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The full gain range of the microphone preamplifier is only available to a mic connected via the XLR
contacts. If your microphone has an XLR plug on the end of the cable, you can simply plug it in. If it is
a “condenser” (or “capacitor”) microphone, you will need to turn on the 48 volt phantom power for it
to work. Most modern microphones of other types, e.g., dynamic or ribbon, will not be damaged by
the inadvertent application of phantom power, but note that some older mics may be; if you have any
doubt, please check the specification of your mic to ensure that it is safe to use.
If your mic has a jack plug on the end of the cable, it will probably require an adaptor to make it
usable with the XLR part of the Combo connector. Inserting the jack plug will configure the preamp
with reduced gain, which is likely to be insufficient for the mic (see below). Mics intended for use
with computer sound cards may also require a much lower phantom power voltage, so an adaptor
specific to the mic type should be obtained in this case.
The Scarlett 2i2 has no “Mic/line” switch – the Focusrite preamp stage is automatically configured
for a microphone when you plug an XLR into the input, and for a line or instrument when you connect
a jack plug. Set the INST switch ON (‘INST’ illuminates red) if you are connecting musical instrument,
e.g., a guitar in the example, using an ordinary 2-pole (TS) guitar jack. Set the INST switch to OFF if
you are connecting a line level source such as a keyboard, synthesiser or the balanced output of an
external audio mixer via a 3-pole (TRS) jack. Note the Combo connector accepts both TRS and TS
types of jack plug.
Using Direct Monitoring
You will frequently hear the term “latency” used in connection with digital audio systems. In the case
of the simple DAW recording application described above, latency will be the time it takes for your
input signals to pass through your computer and audio software. Latency can be a problem for a
performer who wishes to record while monitoring their input signals.
The Scarlett 2i2 is fitted with a “Direct Monitoring” option, which overcomes this problem. Setting the
front panel DIRECT MONITOR control to either MONO or STEREO
will route your input signals
directly to the Scarlett 2i2’s headphone and main monitor outputs. This enables you to hear yourself
with zero latency – i.e., in “real time” – along with the computer playback. The input signals to your
computer are not affected in any way by this setting.
In MONO mode, Inputs 1 and 2 are routed equally to the two outputs (both the rear panel outputs and
headphones) so that they both appear in the centre of the stereo image. This is useful when you are
recording two separate instruments or an instrument and a vocal, where there is no need for the two
signals to be specifically located in the stereo image. Further examples would be an acoustic and an
electric guitar, a bass which is both mic’d and DI’d or two separate mics differently positioned on a
guitar amplifier.
In STEREO mode, Input 1 is routed to the left output channel and Input 2 to the right. Use this mode
if you are recording something that is inherently stereo in nature. Monitoring in stereo will give you
a more accurate impression of the sound stage. Examples are any situation where two microphones
are being used to deliberately capture a stereo image such as a pair of overhead drum mics, a single
stereo mic recording an orchestra or other ensemble, or the stereo outputs of an electronic source
such as a piano, synthesiser or FX unit.
When using Direct Monitoring, ensure that your DAW software is not set to route its input (what you
are currently recording) to its output. If it is, you will hear yourself “twice”, with one signal audibly
delayed as an echo.
