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Key Features
OverviewEach channel features Focusrite's award-winning Platinum pre amp, embellished with the option of instant 'air' and variable input impedance for improved microphone performance and extended creativity. A mid-scoop EQ follows, and provides variable frequency and depth of cut for vocal problem solving and miked-up cabinet ambience In pride of place is TT Pro's powerful dual mono/stereo optical compressor. This optical compressor features Focusrite's custom fast-acting optos, alongside side-chain inputs and the ability to operate as a true 'twinned' stereo pair. These circuit design innovations are complemented by a comprehensive set of focussed controls. TT Pro is the first Platinum to feature a D/A converter as standard, alongside its optional analogue to digital converter. The D/A converter enables the user to feed mono or stereo digital signals into TT Pro. These signals can be fed either into the stereo latency-free monitoring section, or via line inputs (post- the pre amp stage) for further processing. The signal can then return to the digital audio workstation via Focusrite's established stereo A/D converter option. Together, these facilities make TT Pro the perfect analogue interface for any digital audio workstation, and equally the world's first 'hardware plug-in'. A hardware Plug-inThe signal can then return to the digital audio workstation via Focusrite’s optional stereo 24bit/96kHz A-D converter. The converter is 24 bit and 128 x over-sampled, handling sample rates of up to 96kHz, with S/PDIF output and a BNC word clock connector. An ADC lock LED on the front panel shows when Word Clock sync has been established, whilst two DAC input LED’s show when signal is flowing through the D-A converter. Together, these facilities make TT Pro an ideal tracking device, the perfect analogue interface for any digital audio workstation, and equally the world’s first ’hardware plug-in’. FAQsA: TwinTrak Pro is ideally suited for the home recording enthusiast, especially anyone using a native DAW. Like other Platinum series products, TwinTrak Pro will find a home in professional environments such as recording studios, live sound installations, radio, TV, other broadcast, dubbing suites and post-production facilities. Q: What kind of mic pres does the TwinTrak Pro use? A: The TwinTrak Pro uses two of the same award-winning Class A mic pres as the VoiceMaster Pro. Q: What is 'variable impedance' and why is it a great feature? A: Until the arrival of TwinTrak Pro, variable impedance was the kind of feature found exclusively on professional-level mic pres like the Focusrite ISA 428 Pre Pack. Variable impedance allows two things; the ability to match the mic pre's impedance closely to the impedance of the mic (all mics have different impedance) and also to allow the end user to 'mix and match' different mic pre and mic impedances for greater tone coloration. See www.focusrite.com for further detail. Q: What does the AIR switch do? A: he AIR control is a wire-wound inductor-based circuit, which closely emulates the characteristics of more costly transformer-based mic pres like Focusrite Red and ISA Series. While not exactly like a transformer-based pre, the air circuit does approximate the 'openness' of high frequencies characteristic of transformer-based pres. Now a whole new generation of customers can experience sound quality normally found only in professional recording studios. Q: How does the MID SCOOP EQ work? A: The boffins at Focusrite have identified the mid-range frequencies that are typically problematic when recording and processing vocals and instruments, and allowed the end user to 'scoop' them out with a very simple and easy to use knob. Simply dial back what you don't like and you're done: remove the nasal 'goose-honk' tones from a problem vocal, or move an over-resonant 'DI'd instrument sound? closer to the ambience of a miked-up guitar or bass cabinet. Q: The TwinTrak Pro has a high quality DAC built in as standard. Why is this an important feature and how would you use it? A: This revolutionary feature can be used in two different ways. Firstly, the TwinTrak Pro's