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Key Features
OverviewThe ISA 220 starts with the classic Focusrite transformer-coupled microphone pre amp, with phantom power and phase reverse. A four-band Focusrite EQ section follows, based on the EQ circuits featured in the ISA 430 and ISA 110. The compressor features a proprietary Class A VCA with side-chain circuitry, and can be placed in the signal flow before the EQ at the press of a button, if desired. Also included is a unique feature labelled “Blend”, which provides a means of achieving smoother compression at extreme settings by mixing uncompressed source signal along with the compressed portion. The ISA220 also features an opto-based de-esser which uses a combination of EQ and phase cancellation to create a smoother and less obtrusive result. Last but not least, a frequency adaptive, 3-band limiter is provided to ensure distortion-free limiting. For visual reference, ISA 220 provides a classic analogue VU style meter which can be switched to display input or compressor gain-reduction levels. A pair of 16 segment LED meters are included to display output levels, both analogue and digital in conjunction with the optional 24-bit/96 kHz stereo digital output (AES/EBU, S/PDIF & TOSLINK) card. This card offers 44.1 - 96 kHz operation and can be used as a high-quality mono / stereo tracking converter, or at mix down as a stereo converter for final mastering. Focusrite EQThe design, like most great designs, is relatively simple; a classic six band EQ, with shelving high and low bands, parametric low mid and high mid bands, and low and high pass filters. The HF and LF shelving EQ’s are unique – they are an implementation of the legendary Baxandall circuit designed in the 1950’s. The EQ is inherently expensive to build as a circuit; most typical shelving filters are variable resistance, fixed capacitance, but the design featured instead variable resistance for gain and variable capacitance for frequency. The positive benefit of this high-end design is that there is no interrelation between EQ bands, (making a change to one band has zero effect on another band,) and that the EQ is virtually noiseless. The HF and LF EQ features switched capacitor circuits, rather than a variable resistor circuit. (The shape of the shelving filter in the case of a variable resistor circuit varies according to the frequency, thus shelving response is not pure, it’s shallow at one point, steep at another.) With the ISA 110, this switched capacitor circuit means the Q is constant, and the EQ slope is constant, meaning accurate, predictable, beautiful results. The high-mid and low-mid EQ bands are fully parametric, and are a full implementation of the state variable circuit configuration – separate amplifiers for the Q, and for low-mid/high-mid gain. The usual cheap way to simulate this is to implement a compromise – a gyrator mid-band peaking circuit – but cutting corners in this way invariably means a poor imitation of the real thing. The Focusrite way has, from the beginning, been to choose the solution that sounded best then minimise cost through elegant design. Specifications• Noise: -96dBu • THD: 0.003% with 0dBu Mic I/P • Noise: 123dB EIN with 150 Ohm input resistance at 60dB of gain • THD: 0.0008% Compressor • Threshold Range: -28dB to +12dB • Ratio: 1.5:1 to 10:1 • Slope: Soft knee • Attack: 500ms to 25ms • Release: 100ms to 4s, variable or auto (program dependent) De-Esser • Threshold Range: 22dB • Frequency Range: 2k2 to 9k2 • Ratio at Centre Frequency: 2:1 Limiter • Threshold Range: 20dBu • Ratio: infinite (Brick Wall) • Attack: Frequency dependent Weight • 7kg • 15.4Ibs Dimensions • 484mm (W) x 85mm (H) x 250mm (D) • 19" (W) x 3.5" (H) x 9.8" (D) Awards EQ 2002 ReviewsDecember 2001 Len Davies Fabulous. That's the only word I can use to describe it, as everything I tried through it sounded clean and pure and it even managed to sonically improve a few warts on an old guitar of mine that have plagued me for years. My microphone is only a modest condenser, but the 220 gave it a life and richness worthy of a far more expensive model. Sonically its quality far surpasses its price range and it will sit equally on its own as a superior voiceover channel or an analogue addition to a digital console, while en masse it will complement the most sophisticated audio environment. Sound On Sound Magazine review quotes March 2002 The ISA 220 is a very straightforward unit to find your way around, with an entirely logical panel layout and plenty of illuminated buttons to reveal the status at a glance. A new feature introduced in the ISA 220, which is quite unique as far as I am aware, is activated by the Blend button. This replicates a popular dynamic control technique which is usually obtained by mixing direct and compressed signals through a sound desk. This can raise the volume of low-level signals substantially, without squashing