Focusrite Clarett 8Pre Review: Specs, Pros and Cons

As an Amazon Associate I earn from qualifying purchases. This write-up is based on Focusrite’s published specifications and documentation, not hands-on testing.

The Focusrite Clarett 8Pre (sold as the Clarett+ 8Pre) is a rack-mount USB-C audio interface with eight Clarett+ mic preamps, two JFET instrument inputs, ten balanced outputs and eight channels of ADAT in and out. It is built for studios that record drums, full bands or several players at once and want every mic on its own preamp without adding outboard gear.

See the Focusrite Clarett+ 8Pre on Amazon.

Focusrite Clarett 8Pre key specs

Mic preamps	8 Clarett+ preamps with All-analogue Air and impedance switching
Instrument inputs	2 high-impedance JFET inputs
Outputs	10 balanced line/monitor outputs, 2 headphone outputs
Digital I/O	8-in/8-out ADAT, S/PDIF
MIDI	5-pin MIDI in and out
Conversion	24-bit/192 kHz, up to 124 dB dynamic range (Focusrite figure)
Connection	USB-C

Full figures are on Focusrite’s Clarett+ 8Pre page.

Eight preamps: what that changes

Most desktop interfaces stop at two or four mic inputs. Eight preamps let you mic a drum kit properly in one pass: kick, snare, two toms, two overheads and still have two inputs left for a room mic or a bass DI. For bands, eight inputs cover a scratch vocal, two guitars, bass DI and a reduced drum setup at the same time.

Because each input is on its own channel in your DAW, you can mix every source separately later. That matters more than any spec sheet number: a kit recorded to two channels cannot be rebalanced, while a kit on eight channels can.

Air mode

Focusrite describes Air as an all-analogue circuit with impedance switching, designed to recreate the presence lift associated with its ISA preamps. Because it works before conversion, its effect is printed into the recording. Use it on sources that benefit from extra top-end openness, such as acoustic guitar or a dull vocal, and leave it off on sources that are already bright, such as cymbals through a bright condenser.

Outputs and monitoring

Ten balanced outputs give you room for two pairs of studio monitors, separate headphone amplifiers for performers, or sends to outboard compressors and reverbs. The two headphone outputs can carry their own mixes, built in Focusrite Control, so the drummer can hear more click while the guitarist hears more of themselves.

Independent A-D and D-A converters are rated by Focusrite at up to 124 dB dynamic range. In practice, the converter quality on modern interfaces at this level is rarely the limiting factor in a home studio; room acoustics and microphone placement usually are.

Expansion over ADAT

The ADAT ports carry eight more inputs and outputs. Pair the 8Pre with an eight-channel ADAT preamp, such as Focusrite’s Clarett+ OctoPre, and you reach sixteen mic inputs. ADAT runs at eight channels at standard sample rates; at higher rates the channel count drops, which is normal for the format.

Who should consider the Clarett+ 8Pre

• Home and project studios recording full drum kits.
• Bands tracking live together.
• Producers with several synths, drum machines and outboard processors who want everything permanently connected.

Who should look elsewhere

• Solo artists recording one or two sources at a time. A smaller interface such as the Clarett+ 4Pre or a two-input desktop unit costs less and takes less space.
• Podcasters, who will get more from a dedicated podcast interface with auto gain and phone connections.
• Anyone who wants onboard DSP effects while tracking; the Clarett+ range does not run plug-ins on the hardware.

DAW workflow: tracking a full band

1. In Focusrite Control 2, name the eight preamp inputs (kick, snare, overheads, bass DI, guitar, vocal) so they match your DAW track names.
2. Build a separate headphone mix for the drummer with more click and bass than the singer’s mix.
3. In the DAW, record-arm each mono track to its matching input and keep the buffer small while tracking.
4. Add drum mics beyond eight with an ADAT preamp on the optical input and assign those inputs to new tracks.

Alternatives: the Clarett 4Pre if four preamps cover your sessions, or a rack-mount Apollo if you want DSP plug-ins while tracking.

