At this sort of price, you wouldn’t expect to see features such as colour touchscreens or digital gain controls, but in general, the new Scarletts look and feel a lot more expensive than they are.įocusrite Scarlett 2i2.There are also some changes inside the boxes. What is new is the physical design: both units are very classy indeed, losing nothing by comparison with Focusrite’s much more costly Clarett interfaces. There’s not space here to list the complement of I/O that each Scarlett possesses, but both follow tried and tested formats, and are practically identical to their ‘first generation’ Scarlett predecessors. All Scarlett, No Pimpernelsįor this review, Focusrite sent two of the six Scarletts: the 2i2 and the 1U 18i20. So, although the ‘second generation’ Scarletts have had a physical makeover, it’s the software that has seen arguably the biggest changes.
This was mainly directed at Focusrite’s control software, which some found awkward to use, and at their drivers, which didn’t offer stellar low-latency performance, and lacked clarity as to the actual latency a given setting would yield. Popular though the original Scarletts were, they attracted criticism in some quarters. Five years is a long time in music technology, however, and Focusrite have now ‘refreshed’ their range of USB interfaces to reflect new developments and changing priorities. In fact, Focusrite say that since its launch in 2011, the 2i2 has become the best-selling USB audio interface in the world. Focusrite have updated and improved their Scarlett interface range.įrom the desktop 2i2 and Solo units to the rackmountable 18i20, with eight built-in mic preamps and ADAT digital expandability, there are Scarlett interfaces to suit most studios.
0 kommentar(er)
