedals, MXR also released the M-117 Flanger, which, while not a distortion pedal, was often used in conjunction with distortion to create rich, textured sounds. The synergy between MXR’s modulation effects and their distortion pedals was a key factor in their widespread adoption by guitarists in various genres.

The Distortion III, introduced in the early 2000s, was another significant addition to MXR’s lineup. It offered a more modern take on distortion, with a smoother, more refined sound compared to the raw aggression of the Distortion +. The Distortion III featured a three-knob layout (output, tone, and distortion), providing a versatile range of tones suitable for both vintage and modern rock styles.

## The Influence of MXR Distortion Pedals

### Iconic Users and Signature Sounds

MXR's distortion pedals have been used by some of the most influential guitarists in rock history. Randy Rhoads, the legendary guitarist for Ozzy Osbourne, famously used the Distortion + to craft his iconic sound. Other notable users include Dave Murray and Adrian Smith of Iron Maiden, who used MXR pedals to shape their groundbreaking twin-guitar harmonies.

### The Pedal That Shaped Metal

The Distortion +, in particular, played a significant role in the development of heavy metal. Its aggressive, cutting distortion helped define the genre's sound in the late 1970s and early 1980s. Guitarists found that the pedal could push their amplifiers into new levels of gain and sustain, making it a staple for metal musicians seeking to push the boundaries of their tone.

## Technological Advancements and Modern MXR Distortion Pedals

### The Custom Badass Series

In recent years, MXR has continued to innovate with the release of the Custom Badass series. This line of pedals aims to combine vintage analog warmth with modern reliability and versatility. The Custom Badass '78 Distortion, for example, is a modern reimagining of the classic distortion pedal, featuring true bypass switching and a "Crunch" button for added tonal flexibility.

### The MXR Super Badass Distortion

The Super Badass Distortion, another modern addition to MXR’s lineup, offers a comprehensive range of distortion tones. With controls for output, distortion, and a three-band EQ, the Super Badass Distortion can emulate everything from vintage overdrive to high-gain metal distortion. This versatility makes it a popular choice for contemporary guitarists seeking a single pedal that can cover a wide array of sounds.

### Integration of Digital Technology

While MXR has traditionally been known for their analog pedals, they have also embraced digital technology to enhance their offerings. The MXR EVH 5150 Overdrive, a collaboration with Eddie Van Halen, combines analog circuitry with digital control to deliver a wide range of overdrive and distortion tones. This pedal is a testament to MXR’s ability to innovate while staying true to their analog roots.

## Conclusion

MXR’s journey from a small startup in Rochester to a globally recognized name in the world of guitar effects pedals is a testament to their commitment to quality, innovation, and simplicity. Their distortion pedals, in particular, have played a crucial role in shaping the sounds of rock and metal music for decades. From the iconic Distortion + to the modern Custom Badass series, MXR continues to push the boundaries of what guitarists can achieve with their tone.

As the company looks to the future, it is clear that MXR will remain at the forefront of pedal design, continuing to inspire musicians around the world with their groundbreaking products. Whether you’re a seasoned professional or an aspiring guitarist, MXR’s distortion pedals offer a gateway to a world of sonic possibilities, ensuring that the legacy of this iconic company will endure for generations to come.

TEST: MXR MC 402

 In recent times, it has become more than just popular to bring two or more well-known names in the music industry together and thus make use of the well-known synergy effect. MXR, itself one of the forefathers and big names in the field of floor effects devices, has decided to collaborate with a no less well-known name in the guitar field. We are talking about Bob Bradshaw, probably the most well-known designer of custom guitar pedal boards on the planet. According to the company, Bradshaw's company Custom Audio Electronics (CAE) wanted to make its products available to a larger group of interested parties and has reached an agreement with MXR on this.

Bradshaw himself has a wealth of experience in guitar pedals, having built control centers specially made to their specifications for countless illustrious and wealthy names such as David Gilmore, Steve Lukather and Eric Clapton, which can connect and combine pretty much any amp with any speaker and any FX device. Artists like Gilmore can also end up with stage systems that fill a 7.5 ton truck to the roof with equipment, as seen on the last Pink Floyd tours.

Funny enough, Bradshaw recently attracted attention as Steve Lukather's guitar roadie. A prototype of a sound system was to be tested live during a tour and was supervised by Bradshaw himself, who also took on the job of guitar tech. Lukather will probably never do this arrangement again, all the specialist magazines only wanted to interview Bradshaw, and Lukather himself came away with almost nothing in terms of interviews on this tour ;-)

The MC-401 Booster / Line Driver and its MC-402 variant with an overdrive are available for testing.

Construction:

An overdrive pedal in the classic sense will probably be familiar to every reader, as it is the simulation of an overdriven tube, but what exactly is a booster / line driver?

Let's imagine a guitar signal that is sent from a passive pickup on its way to the amplifier. The high-impedance signal first passes through a higher or lower quality instrument cable before it usually has to pass through a few other floor or 19" effects, which are also connected with higher or lower quality cables or connectors, in order to finally reach the amp's input. In addition, there may be some classics from the stompbox guild in the effects chain that do not yet have a true bypass and, even when deactivated, send the guitar signal through the entire on-board electronics. I myself never used a floor tuner live until the introduction of the true bypass / or buffer amp, despite the practical use, simply because no tuner of the time released the guitar signal without a loss of sound.

Whatever signal is still present at the amp afterwards is sometimes just a tired imitation of what the pickup fed into the signal path several meters of cable earlier. Especially with inferior cables (spending €3,000 on a Paula and then wiring everything else with €5 discount cables...), the result sometimes turns out to be a thin, high-frequency, and undynamic sound, which nips any joy in playing in the bud. For a realistic retro sound (I remember a Hendrix backline where 3 Marshall Heads were connected in series with ultra-thin patch cables stretched tightly across the stage.....) this adventurous mixture may well have its appeal and right to exist, but the majority of artists will be rather negative about this sound.

