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Engineer-Producer Travis Wyrick got the call to record P.O.D. tracking for their most recent album Testify. You can read about it in Mix magazine but here’s the short version: this album rocks like few others. Sizzling drum tracks courtesy of Wyrick's use of Onyx 800R and a whole bunch of other goodies.
After a successful preview at Winter NAMM, Mackie is debuting for the first time in Europe, the new Quad Series of digital signal processors. The Quad Series processors combine high-quality 24-bit processing and stellar audio performance with intuitive and feature-packed user interfaces designed for serious live sound applications.
The Mackie Quad EQ is an innovative four-channel, 30-band digital graphic equalizer, which for the first time ever combines Smaart real-time analysis (RTA) and a sound pressure level (SPL) meter. It offers brilliant sounding 24-bit processing and Mackie's Adaptive-Q filters for extremely precise EQ adjustments. A highly accurate, easy-to-read front panel featuring 31 bi-color LED ladders allows the user to view RTA and EQ settings simultaneously. This allows the Quad EQ to provide instant visual reinforcement of EQ changes and their effect through the sound system to the engineer.
The Quad EQ includes a bundled SIA reference microphone for real-time frequency analysis and SPL monitoring, as well as a host of useful features like stereo linking of channels A/B and C/D, simultaneous A, B and C-weighted SPL meter functionality, a built-in Pink Noise generator, and professional XLR and TRS input and output connectors. Finally, 99 user-definable snapshots provide easy storage and recall of repeatedly used settings.
Quad EQ Features:
4-channels of digital 30 band, Adaptive-Q graphic equalizers
Variable High and Low pass filters on each channel
Built-in Smaart RTA (Real Time Analyzer) of input or mic signals
Simultaneous EQ and RTA display
A, B, and C weighted dB-SPL meter function
Built-in Pink noise generator
99 snapshots for instant recall of settings
Stereo Linking of channels A and B, C and D
Intuitive, easy to use front panel
Professional-grade XLR & TRS input/output connections
"Planet Earth" Power Supply (100-240VAC 50/60Hz)
The Mackie Quad Comp/Gate features four channels of compression/limiting and expansion/gating and delivers superior precision and dynamic control through a highly intuitive and responsive user interface. Digital technology offers several advantages over analog compressors, including much faster attack settings, and offering 99 user-definable and instantly recallable presets, which can come in handy during fast changeovers from one act to the next. Built-in key filters provide incredible accuracy for independent triggering of the compressors and gates based on desired frequencies, while a Key Listen feature allows users to monitor the specific frequency range of the key filter. Plus, the Quad Comp/Gate's "Auto" feature automatically monitors input transients and adjusts attack and release times to eliminate the all-too-common "pumping" effect typical of most compressor/limiters.
Quad Comp/Gate Features:
4-channels of 24-bit digital compression/limiting and gate/expansion
Custom algorithms developed by Acuma Labs
Individual per-channel gain reduction and output metering
Individual key filtering per comp and gate channels
99 snapshots for instant storage and recall of settings
Stereo Linking of channels A and B, C and D
Intuitive, easy to use front panel
Professional input/output connections (XLR & TRS)
Additional external side chain connections
"Planet Earth" Power Supply (100-240VAC 50/60Hz)
The new Mackie Quad Series will have a manufacturer's suggested retail price of 1,090 Euros ($1199.99 USD) and 990 Euros ($999.99 USD), for the Quad/EQ and Quad Comp/Gate, respectively. The complete Mackie product line is currently on display at Musikmesse in Frankfurt, Germany, March 29-April 1, 2006. Mackie is located in Hall 4.1, stand F51.
For the first time in Europe, Mackie is showing its new M-Series line of power amplifiers. Designed to deliver high-efficiency stereo power with stellar audio performance, the M-Series is available in three configurations: the M-2000, M-3000 and M-4000, delivering 2000W, 3000W and 4000W of Class-H power, respectively, and making them the highest powered offerings in their price range.
The new Mackie M-Series amplifiers are equipped with a host of features typically found only in much higher priced models including an ultra-reliable, high-efficiency design that utilizes two- and three-rail Class-H circuitry, as well as Mackie's proprietary Baker Clamp-based Fast Recovery circuitry to prevent harmonic distortion. M-Series amplifiers also benefit from Mackie's exclusive Adaptive Slewing technology that allows the amplifier to pass the fastest transient attacks—like a kick or snare drum—without the distortion associated with traditional Class H designs.
With up to 50-percent more output transistors than their competition, the Mackie M-Series amplifiers deliver increased power and better headroom, as well as resistive loading of all stages and fully complementary/differential design from input to output. The result is an amplifier with higher power and lower distortion than any other amp in its class.
To ensure that the M-Series amplifiers would provide faithful service in the most unforgiving conditions, Mackie engineers equipped them with the most advanced protection circuitry available, including thermal protection, output DC offset protection, input slew protection, extensive output stage protection all in a robust, road-worthy steel chassis.
The new Mackie M-Series amplifiers have a manufacturer's suggested retail price of 885 Euros ($899.99 USD), 995 Euros ($1099.99 USD), and 1,195 Euros ($1299.99 USD) for the M2000, M3000, and M4000, respectively. The complete Mackie product line, including the M-Series amplifiers are currently on display at Musikmesse in Frankfurt, Germany, March 29-April 1. Mackie is located in Hall 4.1, stand F51.
