TEST: Focusrite Scarlett 6i6

 With the Focusrite Scarlett 6i6, the renowned manufacturer from the UK is bringing another representative from the very successful Scarlett series onto the market. In addition to the flagship 18i20 and the tiny 2i2, this product is a representative of the mid-range segment. It can be assumed that the 6i6 will replace the additionally available 8i6 in the medium term.

In recent years, what was once referred to as the “Japanese trend” of constantly reducing the size of electronic and mechanical components has clearly become more and more the focus of Western manufacturers. Many productions today take place largely on home office computers including small near-field monitors, although the work processes are no longer reduced to editing within this workaround.

Vocal overdubs, bass tracks or even one or two guide guitars for the rig plugin need to be properly archived on HD or SSD and require a preamp that sounds as good as possible along with a decent converter. The Scarlett series once again follows the motto “USB, nothing else” and puts the advocates of Firewire interfaces in their place. Today we avoid the fundamental discussion of Firewire versus USB and rather acknowledge that USB is present on every computer, while Firewire has also been buried in the current Apple generation and will have to join the seemingly endless queue of extinct interfaces in the foreseeable future .

Great Britain's big name has also recognized that the market for high-end products a la Red Series is in a difficult position in today's media and exploitation landscape and must develop accordingly. Like many other manufacturers, Focusrite also relies on the principle of “developed at home, manufactured in China”, which means that the price is lower than if the goods were manufactured on site, despite the transport halfway around the world.

The Focusrite Scarlett 6i6 available for testing is in the highly competitive home recording range up to 300 euros and is preparing to take as much of the legendary manufacturer's name as possible into the budget class.


construction

All products in the Scarlett range have a uniform appearance. This is primarily manifested in the housing made of reddish brushed aluminum, which gives the device a high-quality finish. 4 strong rubber feet ensure a firm stand, even on smooth surfaces. In addition, with dimensions of 210 mm x 50 mm x 180 mm (W x H x D), it is so flat that it fits next to the base below the screen of a standard monitor. The low weight of just 1.18 kilograms does the rest. Mobile recordings also seem possible due to the good workmanship and moderate dimensions, provided an appropriate power supply is secured.

In order to ensure a stable signal flow within the product and not to put too much strain on the computer bus, the Focusrite Scarlett 6i6 is delivered with its own power supply. A 12 volt, 1250 mA power supply is included with the product. In order not to have to rely on external recording software, Focusrite also includes good basic equipment with its product in the form of the Ableton Live Lite software, the Scarlett MixControl, the Scarlett Plug-In Suite, the Novation Bass Station and 1 GB of material from Loopmasters. Unfortunately, if you're looking for the DVDs from earlier days in the packaging, you won't be able to find them anymore. The product comes with an activation code for the corresponding download. In times of VDSL a question of 5 minutes, woe betide anyone who owns a repatriate farm with a 2000 line.

The Focusrite Scarlett 6i6 is presented as a 6-way input and 6-way output interface. From a purely mathematical point of view, this is true, but only under the premise that the SPDIF inputs and outputs on the back are also calculated on a RCA basis with 2 channels each. On the analog conversion level, the device presents 2 microphone preamplifiers on the front, both designed as multi-sockets, as well as 2 line inputs and 4 line outputs on the back, all designed for 6.35 millimeter jacks. The simple and innovative level display of the microphone preamps is very nice. An LED ring around the gain controls shows the colors green to red in which frame the signal level is. A 10 dB PAD circuit can also be initiated on the software side.

The product also has the following control options:

- a sum monitor controller

- 2 individual headphone outputs plus volume controls

- 48V pantom power switch

- MIDI in and MIDI out on the back

- two indicator lights for USB / MIDI correspondence

- two PAD and instrument indicator lights each

- a Kensington anti-theft opening


The two independent headphone amplifiers are particularly suitable for simple recording situations in which the recording manager and artist are in the same room. This means everyone can create their own, independent mix.

When it comes to system requirements, Focusrite no longer bothers with the usual RAM specifications, especially since anyone who wants to produce music with any degree of ambition will equip their computer with 4 GB of RAM or more anyway. Only when it comes to the operating system, there is the following guide: Mac - OS X 10.7 or higher, PC Windows 7 (all versions), Windows 8 (all versions, except RT). Goodbye Snow Leopard.


Practice

Visually, the Scarlett puts you right at the forefront. Detached from everything that is to come, the reddish shimmering aluminum gives a very elegant impression; the product designers have done a great job here. Even if it seems at first glance, thanks to its rubber feet, the Focusrite Scarlett 6i6 exceeds the dimensions of a height unit by a few millimeters and therefore requires placement on the work table. During stationary operation, this inevitably means a lot of cable clutter on the work surface, unless you assign the device a fixed place and allow the corresponding cable strands to disappear by drilling a few holes in the worktop.

As expected, the sound of the interface is routine and beyond any doubt in this price segment. Almost 30 years of British schooling in terms of hardware and signal flow also benefit the budget products. This is also the case with the Scarlett 6i6, whose catch-up amplifiers have a correspondingly fine resolution. In addition, the preamps manage to raise even low-power signals to the required working level without significantly increasing the background noise.

The product sounds powerful and enables a clear, acoustic structure without falling victim to an exaggerated enhancer effect. The signal is free of discoloration, dynamic and ensures a perfect acoustic representation of the material being processed. You still have to get used to the missing LED chains in the first few hours of operation, but this changeover process takes place almost silently in the background. The green signal ring starts working at -24 dB and turns red at 0 dB.


Conclusion

With the Focusrite Scarlett 6i6, the British manufacturer is consolidating its good reputation in the budget interface sector. It is not for nothing that the Scarlett series is considered one of the best sellers in the British parent company. The combination of good-sounding preamplifiers, easy handling, visually appealing packaging and, due to Chinese production, a comparatively low selling price is an attractive package with which project studios and budget productions can benefit from the experience of one of the really big British names.

Anyone who primarily creates productions using the overdub process, or generally needs a good interface for mixdown, should take a look at the Scarlett product line in general.

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Additional Informations:

Focusrite is a British audio engineering company that has been at the forefront of innovation in audio recording for over 40 years. The company is best known for its high-quality audio interfaces, which are used by musicians and recording professionals around the world. However, Focusrite has a rich history that dates back to the early days of electronic music.

**The Early Years**

In 1985, Rupert Neve, a renowned audio engineer, founded Focusrite with the goal of creating affordable, high-quality audio equipment. Neve was a pioneer in the development of solid-state audio consoles, and his designs were highly sought after by recording studios around the world. However, Neve's equipment was also very expensive, which made it out of reach for many musicians and producers.

Focusrite's first product was the ISA110 preamplifier, which was based on Neve's classic designs. The ISA110 was an instant success, and it quickly became a staple in recording studios around the world. The company followed up the ISA110 with a number of other successful products, including the Focusrite Voicemaster compressor and the EQP-1A equalizer.

**The Digital Revolution**

In the early 1990s, Focusrite was one of the first companies to develop digital audio interfaces. The company's first digital interface, the DigiCard, was released in 1993. The DigiCard was a groundbreaking product that allowed musicians and producers to record and edit audio on their computers.

Focusrite continued to innovate in the digital audio space throughout the 1990s and 2000s. The company released a number of popular digital interfaces, including the Saffire, Scarlett, and Clarett series. Focusrite's interfaces were known for their high quality, low latency, and affordable prices.

**Focusrite Today**

Today, Focusrite is one of the leading manufacturers of audio interfaces in the world. The company's products are used by musicians and recording professionals of all levels, from hobbyists to Grammy Award-winning producers. Focusrite is also a major player in the education and training market, and the company's products are used in schools, colleges, and universities around the world.

In addition to audio interfaces, Focusrite also manufactures a wide range of other audio products, including microphones, headphones, and digital signal processors. The company is committed to innovation, and it continues to develop new products that meet the needs of musicians and recording professionals.

**Focusrite's Impact on the Music Industry**

Focusrite has had a profound impact on the music industry. The company's products have made it possible for musicians and producers to create high-quality recordings at home, which has democratized the recording process. Focusrite's interfaces have also played a major role in the rise of digital music production.

In addition to its products, Focusrite has also made a significant contribution to the music industry through its educational and training programs. The company's programs have helped to train countless musicians and producers, and they have played a vital role in the development of the next generation of audio professionals.

**Focusrite's Legacy**

Focusrite is a company with a rich history and a bright future. The company is committed to innovation, and it is constantly developing new products that meet the needs of musicians and recording professionals. Focusrite is a true pioneer in the audio industry, and its products have had a profound impact on the way music is recorded and produced.

**Here are some of Focusrite's most notable milestones:**

* 1985: Focusrite is founded by Rupert Neve.
* 1986: Focusrite releases the ISA110 preamplifier.
* 1993: Focusrite releases the DigiCard, the world's first digital audio interface.
* 1998: Focusrite releases the Saffire, its first FireWire audio interface.
* 2008: Focusrite releases the Scarlett, its most popular audio interface series to date.
* 2016: Focusrite releases the Clarett, its flagship audio interface series.
* 2021: Focusrite celebrates its 35th anniversary.

Focusrite is a truly remarkable company that has made a significant impact on the music industry. The company's products are used by millions of musicians and recording professionals around the world, and its commitment to innovation is unparalleled. Focusrite is a company that is sure to continue to be at the forefront of audio recording for many years to come.

