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Focusrite MH443 TwinTrak Pro Platinum Series 2-Channel Preamp/Compressor

Dual-Mono/Stereo Preamp/Compressor. 24-Bit/96kHz D/A Converter Standard. Mid-Scoop EQ. (27) Read 2 reviews for this product | Rate and review this product
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Focusrite TwinTrak Pro

Focusrite MH443 TwinTrak Pro Platimun Series 2-Channel Preamp/Compressor
Designed principally as an affordable, high-specification dual mono/stereo tracking device, TT Pro (as it's affectionately known) also boasts comprehensive latency-free monitoring, unmatched digital connectivity, and all within a sturdy 2U 19" rack-mount chassis.

Each channel features Focusrite's award-winning Platinum preamp, embellished with the option of instant 'air' and variable input impedance for improved microphone performance and extended creativity. A mid-scoop EQ follows, and provides variable frequency and depth of cut for vocal problem solving and miked-up cabinet ambience

In pride of place is TT Pro's powerful dual mono/stereo optical compressor. This optical compressor features Focusrite's custom fast-acting optos, alongside side-chain inputs and the ability to operate as a true 'twinned' stereo pair. These circuit design innovations are complemented by a comprehensive set of focused controls.

TT Pro is the first Platinum to feature a D/A converter as standard, alongside its optional analogue to digital converter. The D/A converter enables the user to feed mono or stereo digital signals into TT Pro. These signals can be fed either into the stereo latency-free monitoring section, or via line inputs (post- the preamp stage) for further processing. The signal can then return to the digital audio workstation via Focusrite's established stereo A/D converter option.

Together, these facilities make TT Pro the perfect analogue interface for any digital audio workstation, and equally the world's first 'hardware plug-in'.

Features

Award-winning Class A discrete transistor-based preamps

Dual mono/stereo optical compressor, featuring custom fast-acting optos

Latency free monitoring with total control over balance, effects, mix and monitor levels

24-bit/192 kHz D/A input card fitted as standard (included), for processing digital signals or feeding digital signals into the monitoring path

24-bit/96kHz A/D output card is optional (sold separately). Both the A/D and the D/A feature wordclock (BNC)

Inductor-induced "Air" opens up high frequencies like an expensive transformer-balanced pre amp

Variable impedance for improved microphone performance and extended creativity

Mid scoop EQ for correcting problematic mid frequencies

Direct inputs on the front fascia for both instruments (Jack) and microphones (XLR)

Post preamp inserts and compressor side-chain inserts, for enhanced processing flexibility

2 ocean blue peak-reading meters, innately beautiful and ideal for catching fast transients

With TwinTrak Pro, Focusrite's fanatical approach to quality design has given birth to twins.

zZounds is an authorized dealer of Focusrite products.
Mic Input Response

Gain range = 0 dB to 60 dB continuously variable
Input impedance = 50 Ohm to 3K3 Ohmcontinuously variable
EIN = 128 dB measured at 60 dB of gain with 150 Ohm terminating impedance and 20 Hz/22 kHz bandpass filter
THD at minimum gain (0 dB) = 0.0004% measured with +16 dBu input signal and with a 20 Hz/22 kHz bandpass filter
THD at maximum gain (60 dB) = 0.003% measured with a 36 dBu input signal and with a 20 Hz/22 kHz bandpass filter
THD at maximum input level (26.5 dBu) = 0.005% measured with a 20 Hz/22 kHz bandpass filter
Frequency response at minimum gain (0 dB) = flat at 10 Hz and 2 dB down at 200 kHz
Frequency response at maximum gain (60 dB) = 2 dB down at 10 Hz and 200 kHz
CMRR at full gain (60 dB) = 80 dB
Line Input Response

Gain range = -10 dB to +10 dB continuously variable
Input impedance = 10K Ohm from 10 Hz to 200 kHz
Noise at main output with gain set to 0 dB = -94 dBu measured with a 20 Hz/22 kHz bandpass filter
Noise at 10 dBV output with gain at 0 dB = -100 dBu measured with a 20 Hz/22 kHz bandpass filter
Signal to noise ratio relative to max headroom (27 dBu) = 121 dB
Signal to noise ratio relative to 0 dBfs (+22 dBu) = 116 dB
THD at unity gain (0 dB) = 0.0006% measured with 0 dBfs (+22 dBu) input signal and with a 20 Hz/22 kHz bandpass filter
Frequency response at unity gain (0 dB) = 0.1 dB down at 10 Hz and 3 dB down at 200 kHz
Instrument Input Response

