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Key Features
OverviewThe input stage provides enhanced control and creativity allowing you to switch between four carefully selected input impedance settings. The original ISA 110 setting is supplemented by three further impedance settings to either perfectly match the pre-amp with any microphone and maximise level, or to use different settings creatively to shape the sound of the microphone being used. Should the need arise to place extra processing between pre-amp and conversion, insert points are also featured on every channel. Protecting the ADC, Focusrite's Soft Limiter is a new optical circuit design, entirely preventing any digital overs, whilst reducing to an absolute minimum the undesirable distortion artefacts that common limiter circuits typically generate. This limiter requires the optional ADC to be fitted in order for it to operate. The ADC embodies cutting-edge conversion technology, encompassed within Focusrite circuitry, providing eight high quality conversion channels, at sampling frequency rates of 44.1, 48, 96 and 192kHz. Running at 96kHz allows for up to 16 (2 x 8, parallel) digital outputs. Digital output formats are dual 9-pin D-sub (AES/EBU, SPDIF) and dual ADAT light-pipe. Full digital metering is provided for every channel, alongside moving coil peak meters, designed to catch even the fastest transients. A second ISA428 analogue unit can be connected utilising the four extra ADC input channels on the rear of the unit containing the optional ADC. This makes full use of the eight channels provided and expands front-end capacity from four pre amps and eight digital outputs to eight Pre amps and eight digital outputs. The ISA PreThe ISA microphone pre-amplifier went on to form the cornerstone of all ISA and RED Focusrite products. The topology has never changed, except for the addition of a variable impedance circuit, allowing ISA users to either perfectly match the pre-amp with any microphone, thus maximizing level, or to use different settings creatively to shape the sound of the microphone being used. The original ISA110 setting was supplemented by three further impedance settings. The Focusrite pre amp is renowned for its transparency, but there's also that subtle warmth that transformer core saturation contributes. This seeming contradiction of warmth plus beautifully open, unrestricted high frequencies, is a classic hallmark of the mid 80's Focusrite designs. With processors whose bandwidth is strictly limited to the audible (20Hz to 20kHz) bandwidth alone, significant roll-off can still occur, affecting the higher audible frequencies of the signal. Therefore, in order to capture every subtle nuance, exactly as it occurs whilst avoiding any roll-off, the pre-amp must operate over a far greater bandwidth. The extremely broad frequency response of Focusrite pre-amps - close to 200kHz at the top end - guarantees accurate phase response across the much narrower range of human hearing, the roll-off point being moved entirely outside of the audible hearing range. All critical inputs are transformer-coupled, providing a dual gain structure - an expensive option, but the optimum route to high quality signal handling. Focusrite use Lundahl LL1538 transformers. Also originally employed was a 'Zobel network' to counteract the reactance of the primary coil of the transformer. A Zobel network is a damping circuit that is applied across the secondary of the mic input transformer. This damping network tailors the naturally occurring high frequency resonant point of the input transformer. The Zobel network featured in ISA and RED pre amps was set by ear, has never changed, and as such is a key contributor to the Focusrite sound. Finally, all the components featured in the ISA pre-amp were always chosen with a specific frequency response in mind. Rather than accepting the effect of the components chosen, the designer worked diligently with the values of every component in a relentless effort to achieve the desired response. FAQsA: Four Focusrite mic pre's, eight line inputs, four instrument inputs, optional 8-channel 192kHz A/D conversion. Q: Which applications is the ISA 428 suitable for? A: The ISA 428 can be used as a multi-channel high quality front end for Digital Audio Workstations, allowing multi-channel recording to HD. Equally it can be used simply as the perfect interface/ A/D converter for synths/other line level devices. It also provides additional channels for anyone who has run out of mic pre's on their analogue console (either live or recording,) and is especially useful as a source of additional mic pre's for digital consoles. Q: Which Focusrite pre