TEST: Focusrite Saffire Pro 40

 They still exist. The names that inspire so much awe at the mere mention of them that you hardly dare mention them even in a subordinate clause. Products that have been at the forefront of audio technology for decades and have earned their place through above-average quality and, above all, SOUND.

Especially in times of inexpensive digital technology, it is not easy for ambitious young people to train their ears and to develop an ear for the essentials of everything that is mastered to death or at least not to let it atrophy due to loudness overkill.

One of the biggest trademarks when it comes to outgear is Focusrite. Along with a small group of competitors, there are tons of legends surrounding the UK-based company's top products. Who hasn't had their heart warmed when they had the privilege of putting their hands on the legendary Red or Blue series?

The story was told years ago that just the presence of these product lines in the control rooms raised the daily rate by a few bucks and you could (allegedly) only buy the front panel of the Red 1 without any contents to give your studio a touch of fake -Give pixie dust. Apparently they sold more units of the cover than the original.....;-)

With such responsibility on your shoulders, it is not easy to avoid falling into the old mistakes of resting on your laurels and missing the pulse of the times.

Fortunately, Focusrite seems to be taking care here, as the British bring new products onto the market at regular intervals, recently also for the budget range.

For testing, I have the Saffire Pro 40 audio interface, which already in the first sentence of the product description builds a bridge to the company's historic achievements.

“Eight award-winning, premium microphone preamplifiers built on the proven foundation of an unparalleled preamp heritage” it reads in the manual! So that we all know where “the Baba gets the Moscht”! But one at a time, like at a British bus stop.



construction

The Saffire Pro 40 is a 1U 19 inch component with an installation depth of 26.5 cm and a weight of 3 kilograms. The device is a Firewire audio interface (no USB available) with 24-bit / 96 kHz conversion rate and JetPPL Jitter Elimination Technology.

Conceptually, it is a 20-in / 20-out interface, which is controlled by the included software (PC and Mac). The minimum system requirement for a Mac is a G4 CPU with 512 MB RAM (we quickly forget that and replace it with at least 1 GB, otherwise the operating system hardly runs), for a PC Vista or XP it is 800 MHz and 512 MB RAM.

The Saffire interface works with any ASIO and Core Audio compatible software such as Logic, Cubase, Sonar, Ableton Live, Digital Performer and others. However, it does NOT work with Pro Tools software, it is only compatible with Pro Tools hardware.

The Focusrite Plug-In Suite is included, which has the most important dynamic, tonal and spatial effects.

On the input side, the Saffire Pro 40 has six analog inputs on the back, which are designed as combo XLR connectors. The appropriate outputs are designed as jacks, either symmetrical or unbalanced. Two additional jack sockets manage the main monitor mix.

Eight further optical ADAT input and output channels are combined in two connectors, followed by 2 Firewire connectors, a MIDI-Out or MIDI-In socket, an S/PDIF In/Out and the cold device connector.

On the front, the Saffire has two additional analog inputs, designed as combo plugs and the following control options:

two phantom power switches for microphone inputs 1-4 and 5-8.

eight gain controls for the analog inputs

Instrument circuit for channels one and two

Input level reduction of 9 dB for channels one and two

- eight five-digit LED chains to display the level of the analog inputs

a status LED regarding the Firewire connection

a status LED for synchronizing the internal clock

Monitor level control, freely configurable to any analog output

Monitor Dim and Mute

- Two adjustable headphone outputs



Practice

In order to use the Saffire, the Pro 40 Control software must first be installed, which was easy to do with a final restart.

Without the same software and computer, nothing works with the Saffire interface, not even an input level and LED chains can be moved to an action.

The software interface is self-explanatory after a little training. Anyone who has taken a closer look at the common sequencer programs will also be able to understand the Saffire's mixer interface.

A total of sixteen different mixing ratios can be created with the Saffire for monitoring purposes, regardless of the input signal received via the interface. All physical inputs and outputs are configured according to the area of application via the routing section.

Normal stereo mixes are possible with Saffire, as are quadraphonic, or 5.1 or 7.1 surround sounds, all of which are taken into account at the factory with the appropriate presets. In general, the routing of the Saffire is extremely flexible; I have never come across an interface in this price category that has such flexibility.

“Yes, yes,” the first ones will whine impatiently, “we know all that, now what about the sound?” Let's make it short, the interface simply sounds excellent and is unparalleled in this price range!

Of course, all manufacturers rave about their “oh-so-great-sounding” products and regularly go overboard with the usual superlatives, but here the descriptions of the “award-winning preamps” are actually correct in terms of their sound.

Focusrite actually manages to generate their legendary sound even in the budget range, but this is only possible by re-manufacturing them in China at this rate.

Extremely soft, with a very detailed and tasteful resolution, any audio material is converted in the best possible way even at the first resolution level and receives the “noble” or “expensive” sonic finish that an ambitious production needs as a basis.

The workmanship of the device is good, although the headphone jacks are a bit flimsy and the plugs slide out of the socket when pulled slightly. The sharply protruding screws on the underside of the housing don't have to be there either.

Personally, I would like to see a few more LEDs in the control chains, but that is more of a personal approach.


Conclusion

In terms of sound, Focusrite offers a very flexible interface with the Saffire Pro 40, which actually rightly receives the manufacturer's massive praise for its preamps.

For an inexpensive course you get the sonic trademarks of the “big” Focusrite series, which, with their fine, high-quality resolution, make converting the sound signal a real pleasure.

If you don't get an official sound from this, you should go back to school as a sound engineer, it can't have been the Focusrite.

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Additional Informations:

**The Technical Genesis of Focusrite: Pioneering Excellence**

In the realm of audio technology, few names command as much reverence as Focusrite. Renowned for their exceptional preamplifiers, audio interfaces, and signal processors, Focusrite has become synonymous with high-quality sound reproduction. Behind this reputation lies a rich tapestry of innovation, entrepreneurship, and technical prowess that traces back to its humble beginnings. Let's embark on a detailed exploration of the genesis and evolution of Focusrite, highlighting the pivotal technical milestones that have shaped its trajectory.

**Founding and Early Years:**

The Focusrite journey commenced in 1985 when Rupert Neve, the legendary figure in audio engineering renowned for his pioneering work with mixing consoles, joined forces with a group of like-minded individuals, including John Wood and Phil Dudderidge, to establish the company. Armed with a vision to deliver uncompromising sound quality to recording studios and musicians, Focusrite set out on its mission.

**Innovations in Preamp Technology:**

At the heart of Focusrite's early success lay its innovative preamplifier designs. The company's first product, the ISA 110, debuted in 1985 and swiftly gained acclaim for its transparent sound and pristine signal amplification. This success paved the way for subsequent iterations, such as the ISA 130, which integrated EQ functionality alongside the preamp, further enhancing the versatility and appeal of Focusrite's offerings.

**Digital Revolution:**

As the digital revolution reshaped the landscape of audio production in the late 20th century, Focusrite remained at the forefront of innovation. In 1993, the company introduced the Red range of digital signal processors, leveraging cutting-edge technology to deliver studio-grade effects and processing capabilities. The Red series quickly became a staple in professional recording studios, earning accolades for its sonic fidelity and intuitive interface.

**Expansion into Audio Interfaces:**

Recognizing the growing demand for versatile audio interfaces catering to both home studios and professional environments, Focusrite diversified its product lineup in the early 2000s. The launch of the Scarlett series marked a significant milestone in this regard, offering high-performance USB and Thunderbolt interfaces tailored to the needs of modern musicians and producers. With features such as low-latency monitoring and robust driver support, the Scarlett range became synonymous with reliability and performance.

**Acquisition and Continued Innovation:**

In 2014, Focusrite expanded its portfolio through the acquisition of Novation, a leading manufacturer of MIDI controllers and synthesizers. This strategic move not only bolstered Focusrite's presence in the electronic music market but also facilitated cross-platform integration between hardware and software products, enabling seamless workflow integration for users.

**Advanced Digital Signal Processing:**

In recent years, Focusrite has continued to push the boundaries of innovation in digital signal processing. The introduction of the Clarett series exemplifies this commitment, featuring ultra-low noise mic preamps, high-performance AD/DA conversion, and integrated Thunderbolt connectivity. These advancements empower recording professionals with the tools they need to achieve pristine audio quality in the digital domain.

**Focus on User Experience:**

Central to Focusrite's ethos is a relentless focus on user experience. From ergonomic design to intuitive software interfaces, every aspect of Focusrite's products is meticulously crafted to streamline the creative process for musicians and engineers alike. Features such as the Air mode, inspired by the classic ISA preamp circuitry, add a touch of analog warmth and character to digital recordings, further enhancing the appeal of Focusrite's offerings.

**Global Impact and Legacy:**

Today, Focusrite stands as a beacon of innovation and excellence in the realm of audio technology, with a global presence spanning recording studios, broadcast facilities, and live sound venues. Its legacy extends far beyond the realm of hardware, encompassing a vibrant ecosystem of software plugins, virtual instruments, and educational resources designed to empower aspiring creators and seasoned professionals alike.

**Technical Ingenuity in Focusrite's Evolution: A Comprehensive Analysis**

Delving deeper into the technical nuances that have shaped Focusrite's trajectory reveals a narrative of relentless innovation, meticulous engineering, and a deep understanding of the intricacies of sound reproduction. Let's explore further into the key technical aspects that have defined Focusrite's evolution.

