A good 8 channel audio interface goes beyond giving you more inputs, it unlocks new recording possibilities. The best audio interfaces expand your production workflow, giving you the flexibility to handle different setups from solo performers to full band recording, hybrid hardware/software setup and more.
2 Channel - 2 Inputs | 2 Channel - 2 Inputs Product Image | Product Title | *GEARANK | **Sources | Check Prices |
 | 91 | 650+ |
2 Channel Author's Pick | 2 Channel Author's Pick Product Image | Product Title | *GEARANK | **Sources | Check Prices |
 | 92 | 350+ |
4 Channel Audio Interface - 4 Inputs | 4 Channel Audio Interface - 4 Inputs Product Image | Product Title | *GEARANK | **Sources | Check Prices |
| 92 | 4950+ | |||
| 94 | 950+ |
4 Input Audio Interface + Extended Channels | 4 Input Audio Interface + Extended Channels Product Image | Product Title | *GEARANK | **Sources | Check Prices |
| 95 | Number |
6 Channel Audio Interface | 6 Channel Audio Interface Product Image | Product Title | *GEARANK | **Sources | Check Prices |
| 94 | 3300+ |
8 Input Audio Interface + Expandable Channels | 8 Input Audio Interface + Expandable Channels Product Image | Product Title | *GEARANK | **Sources | Check Prices |
| 97 | 2975+ | |||
| 95 | 3225+ |
12 to 16 Channel Audio Interface | 12 to 16 Channel Audio Interface Product Image | Product Title | *GEARANK | **Sources | Check Prices |
| 95 | 80+ |
16 Channel Budget Option | 16 Channel Budget Option Product Image | Product Title | *GEARANK | **Sources | Check Prices |
| 93 | 100+ |
*Gearank = Rating score out of 100.
**Sources = Number of gear owner and user opinions analyzed for these product Gearank Ratings.
Research Process: How Gearank Works
Choosing the right audio interface is crucial if youโre planning to dive into the world of music production. Whether youโre a budding musician, a podcaster, or a live streamer, the audio interface you select can make or break your production experience. Thatโs why weโve compiled a comprehensive guide to help you pick the perfect audio interface for your needs.
NB: We have separate guides devoted to 2 Channel & Budget and iPad audio interfaces.
We carefully handpicked a range of top-notch audio interfaces based on their performance in four key areas.
First and foremost, weโve evaluated each interfaceโs functionality to determine how well it meets the needs of beginners.
Weโve also analyzed each interfaceโs connectivity options to ensure it has the necessary ports and options to suit various production needs.
Usability is another crucial factor when selecting an audio interface, particularly for those just starting. Weโve closely examined each interfaceโs user-friendliness to ensure that itโs easy to set up and use, even for beginners.
Finally, weโve evaluated each audio interfaceโs bundled software and extras to determine what additional goodies come with them. Whether youโre looking for free plugins, digital audio workstations, or other helpful tools, weโve got you covered.
Our guide will help you find an audio interface that strikes the perfect balance between functionality, connectivity, usability, and additional features so you can focus on what matters โ creating high-quality content. If you need a refresher on what is an audio interface, you may want to read our explanation first. Otherwise, read on to find the best audio interface for your needs.
2 Channel – 2 Inputs
Universal Audio Volt 2
Delivers top-tier sound quality with built-in vintage mic preamp emulation, giving your recordings a rich, analog warmth. Its simple design and solid build make it viable for both home studios and mobile setups.
Pros:
- Vintage preamp mode adds life to darker sounding voices, mics, and instruments
- Excellent build quality at this price point
- Versatile monitoring options
- Top tier software suite included
- Access to the interface control software requires account and login
- Vintage mode may be too strident with bright mics
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The UA Volt 2 impressed me from the unboxing; an inconsequential thing for most but the presentation really impressed me and it felt like it was a lot more expensive.
The Volt series features a preamp section based on their 610 tube preamp/consoles, famous for records like โHarvestโ by Neil Young, โLA Womanโ by The Doors, and quite a few mentions โVan Halen 1โ by Van Halen was recorded on one. With this catalog of hits, itโs impossible not to have high expectations about Universal Audioโs implementation of the preampโs sound into a compact audio interface.
Latency was a bit slower than my Presonus ioStation 24c, but that is an unfair comparison, given that my interface and DAW (Studio One) were designed around and optimized for each other. Itโs still really fast compared to cheaper interfaces out there in terms of round-trip time, and I had no problem monitoring myself with a few plugins in the chain. 1 to 2 milliseconds of difference is negligible for monitoring.
It had no problems driving my headphones as well. I use 250 Ohm Beyerdynamic DT 770 Pros and DT 990 Pros in my studio. I was able to get them up to a good level with minimal distortion from the headphone amp. One thing to note is that direct monitoring can be selected as stereo or mono (the button can be pressed multiple times).