standard DAC allows the end user to feed a pair of digital outputs from a sound card or DAW (S/PDIF connector) into the latency free monitor circuit. So when recording a vocal or instrument you can monitor the pre-recorded material with the highest possible fidelity. And if you're running out of analogue outputs on your sound card this feature means you can use a digital output instead, freeing up crucial analogue outputs for other purposes. Secondly the DAC can be used in conjunction with the optional ADC to use the TwinTrak Pro as a 'hardware plug-in' for a DAW. A mix buss or single channel signal can be routed DAW/DAC/analogue compressor/ADC/DAW. So TwinTrak Pro is not only a pair of integrated dual channel Class A mic pres plus EQ and dual mono/stereo compressor; it's also a latency-free monitoring device. Mic pres plus stereo monitoring plus digital connectivity means that the need for a stand-alone mixing desk is eliminated for most recording applications. Q: How do I set up the TwinTrak Pro for these two different applications? A: Engage the DIGITAL INSERT switch if you want to use the DAC to route your DAW's digital outputs into the TwinTrak Pro's compressor for 'hardware plug-in' processing. Leave this switch out if you want to use the DAC to route your DAW’s digital outputs into the TwinTrak Pro's latency-free monitoring circuit. Q: Does TwinTrak Pro have an optional ADC? A: Yes, it uses the same acclaimed 24/96 option as TrakMaster, Penta and VoiceMaster Pro. Q: Can I retrofit an ADC board to my TwinTrak Pro at a later date? A: Yes, and you can do it yourself - it can easily be retro-fitted by the customer without any soldering etc, just a few screws to undo, and one clip-connector to join to the main PCB. Q: Why is the 24 bit 96 kHz specification important? A: An A/D converter works by sampling the audio waveform at regular points in time, and then quantising those values into a binary number, which relates to the number of bits specified. The quantised 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/96 kHz performance will ensure more accurate digital transfer of your audio information compared to 16 bit/44.1 kHz 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 quantisation and rounding errors. The higher the resolution of the digital data, the smaller the audible effect of these errors. Q: Does the TwinTrak Pro support wordclock? A: Yes, via a BNC connector. Q: What are the key compressor features? A: The TwinTrak Pro's optical compressor is a Class A device and uses the same circuit design as the VoiceMaster Pro, but with the addition of hard- and soft-knee settings as well as a side-chain input. The compressors can operate independently ('dual mono') or as a linked true stereo pair. Q: What is latency-free monitoring and who needs it? A: Latency is the bane of every native DAW user's life. When tracking overdub vocals or a guitar track for example, an audible delay occurs. When recording, this delay is doubled (delay en route to hard disk + delay returning to monitoring circuit.) Focusrite’s latency-free monitoring section eliminates latency by integrating the DAW monitoring into the circuit of TwinTrak Pro. The end result is tracking on a par with DAW systems featuring built-in DSP (and costing many thousands of dollars more). Q: Is the TwinTrak Pro mic pre a Class A design? What does that mean? A: Yes, it’s the Class A award-winning mic pre used in the VoiceMaster Pro and all other Platinum range products. The TwinTrak Pro thus allows audio to be processed in a more linear fashion; put simply, the TwinTrak Pro’s mic pre is able to reproduce all the detail of the input source without distortion or unwanted colouration. Q: I heard that Class A devices generate a lot of heat. Is that something to worry about? A: Absolutely not - all Class A devices do indeed run warm, it's a direct function of the way they enable audio to be passed transparently, and the TwinTrak Pro has been designed specifically to deal with this kind of situation. However, the usual Class A device rules apply, so it makes sense to put your TwinTrak Pro at the bottom of your rack, leave a 1U space above it, and leave the back of your rack mount