Focusrite VoiceMaster Pro Channel Strip

FOCUSRITE VOICEMASTERPRO Details ^top

With every project, you need to capture that perfect vocal and make the sound your own. VoiceMaster Pro represents a new generation of voice recording equipment.

Many of the elements from the award-winning VoiceMaster have been innovated upon. In addition, the unit features a whole host of new processors designed to ensure you have all you require to make the most of the artist you're recording.

The award-winning Class A preamp captures every nuance from any source, whilst latency-free monitoring ensures direct and delay-free mix control. Tools such as the voice-optimised EQ, Vintage Harmonics and Tube Sound allow you to get creative with a touch of class, putting your own stamp on every recording.

All of this, combined with the optional 24 bit, 96 kHz digital output board means that VoiceMaster Pro is the perfect interface between your microphone and your DAW or other recording media, placing the ultimate tracking solution firmly within your grasp.

FOCUSRITE VOICEMASTERPRO Specs ^top

Specifications
Mic Input Response

• Gain range = 0dB to 60dB continuously variable

• Input Impedance = 1k4 Ohms from 10Hz to 200kHz

• EIN = 128dB measured at 60dB of gain with 150 Ohm terminating impedance and 20Hz/22KHz bandpass filter

• THD at minimum gain (0dB) = .0004% measured with +16dBu input signal and with a 20Hz/22KHz bandpass filter

• THD at maximum gain (60dB) = .003% measured with a –36dBu input signal and with a 20Hz/22KHz bandpass filter

• THD at maximum Input level (26.5dBu) = .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 = 10k Ohms from 10Hz to 200kHz

• Noise at main output with gain and fader set to unity (0dB) = -94dBu 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) = .0006% measured with 0dBFS (+22dBu)

• Input signal with a 20Hz/22kHz bandpass filter

• Frequency Response at unity gain (0dB) = 0.25dB down at 10Hz and –3dB down at 200kHz

Instrument Input Response

• Gain range = 0dB 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) = .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 (60dB) = 6dB down at 10Hz and –1dB down at 200kHz

Input Meter

6 LED 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:

• O/L dBFS (converter overload) = +22.4dBu (equivalent value)

• 0dBFS = +22dBu

• -3dBFS = +19dBu

• -6dBFS = +16dBu

• -10dBFS = +12dBu

• -20dBFS = +2dBu (average level to allow 20dB of headroom for EQ and Dynamics

High Pass Filter

• Roll off = 18dB per octave 3 pole filter

• Frequency Range = continuously variable from 30Hz to 400Hz measured at the 3dB down point

Optical Expander

• Threshold hold range = -20dBFS (0dBu) to –60dBFS (-40dBu)

• Expander ratio = 2:1

• Attack time = 750us

• Release time = 0.25s to 4s

• Noise with maximum expansion = -96dBu measured with a 20Hz/22KHz bandpass filter

• Signal to noise ratio relative to max headroom (27dBu) = 123dB

• Signal to noise ratio relative to 0dBfs (+22dBu) = 118dB

• 6 LED meter shows downward expansion calibrated in dB increments

Vintage Harmonics

• Threshold range = -10dBFS (+12dBu) to –40dBFS (-18dBu)

• Compression ratio Depth switch out = 1:1.5

• Compression ratio Depth switch in = 1:3

• Mid band centre frequency = 3.5kHz

• High band centre frequency = 20kHz

• Band Q = 0.2

• 6 LED meters show the amount of boost at the centre frequency of the band, meter calibrated in dB increments

Optical Compressor

• Threshold hold range = -15dBFS (7dBu) to –40dBFS (-18dBu)

• 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 +18dB

Tube Sound

• Harmonic generation = 2nd, 3rd and 5th harmonics generated from fundamental frequency of the incoming signal relative to position of the Drive knob

• THD with Drive knob at cool = 0.6% with a –10dBFS (+12dBu) 1kHz input signal measured with a 20Hz/22kHz bandpass filter

• THD with Drive knob at warm = 6% with a –10dBFS (+12dBu) 1kHz input signal measured with a 20Hz/22kHz bandpass filter

