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Focusrite DamianTaylor inthe studioplay button

Focusrite DamianTaylor inthe studio

Focusrite

collapse expand iconDescription

The ISA Story goes back to 1985, when Sir George Martin commissioned legendary designer Rupert Neve to design new modules for the console at AIR Montserrat. They were so successful that more were commissioned for AIR London. These original modules form the basis of today's Focusrite ISA range—delivering the legendary Focusrite sound to leading studios, artists, producers and engineers around the world. Literally hundreds of hits have been made with the Focusrite ISA Range—and continue to be made today.

Focusrite's ISA Two brings together a totally independent pair of legendary ISA microphone preamps inspired by the original ISA 110 module, combining the best of traditional solid-state electronics with the original input transformer specified by Rupert Neve—the Lundahl LL1538. Two is a nice round number—ideal for recording, say, a vocal and an instrument, or a stereo piano. But though you may only need two mic pres, you owe it to your craft to choose the best.

Focusrite has made one little adjustment to the mic pre. The original ISA 110 had a single-input impedance that was ideal for the mics of the time. In the ISA Two there are three more, allowing you to get the very best out of any microphone, vintage or modern. Give a vintage mic the input it expects to get a traditional, warm sound. Pair the ISA Two with modern microphones and get the most transparent sound imaginable. Or experiment and pull out the inner character of any microphone you care to try. Couple that with up to 80dB of gain and you can be ready for anything.

In addition to the mic pres, there are front-panel instrument inputs for instant access, along with rear-panel line ins. There's also a balanced insert point on the rear panel, actuated with a front-panel button so you can insert the EQ, dynamics or other processors you need. Add to that the user-calibrated 8-LED metering and variable cutoff high-pass filter, and you know that with the ISA Two you'll have everything you need to get the highest-quality sound into your recordings.

Now comes with Brainworx bx_console Focusrite plug-in

This awesome plug-in recreates the analog signal paths of Focusrite’s revered ISA 110 and ISA 130 modules, which were a part of the Focusrite Studio Console. Designed and coded by the DSP geniuses at acclaimed software house Brainworx, the new bx_console Focusrite VST/AU/AAX plug-in for Mac and PC faithfully captures the sound, feel and styling of the original iconic hardware.

If you purchased any Red, RedNet or ISA solution from January 2020 on, you will have the plug-in available in your Focusrite account as long as you’ve registered your product.
Open Box Focusrite ISA Two Classic Dual Mono Transformer-Based Microphone Preamplifier Level 1
Open Box Focusrite ISA Two Classic Dual Mono Transformer-Based Microphone Preamplifier Level 1

collapse expand iconFeatures

  • Lundahl LL1538 mic input transformer
  • Up to 80dB of clean, distortion-free gain
  • Four choices of input impedance
  • User-calibrated metering
  • Front-panel instrument and rear panel line inputs
  • Variable cut-off high-pass filter
  • Rear panel balanced inserts
  • Focusrite offers a 3-year manufacturer's warranty

