TSC> If we can, I'd like to talk about the history of Focusrite because it involves some of the industry's most respected designers.

Focusrite> The origins of the Focusrite brand go back to 1982 when producer George Martin asked Rupert Neve to increase the number of channels on the vintage Neve console at Air studios. The input module that Neve designed for this project was called the Focusrite ISA110 Mic Preamplifier and Equaliser. Neve went on to create a number of products under the Focusrite brand name including a dual Mic Pre/Equaliser 19" module (ISA 115) and a single channel dynamics module (ISA131). In 1989 Phil Dudderidge (co-founder of Soundcraft) purchased Neve's Focusrite designs and founded Focusrite Audio Engineering.

TSC> How much of the design philosophy of that start up company holds true today? What is that philosophy?

Focusrite> The three main elements which have always driven our designs are:-

Sound Quality - Every design is auditioned for audio performance and sound quality. Circuits which measure OK for distortion, noise and frequency performance do not always sound good in practice, or maybe just leave you cold. All our circuits perform well technically but most of all they have some positive affect on the music passing through them. The key is to listen.

Style - Owning a Focusrite unit should be something to be proud of. Our products are styled to look unique and interesting, making them a pleasure to use.

Ease of use - The most important issue to the end user is 'how can I get a good sound?' so, every unit is designed to allow the front panel to be easily understood, and controls to have good sensitivity and feel. Electronically each knob should have a good distribution of control to allow the sound or effect required to be easily found and set. Again listening and using the equipment during the design process is the key to adjusting each design to give the maximum performance required.

TSC> Many people don't know that Focusrite started as a console company and not an outboard equipment company. What do you know about those first dozen or so consoles and are there any still in use?

Focusrite> The first console designed by Focusrite was the Forte Series. Two of these were installed in 1988/89 at Electric Lady Studios in New York and Master Rock Studios in London. This was a very large and highly specified recording and mixing console. Both locations are still in use.

The second design of Focusrite console was the Studio console series of which there were 10 installed between 1990 and 1996 at the following locations, in chronological order:-

All are still in intensive use today creating top selling CD's around the world.

TSC> Focusrite has divided itself into several different lines that meet the different needs of the industry. Could you go through the Blue and Red lines and explain maybe how they are different?

Focusrite> The Red range was launched in 1992. The modules are all hand-built and use the same circuit topology as the console and the ISA modules but with improved electronic performance, mechanical integrity and control layout. With the growing trend towards project studios and the explosion in modular digital multitracks, the emphasis of Focusrite's business turned towards the growing demand for analogue direct recording modules and in 1994 and 1995 the Red range expanded to 8 modules:

Blue 315 Isomorphic Mastering Equaliser Blue 330 Mastering Compressor/Limiter Blue 230 Broadcast Compressor/Limiter Blue 260 20-bit D-A Converter Blue 245 20-bit A-D Converter Blue 300 Mastering Controller

Focusrite> The Red Mic Pre design uses expensive transformer technology as the microphone input interface - one of the key factors in the perceived 'warmth' of the Red sound, and represents Rupert's view of discrete circuit design at the time. It's hard to say if the Red design is better or worse than his more recent non-transformer designs as this becomes a subjective judgement - we'd rather say "listen with your ears and make your own judgement"-hundreds of hits are engineered each month using classic RED technology.

TSC> What do most people define as the signature sound of the Red line?

Focusrite> The sound of a Red module is usually described as 'warm'. Two elements contribute to this: 1. Transformers on input and output connections. 2. Circuit topology and op-amp choice which determines the amount and type of distortion which occurs.

TSC> What is the magic behind the ISA 215?

Focusrite> The ISA 215 uses two of the original PCB's from the console EQ modules, the boards are simply laid flat in the 2U case and connected to an internal PSU. Therefore they have all the sound characteristics of the original Focusrite consoles, warm and clean. One key feature of the front panel which has always been a real positive for users of the 215 are the large EQ knobs which give increased sensitivity when tweaking EQ settings.

TSC> When the Green Line was introduced many said that it wasn't really a Focusrite or that maybe Focusrite was selling out. Where does the Green line fit in now that the Platinum line is becoming popular?

TSC> Where does one decide to cut corners to offer a Focusrite sound at now competitive prices? Or maybe the question should be, how much of the Red and Blue line are really in the Green and Platinum lines?

TSC> Can you outline the Green and Platinum lines and maybe the special features they have for the market they designed for?

Focusrite> The Platinum Range currently consists of the VoiceMaster, a recording channel optimised for voice, and the ToneFactory, a recording channel designed especially for instrument recording. Each unit has a wide range of features designed specifically for the intended purpose - for example the VoiceMaster has a voice-optimised EQ and the Tone Factory has a 'tone controller' which is essentially a guitar amp simulator. These modules are in some ways descendants of certain Green Range modules (the Green 3 Voicebox and the Green 5 Channel Strip), but with extra features to provide an even more complete solution for direct recording and of course are really easy to use. Watch out for the new Platinums coming soon!

TSC> Do you seen the company going more toward the digital age of gear, hybrids, or staying rooted in what they mostly known for ... quality analogue outboard gear.

Focusrite> We have a number of digital projects planned for this year that will keep us at the forefront of the market as it develops. Don't forget,we are already in this market with the d2 (6-band EQ) and d3 (compressor/limiter) plug-ins for best selling Digidesign ProTools platform. Indeed, ours are the best selling plug-ins on the ProTools platform and our design team worked very closely with the guys at Digidesign to ensure that the d2/d3 plug-ins sound as good as the analogue boxes on which they are based...and they do!

TSC> Any products that will be showcased at NAMM in January?

Focusrite> A new Platinum unit, the Compounder, will be on show. This is a dual Compressor/Limiter/Gate using a Discrete Class A VCA design which sounds very smooth. One feature that will be very welcome to the dance music market is the Bass Expander which uses a large wire wound inductor design to expand and generate large amounts of bowel moving bass.

TSC> The Focusrite web site seems pretty informative. Can you give a few details about the site and any special points of interest there?

Focusrite> The site at the moment contains an overview of our various product ranges, links to reviews in the pro-audio media, along with general information about the company. It also incorporates a form for submitting requests for product literature. We are currently working on several additions to the website which will be launched within the next couple of months, including a Q&A forum and articles about some of the principles of compression, EQ and so on. We are always keen to hear what people need and would find useful, so we'd be happy for people to email us direct and let us know what they'd like to see on the site.

TSC> What's the best way to acquire more information about Focusrite?

Focusrite> Using the internet, we can be contacted via email to <info@focusrite.com> or via the brochure request form on the website. You can, of course, also phone, fax or snailmail to:

Focusrite Audio Engineering Ltd. Lincoln Road, Cressex Business Park High Wycombe, Buckinghamshire HP12 3FX, UK Phone: +44(0)1494 462246 Fax: +44(0)1494 459920

TSC> Tom ... I'd like to thank you for your time and effort doing this article. Thanks for being a part of TSC's Company Cafe.