Product Guide - Audioeffetti

Products guide
Liquid Saffire 56 . ...............................................................4
Saffire PRO 40.....................................................................6
Saffire PRO 24 ....................................................................7
Saffire PRO 24 DSP ............................................................8
Audio Engineering Ltd.
Saffire 6 USB ....................................................................10
OctoPre ............................................................................11
OctoPre MkII ....................................................................11
Mention the name “Focusrite” to anyone
designed by Trevor Stride.From the creation
in the music recording industry and you
of these fundamental building blocks, and
are likely to observe immediate recognition
with new innovations from Trevor Stride and
The Liquid Channel ..........................................................14
and appreciation of the high sonic values
Focusrite’s Director of Product Strategy,
Liquid 4PRE ......................................................................15
that recording professionals attribute to
Robert Jenkins, Focusrite have gone on to
our products. After all, they have become
create a whole host of analogue and digital
Liquid Emulations ............................................................16
permanent fixtures in most of the top
signal processing outboard, with a special
Artist Story ......................................................................18
recording studios the world over, as well as
focus on interfaces to fulfil the demands
ISA828 ..............................................................................20
finding pride of place in the personal studios
of today’s professional audio recording
of many leading engineers and producers.
engineers and audio enthusiasts alike.
The Focusrite brand was established in
We hope you find the information contained
1985 and quickly became recognised as
in this brochure useful, but the best way to
the source of the best outboard equalisers,
really learn about our products is to audition
compressors and microphone pre-amplifiers
them for yourself. Please contact your local
money could buy. The design heritage was
Focusrite dealer for further information
built around the ISA110, a mic-pre and
and a hands-on demonstration.
Liquid Mix, Liquid Mix 16 & Liquid Mix HD .......................12
ISA428 ..............................................................................21
ISA One .............................................................................22
ISA430 MkII ......................................................................24
ISA220 ..............................................................................25
Forté Suite .......................................................................26
Focusrite Guitar FX Plug-in Suite ...................................27
equaliser module designed initially for the
Red 7.................................................................................28
custom console at AIR Studios, London.
Red 3 . ...............................................................................28
This classic transformer-based design
Red 1 . ...............................................................................29
has been the cornerstone of all the classic
Focusrite products. To partner the original
ISA110 in the 1980’s, the ISA130 compressor
was designed, utilising a proprietary VCA
Red 8 . ...............................................................................29
Phil Dudderidge
Owner & Managing Director
TwinTrak Pro ....................................................................30
TrakMaster Pro ................................................................31
VoiceMaster Pro . .............................................................31
2
Focusrite would like to thank the Academy of Contemporary Music, Guildford and Simon Changer at
The Church Studios for allowing us to photograph their facilities.
Liquid Saffire 56
FEATURED EMULATIONS:
Professional Firewire Audio Interface featuring Liquid Pre-amplifiers
RED 1 H - Based on the Focusrite RED 1 Quad class A mic-pre
DUNK - Based on the Manley SLAM! Transformer / Valve mic-pre
Liquid Saffire 56 is Focusrite’s new flagship 2U multi-channel
• Two Liquid Pre-amps
CLASS A 2A - Based on a Neve 1073 mono mic-pre
NEW AGE 1 - Based on the Millenia HV-3D 8 channel mic-pre
firewire audio interface. Liquid technology combines with
The marriage of a flexible analogue front end with TRANY H - Based on the API 3124+ discrete quad mic-pre
OLD TUBE - Based on a PULTEC MB-1 fixed gain valve mic-pre
Saffire PRO firewire interfacing to deliver a host of authentic
cutting-edge dynamic convolution DSP, each Liquid Pre-amp
pre-amp flavours, seamless software integration, excellent
lets you choose from ten different classic pre-amp emulations.
SILVER 2 - Based on the Avalon VT-737SP Valve channel strip
DEUTSCH 72 - Based on TELEFUNKEN V72 valve mic-pre
routing flexibility and future-proof, rock-solid driver stability.
• Six High Quality Award-winning Focusrite Pre-amps
SAVILLEROW - Based on the HELIOS Console mic-pre / EQ module
STELLAR 1B - Based on UNIVERSAL AUDIO M610 mono tube mic-pre
Six Saffire pre-amps complement two Liquid pre-amps. All eight pre-amps demonstrate the same wide bandwidth philosophy behind the early vintage Focusrite units.
Saffire Mix Control
• High Quality 24-bit/192kHz Firewire Interface
Professional digital conversion and Jet PLL™* jitter elimination technology; pristine audio quality and reliable synchronisation are guaranteed.
• Total I/O Count of 28 Inputs and 28 Outputs
A host of i/o options are provided, including a unique loop-back facility for routing audio between software applications via Saffire Mix Control.
• Saffire Mix Control Zero-latency DSP Mixer/Router
Routing flexibility and intuitive one-click set-up
Liquid Pre-amp remote control
solutions; Saffire Mix Control provides an 18 x 16
DSP mixer with excellent output routing and
monitoring capabilities.
Focusrite VST/AU plug-in suite
4
IMPORTANT INFORMATION: FOCUSRITE, the FF logo, LIQUID TECHNOLOGY and the LIQUID logo, and SAFFIRE are trademarks of Focusrite Audio Engineering Ltd. DYNAMIC CONVOLUTION is a trademark of Sintefex Ltd. All other
product names, trademarks, or trade names are the names of their respective owners, which are in no way associated, connected nor affiliated with Focusrite or its LIQUID SAFFIRE 56 product and which have not endorsed Focusrite’s
LIQUID SAFFIRE 56 product. These other product names, trademarks, and trade names are used solely to identify and describe the third party products the sonic behaviour of which was studied for the LIQUID SAFFIRE 56 product, and
to accurately describe the functionality of the LIQUID SAFFIRE 56 product. The LIQUID SAFFIRE 56 product is an independently engineered technology which utilises the patented process of Dynamic Convolution to actually measure
examples of the sonic impact of original analogue products upon an audio stream, so as to electronically emulate the performance of the original product studied. The result of this process is subjective and may not be perceived by a
user as producing the same effects as the original products studied.
5
Saffire PRO 40
2
Saffire PRO 24
1
16 In / 8 Out FireWire audio interface featuring two Focusrite pre-amps
Firewire Audio Interface featuring Eight Focusrite Pre-amps
3
The Focusrite Saffire PRO 40 represents the new generation
• Total I/O Count of 20 Inputs and 20 Outputs
• Saffire MIx Control Zero-latency DSP Mixer/Router
of Focusrite multi-channel firewire audio interfaces. An
A host of i/o options are provided, including a unique
Routing flexibility and intuitive one-click set-up solutions;
unparalleled pre-amp legacy forms the foundation, with
loop-back facility for routing audio between software Saffire PRO 40 Control provides an 18 x 16 DSP mixer with
eight award-winning Focusrite pre-amps. Legendary sonic
applications via Saffire PRO 40 Control.
excellent output routing and monitoring capabilities.
performance is combined with the very latest in firewire
• Suite of Focusrite VST/AU plug-ins
interfacing technology to deliver seamless integration,
excellent routing flexibility and future-proof, rock-solid
4
5
6
The Focusrite Saffire PRO 24 is a 16 In /
• Two high quality award-winning
8 Out Firewire audio interface designed
Focusrite mic-pres
for the modern home studio environment.
