![]() They sounded neutral and faithful to the source material. To test out the mic preamps, I started things off with a X/Y stereo pair of pencil condensers miking an acoustic guitar. There was no need to dig too deep with the Control Software on my initial pass-it worked straight out of the box without any fuss or head scratching. The whole process took mere minutes, including software and driver updates. Getting my Scarlett up and running was one of the quickest interface setups I’ve ever had. It can add a bit of sheen in the upper midrange, but for the most part, it’s a very fast, clean, and transparent compressor. I’ve always been a fan of the classic Red 3 compressor-it sounds great on any master bus. The included software is a nice mix of bread and butter plugins such as the Red 3 compressor from the Focusrite Red plugin suite, and a mixture of time-based effects and virtual instruments. In addition to the Control software, Focusrite smothers you in other software freebies such as the Focusrite Red plugin suite, the Softube Time and Tone bundle, AVID Pro Tools | First Focusrite Creative Pack, Ableton Live Lite, a limited subscription to Splice, and a choice of one keyboard instrument from the Addictive Keys line by XLN Audio. Focusrite Control is also available for iPhone, iPad, and iPod Touch. There are plenty of advanced routing options available, such as the ability to create a unique headphone mix independent of the main monitor outputs, the flexibility to adjust individual headphone cues for multiple musicians, and options for virtual routing using the loopback feature, allowing you to route sound from any program on your computer straight back into your DAW. The software is deceivingly simple-the deeper I got, the more I realized how capable it is. The absence of digital processing is a breath of fresh Air (pun intended) that redirects the focus toward pure analog sound, ease of use, and efficient workflow. You won’t find dynamic processing or digital effects of any kind, just a practical layout that controls routing, device settings, and headphone mixes. The Focusrite Control software is fast and simple-a no frills design. The specs are impressive: record up to 24-bit/192 kHz sound with 111 dB dynamic range on the mic inputs (improved from 109 dB on previous models), THD+N of <0.0012% (down from 0.002%), and 104 dB of dynamic range on the headphone outputs. ![]() I tried out the 8i6 for this review, which features two combo jacks on the front panel and four 1/ 4” line level inputs on the back panel, which also sports four line outputs, MIDI in/out, and SPDIF in/out. The Solo provides one mic preamp and one instrument input, and the product line builds up from there to include the 2i2, 4i4, 8i6, 18i8, and 18i20 interfaces. The Scarlett Solo is one of the most straightforward interfaces available and offers an approachable price point that makes it an attractive entry level or travel interface. The value factor explains in part why the Scarlett family has become so widely used. Other updates include improved dynamic range, more headroom, additional I/O configurations, a USB-C connection to minimize latency, a louder and cleaner headphone driver, and a cleaner front panel aesthetic. Depending on the model, this setting can be enabled in the input section of the Focusrite Control software, or by pressing a dedicated button on the front panel. The Air feature emulates the sound of a transformer-based preamp and adds a high-end sheen to the signal. ![]() Previously available only in the Red and Clarett range of interfaces, Air is now included in the 3 rd Gen Scarlett lineup. Most notably is the Air effect, which is inspired by the classic Focusrite ISA mic preamp. ![]() The third Generation of Scarlett brings a range of upgrades.
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