case open when using the rack to ensure good ventilation. Q: Does the TwinTrak Pro have an instrument input? A: Yes, on the front panel, so you can connect a guitar, bass or other instrument directly to the unit with no need for a DI box. Q: What are some of TwinTrak Pro's other monitoring capabilities? A: A separate hardware processor (e.g. reverb) can be connected to the back of TwinTrak Pro. Much as one would experience in a pro studio, the performer could then have a 'wet' reverberated signal in their headphones while tracking. The circuit allows mixing of wet vs dry signal, of the tracked signal vs pre-recorded material level, and overall output level. Q: Is the TwinTrak Pro only suitable for recording vocals? A: No, the TwinTrak Pro is suitable for recording many other sound sources too, such as electric guitars and bass (via its INSTRUMENT inputs). It is also ideal for applications such as recording the spoken word, live sound applications, radio and TV broadcast, dubbing, post production and can be used as a stereo buss compressor. 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. 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. +4 dBu devices are usually connected using a TRS (stereo) 1/4- jack, or XLR. This is known as a ‘balanced’ connection. Q: Should I use balanced connectors with my TwinTrak Pro? A: Yes, where possible. The line level analogue input is balanced, operating at +4 dBu. The TwinTrak Pro provides both balanced (+4 dBu) and unbalanced (-10 dBV) output connectors. See the user guide for more information on connecting the analogue line level inputs and outputs. Q: What is a 'side-chain'? A: A side-chain is any signal that controls the action of the compressor. Usually the audio signal is split in two, with one part becoming the side-chain and controlling the compressor, and the other part of the audio signal being treated by the compressor. A side-chain insert allows much greater creative flexibility than if the audio signal alone is controlling the action. The most common way to use a side-chain is to EQ the part of the audio signal that is sent to the side-chain. Frequencies are either cut in order to stop the compressor reacting to particular frequencies, or boosted in order to make the compressor react more to particular frequencies. This is known as ‘frequency-conscious compression’. Q: How might I use the COMPRESSOR SIDE-CHAIN INSERT? A: he main use of a side-chain insert is to use EQ to make the compressor react differently. For example, if you were putting drums through your TwinTrak Pro then you might find that the kick drum is causing the compressor to react the most, causing audible 'pumping' of the drums as the compression level rises after each kick drum and then is 'squashed' again. If this is undesirable, you could use the side-chain EQ to filter off some of the lower frequencies, reducing this effect. (Sometimes this effect is desirable, so you may wish to boost the low frequencies in order to emphasise this effect!) Note: Both the main channel INSERT and the COMPRESSOR SIDE-CHAIN INSERT on the TwinTrak Pro require the use of a ?Y? cable. This is a cable that splits in two at one end. At the single end should be a stereo TRS jack and at the other end there should be two mono-send? and return jacks. Q: Can I take my TwinTrak Pro with me when I travel internationally? A: Yes, but the correct fuse and voltage setting must be used in each territory. There is a voltage selector on the rear panel of the TwinTrak Pro, which also houses the main fuse. If you are in the UK the voltage selector should be set to 230 V and a 315 mA fuse should be fitted. If you are in Europe the voltage selector should be set to 220 V and a 315 mA fuse should be fitted. If you are in North America the voltage selector should be set to 120 V and a 630 mA fuse should be fitted. If you are in Japan the voltage selector should be set to 100 V and a 630 mA fuse should be fitted. If you are in territory other than those mentioned, please look at the above settings and choose the setting and fuse value appropriate for the local mains voltage. Specifications• Gain range = 0dB to 60dB continuously variable • Input impedance = 