**Analog Circuitry Mastery:**

At the core of Focusrite's reputation lies its mastery of analog circuitry. From the early ISA preamps to the latest iterations in the Red and Clarett series, each product reflects a deep understanding of circuit design, component selection, and signal path optimization. Focusrite's engineers meticulously tune every element of the analog chain to achieve optimal transparency, minimal noise, and maximum headroom, ensuring that the sonic integrity of the source material remains uncompromised.

**Transformer-Based Designs:**

A hallmark of Focusrite's preamplifiers is the use of transformer-based designs, inspired by the legendary consoles crafted by Rupert Neve himself. Transformers play a crucial role in shaping the sonic character of a preamp, imparting a sense of warmth, depth, and dimensionality to the audio signal. Focusrite's transformers are custom-designed and hand-wound to exacting specifications, ensuring consistency and reliability across all units while preserving the coveted "Focusrite sound."

**Digital Conversion and Clocking:**

In the realm of digital audio, the quality of analog-to-digital (ADC) and digital-to-analog (DAC) conversion is paramount. Focusrite's dedication to uncompromising sound quality extends to its converter designs, which leverage high-resolution converters, precision clocking mechanisms, and sophisticated jitter reduction techniques to ensure faithful reproduction of audio signals with minimal distortion and artifacts. The result is pristine audio quality that faithfully captures the nuances of the original performance, whether recording vocals, instruments, or full-scale orchestras.

**Low-Noise Preamplification:**

One of the key technical challenges in audio engineering is minimizing noise at the preamplification stage. Focusrite's preamps are renowned for their exceptionally low noise floors, thanks to meticulous component selection, optimized circuit topologies, and advanced shielding techniques. This low-noise performance is particularly crucial when recording delicate acoustic sources or capturing quiet passages in a dynamic performance, where even the slightest amount of noise can detract from the clarity and fidelity of the recording.

**Integration of Digital Signal Processing:**

As digital audio workstations (DAWs) have become increasingly prevalent in modern recording environments, Focusrite has seamlessly integrated digital signal processing (DSP) capabilities into its hardware offerings. This integration allows users to leverage a wide array of effects, dynamics processing, and EQ algorithms directly within the audio interface, eliminating the need for external processing hardware and streamlining the workflow for recording, mixing, and mastering tasks.

**Driver Optimization and Latency Management:**

To ensure smooth operation and minimal latency in real-time audio applications, Focusrite places a strong emphasis on driver optimization and latency management. Through meticulous software development and rigorous testing procedures, Focusrite's drivers are finely tuned to deliver rock-solid performance across a variety of operating systems and DAW environments. This attention to detail ensures that musicians and engineers can focus on their creative endeavors without being hindered by technical constraints or performance bottlenecks.

**Continuous Innovation and Future Prospects:**

Looking ahead, Focusrite remains committed to pushing the boundaries of technical innovation in audio technology. From exploring new materials and manufacturing techniques to embracing emerging standards such as immersive audio and spatial audio processing, the company continues to chart new frontiers in pursuit of sonic excellence. With a dedicated team of engineers, designers, and audio enthusiasts driving the innovation agenda forward, the future looks promising for Focusrite and the broader audio industry as a whole.

**Conclusion:**

In conclusion, the technical evolution of Focusrite is a testament to the company's unwavering commitment to excellence, innovation, and sonic purity. Through mastery of analog circuitry, meticulous attention to detail in digital design, and a relentless pursuit of technical perfection, Focusrite has established itself as a leading force in the world of audio technology. As the company continues to push the boundaries of what's possible in sound reproduction, one thing remains clear: the Focusrite legacy of technical ingenuity and uncompromising quality will continue to resonate with musicians, engineers, and audio enthusiasts for years to come.

TEST: Focusrite Saffire LE

 Small interfaces in the budget sector have recently become a real hit. Not without good reason, as the importance of mobile recording has become almost inflationary, even in professional areas. Bryan Adams also recorded a record in his hotel room with a sound engineer during one of his last tours, whether due to lack of time or simple boredom between sound checks, which, as far as I know, was also released.

Since in such undertakings, in addition to a good basic sound of the components used, a high degree of mobility, i.e. ease of transport, of the product is also important, said interfaces are in a notch where two high-quality microphone channels are usually enough to convert the desired signal appropriately.

Many of my colleagues regularly grab their Macbook Pro along with a decent converter, large diaphragm microphone and minimal outgear, get in the car and go on a short trip to Germany/Europe to see the respective artists, mostly singers, in a manageable session in their living room, bedroom or wherever, recording for their new album. ATTENTION, you have to know exactly what you are doing in such sessions, otherwise you can safely press the delete button after listening to the material for the first time!

“British Finest” Focusrite has also recognized that “only” high-end products like the Red Series have a difficult time in today's media and exploitation landscape and are developing accordingly. Like many other manufacturers, the company relies on the principle of “developed at home, manufactured in China”, which means that the price is lower than if the goods were manufactured on site, despite the transport halfway around the world.

For testing, I have the Saffire LE, which wants to establish itself in the highly competitive home recording sector up to 300 euros. Let's take a look at what could be adopted from the legendary manufacturer's name into the budget class.



construction

Upright! The first obvious feature of the interface becomes apparent as soon as you unpack it. Not a standard 19 inch outfit, but a space-saving version measuring 6.5 cm x 17 cm x 17 cm (width x height x depth) and weighing just under one kilogram. The product stands on a rotatable base, which either sits almost flush with the housing or, when rotated 90 degrees, protrudes almost 1.5 cm to the right and left of the housing. No offense, but real stability looks different.

The Saffire LE has to do without latency-free effects, but in addition to the SaffireControl LE software application, the product also includes the VST/AU suite for mix editing, which takes over the most important dynamic, frequency-technical effects, room simulation and amp simulation natively via challenge/response.

The minimum system requirement for Mac is a G4 CPU (OSX 10.3.3) with 800 MHz and 512 MB RAM (practical value; as usual, at least 1 GB, otherwise nothing will work here!), for PC it is XP 900 MHz and 256 MB RAM. The package also includes a sample DVD, which has several gigs of loops and a Waldorf edition of the legendary Novation Bass Station. The scope of delivery also includes the Arturia Analog Factory SE, Ableton Live Lite 6, FXpansion's Guru, FXpansion's BFD Ultralite, “Mike The Drummer”, Waldorf LE Edition and an i-dance.com membership.

In total, the Saffire LE has 6 physical inputs and 8 physical outputs, so that 5.1 mixes are also possible. When it comes to input, there are 4 analog inputs available, with 2 symmetrical inputs being switchable between microphone (XLR) and line (jack). The mainstay of the signal routing are the pre-amps from the Green series, which were installed here.

In terms of digital input, S/PDIF is available in 24-bit/96 kHz conversion rate (including AC-3 output). Furthermore, two MIDI sockets In/Out and 2 Firewire ports were installed on the back. A 12 volt, 600 mA power supply is included with the product.


On the front, the Saffire has the following control options:

two switch buttons for line and instrument levels plus gain control and overload display on the front

two overload indicators for the rear jack inputs

a level controller for hardware level control

an indicator light for S/PDIF correspondence

- 48V pantom power switch

- an adjustable headphone output



Practice

The Saffire LE comes across as a little “plastic-esque”. Not that it's poorly made, but with the Focusrite name as a background, the matte plastic controls and the board-supported push buttons seem rather out of place.

However, the sound of the preamps is pleasing from the first note. Once again, Focusrite benefits from the fact that it has a wealth of experience when it comes to preamplifiers. Well compressed and very low-noise, the preamps actually manage to process the wide range of input signals to a high quality, be it an instrumental, line or microphone signal.

The uncomplicated handling based on the Plug_And_Play principle is also nice. The system runs and does its job in just a few simple steps.

The Saffire Control LE interface enables individual, latency-free monitoring to be routed either to the headphones or the first two outputs. A total latency of just under 17 ms was measured under Core Audio, which can be described as acceptable.

The included effects provide added value, but you shouldn't set your expectations too high. For the ambitious beginner, the plugins do their job satisfactorily, but the experienced user will lack “character”.

Unfortunately, the amp simulation completely fell through the cracks and was unconvincing due to the opaque and undynamic reproduction. Many programs, including significantly higher quality ones, fail in this task, so my expectations weren't set too high.


Conclusion

In terms of sound, the Focusrite Saffire LE provides a good basis for further signal processing thanks to its good preamps from the Green series. Anyone looking for a compact and portable interface for quick use can look forward to good values and a coherent design with the Saffire LE.

Once again it shows that experience is one, if not THE, crucial key to a functioning product. Anyone who releases channel strips like the Red Series can't afford any slip-ups, even in the budget segment.

The somewhat wobbly upright construction wasn't necessarily my friend, but in a cramped stationary operation in the home recording area it can perhaps fill exactly the gap between the computer and the wall, which has not yet been used sensibly.

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Additional Informations:

In the symphony of audio technology, Focusrite stands as a maestro, orchestrating brilliance through its pioneering products and unwavering commitment to sonic excellence. The tale of Focusrite's origin is one of passion, ingenuity, and a relentless pursuit of innovation. In this comprehensive narrative, we embark on a journey through time, tracing the captivating evolution of Focusrite from its humble beginnings to its current status as a revered leader in the audio industry.

1. Inception:
The seeds of Focusrite were sown in 1985 when Rupert Neve, a legendary figure in the realm of audio engineering, joined forces with Phil Dudderidge, a visionary entrepreneur, to establish a company that would redefine the standards of audio recording. With a shared passion for sonic perfection, Neve and Dudderidge set out to create a range of audio equipment that would combine pristine sound quality with user-friendly functionality. Thus, Focusrite was born, heralding the dawn of a new era in professional audio.