• High Quality 24-bit/96kHz
An unparalleled pre-amp legacy forms
7
Upgrade your standard sequencer effects with
the foundation, with two award-winning
Focusrite pre-amps. Legendary sonic
• Saffire Mix Control latency-free DSP
Mixer/Router
software to deliver seamless integration,
• Class-leading LED metering
VST/AU plug-ins.
Saffire Mix Control
• Eight High Quality Award-winning Focusrite Pre-amps
• Two separate headphone buses
Saffire Mix Control utilises a unique tab system for mixes, allowing you to send
Upholding Focusrite’s high bandwidth (20Hz to 200kHz!)
Two artists can receive independent and fully customised
excellent routing flexibility and rock-solid
whatever you want, wherever you want!
philosophy, ensuring low noise and distortion whilst
monitor mixes. Each output has an independent level
driver stability.
delivering clarity without unwanted artefacts.
control available on the front panel.
• High Quality 24-bit/96kHz Firewire Interface
• Two Hi Z instrument inputs
Features high quality A-D / D-A conversion and JetPLL™
No need for a separate DI. The first two channels feature
jitter elimination technology; pristine audio quality an instrument inputs with switchable Hi Z.
and reliable synchronisation are guaranteed.
all-new Focusrite Compression, Reverb, Gating and EQ
1. Fully-featured mix window with clear input and output metering
2.16 independent mixes can be created, each accessible via their own tab
3.18 Mixer input channels, each with solos, mutes, pans and PFLs
• Total I/O count of 16 inputs and 8 outputs
combine with the very latest in mix control
performance and a host of i/o options
driver stability.
Firewire Interface
• Focusrite VST/AU Plug-in Suite, for use
in the mix
• Unmatched routing flexibility
ADDITIONAL FEATURES:
Dedicated front-panel headphone bus, Bus-powering, Two Hi-Z instrument inputs, Tactile Main
Monitor Dial, Switchable phantom power, Software PFL
4.Mixer output channels can be routed to any number of outputs
5.Routing section provides a clear indication of all routing
6.Monitor section lets you switch between different monitoring set-ups quickly
7. Clear device status section shows sample rate, sync source and more.
6
7
Saffire PRO 24 DSP
What is VRM?
FIREWIRE AUDIO INTERFACE WITH REAL-TIME DSP-POWERED TRACKING AND MIXING SOLUTIONS
The Problem
VRM (Virtual Reference Monitoring) is Focusrite’s own loudspeaker & room simulator
designed for headphone listening. Accurate mixing has until now, required expensive
monitors and a carefully designed and treated control room. Currently, both professional
music producers facing budgetary limitations and project music makers without access
to such, frequently encounter mixing and “auditioning” difficulties.
The Solution
VRM allows you to choose from 10 pairs of industry standard nearfield and main monitors
The Focusrite Saffire PRO 24 DSP is
• VRM Virtual Reference Monitoring
Focusrite’s latest 16 In / 8 Out FireWire audio
• Two High Quality Award-winning
interface, featuring real-time DSP-powered
tracking and mixing solutions tailor-made
for the modern home studio environment.
Alongside DSP-powered Compression and
Focusrite Pre-amps
reverb, is VRM; a Virtual Reference
FireWire Interface
Monitoring technology that lets you hear
• Total I/O Count of 16 Inputs and 8 Outputs
positions, all just using headphones.
stereo imaging.
Saffire Mix Control - DSP Routing effects section
Engineers routinely A/B their mixes by burning CDs and taking them into untreated rooms to
reference on consumer stereos. VRM eliminates this process by simulating two extra rooms;
tracking and mixing tools
• High Quality 24-bit/96kHz
different speakers and from different
that room; vary your distance from the monitors and move from left to right to check
• Onboard DSP-powered, latency-free
EQ for latency-free tracking and ‘comfort’
your mix in different environments, through
in an acoustically treated control room. You can select 6 different listening positions within
a large living room and a smaller bedroom. You can choose between a range of speakers
including quality hi-fi, computer, cheap stereo and television speakers. As with the control
room simulation, you can select between a number of listening positions to check stereo
imaging and observe the effects of typical room modes on your mixes.
• Saffire Mix Control Zero-latency DSP
Mixer/Router
• Focusrite VST/AU Plug-in Suite, for use
The Method
VRM section
VRM uses standard headphones to reproducing the direct sound together with a DSP system
in the mix
VRM - Room models & Loudspeaker Models
• Two dedicated front-panel
Mixing Studio
Living room
that is used to simulate specific monitoring scenarios. VRM’s room models are mathematical
models which provides greater flexibility in the possible combinations of loudspeakers and
Bedroom
listening positions. The loudspeaker simulations are created using convolutions of impulse
responses measured using the original loudspeakers. The accuracy of these simulations in
headphone busses
different environments is taken care of by the impulse responses themselves and the way
• Bus-powered for mobile recording
they are calculated and manipulated. Saffire Pro 24 DSP takes all the processing load off
your computer.
Alesis Monitor One
Auratone 5C
Genelec 1031A
KRK Rokit 6 G2
KRK VXT8
Quested S8
Rogers LS3/5a
Stirling LS3/5a
Yamaha NS-10M Pro
8
B&W DM12
KEF Q55
Phocus LCD 26 TV
Stirling LS3/5a
B&W DM12
KEF Q55
Creative SBS35
Goodmans MS188
Stirling LS4/5a
All product names, trademarks, or trade names are the names of their respective owners, which are in no way associated,
connected nor affiliated with Focusrite or its Saffire PRO 24 DSP product and which have not endorsed Focusrite’s Saffire
PRO 24 DSP. These other product names, trademarks, and trade names are used solely to identify and describe the third
party loudspeaker systems, the sonic behaviour of which was studied for the VRM technology incorporated within the Saffire
PRO 24DSP, and to accurately describe an element of functionality within the Saffire PRO 24DSP. The Saffire PRO 24DSP is an
independently engineered technology which utilises Focusrite’s VRM Virtual Reference Monitoring (Patent applied for) to actually
measure examples of the sonic impact of original loudspeaker systems upon an audio stream, so as to electronically emulate
the performance of the original product studied. The result of this process is subjective and may not be perceived by a user as
producing the same effects as the original products studied.
9
Sa
Saffire 6 USB
ffir
OctoPre MkII
Eight channels of award-winning pre-amplification and dynamics control
Eight Focusrite Mic-pres with built-in 24-bit / 96kHz ADAT output
Sa
ffir
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US
B
P
24
6
40
DS
RO
24
eP
RO
ffir
eP
Sa
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Sa
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Sa
Liq
2 In / 4 Out USB audio interface featuring two Focusrite pre-amps
OctoPre
The Focusrite Saffire 6 USB focuses on just
• 4 Outputs on RCA Phono make Saffire 6
one thing – quality of sound. Whether you’re
USB the ideal interface for the laptop DJs
a singer song-writer who wants to record,
performing live.
or a laptop DJ, Saffire 6 USB will make the
• Xcite+ pack, including Ableton Live Lite,
most of your sound. Two Focusrite mic-pres,
professional digital conversion and custom
drivers with super-low latency, make
Saffire 6 USB the best sounding interface
Novation’s Bass Station and 1 gig of loops.
