• Usb Mic Vs Audio Interface
• Usb Mic Vs Audio Interface Computer
• Apogee One Usb Microphone And Audio Interface

By Michael Pierce & Giulio Chiarenza

If you’ve followed this blog, you know I use an audio interface and microphones, rather than a USB microphone. However, there are lots of benefits to a USB microphone for light audio recording. But I’ll go through why I personally don’t think it’s quite it. Nevertheless, in this post, we’ll look at both in detail, and see where we land. The USB Microphone vs. Audio Interface enables you to understand the importance and difference of both devices. A good USB interface can improve the quality of your work. To record professional videos, you will need an audio interface connected to your computer.

Choosing an audio interface can be a daunting task. There are dozens to choose from, and it’s not exactly like an instrument that you can pick up and play at your local music shop and compare options. Hearing the subtle difference between how interfaces color (or don’t color) the sound is tough, especially for musicians and producers just starting out. You’ll likely find yourself shopping based on specs, and user reviews.

Lucky for you, here at Equipboard we live and breathe music gear, and have musicians from all walks of life who love spending time reviewing and comparing gear. For this guide, we took a vocalist, guitarist, and music producer and locked them in the studio kindly asked them to help us test over a dozen audio interfaces in the studio, come up with pros and cons, and round up their favorites while taking price into consideration. We’ll talk a bit about what you should look for in an audio interface, and based on our many hours of testing we reveal 5 of our favorite audio interface recommendations for your home or mobile studio. If you’re pressed for time, we summarized our findings in the chart below, but we encourage you to read our in-depth reviews for each of the interfaces we chose.

Last Updated: 2019

The time came to revisit and revamp our recommendations. After all, audio interface manufacturers occasionally release updated drivers and new generations of hardware, some of which might be worthy of our list. We poured in several more weeks of research, ordered a few new interfaces to our test lab, and revised our guide to make sure we’re giving you the most up-to-the-minute info and recommendations! The Focusrite Scarlett 2i2 continues to be a top recommendation, we added the slightly pricier Audient iD4 which gives the 2i2 a run for its money, and the Steinberg UR22 moved up a few spots.

• Top 5 Audio Interfaces

Why You Should Trust Us

For this guide, we gathered members of our editorial team, making sure to include a guitarist, an electronic music producer, a singer/songwriter, and a podcaster to get different lenses on the quality and functionality of these audio interfaces. To narrow the playing field and determine the interfaces we should take into consideration, we scoured the web for reviews, and checked popular communities like Gearslutz, reddit’s /r/edmproduction, /r/wearethemusicmakers, /r/guitar, and our own Equipboard community to find the most frequently recommended audio interfaces. We took that list, ordered the interfaces ourselves and tested them out in our studio to come up with the final list of the best ones.

Top 5 Audio Interfaces

Image	Audio Interface	Summary	Check Price
Focusrite Scarlett 2i2	The most recommended audio interface for a reason. Rock solid and very high quality. Perfect if you don’t require more than two inputs. Best of the Best	Amazon
Audient iD4	The Audient iD4 proves that good things come in small packages. Despite being a tad pricier, with rock solid build quality, reliable drivers for Win/macOS/iOS, and mic a preamp that hits way above its weight class, the iD4 gives similarly priced interfaces a run for their money.	Amazon
Steinberg UR22 mkII	Amazing value workhorse audio interface by Steinberg. We love the durability, build quality, and inclusion of MIDI I/O. Not as polished in the look & feel department, but an amazing value nonetheless.	Amazon
Native Instruments Komplete Audio 6	Native Instruments quality can easily be seen in this popular interface. Between this and the Scarlett 2i4, it pretty much comes down to brand loyalty. The inclusion of Cubase LE 6, Traktor LE 2 and Komplete Elements sweetens the deal.	Amazon
PreSonus AudioBox USB 96	Budget-priced 2-in/2-out audio interface with transparent preamps, MIDI I/O, 96 kHz sampling rate, and full version of Studio One DAW included. Hard to beat this one in terms of how much you get for your money. Best Bang for Your Buck	Amazon

Focusrite Scarlett 2i2 USB

Without a doubt the most recommended audio interface out there is the Focusrite Scarlett 2i2 USB Audio Interface. It seems Focusrite has hit the mark by providing a perfect combination of an attractive price point, excellent build quality, more or less reliable driver support, and overall utility. “Very good and cheap” seems to be the overwhelming sentiment here.