This is where our colleague Booster comes in, whose area of ​​application is twofold. Connected between the guitar and the amp, it can increase the level of the guitar signal and really "blow up" distortion-resistant old-school all-tube amps (keyword "without master"). (No, we're not talking about Jenna Jameson...), which increases both the subjective pressure, the self-compression and also the distortion. Connected after the effects chain, the booster acts as a catch-up amplifier and gives the signal back some of the tonal shine that it lost on its way through the innards of the pedals.

MXR floor pedals have always had something of an "indestructible" feel to them. These models also leave an extremely solid impression. A solid, black metal housing and sturdy plastic controls are very tough and can withstand even the most rough handling with such footwear. The devices can be operated either with a 9V battery or an external power supply, the standard connections are on the front or side. Solid switches round off the overall impression and give hope for a long life expectancy. The two switches are designed as true bypasses, i.e. when deactivated, the guitar signal is routed around the internal electronics.

The classic MXR knobs have a narrow strip on the top for better control of their settings, which fluoresces in the typical green-yellow color in dim light. The markings do not glow particularly brightly, but do not require any power supply.

Practice:

OK, then let's put the devices into operation. Oh my goodness, does anyone have sunglasses? That's not an LED on the top of the housing, that's a spotlight! I've never seen such a bright LED in my life, and it's a very attractive blue, which lights up the booster section when activated. The LED of the overdrive section, on the other hand, comes in a standard red without any glare, and you can tell these two lights apart really well even in poor lighting conditions on stage.

At 0 db boost, the volume of the signal doesn't change at first, but the "refreshing" of the signal mentioned above already occurs. The signal becomes clearer, has more treble and comes through much better in the band context, especially with clean sounds. As the boost increases, the downstream amp slowly starts to distort, depending on the amplifier type with a very dynamic, interactive crunch. I used a VOX AC15 in the sound examples, and you can see very clearly how the compression of the signal also increases with increasing boost, in addition to the level of distortion.

If you add the overdrive into play, the sound changes significantly. With Bradshaw, MXR has developed a typically "American" overdrive, whose semiconductor configuration is in stark contrast to the British overdrive. Bradshaw cannot deny that he was influenced by the 80s and has given the MC-402 the typical "softener" that graced countless platinum rock productions almost two decades ago. While the British overdrive almost always comes with a touch of scratching and sometimes biting sound, the American version is much less aggressive and places more emphasis on sustain-emphasized, more flattering sound.

If you are looking for the typical MXR sound a la Distortion + or similar, you will not find it here. Bradshaw has put his own, unmistakable sound stamp on the devices, which remains clearly audible in every setting. Here you have to try things out, as you always have to test an FX pedal in your personal setup. What produces phenomenal results in one configuration sounds simply pathetic in the next equipment park.

Conclusion:

Nomen est omen! If it says Bradshaw, there is sound culture inside. The MC-401 is an unobtrusive but effective sound enhancer, whose "bellows" I really liked. Connect a vintage amp, turn it up and give it the right boost level, and you're done. If you still sound irrelevant, you should find a competent guitar teacher. If you are looking for a moderate solo sound in the style of Lukather etc., you will find a suitable partner in the MC-402 combination.

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Additional Informations:

MXR Innovations, commonly known as MXR, has become a household name among musicians, especially guitarists, for its iconic and high-quality effects pedals. Founded in the early 1970s, MXR's journey from a small garage operation to an influential industry leader is a story of innovation, persistence, and a deep understanding of musicians' needs. This comprehensive article explores the history of MXR, highlighting its key developments, groundbreaking products, and lasting impact on the music industry.

#### Early Beginnings

MXR was founded in 1972 in Rochester, New York, by Keith Barr and Terry Sherwood, two audio enthusiasts with a passion for electronics and music. Keith Barr, an electronics engineer, and Terry Sherwood, a business-savvy entrepreneur, combined their skills to address the growing demand for reliable and innovative guitar effects pedals.

The early 1970s were a transformative time for rock music, with guitarists seeking new ways to shape and expand their sound. Effects pedals became essential tools for achieving distinctive tones and experimenting with sound textures. Recognizing this trend, Barr and Sherwood aimed to create pedals that were not only sonically impressive but also built to withstand the rigors of touring and live performance.

#### The Birth of the Phase 90

MXR's first product, the Phase 90, was introduced in 1974 and quickly became a hit. The Phase 90 was a phaser pedal that offered a rich, warm modulation effect, adding depth and movement to the guitar's sound. Its simple design featured a single knob to control the speed of the phase effect, making it incredibly user-friendly.

The pedal's robust construction, compact size, and distinctive orange casing set it apart from other effects on the market. The Phase 90's signature sound was embraced by many notable guitarists, including Eddie Van Halen, whose use of the pedal on Van Halen's debut album helped cement its legendary status.

#### Expansion and Innovation

Building on the success of the Phase 90, MXR rapidly expanded its product line. The company introduced a series of pedals that would become staples in the guitarist's toolkit:

1. **Dyna Comp (1976)**: This compressor pedal became known for its smooth, even sustain and subtle dynamic control. It helped guitarists achieve a more polished, studio-quality sound, both live and in recordings.

2. **Distortion+ (1973)**: One of the earliest distortion pedals, the Distortion+ offered a gritty, overdriven sound that could push amplifiers into new sonic territories. It was particularly popular among hard rock and heavy metal players.

3. **Carbon Copy (2008)**: Although introduced much later, the Carbon Copy analog delay pedal became an instant classic, revered for its warm, vintage delay sounds and modulation options.

4. **Phase 100**: An expanded version of the Phase 90, the Phase 100 offered additional controls for more intricate phase modulation effects, providing greater versatility for musicians.

MXR's innovative approach extended beyond their effects pedals. The company also ventured into rack-mounted processors and other audio equipment, continually pushing the boundaries of audio technology.

