Focusrite Scarlett OctoPre Dynamic

OVERVIEW

Introduction

Thank you for purchasing a Scarlett OctoPre Dynamic, an eight channel mic pre expansion unit incorporating high quality Focusrite analogue pre-amplifiers.

The Scarlett OctoPre Dynamic comprises eight natural sounding, low noise preamps with plenty of gain; eight line inputs and two high headroom instrument inputs, coupled with high quality digital conversion to ADAT format. You can now expand your studio set-up or live rig by adding Focusrite quality mic preamps and conversion to any interface with ADAT I/O.

The Scarlett OctoPre Dynamic has both digital and analogue outputs: in addition to dual ADAT optical ports it also provides a balanced line output from each channel, enabling you to connect it directly to any analogue device.

This User Guide provides a detailed explanation of the hardware to help you achieve a thorough understanding of the product’s operational features. We recommend that you take the time to read through the Guide, whether you’re new to professional audio or a more experienced user, so that you are fully aware of all the possibilities the Scarlett OctoPre Dynamic has to offer.

If the User Guide sections do not provide the information you need, be sure to consult https://support.focusrite.com, which contains a comprehensive collection of answers to common technical support queries.

Features

The Scarlett OctoPre Dynamic is an eight-channel pre-amplifier for use with microphone, line and instrument input signals. It converts the inputs into multi-channel, 24-bit digital audio at sample rates up to 192 kHz. The digital outputs are in ADAT format on optical TOSLINK connectors, which can be easily routed to ADAT inputs on your studio recording system, or any other ADAT-equipped interface using optical cables. The Scarlett OctoPre Dynamic can transmit and receive eight channels of audio at sample rates of 44.1, 48, 88.2, or 96 kHz, or four channels at 176.4 or 192 kHz provided, of course, that the interface to which it is connected is able to handle the same number of channels at the sample rate in use.

Each channel includes a switchable, “one-knob” compressor which helps to ensure that the dynamic range of signals in the OctoPre are kept under control as they are routed to your DAW (Digital Audio Workstation).
The Scarlett OctoPre Dynamic is an ideal “expansion” unit for adding up to eight more inputs to any audio interface with ADAT I/O.

The Scarlett OctoPre Dynamic is a bidirectional unit: it is also equipped with ADAT format digital inputs, and a balanced analogue output from each channel. It incorporates an ADAT-to-LINE mode, making it a perfect interface for routing tracks from your DAW to an analogue mixing console.

The Scarlett OctoPre Dynamic can be easily synchronised with other digital audio equipment in your studio, either as a slave to an external word clock signal, or by acting as the master clock source itself.

Box Contents

Along with your Scarlett OctoPre Dynamic you should have:

• AC mains cable with IEC connector
• 4 x self-adhesive feet – stick to underside of unit for table-top use
  Printed on the inside of the box:
• Getting Started Guide
• Bundle Code for on-line product registration*
  *After registration, you will have access to downloads and licenses for the following software:
• Softube Time and Tone bundle
• Focusrite Red 2 and Red 3 plug-in suite

Hardware Features

Front Panel

All operational controls and metering for all eight channels are on the front panel.

1. Input gain controls 1 to 8 – eight rotary controls: adjust the input gain for  the signals in Channels 1 to 8 respectively.
2. O/L – each input channel has a red “overload” LED; this illuminates if the signal level causes clipping at the input to the compressor section. If this occurs, reduce the gain so that the LED stays off.
3. INST 1 and INST 2 – two latching switches put Inputs 1 and 2 into “Instrument” mode. When INST is selected, the gain range and input impedance are altered (relative to LINE), and the input is made unbalanced. This optimises it for the direct connection of instruments via 2-pole (TS) jack plug. When INST is off, the inputs are suitable for the connection of line level signals. Line level signals may be connected either in balanced form via a 3-pole (TRS) jack or unbalanced, via a 2-pole (TS) jack. Each switch has an adjacent green LED to confirm selection.
4. MIC 48V (1-4 & 5-8) – two latching switches, each enabling 48 V phantom power at the XLR contacts of four inputs: Channels 1 to 4 and 5 to 8 respectively. Each switch has an associated red LED indicating that phantom power is selected.
5. COMPRESS 1 to 8 – activates the compressor section of each channel, and sets the threshold level. See “Compressor” on page 10 for further details.
6. COMP – a yellow LED which illuminates when the compressor section is applying gain reduction. The LED also blinks briefly when the COMPRESS control [5] is moved from its OFF position.
7. MORE – a latching switch that increases the ratio of the compressor, thus applying more gain reduction at the same setting of the COMPRESS control. An adjacent red LED confirms selection.
8. Input signal level meters: eight LED bargraphs, one per channel. The input signal in each channel is metered post the input gain control and post the compressor section, so you can see the level being sent to the output.
9. SAMPLE RATE – a soft switch which steps through the six available sample rate settings, the current rate being indicated by one of the adjacent green LEDs. The sample rate in use is stored in memory so that it is retained when the unit is switched off.
10. SYNC – a soft switch which steps through three available digital sync  sources (Internal, ADAT or Word Clock), the current source being indicated by one of the adjacent red LEDs. The source in use is stored in memory so that it is retained when the unit is switched off.
11.  – a green “Locked” LED which illuminates when the unit has locked to the available sync source, indicating that it is ready to use.
12. ADAT > LINE – this soft switch modifies the operating mode of the unit. When active, incoming digital audio at the ADAT input ports is converted to analogue and made available at the rear panel LINE OUTPUT connectors. The adjacent red LED confirms that this mode is active. In this mode, the analogue inputs (Channels 1 to 8) remain routed to the ADAT digital outputs. The mode in use is stored in memory so that it is retained when the unit is switched off.
13. POWER – AC power switch and green LED.
14. Rack ears for mounting the Scarlett OctoPre Dynamic in a standard 19” equipment rack.
    

