1998 to used 2013

CoolCat

Well-known member
I grabbed a Focusrite Platinum Voicemaster today. $80...1998 ish...

After reading 100 posts or so, the positives the negatives, the beginners and the ones comparing it to a Focusrite Red, it was all interesting. My favorite poster was one who bashed this unit severely & repeatedly, and in the end hadnt ever tried it.

But many years have gone by in HR land and this somewhat "bastard child" of the family of Focusrite was only $80, in minnt condition I might add...at least visually. This unit was used in a studio voiceover environment, and it was used for years I was told, but no problems to speak of. The person just going to software and not so much need for hardware these days was mentioned.

So of course after grabbing the unit, and driving off, the first stop light was to flip it over, to see the underside... Made in England...cool. The seller gained some credibility. Focusrite is supposed to be made in England.

First noticed in this world of plastic gear, the Focusrite Platinum Voicemaster, is all metal. nice.
Also noticed is the paint and knobs are in perfect condition and smooth to the feel, 12 yrs later-ish.
A $1500 Focusrite with plastic cheap flimsy knobs were noticed at GC, I was amazed(let down) how cheap the knobs felt and the crooked pot-stem intrigued me for a bit. Then I noticed all the pots on the unit felt cheap and flimsy.
This Platinum Voicemaster the pots feel solid, smooth and made with some kind of rubber material like you should find on a $1500 unit. strange, yes?

anyway, I'm going to plug in the $80 version of this bastard, and compare sounds to my plastic $70 UX2 with software LA2A with Vintage Pre-Amps/EQ's....

I noticed they had a Focusrite Platinum Voicemaster in the rack at the big studio I had the pleasure to visit today also, amongs the real LA2A's and numerous Distressors and SSL 4000 etc..et.. that kind of made me smile, a psychology thing I guess when you see the pro's owning the same bastard unit.
 
I have a Platinum Twintrack. I like the way it sounds, but have recently moved over to a UAD Apollo. I like that way better and will be selling the twintrack.

$80 is a good price.
 
I hear you. Its all relevant isn't it.

Fiddling with this for a few hours. It works, for $80 no problems.

BUILD: Very well built, imo.
SOUND: It wasn't a WOW! unit,
EASE OF USE: It took some effort to get something decent and at first several attempts it was kind of tough. There's 17 knobs and 14 buttons, so its not a One Large knob type unit. Reminded me of a Joe Meek VC1Q...same era.

I still like the Joe Meek flavor to have around, this compliments it as seems clean, but not as easy to dial in a great tone as on the ISA ONE.

I do have a concern of company's when they start down that "cost engineering mentality though"..it starts with outsourcing, next thing you know they are changing compnents and the knobs fall off. haha This unit does not have the cheap build, it could go live in a rack and do well.imo.

This one is built like a tank. Build is really good, the Tones.. I could match with my software. Too many knobs for me. In software I can set somethign and save it, with this I'd need a notebook to keep track of all the 17 settings etc... Analog gang would love it! very analog-ish which is cool.

Focusrite Preamplifier
 
I have a Platinum Twintrack. I like the way it sounds, but have recently moved over to a UAD Apollo. I like that way better and the twintrack.

$80 is a good price.

ok, so you already have exp with the abundance of tweaking.... Tweakz also chose the VM Pro after a long tryout, said "people with money for separate units arent shopping for the platinum series." Good article.

It was interesting flash through the years kind of gear day..I always enjoy it.

I would bet people who couldnt get a decent tone from these things was due to them giving up. The units can get a good tone with some work. ..you can make a lot of bad tones with it too.:p
 
Yeah, some of the swtiches are flaky. There are parts available on the internet to replace them, but I have to decide if it's worth my time to open it up and replace a couple of switches versus selling at a discount.

I like the sound of the optical compressor. Used it mostly on bass.
 
Thanks Chili, interesting idea., was just thinking about going through with a bass today to mess with this strip unit some more.
The bass amp thread, had me seeking a bass preamp and running it into a Carver PA I have being unused too. $80 might be a nice live bass preamp? Or trade it in...after playing with it a bit more.

I agree with you, checked out the UA Apollo , software rack and dynamics. the ergonomics of everything in the box is great for HR especially. Looks great, hard to justify starting hardware collection when you can have 10qty v- LA2A's and 24 channels of 14 band eq and Multiband Compression, v-Neve pre's all in the box etc..etc.. Its the way to go. The UX 2 has a great set of v-Gear and Reaper is loaded too.

the Analog gang is probably loving grabbing $600 old gear like the Focusrite Platinums, for $80 CL or $199 GC used.
I might like it to have the plugs in the front too, especially for a bass live rig-pre.