Another thing to note is the bundled software. It has a great amount of plugins from developers like Brainworx, Celemony (yes, itโs bundled with Melodyne Essential!), and more. With Melodyne becoming more and more a requirement for any mix engineer, seeing it bundled with the interface, along with virtual instruments and carefully curated plugins, brings the value up a few notches.
Listen to the recordings and see my opinion of them in the Extended Review.
- A/D Resolution: 24-bit/96kHz
- Connectors: 1 x USB-C to USB-A cable, 1 x USB Power cable
- Simultaneous Channels: 2 x 2
- Inputs: 2 x XLR-1/4โณ combo (mic/instrument), MIDI IN
- Outputs: 2 x 1/4โณ (L/R), 1 x 1/4โณ (Headphones), MIDI OUT
- Features: Preamps based on the Universal Audio 610 Preamp, Midi I/O
- Power: Bus Powered (dedicated power cable included)
- Phantom Power: Yes (+48v)
- Bundled Software:Ableton Live 11 Lite, Melodyne Essential, Brainworx Ampegยฎ SVT-VR Classic Bass Amp, Softube Marshall Plexi Classic Amplifier, LX480 Essentials, Virtual Drummer DEEP, Virtual Bassist DANDY, Spitfire Audio LABS
PreSonus ioSTATION 24c
Combines an audio interface and DAW controller in one, streamlining your workflow for recording and mixing. With high-quality preamps and hands-on control, it’s perfect for producers who want precision and efficiency in their setup.
Pros:
- Good workflow and sound quality
- XMAX preamps capture extended highs and lows
- Mappable Motorized fader
- Quick integration
- Sleep mode activates too early
- Not the best integration with Reaper
- Preamp coloration at higher gain settings can be too much
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Hybrid products have always been a part of audio engineering gear since the development of the mixing console. Channel strips that combined multiple pieces of gear in a modular fashion were one of the earliest innovations in the field. Most gear these days remain unchanged since their inception, with the exception of the rise of audio interfaces, MIDI controllers, and DAW controllers.
I’ve been looking at a new interface ever since I felt that the preamps on my Focusrite 18i20 were not doing my new microphones justice. I’ve also been interested in exploring hardware DAW controllers in the past and got interested in items like the Presonus Faderport.
Because of my current workflow of using analog summing emulator plugins like Waves NLS and Brainworx BX_Console, I’ve been wanting a more “hands-on” approach to my mixing. At first I considered getting analog summing mixers but found they would be limiting. I was completely satisfied with the plugin emulations. So I decided to shop for a new interface and a DAW controller.
This is why I was surprised to find that a product like the PreSonus ioSTATION 24c existed. It is a combination of a 2 preamp audio interface and the company’s own Faderport. Once I read about it more and found that the XMAX preamps were getting a lot of praise from users, I knew I had to get it.
The layout is similar to the Faderport with the addition of two gain knobs, a line button, a phantom power button, a direct monitor mix, headphone volume, main volume, and a mute button for the main out for quick swaps to headphone monitoring.
The Faderport side has a motorized fader, individual buttons for solo, mute, arm, a multi-function knob, and more. A transport control cluster rounds out the front panel of the ioSTATION 24c.
The I/O section is placed in the rear with two combo XLR/TRS inputs for the XMAX preamps, Main L/R outs, Headphone Out, Power Button, and USB connection.
One of my favorite things about the ioSTATION 24c is how fast it integrated with my DAW of choice: Reaper. While it has preset mapping for major DAWs like Studio One, Cubase, Ableton Live, and ProTools, I was worried that it might not support Reaper fully. While most of the features like marker skipping are unavailable for Reaper, the motorized fader, transport, solo, mute, and arm are all I needed to experience a faster workflow.
The XMAX preamps did not disappoint. Compared to my old Focusrite, the XMAX preamps have a more “open” sound out with better high and low frequency extension. With higher gain settings and running the mic preamps hot, some subtle saturation and compression come in, adding a bit of harmonics without it sounding distorted. The Focusrite tends to impart a “boxy” midrange on some voices and D.I. sources. Although it has a distinctive tone, I personally prefer preamps such as the XMAX that offer more subtle coloring. It has great clean headroom and adds a subtle sheen to vocals.
The transport controls were responsive to my DAW, and punching in recordings felt faster. At this point, any marginal improvement to my workflow is a major improvement to my overall production, so the ioSTATION 24c wins my vote in that regard.
One con that I noticed immediately was how the interface would go on a sort of “sleep mode” when no sound from my computer is playing. When a sound is played, there is a noticeable delay followed by an audible “pop” that seems to indicate the interface is waking up from a standby state. I have yet to see how to resolve this, and if someone could point me to solutions, feel free to write in the comments below.
Another con that I chose to overlook is the limited functionality of the unit with the DAW I use (Reaper). Other Major DAWs can make better use of the ioSTATION 24c’s functionality.