    Rear Panel

    All inputs and outputs are on the Scarlett OctoPre Dynamic’s rear panel.

15. MIC/LINE INPUTS 1 to 8 – 8 x “Combo XLR” sockets – connect microphones using XLR connectors or line level signals using ¼” jacks. Either TRS (balanced) or TS (unbalanced) jack plugs can be used for line level signals. Note that Channels 1 and 2 also have INST mode for the direct connection of instruments (e.g., guitar), but are otherwise identical to those for Channels 3 to 8. INST mode is selected by the INST switches [3].
16. ADAT OUT – two TOSLINK connectors providing the digital outputs of the unit. Utilisation of the two connectors is sample rate-dependent, as follows:
    

    Sample Rate	OUTPUT 1 (RH port*)	OUTPUT 2 (LH port*)
    44.1/48 kHz	Channels 1 to 8	(Not Used)
    88.2/96 kHz	Channels 1 to 4	Channels 5 to 8
    176.4/192 kHz	Channels 1 & 2	Channels 3 & 4

    * As viewed looking at rear panel

17. ADAT IN – two TOSLINK connectors providing the digital inputs to the unit when used in the ADAT > LINE mode. In ADAT > LINE mode, signals at the ADAT input(s) will be fed to the analogue line outputs following D-to-A conversion. Utilisation of the two connectors is sample rate dependent, as follows:
    

    Sample Rate	INPUT 1 (RH port*)	INPUT 2 (LH port*)
    44.1/48 kHz	Channels 1 to 8	(Not Used)
    88.2/96 kHz	Channels 1 to 4	Channels 5 to 8
    176.4/192 kHz	Channels 1 & 2	Channels 3 & 4

    * As viewed looking at rear panel

18. . LINE OUTPUTS 1 to 8 – eight balanced analogue line outputs on ¼” 3 pole (TRS) jack sockets. These connectors are always active, and normally carry the outputs of Channels 1 to 8, enabling the Scarlett OctoPre Dynamic to be used as a stand-alone, high quality 8-channel analogue mic pre. In ADAT > LINE mode, the connectors carry the signals applied at the ADAT IN ports [17].
19. WORD CLOCK OUT – a BNC connector carrying the Scarlett OctoPre Dynamic’s word clock signal; this may be used to synchronise other digital audio equipment forming part of the recording system. The source of sample clock synchronisation is selected by the SYNC switch [10].
20. WORD CLOCK IN – a BNC connector for the connection of an external word clock signal; select by setting SYNC to WORD. Use this input if you have a master reference clock which provides synchronisation for all the digital audio devices in your studio.
21. AC mains – standard IEC receptacle. The Scarlett OctoPre Dynamic is fitted with a “Universal” power supply, and will run from any AC mains voltage from 100 to 240 V, at 50 or 60 Hz.

USING THE SCARLETT OCTOPRE DYNAMIC

Combo Inputs

All eight of the analogue inputs use “Combo XLR” connectors. These can accept male XLR connectors, TS (unbalanced) ¼” jacks or TRS (balanced) ¼” jacks.

When an XLR connector is used, the pre-amp automatically configures gain and impedance to receive microphone level signals. If a ¼” connector is used, the pre-amp is set to accept balanced or unbalanced line level signals. When INST mode is selected (on Channels 1 or 2), the ¼” input reconfigures again to optimise for an unbalanced, high impedance signal.

Phantom Power

The two 48V switches apply 48 V phantom power to Mic inputs 1 to 4 and 5 to 8 respectively. Phantom power is required by most condenser (capacitor) microphones. Phantom power is only applied to the XLR contacts of the Combo connectors: thus if a group of 4 inputs is being used for both mic and line (or instrument) level signals, phantom power is only applied to the microphones.

Dynamic microphones do not require phantom power, but most will operate normally with phantom power supplied. Passive ribbon microphones do not require phantom power and may be damaged if supplied with phantom power

If you are unsure about a microphone DO NOT apply phantom power without checking the manufacturer’s specifications first.

Pre-amp Gain

The gain of each channel should be adjusted to suit the incoming level; louder sources will need less gain than quieter ones. Always use the LED meters to check the signal level on each channel. Start with the Gain control set to minimum. Play (or sing) at the loudest level that is likely to be reached during the song, and gradually increase the gain until the meter shows orange (-3 dB).