Common mistakes with an eight-preamp interface

• Setting every preamp to the same gain. A kick drum and a room mic need very different gain. Set each one on its own while the source plays at its loudest.
• Turning phantom power on for everything. Check which inputs share a phantom switch before connecting ribbon or older mics.
• Ignoring phase between drum mics. Overheads and close mics can partly cancel. Check polarity and time alignment before mixing.
• Running ADAT without a clock plan. One device must be the clock master. A mismatched clock causes clicks and dropouts.
• Recording too hot. At 24-bit there is no need to push levels near 0 dBFS. Peaks around −12 to −6 dBFS leave headroom for transients.

Setup checklist

1. Install Focusrite Control and any driver Focusrite lists for your system.
2. Connect by USB-C and select the Clarett+ 8Pre as the audio device in your DAW.
3. Set the sample rate in your DAW; Focusrite Control follows it.
4. Label each input in your DAW to match the mics plugged into the front and rear.
5. Build headphone mixes in Focusrite Control before the performers arrive.
6. Record a short test take and check every channel for level, noise and phase.

For a general guide to picking interfaces by input count and connection, see how to choose an audio interface, and for mic choices see what a mic preamp does. More recording guides are in our recording hub.

How to set up the Focusrite Clarett+ 8Pre step by step

An eight-preamp interface rewards planning. These steps take you from unboxing to a working session.

1. Mount and power it

The 8Pre needs its power supply, so it is not a bus-powered unit. Place it in a rack or on a desk with space for airflow. Then connect power before the USB-C cable.

2. Install Focusrite Control

Install Focusrite Control first. On Windows it includes the ASIO driver. On a Mac it handles routing and settings. Check for firmware updates once the unit is connected.

3. Choose sample rate and buffer

Select 44.1 or 48 kHz in the DAW and in Focusrite Control. These rates give you all eight ADAT channels in each direction. Start with a 128-sample buffer when tracking many channels, and raise it if you hear clicks.

4. Label every input

Write an input list and name each DAW track to match. Eight preamps, two instrument inputs and ADAT channels add up fast. Clear labels avoid confusion mid-session.

5. Build monitor mixes

Create one direct-monitoring mix per headphone output. Then send extra mixes to line outputs that feed a headphone amp. With ten line outputs, a full band can get separate mixes.

6. Set gain and run a test

Set each preamp at full performance level. Aim for peaks near −12 dBFS. Record one full section and check every track before the real takes.

Using ten outputs for hybrid mixing

Ten balanced line outputs make the 8Pre a good centre for hybrid mixing. Send stems to outboard compressors and EQs, then return them through line inputs. Your DAW’s hardware insert tool can measure and correct the round-trip delay.

The ADAT output adds eight more outputs through an external converter. Combined with S/PDIF, that gives plenty of routes for effects, cue mixes or a monitor controller.

Clarett+ 8Pre vs related interfaces

The figures below come from each product’s official page. Focusrite’s Clarett+ 8Pre specifications list the full data.

Spec	Clarett+ 8Pre	Scarlett 18i20 (4th Gen)	Clarett+ 4Pre	Clarett+ 2Pre
Mic preamps	8	8	4	2
Mic gain	57 dB	69 dB	57 dB	57 dB
Mic EIN	−129 dBu	−127 dBu (A-wtd)	−129 dBu	−129 dBu
Inputs / outputs	18 / 20	26 / 26	18 / 8	10 / 4
Line output dynamic range	124 dB	122 dB	124 dB	124 dB
Max line output	+18 dBu	+16 dBu	+18 dBu	+18 dBu
ADAT	8 in, 8 out	Dual in and out	8 in	8 in
Auto Gain / Clip Safe	No	Yes	No	No
Talkback mic	No	Yes	No	No

The 8Pre and 18i20 both offer eight preamps. The 8Pre leads on preamp noise and output level, and it adds analogue Air with impedance switching. The 18i20 leads on gain, automation tools, talkback and digital I/O.

Pros and cons

Pros

• Eight low-noise preamps at −129 dBu EIN.
• Ten balanced line outputs with 124 dB dynamic range.
• ADAT in and out, plus S/PDIF and MIDI.
• Two headphone outputs.
• Analogue Air with impedance switching on every preamp.

