Focusrite Equalizer Software
Smacka Shock
I have a focusrite 18i10 and i feel the guitars can get easily to clipbut i keep the tracks to low they seem weak... i know i should not worry because the extra 5+ db can be added in mastering phase, but i'm basically wondering if cutting low and highs, analogically with hardware BEFORE could benefit while recording?
my guitars goes either straight to focusrite sometimes from a DI box or mics (shure57)... i don't have a separate mic preamp because i was told focusrite preamp are good, but it doesn't have an EQ section
Do they sound weak on the live monitor? Then turn up the live monitor. Do they sound weak once recorded in the mix?...well then MIX them. EQ, compress, and control the levels during the mixing process.
As with all recording processes live by the rule "if it sounds good it is". I personally prefer to use gentle EQ and compression on the way in as a choice for the overall sonic quality of the track. Though if it sounds weak...I'd crank up whatever your listening to it on. If you're going straight into digital then the preamp doesn't have the colour of analoge equipment and so tracking at lower volumes to maximise head room is the way to go (barely hitting the yellows)
Most people nowadays think , record and mix later i believe that the sound/signal recorded in to any medium (DAW for instance) must be very healthy and promissing otherwise you'll just end up circling around the same bad initial sound.
i want to be able to eq the windows 10 system sound (games, youtube, movies, etc) having asio drivers from focusrite, so far everyone recomends apo eq and others but no one work for asio, i've tried the voicemeter banana but the eq is only 3 bands and even when i change to the focusrite device when i go to use cakewalk there's a lot of clicks and pops in the sound
You can set your system to use the Focusrite with Cakewalk and the onboard sound card for Windows sounds. If your sound chip is a RealTek, it has "enhancements", one of which includes EQ with many presets.
Search Amazon for "Little Bear MC5" for example. Note that this particular mixer doesn't have a headphone amp, so if you want your headphones to recieve audio from both sources (rather than just plugging them into the Focusrite's headphone output), you'll need to step up to something like a Behringer Xenyx 502 or equivalent.
Use the Realtek's EQ for your windows sounds. It's not a good idea to have the Windows sounds and the DAW sharing the same interface, as you can run into various conflicts if you're running the DAW and Windows decides it wants to beep or whatever.
i've never had a console before, so i wonder if with one of this behringers i can do the thing of connecting both focusrite and realtek for listening and maybe at the same time using it for connecting instruments in the other inserts for recording
Probably not. Without delving into them, I'm going to hazard a guess that the Xenyx 1202 and 1002 are both 'N inputs to a stereo mix' devices. Larger mixers often have additional submix outs (eg. Mackie 1604), wherein you could have a second stereo mix (on submix 3 & 4) feeding the input of the Focusrite, and the main mix (submix 1 & 2) going to your speakers. But that's almost certainly massive overkill for what you're doing.
FWIW, I have two mixers in my setup. A small Mackie 1202 which I keep all my sound-generators connected to. The output of that mixer goes to the inputs on my Focusrite. Also provides me nice high-res level meters on the input signal. And I have a second 'output' mixer connected to my speakers/headphones. Both the Focusrite and the Windows audio are connected to that mixer, as well as the output from the 1202 and an ancient hardware reverb - this lets me monitor my vocal recordings (with reverb, that doesn't get recorded) at zero latency.
The Focusrite ISA 110 Original Mono Mic-Pre & Equalizer is a limited-edition version of the famed single-channel ISA 110 EQ module. The original ISA 110/130 units were developed by Rupert Neve, who had been commissioned to supply 16 extra inputs for a Neve console at AIR Studios. These 1984-era ancillary input modules fitted vertically into a rackmounted card cage that required an external power supply. Around 1986, Focusrite began selling outboard racks containing two, four or eight ISA 110/130 modules, and in 1989 the module became the basis of the Focusrite Studio console (of which only ten were made). The Focusrite Red Range products and the ISA 215 units are also derived in part from the original 110 module.
The new ISA 110 differs from the original in that it is packaged in a horizontal one-rackspace unit with an internal power supply. However, the electronic circuit design, the componentry and the performance specifications are all exactly the same as the original ISA 110. The original printed circuit board has been extended to include the integral power supply and accessible rear panel insert jacks, both new features.
All circuit functions are switched in and out of circuit by way of relays featuring gold-plated silver levers sealed in inert gas containers (compared to FET switching, relays are best for preventing breakthrough and distortion). The main audio op amp used through out the ISA 110 is the 5534.
Filter and Equalizer SectionsThe highpass and lowpass sections provide 18 dB per octave roll-offs. The rotary switch for the lowpass filter has 3.9, 5.6, 8.2, 12 and 16kHz corner frequency choices and an Off position that switches the section completely out of circuit. Likewise, the rotary highpass has settings for 30, 60, 105, 185, 330 Hz and Off.
The two bands of the parametric equalizer section each feature continuously variable boost/cut controls (+/-18 dB) with center detent. The two selectable frequency ranges overlap, and there is a variable Q (bandwidth) control. Each of the two bands also has a yellow X3 button that triples the indicated frequency. The tripled frequency is read on a yellow-colored scale. The first band is sweepable from 40 to 400 Hz (which triples to 120 to 1.2k Hz). The second band goes from 600 to 6k Hz (triples to 1.8 to 18 kHz). A slightly larger control for EQ frequency would have been a nice touch.
For me, the defining difference that characterizes Focusrite EQ is the combination of the shelving and parametric equalizers, and the shelving equalizer sells this unit all by itself. The shelving EQ offers both high- and low-frequency shelving sections with six-position frequency selection switches and section bypass button. Low-frequency choices are 33, 56, 95, 160, 270 and 330 Hz. High-frequency positions are 3.3, 4.7, 6.8, 10, 15 and 18 kHz. The shelving EQ shape is 6 dB per octave with a maximum boost and cut of 18 dB.
Using the ISA 110I found using the new ISA 110 no different from the original model, except that everything is horizontal. For this review, I used the line input to equalize program sources and instrumental tracks from a multitrack.
Barry Rudolph is a Contributing Technical Editor at Mix Magazine; Music Mixer/Instructor at Tones 4 $ Studios; "New Toys" columnist for Music Connection Magazine; Contributing Writer for Resolution; and Editor/writer for Gear Lust. He explains, "Throughout my college years, I worked nights as a digital test tech for SoCal aerospace firms on NASA space programs. I started with the love of electronics in grade school and then music from being in a Rock band in high school and later on as a music mixer. After graduating college, I wondered into a recording studio and three years later engineered a #1 record."
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