The 2i2 is a 2-in/2-out interface. It has two mono inputs (each with a mic pre), meaning you can plug in two mono instruments at a time (two microphones, or a mic and a guitar for instance) or one stereo instrument, and two mono outputs which go to your studio monitor speakers. The front of the unit also features a 1/4” headphone output with its own volume control, which is a nice feature. On the back of the unit you’ll simply find left and right line outputs which you can hook up to your studio monitor speakers, and a USB 2.0 port which also powers the Scarlett 2i2 so you don’t need a separate power supply (this is great for portability). This audio interface is very compact and lightweight, though its all-metal chassis makes it feel like it has a great build quality. The signature red brushed metal finish is very attractive, and though it does nothing for sound quality we have to say we love the way it looks on a desk! A really neat feature is the LED ring around the GAIN knobs of the two inputs, which pulse green, orange, or red depending on how hot your signal is. In our tests this was a very handy visual cue available at all times to help us set our levels for recording.

In terms of sound quality, the Scarlett 2i2 doesn’t disappoint. The mic preamps are clean, with little to no sound coloration to speak of. Are they the best preamps in the world? In a $150 audio interface, of course not. Will they color your sound like preamps found in a multi-thousand-dollar vintage console? Again, no. But they do the job with no fuss. We were able to get very professional sounding recordings of vocals and guitar (both acoustic and electric). On top of quality preamps, the Focusrite Scarlett 2i2 has extremely low latency, and a sample rate up to 24-bit/192kHz.

Just about the only negatives we could uncover were some claims of unreliable drivers, particularly on Windows. In our studio tests we were able to get up and running on both Windows and macOS with no troubles, and experienced no glitches or sound drop-outs over many hours of use. It appears the vast majority of Scarlett owners experience no issues, but we feel we should report that we read more complaints about driver issues than we did for a comparable interface like the Audient iD4.

Bottom Line: If you’re in the market for an audio interface and don’t have an immediate need for more than two inputs, you would be hard pressed to find a better combo of price, features, and quality than the Scarlett 2i2. For as long as we’ve been reviewing gear, it seems the 2i2 has been a best seller in the audio interface category at nearly every retailer, which speaks to how great of a value it is. It has received by far the most number of user reviews than any other interface. If you find yourself needing a little more than what the 2i2 has to offer, its big brother the Focusrite Scarlett 2i4 can be had for roughly $50 more. It adds four RCA phono outputs, MIDI IN and OUT ports, and includes pad switches which result in a 10dB gain reduction to the signal.

Whether you’re a singer/songwriter, recording artist, podcaster, bedroom musician, hip-hop or electronic music producer, it’s hard to recommend a better overall package than the 2i2, and for that reason it takes home our award for Best of the Best.

Specs:

• Connectivity: USB 2.0
• Compatible with macOS and Windows
• Two Focusrite mic pres
• 24-bit/192kHz conversion
• Metal uni-body chassis
• Software included includes Pro Tools First Focusrite Creative Pack, Ableton Live Lite, Softube's Time and Tone Bundle, the Focusrite Red Plug-in Suite, and 2GB of Loopmasters samples, as well as access to Focusrite's Plug-in Collective
• Halo LED gain/clipping indicators
• Zero-latency direct hardware monitoring

Audient iD4

The Audient iD4 comes roaring into our list as one of the best compact audio interfaces money can buy. It might be small, but it’s big on quality and features, and happens to be one of the most highly rated interfaces around as you can see on this audio interface aggregation of reviews. It’s right on the edge of what we would consider a budget audio interface; as of time of writing, the price is hovering around $200 (we found it for a little less on Amazon but it fluctuates). The big question is, is it better than the Focusrite Scarlett 2i2? We would say yes for some things and no for others, and it’s going to be up to you if the things it does better are worth spending a little more money for. Let’s dive in.