• Focusrite Compression, Reverb, Gating
and EQ Plug-in suite.
in its class. Flexible monitoring, four phono
• Monitor either the main mix or cue mix
outputs and a professional high-level
via headphones, all switchable from the
headphone output make it ideal for DJs too.
front panel.
If your sound matters to you, Saffire 6 USB is
• Dedicated input/playback mix dial lets
the only interface that will do it justice.
you blend your monitor mix between what
• Eight independent Focusrite
also a great expansion for any analogue or
Compressors/Limiters
digital console, or hard disk recorder.
• Two High Quality Award-winning
Focusrite Pre-amps
• High Quality 24-bit/48kHz USB Interface
with super low latency.
10
you’re recording, and the audio from
the computer.
FW400
FW400
USB 1.1
Number of Analogue Ins
8
8
4
4
2
features a revolutionary compressor/
Number of Digital Ins
18
10
10
10
0
limiter circuit, providing a warm-sounding
Number of Analogue Outs
10
10
6
6
4
Number of Digital Outs
18
10
2
2
0
ViRtual Loopback Ins
2
2
2
2
0
ADAT Lightpipe Input
Yes
Yes
Yes
Yes
No
ADAT Lightpipe Output
Yes
Yes
No
No
No
Optional digital cardS
Stereo SPDIF I/O
Yes
Yes
Yes
Yes
No
OctoPre allows for two optional 24 bit /
2
2
2
1
1
8
2
2
2
2
Number of Mic Pres
8
8
2
2
2
Liquid Pres
2
0
0
0
0
BNC WordClock I/O
Yes
No
No
No
No
No
VRM
No
No
Yes
No
DSP inputs processing
No
No
Yes
No
No
Maximum Sample Rate
192kHz
96kHz
96kHz
96kHz
48kHz
Standalone Operation
Yes
Yes
Yes
Yes
No
Mixing / Routing Software
Yes
Yes
Yes
Yes
No
Xcite+ Pack
No
Yes
Yes
Yes
Yes
Bus-powered
No
No
Yes
Yes
Yes
Rackmountable
Yes
Yes
No
No
No
• Built-in digital output ready to connect to
powerful input upgrade for your Pro Tools
• Eight Focusrite Class A pre amps
FW400
Analogue Input Pads
capture your sound’s true character
ADAT output, OctoPre MkII is Focusrite’s
Class A mic pre with eight standard analogue
FW400
Headphone Output
• Eight award-winning Focusrite mic pres
amplification and a built-in 24-bit / 96 kHz
Eight pristine discrete channels of Focusrite
outputs and a choice of two optional 24-bit,
Connection / Protocol
With eight channels of Focusrite pre-
96kHz A/D converters. Each channel also
• Up to 24 digital outputs (24bit, 48kHz) 16 at 96kHz
system, or any digital audio workstation. It’s
your interface’s ADAT input
• Optimised for tracking drums with 10dB
pads and massive headroom
• Two front fascia Hi-Z DI inputs, ready for
The digital output allows users to make the
most of often neglected ADAT inputs; ideal
Guitars and Bass
• Direct outputs for routing to a live mixer’s
compressor, which morphs into a brick wall
• Two ‘Super Channels’ with instrument
for expanding the number of mic-pre inputs
limiter to avoid those critical overs.
inputs and phase reverse
on your interface. Connect OctoPre MkII to
• 96 kHz ADAT Lightpipe, AES/EBU, and
your audio interface’s ADAT input to create
S/PDIF output options
a high quality, multi-channel recording
help you avoid clipping
solution, ideal for tracking drums, vocals,
• Phantom power available for use with
guitars and more.
most condenser microphones
96 kHz A-D converter card options to be
channels, or digital recorder
• 5 LED input metering on every channel
• The only mic-pre expansion in its class to
provide 24-bit / 96kHz conversion
retro-fitted; ADAT only, or the full spec card
• Internal clocking and external clocking
featuring ADAT, SPDIF and AES. Both feature
via rear panel BNC connector
external Wordclock BNC inputs.
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Liquid MIx, Liquid Mix 16 & Liquid Mix HD
Any classic Compressor and EQ in history for the price of a single plug-in
Why pay for one plug-in, when you can have 60? Only Liquid
• Unrivalled variety of classic emulations
technology gives you genuine emulations of the most
40 compressors and 20 EQs, sampled from vintage
revered signal processors used on countless hits throughout
originals with a free expanding library online.
recording history.
• One of a kind
Each Liquid Mix channel provides Compressor and EQ
emulations selected from a huge pool of high-quality vintage
simultaneously
unparalleled EQ and Compression emulations.
• Hybrid super EQ
available straight out of the box, with an expanding library
Create your own totally unique 7-band super EQ, built out
online. Furthermore, a totally unique hybrid 7-band ‘super
of separate classic EQ bands.
every channel.
Liquid Mix running
The unique patented Dynamic Convolution process delivers
and modern day classics. 40 Compressors and 20 EQs are
EQ’ can be built out of separate classic EQ sections in
Multiple instances of
• Hardware-powered plug-ins
Multiple instances of Liquid Mix run off the desktop
Each channel appears as a separate effect within the
hardware or your own HD cards, vastly reducing the impact
sequencer. Liquid Mix and Liquid Mix 16 provide 32 and 16
on your CPU.
channels respectively, whilst Liquid Mix HD seamlessly
• Tactile control surface
integrates Liquid technology with the Pro Tools HD
environment, potentially providing over 60 simultaneous
channels (dependent on the HD system).
With Liquid Mix and Liquid Mix 16, you can apply EQ and
compression using hands-on tactile controls. Just plug in,
power up, and dial in the perfect mix.
Liquid Mix HD –
perfectly integrated with
Pro Tools ® HD*
• Full plug-in operation
Each instance has a dedicated GUI that functions exactly
like a plug-in, providing full recall within your session.
MIX
12
Pro Tools HD is a trademark of Avid Technology Inc. All other product names, trademarks, or trade names are the names of their respective owners, which are in no way associated, connected nor
affiliated with Focusrite or its LIQUID MIX products and which have not endorsed Focusrite’s LIQUID MIX products.
13
The Liquid Channel™
MIX
Any mic-pre and compressor in history
Liquid 4PRE
MIX
Four channel Liquid microphone pre-amplifier
The Liquid Channel™ is a revolutionary channel strip that
What is Dynamic Convolution?
Focusrite’s new LIQUID 4PRE™ four-channel microphone
can emulate any classic mic-pre and compressor. Combining
Dynamic Convolution is a unique, patented technology that
pre-amplifier utilises The Liquid Channel™’s proven Liquid™
vintage originals whislt providing additional variance over
radical new analogue mic-pre technology with Dynamic
emulates the sonic properties of original Compressors, EQs
technology, marrying a hugely flexible analogue front end
the sound of every pre-amp emulation.
®
Convolution techniques, and augmented by fully digital
and the amplification element of mic-pres. Essentially, it
with cutting-edge dynamic convolution DSP to deliver the
controls and remote software, it provides the ultimate
sounds of 40 classic microphone pre-amplifiers across all
• Session saver - An automatic gain control circuit
samples (as opposed to modeling), the effect a processor has
fluid vintage collection.
on the audio signal through the application of a unique, level-
four channels. Augmented by fully digital controls and remote
dependant set of responses to that signal. These measured
software control over Ethernet, LIQUID 4PRE provides the
responses, sampled at numerous levels and with a multitude
ultimate fluid multi-channel front-end.