Cons

• 57 dB of gain can be tight for quiet speech on low-output dynamics.
• Needs mains power.
• No Auto Gain, Clip Safe or talkback mic.
• Only two instrument inputs.

Gain staging with eight channels

Eight open mics add noise and bleed together. So, set every preamp on its own first. Then listen to the full kit or band. Lower gain on channels that pick up too much of a loud neighbour.

Record at 24-bit with headroom. Average levels near −18 dBFS and peaks around −10 dBFS suit most sessions. Drummers often play harder in the take than in the check, so leave extra space on drum channels.

Check phase between close mics and overheads too. Flip polarity in the DAW where the sound thins. Small mic moves often fix phase better than any plugin.

A sample drum mic plan for eight preamps

Eight preamps cover a well-miked drum kit. One common layout looks like this:

• Preamp 1: kick inside
• Preamp 2: snare top
• Preamp 3: rack tom
• Preamp 4: floor tom
• Preamps 5 and 6: overhead pair
• Preamps 7 and 8: room pair

Use Air carefully on drums. It can add sparkle to toms or a dull snare. On overheads, however, it can make cymbals harsh. Test it on a short recording first.

Next, check the overheads against the snare. If the snare sounds thin when both are up, flip polarity on one channel. Then compare the kick mic against the overheads in the same way.

Recording a full band with ADAT expansion

For a full band, the drums may take all eight preamps. Add an eight-channel ADAT preamp for bass, guitars and vocals. That brings the session up to 16 mic channels plus the instrument inputs.

Set the clock source before recording. Make one device the master and the other follow over ADAT. Only one device should lead, or you will hear clicks and pops.

Then plan headphone mixes. Two headphone outputs cover two people. For more, feed a headphone amplifier from spare line outputs. Each mix can be built separately in Focusrite Control.

Who should buy the 8Pre and who should skip it

Buy the 8Pre if you record bands or drums and want low-noise preamps with analogue Air. It also fits hybrid mixers who need many analogue outputs. Skip it if you rarely use more than four mics at once, since the Clarett+ 4Pre is smaller. Skip it as well if you want Auto Gain and talkback built in, which the 18i20 provides.

Using S/PDIF and MIDI

S/PDIF adds a stereo digital input and output. Use it for a digital reverb unit, a preamp with a digital output, or a monitor controller. Match the sample rate and clock settings on both devices.

MIDI in and out let the 8Pre control synths or receive notes from a keyboard. That removes the need for a separate MIDI interface in a compact setup.

Rack, cabling and workflow tips

A rack-mounted interface stays put, so plan cables once and do it well. Use a patch bay or a labelled snake from the live room. That way, mics plug into the same channel every session.

Keep power cables away from mic and line cables where possible. Crossing them at right angles reduces hum pickup. Balanced cables on all line outputs also help keep the noise floor low.

Build a DAW template that matches your input list. Include track names, colours, monitor mixes and bus routing. Save the Focusrite Control setup alongside it. The next session then starts in minutes.

Finally, back up recordings after each session. Large multitrack projects fill drives quickly. Keep a copy on a second drive before deleting anything from the main one.

Monitoring at higher sample rates

The 8Pre supports up to 192 kHz. However, higher rates reduce ADAT channel counts and increase CPU load. For most music, 44.1 or 48 kHz gives excellent results with full channel counts. Use higher rates only when a client or project requires them.

Before a big session, power everything up early and let the computer settle. Then run a quick record test on all channels, so a faulty cable shows up before the band starts playing.

Final checks before your first Clarett+ 8Pre session

Before recording anything important, run a short checklist. Confirm the Clarett+ 8Pre appears in your DAW at the right sample rate. Check that every input shows signal on its meter. Make sure the headphones and speakers both play back. Then record ten seconds, play it back and listen closely for noise or clicks. That small habit catches most problems early.

FAQ

Once your multitrack session is mixed, our stem mastering service can finish it from grouped stems. It is a good fit for band recordings with many sources.