First of all, let’s talk about the size, build quality, and design. This unit is nice and compact, around 5 inches on each side. It also feels rather heavy and solid with a metal case and metal knobs; it’s apparent that Audient put some special attention to the build quality, it truly feels like a premium interface. In terms of the design, it’s fairly minimalist and features a tabletop design where the knobs and indicators are on the top, as opposed to the front panel like the Scarlett 2i2. One design is not necessarily better than the other, but the iD4’s tabletop design makes tweaking knobs a bit easier.

In terms of inputs and outputs, the rear of the unit has a USB 2.0 port (it is fully bus powered and doesn’t require a power supply), L & R monitor speaker outputs, and the first of the two inputs, a line/mic combo jack with phantom power. The front of the unit features the second input, a JFET DI (instrument input for connecting guitars and basses), and dual headphone jacks (one 1/4” and one 1/8”) so you can monitor your signal with someone else. In terms of the knobs and controls of the interface, we love how intuitive and easy to use it is. The mic and D.I inputs each have their own gain knob, and indicator lights on top of the unit show you how hot your input and output signals are. There’s also a MONITOR MIX knob so you can dial the mix in between the direct signal, and the one processed through your DAW or software. The largest knob is a volume control, although if you press the iD4 button, it essentially turns into a mouse scroll wheel, so that you can tweak DAW and plugin parameters, or even scroll through your iTunes library. It’s one of those features you don’t think you need until you actually have it!

Where the Audient iD4 crushes the competition in its price range is the quality of the preamps. Simply put, they are phenomenal and crystal clear. We read review after review singing their praises, with people making claims like:

The mic pre and speaker outputs are light years beyond competitors at this price.

Once we tried it ourselves, we for the most part agree. It’s probably a slight exaggeration to say that the preamps are light years better than the ones on the Scarlett 2i2, PreSonus AudioBox, and others; the difference is subtle, but there’s certainly a crispness and extra clarity on subtle things like vocals and acoustic guitar that go through the iD4. Essentially, this is the difference that you’re paying a bit more for.

One drawback of the Audient iD4 versus the Scarlett 2i2 is that your headphone signal is tied to the main output, and not controlled separately with a dedicated headphone volume knob like the 2i2 has. This is a minor annoyance, but enough worth mentioning. Furthermore, you only get input indicator lights when the MONITOR MIX knob is turned all the way to the left to INPUT, whereas the “halo” meters on the Scarlett 2i2 show input level all the time. The iD4’s resolution is 24-bit/96kHz, whereas the Scarlett is capable of 24-bit/192kHz. If you’re a mobile musician, you’ll be very glad to know the iD4 is compatible with iOS, whereas the Scarlett is only Windows and macOS. And speaking of operating systems, we had zero problems getting the iD4’s drivers to work with a Windows machine, a Mac, and an iPhone. Most of the reviews and forums we combed through indicate that most owners have had little to no problems with the drivers, which is unfortunately more than we can say for the Focusrite Scarlett interfaces.

Bottom Line: While Audient may not be a household name yet, it’s making waves with its high-performance, yet relatively affordable audio interfaces that hit above their weight class. With intuitive design, rock solid drivers, and a slight edge in terms of preamp quality, considering the price this is a phenomenal interface. Reasons to get this over the Scarlett 2i2 would be if you need an audio interface for iOS, want the best mic pres for this price range, and are able to spend the extra cash.

Specs:

• Connectivity: USB 2.0
• Windows, macOS and iOS compatible
• 1 x Class-A Audient Console Mic Preamplifier
• 1 x Discrete JFET Instrument Input
• iD ScrollControl Mode
• Zero Latency Monitoring with Monitor Mix & Pan
• Main Speaker Output
• Independent Class-AB Headphone Amplifier with Dual Outputs
• Monitor Control Functionality
• 24bit/96khz
• All-Metal Enclosure

Steinberg UR22mkII USB

The budget friendly Steinberg UR22mkII USB Audio Interface earns a well-deserved spot in our list of the best audio interfaces. The mkII is the newer upgraded version to the well-loved original UR22. In terms of price point and features, it is most comparable to the Focusrite Scarlett 2i2, with the added benefit of costing a bit less. It receives praise for its durability, build quality, and inclusion of MIDI I/O.