The ioSTATION 24c felt like a definite upgrade in terms of sound, workflow, and overall production value for me. It helped me get that last marginal improvements and optimizations in my workflow by allowing me to get hands-on with my music production. I can close my eyes and rely on my ears and touch riding a fader to balance tracks; something that was near impossible to do with just a mouse and keyboard. I highly recommend this for project studios looking to get into the more tactile side of audio engineering.
Listen to the recordings and see my opinion of them in the Extended Review.
- A/D Resolution: Up to 24-bit/192kHz
- Simultaneous I/O: 2 x 2
- Inputs: 2 x XLR-1/4″ combo (mic/line/Hi-Z)
- Outputs: 2 x 1/4″ (L/R), 1 x 1/4″, 1 x 1/4″ (footswitch)
- Computer Connectivity: 1 x USB Type C (Class Compliant)
- MIDI: none
- Preamps: 2 x XMAX mic preamps
- Power: 12V DC power supply (included)
- Phantom Power: +48V
- Bundled Software: Studio One Artist, Studio Magic Plug-in Suite
4 Channel – 4 Inputs
Behringer U-Phoria UMC404HD
Delivers impressive performance for its price, offering four MIDAS preamps and low-latency monitoring. It’s an affordable workhorse that gives budget-conscious musicians professional-grade recording capabilities.
Pros:
- 4 MIDAS preamps
- Exceptional Sound quality
- MIDI I/O for added flexibility
- Zero-latency monitoring
- Affordable for a 4-input interface
- Plastic knobs feel flimsy
- Bulky design
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For budget-conscious musicians who need multiple inputs, the Behringer U-Phoria UMC404HD is a hard-to-beat option. This four-channel USB interface features MIDAS-designed preamps, which deliver clean and transparent recordings at an affordable price. With four XLR/TRS inputs, direct monitoring, and MIDI I/O, itโs a versatile choice for bands, producers, and content creators.
What makes the UMC404HD stand out is its balanced audio quality and affordability. The zero-latency monitoring ensures a smooth recording experience, while the pad switches on each channel add flexibility for handling high-output sources.
However, its plastic knobs feel less sturdy compared to premium interfaces, and driver issues on Windows can be a hassle for some users.
If you need multiple inputs on a budget, the UMC404HD is a fantastic value. It may not have premium build materials, but its solid audio performance and feature set make it a great choice for home studios and small ensembles.
- A/D Resolution: 24-bit/192kHz
- Preamp: 4 x Midas Designed Preamps
- Channels: 4
- Simultaneous I/O: 4 x 4
- Mic Preamps: 4 x MIDAS-designed
- Inputs: 4 x XLR/TRS Combo, 4 x 1/4โณ (Inserts)
- Outputs: 6 x 1/4โณ, 2 x XLR, 2 x RCA Stereo, 1 x 1/4โณ (Headphones)
- Computer Connectivity: USB 2.0 โ Class Compliant
- MIDI: In/Out
- Power: AC Adapter, USB Bus Powered
- Phantom Power: 48V
PreSonus Studio 68c USB Audio Interface – 4 Analog Inputs
Provides clean preamps, solid build quality, and ultra-low latency, making it a great choice for small studios and live performers.
Pros:
- Good quality XMAX preamps
- USB-C connectivity
- Solid metal build
- LED meters for easy level control
- Studio One Artist version has plugin limitations
- Not the most beginner-friendly interface
- Limited I/O expansion options
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The PreSonus Studio 68c is a sleek, modern USB-C audio interface that balances affordability and pro-level performance. With four mic/line inputs, two independent headphone outputs, and MIDI I/O, it’s a great option for musicians, producers, and content creators. The PreSonus XMAX preamps deliver clean, detailed recordings, making it a step up from many budget interfaces.
One of its biggest advantages is its USB-C connectivity, which ensures low latency and fast data transfer. The LED input meters make gain staging easier, and its rugged metal build adds durability.
However, the included software (Studio One Artist) has some plugin limitations, and some users may find the learning curve a bit steep if theyโre used to other DAWs.
For those seeking a mid-range interface with great preamps and modern connectivity, the Studio 68c is an excellent choice.
Its balanced mix of affordability, versatility, and pro features makes it a reliable workhorse for both home and small studio setups.
- A/D Resolution: 24-bit/192kHz
- Simultaneous I/O: 4 x 4
- Inputs: Two – Combo Mic/Instrument/Line Inputs (XLR Female Balanced, 1/4″ TS Female Unbalanced (Inst) or TRS Female Balance (Line)); Two – Combo Mic/Line Inputs (XLR Female Balanced or TRS Female Balance (Line))
- Outputs: Two – 1/4″ Balanced (Left and Right)
- Computer Connectivity: USB-C
- MIDI: In/Out
- Preamps: 4
- Power: 12 VDC External Power Supply
- Phantom Power: Yes (+48v)
- Bundled Software: Studio One Pro 7
Extended Channels – 4 Inputs
RME Babyface Pro FS
A premium, ultra-low latency interface with rock-solid drivers and crystal-clear conversion. Its compact yet rugged design makes it super portable without compromising quality.