is featured on the ISA 428? A: It's the original Focusrite transformer-balanced mic pre that featured in the classic analogue Focusrite consoles in the 1980s. This is also the classic pre that features in the ISA 430 Producer Pack. Q: Do the pre's have the usual phantom power and High Pass Filter controls? A: Yes, and more, each pre has switchable mic impedance so that you can match to your chosen mic's impedance, or 'mismatch' for creative 'input response colours'. Also there are inserts per channel, plus sweepable HPF, phase reverse, and phantom power. Q: What's significant about the impedance switching for each pre? A: Each pre can either be matched perfectly to any microphone, (vintage or modern,) or offset to offer a variety of 'response colours' by interacting with any particular microphone. The impedance of each pre amp is switchable (via a single switch labelled 'Impedance') between 4 settings: original ISA 110 (Zobal network influence for the classic Vintage Focusrite sound,) Low (600 Ohms, tends towards flat and tight sounding,) High (2.4k, relatively open,) and Higher (6.8K, relatively lively, great for room ambience.) Q: Are insert points featured? A: Yes, switchable in- or out- of circuit on each of channels 1-4. Q: What are the four extra inputs on the left hand side of the front fascia for? A: They are unbalanced inputs which enable you to easily connect unbalanced sources like guitars/basses to the unit without the need for an external DI box. Q: Why are there eight line inputs but only 4 mic pre's? A: For two reasons. Firstly it means you can route 8 line level sources to the 8-channel 192k converter with a single unit. Secondly, you can convert the 4 pre system to an 8-pre system with 2 units, see below. Q: Why is it called "428"? A: Because it's easy to convert a 4-pre-to-digital system to an 8-pre-to-digital system. Q: Can I use 2x ISA 428s with 1x A/D card? If so, how does the routing work? A: Yes. Mic pre's 1 to 4 on the first unit route directly (via the limiter) to digital outputs 1, 2, 3, 4. Mic pre's 5 to 8 on the second unit then route out of their respective analogue outputs, and loop back in to the line inputs 5, 6, 7, 8 on the first unit. These then route directly (via the limiter) to digital outputs 5-8. Q: But if I run an 8-channel system how can I monitor levels? A: Easy. Each 428 includes 8 output meters, as well as 4 channel peak-reading input meters. Q: What's the specification of the A/D option? A: AES, (both single and dual wire specs.) SPDIF, ADAT? formats, sample rates selectable between 44.1, 48, 88.2, 96, 176.4 and 192kHz, (ADAT is max 96kHz of course, via 2 ports,) 16, 20, and 24 bit with adaptive dithering, internal or external word clock, and 256X clock, S/N Ratio better than 120dBfs ?A-weighted'. Connections are via 2 x 9-pin D-type connectors and standard lightpipes, word clock is via BNC in and out. Q: Does the ISA 428's A/D option feature word clock as standard? A: Yes, word clock may be fed in via a BNC connector on each A/D to allow syncronisation to any word clock master source. Q: Why do I need word clock anyway? A: When using multiple pieces of digital equipment it is necessary to make sure that their bit-streams are all in sync. In order to do this all equipment need to be synchronised to a common word clock system. Somewhere in this system a word clock ‘master' must be dictating the word clock for the rest of the equipment ('word clock slaves') to follow. Failure to sync all pieces of digital equipment to a common word clock source will result in audible clicks and glitches in programme material. Note that the 428 regenerates word clock at its BNC output, further boosting word clock stability. Q: What if my system only operates at 16 bit, 44.1kHz? A: No problem, the ISA 428 features adaptive dithering and supports most sample rates, (simply select the rate you need from the ISA 428's front panel,) so you can use an ISA 428 with a 16, 20 or 24 bit system operating at 44.1, 48, 88.2, 96, 176.4 or 192kHz. Q: How many rack spaces does ISA 428 take up? A: The ISA 428 is a 2U device. Q: What rear panel connections are featured? A: The ISA 428 has 4 XLRs for microphone input, and 8 XLR line level inputs. There are 4 balanced XLR analogue outputs, plus separate balanced quarter inch send and return insert sockets per channel. Plus digital connections if the optional A/D is fitted of course, see above. Finally there's a voltage-switching power socket to connect to the internal power supply. Q: Is the ISA 428 a Class A device, and why is that important? A: Yes, the ISA 428 is a Class A device. Why? Class A is a type of amplifier design in which you have a standing DC current running