Features include two mono inputs (both with mic preamps), two mono outputs, phantom power for condenser microphones, MIDI ports, and a dedicated output for headphones (with its own volume knob). The second input has a “HI-Z” high impedance switch to accommodate guitars and basses - a welcome feature for those of us recording guitar. On the back panel are two USB ports - a larger Type-B USB 2.0 port, and a smaller Micro-B USB connector. When the UR22mkII is hooked up to your computer via the larger USB 2.0 port, it also gets power through that, so you don’t need a separate adaptor. If however you hook up the UR22mkII to your iPad, the iPad can’t sufficiently power it, so you’ll need to use a power adapter connected to the smaller Micro-B USB port. Just something to be aware of if your mobile studio is centered around an iPad and iOS.

The drivers are solid, and Steinberg is good about squashing bugs in a timely fashion when they are discovered. The firmware is also user-upgradable, so it’s a good idea to keep it up to date (check Steinberg’s website for the latest versions).

Aesthetically, it feels more on the rugged side. The all-metal chassis feels pretty indestructible, which is more than can be said about some other interfaces. Sure, it lacks some of the “polish” found in Focusrite’s Scarlett line and the NI Komplete Audio 6 (fancy indicator lights for instance). At the end of the day, it should be about the way an audio interface works, not the way it looks - and the UR22 certainly delivers.

The Steinberg UR22mkII uses choice Yamaha D-PRE preamps, which sound fantastic, clean, and transparent.

Bottom Line: Our recommendation is if you need to stay at the bottom of the budget range, connecting the UR22 to your iPad, and connecting a device via MIDI is important for you, the Steinberg UR22mkII is an excellent choice over the Scarlett 2i2.

Specs:

• Connectivity: USB 2.0
• Compatible with Mac and Windows
• 2 analog inputs and 2 analog outputs
• Two Yamaha D-PRE microphone preamplifiers with XLR/TRS jacks
• Includes Cubase AI recording software, as well as Cubasis LE for iOS
• 24-bit/192kHz conversion
• Latency-free hardware monitoring

Native Instruments Komplete Audio 6

Like the Audient iD4, the Native Instruments Komplete Audio 6 is priced slightly above what we would consider a budget interface. That said, if you can stretch your budget, it absolutely deserves a close look. If we take price out of the equation, there’s a strong argument to be made that this is the best one overall in our comprehensive tests. Based on the price point and features, it’s not completely fair to pit it against the Focusrite Scarlett 2i2 - the 2i4 is its closest rival, both in terms of feature and price. So, what makes the Komplete Audio 6 so good? Let’s dig in and find out.

The first thing that will jump out at you is how hefty this unit feels. Don’t get us wrong, it’s still a compact interface (roughly 6x5 inches), it’s just that the build quality is out of this world good. Solid steel all around, and knobs that are sturdy and very satisfying to turn. Despite the small size there are a lot of features packed in. The front panel has the two primary mic/line combo inputs, direct monitoring options, and a headphones jack with its own independent volume control. The back panel has the USB 2.0 port (which also powers the unit), switchable 48V phantom power for using condenser mics, MIDI IN/OUT, digital ins & outs, another pair of 1/4” inputs, and last but not least the outputs. While the inputs and outputs are on the front and rear, the top of the unit is functional as well, with indicator lights for everything, as well as a large MAIN VOLUME knob. As one reviewer puts it:

The BIG Main Volume knob is nothing short of a necessity for me now. It’s so convenient to have the master volume control as the biggest knob in reach, it’s intuitive. The lighting on top is really prominent and is the icing on the cake. Again, it’s very intuitive and tells you the status of pretty much every input and output at a glance.

Usb Mic Vs Audio Interface

The preamps in the Komplete Audio 6 are very clean and transparent. They’re Cirrus Logic converters, which is a quality component. This interface has extremely low latency, and the sample rate goes to 24-bit/96kHz. We had absolutely zero problems getting this baby to work on macOS and Windows, and judging by user reviews most people experience no reliability issues.

Bottom Line: If you don’t need MIDI ports, and two audio inputs are enough for you but you still want top quality mic preamps, we would urge you to look at the Audient iD4. However, if you think you might need more than two inputs and you’re able to stretch your budget, we recommend the NI Komplete Audio 6 hands down.

