Focusrite Clarett+ 2Pre: Specs, Air and Scarlett Comparison

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The Focusrite Clarett+ 2Pre is a two-preamp USB-C interface aimed at producers who want lower noise, higher output level and ADAT expansion than a Scarlett offers. Its analog Air circuit and +18 dBu outputs make it a step up for small studios.

Key specs

Inputs	2 combo mic/line/instrument inputs, ADAT in (8 channels at 44.1/48 kHz)
Mic preamp	57 dB gain, −129 dBu EIN, 118 dB dynamic range
Outputs	4 balanced outputs, +18 dBu max, 124 dB dynamic range; headphone output
MIDI	5-pin In/Out
Air	Analog, changes input impedance (6.2 kΩ off / 2.2 kΩ on)
Connection	USB-C (USB 2.0); bus-powered from a 15 W USB-C port, power supply included for other hosts
Resolution	Up to 24-bit/192 kHz

Clarett+ 2Pre vs Scarlett

The Scarlett 4th Gen has more gain (69 dB) and conveniences like Auto Gain. The Clarett+ focuses on audio specs: lower preamp noise, wider output dynamic range and an analog Air circuit, plus ADAT to add eight preamps later. If you use quiet dynamic mics, consider a clean inline booster with the Clarett+’s 57 dB gain.

Who it is for

• Producers upgrading from an entry interface who record vocals and instruments.
• Studios that may expand to 10 inputs via ADAT.

Check the Focusrite Clarett+ 2Pre on Amazon

Inputs and outputs in practice

The Clarett+ 2Pre has two front-panel combo inputs, each switchable between microphone, line and instrument. Focusrite describes the instrument inputs as high-impedance JFET designs intended to preserve a guitar’s natural tone, similar to plugging into an amplifier. With two inputs you can record a vocal and an instrument together, a stereo microphone pair, or two podcast guests. An optical ADAT input adds eight more channels from an external preamp, such as Focusrite’s own eight-channel units, which turns the 2Pre into a ten-input recording system.

Four balanced line outputs give you a main pair of monitors plus two further outputs, which can feed a second pair of speakers, a headphone amplifier for a performer, or an outboard processor. A headphone output with independent level is on the front panel.

Published specifications explained

Focusrite lists the mic inputs with +57 dB of gain, −129 dBu EIN, 118 dB dynamic range at minimum gain and a maximum input level of 18 dBu. The line and monitor outputs reach 18 dBu with a 124 dB dynamic range, and the headphone output is rated at 118 dB dynamic range with a 16 dBu maximum level. Independent A-D and D-A converters run at up to 24-bit/192 kHz.

In practical terms, the −129 dBu EIN means very low preamp noise, and the high maximum input level gives plenty of headroom for loud sources. The 57 dB gain range is lower than some competitors, including the Scarlett 4th Gen at 69 dB, so very quiet low-output dynamic microphones on soft speech may need an inline booster. With condenser microphones and louder sources, 57 dB is usually ample.

How Air works

Focusrite describes Air as an all-analogue circuit with impedance switching, controlled by relays, that recreates the character of its ISA preamps. When Air is on, the input impedance changes, which alters how many microphones respond, and a gentle high-frequency lift adds clarity and presence. Because Air works in the analogue domain before conversion, it is recorded with the signal. It suits vocals and acoustic instruments that need a little extra openness, but it may be too bright on already bright sources.

Connectivity and power

The 2Pre connects over USB-C and is compatible with macOS, Windows and iPadOS according to Focusrite. It can run on 15 W USB-C bus power, and a power supply is included for hosts that cannot provide enough power. This flexibility makes it usable both on a desk and for recording on the move with a suitable laptop.

Who should look elsewhere

If you only need basic recording and value convenience features such as Auto Gain and Clip Safe, a Scarlett 4th Gen interface offers those at a lower tier. If you need more than two built-in preamps without adding ADAT hardware, consider a larger Clarett+ model or an eight-preamp interface.

Setup checklist

1. Install Focusrite Control and any firmware updates.
2. Connect to a USB-C port that supplies 15 W, or use the included power supply.
3. Set gain while the performer plays at full volume, leaving headroom.
4. Try Air on and off for each source before recording important takes.
5. If adding an ADAT preamp, set the clock source correctly to avoid clicks.