#### Challenges and Resilience

Despite their early success, the late 1970s and early 1980s brought significant challenges for MXR. The effects pedal market became increasingly competitive, with new companies and products emerging rapidly. Additionally, economic pressures and internal management issues began to take their toll.

In the early 1980s, MXR faced financial difficulties, leading to a decline in production quality and consistency. By 1984, the company filed for bankruptcy and ceased operations. This period marked a significant downturn for MXR, leaving a void in the market for high-quality, reliable effects pedals.

#### Revival and Acquisition by Dunlop

The MXR brand remained dormant until 1987, when Jim Dunlop, the founder of Dunlop Manufacturing, recognized the enduring value and potential of MXR products. Dunlop, known for its own successful line of guitar accessories and effects, acquired the MXR brand with a vision to revive and rejuvenate it.

Under Dunlop's leadership, MXR saw a resurgence. Jim Dunlop focused on maintaining the original design ethos and quality standards that had made MXR pedals beloved by musicians. The company reintroduced classic pedals like the Phase 90, Dyna Comp, and Distortion+ while also developing new models that embraced modern advancements in audio technology.

#### Modern Innovations and Legacy

Today, MXR continues to be a leading name in the effects pedal industry. The company's product lineup has expanded to include a wide range of effects, from overdrives and fuzzes to delays and reverbs. Each new pedal is designed with the same commitment to quality and innovation that characterized the brand's early years.

MXR's modern pedals often incorporate advanced features such as true bypass switching, LED indicators, and more precise control options. Collaborations with renowned artists and engineers have also led to signature pedals tailored to specific playing styles and preferences, further enhancing MXR's reputation.

#### Iconic MXR Pedals and Their Impact

The impact of MXR pedals on the music industry is profound. Here are a few iconic models and their contributions:

1. **Phase 90**: Beyond its initial success with Eddie Van Halen, the Phase 90 has been used by countless guitarists across genres. Its distinctive sound can be heard on classic rock, funk, and modern rock recordings.

2. **Dyna Comp**: This compressor pedal has become a studio staple, used by guitarists and producers to achieve smooth, controlled dynamics. Its influence is evident in the polished sound of many hit records.

3. **Carbon Copy**: The Carbon Copy delay pedal brought analog delay sounds back into the spotlight, offering a lush, musical delay that has been favored by both live performers and studio musicians.

4. **Distortion+**: As one of the first distortion pedals, the Distortion+ paved the way for the development of more advanced overdrive and distortion effects, shaping the sound of rock and metal music.

#### Conclusion

MXR's journey from a small startup to an industry standard is a testament to the power of innovation, quality, and understanding the needs of musicians. Despite facing significant challenges, the brand's revival and continued success under Dunlop Manufacturing demonstrate the enduring appeal of MXR pedals.

Today, MXR remains a trusted name in the music industry, known for its reliable, high-quality effects that inspire creativity and help musicians achieve their desired sounds. The legacy of MXR is not only seen in its classic pedals but also in its ongoing commitment to pushing the boundaries of audio technology, ensuring that the next generation of musicians can continue to explore new sonic possibilities.

TEST: Mackie U420d

 Just a quick thing! Do you know what it's like to "just" record something, "just" mix something together, "just" convert whatever into a different sound?

And in reality, this "just" thing is sometimes so complex and time-consuming that you've already forgotten about 50% of the creative inspiration before even the most important wiring has been done.

I, too, always a big advocate of the "big" and "proper" solution, sometimes find myself in a situation where every second really counts. Many songwriting ideas for the new DOMAIN album, which will be released in February 2009, came to me in the most absurd situations (shower, finger exercises, taking out the trash... ;-) and demanded immediate archiving, because, the composers among you will know the problem: anything that is not immediately written down, at least in rough form, in sheet music or saved on a hard drive is forever banished from the brain's creative RAM memory and never comes back! NEVER!

Therefore, small and mobile desktop solutions of any kind in a personally logistically optimized work area can really save your composition or arrangement skills.

One example of the "bring everything together" solution is the Mackie U.420d, a small, portable desktop mixer that processes almost all signals from microphone to line level to phono feed in the smallest of spaces and, if necessary, forwards them directly to the home Mac/PC workstation via a Firewire interface.

Construction:

In contrast to its close relative, the U.420, which is primarily responsible for managing line signals, the U.420d also offers the option of accommodating 2 microphone signals in the routing.

However, the plastic housing is identical with dimensions of 22.4 cm x 8.7 cm x 21.8 cm (W x H x D) and the similar weight of 1.36 kg. Let's start with the connections on the back of the device.

The microphone channels mentioned above are noticeable on the right-hand side, which can be fed with both XLR and 6.25 mm jack. Both channels can be supplied with 48V phantom power if required, which is activated via a small push button located in the middle of the front panel.

This is followed by two stereo line-ins, which are fed either via jack or, when a vinyl record player is connected, via stereo cinch. To counteract the mains hum that often occurs, there is a grounding screw on the left-hand side, which can be used to additionally ground the record player.

This completes the input section, followed by the output area. In addition to a stereo main out, the device has an additional aux out, a headphone output and the Firewire interface mentioned at the beginning.

In addition, the power connection socket of the included power supply is located next to the Firewire port. All in all, a very tidy appearance, simple in concept and clear in access.

On the front, the user is greeted by an equally clear panel, which is almost self-explanatory in terms of its area of ​​application.

On the left side are the two microphone channels, which have a gain control, a three-band tone control and an adjustable aux path. A cue control allows control via headphones before the signal reaches the short but sufficient fader.

On the right side are the stereo channels, which, in addition to the mono channel features, have an adjustable level control instead of the fader and are connected to an additional crossfade control.

This control is primarily designed for DJ use and can also be used to choose between two crossfade speeds (linear / non-linear) using a curve push button.

