Overview
The Red 3 employs an unusual and original single-VCA design to achieve
high quality and truly independent compression and limiting, without
the compromise and unnecessary processing involved in traditional
designs. The success of the design is attested to by the Red 3
TEC award for Outstanding Technical Achievement in the Signal
Processing Technology category
The VCA used is a proprietary Focusrite design, fully discrete and
balanced, offering superb low noise and distortion, and excellent
common-mode rejection. In order to separate compression and limiting,
the side-chain electronics contain three VCAs in series to generate
compression and limiting control voltages which drive the main VCA. The
result is true compression followed by limiting, rather than the more
common characteristic of compression that turns into limiting. The
side-chain electronics are class A, ensuring superb transient response.
Both compression and limiting therefore, offer true peak response, not
averaging RMS response. The use of such a high quality audio
VCA as the only element between input and output means a very short
signal path, and an ability to retain a natural, unobtrusive sound even
when significant compression is being applied.
Each channel has clear and identical controls, for compressor ratio,
threshold, make-up gain, attack and release, and limiter threshold. A
program-dependent auto-release mode is available, and the VU meters can
be switched to show levels in two ranges, or gain change. In stereo
mode the lower set takes control of both channels.
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 VCA-based Dynamics
Fully discrete and balanced, offering superb low noise and distortion, and excellent common-mode rejection. - Stereo switch
For true stereo operation from a single set of controls - Precision VU metering
An easily-read illuminated porthole window VU shows signal level or gain change (switched) - Key inputs
Available independently on each channel via firm-response Illuminated push-button switches
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 Rite Red
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 PreThe
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.
Reviews
Studio Sound review quotes
March 1996
Dave Foister
"The Focusrite Red Range is a reviewer's dream come true."
Pro Audio Review (USA) Magazine review quotes
April 1997
J. Arif Verner
"The Red 3 is one awesome looking box. Everyone who saw it wanted one.
In addition to incredible performance, this unit looks like a piece of
art. It?s surface is comprised of a beautiful metallic red finish with
stylish silver dials and two very distinct VU meters."
"Both compressors, (Red 3 and d3 Digidesign plug-in) gave beautiful
results. Either way, software or hardware, you cannot go wrong with
Focusrite."