Pros:
- Low latency performance
- Versatile and expandable form factor
- Stable sync and low jitter when used with outboard gear
- Portable form factor
- Mixer software interface slightly clunky
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RME’s follow-up to their popular Babyface Pro interface features upgraded components over its predecessor. This includes better clocking for syncing up with additional external preamps and sources. What this means is hassle-free outboard gear integrations down the line.
Integrating their “Steadyclock FS” tech from the ADI-2 Pro AD/DA converter, this Babyface ensures stable sync and low jitter across different outboard gear.
Also, the low latency performance is stunning in typical RME fashion. It’s usable even when running multiple plugins during tracking.
The headphone amplification was also improved. It can drive higher-impedance headphones with lower noise and distortion. Gain-hungry headphones like the Sennheiser HD600 can be more easily driven without needing an external headphone amplifier.
Long-term scalability is a notable advantage of the Babyface Pro FS. With a great word clock sync and S/PDIF and ADAT I/O, it easily doubles up as a compact interface on the go or as a centerpiece to an expanded 12 in / 12 out I/O ecosystem.
These are all great features to have in a portable audio interface.
One limitation is the mixer app, which may need a more user-friendly interface. The fact that phantom power is only controlled via the app is also a negative and increases your reliance on the high learning curve software.
The RME Babyface Pro FS builds on its predecessor by bringing a compact but expandable interface. In an already crowded market of compact interfaces, the RME Babyface Pro FS stands out as one that can fill both mobile and centerpiece positions in a studio. And it does so while retaining high audio signal quality.
- A/D Resolution: 24-bit/192kHz
- Simultaneous I/O: 4 x 4 (analog), 8 x 8 (digital)
- Inputs: 2 x XLR (mic), 2 x 1/4″ (Hi-Z/line), 1 x Optical Toslink (ADAT, S/PDIF)
- Outputs: 2 x XLR (+4dBu/+19dBu), 1 x Optical Toslink (ADAT, S/PDIF), ,1 x 1/4″, 1 x 1/8″ (Headphones)
- Computer Connectivity: 1 x FireWire 400, 1 x FireWire 800, 1 x USB Type B (Class Compliant)
- MIDI: In/Out via Breakout Cable
- Preamps: 2 x mic, 2 x instrument
- Phantom Power: +48V
- Bundled Software: ME TotalMix FX, Total Mix Remote (iOS, Mac, PC), Brainworx Plug-ins, Scuffham S-Gear Amp Collection
6 Channel Audio Interface
Focusrite Scarlett 8i6 3rd Gen
Pristine sound and reliable USB-C connectivity, this is a versatile choice for musicians and podcasters. It has two great sounding preamps and loopback functionality.
Pros:
- MIDI I/O and S/PDIF I/O
- 3rd gen Scarlett preamps
- Improved headroom
- Clunky routing software
- Not as portable as some
- Not as many preamps as others
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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.
The 8i6 has 2 preamps, 4 line inputs, MIDI I/O, and S/PDIF I/O for 8 maximum simultaneous inputs. Perfect for recording multiple instruments like drum machines and synthesizers.
The 3rd Gen 8i6 features the new “Air” switch and revamped preamps with more headroom.
The 8i6 is a godsend for home producers that doesn’t need a lot of inputs for outboard gear. Given its price range and functionality, most bedroom producers can skip jumping to the next interface in the lineup.
On a lower note, the routing software is clunky. The 8i6 is the most niche product in the lineup since it barely adds anything to the 4i4 but loses to the 18i8 in terms of features. The middle-ground solution is not always the optimal compromise. Having only 2 preamps also prevents it from being used as an interface to record using a full drum mic kit.
The 8i6 caters to a particular crowd: One that prefers to use S/PDIF but wants to avoid being bothered by additional inputs they aren’t likely to use or are on a limited budget. If this is you, then this is highly recommended. If not, the Scarlett 18i8 gives you more input and output options.
- A/D Resolution: Up to 24-bit/192kHz
- Simultaneous I/O: 8 x 6
- Inputs: 2 x XLR-1/4″ combo (mic/Hi-Z), 4 x 1/4″ (line), 1 x Coax (S/PDIF)
- Outputs: 4 x 1/4″ (line out), 1 x Coax (S/PDIF), 2 x 1/4″ (headphones)
- Computer Connectivity: USB 2.0
- MIDI: In/Out
- Preamps: 2 x 3rd-generation Scarlett mic preamps
- Phantom Power: +48V
- Bundled Software: Ableton Live Lite, Pro Tools First Creative Pack, Red Plug-in Suite, Focusrite Collective access
Expandable Channels – 8 Inputs
Focusrite Scarlett 18i8 3rd Gen
With eight inputs and four preamps, the Scarlett 18i8 is perfect for multi-instrumentalists and small bands. Its Air mode adds extra clarity, making vocals and acoustic recordings shine.
At publication time, this was the Highest Rated USB Audio Interface.
