Focusrite TrakMaster Pro User Manual

1

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.

2

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.

3

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.

4

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.

5

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.

6

COMP SLO W A TTACK (switch)

Engag ing this switch selects a slower attack time, which allows more of the transient
peaks of the signal through the compressor. This can help retain a sense of the origi nal
signal's dynamics when compressing heavily. For example, this can be useful to allow
compression of a snare drum without losing the initial 'crack' of the drum stick striking
the snare skin. The COMP SLOW ATTACK switch will not function in SQUASH
mode as the compression is too heavy to warrant a slow attack.

LATENCY-FREE MONITOR ING

Latency can be a major problem when recording to a computer-based digi tal audio
workstation (DAW ) vi a a sound card. If the signal being recorded has to pass through
the DAW before being monitored, significant delays may occur as a result of the
digital conversion and processing that takes place, making it difficult or impossible to
sing, speak or play in time with any pre-recorded tracks being played back.

The TrakMaster Pro's L AT ENCY-FREE MONITORING section allows the user to
monitor a mix of either the mono signal being recorded (fed directly from the unit
before it passes through the digi tal recording system) or a stereo signal (if usi ng the
ADC EXT IN) and a stereo mix of pre-recorded tracks. The unit acts as a mini mixer
and so latency is eliminated and the recording artist can speak, sing or play along to the
pre-recorded tracks in perfect time.

Simply connect the audio outputs of the DAW to the 1/4" jack MONITOR
INPUTS on the rear panel and this will become the PLAYBACK signal, ready for
mixing wi th the INPUT signal. The input si gnal will be the mono recorded signal,
sent to both L and R channels on the headphones, unless a second signal is connected to
the ADC EXT IN.

If using two TrakMaster Pros and only one dig ital card, the signal from the second unit
can be connected to the ADC EXT IN on the rear panel; this incoming signal is then
treated as the right hand channel of a stereo pair (with the TrakMaster it's connected to

as the left hand channel). The stereo pair then becomes the INPUT signal, sent to the L
and R channels of the headphones accordingly and the optional digital card for
conversion to SPDIF f ormat.

The signal fed to the MONITOR OUTPUTS is the same signal as the one sent to the
headphones; a blend of the INPUT and PLAYBACK signals (described above),
controlled by the HEADPHONE MIX knob (see below).

HEADPHONE MIX (knob)

This knob allows the user to blend between the INPUT signal (whatever is being
recorded - see above) and the PLAYBACK (the signal connected to the Monitor inputs
on the rear panel), to create a mix in the headphones. This mix is also sent to the
MONITOR OUTPUTS on the rear panel.

LEVEL (knob)

This knob sets the gain level of the si gnal sent to the headphones and the
(PLA YBACK) signal sent to the MONITOR OUTPUTS on the rear panel. Rotating
the dial clockwise increases the level of both the headphones and the speakers connected.

MONITOR MUTE (sw itch)

Engaging this switch will mute the signal sent to the MONITOR OUTPUTS on the
rear panel, for use when recording (with a microphone) and listening to speakers in the
same room for example.

DIGITAL

ADC LOCK (LED)

The ADC LOCK LED indicates, if lit, that the optional ADC, if installed, is correctly
synchronised to the external word clock, if one is in use.

7

LEVEL

The meter on the front panel displays the level of the selected signal in dBFS, where
0dBFS (digital clipping point) relates to +2 2dBu of analogue signal level or 0dB of
compressor reduction (if viewing the COMPRESSOR). If the INPUT or OUTPUT
signals show over 0dBFS, they should be reduced using either the LEV EL knob in the
PREAMP section (for Input and Output without d ynamics) or MAKEUP GAIN
knob in the COMPRESSOR section (for Output with dynamics). It is advis able 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. To change the source signal fed
to the meter, simply use the switch as described below.

Pressing the switch beneath the INPUT , OUTPUT and COMP LE Ds selects the
source signal that the meter on the front panel displays. Pressing the switch repeatedly
will cycle through the three options in sequence. If COMP is selected then the meter
displays the gain reduction of the compressor, where 0dB indicates that the processed
signal is unaffected.

ADC EXT IN

This b alanced (+4dBu) TRS jack connector on the rear panel allows an external mono
source, from another Focusrite channel strip for example, to be fed into the TM Pro for

digital conversion and subsequently monitoring purposes. The connected si gnal
becomes the right channel of the stereo signal (with the si gnal processed by the TM Pro
as the left channel) sent to the optional digital card for conversion. Wi th nothing
connected to ADC EXT IN, the stereo sign al sent to the A DC for digit al conversion
will be the same mono internal signal processed by the TrakMaster Pro on both the L
and R channels. This stereo signal also becomes the ‘input’ signal in the L ATENCY­FREE MO NITORI NG sec tion. See the LA TENCY-FREE MO NITORING sec tion
on page 6 for further details.