Windows 10 control panel not opening. Control Panel is a platform on Windows Operating System contains the collection of applets to customize settings. Alias you can say it a central place from where you customize settings like Credentials, PC Screen, Internet and Network, Keyboard, Language Fonts, look, Power, Sound and a lot more on your Windows PC.

Specs:

• Connectivity: USB 2.0
• Compatible with Mac and Windows
• 4 analog inputs: 2 balanced mic/line/instrument (XLR); plus 2 balanced line (1/4' TRS)
• 4 balanced analog outputs (1/4' TRS)
• Digital stereo input and output (S/PDIF / RCA)
• MIDI in/out
• Headphone output with independent level control
• Two pre-amps with individual gain controls
• Direct monitoring for live, latency-free recording
• +48V phantom power for using condenser mics and active DI boxes

PreSonus AudioBox USB 96

The PreSonus AudioBox USB 96 interface is remarkably good considering its very budget-friendly price tag. With audio interfaces, the general rule is that you get what you pay for, but with the AudioBox it definitely feels like you’re getting more. For starters, it’s a 2-in/2-out interface which is more than what its main competitors offer at this price point. It includes MIDI I/O and up to a 96 kHz sampling rate. Throw in the fact that it includes a DAW which normally costs the same as the audio interface itself, and you have a very compelling little package.

Our first impression was that the AudioBox USB 96’s build quality is good - not quite as solid of a build as the Audient iD4 or NI Komplete Audio 6 - but it seems like it could stand up to some abuse. We dig the brushed aluminum blue finish on the front panel. Speaking of the front panel, no surprises here. You’ve got two combo mic/instrument inputs, a 48V switch for phantom power, gain knobs for each input, headphone volume control (we got a chuckle that it goes to 11, Spinal Tap would be proud), and main volume control. The Mixer knob controls how much direct monitoring you want to hear. The rear panel features the USB 2.0 connection (which also powers the interface), MIDI I/O, the main outs, and the headphone jack. We much prefer the headphone jack to be in the front, but it’s a minor annoyance at most.

Under the hood, this is a nice little workhorse. The Presonus preamps are transparent, and absolutely do the job especially considering the AudioBox USB 96’s price tag. One nice thing that PreSonus has upgraded from previous AudioBox models is the increased sampling rate to 96 kHz. And to sweeten the deal even further, buying this interface gets you a full copy of the PreSonus Studio One Artist DAW, which is itself a $100 value. If you already have a DAW of choice this might not matter much to you, but if you’re just getting into recording or producing, it’s an incredible deal.

Bottom Line: The PreSonus AudioBox USB 96 is not an exceptional audio interface in any one particular area, but it’s an extremely well rounded interface offered at a very reasonable price. If budget is your primary concern and you need an interface to get you going, the PreSonus AudioBox USB 96 should be at the top of your list. If you don’t already have a DAW, it’s a no-brainer. Best Bang for Your Buck.

Specs:

• Connectivity: USB 2.0
• Compatible with almost all recording software for Mac and Windows
• 24-bit resolution; 44.1, 48, 88.2, and 96 kHz sampling rates
• 2 combo mic/instrument inputs with high-performance, low-noise, high-headroom mic preamplifiers
• Zero-latency analog monitoring
• Includes Studio One Artist DAW software and 6+ GB of third-party resources

Why Is an Audio Interface Necessary?

The simplest explanation is this: An audio interface allows you to hook up your audio gear to your computer. Your instruments/voice/etc will go into it, and sound will come out of it and to your speakers or headphones.

To get a little more in-depth, your computer probably already has a built-in sound card, which lets you hook up to a set of speakers, probably a headphones jack, and maybe one input (or perhaps no inputs at all). Most desktops and laptops are simply not made for professional music production. They are optimized for listening to your audio, regardless of whether you’re gaming or listening to YouTube, Spotify, iTunes, etc.

By hooking up an audio interface to your computer, you are transforming it into a machine that can handle the needs of pro music production. An interface will have high quality inputs so that you can connect musical instruments and/or microphones. It will also have high quality outputs to hook up to studio monitor speakers, and a separate headphones jack. In some cases, an audio interface will even take stress off of your computer’s CPU by handling most (if not all) of the sound processing, leaving the CPU power to run your audio software.