Then lower the gain by a few dB. This should ensure that the signal level is unlikely to ever reach red (0 dB) and overload the A-to-D converter, which would result in distortion.

Note that the high headroom pre-amplifier design used in the Scarlett range means that a switchable Pad is unnecessary. (See “Performance Specifications” on page 19 for input sensitivity specifications.)
The red O/L LED should never illuminate; if it does, the gain is set too high.

Compressor

Turning a channel’s COMPRESS control clockwise from its OFF position activates the channel’s compressor. As the control is moved from the OFF position, the yellow COMP LED will light briefly to confirm that the compressor is now active. As it is rotated clockwise, the compression threshold is progressively reduced, resulting in increasingly heavy compression. The yellow COMP LED will illuminate when compression is being applied to the signal, which will be the case whenever the signal level exceeds the threshold.

Pressing the MORE button increases the compression ratio, thereby applying more compression to the signal for the same setting of COMPRESS.

Compressor – additional information

On the Scarlett OctoPre Dynamic, the COMPRESS control is essentially a combined Threshold and Gain Make-up control: as the threshold is reduced, causing more of the signal to be compressed, the compressor’s overall gain (often referred to as “Make-up Gain”) is increased, raising the signal level at the output to match that at the input.

In both modes the attack time is 1.2 ms and the release time is 28 ms

The two graphs below show the compression characteristics in “Normal” and “More” modes respectively. The curves include the effect of the make-up gain on the overall signal level.

The four curves represent:

• OFF – Compressor Off
• MIN – COMPRESS control set to minimum
• MID – COMPRESS control set to 12 o’clock
• MAX – COMPRESS control set to MAX

Normal Mode

In Normal mode (MORE mode off), the compression ratio is 2:1.

More Mode

In More mode (MORE button on) the compression ratio is increased to 4:1

Line Outputs

By connecting the line outputs of the Scarlett OctoPre Dynamic to the analogue line inputs of a mixing console (or any other device), the unit can be used either as a purely analogue, 8-channel microphone pre-amplifier, or as an analogue “break-out box” for ADAT signals when in ADAT > LINE mode.

The line outputs are balanced: for a balanced connection use ¼” 3-pole (TRS) jacks, or ¼” 2-pole (TS) jacks for an unbalanced connection.

The maximum output signal level is +16 dBu (balanced), or +10 dBu (unbalanced).

Digital Outputs

Use the ADAT OUT optical port(s) [16] to connect the Scarlett OctoPre Dynamic to the ADAT input(s) of an audio device using TOSLINK optical cable(s).

The right-hand port (as viewed from the rear of the unit) can transmit eight channels of audio at 44.1 kHz or 48 kHz sample rate via a single optical cable.
At 88.2 kHz or 96 kHz sample rates, each port can transmit four channels of audio. The right-hand port carries Channels 1 to 4, the left-hand port carries Channels 5 to 8; thus two TOSLINK cables are required to transmit all eight channels.

At 176.4 kHz or 192 kHz sample rates, each port can transmit two channels of audio. The right-hand port carries Channels 1 and 2, the left-hand port carries Channels 3 and 4. The Scarlett OctoPre

Dynamic is restricted to four channels of digital audio at these sample rates; the outputs of Channels 5 to 8 are not available via the ADAT ports.
Use the SAMPLE RATE switch [9] to select the desired sample rate frequency. It is essential that the sample rate selected on the Scarlett OctoPre Dynamic matches the sample rate set on the receiving digital device.

Digital Inputs

Use the ADAT IN optical port(s) [17] if you need to convert digital audio (e.g., the output of a DAW) to analogue, using the Scarlett OctoPre Dynamic’s ADAT > LINE mode.

The right-hand port (as viewed from the rear of the unit) can receive eight channels of audio at 44.1 kHz or 48 kHz sample rate via a single optical cable.
At 88.2 kHz or 96 kHz sample rates, each port can receive four channels of audio. The right-hand port carries Channels 1 to 4, the left-hand port carries Channels 5 to 8; thus two TOSLINK cables are required to receive all eight channels.

At 176.4 kHz or 192 kHz sample rates, each port can receive two channels of audio. The right-hand port carries Channels 1 and 2, the left-hand port carries Channels 3 and 4. The Scarlett OctoPre Dynamic is restricted to four channels of digital audio at these sample rates.

Use the SAMPLE RATE switch [9] to select the desired frequency. It is essential that the sample rate selected on the Scarlett OctoPre Dynamic matches the sample rate set on the transmitting digital device.

Digital Synchronisation

A number of synchronisation options are available:

Scarlett OctoPre Dynamic as Clock Source Master via ADAT:
Connect the Scarlett OctoPre Dynamic to the receiving digital device via the ADAT OUT port(s) and ensure that the receiving device is set to source its clock from its ADAT input, and also that the sample rates on both devices match.