Mackie is unveiling for the first time in Europe the newest members of it's acclaimed Onyx family the Onyx 4-bus Series Mid-Format Live Sound Consoles. With the additions of the new Onyx Onyx 24.4 24-channel and Onyx Onyx 32.4 32-channel consoles, Mackie brings the innovative feature set and unequalled sound quality of their Onyx Series to the world of mid-format live mixers, effectively filling the gap between the Onyx Small-Format and 8-bus Onyx 80 Large-Format Live Sound Consoles.
"With each new Onyx introduction, Mackie establishes a new price/performance benchmark," stated John Boudreau, Mackie's Live Sound Product Manager. "With the introduction of the new Onyx 24.4 and Onyx 32.4, we're now bringing this winning formula to a market that we have successfully dominated for nearly a decade thanks to our award-winning SR24.4 and SR32.4 consoles."
The Onyx 4-bus Series incorporate a host of new features like a full complement of Mackie's highly acclaimed, flagship Onyx preamps that combine greater fidelity, increased headroom and unequalled sonic performance with greater radio frequency rejection and wider dynamic range. Additional Onyx 4-Bus features include a fully balanced signal chain for lower noise and wider frequency range, as well as Mackie's exclusive Cal Perkins-designed four-band EQ circuitry, renowned for its highly musical "British" sound and wider-range control.
Both Onyx 4-Bus consoles also feature a 6x2 matrix, 100mm Panasonic faders, and a fully assignable stereo compressor/limiter section built upon the high-quality THAT 4301 chip. This compressor/limiter features independent threshold, ratio and fast/slow attack controls, and can be assigned to the main output mix, Groups 1 and 2, or Groups 3 and 4.
Key Onyx 4-bus Mid-Format Live Sound Console Features:
Premium Onyx Mic Preamps on all mono channels
Four-Band Perkins EQ
Six fully assignable Aux Sends with Pre/post switches, mute and AFL solo
Smooth, long-throw 100mm Panasonic Faders
Analog direct outs per channel
Two Dedicated Stereo Inputs
4 segment channel metering
Dedicated talkback section
6 x 2 matrix
Built in stereo compressor/limiter
The Onyx 4-Bus Series have a manufacturers retail price of 1,995 Euros ($1849.99 USD) and 2,495 Euros ($2599.99 USD), for the Onyx 24.4 and Onyx 32.4, respectively. The complete Mackie product line is currently on display at Musikmesse in Frankfurt, Germany, March 29-April 1, 2006. Mackie is located in Hall 4.1, stand F51.
Making it's European debut this week at the Frankfurt Musikmesse is Mackie's new Satellite FireWire Recording System. The Satellite FireWire Recording System is an innovative new approach to digital recording, featuring a two-part audio interface designed to get the best out of computer recording in both live and studio environments.
The heart of the Satellite System is the Satellite Pod, a sleek, portable two-channel FireWire interface that incorporates two of Mackie's acclaimed Onyx preamps, as well as 24-bit/96kHz A/D and D/A converters. Additional Satellite Pod features include dual headphone/control room outputs with individual level controls, two inputs, two outputs, and a rugged portable design.
A compelling feature of the Satellite System is the Satellite Base Station, which the Satellite Pod snaps into to provide AC power, additional I/O, talkback and monitor switching functions. By plugging the Satellite Pod into the base station, the Satellite System becomes a two-input, six-output FireWire audio interface with professional features such as an advanced routing matrix, built-in talkback microphone, advanced monitoring functions and surround speaker control.
The Satellite System's two inputs can be switched between mic, instrument or balanced line input sources, and its six-channel volume control provides for surround sound mixing. Its control room section provides for switching between two separate monitor outputs for multiple monitor speaker setups.
Both Mac and PC compatible, the Satellite System works with all ASIO and Core Audio compatible software. It comes bundled with a full version of Mackie's award-winning Tracktion 2 software, providing a complete out-of-the-box recording setup with professional features like a 64-bit high-definition mix engine, unlimited track count, ReWire and VST support, MIDI controller mapping, external synchronization, and integrated support for Mackie Control Universal and C4 control surfaces. Also included is a full set of Mackie's Mixing and Mastering plug-ins.
Mackie Satellite FireWire Recording System Features:
Innovative 2-piece FireWire Recording System for professional recording to Mac or PC
Dual Onyx mic preamps for superior sound quality versus competing interfaces
8 inputs (2 active at any time) for connection of microphones, line sources, and instruments
6 line-level outputs
24-bit/96kHz capable sound quality
Built in control room functions include talkback and A/B monitor switching
6-channel volume control allows for surround sound mixing
FireWire protocol for low latency real time recording
Satellite Pod can be bus powered for field use, or externally powered, for added convenience
The Mackie Satellite FireWire Recording System has a manufacturers suggested retail price of 499 Euros ($519.99 USD). The complete Mackie product line is currently on display at Musikmesse in Frankfurt, Germany, March 29-April 1, 2006. Mackie is located in Hall 4.1, stand F51.
