Levelling the playing field for women in electronic music: one workshop at a time
Clarett 2Pre USB Bus Power
Bus power Clarett 2Pre USB from your high-powered USB Type-C™ port
Free AudioThing software
And 50% discount off AudioThing’s other plug-ins and sample libraries
Bob Brockmann uses Clarett 8Pre
GRAMMY®-winning mixer/producer “Bassy" Bob Brockmann employs the Clarett 8Pre audio interface
Joe Clegg and Focusrite
Watch session drummer and musical director Joe Clegg record with...
All Access for Red
We have collaborated with Emmy Award-winning plug-in developer McDSP™ to deliver an unprecedented plug-in and interface bundle.
CloudBounce: Disrupting The Mastering Workflow
Mastering is perhaps the single most important part of the music-making process...
Get two songs mastered for free
Partnered with online mastering service CloudBounce, we have arranged for an exciting, one-of-a-kind Plug-in Collective offer for all registered Focusrite hardware customers.
Hollywood Post-Production Empire Expands With RedNet
Focusrite Interfaces Help Create a Fast, Efficient and Cost-Effective Networked Environment For The Formosa Group
Mixing Inside Your Drum Loops
Deconstruct & Unmix Your Samples With Accusonus Regroover Essential
System Science #6: Physical Features
When you’re choosing an audio interface, core features such as sound quality, driver performance and expansion potential will be your biggest concerns. When you’ve figured out your needs in these areas, however, you might well find that there are quite a few products that seem to meet them — at least on paper. In this situation, it will often be other factors that guide your decision-making. In this article, we’ll look at some of the most important of these.
System Science #5: Sound Quality & Specs
Your audio interface is potentially the most important piece of hardware in your studio, so it’s vital to choose one that is right for you. That means choosing an interface that will connect to your computer and work well with it. It means opting for a selection of analogue inputs and outputs that meets your current needs. It also means anticipating your future needs, and making sure you have the right digital inputs and outputs on hand to expand your system when the time comes. However, once you’ve looked around at what’s available, you’ll probably find that multiple interfaces from different manufacturers offer very similar features. For example, there are many USB 2 audio interface that feature eight analogue inputs, a similar number of outputs, and one or two ADAT optical ports for expansion. What makes one of these better than another? One factor that comes up again and again in Internet reviews and discussions is sound quality. You’ll find endless forum posts saying that this or that interface offers superior audio quality, or advising you to choose one interface over another because its mic preamps sound better. Unfortunately, what’s all too rare in these discussions is consistency and common sense, while misinformation and received wisdom is rife. This is not helped by some manufacturers who publish misleading or partial specifications to present their products in the best possible light.
System Science #4: Digital Considerations
Audio interfaces don’t only have analogue connections. They also have digital inputs and outputs. With a few exceptions, digital inputs can’t be used to directly record musical instruments or microphones; their primary purpose is expansion. The role of digital I/O is to allow additional recording hardware to be attached, increasing the capabilities of the audio interface.
System Science #3: Analogue Connections
When you’re deciding what audio interface to buy, it’s important that it can connect to your computer, and that its driver software will offer reliable, fast performance. But there’s more to the decision than that. Audio interfaces come in a bewildering variety of configurations, offering many different types of audio connector. You don’t want to waste money on features you’ll never use; and you don’t want to land yourself with an interface that can’t do what you need it to.
System Science #2: Drivers & Latency
Modern computers are fantastic recording devices. They can work with more audio and MIDI tracks than we’re ever likely to need. They allow us to manipulate audio in ways the engineers of 30 years ago could only dream of. They let us apply EQ, compression and effects to more channels than would be possible in any analogue studio. Yet it’s important to remember that computers are not built specifically for recording. There are challenges that have to be overcome in order for all this to be possible, and issues arising that were never a problem when we recorded to tape. The biggest of these issues is latency: the delay between a sound being captured and its being heard through our headphones or monitors.
System Science #1: Connection Methods
The audio interface might be the most important piece of kit in your entire studio. But with so many on the market, how do you know which one is right for you? This series of Web articles explains some of the key aspects of interface design, giving you the information you need to make an informed choice. First of all, we look at the different ways interfaces can connect to computers. What’s the difference between USB 3, USB-C, Thunderbolt and other standards, and which one is best for you? Here’s our guide through the maze of protocols and connectors.
Dave Isaac On Red 8Pre
Producer/Engineer Dave Isaac Streamlines Workflow at His Personal Studio with Focusrite Red8...
Focusrite, Firehouse Productions and The IIFA
Firehouse Productions and Focusrite Serve Up Sound for 2017 International Indian Film Academy Awards...
New Red 16Line simplifies switching from Pro Tools | HD to a second DAW
The new Focusrite Red 16Line is a 64-in/64-out Pro Tools | HD and dual Thunderbolt 3 audio interface with ultra-low latency A-D/D-A conversion, Red Evolution mic preamps...
We’ve announced the new RedNet X2P interface
We’re pleased to announce the Focusrite RedNet X2P, a compact, robust 2x2 Dante™ audio interface featuring two Red Evolution mic pres, stereo line out and a stereo headphone amplifier.
Claudio Cueni on Red 4Pre
Engineer/producer Claudio Cueni recently selected and purchased a Red 4Pre, the flagship interface from Focusrite, after evaluating it against several other devices at his Los Angeles-based personal studio.
Tour life is gruelling. Twelve hour days, hundreds of miles of driving, organizing a crew of 40, weeks away from friends and family, solving problems on the fly.
Kevin Shirley employs RedNet
Kevin Shirley, aka “The Caveman,” has a resume featuring some of the biggest names in rock from the last several decades...
Machine Learning In The Studio
Plugin developer Accusonus started life in 2012 on a mission to tackle one of the most problematic of music-recording issues: drum bleed.
We have arranged for an exciting, one-of-a-kind Plug-in Collective offer for our customers...
Doug Kimball of Tears for Fears on ISA
“My resume reads like a classic-rock radio station,” Doug Kimball says with a laugh. The famed front-of-house engineer has a point: That resume is packed with work for such hallowed acts as...
Chris “C-Rod” Rodriguez on Focusrite Red 8Pre
Hit Music Producer Chris “C-Rod” Rodriguez Streamlines His Workflow with Focusrite Red 8Pre
Golden Ears: Realising The Dream Of The Artist
Sarah Register & Mandy Parnell On The Importance Of Mastering And How They’ve Developed Their Ear.
The Wonders Of IP Clocking
All digital audio systems require a clock, in order to synchronise connected devices to a common, continuous, and time-aligned sampling rate.
Build Your Audio Fortress
There have always been security concerns with audio in commercial applications. Back when tape was the go-to medium...