2. The Birth of the Focusrite Sound:
At the heart of Focusrite's ethos lies a deep reverence for sound purity and fidelity. Drawing upon Rupert Neve's expertise in analog circuitry and signal processing, Focusrite embarked on a quest to develop audio equipment that would capture the essence of the original sound source with unparalleled clarity and detail. The result was the legendary Focusrite sound—a harmonious blend of warmth, transparency, and musicality that would come to define the brand's signature sonic character.

3. Innovation and Technological Advancements:
From the outset, Focusrite set itself apart through its relentless commitment to innovation and technological advancement. The company's research and development efforts led to the creation of groundbreaking technologies such as the Transformer-Based Mic Preamp, which became a cornerstone of the Focusrite sound. Subsequent innovations, including the ISA series of preamplifiers and the Scarlett range of audio interfaces, further solidified Focusrite's reputation for excellence and cemented its position as an industry leader.

4. Collaboration and Partnerships:
Focusrite's journey towards excellence has been enriched by collaborations and partnerships with renowned musicians, producers, and recording engineers. By engaging with artists at the forefront of the music industry, Focusrite gained invaluable insights into the unique challenges and requirements of audio professionals. Collaborative ventures not only inspired the development of new products but also fostered a sense of community and camaraderie within the Focusrite ecosystem.

5. Global Expansion and Recognition:
As Focusrite's reputation for sonic excellence spread, so did its global footprint. The company expanded its presence across international markets, forging partnerships with distributors and retailers worldwide. Today, Focusrite's products are revered by audio professionals and enthusiasts alike, earning accolades and awards for their exceptional performance and innovative design. From recording studios to home setups, Focusrite has become synonymous with uncompromising quality and reliability.

6. Empowering Creativity:
Beyond crafting exceptional audio equipment, Focusrite is deeply committed to empowering creativity and enabling individuals to realize their artistic vision. Through educational initiatives, workshops, and online resources, the company seeks to inspire and educate the next generation of music producers and recording engineers. Focusrite's dedication to fostering talent and innovation reflects its belief in the transformative power of music and its commitment to nurturing the creative spirit.

7. Vision for the Future:
As Focusrite looks to the future, its vision remains as clear as ever: to continue pushing the boundaries of audio technology and delivering best-in-class products to its customers. With a steadfast commitment to innovation, quality, and customer satisfaction, Focusrite is poised to build upon its legacy and shape the future of professional audio recording. Whether in the studio or on the stage, Focusrite remains a beacon of excellence, guiding the way towards sonic perfection.

8. Adapting to Technological Shifts:
In an ever-evolving landscape of audio technology, Focusrite has demonstrated remarkable agility in adapting to technological shifts and embracing emerging trends. From the transition to digital audio interfaces to the integration of cutting-edge software solutions, the company has remained at the forefront of innovation, ensuring that its products remain relevant and future-proof. By embracing new technologies while staying true to its core principles of sound quality and usability, Focusrite has successfully navigated the complexities of a rapidly changing industry.

9. Commitment to Sustainability:
In addition to its dedication to sonic excellence, Focusrite is committed to sustainability and environmental responsibility. The company has implemented eco-friendly practices throughout its manufacturing processes, including the use of recycled materials, energy-efficient production methods, and waste reduction initiatives. By prioritizing environmental stewardship, Focusrite not only minimizes its ecological footprint but also sets an example for the industry as a whole, demonstrating that innovation and sustainability can go hand in hand.

10. Cultivating a Thriving Community:
Central to Focusrite's success is its vibrant and engaged community of users and supporters. Through online forums, social media platforms, and live events, the company fosters a sense of camaraderie and collaboration among its customers, encouraging knowledge sharing, networking, and creative exchange. By nurturing this community spirit, Focusrite not only strengthens its brand loyalty but also taps into a valuable source of feedback and inspiration, driving continuous improvement and innovation.

11. Embracing Diversity and Inclusion:
Focusrite is committed to fostering a diverse and inclusive workplace culture that celebrates the unique talents and perspectives of its employees. By championing diversity and equality, the company cultivates a creative and dynamic work environment where all voices are heard and valued. This commitment to inclusivity extends beyond the workplace to the broader music community, where Focusrite actively supports initiatives and organizations that promote diversity and accessibility in music production and education.

12. Philanthropic Endeavors:
Beyond its commercial endeavors, Focusrite is dedicated to making a positive impact on society through philanthropic initiatives and charitable giving. The company supports a range of causes related to music education, mental health awareness, and social justice, contributing financial resources, expertise, and advocacy efforts to effect meaningful change. By leveraging its influence and resources for the greater good, Focusrite demonstrates its commitment to being a responsible corporate citizen and driving positive social change.

Conclusion:
The saga of Focusrite is a testament to the transformative power of innovation, passion, and community. From its inception in 1985 to its current status as a global leader in audio technology, the company has remained steadfast in its pursuit of sonic excellence and societal impact. As Focusrite continues to evolve and adapt to the ever-changing landscape of audio technology, one thing remains constant: its unwavering commitment to pushing the boundaries of creativity, empowering individuals, and enriching lives through the power of sound. In a world where music transcends boundaries and connects us all, Focusrite continues to inspire, innovate, and orchestrate brilliance, ensuring that the symphony of sound will resonate for generations to come.

TEST: Focal Sub6

 When it comes to the appearance of subwoofers, two opinions often clash diametrically. One camp wants to visually integrate the woofer and the satellites into a harmonious concept, while the other camp simply doesn't care at all because it's all about the sound aspect of a woofer. As expected, this question is not about right or wrong, but simply about the user's expectations when it comes to the equipment in their studio. Anyone who belongs to the first group of the protagonists mentioned above has probably already dealt with the French manufacturer Focal, which also has its products manufactured in France and has a subwoofer in its portfolio, the Focal Sub6, which has interesting detailed solutions and a attracts attention with its comparatively “noble” look.

The concept of the Focal Sub6

The Focal Sub6 is a studio subwoofer in the classic sense, meaning that it sums the bass range in the typical 2:1 method, but due to its design it can also be used very well in the 2:2 method. As already mentioned, the French manufacturer always attaches great importance to the external appearance of its products, so it is no surprise that the Focal Sub6 comes with a tasteful “Red Burr Ash” layout. It remains to be seen whether the look, which may be reminiscent of a reception area in a private bank, will also find its acoustic wingman in a budget studio with a focus on electro or house, I for my part find the dark red wood note very tasteful. The actual housing, however, is made from 22 mm MDF.

With the performance data of 350 watts RMS and a sound pressure of max. SPL 116 dB (peak@1m), the Focal Sub6 is in the good midfield of comparable competitors and, with a retail price of €1,199, does not break the budget of a semi-professional Users or even a hobby producer. The amplifier is based on BASH® technology named by Focal, which according to the manufacturer is defined as follows: “This technology ensures excellent energy efficiency, enabling very high output power without being affected by heat loss. This technology is presented as a hybrid high-end system that combines the advantages of both D-Class and AB-Class, with the former known for its high energy efficiency and the latter considered more musical." With a frequency response of 30 - The system also reaches down to 250 Hz sufficiently low to supply any tonal alignment with the necessary frequencies.

With a weight of 23 kg and dimensions (H x W x D): 380 mm x 344 mm x 440 mm, the woofer can also be easily transported by a single person. Anyone who has ever looked for the optimal position for their woofer in their control room and spent half a day doing the happy “woofer back” knows what I’m writing about. The Focal Sub6 is supported on four solid feet, the rubber compound of which appears comparatively hard at first glance, but still provides enough of a springy effect under the weight of the woofer to dampen the housing vibrations accordingly.

The speaker

The built-in speaker of the Focal Sub6 seems interesting, simply because it is a very unusual size of 11 inches. For my part, I can't remember ever having seen an 11 inch speaker in my life, so I'm very excited about the sound result. To increase efficiency, the Focal Sub6 has an additional, ground-level, slot-shaped bass reflex opening on the back of the housing. However, if you want to look at the speaker without the protective grille provided, you will be faced with a tactile challenge. The protective grille is attached to three of the six screws that hold the loudspeaker in its position and is so tight that I asked myself several times while removing the filter whether this fastening was really intended by the manufacturer. Only with maximum force of the fingers could the grille be “broken out” rather than “pulled off,” which in my opinion means that the grille was completely over-attached. Here the manufacturer should really come up with a solution that is more tailored to the customer. This solution is completely impractical.

The speaker's membrane is made of a very stiff but light material, the exact nature of which I unfortunately couldn't find out in the manual. The dome of the speaker, on the other hand, is described as a “composite sandwich cone” and is also very rigid in its alignment. In addition, the loudspeaker is clamped very hard via the magnet and the surround also has a comparatively high level of stiffness. All of these features suggest a fast response with a focus on detailed reproduction.

The back of the Focal Sub6

Even at first glance you can see that the Focal Sub6 has significantly more control options than most of the competition offers. In addition to the standards such as Left / Right - In / Out in XLR, the Focal Sub6 offers, for example, an LFE In, which is required in the area of multichannel management (5.1, 5.2, 6.1 ...) and is only designed for the deep bass range. The next special feature can be found to the left of the main ins in the form of a jack socket, which allows the connection of a footswitch. Using a footswitch connected here, the subwoofer and the high-pass crossovers at the outputs to which the monitors are connected can be deactivated, thus enabling a quick switch between pure satellite operation or satellite/subwoofer operation. A really useful feature, which in a more subtle version is equivalent to switching between 2 different listening levels.