OPTIONAL DIGITAL OUTPUT

The TrakMaster Pro can be fit ted with a digital output card. This allows quality di gital
conversion of the recorded signal within the unit, plus an addi tional signal if making
use of the ADC EXT IN connector (see ADC EXT IN section for further details),
before transmitting directly to the DAW (interface or soundcard) or other recording
medium.

The optional dig ital converter card features one SPDIF output. D igital audio can be
transmit ted at either 44.1, 48, 8 8.2 or 96kHz sample rates (selected using the switch(es)
on the rear panel) and with 24-bit resolution.

SPDIF OUTPUT

This connector transmits SPDIF format digi tal audio using an RCA phono connector.
If 16-bit resolution is required, the receiver should dither the incoming signal to
convert to 16-bit.

SAMP LE FREQU ENCY

Two switches give a choice of four sample frequencies as marked on the rear panel. The
left hand switch selects between 44.1kHz (switch in) and 48kHz (switch out), and the
right h and swi tch doubles the selected frequency when swi tched in.

8

EXT WORD C LOCK INPUT

If an external word clock source is attached to this BNC connector, the TrakMaster Pro
will attempt to synchronise to it. When the unit is correctly locked to the external clock
source, the ADC LOCK L ED in the DIGITA L section on the front panel will
illuminate. The L ED should remain permanently lit; any flashing or flickering indicates
jitter or other ti mi ng disc repancies, whi ch need i nvest ig at i ng. The fre quenc y bein g
received at EXT WOR D CLOCK INPUT should be selected on the ADC card to
achieve lock.

DIGITAL OUTPUT INSTALLATION GUIDE

The kit should contain: -

Qty Description
1 24/96 analogue to digital converter card
2 Crosshead screws
2 Support pillars
2 Nyloc nuts

Tools required: -

No. 1 crosshead screwdriver, Pozihead preferred.
M3 nut driver/ spanner.

WARNING!

THE MODU LE SHOULD BE DISCONNECTED FROM THE AC POWER

BEFORE ATTEMPTING TO CARRY OUT THE FOLLOW ING

INSTRUCTIONS.

ALLOW THE MODULE TO COOL BEFORE STARTING INSTALLATION

OF THE DIGITAL OPTION.
ANTI-STATIC PRECAUTIONS SHOULD BE TAKEN WHEN HANDLING
THE CARD OUTSIDE OF ITS ANTI-STATIC BAG; ONLY HANDLE THE

CARD BY GR IPPIN G THE CARD BY ITS EDG ES AND AVOID

TOUCHIN G ANY OF THE COMPONENT PARTS OTHER THAN THE

CABLE AND CONNECTOR S. PLACE THE UNIT ON A CLEAN, FLAT

SURFACE.

Top cover removal

Remove the 10 crosshead screws fixing the top cover to the top and sides of the
module.

Digital option cover removal

The rear panel digital connector area is accessed b y removing the small rear cover plate
next to DIGITAL OUTPUT. The plate is removed by removing the two crosshead
screws. Retain these screws for securing the digital card in place later.

9

Installing digital card

The dig ital card is mounted in place using the di gital connector fix ings and the two
plastic support pillars, which should be fitted to the module base using the two
crosshead screws supplied.

1. Place module on a flat clean surface with the bottom facing uppermost and offer
the two crosshead screws supplied to the two countersunk holes in the base, using a
small piece of adhesive tape to secure the head of the screw to the bottom surface
of the module.

2. Place module top uppermost and from the inside of the module place the two
plastic support p illars over each screw.

3. Now offer the digital card from the rear of the module, lining up the screws from
the base with the two holes in the card, and secure it in place with the two Nyloc
nuts supplied.

4. Using the two screws that secured the original blanking panel, secure the digital
card to the rear panel.

5. Plug in the 10-way cable to J6 on the main circuit board, and remove the
adhesive tape from the base of the module.

6. Remove links J3, J4, J5 and J6 as shown below:

Selecting for Pr ofessiona l or Co nsum er Use

This link determines the SPDIF output level for use with various Professional and
Consumer products. Please consult your recording product/soundcard manual to
determine which setting is appropriate for your system.

10

• For Professional use, J2 should be left fitted, as supplied from f actory.

• For Consumer use, J2 should be removed.