collapse expand iconSpecs

Front panel, per channel
  • 1/4" Instrument input
  • Variable input impedance: Low, ISA 110, Medium, High
  • Input selection: Mic, Line, Instrument
  • 0-30dB/30-60dB gain switch
  • Phantom power switch
  • Phase invert switch
  • 0-60dB gain in 10dB steps
  • 0-+20dB continuously variable trim
  • Variable high-pass filter with on/off switch
  • Insert point on/off switch
  • Eight-LED user-calibrated level meters
  • Single power switch
Rear panel, per channel
  • XLR-F mic inputs
  • 1/4" TRS line inputs
  • 1/4" TRS Sends
  • 1/4" TRS Returns
  • XLR-M line output
  • Single peak meter calibration dial
  • Single IEC power socket
Maximum Input and Output Levels
  • Maximum Output Level: +24 dBu with a THD+N < 0.01% at 1kHz measured with 150 ohm source impedance and 22Hz/22kHz band-pass filter
  • Maximum Microphone Transformer Input Level: +7 dBu with a THD+N < 0.7% at 1kHz measured at 0dB of gain with 150 ohm source impedance and 22Hz/22kHz band-pass filter
Mic Input Response
  • Gain range: 0dB to +60dB in 10dB steps, plus 0dB to +20dB continuously variable trim
  • Input Impedance: Switched Impedance setting/Equivalent Input Impedance at 1kHz
  • Low = 600 ohm
  • ISA 110 = 1.4 kohm
  • Med = 2.4 kohm
  • High = 6.8 kohm
  • EIN (Equivalent Input Noise): Measured at 60dB of gain with 150 ohm source impedance and 22Hz–22kHz band pass filter = -127dB
  • Noise: Noise at output with unity gain (0dB) and 22Hz–22kHz band pass filter = -97 dBu
  • Signal-to-Noise Ratio: Measured with 150 Ohm source impedance and 22Hz–22kHz band pass filter = 121dB relative to max output +24 dBu
  • Total Harmonic Distortion + Noise: Measured with a -20 dBu input signal at +30dB of gain and with a 22Hz–22kHz band pass filter = < 0.0007% at 1kHz
Frequency Response:
  • At minimum gain (0dB)
  • -0.5dB at 10Hz, -1dB at 135kHz, relative to 1kHz
  • At +60dB gain
  • -6 dB at 10 Hz, -1dB at 115kHz, relative to 1kHz
CMRR (Common Mode Rejection Ratio):
  • -94dB for mic input at 60Hz for max. output = +24dBu
  • -91dB for mic input at 10kHz for max. output = +24dBu
  • Crosstalk Channel to Channel: Mic input, with I/P = 0dBu, gain = 0dB @ 1kHz input to channel A, channel B output = -85dB
Line Input Response
  • Gain Range: -20dB to +10dB in 10dB steps, plus 0dB to +20dB continuously variable trim
  • Input Impedance: 10 kohm from 10Hz to 200kHz
  • Noise: Noise at main output with gain at unity (0dB) measured with 50 ohm source impedance and a 22Hz–22kHz band pass filter = -97 dBu
  • Signal-to-Noise Ratio: Measured with 50 ohm source impedance and a 22Hz–22kHz band pass filter = 121dB relative to max output +24 dBu
  • Total Harmonic Distortion + Noise: Measured with a 0 dBu input signal, +10dB of gain and a 22Hz–22kHz band pass filter = < 0.002% at 1kHz
Frequency Response:
  • At unity gain (0dB) -0.3dB at 10Hz, -1dB at 80kHz, relative to 1kHz
  • Crosstalk Channel to Channel: Line input, with I/P = 0 dBu, gain = 0dB @ 1kHz input to channel A
  • Channel B output = -91dB
Instrument Input Response
  • Gain Range: +10dB to +40dB continuously variable trim
  • Input Impedance: > 2 mohm
  • Noise: >Measured with 22Hz–22kHz band pass filter = Minimum gain (+10dB) = -95 dBu
Frequency Response:
  • At minimum gain (+10dB)
  • -0.1dB at 10Hz
  • -1dB at 115kHz, relative to 1kHz
  • At maximum gain (+40dB)
  • -2.5dB at 10Hz
  • -1dB at 110kHz, relative to 1kHz
High-Pass Filter
  • Roll-Off: 18dB per octave (3-pole filter)
  • Frequency Range: Continuously variable from 16Hz to 420Hz (-3dB)
Weight and Dimensions
  • Dimensions (WxHxD): 18.90" x 1.73" x 11.02" (480 mm x 44 mm x 280 mm)
  • Weight: 8.16 lb.

collapse expand iconReviews

4.15

185 Reviews

81%

of respondents would recommend this to a friend

Most Liked Positive Review

4

A very cool guitar, if you're into the 1980's shred thing!