• Loaded with 40 classic mic-pre and 40
compressor emulations
of setting combinations, are applied to the input stream on a
• Adjustable harmonic distortion accounts for variance in
intelligently reduces input level to help avoid critical overs.
• 192kHz internal processing and ADC/DAC as standard Pristine state-of-the-art conversion ensures every subtle
nuance of the pre-amp emulation is preserved, as the
• 40 classic emulations deliver unmatched sonic pre-amp signal is runs from analogue to digital and back.
variety and quality.
• Classic Focusrite High Pass filter, Phantom power and
• Remote control software provides standalone pre-amp Phase reverse
operation via USB
control from your DAW.
• Simple multiple unit confi gurations - Allows eight
• 192kHz internal processing and ADC/DAC as standard
• Remote control as an integrated part of your
channels of audio from two units over a single ADAT or
Pro Tools session.
EtherSound connection, as well as much larger
• 100 programme memories provide full recall of
sample-by-sample basis for extremely convincing results.
every setting
• LiquidControl software allows comprehensive remote
Liquid Channel Remote Control Software (via USB)
• Focusrite digital EQ based on the Forte Suite software
• Adjustable harmonic distortion accounts for variance
in vintage originals
14
• Full recall of every parameter provides instant
For more information on the expanding emulations library:
www.focusrite.com/support/liquid_assets
back-up of all settings.
Intergrated ProTools
Control Plug-in
multi-unit confi gurations.
Liquid4Control Software
• Operator Lock Function - Allows secure use in public
(via Ethernet)
arenas, avoiding any unwanted alteration of all pre-amps
settings, including gain.
Pro Tools is a trademark of Avid Technology Inc. All other product names, trademarks, or trade names are the names of their respective owners, which are in no way associated, connected nor
affiliated with Focusrite or its LIQUID products and which have not endorsed Focusrite’s LIQUID products.
15
Liquid Emulations
MICROPHONE PRE-AMPLIFIERS
• FLAT e-BAL/CLEAN SOUND 10kΩ ELECTRONIC
Liquid Channel transparent transformerless mono mic-pre.
• FLAT trfmr/CLEAN SOUND 10K Ω
• BRIT DESK2/ BRIT CLASSIC DESK 2
• WASP 1/ BRIT CLASSIC TUBE 1
• MEAT PIE/ BRIT 60’S CLASS A
Emulation of a FOCUSRITE GREEN 5 CHANNEL STRIP (UK)
serial # GO05116
Emulation of a SOLID STATE LOGIC SL 4000 G+* console mic-pre.
(UK) serial # unknown
Emulation of a DRAWMER 1960* (UK) vacuum tube compressor amplifier
serial #1002
Emulation of a PYE 84 4060/01* compressor/limiter (UK) serial # 60
• FF RED 1/ FOCUSRITE CLASSIC RED 1
• SWISS ROLL/ SWISS MODERN TUBE
• BIG BLUE A/ US MODERN SOLID STATE 1A
Emulation of a FOCUSRITE RED 1 quad Class A mic-pre. (UK) serial # FO7858T
Emulation of a STUDER D19 MicVALVE* valve mic-pre.
(CH) serial # 1216. (Bass Warmth, Angel Zoom, Valve Drive Gain CCW,
Valve Drive Clip CW (soft) settings.)
Emulation of a dbx 160S* (US) compressor/limiter serial # 000004
(Standard compression setting.)
• DEUTSCH 72/ DEUTSCH 60’S TUBE 1
Emulation of a dbx 160S* (US) compressor/limiter serial # 000004
Emulation of a SMART RESEARCH C2* bus compressor
(UK) serial # serial # C217. (Crush setting.)
(OverEasy compression setting.)
• MIX BUSS/ BRIT CLASSIC BUSS
• US RADIO/ US CLASSIC SOLID STATE 1
Emulation of a dbx 165* compressor/limiter (US) serial # 1821
Emulation of a SOLID STATE LOGIC FX G384* stereo compressor
(UK) serial # FX384-180
• COPY CAT/ US MODERN COPY CAT
• BRIT DESK2/ BRIT CLASSIC DESK 2
Emulation of a EMPIRICAL LABS EL8 DISTRESSOR* (US) serial # 1689
Emulation of a SOLID STATE LOGIC SL 4000 G+* console compressor
(UK) serial # unknown.
• BIG TUBE A/ US BOUTIQUE TUBE 2 LΩ
Liquid Channel transparent transformer based mono mic-pre.
Emulation of a GROOVES TUBES VIPRE* variable impedance pre-amp.
(US) serial # unknown. (Rise Time Slow setting.)
• THE GUV/BRIT MODERN SOLID STATE 1
• BIG TUBE B/ US BOUTIQUE TUBE 2 MΩ
Emulation of a TELEFUNKEN V72* valve micpre. (DE) serial # 2107.
• DEUTSCH 76/ DEUTSCH 60’S TUBE 2
Emulation of an AMEK Pure Path* dual micpre. amp (transformer-like
amplifier) (UK) serial # unknown.
Emulation of a GROOVES TUBES VIPRE* variable impedance pre-amp.
(US) serial # unknown. (Rise Time Slow setting.)
Emulation of a TELEFUNKEN V76/80* valve mic-pre. (DE) serial # 5507.
(80Hz HPF switched out.)
• VALVE/US MODERN HYBRID 1
• SAVILLEROW/ BRIT CLASSIC DESK 4
• BRIT TUBE1/ BRIT MODERN TUBE 1
Emulation of an APHEX Thermionics Model 1100* discrete Class A tube
dual mic-pre. (US) serial # 1134
Emulation of a HELIOS* console mic-pre./EQ
Emulation of a TL AUDIO PA-1* dual pentode valve mic-pre.
(UK) serial # 130318.
• US TRANY/US CLASSIC DISCRETE 1
Emulation of an API 3124+* discrete quad mic-pre. (US) serial # 10149
(UK) serial # unknown. (Colour Green.)
• DUNK/ US MODERN TUBE 2
•NASHVILLE BRIT CLASSIC DESK 5
Emulation of a TRIDENT-MTA A SERIES* dual discrete console mic-pre./EQ
(UK) serial # 1017208.
• BIG BLUE B/ US MODERN SOLID STATE 1B
• VINTAGE/ US VINTAGE TUBE 1
Emulation of a FAIRCHILD MODEL 670* (US) serial # 530
• FF ISA 130/ FOCUSRITE CLASSIC ISA 130
• TRANY H/ US CLASSIC DISCRETE 1 HOT
Emulation of a MANLEY SLAM!* Transformer/valve mic-pre. (US) serial # SLAM120.
Emulation of an API 3124+* discrete quad mic-pre. (US) serial #10149
•NEW AGE 1/ US MODERN DISCRETE 3
• VIKING 1/ DANISH CLASSIC TUBE 1
• SILVER 1A/US MODERN DISCRETE 1 HΩ
Emulation of a MILLENNIA HV-3D* 8-channel mic-pre.
(US) serial # D-367.
