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User Guide
FFFA001430
www.focusrite.com
TABLE OF CONTENTS
2
OVERVIEW
Introduction
Thank .you .for .purchasing .this .Second .Generation .Scarlett .Solo .Studio, .one .of .the .family .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 .and .you .will .also .be .able .to .
download .some .exciting .new .software .– .including .the .Ableton .Live .Lite .audio .recording .application . .
- .once .you’ve .registered .the .product.
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.
This .User .Guide .provides .a .detailed .explanation .of .the .components .to .help .you .achieve .a .thorough .
understanding . of . the . Scarlett . Solo’s . operational . features. . We . recommend . that . whether . you . are .
new .to .computer-based .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 . Solo .
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 .
https://support.focusrite.com/ , .which .contains .
a .comprehensive .collection .of .answers .to .common .technical .support .queries.
Features
The .Scarlett .Solo .Studio .comprises .a .Second .Generation .Scarlett .Solo .audio .interface, .a .Scarlett .
CM25 . MKII . studio . quality . condenser . microphone, . a . pair . of . Scarlett . 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 .Solo .hardware .interface .is .the .key .component .in .the .Scarlett .Solo .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 .Scarlett .
Solo’s . physical . inputs . can . be . routed . to . your . audio . recording . software . / . digital . audio . workstation .
(referred .to .throughout .this .Use .Guide .as .the .“DAW”) .at .up .to .24-bit, .192 .kHz .resolution. .Similarly, .
the .DAW’s .monitor .or .recorded .output .will .appear .at .the .Scarlett .Solo’s .physical .outputs.
.
The .Scarlett .Solo’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 .Solo .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.
3
Box Contents
You .should .find .that .your .Scarlett .Solo .Studio .package .comprises:
• . Scarlett .Solo .(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:
.
.
.
.
.
.
.
.
Solo .USB .Drivers .for .Windows
Focusrite .Red .2 .& .3 .Plug-in .Suite
Softube .Time .and .Tone .bundle
Pro .Tools .| .First
Ableton .Live .Lite
LoopMasters .sample .library
Novation .Bass .station
Multi-language .User .Guides
• . 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
Apple .Macintosh .with .a .USB .2.0 .or .3.0-compliant .USB .port .and .an .Internet .connection*
OS: .Mac .OS .X .10.10 .(Yosemite) .or .OS .X .10.11 .(El .Capitan)
Windows
Windows .compatible .computer .with .a .USB .2.0 .or .3.0-compliant .USB .port .and .an .Internet .connection*
OS: .Windows .7 .(32- .or .64-bit), .8.1 .and .10
* .Internet .connection .required .for .downloading .on-line .resources.
4
GETTING STARTED
IMPORTANT: WINDOWS .USERS .- .PLEASE .ENSURE .THAT .YOU .RUN .THE .INSTALLER .
BEFORE .CONNECTING .THE .SCARLETT .SOLO .TO .YOUR .COMPUTER.
THE .SECOND .GENERATION .SCARLETT .SOLO .IS .CLASS .COMPLIANT .FOR .MACS, .
THEREFORE .DRIVER .INSTALLATION .IS .NOT .NECESSARY.
Software Installation
All .software .required .by .the .Scarlett .Solo .- .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 .Solo .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 Solo at focusrite.com/register and enter BUNDLE CODE below when prompted.
PRODUCT BUNDLE CODE
XXXXXX-XXXXXX-XXXXXX
For an in depth video tutorial, please go to focusrite.com/get-started
Pour obtenir des instructions en Français sur la façon de commencer, veuillez-vous rendre sur focusrite.com/downloads
Für eine Kurzanleitung zum schnellen Start in deutscher Sprache besuche bitte focusrite.com/downloads
Para la guía de inicio en Español, diríjase a focusrite.com/downloads
所有使用说明中文版,请上网站:focusrite.com/downloads
日本語での説明書はこちら：focusrite.com/downloads
시작 방법에 관한 한국어 가이드는 focusrite.com/downloads 에서 찾으실 수 있습니다.
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 .Solo .drivers .(Windows .only). .Follow .all .on-screen .instructions.
• .
When .the .installation .is .complete, .restart .your .computer.
• .
After .restart, .connect .the .Scarlett .Solo .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.
5
Mac OS only:
Your . OS . should . automatically . switch . the . computer’s . default . audio . inputs . & . outputs . to . the . .
Scarlett . Solo. . To . verify . this, . go . to .
System Preferences > Sound , . and . ensure . that . the .
input . and . output . are . set . to .
