Focusrite | Scarlett 2i2 3rd Gen Studio | User guide | Focusrite Scarlett 2i2 3rd Gen Studio, Scarlett 2i2 3rd Gen, Scarlett 18i20 3rd Gen, Scarlett 4i4 3rd Gen, Scarlett Solo 3rd Gen, Scarlett Solo 3rd Gen Studio, Scarlett 8i6 3rd Gen, Scarlett 18i8 3rd Gen User guide

User Guide (Scarlett 3rd Gen. Edition)
Version 1.0
www.focusrite.com
TABLE OF CONTENTS
TABLE OF CONTENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Software Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
The Scarlett Mixer – basic principles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
MIXING & ROUTING PAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Configuring and controlling the mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
The Output section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
The Mixer section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Hardware Inputs available on Scarlett devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Using Output Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Direct Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
2 Channel Analogue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
8 Channel Analogue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Digital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Empty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Examples of Use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Recording and Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Stand-alone mixer (8i6, 18i8 and 18i20 interfaces only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Using the Loopback feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
INPUT SETTINGS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Inst/Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Pad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Air . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
DEVICE SETTINGS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Monitor Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Speaker Switching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Clock Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Digital Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
TROUBLESHOOTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
COPYRIGHT AND LEGAL NOTICES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
2
INTRODUCTION
This is the User Guide for Focusrite Control, the software application that has been developed
specifically for use with the Focusrite Scarlett 3rd Generation range of USB audio interfaces.
If you’ve just become the owner of a Scarlett 3rd Generation interface, you’ll need both this User
Guide and the User Guide for your hardware. You can download the hardware User Guide from
http://uk.focusrite.com/downloads.
The combination of the Scarlett’s excellent audio performance and professional build quality with
Focusrite Control’s simple and intuitive interface will, in conjunction with the Digital Audio Workstation
(DAW) of your preference, provide you with a highly versatile computer recording system.
While we have designed Focusrite Control to be as intuitive and task-oriented as possible, all users
will benefit from reading through this Guide, as a full understanding of the software’s features can
only be gained by considering it in partnership with the connected hardware.
IMPORTANT
The Scarlett range of interfaces consists of several different models, all of which use
Focusrite Control. The fundamental difference between these models lies in the number of
inputs and outputs that each provides, plus the number of features that can be controlled
directly from Focusrite Control.
Focusrite Control will recognise the particular Scarlett hardware to which your computer
is connected, and configure itself accordingly. Therefore you will only see on-screen
references to the inputs and outputs that your hardware actually supports.
Because of this automatic configuration, this User Guide is applicable to all the models in
the Scarlett range, though its primary application is with the larger models in the Scarlett
range, i.e., Scarlett 4i4 and above (also see NOTE below). We felt it would be confusing
to illustrate the Guide with screenshots from more than one model, therefore we have
settled to use the Scarlett 18i20 as the “reference” model. If your Scarlett is an 18i20,
the screenshots in this Guide will exactly match what you see on your screen. If you’ve
got a different model, the only significant differences in screen appearance will be in the
numbers of available inputs and outputs, and software-controlled features.
NOTE: Scarlett 2i2 and Solo Users only
Although software control is limited in these models, installation of Focusrite Control is
still necessary to enable full device functionality at sample rates higher than 48 kHz, and
also to permit firmware updates. However, for general operation, you do not need have
Focusrite Control running on your computer in order to use the hardware interface. Note
that additional software controlled features will become available in the future.
3
System Requirements
IMPORTANT
Please visit the following link for up-to-date information on computer and operating
system compatibility for Focusrite Control and all Scarlett products:
www.focusrite.com/downloads/os
Software Installation
All software required by the Scarlett – and several powerful and useful extras – are available
for download from the Focusrite website (www.focusrite.com/register and www.focusrite.com/
downloads). Focusrite Control can either be downloaded as part of the interactive online setup
process, but it can also be found on the downloads page if you choose not to follow the online
setup process.
Installation during online setup process
When first connecting your Scarlett (as detailed in its own User Guide), it will initially be in MSD
mode and will guide you through the online setup process.
1.
Double click on the ‘Scarlett’ device which is displayed when you connect your Scarlett to your
computer, and select Click here to get started.
2.
You will then begin the interactive online setup process.
3.
On the Ok, Let’s install the essential software page you will be given a link to
download Focusrite Control.
4.
Download and install the version of Focusrite Control (Mac or Windows) appropriate for your
computer. Follow all on-screen instructions to install the software.
5.
If on Windows, restart your computer following installation.
6.
Following this, you should then see the message below appear:
Your Scarlett is currently in MSD mode (Quick Start). Please click OK to restart
your Scarlett and complete the online setup process. (Cancel/OK)
This will take the device out of MSD mode and update the firmware if necessary.
7.
Once back to the online setup webpage, please complete the Scarlett setup procedure.
Installation independent of online setup process
1. Go to focusrite.com/downloads.
2. From here select your product from the dropdown list (all 3rd Generation Scarletts use
Focusrite Control).