Emulation of a TUBE TECH MEC 1A* tube channel strip (DK) serial # 9503.
• STELLAR 1A/ US 60’S TUBE 2 HΩ
• FF RED 7/ FOCUSRITE CLASSIC RED 7
•NEW AGE 2A/ US MODERN HYBRID 2A
Emulation of a UNIVERSAL AUDIO M610* mono tube pre-amp.
(US) serial # 459.
Emulation of a FOCUSRITE RED 7 (UK) serial # FO6350T
• DUNK A/ US MODERN FET 1
• STELLAR 1B/ US 60’S TUBE 2 LΩ
Emulation of a MANLEY SLAM!* (US) serial # SLAM120 (FET limiter)
Emulation of a UNIVERSAL AUDIO M610* mono tube pre-amp.
(US) serial # 459.
• DUNK B/ US MODERN OPTICAL 1
• BRIT DESK1/ BRIT CLASSIC DESK 1
COMPRESSORS
• PRIMITIVE/ US CLASSIC TUBE 2
• BRIT 70’S/ BRIT CLASSIC DESK 3
Emulation of a NEVE VR CONSOLE* mic-pre. (UK) serial # unknown.
• FLAT COMP/ CLEAN SOUND FREE CONTROLS
Emulation of a CADAC G Series 268E* console mic-pre.
(UK) serial # unknown.
• CLASS A 1/ BRIT 70’S CLASS A 1
Focusrite Liquid Channel DSP compressor.
Emulation of a MANLEY STEREO “VARIABLE MU”*
(US) serial # MSLC61536
Emulation of a NEVE 33114* mono micpre./EQ (UK) serial # unknown
• TRANY C/ US CLASSIC DISCRETE 1C
• BIG GREEN/ BRIT CLASSIC OPTICAL
• CLASS A 2A/ BRIT 70’S CLASS A 2 HΩ
Emulation of an API 2500* stereo mastering compressor,
(US) serial #0016 (Old/Normal/Hard settings.)
Emulation of a JOE MEEK SC2* COMPRESSOR* (UK) serial # 05-1038
•NEW AGE 2E/ US MODERN HYBRID 2E
• TRANY A/ US CLASSIC DISCRETE 1A
Emulation of a MILLENNIA STT-1* (US) serial # 0-161
(Solid state input, solid state compressor settings.)
Emulation of an AVALON AD 2022* dual mono Class A pre-amp.
(US) serial # 28136 (Impedance set to ‘mic’)
• SILVER 1B/US MODERN DISCRETE 1 MΩ
Emulation of an AVALON AD 2022* dual mono Class A pre-amp.
(US) serial # 28136 (Impedance set to ‘mic’)
• SILVER 2/ US MODERN TUBE 1
Emulation of an AVALON VT-737SP* valve channel strip
(US) serial # 12545
• BIRD BRAIN/US MODERN SOLID STATE 1
Emulation of a CRANE SONG LTD Flamingo* dual channel discrete
Class A mic-pre. (US) serial # unknown.
• BIG BLUE A/US /CLASSIC SOLID STATE 1Ω
Emulation of a dbx 786* dual mic-pre. (US) serial # FN97BD-10029
• BIG BLUE B/US /CLASSIC SOLID STATE 1 LΩ
Emulation of a dbx 786* dual mic-pre. (US) serial # FN97BD-10029
• WASP 1/BRIT CLASSIC TUBE 1
Emulation of a DRAWMER 1960* vacuum tube compressor amplifier
(UK) serial # 1002
• SCARLET/ US BOUTIQUE TUBE 1
Emulation of a DW FEARN VT-2* dual channel vacuum mic-pre.
(US) serial # 38
• FF ISA 110/ FOCUSRITE CLASSIC ISA 110
Emulation of a FOCUSRITE ISA 110 mono micpre./EQ (UK) serial # 665
16
• FF GREEN 5/ FOCUSRITE GREEN CHANNEL STRIP
Emulation of a MILLENNIA STT-1* mono mic pre/channel strip
(US) serial # 0-161. (Vacuum tube setting.)
•NEW AGE 2B/US MODERN HYBRID 2B
Emulation of a MILLENNIA STT-1* mono micpre./channel strip (
US) serial # 0-161. (Vacuum tube and transformer setting.)
Emulation of a NEVE 1073* mono micpre./EQ (UK) serial # 7172K
• CLASS A 2B/ BRIT 70’S CLASS A 2 LΩ
Emulation of a NEVE 1073* mono micpre./EQ (UK) serial # 7172K
• CLASS AB 3A/ BRIT 70’S CLASS AB 3 HΩ
Emulation of a AMS NEVE 1081* Classic mono mic-pre./EQ (UK) serial # 50189/B
Emulation of an API 2500* stereo mastering compressor (US) serial #0016
(Old/Normal/Soft settings.)
• SILVER 2/ US MODERN TUBE 1
Emulation of an AVALON VT-737SP* valve channel strip (US) serial #28150
• CLAS AB 3B/ BRIT 70’S CLASS AB 3 LΩ
• LIVE SOUND/ BRIT LIVE SOUND 1
Emulation of a AMS NEVE 1081* Classicmono mic-pre./EQ (UK) serial # 50189/B
Emulation of a BSS DPR402* dual compressor/limiter (UK) serial #02-9983-B
• LONDON/ BRIT BOUTIQUE TUBE 1
• OLD TUBE/ US 60’S TUBE 1
Emulation of a CHISWICK REACH* (UK) stereo valve compressor
serial #RMS0061
Emulation of a PULTEC MB-1* fixed gain valve mic-pre.
(US) serial # 6846
• RE-ISSUE/ MODERN DEUTSCH CLASSIC
Emulation of a SOUNDS INCORPORATED TELEFUNKEN V72* valve
mic-pre. (DE) serial # unknown
• WASP 2/ BRIT CLASSIC SOLID STATE 1
Emulation of a DRAWMER DL221X* (UK) serial #1008X
Emulation of a FOCUSRITE ISA 130 (UK) serial # F00069T
• FF GREEN 5/ FOCUSRITE GREEN CHANNEL STRIP
Emulation of a FOCUSRITE CHANNEL STRIP (UK) serial # GO05116
Emulation of a MANLEY SLAM!* (US) serial # SLAM120
(ELOP (opto) limiter)
•NEW AGE 2A/ US MODERN HYBRID 2A
Emulation of a MILLENNIA STT-1* (US) serial # 0-161 (Vacuum tube input,
Vacuum tube compressor settings.)
• CLASS A 1 / BRIT 70’S CLASS A 1
Emulation of a NEVE 2254/A* dual/stereo compressor/limiter (UK) serial # 5008K
• CLASS A 2/ BRIT 70’S CLASS A 2
Emulation of a NEVE 33609/B* dual/stereo compressor/limiter
(UK) serial # 108
• BRIT DESK1/ BRIT CLASSIC DESK 1
Emulation of a NEVE VR CONSOLE* compressor (UK) serial # unknown.
*Please refer to the IMPORTANT INFORMATION, available on page 5.
EQs
• GRINDER A/ BRIT MODERN DESK COPY A
• CLASS A 2 / BRIT 70’S CLASS A 2 EQ
Based on the 4-band EQ section of a Neve 1073* - serial # 1742
Emulation of a SMART RESEARCH C2* bus compressor
(UK) serial # C217.
