Red 8Pre features both Thunderbolt 2 connectivity and dual mini-DigiLink ports allowing you the best of both Core Audio and Pro Tools|HD workflows. Take Red 8Pre on the road for location recording over Thunderbolt then connect the same interface to Pro Tools|HDX or Pro Tools|HD Native back at the studio for mixdown. The combination of low-latency conversion and driver technology allows real-time foldback mixes to be created in the DAW while you continue to use your native plug-ins. Unlike many interfaces, both mini-DigiLink and Thunderbolt 2 connectivity comes as standard, so there’s no need to buy an additional option card.
Parallel Path Conversion
Focusrite has been designing digital converters for over 20 years. From the original Blue 245 and 260 mastering-grade A-D and D-A, through the Liquid Channel and more recently RedNet, digital conversion is a key part of our design heritage and philosophy. Every converter we design starts with the same objectives: low latency, high dynamic range and a flat, wide frequency response. Red 8Pre’s conversion achieves just that, lightning fast performance, a dynamic range of 118dB A-D and 121dB D-A and a flat response to 35kHz. By using “parallel path summing” we have achieved even greater noise-performance than ever.
"...in today’s modern studio, audio networking is taking over. Focusrite’s RedNet range is the world’s most popular modular audio-over-IP platform. We’ve brought some of that technology to Red 8Pre, allowing up to 32 channels of Dante inputs and outputs to be connected. Simply plug in an Ethernet cable and add additional mic pres or line I/O with ease. Alternatively arrive at the studio or venue and simply connect one Ethernet cable to Red 8Pre to gain access to the whole network. The possibilities are huge..."
Focusrite makes some beautiful stuff.
One of my most favorite hardware compressors of all time was the Focusrite Red 3; it came out in the early 90's ...it was a stereo comp/limiter that had beautiful sonics.
I never personally owned a Red 3, but I had several opportunities to use it at other studios. Not only did I love it for the Master Bus, but I also loved using it on sub -busses, too - particularly on backing vocals and electric guitar.
I knew guys who would bus signal through it simply at unity gain, and not even engage any GR, just because they liked the sonic "vibe" that it gave their mixes.
I don't recall which XFO's were in it, it might have been Lundhal's 1538, which had been used in their LFC, but it sure had a sweet vibe to it.
Focusrite's history and lineage is a very cool subject. If you ever get the chance, there's a vid on YT that is a documentary on the Focusrite Studio Console.
It talks about the origins, ( George Martin commissioning Rupert Neve to build it for him) and how the sound was deemed to be incredible - even untouchable - by those who either owned one, or had used one.
I've heard nothing but praises for everything that Focusrite has released in the last few years.