On the OctoPre, SYNC should be set to INTERNAL and the LED will illuminate

Scarlett OctoPre Dynamic as Clock Source Master via word clock:
An alternative method to the above is to sync the receiving device to the Scarlett OctoPre Dynamic’s WORD CLOCK OUT using a BNC cable. In this scenario, the receiving device’s sync source will need to be set to its external word clock input.

Scarlett OctoPre Dynamic as Clock Source Slave via ADAT:
Connect the Scarlett OctoPre Dynamic’s ADAT OUT port(s) to the receiving digital device’s ADAT input. Connect the digital device’s ADAT output to one of the Scarlett OctoPre Dynamic’s ADAT IN ports. On the OctoPre, SYNC should be set to ADAT and the LED will illuminate. Also ensure that the sample rates on both devices are matched.

Scarlett OctoPre Dynamic as Clock Source Slave via word clock:
Connect the Scarlett OctoPre Dynamic to the receiving digital device via the ADAT OUT port(s) and connect a BNC cable from the digital device’s word clock output to the OctoPre’s WORD CLOCK IN connector, also ensuring that the sample rates on all devices match.

ADAT-to-Line mode

Selecting ADAT > LINE mode ([12] on the front panel) reassigns the eight sources for the analogue LINE OUTPUTS [18]. In normal operation, the outputs of the mic pre-amplifier channels are available at these connectors; in ADAT > LINE mode, the connectors are fed with the ADAT digital signals at the ADAT IN port(s), following D-to-A conversion.

This mode enables the Scarlett OctoPre Dynamic to be used to connect an 8-channal ADAT format output (from a DAW, for example) to a set of analogue inputs, typically the channels of an analogue mixing console, to permit such a mixer to be used to mix down DAW tracks.

When ADAT > LINE mode is enabled, the eight microphone pre-amplifiers are still operational, and their outputs remain available at the ADAT OUT ports

EXAMPLE SETUPS

Scarlett OctoPre Dynamic with audio interface: OctoPre as clock source Master

Here ADAT OUT on the Scarlett OctoPre Dynamic is connected to OPTICAL IN on a Scarlett 18i20 audio interface with a single optical cable. Both units are running at 44.1 kHz sample rate. The OctoPre’s clock source is set to INTERNAL, and the 18i20 is synchronised to it because its clock source is set to ADAT (via Focusrite Control).

This setup would, for example, enable up to 16 mic or line sources to be recorded in a DAW simultaneously, and would thus be ideal for recording a live band. Eight of the sources (those connected to the OctoPre) could benefit from the internal dynamics if necessary and have compression applied to control the dynamic range of the signals.

The setup would also be appropriate for any other audio interface which has an ADAT input.

Scarlett OctoPre Dynamic with audio interface: audio interface as clock source Master

Here ADAT OUT on the Scarlett OctoPre Dynamic is connected to OPTICAL IN on a Scarlett 18i20 audio interface with a single optical cable. Both units are running at 44.1kHz sample rate. The OctoPre’s WORD CLOCK IN input is connected to WORD CLOCK OUT on the Scarlett 18i20 with a BNC cable and the OctoPre’s clock source is set to W/CLOCK. The 18i20’s clock source is set to INTERNAL (via Focusrite Control), thus making it the sync master.

The setup would also be appropriate for any other audio interface which has an ADAT input and a word clock output.

Scarlett OctoPre Dynamic in ADAT > Line mode

This example shows how to connect a greater number of DAW tracks to an analogue mixing desk for mixdown. The 10 analogue outputs of a Scarlett 18i20 interface are connected to desk Channels 1 to 10. Its OPTICAL OUT port is connected to an ADAT IN port of a Scarlett OctoPre Dynamic with ADAT > LINE mode selected. The OctoPre’s LINE OUTPUTS are then connected to Channels 11 to 18 of the desk.

The Scarlett 18i20 would normally be the sync master in this situation, so its clock source is set to INTERNAL (via Focusrite Control). The clock source on the Scarlett OctoPre  Dynamic is set to ADAT,so it is synchronised to the 18i20 via the ADAT optical connection.

The above channel counts are applicable at 44.1/48 kHz sample rate; four channels of audio could be transferred from the 18i20 to the OctoPre at 88.2/96 kHz.

Scarlett OctoPre Dynamic with audio interface – SMUX-II and SMUX-IV modes

This example shows a similar setup to Example 2, but using a Focusrite Clarett 8PreX allows operation at a sample rate of 96 kHz (“SMUX-II” mode). Both units must be set to 96kHz; two optical cables are used, carrying four channels of audio each. The Clarett 8PreX is the sync master.

This setup is also applicable with 192 kHz sample rate (“SMUX-IV” mode); each optical cable will then carry two channels of audio.

Scarlett OctoPre Dynamic with analogue mixing desk

This setup uses the Scarlett OctoPre Dynamic’s mic pre-amplifiers and compressors to provide a high quality “front end” for an analogue mixing desk. Use a pre-made loom to connect the OctoPre’s LINE OUTPUTS socket to eight line inputs on the mixing desk; this will need eight ¼” TRS jacks on one end and eight connectors appropriate to the desk’s line inputs on the other. If the desk’s line inputs are unbalanced, a loom with TS jacks at the OctoPre end will be suitable.

