PRODUCT
TESTS
Focusrite Scarlett 3 rd Generation 18i20
Recording Interface
By Drew Robertson
I
recently got my hands on the latest iteration of Focusrite’s flag-
ship recording interface, the Scarlett 18i20. With a new look and
upgraded electronics, how does it compare to its studio-staple
predecessors?
Appearance & Construction
Gone is the bright red anodized metal housing of the first two gen-
erations, replaced with a smooth black finish that now features a red
accent ring around the front to show its heritage. You’ll also imme-
diately notice the lack of rackmount points on the front of the unit,
but fear not – Focusrite has given us the option of attaching included
rackmount “ears” to discreet attachment points underneath rubber
grommets on either side.
Addressing the front of the unit from left to right, you have the
two front-side XLR/combo jacks that also act as instrument inputs.
Then we have our two 48-V phantom switches and eight preamp pots.
The pots feel great; they’re much easier to manipulate and feel very
precise. Next, we’re presented with the improved LED meter display.
The monitor segments have been enlarged, making them much easier
to read at a glance, which I definitely appreciate. Arrayed below the
monitor segments are indicators for sync lock, MIDI input, and USB
sync, all of which are easy to see when in use. Lastly, we have a monitor
control section with a dedicated talkback mic switch, alt speak selec-
tor (another nice new addition), dim and mute switches, the monitor
gain pot, and twin headphone outputs. Focusrite differentiates the
monitor gain and headphone pots from the preamp pots by making
them out of grooved metal – nice work.
Moving to the rear of the device, we have the remainder of our
I/O and expansion I/O. The only change you’ll notice from the older
models here is the in switch to a USB type C port for PC connectivity
and the addition of a second ADAT port, allowing you to track a full
16 channels at up to 96 kHz. Talk about punching above your weight
class...
The only thing I miss over the older generation is the highlight-
ing on the line out jacks that denoted the main monitor outs; it’s a
minor gripe, but in the dark, it helps to be able to quickly pick out
my main lineouts.
Sound & Electronics
The 18i20 has always had a great sound for its price point and the
third generation does not disappoint. Like previous versions, it comes
equipped with eight Scarlett preamps, all of which have been up-
graded with a new design that promises smoother gain and more
headroom. I was able to get a workable level with my Heil PR40, which
has a relatively low output of about -53dB, whereas with the older ver-
sions I would have needed a gain booster to have a workable signal.
22 PROFESSIONAL SOUND
The two front inputs benefit from a redesign that improves sonic
quality and headroom when dealing with super-hot instrument pick-
ups. Another new addition is that of a dedicated talkback mic built in
between the front preamps. This can also be assigned to any other
preamp via the talkback switch or within the software.
The biggest feature new to the 18i20 is the inclusion of the AIR
circuit on each preamp – previously reserved for the higher-end
Clarett and Red series. AIR is an effect modeled on Focusrite’s classic
ISA preamp design and it sounds fantastic. I liked it so much that I
ended up just leaving it on most of the time.
Overall, I like what Focusrite has done with the electronics on this
generation. The upgrades are logical and add a boatload of value to
an already feature-packed device.
Workflow
Working with the 18i20 has always been straightforward and logical
and it’s only gotten better over time. Between the physical improve-
ments to the device itself and the bountiful changes to Focusrite’s
companion Control software, it’s never been easier to get up and
running within minutes of set-up. Within Control, you’re able to change
just about any feature of the interface that you could need. It’s also
where you’ll find the AIR mode switch as well as digital controls for
your instrument mode switch on channels one and two and the pads.
While direct out mode is the default setting, the 18i20 is capable
of routing just about any signal to any output, making configuration
very easy. Like the second generation before it, this one can operate
in surround mode. On Mac OS, it’s possible to do this all of the time,
but in Windows, it’s unfortunately limited to your DAW of choice due
to ASIO driver limitations.
Summary
I’m really impressed with the third-generation Scarlett 18i20. Focusrite
managed to take what was already a feature-packed device for its
class and take it to a whole new level. You get top-tier features in a
budget-friendly package and it really shows that the company is pay-
ing attention to the consumer and prosumer market. This is a great
interface with enough expansion and flexibility to see you through
almost any project, even allowing you to mix in 5.1 or 7.1 surround.
With seemingly unlimited options out there for engineers, I think
Focusrite has delivered a compelling product that’s even worth an
upgrade from a previous model thanks to the new features. Way to
knock it out of the park, Focusrite.
Drew Robertson is an audio engineer, live sound tech, and educator. He is
based out of London, ON, and is the co-owner of Prosperity Audio Works.
He can be reached at [email protected].