50 Ohm to 3k3 Ohmcontinuously variable • EIN = 128dB measured at 60dB of gain with 150 Ohm terminating impedance and 20Hz/22kHz bandpass filter • THD at minimum gain (0dB) = 0.0004% measured with +16dBu input signal and with a 20Hz/22kHz bandpass filter • THD at maximum gain (60dB) = 0.003% measured with a ?36dBu input signal and with a 20Hz/22kHz bandpass filter • THD at maximum input level (26.5dBu) = 0.005% measured with a 20Hz/22kHz bandpass filter • Frequency response at minimum gain (0dB) = flat at 10Hz and ?2dB down at 200kHz • Frequency response at maximum gain (60dB) = ?2dB down at 10Hz and 200kHz • CMRR at full gain (60dB) = 80dB Line Input Response • Gain range = -10dB to +10dB continuously variable • Input impedance = 10kOhm from 10Hz to 200kHz • Noise at main output with gain set to 0dB = -94dBu measured with a 20Hz/22kHz bandpass filter • Noise at 10dBV output with gain at 0dB = -100dBu measured with a 20Hz/22kHz bandpass filter • Signal to noise ratio relative to max headroom (27dBu) = 121dB • Signal to noise ratio relative to 0dBfs (+22dBu) = 116dB • THD at unity gain (0dB) = 0.0006% measured with 0dBfs (+22dBu) input signal and with a 20Hz/22kHz bandpass filter • Frequency response at unity gain (0dB) = 0.1dB down at 10Hz and ?3dB down at 200kHz Instrument Input Response • Gain range (High Gain switch out) = 0dB to 20dB continuously variable • Gain range (High Gain switch in) = 20dB to 40dB continuously variable • Input Impedance = > 1MOhm • Noise at minimum gain (0dB) = -90dBu measured with a 20Hz/22kHz bandpass filter • Noise at maximum gain (40dB) = -78dBu measured with a 20Hz/22kHz bandpass filter • THD at minimum gain (0dB) = 0.006% measured with ?10dBu input signal and with a 20Hz/22kHz bandpass filter • Frequency response at unity gain (0dB) = 0.5dB down at 10Hz and ?1dB down at 200kHz • Frequency response at maximum gain (40dB) = 6dB down at 10Hz and ?1dB down at 200kHz Input Meter • 6 LED peak reading meter is calibrated relative to 0dBfs where 0dBfs = +22dBu (the maximum level which can be correctly converted by the optional internal A/D converter before overload occurs). The meter calibration points are as follows: Meter panel calibration value: Equivalent dBu value • 0dBFS: +22dBu (the maximum level the ADC can convert before digital distortion occurs) • -6dBFS: +16dBu • -12dBFS: +10dBu • -18dBFS: +4dBu (the normal signal level in an analogue system to allow headroom for additional processing such as EQ) • -24dBFS: -2dBu • -42dBFS: -20dBu Channel Insert • Unbalanced input and output on balanced (TRS) socket as follows: Tip = Send (Output) Ring = Return (Input) • Signal level equivalent to ?6dB below normal operating level. High Pass Filter • Roll off = 12dB per octave 2-pole filter • Cut off frequency: -3dB at 120Hz -6dB at 85Hz -12dB at 56Hz Optical Compressor • Threshold hold range = -12dBFS (10 dBu) to ?42dBFS (-20dBu) • Compressor ratio (Hard Ratio switch out) = 2.5:1 • Compressor ratio (Hard Ratio switch in) = 6:1 • Attack time (Slow Attack switch out) = 0.5ms. • Attack time (Slow Attack switch in) = 5ms. • Release time = 100ms to 1s and then auto release mode when the release knob is turned fully clockwise. Auto release creates a release time dependent upon the average level of the incoming signal • Noise = -94dBu measured with a 20Hz/22kHz bandpass filter • Makeup gain = 0 to +21 dB Compressor Sidechain Insert • Can be used to input an independent signal to trigger compression or to allow the sidechain audio to be sent in and out of the unit via an external processor, such as an EQ for frequency conscious compression and de-essing of vocals • Connector is an unbalanced input and output on balanced (TRS) socket as follows:- Tip = Send (Output) Ring = Return (Input) • Signal level equivalent to ?6 dB below normal operating level Mid Scoop EQ • EQ shape = Peak • Centre frequency = Variable between 120Hz and 2kHz • Cut (Deep switch out) = -6dB • Cut (Deep switch in) = -12dB • Q (Deep switch out) = 1.5 • Q (Deep switch in) = 3 FX Send • Unbalanced output, signal level equivalent to ?6dB below normal operating level • Noise = -94dBu measured with a 20Hz/22kHz bandpass filter • Maximum output signal level = +20dBu