Scarlett Solo . . 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 .Solo. .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 Solo ’
Powering your Scarlett Solo
The .Scarlett .Solo .is .an .active .device, .and .needs .a .DC .power .source .to .operate. .This .will .be .supplied .
by .the .Mac .or .PC .to .which .it .is .connected, .via .the .single .USB .connection. .Note .that .an .external .power .
supply .is .not .required.
You . should . experience . no . problems . in . powering . the . Scarlett . Solo . from . the . USB . ports . on . any .
compatible . Mac . or . PC. . However, . please . be . aware . that . USB . ports . on . some . laptops . may . not . be .
able .to .deliver .the .same .current .to .externally-connected .devices .when .they .are .running .off .their .
internal .batteries, .compared .to .their .current .capability .when .running .from .AC .mains. .We .therefore .
recommend .strongly .that .if .you .are .using .Scarlett .Solo .with .a .laptop, .please .power .the .laptop .from .
the .mains .with .its .supplied .AC .adaptor.
6
Connecting your Scarlett Solo
IMPORTANT - WINDOWS USERS: .Before .you .connect .the .Scarlett .Solo .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.
Your .Scarlett .Solo .has .a .single .USB .2.0 .port .(on .the .rear .panel). .Once .the .software .installation .is .
complete, . simply . connect . it . to . your . computer; . we . recommend . you . use . the . USB . cable . provided. . .
(Note .that .Scarlett .Solo .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 .Solo .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 .Solo .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 .
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 .Scarlett .Solo .as .its .default .I/O .device. .In .this .
case, .you .must .manually .select .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 . example . below . shows . the . correct . configuration . in . the . Ableton . Live . Lite .
Preferences . panel . .
(Windows .version .shown).
*Typical .name. .Terminology .may .differ .slightly .between .DAWs.
7
Once .the .Scarlett .Solo .driver .is .selected .as .the .preferred .Audio .Device*, .its .inputs .and .outputs .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 .two .inputs .and .two .outputs .enabled .in .
the .Ableton .Live .Lite .Audio .Preferences.
*Typical .name. .Terminology .may .differ .slightly .between .DAWs.
8
Examples of Usage
The .Scarlett .Solo .is .an .ideal .audio .interface .for .many .DAW .applications .running .on .a .laptop .or .other .
computer, .PC .or .Mac.
A .typical .set .of .connections .is .illustrated .below:
Connecting a microphone or instrument
This .setup .illustrates .a .typical .configuration .for .recording .using .DAW .software .on .your .Mac .or .PC. .
In .this .case, .you .might .record .vocals .through .Input .1 .and .guitar .through .Input .2 .into .your .recording .
application, .while .monitoring .the .playback .from .the .DAW .via .headphones.
9
Scarlett . Solo’s . inputs . are . on . the . front . panel; . Input . 1 . uses . a . standard . 3-pin . XLR . socket, . and . is .
configured .to .work .with .microphones .of .most .types; .you .will .find .a .mating .XLR .male .connector .on .
the .end .of .the .mic .cable .supplied. .Input .2 .uses .a .¼” .(6.35 .mm) .jack .socket .(2-pole .when .in .instrument .
mode .and .3-pole .when .used .as .a .line .input), .and .is .intended .to .accept .higher .level .signals .from .a .
guitar .or .bass.
Recording with a microphone
The .Scarlett .CM25 .MkII .microphone .supplied .with .the .Scarlett .Solo .Studio .package .is .a .studio .quality .
condenser . mic . which . is . ideal . for . recording . vocals . and . most . acoustic . instruments. . Connect . the . .
CM25 .MkII .to .the .Scarlett .Solo’s .Input .1 .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 .Solo.
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 .
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
Other .types .of .microphone .(including .the .common .dynamic .type) .do .not .require .phantom .
power, . and . may . suffer . damaged . if . phantom . power . is . applied. . Some . cheaper . condenser .
microphones .are .able .to .operate .from .a .lower .phantom .power .voltage .– .typically .15 .V. .You .
should .check .the .mic .spec .to .see .if .it .is .safe .to .operate .it .from .48 .V; .if .not, .obtain .a .suitable .
external .phantom .power .supply.
10
Microphone Dos and Don’ts
A .guide .to .microphone .technique .is .beyond .the .scope .of .this .User .Guide .(though .many .excellent .
books .on .the .subject .are .available), .but .if .you .are .new .to .recording .with .a .studio .quality .microphone, .
you .need .to .observe .a .few .golden .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.
