Mackie HR624 vs. HR824

Discussion in 'Recording/Live Sound' started by Bix, Oct 26, 2004.

  1. Bix

    Bix Member

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    Everyone

    The Mackie HR624 seems to be a real favorite around here and I need to get some monitors pretty badly, as I have been using home speakers for awhile. Anyway, as I was looking on ebay I noticed that the cost for 624's and 824's was only different by 100 - 200 dollars and wondered what everyones thoughts were on the best bang for your buck.

    Thanks in advance.
    Mike
     
  2. aleclee

    aleclee TGP Tech Wrangler Staff Member

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  3. Bassomatic

    Bassomatic Silver Supporting Member

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    I love my HR824s. That said, I haven't shot 'em out w the 624s.
     
  4. LSchefman

    LSchefman Member

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    I think as between the 824s and 624s it's not a shootout thing.

    The 824s go deeper and play louder. They have more power, and my guess is that the amps are probably better spec'd as well.

    I find the 624s a little less fatiguing than the 824s, but I really bought them for another reason. I simply wanted a second pair of speakers for my studio to check mixes on. I was surprised that when I mixed on them I liked the mixes a lot more than mixes I got on my Genelec 1031A speakers which I paid 4 or 5 times as much for!

    Anyway, I sold the Genelecs, and started working with the 624s. I hear different kinds of detail with the 624s that I was missing on the Genelecs, especially reverbs, etc., but of course, the Genelecs threw a better soundstage (they had more front to back depth). Since I like what I'm hearing on the 624, I see no need to switch.

    It's not that I advocate the 624 over the 824 per se; I just find that if it ain't broke, I ain't fixin' it! ;)

    Also, the 624s may seem less fatiguing to me simply because I used the 824s a lot at a different studio that had a very different sounding console. It may have been the board, not the speaker, though I'm calling it the speaker simply because this studio bought my Genelecs, and they don't sound fatiguing there.
     
  5. MichaelK

    MichaelK Member

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    I went with 624s because (frankly) Les said he loved them so much and I figured they were worth a shot. You can't tell from monitors till you actually use them. I had heard the 824s and found them a bit rough on the ears... but I suspect that could have been the environment and the material, because that was only time I experienced that. I have not spent an entire day with them.

    Bottom line: I have been getting excellent mixes first time, every time. The only thing that doesn't come across properly that I have to watch out for is deep low end, like below 60 Hz.
     
  6. LSchefman

    LSchefman Member

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    >>The only thing that doesn't come across properly that I have to watch out for is deep low end, like below 60 Hz.<<

    Yep. Which is why they make a subwoofer. I'm told the sub actually makes the 624s sound better because they don't have to handle all that low end stuff.

    I'd really like to get it.

    Incidentally, one of the reasons I sold off the Genelecs (besides GAS for other stuff!) was because the guy who remastered Patrick Thomas' record, who has several gold records under his belt, kept telling me that the Genelecs were truly harder to get an accurate mix on than the Mackies.

    He uses Klein & Hummels.

    As an aside, one famous mastering engineer claims that powered monitors like the Mackies, Genelecs, etc., sound worse than passive monitors with a power amplifier, because of all the vibration the amp experiences being part of the speaker, even if the amp has rubber mounts.

    I have no idea if this is true, but he is quite the golden ear guy, so maybe it is!

    Still, I am happy with the 624s as a reference, and I'll probably add a second reference on the higher end at some point.
     
  7. MichaelK

    MichaelK Member

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    True - mastering engineers I know use passive monitors with power amps. Of course, usually big name mastering rooms are meticulously designed and the monitoring systems tweaked by a big name audio monster. Systems which can cost upwards of $50K and which I couldn't configure properly if you gave me six months. Which is why klutzes like me (I won't say "us") who track and mix in a converted bonus room are blessed with very, very good (and affordable) active montors... vibrations and all. ;)
     
  8. LSchefman

    LSchefman Member

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    >> very, very good (and affordable) active montors... vibrations and all<<

    you bet!