Mackie's flagship S400 Series Precision Passive loudspeakers featuring Tetrad TechnologyTM, are now shipping and available from all Mackie authorized dealers worldwide.
The new S400 Series are the first loudspeakers to benefit from Mackie's Tetrad Technology that was co-developed with the loudspeaker design experts at Eastern Acoustic Works (EAW). Tetrad Technology effectively challenges the commonly accepted compromise in traditional two-way loudspeakers designs that a perfect sonic image will deteriorate rapidly as a listener moves off-axis or further away from the loudspeaker.
"It's not that a narrow dispersion isn't a good thing, sometimes it's exactly what you need," commented John Boudreau, Live Sound Product Manager for Mackie. "However, many applications call for a much wider dispersion pattern than traditional two-way boxes can provide. This is why the technique of arraying multiple two-way boxes in larger venues is so common. It's the most efficient method of getting both effective coverage and great sound."
Boudreau continued, "With the S400 our goal was to use design techniques originally developed for high-end touring systems to get both from one loudspeaker. And since EAW and Mackie are both part of LOUD Technologies, we had access to some of the best touring loudspeaker designers in the world. Tetrad Technology is the result of this collaboration and the S408 and S410s subwoofer are the first Mackie products to incorporate it."
About Tetrad Technology and the S400 Series Loudspeakers:
Tetrad Technolgy starts by replacing the single woofer found in traditional two-way Loudspeakers with four smaller 8-inch woofers, and then adds an unusually large horn in the center of the S408. The result is greater overall low-frequency driver surface area that can deliver more punch than a single 15-inch woofer and a horn that delivers far better pattern control in the upper mid frequencies.
Additionally, since four smaller drivers have a quicker attack (transient response) than a single 15-inch woofer, they can be made to deliver a much tighter and focused low-end with a great deal more impact. As such, this quad driver design is applied to both the S408, which features four 8-inch woofers, and the S410s Subwoofer, which features four 10-inch woofers.
Pattern control for the S408 was further enhanced when spacing of the four 8-inch woofers was calculated so that the polar pattern of the drivers matched the polar pattern of the horn at the crossover—both horizontally and vertically. This consistency is important because when sound radiates from a loudspeaker, listeners will typically hear the direct sound first; then they'll hear the energy that is reflected back from the room. If the low-frequency directivity is wide, and the high frequency directivity is narrow, there will be a lot more reflected low-end, which results in a "muddy" tone. Careful attention to detail has eliminated this anomaly in the S408.
The Big Horn:
Because of the smaller 8-inch drivers, the S408 is able to incorporate a large, central 75-degree x 40-degree horn. A big horn presents a friendly load impedance to the high-frequency device, which means lower distortion. And big horns offer better pattern control at lower frequencies than smaller horns—which is why they're used in large-format touring systems. Additionally, the large horn also eases the crossover transition from the 1.75-inch titanium compression driver to the 8-inch drivers. This allows the S408 to keep the crossover frequency low enough that the critical vocal and midrange frequencies are all reproduced by the horn. Put simply, the S408 sounds and projects better than any other portable PA speaker in its class.
Taken together, the spaced woofers and central horn allow for a horizontally and vertically symmetrical design. This means that the off-axis frequency response is the same on one side of the S408 as it is on the other. This is particularly useful when the S408 is used as a stage monitor. As the performer moves, the sound remains the same.
Top-Notch Construction and Versatile Array Options:
The S400 Series is comprised of the S408 Precision Passive Loudspeaker and the S410s Subwoofer. Both models features solid 18mm Baltic Birch plywood enclosures that are coated with wear-resistant textured black PVC vinyl paint. Both also incorporate weight-balanced carrying handles and integrated pole mounts. The S408 includes 12 integrated rigging points for flying and permanent installations. The S408's trapezoidal shape allows it to function in both traditional and stage monitor applications.
The S408 and S410s are now available with a manufacturers suggested retail price of 899 Euros ($839.99 USD) and 999 Euros ($969.99 USD), respectively. The complete Mackie product line is currently on display at Musikmesse in Frankfurt, Germany, March 29-April 1, 2006. Mackie is located in Hall 4.1, stand F51.
Deke doesn’t care what all those fake B3 sample playin’ mfos sez; ain’t nothin like the real thang bay-bay. Gotta be a Hammond and weigh too much for one person to move to move the Deke. Here’s three B3 players we like a lot; two of which are INTIMATELY familiar with the Mackie gear (SRM450’s and recording consoles) they’ve used over the years plus one great jazz organist who has, sadly, passed on.
For a deep dive into some smokin’ B3 playing, check this NPR link out.
Stumped who these fine players are? Click:
LEFT, CENTER, RIGHT
The Deke asked Conan O'Brien keyboardist and Onyx 1640 user Scott Healey to describe his worst gig and got back this little gem. If you think your worst performance story can beat this, email DKSweet@sbcglobal.net and we'll post the best, er worst. Go Scott . . .
Worst gig, that's easy.
I was covering on synth all the orchestra keyboard parts (celeste, piano) plus doing the harp parts in a local NYC area pops orchestra. We mainly did outdoor summer park concerts, quality control was very low but it was challenging and great reading practice.
