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The TrakMaster Pro is a channel strip equipped to offer 'latency free monitoring' and basic monitor controls, arguably making it possible for the unit to be the hub of a simple studio set-up.

Those of you who spend an eternity pulling speaker plugs in and out whenever you want to use a microphone may want to pay special attention here.

If you work with just a stereo output from your DAW then this stereo output can be plugged into the back of the TrakMaster Pro.

Your monitors can also be plugged into the back of the TrakMaster Pro. You could then plug in a mic, do some basic EQ, add compression and listen via headphones to a good balance of the mic and the mix.

Your vocal sails onto the hard drive without you having to worry about a latent/delayed signal coming back from your software. You finish recording, un-mute the monitors and enjoy the results – simple.

Overview

The TrakMaster Pro shares the same textured silver fascia as the rest of the Platinum range of products.

It's a 1U rack and its standout feature is an aquatic looking single blue, circular peak meter on the right hand side.

Moving from left to right we have a female XLR microphone input with a phantom power button, and a low impedance button which, to cut a long story short, offers an alternate tonal option for microphone input – quite unusual to see that on a unit of this price bracket.

Next we have the line input section with a 1/4-inch jack socket switchable between Line and Inst, and happy to receive both balanced and unbalanced signal.

To the right is a knob for the pre-amp level, followed by a high-pass filter button to knock out the subs and rumbles. In fact, there's almost everything you could wish to see in a pre-amp (no phase reverse, though).

The EQ section is far less flexible, offering two fixed levels of attenuation (or cut) between 120Hz and 2kHz, and is described by Focusrite as a 'problem solving' EQ.

Next along comes the compressor. A Threshold knob decides when compression kicks in, the 'Comp Slow Attack' button offers a longer attack time, the Squash button ups the ratio from 5:1 to 35:1 and turns the compressor into more of a limiter.

Either way, there's a make-up gain knob to ensure a sensible output level, even on highly compressed sounds.

Next along is the monitoring section where the listening balance between input signal and backing track is decided.

The digital section is simply a red LED to tell you if you have digital clock sync or not.

That lovely blue meter has a button to toggle between input, output and compression gain reduction and thankfully the headphone socket and power switch are both on the front too.

Round the back are two line out jacks, unbalanced at –10dB, plus balanced at +4dB. Two more pairs of balanced jack deal with monitor input and monitor output. Power is on a weird three-pin screw connector and external supply.