• Stocking Fillers
  • Latest Issues
  • Reviews
  • Tutorials
    • Microphones
    • On The Bench
    • Thinking Outside the Box
    • View From The Bench
  • Features
    • Acoustics
    • Broadcast
    • DIY
    • Field Recording
    • Game Sound
    • Interview
    • Live Sound
    • Mastering
    • Mix Masters
    • Music Business
    • Name Behind the Name
    • Post Production
    • Quick Mix
    • Recording
    • Studio Focus
    • Technical
  • Podcast
  • Free Stuff
  • By Gear
    • Audio Accesories
    • Audio Mixers
    • Headphones + IEM
    • Interfaces
    • Location Sound
    • Microphones
    • MIDI Controllers
    • Mobile/iOS
    • PA Systems
    • Software + Plug-ins
    • Studio Monitoring
    • Studio Outboard
    • Synthesizers + Keyboards
  • By Interest
    • Acoustics
    • Broadcast
    • DIY
    • Field Recording
    • Game Sound
    • Live Sound
    • Mastering
    • Music Business
    • Name Behind the Name
    • Post Production
    • Quick Mix
    • Recording
    • Technical
    • Thinking Outside the Box
  • By Brand
  • Subscribe
  • Contact Us
  • Advertise
Previous
Issues 46
0 SHARE
Read Next: Bernard Fanning: Doubles Output From New Studio
  • Home
  • /
  • Reviews
  • /
  • Mackie MR Series

Mackie MR Series

Mackie’s MR studio monitors have always been good, but with a completely rebuilt line, these budget monitors sound anything but cheap.

By Preshan John

21 March 2018

Mackie levels up its MRmk3 Series monitors with the OG-named MR Series. It signals a restart for what has been a successful line of monitors for Mackie. The range features the same sizes as the previous versions but they all look slicker with a renewed focus on performance.

You can get a pair of MR speakers in 5-, 6.5-, or 8-inch woofer sizes, with each accompanied by a one-inch silk dome tweeter. All MR monitors are self-powered by a class A/B amplifier, starting from 50W (5-inch) to 85W (8-inch). Mackie makes a big deal of its logarithmic waveguide design that’s supposed to widen the listening sweet-spot and give better stereo imaging. Aesthetically the all-wood cabinets lend the monitors a professional look and feel and the boxes have internal bracing for added stiffness and less structural resonances., studio

Inputs on the rear are balanced XLR and TRS, and unbalanced RCA. Controls include a HF filter with 0dB, +2dB, and -2B positions, three-way Acoustic Space switch for controlling the amount of bass emitted from the rear port, and a level pot. When connecting a pair of MR monitors to the MRS10 10-inch subwoofer, your source inputs plug directly into the sub’s internal crossover, which then feeds the monitors.

The MR624 6.5-inch version we received for review is a nice balance between size and sound. The extended low end missing with the smaller woofer size is more than compensated for by the MRS10 sub. Running the speakers for a few hours noticeably ‘opened up’ the sound, after which high frequency material was communicated very naturally.

I bought a pair of budget monitors — M-Audio BX5As — about 10 years ago for roughly the same price as a pair of new Mackie MRs. Putting the pair up together showed just how far budget studio monitor designs have come in the last decade. The MRs aren’t particularly ‘lively’ and the mid-range presence won’t flatter poorly-produced tunes like a scooped cheapie might. At the same time, complex mixes are broken apart far better — the kind of ‘magnifying glass’ effect you expect from a good monitor — and the sweet spot is also far wider than the M-Audios. With the sub switched off the 6.5-inch model felt a little timid in the lows compared to similar-sized models from other brands.

I found the distance between the two monitors plays a big part in getting a cohesive stereo image — if you’re too close it lacks distinction, or if you’re too far the centre image becomes weak and undefined. When setting them up, have someone move one of the monitors in and out until all material from left to right sounds firm and flat.