This setup would also be appropriate to use the OctoPre as an input stage with any type of 8-channel analogue device.

Scarlett OctoPre Dynamic with analogue mixing desk and digital record/backup

This example shows how the setup in Example 5 can be extended to add simultaneous digital recording, with or without secondary backup.

Because the Scarlett OctoPre Dynamic’s ADAT OUT ports are always active, you can record the performance on a DAW (or other recording device) with an ADAT interface. The example shows two Scarlett 18i20s: the ADAT IN port of each would be connected to the two ADAT OUT ports of the OctoPre, to provide 8-track recording (on the first) and a simultaneous 8-track backup on the second, at sample rates of 44.1 or 48 kHz.

8-track recording could still be achieved at 88.2 or 96 kHz, although each Scarlett 18i20 would provide 4 channels to the DAW; backup would not be possible.

SCARLETT OCTOPRE DYNAMIC TECHNICAL SPECIFICATIONS

Performance Specifications

(All performance figures are measured to the AES17 standard)

* As a result of a component change in the Scarlett OctoPre and Scarlett OctoPre Dynamic designs, some units have a higher output impedance. This change has been fully tested and has no impact on the audio performance. Please see the table above for the impedance of Scarlett OctoPre by serial number range:

Physical and Electrical Characteristics

* ADAT ports as viewed from rear of unit.

TROUBLESHOOTING

For all troubleshooting queries, please visit the Focusrite Answer base at https://support.focusrite.com where you will find articles covering numerous troubleshooting examples.

COPYRIGHT AND LEGAL NOTICES

Focusrite is a registered trade mark and Scarlett OctoPre Dynamic is a trade mark of Focusrite Audio Engineering Limited.
All other trade marks and trade names are the property of their respective owners. 2016 © Focusrite Audio Engineering Limited. All rights reserved.

Focusrite Scarlett 2i2 Studio

Introduction

Thank you for purchasing the Second Generation Scarlett 2i2 Studio, part of the range of Focusrite professional audio interfaces incorporating high quality, Focusrite analogue pre-amplifiers. You now have a simple, compact and complete solution for recording with a microphone or directly from instruments, by routing high quality audio to and from your computer.

In developing the Second Generation series of Scarlett interfaces, we have enhanced both the performance and feature set including support for sample rates up to 192 kHz, improved mic preamp performance with low noise and plenty of gain, and upgraded instrument inputs with additional headroom for recording the loudest guitar parts without clipping. They are class compliant on Mac, which means they are plug-and-play, so no need to install a driver if you are a Mac user. You will also be able to download some exciting new software plug-ins once you’ve registered the product.

This User Guide provides a detailed explanation of the components to help you achieve a thorough understanding of the Scarlett 2i2’s operational features. We recommend that whether you are new to recording or a more experienced user, you should take the time to read through the User Guide so that you are fully aware of all the possibilities that the Scarlett Studio components and accompanying software has to offer. If the main User Guide sections do not provide the information you need, be sure to consult support.focusrite.com, which contains a comprehensive collection of answers to common technical support queries.

Features

The Scarlett Studio package comprises a Scarlett 2i2 audio interface, a Scarlett Studio CM25 MkII studio quality condenser microphone, a pair of Scarlett Studio HP60 MkII reference quality headphones and all the necessary software to get you started with recording great audio on your computer as quickly as possible.

The Scarlett 2i2 hardware interface is the key component in the Scarlett 2i2 Studio system; this provides the means of connecting the CM25 MkII (or other) microphone, musical instruments or line level audio signals to a computer running Mac OS or Windows. The signals applied at the 2i2’s physical inputs can be routed to your recording software via a USB connection. Similarly, the recording software’s monitor or recorded output will appear at the 2i2’s physical outputs. (Note – audio recording software is frequently referred to as a “Digital Audio Workstation”, or “DAW”, and the term “DAW” is used throughout this user guide.)

Audio sources – mics, instruments, etc. – connected to the 2i2’s physical inputs can be recorded in the DAW and then routed from your DAW to the physical outputs. The 2i2’s various physical outputs can be connected to the HP60 MkII headphones, or if you wish, to an amplifier and speakers, powered monitors, analogue mixer or any other analogue audio equipment that you wish to use. Although all inputs and outputs on the Scarlett 2i2 are routed directly to and from your DAW for recording and playback, you can configure the routing within your DAW in order to meet your needs.

Box Contents
You should find that your Scarlett 2i2 Studio package comprises:

• Scarlett 2i2 (2nd Gen.) audio interface
• Scarlett Studio CM25 MkII condenser microphone and microphone clip
• Scarlett Studio HP60 MkII headphones
• Bundle code* for accessing the following on-line resources:
  • Focusrite Red 2 & 3 Plug-in Suite
  • Pro Tools | First
  • Ableton Live Lite
  • LoopMasters sample library
• Red XLR microphone cable (3 m)
• USB cable
• Getting Started Guide and Important Safety Information*

information printed on the inside of the gift box

System requirements

Mac OS & Windows
For information on System Requirements for the Scarlett and the optional bundled software, please visit:

support.focusrite.com

GETTING STARTED

IMPORTANT: WINDOWS USERS – PLEASE ENSURE THAT YOU RUN THE INSTALLER BEFORE CONNECTING THE SCARLETT 2i2 TO YOUR COMPUTER.