My big solo was the pipe organ intro on "Phantom of the Opera." One Sunday we had a big concert at an old folks home in an auditorium down in South Jersey. I was running late as I wheeled in my Korg M1 and my Roland keyboard amp I plugged in, and smoke started pouring out the back of my amp. I cut the power, looked around to see if anyone had seen me, the coast was clear. The downbeat was in 3 minutes, and there was no backup, no other amplification, no possibility of making any sound for the performance. Rather than confess my plight to the slightly hostile conductor, I instead asked him if we were going to play "Phantom", he said "no, not today," and I said "cool".
I knew that if I confessed to him I wouldn't get paid, so I did the most unprofessional thing I've ever done: I mimed the entire concert, pretending to play-- my amp was off. I was setup next to the brass so no one could hear anything anyways. Afterwards the tuba player complimented me on my performance, and I collected the check and went home.
How many people do you know that have sold over 100 million records and own a Mackie D8B and a Mackie Control? Okay, now how many of those have a hit Broadway show going right now about their career in this insane business of music?
Will Bunny Brunel give up the D8B on which he's mixed several successful solo albums and trade up to a DXB? Rumor has it that even though one of those was Grammy-nominated, the French bassist now living in LA feels he can risk forsaking his "luckeeee DeeAteBeeeee" to indulge in Mackie gear lust once again.
Can you name the Brunel-produced album for which he received a Grammy nomination? First one to email the correct answer to dksweet@sbcglobal.net wins a Mackie T-shirt the copywriter claims “looks best on someone with cleavage.” If that's not you, gift it to someone who looks good in high heels at least.
 DJ Exacta from Compulsive Music at the Mackie Booth during Winter Music Conference. Pictured form left to right, DJ Tamara Sky, Jeff Fisher Mackie AR, DJ Exacta, Colleen Shannon. DJ Exacta is currently a resident DJ at several clubs in New York including Crobar NY. See his artist site for club details.
DJ Exacta
Me and My TT24
Over Christmas and New Year I spent two months with a TT24 for the pantomime Cinderella at the Marlowe Theatre, Canterbury. I’d spent a couple of weeks with one in October mixing small bands, but this was the real test. 22 channels for the panto band and a channel each for mono click-track return and mini-disc sound fx return quickly laid waste to the 24 analog inputs. 16 channels of the excellent Onyx 800R mic pres were incorporated via lightpipe for 8 channels of discreet radio mics, 2 handheld radio mics, 3 float mics, 1 offstage mic and 2 channels of DVD.
During tech rehearsals I discovered the User Bank assignment feature. After a quick look at the manual I set this up easily and cannot stress enough what a life-saving feature it is, especially on a 40-input show such as this one. With a bit of logical thinking and a couple of different coloured Sharpies I found that there was room enough for all the extra labelling going on. In a flash I had my 24 most important faders lined up before me, including a master auxiliary send and effects returns as well as the radio mics, lead guitar and all the keyboards. Master levels of drums, whole band, voices, etc were all still conveniently available to me on VCA’s. Riding an instrument level (analog) whilst muting/un-muting radios (digital) and bringing up the master foldback send (aux) became a doddle instead of an impossibility.
After a couple of shows mixing on-the-fly, I decided to program a couple of scenes that were proving too much for someone with only two hands. The first one I looked at was the finale. Here I was expected to mute 8 radio channels, raise the level of the band 20db, un-mute the two handheld radios, make adjustments to the monitor mix and effects sends without spilling my coffee, all within the confines of a two second blackout. This, I thought, is a job for the TT24. If I can’t do this at the push of one button, I can’t do anything. I spent a bit of time between shows one day setting up this scene. I even remembered to make a couple of Eq adjustments that I’d found myself working on after the finale had kicked in. Pleased with myself, I saved the scene in about 8 different locations and backed-up to my laptop. (Belt and braces, and spare belt and braces, and the address of a local belt and braces shop, that’s me!) As the finale approached during the next show, my sweaty finger poised above the recall button, I knew something would go wrong. I hit it. The big guitar riff began, somewhere in the distance, it was painfully weak, quiet. I went straight to the guitar channel, seemed ok. The rest of the band joined in, sounded like they were playing next door. The VCA! I’d forgotten to program the band level! I faded them in and hoped no-one would notice.
Right after the show, and after I had made the appropriate corrections to my scene, the company stage manager approached me. “How can we make sure that doesn’t happen again?” he asked.
“Employ a robot to do my job?” I said. “Talk to Mackie. They’ll invent one for you.”
Pete Cudmore.
After seeing the DXB at Sounds expo Colm O'Rourke one of the Head lecturers at the University of Westminster knew the Digital Xbus 200 was the desk for there Courses.
The DXB 200 is connected to a HD2 pro tools rig and still has the ability to interact with Core Audio and ASIO supported software. Students get such a wide range of use from this console without the need to add extra control surfaces or Audio interfaces. AES cards allow the connection to Pro tools and a Firewire card gives them 24 I/O over Core Audio and ASIO protocols.
It looks like the DXB200 will be the centrepiece for the new recording studio in the University of Westminster.
So I took out some time to get staff members from Digital village up to speed on the latest DXB200 features. With new staff members in there Acton store it was a sure thing they would want to get the low down on all the DXB has to offer. The DXB is set up to control a full pro tools rig in there store and is the centre piece of there pro audio department.
