Platinum TrakMaster - Instruction manual FOCUSRITE - Free user manual and instructions

USER MANUAL Platinum TrakMaster FOCUSRITE

Important Safety Instructions .....2

Connecting Up 4

Distributor List ....57

Introduction 5

Rear Panel Connections and switches 5

Getting Started ....5

Facilities and Controls ....6

Obtaining a good quality vocal sound 9

Obtaining a good quality electric guitar sound 9

Impoving sound quality using the 3-band Equaliser .....10

Mixing Down....10

A Beginner's Guide to Compression....11

A Beginner's Guide to Equalisation ....13

Frequently Asked Questions ....13

Troubleshooting .....14

Contacting Us....14

Inhalt

IMPORTANT SAFETY INSTRUCTIONS

Read all of these instructions and save them for future reference. Follow all warnings and instructions marked on the unit.

• Do not obstruct air vents in the rear panel. Do not insert objects through any apertures.
  ●Do not use a damaged or frayed power cord.
  ●Unplug the unit before cleaning. Clean with a damp cloth only. Do not spill liquid on the unit.
• Ensure adequate airflow around the unit to prevent overheating. We recommend leaving a blank 1U panel above the unit to aid ventilation.
  ●Unplug the unit and refer servicing to qualified service personnel under the following conditions:

If the power cord or plug is damaged; if liquid has entered the unit; if the unit has been dropped or the case damaged; if the unit does not operate normally or exhibits a distinct change in performance. Adjust only those controls that are covered by the operating instructions.

- Do not defeat the safety purpose of the polarised or grounding-type plug. A polarised plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wider blade or the third prong are provided for your safety. When the plug provided does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.

WARNING: 'THIS UNIT' MUST BE EARTHED BY THE POWER CORD UNDER NO CIRCUMSTANCES SHOULD THE MAINS EARTH BE DISCONNECTED FROM THE MAINS LEAD.

This unit is capable of operating over a range of mains voltages as marked on the rear panel. Ensure correct mains voltage setting and correct fuse before connecting mains supply. Do not change mains voltage settings while mains supply is connected.

To avoid the risk of fire, replace the mains fuse only with the correct value fuse, as marked on the rear panel.

The internal power supply unit contains no user serviceable parts. Refer all servicing to a qualified service engineer, through the appropriate Focusrite dealer.

Digital Output Option [see separate documentation for connection guidance] Hocuistate Line OUTPUT Line INPUT ASCUT INPUT Balanced Jack Unbalanced Jack Balanced Jack From Mose structure Insert Seal Tip Ring Sleeve Ring Tilt/MP, Tilt/MP or Mass Insert Beams Mixed Console Tape Machine/Hard Disc Recorder Synth Mixing Console

Focusrite REC RIVER RESET AFTER SIGN 1.0 V 1.0 V 1.0 V 1.0 V 1.0 V 1.0 V 1.0 V 1.0 V 1.0 V 1.0 V 1.0 V 1.0 V 1.0 V 1.0 V 1.0 V 1.0 V 1.0 V 1.0 V 1.0 V 1.0 V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0M 1.0M 1.0M 1.0M 1.0M 1.0M 1.0M 1.0M 1.0M 1.0M 1.0M 1.0M 1.0M 1.0M 1.0M 1.0M 1.0M 1.0M 1.0M 1.0M 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0V 1.0S 1.0S 1.0S 1.0S 1.0S 1.0S 1.0S 1.0S 1.0S 1.0S 1.0S 1.0S 1.0S 1.0S 1.0S 1.0S 1.0S 1.0S 1.0S 1.0S 1.0T 1.0T 1.0T 1.0T 1.0T 1.0T 1.0T 1.0T 1.0T 1.0T 1.0T 1.0T 1.0T 1.0T 1.0T 1.0T

INTRODUCTION TO THE TRAKMASTER

The TrakMaster is an analogue mono channel strip, with an optional 24-bit/96 kHz high quality digital output. It combines a range of tools in one compact unit, providing the project studio engineer, producer or musician with the perfect analogue solution for recording and mixing a wide range of instruments.

The TrakMaster comprises a discrete transistor Class A microphone preamplifier, balanced line input, direct instrument input, optical compressor and 3-band equaliser. There is also an optional 24-bit/96 kHz high quality digital output. When recording, you don't necessarily need to route your signal through your mixing console; simply connect a microphone or instrument to the appropriate input on the TrakMaster, and feed its output directly into your recorder (such as a PC soundcard, hard disk recorder, DAT machine or other tape machine). This will ensure you record the cleanest signal at the highest quality, since it removes the possibility of noise or distortion being added to the signal by a mixer.

The easiest way to learn how to use the TrakMaster, particularly if you are unfamiliar with the principles of its individual processing sections, is to try each control in turn. Finally, try them all together to enjoy the full creative potential of your TrakMaster!

REAR PANEL CONNECTIONS AND SWITCHES

The TrakMaster features a line level input on a balanced (+4 dBu) TRS jack. This input can also take an unbalanced (-10 dBV) jack connector. There are two line level outputs, both on TRS jacks. One of these outputs is balanced (+4 dBu), and is suitable for use with professional equipment with balanced inputs, such as professional mixing consoles and recorders; the other is unbalanced (-10 dBV), to match semi-professional or consumer mixers, recorders and soundcards. These outputs can be used simultaneously, so that it's possible to monitor the signal being sent to the recorder with zero latency – an important concern in computer-based recording systems. For more information on unbalanced and balanced connections please see the Frequently Asked Questions section on page 13.

Control panel interface with buttons and display icons, labeled 'CE' and 'R100'

GETTING STARTED

SETTING UP THE UNIT FOR RECORDING

- Ensure that nothing other than the mains supply is connected to your TrakMaster, then switch it on via the POWER switch on the right hand side of the unit.

- Connect the line output of the TrakMaster to your recorder, via a balanced (TRS) or unbalanced 1/4" jack connector, choosing +4 dBu or -10 dBV to match the input levels on your recorder or soundcard. If you are unsure of which level is required, refer to the user guide of your recording device.

- Ensure that the LINE switch is disengaged if you are recording a source connected to the MIC INPUT or INSTRUMENT input. If recording a line level source connected to the rear panel LINE INPUT, ensure the LINE switch is engaged.

