
Focusrite announces the launch of Scarlett 4th Gen. The new range features the Solo, 2i2, 4i4, Solo Studio, and 2i2 Studio, designed to offer greater audio specifications, enhanced creative capabilities, and unprecedented ease-of-use.
The new Scarlett range boasts better specs than any previous generation of Scarlett. Key features include Auto Gain, Clip Safe and a re-engineered Air mode, cementing its status as a giant leap for the acclaimed range.
Scarlett Solo
The Scarlett Solo is ideal for singer-songwriters. With one mic preamp, one Hi-Z instrument/line input and brand-new custom-designed headphone amp, Solo provides stunning audio quality in a compact design perfect for home studios and on-the-go recording. Solo also features the re-engineered Air mode with Presence, and all-new Harmonic Drive, to breathe life into vocals and acoustic instruments.
Scarlett 2i2
For the aspiring artist, the Scarlett 2i2 offers two remote-controlled mic preamps and two Hi-Z instrument/line inputs for guitars, keys and groove boxes. The iconic 2-in/2-out interface delivers professional studio quality in a portable package. With powerful new features like Clip Safe, Auto Gain and Air mode, the 2i2 empowers artists to make release-ready recordings anywhere.
Scarlett 4i4
For the multi-instrumentalist, the Scarlett 4i4 provides two remote-controlled mic preamps, switchable line or Hi-Z instrument inputs, two fixed line inputs, and four balanced outputs for the flexibility to record mics, guitars, synths and more. MIDI I/O makes it easy to bring in synths and grooveboxes to sync with recording sessions. The 4i4 brings professional studio quality within reach for home musicians who want to connect more of their gear at once. 4i4 also includes new features like Clip Safe, Auto Gain and the re-engineered Air mode.
The Scarlett Solo Studio and Scarlett 2i2 Studio packs provide an all-in-one solution for high-quality recording. Including either a Solo or 2i2 interface, CM25 MkIII studio condenser mic and closed-back SH-450 headphones, these bundles have everything needed to start recording studio-quality vocals and instruments right out of the box.
Scarlett Solo Studio
The Scarlett Solo Studio and Scarlett 2i2 Studio packs provide an all-in-one solution for high-quality recording.
Scarlett 2i2 Studio
Including either a Solo or 2i2 interface, CM25 MkIII studio condenser mic and closed-back SH-450 headphones, these bundles have everything needed to start recording studio-quality vocals and instruments right out of the box.
Features
Focusrite has completely re-engineered the audio circuitry and introduced professional-grade converters for incredible performance. Scarlett 4th Gen uses converters from Focusrite's flagship RedNet range to deliver a massive 120dB dynamic range. 2i2 and 4i4 now feature remote-controlled preamps with 69dB of gain to get the best sound out of every mic. A custom-designed headphone amp drives high-impedance headphones louder and clearer than any previous Scarlett. In addition, all models now have independent controls for headphones and monitors.
With Auto Gain, users will never have to worry about setting levels again. Just play or sing for ten seconds, and Auto Gain will set the perfect level for recording. Clip Safe monitors levels up to 96,000 times per second and automatically adjusts the gain to prevent clipping, allowing users to fully immerse in performing and not have to worry about their levels. The re-engineered Air mode takes a sound's unique character and brings it to the front of the mix, for standout vocal or instrument tracks. Air mode includes the original all-analogue Presence mode, plus a new DSP-based Harmonic Drive mode for console-like richness.
The new design combines elegance, functionality and accessibility. Details include premium Neutrik connectors, spacious knob placement, and endless gain knobs on 2i2 and 4i4. Complemented by Scarlett's iconic red, the front panel showcases a sleek black finish and soft touch knobs.
The Dynamic Gain Halos make it easy to set and monitor levels. This update to the iconic Scarlett Gain Halos enables users to set the perfect level and get great results every time.
Loopback routes computer audio to DAWs with ease via Scarlett's virtual inputs. It can also mix Scarlett inputs and computer audio for sampling from other software, streaming and recording flexibility.
Focusrite's Easy Start tool quickly guides users through setup, so they're ready to record with the included Ableton Live Lite and three months of Pro Tools Artist recording software. To help users get the best results for recording, mixing and mastering, the Hitmaker Expansion software bundle provides a complete suite of iconic studio plugins from some of the industry's biggest names, including Softube, Native Instruments, Antares, and many more. Also included are five free masters from Landr that can be used at any time, plus a two-month subscription to Landr Studio, offering and unlimited music distribution on streaming platforms such as Spotify, Apple Music, YouTube Music and TikTok.