• The effect can be monitored visually using the drive led as follows: Blue to Green = Mostly 2nd with some 3rd, Yellow to Orange = More 3rd and 5th, Orange to Red = Large amounts of all harmonics above the fundamental frequency

• Tone = 6dB per octave roll off low pass filter

• Tone frequency Range = continuously variable from 4.5kHz to 30kHz measured at the 3dB down point
  

Voice Optimised EQ

Breath

• EQ shape = Shelving

• Peak frequency Shift switch out = 10kHz

• Peak frequency Shift switch in = 16kHz

• Gain range = +/-8dB

Mid

• EQ shape = Peak

• Centre frequency = 1.3kHz

• Q in boost mode = 0.5

• Q in cut mode = 2

• Gain range = +8 to -12dB
  

Absence

• EQ shape = Peak

• Centre frequency = 3.9kHz

• Q = 3.5

• Gain range = 0dB to -10dB

Warmth

• EQ shape = Peak

• Centre frequency range = 120Hz to 600Hz

• Q in boost mode = 0.5

• Q in cut mode = 2

• Gain range = +8 to -12dB

De-esser

• Threshold hold range = -10dBFS (+12dBu) to –40dBFS (-18dBu)

• De-esser ratio at centre frequency = 2:1

• Centre frequency range = 2.2kHz to 10kHz

• Q of cut = 3.5

• Attack time = 0.5ms

• Release time = 100ms

• Noise = -94dBu measured with a 20Hz/22KHz bandpass filter

Output Meter

• Calibrated for 0dBFS = +22dBu and indicates the level after the output fader being sent to both the internal AD converter and the VoiceMaster Pro XLR output

• O/L LED = is lit when any section of the unit (including the cans output) reaches a level greater than 0dBFS (actual level is +22.4dBu)
  

Please note: The power supply featured in VoiceMaster Pro is not a switching power supply. Consequently, 120v VM Pros are not suitable for use in 220-240v territories, and vice versa.

FOCUSRITE VOICEMASTERPRO Documentation ^top

VoiceMasterPro Brochure (pdf)
VoiceMaster Pro Userguide Multi-language
This is a multi-language userguide featuring English, French, Spanish, German, Italian and Japanese.

FOCUSRITE VOICEMASTERPRO FAQ ^top

Q: VoiceMaster Pro seems incredibly affordable for a Focusrite box. Is the VoiceMaster Pro the same quality as other higher-price Platinum products? Does it use the same components?
A: Yes. Recent developments in manufacturing technology mean that cutting-edge companies like Focusrite are now able to offer truly professional quality at much lower prices than ever before.

Q: Who is the VoiceMaster Pro designed for?
A: Professional and project level recording studios, radio and TV stations, post-production facilities and anyone who desires a higher level of performance than is typically available from a mixing desk.

Q: How many rack spaces does the VoiceMaster Pro occupy?
A: The VoiceMaster Pro is a 2U device.

Q: Is the VoiceMaster 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 Platinum VoiceMaster. Like all Platinum range products, the VoiceMaster Pro features a Class A mic pre. Class A devices allow audio to be processed in a more linear fashion, so put simply, the VoiceMaster 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 VoiceMaster 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 VoiceMaster 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 VoiceMaster 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: How does the VoiceMaster Pro enable latency-free recording?
A: Latency is often a problem when tracking vocals to DAW's - by the time the vocal signal has been recorded to disk AND returned to a monitoring device, significant delays have occurred, making it difficult to sing in time with pre-recorded tracks. The VoiceMaster Pro features a separate, stereo monitor section, and front panel controls allow the user to mix levels of vocal and main mix and e.g. reverb BEFORE they reach the A/D converter/DAW. (VoiceMaster Pro has a pair of monitor inputs and outputs, AND an FX loop send/return, so signals can be routed to headphones and mixed according to taste.)