- Ensure that INPUT GAIN and FADER are set fully anti-clockwise.

- Connect a microphone to MIC INPUT on front panel via an XLR cable, or an electric guitar or bass to the INSTRUMENT input via a 1/4" jack. If you wish to record a line-level source, connect it to the rear panel LINE INPUT using a balanced (TRS) or unbalanced 1/4" jack.

- If using a microphone that requires phantom power, switch +48V in. If you are unsure whether your microphone requires this phantom power, refer to its user guide, as phantom power may damage some microphones.

- Increase the INPUT GAIN control, ensuring that the green SIG LED is always illuminated, and that the red O/L LED does not illuminate when the loudest signal is present.

- If using a microphone, ensure that the microphone placement is correct. Before you start recording, listen to the sound from the microphone with all parts of the TrakMaster switched out (IN buttons not lit), and alter the microphone placement until you get close to the sound you want. Note that moving the microphone may have an effect on the level of the signal entering the TrakMaster, requiring an alteration to the gain setting.

- If required, add compression using the OPTICAL COMPRESSOR, ensuring that you use the MAKEUP gain control to restore the maximum volume to its original level. When settling compression, it is better to apply too little than too much. Have the COMPRESSION control quite low and do not use the TIGHT function. If you are looking for a classic analogue tape or valve sound, use the TUBE SOUND control.

• If necessary, use the 3-BAND EQUALISER to set the desired tonal quality.
- Use the FADER to set the final output level (see instructions in Facilities And Controls section of this manual.)

FACILITIES AND CONTROLS

POWER - turns the unit on and illuminates the blue LED directly below it. We recommend that the unit be powered up before connecting to any other equipment that it is feeding, to avoid clicks or thumps which may harm output devices. It is best to allow the unit to stabilise for a couple of minutes before use to ensure that the internal circuitry is properly initialised.

DISCRETE PRE-AMP

This part of the unit is a discrete transistor preamplifier, for matching the level of a choice of incoming signals to the internal working level of the OPTICAL COMPRESSOR and 3-BAND EQUALISER stages that follow.

Focusrite +40V REC INPUT INSTRUMENT COCKSITE REC-APR INPUT GAIN LINE DC DIL

+48V switch - This provides +48V of phantom power for condenser microphones when engaged. This switch affects the MIC INPUT only. If you are unsure whether your microphone requires phantom power, refer to its user guide before connecting, as it is possible to damage some microphones by providing them with phantom power.

MIC INPUT - This is an XLR input to be used with a microphone. This input is only active when the LINE switch is disengaged. Inserting a 1/4" jack in the INSTRUMENT INPUT automatically cuts the MIC INPUT signal.

INSTRUMENT - This is a high impedance 1/4" jack input that allows you to connect an electric guitar or bass guitar to the unit without loading the pickups, and without the need for a DI box. A synth with a low output level may also be connected here. This input only functions when the LINE switch is disengaged.

INPUT GAIN - This sets the level of the incoming signal from the selected input. Connect an input signal to the unit, ensuring that the INPUT GAIN control is set fully

anti-clockwise, and increase the INPUT GAIN so that the green SIG LED is always illuminated when there is a signal present. The red O/L (Overload) LED may light occasionally, but only if the input signal gets particularly loud. If the O/L LED stays on continuously for any period, or you hear the unit distort during loud peaks, you should reduce the INPUT GAIN.

LINE switch - When engaged, this selects the rear LINE INPUT, instead of the front panel inputs (MIC INPUT and INSTRUMENT.) When disengaged, the front panel inputs are selected. If a microphone and instrument are connected simultaneously, the INSTRUMENT input will override the MIC INPUT.

HPF (J) switch - This is a high-pass filter, which removes unwanted low frequencies such as rumble from microphone stands, or 'proximity effect' (where low frequencies are over-emphasised when using certain types of microphone at close distances.) This switch affects the MIC INPUT only.

OPTICAL COMPRESSOR

The TrakMaster's compressor uses opto-based technology, which gives more pleasant distortion characteristics and faster response than low-cost, VCA-based compressors. The optical compressor acts like an automatic volume control, turning down the volume of a signal if it gets too loud. It reduces variation between loud and quiet passages, as it automatically reduces the gain when the signal rises above a certain volume (the 'threshold'). Therefore, it tends to even out a performance, stopping the instrument from leaping out of the mix, or disappearing into it. Compression can also make things sound louder, without actually increasing the peak level. (For more information on compression, refer to the Beginner's Guide to Compression on page 11)

OFFCAL COMPRESSOR COMPRESSOR TIGHT PUNCH 20 -14 -12 -9 -4 -2 GAIN REDUCTION RELEASE TUNE SOUND MAKEUP HOT STOP COCK RADI +30 POST 50 COMP 84

COMPRESSION – This sets the volume level, or 'threshold', at which compression begins, affecting how much of the signal is being compressed. Turning the COMPRESSION control clockwise increases the amount of the signal that the compressor affects – giving more compression. Turning the control anti-clockwise decreases the amount of the signal that the compressor affects – giving less compression.

TIGHT switch - This switch gives a harder compression 'ratio' (6:1) when engaged. This means that the level of signals exceeding the 'threshold' will be even further reduced.

This switch should be used when you want the compressor to keep the volume of an instrument at a very consistent level throughout its performance, and is best suited to sources such as guitars, bass guitars and drums. When the switch is disengaged, a softer compression 'ratio' (3:1) is used. This will keep more of the contrasts in volume of the original performance. This approach may be more suitable for vocals.

PUNCH switch - The speed with which a compressor reacts to signals louder than the 'threshold' volume alters the way the compressor sounds. If the compressor reacts quickly, the attack of a note might sound squashed. Sometimes this is desirable, but if the time taken for the compressor to react is increased, the attack of each note isn't squashed as much, therefore making the compressed signal sound 'punchier'. Use this function to restore punch that is lost due to compression.

GAIN REDUCTION meter - Before MAKEUP gain is applied (see below), the compressor reduces the volume of loud signals. The GAIN REDUCTION meter shows how many dB of gain reduction the compressor is causing. The more gain reduction, the more heavily you are compressing. This meter is also a useful guide to how much MAKEUP gain will be required in order to restore the original signal volume.