What Does an Audio Interface Do?

Without getting overly technical, an audio interface handles the conversion from a digital audio signal to an analog signal, and vice versa. A digital audio signal in your computer is composed of a bunch of 1s and 0s, and the interface needs to convert it to an analog audio signal so that it can be sent out to your studio monitor speakers (or headphones). The reverse of that is also necessary; a guitar or microphone outputs an analog audio signal, and when plugged into your audio interface, it gets converted to digital so the computer can “understand” it. The conversion is done by a chip known as a DAC (Digital-to-Analog Converter), and the reverse of that, ADC (Analog-to-Digital Converter).

If you’re a visual learner, here is a diagram of what your home studio setup might look like if you’re using a fairly minimal USB-powered interface like the Focusrite Scarlett 2i2:

The USB port connects the interface with your computer, and the line outputs go to your studio monitor speakers. Don’t have monitor speakers? No problem, there is a dedicated output for your headphones. The Scarlett 2i2 in this case has two inputs, which can either accommodate two mono instruments (a guitar and a mic in this example), or a single stereo instrument (a digital piano in the diagram). The more external gear you need to plug in at the same time, the more inputs you will require. The interface pictured above can be referred as a 2-in/2-out, or 2x2 for short.

So is choosing an audio interface that simple? Of course not! There are several connectivity options to choose from (USB 2.0, USB 3.0, FireWire, Thunderbolt, etc), bit depth, sample rate, compatibility with both Mac and PC, and more. We won’t dive into these in depth here, but rest assured the recommendations we make have all been well reviewed and well researched, and should serve you very well in your studio setup. All of the interfaces we recommend in our best-of list are compatible with both Windows and Mac.

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Usb Mic Vs Audio Interface Computer

• Definitely helped me out! Had been looking at some options for a good audio interface. Thanks for the list :)

  over 4 years ago

• Would also recommend:Focusrite Saffire Pro 14 - if you have FireWire or Thunderbolt on your computerApogee One - Simple design, versatile, also works as field recorder

  almost 4 years ago

• For me, the 2i4 is the no-brainer. First, when DON'T you need MIDI capability these days? Even the most Analog-ish purist needs the occasional MIDI sequencer or whatever - And yup, the need for padding of hot pickups is an issue - I have an old G&L F100 (active) that blows out the 2i2. $50 for MIDI and the basic input padding is well worth it IMO.

  almost 4 years ago

• I don't understand why the PreSonus line-up is missing from this list.They deliver very high quality audio interfaces in all price ranges and most other reviews I've seen include these interfaces. Seriously..

  almost 4 years ago

• furiousape: which PreSonus audio interface would you recommend that's in the $150-200 range like the others on this list?

  almost 4 years ago
• +2

• I must admit that, when it comes to visual, it's hard to beat the Mackie - it looks easier to operate than the others. But still, I would rather buy a PreSonus for the preamp and the fantastic bundles that they offer.

  over 3 years ago

• What about Audient ID14 and their new Audient ID4 ?

  Some people on forums says they are killer sounding.

  Thanks and BR !

  almost 3 years ago

• ZOOM U-24. I don't understand why it's never featured in this kind of lists. It's by far the best audio interface I've ever used and is much more mobile and sturdy than any of those ones. Totally recommend it.

  over 1 year ago

• @dankofx You're absolutely right, we tested the Audient iD4 after reading how popular (and underrated) it is, and added it as one of our top picks.

  over 1 year ago

• These are al great, however I came across another interface by Beringer U-Phoria 204 HD interface.

  over 1 year ago

• The Apogee Duet is the best solution for the multitracking bedroom artist. Super fast A/D and it's super cute :)

  10 months ago

Choosing the right audio interface may seem a little overwhelming. There are all kinds of different input and output configurations, connection types, formats and many other options to consider. So, how do you find the right one for you? This Sweetwater Buying Guide will help you navigate the choices you need to make so that you find the interface that best meets your needs. Please feel free to call our knowledgeable and experienced staff at (800) 222-4700 for personal assistance with any additional questions you may have.