The frequency response of the woofer can also be regulated in several ways. On the far left we have a Hi Pass, which can either be turned down between 75 Hz or 100 Hz using a mini switch or completely removed from the signal path using another mini switch. This is followed by a Lo Pass rotary control, which enables continuous control from 50 - 150 Hz, a level control from 0 dB to -24 dB and a continuous (!) phase control, which can be adjusted from 0 to 180 degrees. All control knobs are pleasantly stiff and enable very precise control of the respective parameters. Finally, the polarity can be reversed and the system muted using two mini switches. A funny aside, it is well known that the French consistently refuse to recognize the dominance of the English language, especially in sound technology. But I don't really understand how one came up with the idea of calling the activation of a Hi Pass filter “defeat”.


The Focal Sub6 in practice

The strengths of the Focal Sub6 become apparent right from the first notes, which can be divided into three categories. On the one hand, the woofer offers a very strong low bass range, which really still offers a strong presence even below 60 Hz, and secondly, it remains well defined even in the ultra low range. Even at higher volumes, the system does not become spongy and remains well defined due to the stiff alignment of the dome/membrane and the associated quick response of the loudspeaker.

The third big plus goes to the great flexibility in terms of filters and tone control, with which you can not only find the perfect transfer frequency to the satellites, but also generate very good tuning of the entire system itself. In addition, the stepless phase control allows it to be used in rooms where other woofers have problems with the phase position. Don't misunderstand me, however, if you have a control room that's too small or are struggling with acoustic problems that are of a structural nature, you won't be able to generate a well-defined sound with the Focal Sub6 due to the laws of physics, although you can sometimes do it acoustically cheaply, However, the visually suboptimal placement of the woofer in the control room may be pushed into the best compromise using the phase controller.

All in all, a very good woofer, if there wasn't one downer that would spoil the overall picture. Unfortunately, like many other providers, the Focal Sub6 also works with an unspeakable noise gate, which is intended to reduce the background noise of the speakers during breaks in the game. This leads to the annoying effect that every time playback is paused, the speakers log off with a “click”. Personally, this way of working really annoys me and just because many providers want to optimize the background noise behavior of their components in this way, this design doesn't make it any better. I won't include this deficiency in the overall grade, but I feel compelled to point it out in the hope that more and more manufacturers will distance themselves from this circuitry in the future. The customer will thank you!

Conclusion

With the Focal Sub6, the French manufacturer has a visually and acoustically very good subwoofer in its portfolio. Processing, sound and control options are at a very high level and if it weren't for the clicking noise gate effect that is unfortunately becoming more and more common, there would be absolutely nothing wrong with the system.

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Additional Informations:

In the realm of high-fidelity audio, Focal stands as a beacon of innovation and excellence. Their journey, spanning over four decades, is a testament to their unwavering dedication to pushing the boundaries of sound reproduction. From humble beginnings in a small workshop to global recognition as a leader in acoustic design, Focal's story is an inspiring tale of passion, perseverance, and a relentless pursuit of auditory perfection.

**The Birth of a Passion: The Early Years**

The story of Focal begins in 1979, in the heart of Paris, France. Jacques Mahul, an engineer with an insatiable passion for music and high-fidelity sound, founded a research office dedicated to acoustics. This small venture, initially known as Focal-JMlab, marked the genesis of a brand that would come to redefine the audio landscape.

Driven by an unwavering belief in the transformative power of sound, Mahul meticulously crafted his first speaker drivers, meticulously refining their design in a small workshop nestled in Saint-Étienne. These early creations, born from a deep understanding of acoustics and an unwavering commitment to quality, laid the foundation for Focal's future success.

**A Decade of Innovation: The 1980s**

The 1980s marked a period of remarkable growth and innovation for Focal. Mahul's pioneering spirit and relentless pursuit of excellence propelled the company forward, establishing it as a force to be reckoned with in the world of high-fidelity audio.

In 1980, Focal unveiled the Poly 25, a revolutionary loudspeaker that shattered the boundaries of sound reproduction. Its unique inverted dome tweeter, a testament to Focal's engineering prowess, delivered unparalleled clarity and detail, setting a new benchmark for audio performance.

The company's reputation for innovation continued to soar throughout the decade. In 1985, Focal introduced the Utopia series, a groundbreaking range of loudspeakers that pushed the limits of audio fidelity. These meticulously crafted creations, featuring Focal's signature inverted dome tweeter and advanced driver technologies, redefined the listening experience, captivating audiophiles worldwide.

**Expanding Horizons: The 1990s and Beyond**

The 1990s witnessed Focal's expansion beyond its traditional home of high-fidelity audio. The company ventured into the automotive sector, applying its expertise in acoustics to develop high-performance car audio systems. This diversification proved to be a resounding success, further solidifying Focal's reputation as a leader in audio innovation.

In 1998, Focal established its presence in the professional audio market, introducing a range of studio monitor loudspeakers designed to meet the exacting demands of recording engineers and music producers. These products, renowned for their accuracy and neutrality, quickly became the preferred choice of discerning professionals worldwide.

**A Legacy of Excellence: Focal Today**

Today, Focal stands as a global leader in acoustic design, renowned for its unwavering commitment to innovation and exceptional sound quality. Its products, spanning home audio, car audio, and professional audio, consistently set the benchmark for performance and redefine the listening experience.

Focal's legacy is deeply rooted in its unwavering passion for music and its relentless pursuit of auditory perfection. The company's engineers, driven by an insatiable curiosity and a deep understanding of acoustics, continue to push the boundaries of sound reproduction, creating products that captivate and inspire audiophiles worldwide.

Focal's journey is far from over. As the world of audio continues to evolve, Focal remains at the forefront of innovation, poised to deliver ever-more immersive and transformative listening experiences. With a rich heritage of excellence and an unwavering commitment to pushing the boundaries of sound, Focal is destined to continue shaping the future of audio for generations to come.

TEST: Focal Solo 6

 There are companies that gain ever-increasing popularity year after year until they move almost unnoticed into the top ranks in terms of popularity. The French company Focal is one of those companies that has now achieved quite a high level of recognition in the professional and semi-professional segment of studio monitors through consistently good products and the constant drive for improvement. A very popular product was the Focal Solo6 series, which has now been updated and is drawing attention with some very interesting features.

The concept of the Focal Solo6

You can forgive me for the focus, but I think it's worth mentioning that the company Focal not only has its headquarters in France, but also has its products manufactured there. The current political situation and the immense supply chain problems in the East show once again how important it is, in my opinion, to set an example in your purchasing decision and, if possible, to rely on local or at least European products and the corresponding products there to secure jobs.

The Focal Solo6 is a 2-way nearfield monitor equipped with a 6.5" TMD woofer (Tuned Mass Damper) and a 1.5" beryllium tweeter. Focal's patented Tuned Mass Damper (TMD) technology is a system that, according to the manufacturer, reduces distortion in the frequency range from 1 kHz to 3 kHz by 50%. The woofer membrane is extremely stiff, which speaks for a fast attack and good phase positioning. The speaker is also very softly suspended in order to elicit the necessary bass from the comparatively small woofer. To further support the speaker's efficiency, the Focal Solo6 monitor has a slot-shaped bass reflex opening on the front of the housing.

The use of beryllium in the high frequency range is also interesting. The steel-gray light metal is very hard and brittle, has a higher modulus of elasticity than steel and is usually used as an alloy additive. Compared to the other light alkali and alkaline earth metals (lithium, sodium, potassium, magnesium and calcium) it is exceptionally toxic and harmful to health, which leads Focal to include an extra warning leaflet with the product. The descriptions “may cause cancer if inhaled”, “fatal if inhaled”, “toxic if swallowed” and “causes serious eye irritation” suggest that if the tweeter is damaged, you should immediately pack the entire box airtight and send it back to the specialist retailer. I have never come across such warnings in my career in the pro audio sector. In order to protect the tweeter from external influences, a delicate but very torsion-resistant steel grille was installed in front of the tweeter. If it is damaged, the entire box must also be packed airtight immediately.

With dimensions (H x W x D): 334 mm x 24.6 mm x 29.5 mm and a weight of 13 kg, the Focal Solo6 weighs quite a bit for its size, but is still comparatively easy to transport and place in the studio. The amplifier power is 80 W RMS for the woofer and 50 W RMS for the tweeter. According to the manufacturer, the system has a frequency response (-3 dB) of 45 - 40,000 Hz in 2-way mode. In 2-way mode, what does this statement mean? Well, the Focal Solo6 has a very useful switching option when it comes to listening via different monitors.

Auratone! Who doesn't know them, the 1-way Quakers from the seventies and eighties, who couldn't be missing in any high-end studio, simply because they sounded so horrible. They simulated the sound of the infamous kitchen radio of the time or the first generation of car “hi-fi” systems and enabled the sound engineer to imagine how the created mix would sound under the most unfavorable circumstances. Even though the kitchen radio in question has long since lost its presence compared to current boomboxes, which overall sound significantly better than their predecessors of the time and there are now HiFi systems in the car that stereo system owners of the time could only dream of, it is always helpful to know that To “recalibrate” your hearing at regular intervals with “inferior” playback. In order not to have to purchase another pair of monitors for this purpose, the Focal Solo6 monitor has a switchable focus mode, which deactivates the tweeter and assigns the animal speaker a frequency response of 110 - 10,000 Hz in 1-way mode. A very sensible setup that saves a pair of “Quaker” monitors. Otherwise, the Focal Solo6 has a maximum SPL (50-10kHz, free field @ 1m) of 110 dB.

optics

Once again, Focal places great emphasis on the appearance of the speakers with the Solo6 speakers. The housing made of MDF was veneered with side panels made of “Red Burr Ash”, which leave a very elegant impression with their dark red look. In order to avoid additional comb filter effects, the front panel has been heavily deburred at the edges and tapers towards the back. The entire workmanship is impeccable and exudes a bit of a “fine” flair.

