Focusrite TrakMaster Pro User Manual
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CONTENTS
CONTENTS........................................................................................................... 1
IMPORTANT SAFETY INSTRUCTIONS........................................................... 1
INTRODUCTION................................................................................................. 2
REAR PANE L CONNECTIONS.......................................................................... 2
GETTING STARTED – A QUICK GUIDE .......................................................... 3
FACILITIES AND CONTROLS ............................................................................ 3
MICROPHONE INPUT ........................................................................................ 3
1/4" TRS INPUT ................................................................................................... 4
PRE-AMP ............................................................................................................... 4
HPF......................................................................................................................... 4
MID SCOOP EQ .................................................................................................... 5
COMPRESSOR...................................................................................................... 5
LATENCY-FREE MONITORING........................................................................ 6
DIGITAL................................................................................................................. 6
LEVEL .................................................................................................................... 7
ADC EXT IN.......................................................................................................... 7
OPTIONAL DIGITAL OUTP UT.......................................................................... 7
DIGITAL OUTPUT INSTALLATION GUIDE .................................................... 8
FREQUENTLY ASKED QUESTIONS ............................................................... 10
TROUBLESHOOTING ....................................................................................... 11
CONTACTING US.............................................................................................. 11
SPECIFICATIONS................................................................................................ 12
FOCUSRITE DISTRIBUTORS........................................................................... 14
IMPORTANT SAFETY INSTRUCTIONS
Please read all of these instructions and save them for future reference. Follow all
warnings and instructions marked on the unit.
• Do not obstruct a ir vents in the rear panel. Do not insert objects through any
apertures.
• Do not use a damaged or frayed power cord.
• Unplug the unit before cleaning. Clean with a damp cloth only. Do not spill liquid
on the unit.
• Ensure adequate airflow around the unit to prevent overheating . We recommend
leaving a blank 1U panel above the unit to ai d ventilation.
• Unplug the unit and refer servicing to qualified service personnel under the
following condit ions: If the power cord or plug is damaged ; if liquid has entered
the unit; if the unit has been dropped or the case damaged; if the unit does not
operate normally or exhibits a distinct change in performance. Adjust only those
controls that are covered by the operating instructions.
• Do not defeat the safety purpose of the polarised or grounding-type plug. A
polarised plug has two blades with one wider than the other. A grounding t ype
plug has two blades and a third grounding prong. The wider blade or the third
prong is provided for your safety. When the plug provided does not fit into your
outlet, consult an electrician for replacement of the obsolete outlet.
WARNING: THIS UNIT MUST BE EARTHED BY THE POWER CORD.
UNDER NO CIRCUMSTANCES SHOULD THE MAINS EARTH BE
DISCONNECTED FROM THE MAINS LEAD.
This unit is supplied with an external power supply dependant on the region in which
the TrakMaster Pro is purchased. To avoid the risk of fire, replace the mai ns fuse only
with the correct value fuse, as marked on the plug. The external power supply unit
contains no user serviceable parts. Refer all servicing to a quali fied service engineer,
through the appropriate Focusrite dealer.
RACK VENTILATION: PLEASE ENSURE THE TRAKMASTER PRO IS
PLACED TOWARDS THE BOTTOM OF YOUR EQUIPMENT RACK,
WITH SUFFICIENT SPACE ABOVE AND BELOW FOR VENTILATION.
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INTRODUCTION
The Trakmaster Pro is the ideal choice for the recording or mixing of a mono signal,
whether it's a vocal track or a bass guitar plugged directly into the front panel input.
The TM Pro utilises classic Focusrite preamplification, vintage dynamics and EQ, also
making use of the fantastic LATENCY-FREE MONITORING system much loved
by other Pro Platinum users. The optional digital converter card means that the
TrakMaster Pro can also output audio data in S PDIF format, for direct digital
interfacing with the DAW ensuring maximum signal quality.
The mic pre featured in the TrakMaster Pro has a circuit design based around the
popular Focusrite Green range and features an extremely transparent sonic character with
very low distortion. It utilises the same full bandwidth philosophy of all Focusrite
products, ensuring detail and clarit y without ob vious colouration.
Both XLR and TRS jack inputs are located on the front panel for quick and easy
access, the latter of which can be used for either line level sources or DI-free plug-in of
guitars and basses. The XLR connector also allows a microphone signal the option of a
lower impedance input, should the microphone in use have a low output impedance
(around 50 for example).
