The inputs and outputs are labelled as mono, even though you can stereo-link the input channels. Secondly, I found the channel routing counter‑intuitive. This is a puzzling omission, since a pre/post‑fader option would be a simple addition. You're only able to visually see the result of fader movements via the input meter on the main stereo bus. Firstly, although you have the option to listen to the pre‑ or post‑fader signal, the channel meters show only the pre‑fader signal. Would that such a function were available in Cubase or Pro Tools! Of course, this feature is also great for creating different monitor mixes for 'the talent' you're recording.īut I experienced some significant frustrations. Although it isn't the software's raison d'être, I could imagine using it to create several stem‑ or bus‑based mixes from a DAW project - a vocal‑up and vocal‑down mix, for example. You can create 16 separate mixes, each of which can be accessed at the click of a tab. The inspiration comes in the form of the tabbed mixer. Soft Centreīefore I look at the preamps themselves, I feel that I should comment on the Saffire Mix Control software, which I found inspirational and frustrating in equal measure. In short, it's a well specified audio interface in its own right. If you want to further increase the analogue I/O, the ADAT connectivity makes the Liquid Saffire ideal for use with expansion units such as Focusrite's Octopre LE. Suffice to say that you get eight decent, whisper‑quiet, clean‑sounding Saffire preamps that offer plenty of gain - particularly good value for money. I won't dwell too long on the Saffire side of the hardware if you want to know more about that, have a read of Sam Inglis' Saffire Pro 40 review in SOS January 2009. Essentially, it's a Saffire Pro 40 but with a few extra bells and whistles: there are additional ADAT or S/PDIF optical connectors, taking the total I/O count up to 56 two of the Saffire preamps can be swapped for Liquid ones there are front-panel buttons to control phantom power, high‑pass filtering and polarity for each channel separate mic and line inputs are provided on both XLRs and jacks, rather than the Pro 40's Combi XLRs and, finally, the additional features mean that it occupies 2U of rack space. What you get is for your money is a fully featured Saffire Pro audio interface with lots of analogue, digital and MIDI I/O, including eight mic and line inputs and eight outputs. The preamp emulations are selected via the Saffire Mix Control software, which also includes a useful tabbed mixer. They may have dropped the 'Pro' from the name, but the result is far from amateur. This new product marries two of the Liquid preamps with Focusrite's Saffire Pro audio interface technology. ![]() The Liquid preamps, though, have remained the preserve of those with a serious budget, and even second‑hand units have held their price well.Īctually, I should say had remained, because the Liquid Saffire 56 audio interface brings that technology well within reach of the home studio. This brought the cost per preamp down a little, at the expense of trading the Liquid Channel's transformer for a 'gyrator' that emulated the behaviour of the transformer. They were also able to put four of the preamps into a separate unit (the Liquid 4 Pre, reviewed in SOS March 2008). That approach was necessary to let a connected mic 'see' the different impedances that would be presented by the real thing.įocusrite were able to hive off the EQ and dynamics section to create a separate, much more affordable product (the Liquid Mix, reviewed in SOS July 2006, and later the Liquid Mix 16, which was more affordable still) - something that was simple to do because it was an entirely digital process. While the 'dynamic convolution' process behind the EQ and dynamics emulations was easy enough to understand (to simplify: lots of DSP running multiple‑snapshot convolution), the preamps were rather more complicated, employing a combination of electronics and dynamic convolution to create emulations. Pretty much any preamp, EQ and compressor of note had apparently been 'modelled', to create arguably the most flexible channel strip in history - and the results of using it were pretty damned good too. It's fair to say that when Focusrite and Sintefex first unleashed their 'Liquid' technology, in the form of the Liquid Channel (reviewed in SOS July 2004), many in the world of audio production were stunned. Focusrite's Saffire Pro interfaces already offer excellent value for money, but imagine if you could add two channels of any preamp you wanted.
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