I have been in the market for an 80's style shredder for a few years now. As a big fan of George Lynch, in particular the stuff he did from 1985 to 1990, I've been looking for a used ESP Skulls and Snakes model. That said, they are hard to find on the used market, and they command a premium price. Enter the Friedman Cali model. With its high-output humbuckers, Floyd Rose tremolo, and single volume knob, it's got similar specs as the Skulls and Snakes, and with a much lower point of entry. So, I jumped on it, and I am glad I did. I've spent the last few days getting to know my new Friedman Cali and I can say with confidence this is an excellent guitar for the price. That said, it does have some minor drawbacks that I will gladly look past given how amazing the guitar feels and sounds. My particular guitar was a scratch and dent, which in my case means pre-owned. I say this because when I took delivery of the guitar, I noticed a tremolo stop had been installed, poorly I might add. I confirmed with Friedman they did not install these at the factory; hence my opinion the guitar was previously sold to another customer. In any case, there are no other blemishes or visual imperfections to speak of other than, of course, the factory relic job. After my initial inspection, I put the guitar back in the case to chill out for 24 hours to acclimate to the environment. After that, I remove the old strings, cleaned and polished the frets, lubricated the hardware, applied contact cleaner to the pot and switch, put on fresh strings, and gave it a proper set-up. Some things I noticed during the whole process: the b-string tuner doesn't seem to work as smoothly as the other tuners. These appear to be Hipshot open gear locking tuners, similar to what I have on my Tyler, and I know they usually work very well. Next time I change strings, i will pull the tuner and take it apart for inspection. Another thing I noticed is the screw-in style tremolo bar on the Floyd Rose. This is simply an antiquated design and needs to go the way of the rest of the dinosaurs: extinction. I much prefer the convenience, feel, and adjustability of the drop-in replacement bar, so that is what I installed. Now the tremolo feels expressive and smooth, and the bar drops in quickly. Once I got the Cali set up, I was amazed how comfortable it is to play. Let's first talk materials and craftsmanship. The relic job on the maple neck and fingerboard, combined with the rolled fret edges and slick fret crowning, make this guitar feel like you've been playing it for decades. It's really quite special and something you have to play to understand. because of the compound radius and excellent fretwork, I am able to set the action very low without excessive buzzing. I use 9-gauge strings, and two tremolo springs are sufficient to ensure the tremolo sits parallel to the body while keeping low tension on the strings. Bending is super easy and very smooth, and the tremolo feels so expressive. The guitar just feels slinky and rather addicting to play. On the tone front, it's an absolute monster. The Friedman Classic pickups feature Alnico 5 magnets, which happen to be my favorite for hard rock tones. The bridge pickup sounds thick with gobs of sustain, while the neck pickup is round and fat. Both pickups are articulate and clear, and allow single notes in complex chords to shine through. Rolling back the volume knob will clean up your tone nicely, especially with a good tube amp. These guitars were a collaboration between Dave Friedman and Grover Jackson. Unfortunately, they are no longer working together, and Grover has moved to the Nashville, TN area. I do believe Friedman guitars will be hitting the market again soon, made by someone other than Grover. With that said, the Grover-era are pretty amazing guitars, and may become harder to find. So, if you are in the market for a 1980's super-Strat style shredder, I'd recommend checking out a Grover-era Friedman while you can.

VS

Most Liked Negative Review

3

Amazing bass with a major flaw

Being mainly a guitarist, this bass is perfectly ideal for what my needs are. A great bass with a great sound/tone for recording, and many option with the knobs to fine tune and tweak that sound to my preference. However, my biggest gripe is that the string action is ridiculously tight for this bass. I like to play with ticker gauge strings, as I typically go for lower tunings, but this bass is (ironically with it being a 5 string) is simply not made for it. The action towards the neck of the fretboard makes thicker strings unplayable. They make contact with the fretboard at around the 2nd-3rd fret, and raising the bridge to compensate isn't enough. To make matters worse, the screws that are used to raise the strings on the bridge are very easily stripped, and I'm struggling to find any sort of replacements for them.

Filters

Best Uses

  1. Practice4
  2. Recording3
  3. Metal songs1
  4. Rock songs1
  5. fun. and looking cool shredding for the normies1

Cons

  1. None5
  2. Poor Quality2
  3. Virtually no low end warmth.1
  4. Kind of expensive1
  5. Shipping box arrived damaged1

Describe Yourself

  1. Beginner2
  2. 74 years old, been playing 60 years.1
  3. Jazz, rock, classical player for 60 years1
  4. Metal,hard rock and instrumental rock1
  5. Retired 64 YO beginning amateur1

Pros

  1. Sound4
  2. Attractive3
  3. Stays in Tune2
  4. Stays in tune2
  5. Tone2
  • Sounds really good

    5

    submitted24 days ago

    byTrenton

    fromGladwin county

    This pedal sounds quite good. It is quite customizable. If you do buy this, if you do not have the cord used to power it, there is a battery adapter under the actual pedal part. you just put the black pins on the pedal in and take the pedal off. anyways, really good sound if you want a proper rock or metal distortion/overdrive for an affordable price.

  • Not too bad for the price

    3

    submitteda month ago

    byJeff

    fromNashville TN

    Typical Chinese bling, the sound is lacking.

  • This drum is just like the vintage ones

    5

    submitteda month ago

    byJeff

    fromSeattle, WA

    Play with freelance jazz and rock standards groups. All kinds of gigs and shows. I want to buy one of the sets.

  • Love this guitar.

    5

    submitteda month ago

    byLarry

    fromMinnesota

    Love this guitar. Easy/Good tuning, very playable, thin neck is fast.

  • Its so good it fits my church setting well

    5

    submitteda month ago

    byjordan

    fromHamilton, new jersey

    This product is the best drums i've ever played on because the shells are a nice color and when you tune the drums up, it sounds so good. When you play it in a open space it fills the room and when you play it in an enclosed space it sounds even better. All Im saying is that this is hands down one of the best drum sets.

  • 23862 SYCAMORE DR

    1

    submitted2 months ago

    byETHAN

    fromMission Viejo, CA

    Electronics are really good. Was going to use it for jamming and professional playing. However, I could not lower the action due to stripped saddle screws

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