Clarett+ 2Pre compared with the Scarlett 4i4

Feature	Clarett+ 2Pre	Scarlett 4i4 (4th Gen)
Mic preamps	2	2
Mic gain	57 dB	69 dB
Mic EIN	−129 dBu	−127 dBu
Line outputs	4	4
ADAT input	Yes, 8 channels	No
Auto Gain and Clip Safe	No	Yes

The comparison shows the trade-off: the Clarett+ prioritises low noise, headroom and expansion, while the Scarlett adds gain and automatic level tools. Choose based on whether you are likely to add more inputs later and which microphones you use.

Both interfaces suit home studios; the right choice depends on your microphones, plans for expansion and preference for analogue character over automatic convenience features. Read the full specifications on each manufacturer page before deciding.

For guitarists, the JFET instrument inputs are worth noting, since Focusrite designed them to respond like an amplifier input rather than a generic line input.

How to set up the Focusrite Clarett+ 2Pre step by step

A clean setup takes about fifteen minutes. Follow these steps in order, and you will avoid most first-day problems. Focusrite’s own Clarett+ 2Pre product page links to Easy Start, downloads and the user guide.

1. Install the software first

Download Focusrite Control from the Focusrite downloads area before you plug in. On Windows, this package also installs the ASIO driver your DAW needs. On a Mac, the interface works with Core Audio, but Focusrite Control still handles routing and the hardware settings. Then check for firmware updates inside the app.

2. Power it correctly

Focusrite rates the 2Pre for bus power from a 15 W USB-C port. Many laptops supply that, but some hubs and older ports do not. If the unit drops out or will not start, use the included power supply. Avoid passive USB hubs, because they share power between devices.

3. Pick a sample rate and stick to it

Choose 44.1 kHz or 48 kHz for most music and video work. Set the same rate in your DAW and in Focusrite Control. Higher rates up to 192 kHz are supported. However, they cost CPU and disk space. They also reduce ADAT channels, because ADAT carries eight channels only at 44.1 or 48 kHz.

4. Set the buffer size for the task

While recording, use a small buffer such as 64 or 128 samples. That keeps the delay between playing and hearing short. While mixing, raise it to 512 or 1024 samples, so plugins have more time to process. If you hear clicks, the buffer is too small for your computer at that moment.

5. Route your monitoring

Connect your studio monitors to outputs 1 and 2. Then use outputs 3 and 4 for a second speaker pair, a performer’s headphone amp or outboard gear. In Focusrite Control, build a direct-monitoring mix so the singer hears the microphone with no computer delay. Next, turn off input monitoring in the DAW for that track, or the singer will hear a doubled, phasey signal.

6. Gain staging for a vocal

Ask the singer to perform the loudest part of the song. Raise the gain until peaks reach roughly −12 to −6 dBFS in your DAW. That leaves room for surprises. Record at 24-bit, so you do not need to push levels close to 0 dBFS. As a result, the low noise floor stays far below the voice.

A worked example: vocal and acoustic guitar session

Here is a practical two-input plan for a singer-songwriter. It shows how the 2Pre’s features fit together in one session.

Input	Source	Setting	Why
1	Large-diaphragm condenser on vocal	48V on, Air tried both ways	Air can add presence to a dull voice; skip it on a bright one
2	Small-diaphragm condenser on guitar, or guitar DI	48V for the mic; Inst mode for a pickup	The JFET instrument input is designed to load a pickup like an amp
Outputs 1–2	Studio monitors	Muted while tracking with a live mic	Prevents speaker sound leaking into the microphone
Headphones	Performer	Direct monitoring mix	No latency on the vocal

If the session later needs drums, the ADAT input lets you add an eight-channel preamp such as the Clarett+ OctoPre. Set the 2Pre as the clock source and the OctoPre to follow it over ADAT, or the reverse, but never both as masters.

Focusrite Clarett+ 2Pre vs similar interfaces

The table below uses each maker’s published figures. It compares the 2Pre with its larger sibling and two popular two-input rivals.