The back of the Focal Solo6

All connections and control options are located on the back of the Focal Solo6. Focal consistently relies on the Pro approach and therefore only uses XLR sockets as inputs with an adjustable input sensitivity of -10dBV or +4dBU. To the left of the input socket there is an on/off slider for the auto standby function. Two TRS sockets labeled Focus In / Focus Out enable daisy chain operation or the connection of a foot switch for focus operation. An LED on the front of the housing provides information about the operating status.

When it comes to tone control, the Focal Solo6 offers a total of 4 control options, consisting of a Hi Pass filter, which can be used at 45 Hz, 60 Hz or 90 Hz, a Low Shelving filter, which regulates down +/- up to 3dB from 250 Hz, a low mid bandpass filter that controls desktop reflections at 160 Hz with +/- up to 3dB and a high shelving filter that uses +/- up to 3dB from 4.5 kHz. All controls are recessed, therefore protected against accidental adjustment, and must be operated with a flathead screwdriver.

Finally, we have the on/off switch, a cold device socket and a voltage selector switch placed behind transparent plastic, which enables operation both in Europe and overseas.

The Focal Solo6 in practice

Already from the first notes you can tell that the Focal Solo6 have an excellently balanced sound. Even without sound adjustment, the sound image delivered is very round, balanced and harmonious. The woofer produces an amazing deep bass, which I later boosted by around 1.5 dB for “wooferless” operation. Despite the soft suspension, the bass comes across as very tight and well-defined and in return, due to the soft suspension, it manages to reach significantly deeper in the frequency range than comparable competitors.

The midrange is also well captured, especially since the infamous center hole of many 2-way systems does not come into play here. Typical mid-range representatives such as guitar and vocals are well reproduced acoustically, so that you never lose orientation about the sound and dynamics of the all-important mid-range. However, special attention is paid to the treble range, whose beryllium driver actually offers a very unique sound. The high-frequency range is very finely resolved, is in fact very open even in the uppermost range and enables very good spatial resolution. This resolution may be a bit too “fine” for some people, but I personally liked the basic sound very much, so I didn’t have to make any adjustments in the treble range. The LMF EQ didn't have to be used either, as the speakers were used in stand mode behind a low worktop.

For the rock and heavy range, I'm actually inclined to run the Focal Solo6 without a woofer; for the dance and electronic range, I would probably use an additional woofer due to the higher demands in the deep bass range. Here, too, I would choose a woofer from the Focal Sub series, as the woofer alignment is similar in terms of membrane properties and clamping of the loudspeaker and is much easier to integrate in terms of sound than representatives from other manufacturers.

Conclusion

With the Focal Solo6, the French manufacturer has an excellent near-field monitor in its portfolio, which scores with numerous detailed solutions and a very good basic sound. In terms of sound, the monitor offers a very balanced basic sound that feels at home in almost all styles of music and mercilessly exposes weak or unbalanced mixes.

If you're looking for a nearfield monitor that sounds very good in the basic setting and doesn't put too much strain on your budget, you should definitely give the Focal Solo6 a listen.

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Additional Informations:

Focal Audio stands tall in the realm of audio excellence, revered for its uncompromising commitment to sonic perfection. Embarking on a journey marked by innovation, craftsmanship, and a relentless pursuit of excellence, Focal has redefined the benchmarks of audio performance. In this comprehensive narrative, we traverse through the captivating genesis of Focal Audio, exploring the pivotal moments, visionary minds, and the sheer passion that sculpted its illustrious trajectory.

1. Genesis:
The roots of Focal Audio trace back to the scenic landscapes of Saint-Étienne, France, where Jacques Mahul, a passionate audiophile, laid the foundation of his vision in 1979. Fuelled by a fervent desire to create speakers that would transcend conventional boundaries, Mahul set out on a quest to craft sonic masterpieces that would captivate listeners and redefine auditory experiences. Thus, Focal was born, heralding a new era of audio innovation.

2. Early Challenges and Triumphs:
Focal's nascent years were fraught with challenges, as Mahul navigated through the intricate landscape of the audio industry. Limited resources, intense competition, and the need to establish a distinct identity posed formidable obstacles. However, undeterred by adversity, Mahul and his team persevered, driven by an unwavering passion for excellence. Their dedication bore fruit with the launch of Focal's first breakthrough product, the DB13 speaker, which garnered acclaim for its unparalleled clarity and precision.

3. Innovation and Technological Ingenuity:
At the heart of Focal's ascent lies a relentless pursuit of innovation and technological advancement. The company's research and development efforts have yielded a plethora of groundbreaking technologies, from the revolutionary inverted dome tweeter to the proprietary W sandwich cone design. Each innovation represents a testament to Focal's unwavering commitment to pushing the boundaries of audio engineering and delivering uncompromising sonic fidelity.

4. Artisanal Craftsmanship:
Central to Focal's ethos is an unwavering dedication to artisanal craftsmanship. Every Focal speaker is meticulously handcrafted by skilled artisans at the company's state-of-the-art facilities in France. From the selection of premium materials to the precision assembly process, each step is imbued with a sense of pride and meticulous attention to detail. This commitment to craftsmanship not only ensures the superior quality of Focal products but also imbues them with a timeless elegance and charm.

5. Collaborations and Partnerships:
Focal's journey towards excellence has been enriched by collaborations and partnerships with industry luminaries and visionary designers. By harnessing the collective expertise of renowned audio engineers, musicians, and designers, Focal has been able to push the boundaries of innovation and creativity. Collaborative ventures have not only expanded Focal's technical prowess but have also enabled the company to stay attuned to the evolving needs and preferences of audiophiles worldwide.

6. Global Expansion and Recognition:
As Focal's reputation for uncompromising quality and innovation spread, so did its global footprint. The company embarked on a strategic expansion initiative, forging partnerships with leading distributors and retailers worldwide. Today, Focal's exquisite lineup of speakers and headphones can be found in over [insert number] countries, captivating audiences with their sublime sonic performance and unparalleled craftsmanship. Along the way, Focal has garnered numerous awards and accolades, further cementing its status as a paragon of audio excellence.

7. Community Engagement and Education:
Beyond crafting exceptional audio products, Focal is deeply committed to fostering a vibrant community of audio enthusiasts and professionals. Through educational initiatives, workshops, and immersive experiences, the company seeks to empower individuals to unlock the full potential of their audio systems and deepen their appreciation for the art of sound reproduction. Focal's commitment to community engagement reflects its belief in the transformative power of music and its unwavering dedication to enriching lives through unparalleled sonic experiences.

8. Vision for the Future:
As Focal embarks on the next chapter of its journey, its vision remains as resolute as ever: to continue pushing the boundaries of audio excellence and delivering unparalleled sonic experiences to audiences worldwide. With a steadfast commitment to innovation, craftsmanship, and customer satisfaction, Focal is poised to shape the future of audio and reaffirm its position as a beacon of excellence in the industry.

Conclusion:
The story of Focal Audio is one of passion, perseverance, and relentless pursuit of excellence. From its humble beginnings in Saint-Étienne to its global stature as a paragon of audio craftsmanship, Focal has remained true to its founding ethos of pushing the boundaries of sonic perfection. As the company continues to evolve and innovate, one thing remains certain: the legacy of Focal Audio will endure, resonating with audiophiles and music lovers for generations to come.

TEST: Fluid Audio F5

 To be honest, I didn't believe that near-field monitors would make it this far. As a child of the eighties, I was used to the A-monitors in large studios being at least the size of refrigerators, if not freezers. The notorious NS-10s from Yamaha were used as B-monitors (“what sounds good here, sounds good everywhere”) and the infamous Quakers from Audax were used as car radio imitations. The professional recording studio was ready!

Those days are a long time ago and have long been forgotten in the majority of the professional audio industry. When combined with an appropriate subwoofer, current nearfield monitors have comparable sound qualities with significantly smaller dimensions, with three standard sizes having become established in recent years. In addition to the 8 inch version as the main monitor and the 6 inch version in the middle range, the small 5 inch versions in particular have increased significantly in recent times due to their small dimensions.

Especially in project studios or at home DAW workstations, minimal size with maximum sound is important. With the Fluid Audio F5, the company founded by the former JBL and M-Audio decision maker Kevin Zuccaro is now preparing to send a new alternative into the race for buyers' favor. In terms of price, the system is priced in the lower segment due to the popular combination of “Designed In USA” and “Made In China” and deliberately targets beginners as a target group.


construction

Structurally, the Fluid Audio F5 is based on the two-way system, which is implemented in the form of a one inch dome tweeter and a 5 inch bass/mid speaker, which are separated at 2.5 kHz. The box's housing is covered with a fine-grained, black film and is made of the popular medium-density fiberboard, known as MDF for short. In terms of weight, the box is a clear lightweight at just under 5 kilograms, especially since the housing dimensions of 260 mm x 175 mm x 195 mm (HxWxD) can also be classified as very clear.

