Overview
The Red 7 employs the same superb mic pre-amp as the Red 1 and Red 8, with a dual-range mic gain pot that allows precise control across the full range of the device. Phantom power and phase reverse are also provided. The Line input is electronically balanced, with continuously variable gain.
A high quality output fader offers +6dB gain to infinite attenuation, essential for direct recordings, or for accurate level matching after EQ and dynamics. Added to this mic pre is a full dynamics section, optimised for vocals. With its superb signal path, outstanding ease of use, and an integrated all-in-one design, it is a powerful tool for voice recording in all situations from music studios to post-production. The compressor design is taken straight from the Red 3, and as on that unit, is characterised by low noise and distortion even with heavy processing. Relatively heavy compression can be applied whilst retaining a transparent natural sound. Ratio, gain make-up, threshold, attack and release are all continuously variable, and a program dependent auto-release mode can be switched in. A swept high-pass filter allows effective treatment of problems such as rumble, bass lift and proximity effect.
The de-esser/exciter stage can be switched to provide frequency-selective compression (de-essing) or excitation. The amount and centre frequency of the processor are continuously variable, and as all the unit’s dynamics still use the Focusrite single-VCA technique, unwanted colouration of the sound is kept to an absolute minimum. A clear VU meter shows level after the pre-amp gain control, or displays compressor gain change.
The Rite Red
The Focusrite Red Range is hand-made, crafted to the highest standards. All the Red Processors are manufactured solely in the UK using machine-tooled, half-inch thick
claret red anodised aluminium. The chassis features recessed section grooves and styling motifs, (sculpted with diamond-tip cutters,) porthole windows, anoprinted silver control text, and firm-response illuminated switches.
All potentiometers are manufactured to Focusrite’s own specification by French company ‘Sfernice’, and are made from conductive plastic which gives more sensitivity and no mechanical resistance (easy to make very fine adjustments).
All Red products feature sealed relays, (gold-plated silver in an inert gas,) situated in the middle of the circuits in which they switch. The precious metals mean that all contacts are low resistance, and the gas prevents any kind of corrosion of the surface of the contacts, meaning the most perfect audio switching device ever designed - utterly passive, zero distortion caused and no FET’s required.
Red Range processors with mic pre’s feature solid-state-amplified audio transformers, which help to give the characteristic “warm, organic sound” loved by studios world-wide. Transformers are the only way of giving a truly floating and earth-free system, because there’s no galvanic connection between the input and output circuitry.
Transformers are not new in audio; they were there at the outset, but whilst others were trying to design them out to cut costs, Focusrite went after the best transformer possible, a philosophy which resulted in the transformers you find in the Red series today.
Low frequency second order distortion created by transformer saturation provides the character that many perceive as ‘warmth’. Meanwhile, a high frequency emphasis generated by the reactance of the coil resonance with the terminating impedance of the microphone or receiving device, provides the engineer with open, spacious high frequencies.
The Red Range mic transformer in particular gets its legendary “transparent yet warm” label from this process, an apparent contradiction in terms, yet a genuine characteristic – audition a unit and hear for yourself.
Specifications
Weight
• 7.3kg
• 16.1Ibs
Dimensions
• 484mm (W) x 85mm (H) x 266mm (D)
• 19" (W) x 3.5" (H) x 10.5" (D)
• 2U rackmount
Your Thoughts
"I use it on every film"
John Heyward (engineer) at Pinewood Film Studios
"The Red 3 is truly a brilliant compressor- it's not at all harsh and it can be very finely controlled, unlike others I've used. I really, really like that."
Producer and Re-mixer Steve Rodway
Awards
TEC Award Winner
Signal Processing Tech - Hardware Category
1996
Reviews
Studio Sound review quotes
March 1996
Dave Foister
"All the controls feel smooth and expensive- which they presumably are, particularly as Focusrite pots usually come from Penny and Giles- and the whole thing is a delight to use."
"Sonically it is completely transparent when it needs to be, and behaves exactly as one would wish when performing any of its processes."
"It's intention is clearly to be an ideal signal path from vocal microphone to tape, and for this use, as well as many others, it is hard to fault. Build quality is typical of the Red range and everything else from Focusrite, with its outrageously heavy front, back and side panels and stainless steel top and bottom, with the highest quality components inside."
"You know where you are with a Focusrite unit, and you get what you pay for- uncompromised engineering and uncompromised quality. The previous red modules have done well both in and out of the studio, with a rare blend of sonic integrity and roadworthiness, and the Red 7 seems sure to follow in their footsteps."
