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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On That’s the Price of Loving Me, “We’re Not Finished Yet” is a love letter to Wareham’s 1968 Gibson ES-335.
The singer-songwriter, 61, has crafted many such moments—most famously during the late ’80s and early ’90s, helping cement the dream-pop genre with cult-favorites Galaxie 500. Take the tenor saxophone, by Ralph Carney, that elevates the back half of “Decomposing Trees” from 1989’s On Fire, or the Mellotron-like atmosphere that bubbles up during “Spook” on This Is Our Music from 1990—both of which, notably, were recorded with journeyman producer Kramer, who’s part of Wareham’s rich sonic universe once again with the songwriter’s new solo album, That’s the Price of Loving Me.
Following This Is Our Music, the final Galaxie 500 album, Wareham and Kramer went their separate ways. The former founded the long-running indie-rock band Luna, formed the duo Dean & Britta with now-wife Britta Phillips, worked on film scores, and released a handful of solo projects. Kramer, meanwhile, grew into a hero of experimental music, playing with and producing everyone from John Zorn to Daniel Johnston. They stayed in touch, even as they drifted apart geographically, and always talked about working together again—but it took the weight of mortality to make it happen.
“[Kramer has] been saying for years, ‘It’s crazy we haven’t made a record together,’” says Wareham over Zoom, his shimmering silver hair flanked in the frame by a wall-hung cherry red Gibson SG and a poster of Rainer Werner Fassbinder’s 1975 drama Faustrecht der Freiheit. “He was living in Florida, and I was living elsewhere and doing other things. But I did lose a couple of friends over the pandemic, and it did occur to me, you can’t just say, ‘I’ll get to it’ forever. Not to be morbid, but we’re not gonna be here forever. We’re not getting any younger, are we?”
Dean Wareham's Gear
Wareham was a member of the early indie dream-pop trio Galaxie 500. After their split, he formed indie rock stalwarts Luna as well as Dean & Britta, with wife and Luna bandmate Britta Phillips.
Photo by Laura Moreau
Guitars
Amps
- Lazy J 20
- Mesa/Boogie California Tweed
Effects
- EAE Hypersleep reverb
- EAE Sending analog delay
- Dr Scientist Frazz Dazzler fuzz
- Danelectro Back Talk
- Joe Parker Raydeen overdrive
Strings, Picks, and Accessories
- Curtis Mangan nickel wounds (.010–.046)
- Dunlop Nylon .88 mm picks
- Truetone 1 Spot Pro CS12
In 2020, Dean & Britta recorded a covers album, Quarantine Tapes—the perfect opportunity, amid the agony of lockdown, to finally get Kramer involved. The producer mixed their hazy version of the Seekers’ “The Carnival Is Over,” which planted the seeds for a bigger collaboration on That’s the Price of Loving Me. At first, though, Wareham didn’t have any songs, so he gave himself a hard deadline by booking some time at L.A. studio Lucy’s Meat Market.
“What is it in a song that makes people cry? What is it that moves you? It’s something unexpected.”
“I don’t write songs every day—sometimes I don’t write songs for a whole year or something,” he says with a laugh. “The only thing that gets me to do it is booking studio time. Then I have to write some songs because it’ll be embarrassing if I show up with nothing.”
The space itself—decked out with a jaw-dropping amount of vintage guitars and amplifiers and keyboards—helped animate his sleepy-eyed and gently psychedelic songs. “I thought I had a few nice instruments,” Wareham says, “but I showed up, like, ‘Oh, your Les Paul’s from 1955? I think I’ll play this one. Your Martin is from the ’40s?’” Speed and spontaneity were essential: They worked six full days, with Kramer guiding him to capture every performance without overthinking it.
Wareham’s latest was produced by Kramer, a former member of Shockabilly, Bongwater, and the Butthole Surfers who owns the legendary underground label Shimmy-Disc. He produced all three Galaxie 500 LPs.
“[That’s] how I worked with Kramer back in the day too,” he recalls. “Maybe it kinda spoiled me—he was always like, ‘Yep, that’s it. Next!’ I got lazy about going back and redoing things. We’d make the decision and move on: keep that drum track and bass track. Maybe Britta [bass, backing vocals] would change a few things. Sometimes you’re with people who think every single thing should be replaced and made perfect, and you don’t actually have to do that. When it came time for me to overdub a guitar solo or something, Kramer would just allow me two takes generally: ‘Do it again a little differently. That’s it. That’s good.’”
“I thought I had a few nice instruments, but I showed up, like, ‘Oh, your Les Paul’s from 1955? I think I’ll play this one.’”
The material itself allowed for such malleability, with ringing chord progressions and gentle melodies often influenced by the musicians who happened to be gathered around him that day. “You Were the Ones I Had to Betray” has the baroque-pop sweetness of late-’60s Beatles, partly due to the sawing cellos of L.A. session player Gabe Noel, who also added some boomy bass harmonica to the climax. “It’s an instrument you’d mostly associate with the Beach Boys, I guess,” Wareham says. “It kinda sounds like a saxophone or something.”
Wareham, his 335, and Mesa/Boogie California Tweed at a recent Luna show, with bassist Britta Phillips in the background.
Photo by Mario Heller
It’s easy to get wrapped up in the warm hug of these arrangements, but it’s also worth highlighting Wareham’s lyrics—whether it’s the clever but subtle acrostic poetry of “The Mystery Guest” (“I’d never done that before, and it’s not that hard to do actually. Sometimes it’s just to give yourself a strange assignment to get yourself thinking in a different way”) or the hilarity of “We’re Not Finished Yet,” which scans as carnal but is actually a love letter to his semi-recently acquired 1968 Gibson ES-335.
“Sometimes it’s just to give yourself a strange assignment to get yourself thinking in a different way.”
“I read this poem about a guy polishing an antique wooden cabinet or something,” Wareham explains. “I thought, ‘That’s funny—it’s vaguely sexual, how he’s like rubbing this thing.’ I thought it would be funny if I wrote a song not about a piece of furniture but about the guitar—the experience of buying this. The lyrics in there: ‘I waxed you; I rubbed you; I reamed you.’ It all sounds like a dirty song, but it’s like, ‘No, I had to get the peg holes reamed!’ It works kind of as a love song, but that’s what it’s really about.”
Which brings us back to that idea of the unexpected. The most beautiful touches on Loving Me, crafted with his ol’ producer pal, are the ones that appear out of nowhere—like the blossoming guitar overdubs of “New World Julie” and “Dear Pretty Baby.” Kramer, he says, liked to “run two or three guitar tracks at once, where it becomes a symphony of guitars.”
These surprises, indeed, are the moments that stick with you.
YouTube It
Luna’s four-song performance on KEXP showcases Dean Wareham’s sparse, low-key indie rock vibe as well as his simple and sweet guitar embellishments.
In the ’80s, Peter Buck’s clean, chime-y arpeggios defined the sound of alt-rock to come. From R.E.M's start, his post-Roger McGuinn 12-string style served as the foundation for the band’s simple, plain-spoken approach, offering a fresh take on what an independent band could be and inspiring generations of artists to come. Buck not only found his sound quickly, he evolved throughout the band’s career. By the ’90s, R.E.M.’s sound had evolved to incorporate organic, acoustic textures, and eventually leaning into a glam- and grunge-inspired, distorted-guitar-focused sound on 1994’s Monster.
