Focusrite Red 1 500 Series Mic Pre

Focusrite’s first 500 Series module is a faithful version of the original and legendary Red 1 preamplifier.

Focusrite’s foray into the 500 Series format is with the Red 1 preamp. Originally released in 1993 with its striking red face-plate, the Red 1 became quite popular as a 2U quad-channel pre and was later released as a stereo pre, the Red 8. How did Focusrite squeeze its signature pre into the 500 format? Read on.

Focusrite Red 1 500 Series Mic Pre

Features

In homage to the original Red 1’s quarter-inch-thick front panel, the Red 1 500 starts with an eighth-inch-thick, red anodized aluminum front panel with backlit analog port-hole-style VU meter, switchable between 0 VU = +4dBu or +10 dBu. A Grayhill gold-plated military-grade gain pot plus phantom power and polarity reverse switches comprise its minimalistic front panel. Gain is selectable in 6 dB increments, starting with a -6 dB pad setting and ranging up to +60 dB. Like the ISA console preamp and original Red 1, the Red 1 500’s transformers include a Lundahl LL1538 for input and a custom Carnhill on output, which is capable of driving long cable runs. Thanks to its fully-encased metal chassis and thoughtful design, the Red 1 500 provides superb common mode rejection specs, low noise and wide bandwidth (10 Hz to 140 kHz). Gain comes from two sources: 14 dB from the input transformer with a fixed input impedance of 1.4 kHz (the same spec as the original ISA preamp) and 46 dB from the amplifier stage.

In Use

My own testing of the Red 1 500 included comparisons with other high-quality preamps, including the Amek 9098, Focusrite ISA 428, Lola 500 (a hybrid Neve/990 op-amp design) and other 500 Series pres. Tracking instrumentation included various vocals, acoustic guitars, electric guitars, drums and cello via a variety of micro-phones. The Red 1’s 66 dB of overall gain proved just enough for ribbon mics on quieter instruments, while the starting point of -6 worked great with loud instruments like drums and electric guitars; it eliminated the need for a separate pad switch. The overall sound of the Red 1 was fast and punchy. The Red 1 500 worked great in just about any setting, but my favorite applications generally involved condenser microphones. For instance, an omni condenser via Red 1 on acoustic guitar was just what I was looking for: full, clearly detailed and not harsh, with extremely low noise. In comparison to other pres, the Lundahl appeared to keep the top end smooth and silky without added low or mid-based presence peaks. The few minuses I can note are basically what the Red 1 500 doesn’t have: there’s no quarter-inch instrument input, no high pass filter and no fine output gain adjustment. These missing elements may not matter to you, depending on your signal chain.

Red 1 500, with its signature red anodized aluminum front panel

Summary

Focusrite has successfully squeezed it’s amazing ISA preamp into 500 Series parameters, all done with the largest out-put tranny I’ve ever seen in such a module. Hopefully Focusrite will release more of its designs for the format. Based on my own experience, the Red 1 500 seems to be faithful to the original in every way. Anywhere you desire a smooth frequency response yet clear, punchy and detailed sound, it delivers.

Acknowledgement: Special thanks to Radial Engineering for the extended use of its superb Workhorse 500 rack during this review.

Focusrite has successfully squeezed it’s amazing ISA preamp into 500 Series parameters, all done with the largest out-put tranny I’ve ever seen in such a module.