THE SECOND GENERATION SCARLETT 2i2 IS CLASS COMPLIANT FOR MACS, THEREFORE DRIVER INSTALLATION IS NOT NECESSARY.

Software Installation

All software required by the Scarlett 2i2 – and several powerful and useful extras – is available for download from the Focusrite website www.focusrite.com/register. You will find a “Bundle Code” printed on the inside of the gift box your Scarlett 2i2 comes in, and the Serial number can be found on the underside of the unit. You will need to enter these when you access the downloads area of the website; this procedure ensures that you will have the most up-to-date software versions.

DOWNLOADING THE INCLUDED SOFTWARE

To download the included software, you will need to register your Scarlett 2i2 at focusrite.com/register and enter BUNDLE CODE below when prompted.

For an in depth video tutorial, please go to focusrite.com/get-started

1. Using your usual browser, go to www.focusrite.com/register/.
2. Follow the on-screen instructions, entering the Serial number and then the Bundle Code (XXXXXX-XXXXXX-XXXXXX) into the form where prompted. Your Bundle Code is printed on the inside of the gift box.
3. You will then be able to access the “My Products” page, where the software products to which your registration entitles you are available for download, complete with activation codes where applicable.
4. Download and install the Scarlett 2i2 drivers (Windows only). Follow all on-screen instructions.
   • When the installation is complete, restart your computer.
   • After restart, connect the Scarlett 2i2 to your computer with the USB cable supplied.

This information is accurate as of May 2016, however we are constantly striving to improve the customer experience and as a result this process is subject to change. If anything appears to have changed please refer to www.focusrite.com/get-started for the latest info.

Mac OS only:
Your OS should automatically switch the computer’s default audio inputs & outputs to the Scarlett 2i2. To verify this, go to System Preferences > Sound, and ensure that the input and output are set to Scarlett 2i2. For more detailed setup options on a Mac, open Applications > Utilities > Audio MIDI Setup.

Windows only:
Your OS should automatically switch the computer’s default audio inputs & outputs to the Scarlett 2i2. To verify this go to: Start > Control Panel > Hardware and Sound > Sound > Manage Audio Devices and ensure that ‘Default Playback’ and ‘Recording’ are set to ‘Scarlett 2i2’

Connecting your Scarlett 2i2

IMPORTANT – WINDOWS USERS: Before you connect the Scarlett 2i2 to your computer, please complete the software installation according to the instructions on page 5. This will ensure that the hardware uses the correct drivers, and will prevent unexpected behaviour.

The Scarlett 2i2 has a single USB 2.0 port (on the rear panel). Once the software installation (if necessary) is complete, simply connect the Scarlett 2i2 to your computer using the USB cable provided. Note that Scarlett 2i2 is a USB 2.0 device, and thus the USB connection requires a USB 2.0+ compliant port on your computer. It will not operate correctly with USB 1.0/1.1 ports.

Audio Setup in your DAW

The Scarlett 2i2 is compatible with any Windows-based DAW that supports ASIO or WDM and any Mac-based DAW that uses Core Audio. After installing the drivers (Windows only) and connecting the hardware, you can start using the Scarlett 2i2 with the DAW of your choice. To allow you to get started if you do not already have a DAW application installed on your computer, both Pro Tools | First and Ableton Live Lite are included; these will be available to you once you’ve downloaded and activated your software on-line. To install either DAW, download and save the desired installer file from your registered Focusrite “My Products” page as described on page 5, and then run it, following all on-screen instructions.

Operating instructions for both Pro Tools | First and Ableton Live Lite are beyond the scope of this User Guide, but both applications include a full set of Help files. You can also find additional resources (including a video tutorial on getting started with Ableton Live Lite) at www.focusrite.com/getting-started.

Please note – your DAW may not automatically select the Scarlett 2i2 as its default I/O device. In this case, you must manually select ‘Scarlett 2i2’ as the driver on your DAW’s Audio Setup* page. Please refer to your DAW’s documentation (or Help files) if you are unsure where to select the ASIO or Core Audio driver. The following example shows the correct configuration in the Ableton Live Lite Preferences panel (Windows version shown).

Typical name. Terminology may differ slightly between DAWs.

Once the Scarlett 2i2 is set as the preferred Audio Device* in your DAW, Inputs 1 & 2 and Outputs 1 & 2 will appear in your DAW’s Audio I/O preferences. Depending on your DAW, you may need to enable certain inputs or outputs before use. The two examples below show Inputs 1 & 2 and Outputs 1 & 2 enabled in the Ableton Lite Audio Preferences.