• Silver 3 / US Modern Hybrid 3 EQ
Based on an Avalon Vt 747sp* 6-band EQ - serial # 27093
• GRINDER B/ BRIT MODERN DESK COPY B
• Old Tube 3 / US 60’s Tube 3 EQ
Based on a Pultec EQH-2* 3/4-band EQ - serial #s 6140
• BRIT DESK3/ BRIT MODERN DESK 1
Emulation of a SOLID STATE LOGIC SL 510* (5000 series dynamics
module) (UK) serial # unknown.
• ACME 1/ US MODERN TUBE 3
Emulation of a SUMMIT DCL-200* dual compressor/limiter (US) serial # 0721076
• Vintage 3 / US Classic Discrete 4 EQ
Based on an EAR 822Q* 3/4-band EQ - serial #s TH82
• Brit Desk4 / Brit Modern Desk 4 EQ
Based on the 6-band EQ section of a single module from an
SSL E Series* desk
• Brit Desk5 / Brit Modern Desk 5 EQ
Based on the 6-band EQ section of a single module from an SSL G Series* desk
• Huge Tube / US Modern Tube 6 EQ
Based on a Manley Massive Passive* 6-band EQ - serial # MSMPX1100
• Brit Desk6 / Brit 80’s Classic Desk 1 EQ
Based on the 6-band EQ section of a single channel from an
Amek Angela Console* - serial # 01314
• ACME 2/ US MODERN TUBE 4
• Silver 2 / US Modern Tube 1 EQ
Based on the 5-band EQ of an Avalon Vt 737sp* channel - serial # 12545
Emulation of a SUMMIT TLA-100A* tube levelling amplifier (US) serial # 0120429
• Silver 4 / US Modern Tube 1 EQ
Based on the 4-band EQ of an Avalon 2055* - serial # 10747
• LEVELLER/ US CLASSIC TUBE 3
• PLATINUM2 / FOCUSRITE PLATINUM BASS FACTORY EQ
Based on the 7-band EQ featured on the Japanese exclusive
Platinum Bass Factory* - serial # P060929
Emulation of a TELETRONIX MODEL LA-2A* (US) valve compressor/limiter
serial # 00227 (Silver face, pre-Harman)
• BRIT TUBE/ BRIT MODERN TUBE 1
Emulation of a TL AUDIO C-1* dual valve compressor (UK) serial # 121739
• VIKING 1/ DANISH CLASSIC TUBE 1
Emulation of a TUBE TECH CL-1B* compressor (DK) serial # 04150
• VIKING 2/ DANISH CLASSIC TUBE 2
Emulation of a TUBE TECH LCA 2B* dual/stereo compressor/limiter
(DK) serial # 04010
• STELLAR 1/ US CLASSIC SOLID STATE 1
Emulation of a UNIVERSAL AUDIO 1176LN* mono limiting amplifier,
(US) serial # 1394 (Black face, pre-Harman; a re-issue of the Urei 1176LN)
• STELLAR 2/ US CLASSIC SOLID STATE 2
Emulation of a UREI MODEL 1176LN* mono limiting amplifier
(US) serial # 11854 (Silver face)
• STELLAR 3/ US CLASSIC SOLID STATE 3
Emulation of a UREI/TELETRONIX* mono levelling amplifier LA-3A
(US) serial # 1584 (Black face, 30dB switch setting on rear panel.)
• Trany 4 / US Classic Discrete 4 EQ
Based on an API 550b* 4-band EQ - serial # 02212
• Zebra 2 / US Zebra Descrete Desk Copy EQ
Based on the Chandler Limited Passive TG* Channel MkII Abbey Road
Special Edition EMI
• Trany 5 / US Classic Discrete 5 EQ
Based on an API 559 9-band EQ - serial # AX-GP-02211
• Old Tube 1 / US 60’s Tube 1 EQ
Based on a Pultec EQP1* 3/4-band EQ - serial # 1253
• Old Tube 2 / US 60’s Tube 2 EQ
Based on a Pultec MEQ5* 3-band EQ - serial # 1742
• PLATINUm1 / FOCUSRITE PLATINUM VOICE MASTER EQ
Based on the 5-band EQ featured on the original and first Platinum unit serial # P070110
• ISA 115 / Focusrite ISA 115 EQ
Based on a Focusrite ISA 115 6-band EQ
• STELLAR 4/ US CLASSIC OPTICAL 1
• Class A 4 / Brit 60’s Class A 3 EQ
Based on the 3-band EQ section of a Neve 1058* Channel - serial # 375
Emulation of a UREI LA-4* compressor/limiter (US) serial # 4832A
(Silver face)
• Trany 3 / US Classic Discrete 3 EQ
Based on an API 550a 4-band EQ - serial #s 3855
17
La roux are singer-synth player Elly Jackson
and co-writer/producer Ben Langmaid.
There self titled debut album has delivered
some of the years biggest tracks in No.1
Your sound is very electro based… Did your
And the key features you love on the
routes begin in dance music?
Liquid Channel?
I started as a DJ and moved into production
I’m into the different combinations of
after helping a friend of mine (Rollo) set up
compression and pre-amps. The precise
the band Faithless. I went on to produce my
emulations offer me a lot of variety and
own records under the guises of Huff & Puff
access to a vast array of classic units in the
and Huff & Herb to name a few.
studio, which I’d otherwise spend a small
fortune on! Been able to save my presets is a
selling single Bulletproof and In for the
Kill charting at No.2. The album has been
What inspirations and creative direction
nominated for the 2009 Mercury Prize.
were behind your 1st studio album with
handy feature as well…
La Roux?
What benefits have the liquid channel
Bands like Tears for Fears, Heaven 17, and the
brought to your studio work?
Eurythmics were big inspirations. As were
Quite simply its quick to setup and easy to
our own ideas and emotions...
use. You can tailor the kit to your vocalist’s
sound and tone whilst tapping into the vast
How are you using the liquid channel in
the studio?
I’m using the liquid channel Mainly for vocals
and currently testing out all the combinations
bank of presets. I’m only just scratching the
sides of its full potential.
If you could add another feature to the liquid
of vintage compressors, eq’s and pre-amps to
channel what would it be?
see how it performs!
It’s such a feature rich unit I wouldn’t add
anything at present but in time, who knows…
What are your main reasons for going with
We caught up with Ben during a busy live
touring schedule to chat about how La Roux
have utilised Focusrite products on the
current and forthcoming albums.
Focusrite Hardware?
They’re a solid company with a very strong
reputation. I used the Saffire Pro 26 and the
Maybe something will show up when I get
deep into using it.
How have you found the linkup with the liquid
ISA430MKII to record all of Elly’s vocals on
channel to your DAW?
the first La Roux album and they produced
The seamless linkup with my mac made it
some quality results.
quick and easy to setup. We had it plugged
in straight out the box and running in a few
minutes. I’m also able to back up my presets.
18
19
ISA828 – 8 Channel Pre
ISA428 – Pre Pack
Digital Card Options
Eight Classic Pre-amps alongside eight channels of unparalleled A-D
Four Classic Pres alongside eight channels of unparalleled A-D
With converters, as with many other things in life “It’s not how big
it is, but what you do with it that counts”. Converter specifications
alone are no measure of the quality of the record signal path.