through your amplifier circuits all the time. As the signal comes along you vary what you're taking from that, rather than switching between supplying a positive current for one half of the waveform and a negative current for the other half. This results in the ability to represent audio in a more linear (distortion free) manner all the way through the circuit. Cheaper processors use IC amplifiers, which run close to Class B and don't have the same standing DC current, which means the transistors inside the chips switching off and on, inevitably resulting in a less linear performance. Q: Should balanced connectors be used with the ISA 428? A: Yes, where possible. Alternatively, if using an unbalanced instrument source, you can connect to the four unbalanced 1/4" inputs. Q: What's the ISA 428's bandwidth? Does it have the same kind of spectacular bandwidth that has given the Red and ISA range units their reputation for 'open-ended' sound? A: Yes. The bandwidth is the same as the classic Focusrite units of old: 10Hz-200kHz! Q: Is there an optional digital input card? A: No, because the ISA 428 is primarily a 'front end' product. In other words, the only devices which are likely to be connected to the 428's inputs are analogue sound sources such as microphones, guitars etc. Q: Why is the 24 bit/192kHz specification important? A: An A/D converter works by sampling the audio waveform at regular points in time, and then quantizing those values into a binary number, which relates to the number of bits specified. The quantized 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/192kHz performance will ensure more accurate digital transfer of your audio information compared to the old 16-bit/44.1kHz 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 quantization and rounding errors. The higher the resolution of the digital data, the smaller the audible effect of these errors. Q: What is dithering? Why do I need it? A: When dropping down from e.g. 24 bit to 16 bit, quantizing errors occur, (because 24 bit sampling involves more samples than 16 bit, so when you reduce the bit depth the extra samples have 'nowhere to go.') At high signal levels these errors are random and not audible, but at lower signal levels the errors correlate more closely to the audio and become audible as distortion. Dithering effectively ?randomises' the truncation errors at lower levels, causing the 'least significant bit' distortion to disappear. Q: Can I retrofit a digital board to an analogue ISA 428 at a later date? A: Yes, and you can do it yourself - it can easily be retro-fitted at any time without any soldering etc, just a few screws to undo, and one clip-connector to join to the main PCB. Q: How can the ISA 428 operate with the ADAT lightpipe format at 96kHz? I thought the maximum sample rate for this format was 48kHz? A: Not any more. The ISA 428 supports the new 96kHz ADAT specification, using two discrete optical ports. Q: How many digital outputs can I use at the same time? A: It depends on which sample rate you choose. At 48kHz or lower: 8 AES + 8 S/PDIF (or 2 x 8 AES) + 2 x 8 ADAT = max. 32 outputs simultaneously. At 96kHz: 8 AES* + 8 S/PDIF (or 2 x 8 AES) + 8 ADAT = max. 24 outputs simultaneously. At 192kHz: 8 AES* + 8 S/PDIF (or 2 x 8 AES,) no ADAT** = max. 16 outputs simultaneously.
The digital outputs can always be fed with any mix of mic, line, inst. inputs. Q: When the A/D is used, are my analogue outputs available for use? A: Yes. The 4 line outputs can run simultaneously with all of the ADAT, AES and S/PDIF outputs. Q: Do I need to buy an option cable to use either of the A/D cards? A: Yes; ADAT optical cables are available from many sources, and Focusrite offer their own 8-channel 9-pin to 4 phono (RCA) connectors S/PDIF cable and 9-pin to 4 XLR connectors AES-EBU cable. Specifications• Transformer-based ISA design • Gain range: Line = +/- 18dB, Mic = 0 to 60dB (both in 6dB steps), Inst = +10 to +40 dB variable • Input impedance: Line = 10k ohm, Mic = Variable - 600, 2k4 and 6k8 ohm + original ISA 110 settings, Inst = >1M ohm Analogue Performance • Noise: Line = -96dB, Mic = -128dB (EIN with 150 ohm input resistance at 60dB of gain) • THD: Line = 0.003% with 0dBu, 1kHz input and 20Hz to 22kHz band-pass filter, Mic = 0.003% Analogue Input and Output connectors (balanced) • D.I inputs: 1/4 inch Jack (unbalanced) • Mic inputs: XLR (balanced) • Line: TRS Jack (balanced) • Insert Sends and Returns: TRS Jack (balanced) • Additional ADC inputs: XLR (balanced) Line level • Analogue Outputs: XLR (balanced) Digital Output Option • AES/EBU and S/PDIF dual 9-pin D-types • Optical - ADAT Lightpipe • Bit depths 16-, 20- or 24-bit • Frequency options 