Focusrite – Saffire PRO 26 I/0 Audio Interface
In 1985, design legend Rupert Neve started Focusrite, developing some incredible outboard equipment. Although Neve does not contribute designs to Focusrite today, the company has continued on in the spirit of creating excellent, high quality technology. About a year ago, I was in the market for some kind of high quality mic pre/computer interface that could be controlled remotely. Specifically, my goal was to leverage some kind of “Control Your PC Anywhere in the World Over the Internet” type application in order to create the ability to remotely boost or cut a mic level while monitoring with some kind of VoIP application. Granted, the bandwidth and fidelity of VoIP was not going to enable me to judge critical audio subtleties, but a combination of VoIP and the remote computer display of metering would enable me to set levels pretty successfully. Alas, though I have yet to fully test this Frankenstein-esque conglomeration, I became aware of the Focusrite Saffire PRO 26 i/o interface, which can indeed be controlled by a computer. When I was assigned to review this unit, I was excited to check out its capabilities.
The Focusrite Saffire PRO 26 i/o is a one-rack space unit in a nice pale sage-blue burnished aluminum finish. The “26” designation in its name refers to the fact that it has a total of 26 inputs and 26 outputs. There are eight mic pres, two optical ADAT inputs (eight channels each), and a stereo S/PDIF input. This complement of input is mirrored by corresponding outputs—eight balanced analog outputs, two optical ADAT outputs (eight channels each), and a stereo S/PDIF output. The first two analog inputs are “super inputs” (in Focusrite’s vernacular), meaning that both exhibit switchable low and high impedance, can accommodate instrument inputs, and input No. 1 also has a phase reverse switch. All eight analog inputs feature gently sloping HPFs (down -3dB at 120Hz, -6dB at 85Hz, and -12dB at 56Hz) to eliminate rumble. Phantom power is switchable in banks of four (inputs 1-4 and 5-8). The unit’s outputs are set up with monitoring in mind, and are treated as two stereo pairs (although each can be controlled individually from the included control panel software). MIDI I/O is also featured, along with word clock I/O as well. The interface connects to your computer via FireWire and facilitates FireWire daisy-chaining as well. The interface can convert analog to digital as high as 24-bit/192kHz resolution.
Across the Board
From left to right, the PRO 26’s front panel sports the unit’s eight ¼-inch balanced line inputs, followed by controls for each analog input. All eight have a gain knob, HFP switch (with an LED indicator,) and an LED to indicate overdriving of the input. Channels one and two also feature switches and LED indicators for low impedance and line-level padding, and channel one also adds a phase reverse switch with an LED indicator. To the right of the input controls is a single “monitor” output control knob and switches for muting or “dimming” the outputs by 18dB (digital). A pair of headphone outputs with corresponding level knobs and a power switch round out the front panel. The rear panel is very straightforward as well. Starting from the left—a power jack accepts the three-pin connection from the unit’s “line-lump” power supply. To the right is the unit’s S/PDIF I/O, followed by MIDI in and out jacks, word clock BNC in and out connectors, and FireWire 1 and 2 connectors, facilitating daisy-chaining. Two ADAT inputs and two ADAT outputs appear next to the right, and then eight balanced ¼-inch analog outputs. Finally the right half of the rear panel is occupied by eight XLR microphone inputs.
While most of the PRO 26s functions can be accessed from the front panel, I simply [can’t imagine not having] a computer on hand to grant me vastly more control via Focusrite’s SaffireControl PRO software. Literally every function of the interface can be controlled by this application (available for both Windows and Mac). The graphical user interface will make you think of a mixer, with faders, each with mute and solo switches, and a pan pot. Phantom power can be switched on and off, additional headroom can be created for the analogue inputs, and adjacent channels can be stereo linked, among other things. Since multiple interfaces can be controlled by the application, each can be named and a clever “ID” button on the GUI flashes the power indicator LED of the unit currently under the app’s control. Additionally, there is a button that turns the interface’s MIDI output into a “MIDI thru” port, and similarly, the S/PDIF I/O can be set up to pass through AC3 or DTS surround-encoded signals, preserving the surround output—this does have the effect of disabling software input mixing, however.
Another very powerful feature enabled by the software is the switching of analog inputs 5 and 6 to TRS send-return inserts corresponding with inputs 1 and 2. The software also allows you to determine whether the interface is digitally synchronized internally, by the word clock input, S/PDIF input, or either ADAT input. And of course, all settings can be saved as a snapshot, and Focusrite even makes quite a number of common snapshot scenarios available for download from their website. The software facilitates quite a number of other controls, too many to detail here. I have been and continue to be a huge fan of using a computer to control hardware, and the Saffire PRO 26 i/o is a perfect example of the power facilitated by doing so.
Interface High Points
The interface can literally enable you to record up to eight analog and 18 digital signals simultaneously—that’s a lot of I/O, and I appreciate it. Another major plus—this interface ships with a nice suite of VST/AU-compatible plug-ins, including compression, EQ, reverb, and an amp simulator. Be aware that these plug-ins do not function with the interface itself; they function only with your software, but are indeed a very welcome addition, and they sound very good. In particular, I really like the sound of the amp simulator—it easily sounds as good as some of the spendier amp sims out there. Years ago, Digidesign entrusted Focusrite with the development of preamps for many of its interfaces, and with good reason: Focusrite makes some very fine pres, and those included in this interface are no exception.
This interface is more than just a mic pre/converter to get a signal into your computer. It’s pretty much a mixer in its own right, and can actually be used that way. It could be used as an elegant way to get a multitrack signal from your mixer into the computer for the recording of your services, facilitating later sweetening and post-production mixing. You could even just record subgroups—drums, bass, guitars, keyboards, choir, soloists, pastor—and then have a vastly simplified mixdown later on. The Focusrite Saffire PRO 26 i/o is honestly more sophisticated than necessary for most churches, but considering its reasonable price ($1,000 MSRP; around $700 street price), it is worth consideration for the horsepower it brings to bear. I would definitely recommend taking a look.