Pros:
- 4 mic preamps
- Includes the “Air” feature
- Perfect loadout for duos with 2 singers and 2 guitars
- Only has ADAT in and no output
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The 18i8 represents the first real jump in inputs for the Focusrite Scarlett 3rd Gen range.
With 4 mic preamps, 4 line inputs, S/PDIF, MIDI I/O, and an ADAT In, it carries the potential to provide 18 total inputs when you connect an 8 channel preamp like the Focusrite Scarlett Octopre (or the cheaper Behringer ADA8200) into the 18i8.
Mobility is the name of the game today. It’s a mobile interface you can connect at home to maximize the entire input range, or connect to a mobile device on the road to take your recording ability anywhere. The 18i8 is designed for people who prefer the best of both worlds. This ensures that there will be ample mic and instrument inputs. Speaking of instruments, this is a great pick if you’re looking for the best audio interface for guitar.
A compromise to fit the price bracket is it only having ADAT in but no output. Having an ADAT out would have increased the versatility of this device. This added feature would have allowed it to “slave” to a higher-end interface with better converters.
The 18i8 is in a broader segment in the Focusrite range. It has the expandability of a full audio interface while remaining as compact as possible for road use. It doesn’t have all the inputs of the 18i20, but it is a definite step up from the 8i6.
- A/D Resolution: Up to 24-bit/192kHz
- Simultaneous I/O: 18 x 8
- Inputs: 4 x XLR-1/4″ combo (mic/Hi-Z), 4 x 1/4″ (line), 1 x Coax (S/PDIF), 1 x Optical
- Outputs: 4 x 1/4″ (line out), 2 x 1/4″ Headphones, 1 x Coax (S/PDIF)
- Computer Connectivity: USB 2.0 (Class Compliant)
- MIDI: In/Out
- Preamps: 4 x mic preamps
- Power Source: 12V DC power supply (included)
- Phantom Power: +48V
- Bundled Software: Ableton Live Lite, Pro Tools First Creative Pack, Red Plug-in Suite, Focusrite Collective access
Focusrite Scarlett 18i20 3rd Gen
An affordable 8-channel interface with flexible routing, ideal for larger recording setups. ADAT expansion allows for even more inputs, making it a future-proof choice for growing studios
Pros:
- Time-tested reliability and quality
- Generous amount of inputs and outputs
- Expansion options
- Improved preamps with “Air” ISA emulation and more headroom
- Clunky routing software
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The 18i20 is the flagship rackmount audio interface of the Scarlett range. It packs a lot of connectivity features, having 8 mic preamps, 1 S/PDIF in, 2 ADAT ins, and MIDI I/O.
It has enough inputs to record a full band on its own. Additional inputs can be patched in via ADAT for 18 simultaneous inputs. The 20 outputs can route audio to outboard gear to better monitor mixes in your studio.
Additionally, it includes an integrated talkback microphone.
The 18i20 is the centerpiece of many recording studios. The great thing going for this specific Scarlett interface is the number of mic preamps available on the unit. When combined with additional preamps like the Focusrite Scarlett Octopre, it has more than enough to record a full band and more. This is a “serious” audio interface with good reason: the 18i20 ensures you’re ready to handle bigger sessions.
The same clunky routing software included with other Scarlett interfaces is also present here. There were some problems with the drivers on early units, but updates from Focusrite have since resolved those. Those looking for a budget-friendly alternative can look at the Behringer U-PHORIA UMC1820. It is an affordable rackmount audio interface with 8-analog inputs.
The 3rd Gen 18i20 brings a lot to the table. Sure, other interfaces offer the same amount of preamps, but time-tested reliability and quality set the Focusrite Scarlett 18i20 apart. With the new generation having better gain handling and the new “Air” feature trickled down from Focusrite’s ISA series preamps, the 3rd Gen 18i20 is a winner.
- A/D Resolution: 24-bit/192kHz
- Simultaneous I/O: 18 x 20
- 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)
- Outputs: 10 x 1/4″ (line out), 1 x Coax (S/PDIF), 2 x Optical (ADAT), 2 x 1/4″
- Computer Connectivity: USB 2.0
- MIDI: In/Out
- Preamps: 8 x mic preamps
- Phantom Power: +48V
- Low latency monitoring
- Bundled Software: Tracktion 4
12 to 16 Channel Audio Interface
RME Fireface UFX II
A high-end audio interface with legendary RME drivers, pristine conversion, and 60 channels of I/O. Other professional features include TotalMix FX, onboard recording, and ultra-low latency.
Pros:
- Reliable RME drivers
- Standalone mode (recording without a computer)
- TotalMix FX offers deep routing control
- Ultra-low latency
- Pristine conversion
- Expensive
- Not beginner-friendly
- Overkill for basic home studios
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The RME Fireface UFX II is a high-end audio interface designed for professionals who need absolute reliability and flexibility. With 12 analog inputs, 30 total channels, and RMEโs famous rock-solid drivers, itโs built for serious studios and live production. Its ultra-low latency performance and pristine AD/DA conversion make it a go-to for engineers and producers.