RELEASE - This determines how quickly compression dies away once the volume of the source signal has fallen below the 'threshold' at which the compressor reacts. When in the anti-clockwise position, compression is released very quickly, which may be appropriate for signals that vary rapidly in volume, as this allows the compressor to recover before beats that follow. However, a short release time can lead to distortion on more sustained material. Slower release times give a smoother effect, and may result in audible 'pumping', which may help a piece of music sound more exciting, but may not always be appropriate. Increasing the RELEASE control introduces a programme-dependent slower release time.

TUBE SOUND – The TrakMaster contains circuitry that simulates the warmth normally associated with tube or tape distortion. The TUBE SOUND control allows you to add as much of this warmth as you like. This control is especially useful for adding character when recording onto a digital medium.

MAKEUP - Since compressing a signal makes loud parts quieter, the maximum volume of the performance will now be lower than it was before being compressed. Therefore, it is necessary to restore the maximum volume level back to its original value. Note that this has the effect of making quiet elements louder, raising the perceived overall volume level of the signal.

To set the MAKEUP gain correctly, switch the OPTICAL COMPRESSOR in and out whilst slowly increasing the MAKEUP control from its anti-clockwise position. The MAKEUP gain will be set correctly when the peak reading on the OUTPUT LEVEL meter (on the far right of the unit) reads the same whether the OPTICAL COMPRESSOR is switched in or out. The compressed signal should sound slightly louder than the uncompressed signal.

POST EQ switch — When engaged, this switch causes the OPTICAL COMPRESSOR section to process the signal after the 3-BAND EQUALISER section. This is useful because boosting or cutting frequencies in the 3-BAND EQUALISER section will alter the signal that the OPTICAL COMPRESSOR reacts to.

For example: a very bass-heavy guitar is compressed, then EQed. The low frequencies will exceed the threshold and cause compression of the whole signal. If the EQ is applied first, and some of the low frequencies are attenuated, the compressor will not respond to these low frequencies so much.

COMP IN switch – When engaged, this illumintaed switch makes the OPTICAL COMPRESSOR section of the TrakMaster active. To bypass this section, leave the switch disengaged.

3-BAND EQUALISER

The 3-BAND EQUALISER (or 'EQ', as it is more commonly known) section of the TrakMaster allows you to cut or boost certain frequencies. The TrakMaster EQ is particularly versatile because the BASS and TREBLE bands can each be switched between VOCAL and INSTRUMENT modes, giving a choice of voice-optimised EQ (with bell-shaped sweepable low mid band and 10 kHz shelving high frequency band) or instrument EQ (with shelving sweepable low frequency band and 3 kHz shelving high frequency band.)

The use of EQ can be either 'creative' or 'corrective'. 'Creative' use of EQ is when it is used to enhance the sound – usually by boosting desirable frequencies (although this is not always the case.) 'Corrective' use of EQ is when it is used to remove some unwanted sound or unpleasant frequency – usually by attenuating the offending frequency ranges. It is always a good policy to get as natural a recorded sound as possible from the source before any processing (compression or EQ) is applied. This will make the application of any future processing much easier and more natural sounding.

3 BAND EQUALISER SAIN FREQ PRESERV GAIN TRIPLE GAIN EQ RAT RAC RAT RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC RAC

BASS GAIN - This allows you to cut or boost frequencies below or around the frequency selected by the FREQ control, depending on which mode has been selected by the INST/VOCAL switch. The control offers up to 12 dB of boost and up to 14 dB of cut.

BASS INST/VOCAL switch - When this switch is engaged (INST mode), the BASS controls act as a low frequency shelving EQ. When disengaged (VOCAL mode), the BASS control acts as a low-mid band parametric EQ. (See the Guide To Equalisation on page 13 for more information on these terms.)

BASS FREQ - This control allows you to select which frequency you want the BASS GAIN control to cut or boost from. In INST mode, the FREQ control selects values in the range 25-400 Hz. In VOCAL mode, the FREQ control selects values in the range 50-800 Hz.

PRESENCE - This allows you to cut or boost hi mid frequencies (1.5 kHz). It offers up to 12 dB of boost and 15 dB of cut. Boosting these hi mid frequencies adds presence to the signal, allowing sounds to cut through the mix.

TREBLE GAIN - This shelving EQ allows you to cut or boost high frequencies by +/- 14 dB. The frequency is switchable between two values using the INST/VOCAL switch.

TREBLE INST/VOCAL switch – When this switch is engaged (INST mode), the TREBLE GAIN control operates on frequencies above 3.3 kHz. When disengaged (VOCAL mode), the TREBLE GAIN control operates on frequencies above 10 kHz.

EQ IN switch - When engaged, this illuminated switch makes the 3-BAND EQUALISER section of the TrakMaster active. To bypass this section, leave the switch disengaged.

OUTPUT LEVEL

OUTPUT LEVEL FADER POWER PLATINUM TRAK MASTER KOCAL & INTRAPENT CHANNELS

OUTPUT LEVEL meter - This meter shows the level of the signal leaving the TrakMaster. You should aim for the meter to peak at the 0 LED, without illuminating the O/L (overload) LED. It is especially important not to overload the output when using the optional digital output, as this will cause severe and unpleasant distortion, even if overloading is brief.

FADER - This is used to match the output volume level from the TrakMaster to the input level of the next unit in the chain (e.g. sound card, hard disk recorder, tape machine,

mixer etc.) When setting the output level, always start with this control set fully anti-clockwise and increase the output level until you reach the correct level – do not start with the FADER set high, as it may damage the next unit in the chain.

If inserting the TrakMaster into a channel of a mixing console, set the FADER at 0 (roughly its 3 o'clock position), and adjust the levels using the console.

DIGITAL OUTPUT

In addition to the analogue outputs, a high quality 24 bit, 128 times oversampled digital output may be fitted as an option, which can operate at sample frequencies of 44.1, 48, 88.2 or 96 kHz. All of the following functions are available on the rear panel when this option is fitted:

ADC EXT INPUT SPDR 70 25 400 300Ω 25 400 10K EXT VIDEO CLOCK INPUTS DIGITAL OUTPUT

ADC EXT INPUT (rear panel) – This line level input on the rear panel allows an additional signal to be routed through the spare channel of the stereo digital output.

SPDIF OUTPUT - This 24 bit output is SPDIF format on an RCA phono connector. If 16 bit resolution is required, the receiving device should dither the 24 bit signal to achieve 16 bit performance.

