Issue link: http://digital.copcomm.com/i/44580
FOCUSRITE Focusrite (www.focusrite.com) has been part of the professional audio landscape since 1985. Based just outside of London, Focusrite works with design talent throughout the world to create tools that enhance the way audio professionals work. Their newest release, the Scarlett 2i2 interface ($199), will be featured at the Focusrite booth at AES. Also, be sure to check out their new mixing console, the Control 2802 ($4,999). The Scarlett 2i2 is a 2 in/2 out USB 2.0 audio interface with the highest specifications in its class. It's the latest addition to the Scarlett range of USB 2.0 interfaces. The interface is compact, portable and rugged. It houses two Focusrite mic/instrument pre-amps and features pro-quality 24-bit/96kHz digital conversion. It also has LED-halo signal indicators that surround each of the gain control knobs. When an input signal is detected the light glows green, and if clipping occurs the light turns red. This provides a quick visual indication that an appro- priate signal level is achieved. The 2i2 is made with a unibody industrial design made of a single piece of red anodized aluminum that sur- rounds the 2i2's internal circuitry and controls. The company claims it's rugged enough to take on stage or get thrown into a laptop bag for remote recording anywhere. The 2i2 is bus powered and does not require an additional power supply, making it truly portable. The interface is bundled with the Focus- rite Scarlett Plug-in Suite and Ableton Live Lite, which provides everything you need to start recording right away. The Scarlett Plug-in Suite includes compression, gating, EQ and reverb plug- ins modeled on classic Focusrite hardware. Focusrite will be showing all of their pro gear, including their new mixing console, the Focusrite Control 2802, which is a small-format analog recording console and a DAW control surface in one. It has eight Class-A microphone preamps and contains a powerful summing mixer capable of handling up to 32 simultane- ous inputs with ultra-low distortion, excellent dynamic range and a frequency response of +/- 0.3dB 20Hz to 20kHz. The Control 2808 iZotope's RX2 is an all-inclusive audio repair toolkit that allows you to clean up noise, hiss, buzz, hum and more. See page 34 for details. also has a master bus compressor with parallel compression to control the dynamics of your stereo mix — or any other pair of channels. The Control 2802 is also an Ethernet-based DAW control surface that can control every major digital audio workstation. It has Dual Layer Control Technology that allows you to instantly flip between the analog fader layer and the DAW layer. Through the control surface, you have full access to DAW faders, auxes, plug-ins, automation, project navigation and more. Bundled with the Control 2802 are Focusrite's Midnight and Forté plug-in suites. These EQ and compres- sion plug-ins, modeled on the original Focusrite hardware, can be controlled and assigned to channels right from the Control 2802. GRIMM AUDIO Grimm Audio (www.grimmaudio.com) was founded by four Netherlands-based audio engineers: Bruno Putzeys, Guido Tent, Peter van Willenswaard and Eelco Grimm. Their aim is to create transparent recording and reproduc- tion equipment for high-end recording and mastering. Two things to check out at the Grimm Audio booth are the LevelNorm ($135) plug-in, and the stunning LS1 studio monitors ($14,995/pair). LevelNorm plug-in: Over the years broadcasting has used PPMs, or peak program meters, to meter the level of program material. Powerful dynamic-range processors have allowed program material to be within the permitted maximum level limits and yet sound louder than other programs around it. The jump in loudness between a pro- gram and an ad break, or between two programs, or between channels, has caused much irritation for viewers. In an effort to end the "loudness war" and to achieve an equal universal loudness level within and between channels, the International Telecommunication Union (ITU) has created an algorithm to measure the perceived loudness and true peak levels of programs. That global standard is known as the ITU-R BS 1770. Based on that global standard, the European Broadcasting Union has recommended a specific target level for all program material, known as the EBU R128. While the EBU R128 requirement is for Europe, there is a similar standard for the US called the ATSC A/85. The FCC is set to adopt parts of the ATSC A/85 as part of their broadcast requirements. Grimm Audio has created an AudioSuite plug-in that instantly normalizes audio material to be in compliance with the EBU R128 or ATSC A/85 requirements. The plug-in normalizes mono, stereo or multi-channel audio. Simply select the region you want to normalize and click the "process" button in the plug-in. This plug-in is designed for both the audio expert and video editors with limited audio skills. It works with Avid systems such as Pro Tools, www.postmagazine.com Post • October 2011 29