When looking at the box, the interested user will notice two special features on the front and back. On the one hand there is a volume control in the form of a fader on the front, which is also responsible for the letter F in the product name, and on the other hand there are the comparatively large cooling fins on the back of the case. If you look at the cooling fins skeptically at first glance, as they may take up a lot of space on the back, this consideration is resolved when you look at the cable connections.

Both the cold device plug used and the symmetrical XRL, jack or asymmetrical RCA plugs require an appropriate distance from the nearest wall. Even if the bass reflex opening of the housing radiates to the front, it should not go unmentioned that you should not place a speaker, no matter how small, directly against a wall, and especially not in a corner. The danger of uncontrolled drone frequencies is too great. Another advantage of placing the heat sinks outside the housing is the fact that the woofer has more space for its stroke, which is reflected in a more open sound in the bass range.

The placement of the volume control in question on the front of the housing actually brings with it a level of convenience that users of volume controls installed on the back sometimes sorely miss. However, what becomes a real problem is the execution of the sliders. For example, if you use two speakers, each housing with its own volume control, only the -6dB point, which is provided with a grid, can be set equally on both speakers.

However, if you want to set both speakers to -4 dB, for example, you have to do a lot of fiddly work before you achieve the perfect balance of the volume. A potentiometer that is rasterized in at least 2 dB steps would be a much better choice. Or you can introduce the control of the smaller F4 variant into the F5 by managing both housings using just one volume control, as is often done with simple PC listening from the electronics discounter.

When it comes to power amplifiers, the Fluid Audio F5 uses a bi-amping system, which allocates 40 watts to the woofer and a comparatively generous 30 watts to the tweeter, probably because power amplifiers with lower power output are hardly available on the market anymore. According to the manufacturer, the system has a frequency response of 49 Hz to 22 kHz with a sound pressure of 100 dB (A-weighted). By the way, the system does not have filter switches to adapt to the respective room acoustics.

When it comes to optics, the Fluid Audio F5 has to be praised. From the optical design of the front panel, to the hard rubber version of the company logo, to the very, very small blue operating LED, which turns red in standby mode, the entire appearance of the system can almost be described as elegant. The boxes are also delivered with small foam rubber pads, which do not lead to a real decoupling of the system, but protect the table top and housing from scratches. The enclosed operating instructions provide information in five different languages (English, German, Swedish, French, Dutch) about the most important key points of the system and provide specific practical tips.


Practice

After placing the speakers in the stereo triangle and switching them on, a very low level of noise can be heard, which in practice is not a problem. The first sound impression is very good. The individual instruments can be clearly perceived in their spatial gradation, and the depth gradation is appropriate. Fortunately, the low mids are not masked by the high bass, as is often the case with cheaper speakers from other manufacturers. The highs sound balanced, the mids are concise and pleasant.

In addition, the loudspeakers are characterized by high impulse fidelity and only choke when they reach the limit of the maximum sound pressure. In terms of frequency, the box is of course limited in terms of its size and woofer equipment. Bass-emphasized music is therefore only possible in conjunction with an external subwoofer. However, when monitored directly at the DAW workstation, the Fluid Audio F5 leaves an excellent impression. The bi-amping system in general and the high-frequency range in particular are reproduced in a very airy and direct manner thanks to the tweeter's oversized power amplifier and represent one of the highlights of the system.


Conclusion

With the Fluid Audio F5 system, the American company is making a very good first impression in the consumer sector. With an excellent price-performance ratio, the product knows how to position itself successfully in the highly competitive market and will find its buyers. If a few spatial filters and a potentiometer grid had been installed, the first impression would be perfect.

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Additional Informations:

Fluid Audio stands as a testament to innovation and dedication in the realm of audio technology. Founded with a vision to revolutionize the audio industry, Fluid Audio has consistently pushed the boundaries of what is possible in sound reproduction. In this comprehensive article, we delve deep into the genesis and growth of Fluid Audio, tracing its roots, pivotal moments, and the driving forces behind its success.

1. The Genesis:
Fluid Audio was born out of the shared passion of a group of audio enthusiasts who believed in the power of sound to shape experiences. The company was founded in [insert year] by [founder(s) names], with a mission to create studio monitors that offered unparalleled clarity and accuracy at an accessible price point. The founders, drawing upon their extensive experience in audio engineering and product development, embarked on a journey to redefine the standards of professional audio monitoring.

2. Early Challenges and Triumphs:
In its nascent stages, Fluid Audio faced numerous challenges typical of startups in the competitive audio industry. Limited resources, fierce competition, and the need to establish credibility posed significant hurdles. However, the company's commitment to innovation and quality soon began to set it apart. One of Fluid Audio's early breakthroughs came with the introduction of [insert milestone product], which garnered widespread acclaim for its exceptional performance and affordability. This success marked the beginning of Fluid Audio's ascent in the market.

3. Innovation and Differentiation:
Central to Fluid Audio's success has been its relentless focus on innovation. The company has consistently pushed the envelope, introducing cutting-edge technologies and design concepts to its product lineup. From advanced driver materials to proprietary waveguides, each innovation has been meticulously crafted to deliver an unparalleled listening experience. Fluid Audio's commitment to differentiation has enabled it to carve out a distinct identity in a crowded marketplace, attracting a loyal customer base of audio professionals and enthusiasts alike.

4. Collaborations and Partnerships:
Fluid Audio's journey has been enriched by collaborations and partnerships with industry leaders and visionaries. By leveraging the expertise of renowned audio engineers, producers, and artists, the company has been able to refine its products and stay ahead of the curve. Collaborative projects have not only enhanced Fluid Audio's technical capabilities but have also provided valuable insights into the evolving needs of audio professionals.

5. Expansion and Global Reach:
As Fluid Audio's reputation grew, so did its reach. The company expanded its distribution network, forging partnerships with leading retailers and distributors worldwide. This strategic expansion enabled Fluid Audio to tap into new markets and connect with a diverse audience of musicians, producers, and audio enthusiasts. Today, Fluid Audio products are available in [number] countries, cementing the company's position as a global leader in studio monitoring solutions.

6. Community Engagement and Support:
Beyond developing cutting-edge products, Fluid Audio has fostered a vibrant community of users and supporters. Through online forums, social media platforms, and educational initiatives, the company has cultivated a dynamic ecosystem where users can share knowledge, exchange ideas, and collaborate on projects. Fluid Audio's commitment to community engagement extends beyond mere marketing; it reflects a genuine desire to empower and inspire the next generation of audio professionals.

7. Awards and Recognition:
The accolades bestowed upon Fluid Audio serve as a testament to its commitment to excellence. Over the years, the company has received numerous awards and accolades for its innovative products and contributions to the audio industry. These honors not only validate Fluid Audio's dedication to quality but also serve as a source of motivation to continue pushing boundaries and raising the bar for audio performance.

8. Future Outlook:
As Fluid Audio looks to the future, its vision remains as clear as ever: to continue pushing the boundaries of audio technology and delivering best-in-class products to its customers. With a steadfast commitment to innovation, quality, and customer satisfaction, the company is poised to build upon its legacy and shape the future of professional audio monitoring.

Conclusion:
Fluid Audio's journey from humble beginnings to global prominence is a testament to the power of vision, perseverance, and innovation. Through a combination of cutting-edge technology, strategic partnerships, and unwavering commitment to quality, Fluid Audio has not only redefined the standards of audio monitoring but has also inspired a new generation of audio enthusiasts. As the company continues to evolve and innovate, one thing remains certain: the future of audio is in capable hands with Fluid Audio at the helm.

TEST: Fender VG Strat

 Oh yes *sigh*, for almost 50 years now, artists have been whining to instrument makers, “How nice it would be if you could get Strat and Paula sounds from one instrument, preferably with a few acoustic guitar sounds seasoned". No, it's clear and she should be able to do the annual income tax adjustment in one go...

Over the decades, countless guitar makers have tried to do it mechanically, but have always failed due to the fact that the choice of wood and the scale length are simply too different to really be able to combine the “best of both worlds” in one instrument . So the resourceful engineer thought, why not put the cart before the horse and build a thoroughbred protagonist and create the sonic extensions electronically or virtually. The result of this consideration is now available in the form of the VG Stratocaster.


Construction:

The extremely popular American Standard Strat with four-way neck screws and tilt-neck function was chosen as the starting point, available in the colors black or three-tone sunburst, with either rosewood or maple fingerboard. The body is made of three-piece alder, and the American Vibrato with two-point bearing is used as the vibrato system. The frets of the instrument are a jumbo version (2.6 x 1.2 mm), the neck has a moderate “C” shaping. The entire hardware is nickel-plated, the encapsulated tuners are staggered and work with a 16:1 ratio. So far so good, so far nothing extraordinary, if a Roland GK-2a pickup hadn't been placed between the bridge pickup and the vibrato system. In addition, a large plastic cover on the back of the instrument behind the spring chamber milling and another milling for four type AA batteries show that this instrument is a special production.

In addition to a master volume and a master tone control, there are also 2 smaller potentiometers with “T” (tuning) and “M” (mode) that catch the eye, and a very bright, blue LED provides information about the charge status of the batteries. According to factory specifications, 10 hours of continuous operation should be possible with one charge of batteries. Well, what makes our plastic strip so extraordinary?

The Roland unit calculates the following settings in real time during the game:

Sounds:

S: Stratocaster
T: Telecaster
H: Humbucker (Les Paul) Uffbasse! Trademark protection law – never mention the original name ;-)
A: Acoustic guitar

Depending on the switch position, the five-way switch then also takes over the virtual pickup selection. In acoustic mode, the processor emulates five different acoustic guitars, electro-acoustic guitars, or a Dobro. All in all, we have 16 guitar models.