However, there's no CPU demand on these outboards and other than recalling settings with 17 knobs and 14 buttons...:facepalm:

Closely inspecting the SSL 4000 board and watching a youtube on it, the channel strip of the SSL:
Preamp>Compresor>Gate/Expander>Filter/Shelve>Parametirc EQ's>Mid Band Q> Fader

theres the inserts and a bunch of patching ...

Focusrite Voicemaster, does the similar approach, as does all the other "Channel Strips". I like the concept of the strips for HR. I didnt even see the engineers coming close to using all the SSL4000 channels. HR to have one good strip is great, a few even better.
but is it better than Virtual aka v-Gear...?

After some more time with it, I understand why some really disliked this series and some were ok with it, its all about the fine adjustments and struggle. Looking at the ISA One theres 2qty knobs! the LA2A 2qty knobs! These Platinum Series have 17 or more!!

crazy..
 
I see my unit is a little different in features than yours. Mine has a notch filter but nothing else for EQ. Looks like the voicemaster has a whole parametric eq section. It might work as a DI into a PA amp. You'll lose any flavoring provided by a real bass amp, but that may not be a bad thing. I think you would get all tone from the guitar. That could be cool.

If you have a PA amp and speaker already, you may also consider using a bass amp modeler. You could use the Line Out directly into the carver.
 
That's a nice find. Things are clearly made with cheaper components these days. It's pretty sad that this 13ish yr old recording channel could quite possibly outlive a new one purchased today.
 
Neve, Focusrite Ltd and Focusrite Audio Engineering ltd.

Here's some blast from the past....
Focusrite Ltd.

Far Right: Focusrite Ltd ISA 110 Series
Right: Focusrite Master Rock Studio Console

In 1985 Rupert and Evelyn Neve incorporated a new company called Focusrite Ltd. A new modern range of outboard equipment was launched to meet the demands of the studios such as rack mounted Equalizers and Dynamics processors, microphone and line driving amplifiers.

Under enormous pressure to go into mixing consoles again and with many promises of support and investment from friends in the industry, Focusrite Ltd. accepted orders for eight monster sound control consoles. Though the audio part of the design was complete and proven, the digital control side of the design (outside Rupert’s field of expertise) ran into delays. The company ran out of time and money that resulted in liquidation in January 1989.

Mr. Phil Dudderidge, who incorporated a new company Focusrite Audio Engineering Ltd, bought the assets of Focusrite Ltd. He inherited the Focusrite Range designed prior to 1989 and continued to manufacture and market it. He has since added other units to the range. Rupert has never designed products for Focusrite Audio Engineering Ltd.

***some random comments I foudn interesting*************

>FORUM POSTer unknown > ALSO IT WAS AROUND THE SAME TIME THE FOCUSRITE STUFF WAS FIRST COMMING OUT THAT PEOPLE WERE THROWING OUT THEIR NEVES API consoles etc... I remember my buddy picked up a blackface 1176 for $200 bucks from a well name studio. At that time the same studio had a awesome API console and a sweet Ampex 2" machine and they couldn't get rid of it. Everyone belived that Focusrite and SSL made their old gear worthless, that sure didn't last long. Not only is that funny, but it also prooves my point that a lot of times people's hearing is affected by the latest trend even professional engineers.

Also I'm not sure but I believe if you bought 2 channels of the Focusrite pre it only came with the pres. I don't think the red face had any output transformer, and 2 channels in a rack was 2k something. So you got 2 $50.oo input transformers and a few 50 cent opamps. I think the whole thing is poe
*****************
>Forum Tech poster>
Lundahl transformer, NE5534, lastly (and very importantly) "pumpkin" toroidal tranny output stage, which is driven by a strongly biased 5534 with a high current class AB follower stage.

Contrast the Focusrite BLue Lundahl tranny/5534 with the V-series OEP type tranny/5534. One rocks, one doesn't.

It's not Rocket science, it's Rock it science!!!
******************
>ANOTHER COMMENT>
Platinum = cynical attempt to sell using the Focusrite name.

You have to understand the history of the company.

The original ISA Blue series were designed by Rupert, who listens to what stuff sounds like. 5534s are excellent op amps. I know you'll read otherwise, but consider the source: many of these people saying so are sheep rather than engineers.