Q: How do the Vintage Harmonics work? What effect are they emulating?
A: The Vintage Harmonics section has been designed to emulate the effect that was used by many famous recording artists like Queen in the 1970s. They would record tracks with Dolby A Noise Reduction on, then play back with Dolby off. The result was an enhanced set of harmonics in the upper mid-range and high frequency ranges of the sound spectrum. The VoiceMaster Pro's Vintage Harmonics recreates this effect using custom dynamics, (frequency-specific compression.) NB The Vintage Harmonics processing is in no way a noise reduction scheme and is in no way connected with the Dolby company.

Q: Does the VoiceMaster Pro feature the original VoiceMaster's Expander?
A: Yes, but it now features a new opto design, and also includes a dedicated, full-range, 6-LED meter.

Q: Has the VoiceMaster Pro compressor been updated over the original?
A: Yes, the new version uses the same opto-based circuit design, but the noise performance has been further improved.

Q: OK so it's easy, flexible, and sounds great. But what benefit do I gain from compressing in the first place?
A: Put simply, compressing any signal makes the loudest parts of that signal quieter and the quietest parts louder. This allows you to record higher levels to recording media without distortion, and produces a smoother overall result. However, there's a lot more to say about compression; if you're interested in this subject check out features

Q: Has the VoiceMaster Pro's Tube Sound circuit been enhanced?
A: Yes, it now includes a tone control as well as a drive control, so you can now choose exactly in what way you will get down and dirty, as well as to what extent! There's also an ever-changing super-large 3-colour LED, which is sexy as hell.

Q: Can any of the processing blocks be moved around like on the ISA 430?
A: Yes, the Vintage Harmonics section can be pre- or post-compressor, and the compressor can in turn be pre- or post- EQ: Hence these three sections can be arranged in four different signal flow positions!

Q: Is the de-esser similar to the original VoiceMaster?
A: No. It uses the design from our world-class ISA 430 model, (de-esses ultra-cleanly via phase-cancellation) and includes the 'listen' feature, which enables the user to 'solo' the sibilant sounds to enable simple and quick setting up.

Q: I want the classic sound of analogue compression, but can I convert the output to a digital audio signal before I leave the box?
A: No problem, the VoiceMaster Pro uses the same 24-bit/96 kHz A/D card option as the TrakMaster and PentA: (S/PDIF only, 24 bit only, all sample rates supported, 44.1 thru 96kHz.) The external ADC input on the rear panel means that the VoiceMaster Pro can be used as a stand-alone 24/96 A/D converter.

Q: Can the analogue and optional digital outputs be used at the same time?
A: Yes they can, a fact which makes the VoiceMaster Pro ideal for use when backing-up digital recordings to analogue tape.

Q: The input meter is set to a 'digital scale.' What does that mean?
A: The meter is calibrated to read 0 dBfs at the top of the meter. This has been set up to enable simple metering - making sure digital clipping does not occur when recording to digital media. The best level to set for recording depends on your recording medium. If recording to analogue media e.g. tape, where extra headroom may be required for later EQ-ing etc, a level of -18 dBfs will give a suitable +4 dBu equivalent output. So if your input meter level is lower than you are used to seeing with traditional 'analogue scale' meters, this is not necessarily a problem.

Q: Is it easy to see signal levels at each stage?
A: Yes, there are now 6-stage LED meters for input, expander gain reduction, Vintage Harmonic gain boost for each band, compressor gain reduction, and de-esser, PLUS a custom, back-lit, Ocean Blue peak-reading Focusrite VU meter.

Q: What does the back panel of the VoiceMaster Pro look like?
A: From right to left; mic input XLR, line input jack, insert send/ return jacks, XLR balanced main- and pre-de-ess- outputs, jack unbalanced main output, FX send and stereo return (to allow a feed of e.g. a reverb unit to the monitor circuit,) L+R monitor input jacks, L+R monitor output jacks, and ADC input jack (allowing connection of 2 x VoiceMaster Pro to 1 x A/D option.) See specifications

Q: What other unique features does the VoiceMaster Pro have?
A: Variable hi-pass filter, phase reverse, phantom power, hard/soft knee and slow/fast attack compressor configurations, Focusrite audio quality throughout, hard bypass for each individual section as well as global bypass, frequency shift in the HF and control of depth of notch filter in the hi-mid EQ circuits.