One of the standout features is TotalMix FX, which allows full control over routing, mixing, and monitoring. The standalone recording mode is another game-changer, letting you record directly to a USB drive without a computer. That said, its premium price puts it out of reach for beginners, and the interface may feel overwhelming for those who donโt need advanced routing.
If you need an interface that delivers unmatched stability and exceptional audio quality, the Fireface UFX II is one of the best in its class. Itโs a long-term investment for those who demand reliability and top-tier performance in their studio or live setup.
- A/D Resolution: Up to 24-bit/192kHz
- Simultaneous I/O: 30 x 30
- Analog Inputs: 4 x XLR-1/4โณ combo (mic/line), 8 x 1/4โณ TRS (line)
- Digital Inputs: 2 x Optical Toslink (ADAT), 1 x XLR (AES/EBU)
- Analog Outputs: 2 x XLR, 6 x 1/4โณ TRS, 2 x 1/4โณ (Headphones)
- Digital Outputs: 2 x Optical Toslink (ADAT), 1 x XLR (AES/EBU)
- Computer Connectivity: USB 2.0
- MIDI: 2 x In, 2 x Out
- Preamps: 4 x MIDAS-designed mic preamps
- Phantom Power: +48V
- USB Class Compliant
16 Channel Budget Option
Universal Audio Apollo x6 Audio Interface
The Apollo x6 delivers world-class recording quality, real-time UAD processing, and elite AD/DA conversion. Perfect for high-end studios, it offers pro-grade preamps and DSP power for seamless, high-fidelity production.
Pros:
- Pristine AD/DA conversion
- Hexa-core DSP engine for UAD plugins
- Unison preamps emulate legendary gear
- Near-zero latency tracking
- Requires a Thunderbolt-equipped computer
- UAD plugins can be expensive
- Overkill for small studios
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The Universal Audio Apollo x6 is a high-end, DSP-powered audio interface designed for serious producers and professional studios.
With top-tier AD/DA conversion, real-time UAD plugin processing, and Thunderbolt 3 connectivity, it delivers world-class recording quality with near-zero latency. Whether you’re tracking vocals, instruments, or mixing, it offers studio-grade performance.
A key advantage of the Apollo x6 is its built-in UAD processing, which allows you to run high-quality plugins without taxing your computer. The Hexa-core DSP engine provides more power for larger sessions, while the Unison preamps emulate legendary hardware.
However, it requires a Thunderbolt-equipped computer, and UAD plugins can be pricey, which may not be ideal for budget-conscious users.
For those who demand elite-level sound quality and processing power, the Apollo x6 is worth the investment.
Itโs perfect for serious musicians, producers, and engineers who want top-tier analog sound with modern digital convenience.
- A/D Resolution: 24-bit/192kHz
- Simultaneous I/O: 16 x 22
- Inputs: Analog 2 x XLR (mic), 2 x 1/4″ (Hi-Z), 6 x 1/4″ (line), Digital 1 x Coax (S/PDIF), 2 x Optical Toslink (ADAT/SMUX)
- Outputs: Analog 2 x 1/4″ (monitor), 6 x 1/4″ (alt/5.1 surround), Digital 1 x Coax (S/PDIF), 2 x Optical Toslink (ADAT/SMUX)
- Computer Connectivity: USB-C (Thunderbolt 3)
- MIDI: N/A
- Preamps: 2 x mic, 2 x instrument
- Power: 12V DC power supply
- Phantom Power:
- Bundled Software: HEXA Core UAD Plug-in processing, Unison Preamp Emulations, Realtime Analog Classics Plus Plug-ins (VST3, AAX, AU)
Things to Consider When Buying an Audio Interface
Number of Inputs vs Channel Count
This is the number of analog inputs that can be transferred to separate tracks on your computer, which sounds simple. However, some manufacturers fudge the number slightly to give a higher channel count.
Many of them include digital input channels to their devices, such as SP/DIF or ADAT in the channel count, even though these would require another piece of hardware acting as an audio interface (EG, some mixers and mic preamps also provide A/D conversion) to allow them to be used. So, a “16 channel audio interface” might only handle 8 analog inputs.
Therefore, we’ve classified the interfaces in our guide by the number of analog channels that can be input and sent as separate channels via USB. Not that these extra digital input channels are a handy option when you want to expand, but they won’t help you if you don’t have another compatible audio interface. A rack mount audio interface might not always come with 8 XLR inputs.
Note that some compact USB audio interfaces, like the Behringer UCA222, have no XLR inputs. They are meant for a different purpose, like connecting a mixer to a computer via RCA inputs.
Mic Level, Instrument Level, and Line Level Inputs
In addition to knowing the number of inputs, you must also see the type of inputs available:ย line levelย (low impedance) orย instrument levelย (high impedance) inputs. Instrument level ports are for electric guitars and basses without active pickups/preamps, while you can plug a pickup equipped acoustic guitar, a piano keyboard, an amp, and other electronic instruments into the line-level input.