SAMPLE FREQUENCY - Two switches give a choice of four sample frequencies as marked on the rear panel. The left hand switch selects between 44.1kHz (switch out) and 48kHz (switch in), and the right hand switch doubles the selected frequency.

EXTERNAL WORDCLOCK - If an external wordclock source is fed to the BNC connector, the TrakMaster will attempt to synchronise to it. When the unit is correctly locked to the external clock source the ADC LOCK LED (on the front panel) will light to indicate correct operation. In this case the ADC LOCK LED should be continuously lit. If this flickers it indicates bad jitter on the synchronising signal which would need investigation of the wordclock generating device.

OBTAINING A GOOD QUALITY VOCAL SOUND

MICROPHONE POSITIONING

For a natural sound without pops, position the microphone at a distance of about 1 metre from the singer. Recording vocals requires a different technique to that used when singing on stage, where the vocalist usually sings with the microphone touching his or her lips, so your vocalist may find it difficult to perform a long way from the mic. If this affects the performance (or if the vocal sounds weak), allow the vocalist move closer, but use a pop shield on the mic. It may also be necessary to use the High Pass Filter in the Discrete Transistor Input section to remove excessive bass caused by this technique.

USING THE OPTICAL COMPRESSOR

If the vocalist is having difficulty staying a consistent distance from the microphone, the recorded performance will get softer and louder as the distance from the mic varies. The vocalist may also vary the volume of their performance to such an extent that when they are singing loudly, the vocal is far too dominant, and when they are singing quietly, the vocal is lost in the mix. To even out these variations, use the OPTICAL COMPRESSOR set as follows:

• COMPRESSION set around 9 o'clock
• TIGHT and PUNCH switches disengaged
- RELEASE set around 12 o'clock
• TUBE SOUND set fully anticlockwise
• MAKEUP set around the '4' position

Depending on the variations in the vocalist's volume level, you may need to increase the COMPRESSION control until the vocal level sounds more consistent.

If the vocalist's performance is very 'dynamic' (going from soft to very loud, as described earlier), try setting the OPTICAL COMPRESSOR as follows:

• COMPRESSION set around 12 o'clock
• TIGHT switch engaged
• PUNCH switch disengaged
- RELEASE set around 12 o'clock
• TUBE SOUND set fully anticlockwise
• MAKEUP set around the '10' position

Compression avoids overloading the input to the 3-BAND EQUALISER during loud parts of the performance. The RELEASE time is set as short as possible, to avoid compressing the quiet parts of the performance.

SPOKEN WORD

When recording the spoken word, use the BASS control to boost the low frequency areas with the INST/VOCAL switch set to the VOCAL position. As voices differ in pitch,

adjust the FREQ control until you get a deep, resonant and powerful-sounding voice. This is the sort of effect used by radio DJs.

BACKING VOCALS

Backing vocals are normally heavily compressed, since you want them to have a continuous presence without volume variations. Set the OPTICAL COMPRESSOR as follows:

• COMPRESSION set around 3 o'clock
- TIGHT switch engaged
• PUNCH switch disengaged
- RELEASE set around 12 o'clock
• TUBE SOUND set fully anticlockwise
• MAKEUP set around the '13' position

To stop the backing vocals sounding too 'fat' and overpowering, reduce the bass with the BASS control, ensuring that the INST/VOCAL switch is set to the VOCAL position. Also, use the TREBLE control (with the INST/VOCAL switch in the VOCAL position) to boost the higher frequencies.

OBTAINING A GOOD QUALITY ELECTRIC GUITAR SOUND

USING THE 3-BAND EQUALISER

With a guitar plugged into the instrument input, you should get a great sound straight away. Use the 3-BAND EQUALISER to get the sound you want; in particular:

• Set the INST/VOCAL switch is set to the INST position. Then, using the BASS control to boost frequencies below 250 Hz, you can add more 'body' to the sound.
• Boosting the PRESENCE control should give more 'bite' to the guitar sound.
• When cutting the BASS and TREBLE controls, and boosting the PRESENCE control, a 'lo-fi' guitar sound can be achieved. This effect works well when there are two or more guitars, only one of which is being treated in this way.

USING THE OPTICAL COMPRESSOR

It is normally a good idea to add compression to an electric guitar. This will even out inconsistencies in volume, helping it to sit nicely in the track. Compression will also have the effect of adding more sustain to a guitar. Try starting with the OPTICAL COMPRESSOR set as follows:

• COMPRESSION set around 12 o'clock
• TIGHT switch engaged
• PUNCH switch engaged
- RELEASE set around 3 o'clock
• TUBE SOUND set as desired
• MAKEUP set around the '10' position

ADDING EFFECTS USING FOOT PEDALS

Plug all foot pedals between the guitar and the TrakMaster. Put the OPTICAL COMPRESSOR in bypass (switch disengaged) and use the 3-BAND EQUALISER to set the tone you want, then switch in the effects you want to use. If necessary, use the 3-BAND EQUALISER to modify the tone after the effects have been added.

RECORDING ELECTRIC BASS

Since it is normally desirable for the bass to stay at a consistent volume in the rhythm track, it is common to add a quite a lot of compression. Set the OPTICAL COMPRESSOR as follows:

• COMPRESSION set around 12 o'clock
• TIGHT switch engaged
• PUNCH switch engaged
- RELEASE set around 3 o'clock
• TUBE SOUND set as desired
• MAKEUP set around the '10' position

Try experimenting with the RELEASE control and the TIGHT switch to get the sound you want. If you want a punchier bass sound, engage the PUNCH switch. If you want a more rounded bass sound, leave the PUNCH switch disengaged. For a funky sound when slapping, set the COMPRESSION control quite high, engage the TIGHT switch, and leave the PUNCH switch disengaged.

Use the BASS control (in INST mode) to give the bass guitar more depth. The FREQ control should sound best when set between 60 Hz and 150 Hz. Use the PRESENCE control to add more of the upper harmonic content that gives punch (or the 'click' sound when using a plectrum.)