  
Colleen Shannon and DJ Tamara Sky attend an impromptu signing poolside at the Wyndham Hotel during Winter Music Conference. Colleen was at the conference endorsing the Mackie d.2 DJ mixer.
DJ Tone from Mackie back stage with Lisa Loeb.
Winter Music Conference International Dance Music Awards.
Ladies do love Ronnal Ives. Dj Rap with Ronnal backstage at the IDMAs.
Colleen Shannon backstage at the International Dance Music Awards. Pictured from left to right, DJ Tamara Sky, Pierre from C2C, Colleen Shannon, Blythe Proffit resident house DJ from New York.
Colleen Shannon hanging out with DJ Tamara Sky and Bad Boy Bill backstage at Ultra Fest during WMC.
 
DJ Rocky Rock of the Black Eyed Peas and Colleen Shannon, Mackie d.2 endorsers, present at the International Dance Music Awards. The IDMAs took place in the closing nights of The Winter Music Conference in Miami Florida.
DJ Rocky Rock was all over Remix and Winter Music Conference in Miami. Video to come.
Donald Glaude and DJ Dan find Mackie at Remix in Miami. Pictured left to right, Pro Sound Stage and Lighting Rep Branden Hamer, Ronnal Ives, DJ Tone, Donald Glaude, DJ Dan. Seattle natives Glaude and Dan are keeping themselves busy all over the country. Check out their dates below.
Donald Glaude
DJ Dan
 The Young brothers of AC/DC, Angus and Malcolm, now each have one of Mackie's revolutionary new Digital X Bus X.200 recording consoles in their personal studios–located in the Netherlands and London respectively. In addition, they have both specified Mackie HDR24/96 hard disk recorders and completed their updates with a pair of Mackie HR824 Active Studio Monitors in each studio.
Acting on a strong recommendation from Paul "Pab" Boothroyd, who is AC/DC's FOH engineer and audio consultant for their recording studios, Angus also read every review and piece of information he could gather on the Digital X Bus. This was followed by a call to Mackie and an on–site demo that showed him just how easy it was to get the most out of the new console.
Angus ultimately didn't need much convincing though–having owned and loved a Mackie Analogue 8 Bus for a number of years. This familiarity led to quick praise for how easy the Digital X Bus is to operate: "It's really useable," he commented. The Digital X Bus allows users to interface via traditional knobs and two built–in 15–inch touch screens instead of mouse and seemingly endless layers of sub–menus.
Like Angus, Malcolm appreciates the "hands–on aspect of the system", which combines a fully–functional mixing console with the ability to tap into the latest digital technology when needed. Malcolm plans to use the Digital X Bus's Mackie Control Universal layer to control his Pro Tools software.
Both Angus and Malcolm also loved the sound quality of Mackie's newest offering. In fact, when Angus was doing a demo recording with Pab, applying some of the on–board EQ and compression, Malcolm entered the studio and was amazed by what he heard. "I thought it sounded absolutely brilliant," he later recalled. "But Mackie has always had a good rap."
In their previous studio configuration, they fed the output from their recordings into a Neve mixer, and then used separate Fairchild compressors to create the sound they casually describe as "that classic valve, phat thing." Unfortunately, after years of service, their trusted compressors became unreliable, and the brothers were fed up with having to give them a thump every now and then to keep them going. With that, both Malcolm and Angus opted to specify a Universal Audio UAD–1 DSP card for their new Mackie consoles–giving them faithful emulations of favorites like the 1176LN and of course, their trusted Fairchild compressor. Each Mackie Digital X Bus will support the use of both VST plug–ins as well as accommodate up to three Universal Audio UAD–1 cards.
AC/DC records using real instruments in properly designed live rooms, so it is imperative that they get the very best from their chosen recording medium and so far, Angus and Malcolm are pleased with the recordings they are getting from their new Mackie Digital X Bus consoles. "In the world of audio equipment, there are only a few survivors," commented Malcolm. "Mackie is one of them and they have a good name all over the world."
So the Deke gets invited to superagent Bob Rice’s dinner at PF Chang’s (awesome Chinese) after GDC (Game Developers Conference) and who does he run into but lonnnnnngtime Mackie user, composer David Arkenstone . David admits he can’t remember not owning a Mackie mixer and still has a “classic” 1604 plus a newer 1202 for gigs.
Yo game developers: check out David's newest album Atlantis for some highly “visual” music.
Mackie is pleased to be showing their new Quad Series digital signal processors at this year's NSCA Convention in Las Vegas. The Quad Series processors combine high-quality 24-bit processing and stellar audio performance with intuitive and feature-packed user interfaces designed for serious live sound applications.
The Mackie Quad EQ is an innovative four-channel, 30-band digital graphic equalizer, which for the first time ever combines Smaart real-time analysis (RTA) and a sound pressure level (SPL) meter. It offers brilliant sounding 24-bit processing and Mackie's Adaptive-Q filters for extremely precise EQ adjustments. A highly accurate, easy-to-read front panel featuring 31 bi-color LED ladders allows the user to view RTA and EQ settings simultaneously. This allows the Quad EQ to provide instant visual reinforcement of EQ changes and their effect through the sound system to the engineer.
