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Focusrite

High Wycombe, UK-based Focusrite grew out of a request from Beatles producer Sir George Martin for prominent pro audio designer Rupert Neve to create a series of no-compromise modules for Air Studios in Montserrat and London back in 1985. This resulted in the ISA (Input Signal Series), which proved very popular, and remains so today. The followup Focusrite Forte large-format mixing console was based on those very designs, and was truly the highest-quality mixing console available at the time of its 1988 launch. Audio industry veteran Phil Dudderidge purchased the company’s assets in 1989, reissuing the original ISA modules, together with the famed Focusrite Studio Console (released in 1990). The renowned Red Range, echoing the original ISA designs and more, made the company’s name throughout the 1990s, and direct descendants of those designs are still in production today. Indeed, 2013 saw the return of the legendary Red Series mic preamp, reincarnated into the API 500 Series format as the Red 1 500.

In 2000, Focusrite designed the first of its award-winning computer audio interfaces. This remains a core area for the company, which recently resurrected the Forte name for its flagship portable USB interface. Liquid Saffire 56 is Focusrite’s flagship high-quality 24-bit/192kHz FireWire/Thunderbolt™ interface, offering a host of I/O options alongside two third-generation Liquid preamps (providing 10 different preamp emulations) and six Saffire preamps.

Focusrite continues to innovate and build upon its world-class reputation in both the analogue and digital domains, combining the company’s heritage with the latest technology to create music recording tools of the highest quality. Its flagship RedNet audio interface system based around Australian company Audinate’s tried-and-tested Dante Ethernet audio networking system is a fitting example of this, enabling multi-Grammy® award-winning producer/mixer Chris Lord-Alge (Muse, Pink, Foo Fighters, Avril Lavigne, Green Day) to change to an all-digital nonlinear workflow having stuck with Sony’s 48-track DASH format for over two decades.

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