IMPROVING SOUND QUALITY USING THE 3-BAND EQUALISER

The TrakMaster's equalisation section is extremely versatile. The choice of VOCAL and INST modes for both the low frequency and high frequency bands ensures that no matter what kind of material you're processing, the EQ can do exactly what you need it to do. You can use the 3-BAND EQUALISER to fix the following problems:

Muddy: Use the BASS control to reduce some of the low frequencies. Solo the track, set the BASS control to full cut, and adjust the FREQ (in either INST or VOCAL modes) until the sound is more balanced. Then listen to the track in context with the rest if the mix, and adjust the amount of cut on the BASS control to give the correct sound in context. If necessary you may also need to increase the amount of TREBLE (in VOCAL mode if dealing with vocals).

Flat: Increase the PRESENCE control. You may need to increase the amount of TREBLE (in VOCAL mode if dealing with vocals), and then some BASS if the result has too much top end. However, beware of overdoing this effect by adding too much.

Harsh: Use the PRESENCE control to reduce the strength of these frequencies. You may also want to add some BASS, and if necessary, reduce some TREBLE.

Lost in the mix: Increase the PRESENCE control. Avoid using too much BASS as you will be boosting frequencies in the same range as other instruments on the track.

MIXING DOWN

When mixing down the final multitrack recording of your song, the TrakMaster can be connected in one of two ways:

Connect the selected output channel of your recorder to the line input of the TrakMaster, and connect the line output of your TrakMaster to the selected line input of your mixer.

Use the insert point on the channel strip of your mixing board to insert the TrakMaster using its line input and output.

Don't be afraid to be outrageous when mixing down. For example, don't always try to make the vocal sound natural, since one that stands out in the mix is often heavily effected. In pop music, the vocal is invariably heavily compressed, and has equalisation added. In the OPTICAL COMPRESSOR section, try using the TUBE SOUND control to give an analogue tape/tube sound.

A BEGINNER'S GUIDE TO COMPRESSION

Compressors are probably the most widely used signal processors in the audio industry. A compressor can be thought of as an automatic volume control. Once the volume of the input signal exceeds a certain level (called the threshold), the compressor reduces the gain (or, in other words, 'turns the volume down'), causing the signal to be less loud than it would otherwise have been.

OUT Compression Range IN

The amount by which the compressor reduces the gain is determined by the ratio. The ratio is conventionally expressed as a numerical value, e.g. '4:1', which represents the amount by which the gain is reduced when the volume of the signal rises above the threshold. This is based on dB - if a ratio of 4:1 is set, an input signal exceeding the threshold by 4 dB will cause only a 1 dB increase in level at the output.

Compression has the result that any variations in the volume of the signal (in other words, the signal's dynamic range – the difference between the minimum and maximum levels of a signal) are reduced. The amount of this reduction is determined by the threshold (the level above which the gain is reduced) and the ratio (the amount by which the gain is reduced.) Higher ratios are referred to as hard ratios; lower ratios are called soft ratios.

Because compression causes a reduction in volume level of loud signals, gain must be applied after the compressor to bring the overall volume level back up, so that the maximum volume before the compressor is the same as that after the compressor. This is called makeup gain, and is necessary so that the maximum level of the signal is always the same, for correct level matching with any further processing or other equipment.

Once makeup gain has been applied, the quieter parts of the signal that were lower than the threshold volume (and hence not compressed) will now be louder than they were before entering the compressor. This will cause any compressed instrument to sound louder. One use for this phenomenon is to give guitars more sustain.

In most pop music, the backing instruments (such as drums, bass guitars, rhythm guitars etc) tend to be compressed heavily (using a fairly hard ratio and low threshold), so that they remain at a consistent volume level throughout the track. This will provide a solid backing, without occasional drum hits or bass notes poking through (or disappearing from) the mix untidily.

A soft ratio tends to be used on instruments such as lead guitars or vocals that 'sit' on top of the mix. In this situation it is desirable to preserve more of the dynamics of the original performance, to retain more expression. A reduction in variation of volume level is still required (for the reasons mentioned above), but not to the same extent.

Here's an example of the effects of threshold, ratio and makeup gain using some real numbers. Suppose the threshold of the compressor is set to -10 dB and the ratio is set to 4:1. An input signal with a peak at -6 dB (4 dB above the threshold) would be output from the compressor with a peak at -9 dB (1 dB above the threshold).

Signal levels below the threshold are unaffected, so if the level of the signal in the above example varied between -20 dB and -6 dB before entering the compressor, it will vary between -20 and -9 dB after being compressed. In other words its dynamic range (the difference between the quietest and loudest parts of the signal in dB) is reduced from 14 dB to 11 dB. Following this compression, 3 dB of makeup gain would be applied to bring the peak back up to -6 dB. Note that this will bring the minimum signal level up from -20 dB to -17 dB, and so the perceived loudness of the signal will thus be increased, although the peak will still be at -6 dB.

The other controls included on most compressors are attack and release.

Attack determines the speed at which the compressor starts to reduce the gain once the threshold has been exceeded. Think of it as the time taken to turn the volume down. Very short attack times mean the compressor 'kicks in' very quickly – short attack times are typically used for vocals in order to keep the levels under strict control. Longer attack times mean more of the original signal's attack dynamics are preserved – this is a good way of keeping percussive and guitar sounds exciting and punchy.

Release determines the speed at which the compressor stops acting once the signal drops below the threshold. Think of it as the time taken to turn the volume back up.

Before Compression Attack During Compression

During Compression Release After Compression

Short release times mean the compressor very quickly returns the signal to its normal level. This can produce a 'pumping' sound, where the changes in volume are very audible. Depending on the style of music, this can be undesirable, or a useful creative effect. Longer release times may mean that parts of the signal below the threshold end up being compressed, or that the gain doesn't have a chance to return to normal before the next 'above threshold' sound – remember that the compressor works on the whole signal. See the diagram below:

Original Signal Compression Threshold Fast Release Overall Level Leuder Compressed Level Slow Release This Portion Over Compressed Compressed Overall Level Quieter

Check out http://www.focusrite.com/features for links to more information on the subject of compression.

A BEGINNER'S GUIDE TO EQUALISATION

Equalisers are also widely used in the audio industry, and are effectively just tone controllers, though a bit more involved than those found on most hi-fi systems. They allow you to cut or boost certain frequencies or frequency bands within the audio signal.