Focusrite Control 2 is also provided and enables remote control setup and mixing from a PC or Mac.
Pricing
USD ex. tax
- Solo - $139.99
- 2i2 - $199.99
- 4i4 - $279.99
- Solo Studio - $249.99
- 2i2 Studio - $299.99
Available now at focusrite.com and authorised dealers globally.
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Featuring the SansAmp section, Reverb/Delay/Roto effects, and OMG overdrive, with new additions like a switchable Pre/Post Boost and Effect Loop. Pre-configured for the RK Killer Wail wah, this pedal offers versatile tones and unmatched flexibility.
Since the debut of the original RK5 in 2014, Richie’s needs have changed, both on and off the road. The RK5 v3 retains the same SansAmp section, Reverb/Delay/Roto section, and Richie’sSignature OMG overdrive. New features include a switchable Pre/Post Boost to beef up drive and distortion or increase the overall volume to punch up fills and solos, along with the addition of an Effect Loop. It has also been pre-configured to provide phantom power for Richie’s Tech21 Signature RK Killer Wail wah.
The all-analog SansAmp section of the RK5 focuses on clean tones within the tube amplifier sound spectrum. It includes 3-band active EQ, and Level and Drive controls. To dirty things up, you have the flexibility of using the Drive control, and the Boost function, or you can add overdrive from the OMG section. Or all three. Each method achieves different tones. The OMG section is based upon the Richie Kotzen Signature OMG pedal, which provides a wide range of overdrive, from clean to aggressive. You can add personality to a clean amp or use it for extra punch with a dirty amp tone. Controls include Drive for the overall amount of gain and overdrive and Tone with specialized voicing for adjusting the high-end and mid-range. A Fuzz switch changes the character and attack of the overdrive to a fuzz-style tone, making it thicker and woolier.
Other features include an independent foot-switchable Reverb witha choice of large and small“room sizes;” Tap Tempo Delay, which can be transformed into a rotating speaker effect; included Tech 21 Model #DC9 universal self-adjusting 9V DC power supply, with interchangeable international prong assemblies for use anywhere in the world. Anticipated availability: January 2025
For more information, please visit tech21nyc.com.
Featuring vintage tremolos, modern slicer effects, and stereo auto-panners, the update includes clever Rate and Tempo controls for seamless syncing and morphing.
Today Kemper announces the immediate availability PROFILER OS 12.0 including the highly anticipated collection of advanced Tremolo and Slicer FX for the entire range of KEMPER PROFILER guitar amps.
The Collection features three vintage tremolos, two modern slicer effects, and two stereo auto-panners, that have been derived from the slicer effects. They all feature a clever Rate and Tempo control system, that allows for syncing the tremolo to the song tempo, retriggering the timing by simply hitting the TAP switch, and changing or morphing the tremolo rate to different note values,
The new Advanced Tremolo Modules in Detail
- The Tube Bias Tremolo is the familiar Tremolo in the Kemper Profilers. Formally named "Tremolo“ and available in the PROFILERs since day one, it is a reproduction of the famous Fender Amp tremolos from the 50‘s. Placed in front of the amp it beautifully interacts with the amp distortion.
- The Photocell Tremolo dates back to the 60‘s and features a steeper pulse slope, and its width varies with the intensity.
- The Harmonic Tremolo also dates back to the 60‘s and was introduced by Fender. The low and high frequencies alternate with the tremolo rate.
- The Pulse Slicer is a modern slizer or stutter effect that will continuously transition from the smoothest sine wave to the sharpest square wave, using the "Edge“ parameter. The "Skew“ parameter changes the timing of the high level versus the low level, sometimes also called pulse width or duty cycle.
- The Saw Slicer creates a ramp like a saw wave. The saw wave has a falling ramp when "Edge“ is at full position, and a rising edge at zero position. Towards the middle position a rising and falling ramp are forming a triangle wave. The „Skew“ parameter changes the slope of the rising and falling ramp from a linear trajectory to a more convex or concave shape.
- The Pulse Autopanner and the Saw Autopanner are derivates from their respective Slicers, they spread their signals in the stereo panorama. The "Stereo“-control parameter is included in many effects of the PROFILER. Here, it introduces a novel "super-stereo" effect that lets the Autopanner send the signal well outside the regular stereo image. This effect works best if you are well positioned in the correct stereo triangle of your speakers. When you move the “Stereo” soft knob beyond the +/-100% setting, the super-stereo effect comes into place, reaching its maximum impact at +/-200%.
- A single press on the TAP button at the beginning of the bar will bring the rhythmic modulation effects, such as Tremolo or Slicer, back into sync with the music without changing the tempo. The sync will happen smoothly and almost unnoticeable, which is a unique feature. Of course, tapping the tempo is possible as well.