Gain range (High Gain switch out) = 0 dB to 20dB continuously variable
Gain range (High Gain switch in) = 20 dB to 40dB continuously variable
Input Impedance = > 1 Meg Ohm
Noise at minimum gain (0 dB) = -90 dBu measured with a 20 Hz/22 kHz bandpass filter
Noise at maximum gain (40 dB) = -78 dBu measured with a 20 Hz/22 kHz bandpass filter
THD at minimum gain (0 dB) = 0.006% measured with 10 dBu input signal and with a 20 Hz/22 kHz bandpass filter
Frequency response at unity gain (0 dB) = 0.5 dB down at 10 Hz and 1 dB down at 200 kHz
Frequency response at maximum gain (40 dB) = 6 dB down at 10Hz and 1dB down at 200KHz
Input Meter

6 LED peak reading meter is calibrated relative to 0 dBfs where 0 dBfs = +22 dBu (the maximum level which can be correctly converted by the optional internal A/D converter before overload occurs). The meter calibration points are as follows:
Meter panel calibration value Equivalent dBu value
0dBfs +22dBu (the maximum level the ADC can convert before digital distortion occurs)
-6dBfs +16dBu
-12dBfs +10dBu
-18dBfs +4dBu (the normal signal level in an analogue system to allow headroom for additional processing such as EQ)
-24dBfs -2dBu
-42dBfs -20dBu

Channel Insert

Unbalanced input and output on balanced (TRS) socket as follows:
Tip = Send (Output)
Ring = Return (Input)
Signal level equivalent to 6dB below normal operating level.
High Pass Filter

Roll off = 12 dB per octave 2 pole filter
Cut off frequency:
-3 dB at 120 Hz
-6 dB at 85 Hz
-12 dB at 56 Hz
Optical Compressor

Threshold hold range = -12 dBfs (10 dBu) to 42 dBfs (-20 dBu).
Compressor ratio (Hard Ratio switch out) = 2.5:1
Compressor ratio (Hard Ratio switch in) = 6:1
Attack time (Slow Attack switch out) = 0.5 ms.
Attack time (Slow Attack switch in) = 5 ms.
Release time = 100 ms to 1 s and then auto release mode when the release knob is turned fully clockwise. Auto release creates a release time dependent upon the average level of the incoming signal.
Noise = -94 dBu measured with a 20 Hz/22 kHz bandpass filter.
Makeup gain = 0 to +21 dB.
Compressor Side-Chain Insert

Can be used to input an independent signal to trigger compression or to allow the side-chain audio to be sent in and out of the unit via an external processor, such as an EQ for frequency conscious compression and de-essing of vocals.
Connector is an unbalanced input and output on balanced (TRS) socket as follows:-
Tip = Send (Output)
Ring = Return (Input)
Signal level equivalent to 6 dB below normal operating level.
Mid Scoop EQ

EQ shape = Peak
Center frequency = Variable between 120 Hz and 2 kHz
Cut (Deep switch out) = -6 dB
Cut (Deep switch in) = -12 dB
Q (Deep switch out) = 1.5
Q (Deep switch in) = 3
FX Send

Unbalanced output, signal level equivalent to -6 dB below normal operating level.
Noise = -94 dBu measured with a 20 Hz/22 kHz bandpass filter.
Maximum output signal level = +20 dBu
FX Return

Balanced input
Operating level = +4 dBu
Headphones Mix

Unbalanced output, signal level equivalent to 6 dB below normal operating level.
Noise = -94 dBu measured with a 20 Hz/22 kHz bandpass filter.
Maximum output signal level = +20 dBu
Monitor Input

Balanced input
Operating level = +4 dBu
Monitor Output

Balanced output
Operating level = +4 dBu
Noise = -98 dBu measured with a 20 Hz/22 kHz bandpass filter and monitor level knob at maximum output level (fully clockwise).
Maximum output signal level = +26 dBu
DAC Performance

Playback sample frequency = 32 kHz to 192 kHz.
Maximum bit depth = 24-bit
Maximum analogue output level = +21 dBu.
Dynamic Range = 111 dB measured with A weighted filter.
Wordclock BNC connector outputs a regenerated wordclock at the sample frequency contained within the SPDIF signal connected to the RCA connector.
Output Meter

Calibrated for 0 dBfs = +22 dBu and indicates the level after the output fader being sent to both the internal AD converter and the TwinTrak Pro XLR output.
O/L LED is lit when any section of the unit (including the headphone output) reaches a level greater than 0 dBfs (O/L: LED triggered at +22.4 dBu).