There are two main applications for using equalisation, or EQ (as it's more commonly known). The first is 'creative' use. This involves enhancing a sound that is already present in some desirable way. Typical examples might involve boosting lower frequencies to give more depth, or boosting the high frequencies to give more of a 'sparkle' to a sound. Because the precise frequencies that give these qualities will vary from instrument to instrument, it is sometimes necessary to be able to adjust the point at which frequencies will be cut or boosted by the EQ, as well as the amount of cut or boost.

The other main application of EQ is 'corrective' use. This involves using EQ to remove or reduce the level of unwanted frequencies. Here are a few examples of 'corrective' use of EQ:

• Cutting low frequencies to reduce 'proximity effect', where low frequencies have been over-emphasised as a result of close miking with certain types of microphone.
  • Cutting the frequencies that may cause a vocal to sound boxy, nasal or harsh.
• Cutting the frequencies that may cause a drum to ring undesirably.

EQ exists in various forms. The TrakMaster offers two sorts of EQ: 'shelving' and 'parametric' (see Facilities And Controls for more details). Shelving EQ boosts or cuts all frequencies above or below a specific frequency. Low shelving EQ boosts or cuts all frequencies below a certain frequency, whereas high shelving EQ boosts or cuts all frequencies above a certain frequency.

Parametric EQ allows the user to focus in on a specific band of frequencies in order to cut or boost them. This is particularly useful for 'corrective' applications of EQ as the offending frequency may be honed in on, and its gain reduced. It is also useful for 'creative' applications, for example giving presence to a vocal.

Check out http://www.focusrite.com/features for links to more information on the subject of EQ.

FREQUENTLY ASKED QUESTIONS

Q. My TrakMaster gets quite hot when in use. Should I be worried about this?

A. No. This is a result of the high-quality Class A circuitry inside your TrakMaster and should not be a problem. As a precaution, it is wise to rack hotter units lower down your rack than cooler units (see next FAQ). If space is available, fit a blank panel between units to allow extra ventilation.

Q. Where in my rack should I put my TrakMaster?

A. It is generally a good idea to place hotter units lower down your rack. This is because the air that is heated from each unit in the rack will rise to the top of the rack, placing the uppermost units in a hotter environment. Therefore, a hot unit at the top of a rack will get even hotter.

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. The +4 dBu/-10 dBV switches on the rear of the TrakMaster allow you to use the TrakMaster's outputs at either operating 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. +4dBu devices are usually connected using a TRS (stereo) 1/4" jack, or XLRs. This is known as a 'balanced' connection.

Q. Should I use balanced connectors with my TrakMaster?

A. The TrakMaster may be run balanced or unbalanced, although it is best to use balanced connectors where possible. If you want to connect your TrakMaster to a device with XLR connectors, construct or purchase a cable that is wired as follows:

TROUBLESHOOTING

No LEDs illuminate

• Is the POWER switched on?

- Is the voltage selector next to the mains connector on the rear of the unit set correctly? If set incorrectly, the fuse may blow, requiring the correct fuse to be refitted and the voltage to be correctly set.

No output when using the Line Input

• Is the POWER switched on?

- Is the LINE switch on the front panel switched in?

• Is the GAIN set correctly? (See 'Facilities and Controls' section for details.)

• Is the FADER set correctly? (See 'Facilities and Controls' section for details.)

No output when using the Mic Input

• Is the POWER switched on?

- Is the LINE switch on the front panel switched out?

• Is the GAIN set correctly? (See 'Facilities and Controls' section for details.)

• Is the FADER set correctly? (See 'Facilities and Controls' section for details.)

- Is there a jack inserted in the INSTRUMENT IP? If so, remove it.

- For microphones that require phantom power, is the +48V switch switched in? (if you are unsure whether your microphone requires phantom power, check the user guide for your microphone.)

No output when using the Instrument Input

• Is the POWER switched on?

- Is the LINE switch on the front panel switched out?

• Is the GAIN set correctly? (See 'Facilities and Controls' section for details.)

• Is the FADER set correctly? (See 'Facilities and Controls' section for details.)

The Optical Compressor is not working

• Is the IN (Compressor) switch engaged?

- Is the INPUT GAIN set correctly? If set too low, the signal level may not be high enough to activate the compressor.

- Is the COMPRESSION control set correctly? (If set too low, the input level may not reach the threshold at which compression starts.)

The 3-BAND EQUALISER is not working

• Is the EQ IN switch engaged?

CONTACTING US

If have any questions about your TrakMaster, or are continuing to have difficulty, email us for help at [e-mail], phone us on [phone], or contact your local distributor (see listing at the back of this manual).

Focusrite REC RIVER RESET RIP 500 RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET RESET Rein 1.0V Rein 2.0V Rein 3.0V Rein 4.0V Rein 5.0V Rein 6.0V Rein 7.0V Rein 8.0V Rein 9.0V Rein 10.0V Rein 11.0V Rein 12.0V Rein 13.0V Rein 14.0V Rein 15.0V Rein 16.0V Rein 17.0V Rein 18.0V Rein 19.0V Rein 20.0V Rein 21.0V Rein 22.0V Rein 23.0V Rein 24.0V Rein 25.0V Rein 26.0V Rein 27.0V Rein 28.0V Rein 29.0V Rein 30.0V Rein 31.0V Rein 32.0V Rein 33.0V Rein 34.0V Rein 35.0V Rein 36.0V Rein 37.0V Rein 38.0V Rein 39.0V Rein 40.0V Rein 41.0V Rein 42.0V Rein 43.0V Rein 44.0V Rein 45.0V Rein 46.0V Rein 47.0V Rein 48.0V Rein 49.0V Rein 50.0V Rein 51.0V Rein 52.0V Rein 53.0V Rein 54.0V Rein 55.0V Rein 56.0V Rein 57.0V Rein 58.0V Rein 59.0V Rein 60.0V Rein 61.0V Rein 62.0V Rein 63.0V Rein 64.0V Rein 65.0V Rein 66.0V Rein 67.0V Rein 68.0V Rein 69.0V Rein 70.0V Rein 71.0V Rein 72.0V Rein 73.0V Rein 74.0V Rein 75.0V Rein 76.0V Rein 77.0V Rein 78.0V Rein 79.0V Rein 80.0V

Control panel interface with labeled buttons and display icons for audio or audio equipment