The TM Pro truly sets itself a class apart with the inclusion of a vintage optical
COMPRES SOR circuit, capable of really heavy compression effects, and a MID
SCOOP EQ section for further control over the presence and balance of the processed
signal. With classic Focusrite analogue circuit design and a comprehensive digital
output option, TM Pro is the perfect partner for a digital audio workstati on, making
high quality recording and signal processing easy.
REAR PANEL CONNECTIONS
The TrakMaster Pro features two line level outputs on 1/4" jack connectors, one
balanced (TRS, + 4dBu) and one unbalanced (mono plug, -10dBV); these outputs both
transmit the same signal (that which is being processed by the TM Pro) but with either
balanced or unbalanced interconnects. In addition to this, there are monitor inputs and
outputs with 1/4" jack connectors for making use of the TrakMaster Pro's
LAT ENCY-FREE MONITORING system.
The balanced (+4dBu) TRS jack MONITOR INPUT connectors allow the output of
a stereo mixer or sound card to be connected to the TM Pro. There are also balanced
(+4dBu) TRS MONITOR OUTPUT connectors, allowing the TrakMaster Pro to be
connected directly to a pair of active monitors. See page 6 for details.
An ADC EXT IN connection, on balanced (+4dBu) TRS jack, allows an external
mono sig nal to be fed into the TM Pro for digital conversion. Thi s signal becomes the
right channel of the stereo si gnal sent to the optional di gi tal card (with the signal
processed by the TM Pro as the left) and also the right channel of the (now stereo)
'input' signal whilst utilising LA TENCY-FREE MONITORING. See the ADC EXT
IN section on page 7 for further details.
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GETTING STARTED – A QUICK GUIDE
1. Ensure that nothing other than the mains supply is connected to your TrakMaster
Pro, then switch it on via the POWER switch on the right hand side of the unit. If
your unit is permanently connected to a patchbay, ensure audio is not being fed to any
connected speakers to avoid any turn-on speaker pops.
2. Connect the analogue line outputs of the TrakMaster Pro to your recorder or audio
interface. If using the di git al converter option, connect the TrakMaster Pro's SP DIF
output to the SPDIF input of your recorder or audio interface. See page 7 for more
information on the TrakMaster Pro digital options.
3. Ensure that the LEV EL d ial in the preamp section is set fully anti-clockwise and that
the compressor and EQ are switched out.
4. Connect your input source to the relevant input as required. A microphone should
be plugged into the XLR MIC INPUT on the front panel. If you wi sh to connect a
line-level source, connect this to the 1/4" TRS INPUT on the front panel; this will
automatically switch off the microphone input. You may connect an electric guitar or
bass to the 1/4" TRS INPUT.
5. If using the INSTRUMENT INPUT, ensure that the INST switch is engaged. If
using the MICROPHONE (XLR) INPUT, ensure that nothing is connected to the
1/4" TRS INPUT.
6. If using a condenser microphone that requires phantom power, activate the +48V
switch, next to the microphone input on the front panel. This will provide phantom
power to the microphone connected to the MIC INPUT. If you are unsure as to
whether your microphone requires phantom power, refer to its user guide, as phantom
power will damage some microphones, most notably ribbon microphones or radio mic
receivers. NB Dynamic microphones will be unaffected by phantom power.
7. Increase the LEVEL control in the PREAM P section until the signal can be heard.
To visually monitor the incoming signal, press the switch beside the dBFS meter in the
LEVEL section of the front panel until the input LE D is lit (See LEVEL section). It is
advisable to set the incoming signal to be an average of around -10dBFS, peaking at
around -6dBFS to allow some headroom for occasional sudden loud bursts.
8. If using a microphone, ensure that the microphone placement is at its best. Before
you start recording, move the microphone until you get as close as possible to the
sound you want. Note that moving the microphone may have an effect on the level of
the signal entering the TrakMaster Pro, requiring an alteration to the LEVEL setting.
FACILITIES AND CONTROLS
POWER
This switch turns the unit on. We recommend that the unit be powered up before
connecting to any equipment that it is feeding, to avoid clicks or thumps, which may
harm output dev ices. It is also a good idea to allow the unit to stab ilise for a couple of
minutes before use to ensure that the internal circuitry is properly acclimatised.
MICROPHONE INPUT
The TrakMaster Pro has a front panel XLR input to connect microphone sources to the
preamplifier.
