Focusrite Clarett+ 8Pre Studio-Grade 18-in/20-out Audio Interface for Established Producers —Eight High-Performance, Low-Noise, Low-Distortion Mic Preamps Capture Audio with Precise Clarity

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The most obvious benefits of the Clarett+ redesign are greater dynamic range and lower distortion figures across the board. Of course, the original Clarett was hardly a slouch in this regard, but the improvements are not only measurable but audible too, especially when working in challenging conditions. Given how good modern digital equipment already is, Focusrite’s update actually represents quite a significant step forward in engineering terms. Flagship Overview The transformerless preamp design claims ISA110 heritage, but while the gain stage is based around an NE5532 op‑amp just like the ISA110, the original Lundahl input transformer has been replaced with an electronically‑balanced discrete transistor input stage. Nevertheless, the design achieves remarkably low noise (specified as an EIN of ‑129dBu A‑weighted) and has excellent headroom margins — the maximum mic input level is a very generous +18dBu, while the line input can take +26dB before complaining, and even the instrument inputs can cope with +15dBu. So there shouldn’t be any problems with either high or low source levels, although the maximum channel gain is 57dB, which precludes working directly with really quiet sources. We investigate this age-old internal war with an outline of some of the most important key features and differences between both devices. Focusrite Clarett vs Scarlett: The Lowdown The other interfaces in this list (Scarlett 8i6 and above, plus all Clarett interfaces) will require power supplies, and as such cannot be considered as portable. Comparing: Use-Cases Professional/Studio Use Recommended interfaces:

Out of the box, first impressions are very reassuring. The smart brushed aluminium front panel and all-metal case is complemented by a series of really sturdy controls, apart from a couple of slightly wobbly switches in the monitor section. The build quality is superb and is a definite improvement upon the early incarnations of Scarlett interfaces that had rough, sharp edges. Panel layout is extremely intuitive, with simple preamp controls, clear LED metering, and monitor and headphone controls on the right. Take the Air Focusrite have also designed a new mic preamp circuit for the Clarett range, the most notable feature of which is the Air option. This is “modelled on” the Air mode in Focusrite’s ISA430 MkII input channel, and although it’s switched in software, actually changes the behaviour of the circuit in the analogue domain. A representative of the company told me: “Air mode is an impedance change in the mic pre from 6.2 to 2.1 kΩ in combination with a frequency response change through the use of an analogue filter which provides a 4dB boost starting from around 100Hz, reaching +4dB around 10kHz, all of which happens before the A–D conversion.” When push comes to shove, the Clarett beats the Scarlett with higher quality mic pres, expandability and audio specs. However, the Scarlett comes at a much cheaper price point. My own ISA828 preamp has switchable input impedance, and in my experience the effect this has is rarely profound and often inaudible. I was expecting the Air option to be similarly subtle, but it really isn’t! Switching the Air circuit in (which can be done on a per–channel basis) produces a pronounced treble lift which is very obvious on pretty much any source, even line–level signals and other things that shouldn’t be at all sensitive to input impedance. It’s a rather sweet and seductive sound which often mimics what you might want to do with EQ in any case. If I owned a Clarett I’d be tempted to use the Air setting all the time, though I suspect that there might be circumstances where, like the high–end sizzle that gives some capacitor mics instant appeal, it actually proves counter–productive further down the line. It’s perhaps a shame that it’s not variable, as it does make rather a drastic difference to the sound.The Scarlett Solo and Scarlett 2i2 models are also available in bundles for beginner recording artists, offering sweet little bundles that include everything you need to get started. This includes headphones, a very nice collection of premium plugins, plus a condenser microphone with all the necessary cables and leads. Freebies Needless to say, Focusrite’s Clarett range employed AKM converter chips extensively, and without a consistent supply of converter chips Focusrite can’t build audio interfaces. So the company was effectively forced into redesigning the Clarett product range to use alternative brands of converters — something which is far from a trivial task! The Scarlett range from Focusrite comprises 6 different units: the Solo, the 2i2, the 4i4, the 8i6, the 18i8, and the 18i20. The Scarlett range has been broken down into these categories to give users a wide variety of options to suit their needs.

Includes Ableton Live Lite, three months of Pro Tools Artist, and the Hitmaker Expansion, with plugins from Antares, Softube, Landr, XLN Audio and more.The THD+N figure for the D‑A measured ‑106.1dB (the published spec is ‑106dB), which is also a very worthwhile improvement over the previous model’s ‑103dB. The headphone outputs have also gained 3dB more dynamic range and 3dB lower THD, too — all of which means lower noise and more pristine low‑level details in reverb tails and room atmospheres. Focusrite’s Clarett range offers Thunderbolt connectivity and high specifications at an attractive price tag. Despite having a slightly lower dynamic range, they still have a low noise floor, meaning you can easily get the most out of your recordings in a wide variety of environments with minimum fuss. The dynamic range of the mic inputs on the Scarlett are 111dB A-weighted for the 3rd generation interfaces - a slightly lower range than is found on either of the Clarett models. The Clarett range offers a more complete Air mode as it alters the input impedance of the preamp, therefore applying a different colour to the microphone.