3. Download and install the version of Focusrite Control (Mac or Windows) appropriate for your
computer. Follow all on-screen instructions to install the software.
4. Once your computer has restarted, Focusrite Control should correctly identify your Scarlett
model, allowing you to control the internal settings of the device.
This information is accurate as of June 2019, 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.
4
The Scarlett Mixer – basic principles
Your Scarlett interface contains an internal audio mixer which allows you to create one or more
mixes of the various audio sources in your system, and send them to the physical outputs of your
interface. These sources include tracks that you have recorded on your DAW as well as the sources
connected to the Scarlett’s various physical inputs. Before starting to use Focusrite Control, it is a
good idea to gain an understanding of the basic principle of this mixer.
IMPORTANT
The Maximum simultaneous mixing capacity for the Scarlett 18i20 is:
24 inputs to 12 outputs.
NOTE: This mixer capacity allows a maximum of 6 custom mixes in mono or stereo
VIRTUAL MIX BUSES
Analogue inputs 1-8
RECORDING
INPUTS TO DAW
ADAT inputs
USB
interface
S/PDIF inputs
USB
interface
DAW tracks
Monitor outputs
Line outputs
Any combination of inputs
can be mixed together and
the sum routed to any of the
mix buses.
ADAT outputs
SCARLETT 18i20
S/PDIF outputs
INTERNAL MIXER
S/PDIF 1 & 2
ADAT 1-8
LINE 3-10
MON 1 & 2
5
MIXING & ROUTING PAGE
Installing Focusrite Control on your computer will place an FC icon on the desktop (Windows)
or in the Applications folder (macOS).
Click the icon to launch Focusrite Control. You should see a screen similar to that below:
NOTE
If instead you get a warning message stating No Hardware Connected, this means that
the computer has been unable to establish communication with the Scarlett hardware.
In this case, please check:
•
that the USB cable is correctly plugged in at both ends, and that the cable or
connectors are not damaged in any way,
•
that the Scarlett interface is turned on.
The green Sync ‘LED’ at the screen top left should be illuminated; this confirms that the Scarlett
device is locked to a valid clock source. See page 31 for further information.
6
Configuring and controlling the mixer
NOTE
To help you use the software effectively, Focusrite Control provides a comprehensive set
of tool tips; when you hover the cursor over any of the controls, a description of what the
control does appears in the status bar at the bottom of the window.
Click File > Presets > Empty. There are other Presets available which load up pre-configured
mixer configurations – these are often useful starting points for the task you’re performing. But
Empty loads a “blank” template, with no input channels visible.
Focusrite Control only has two pages – Input Settings and Output Routing. These are selected
by the tabs at the top of the window. There is also a Device Settings pane which opens when you
click the “cog” icon
at the top of the window – this is covered later in the manual.
The Output Routing page is divided into three areas:
•
•
•
OUTPUTS arranged vertically to the left.
HARDWARE INPUTS to the right, occupying the upper half of the page.
SOFTWARE (DAW) PLAYBACK to the right, occupying the lower half of the page.
7
The Output section
Let’s look at the Output section first, as this is always fully visible while the Output Routing page is
selected.
OUTPUTS has a vertical scroll bar; if your hardware interface has more outputs than can be fitted on
the screen, scroll down to see the rest. Each output (or pair of outputs if in stereo mode) has its own
tab, each of which has the following features:
Stereo Output
Mono Outputs
4
7
5
3
2
6
1.
Output identifier (e.g., Line Outputs 3-4) and icon – in addition to the name of the output,
icons are used to aid identification: you’ll notice speaker and headphone symbols as well as
jack plug, phono plug and TOSlink symbols.
2.
Custom name – you can click this field and enter a name of up to 11 characters.
3.
Current source – this field will display the name of the signal currently feeding the output. In
many setups, particularly when using Focusrite Control’s presets, this will be by default, just
one input or a stereo pair of inputs. Clicking on the field opens a drop-down list letting you
select:
•
Playback (DAW) – lets you route any of the DAW tracks to the output (in pairs when the
•
Custom Mix – lets you create a fresh mix of all available inputs (both hardware and those
•
•
8
1
output is stereo). Playback (DAW) 1-2 will be the main output of most DAWs and software
applications, e.g., your web browser and media applications.
from the DAW) to the selected output. Note that if all your custom mixes have already been
assigned this option is not available.
Hardware Input – this lets you specify a hardware input which will be routed directly to this
output.
Custom Mix + Talkback (Scarlett 18i20 only) - this is the same as Custom Mix, but
additionally routes the unit’s internal mic is to this output when TALKBACK is activated.
You’ll see that as you change the source selection for an output, the right hand side of the window
displays a graphic illustrating the routing. For simple one-to-one routings, the graphic looks like
this:
4.
Fader – use this to adjust the signal level at the output. Note that all output levels are set to
maximum as a default (unity gain). If the fader “knob” is green, it means that control of the
output level is assigned to the physical MONITOR control on the Scarlett’s front panel. This
assignment is made on the Device Settings page; see page 29. Note that digital outputs
do not have faders.
5.