Arranged in the middle are an oversized master volume control, the volume control for the headphones, the volume control and activation push button for the incoming Firewire signal, the 48V phantom power switch for the two mono channels, a cue check LED and two 8-digit LEDs for the master output.


Practice:

If you take a first look at the U.420d and are also blessed with a bit of imagination, you will immediately notice the all-encompassing application area of ​​the small mixer. Due to the connection area of ​​2 symmetrical microphone inputs, 2 stereo line-ins and two phono inputs, a wide variety of application areas can be generated:

1.) Music production a.)

Pretty much all common instruments / sound generators can be connected to the U.420d, be it a vocal microphone (dynamic / condenser), an acoustic guitar with pickup, keyboards or even an electric guitar, provided you have an adequately sounding preamp / emulation amplifier.

Active monitoring on the main out, if necessary second monitoring on the aux path, or headphones via headphone out, done!

2.) Music production b.)

The DJ setup. Thanks to the double connection options for two phono players, the "record player" can also carry out his own personal setup in addition to the options mentioned above.

3.) Live performance

Everything as under 1.), but with a corresponding PA on the main out and the monitor system (e.g. wedges) on the adjustable Aux (of course only one way, I don't want anyone to come to me with an individual monitor mix for the dwarf!)

If required, additional sound generation from the laptop via the Firewire interface.

4.) DJ live performance

Everything as under 3.), but with the difference that wedges will probably not be connected to the Aux-Out, but rather another small active monitor for the performer.

5.) Broadcast / podcast

Two microphones for the dialogue / monologue on site, tape recording or external music via Line-In 1, telephone / Skype integration (in/out) via Line-In 2 or Aux-Out and a monitor on the main out.

Live recording via Firewire if required!

But wow, if that isn't a comprehensive range of applications!

To put it briefly, the U.420d masters all of the above-mentioned areas of application with ease. It's great that the equalizer frequencies of the microphone channels are again based on the classic Mackie frequencies of 12 Khz in the high frequency range and 80 Hz in the bass range, plus a semi-parametric mid-range filter (100 Hz - 8 Khz), while the line inputs, like the U.420, have their center frequencies at 4 Khz, 1 Khz and 300 Hz.

The product proves to be low-noise, and all of the values ​​are equally impressive.

Conclusion:

Well done! Like its little brother, the U.420, the U.420d is a flexible, great-sounding mixer that, when used with a multimedia-capable PC, delivers excellent results in many areas and also offers greater flexibility in terms of its application area.

Many users will welcome the small desktop mixing solution as a welcome tool in the project studio or in a manageable live setting. A simple, clearly structured concept that is convincing.

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Additional Informations:

#### Overview of the Mackie U420 Series

The Mackie U420 series is designed for users who need a compact, versatile mixer that delivers professional-quality audio. These mixers are ideal for small recording setups, live performances, and multimedia production. Both the U420 and U420d share many common features, such as a user-friendly interface, robust build quality, and high-fidelity audio components. However, there are several key differences that set these two models apart, making each suited to different specific applications and user preferences.

#### Design and Build Quality

**Mackie U420:**

The Mackie U420 is a 4-channel mixer known for its sturdy construction and intuitive layout. The mixer is built with a rugged metal chassis, ensuring durability and reliability in various environments. Its compact size makes it easy to transport and ideal for mobile setups. The U420 features a simple control panel with clearly labeled knobs and switches, making it easy to use even for beginners.

**Mackie U420d:**

The Mackie U420d shares the same robust construction and compact form factor as the U420 but includes additional digital features that enhance its functionality. The "d" in U420d stands for "digital," indicating the inclusion of digital effects and USB connectivity. This model also features a slightly more complex control panel to accommodate the additional digital functions, but it maintains the user-friendly design characteristic of Mackie products.

#### Input and Output Options

**Mackie U420:**

- **Inputs:** The U420 offers a variety of input options, including two mono mic/line channels and one stereo line input. The mono channels feature Mackie’s high-quality preamps, known for their low noise and excellent headroom. The stereo line input is suitable for connecting instruments, keyboards, or other stereo sources.
- **Outputs:** The mixer includes balanced main outputs and a headphone output, providing flexible monitoring options. There are also RCA outputs for connecting to consumer audio equipment.

**Mackie U420d:**

- **Inputs:** The U420d provides similar input options to the U420 but adds USB connectivity for direct integration with computers and digital audio workstations (DAWs). This feature allows users to record and play back audio directly from their computer, making the U420d a versatile tool for digital recording and production.
- **Outputs:** In addition to the balanced main outputs and headphone output found on the U420, the U420d includes USB output, allowing for easy digital recording and playback. The inclusion of USB connectivity significantly expands the mixer’s flexibility and usability in modern digital workflows.

#### Digital Features

**Mackie U420:**

The U420 is a straightforward analog mixer, focusing on providing high-quality audio with minimal processing. It does not include built-in digital effects or USB connectivity, making it a more traditional mixer ideal for users who prefer an all-analog signal path.

**Mackie U420d:**

The U420d stands out with its digital capabilities, including built-in digital effects and USB connectivity. These features make the U420d more versatile and suitable for a wider range of applications:

- **Digital Effects:** The U420d includes a suite of digital effects, such as reverb, delay, and chorus. These effects can be applied to any input channel, adding depth and character to the sound without the need for external processors.
- **USB Connectivity:** The USB interface allows for direct recording to and playback from a computer. This feature is particularly useful for home studios, podcasters, and live streamers who need seamless integration with digital audio software.

#### Sound Quality and Performance

**Mackie U420:**

The U420 delivers pristine sound quality, thanks to its high-headroom preamps and low-noise design. The mixer’s EQ section is simple but effective, allowing for basic tonal shaping. Its analog nature ensures a warm, natural sound, making it suitable for users who value traditional analog audio characteristics.