Rather, it is a combination of both the converter specifications and
the quality of the system that supports it.
Focusrite A/D converter cards are designed to meet the absolute
maximum design specifications possible for the converter
chip-sets used. Innovative circuitry around the converter, the
Combining the best of yesterday with the best
• The classic Focusrite pre at its lowest
Classic mic-pre technology, custom Focusrite
• Four classic Focusrite transformer-based
of tomorrow, Focusrite’s ISA828 eight channel
cost-per-channel to date.
input and limiting circuits and the very best in A/D
preamps.
• The best A/D performance on the market,
conversion technology, the ISA 428 Pre Pack raises
• 8 channels of cutting-edge A/D conversion,
pre-amplifier features exactly the same classic
microphone pre-amplifier design as Focusrite’s
critically acclaimed Forte console. To partner
seamlessly with Pro Tools HD and other professional
DAW platforms, the ISA828 combines our finest
bar none (requires optional ADC).
• Integrates quickly and seamlessly with ProTools
HD via 25-pin D-Types.
the bar for multi-channel recording solutions into
Pro Tools HD, or any other professional DAW. Equally,
it can be used as an additional set of high quality pre
amps for any analogue or digital console.
optional A/D converters offer an immense level of performance
for the price.
• Proprietory optical Soft Limiter circuit
(requires optional ADC)
• Switchable Impedance to suit any microphone.
• Multiple Front Panel Instrument DI. No separate
25-pin D-type connectors.
• Multiple Front Panel Instrument DI. No separate
DI box required.
• Analogue insert points on every channel.
• High pass filter, Phase reverse and Phantom
path and a quieter operational environment mean that Focusrite’s
running at up to 192kHz (requires optional ADC).
eight-channel A/D converter option with convenient
DI box required.
operation of the circuitry within the host unit, the shorter signal
• Classic High Pass Filters on every channel.
power on every channel.
ISA428 & ISA828 - 192kHz ADC
20
21
ISA One
Classic Microphone Pre-amplifier with Independent D.I.
The ISA One microphone pre-amplifier
• The classic Focusrite microphone
delivers Focusrite’s prestigious ISA
pre-amplifier at its lowest cost to date.
transformer- based pre-amplifier in a
• Independent D.I. Channel, featuring
rugged and portable chassis, at a
groundbreaking price.
independent gain control.
• Switchable Impedance to suit
Rugged Custom Flight Case
Built to protect your ISA One
from the rigors of the road.
any microphone.
• Headphone Output with Volume Control,
to feed either a stereo cue mix or the
input mix.
• Dedicated Insert Point to place extra
processing between the input and
the optional converter.
Optional digital card
What use is a great mic-pre, if the digital
ISA One shares the same pre-amplifier
conversion in your interface decimates the
topology as Focusrite’s classic ISA110,
audio quality before it hits your computer?
featuring the original Lundhal LL1538
transformer and bespoke Zobel network.
The optional Stereo ISA 24 bit / 192kHz
This pre-amplifier topology formed the
Analogue to Digital converter card lets
cornerstone of Focusrite’s legendary
you to use the digital inputs on your
Forte console and ISA Series pre-amplifiers
interface, thus by-passing its lower
have been used on countless hit records
grade converters. Installing this card
over the last two decades. With its robust
will complete your signal chain, delivering
construction, the ISA One has made the
truly professional performance (120dB
classic Focusrite signature sound more
Dynamic Range) from mic to DAW.
portable and more affordable than
ever before.
The card can be retrofitted at any time,
and provides AES/EBU, SPDIF and ADAT
(96kHz) outputs.
22
23
ISA430 MkII – Producer Pack
ISA220 – Session Pack
Digital Card Options
The pinnacle of Focusrite’s analogue channel strip technology
All the essential classic Focusrite modules
With converters, as with many other things in life “It’s not how big
it is, but what you do with it that counts”. Converter specifications
alone are no measure of the quality of the record signal path.
Rather, it is a combination of both the converter specifications and
the quality of the system that supports it.
Focusrite A/D converter cards are designed to meet the absolute
maximum design specifications possible for the converter
chip-sets used. Innovative circuitry around the converter, the
The ISA 430 MKII represents the pinnacle of
• Classic Focusrite EQ design; an expanded
The ISA 220 Session Pack provides all you need to
• Classic Focusrite transformer-based Mic pre
Focusrite’s analogue channel strip technology,
version of the original ISA 110
record your session with precision and Focusrite
and EQ from the original 110
• Post mic pre output for the shortest possible
sonic performance. It features many of the original
• Proprietory Focusrite VCA Compressor from the
bringing together all the classic designs in one
comprehensive production tool. Augmented
with additional features and flavours, alongside
unmatched internal routing and connectivity, the
signal path
• Proprietary Focusrite discrete Class A VCA Gate
circuits of the flagship ISA 430 Producer Pack along
with some new features of its own.
optional A/D converters offer an immense level of performance
for the price.
• Frequency adaptive limiter to avoid critical
digital overs
• Optical de-esser featuring ‘De-esser Listen’ for
• Unique blend feature for adding dynamics into
precise control over sibilance
the compressed signal path
• Classic Focusrite transformer-based Mic-pre
• Soft Limiter to avoid critical digital overload
• Optical de-esser featuring ‘De-esser Listen’ for
with variable impedance and ‘Air’ feature
(requires optional ADC)
precise control over sibilance
• Multi format Compressor; transparent VCA
• Optional Stereo A/D – 24-bit 192 kHz Delta
• Optional Stereo A/D – 24 bit 96 KHz Delta
circuit and two vintage optical solutions
Sigma converter
Sigma converter
as the leading manufacturer of channel strips.
path and a quieter operational environment mean that Focusrite’s
legendary Red 3
and Expander designs
ISA 430 MKII confirms Focusrite’s iconic status
operation of the circuitry within the host unit, the shorter signal
ISA430 Mk II Stereo
192kHz ADC
ISA 220 Stereo
24
96kHz ADC
25
Forté Suite
Focusrite Guitar FX Plug-in Suite
Channel strip plug-in for Pro Tools, based on the Focusrite Forté
Professional amp, distortion and audio tool plug-ins for the serious modern guitarist
The Focusrite Forte Suite is a channel
Modules Include:
Focusrite’s Guitar FX Plug-in Suite includes
strip plug-in for Pro Tools based on the
• ISA110 EQ
eleven professional VST/AU plug-ins, ideal
now-legendary Focusrite Forte recording
console of the mid ‘80s.
for today’s modern guitarist. These include
• ISA130 Multichannel Surround Compressor
five of the world’s finest guitar amp models
• ISA130 Gate
Utilizing virtual vintage modules, Forte
• ISA130 Expander
Suite brings Focusrite’s sonic signature to
• ISA130 De-esser
and four distortion pedal effects, all courtesy
of bespoke Italian software company
‘Overloud’; experts in the field of accurate
Pro Tools through sophisticated modeling
guitar amp modeling. It also features an
of the ISA 110 EQ and ISA 130 dynamics
attractive ‘hot tuna’ guitar tuner and ‘smart’
processors (including compressor, deesser and noise gate), the key modules
from the acclaimed Focusrite Forte analog
hum remover.