MUTE – click this button to mute/unmute the output.
6.
STEREO – assigns the output to be either one of a stereo pair or an individual mono output. In
7.
Meters – a bargraph meter (two if configured for stereo operation) is provided indicating the
audio level at the output. A red audio overload icon appears when the output level clips. This
icon can be cleared by clicking anywhere in the meter bar.
stereo mode, all output functions apply to both outputs forming the stereo pair.
As well as all the functions above, the Monitor Outputs also have one additional control, a DIM button
- this is only applicable to outputs assigned to the Monitor control on the 18i8 and 18i20. This button
becomes available only if control of the Monitor Outputs is assigned to the front panel hardware
controls in Device Settings. When active, DIM reduces the level in the monitors (the amount of
reduction is determined by the Scarlett device connected).
9
The Mixer section
The Input section is divided into two: HARDWARE INPUTS and SOFTWARE (DAW) PLAYBACK. The two
halves of the Input area are where you control the inputs to your mix for the selected output.
It is important to remember that you can create a different mix for each output, and you can have
as many mixes as your Scarlett’s internal mixer allows. This is incredibly useful when recording a
group of musicians, as it means that each musician can have their own mix, personalised to their
requirements (assuming there are enough headphones and headphone amps to go round!) The mixer
whose input channels will be displayed is selected by clicking anywhere in the relevant output tab.
IMPORTANT
It is not possible for the mixers for each output to be made up of a different set of inputs.
The set of input channels in use is ‘global’ – that is, they will be applied across all outputs
in the Scarlett unit. However, individual mixes, with individual levels, are possible as it is
a simple matter to mute unwanted channels.
For some situations the simple one-to-one direct routing Focusrite Control sets up (as in the previous
example) will be adequate. This is where the outputs on your DAW are directly routed to the hardware
outputs on your Scarlett interface (i.e., no internal mixing within the unit). But in many cases, you
will want to set up the mix yourself. To create a new mix, first click the current source button in the
Output tab for the output that you want the mix to be fed to, and select Custom Mix. This will clear
the current fixed routing for the output and display the Input mix area (this area will be empty if the
Empty preset was selected earlier in this manual):
10
You can now “build” the mixer that will feed the selected Output by clicking on the two ‘+’ tabs. Each
will open a selection box: the HARDWARE INPUTS half of the area lists all the Scarlett’s physical
inputs (see page 13 for details of available hardware inputs for your Scarlett device), while in the
SOFTWARE (DAW) PLAYBACK area, the selection box lists the available DAW tracks. You can repeat
this process as many times as you like, adding channels up to the maximum capacity of your Scarlett
hardware. Note that you may need to resize the window or use the horizontal scroll bar when the
number of channels starts to exceed the window size.
Note that in both boxes, each input is listed twice: individually (mono) and as half of a stereo pair.
Selecting a stereo pair of inputs creates a stereo input channel.
In the example above, we might be doing an overdub: several DAW tracks have already been recorded,
two additional tracks are going to be recorded and we wish to create a stereo foldback mix for one
of the musicians.
11
Each input channel has the following features:
10
2
3
7
8
9
4
1
5 6
1. Input identifier – this is the actual physical input to the channel.
2. Custom name – you can click this field and enter a name – e.g., the instrument in question –
of up to 11 characters.
3. Fader – use this to adjust the level of the signal in the mix. Note that the default setting for all
faders is 0 dB, while “fader max” is at +6 dB. Double-clicking in the fader “slot” will set the
fader at 0 dB.
4. Fader value – a numeric readout of the current fader position.
5. M – click this button to mute/unmute the channel.
6. S – Solo button. Clicking this will let you hear just this channel, replacing the mix that was
there previously. This is very useful function during recording as it allows the engineer to
check the instrument being recorded without the distraction of the rest of the tracks. The
Solo function does not alter any other signal routings, and does not interrupt the signal being
recorded into the DAW.
7. Pan slider. This control is only available when the mix is being routed to a stereo output.
Its default position is central, and the signal in the channel is then sent at equal levels to
both outputs of the stereo pair. Moving the slider either way sends a higher signal level to
one output than the other, thus making it possible to “position” individual instruments at
particular place in the stereo image. Double-clicking in the slider “slot” will set the control
in the central position.
8. Signal level meter. This indicates the signal level coming into the channel, i.e., pre-fade. It is
scaled in dBFS units, with 0 dBFS at the top of the scale. 0 dBFS corresponds to digital clipping,
which sounds very unpleasant; levels should always be adjusted to avoid this situation. Stereo
channels have two meters, one either side of the fader.
9. Peak level display – a numerical readout of the maximum signal level reached. Stereo
channels have two displays. If a signal reaches clip level, CLIP is displayed in red; this may be
cleared by clicking on it, or by selecting Clear all meters from the File menu.
10. Close – click on the cross to remove the signal from the mix and the channel from the screen.
12
Hardware Inputs available on Scarlett devices
Your Scarlett interface provides a wide range of audio inputs, however the number available depends
on what operating sample rate it is set to (see page 30 for further details). Doubling the sample
rate halves the number of ADAT channels available. The tables below provide details of what inputs
are available to you when operating at different sample rates.
