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Key Features
- 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
The
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. - Phase Reverse and Phantom Power
Available independently on both channels via firm-response illuminated switches - VU output level meter
Two easily-read illuminated porthole window VUs are provided. - Scriblle discs
Two handy scribble discs for denoting each channel - Stepped gain potentiometers
Mic gain is switched in 6dB steps over a 66dB range, for accurate, precise channel matching and recall.
Specifications
Weight
7.3kg
16.1Ibs
Dimensions
484mm (W) x 85mm (H) x 266mm (D)
19" (W) x 3.5" (H) x 10.5" (D)
2U rackmount
The Red 8, with a perfectly matched pair of mic amps, offers identical
channel controls to the Red 1, and is especially suited to demanding
mono or stereo recording work, such as location classical recording
with digital recording media. Each channel offers custom-wound
Focusrite input transformers, switchable phantom power, phase reverse,
an easily-read illuminated VU meter, and a handy scribble disc for
denoting channels. Mic gain is switched in 6dB steps over a 66dB range,
for accurate, precise channel matching and recall.
The many benefits of the unique
Focusrite mic amp topology include superb common-mode rejection, a good
overload margin and, with its shared gain structure, (20dB from
transformer and up to 40dB from the amplifier) a very low noise floor
with the signature wide bandwidth (10Hz to 150kHz). It also maintains
this level of performance with a very wide range of impedance across
the inputs. In practice, this makes it what one reviewer called, "perhaps the most revealing yet forgiving mic pre-amp in history."
The output stage, with its custom transformer, will
easily drive very long cable runs – up to several kilometers – without
significant loss of quality, making them ideal for remote recordings
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
The
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.
The
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.
All potentiometers
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
adjustments).
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
output circuitry.
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.
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