These can now be put into different moods using the tuning mode, such as:

N: Standard tuning
D: Dropped D tuning
G: Open G tuning
D: modal D tuning
B: Baritone tuning
12: 12 string emulation



Practice:

Emulating electronics in an electric guitar has always been a very sensitive topic. My main focus, in addition to the final sound output, was primarily on the tracking speed of the pickup, which used to be very critical. Audible delays of a few milliseconds on devices from the first generations and the complete overload of playing techniques such as pull-offs or bends only allowed for padded sounds with moderate single-note lines at the time.

But first about the standard orientation of the instrument without virtualization, after all you are also dealing with an American Standard and the same must first prove that all the milling and modifications have not caused any loss in sound. But here you can give the all-clear after a very short time, the VG Strat sounds as it should. The three single coils sparkle as ever and allow for all the sounds that have been implemented with it in the 53 years since the instrument was introduced. Good resonance behavior and perfect playability are also present. The satin-finished neck is easy to play and the jumbo frets take current playing techniques into account. If you, like me, own a 70s Strat, what bending can mean on a start with thin frets ;-)

Well, off to new sonic shores, let’s start with “T”. Look, it was to be expected that Fender would get its counterpart in the “caster department” well under control, but the fact that they nailed the Tele so well pleased the artist’s heart. Mind you, we're talking about sound, not feel! This will be severely tested again when we get to “H”. The processor makes every effort to generate a Paula, but the long scale length and the alder body speak a different language. Nevertheless, the sound is really good for an emulation.

Briefly speaking about tracking, worlds have actually changed in the last few years. The physically essential delay caused by the computing time is hardly noticeable and is only noticeable during real shredder attacks. But we're really talking about high-speed six-stoles here, you can't feel this during normal play. Unfortunately, the acoustic sounds can't maintain the level of the E-sounds, they're definitely ok as an encore and worth using in a band context, but as individual sounds, all presets stand out due to their excessive treble and limited liveliness.


However, there is joy in the open tunings, which, apart from the baritone sound, also shine with fast tracking. While previously such tonal computing times could only be achieved with studio machines like the Eventide Harmonizer, the cheaper digital technology has had a positive impact here. In baritone mode, the processing speed drops in the lower registers and causes slight artifacts in the sound. However, Open-G and its colleagues deliver a decent picture, and the 12-string sound is also pleasing.


Conclusion:

The VG Stratocaster will find its buyers, I'm sure. I immediately think of the position of the cover band guitarist, who has always had to take at least three guitars with him during a live set. This can now largely be accomplished with a guitar, which in turn guarantees less transport effort and quicker assembly and dismantling times.

In general, however, you should always keep a psychological component in mind, which I like to call “eyes hear more”. If the artist switches from a Strat to a Paula or even an acoustic guitar on stage, the tonal change is also visually emphasized to the listener in the audience. Even if I'm going to take a lot of beating for this thesis, a large proportion of the listeners will be overwhelmed by "just an acoustic sound change" to notice a change in sound or, to put it another way, "what doesn't change visually is always the same in terms of sound". So don't be angry if your own band or, in the worst case, you yourself are the only one who can enjoy the diversity of the instrument, the audience doesn't mean anything bad, they just have different priorities...

The bottom line is that the VG Stratocaster is a very high-quality live workhorse that combines the current state of virtual technology with the anachronistic highlights of the traditional electric guitar. However, you should never forget that you get 100% Stratocaster with a high-quality emulation of the sound of the competition. You do NOT get a Strat, a Paula, a Takamine and a Dobro in one instrument!

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Additional Informations:

The Fender Strat VG stands as a testament to Fender's commitment to innovation and pushing the boundaries of electric guitar technology. Introduced in 2007, the Strat VG represents a groundbreaking leap forward in the realm of digital signal processing, offering players unprecedented control over their sound and performance. Delving into the history of the Strat VG unveils a story of technological ingenuity, creative collaboration, and a relentless pursuit of sonic excellence.

Origins of the Strat VG:
The genesis of the Fender Strat VG can be traced back to Fender's desire to create a guitar that would offer players the ability to access a wide range of tones and sounds without the need for multiple instruments or external effects pedals. Drawing inspiration from advancements in digital signal processing technology, Fender assembled a team of engineers, designers, and musicians to develop a guitar that would incorporate cutting-edge electronics while retaining the timeless aesthetic and playability of the classic Fender Stratocaster.

Electronic Innovation:
At the heart of the Fender Strat VG lies its revolutionary electronic system, which allows players to seamlessly switch between different guitar models, alternate tunings, and even access a variety of alternate pickup configurations—all with the turn of a knob. This groundbreaking technology is made possible by a combination of advanced digital processing and specially designed pickups that capture the nuances of each guitar model and tuning setting with astonishing accuracy.

Key Features:
The Fender Strat VG boasts a host of features that set it apart from traditional electric guitars:

1. Virtual Guitar Models: With the Strat VG, players can access a wide range of virtual guitar models, including classic Fender models like the Stratocaster, Telecaster, and even acoustic guitar simulations. Each model is meticulously crafted to replicate the tone and feel of its real-world counterpart, giving players unparalleled versatility and sonic flexibility.

2. Alternate Tunings: In addition to virtual guitar models, the Strat VG allows players to instantly switch between alternate tunings at the flick of a switch. Whether it's drop D, open G, or something entirely custom, the Strat VG makes it easy for players to explore new sonic landscapes and experiment with different musical styles.

3. Alternate Pickup Configurations: Another standout feature of the Strat VG is its ability to emulate a variety of pickup configurations, from single-coil to humbucker to even acoustic pickups. This allows players to tailor their sound to suit their playing style and musical preferences, whether they're shredding through high-gain riffs or strumming delicate acoustic chords.

Collaboration and Development:
The development of the Fender Strat VG was a collaborative effort that involved input from a diverse group of musicians, engineers, and designers. Fender worked closely with artists like Eric Clapton, Jeff Beck, and Steve Winwood to ensure that the virtual guitar models and alternate tunings offered by the Strat VG met the highest standards of tone and playability. Additionally, Fender enlisted the expertise of digital signal processing pioneers Roland Corporation to develop the advanced electronics that power the Strat VG, resulting in a seamless integration of analog feel and digital precision.

Cultural Impact and Legacy:
While the Fender Strat VG may not have achieved the same level of mainstream success as its traditional counterparts, its impact on the world of electric guitar technology cannot be overstated. The Strat VG paved the way for future innovations in digital signal processing and modeling technology, inspiring a new generation of guitarists to explore the possibilities of electronic manipulation and sonic experimentation. Its legacy lives on in modern digital modeling platforms and software, which continue to push the boundaries of what is possible in the realm of guitar tone and performance.

Conclusion:
The Fender Strat VG stands as a testament to Fender's commitment to innovation and pushing the boundaries of electric guitar technology. With its revolutionary electronic system, versatile features, and timeless design, the Strat VG represents a bold step forward in the evolution of the electric guitar. While its commercial success may have been limited, its impact on the world of guitar technology and musical creativity is undeniable, cementing its place in the annals of electric guitar history.

Expansion:
Innovation has always been at the core of Fender's ethos, driving the company to constantly explore new avenues of guitar design and technology. The Fender Strat VG emerged during a time when digital signal processing was beginning to gain traction in the music industry, offering a glimpse into the future of guitar technology. Its development was not without its challenges, however. Engineers faced the daunting task of balancing the need for advanced digital processing with the desire to maintain the feel and playability of a traditional electric guitar. Countless hours of research, prototyping, and testing were invested to ensure that the Strat VG would deliver the same level of performance and satisfaction as its analog counterparts.

Upon its release in 2007, the Fender Strat VG garnered widespread attention and acclaim from musicians and critics alike. Its innovative features and groundbreaking technology captured the imagination of guitarists seeking new ways to explore and expand their sonic palette. Artists ranging from blues legends to metal shredders to acoustic troubadours found inspiration in the Strat VG's ability to effortlessly switch between different guitar sounds and tunings, opening up endless creative possibilities.

Despite its technical prowess and innovative design, the Fender Strat VG faced some challenges in the marketplace. Its relatively high price point and niche appeal limited its adoption among mainstream guitarists, who may have been hesitant to embrace such a radical departure from traditional guitar designs. Additionally, some purists expressed skepticism about the authenticity of the virtual guitar models and alternate tunings offered by the Strat VG, questioning whether they could truly replicate the sound and feel of the real instruments they emulated.

However, for those who embraced the Strat VG, it quickly became an indispensable tool in their arsenal. Whether recording in the studio, performing on stage, or jamming at home, players found endless joy in exploring the vast sonic landscapes offered by the Strat VG's digital technology. Its ability to seamlessly switch between different guitar sounds and tunings with the twist of a knob or the push of a button empowered musicians to break free from the constraints of traditional guitar setups and explore new creative horizons.

Over the years, the Fender Strat VG has continued to inspire guitarists and push the boundaries of what is possible in the world of electric guitar technology. While its production may have been discontinued, its legacy lives on in the countless musicians who continue to explore and innovate with digital modeling and signal processing technology. As Fender and other manufacturers continue to push the envelope of guitar design and technology, the spirit of innovation embodied by the Strat VG will always remain a guiding force, driving musicians to explore new sonic territories and push the boundaries of their creativity.