44.1 kHz - 48 kHz
Input
Scarlett 18i20
Scarlett 18i8
Scarlett 8i6
Scarlett 4i4
1
Input 1
Input 1
Input 1
Input 1
2
Input 2
Input 2
Input 2
Input 2
3
Input 3
Input 3
Input 3
Input 3
4
Input 4
Input 4
Input 4
Input 4
5
Input 5
Input 5
Input 5
Loopback 1
6
Input 6
Input 6
Input 6
Loopback 2
7
Input 7
Input 7
S/PDIF In 1
8
Input 8
Input 8
S/PDIF In 2
9
Loopback 1
S/PDIF In 1
Loopback 1
10
Loopback 2
S/PDIF In 2
Loopback 2
11
S/PDIF In 1
Loopback 1
12
S/PDIF In 2
Loopback 2
13
ADAT In 1.1
ADAT In 1.1
14
ADAT In 1.2
ADAT In 1.2
15
ADAT In 1.3
ADAT In 1.3
16
ADAT In 1.4
ADAT In 1.4
17
ADAT In 1.5
ADAT In 1.5
18
ADAT In 1.6
ADAT In 1.6
19
ADAT In 1.7
ADAT In 1.7
20
ADAT In 1.8
ADAT In 1.8
13
88.2 kHz - 96 kHz
Input
Scarlett 18i20
Scarlett 18i8
Scarlett 8i6
Scarlett 4i4
ADAT mode
S/PDIF mode
1
Input 1
Input 1
Input 1
Input 1
Input 1
2
Input 2
Input 2
Input 2
Input 2
Input 2
3
Input 3
Input 3
Input 3
Input 3
Input 3
4
Input 4
Input 4
Input 4
Input 4
Input 4
5
Input 5
Input 5
Input 5
Input 5
Loopback 1
6
Input 6
Input 6
Input 6
Input 6
Loopback 2
7
Input 7
Input 7
Input 7
S/PDIF In 1
8
Input 8
Input 8
Input 8
S/PDIF In 2
9
Loopback 1
Loopback 1
S/PDIF In 1
Loopback 1
10
Loopback 2
Loopback 2
S/PDIF In 2
Loopback 2
11
ADAT In 1.1
S/PDIF In 1
Loopback 1
12
ADAT In 1.2
S/PDIF In 2
Loopback 2
13
ADAT In 1.3
ADAT In 1.1
ADAT In 1.1
14
ADAT In 1.4
ADAT In 1.2
ADAT In 1.2
15
ADAT In 2.1
ADAT In 1.3
ADAT In 1.3
16
ADAT In 2.2
ADAT In 1.4
ADAT In 1.4
17
ADAT In 2.3
18
ADAT In 2.4
176.4 kHz - 192 kHz
14
Input
Scarlett 18i20
Scarlett 18i8
Scarlett 8i6
Scarlett 4i4
1
Input 1
Input 1
Input 1
Input 1
2
Input 2
Input 2
Input 2
Input 2
3
Input 3
Input 3
Input 3
Input 3
4
Input 4
Input 4
Input 4
Input 4
5
Input 5
Input 5
Input 5
6
Input 6
Input 6
Input 6
7
Input 7
Input 7
S/PDIF In 1
8
Input 8
Input 8
S/PDIF In 2
9
S/PDIF In 1
S/PDIF In 1
10
S/PDIF In 2
S/PDIF In 2
Using Output Presets
Focusrite Control comes with some useful Output Presets, which have been designed to get you
started on a recording task as quickly as possible. Selecting an Output Preset automatically configures
output routing and the mixer for you, setting up various useful combinations of input channels.
Output Presets are selected from the File menu; select Output Presets from the drop-down list.
The Output Presets available with the Scarlett 18i20 are shown below:
Direct Routing
With complex mixing sessions, it is sometimes desirable to perform the final mix in a separate,
physical mixing console. The Direct Routing Output Preset configures the Scarlett for this task, as
it routes DAW playback tracks in numerical order to all the available Scarlett outputs.
