Focusrite Scarlett 2i4 (2nd Gen) Scarlett 2i4 MKII Interface


DJ GEAR INSTRUMENT GEAR LIVE SOUND RECORDING MICROPHONES HEADPHONES ACCESSORIES SOFTWARE LIGHTING BUNDLES Authorized Dealer – Full Warranty Focusrite Scarlett 2i4 (2nd Gen) USB Audio Interface (2nd Gen) – Brand New – Description Ideal for anyone who needs a cue mix for performing or recording Our compact and flexible 2-in, 4-out USB audio interface makes it easy to perform and record studio quality audio against a cue mix. Take it anywhere, connect by USB and get two natural-sounding Scarlett mic preamps, super-low latency*, MIDI I/O, four analogue outputs and the same class-leading sound quality and digital conversion as the rest of the latest Scarlett range. Focusrite interfaces are perfect partners for Pro Tools, so Scarlett 2i4 comes with Pro Tools | First – Focusrite Creative Pack, as well as Ableton Live Lite recording software and a suite of software and samples, so You’ll be able to start recording straight away. As you’d expect, it works flawlessly with all major DAWs on Mac and PC. What is latency? Scarlett 2nd Generation interfaces have lower latency than any other USB audio interfaces. Check out this short video to see for yourself how latency can cause problems when recording, and find out what You’ll be able to do to overcome it. Sound Like You Easily make studio-quality recordings that sound just the way you intended. Record anything you wish to have using two combination inputs, with natural-sounding Scarlett mic preamps, 48v phantom power, line level inputs and newly-designed instrument inputs that can handle even the loudest guitar pick-ups. The Performer’s Interface Four analogue outputs, MIDI I/O and cue mixing make Scarlett 2i4 ideal for live performances. It also gives you a loud headphone output, two balanced outputs and four RCA outputs for connecting to your speakers or mixer. Real Time Effects Don’t let interface latency ruin your performance. Scarlett 2i4’s new super-low latency lets you make stronger your recording or performance in ways that are simply impossible with any other interface in this class, like enabling real-time guitar amp simulation and vocal reverb (subject to your software, settings and computer). Super-low latency for simpler, more effective recording Latency is the time it takes for a signal to get through a digital system. Most commonly, the kind of latency you will be most concerned about is “round-Commute latency”. This is the time it takes for a signal to go into your interface, from there to the computer and through your DAW software, then back out to monitor through the interface again. Traditionally, round-Commute latency has been so long that it has been impossible to monitor overdubs, for example, through the DAW – the delay is long enough to be musically off-putting. As a result, you’ve had to use so-called “zero-latency monitoring” (that’s simply listening to the input, not through the DAW). But that means You’ll be able to’t use your DAW plug-ins – you’ve either needed special outboard DSP, with its own plug-ins, or go without. Now, thanks to innovative driver and conversion design, Scarlett offers you round-Commute latency as low as 2.74ms*. Suddenly You’ll be able to work entirely within your DAW for both overdubs and playback, using your favourite plug-ins and virtual instruments, and listen to them as you record. You don’t need outboard DSP because your computer is more than powerful enough to run all the plug-ins you wish to have. There is no need for special mixes for overdubbing – You’ll be able to do your overdubs in mix mode through the DAW, saving time and effort – and with a more enveloping sound to play to. And at the same time, You’ll be able to enjoy the best conceivable performance environment with ‘comfort reverb’ on their vocals and other effects. Round Commute Latency (ms) tested at 96 kHz on Windows 10 with a HP Zbook Buffer Size 32 64 128 Cubase Pro 8 3.22 3.22 7.27 Ableton Live 9 3.69 4.03 7.36 Pro Tools 12 NA 4.27 7.60 Round Commute Latency (ms) tested at 48 kHz on Windows 10 with a HP Zbook Buffer Size 32 64 128 Cubase Pro 8 4.37 7.83 12.37 Ableton Live 9 5.33 7.99 12.54 Pro Tools 12 4.37 7.71 12.36 Round Commute Latency (ms) tested at 96 kHz on OS 10.11 and Mac Pro Buffer Size 32 64 128 Cubase Pro 8 2.74 3.41 4.74 Logic Pro X 2.74 2.74 4.74 Ableton Live 9 3.16 3.49 4.82 Pro Tools 12 NA 4.07 6.07 Round Commute Latency (ms) tested at 48 kHz on OS 10.11 and Mac Pro Buffer Size 32 64 128 Cubase Pro 8 3.79 5.12 7.79 Logic Pro X 3.79 5.12 7.79 Ableton Live 9 4.63 5.31 5.31 Pro Tools 12 4.57 6.47 6.47 Round Commute Latency (ms) tested at 96 kHz – 32 Samples on OS 10.11 and Mac Pro PreSonus AudioBox iTwo