+48V (Switch)
This switch activates a phantom power circuit for the XLR input on the front panel, so
that 48V is supplied to the connected microphone. If you are using a condenser
microphone then this switch will need to be engaged. If you are unsure whether your
microphone requires phantom power, refer to its user guide as phantom power will
damage some microphones, most notably ribbon microphones. NB Dynamic
microphones will be unaffected by phantom power.
Lo Z (Switch)
This switch changes the input impedance from 2.5k to the lower value of 150
(when engaged). This should be utilised if the output impedance of the microphone is
low, around 50 for example, or if a ribbon microphone is in use. Alternatively, this
switch can be activated with a higher impedance microphone to experiment with
different sounds.
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1/4" TRS INPUT
A line (and instrument) input is provided on the front panel via a balanced 1/4" TRS
jack socket. An unbalanced signal will be accepted when in instrument mode.
Connecting a jack plug into the front panel line input automatically cuts the mic XLR
input and selects an appropriate gain calibration for the L EVEL di al in the Preamp
section.
LINE/INST (Switch)
When engaged (in), the 1/4" TRS INP UT will accept an unbalanced instrument signal
and the LEVEL di al in the Preamp section will be calibrated to an appropriate level.
PRE-AMP
LEVEL (Knob)
This sets the level of the incoming signal. Connect an input signal to the unit, ensuring
that the L EVEL control is set fully anti-clockwise, and increase the LEVE L control
until a signal is displayed on the front panel meter (ensure that input is selected as the
source for the meter - see LEVEL section) or at the destinati on (recording medium). If
the meter display s above 0dBFS, you should reduce the LEVEL. It is advi sable to set
the incoming signal to be an average of around -10dBFS, peaking at around -6dBFS to
allow some headroom for occasional sudden loud bursts.
With a MIC INPUT connected to the XLR connector (ensure nothing i s connected to
the 1/4" TRS input) , the L EVEL control provides +13dB (fully anti-clockwise) to
+60dB (fully clockwise) of gain.
With a LINE INPUT connected to the 1/4" TRS connector, the gain is adjustable
from -10dB (fully anti-clockwise) to +36dB (fully clockwise).
With the INST switch activ ated and an instrument connected to the 1/4" TRS input,
the LEVEL control provides +13dB to +60dB of gain.
HPF
(Switch )
This is a high-pass filter, which removes unwanted low frequencies such as stage rumble
via microphone stands or 'proximity effect' (where low frequencies are over-emphasised
when using certain types of microphone at close range). Engaging the switch inserts a
2-pole HP filter (-3dB at 120Hz) into the signal path.
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MID SCOOP EQ
The MID SCOOP EQ section allows you to cut a band of selectable frequency by up
to 10dB. This can be useful for removing troublesome frequencies when recording
acoustic instruments and bass guitars, for example.
IN (switch )
The IN switch activates the MID SCOOP EQ into the signal path. When engaged,
the red LED in the switch cap is lit.
CUT FREQUENCY (knob)
Adjusting the CUT FREQUENCY knob allows the centre frequency of the reduced
band to be adjusted. The frequency range is 120Hz to 2kHz.
DEEP (switch)
Engaging the DEE P switch increases the depth of cut from -5 dB to -10 dB.
COMPRESSOR
The COMPRESSOR acts like an automatic volume control, turning down the volume
of a si gnal if it gets too loud. This reduces variation between loud and quiet passages,
as it automatically reduces the gain when the signal exceeds a given volume, defined as
the threshold. Using the COMPRESSOR helps to 'even out' a performance, stopping
a signal from clipping and/or disappearing in the mix, and can also give it a whole
new sonic character.
IN (switch )
This switch activ ates the COMPRESSOR into the signal path. When engaged, the
red LED in the switch cap is lit.
THRESHOLD (knob)
Turning this knob clockwise decreases the amount of compression by raising the
threshold and vice versa in the other direction. Note that the signal is only compressed
when it exceeds the threshold, so quieter passages maintain their natural dynamic range,
whilst loud passages (that exceed the threshold) are compressed.
MAKEUP GAIN (knob)
This knob sets the output volume of the compressed signal. Since compressing a signal
makes it quieter, use the MAKEUP GAIN control to restore the signal to its original
volume. Compare the volume of the original and the compressed signal by using the
IN switch to switch the COMPRESSOR on and off. The gain can be modified by up
to 30dB.
SQUASH (switch)
This switch changes the mode of the COMPRESSOR to a much more aggressive one,
similar to that of a limiter. Engagi ng the switch raises the threshold and increases the
ratio, allowing the user to create a 'squashed' effect on the processed signal, popular with
designers of v intage compressors.
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