Examples of Usage

The Scarlett 2i2 is an excellent choice for several different recording and monitoring applications. Some typical configurations are shown below.
Connecting a microphone or instrument

This setup illustrates the most typical configuration for recording with DAW software on your Mac or PC. In this case, you might record guitar through Input 1 and vocals through Input 2 into Ableton Live Lite, while monitoring the playback from the DAW via headphones (or speakers).

The front panel input sockets are “Combo” type, which accept either an XLR male connector (you will probably have one on the end of your microphone cable) or a ¼” (6.35 mm) jack plug. If you are using a capacitor (or “condenser”) microphone, you will need to turn on the 48 V phantom power.

Note the Scarlett 2i2 has no “Mic/line” switch – the Focusrite preamplifier stage is automatically configured for a microphone when you plug an XLR into the input, and for a line or instrument when you connect a jack plug. Set the LINE/INST switch next to the socket to INST if you are connecting musical instrument (a guitar in the example) via an ordinary 2-pole (TS) guitar jack, or to LINE if you are connecting a line level source such as a keyboard, synthesiser or the balanced output of an external audio mixer via a 3-pole (TRS) jack. Note the Combo connector accepts both TRS and TS types of jack plug.

Recording with a microphone

The Scarlett Studio CM25 MkII microphone supplied with Scarlett Studio is a studio quality condenser mic which is ideal for recording vocals and most acoustic instruments. Connect the CM25 MkII to one of the Scarlett 2i2’s two front panel inputs with the cable supplied. Note that the cable has a male and a female connector; the female end connects to the microphone and the male end into the Scarlett 2i2.

Condenser microphones (also sometimes referred to as “capacitor” microphones) require a source of DC power to operate. This is almost always supplied by “phantom” powering from the mic pre-amp to which the mic is connected (early and special-purpose condenser mics might have a separate power supply). For the CM25 MkII (or any other condenser mic) to work with the Scarlett 2i2, press the 48V button on the front panel (see front panel diagram on page 14 item [3]). We recommend that you follow the following sequence:

• Turn the input gain [2] to minimum
• Connect the microphone
• Press the 48V button
• Increase the input gain to the required level

Enabling the Scarlett 2i2’s phantom power applies 48 V DC to the XLR portion of BOTH inputs. If you are only using a single microphone, do not plug anything else (like the balanced output of another item of equipment) into the other input with an XLR connector. Applying 48 V to the output circuitry of other equipment may permanently damage it. The other input is perfectly safe to use with a TRS jack plug.

Microphone Dos and Don’ts

A guide to microphone technique is beyond the scope of this User Guide, but if you are new to recording with a studio quality microphone, you need to observe a few rules.

DO use a mic stand. The CM25 MkII has an industry-standard 5/8” threaded insert which allows it to be mounted on most mic stands. An 3/8” adaptor is included to allow it to be fitted to mic stands that have this thread size. Inexpensive short, long and boom stands are readily available from music stores.

DO observe the microphone’s orientation. The CM25 MkII has a cardioid response pattern; this basically means that it has a “front” and a “back”, and if you point it the wrong way round, it will sound odd. The front of the CM25 MkII can be identified by the CM25 MkII logo.

DON’T ignore the room acoustics. You probably won’t have the luxury of a recording studio’s perfect acoustics. Be aware of how reverberant the room is. Reverberation is neither good nor bad, but frequently inappropriate! Some instruments will benefit from being recorded in a reverberant space, others won’t. A “dead” acoustic is generally better than a “live” one, because reverberation can be added in the mixing process, but room reverberation on the recording can’t be removed.

DON’T blow into a microphone to test it! Lightly rub or scratch the grille instead.

DO experiment with microphone placement. Remember you will not only be recording the vocal or instrument, but the effect of the microphone position relative to the voice or instrument as well, and this will be affected by the room acoustics. Moving the mic around, and trying recordings at different distances and angles to the source will produce different sounding results, some of which will be better than others.

DO use the CM25 MkII to mic up a guitar amplifier if you want to include the contribution to the sound that the amplifier makes. But be aware that very high sound levels can be produced very close to the loudspeaker, and if you need high volume, you may get a better result by moving the mic away from the amplifier. Also, be aware that you will get a subtly different sound if you point the mic at the centre of the loudspeaker cone compared to the edge.

DON’T forget that a microphone is unforgiving – it will not only pick up what you are trying to record, but any other sound source in the room, like a clock, the aircon, heating, or a chair creaking. You know how you take those holiday photos of a great bit of scenery and it’s only when you look at the pictures later that you see the power cables right across the view? It’s the same with recording. You might not notice extraneous sounds at the time, but the mic will and you’ll hear them on the recording. To remove any unwanted low frequency rumble, it is advisable that the High Pass Filter (HPF) on the mic’s DAW channel is enabled.

Using Direct Monitoring

You will frequently hear the term “latency” used in connection with digital audio systems. In the case of the simple DAW recording application described above, latency is the time it takes for your input signals to pass through your computer and audio software. Latency can be a problem for a performer who wishes to record while monitoring their input signals.