44.1, 48, 88.2, 96, 176.4 and 192kHz • Clock options Standard or ?256 x? • Meter - 0 dBFS = +22dBu • Digital Performance • SNR - 120dB A-weighted Weight • 7.36kg • 16.2Ibs Dimensions • 484mm (W) x 85mm (H) x 250mm (D) • 19" (W) x 3.5" (H) x 9.8" (D) Awards Mic Pre Technology Category 2003  EQ Magazine 2003 ReviewsJuly 2003 Mike Skeet "As with most Focusrite equipment, the ISA 428 does exactly what you expect it to, in the way you expect it to... it seems somehow to complement the sound of whatever is passing through it." "It passed the twelve-string guitar test with consummate ease, where many mic preamps fall foul of the complex harmonics and challenging string interactions." "The mic amp is all that you would expect. It's quiet, clean, dynamic and detailed." In terms of technical performance, the card at least equals - and in most cases outperforms - other comparable converters. For example, it boasts a signal-noise ratio of 120 dBA and the distortion is below 0.0004 percent. These impressive figures are achieved in part by the class A analogue circuitry of the ISA 428 and the very short signal path of the A-D stage." "The optical limiter circuit Focusrite have used in this converter card seems to be pretty bombproof, holding even seriously overdriven signals under the 0 dBFS threshold. It also sounds remarkably clean while doing it and if used in a more normal manner to catch the odd over-enthusiastic transient, it is completely transparent." "I like the ISA 428 very much indeed. It looks good, sounds fantastic, is completely bombproof and is a joy to use." "As a stand alone mic pre amp, this unit is very capable indeed, but with the optional converter card installed it makes a very competent and cost effective eight-channel (four mic, four line) front end for a DAW or digital recorder." Hugh Robjohns, Sound On Sound, May 2003 "It is certainly interesting to use a respected design such as the Focusrite ISA 428 with its wide range of thought out facilities. The specifications listed in the User Guide are impresive." "It was a short review period, but the location use seemed to confirm all the designer's intentions. When I now relate the spread of the facilities on offer to the pricing, I am even more impressed." Studio Magazine review quotes August 2003 "Practical test: the results of the Focusrite unit were thoroughly enjoyable. Tested with a range of different sources, the pre-amps consistently sounded fresh and open... the low frequencies were open and well-balanced... Without any question the ISA 428 belongs in the highest range of A/D converter technology..." "Conclusion: The ISA 428 effortlessly claims its place in the high-end class of multichannel pre-amp solutions, and this is all the more impressive given the attractive price. In particular, the quality of the workmanship and components are wonderfully high. Four sonically impressive and noiseless mic. pre-amps including Lundahl-transformers and a well-equipped environment, combine together with the excellent converter option to provide an especially attractive package that is ready to deal with the challenges of the DAW era." Mix (US) Magazine review quotes November 2003 Kevin Becka "This "four-preamps-in-a-box" was a pleasure to use, and lives up to the expectations of classic Focusrite gear." "Although there are only four mic preamps, installing the optional ADC card adds four additional digital line inputs; a nice add to the value of the ADC option, to say the least." "I used the 428 on a variety of instruments with several different mics. In a word, the 428 sounds fantastic. It's clean, clear, versatile and completely pro." "One of the most revealing tests for a mic preamp is using it with a ribbon mic; in this case, an AEA R84 on a number of sources. Here, the variable-impedance control became a valuable tone-shaping tool. I first used the mic on a Martin acoustic guitar and could control the sonic characteristics easily with the impedance controls?I could get plenty of clean level out of the 428: a whopping 80dB of gain." "The optional digital section is especially sweet. I used it exclusively to get into Pro Tools | HD because it sounded so good. I used the 428 at 48kHz and 96kHz, recording acoustic instruments including dobro, upright bass, banjo, guitar and percussion. It was stellar in every application: I quickly appreciated how easily I could get a great sound. In one case, I recorded a Danelectro baritone guitar with great results. It was a simple as plugging it in and setting levels. The sound was crystalline, full-bodied and needed no EQ." "The 428's metering is perfect for digital recording. I found myself trusting it more and more with use. It's a