Focusrite went broke after Rupert was beseiged and plagued by people begging him to make consoles. Despite £1,500,000 (about $3,000,000 at the time) in orders, the company cash flow was so inadequately set up for large-frame manufature that it crashed. Phil Dudderidge (of Soundcraft) saw an opportunity and bought in, keeping the name alive. Rupert was gone, but the existing designs were now Focusrite's property (and therefore Phil could use them)

The Red series was an attempt to make basically the same stuff, but with some cost savings. Many boards inside red equipment that I've worked on have had alternative parts placings for blue and red, so the same motehr board can be used, but perhaps with some transformers skipped here and there, or some cheaper pots or something.

The Green series was the cynical attempt to sell based on the good name of Focusrite, founded by Rupert's early work. It's totally transformerless from everything I've ever seen, the cases are cheap castings, the knobs are cheap mouldings. The gear sounds like utter crap and doesn't deserve to bear the same name.

The Platinum is actually branded as the "entry-level" Focusrite gear. I saw one once. It made me shiver just to be in the same room as it. I never looked inside it, but I felt utter certainty that if it really was a step down from the greens, I wanted no part of it.

My platinum experience is therefore insufficient to give an opinion, but the Focusrite history lesson should put the product lines into better perspective.

Rich, I get the distinct impression from your postings that you're influenced more by what you think something should sound like rather than actually listening to it... I don't mean this as a criticism, but it sounds like your friend summed the original design up nicely: a transformer, a 5534 and a high gain stage (the transformer was omitted from his summary)

If it's simple, it might just sould like gold. That's how it frequently was for tubes, after all!

****
As I get the Neve connection, to Focusrite Ltd....1985 and gone by 1989.
Then the new owner had the designs, owned property to Focusrite Audio Engineering-> where as the Blue 110 etc...were the Neve.

Red and Green and Patinum not so Neve-ish (Transformers and Op Amp designs).

ISA series built with transformers and op amps, "Neve 1985-ish designs".

clear as mud! interesting story....
 
That's a nice find. Things are clearly made with cheaper components these days. It's pretty sad that this 13ish yr old recording channel could quite possibly outlive a new one purchased today.

The Platinum are built like tanks..
Here's a large power supply coil, made by Torriod, etc..etc.. very nice.
One comment, years past, mentioned they spent more on the case than the "tone".

After reading, it all makes more sense... that those who compare from top-down, this was far below the Neve/Air Studio stuff, others found it worked just fine as a tool in the studio, and some found the tones pleasing.

I think it sounds fine, but then I'm not comparing it to a ISA110.

But as I get it.. the "tone" for the Focusrite is in the transformer designs, and this Platinum is a non-transformer unit , yet with discreet preamp which works alright. imo.

For $80 its a HR great deal. right? $80 bucks..for a pre and eq, comp, and interface ..I might say at $80 awesome deal. A person couldnt begin to build this complex unit for $80....for $600 in its day, the ISA One would probably have the "tone vybe".
 

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a channel strip

DESSER-
Finding this unit is workable, and really noticing smaller details that are positive. The De-Esser is very good, and doesnt easily mush-up the vocals like some do turning it into a Lisp Creating device. Software can do it as well...but still this ones better than some Ive used.

FleaBay shows it selling around $175-$200 13YRS LATER..

a good article with retail at $675! :eek:
Prosound Network: Focusrite Platinum VoiceMaster Mic Preamp/Vocal Processor

PREAMP wise, its got more going on than the DMP3 alone. DMP3+RNC might be a different thought, imo.

NOISE GATE/EXPANDER works well too once its figured out. Very subtle adjustments needed.

This unit is more in line with Joe Meek VC1Q, totally different tool, but works. Its a bit up from the VC3 as far as bells and whistles.
The De-esser maybe better, the Joe Meek I like the compressor better.

Makes me compare to the studio the other day the SM58 into one SSL4000 channel / strip straight to ProTools (Apogee units)...nothing else, none of the rack was used, none of the distressors, or dbx,LA2A, etc..etc.. or even the focusrite red, nothing...and it sounded really good.
SSL4000 Channel strip - good drawing
http://www.recordinginstitute.com/da154/ARP/chap1SSL/sslstrip.html


Hopefully by Sunday I'll have some vocal tracking to the ISA One and Platinum/Voicemaster. .. curious why one (no pun intended) maintained its value and the price of platinum dropped over 60%?
 

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I owned Voicemaster PRO few years ago, bought it used form other studio. It had crackly pots and switches, often the VU meter just stopped working. Maybe I had just bad unit, but I really didn't think the compressor, vintage harmonics and tube sound were usable. Eq - well okay, not too bad. De-esser was probably the best feature of the unit.

