- Hand-made in the UK
Crafted to the highest
standards, all the Red Processors are manufactured solely in the UK
using machine-tooled, half-inch thick claret red anodised aluminium.
- Classic transformer-based pre-amp
benefits of Focusrite's classic pre-amp topology include superb
common-mode rejection, an excellent overload margin, an extremely low
noise floor and super-wide bandwidth.
- Unique De-esser / Exciter module
de-esser/exciter stage can be switched to provide frequency-selective
compression (de-essing) or excitation. The amount and centre frequency
of the processor are continuously variable.
- Classic VCA-based Dynamics
Fully discrete and balanced, offering superb low noise and distortion, and excellent common-mode rejection.
- Phase Reverse and Phantom Power
Available independently on each channel via firm-response illuminated switches
- VU level meter
A single, easily-read illuminated porthole window VU is provided, switchable between input level and gain reduction.
The Red 7 employs the same superb mic pre-amp as the Red 1 and Red 8,
with a dual-range mic gain pot that allows precise control across the
full range of the device. Phantom power and phase reverse are also
provided. The Line input is electronically balanced, with continuously
A high quality output fader offers +6dB gain to infinite attenuation,
essential for direct recordings, or for accurate level matching after
EQ and dynamics. Added to this mic pre is a full dynamics section,
optimised for vocals. With its superb signal path, outstanding ease of
use, and an integrated all-in-one design, it is a powerful tool for
voice recording in all situations from music studios to
post-production. The compressor design is taken straight from the Red
3, and as on that unit, is characterised by low noise and distortion
even with heavy processing. Relatively heavy compression can be applied
whilst retaining a transparent natural sound. Ratio, gain make-up,
threshold, attack and release are all continuously variable, and a
program dependent auto-release mode can be switched in. A swept
high-pass filter allows effective treatment of problems such as rumble,
bass lift and proximity effect.
The de-esser/exciter stage can be switched to provide
frequency-selective compression (de-essing) or excitation. The amount
and centre frequency of the processor are continuously variable, and as
all the unit's dynamics still use the Focusrite single-VCA technique,
unwanted colouration of the sound is kept to an absolute minimum. A
clear VU meter shows level after the pre-amp gain control, or displays
compressor gain change.
484mm (W) x 85mm (H) x 266mm (D)
19" (W) x 3.5" (H) x 10.5" (D)
The Red range was launched in 1992. The modules are all hand-built and
use the same circuit topology as the console and the ISA modules but
with improved electronic performance, mechanical integrity and control
layout. With the growing trend towards project studios and the
explosion in modular digital multitracks, the emphasis of Focusrite's
business turned towards the growing demand for analogue direct
recording modules and in 1994 and 1995 the Red range expanded to 8
modules:- Red 1 Quad Mic Pre- Red 2 Dual Equalizer- Red 3 Dual Compressor/Limiter- Red 4 Preamplifier (no longer in production)- Red 5 Power Amplifier (no longer in production)- Red 6 Mono Mic-pre & Equalizer- Red 7 Mono Mic-pre & Dynamics- Red 8 Stereo Mic Pre
success of the range was confirmed at the 99th AES convention when the
Red 3 Compressor won a TEC award for outstanding signal processing.
This was reconfirmed at the 101st convention when the Red 7 won a TEC
award in a new category for outstanding Mic Preamplifier technology.
Focusrite Red Range is hand-made, crafted to the highest standards. All
the Red Processors are manufactured solely in the UK using
machine-tooled, half-inch thick claret red anodised aluminium. The
chassis features recessed section grooves and styling motifs, (sculpted
with diamond-tip cutters,) porthole windows, anoprinted silver control
text, and firm-response illuminated switches.
are manufactured to Focusrite's own specification by French company
(Sfernice), and are made from conductive plastic which gives more
sensitivity and no mechanical resistance (easy to make very fine
All Red products feature sealed relays,
(gold-plated silver in an inert gas), situated in the middle of the
circuits in which they switch. The precious metals mean that all
contacts are low resistance, and the gas prevents any kind of corrosion
of the surface of the contacts, meaning the most perfect audio
switching device ever designed - utterly passive, zero distortion
caused and no FETs required.
Red Range processors with mic pre's
feature solid-state-amplified audio transformers, which help to give
the characteristic "warm, organic sound" loved by studios world-wide.
Transformers are the only way of giving a truly floating and earth-free
system, because there's no galvanic connection between the input and
Transformers are not new in audio; they were
there at the outset, but whilst others were trying to design them out
to cut costs, Focusrite went after the best transformer possible, a
philosophy which resulted in the transformers you find in the Red
series today. Low frequency second order distortion created by
transformer saturation provides the character that many perceive as
"warmth". Meanwhile, a high frequency emphasis generated by the
reactance of the coil resonance with the terminating impedance of the
microphone or receiving device, provides the engineer with open,
spacious high frequencies. The Red Range mic transformer in particular
gets its legendary "transparent yet warm" label from this process, an
apparent contradiction in terms, yet a genuine characteristic audition
a unit and hear for yourself.
Studio Sound review quotes
"All the controls feel smooth and expensive- which they presumably are,
particularly as Focusrite pots usually come from Penny and Giles- and
the whole thing is a delight to use."
"Sonically it is completely transparent when it needs to be, and
behaves exactly as one would wish when performing any of its processes."
"It's intention is clearly to be an ideal signal path from vocal
microphone to tape, and for this use, as well as many others, it is
hard to fault. Build quality is typical of the Red range and everything
else from Focusrite, with its outrageously heavy front, back and side
panels and stainless steel top and bottom, with the highest quality
"You know where you are with a Focusrite unit, and you get what you pay
for- uncompromised engineering and uncompromised quality. The previous
red modules have done well both in and out of the studio, with a rare
blend of sonic integrity and roadworthiness, and the Red 7 seems sure
to follow in their footsteps."