**Mackie U420d:**

The U420d also offers excellent sound quality, with the added benefit of digital effects and USB connectivity. The digital effects are of high quality, enhancing the overall sound without introducing significant noise or artifacts. The USB interface provides clean, high-resolution audio transfer between the mixer and computer, ensuring professional-grade recordings.

#### Usability and Workflow

**Mackie U420:**

The U420’s straightforward design makes it extremely easy to use. Its simplicity is its strength, allowing users to focus on the mix without being distracted by complex features. This makes the U420 ideal for live sound applications and small recording setups where ease of use is paramount.

**Mackie U420d:**

The U420d’s additional features make it a more versatile tool, especially for users who work with digital audio. The built-in effects and USB connectivity streamline the recording and production process, reducing the need for external gear. This makes the U420d a great choice for home studios, podcasters, and musicians who need a compact but powerful mixing solution.

#### Applications and Suitability

**Mackie U420:**

The U420 is well-suited for:

- Small live sound setups, such as solo performances or small bands.
- Basic recording setups where high-quality analog audio is preferred.
- Users who prefer a simple, straightforward mixer without digital features.

**Mackie U420d:**

The U420d is ideal for:

- Home studios and personal recording setups, thanks to its USB connectivity.
- Podcasters and live streamers who need built-in digital effects and direct computer integration.
- Musicians and producers who want a compact mixer with versatile digital capabilities.

#### Conclusion

Both the Mackie U420 and U420d offer high-quality audio performance in compact, durable packages. The choice between the two depends largely on the user’s specific needs and preferences:

- The U420 is perfect for those who prefer an all-analog signal path and require a simple, reliable mixer for live sound or basic recording.
- The U420d caters to modern audio workflows, providing digital effects and USB connectivity, making it a versatile tool for digital recording and production.

Mackie’s commitment to quality and innovation is evident in both models, ensuring that users can achieve professional results regardless of their choice. Whether you need a straightforward analog mixer or a versatile digital hybrid, the U420 series has something to offer.

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.

TEST: Mackie Thump Series

 As is well known, the area of ​​active 2-way PA solutions is a highly competitive market that sometimes needs to be defended or conquered. Mackie, with its Mackie Thump series, is clearly part of the first division, despite a slightly different name, as the American manufacturer was already able to convince in many ways with products such as the TH-12A or TH-15A almost 6 years ago.

The Thump series is not the "market-crier sound solution" that mixes many different signals, some of them mono-compatible, in an internally installed mixing console and then plays them back via a loudspeaker box. Rather, the Mackie Thump series with the Thump 12, Thump 15 and Thump 18S products is a classic, old-school compact PA that is aimed at typical club sound for up to 150/200 people. At moderate volumes, even up to 300 people.

Designs

Let's start with the satellites. Even though 12" and 15" speakers can be placed on the floor or a table, the components are typically used on a subwoofer or a high stand using spacer rods. To ensure this mode of operation, the speaker has the standard 35 mm flange on the bottom for stand operation. While the Thump 12 only has regular feet on the bottom, the Thump 15 comes with stacking feet, which allows the units to be stacked. However, I doubt whether you can get more than 2 units to the sky in a reasonably stable manner without additional clamping units.

The Mackie Thump 12 + 15 are active two-way speakers, which are specified as having 500 watts RMS and a peak of 1000 watts in terms of power, with the bass speakers being powered by an 800 watt Class D, while the 1.4" tweeter is powered by a Class AB power amplifier with 200 watts peak. If we assume values ​​that are common in practice, I estimate a distortion-free sine wave playback power of around 300 watts, the rest is, as always, a matter of making a big deal out of it.

As is usual in this performance class, the design is bass reflex. The woofer is protected from external influences by a solid metal grille, and the driver is installed sufficiently far back. In terms of frequency, the products have a playback range of 50 Hz - 23 kHz or 32 Hz - 23 kHz, according to the manufacturer. However, both figures should be considered "big deal" as the lower limit frequency is only touched, and the upper limit frequency cannot even be heard by a newborn.

Due to the trapezoidal shape, both versions are defined in terms of application, from the classic vocal system to the floor monitor area to a simple small PA. A combo socket (XLR / TRS) and a looped XLR output enable stacking in daisy chain mode.

Both products have a very light housing made of polypropylene, so that despite the generously proportioned performance specifications and the housing dimensions of (H x W x D): 596 mm x 367 mm x 314 mm (Thump 12) and (H x W x D): 702 mm x 427 mm x 394 mm (Thump 15), the product only has a very moderate total weight of 13.2 (Thump 12) and 15.1 (Thump 15) kilograms. Despite the pure plastic design, the housing is very scratch-resistant and stable against external influences.

Both boxes have 3 carrying handles, which are attached to the side and on the top. Due to the low weight, it is possible for less muscular people to set up their system without the help of third parties.

In terms of sound control, both boxes have a three-band sound control, with the mids being semi-parametric (100 Hz - 8 kHz). For the inexperienced user, a few setting examples are printed on the lower part of the panel. The volume is managed via a single level control, which uses a red LED to warn of internal overloads. In terms of price, Mackie really sets the bar very low due to Chinese production and charges real bargain prices of 299 euros (Thump 12) and 349 euros (Thump 15).

Subwoofer

To match the satellites described above, Mackie supplies a subwoofer that has been visually and acoustically coordinated with the products. In contrast to a bass reflex solution, a bandpass solution was preferred here, which delivers a higher level of efficiency, but also loses some definition due to the somewhat sluggish construction.

According to the product name, we can expect an 18-inch woofer, which, with dimensions of 672 mm x 573 mm x 580 mm, weighs a comparatively moderate 37.2 kilograms. Even if this value seems extremely transport-friendly compared to some competing products, one person alone cannot really move this cube, unless you have a hand truck as your constant companion. A few wheels on the back might have solved this problem, but you have to enlist the help of the two strong handles on the side and a good friend.