The Quad EQ includes a bundled SIA reference microphone for real-time frequency analysis and SPL monitoring, as well as a host of useful features like stereo linking of channels A/B and C/D, simultaneous A, B and C-weighted SPL meter functionality, a built-in Pink Noise generator, and professional XLR and TRS input and output connectors. Finally, 99 user-definable snapshots provide easy storage and recall of repeatedly used settings.
Quad EQ Features:
4-channels of digital 30 band, Adaptive-Q graphic equalizers
Variable High and Low pass filters on each channel
Built-in Smaart RTA (Real Time Analyzer) of input or mic signals
Simultaneous EQ and RTA display
A, B, and C weighted dB-SPL meter function
Built-in Pink noise generator
99 snapshots for instant recall of settings
Stereo Linking of channels A and B, C and D
Intuitive, easy to use front panel
Professional-grade XLR & TRS input/output connections
"Planet Earth" Power Supply (100-240VAC 50/60Hz)
The Mackie Quad Comp/Gate features four channels of compression/limiting and expansion/gating and delivers superior precision and dynamic control through a highly intuitive and responsive user interface. Digital technology offers several advantages over analog compressors, including much faster attack settings, and offering 99 user-definable and instantly recallable presets, which can come in handy during fast changeovers from one act to the next. Built-in key filters provide incredible accuracy for independent triggering of the compressors and gates based on desired frequencies, while a Key Listen feature allows users to monitor the specific frequency range of the key filter. Plus, the Quad Comp/Gate's "Auto" feature automatically monitors input transients and adjusts attack and release times to eliminate the all-too-common "pumping" effect typical of most compressor/limiters.
Quad Comp/Gate Features:
4-channels of 24-bit digital compression/limiting and gate/expansion
Custom algorithms developed by Acuma Labs
Individual per-channel gain reduction and output metering
Individual key filtering per comp and gate channels
99 snapshots for instant storage and recall of settings
Stereo Linking of channels A and B, C and D
Intuitive, easy to use front panel
Professional input/output connections (XLR & TRS)
Additional external side chain connections
"Planet Earth" Power Supply (100-240VAC 50/60Hz)
The new Mackie Quad Series will be available in Q2 2006 and will have a manufacturer's suggested retail price of $1159.99 and $1029.99, for the Quad/EQ and Quad Comp/Gate, respectively. The complete Mackie product line is currently on display at NSCA, at the Las Vegas Convention Center, March 16-18, 2006, booth #2337.
After a successful preview at Winter NAMM, Mackie is showing its new M-Series line of power amplifiers at this year's NSCA Convention. Designed to deliver high-efficiency stereo power with stellar audio performance, the M-Series is available in three configurations: the M-2000, M-3000 and M-4000, delivering 2000W, 3000W and 4000W of Class-H power, respectively, making them the highest powered offerings in their price range.
The new Mackie M-Series amplifiers are equipped with a host of features typically found only in much higher priced models including an ultra-reliable, high-efficiency design that utilizes two- and three-rail Class-H circuitry, as well as Mackie's proprietary Baker Clamp-based Fast Recovery circuitry to prevent harmonic distortion. M-Series amplifiers also benefit from Mackie's exclusive Adaptive Slewing technology that allows the amplifier to pass the fastest transient attacks—like a kick or snare drum—without the distortion associated with traditional Class H designs.
With up to 50-percent more output transistors than their competition, the Mackie M-Series amplifiers deliver increased power and better headroom, as well as resistive loading of all stages and fully complementary/differential design from input to output. The result is an amplifier with higher power and lower distortion than any other amp in its class.
To ensure that the M-Series amplifiers would provide faithful service in the most unforgiving conditions, Mackie engineers equipped them with the most advanced protection circuitry available, including thermal protection, output DC offset protection, input slew protection, extensive output stage protection all in a robust, road-worthy steel chassis.
The new Mackie M-Series amplifiers will be available Q2 2006 and will have a manufacturer's suggested retail price of $899.99, $1099.99, $1299.99 for the M2000, M3000, and M4000, respectively. The complete Mackie product line is currently on display at NSCA, at the Las Vegas Convention Center, March 16-18, 2006, booth #2337.
Mackie's recently-announced Onyx 4-bus Series mid-format live sound consoles are making their worldwide debut to the contractor market at this year's NSCA Convention in Las Vegas. With the additions of the new Onyx 24.4 24-channel and Onyx 32.4 32-channel consoles, Mackie brings the innovative feature set and unequalled sound quality of their Onyx Series to the world of mid-format live sound consoles, effectively filling the gap between the Onyx Small-Format and 8-bus Onyx 80 Large-Format Live Sound Consoles.
"With each new Onyx introduction, Mackie establishes a new price/performance benchmark," stated John Boudreau, Mackie's Live Sound Product Manager. "With the introduction of the new Onyx 24.4 and Onyx 32.4, we're now bringing this winning formula to a market that we have successfully dominated for nearly a decade thanks to our award-winning SR24.4 and SR32.4 consoles."