ERSTE SCHRITTE

OUT Compression Range IN

Before Compression Attack During Compression

During Compression Release After Compression

Original Signal Compression Threshold Fast Release Overall Level Louder Compressed Level Slow Release This Portion Over Compressed Compressed Overall Level Quietet

Section de compression "OPTO-COMPRESSOR"

Section de correction "EQUALISER"

3 BAND EQUALISER GAIN BAD PROQ GAIN PRESIANCE GAIN TRANS GAIN EQ INT RCA RCA INT RCA OUT

• COMPRESSION set around 9 o'clock

• TIGHT and PUNCH switches disengaged

- RELEASE set around 12 o'clock

• TUBE SOUND set fully anticlockwise

• MAKEUP set around the '4' position

• COMPRESSION set around 12 o'clock

• TIGHT switch engaged

• PUNCH switch disengaged

- RELEASE set around 12 o'clock

• TUBE SOUND set fully anticlockwise

• MAKEUP set around the '10' position

• COMPRESSION set around 3 o'clock
• TIGHT switch engaged
• PUNCH switch disengaged
- RELEASE set around 12 o'clock
• TUBE SOUND set fully anticlockwise
• MAKEUP set around the '13' position

• COMPRESSION set around 12 o'clock
• TIGHT switch engaged
• PUNCH switch engaged
- RELEASE set around 3 o'clock

UTILISATION DE PÉDALES D'EFFETS

• COMPRESSION set around 12 o'clock
• TIGHT switch engaged
• PUNCH switch engaged
- RELEASE set around 3 o'clock
• TUBE SOUND set as desired
• MAKEUP set around the '10' position

OUT Compression Range IN

Before Compression Attack During Compression

During Compression Release After Compression

Original Signal Compression Threshold Fast Release Overall Level Louder Compressed Level Slow Release This Portion Over Compressed Compressed Overall Level Quieter

CORRECTION, MODE D'EMPLOI

Front panel of a black electronic device control panel with labeled buttons and ports

PRIMO APPROCCIO

COMPRESSION set around 9 o'clock

TIGHT and PUNCH switches disengaged

RELEASE set around 12 o'clock

TUBE SOUND set fully anticlockwise

MAKEUP set around the '4' position

COMPRESSION set around 12 o'clock

TIGHT switch engaged

PUNCH switch disengaged

RELEASE set around 12 o'clock

TUBE SOUND set fully anticlockwise

MAKEUP set around the '10' position

COMPRESSION set around 3 o'clock

TIGHT switch engaged

PUNCH switch disengaged

RELEASE set around 12 o'clock

TUBE SOUND set fully anticlockwise

MAKEUP set around the '13' position

COMPRESSION set around 12 o'clock

TIGHT switch engaged

PUNCH switch engaged

RELEASE set around 3 o'clock

TUBE SOUND set as desired

MAKEUP set around the '10' position

AGGIUNGERE EFFETTI UTILIZZANDO PEDALI

COMPRESSION set around 12 o'clock

TIGHT switch engaged

PUNCH switch engaged

RELEASE set around 3 o'clock

TUBE SOUND set as desired

MAKEUP set around the '10' position

OUT Compression Range IN

Before Compression Attack During Compression

During Compression Release After Compression

Original Signal Compression Threshold Fast Release Overall Level Louder Compressed Level Slow Release This Portion Over Compressed Compressed Overall Level Quietet

Focusrite 100 MHz OFF/RESET 1.0 V 2.0 V 3.0 V 4.0 V 5.0 V 6.0 V 7.0 V 8.0 V 9.0 V 10.0 V 11.0 V 12.0 V 13.0 V 14.0 V 15.0 V 16.0 V 17.0 V 18.0 V 19.0 V 20.0 V 21.0 V 22.0 V 23.0 V 24.0 V 25.0 V 26.0 V 27.0 V 28.0 V 29.0 V 30.0 V 31.0 V 32.0 V 33.0 V 34.0 V 35.0 V 36.0 V 37.0 V 38.0 V 39.0 V 40.0 V 41.0 V 42.0 V 43.0 V 44.0 V 45.0 V 46.0 V 47.0 V 48.0 V 49.0 V 50.0 V 51.0 V 52.0 V 53.0 V 54.0 V 55.0 V 56.0 V 57.0 V 58.0 V 59.0 V 60.0 V 61.0 V 62.0 V 63.0 V 64.0 V 65.0 V 66.0 V 67.0 V 68.0 V 69.0 V 70.0 V 71.0 V 72.0 V 73.0 V 74.0 V 75.0 V 76.0 V 77.0 V 78.0 V 79.0 V 80.0 V 81.0 V 82.0 V 83.0 V 84.0 V 85.0 V 86.0 V 87.0 V 88.0 V 89.0 V 90.0 V 91.0 V 92.0 V 93.0 V 94.0 V 95.0 V 96.0 V 97.0 V 98.0 V 99.0 V 100.0 V

INTRODUCCION

Front panel of a CD-ROM drive interface showing buttons, dials, and control knobs

IN IC IO

• COMPRESSION set around 9 o'clock

• TIGHT and PUNCH switches disengaged

- RELEASE set around 12 o'clock

• TUBE SOUND set fully anticlockwise

• MAKEUP set around the '4' position

- COMPRESSION set around 12 o'clock

• TIGHT switch engaged

- PUNCH switch disengaged

- RELEASE set around 12 o'clock

• TUBE SOUND set fully anticlockwise

• MAKEUP set around the '10' position

• COMPRESSION set around 3 o'clock
• TIGHT switch engaged
• PUNCH switch disengaged
- RELEASE set around 12 o'clock
• TUBE SOUND set fully anticlockwise
• MAKEUP set around the '13' position

• COMPRESSION set around 12 o'clock
• TIGHT switch engaged
• PUNCH switch engaged
- RELEASE set around 3 o'clock
• TUBE SOUND set as desired
• MAKEUP set around the '10' position

• COMPRESSION set around 12 o'clock
• TIGHT switch engaged
• PUNCH switch engaged
- RELEASE set around 3 o'clock
• TUBE SOUND set as desired
• MAKEUP set around the '10' position

OUT Compression Range IN

Before Compression Attack During Compression

During Compression Release After Compression

Original Signal Compression Threshold Fast Release Overall Level Louder Compressed Level Slow Release This Portion Over Compressed Compressed Overall Level Quietet