15
Direct routing connections for the Scarlett range are as follows:
44.1 kHz - 48 kHz
Scarlett 18i20
DAW
track
S/PDIF
Optical
S/PDIF
Dual ADAT
1
Output 1
Output 1
2
Output 2
3
Scarlett 18i8
Scarlett 8i6
Scarlett 4i4
Output 1
Output 1
(S/PDIF L)
Output 1
(HP 1L)
Output 1
Output 2
Output 2
Output 2
(S/PDIF R)
Output 2
(HP 1R)
Output 2
Output 3
Output 3
Output 3
Output 3
Output 3
(HP 2L)
Output 3
(HP L)
4
Output 4
Output 4
Output 4
Output 4
Output 4
(HP 2R)
Output 4
(HP R)
5
Output 5
Output 5
Output 5
Headphones 1L
S/PDIF Out 1
6
Output 6
Output 6
Output 6
Headphones 1R
S/PDIF Out 2
7
Output 7
Output 7
Output 7
Headphones 2L
8
Output 8
Output 8
Output 8
Headphones 2R
9
Output 9
Output 9
Output 9
10
Output 10
Output 10
Output 10
11
S/PDIF Out 1
S/PDIF Out 1*
S/PDIF Out 1
12
S/PDIF Out 2
S/PDIF Out 2*
S/PDIF Out 2
13
ADAT Out 1.1
ADAT Out 1.1
ADAT Out 1.1
14
ADAT Out 1.2
ADAT Out 1.2
ADAT Out 1.2
15
ADAT Out 1.3
ADAT Out 1.3
ADAT Out 1.3
16
ADAT Out 1.4
ADAT Out 1.4
ADAT Out 1.4
17
ADAT Out 1.5
ADAT Out 1.5
ADAT Out 1.5
18
ADAT Out 1.6
ADAT Out 1.6
ADAT Out 1.6
19
ADAT Out 1.7
ADAT Out 1.7
ADAT Out 1.7
20
ADAT Out 1.8
ADAT Out 1.8
ADAT Out 1.8
*RCA and Optical
16
88.2 kHz – 96 kHz
DAW
track
Scarlett 18i20
Scarlett
18i8
Scarlett
8i6
Scarlett
4i4
Output 1
Output 1
(S/PDIF L)
Output 1
(HP 1L)
Output 1
Output 2
Output 2
Output 2
(S/PDIF R)
Output 2
(HP 1R)
Output 2
Output 3
Output 3
Output 3
Output 3
Output 3
(HP 2L)
Output 3
(HP L)
Output 4
Output 4
Output 4
Output 4
Output 4
Output 4
(HP 2R)
Output 4
(HP R)
5
Output 5
Output 5
Output 5
Output 5
Headphones
1L
S/PDIF
Out 1
6
Output 6
Output 6
Output 6
Output 6
Headphones
1R
S/PDIF
Out 2
7
Output 7
Output 7
Output 7
Output 7
Headphones
2L
8
Output 8
Output 8
Output 8
Output 8
Headphones
2R
9
Output 9
Output 9
Output 9
Output 9
10
Output 10
Output 10
Output 10
Output 10
11
S/PDIF Out 1
S/PDIF Out 1*
S/PDIF Out 1
ADAT Out 1.1
12
S/PDIF Out 2
S/PDIF Out 2*
S/PDIF Out 2
ADAT Out 1.2
13
ADAT Out 1.1
ADAT Out 1.1
ADAT Out 1.1
ADAT Out 1.3
14
ADAT Out 1.2
ADAT Out 1.2
ADAT Out 1.2
ADAT Out 1.4
15
ADAT Out 1.3
ADAT Out 1.3
ADAT Out 1.3
ADAT Out 2.1
16
ADAT Out 1.4
ADAT Out 1.4
ADAT Out 1.4
ADAT Out 2.2
17
ADAT Out 2.1
ADAT Out 2.3
18
ADAT Out 2.2
ADAT Out 2.4
S/PDIF
Optical
S/PDIF
Dual ADAT
Dual ADAT
Output Preset
1
Output 1
Output 1
Output 1
2
Output 2
Output 2
3
Output 3
4
*RCA and Optical
17
176.4 kHz – 192 kHz
Scarlett 18i20
DAW
track
S/PDIF
Optical
S/PDIF
Dual ADAT
Scarlett 18i8
Scarlett 8i6
Scarlett
4i4
1
Output 1
Output 1
Output 1
Output 1
(S/PDIF L)
Output 1
(HP 1L)
Output 1
2
Output 2
Output 2
Output 2
Output 2
(S/PDIF R)
Output 2
(HP 1R)
Output 2
3
Output 3
Output 3
Output 3
Output 3
Output 3
(HP 2L)
Output 3
(HP L)
4
Output 4
Output 4
Output 4
Output 4
Output 4
(HP 2R)
Output 4
(HP R)
5
Output 5
Output 5
Output 5
Headphones 1L
S/PDIF Out 1
6
Output 6
Output 6
Output 6
Headphones 1R
S/PDIF Out 2
7
Output 7
Output 7
Output 7
Headphones 2L
8
Output 8
Output 8
Output 8
Headphones 2R
9
Output 9
Output 9
Output 9
10
Output 10
Output 10
Output 10
To use the Output Preset to its full extent with a traditional analogue console, a suitable ADATequipped D-to-A converter and a two-channel D-to-A converter with an S/PDIF input would be
required. However, many modern digital mixers are able to accept ADAT and S/PDIF signals directly
as well as analogue.
18
2 Channel Analogue
This is the Output Preset to use when using the Scarlett as your analogue recording “front end”. The
Preset configures the Scarlett’s routing with Analogue Inputs 1 and 2 available as HARDWARE INPUTS
and DAW tracks 1 and 2 available as a stereo channel in the SOFTWARE (DAW) PLAYBACK section.