The classic Focusrite Forte Console designed by Rupert Neve at Master Rock Studios, London, 1989
console. It also includes surround modes
as well as graphical representations of EQ,
• Professional VST/AU amp and pedal plug-ins
Including five of the world’s finest guitar
compression, and related module curves.
amp models and four distortion pedal effects
Forte provides a six-band EQ and multi-
• Utilises well-renowned analogue
channel compressor, gate, and expander.
modelling technology
Sidechain input and frequency filters are
Derived from Italian software company
also provided for the dynamics processors.
Overloud’s TH1 software.
The Forte Suite operates both as a
• Two essential Guitarist tools
channel strip plug-in and as individual
A Including a stunning ‘hot tuna’ guitar
ISA 110, ISA 130 dynamics, and ISA 130
tuner and a ‘smart hum remover’ with the
compressor modules. In addition, the
ability to analyse and act intelligently on a
ISA 130 compressor supports all Pro
signal using ‘Learn’ mode.
Tools surround sound formats.
• A host of factory pre-sets straight
out of the box
Providing a number of great tones for you
to audition immediately.
26
Pro Tools and Pro Tools HD are trademarks of Avid Technology Inc. All other product names, trademarks, or trade names are the names of their respective owners, which are in no way associated,
connected nor affiliated with Focusrite.
27
Red 7
The ‘Rite’ Red
Mic-Pre & Dynamics
The Focusrite Red Range is hand-made,
Transformers are not new in audio;
crafted to the highest standards. All the
they were there at the outset, but whilst
Red Processors are manufactured solely in
others were trying to design them out to
the UK using machine-tooled, half-inch thick
cut costs, Focusrite went after the best
claret red anodised aluminium. The chassis
transformer possible, a philosophy which
features recessed section grooves and
resulted in the transformers you find in
styling motifs, (sculpted with diamond-tip
the Red series today.
cutters,) porthole windows, anoprinted
Low frequency second order distortion
silver control text, and firm-response
illuminated switches.
The Red 7 employs the same superb mic
• The industry standard channel strip for
pre-amp as the Red 1 and Red 8, alongside
post-production
a compressor design from the Red 3 and
• Classic transformer-based Focusrite
de-esser/exciter stage. With its superb
signal path, outstanding ease of use,
and an integrated all-in-one design, the
Red 7 is a powerful tool for voice recording
in all situations, from music studios to
post production.
mic pre
Red 3
Dual Compressor/Limiter
• Comprehensive dynamics control,
including VCA-based compresser,
de-esser and exciter
• Illuminated push-button switches for
every section
as ‘warmth’. Meanwhile, a high frequency
emphasis generated by the reactance of
in the middle of the circuits in which they
the coil resonance with the terminating
switch. The precious metals mean that all
impedance of the microphone or receiving
contacts are low resistance, and the gas
device, provides the engineer with open,
prevents any kind of corrosion of the surface
spacious high frequencies. The Red Range
of the contacts, meaning the most perfect
mic transformer in particular gets its
audio switching device ever designed -
legendary “transparent yet warm” label
utterly passive, zero distortion caused
from this process, an apparent contradiction
and no FET’s required.
in terms, yet a genuine characteristic –
Red Range processors with mic pre’s feature
audition a unit and hear for yourself.
based design
8 offer respectively, four and two channels
• Phase reverse and phantom power
of uncompromised Focusrite microphone
amplification. Used with high quality ribbon,
• Scribble discs
8 obtain outstanding results with any sound
• Stepped gain potentiometers
string instruments.
single-VCA design to achieve high quality and
and truly independent compression
Transformers are the only way of giving a
truly independent compression and limiting,
and limiting
truly floating and earth-free system, because
without the compromise and unnecessary
• Stereo switch for true stereo operation
there’s no galvanic connection between the
from a single set of controls
input and output circuitry.
• VU output level meter
valve and condenser mics, the Red 1 and Red
which help to give the characteristic “warm,
gain change (switched)
Processing Technology category.
• Classic Focusrite Mic Pre transformer-
original ISA mic pre designs, the Red 1 and
source, but especially voice, piano and
organic sound” loved by studios world-wide.
Technical Achievement in the Signal
Using the same circuit topology as the
solid-state-amplified audio transformers,
• Single-VCA design delivers high quality
by the Red 3’s TEC award for Outstanding
provides the character that many perceive
(gold-plated silver in an inert gas,) situated
The Red 3 employs an unusual and original
The success of the design is attested to
Quad and Dual mic-PRES
created by transformer saturation
All Red products feature sealed relays,
• Precision VU metering of signal level or
processing involved in traditional designs.
Red 1 & 8
• Key inputs with illuminated
push-button selection
• Illuminated push-button switches for
compressor/limiter in/out on each channel
• Can operate as a discrete channel unit
28
29
TwinTrak Pro
TrakMaster Pro
Stereo tracking AND true stereo compression
The most affordable professional tracking device to date
TrakMaster Pro is Focusrite’s most affordable
recording channel strip to date. Providing
performance specifications never before seen at this
TwinTrak Pro provides all you need to track,
monitor and mix, leaving your mixer gathering
dust! Principally an affordable, high-spec,
stereo tracking device, TwinTrak Pro also boasts
comprehensive stereo latency-free monitoring and
• Two award-winning Class A pre-amps
• Dual mono/stereo compressor Featuring custom fast-acting optos
• Front Panel DI - For quick and easy plug and play
price point, it features a mic-pre derived from the
award-winning Green range, front panel DI, problemsolving mid-scoop EQ, intuitive optical compression,
ADC option.
• Mid ‘Scoop’ EQ -
mic-pres capture every subtle detail, whilst the
For solving problematic frequencies
• Award winning class A mic pre
optical compressor, (custom optos, comprehensive
• Stereo latency-free monitoring - An end to
• Direct access from the front fascia for both XLR
controls and true stereo linking,) provides smooth
latency nightmares
and TRS Jack
• Variable Impedance -
• Simple yet extremely effective opto-compressor
Get more from your microphones
• High quality stereo A/D option - 24bit, 96kHz
• Stereo D/A fitted as standard
The award-winning voice-optimised channel strip
latency-free monitoring, and the Platinum Pro series
unmatched digital connectivity. The award-winning
yet effective control of the signals’ dynamics.
VoiceMaster Pro
• 3 Band Optimised EQ with sweep
VoiceMaster Pro is a comprehensive mono channel
• Award-winning class A Preamp
• Pre/Post EQ position for compressor Tube Sound
strip, optimised for vocal use but able to process any
• Vintage Harmonics and Tube Sound allow you
• High quality stereo A/D option - 24bit, 96kHz
instrument with outstanding results. A classic Focusrite
mic-pre alongside a host of other processors make
VoiceMaster Pro the perfect interface between your
microphone and the DAW, delivering all that’s required
to create the perfect vocal.
to get creative
• Latency-free Monitoring ensures direct and
delay-free mix control.
• Voice-optimised EQ for quick musical results
• Custom fast-acting Opto Compression
• ISA Series De-esser for unobtrusive reduction
of sibilance
• Insert points, FX send/returns & DI functionality
Platinum Pro series
30
ADC option
• High quality stereo A/D option - 24bit, 96kHz
31
www.focusrite.com
FA0135-04 E. & O.E.