    Actually, I've had really high end passive monitors here with a huge Class A Krell power amp, and honestly, I don't hear the vibration problem.
     
  9. Play by Tone

    Play by Tone Member

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    Depends on the day.
    Just stating a personal opinion (not directed to you)

    You know, as long as you "know" your monitors, and your mix translates how you want it to to other sources, who cares? I think there comes a point where it starts to get a little selfish with what you think you want with monitors...plenty of excellent recordings come from genelecs and mackies...
     
  10. LSchefman

    LSchefman Member

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    >>You know, as long as you "know" your monitors, and your mix translates how you want it to to other sources, who cares? I think there comes a point where it starts to get a little selfish with what you think you want with monitors...plenty of excellent recordings come from genelecs and mackies...<<

    Of course!

    However, you CAN be fooled by monitors, your room, placement, etc. And really good monitors can help you find out where there are problems.

    I've been doing this professionally for an awfully long time, for radio and TV broadcast, and it's still often a struggle to figure out where my mixes are headed, sonically speaking.

    I think everyone from time to time is on that hunt for the "perfect" monitoring solution. And I'm certainly one of those guys! :D
     
  11. heinz

    heinz Guest

    My 2 bits:

    LShefman touched on the Room & monitor placement, IMO these are highly critical elements in the equation.

    If the room isn't shaped, balanced, trapped, or otherwise treated to deal with standing waves and other crap, your expensive monitors aren't really giving you the right information.

    If monitors are up against the wall, or otherwise improperly placed, again your low end will be a mystery. Adding a mono sub only smears the image more.

    Turn on a reference mix and walk around your room. Is the freq response changing dramatically as you walk around? Does it sound better in some areas vs. others? Once the room is under control, only THEN can you really make a sane assesment of your monitors.

    Play by Tone stated that "knowing" your monitors is a key element of getting your mixes under control. I couldn't agree with this more, and speaks to why NS10's are still being used even though they blow donkey balls as a loudspeaker. People know them. But this only happens by testing the mixes on LOTS of different systems all the time. I think it took me well over a year to really "know" my monitors (PMC AML-1's) but it made a huge difference in my ability to hit the target closely the first time around.
     
  12. seafoamer

    seafoamer Member

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    just my 2 cents: I had a pair of HR824's at my home studio over the summer & I really did not like them at all.
    I thought they were not a good representation of what stuff was going to sound like through other speakers. (I.E. I would not want to mix on them!)
     
  13. Bassomatic

    Bassomatic Silver Supporting Member

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    Fortunately, this is not a common complaint. I suspect the installation (placement, acoustics, etc.)
     
  14. Red Ant

    Red Ant Member

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    I've had the 824s in my studio for about 4 years now, and i think they're an excellent mid-size monitor. However, I find them EXTREMELY sensitive to acoustical space - i've heard them sound absolutely horrible in some rooms! I use them to mix all the time, but i also have my trusty pair of NS-10s set up, as well as a mono Auratone :)
     
  15. Bassomatic

    Bassomatic Silver Supporting Member

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    Hells yeah. When life's just too good, throw on them NS-10s. The pain that reveals.;)
     
  16. MichaelK

    MichaelK Member

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    Every sex slave/engineer whom I know uses them. They're an acoustic BDSM standard.
     
  17. Matt Gordon

    Matt Gordon Senior Member

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    Never heard the 6's but every time I hear the 824's, I want to give up recording because I just hate whats coming out. I don't know why, but I hear a top end thats brutal, just not musical to my ears. I seem to be a loner because everyone loves them for the most part.:eek:
     
  18. heinz

    heinz Guest

    Nah, I'm right there with ya. But then I dislike Genelec's and NS10's as well. :cool:
     
  19. Bix

    Bix Member

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    Well I just received my monitors, a set of HR624 off Ebay for a ridiculous low price. After listening to just one of my mixes through these, I know understand why quality monitors are so damn important. I can't wait to begin working with them. Thanks to everybody who chimed in.

    Mike
     

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