For example, on the Scarlett 18i20, the summed output of these input channels is routed to Monitor
Outputs 1 and 2, and also to Line Outputs 7 and 8, and 9 and 10, as a stereo pair in all cases. On this
model, Headphone Outputs 1 and 2 follow Line Outputs 7/8 and 9/10 respectively, with their own
front panel headphone levels controls. This setup is ideal for recording a guitarist and a vocalist to
a computer drum track, for example, as it enables each to have an individual mix of the drums and
each other.
As more tracks are recorded, simply add additional DAW playback tracks to the mix.
All other Scarlett outputs are sourced directly from the corresponding DAW playback tracks, as per
the Direct Routing table on page 16.
19
8 Channel Analogue
Use this Output Preset as a starting point when recording a band. On the Scarlett 18i20, this Preset
enables eight mixer channels, one for each of the hardware analogue inputs. DAW tracks 1 & 2 are
also enabled as a stereo channel.
As with the 2 Channel Analogue Preset, the summed output of the mixer is routed to
Monitor Out 1 and 2, and Line Outs 7 to 10 as a stereo pair.
All other Scarlett outputs are sourced directly from the corresponding DAW playback tracks, as per
the Direct Routing table on page 16.
20
Digital
This Output Preset is a useful starting point when using a separate ADAT-equipped microphone preamplifier such as the Scarlett OctoPre. When used with the Scarlett 18i20 it enables ten digital input
channels, eight sourced from the ADAT input port and two from the S/PDIF input. DAW tracks 1 and
2 are also enabled as a stereo channel. The sum of the inputs is routed to the same pairs of outputs
as with the analogue Presets described previously.
All other Scarlett outputs are sourced directly from the corresponding DAW playback tracks, as per
the Direct Routing table on page 16.
Empty
This may often be the most convenient Output Preset to use as it clears all existing setups to allow
the user to start building their own configuration as required.
On the Scarlett 18i20, Monitor Out 1 and 2 and Line Outs 7 to 10 (paralleled as the headphone outputs)
are set to receive a custom mix; all other outputs are sourced from individual DAW tracks, as with
the other Presets.
21
Examples of Use
Recording and Tracking
Recording a band or just recording yourself is basically the same process as far as Focusrite Control
is concerned – the only difference is the number of mixer channels you’ll have on screen.
Connect the instruments to be recorded to the Scarlett interface, either directly using the INST or
LINE inputs, or - for acoustic instruments and vocals - with microphones connected to the MIC
inputs. Each instrument or microphone will be routed to your DAW via the USB cable, and will be
recorded - by default - on the track with the same number as its hardware input. Set the recording
levels by adjusting the gain controls on the Scarlett front panel. Your DAW will allow you to alter the
track assignment if you wish.
Focusrite Control lets you create a monitor mix of everything being recorded. The mix you hear in
your monitors or headphones can be anything you want, and is completely independent of the signal
levels being recorded.
All Focusrite Control channels start out with the fader position at zero, so you will hear a rough mix
as soon as you have everything connected up. You can then tweak the mix to suit your requirements.
Monitor Output Mix
Headphone Mix
When loading any of the Output Presets other than Direct Routing, the mix available at your
headphone outputs will be identical to your main monitor mix. However they are independent and are
controlled separately. For example, if you want to use the headphones for a musician’s foldback, you
will probably need to set up a different mix. Just select the output tab for the headphones (Line Out
7-8 in the Scarlett 18i20 example shown) and change the mix. By the same principle you can create
further, different mixes for as many other musicians by using further Line Out tabs and selecting
Custom Mix (or Custom Mix + Talkback in the case of the Scarlett 18i20).
22
Stand-alone mixer (8i6, 18i8 and 18i20 interfaces only)
Once the Scarlett’s internal mixer has been configured by Focusrite Control, that configuration is
retained by the hardware even after you remove the USB cable and switch the unit off. This means
that you can make use of the Scarlett’s excellent analogue performance in a live situation, without
necessarily needing to connect a computer.
An example of this application would be as an on-stage keyboard mixer. Multiple keyboards can be
connected to the Scarlett’s inputs, and mixed together to the Monitor Outputs. The relative levels of
each keyboard can be adjusted from the front panel.
The setup shown above would configure the mixer as described; because the Scarlett retains its last
configuration, the unit can then be switched off, and used at the venue as a stand-alone unit.
23
Using the Loopback feature
Focusrite Control’s Loopback feature lets you record other audio sources from within your computer
(e.g., the audio output from a web browser). Loopback uses the Scarlett’s “virtual” inputs, which
have no physical connectors on the hardware interface itself, but may be selected in the DAW as
signal sources for recording in the same way as any other.
Thus by selecting the Loopback output as the recording source on a mono or stereo DAW track, you
can record from another software application into your DAW. Note that your computer will assign
DAW 1 and DAW 2 as the default sound output channels.
An example of configuring Loopback in Focusrite Control is given below:
1. In the Loopback output tab, select the audio source you wish to loop back into your DAW.
Default is Playback 1-2.
2. In your DAW, ensure that the Loopback tracks are enabled for recording.
3. Create a new audio track.
4. Important! - MUTE THE DAW CHANNEL. If you are routing the output of the channel you are
recording back to DAW 1 & 2, a feedback loop will be created, potentially damaging for your
speakers, or worse – your ears.
