Over the past month, Mackie products played a pivotal role in the
release of three major holiday season blockbusters - The Matrix Revolutions, Master and Commander: The Far Side of the
World, and Gothika. The studios involved in the sound production
of these major movies all used Mackie HR626
Active Studio Monitors in their post production work.
Danetracks Studios in Hollywood earlier this year equipped their
studios with HR626 monitors for production of The Matrix Reloaded,
and they have since become a permanent fixture - used on both The
Matrix Revolutions and Gothika. These two films required vastly
different sound treatments, but the HR626s provided both projects
with the accurate monitoring necessary for clean, detailed sound
"The Mackie HR626s and Mackie HRS150
subwoofer were central to my sound design work on Matrix Revolutions,"
commented Danetracks Sound Designer Eric Lindemann, who also did
the sound for the first two Matrix movies. "They gave me an
articulate non-hyped 5.1 sound field, which translated well to the
Lindemann also incorporated the new Mackie
Control Universal control surface into his Pro Tools equipped
studio. "Mackie's control surface gave me a tactile alternative
to the track ball when layering sounds and setting overall levels
while taking up little space," he said.
Rich Adrian, another Danetracks sound designer, focused his efforts
on the new Halle Berry thriller Gothika. "The sound design
on Gothika required everything from very delicate and subtle backgrounds
to extremely intense sound moments," Adrian detailed. "With
the HR626s, I was proud to work closely with the director in my
room and know that the material accurately represented what would
be heard on the dubbing stage."
Somewhere just across town, The Village Recorder Studios, located
in West Los Angeles, completed work earlier this fall on the Russell
Crowe sea epic Master and Commander: The Far Side of the World.
Central to Australian Sound Designer Simon Leadley's studio were
the Mackie HR626 monitors.
"There's always so much mystery
about speakers, but it all comes down to your either liking them
or not," commented Leadley, who's past sound production credits
include Moulin Rouge, Hearts in Atlantis and Inspector Gadget 2.
"The one thing I find remarkable about the Mackie family of
studio monitors is that they're totally non-fatiguing. I used them
on Moulin Rouge for up to 17 hours a day. If you're sitting in front
of a set of speakers for that long, the last thing you want is a
set of monitors that bark at you. And I can almost say unequivocally,
anything we did sounded the same when we took it to the stage."
Leadley is equally impressed with the Active design of the Mackie
Active Studio Monitors. "You can definitely hear the difference
with an amp and speaker matched to each other. Particularly in Mackie's
case, where they've got their own range of amps as well, they've
been able to engineer them as a nicely coupled system. I mean, it's
incredible that you've got like 150 Watts on the bottom end and
another 100 Watts driving the tweeter, but the amp just literally
goes right into a coil, so any capacitance is just due to whatever's
in the coil. That makes it a lot easier to design the amp, and does
a better job of making it sound good."