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More flexible than ever and the Focusrite 4i4 and 8i6 use Focusrite’s excellent Control software to provide a better user experience.
Update Focusrite Control Review
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Focusrite’s Scarlett USB audio interface combines superb sonics and audio flexibility at an affordable price, and the third-generation unit has just landed.
We have two mid-sized units (8i6 and 4i4) for review, starting with the pocket-sized Solo and topping out with the well-equipped 18i20. All units in the range have received a physical and technical upgrade with updated preamps (now up to 56dB gain), balanced connection and the inclusion of Focusrite’s ISA transformer preamp emulation (Air) option.
There’s now a slimmer front panel with LEDs and a halo-type input level meter underneath the glossy finish. Meanwhile, all devices now use USB Type C connectors, although they will ship with Type C to Type A cables in the future. Finally, Focusrite introduces a new on-screen workflow that guides you through setup from the moment you plug it in.
Looking specifically at the review units, both get some additional inputs over their predecessors (2i4 and 6i6). So you get two mic/line/instrument inputs with gain, two line-level TRS inputs and four TRS outputs for the 4i4. The 8i6 also has two mic/line/instrument inputs with gain, and gets four line-level TRS inputs, four TRS outputs, and stereo S/PDIF in/out. Both units include MIDI input/output. For headphones, there are 4i4 level front panel outputs and two individual level 8i6 outputs. The larger interface requires an external PSU, which is understandable, but quite annoying since it’s quite compact. The smaller 4i4 is powered by a USB bus.
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The 4i4 and 8i6 support Focusrite’s Control app, meaning some settings can only be set via the software, including the panel, row/Hi Z instrument selector and the aforementioned Weather option. The app also handles low-latency monitoring, so there’s no direct monitoring button like the 2i4, although it’s worth noting that the 3rd Gen 2i2 and Solo interfaces continue to use this system. Whether you see this as added flexibility or unnecessary complexity is a personal choice, but I like the app options, especially when you consider that there are some great iOS apps that add remote control capabilities. Another advantage is the monitor mixing system, which allows easy low-latency mixing for each output stream. Finally, both interfaces support Focusrite’s Loopback feature, allowing you to quickly route additional mixing panel inputs, DAW outputs, or custom mixes to your DAW.
As expected from the Scarlett series, the sonics are neutral and the drivers are reliable, with both units going up to 192kHz. Air selection changes the frequency response to high frequencies, which can be good for removing unwanted closeness or increasing high frequency lift. There’s also decent bundled software, including Ableton Live Lite 10, Pro Tools First Focusrite Creative Pack, Focusrite Red 2 and Red 3 plug-in suite, Softube Time and Tone pack, XLN Audio Addictive Keys and Focusrite Plug-In Collective. It’s a solid update, and both display models are notable improvements over their predecessors.
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When Derrick May sold the 909 to Frankie Knuckles and house music was born: “This is the Roland 909 drum machine and it will take us into the future. It will be the foundation of music for the next 10 years “It has been four. years since Focusrite last refreshed their Scarlett interface range; The arrival of the 4th generation feels like a small return to normal
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The Scarlett series has been a huge success for Focusrite, selling over six million units worldwide. This is due to the combination of high-quality preamplifier series, precise conversion, stylish simplicity and impressive capabilities.
With the launch of the Scarlett 4th Generation interface, Focusrite hopes to maintain the popularity of the series, but will the various tweaks and improvements be enough to keep the Scarlett ahead in a competitive market? We took the all-new Scarlett 4i4 to find out.
The main features of the 4i4 remain unchanged from the third generation: four analog I/O channels, headphone output, MIDI I/O and USB host connection. The first pair of input channels support mic, line or instrument inputs via a pair of front panel XLR/Jack combo sockets, feeding into a pair of upgraded preamps (more in the month). A second pair of inputs on the rear panel are line level only, making them ideal for connecting to hardware synthesizers, effects units, DJ mixers and other devices.
The Scarlett 4i4’s input is fed directly to a converter taken from Focusrite’s high-end RedNet interface. This results in an impressive dynamic range of 120 dB – a significant increase from the previous generation’s 111 dB.
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The 4i4’s four rear panel row outputs are equipped with a front panel headphone jack that is independent of the other outputs and has a specially designed headphone amplifier. While the audio is not the loudest we have heard included in the audio input / output box, packs a wide volume to use even in live situations, and maintains a clear and accurate sound throughout the audio range.
Focusrite Control 2 software provides computer control of the process – configuring input channels, setting direct monitoring and control of its three output mixes. Each mix can be routed to one or more of the available destinations, either of the three physical stereo output pairs or to the internal return bus.
Thankfully, the new preamps sound crisp, clear and precise as expected, but now have a redesigned Air mode. The presence of peaks is slightly different from that produced by previous generations of preamps, and it is slightly tighter overall, although its effectiveness still depends on the sound source you are using.
A new second Weather Mode adds a touch of harmonic distortion along with peak presence, adding a subtle high-end sparkle to your sound. It helps vocals and synths sound lush and unique on a DI’d electric guitar, giving the plug-in amp an extra boost that signal really brings the guitar tone to life. The only complaint here is that the harmonic driver does not work regardless of the accompanying peak presence and is sometimes unpleasant. Focusrite told me this would be fixed in a future software update, but it’s a shame it wasn’t available at launch.
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With the new Auto Gain feature that listens for a few seconds of the performance to determine the perfect gain setting, and Safe Clip mode that monitors the incoming signal, Scarlett preamps also make it easy to maintain strong, clip-free recording levels. and automatically adjust the gain to avoid clipping.
You will know that the red color is everywhere – the Scarlett 4i4 4th Generation case proudly carries the metal body of its predecessors and has a compact but rugged solidity. Focusrite has slightly changed the design of the front panel to accommodate a new set of buttons that allow you to manage the input directly from the panel, which is very convenient.
The button labels are backlit, which not only looks smart, but also provides visual feedback about the status – for example, whether phantom power (now per channel, instead of globally) is enabled.
The updated Gain Halos are more visually pleasing – a ring of light that surrounds the input gain knob. Where previous generation equipment only changed the color of the halo – green, amber or red – to indicate signal level, the new halo moves smoothly around the ring, giving a more accurate indication of gain settings and signal level. The main output dial also now has its own halo that reads the constant output level.
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Practically everything about the new Scarlett 4i4 Gen 4 is an improvement over its hugely popular predecessor, but there’s one thing that could affect its popularity: price. Now it all depends on where you are – in the UK it’s 14.5 per cent and in Australia it’s 10 per cent. It’s not a huge leap, but it’s worth seeing.
However, the new Scarlett 4i4 delivers high-end sound, has enough I/O for many different projects, is easy to use and looks smarter than ever – it’s hard to think of an interface more suitable for a small studio or portable setup. .
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