Steinberg UR22 Roland Octa-Capture Scarlet 2i4 2nd Gen. Logic Pro X 3.66 4.65 4.71 2.74 Pro Tools 12 (64 samples) 4.98 5.98 6.15 4.07 Ableton Live 9 Suite 4.07 5.06 5.23 3.16 Round Commute Latency (ms) tested at 48 kHz – 32 Samples on OS 10.11 and Mac Pro PreSonus AudioBox iTwo Steinberg UR22 Roland Octa-Capture Scarlet 2i4 2nd Gen. Logic Pro X 4.68 5.64 5.64 5.64 Pro Tools 12 (32 samples) 5.34 6.31 7.04 4.57 Ableton Live 9 Suite 5.52 6.47 7.19 4.63 The Addictive Keys virtual instrument from XLN Audio is included for free with all Focusrite audio interfaces. One full licence per account is available for existing customers as well as new customers. Focusrite and Addictive Keys The Addictive Keys virtual instrument from XLN Audio is included for free with all Focusrite Scarlett, Clarett, Red and Saffire audio interfaces, and is available for existing customers as well as new customers. One full license per account enables you to make a choice one world-class Addictive Keys instrument, such as Modern Upright, Studio Grand, Electric Grand or Mark One. To make the most of this piano plug-in, simply register an audio interface. Follow the instructions at the top of your account page to enable you to access this great virtual instrument from your home recording studio set-up. Don’t own a Focusrite audio interface? Addictive Keys is a powerful tool for musicians, producers and songwriters. With its unique approach to sound creation, smart workflow, fast loading times and high-quality presets, Addictive Keys is perfect for any production style or music genre. Addictive Keys supports all of the major plug-in formats: VST, AU plug-ins and AAX (32 and 64-bit), so it can be used within most music applications including Pro Tools, SONAR, Cubase, Logic, Live and many others. Addictive Keys can also work as a standalone instrument, without requiring host music software. This makes it easy to load an instrument, find an inspiring preset, and start playing, without having to launch any other music software. XLN Audio is a Swedish software company that makes award-winning virtual instruments, plug-ins and sound content for music makers. Since its inception in 2005, the company has gained worldwide acclaim by focusing on making products that are inspiring, powerful and easy to use. Their most popular products include the Addictive Drums and Addictive Keys virtual instruments, both of which have become go-to products for today’s biggest producers and performing artists. Start Recording Today Compose, record, edit, save and export your music straight away, with time-unlimited versions of industry-standard music software: Ableton Live Lite and Pro Tools | First – Focusrite Creative Pack, which features 12 additional plug-ins including the Eleven Lite for real life guitar amp emulations and Black Op for iconic distortions and overdrives. You also get Softube’s Time and Tone bundle, the Focusrite Red Plug-In Suite, Novation’s Bass Station Virtual synthesiser and 2GB of Loopmasters samples. Scarlett 2i2 works with all major DAWs on Mac and PC, and all the software included is simple enough for beginners, yet sophisticated enough for advanced users. Which DAW is for you? All audio interfaces in the Scarlett 2nd Gen range ship with a comprehensive suite of software applications and plugins, so You’ll be able to start making music right out of the box. Alongside the Focusrite Red Plug-in Suite and Softube Time and Tone Bundle, the headline acts are two extraordinarily powerful and creative desktop audio workstations (DAWs – virtual recording and production studios, essentially): Avid Pro Tools | First and Ableton Live 9 Lite. Both include everything you want to produce complete tracks from start to finish – multitrack audio and MIDI recording, playback and editing; virtual instruments and effects; arrangement and mixing tools; and much more – but each has its own particular workflow and feature set, so which is right for you? Pro Tools | First The industry standard professional DAW, found in studios around the world, Avid Pro Tools 12 is a recording and mixing powerhouse. The entry level Pro Tools | First takes many of its features and simplifies the setup process to get the novice up and running quickly. If you’re an instrumental musician, singer-songwriter or band looking to capture everything from rough ideas to final sessions, perhaps integrating external effects hardware and mixing tools, Pro Tools | First is the ideal production platform. Ableton Live Lite The first-call DAW for electronic music and live performance, Ableton Live is renowned for its innovative, non-linear approach to composition and arrangement. The Session View lets you literally ‘play’ your