The Onyx 4-bus Series incorporate a host of new features like a full complement of Mackie's highly acclaimed, flagship Onyx preamps that combine greater fidelity, increased headroom and unequalled sonic performance with greater radio frequency rejection and wider dynamic range. Additional Onyx 4-Bus features include a fully balanced signal chain for lower noise and wider frequency range, as well as Mackie's exclusive Cal Perkins-designed four-band EQ circuitry, renowned for its highly musical "British" sound and wider-range control.
Both Onyx 4-Bus consoles also feature a 6x2 matrix, 100mm Panasonic faders, and a fully assignable stereo compressor/limiter section built upon the high-quality THAT 4301 chip. This compressor/limiter features independent threshold, ratio and fast/slow attack controls, and can be assigned to the main output mix, Groups 1 and 2, or Groups 3 and 4.
Key Onyx 4-bus Mid-Format Live Sound Console Features:
Premium Onyx Mic Preamps on all mono channels
Four-Band Perkins EQ
Six fully assignable Aux Sends with Pre/post switches, mute and AFL solo
Smooth, long-throw 100mm Panasonic Faders
Analog direct outs per channel
Two Dedicated Stereo Inputs
4 segment channel metering
Dedicated talkback section
6 x 2 matrix
Built in stereo compressor/limiter
The new Mackie Onyx 4-bus Series will be available Q2 2006 and will have a manufacturer's suggested retail price of $2049.99 and $2599.99 for the Onyx 24.4 and Onyx 32.4, respectively. The complete Mackie product line is currently on display at NSCA, at the Las Vegas Convention Center, March 16-18, 2006, booth #2337.
Mackie's flagship S400 Series Precision Passive loudspeakers featuring Tetrad TechnologyTM, are now shipping and available from all Mackie authorized dealers worldwide.
The new S400 Series are the first loudspeakers to benefit from Mackie's Tetrad Technology that was co-developed with the loudspeaker design experts at Eastern Acoustic Works (EAW). Tetrad Technology effectively challenges the commonly accepted compromise in traditional two-way loudspeakers designs—that a perfect sonic image will deteriorate rapidly as a listener moves off-axis or further away from the loudspeaker.
"It's not that a narrow dispersion isn't a good thing, sometimes it's exactly what you need," commented John Boudreau, Live Sound Product Manager for Mackie. "However, many applications call for a much wider dispersion pattern than traditional two-way boxes can provide. This is why the technique of arraying multiple two-way boxes in larger venues is so common. It's the most efficient method of getting both effective coverage and great sound."
Boudreau continued, "With the S400 our goal was to use design techniques originally developed for high-end touring systems to get both from one loudspeaker. And since EAW and Mackie are both part of LOUD Technologies, we had access to some of the best touring loudspeaker designers in the world. Tetrad Technology is the result of this collaboration and the S408 and S410s subwoofer are the first Mackie products to incorporate it."
About Tetrad Technology and the S400 Series Loudspeakers:
Tetrad Technolgy starts by replacing the single woofer found in traditional two-way Loudspeakers with four smaller 8-inch woofers, and then adds an unusually large horn in the center of the S408. The result is greater overall low-frequency driver surface area that can deliver more punch than a single 15-inch woofer and a horn that delivers far better pattern control in the upper mid frequencies.
Additionally, since four smaller drivers have a quicker attack (transient response) than a single 15-inch woofer, they can be made to deliver a much tighter and focused low-end with a great deal more impact. As such, this quad driver design is applied to both the S408, which features four 8-inch woofers, and the S410s Subwoofer, which features four 10-inch woofers.
Pattern control for the S408 was further enhanced when spacing of the four 8-inch woofers was calculated so that the polar pattern of the drivers matched the polar pattern of the horn at the crossover—both horizontally and vertically. This consistency is important because when sound radiates from a loudspeaker, listeners will typically hear the direct sound first; then they'll hear the energy that is reflected back from the room. If the low-frequency directivity is wide, and the high frequency directivity is narrow, there will be a lot more reflected low-end, which results in a "muddy" tone. Careful attention to detail has eliminated this anomaly in the S408.
The Big Horn:
Because of the smaller 8-inch drivers, the S408 is able to incorporate a large, central 75-degree x 40-degree horn. A big horn presents a friendly load impedance to the high-frequency device, which means lower distortion. And big horns offer better pattern control at lower frequencies than smaller horns—which is why they're used in large-format touring systems. Additionally, the large horn also eases the crossover transition from the 1.75-inch titanium compression driver to the 8-inch drivers. This allows the S408 to keep the crossover frequency low enough that the critical vocal and midrange frequencies are all reproduced by the horn. Put simply, the S408 sounds and projects better than any other portable PA speaker in its class.
Taken together, the spaced woofers and central horn allow for a horizontally and vertically symmetrical design. This means that the off-axis frequency response is the same on one side of the S408 as it is on the other. This is particularly useful when the S408 is used as a stage monitor. As the performer moves, the sound remains the same.
Top-Notch Construction and Versatile Array Options:
The S400 Series is comprised of the S408 Precision Passive Loudspeaker and the S410s Subwoofer. Both models features solid 18mm Baltic Birch plywood enclosures that are coated with wear-resistant textured black PVC vinyl paint. Both also incorporate weight-balanced carrying handles and integrated pole mounts. The S408 includes 12 integrated rigging points for flying and permanent installations. The S408's trapezoidal shape allows it to function in both traditional and stage monitor applications.