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.
Preamp and Phantom Power
A big part of knowing what an audio interface is, is understanding preamps and phantom power.
Built-in preamps allow you to connect microphones and provide phantom power to condenser mics when needed. But they’re not just for connectivity because they can also affect the character of the sound and are responsible for keeping noise at bay.
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 a serious recording artist who useย condenser microphones.
Power Options
As the channels increase, so does the complexity of the electronics and its power requirements. So, you can expect most units listed here to require wall power adapters to keep them running. Still, a few can be bus-powered via USB from a computer. Note that none of them can be powered via the USB from an iOS device – in this case, you need a mains power wall adapter or a Powered USB Hub.
Analog to Digital Bit Rate and Sample Rate
These specifications describe the resolution of your converted digital audio, and the general idea is that the higher the Sample Rate, the more details are captured. The Bit Depth determines the maximum dynamic range (difference between loudest and softest), and the Sampling Rate determines the highest frequencies that can be recorded.
The current highest standard is 24-bit/192kHz, but there is a lot of debate about sampling rates, so if you’d like to know more, see The Science of Sample Rates (When Higher Is Better โ And When It Isnโt). The main thing to know is that a sampling rate of 44.1kHz will capture all the frequencies that most people can hear. Also, note that the preamp usually plays a more significant role in recording quality.
Operating Systems, Connectivity, and Drivers
Most audio interfaces come with custom low latency drivers for Windows and Mac that allow you to use the audio channels in your recording software and often control inbuilt hardware features such as effects/DSPs. However, we’ve consistently found that most serious user complaints about audio interfaces come from a few owners who need help getting these drivers to work correctly.
Often, these can be attributed to people not setting things up properly, but there are some cases where there are genuine problems with the drivers on some systems. Furthermore, many users find that the manufacturer’s support in the event of driver problems needs to be improved, and some need to be faster to release fixes for these issues.
We’ve recommended the interfaces with the least problems, but only some are immune to some degree of complaint. To reduce the chances of encountering these problems, you should ensure drivers are available for your operating system version and check whether other owners have had problems with systems like yours.
One way to avoid manufacturer driver issues is to use a USB Class Compliant interface (audio and possibly MIDI), which means it can use standard drivers that are usually already available in your system. If the manufacturer stops releasing drivers for newer operating system versions, this will also’ future-proof’ your device. The drawback is that using these drivers may make you unable to access some of the extra features of the hardware, but the primary audio/MIDI channels will work.
If you’re looking for compatibility with iOS devices such as the iPad (via the Apple USB adapter), the device must be USB-Class Compliant. It’s still best to ensure the manufacturer mentions compatibility, though. You can check out our iPad Audio Interface Guide if you’re looking for dedicated iPad audio interfaces.
It is essential to understand that a MIDI USB interface differs from an audio USB interface. MIDI interfaces are not capable of recording audio tracks. Audio interfaces can and often also include MIDI I/O.
Bundled Software
Most audio interfaces come with bundled software, some of which include “lite” versions of popular DAW software like Cubase, Ableton Live, and more. Others even come with extras like virtual instruments, samples, in-depth software control over the interface, and more. These features should be sufficient for beginner users to get started.
Best USB Audio Interface Selection Methodology
The first edition was published in 2016. The Current edition was published in 2025.
Our selection criteria were for the best audio interface per category that can use USB to connect with computers (additional connectivity protocols were also allowed) and are available from major USA-based retailers.
For this edition, our shortlist expanded to 86 audio interfaces, which we analyzed further. You can see most of them in our Music Gear Database. We then analyzed over 66,200 rating and review sources comprised of user ratings, reviews, feedback, and forum discussions. The data was then processed using the Gearank Algorithm to produce rating scores out of 100, which we used to select the highest-rated options in each of the above input/channel categories. We also used those sources to report on the pros and cons of each interface we’ve recommended. For more information about our methods, see How Gearank Works.
About the Author and Contributors
Here are the key people and sources involved in this guide’s production – click on linked names for information about their music industry backgrounds.
Lead Author & Researcher
Contributors
Jerry Borillo and Alden Acosta: Product research.
Daniel Barnett: Supplemental writing.
Alexander Briones & Jason Horton: Editing and Illustrating.
Media / Image Credit
Main/Top Image: Created by Gearank.com using photographs of the Audient iD44, PreSonus Studio 68c, Focusrite Scarlett 4i4, Focusrite Scarlett 18i20, and RME Fireface 802.
The individual product images were sourced from their respective manufacturers’ websites, promotional materials, or supporting documentation.