The Scarlett 2i2 is fitted with a “Direct Monitoring” option, which overcomes this problem.
Setting the front panel DIRECT MONITOR switch to ON will route your input signals directly to the Scarlett 2i2’s headphone and main monitor outputs. This enables you to hear yourself with zero latency – i.e., in “real time” – along with the computer playback. The input signals to your computer are not affected in any way by this setting.

When DIRECT MONITOR is set to ON, ensure that Ableton Live Lite (or other DAW) is not set to route its input (what you are currently recording) to its output. If it is, you will hear yourself twice, with one signal audibly delayed as an echo.

Connecting Scarlett 2i2 to headphones

The Scarlett 2i2 Studio package includes a pair of high quality headphones, the Scarlett Studio HP60 MkIIs. They are lightweight and durable, and should prove comfortable to wear for extended periods. The headband is adjustable.
The HP60 MkIIs have a low noise, oxygen-free copper cable, fitted with a ¼” (6.35 mm) 3-pole (TRS) jack plug. This should be connected to the socket at the right hand side of the Scarlett 2i2 front panel (indicated by a symbol). The Scarlett 2i2’s headphone output is, of course, suitable for use with other models of headphones.

The volume in the headphones can be adjusted by the rotary control immediately above the socket.

Please be aware that headphones are capable of generating very high sound pressure levels at the ear; prolonged exposure to high sound levels may impair your hearing. Never turn headphones volume up any further than necessary.

Connecting Scarlett 2i2 to loudspeakers

The 1/4” jack outputs on the rear panel can be used to connect monitoring speakers. Self-powered monitors (i.e., typical computer speakers) incorporate internal amplifiers, and may be connected directly. Larger, passive loudspeakers will require a separate stereo amplifier; in this case, the rear panel outputs should be connected to the amplifier’s inputs.

The line output connectors are 3-pole (TRS) ¼” (6.35 mm) jack sockets, and are electronically balanced. Typical consumer (hi-fi) amplifiers and small powered monitors will have unbalanced inputs, either on phono (RCA) sockets, or via a 3.5 mm 3-pole jack plug intended for direct connection to a computer. In either case, use a suitable connecting cable with jack plugs at one end.

Professional power amplifiers will generally have balanced inputs.

HARDWARE FEATURES

Front Panel

The Front Panel includes the input connectors for Mic, Line and Instrument signals, as well as the input gain and monitoring controls.

1. Inputs 1 & 2 – “Combo” type input sockets – connect microphones, instruments (e.g., guitar), or line level signals via XLR or ¼” (6.35 mm) jacks as appropriate.
2. GAIN 1 and GAIN 2 – adjust the input gain for input signals on inputs 1 and 2 respectively. The gain controls have LED ‘rings’ to confirm signal level: green indicates an input level of at least – 24 dBFS (i.e., ‘signal present’), the ring then turns red when signal level reaches 0 dBFS, indicating digital clipping.
3. 48V – phantom power switch for mic inputs – enables 48 V phantom power at XLR contacts of both Combo connectors. The CM25 MkII microphone supplied with the Scarlett 2i2 Studio package requires phantom power.
4. LINE/INST – Line/Instrument level switches for each input – switches gain and input impedance to suit instrument or line level signals.
5. MONITOR – main monitor output level control – sets the output level at the main (rear panel) outputs 1 and 2.
6. USB LED – illuminates when the unit receives USB bus power and is confirmed by the computer as connected and operating correctly.
7. DIRECT MONITOR – allows you to select how you monitor your live recording – either via the DAW or directly (zero latency).
8. Headphone level – adjusts the output level at the front panel stereo headphone output.
9. Headphone socket – ¼” TRS output jack – connect your stereo headphones here.

Back Panel

10. K (Kensington security lock) – secure your Scarlett 2i2 to a suitable structure if desired. Please see www.kensington.com/kensington/us/us/s/1704/kensington-security-slot.aspx for further information on how to use this feature.
11. USB 2.0 port – Type B connector; connect to your computer with cable supplied.
12. LINE OUTPUTS: LEFT and RIGHT – 2 x ¼” (6.35 mm) TRS jack sockets; +10 dBu output level (variable), electronically balanced. Either ¼” TRS (balanced connection) or TS (unbalanced connection) jack plugs can be used.

IMPORTANT: Line Outputs 1 and 2 do not have anti-thump, please make sure you power on your amplifier or monitor speakers last to avoid thumps, pops or clicks when you power on your computer and interface.

SPECIFICATIONS

Performance Specifications

Physical and Electrical Characteristics

Scarlett Studio CM25 MkII Microphone Specifications

Scarlett HP60 MkII Headphones Specifications

TROUBLESHOOTING

For all troubleshooting queries, please visit the Focusrite Help Centre where you will find articles covering numerous troubleshooting examples:

support.focusrite.com

COPYRIGHT AND LEGAL NOTICES

Focusrite is a registered trade mark and Scarlett 2i2 and Scarlett 2i2 Studio are trade marks of Focusrite Audio Engineering Limited.

All other trade marks and trade names are the property of their respective owners.
2016 © Focusrite Audio Engineering Limited. All rights reserved.