What is an audio interface?

An audio interface is the hardware that connects your microphones and other audio gear to your computer. A typical audio interface converts analog signals into the digital audio information that your computer can process. It sends that digital audio to your computer via some kind of connection (e.g. Thunderbolt, USB, FireWire, or a special PCI/PCIe card). This same audio interface also performs the same process in reverse, receiving digital audio information from your computer and converting it into an analog signal that you can hear through your studio monitors or headphones. Most audio interfaces include line-level analog inputs and outputs, one or more microphone preamplifiers, and may even include digital inputs and outputs such as AES, S/PDIF or ADAT (Lightpipe).

Why do you need an audio interface?

There are several reasons to use a dedicated audio interface, rather than the sound card built into your computer. Technically speaking, a sound card is an audio interface, but its limited sound quality and minimal I/O make it less than ideal for recording. Many sound cards only have a consumer-grade stereo line level input, a headphone output, and possibly also a consumer-grade stereo line level output. Electromagnetic and radio interference, jitter, and excessive latency all degrade or negatively affect audio both on the way in and on the way out. It’s also impossible to track a full drum kit (let alone a full band) with only two channels of input. Sound cards are great for hooking up a pair of Hi-Fi speakers and playing back compressed audio, but you’re going to need a reliable audio interface for recording and monitoring production-quality audio.

Choosing the right I/O configuration

With the possible exception of computer connectivity (more on that below), no other feature is as important for choosing your audio interface as its I/O (input and output) configuration. The number and type of inputs and outputs you need depends entirely on what you want to be able to record, now and in the future. The range of audio interfaces includes everything from 2-channel desktop units to systems that can record hundreds of channels.

If you’re a singer-songwriter, than you may only need a pair of inputs, as long as they’re the right inputs. Most audio interfaces include two or more microphone preamps. If you’re going to use condenser microphones you’ll want to make sure that your interface’s preamps are also equipped with phantom power. If you’re going to plug your guitar or keyboard straight into your interface, make sure that the interface you buy has instrument-level (also called “hi-Z”) inputs. Line-level inputs and outputs are great for hooking up outboard processors, headphone amps (for creating separate headphone mixes) and studio monitors.

Digital I/O may not seem important when you’re first starting out, but it can be incredibly useful down the road. For instance, some high-end 1- or 2-channel microphone preamplifiers come equipped with digital outputs, which lets you hook them up to your audio interface without depriving you of line-level inputs. If your interface comes equipped with standard ADAT lightpipe I/O, you can easily expand your system with an ADAT-equipped 8-channel mic pre. Eight extra channels can turn your personal recording rig into a system that’s ready to track a full band.

Computer connectivity options

One of the constants of the recording industry is that technology doesn’t sit still for long. In computer-related technology “standard” is next to “obsolete.” That said, a few audio interface connection types are considered standard, and those are: Thunderbolt, USB, FireWire, and PCIe. Most PC and Mac computers come equipped with USB ports (either USB 2 or USB 3), whereas FireWire (either 400 or 800) is mostly found on Macs. Both of these protocols average the same speed (480Mbps), which is fast enough to record up to 64 tracks at once under ideal conditions. Also, there are some simple interfaces that still use USB 1.1, which is much slower, but fast enough to record one or two channels.

Universal Audio Apollo 8 DUO Thunderbolt 2 interface

Thunderbolt

Due to its incredibly high speed and low latency, Thunderbolt is the new reference standard for connecting audio interfaces. Thunderbolt 3 (found on the latest Macs) is twice as fast as Thunderbolt 2 and 8 times faster than USB 3, supporting speeds up to 40 Gbps and cable lengths of up to 100 meters using optical cable. There are many high-end interfaces that now support Thunderbolt.

Shop for Thunderbolt Interfaces

Firewire

The advantage of FireWire is that it transfers data at more consistent rate than USB, which makes it slightly more reliable when you’re recording more channels at once. The disadvantage is that there are less interfaces that use FireWire than USB, and less computers that come equipped with FireWire ports. If you own a PC, you might need to install a FireWire card.