The built-in Class D power amplifier delivers 600 watts RMS and generates a sound pressure of 130 db SPL. The frequency response is specified as 30 - 132 Hz, i.e. only the lowest frequency spectrum is really addressed here. The woofer has right/left XLR inputs and can either pass the signal completely to the satellites or pass it on at the fixed crossover frequency of 140 Hz. All controls and connections are on the back, which are complemented by a power switch, the cold appliance plug, a phase switch, an on/off LED and a level control.

Practice

Connecting and operating all systems is easy even for inexperienced people, only the parametric midrange control requires some experience in handling frequencies. The high midrange between 2 - 3 kHz in particular needs to be hit tastefully, especially since the tweeter horns of the 12 and 15 speakers tend to "bite" a bit here. In addition, the 15 Thump struggles with the classic midrange hole in the crossover frequency between the bass speaker and tweeter driver. However, all of this is nitpicking at a high level when you consider the retail price of the products.

On the other hand, the bass reproduction of the two satellites in full-range operation is impressive. Even the Thump 12 offers a very powerful boost below 300 Hertz, and it also shines with very good speech intelligibility. In terms of vocals, it is clearly superior to the Thump 15, but the latter has a very powerful bass range, so that it can be used as a stand-alone solution for DJs without any problems.

As expected, both speakers experience significantly more bass when used with the Thump 18S subwoofer, and this combination is particularly effective when used with the 12-inch version. The fixed crossover frequency of 140 Hz makes handling easier, but for my taste, the cut-off is a bit too high with a bandpass woofer. A controller that allows the frequency to be continuously reduced to 80 Hz, for example, would be a bit more practical, especially since the satellites themselves already cover the low-mid range very well.

For just under 1,400 euros, however, you already have a very powerful small PA that covers a wide range of sounds. If you can stretch your budget to €2,000, you can get a second woofer on board, which is already close to official sound.

The high mids and highs are not as finely resolved as you would expect from higher-priced products, but we are already in areas that cost almost twice the retail price.

Conclusion

With the Mackie Thump series, the American manufacturer covers a wide range of small PA sound systems. Priced at the lower end of the scale, the top parts already impress in full-range operation with powerful bass reproduction, which can be increased even further with the help of the 18S subwoofer.

For just under €2,000, you get almost 2,000 watts RMS, which offers an impressive number of sound solutions from band operations to DJ entertainment.

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Additional Informations:

### The Transition from Wood to Plastic in Live Sound Loudspeaker Enclosures: A Comprehensive Analysis

#### Introduction

Loudspeaker enclosures have traditionally been crafted from wood, valued for its acoustic properties and durability. However, recent years have seen a significant shift towards the use of plastic in manufacturing these enclosures, particularly in the live sound sector. This transition is driven by a combination of technological advancements, economic considerations, and practical benefits that plastic offers over wood. This article delves into the reasons behind this shift, the advantages and disadvantages of both materials, and the future implications for live sound technology.

#### Historical Context

The use of wood in loudspeaker enclosures dates back to the early days of audio engineering. Wood’s natural density and stiffness provided excellent acoustic properties, allowing for clear, resonant sound reproduction. Birch plywood, in particular, became a standard due to its strength and relatively light weight compared to other types of wood. However, as the live sound industry evolved, so did the demands placed on loudspeaker systems.

#### The Rise of Plastic Enclosures

In the past two decades, the use of high-impact plastics in loudspeaker enclosures has become increasingly prevalent. The transition is fueled by several key factors:

1. **Weight Reduction**: One of the most significant advantages of plastic over wood is weight. Live sound equipment needs to be transported and set up frequently, often under tight time constraints. Plastic enclosures are substantially lighter than their wooden counterparts, making them easier to handle, transport, and mount.

2. **Durability and Weather Resistance**: Plastic enclosures are more resistant to the elements. Unlike wood, plastic does not absorb moisture, which can lead to warping, swelling, and eventual deterioration. This makes plastic an ideal choice for outdoor events where exposure to rain and humidity is a concern.

3. **Manufacturing Flexibility**: The use of plastic allows for more intricate and aerodynamic designs, which can enhance the acoustic performance. Injection molding, a common manufacturing process for plastic, enables the production of complex shapes that are difficult or impossible to achieve with wood.

4. **Cost Efficiency**: Producing plastic enclosures can be more cost-effective, especially at scale. The raw materials and production processes for plastic are generally cheaper than those for wood. Additionally, plastic enclosures often require less labor-intensive finishing processes.

#### Advantages of Plastic Enclosures

- **Lightweight**: The reduction in weight facilitates easier handling and transport, reducing the risk of injury and lowering shipping costs.
- **Durability**: Plastic enclosures are less prone to damage from impacts and environmental conditions.
- **Acoustic Design**: Modern plastics can be engineered to provide acoustic properties that rival, or in some cases, surpass wood.
- **Cost**: Lower production costs can make high-quality sound systems more accessible to a broader range of users.

#### Disadvantages of Plastic Enclosures

- **Perceived Quality**: There is a long-standing perception that wood enclosures offer superior sound quality. While this is not always the case, it can influence purchasing decisions.
- **Environmental Concerns**: The production and disposal of plastics raise environmental concerns. While wood is a renewable resource, plastic production is reliant on petrochemicals and contributes to pollution.
- **Structural Integrity**: High-impact plastics can be very strong, but in some cases, they may not match the structural rigidity of wood, which can be crucial for maintaining the integrity of large enclosures under stress.

#### Comparative Acoustic Properties

The acoustic properties of an enclosure material significantly impact sound quality. Wood has traditionally been favored for its natural resonance and damping characteristics. However, modern engineering has enabled the development of plastics that can be tailored to specific acoustic requirements. Through the use of additives and advanced molding techniques, manufacturers can create plastic enclosures with optimized resonance and reduced vibration, ensuring high-fidelity sound reproduction.