The new Mackie S400 Precision Passive Series Loudspeakers are now available and have a manufacturer's suggested retail price of $839.99 and $969.99 for the S408 and S410s, respectively. The complete Mackie product line is currently on display at NSCA, at the Las Vegas Convention Center, March 16-18, 2006, booth #2337.
With a strong commitment to the ongoing evolution of the groundbreaking TT24 Digital Live Console, Mackie is using this year's NSCA convention to show off four innovative add-on options that will be released throughout 2006.
TT24 Expansion Cards: UFXII
The UFXII card expands the TT24's already considerable DSP horsepower, adding 24 additional channels of EQ, Gating, and Compression for a total of 48 fully DSP functional channels. The UFXII is now available from all authorized Mackie dealers worldwide with a Pro User Net price of $899.99.
DS3232 Digital Snake with U100 Networking Card
The new DS3232 Digital Snake provides 32x32 channels of balanced XLR I/O and connects to the TT24 Console via standard CAT-5 cable (up to 300 feet in length). The Digital Snake features 32 state-of-the-art mic preamps and converters in a stage box, and provides remote control of the input gain from the TT24 console. By placing the microphone preamps and converters on stage, the signal degradation typically associated with lengthy cumbersome analog snakes is eliminated. The U100 Networking Card enables the TT24 to communicate with proprietary external devices including the DS3232. The DS3232 Digital Snake and U100 Networking Card will be available Q2, 2006.
LP48 Lake Processor Card
The LP48 expansion card brings a number of enhancements to the powerful TT24 in three possible configurations. First, the card can be configured in Lake Loudspeaker Processor mode as a 4 input by 8-output loudspeaker processor to provide eight channels of balanced analog output with line drive capability. Second, it can provide the user with up to 10 channels of Lake-designed insert EQ processing including the true response Lake Ideal Graphic EQ™ and Lake Mesa EQ™ with asymmetrical filters. Finally, users can configure the card with 6 channels of insertable EQ processing and a 2 input by 4-output Lake Loudspeaker Processor. The LP48 will be available in Q2, 2006.
These updates, along with the TT24 Digital Live Console are currently on display at NSCA, at the Las Vegas Convention Center, March 16-18, 2006, booth #2337.
In Los Mocossos' musical world, rock, Latin, funk and Jamaican ska blend together in a melting pot of sweaty horns, stinging guitars and rock solid funky rhythms. So far, it's a sound too diverse, too tasty for mainstream radio and that's a shame. Check out their newest album American Us for some serious Bay Area flava sung both in English and Spanish.
Rehearsing with a Mackie PPM 808S, Los Mocosos (Spanish for rugrats) achieves a tightness that seems equally tight and dirty funky. El Dulce dije "mooooooooey bwaaano!"
What can the biggest "Rock En Espanol" band on the planet and Mackie Designs do to put more music in the schools? How about installing a Mackie 32x8 recording console in the Guadalajara, Mexico high school one of Manå graduated from.
¿De veras? Es la verdad amigos!
If there were an ice cream store serving up the flavors of music coming from the Silicon Valley the menu would have too many listings to fit—even using tiny type. Firme, one of the area's better known bands (along with Smashmouth and the Doobie Brothers) is a good example: Sorta punk, sorta ska, but songs so listenable even radio dares to play them.
Hear this amigos . . . www.purevolume.com/firme
El Dulce no conozco si esta banda reggaeton usan mescladores Mackie, pero no es importante.
Escucha esto! . . . Yaga y Mackie
Okay, so Deke loves the name of the act "Yaga y Mackie" (Spanish for uh . . . Yaga and Mackie). But he loves the music even more. If you haven't heard a style of music called reggaeton Deke will not spoil the surprise. Check out one of the better proponents . . .
Los Lobos Sax and keyboardsman Steve Berlin called yesterday to inform the band was performing later near The Deke at the Montalvo Center for the Perfomring Arts. Gracias Esteben! It gives one hope in the music business that a band this good can have a career this long. Has it really been over thirty years since "Just another band from East LA" came out?
Steve was one of the first to use an Onyx mixer onstage. He still does, mixing keyboards and saxes without having to give the soundman winks and nods.
http://www.amazon.com/gp/product/B000002MLY/104-9678589-2590348?v=glance&n=5174
So we all rolled into London olympia for Sounds Expo 2006. With a great stand and cool products the customers were on the booth in large numbers.We would have included some pics from the day but we were all too busy to take any!! As per usual you get to eat your lunch at post 4pm time but hey were used to it. So here are a few pics of the booth in the morning before the show opened. A big thank you to all who attended the show and passed onto our booth. I still find it hard to talk about a "big knob" without choosing my words carefully.
We are confused. Does this mean Greg Mackie is replacing Joe Perry? Greg is known to play a beautiful Breedlove acoustic 6 string, but how will that sound on "Walk This Way?" Could this be an example of this legendery band's secret to staying fresh: constant reinvention?
What better way to reinvent yourself than to hire . . . an inventor.
 
Well, maybe not ever. Check out this mysteriously familiar 9 month old on the Mackie Control Universal . This may constitute the cliche phrase..."So easy even a baby can use it!!"
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