Spec	Clarett+ 2Pre	Clarett+ 4Pre	Scarlett 4i4 (4th Gen)	MOTU M2
Mic preamps	2	4	2	2
Mic gain	57 dB	57 dB	69 dB	Not listed on specs page
Mic EIN	−129 dBu	−129 dBu	−127 dBu (A-wtd)	−129 dBu
Line output dynamic range	124 dB	124 dB	120 dB	120 dB
Max line output	+18 dBu	+18 dBu	+16 dBu	+16 dBu
Headphone outputs	1	2	1	1
ADAT input	Yes, 8 channels	Yes, 8 channels	No	No
Auto Gain / Clip Safe	No	No	Yes	No
Power	15 W USB-C or supplied PSU	External power	USB bus (1.5 A) or optional PSU	USB bus

The pattern is clear. The Clarett+ line leads on output level, output dynamic range and expansion. Meanwhile, the Scarlett leads on gain and automatic level tools. The MOTU M2 matches the Clarett’s mic noise figure and adds a colour level meter, but it has no expansion port.

Pros and cons

Pros

• Very low mic noise at −129 dBu EIN.
• +18 dBu outputs with 124 dB dynamic range for clean monitoring.
• ADAT input grows the unit to ten simultaneous inputs.
• Analogue Air with impedance switching is recorded with the signal.
• JFET instrument inputs for guitar and bass.
• Runs on bus power from a 15 W USB-C port, with a PSU in the box.

Cons

• 57 dB of gain is modest for quiet dynamic mics on soft speech.
• No Auto Gain or Clip Safe, so you set levels by ear and meter.
• One headphone output, so a second listener needs a separate amp.
• Only two built-in preamps without extra hardware.

Common mistakes with the Clarett+ 2Pre

• Running from a weak USB port. Dropouts often come from power, not drivers. Try the included supply first.
• Leaving Air on for everything. Air changes impedance and adds a high lift. On bright mics and cymbals it can sound harsh, and you cannot remove it later.
• Double monitoring. Hearing the vocal through direct monitoring and through the DAW creates a comb-filtered sound. Use one path.
• Two clock masters. With ADAT gear, only one device should be the clock master. Otherwise you get clicks.
• Recording too hot. Peaks near 0 dBFS leave no margin. At 24-bit, aim lower and normalise later.
• Mismatched sample rates. If the DAW and Focusrite Control disagree, audio may play at the wrong speed or not at all.

Who should buy it and who should skip it

Buy the 2Pre if you record one or two sources and care most about clean conversion and output headroom. It also makes sense if you plan to add eight more channels over ADAT. Producers who mix on good monitors benefit from the higher output specification.

Skip it if you mainly record quiet dynamic microphones for speech. In that case, a higher-gain interface avoids an inline booster. Skip it too if two people need separate headphone mixes, because the 4Pre adds a second headphone output.

Matching microphones to the Clarett+ 2Pre

The preamp’s gain range decides which microphones pair easily. Condenser microphones have high output, so 57 dB is plenty for vocals, acoustic guitar and room sound. Most dynamic microphones on loud sources, such as a guitar cabinet or snare, also work without strain.

The tricky case is a low-output dynamic or ribbon microphone on quiet speech. Those sources may need most of the available gain. In that situation, an inline booster adds clean gain before the interface. Alternatively, choose a higher-output microphone for spoken word.

Instrument sources are simpler. Plug a passive guitar or bass straight into a front input and select instrument mode. The high-impedance JFET input avoids loading the pickup, which helps keep the top end intact. For synths and drum machines, use line mode instead, since line inputs accept up to +26 dBu before clipping.

Using the four outputs well

Four balanced outputs give you more options than a typical two-output interface. For example, send outputs 3 and 4 to a second, smaller speaker pair. Switching between the two pairs is a quick way to check how a mix translates.

Another use is hardware inserts. Send a track out on outputs 3 and 4, through a compressor or effects unit, and back into a line input. Your DAW’s hardware insert tool can measure the round-trip delay and correct it. In addition, the outputs can feed a headphone amplifier for a band, which solves the single headphone jack limit.

FAQ

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