project and create arrangements on the fly, before locking down a finished structure and mix in the Arrangement View. For producers of dance and electronic music, laptop DJs and live performers, Live 9 Lite is the software studio of choice. Rewire With Pro Tools | First and Live 9 Lite each specialising in its own style of music production – and, of course, both bundled with your Scarlett 2nd Gen audio interface – wouldn’t it be great if you could in some way merge the two into a sort of hybrid super-DAW? Thanks to Propellerhead Software’s ReWire technology, You’ll be able to… Record and Perform Anywhere Compact, tough and entirely powered by USB, you don’t even need to carry a power cable to record or perform anywhere you like with Scarlett 2i4. Designed For Guitarists No matter how loud you play, or how hot your pick-ups, the newly-designed instrument inputs can handle it. You’ll be able to be free to play without the worry of unwanted distortion. New instrument input can handle the freshest pickup Many Scarlett users are musicians, and in designing the new generation of Scarlett interfaces we paid special attention to the instrument input. This has its own unbalanced path, which maximises the headroom. In addition, the supply voltages have been increased to the instrument input circuitry, and the high impedance input buffer (a high input impedance preserves the top end of the sound of a guitar) has been reconfigured. Combined, these factors have added a significant additional 8dB of headroom to the instrument input. At the same time, the widely-praised clean, natural sound of the Scarlett mic preamp is unchanged. Also redesigned are the input level controls, which feature a unique, specially-designed potentiometer whose value changes in a much smoother way than most level controls You’ll be able to have tried. Instead of the signal increasing slowly as you turn the knob up and then suddenly getting much louder much more quickly as you reach the end of the commute, the new Scarlett level Keep watch over provides smoothly controlled, evenly distributed gain that makes it easier to set input levels with greater accuracy. Protecting your investment We expect the Scarlett range to get some rough remedy both on the road and in the studio, and in addition to the robust metal enclosure we’ve taken steps to offer protection to your Scarlett against electrical problems too. We’ve added surge protection circuits to both the inputs and outputs to help your Scarlett continue to exist common mishaps – like plugging the outputs into a console input with 48v phantom power on it, or shorting the Scarlett mic input when phantom power is active. The new generation Scarlett is designed to continue to exist these, and other challenges. New Generation – Better In Every Way The latest generation Scarlett 2i4 is packed full of upgrades. It operates at sample rates all the way up to 192kHz with new super-low latency* that permits you to record and monitor with software effects in real time. We completely redesigned the instrument inputs so they may be able to handle even the freshest guitar pick-ups, and we’ve made it easier than ever to set your levels correctly. We’ve also built in new analogue protection circuitry across the inputs and the outputs, to guard your interface against unwanted power surges. New Generation Technology The new generation of Scarlett interfaces from Focusrite includes a host of technical innovations under the hood. An updated converter design provides sample rates up to 192kHz, 24-bit, for high-resolution audio. The instrument input has been thoroughly re-worked to give 8dB more headroom – suitable for the freshest pickup – whilst the acclaimed Scarlett mic pre remains unchanged. New protection circuitry on the inputs and outputs protects your investment against electrical challenges like phantom power unintentionally being plugged into the outputs, or shorted inputs with phantom power. The gain controls have evenly distributed gain that makes it easier to set your input levels with greater accuracy. New, super-low latency lets you record and monitor with your favourite DAW plug-ins and virtual instruments with no need for outboard DSP. Perfect Partner for Pro Tools Avid’s Pro Tools is the preferred Digital Audio Workstation (DAW) around, and Focusrite and Avid have collaborated for over 20 years, from the D2 and D3 plug-ins to the M-Box, Keep watch over|24 and beyond. We want to make the experience of using Focusrite hardware and Pro Tools software together the best conceivable experience for all Focusrite owners. Avid recognises Focusrite as an ideal companion to Pro Tools, and all Scarlett interfaces are thoroughly tested with the