I'm using the Focusrite ISA 430 now for a half year. I like the eq, but I really don't like gate and de-esser - it just needs TOO much work to get it right. Knobs/pots feel a lot better that on Voicemaster.
 
I would guess it's possibly the usage rate & environment, because from the pictures I've seen the internals are very similar to all the Focusrite's as far as boards and plugs and resistors and led's. Reminds me of working at INTEL and the Celeron cpus were made in the same line, side by side with Pentiums...same tools, same people, same everything....different design and less stringent qc, obviously. Some with much higher end designs.

Its probable my unit was low usage and therefore, looks great and works great which might be abnormal too.

ISA 430....cool... I've never had the pleasure to hear that eq, my ISA One would be welcome to that eq and comp in the insert.
So you can put the EQ in front or after, the ISA EQ...I wish they made a mini versio to slap in the ISA One, and a Mini comp but then I guess price wise would be towards the 430...

KNOBS! I suppose the vast quantity of knobs is more similar to the SSL board I had the pleasure to see in action. The tones set once for the session.
SOS 430 review- "I counted 80 separate knobs and buttons" —


I admit being a bit lazy... the ISA One was a completely different tool versus the Voicemaster....really only a volume knob, and a button that slightly adjusts tones. Listening playback the Voicemaster did alright with painful tweaking where-as the ISA One a person cant really make it sound bad.

ISA430, is in the SSL league of channel strips, and I would imagine sounds sweeeet most the time... probably not too difficult to get a good tone, right?
My first real studio visit was amazing to watch the working environment is so much different than a hobbyist HR lackadaisical method, and the emphasis to get a great tone to prevent later work was noticed, they fiddled with the numerous knobs on each channel but then it was done and not touched again.

Voicemaster is probably a different unit at $600 versus todays $199 used market, I'm looking at it from a $80 perspective.
The ability to make it sound bad is high, where as the ISA One has really no control for the user to screw it up...which is better imo.
Thats probably what Im seeing in the Voicemaster, there is a small window of good sounding tones from it and a lot of room for crap sounds.
 

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looking at the 110 inside , the little yellow pots and ribbon cables and jacks etc..all appear the same.
the design and transformers are obviously not on the Voicemaster.
like songs, different designs can just be kind of missing something.

seems like a brilliant DIYer could really make something of this unit, add tranny or beef up something in the chain...
the casing and jacks are all there....really strange the tone is so difficult to get out of it.
 

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ISA One and the Voicemaster

for what its worth...

Spent some time with the ISA One compared to the Voicemaster. ISAONE got to the nice tone easier, faster, as many already know that have used the one or two knob device. It has its sound and you cant really screw it up.

But the Voicemaster could get really close to matching it with some knob turning and side by side work. Copy-cat mode it got close.

Listening to playbacks in the mix, the Voicemaster worked fine. imo.

Then getting anal and off topic, the UX2 software gear was tweaked and with enough eq and volume settings, it could get a simulated copy-cat sound of both the Focusrites...leaving me confused and reading UAD articles and posts.

I sold the Voicemaster on CL for $150, really quickly, a few buyers too (meaning I probably could have gotten more).
bing bang boom...
 
So, you bought it, disected it, ran it through its paces, mapped out its signature and sold it for a $70 profit. :eek:

I have one word for that:
Hmmmm...

:)
 
lol Chili

you know this little journey, has the path for a hobbyHR is pretty clear for the VST stuff, imo.
that Apollo you mentioned and stuff like that is probably above and beyond my capabilitiys, but would be hard to justify anything but microphones for me. the UX2 is dirt cheap used, but the more I compare it to preamps etc.. the software world really is amazing in copy-cating gear.

I was wondering what you think of that Apollo...did you review it out or anything of comaprisons to before your setup?
What got you to buy that specific unit?
 
I was already sold on UAD because I had a couple of UAD-1 cards with a few plugs (they'll be for sale soon!!). I bought the first one without really knowing how much it would help and I was pleasantly surprised. It was an order of magnitude of difference in my mixes just using UAD stuff.

So, when they put together a product that has a UAD-2 card built in along with their mic pres, I was sold before it went on the market. The separate DSP card is a great idea to run plugs, but UAD also does a great job with simulating hardware units.

What got me to originally buy UAD dsp cards to begin with?? I guess it was just reading other people's opinions here and maybe GearSlutz. A bit of a gamble, but buying used and then getting a few plugs for free from UAD made the prospect affordable.

For the Apollo, I sold my Lavry units to get the cash.
 
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