Shop for FireWire Interfaces

PreSonus AudioBox USB interface

USB

Apogee One Usb Microphone And Audio Interface

The advantage to USB (3.0, 2.0, and 1.1) is that there are many interfaces designed to run on USB bus power (rather than an external power supply), which is excellent if you plan on doing mobile recording with your laptop. There is also a small selection of PC Express and PCMCIA card-based interfaces, which are specifically designed for laptops.

Shop for USB Interfaces

PCIe

That brings us to the fourth standard audio interface connection, which is PCIe (PCI Express). PCIe is an internal card-based interface, which (by its very nature) means you can’t use these interfaces with laptop computers. By effectively installing your audio interface into your computer’s motherboard, you gain the advantage of bypassing some of the data conversion processes that cause latency and limit bandwidth. The majority of PCIe audio interfaces are designed to handle high track counts and the near-instantaneous speed required by professional studios, and are consequently more expensive than FireWire or USB interfaces. That said, there are some affordable PCIe interfaces that allow even entry-level users to take advantage of this format.

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Tech specs and how to read them

People often ask us, do things like bit depth and sample rate really matter? They’re some of the specs listed with almost every interface out there. The answer isn’t simple, but yes, they do matter. Let’s start with bit depth. When it comes to processing audio, bit depth has a huge impact on your sound. The simple math is that 1 bit = 6dB. That means 16-bit audio (CD standard) has a total dynamic range of 16-bits x 6 db/bit for a total of 96dB. The problem is that the digital noise floor is pretty high, and the remaining dynamic range is pretty small. The result is that if you work at 16-bit, the quieter sections of your audio will tend to be noisy. With 144dB of range, 24-bit audio gives production professionals the range they need to process audio smoothly. That’s why 24-bit is considered the professional standard and is highly recommended.

On the flip side, sample rate is much more subjective. Each sample is a digital snapshot of the captured audio. The CD standard 44.1kHz takes 44,100 digital pictures of the incoming audio every second. Digital to analog conversion only needs two samples (the top and the bottom) of a wave form to generate a frequency, so the 44.1kHz sample rate is theoretically capable of reproducing frequencies as high as 22.05kHz. The uppermost range of human hearing (in young females) is 20kHz, so technically, 44.1kHz is more than enough to capture and reproduce every sound you can hear. However, there are additional considerations (all of which are technical) that may or may not suggest higher sample rates capture valuable information. That’s why most audio professionals choose to work at 48kHz, 88.2kHz, 96kHz, or even 176.4 or 192kHz.

In the end, it’s all relative. If you’re planning on releasing your demo on CD or posting MP3s online you’ll probably be fine working at or mixing down to 16-bit/44.1kHz. If you plan to release jazz in a high resolution format, don’t even consider working at less than 24-bit/96kHz. Higher sample rates, such as 192kHz are also extremely useful for sound design. Record a dog snarling at 192kHz, and import it into a 96kHz session (half the speed and pitch but no loss of resolution), and you instantly have the ominous guttural growl used in countless sci-fi monster movies. Just remember, higher sample rates and bit depths eat up more disc space and limit your track count, so you’ll need to work within the limits of your equipment.

The most important thing to remember about sample rate and bit depth is that they are less significant than the quality of the digital converters you use. The same way that a soapbox derby car with a Ferrari engine in it may be able to go 130mph, but you wouldn’t want to be along for the ride, a low-end converter may do 24-bit/96kHz, but it’s not going to give you the professional fidelity you’re after. If you’re interested in learning more about sample rates, digital converters, and digital audio in general, check out the excellent books in our Instructional Books section.

Additional considerations

Here are some additional things you want to keep in mind. First, although the list gets shorter every year, there are some audio interfaces that are Mac- or PC-compatible only. At Sweetwater, we try to make this as clear as possible, so be sure to read the features section at the bottom of each interface’s detail page. Of course, if you’re still not sure, please feel free to call your Sweetwater Sales Engineer.

More and more interfaces include some kind of integrated software control and DSP for mixing. This feature is incredibly handy. Software mixing allows you to do everything from setting up headphone mixes, add reverb or delay to headphone mixes, and allow you talkback communication to the artists in the studio. What’s more, software control over onboard DSP does all of this without adding latency, draining CPU power, or affecting your DAW software in any way.

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