More Best 2 / 4 / 6 / 8 Channel Audio Interface & up to 16 Channel Related Posts
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Best Microphone Under 100 USD | USB & XLR Condenser Mics
The Best Multitrack Recorder for Music Production 2025
Best Cheap Audio Interface Picks for Professional Sound Quality
4 Best Budget Studio Headphones 2025 – Really Good Value
Comments:
29 responses
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Publication of our March 2022 Edition resulted in the following interfaces coming of the recommended list above, but you can still see our analysis of them:
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Hello,
we have a requirement of audio interface with minimum of 4 channel and compatible with linux os, please suggest the products names which are suitable of our requirement. i have gone through many websites and some of them saying some interfaces are compatible with linux os but in their product data sheet they didn’t mentioned anything abou linux os comparability, so please suggest the linux os compatible audio interface with minimum of 4 channel.Thanks in advanceBest Regards
V.rajkumar-
Hello V. Rajkumar,
As of 2022, I’ve found information that many class-compliant audio interfaces work with Linux. I have seen communities confirming that MOTU, Focusrite and RME interfaces work so those are your best bets.
-Raphael
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I look forward to an update that includes Solid State interfaces and how they compare. Thanks!
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The Solid State Logic SSL 2 and SSL 2+ didn’t qualify for this guide because they only have 2 analog inputs, however based on your question and interest from others we will consider changing this requirement for future updates.
In the meantime, I’ve published our ratings for both of them here.
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Publication of the October 2021 Edition resulted in the following interfaces coming off the recommended list above:
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The Focusrite Clarett 8Pre has been removed from the recommended list above due to being discontinued.
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I need to build a 16 mono channels orchestral composition platform with a USB interface. I do NOT need inputs, only outputs with sufficient voltage to excite an analog 16 channel (could be 8 stereo channels, of course) amplifier. I will use a DAW that has simultaneous hardware outputs, such as Reason or Linux Ardour. In your article you mention Apple compatible interfaces (well, most of them are anyway). Since Apple OS is UNIX, can you recommend an interface that will do for me using, say, UBUNTU Studio 21.04?
Thanks, John.
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Hi John,
Ideally, any Class Compliant USB audio interface would be capable of operating with Linux. The only problem is, interfaces like the ones made by Focusrite need to be controlled by their software (i.e. Focusrite Control) and to my knowledge, Focusrite has not made any statement regarding Linux compatibility.
I have done some short research into your question and found linux users Favoring interfaces made by MOTU. Others have had success using interfaces like the Behringer U-Phoria series. Both manufacturers make interfaces with multiple outputs so I suggest you start your search there.
While on the topic of DAWs, I suggest you give Reaper a try if you have your own software synths/plugins.
-Raphael
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Support for Focusrite is now in Linux kernel. Alsa audio system have interface for internal fader.
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Our October 2020 update resulted in the following interfaces coming off the recommended list above, but you can still see our analysis of them:
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Hi,
I am about to start recording a podcast. We will be two people, two co-hosts, and we are trying to set up a good price-value gear to start with.
We are aiming for two dynamic XLR mics. potentially Samson Q2U or Rode Podcaster and an interface. I would really thank if you could advise of an interface below ยฃ100 that allows for two stereo output channels. I have read that some interfaces although allow for two output channels, those are really mono channels, which does not look ideal.
We are happy also to receive any piece of advice or recommendation about mics that you could recommend from your store.
Looking forward to reading your comments.
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You should really look at the Yamaha A606, This is specifically geared for podcasters, with Audio loopback functionality. It can be used as a standard Audio interface also, and it even includes basic effects and software. Brand new ยฃ145.
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Any interface that is USB Class Compliant will work on Linux however additional features such as effects won’t be available without additional software which the manufacturers generally only make available for Windows and Mac OS.
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Our December 2019 update of this guide resulted in the following audio interfaces being removed from the recommended list above, but you can still read our analysis of them:
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Hello,
Which USB interface among these would you recommend for a basic home theater use (analog 5.1 surround sound) from a pc and a video player like VLC ? -
As a result of our January 2019 update, the following interface came off our recommended list above, but you can still read our analysis of it:
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I was thinking of buying the Tascam 16×08 to use it as well as in the studio at home, even in live shows with stand-alone digital mixer connected to my mac book pro: do you think you can do it? With its internal mixer you can work without weighing the PC too much and thus avoiding possible crashes in the live? Finally, using it in stand-alone mode it works only as a preamp or can you use the 4-band equalization of its mixer? Thank you
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Is it possible to connect sampler/synth output channels to the xlr inputs on the front? will it work normally? or the mic inputs ar specific for microphones only and will worsen the quality of signal? Can`t seem to find general information on this, seems like quite an important problem. (at the same time mine Focusrite scarlett 6i6 can easily take any instrument or line output in to its front xlr combo port)
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Is it possible to link two Tascam 1608โs together to get 16 channels of micrphine preamps available. Or will they work simultaneously and will the software recognize two units? separately? If the answer is no, do you have or recommend an interface that will do this?
Thanks,
Rossi -
Try newest Focusrite Clarett 4Pre USB – standalone mixing console with ultimate ISA mod preamps and 120dB dynamic and/or 8in USB class compliant interface, great with Cubasis or Auria for iPad user-friendly recordings, but with very high prof studio sound quality. