Designed principally as an affordable, high-specification dual mono/stereo tracking device, TT Pro (as it's affectionately known) also boasts comprehensive latency-free monitoring, unmatched digital connectivity, and all within a sturdy 2U 19" rack-mount chassis.
Each channel features Focusrite's award-winning Platinum pre amp, embellished with the option of instant 'air' and variable input impedance for improved microphone performance and extended creativity. A mid-scoop EQ follows, and provides variable frequency and depth of cut for vocal problem solving and miked-up cabinet ambience
In pride of place is TT Pro's powerful dual mono/stereo optical compressor. This optical compressor features Focusrite's custom fast-acting optos, alongside side-chain inputs and the ability to operate as a true 'twinned' stereo pair. These circuit design innovations are complemented by a comprehensive set of focussed controls.
TT Pro is the first Platinum to feature a D/A converter as standard, alongside its optional analogue to digital converter. The D/A converter enables the user to feed mono or stereo digital signals into TT Pro. These signals can be fed either into the stereo latency-free monitoring section, or via line inputs (post- the pre amp stage) for further processing. The signal can then return to the digital audio workstation via Focusrite's established stereo A/D converter option.
Together, these facilities make TT Pro the perfect analogue interface for any digital audio workstation, and equally the world's first 'hardware plug-in'.
Features include:
2 award-winning Class A discrete transistor-based pre amps
Latency free monitoring with total control over balance, effects, mix and monitor levels
24 bit/192 kHz D/A fitted as standard, for processing digital signals or feeding digital signals into the monitoring path
An optional 24 bit/96kHz A/D. Both the A/D and the D/A feature wordclock (BNC)
Inductor-induced "Air" opens up high frequencies like an expensive transformer-balanced pre amp
Variable impedance for improved microphone performance and extended creativity
Mid scoop EQ for correcting problematic mid frequencies
Direct inputs on the front fascia for both instruments (Jack) and microphones (XLR)
Post pre amp inserts and compressor side-chain inserts, for enhanced processing flexibility
2 ocean blue peak-reading meters, innately beautiful and ideal for catching fast transients
With TwinTrak Pro, Focusrite's fanatical approach to quality design has given birth to twins.
FOCUSRITE TWINTRAKPRO Specs
Mic Input Response
Gain range = 0dB to 60dB continuously variable
Input impedance = 50 Ohm to 3k3 Ohmcontinuously variable
EIN = 128dB measured at 60dB of gain with 150 Ohm terminating impedance and 20Hz/22kHz bandpass filter
THD at minimum gain (0dB) = 0.0004% measured with +16dBu input signal and with a 20Hz/22kHz bandpass filter
THD at maximum gain (60dB) = 0.003% measured with a –36dBu input signal and with a 20Hz/22kHz bandpass filter
THD at maximum input level (26.5dBu) = 0.005% measured with a 20Hz/22kHz bandpass filter
Frequency response at minimum gain (0dB) = flat at 10Hz and –2dB down at 200kHz
Frequency response at maximum gain (60dB) = –2dB down at 10Hz and 200kHz
CMRR at full gain (60dB) = 80dB
Line Input Response
Gain range = -10dB to +10dB continuously variable
Input impedance = 10kOhm from 10Hz to 200kHz
Noise at main output with gain set to 0dB = -94dBu measured with a 20Hz/22kHz bandpass filter
Noise at –10dBV output with gain at 0dB = -100dBu measured with a 20Hz/22kHz bandpass filter
Signal to noise ratio relative to max headroom (27dBu) = 121dB
Signal to noise ratio relative to 0dBfs (+22dBu) = 116dB
THD at unity gain (0dB) = 0.0006% measured with 0dBfs (+22dBu) input signal and with a 20Hz/22kHz bandpass filter
Frequency response at unity gain (0dB) = 0.1dB down at 10Hz and –3dB down at 200kHz
Instrument Input Response
Gain range (High Gain switch out) = 0dB to 20dB continuously variable
Gain range (High Gain switch in) = 20dB to 40dB continuously variable
Input Impedance = > 1MOhm
Noise at minimum gain (0dB) = -90dBu measured with a 20Hz/22kHz bandpass filter
Noise at maximum gain (40dB) = -78dBu measured with a 20Hz/22kHz bandpass filter
THD at minimum gain (0dB) = 0.006% measured with –10dBu input signal and with a 20Hz/22kHz bandpass filter
Frequency response at unity gain (0dB) = 0.5dB down at 10Hz and –1dB down at 200kHz
Frequency response at maximum gain (40dB) = 6dB down at 10Hz and –1dB down at 200kHz
Input Meter
6 LED peak reading meter is calibrated relative to 0dBfs where 0dBfs = +22dBu (the maximum level which can be correctly converted by the optional internal A/D converter before overload occurs). The meter calibration points are as follows:
Meter panel calibration value: Equivalent dBu value
0dBFS: +22dBu (the maximum level the ADC can convert before digital distortion occurs)
-6dBFS: +16dBu
-12dBFS: +10dBu
-18dBFS: +4dBu (the normal signal level in an analogue system to allow headroom for additional processing such as EQ)
-24dBFS: -2dBu
-42dBFS: -20dBu
Channel Insert
Unbalanced input and output on balanced (TRS) socket as follows:
Tip = Send (Output)
Ring = Return (Input)
Signal level equivalent to –6dB below normal operating level.
High Pass Filter
Roll off = 12dB per octave 2-pole filter
Cut off frequency:
-3dB at 120Hz
-6dB at 85Hz
-12dB at 56Hz
Optical Compressor
Threshold hold range = -12dBFS (10 dBu) to –42dBFS (-20dBu)
Compressor ratio (Hard Ratio switch out) = 2.5:1
Compressor ratio (Hard Ratio switch in) = 6:1
Attack time (Slow Attack switch out) = 0.5ms.
Attack time (Slow Attack switch in) = 5ms.
Release time = 100ms to 1s and then auto release mode when the release knob is turned fully clockwise. Auto release creates a release time dependent upon the average level of the incoming signal
Noise = -94dBu measured with a 20Hz/22kHz bandpass filter
Makeup gain = 0 to +21 dB
Compressor Sidechain Insert
Can be used to input an independent signal to trigger compression or to allow the sidechain audio to be sent in and out of the unit via an external processor, such as an EQ for frequency conscious compression and de-essing of vocals
Connector is an unbalanced input and output on balanced (TRS) socket as follows:-
Tip = Send (Output)
Ring = Return (Input)
Signal level equivalent to –6 dB below normal operating level
Mid Scoop EQ
EQ shape = Peak
Centre frequency = Variable between 120Hz and 2kHz
Cut (Deep switch out) = -6dB
Cut (Deep switch in) = -12dB
Q (Deep switch out) = 1.5
Q (Deep switch in) = 3
FX Send
Unbalanced output, signal level equivalent to –6dB below normal operating level
Noise = -94dBu measured with a 20Hz/22kHz bandpass filter
Maximum output signal level = +20dBu
FX Return
Balanced input
Operating level = +4dBu
Headphones Mix
Unbalanced output, signal level equivalent to –6dB below normal operating level
Noise = -94dBu measured with a 20Hz/22kHz bandpass filter
Maximum output signal level = +20dBu
Monitor Input
Balanced input
Operating level = +4dBu
Monitor Output
Balanced output
Operating level = +4dBu
Noise = -98dBu measured with a 20Hz/22kHz bandpass filter and monitor level knob at maximum output level (fully clockwise)
Maximum output signal level = +26dBu
DAC Performance
Playback sample frequency = 32kHz to 192kHz.
Maximum bit depth = 24-bit
Maximum analogue output level = +21dBu.
Dynamic Range = 111dB measured with A weighted filter.
Wordclock BNC connector outputs a regenerated wordclock at the sample frequency contained within the SPDIF signal connected to the RCA connector
Output Meter
Calibrated for 0dBFS = +22dBu and indicates the level after the output fader being sent to both the internal AD converter and the TwinTrak Pro XLR output
O/L LED is lit when any section of the unit (including the headphone output) reaches a level greater than 0dBFS (O/L: LED triggered at +22.4dBu)
Q. Who is the target customer for TwinTrak Pro?
A. TwinTrak Pro is ideally suited for the home recording enthusiast, especially anyone using a native DAW. Like other Platinum series products, TwinTrak Pro will find a home in professional environments such as recording studios, live sound installations, radio, TV, other broadcast, dubbing suites and post-production facilities.
Q. What kind of mic pres does the TwinTrak Pro use?
A. The TwinTrak Pro uses two of the same award-winning Class A mic pres as the VoiceMaster Pro.
Q. What is “variable impedance” and why is it a great feature?
A. Until the arrival of TwinTrak Pro, variable impedance was the kind of feature found exclusively on professional-level mic pres like the Focusrite ISA 428 Pre Pack. Variable impedance allows two things; the ability to match the mic pre's impedance closely to the impedance of the mic (all mics have different impedance) and also to allow the end user to “mix and match” different mic pre and mic impedances for greater tone coloration. See www.focusrite.com for further detail.
Q. What does the AIR switch do?
A. The AIR control is a wire-wound inductor-based circuit, which closely emulates the characteristics of more costly transformer-based mic pres like Focusrite Red and ISA Series. While not exactly like a transformer-based pre, the air circuit does approximate the ‘openness' of high frequencies characteristic of transformer-based pres. Now a whole new generation of customers can experience sound quality normally found only in professional recording studios.
Q. How does the MID SCOOP EQ work?
A. The boffins at Focusrite have identified the mid-range frequencies that are typically problematic when recording and processing vocals and instruments, and allowed the end user to “scoop” them out with a very simple and easy to use knob. Simply dial back what you don't like and you're done: remove the nasal ‘goose-honk' tones from a problem vocal, or move an over-resonant ‘DI'd instrument sound' closer to the ambience of a miked-up guitar or bass cabinet.
Q. The TwinTrak Pro has a high quality DAC built in as standard. Why is this an important feature and how would you use it?
A. This revolutionary feature can be used in two different ways. Firstly, the TwinTrak Pro's standard DAC allows the end user to feed a pair of digital outputs from a sound card or DAW (S/PDIF connector) into the latency free monitor circuit. So when recording a vocal or instrument you can monitor the pre-recorded material with the highest possible fidelity. And if you're running out of analogue outputs on your sound card this feature means you can use a digital output instead, freeing up crucial analogue outputs for other purposes.
Secondly the DAC can be used in conjunction with the optional ADC to use the TwinTrak Pro as a ‘hardware plug-in' for a DAW. A mix buss or single channel signal can be routed DAW/DAC/analogue compressor/ADC/DAW.
So TwinTrak Pro is not only a pair of integrated dual channel Class A mic pres plus EQ and dual mono/stereo compressor; it's also a latency-free monitoring device. Mic pres plus stereo monitoring plus digital connectivity means that the need for a stand-alone mixing desk is eliminated for most recording applications.
Q. How do I set up the TwinTrak Pro for these two different applications?
A. Engage the DIGITAL INSERT switch if you want to use the DAC to route your DAW's digital outputs into the TwinTrak Pro's compressor for ‘hardware plug-in' processing. Leave this switch out if you want to use the DAC to route your DAW's digital outputs into the TwinTrak Pro's latency-free monitoring circuit.
Q. Does TwinTrak Pro have an optional ADC?
A. Yes, it uses the same acclaimed 24/96 option as TrakMaster, Penta and VoiceMaster Pro.
Q. Can I retrofit an ADC board to my TwinTrak Pro at a later date?
A. Yes, and you can do it yourself - it can easily be retro-fitted by the customer without any soldering etc, just a few screws to undo, and one clip-connector to join to the main PCB.
Q. Why is the 24 bit 96 kHz specification important?
A. An A/D converter works by sampling the audio waveform at regular points in time, and then quantising those values into a binary number, which relates to the number of bits specified. The quantised signal must then be passed through a D/A converter before it becomes audible. In simple terms, the D/A essentially 'joins the dots' plotted by the A/D converter when the signal was first converted to digital. The number of dots to join, combined with how little those dots have been moved, determines how accurate the final signal will be compared to the original. The greater the sample rate and bit rate, the more accurate the whole digital process is. So 24 bit/96 kHz performance will ensure more accurate digital transfer of your audio information compared to 16 bit/44.1 kHz standards. This is especially important if further digital signal processing is to be applied to the signal once converted to digital, as any mathematical operations taking place on the data (for example as a result of a gain change, or dynamic effect process) may result in quantisation and rounding errors. The higher the resolution of the digital data, the smaller the audible effect of these errors.
Q. Does the TwinTrak Pro support wordclock?
A. Yes, via a BNC connector.
Q. What are the key compressor features?
A. The TwinTrak Pro's optical compressor is a Class A device and uses the same circuit design as the VoiceMaster Pro, but with the addition of hard- and soft-knee settings as well as a side-chain input. The compressors can operate independently (‘dual mono') or as a linked true stereo pair.
Q. What is latency-free monitoring and who needs it?
A. Latency is the bane of every native DAW user's life. When tracking overdub vocals or a guitar track for example, an audible delay occurs. When recording, this delay is doubled (delay en route to hard disk + delay returning to monitoring circuit.) Focusrite's latency-free monitoring section eliminates latency by integrating the DAW monitoring into the circuit of TwinTrak Pro. The end result is tracking on a par with DAW systems featuring built-in DSP (and costing many thousands of dollars more).
Q. Is the TwinTrak Pro mic pre a Class A design? What does that mean?
A. Yes, it's the Class A award-winning mic pre used in the VoiceMaster Pro and all other Platinum range products. The TwinTrak Pro thus allows audio to be processed in a more linear fashion; put simply, the TwinTrak Pro's mic pre is able to reproduce all the detail of the input source without distortion or unwanted colouration.
Q. I heard that Class A devices generate a lot of heat. Is that something to worry about?
A. Absolutely not - all Class A devices do indeed run warm, it's a direct function of the way they enable audio to be passed transparently, and the TwinTrak Pro has been designed specifically to deal with this kind of situation. However, the usual Class A device rules apply, so it makes sense to put your TwinTrak Pro at the bottom of your rack, leave a 1U space above it, and leave the back of your rack mount case open when using the rack to ensure good ventilation.
Q. Does the TwinTrak Pro have an instrument input?
A. Yes, on the front panel, so you can connect a guitar, bass or other instrument directly to the unit with no need for a DI box.
Q. What are some of TwinTrak Pro's other monitoring capabilities?
A. A separate hardware processor (e.g. reverb) can be connected to the back of TwinTrak Pro. Much as one would experience in a pro studio, the performer could then have a “wet” reverberated signal in their headphones while tracking. The circuit allows mixing of wet vs dry signal, of the tracked signal vs pre-recorded material level, and overall output level.
Q. Is the TwinTrak Pro only suitable for recording vocals?
A. No, the TwinTrak Pro is suitable for recording many other sound sources too, such as electric guitars and bass (via its INSTRUMENT inputs). It is also ideal for applications such as recording the spoken word, live sound applications, radio and TV broadcast, dubbing, post production and can be used as a stereo buss compressor.
Q. What is the difference between +4 dBu and –10 dBV?
A. These are different signal operating levels. +4 dBu usually refers to professional equipment and –10 dBV usually refers to semi-professional or consumer equipment. It is important to make sure that any two or more devices connected to each other are operating at the same signal level. If the +4 dBu output of a device feeds the –10 dBV input of another device, this may cause the second device to overload. Alternatively, if the –10 dBV output of a device feeds the +4 dBu input of another device, the second device may receive a signal level which is too low (i.e. too quiet). -10 dBV devices are usually connected using a mono 1/4” jack. This is known as an ‘unbalanced' connection. +4 dBu devices are usually connected using a TRS (stereo) 1/4” jack, or XLR. This is known as a ‘balanced' connection.
Q. Should I use balanced connectors with my TwinTrak Pro?
A. Yes, where possible. The line level analogue input is balanced, operating at +4 dBu. The TwinTrak Pro provides both balanced (+4 dBu) and unbalanced (-10 dBV) output connectors. See the user guide for more information on connecting the analogue line level inputs and outputs.
Q. What is a ‘side-chain'?
A. A side-chain is any signal that controls the action of the compressor. Usually the audio signal is split in two, with one part becoming the side-chain and controlling the compressor, and the other part of the audio signal being treated by the compressor. A side-chain insert allows much greater creative flexibility than if the audio signal alone is controlling the action. The most common way to use a side-chain is to EQ the part of the audio signal that is sent to the side-chain. Frequencies are either cut in order to stop the compressor reacting to particular frequencies, or boosted in order to make the compressor react more to particular frequencies. This is known as ‘frequency-conscious compression'.
Q. How might I use the COMPRESSOR SIDE-CHAIN INSERT?
A. The main use of a side-chain insert is to use EQ to make the compressor react differently. For example, if you were putting drums through your TwinTrak Pro then you might find that the kick drum is causing the compressor to react the most, causing audible ‘pumping' of the drums as the compression level rises after each kick drum and then is ‘squashed' again. If this is undesirable, you could use the side-chain EQ to filter off some of the lower frequencies, reducing this effect. (Sometimes this effect is desirable, so you may wish to boost the low frequencies in order to emphasise this effect!)
Note: Both the main channel INSERT and the COMPRESSOR SIDE-CHAIN INSERT on the TwinTrak Pro require the use of a ‘Y' cable. This is a cable that splits in two at one end. At the single end should be a stereo TRS jack and at the other end there should be two mono ‘send' and ‘return' jacks.
Q. Can I take my TwinTrak Pro with me when I travel internationally?
A. Yes, but the correct fuse and voltage setting must be used in each territory. There is a voltage selector on the rear panel of the TwinTrak Pro, which also houses the main fuse. If you are in the UK the voltage selector should be set to 230 V and a 315 mA fuse should be fitted. If you are in Europe the voltage selector should be set to 220 V and a 315 mA fuse should be fitted. If you are in North America the voltage selector should be set to 120 V and a 630 mA fuse should be fitted. If you are in Japan the voltage selector should be set to 100 V and a 630 mA fuse should be fitted. If you are in territory other than those mentioned, please look at the above settings and choose the setting and fuse value appropriate for the local mains voltage.
FOCUSRITE TWINTRAKPRO Review
Reviews
The TT Pro's preamps provide an extreme amount of control over the incoming signal. Front-panel microphone and instrument inputs (as well as a back panel line input) make connectivity a breeze, and up to 60dB of gain (20dB for the instrument input) means that practically any input device will be easily handled.”
“Providing dedicated metering for both preamp output and compressor gain reduction is a great move, since it helps you maintain a feel for the system.”
“I found the compressor to be ultra-simple to operate; while the controls were not typical for a compressor, the settings and presets provided made most applications a simple one- or two-turn affair. In all cases, the compressor enhanced the recorded sound by adding a nice “rounding” to the source.”
“The compressor was the real “voice” of the TT Pro, however. By working the preamp controls to hit the compressor fairly hard, I found that I was able to get some interesting results. By tightening up the compressor on backup vocal recordings, overdubbed vocal blending was much easier, and the result was exactly what I was hoping for.”
“This unit isn't a one-trick pony. The addition of a complete monitoring section also makes this the perfect addition to a mobile recording rig.”
“The TT Pro is an excellent choice as a front-end for DAW recording applications. The flexible, high-quality preamp, combined with the smooth optical compressor provides an excellent recording chain with a wide range of sound colouration when needed.”
“By providing foldback monitoring from a recording device, the TT Pro sets itself apart from the recording channel pack; instead, for many applications, it is a complete interface between engineer/artist and DAW. This system is a class of its own and will fit the needs of a growing number of recording enthusiasts.”
Darwin Grosse, Recording, October 2004
“I used the TwinTrak Pro in my studio for a couple of months and was able to test it with a large variety of microphones, instruments and sound sources. I also ran direct comparison tests against other preamps and compressors.”
“I noticed several positive elements early on. The variable impedance potentiometer provides a wide spectrum of tonal control. The TwinTrak Pro's manual gives a thorough explanation of the effect that input impedance has on microphone characteristics. In general I found that the range above 1.6 kW is a good one for most mics.”
“The Air switch inserts an inductor into the preamp path…which I found helpful in a few instances, particularly with distorted lead guitar. It opened up the high harmonics nicely and helped the guitar sit in the mix at a lower level yet be heard more clearly.”
“Using the S/PDIF input, the D/A converter sounded much smoother and more natural than the converters of my Digi 001.”
“Plugging the bass directly into the ISA 428 and TwinTrak Pro yielded surprisingly similar results. I was very pleased with the direct bass sound in both cases.”
“I compared the TwinTrak Pro's compressor with two budget stereo compressors: the FMR Audio Really Nice Compressor (or RNC) and a dBx 266A. The TwinTrak Pro's compressor was smoother and more useful than the dBx unit and similar in sound to the RNC's SuperNice mode.”
“The TwinTrak Pro yielded cleaner and crispier symbols and punchier bass than the RNC, which is highly regarded as a low-cost compressor. I was so impressed that the TwinTrak Pro has become my preferred compressor for stereo material and second choice (after a Universal Audio 1176) for mono signals.”
“The TwinTrak Pro surprised and pleased me with its quality and versatility. If you're looking for two channels of affordable pre-amplification, EQ and compression, with optional A/D conversion, take a listen to the TwinTrak Pro.”
Eli Crews, Electronic Musician, August 2004
"If you flick through these pages there are already bundles on offer that include the TwinTrak and BLUE's fabulous Baby Bottle microphone; a nice pair indeed."
"As Focusrite have always had a reputation for high quality and design, you'd expect their product to compete well, so it's time for a closer look."
"The input stage allows the user a multitude of options ranging from getting the best signal from an esoteric microphone to plugging an instrument straight in, making the TwinTrak Pro a versatile choice for getting real audio into your soundcard."
"The TwinTrak Pro works particularly well with vocals, providing a pristine, clear path via the pre-amp to the compressor, which can be set up to sound quite harmonically sweet. A monitoring section is also provided and this will be loved by the computer musician being latency free and instantly ‘hands on', enabling one to mix the input signal with the output from the soundcard via a rotary control."
"Overall the TwinTrak Pro is an impressive piece of kit and offers a lot of bangs for bucks being under £400. A very versatile unit, capable of handling mono and stereo instruments along with a variety of microphones, it offers pro performance for a bedroom studio budget with great sounding pre-amps and a functional compressor. Focusrite have managed to cram a lot into a small face and the result is a very practical and easy to use tool with a pristine signal path, so unless you're looking for the harmonic grit of valves this would make an excellent choice for the front-end of a computer-based recording system."
Justin Dean, Music Mart, March 2004
"All the controls feel great, the layout is spacious, there are plenty of LEDs and those lovely blue VU meters make it look very impressive sitting in the rack."
"If you've been following closely, you'll have realised that Focusrite has thought of just about every monitoring eventuality. Once you get to grips with the routing system, you can easily set up any headphone or monitor mix you desire or listen to the signal you are recording as it comes back from your DAW."
"What many users are likely to want from the TT Pro is a processor they can simply plug in and use to get high quality results with minimal fuss – and perhaps even minimal prior skill. And, by and large, that's what they'll get. The TwinTrak Pro cleverly steers the user towards making the right recording decisions. There's a good degree of editability, but also a subtle preset mentality apparent in the design. The Air button, the subtle cutting of mid-range, the high-pass filtering, the gentle compression at low ratio... it all adds up to the tried and trusted approach a professional might take."
"The TwinTrak Pro is a superb product that competes very strongly in its price bracket. Most users simply wouldn't have the recording equipment necessary to reveal any qualitative differences between the TwinTrak and more costly processors."
Dan Duffell, Music Tech Magazine, December 2003
"The controls are well laid out, and the metering is easy to read. Of special note regarding the metering are the two very distinctive blue VU-style meters that measure output in peak fashion from –24dBFS to 0dBFS and provide an overload LED as well. This metering proves to be especially useful when interfacing with digital audio workstations – particularly when the TwinTrak Pro is outfitted with an optional A/D converter."
"Both balanced microphone inputs on XLR as well as unbalanced instrument inputs on TRS 1/4-inch are placed on the front panel of the unit – a feature I found very useful for quick and handy interfacing."
"The output specifications are impressive for the TwinTrak Pro."
"I had the opportunity to try out the TwinTrak Pro in comparison with a variety of other pre-amps – both tube and solid state. The other pre-amps included Brent Averill-modified Neve, Avalon, Tube Tech, Studer and Millenia, which are all priced considerably more than the TwinTrak Pro... In all of the tests, the Focusrite performed very respectfully. High-frequency response proved especially good on guitar and female vocal, and the TwinTrak Pro compared very favourably to all of the other pre-amps under test... All in all, the TT Pro is very good value, providing a great deal of flexibility in a well-designed channel-strip package."
Doug Mitchell, Audio Media, January 2004
"Since the launch of their highly acclaimed Platinum range, Focusrite have managed to stay at the sharp end of this tide of change. Now, with the launch of the TwinTrak Pro, they look set to give the competition some new things to think about."
"First impressions of the TwinTrak Pro are very good – the build quality is up to Focusrite's usual standard, with a very solid and ‘finished' feel. All the knobs travel very smoothly and the switches have a good, positive action. The front panel seems amazingly uncluttered considering how many switches, pots and meters are packed in there, and the layout is logical enough to instantly see what is going on. I must say I'm a fan of traditional VU meters, and the ones provided on the TwinTrak Pro are truly first class; as well as looking cool, they give a good representation of recording level."
"Initially the impedance control was set to maximum... straight away the sound was clear and bright, and to be honest, needed little further tweaking. Once the Air switch was engaged, a definite increase in ‘sizzle' was immediately noticeable from the cymbals. The change in sound was quite hard to pin down, but was evident as a general lift in clarity of the top end. Needless to say, the Air switch remained turned on for the rest of the session."
"Incidently, as a result of the simplified controls, I found myself spending less time looking at the unit itself, and more time with my head up, listening to the audible results, which has to be a good thing."
"This is an extremely capable channel strip with clever sound-shaping tools that really do make the recording process as painless as possible. The neat monitoring section is very flexible and efficient to use, and by including this feature, Focusrite have provided a ‘one box' solution for the two most vital uses for analogue circuitry in a computer-based recording set-up; getting sound into your system, and then back out again. Of course, it would be nice to have a bit more versatility in some of the sections, but for a price that is frankly hard to believe, the TwinTrak Pro is a unit to be taken very seriously indeed."
"Build quality 9/10
Value for money 10/10
Ease of use 9/10
Versatility 9/10
Sound/results 9/10"
Martin Holmes, Future Music, November 2003
"Having a monitoring section built in is hugely useful to anyone using a soundcard-based system, as it provides the key monitoring functions you'd expect in the master section of a mixing console (speaker and headphone control) as well as latency-free monitoring plus the ability to connect a hardware reverb unit for monitoring purposes."
"You get an awful lot of good-quality audio processing and features for your money with the Twin Trak Pro, so even if you don't need the monitoring section, it's still good value in the UK as a dual recording channel."
"If you are running a computer audio system with no other hardware, then the monitor section is a real life saver, especially if you have active monitors, as it gives you some way to control their level."
"The zero-latency monitoring is also valuable, even if your system is running with what you might consider to be an acceptably low latency
value, as I've found some singers to be extremely sensitive to even a few milliseconds of latency."
"This really is one serious piece of kit that's been well thought out to make sense in the real world of desktop recording, so if you're the type of user who only ever records one or two parts at a time and you work mainly with plug-in effects and instruments and no mixer, then the Twin Trak Pro is tailor-made for you."
Paul White, Sound On Sound, October 2003
TwinTrak Pro reviewed by Geoff Pryce - Technical Manager, Real World Studios:
Even though we've entered the age where plug-ins are easier to reach for than a patch cord, and often with excellent results, many of us have also experienced the down side of this approach to music production. System crashes following installation of poorly tested software, or DSP algorithms that don't correlate sonically with what the waveform in the window is indicating, spell dubious sound quality and lost time.
Enter Focusrite, who have hit the nail on the head with their new stereo tracking solution, which weighs in at well under £500 list. Good quality front ends for DAWs are in harmony with the trend for more semi-professional recording spaces, and I believe Focusrite have jumped another step forward with the release of their latest addition to the Platinum range, the TwinTrak Pro.
Ultimately, you buy pre-amp for several key reasons. They are: the character of its sound (and EQ if fitted); its sonic transparency or accuracy; its features, looks, layout and versatility; and - too often the deciding factor - its cost. In my view, cosmetics and features are lower in priority than sound quality, as I believe you are initially out to capture the music as accurately and as easily as possible. If needs be, you can creatively mess with it later.
Some manufacturers may be guilty of gearing their advertising and marketing strategies away from good sound and trying to impress us with columns of coloured LEDs, fancy fonts and stylish knobs. Component quality and longevity, both electronically and physically, are also important considerations, but not so immediately in the forefront of one's mind when purchasing a product like this for the first time. Discussions with members of the design & engineering team at Focusrite reveal that component selection is high on their list of priorities. The opto-isolators are reported to be custom items, developed in conjunction with Focusrite's R&D team specifically for Focusrite products. All potentiometers used in the Platinum range are of the conductive plastic type, and all switches have gold contacts.
A quick look inside and outside the unit shows that the remainder of the components are sourced from manufacturers who have reputations for providing devices suitable for high-end audio applications. Both mic inputs are balanced, for a clean signal with low noise floor, and connected via XLRs on the front panel. The XLRs and panel mount TRS sockets used are both made by Neutrik.
The literature on the TwinTrak Pro is clear and well put together. It was good to see relevant, clear graphical representations on the action of the various controls, together with diagrams of electrical signals for those wanting a more detailed explanation of the unit's virtues. It provides an informative balance of theory, suggested practical set-ups for using the device, accurate specifications, and was also easy to read.
The front end of the TwinTrak Pro is essentially a two-channel pre-amp with a mid-scoop EQ on each channel, followed by a pair of opto-compressors. There are also some interesting extras that you would normally only see on high-end pre-amps. These are the impedance control and the Air switch.
The input stages are two Platinum-series Class A mic amps with all the features you'd expect on a mic pre-amp; phantom power, phase, mic, line & instrument switching, and a high pass filter. There is no 20dB pad, but in my experience, attenuation is best done on the microphone for sonic reasons. A more useful feature than a pad, particularly for artists and producers in small studios, is a switch which does the opposite; a High Gain option which provides 20dB of boost for low-level instrument inputs like guitar pickups. Having an instrument input on the front panel is sensible for facilitating quick plug-in of instruments and DIs, even if the unit is rack mounted. The mic stage on the front end consists of a pot across the input to a current mirror made up of two large bipolar transistors, this being the discrete Class A part. Integral to the input stage is adjustment for the variable impedance function, and the unique Air switch.
The impedance control does exactly what it indicates; gives you the ability to match your input stage and mic impedances to obtain the flattest response possible, or not, depending on how creative you want to be in terms of the sound you can achieve by deliberately mis-matching. The Class A design also makes for excellent transient and square wave response. Under test the response was flat beyond at least 180kHz. The specifications state up to 200kHz, where frequency response was measured only 0.25dB down, impressive for a pre-amp of its price, and better than the manufacturers stated specifications.
The Air sound is generated in the input stage by the use of a large inductor. The inclusion of this wound component is designed to emulate more expensive models, such as the ISA428; a more classic, high-end pre-amp. There is 40dB of gain on the initial stage and another 20dB added with the HIGH GAIN switch, through another differential op-amp stage, before it hits the compressor.
There are two, separate, but stereo-linkable opto-compressors on the TwinTrak Pro and they sounded as good as I expected given my experience with the OctoPre. Transparent action of a dynamics stage is always desirable. The designers inform me that the custom opto-isolators in the compression element have been sourced for good inter-channel matching and low distortion. The metering for the compressors was not overdone but neat and functional. It was great to see not only compressor side-chain facilities, available for frequency-dependent compression, but also compression contour control in the form of Hard Kneww and Hard Ratio switches. These were equally valuable in the live and the post processing situations.
The mid-scoop EQ was not a section of the unit I needed to use in anger for my recording or post processing, but I can see the value in its application for instruments like bass guitar and vocals, where you need to remove harshness from sources over which you had no control in the first instance. Electronically, it is a state-variable, parametric filter, a type known for its reluctance to loading, hence it avoids sound colouration where you don't want it. The deep switch, which gives you a deeper notch, to the tune of 12dB when engaged, is quite savage in creating a swept saddle in the mid-frequencies. With only the in switch engaged, the effect is very subtle. I only had a hint of mid-range knocked out for my recording. More time to experiment with its extremes, in hardware plug-in mode, and for taming the unpleasant mid-range in certain instruments will later be explored. I believe producers of certain musical genres requiring some subtle swept filters in their sound will accept a sweepable mid-range notch filter with enthusiasm. Did I mention heavy techno or dub reggae? Also, with creative use of the variable impedance control in conjunction with the mid-scoop EQ, it is possible to emulate the characteristics of different types of microphones, and also invent some new ones.
Most outboard manufacturers today are aware of the requirement of at least a 24-bit/96kHz digital interface if they are to see their products taken seriously in recording studios and, in ever-increasing instances, adopted by DAW owners at home. The performance of the TwinTrak Pro's digital domains is commendable in a unit of its cost. With 24/96 resolution on the ADC and the DAC, you can't argue really. I ran a quick performance test in the studio with two Neumann U87s; one through the ADC and back through the DAC monitor section to external source inputs on the console. The other U87, I ran straight through and out of the +4dBu outputs on the rear of the unit into the external source. Several of us listened, and the difference was barely perceptible. Also, I found the "comfort" LEDs, displaying the signal status of both digital interfaces, to be inherently practical.
I figured that the best practical test for the TT Pro was a direct, stereo acoustic recording, so when I was invited to record a ceili session in a local free house, I had the perfect excuse to test it out AND have a few pints of Guinness! Local musicians from Bath, with guests from Hungary, were gathered in the small front bar of The King William. The set up was two Neumann U87s on booms in spaced omni configuration. Phantom power and phase switches were set accordingly. I found the MONO switch very useful in deciding the placement of the microphones. I positioned one and moved the second around until I could hear a good balance of all the instruments playing together and tweaked angle and capsule direction for optimum phase response in that position. The impedance control, unsurprisingly, ended up in the High position.
The addition of the Air switch into the pre-amp circuit definitely gave the fiddle more space with an edge that added realism to the sound of the bows and the harp strings. Although I wouldn't normally advocate the colouration of an initial print, the effect of the inductor swayed my judgement. The dynamics involved in this recording were a good test for the TT Pro's opto-compressor stages. I ran them linked, with compression setting on the –18 mark, slow attack, and release right around in the "auto" position. I engaged Hard Knee for my recording, which was necessary for the extremes of noise on some occasions. I used as much make up gain to get the level (without risk of clipping) approaching 0dbFS on the DAT machine.
Like those on the OctoPre, the compressors are sonically very transparent but with more flexibility, as you have more comprehensive control of the dynamics and make up gain parameters. The DAT was then fed from the TT Pro's ADC. As this was a straight stereo recording in a small area, it was handy not to require a separate mixer to monitor. The headphone output was crystal clear and had adequate level and the illuminated, blue meters were easily readable from the other side of the room. Due to the shortage of space during the performance, and the fact that I did not need to carry another box made packing up swifter and gave me more time to savour the 9th pint of Guinness.
Back in the studio, I listened on a variety of speakers: NS-10M, Mackie HR824, Dynaudio M4S and Linn 328As. The effect of the Air switch was immediately apparent on good monitors. There is no doubt that the seductive space generated by the reactive component is aurally attractive. The imaging of the different instruments, as well as some of the amusing conversation, was superb. It was just like being at the performance, which is exactly what I had hoped to capture. A little panning and tweaking finally yielded a CD that was as accurate a reproduction of the evening that I could hope for. The barman was certainly over the moon with his copy. Not only is he is an important sonic yardstick but also the purveyor of future bar tabs.
The value of being able to insert effects, and vary the balance between source and playback signals during overdubs and post processing (the latter being relevant to my recording) are salient features that no other pre-amp I can think of achieves with such simplicity. I used Logic Audio to import and play back the session material back into the line inputs through the compressors. They smoothed out the extremes of the recording (e.g. knocked over ashtrays, people shouting for another pint or a key change) with no appreciable signal degradation.)
The digital insert switching, latency-free monitoring facility and post processing signal paths all performed exactly as described in the operator's manual. The splitting of the analogue and digital domains, so that the unit's DAC is effectively a completely separate signal path, is neat. Placing two digital sections (provided you have purchased the optional ADC card) in one chassis, with an insert point, is particularly worthy of mention as an innovative design idea. Being able to route signals (linked through an internal DAC) back into the input, with external clock access both ways, makes for even more flexibility. Sound card/DAW owners will be pleased to see these features. Some designers may deem the latency-free monitoring claim to be cheating slightly. However, avoiding latency by monitoring and inserting before the ADC could also be viewed as a rather cunning and somewhat clever manipulation of the electronic architecture, thus avoiding the problem in the first instance. Why run into a brick wall, when you can drive around it!
Summary
One could always want more on a dual mic channel (full parametric EQ, for example). However, the downside of adding more features is that it often clutters the front panel, and also makes for a more expensive product, which would have been outside this particular unit's design focus. For functionality, there aren't really any mic pre-amps on the market in its price range that match it. With its high quality front end and converter performance it's difficult not to want one.
If you're after a clear, but sonically-coloured character to your recordings, such as you might get from discrete "classic" pre-amps, then you may prefer the sound of the Focusrite ISA or Red series modules, which employ transformer-coupled output stages with tertiary feedback. The catch is that a pair of units with this construction and similar features would be in the region of £1,200 plus, and that's second-hand. And you might also achieve this sound with Air switched in permanently on the TwinTrak Pro.
Having had the use of an OctoPre for 12 months now, I can vouch for the sonic integrity of the Platinum range to deliver high quality and consistent performance at an affordable price. Physically, the chassis construction of their units is very robust, as I don't recall our OctoPre returning from Glastonbury with any dents.
I think Focusrite's approach, to keep it clean and simple with a few, very useful features, reflects its pragmatic design goal. Make one good box do "exactly what it says on the tin", and provide quality, ease of use and of course, affordability.
Other views of FOCUSRITE TWINTRAKPRO (Click to enlarge):
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