This logo identifies the front of the microphone.
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 .electronically .in .the .recording .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 .utterly .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.
11
Using Direct Monitoring
You .will .frequently .hear .the .term .“latency” .used .in .connection .with .digital .audio .systems. .In .the .case .
of .the .simple .recording .application .described .above, .latency .will .be .the .time .it .takes .for .your .input .
signals .to .pass .through .your .recording .device .(your .Mac .or .PC) .and .the .associated .software. .Latency .
can .be .a .problem .for .a .performer .who .wishes .to .record .while .monitoring .their .input .signals. .
Scarlett .Solo .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 .Scarlett .Solo’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 .Monitoring” .is .set .to .ON, .ensure .that .your .recording .software .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.
Headphone monitoring
The .Scarlett .Solo .Studio .package .includes .a .pair .of .high .quality .headphones, .the .Scarlett .HP60 .MkII. .
They .are .lightweight .and .durable, .and .should .prove .comfortable .to .wear .for .extended .periods. .The .
headband .is .adjustable.
The .HP60 .MkII .has .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 .Solo’s .front .
panel .(indicated .by .a . symbol). .The .Scarlett .Solo’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 .MONITOR .control.
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.
12
Connecting Scarlett Solo to loudspeakers
The .phono .(RCA) .outputs .on .the .rear .panel .can .be .used .to .connect .monitoring .speakers. .Self-powered .
speakers .(e.g., .typical .computer .speakers .or .active .monitors) .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.
Connecting .active .speakers
Connecting .passive .speakers
The .line .output .connectors .are .standard .phono .(RCA) .sockets. .Typical .consumer .(hi-fi) .amplifiers .
and .small .powered .monitors .will .have .inputs .on .phono .(RCA) .sockets .or .a .single .3.5 .mm .3-pole .jack .
plug .(intended .for .direct .connection .to .a .computer). .In .either .case, .use .a .suitable .connecting .cable .
with .phono .plugs .(RCA .jacks) .at .one .end. .
Note: .You .run .the .risk .of .creating .an .audio .feedback .loop .if .loudspeakers .are .active .at .the .same .time .
as .a .microphone! .We .recommend .that .you .always .turn .off .(or .turn .down) .monitoring .loudspeakers .
while .recording, .and .use .headphones .when .overdubbing.
13
HARDWARE FEATURES
Front Panel
1 2 5 8 9
3 4 6 7 10
The .front .panel .includes .the .input .connectors .for .mic .and .line/instrument .signals, .and .the .input .gain .
and .monitoring .controls.
1. . Input .1 .– .electronically .balanced .input .via .3-pin .XLR .socket .for .microphones.
2. . GAIN 1 .– .adjust .the .gain .for .the .microphone .signal .at .Input .1. .The .gain .control .has .a .concentric .
bi-colour .LED .‘ring’ .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 .input .- .enables .48 .V .phantom .power .at .the .XLR .socket.
4. . Input .2 .– .for .connecting .instruments .(unbalanced) .or .line .level .(balanced) .sources; .¼” .TRS .
jack .socket.
5. . GAIN 2 .– .adjusts .the .gain .for .the .line/instrument .signal .at .Input .2. .The .gain .control .has .a .bicolour .LED .ring .as .[2].
6. . INST/LINE .– .Instrument/Line .level .switch .for .Input .2 .– .switches .gain .to .suit .instrument .or .
line .level .signals.
7. . MONITOR .– .main .monitor .output .level .control .- .sets .the .output .level .at .the .rear .panel .outputs .
and .the .front .panel .headphone .output.
8. .
USB .LED .– .illuminates .when .the .unit .receives .USB .bus .power .and .is .confirmed .by .the .
computer .as .connected .and .operating .correctly.
9. . DIRECT MONITOR .– .selects .monitoring .of .input .signals .(mixed .with .the .DAW .output) .to .be .
directly .from .inputs .(ON) .or .via .the .DAW .(OFF).
10. .
.– .¼” .TRS .output .jack .- .connect .your .stereo .headphones .here.
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Back Panel
11
12 13
11. . K (Kensington .security .lock) .– .secure .your .Scarlett .Solo .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.
12. .
USB .2.0 port .– .Type .B .connector; .connect .to .your .laptop .or .computer .with .the .USB .cable .
supplied.
13. . LINE OUTPUTS: LEFT and .RIGHT .– .2 .x .phono .(RCA) .sockets; .+9 .dBu .max. .output .level.