5. Check that the Loopback output is not muted.
6. Set the DAW channel to record enable.
7. Now, any audio playing on your computer, e.g., a separate audio replay program or from an
Internet browser, will be routed into your DAW ready for recording. Hit record in your DAW to
capture the audio.
24
Snapshots
The mixer in your Scarlett interface retains the last Focusrite Control settings at all times. However,
you may wish to save your session settings so that you can get back to them at a later time, perhaps
when working on a similar project or with a different, compatible hardware device.
Focusrite Control includes a Snapshot facility for this purpose, which does just that – it effectively
takes a “snapshot” of the entire mixer and lets you save it on your computer for later recall. The table
below summarises what settings are saved in a snapshot:
Custom name
Mix Name
Output Stereo
Link
Monitor Mute
Hardware control
settings
Air in/out
Mix Gain
Output Source
Monitor Dim
S/PDIF source
Pad on/off
Mix Pan
Output Mute
Line/Inst selection
Mix Mute
Output Name
Mix Solo
Output Gain
Digital I/O Mode
To save the current mixer settings, click File > Save Snapshot.
25
The session file is saved with a *.ff file extension. To recall the session, click File > Load Snapshot,
which opens a standard File Open box; navigate to the where you saved the file and open in the usual
way.
26
INPUT SETTINGS
Scarlett interfaces have a variety of hardware functions that are operated from Focusrite Control,
rather than by physical controls on the unit itself.
Clicking on Input Settings gives you access to these functions. The page for the Scarlett 18i20
looks this:
If you have a different Scarlett model, most of the functionality will be the same, but fewer switches
may be visible because your interface includes channels that require software to switch between
settings, e.g., Scarletts 4i4, 8i6, 18i8 and 18i20 use software switching to change between Line and
Instrument inputs and to select the Pads and AIR mode. The following screengrab demonstrates this
with the 18i8 Device Settings page.
Inst/Line
Some of the channels on your interface will be configurable as dedicated instrument inputs for
connecting electric guitars and basses directly. Selecting INST for these channels switches the ¼”
jack contacts of the input to a high impedance, unbalanced input to configure it for direct connection
of electric guitars/basses. Selection of INST mode is confirmed by a red LED on the unit’s front
panel. Depending on the Scarlett model you have, you may be able to select INST or LINE from the
front panel of the unit as well.
The alternative switch position for these channels is LINE; in this mode, the inputs are suitable for a
standard balanced line level signal.
Use a 2-pole (TS) ¼” jack when using the inputs in INST mode, and a 3-pole (TRS) ¼” jack when using
them in LINE mode with a balanced source.
27
All the channels on your interface are able to accept dynamic or condenser microphones. The
Combo-type connectors sense either an XLR plug or a jack plug, and reconfigure the pre-amplifier
for mic or line operation automatically. The channels which additionally have the INST function use
the same connector. If you are connecting a microphone with an XLR plug, the INST/LINE switch will
have no effect.
Pad
Some of the channels on your Scarlett interface (model dependent) may have a PAD function: when
selected, the signal level fed to your DAW is reduced by 10 dB. You will find this useful if the output
level of your source is particularly “hot”, when you might notice clipping or the gain halo turning
red, even at minimum gain. On the Scarlett 18i20 you can also select PAD from the front panel. Each
channel with the PAD function has a green PAD LED which illuminates when PAD is active.
Air
An important feature of all 3rd Generation Scarlett interfaces is Focusrite’s exclusive AIR function.
Individually selectable on all mic input channels, AIR subtly modifies the preamp’s frequency response
to model the sonic characteristics of our classic transformer-based ISA microphone preamps. When
recording with good quality microphones, you will notice an enhanced clarity and definition in the
important mid to high frequency range, just where it is most needed for vocals and many acoustic
instruments.
On some Scarlett models, you can also select AIR from the front panel of the interface. Each channel
with the AIR function has a front panel yellow AIR LED to indicate when AIR is selected.
28
DEVICE SETTINGS
Click on the cog icon
to open the Device Settings pane, which slides out from the left of the screen;
click the icon again to close it. The Device Settings pane lets you make various global settings to the
hardware interface which will remain in force until you change them. The pane for the Scarlett 18i20
is shown below:
Monitor Controls
It is very convenient (and traditional!) to adjust your master monitoring volume with a conventional
rotary control. Scarlett interfaces have a MONITOR control on the front panel for this purpose.
However, further configuration of this control is available for the 18i20 and 18i8 when using Focusrite
Control.
Normally (i.e., by default), the MONITOR control adjusts the level at Monitor Outputs 1 and 2 while also
providing Mute and Dim control. If you are using some of the Scarlett’s other outputs for secondary
speakers – typically nearfield, though also in LCR or surround setups – you can assign the rotary
control, Mute and DIM switches to affect them as well. Note that on the Scarlett 18i20, the interface
also has physical Mute and DIM switches on the front panel.
29
The options are:
•
1-2 – Monitor Outputs 1 & 2 (default setting)
•
1-4 – Monitor Outputs 1 & 2 and Line Outputs 3 & 4
•
1-6 - Monitor Outputs 1 to 4 and Line Outputs 5 & 6 – Scarlett 18i20 only
•
1-8 - Monitor Outputs 1 to 4 and Line Outputs 5 to 8 – Scarlett 18i20 only
•
All – Monitor Outputs 1 to 4 and Line Outputs 5 to 10 – Scarlett 18i20 only
•
None – The rotary control is disabled; output levels may still be controlled from the software
faders.
NOTE: Assigning outputs 7-8 and 9-10 to monitor control will affect the level of the headphone
outputs as they are shared.
In the Output tabs on the Output Routing page, the fader “knob” will be green for the outputs
assigned to the hardware rotary control. This means that the on-screen fader is inoperative and you
have to adjust the level of those outputs from the front panel. However, the on-screen fader position,
plus Mute and Dim status will reflect the hardware control’s operation.
Speaker Switching
The Scarlett 18i8 and 18i20 support Speaker Switching, which lets you swap between two pairs of
monitoring speakers very easily.
To use Speaker Switching, first click on Speaker Switching > Enable, and then select MAIN or ALT
at the top of the main page. On the Scarlett 18i20, you can also use the ALT button the front panel
of the interface. The ALT LED illuminates when ALT is selected. When MAIN is selected, the ALT
Outputs are muted, and vice-versa. Note that on disabling Speaker Switching, both MAIN and ALT
outputs will be muted: also any additional outputs which have been assigned to the rotary MONITOR
control will be muted. This is a safety feature and the outputs will need to be unmuted (in the Output
tabs) as they are required.
Sample Rate
Your Scarlett interface is able to operate at any of six sample rates: 44.1 kHz, 48 kHz, 88.2 kHz,
96 kHz, 176.4 kHz and 192 kHz. The default sample rate is 48 kHz. Select an alternative sample rate
if needed. Higher sample rates will generally reduce the total number of channels available – see
your interface User Guide for more information.
IMPORTANT
Note that the optical input is disabled when sample
rates of 176.4/192 kHz are is use. Custom mixes are also
disabled at these sample rates.
30
Clock Source
Interconnected digital audio equipment must always use the same reference clock source. Your
Scarlett interface is able to synchronise from three sources:
•
Internal – the internally generated reference clock. This is the default selection.
•
S/PDIF – the embedded clock signal in a signal at the S/PDIF IN connector. (Note that S/PDIF
may be applied to either the RCA connector or an optical port on the Scarlett 18i8 or 18i20.
Ensure that if you are using the optical port to receive S/PDIF, the signal from device you are
connecting has embedded clock.)
•
ADAT – the embedded clock signal in a signal at the OPTICAL IN connector.
Whichever source is selected, the clock signal is available at the Scarlett’s WORD CLOCK OUT rear
panel BNC socket to allow synchronisation with other digital equipment (only on 18i20).
Digital Inputs
Scarlett models 18i8 and 18i20 have an additional selection available to determine how the S/PDIF
and/or ADAT modes are to be used.
IMPORTANT
Your interface will need to be restarted (i.e., powercycled) after changing the Digital Inputs setting in order
for input reconfiguration to take place.
31
18i8 only – S/PDIF Source: this model accepts a S/PDIF signal at either the RCA connector or the
optical ADAT input port. Note that when the optical port is used for an S/PDIF input, it cannot be used
for ADAT inputs. Also note that the optical ports are disabled at sample rates of 176.4 and 192 kHz.
18i20 only – Digital I/O Mode: this model supports three different Digital I/O Modes, which
determine how the interface’s S/PDIF input and output, and the four optical ports, function. The
mode to be used is selected from the Digital I/O Mode dropdown. The three modes are:
•
S/PDIF RCA – this is the default mode: the 18i20 will send and receive S/PDIF signals via the
coaxial connectors.
• S/PDIF Optical – use this mode if you need the 18i20 to send or receive S/PDIF signals via
an optical connection. If you have selected S/PDIF as the clock source (see above), then the
18i20 will use an S/PDIF signal applied optically at an ADAT port as the clock source.
• Dual ADAT – this mode lets you send and receive eight channels of audio via the ADAT ports at
88.2 or 96 kHz sample rate. Note that in this mode, S/PDIF I/O is disabled at all sample rates,
and will not be available at either the RCA connector nor via an optical port.
Further details can be found in the section “Digital I/O Modes” in the Scarlett 18i20 User Guide.
TROUBLESHOOTING
For all troubleshooting queries, please visit the Focusrite Help Centre at support.focusrite.com/
where you will find articles covering numerous troubleshooting examples.
COPYRIGHT AND LEGAL NOTICES
Focusrite is a registered trade mark. Focusrite Control and Scarlett are trade marks of Focusrite
Audio Engineering Limited.
All other trade marks and trade names are the property of their respective owners.
2019 © Focusrite Audio Engineering Limited. All rights reserved.
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