Selecting Word Clock Impedance

When using the module as the only slave, or at the end of a chain of several slaves, 75
 Lo Z should be selected. If using the module with several other slave modules in a
chain, Hi Z should be selected. See the following d iagram:

• For 75  Low-Z operation, J1 should be left fi tted, as supplied from factory.

• For Hi-Z operation, J1 should be removed.

Replacing the Top Cover

The top cover should now be replaced using the 10 crosshead screws. The installation is
now complete and the unit can be reconnected to the AC power.

Notes

• When syncing to an external clock the sampling frequency should be set to match
between the two pieces of equipment.

FREQUENTLY ASKED QUESTIONS

Q: What is the difference between +4dBu and -10dBV?

A: These are different si gnal operating levels. +4dBu usually refers to professional
equipment and -10dBV usually refers to semi-professional or consumer equipment. It i s
important to make sure that any two or more devices connected to each other are
operating at the same si gnal level. The +4dBu/-10dBV line outputs on the rear of the
TrakMaster Pro give the option of either analogue output level. If the +4dBu output of
a device feeds the -10dBV input of another device, this may cause the second device to
overload. Alternatively, if the -10dBV output of a device feeds the +4dBu input of
another device, the second device may receive a signal level which is too low (i.e. too
quiet). -10dBV devices are usually connected using a mono 1/4" jack, thi s is known as
an 'unbalanced' connection. +4dBu devices are usually connected using a TRS (stereo)
1/4" jack, or XLRs. This is known as a 'balanced' connection.

11

Q: Should I use balanced connectors with my TrakMaster Pro?

A: Preferably yes; the Line level analogue input and +4dBu output are balanced,
operating at +4 dBu. If you wish to connect unbalanced equipment to the TrakMaster
Pro’s line input however, this can be done, but the signal level will be 6dB lower. The
1/4" TRS input will expect to receive an unbalanced signal if the INST switch is
engaged.

Q: Does the TrakMaster Pro ha ve the same kind of spectacular bandwidth
that has given the Red and ISA range units their reputation for 'open­ended' sound?

A: Yes. The audio bandwidth of the TrakMaster Pro is 10Hz to 200kHz!

Q: Can I take my TrakMaster Pro with me when I travel internationally?

A: I t depends. There are three versions of the TrakMaster Pro mains tr ansformer. One
is suitable for use in North America and Japan, with mains voltages in the 100-120V
range. The other two versions are designed for use in the UK and Europe (the only
difference being the mains plug), with mains voltages in the 200-240V range. If you
buy a TrakMaster Pro in a particular territory, it will be configured for ONLY that
territory's mains voltage range. For example, if you're travelling from the USA to the
UK, you CANNOT use your US model TrakMaster Pro with the supplied mains
transformer. But if the mains voltage in the country you're visiting is in the same
range, you can use the TrakMaster Pro with no problems - so taking a TrakMaster Pro
from the USA to Jap an, or from Germany to France, for example, would be fine. An
external supply for different territories is available from your local Focusrite distributor.

Q: Can I retrofit a digital board to an analogue TrakMaster Pro at a later
date?

A: Yes, and you can do it yourself - it can easily be retro-fitted by the customer
without any soldering etc, just a few screws to undo and one clip-connector to join to
the main PCB.

TROUBLESHOOTING

No LEDs illuminate

• Is the POWER switched on?

• Is the correct Power Supply Unit being used?

• Has the fuse in the mains plug blown?

No output when using the MIC INPUT

• Is the power switched on?

• Is the LEVEL set correctly? (See 'Facilities and Controls' section for details.)

• Is something connected to the LINE input on the front panel?

• For microphones that require phantom power, is the +48V switch switched in? (If

you are unsure whether your microphone requires phantom power, check the user
guide for your microphone.)

No output when using the LINE INPUT

• Is the power switched on?

• Is the LEVEL set correctly? (See 'Facilities and Controls' section for details.)

• Is the INST switch on the front panel switched out ?

No output when using the INSTRUMENT IN PUT

• Is the power switched on?

• Is the LEVEL set correctly? (See 'Facilities and Controls' section for details.)

• Is the INST switch on the front panel switched in?

The COMPRESSOR is not working

• Is the compressor section's IN switch engaged?

• Is the LEVEL set correctly? If set too low, the signal level may not be high enough

to activate the compressor.

• Is the THRESHOLD control set correctly? If set too high, the input level may not
reach the threshold at which compression starts.

The MID SCOOP EQ is not working

• Is the EQ section's IN switch engaged?

• Is the CUT FREQUENCY control set to a frequency that is present in the signal?

No ADC LOCK

• Is your external wordclock source transmitting wordclock?