NEED TO KNOW

Mackie MR Series
Monitors & Subwoofer
  • PRICE

    MR524: Expect to pay $269
    MR624: Expect to pay $369
    MR824: Expect to pay $399
    MRS10:  Expect to pay $769

  • CONTACT

    CMI Music & Audio: (03) 9315 2244 or info@cmi.com.au

  • PROS

    Detailed & honest reproduction
    Useful ASC & LP filtering options

  • CONS

    Feeble low end without sub

  • SUMMARY

    Mackie’s MR Series does what any good monitor should do — offer sonic insight into your music. ASC plus high- and low-filtering options sweeten the deal. If you’re not ready to spend big bucks on your next set of monitors, the MR series is a fantastic choice. 

WHY DON’T YOU ASC

Acoustic Space Control counteracts bass reflex artefacts caused by near-wall placement by limiting the amount of bass ported through the rear of the monitor. You can easily feel the difference by holding your hand over the port while switching from A to B to C. Generally with small rooms, the less bass you pump into them, the better. Switching over to C instantly cleared up some muddiness.

The logarithmic waveguide surrounding the one-inch dome tweeters disperse high frequencies fairly evenly but don’t expect uniform sonics while wheeling about your studio. The same goes for vertical movement so it pays to mount the monitors at just the right height for a more accurate representation of what you’re hearing. Keeping the tweeters ear-level is a good rule of thumb.

THE SUB STANDARD

The MRS10 single 10-inch subwoofer is properly gutsy and voiced quite accurately. The Quick Start Guide recommends powering it up with the level set at 12-o’clock to Unity. I turned it on closer to 7-o’clock and it was still too loud relative to the monitors which were set at 12-o’clock. For an ‘entry-level’ offering, it’s a fantastic sounding box that complements the MR monitors beautifully.

The continuously variable crossover is really handy. Take your time finding the sweet-spot for your room and resist the temptation to give the sub more work than it needs. Footswitch on/off control is invaluable when trying to judge an appropriate sub level without moving from your mix position. A sustain pedal-like footswitch comes included. Bear in mind that placing the sub in untreated home studios will result in peaks and nulls all over the place, and the spot for ideal bass monitoring probably won’t be at your mix position. In my room, the lows really blossomed when I pushed my chair about 1.5m back.

The more I listened to the Mackie MRs the more I liked them. Long listening periods didn’t cause ear fatigue even at reasonably high levels. Reference mixes I know like the back of my hand were presented with surprising detail.

The budget studio monitor market is a competitive one but Mackie’s long-held footing is only strengthened with the MR series. It offers honest, true sound with the useful Acoustic Space Control thrown in for good measure.

Putting the pair up together showed just how far budget studio monitor designs have come in the last decade

RESPONSES

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

More for you

Filter by
Post Page
News Mackie RØDE Issue 92 Location Sound Location Mixer Studio Monitoring Studio Monitors Subwoofers Headphones + IEM IEM Earphones PA Systems Portable PAs Avid Audio Mixers Small Analogue Mixer
Sort by

THE ANCIENT ART OF MACKIE THUMP

25

MACKIE APP MAKES SENSE

25

RØDE Acquires Mackie

19

Mackie M•Caster Live

19

Mackie Introduces New Additions to CR Series Monitor Line

19

Mackie Expands MP In-Ear Monitor Series and Adds Bluetooth

19

Trio of Mackie Mics Bring Tough Build and Quality Sound

19

Mackie Launches Top-of-the-Line SRM V-Class Professional Loudspeakers

19

Mackie Announces The SRM Flex

19

Mackie Partners with Avid

19

Mackie Produces Pro Upgades For ProFX V3 

19

Mackie’s New Flagship PA

19

preview
preview

Free! Get AudioTechnology magazine sent straight to your inbox every month



preview
  • Stocking Fillers
  • Latest Issues
  • Reviews
  • Tutorials
  • Features
  • Podcast
  • Free Stuff
  • By Gear
  • By Interest
  • By Brand
© 2024 AudioTechnology magazine.