A Word From Our Chairman

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When the original Focusrite was formed, back in 1985, a ready market was immediately apparent for the ISA 110 microphone preamplifier in studios which featured the leading console of the day, the SSL 4000E. Whilst that console was rightly hailed for the best-of-class automation and Total Recall features it came under criticism for the lack of character of the mic-pre and EQ elements. The racks of outboard Focusrite ISA 110's enabled engineers to bypass the SSL inputs and record direct to tape, using the console to monitor and ultimately to mix. The demand for outboard mic-pre's and EQ took off!

During the 1990s when there was a wholesale adoption of DAW recording technology, Focusrite was well placed to meet the resulting demand for the microphone interface to Pro Tools and other DAW solutions and invented the "Channel Strip" concept with the the Green Range Voicebox and Channel Strip products. These have been superceded by a whole range of options from the flagship ISA 430 MKII Producer Pack and the ISA 220 Session Pack to the Platinum TwinTrak Pro, our latest addition to the Platinum range and an outstanding performer in this genre.

Getting the best from your microphone requires the optimum partnership between microphone and preamplifier. The classic, transformer-based ISA and Red Range mic-pre's offer a warmth that is missing from typical solid-state designs, with outstanding transient performance. The Platinum range is transformerless and thus more transparent but again offering superb transient response. In the VoiceMaster Pro, Trakmaster and Penta we have added a "tube-sound" additive feature to provide a similar warmth found in transformer and tube-based processors by adding in some second and fourth order harmonic distortion.

Now that you have the option of compressor and equaliser plug-ins in your chosen workstation why, you might ask, do we include these functions with our mic-pre's? Professional recording engineers recommend that you compress before the signal sees an A/D converter in order to achieve optimum bit rate. e.g. an uncompressed signal converted at 16 bit will mean that a high proportion of the signal (i.e. that which is below the level of the peaks) will be converting at a much lower bit rate and will sound poor as a result. Theoretically you should record as close to the maximum level allowed by the converter input as possible without going "over" that limit. Therefore a compressor which achieves that without undue colouration, followed by a limiter, achieves best performance. Analogue compression is also demonstrably superior to digital compression for a variety of reasons.

The benefit of equalising before converting is slightly different. It is often better to equalise before compressing so that's one reason alone. Again an analogue (i.e. hardware) equaliser will usually sound better though EQ plug-ins like the Focusrite d2 EQ for Pro Tools are designed to sound the same. However, plug-ins gobble up processing power so if you rely on them to EQ all your tracks you may run out of processing power. Better to record with EQ as close as possible to your ideal and use plug-ins to make small adjustments where required when mixing, when required changes may become apparent.

So as far as we're concerned, channel strips "rock"!

However, there's more than one way to mix a martini or make a record so we offer a variety of products to meet most needs, all with a Focusrite emphasis on quality and performance whatever the price. Check out our newest product - the Liquid Channel ? which is making waves throughout the industry and shaping the way music is to be made in the future.

Focusrite enjoys a unique, exclusive partnership with Digidesign, makers of the leading DAW platform, Pro Tools. We designed the Control|24 control surface and the original Mbox USB interface for Digidesign, both featuring Focusrite Microphone Preamplifiers and analogue monitoring. The d2 Equaliser and d3 Compressor plug-ins have long been the most widely used plug-ins for Pro Tools TDM systems and are now available for Pro Tools LE (RTAS). More recently, we have introduced the Forte Plug-in Suite, based on the original Focusrite studio console EQ and Dynamics processing - including a 5.1 compressor solution.This is available for Pro Tools HD and for D-Show Venue and Profile live performance digital console systems.

Thanks to Digidesign for this partnership. Thanks also to all you Pro Tools users (and everyone else!) for using Focusrite mic-pre's and processing with your DAW. We're glad you like them!

All the best,

Phil Dudderidge - Chairman, Focusrite Audio Engineering Ltd


Mini Autobiography of the Focusrite Chairman

Born: 6 February 1949
Place: Watford, Herts, England
Education: Haberdashers Askes School, Elstree, Herts.
Favourite band: The Who

Having left school and home at the age of 17 (dropout!) I worked as a management trainee at a company developing industrial microfilm equipment for 18 months before dropping out again and joining the staff of International Times, a noted underground newspaper in 1967, in a distribution role (delivering the papers!).

Through this I met Joe Boyd, manager of Fairport Convention and the Incredible String Band, both of which I worked with as roadie / chauffeur. Over the next few years I freelanced with various bands including Pete Brown and the Battered Ornaments and Soft Machine, with my trusty Transit minibus.

In 1970 I was introduced by Charlie Watkins, of WEM PA fame, to Led Zeppelin as their first "dedicated" sound man, this role having been previously fulfilled by Jimmy Page's roadie. Introduced as "the WEM expert", it was my first gig as a sound man. A tour of Europe (commencing at the famous Montreaux Casino) followed by a 28-date-in-30- days tour of North America. This cured me of my ambitions to tour with rock bands but inspired my career in Pro Audio.

A year working with Hiwatt on a mission to build professional PA systems (during which I was house engineer at the famous Implosion concerts at London's Roundhouse) was followed by the formation of my first company, RSD, with Paul Dobson and Graham Blyth, building custom PA systems for bands including Roy Wood's Wizard and Steve Harley's Cockney rebel. Graham and I split from RSD to form Soundcraft in September 1973, specialising in mixing consoles for live sound and later recording.

During the 1970's we also owned a live sound company, Europa Concert Systems, which catered for (mostly) American bands touring Europe, which enabled me to "keep my hand in" mixing front of house from time to time.

We spent 15 years building Soundcraft into the leading console brand culminating in the sale of the company to Harman International in 1988. Graham Blyth was responsible for product development whilst as Managing Director I devoted most of my energy to sales and marketing, developing the brand and the international distribution network.

Early in 1989, having left Soundcraft, I acquired the assets of Focusrite Ltd. the company formed by Rupert Neve which had run into difficulties during the development of the Forte console. A new company, Focusrite Audio Engineering Ltd., was formed to continue the manufacture and development of Focusrite products. This has been a great challenge. The Focusrite team has evolved over the past 12 years and the business has had to adapt to huge changes in the world of music recording. As at Soundcraft, my principal personal interest has been in marketing and brand development plus the development of the strategic relationship with Digidesign. Thankfully I have had a great team behind me to realise the goals.

Aside from the businesses I have been involved with, I have enjoyed a very successful and happy family life. My wife Jenny and I married in 1973 shortly before the formation of Soundcraft. We have five sons and a daughter and now have two grandchildren to keep us entertained!