Hit Record: We Test 4 Audio Interfaces for Your Home Studio
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It used to be the case that musicians aspired to graduate from home recording to a professional studio. But today, the capabilities of home studios make that choice a little less clear. Software applications like Ableton Live and Logic Pro X feature amazing recording, editing, and mixing capabilities that would have been unimaginable in even the best studios 20 years ago. And virtual instruments and software emulations of studio processing gear can create hit records—Billie Eilish’s number one debut album was recorded in her brother’s bedroom with a modest array of gear.
One thing you will need for professional results is a good audio interface. These units allow you to plug microphones, guitars, and other equipment into your computer. They also handle playback of your music to monitor speakers, as well as other audio routing. With higher-quality digital-analog audio converters and connections for quality microphones, a good audio interface is the nerve center of any studio—from a bedroom setup to Abbey Road.
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Best Overall
Universal Audio got its start building some of the most famous analog audio gear ever made; sound processing is in the company’s DNA. The Apollo Twin X Quad (Rating 9/10, WIRED Recommends) brings that pro recording history to your desk in a handsomely designed case, with a large physical knob to set input levels and output volume. Two inputs on the back of the box allow connections for either XLR cables or ¼-inch audio cables, and there’s a handy input on the front for guitars.
The big draw of the Apollo is its access to Universal Audio’s audio processing plug-ins. The Apollo includes custom digital signal-processing chips that handle the computing load from the plug-ins, relieving the burden on your computer. (It's also available in a lower-cost model ($899) with a less powerful chip that can't do as much onboard signal processing.) These plug-ins are digital emulations of classic studio gear. The Apollo ships with a terrific bundle of software, including versions of UA’s own 1176 compressor and 610-B preamp, as well as versions of a Marshall Plexi guitar amp and Ampeg bass amp. Hundreds of others are available for an additional fee—just be aware that it can be expensive to go down the UA rabbit hole.
Apollo interfaces sit at the center of many pro studios; while it’s the most expensive option on this list, the Twin X Quad is a pro-level tool that won’t impose any boundaries or restrictions on your creativity. And this spring, UA released its own recording software, called Luna, which is free for all UA interface owners. That can save you the cost of buying separate digital audio workstation software, and makes the higher price of the Twin X a little more palatable.
Most Flexible
While it is better known for its software and hardware synthesizers, Arturia has put together a very compelling recording interface with the AudioFuse Studio (Rating: 8/10). Part of what impresses are the little details. It’s a stylish unit, covered in soft-touch plastic and featuring solid-feeling knobs and buttons. Even the (thankfully!) included USB-C cord has a woven orange and black covering, playing off the accent colors on the box itself.
That thoughtfulness carries over to the audio functionality. There are four mic preamps here, as well as four other analog inputs. Unique among the units I tested, the AudioFuse Studio has insert points so you can attach hardware audio processors like compressors or delay units to the main unit and route your signals through them. Two sets of headphone jacks allow the artist and producer to each listen to their own mix, and there are ¼- and ⅛-inch jacks for the phones, eliminating the need for an adapter. There’s a three-port USB hub built in, and even phono inputs for your turntable and Bluetooth to hook up to a tablet or phone. It’s a massive feature set that offers a ton of flexibility for any desktop studio.
The software bundle is similarly packed with useful plug-ins that recreate studio gear like vintage console preamps, compressors, delays, and a particularly lush plate reverb. The quality of the software is unsurprising given that Arturia’s emulations of vintage synths are among the best in the industry. The company has even included its Analog Lab Lite software to allow you to explore hundreds of those synth sounds. The whole package comes together as a great step-up choice for the home recordist who doesn’t want to push all the way up to the cost of the Apollo.
Best for Beginners
This is the third generation of the Scarlett audio interface series, which Focusrite says has been the best-selling line of audio interfaces in the market since its introduction. It’s easy to see why—the Scarlett 2i2 (Rating: 8/10, WIRED Recommends) is a clean, uncomplicated box that gives a beginning producer two great-sounding mic preamps and a software bundle that facilitates diving straight into recording, at a price that makes the package an exceptional value.
One unique feature of the Focusrite line is the AIR button that lurks beside each input. The idea is to emulate the sound of the microphone preamps that Focusrite founder Rupert Neve designed for legendary producer George Martin’s Air Studio in Montserrat. The design of those preamps is legendary, and the recreation here is very musical, boosting the high-mid frequencies and giving audio a larger sense of space. The results were great on vocals, allowing my mid-tier condenser mics to capture results far beyond their price.
The Scarlett series includes six different models with various numbers of inputs and outputs, but for the beginner, the 2i2—with its fantastic sound, very capable software bundle, and small size—is an easy recommendation as the gateway drug of audio interfaces.
Excellent Sound, OK Design
First, the good. The Apogee Duet (Rating: 6/10) sounds phenomenal. Apogee has been a longtime leader in professional studio gear, with a particular emphasis on great digital-analog conversion. The Duet lives up to that heritage with crystal clear sound and a wide dynamic range on the microphone preamps. They’re lovely.
Unfortunately, the rest of the package doesn’t live up to that audio performance. First, unlike all of the other interfaces I tested for this roundup, the Duet doesn’t come with any bundled software beyond its own control app. At this price, that's difficult to swallow, especially for the beginner. I also wasn’t a fan of the physical design of the unit. The main box is good-looking and sleek, taking design cues from Apple with a big silver knob and a smooth black surface. But to keep the box so small and sleek, the Duet relies on a separate breakout cable for its two microphone and two audio inputs. The result was a mess of cables running across my desk, which seemed to defeat the purpose.
If you don’t mind all the cables and have your own software, or if you are just looking to upgrade your signal chain, the Duet sounds great. But it feels a little caught between various markets to me—too expensive and lacking for a beginner, too awkward for a more serious musician.