louder signals. I'm sure this will prove very popular. The de-esser section employs exactly the same opto-circuit as that employed in the ISA 430. I found this allowed the parameters to be optimised far more quickly and easily than would otherwise have been the case. The ISA 220 is everything you would expect it to be and, in fact, for most people the new model will provide a more focused and practical combination of facilities than the ISA430, for a more attractive price. The input stage sounds clear, detailed, quiet and clean, yet adds a certain 'richness' to microphones that bolsters their inherent qualities in a very satisfying and musical way. The EQ is musical, sweet, effective and very flexible, with sensibly chosen parameters throughout. Likewise the compressor and de-esser sections are a joy to use with straightforward controls that deliver the goods in a fuss-free manner - and the Blend button is a powerful extra feature. The ISA 220 obtains the best possible source quality and then allows it to be gently tailored as required. It really is that simple - everything works in an efficient, professional, but above all, musical way. When you unpack any box with the Focusrite logo on its side you know you are in for a treat, and the ISA 220 proved the rule once again. This is a well-thought-out professional product, which will enhance any recording session or facility. Although still relatively expensive in the UK, it is a lot more affordable than the ISA 430, but gives little away in usability and must surely appear near the top of anyone's wish-list. Future Music Magazine review quotes March 2002 Jon Musgrave The ISA 220 Session Pack has many of the features of its big brother. Focusrite's approach has been to include less processing options, but to make the ones that are there pretty much the same as the 430. What you are left with is a much simpler box, but one that includes all the juicy bits of the 430. And the compressor design has been extended to include a new Blend function ... This is the first time I've seen this sort of facility on a compressor ... and it's a very welcome addition. A quick look under the lid reveals a very tidy set-up with much of the weight coming from the Toroid mains transformer. Also immediately obvious is the Swedish Lundahl input transformer. Just like the ISA 430 was before it, the ISA 220 Session Pack is a joy to use. The input gain section has been simplified slightly, which I found actually made it easier to use because you don't have separate knobs for line and mic inputs. Because the knobs are spaced out more and generally bigger, the 220 also proves pretty easy to set up. The EQ section is very flexible ... The filters are great. As with the 430, the operation of the de-esser is less audible than traditional compressor-based designs, but this means you can de-ess more heavily without damaging the original signal too much. If you use the [optional] A-D as a stereo converter, the limiter is in this circuit too, and is perfectly capable of helping you subtly increase the average level of the stereo signal without any damaging side-effects. It's very hard to fault the ISA 220, and Focusrite have done exactly what they set out to do: to produce a slimmed down version of the [ISA 430] Producer Pack at a slimmed down price. Focusrite really can't put a foot wrong at the moment, either with their flagship units or budget range. Verdict: Platinum Award Build quality: 9/10 Value for money: 9/10 Ease of use: 9/10 Versatility: 8/10 Sound/results: 10/10 Summary: Focusrite have taken a successful unit, made it simpler and cheaper, and it's still great. User thoughtsRuss McLamb - USA "I am writing to you out of sheer delight. I have upgraded my modest home studio to a competitive professional studio ( www.fastlanestudio.net ) and started running it as a successful business. In my opinion the Focusrite 220 has been the single unit that took my recordings to the professional level they are today. I mean, it’s nothing short of superb. The pre amp, sweet! The EQ, sexy! The compressor, Magical! Thank you to all involved." Stephen Brett - Ireland - www.fastlanestudio.net "Dear Focusrite, I wanted to write because of the excitement around our studio. We have just become the proud owners of 4ea Red 1's and a pair of ISA220's! Man! 18 Channels of Focusrite!!!! What a difference this investment has made for us! It's a whole new world. Thank you for making such a wonderful product! Sincerely...your advocates in the field," Andy Pow, Digital Wave Recording “I've used this unit at Digital Services in Houston, Texas the same place where Clint Black, Talking Heads, Destiny's Child, Ghetto Boys (Scarface) and South Park Mexican and many a select few who have recorded there, and the session 220 is by far a unit worth replacing what you may have in you studio (unless you have the "Big Red" Focusrite).” Pain Ortiz, Houston Related Products |