#### Practical Applications in Live Sound

The practical benefits of plastic enclosures are particularly evident in the live sound environment. For touring musicians and live sound engineers, the weight and durability of equipment are critical considerations. Plastic enclosures can withstand the rigors of constant transport and setup, offering a level of reliability that is crucial for live performances.

Furthermore, plastic enclosures often feature integrated handles and mounting points, making them more user-friendly for quick setups and teardowns. This ergonomic advantage is particularly beneficial in high-pressure situations where time is of the essence.

#### Case Studies

Several leading manufacturers in the audio industry have successfully transitioned to plastic enclosures for their live sound products:

1. **JBL Professional**: JBL’s EON series is a prime example of high-quality plastic enclosures. These speakers are renowned for their durability, lightweight design, and excellent sound quality, making them a popular choice for both professional and amateur live sound applications.

2. **QSC**: The QSC K Series showcases the potential of plastic enclosures in delivering premium sound performance. These speakers combine sophisticated acoustic design with the practical benefits of plastic, resulting in a versatile and robust product line.

3. **Electro-Voice**: The ZLX series by Electro-Voice utilizes high-impact polypropylene to create enclosures that are both lightweight and acoustically optimized. This series is a testament to how modern materials can be used to meet the demanding requirements of live sound reinforcement.

#### Future Trends and Innovations

As the live sound industry continues to evolve, so too will the materials and technologies used in loudspeaker enclosures. Future trends may include:

- **Advanced Composites**: The use of advanced composite materials that combine the best properties of plastic and other materials, such as carbon fiber, to enhance strength and acoustic performance.
- **Eco-Friendly Plastics**: Development of biodegradable or recyclable plastics to address environmental concerns associated with traditional plastic production.
- **Smart Enclosures**: Integration of smart technology within enclosures to provide real-time monitoring and adjustment of acoustic properties based on the performance environment.

#### Conclusion

The shift from wood to plastic in live sound loudspeaker enclosures represents a significant evolution in the industry. While wood remains a beloved material for its traditional qualities, the practical advantages of plastic—lightweight, durability, manufacturing flexibility, and cost efficiency—make it an increasingly popular choice for modern live sound applications. As technology advances, we can expect further innovations that will continue to enhance the performance and sustainability of plastic enclosures, ensuring they remain at the forefront of live sound technology for years to come.

TEST: Mackie Thump 15BST

 After Mackie recently gave its Thump series a new design with expanded functions with the A version, the console pioneer is presenting a further upgrade with the Mackie Thump 15BST, which allows its sister model to come up with a greatly expanded concept. The housing, performance and area of application have remained identical, so what could justify the additional charge of 130 euros?


The basic data of the Mackie Thump 15BST

Let's first turn to the master data of the 15/1 construction as it is also available in the Thump 15A version. A 15-inch speaker handles the bass range, while a 1.4-inch tweeter with a titanium compression driver dome covers the high frequency range. Separated at 2 kHz, the frequency response is given as 32 Hz - 23 kHz. As a sticker on the front tells us, both systems deliver 1300 watts peak, with 1000 watts being delivered to the woofer via a Class D power amplifier and 300 watts to the tweeter via a Class A/B power amplifier. It should be clear to everyone that these are peak values.

The stable but comparatively light housing has dimensions of 686 mm x 442 mm x 356 mm and weighs just 15.9 kg and can therefore be considered a lightweight given the performance specifications offered. The flexible orientation in terms of operating modes has also been adopted, so the speakers can be operated in standard operation, in high stand mode via the internally installed commercially available 35 mm flange or, due to the trapezoidal shape, also as a floor monitor. In contrast to the A series, the BST series has 4 flight points for stationary operation, a facility that will prove to be a very useful function, especially due to the expansions that will be mentioned in the test report.

For international operation, a multi-voltage power supply was installed, which can process all voltages from 120 - 240 V via a cold device plug. In addition to the flexibility when it comes to international use, these power supplies also have the advantage that they compensate for voltage fluctuations in the network, which are particularly common in rural areas of southern Europe. A protective cover or rolling bag can also be purchased for the Mackie Thump 15BST as an optional accessory. There are 2 combination sockets (XLR / TRS) available as inputs on the back, as well as a mix out for daisy chain operation.


What's new?

The Mackie Thump 15BST breaks new ground on the back of the case. In addition to the physical inputs/outputs, there is only a single rotary control with a push function, which leads through a menu that is shown on the display next to it. If you activate the box, after the “Running Man” logo appears, a menu will be displayed, which consists of six submenus. In the “Mixer” area you can now make a pre-selection for which area of application you would like to use the Mackie Thump 15BST, such as Music, Live, Speech, Monitor, Music + Subwoofer and Live + Subwoofer. Depending on the preselected preset, the tone control is tweaked a lot, with mainly bass being cut or boosted. In addition, each input has a three-band tone control with center frequencies and individual volume control.


Bluetooth

As a crucial expansion to the sister model, a Bluetooth module was installed in the Mackie Thump 15BST, which enables signals to be streamed via mobile devices such as iPhone / iPad or laptops. In order to be able to optimally use this quality in conjunction with the physical inputs, the Bluetooth signal is evaluated as a separate channel and can also be used with the above-mentioned. Parameters can be edited. Several speakers can be linked in mono or stereo via DSP, with a range of up to 100 meters (in open terrain) being possible, according to the manufacturer.

So far, so impressive. But the real joy only comes when you download the appropriate Thump Connect app for iOS and have internet access. Not only can you control all the functions that are available within the box's menu navigation via the app, but you also get functions that go beyond the box's access area.

For example, you can access operating instructions, videos or further documents for the Mackie Thump 15BST. The highlight, however, comes at the end. For recurring situations, three different snapshots with all parameters can be stored within the app. Depending on which event you are currently holding, you can quickly distinguish between a speech event, a DJ event or a music performance. This function has great advantages, especially in a permanent installation.