confidence-builder that frees your mind for more creative use when you don't have to worry about checking three meters in your signal path." "The ISA 428 is not simply four preamps in one box, but four preamps that sound so good. The box is pro inside and out with Lundahl 1538 input transformers, as originally spec'd by early Focusrite designs. The fit and finish are what you'd expect from Focusrite: every knob, button, connector is top-notch. And it's a tweaker's delight, with added touches such as variable input impedances, dual metering, HP filters and optional digital back end (with added inputs)." "Aside from a few minor gripes, this preamp gets straight A's in all departments. If you're looking for a rock-solid, great-sounding, well-designed set of preamps - and who isn't? - then the ISA 428 should be on your must-see list." EQ Magazine review quotes Dec 2003 Mitch Gallagher "The ISA 428 is simply a joy to use. My usual first test of a pre-amp, plugging a Telecaster directly into the DI input, gave a round, warm sound. Various Zildjian and Istanbul cymbals, recorded with drummer Vincent Miraglia, were tight in the high end but not too crisp. We then recorded his entire kit at 192kHz with a pair of Earthworks QTC-1s and Zaolla silver cable. At the highest impedance setting, we both agreed it was simply stunning. Even the low-impedance setting was sweet, albeit a bit darker. I would record everything at 192kHz with this unit if I could." "Since Miraglia is primarily an electronic design engineer by trade, he popped the top off a unit and pointed out a few of the internal touches. First was the "beefy" toroidal power transformer under the A/D card; an important component that some other manufacturers may skimp on. Next were the four Lundahl 1538 transformers as in Focusrite Forte console’s ISA 110 pre-amps. Also adding to the unique character of the Pre Pack is the "Zobel network" design ? a damping circuit that is applied across the secondary of the mic input transformer, as used in the Red/ISA line of pre-amps. Finally, Miraglia noticed the Class A circuit topology and the short signal path to the A/D stage." "Overall, Focusrite has a home run with the ISA 428. It is truly a first-class, highly flexible inout stage for any DAW user, and then some. It’s also one of the few pieces of gear on which I will eventually use every feature. The only negative, literally, is that my bank account will now be lighter. This unit is not going back." Rich Tozolli, Pro Sound News, Oct 2003 "Focusrite has been on a roll, turning out an impressive array of pre-amps and processers at different price points. At the top end, among the latest releases is the ISA 428, a 4-channel, 2-rackspace model with several interesting features." "But even aside from the impedance switching, the ISA 428 is one fine-sounding pre-amp. It has a clear "high-fidelity" sound, with generous body, natural highs, excellent dynamics and wonderful presence. In the past few months I’ve had at least a dozen top-notch pre-amps go through my studio for review. In each case, the 428 has ultimately been my reference; I like the way it sounds that much. I might choose another pre-amp for a particular sound, but in general the 428 has become the pre-amp that I reach for first." "Aside from its reference quality sound (which is really all that matters), I like the other 428 features, particularly the optional converter card. Sonically, it sounds as good as more expensive converters. Plus, if you’re using a digital input card for your DAW or hard disk recorder, it makes a great 8-channel front-end. It’s a real value booster." "Give the ISA 428 a look. It’s an excellent sounding pre-amp with a number of useful features. But you’ll have to find your own, I’m keeping this one." Electronic Musician Magazine review quotes Jan 2003 Eli Crews "There are eight output meters instead of four because the MH-442 is an 8-channel converter. To take full advantage of this, the ISA 428 comes with four additional rear-panel line inputs that provide access to the extra channels, greatly increasing the value of this product." "I first used the ISA 428 for a concert recording of a jazz trio. I used a pair of Neumann KM184s for the drum overheads, and sent the signal from the AES/EBU output to my Metric Halo Mobile I/O 2882 and into MOTU Digital Performer 4. The sound was clean, clear, and very detailed, as good as any drum sound I've recorded in that acoustically challenged room." "Back in the studio, I tried the ISA 428 on more drums, recording direct to 2-inch analog tape using an E/V RE-20 on the kick, a Shure SM57 on the snare, and a pair of Oktava MK012s on the cymbals. The results were excellent, giving