User manual FOCUSRITE SAFFIRELE

[. . . ] Rev 1. 0 Introduction Front panel facilities and controls Rear Panel Connections SaffireControl LE Recording using a microphone (mono or stereo) Recording line level sources (mono or stereo) Recording a guitar or bass directly Recording a digital (S/PDIF) source Connecting Speakers Managing a recording session with SaffireControl LE How to set up an input mix on the monitors/headphones How to set up a playback track mix on the monitors/headphones Blending between inputs and playback tracks on the monitors/headphones Direct Audio Streaming to the Saffire LE Outputs: Soundcard (S/CARD) mode Direct AC3/DTS streaming to the RCA Output Control and Linking of Output Levels Float and Shrink Modes Setting the Sample Rate and Synchronising to the S/PDIF In Changes to GUI at 88. 2/96kHz MIDI Saffire Plug-in Suite EQ Compression Reverb Amp Sim Saffire Signal Flow Diagram Troubleshooting Specifications Warranty Accuracy Copyright Introduction Saffire LE is the second addition to the now highly acclaimed range of Firewire audio interfaces from Focusrite, one of the most prestigious names in the recording industry. With a total of 6 Inputs and 8 Outputs, the Saffire LE should satisfy all your recording and monitoring needs. Four of the six inputs are analogue, comprising two expertly designed Focusrite pre-amps and two additional balanced inputs, switchable between Line and Instrument level signal ­ just plug in your guitar and play. On the digital side, unrivalled conversion and 24-bit/96kHz processing ensure professional signal quality, with S/PDIF connections making up the remaining stereo inputs and outputs. [. . . ] This mode is necessary when the sequencer is running, because it will prevent doubling of notes that occur when the same MIDI information is transmitted by both the input device and the sequencer. MIDI THRU Mode (switch active) In this mode, all MIDI data received at Saffire LE's MIDI In is routed directly to the MIDI Out. This may be useful when no sequencer is running, because you don t need to route MIDI data in and out of you Mac or PC. . Saffire Plug-in Suite Saffire LE comes free with the suite of Saffire plug-ins, provided in VST/AU format for use in the mix. EQ, Compression, Reverb and Amp Simulation are all available. EQ EQ On/Off switch (illuminated when active); use to bypass the EQ Template Select slider Dials adjust the level of the four bands preset in each Template EQ mode select; choose between Template and Advanced modes Fader and Meter for adjusting and viewing the level of the signal at the EQ Input Fader and Meter for adjusting and viewing the level of the signal at the EQ Output Buttons allow copying and pasting of settings to and from other Saffire compressors Switches select Band 1 as a peak/notch (top), low-shelf (middle) or high-pass (bottom) filter Dial sets the frequency of Band 1 (freq of the high-pass filter) Dial sets the cut/boost of Band 2 (central position has no effect) Dial sets the resonance (lowpass filter) or Q (peak/notch) for Band 4 Switches select Band 4 as a band-pass (top), high-shelf (middle) or low-pass (bottom) filter Equalisation of sound is an essential part of the recording process, necessary to remove or boost various sections of the audible frequency spectrum. The Saffire EQ is 4-band parametric, with the option of shelving and high/low-pass on bands 1 and 4, and exhibits the same curves as the classic Focusrite EQ; all that's required to sculpt sound with truly professional flair!The EQ window functions in two modes, template mode and advanced mode. When the EQ window is first launched, the EQ will be set flat in template mode. To switch to advanced mode, simply press the mode button on the right of the EQ window just to the left of the OUT fader (as shown in the diagram) that alternates between the two modes. The LED button on the left activates/bypasses the EQ from within the plug-in window. A fader at either end controls the gain of the signal before and after EQ, respectively. In advanced mode, all areas of the four band parametric EQ can be adjusted. When the plug-in is first launched, the advanced mode will be loaded but set flat, i. e. with no gain increase or decrease at any stage over the entire frequency range. All four EQ bands have three dials each to adjust the frequency (FREQ), EQ (continued) Gain and Q of the EQ band. Rotating the dials clockwise will increase the value in each case, the exact numerical value being displayed in a box below the dial whilst rotating and when the mouse cursor moves over it. The outer two bands controlled by each set of three dials on either end of the panel can be independently set to be band pass (as default), high/low shelf (middle button) or high/low-pass (bottom button) by pressing the corresponding small buttons at either end as shown in the diagram. When in high/low shelf mode, only the GAIN and FREQ dials will be active for that band, and when in high/low-pass mode, only the FREQ and Q dial will be active to select the cut-off frequency and resonance of the filter. For example, if wanting to set up a low shelf to increase the bass, press the middle button on the left (Band 1) and then rotate the GAIN dial on the first band (on the left) clockwise. If wanting to insert a low-pass filter in the signal path to cut out high frequencies, press the bottom button on the right (Band 4) and then rotate the FREQ dial on the last band (on the right) to set the cut-off frequency for the filter (above which all frequencies will not be heard). In template mode, the slider is used to select a different preset EQ configuration, such as one ideally suited to recording vocals, guitar, percussion and so on. (These templates have configured the EQ controls for all four bands available within the advanced mode {the lower controls} so that the dials above control the main sonic characteristics of the source being recorded). For example, with the slider in the Vocal position, the four knobs in template mode relate to the warmth, presence, harshness and breathiness respectively. [. . . ] The small switch on the left of the plug-in window must be illuminated. The threshold must be low enough for the signal to exceed it for the compressor to have any effect. The small switch on the left of the plug-in window must be illuminated. · Are the EQ controls in a position to have an effect on frequencies that are present in the signal? [. . . ]