• Gain: -3 dB to +57 dB
• Frequency Response: 0 dB at 20 Hz and -3 dB at 250 kHz.
- THD+N: 0.002% (measured at 1kHz using 20 Hz/22 kHz bandpass filter)
- Noise: EIN = -121 dB (measured at 57 dB of gain with 150 Ω source impedance and 20 Hz/22 kHz bandpass filter)

Line

• Gain: -10 dB to +10 dB
• Frequency Response: 0 dB at 20 Hz and -3 dB at 200 kHz.
- THD+N: 0.003% (measured at 1kHz using 20 Hz/22 kHz bandpass filter)
- Noise: -94 dBu (using 20 Hz/22 kHz bandpass filter)

Instrument

• Gain: -3 dB to +40 dB
• Frequency Response: 0 dB at 20 Hz and -3 dB at 200 kHz.
• THD+N: 0.007% (measured at 1 kHz using 20 Hz/22 kHz bandpass filter)
- Noise: -94 dBu (using 20 Hz/22 kHz bandpass filter)

3 -Band Equaliser

Bass (VOCAL mode)

Bell EQ

Frequency range: 50 Hz to 800 Hz

Boost/Cut: +12 / -14 dB

Bass (INST mode)

Shelving EQ

Frequency range: 25 Hz to 400 Hz

Boost/Cut: +12 / -14 dB

Presence

Bell EQ

Frequency: 1.5 kHz

Boost/Cut: +12 / -20 dB

Treble

Shelving EQ

Frequency (VOCAL mode): 10 kHz

Frequency (INST mode): 3.3 kHz

Boost/Cut: +/- 14 dB

Optical Compressor

• Threshold (COMRPESSION control): -22 dB (MORE) to +12 dB (LESS)
  • Ratio (TIGHT switch out): 3:1, soft knee
  • Ratio (TIGHT switch in): 6:1, hard knee
• Attack (PUNCH switch out): 3ms
• Attack (PUNCH swtich in): 45mS
• Release: 100 mS (FAST) to programme-dependent slow (SLOW)
  • Makeup gain +20 dB.

Outputs

Balanced: impedance 50W, nominal level +4dBu
Unbalanced: ground compensated, impedance 75W, nominal level -10dBV.

Headroom

22 dB

Weight

4.5 kg

Dimensions

Focusrite Distributors

Australia

Electric Factory Pty Ltd.

Phone: [phone]

Fax: [phone]

Email: [e-mail]

Austria

TC Electronic Austria

Phone: [phone]

Fax: [phone]

Belgium

EML

Phone: [phone]

Fax: [phone]

Email: [e-mail]

Canada

c/o Digidesign (Daly City, CA)

Phone: [phone]

Fax: [phone]

Email: [e-mail]

Croatia, Slovenia, Bosnia,

Macedonia and Serbia

Music Export

Phone: [phone]

Fax: [phone]

Email: [e-mail]

Cyprus

Technosound

Phone: [phone]

Fax: +357

Email:[e-mail]

Czech Republic

Mediaport

Phone: [phone]

Fax: [phone]

Email: [e-mail]

Denmark

New Musik AG

Phone: [phone]

Fax: [phone]

Email: [e-mail]

Finland

Studiotec Ky

Phone: [phone]

Fax: [phone]

Email: [e-mail]

France

Dynamic Audio

Phone: [phone]

Fax: +33-49 63 (2 01 Email [e-mail]

Germany

Email: [e-mail]

Greece

Bon Studio S.A.

Phone: [phone]

Fax: [phone]

Email: [e-mail]

Hong Kong' China

Digital Media Technology

Phone: [phone]

Fax: [phone]

Email: [e-mail]

Hungary

Absolute

Phone: [phone]

Fax: [phone]

Grisby Music Professional

Phone: [phone]

Fax: [phone] Email: prichmavia@tin

Email: gnsbymusio@tin

Japan

All Access Inc

Phone: [phone]

Fax: [phone]

Email: [e-mail]

R. O. Maldives

Island Acoustics

Phone: [phone]

Fax: [phone]

Email:[e-mail]

Latin America

Digidesign Latin America

Mexico:

Phone: [phone]

Fax: [phone]

Email: [e-mail]

Brazil and all other Latin American

territories: Phone: [phone]

Phone: [phone] Fax: [phone]

Fax: [phone] Email: ameshva@delne

Netherlands

Total Audio BV

Phone: [phone]

Fax: [phone]

Email: [e-mail]

New Zealand

Protel

Phone: [phone]

Fax: [phone]

Norway

Lydrommet

Phone: [phone]

Fax: [phone]

Russia, Baltics, Ukraine

AT Trade

Phone: [phone]

Fax: [phone]

Email: [e-mail]

Singapore/ Malaysia

Team 108

Phone: [phone]

Fax: [phone]

Email: [e-mail]

Slovakia

Centron

Phone: [phone] Fax: [phone]

Fax: [phone]

Email: [e-mail]

South Africa

Powerhouse Electronics

Phone: [phone]

Fax: [phone]

Email: [e-mail]

South Korea

Best Logic Sound Co.

Phone: [phone]

Fax: [phone]

Email: [e-mail]

Spain

Media Sys S.L

Phone: [phone]

Fax: [phone]

Email: [e-mail]

Srl Lanka

HiFi Centre Ltd

Phone: [phone]

Fax: [phone]

Email: [e-mail]

Sweden

Polysonic ab

Phone: [phone]

Fax: [phone]

Email: [e-mail]

Switzerland

Bleuel Electronic ag

Phone: [phone]

Fax: [phone] Email: blevel.als@

Taiwan

Digital Media Technology (DMT)

(Taiwan) Ltd

Phone: [phone]

Fax: [phone]

Email: [e-mail]

Thailand

KEC

Phone: [phone]

Fax: [phone]

Email: [e-mail]

United Arab Emirates

NMK Electronics Ent.

Phone: [phone]

Fax: [phone]

Email: [e-mail]

United Kingdom & Ireland

Focusrite Audio Engineering Ltd

Phone: [phone]

Fax: [phone]

Email: [e-mail]

Website: www.foosnife.com

USA

Digidesign (Daly City, CA)

Other territories not listed: Please

contact Focusrite United Kingdom.

Notes

Notes

Notes