me a sound that was thoroughly punchy and crisp." "One of the most impressive features of the ISA 428 is the switchable input impedance. The amount of impedance a mic signal sees at the preamp input plays an enormous role in the tonal characteristics of the amplified signal." "I also recorded Bennett playing baritone saxophone through the same setup. The ISA 428 offered a greater clarity in tone, especially on the rich harmonics produced by the low reed instrument. Multiphonics are one of Bennett’s specialties, and the ISA 428 captured every nuance and complexity present in his tone." "I tested the ISA 428 further by comparing it to the Universal Audio 610 and a Focusrite Platinum Voicemaster... The ISA 428 had a tighter, less floppy low end than the 610, and the high-mids were much smoother and almost compressed sounding. In addition, I was able to drive the ISA 428's gain much higher without the sound breaking up. The Voicemaster held its own remarkably well, but the ISA 428 sounded cleaner in the low end, and had a bit more shimmer than its less-expensive little brother. The ISA 428 gave me one of the best direct-bass sounds I have ever recorded, and I am usually not a huge fan of recording the bass direct." "I was particularly impressed at how well the ISA 428 sounded next to the Mobile I/O, because Metric Halo’s converters are widely heralded as some of the best available." "The ISA 428 Pre Pack is a versatile, multipurpose preamp that sounds excellent and offers plenty of flexibility over its tonal characteristics. Coupled with the optional converter card, the ISA 428 serves as an easy, no-compromise way of adding eight inputs to a digital-recording rig." "At $500 a channel, the ISA 428 isn’t the least expensive mic preamp you’ll find. Nonetheless, Focusrite has lived up to its reputation for making quality gear, and it has done so at a competitive price point." 3D Audio Inc Lynn Fuston "The card was a breeze to install, the 428 and my soundcard recognised it immediately, and off I went." "The ISA 428 sends audio to the analogue and digital outputs simultaneously, so I simply routed both into Cubase, recorded a take (24-bit, 44.1kHz), and listened... the difference was pretty dramatic. The Focusrite converters sounded way better. Low end was much tighter... mids were cleaner and more defined... there just seemed to be a lot more high-end on the Focusrites, but not in a grating, overly bright way... The Focusrites just seemed to take a much more accurate picture of the sound, which is the whole idea isn’t it?" "If you’re considering the ISA 428 (and recording to digital, obviously), I highly recommend the A/D option card." Scott Craggs, Tape Op, Mar/Apr 2004 (review of digital option) "I must admit my expectations were not very high for the ISA 428 based on the price alone (which I honestly thought was about $500 more). Cutting costs is easy, but usually it means a corresponding cut in sonic quality. But the ISA 428 is one amazing collection of features and sound, even at double the price. After listening for three days, more than half of the listeners who heard it decided they wanted to get one of the ISA 428s. Good job. We were all very impressed with it." Your ThoughtsRyan Patterson "Excellent preamp. Purchased it last week and used it to record a vocalist and pianist in concert a few days later. I used an AKG 414TLII on the vocalist and two shure SM81s on the Steinway and the results were great. Clean sound with a lot of presence but very smooth not that in your face fatiging sound. Highly recommended." anonymous "Excellent front end! I use it going into my daw and the sound is incredilble! Just the right flavor before conversion. Also the ability to change impediance gives even more tonal creativity. Would recommend to anyone desiring to upgrade the quality of their recordings." LeRoy Gibbs II , January 2004 "I've only recorded with the product for 2 days, but from what I'm hearing on initial tracking I'm thrilled with the sound. All my instruments sound clean and clear. The detail and musical richness of the preamp is obvious. A Fantastic product." Daniel Tiffin - Canada "I bought my first ISA 428 some 3 years ago and used it on everything (pop, rock, jazz, even for accent micing a grand piano and percussion in a 96 piece symphonic orchestra...). So it was time to complete my "Focusrite 428 rack" with a second ISA428 and I also added the digital card. Much better conversion compared to my DIGI002. I just tested the pre-amp and recorded some vocal takes with the soft-limiter placed into circuit. Amaaaazzzing sound. Thanks Focusrite for making fantastic audio products!!!" Davy Rogiest - Belgium Related Products |