FX Return • Balanced input • Operating level = +4dBu Headphones Mix • Unbalanced output, signal level equivalent to ?6dB below normal operating level • Noise = -94dBu measured with a 20Hz/22kHz bandpass filter • Maximum output signal level = +20dBu Monitor Input • Balanced input • Operating level = +4dBu Monitor Output • Balanced output • Operating level = +4dBu • Noise = -98dBu measured with a 20Hz/22kHz bandpass filter and monitor level knob at maximum output level (fully clockwise) • Maximum output signal level = +26dBu DAC Performance • Playback sample frequency = 32kHz to 192kHz. • Maximum bit depth = 24-bit • Maximum analogue output level = +21dBu. • Dynamic Range = 111dB measured with A weighted filter. • Wordclock BNC connector outputs a regenerated wordclock at the sample frequency contained within the SPDIF signal connected to the RCA connector Output Meter • Calibrated for 0dBFS = +22dBu and indicates the level after the output fader being sent to both the internal AD converter and the TwinTrak Pro XLR output • O/L LED is lit when any section of the unit (including the headphone output) reaches a level greater than 0dBFS (O/L: LED triggered at +22.4dBu) Weight • 5kg • 11Ibs Dimensions • 484mm (W) x 85mm (H) x 180mm (D) • 19" (W) x 3.5" (H) x 9.3" (D) Awards Future Music Magazine 2003 ReviewsNick Batzdorf "The TwinTrak Pro is a very well-conceived product with great features, excellent compressor and sound quality unrivaled at this price point." Quote taken from an online review from mixonline.com Music Tech Magazine quotes Music Tech Magazine - Dan Duffell November 2003 "Focusrite gear has become synonymous with high quality and prices to match. The TwinTrak Pro cleverly steers the user towards making the right recording decisions. There's a good degree of editability, but also a subtle preset mentality apparent in its design." Read the full review from Music Tech Magazine Real World Studios Geoff Price - Technical engineer "I think Focusrite's approach, to keep it clean and simple with a few, very useful features, reflects its pragmatic design goal. Make one good box do "exactly what it says on the tin", and provide quality, ease of use and of course, affordability." Read the full review fromReal World Studios Sound on Sound Paul White "This really is one serious piece of kit that's been well thought out to make sense in the real world of desktop recording." Your ThoughtsAn impedance matching device is included, which allows you to select the impedance to suit the microphone your choosing. This is a pretty cool feature, and unlike a lot of other units that rely on subliminal information to make you ‘think’ you hear a difference, you can actually ‘clearly hear the adjustment in the impedance matching circuit. An awesome part of the TT Pro is the digital o/p, via SPDIF format. What a difference this makes! Bypassing the converters on the 001 makes a big difference! Bottom line: one great piece of gear. My advice is to check one out, and send the rascal back if you don’t like it. I doubt many of them will be sent back.” Rene Bullinga, Protel, Auckland "An excellent, transparent sound” S. Weeks, Essex “What a versatile box! If I'm tracking vocals or guitars I can compress and limit, the mic pres sound big, open and clean with lots of headroom, but I love running DI with my bass and smashing the heck out of the signal so it sits nice and fat in my mix. When I'm done and all sounds beautiful I can turn around again and run my full stereo mix through it again for mastering. What a great way to free up my computer for other plug-ins. I haven't used this in a live application but I wouldn't hesitate to do so. Plus the blue VU meters are ultra-cool." Greg Baum – Expert Advice – Sweetwater.com “I love my TwinTrak Pro. I use it on every song I do in some way or another. The pre-amps sound much cleaner and louder than the pre-amps on my A/D converter, so I usually bypass those pre-amps with my TwinTrak Pro. With the EQ scoop and compressor on each channel, it allows me to make something sit in the mix from the start. It's an essential piece of my studio.” Brendon Whitney AKA Alias (Producer / Goodwithmoney Recordings) Related Products |
