Introduction; Rear Panel Connections And Switches; Getting Started - Focusrite TrakMaster Manual

INTRODUCTION TO THE TRAKMASTER
The TrakMaster is an analogue mono channel strip, with an optional 24-bit/96 kHz high
quality digital output. It combines a range of tools in one compact unit, providing the
project studio engineer, producer or musician with the perfect analogue solution for
recording and mixing a wide range of instruments.
The TrakMaster comprises a discrete transistor Class A microphone preamplifier, balanced
line input, direct instrument input, optical compressor and 3-band equaliser. There is also
an optional 24-bit/96 kHz high quality digital output. When recording, you don't
necessarily need to route your signal through your mixing console; simply connect a
microphone or instrument to the appropriate input on the TrakMaster, and feed its output
directly into your recorder (such as a PC soundcard, hard disk recorder, DAT machine or
other tape machine). This will ensure you record the cleanest signal at the highest quality,
since it removes the possibility of noise or distortion being added to the signal by a mixer.
The easiest way to learn how to use the TrakMaster, particularly if you are unfamiliar with
the principles of its individual processing sections, is to try each control in turn. Finally, try
them all together to enjoy the full creative potential of your TrakMaster!

REAR PANEL CONNECTIONS AND SWITCHES

The TrakMaster features a line level input on a balanced (+4 dBu) TRS jack. This input
can also take an unbalanced (-10 dBV) jack connector. There are two line level outputs,
both on TRS jacks. One of these outputs is balanced (+4 dBu), and is suitable for use with
professional equipment with balanced inputs, such as professional mixing consoles and
recorders; the other is unbalanced (-10 dBV), to match semi-professional or consumer
mixers, recorders and soundcards. These outputs can be used simultaneously, so that it's
possible to monitor the signal being sent to the recorder with zero latency – an important
concern in computer-based recording systems. For more information on unbalanced and
balanced connections please see the Frequently Asked Questions section on page 13.

GETTING STARTED

SETTING UP THE UNIT FOR RECORDING
Ensure that nothing other than the mains supply is connected to your TrakMaster,
then switch it on via the POWER switch on the right hand side of the unit.
Connect the line output of the TrakMaster to your recorder, via a balanced (TRS) or
unbalanced 1/4" jack connector, choosing +4 dBu or –10 dBV to match the input
levels on your recorder or soundcard. If you are unsure of which level is required,
refer to the user guide of your recording device.
Ensure that the LINE switch is disengaged if you are recording a source connected to
the MIC INPUT or INSTRUMENT input. If recording a line level source
connected to the rear panel LINE INPUT, ensure the LINE switch is engaged.
Ensure that INPUT GAIN and FADER are set fully anti-clockwise.
Connect a microphone to MIC INPUT on front panel via an XLR cable, or an
electric guitar or bass to the INSTRUMENT input via a 1/4" jack. If you wish to
record a line-level source, connect it to the rear panel LINE INPUT using a balanced
(TRS) or unbalanced 1/4" jack.
If using a microphone that requires phantom power, switch +48V in. If you are
unsure whether your microphone requires this phantom power, refer to its user guide,
as phantom power may damage some microphones.
Increase the INPUT GAIN control, ensuring that the green SIG LED is always
illuminated, and that the red O/L LED does not illuminate when the loudest signal is
present.
If using a micrphone, ensure that the microphone placement is correct. Before you
start recording, listen to the sound from the microphone with all parts of the
TrakMaster switched out (IN buttons not lit), and alter the microphone placement
until you get close to the sound you want. Note that moving the microphone may
have an effect on the level of the signal entering the TrakMaster, requiring an
alteration to the gain setting.
If required, add compression using the OPTICAL COMPRESSOR, ensuring that
you use the MAKEUP gain control to restore the maximum volume to its original
level. When setting compression, it is better to apply too little than too much. Have
the COMPRESSION control quite low and do not use the TIGHT function. If you
are looking for a classic analogue tape or valve sound, use the TUBE SOUND
control.
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