c) You only get a maximum 96kHz sample rate. Which, on the plus side saves you an awful lot of HD space from recording at 192kHz, and everyone streams these days anyhoo. XLR inputs are usually accompanied by a preamp to handle microphones. Combo XLR/TRS inputs usually have preamps embedded, so they are mic-ready. Some units have versatile line level and instrument level switching for specific ports. Line level vs instrument level is an important distinction that some musicians know little about. When choosing a 16 channel audio interface, you want to consider the number of Inputs vs. Outputs, as well as how many of them you want to be XLR and whether they have to be DC coupled or not. You also want to ensure that the preamps and converters on your interface are of good quality and that the manufacturer has a good reputation for drivers. There are also additional options such as onboard DSPs and Bluetooth ability that add more functionality, should you need it. Each preamp has an additional "Air" setting that brings in an upper-midrange lift similar to their famed ISA series preamps. This feature was added to this 3rd generation of interfaces from Focusrite, including the 4i4. Another feature of note, which may make this interface a winner for you, is the DC coupling on the outputs, which enables CV/gate information to be sent to modular synths and other hardware.

Inputs: 2 x XLR-1/4" combo (mic), 2 x 1/4" (Hi-Z), 2 x XLR-1/4" combo (mic/line), 2 x Optical Toslink (ADAT), 2 x channel inserts Several expansion options are also available via Optical I/O. The iD44 was designed to grow with your studio, with additional inputs available should you choose to bring in more input options like a dedicated 8-channel preamp such as the Focusrite Octopre and other similar units.I use MIDI extensively and the Fireface has 2 MIDI in/outs. It accepts ADAT, S/PDIF, AES/EBU, XLR, 1/4 line and the MADI connection which on its own provides up to 64 simultaneous channels.

The PreSonus StudioLive 16R is a versatile 16-channel audio tool (18-input/16-channel) with USB 2.0 (USB-C) compatibility. It supports a maximum bit depth of 24 bits, supporting a sample rate of either 48 kHz or 44.1 kHz. A 4-in-1 audio tool that serves as a standalone digital mixer with UC Remote Mixing Software, a stage box and an integrated monitor mixer when paired up with StudioLive Series III console mixer, and a 36-channel (18 x 18) USB audio interface when connected with a computer. we've put together a comprehensive guide to help you choose from the best 8 channel audio interfaces on the market, to find the optimum solution for your studio. The 16A is no different. With a self-noise level of -110dB THD+N and a dynamic range of 123dB (A-weighted, 20Hz-20kHz), the 16A’s 16-channel analogue I/O provides some of the cleanest audio available, and an extra 16 channels of digital I/O through ADAT optical ports brings your total channel count to 32 x 32. MOTU supplied the 16A ultra-fast Thunderbolt connectivity (in addition to USB 2.0) to go with this remarkable array of high-quality I/O, so you get epically low system latency as well. The UFX+ has more inputs and outputs (94 x 94 vs the 30 x 30 of the UFX II) and more connectivity options, including ADAT, S/MUX, S/PDIF, and MADI. A USB 3.0 / Thunderbolt connection enables faster round trip times, lower latency, and excellent stability. Thankfully, manufacturers rarely skimp on the quality of their preamps, often equipping their entire range of audio interfaces with the same preamp found on their flagship model. Not all inputs will have a preamp, so it is crucial to consider the actual number of preamps available, particularly for recording with condenser microphones.The XR18 has 16 flexible analog inputs and preamps built in to the device, and serves as a mixer as well as an interface, but the quality is middle of the road. The Scarlett 8i6 is an "in-betweener" interface, bridging the gap between the 4i4 , which has no S/PDIF capabilities, and the 18i8 with additional I/O options at a price jump. All that said, this model from Tascam is one of the best value USB audio interfaces your money can buy if you're after a multi-input model. You're not going to get the sound quality of Abbey Road, but on the other hand that album was recorded using way fewer channels of audio. The recording quality of this interface is on par with other mid tier audio interfaces, and should work great for either live sound or for amateur home recording artists.

I dare call this a "Game Changer," with many features often seen in large format consoles. The presence of send/return inserts on 2 channels is generally unseen in most audio interfaces of this size. It has 2 headphone outputs and can drive bigger headphones easily—no need for a separate headphone amp to push higher impedance headphones like the Audio-Technica ATH-R70x. Both Volts 1 and 2 are plug-and-play USB-C interfaces that offer UA’s excellent preamps on their combi inputs, with one input available on the Volt 1 and two on the Volt 2. These offer a great vintage tube sound on your inputs, giving recordings a richness rarely heard in this price range. Typically, when you record at home you do all the mixing after your audio comes into you audio editing software. You would use an EQ plugin and manipulate the various frequencies of the audio signal with extreme precision.Whether you're a rookie audio engineer with big plans or a seasoned veteran who wants to build a dream studio, the RME Fireface UFX+ is everything you need and more. This is perfect if you're looking for the best audio interface for mac. Tech Specs Inputs: 2 x XLR-1/4" combo (mic/Hi-Z), 6 x XLR-1/4" combo (mic/line), 1 x Coax (S/PDIF), 2 x Optical (ADAT) Finally, the 8 analog outputs can be used for up to 7.1 surround monitoring. The support for surround sound includes speaker calibration and fold-down, so if you work in film, tv, or games this is a boon. EVO 16 is designed to work in tandem with the EVO software app, and this offers deep control of the unit. Many of EVO 16’s parameters can also be accessed from the front panel using the parameter buttons and main volume, which doubles as an encoder. This is made much simpler thanks to EVO 16’s LCD display. This tiny display is not only crystal clear but easy to view even when you’re way off-axis. The Clarett+ 2Pre is a reasonably simple interface with some very handy features, that offer subtle yet welcome improvements over its predecessor.