• Is an external wordclock cable connected from the output of the source to the input

of the TM Pro?

• Is the sample frequency set to match that of the TM Pro?

No output from the di git al output opti on

• Is the sample frequency set correctly?

• Is the receiving device set to receive at 24-bit resolution?

• Is the receiving device set to external sync?

CONTACTING US

If you have any further questions about your TrakMaster Pro, or are continuing to
have difficulty, you can v isit the support section at www.focusrite.com or email us for
help at [e-mail]. Alternatively, telephone us on [phone], or
contact your local distributor (see listing at the back of this manual).

12

SPECIFICATIONS

Mic Input Response

Gain = +13dB to +60dB
Input impedance = 2.5k (150 in Lo Z mode)
EIN = 126dB @ 60dB gain with 150 termination & 22Hz/22kHz filter
THD+N @ min gain (+13dB) = 0.001% with 0dBu input & 22Hz/22kHz filter
THD+N @ max gain (+60dB) = 0.009% with -38dBu input & 22Hz/22kHz filter
THD+N @ max input (+8dBu) = 0.001% with 22Hz/22kHz filter
Frequency response @ min gain (+13dB) with -13dBu input = -3dB @ 10Hz &

-2.3dB @ 200kHz
Frequency response @ max gain (+60dB) with -60dBu input = -3dB @ 13Hz &

-3dB @ 78kHz
CMRR @ max gain (+60dB) = 80dB

Line Input Response

Gain = -10dB to +36dB
Input impedance = 24k
Noise @ unity gain (0dB) = -88dBu with 22Hz/22kHz filter
S/N ratio relative to max headroom (+36dBu) = 124dB
S/N ratio relative to 0dBFSs (+22dBu) = 110dB
THD+N @ unity gain (0dB) = 0.001% with 0dBFS (+22dBu) input and
22Hz/22kHz filter
Frequency response @ unity gain (0dB) = -2.8dB @ 10Hz & -3dB @ 200kHz

Instrument Input Response

Gain = +13dB to +60dB
Input impedance = 1M
Noise @ min gain (+13dB) = -87dBu with 22Hz/22kHz filter
Noise @ max gain (+60dB) = -45dBu with 22Hz/22kHz filter
THD+N @ min gain (+13dB) = 0.004% with 0dBu input & 22Hz/22kHz filter
Frequency response @ min gain (+13dB) with -13dBu input = -3dB @ 10Hz &

-2.3dB @ 200kHz

Level Meter

Peak Level Moving Coil Meter

Inp ut & Output:

-24dBFS to +2dBFS (-2dBu to +24dBu)

+22dBu = 0dBFS

Gain Change:

0dB to 24dB

Hi Pass Filter

Roll-off = 12dB/octave 2-pole filter
Cutoff frequency = -3dB @ 120Hz, -6dB @ 85Hz, -12dB @ 56Hz
Frequency Ran ge :

13

Mid Scoop EQ

EQ shape = peak
Centre frequency = variable between 120Hz and 2kHz
Cut (DEEP switch out) = -5dB
Cut (DEEP switch in) = -10dB
Q (DEEP switch out) = 0.7
Q (DEEP switch in) = 2

Compressor

Threshold range (SQUASH switch out) = -54dBFS (-32dBu) to -18dBFS (+4dBu)
Threshold range (SQUASH switch in) = -37dBFS (-15dBu) to -4dBFS (+18dBu)
Compressor ratio (SQUA SH switch out) = 2. 5: 1
Compressor ratio (SQUA SH switch in) = 35:1

Attack and Release preset values dependent on switch settings as follows:

Attack Release
COMP 35ms 126ms
COMP+SLO W ATTAC K 120ms 350ms
SQUASH 8ms 1s

Noise = -90dBu measured with a 22Hz/22kHz bandpass filter.
Make-up gain = 0 to +30dB.

ADC Performance

Sample Frequency = 44.1kHz, 48kHz, 88.2kHz & 96kHz
Bit Depth = 24bi t
Maximum analogue input level = +22dBu (0dBfs)
Dynamic Range = 109dB 'A' Weighted

EXT WORDCL OCK INPUT

BNC connector

ADC EXT IN

Balanced 1/4” TRS jack socket input (+4dBu)

MONITOR IN

2 x balanced 1/4” TRS jack socket inputs (+4dBu)

MONITO R OUT

2 x balanced 1/4” TRS jack socket outputs (+4dBu)

LINE OUT

Balanced 1/4” TRS jack socket output (+4dBu)
Unbalanced 1/4” TRS jack socket output (-10dBV)

14

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