You can also set up a zone sound system in which the different boxes are defined as “Primary” and “Secondary”. The transmission of the Bluetooth signal remains the same for both units, but both boxes can be controlled independently of each other.


The Mackie Thump 15BST in practice

To get straight to the point, the Mackie Thump 15BST is sonically identical to its sister model 15A, which is not surprising since all the components that are crucial for the sound are the same. Here, too, there is a powerful, subtly bass-emphasized basic sound that handles the center hole of a 15/1 construction comparatively well, but sounds a bit harsh in the high mids and also has very little resolution in the highs beyond 8 kHz. However, considering the UK, the sound can be considered decent.

As befits a 15/1 combination, one can certainly speak of a full-range solution, although there are limitations to the design. DJ operations in garden party style, moderately playing cover bands in the background without pressure and speech events for up to approx. 200 people with microphone-experienced speakers can be easily implemented with the Mackie Thump 15BST. However, if you need to amplify a real kick or generally need more headroom, especially in the bass range, you should think about 2 suitable Thump 18S.

Let's now turn to the main focus of the product, the Bluetooth connection. Pairing is basically the same as with any other Bluetooth device and is usually problem-free. Activate the Bluetooth function using the push encoder, the box appears in the Bluetooth window of the device, select it, done. However, there was a data jam on my iPhone in connection with my still activated Airpods and my Apple Watch. It was only on the second attempt that my iPhone recognized the Thump Box and paired without any problems. It is therefore advisable to first deactivate all other Bluetooth devices to ensure a smooth signal flow.

To connect the second box, you can now choose between the options, with stereo streaming probably being the most used option. Here too, no problems with the connection. If you now activate the “Auto Connect” and “Auto Link” functions, the previously selected connection will be activated automatically after the components are switched on. Additional functions can be activated via the iOS app, such as a right/left switch, separating the speakers via Unlink and switching between zone and stereo management. Very useful and practical!

The stability of the Bluetooth signal is largely determined by the device used. With my iPhone 6, a working connection was generated even after 30 meters in open terrain, which is a very good value. However, the extent to which this stability shrinks with an audience, partition walls or additional devices could not be determined.


Conclusion

With the Mackie Thump 15BST, the American manufacturer takes a decisive step forward compared to its sister model Thump 15A with its Bluetooth connection. The possibility of signal processing in combination with the very practical iOS app increases the flexibility of the product many times over and opens up new possibilities for individual sound reinforcement without any further string-pulling, especially in a permanent installation.

The comparatively low sales price for what is on offer will do its part to make the product a bestseller and will probably attract several copyists to the scene in the near future.

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Additional Informations:

### Economic Development of Mackie Audio Since Its Founding

Since its founding in 1988 by Greg Mackie, Mackie Audio has undergone remarkable economic development. The company has evolved from a small, locally rooted business into a significant player in the global audio industry. Here are the key milestones and developments in the history of Mackie Audio:

### Founding and Early Years (1988-1990s)
- **1988:** Greg Mackie, a former Boeing technician, founded Mackie Designs Inc. in Woodinville, Washington. His vision was to develop affordable, high-quality mixers for musicians and sound engineers.
- **First Product:** The first successful product was the CR-1604, a 16-channel mixer that quickly gained popularity. It was known for its robust construction and user-friendliness, making it popular with both professional and amateur musicians.
- **Rapid Expansion:** Thanks to the success of the CR-1604 and other innovative products, Mackie experienced rapid growth. The company expanded its product line to include speakers, amplifiers, and other audio accessories.

### IPO and Growth (1995-2000s)
- **1995:** Mackie went public and offered shares under the ticker symbol "MKIE" on NASDAQ. The IPO provided the company with the necessary funds to continue expanding and investing in new technologies.
- **Expansion and Acquisitions:** In the late 1990s and early 2000s, Mackie acquired several companies to expand its product line and strengthen its market position. These included the acquisitions of EAW (Eastern Acoustic Works), a leading brand of professional speaker systems, and RCF, an Italian manufacturer of speakers and audio equipment.
- **Technological Innovations:** During this period, Mackie introduced several groundbreaking products, including digital mixers and software solutions that addressed the growing demand for digital audio technology.

### Challenges and Restructuring (2000s)
- **Market Changes:** Despite initial success, Mackie faced increasing competition and technological changes in the early 2000s. The market demanded increasingly advanced digital solutions.
- **Restructuring:** To address these challenges, Mackie underwent several restructurings. This included both organizational changes and a focus on core products and markets.
- **Rebranding:** During this phase, the company was renamed LOUD Technologies Inc. to reflect the broader product range and various brands under its umbrella.

### Realignment and Innovation (2010s to Present)
- **Refocusing on Core Business:** In the 2010s, Mackie refocused on its core competencies in mixers and speakers. The company launched a series of new, innovative products tailored to the changing needs of musicians and audio professionals.
- **Digital Integration:** Mackie invested heavily in developing digital solutions and integrated modern technologies like wireless control and digital signal processing into its products. This enabled a wider range of applications and increased user-friendliness.
- **Strong Online Presence:** Strengthening online marketing strategies and direct sales over the internet helped Mackie reach new target audiences and improve customer service.

### Current Position and Future Prospects
Today, Mackie Audio is an established brand in the audio industry, known for its reliable and innovative products. The company has successfully adapted to the digital changes in the industry and remains a preferred supplier for musicians, sound engineers, and audio enthusiasts worldwide.

- **Continuous Innovation:** Mackie continues to strive to set new standards in audio technology through continuous research and development.
- **Global Market:** Mackie's global presence continues to grow, supported by a strong network of distributors and a dedicated community of users.

Overall, the economic development of Mackie Audio shows a story of innovation, adaptability, and a commitment to quality. From a small start-up to a globally recognized company, Mackie has had an impressive journey, characterized by a deep understanding of the needs of the audio industry and an unrelenting pursuit of excellence.