- Modulation Rate - The “Rate” control available in many modulation effects is based on a special philosophy that allows continuous control over the speed of the modulation and continuous Morphing, even when linked to the current tempo via the To Tempo option. The fine Rate resolution shines when seamlessly morphing from, e.g., 1/8 notes to 1/16 notes or triplets without a glitch and without losing the timing of the music.
PG's demo master quickly (and easily) drops in an H-S-S setup into his 1994 40th Anniversary Stratocaster that needed help. Find out what happens when gets his first taste of active pickups.
EMG SL20 Steve Lukather Signature Pre-wired Pickguard with 3 Pickups - Black Pearl
SL20 Steve Lukather Pre-wired PG - Blk PearlBarry Little’s onstage rig.
How you want to sound and what makes you happy are both highly subjective. When it comes to packing and playing gear for shows, let those considerations be your guide.
I was recently corresponding with Barry Little, aPG reader from Indiana, Pennsylvania, about “the One”—that special guitar that lets us play, and even feel, better when it’s in our hands. We got talking about the gear we bring to gigs, and Barry sent me the photo that appears with this column.
“I’m mostly old school and take quite the amp rig, and usually two or three Strats or ‘super strats,’ plus some Teles,” he wrote. “Some are in different tunings.” Barry also has a rack, built with famed guitar-rig designer Bob Bradshaw’s help, that he says holds a Bad Cat preamp bearing serial number one. For his ’70s/’80s rock outfit and his country band, this covers the waterfront.
I love Barry’s rig; it looks awesome! So … why do I feel guilty about the substantial amount of gear I take to gigs where my five-piece band will be playing a concert-length set? Onstage, my setup looks fantastic—at least to me. It’s the gear I’ve always wanted. But packed inside cases and ready to load into the Honda Odyssey with a rooftop carrier that all five of us and our instruments travel in for away dates … it seems excessive. Currently, I take three guitars: my customized reissue Fender Esquire “Dollycaster,” my Zuzu one-off Green Monster, and a Supro Conquistador, plus a 1-string electric diddley bow made from a crawfish-boiling pot. They start every show in open G octave (D–G–D–G–D–G), open D, standard tuning, and A, respectively. There’s also a Sony GLXD6+ wireless, and a pedalboard with 13 effects stomps, a tuner, and two power boxes, along with a Brown Box. That board is the launchpad for the stereo signal that runs into two Carr 1x12 combos: a Vincent and a Telstar. In addition, there’s a big black bag with spare cables, fuses, capos, strings, extension cords, microphones, straps, duct tape, and just about anything else you might need. After all that, miraculously, there is also room for my bandmates–another guitarist, bass, drums, and theremin—and their gear, plus light luggage.
I admit that’s a lot, but it used to be more—at least by the pound. In the late ’90s and early 2000s, I often played through two Marshall 4x12s with a Mesa/Boogie Duel Rectifier Trem-O-Verb on one and a ’72 Marshall Super Lead atop the other. And before that, it was the Marshall with a 4x12 plus a ’66 Fender Twin Reverb. I kept a waist back-support belt in the van, but spent a decent chunk of that era living with regular back pain.
“I admit that’s a lot, but it used to be more—at least by the pound.”
Where am I going with this? Besides a desire for you to absolve me of my guilt, I feel like all of this gear is … um … necessary? It’s the recipe for the sound I want to hear, for the versatility of the material, and for me to play from my happiest place—onstage in the middle of a glorious stereo field of my own making. It’s not really about gear and it’s not about somebody else’s definition of practicality. It’s about joy. Ideally, you should be able to bring whatever gives you joy to a gig. Period.
Sure, naysayers will yap that after a guitar, a cable, and an amp, nothing else is necessary. And on a certain misguided, intolerant level, they are right. We can all play a show with just the basics, but I, for one, don’t want to—unless maybe it’s a solo gig. Neither did Jimi Hendrix. There is a universe of tones out there waiting to be discovered and explored. There are improvisational paths that only a pedalboard can suggest. (Of course, if you’re playing a small stage, traveling in too tight quarters, or claiming turf that impinges on bandmates, those considerations apply. “Be kind” is a good rule of thumb for life, including band life.)
Remember, the naysayers are not in your bones, and onlyyour bones know what you need and want. Don’t let the voices—even in your own head—nag you. (I, too, must take this advice to heart.) Bring whatever you want to bring to gigs, as long as you can get it there. Do it guiltlessly. Have fun. And listen to your bones.