latest versions. Scarlett interfaces are also compatible with all other major DAWs, on Macintosh and Windows computers. Crisp and Clear Conversion Converting your performance into digital audio and back again is the most important part of the recording process. We’ve been making class-leading converters for over 20 years, and Scarlett 2i4 has the best converters of any interface in its class. You’ll be able to hear the difference! Every part of your recording will be beautifully crisp and clear, even when you’re playing softly. This means You’ll be able to amplify your quieter moments without any unwanted hiss or buzzing. Higher sample rates Focusrite has been making digital audio converters almost as long as we’ve been making mic preamps – since the launch of our Blue Range mastering converters in the mid-90s. The converters in the next-generation Scarlett range operate up to 192 kHz sampling at 24-bit – making it conceivable to use the full range of standard sample rates from 44.1/48 (CD/DVD) to high-resolution audio at 88.4 and 96 kHz and beyond. With increased interest in quality hi-res downloads and streaming, mixing your tracks to 24-bit at 88.4 or 96kHz sampling makes sense: the extra load is well within the capabilities of most music computers. And if you wish to go all the way up to 192kHz, the facility is there. Features/Specs Supported Operating Systems Supported Sample Rates 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, 192 kHz Microphone Inputs Frequency Response : 20 Hz – 20 kHz ± 0.1dB Dynamic Range : 106 dB (A-Weighted) THD+N : <0.002% (minimum gain, -1dBFS input with 22Hz/22kHz bandpass filter) Noise EIN : < -126 dB (A-Weighted) Maximum input level : +4 dBu Gain Range : 50 dB Impedance : 3k Ω Line Inputs Frequency Response : 20 Hz - 20 kHz ± 0.1dB Dynamic Range : 106 dB (A-Weighted) THD+N : <0.003% (minimum gain, -1dBFS input with 22Hz/22kHz bandpass filter) Maximum input level : +22 dBu Gain Range : 50 dB Impedance : 52k Ω Instrument Inputs Frequency Response : 20 Hz - 20 kHz ± 0.1dB Dynamic Range : 106 dB (A-Weighted) THD+N : <0.02% (minimum gain, -1dBFS input with 22Hz/22kHz bandpass filter) Maximum input level : +13 dBu Gain Range : 50 dB Impedance : 1M Ω Line & Monitor Outputs Dynamic Range Outputs (1-2) : 106 dB (A-Weighted) Dynamic Range Outputs (3-4) : 103 dB (A-Weighted) Maximum Output Level (0 dBFS) Balanced Line/TRS Outputs : +10 dBu Maximum Output Level (0 dBFS) Unbalanced Line/RCA Outputs (1-4) : +5.5 dBu THD+N Outputs (1-2) : <0.001% (minimum gain, -1dBFS input with 22Hz/22kHz bandpass filter) THD+N Outputs (3-4) : <0.008% (minimum gain, -1dBFS input with 22Hz/22kHz bandpass filter) Impedance (TRS Outputs) : 94 Ω (Balanced) Impedance (RCA Outputs) : 47 Ω Headphone Outputs Dynamic Range : 107 dB (A-Weighted) THD+N : <0.001% (minimum gain, -1dBFS input with 22Hz/22kHz bandpass filter) Maximum Output Level : > +7.8dBu Impedance : 10 Ω Compatability : We are authorized dealers for all these brands. 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In the event that the customer refuses a shipment, all shipping costs to and from the country or State in which the item was shipped to aren’t refunded. Please note, in some cases return shipping can cost as much as double the original ship cost. We operate a 30-day return period. Items must be returned with all original packaging as well as all included items. Items that aren’t returned in original, resalable condition are subject to a 15% restocking fee. We charge a 15% restocking fee on returned items only if the item is clearly used and or the packaging is tarnished. A 10% re-stock is more likely if the unit comes back in mint condition. The ship cost we paid UPS to ship your item will be deducted as well. In some cases restock fees and ship costs can be applied as a store credit. We will be able to exchange a defective unit for the same unit within the 30-day period. After that period, you’ll have to work directly with the manufacturer for warranty service. Items that can not be returned include: software, units with contents or packaging that is damaged/missing, and items that are considered for personal use (such as earphones, headphones, microphones, instrument mouthpieces, harmonicas or other items that you wouldn’t want to purchase if someone else had previously used them). Also, Items which we do not normally stock (i.e. “Special Orders”, discontinued products, close-outs, used products, etc.) are non-returnable. We strongly suggest that you check your order after receiving it to be sure that it is in proper working order. Please contact us for a Return Authorization before returning any items.


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