Weight
5 kg

Dimensions
482 mm (W) x 88 mm (H) x 180 mm (D)
If you have additional warranty questions, please contact the manufacturer at 310-322-5500
Customer Reviews
4 out of 5 (27 ratings) Rate and Review This Product
zZounds has verified that this customer bought this product from us. "FOCUSRITE VALUE & SOUND (but not necessarily quality) for a nice price."
Sound: It sounds really nice, the preamps are top quality, and instruments as well as mics sound nice and full through it. The mid eq sweep does a nice job of removing unwanted 'rumble' in the low-mid range that you get with mic'ing acoustic guitars and such. The compressor is nice and relatively transparent. Feature: Happy with the features, since I knew what i was paying for, and had researched the item before hand. Like other people have said, a little more in the eq dept. as well as an adjustable 'attack' for the compression would have been nice, but i guess the unit was designed to be more plug and go than the average compressor. Quality: This is where the product DOES NOT shine. Like someone else mentioned, the second preamp was shot and some of the knobs felt shaky right out of the box. I am now awaiting a replacement unit. The unit looks and feels solid, but it is obvious that outsourcing stuff to ROC really diminshes the quality reputation of an otherwise awesome company. Sometimes, you just gotta keep it in house. Value: I will still give this unit high marks for value, as you can't get 2 focusrite pres, eq, and direct monitoring for this price anywhere. it's a great value for small studios nonetheless. just pray you get one that works. Manufacturer Support: I did not deal directly with focusrite on this one, only with Zzounds. I'm not 100% thrilled with their support; they basically said, 'well it's a blem unit, so you can either contact focusrite or pay more for a good unit' (a 'good' unit? I thought this was functionally good)?. Whatever - at least shipping was free. The Wow Factor: it looks damn cool, gotta say. blue backlit VU meters and a brushed steel face make it the coolest looking thing I own. the only thing cooler is the focusrite red, if you can afford it. Overall: Time will tell. if the new unit holds up, i'm sure it will always be useful in my studio or for off-site applications. another engineer i know totes his around in a portable rack case and takes it with him everywhere.
Style of Music: Acid Jazz
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This review has been selected by our experts as particularly helpful. "Sweet, and simple. Too simple??"
Sound: For what this unit does, it sounds great. First off, I'm not a professional engineer. I'm a singer/musician/songwriter. My main setup is an AKG 4000C or 2 AKG 451s run into a MOTU 828 run into my PowerBook. I'm looking for a compressor to get a full, thick sound and a strong signal with no peaks into my computer from the start, instead of taking 10 takes of a song because 11 of them peaked, so I borrowed one from my local music store. So here we go... The preamp is great. While not tube, has a thick, rich, strong, clean sound with lots of versatility, meaning it does all the things it says it does. The little EQ section is handy. I thought I'd never use it, but when I fiddled around with it I realized that yes indeed, there's a frequency range don't want to include in the recording. I used it to take out some mids, producing a much smoother sound than my mic is capable of reproducing with no EQ. The compressor is nice and thick, strong, and very clear even when loaded into the red A LITTLE BIT. Both the preamp and the compressor gave a great sound used in tandom: really thick, strong, expressive, and after I adjusted the input on the 828, not one peak all night. It was SOOOOO nice to have a "peak-free" recording session. So why only an 8? The sound you get with the features on this unit is great, but there are features lacking that if included, would produce a FAR more superior sound. Feature: The pramp--fine. The EQ--insufficient. There's a sweep feature, but you can't control exactly how much the frequency is cut, only "small curve" and "deep curve". So you could never cut out any specific problem causing frequency. And there is only one band. For me, an amateur, I think it's best not to cut out any frequency I'm not totally sure of right from the beginning because you can't get it back later, but I can imagine needing a better EQ in the not so distant future. The compressor--very inadequate. There are no separate attack and ratio buttons. This makes for a total lack of versatility. That coming from an amateur is pretty bad, I think. On the upside: LOTS of ins and outs, and the digital in/out means that this unit can act as an insert. You can apparently run a signal out of your computer into the unit, then out of the unit, back into your computer, all in the digital realm. Actually, any way you want to use this thing in your studio, there are ins/outs to facilitate it. Quality: Sturdy, well crafted, lots of attention to detail on all the things they DID include in this unit. Value: Well here we go, the nitty-gritty. There are TWO channels on this thing. It's like 2 compressors in one. If you play guitar and sing, there's 2 channels. If you have 2 vocalists singing at the same time (I did this last night to great effect) then it's great. This was designed for people like me: I had no compressor, now I've got 2, they sound great, they make my recordings sound SOOOO much better, and I can record a strong signal without peaking. Yeah, I can't control all the aspects of the compression and EQ I want, but then again that may be a good thing if I don't know what I'm doing. The thing I'm thinking now...the future. Will I want a better one in 3 years from now. The answer is yes. The Wow Factor: It has, undoubtably, and very sexy design, it's easy to use, flexible, and produces great results. Overall: I love the sound and ease of use. I don't like the lack of control in the sound. I'd get tired of this unit fast I think. If it were a little cheaper than it is, I'd be more tempted, but for just slightly more, I can buy 2 dbx 376s and be happier in years to come. I just can't imagine being happy with the lack of control. BUT!!! If you're looking for a 2nd compressor, like you already have a good one and you want another one for multiple track recording, or you want to compress those stereo overhead mics you have, DON'T hesitate to pick this one up.
Style of Music: Various
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