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16
SPECIFICATIONS
Performance Specifications
Clock .Source
Supported .sample .rates
Microphone Input
Dynamic .Range
Frequency .Response
THD+N
Noise .EIN
Maximum .Input .Level
Gain .Range
Line Input
Dynamic .Range
Frequency .Response
THD+N
Maximum .Input .Level
Gain .Range
Instrument Input
Dynamic .Range
Frequency .Response
THD+N
Maximum .Input .Level
Gain .Range
Line Outputs
Dynamic .Range
Maximum .Output .Level .(0 .dBFS)
THD+N
. .Internal
44.1 .kHz, .48 .kHz, .88.2 .kHz, .96 .kHz, .176.4 .kHz, .192 .kHz
106 .dB .(A-weighted)
20 .Hz .to .20 .kHz .±0.1 .dB
<0.002% . .(minimum .gain, .-1 .dBFS .input .with . .
22 .Hz/22 .kHz .bandpass .filter)
-128 .dB .(A-Weighted) .
+4 .dBu .
50 .dB
106 .dB .(A-weighted)
20 .Hz .to .20 .kHz, .±0.1 .dB
<0.002% .(minimum .gain, .-1dBFS .input .with . .
22 .Hz/22 .kHz .bandpass .filter)
+22 .dBu
50 .dB
106 .dB .(A-weighted)
20 .Hz .to .20 .kHz, .±0.1 .dB
<0.02% .(minimum .gain, .-1 .dBFS .input .with . .
22 .Hz/22 .kHz .bandpass .filter)
+13 .dBu
50 .dB
106 .dB .(A-weighted)
+10 .dBu
<0.002% . .(minimum .gain, .-1 .dBFS .input .1 .kHz, .with . .
22 .Hz/22 .kHz .bandpass .filter)
Headphone Output
Dynamic .Range
Maximum .Output .Level
THD+N
107 .dB .(A-weighted)
> .+10 .dBu
<0.002% .(minimum .gain, .-1 .dBFS .input, .1 .kHz, .with . .
22 .Hz/22 .kHz .bandpass .filter)
Physical and Electrical Characteristics
Analogue Input 1
Connector
Phantom .power
Analogue Input 2
Balanced, .via .female .3-pin .XLR .on .front .panel
48 .V .phantom .power .switch
Connector
¼” .(6.35 .mm) .jack .socket .on .front .panel
INST .mode: .unbalanced, .2-pole .(TS)
LINE .mode: .balanced .(TRS)
Analogue Outputs
Main .outputs
Stereo .headphone .output
Output . level . control . (main . and .
headphone)
Direct .Monitoring
Other I/O
USB
Front Panel Indicators
USB .power
Gain .Halos
Weight and Dimensions
Unbalanced, .via .2 .x .phono .(RCA) .sockets .on .rear .panel
¼” .TRS .jack .on .front .panel
On .front .panel
Front .panel .switch; .allows .zero-latency .monitoring .of .inputs
1 .x .USB .2.0 .Type .B .connector
Green .LED
Colour-coded .LED .rings
W .x .H .x .D
144 .mm .x .44 .mm .x .119 .mm
5.67 .in .x .1.73 .in .x .4.68 .in
Weight
0.43 .kg
0.95 .lb
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Scarlett Studio CM25 MkII Microphone Specifications
Capsule
Type
Response .type
Mounting
Performance
Frequency .response
Sensitivity
Self .noise
Maximum .SPL
S/N .ratio
Impedance
Power
20 .mm .dia. .condenser .element
Cardioid
Standard .5/8” .female; .3/8” .adaptor .supplied
30 .Hz .to .20 .kHz
-36 .dB .±2 .dB .(0 .dB .= .1 .V/Pa)
18 .dBA
130 .dB .(1 .kHz)
76 .dB .(A-weighted)
150 .ohms
Via .48 .V .phantom .supply
Scarlett HP60 MkII Headphones Specifications
Type
Driver .diameter
Impedance
Sensitivity .SPL
Frequency .response
Max. .power .rating
Cable .length
Connectors
Weight
Closed
53 .mm
.60 .ohms
94 .dB .±3 .dB
10 .Hz .to .30 .kHz
1.2 .W
3 .m .(approx.)
3.5 .mm ./ .6.35 .mm .dia. .(via .adaptor)
280 .g .(inc. .cable)
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TROUBLESHOOTING
For .all .troubleshooting .queries, .please .visit .the .Focusrite .Answerbase .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 .Solo .and .Scarlett .Solo .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.
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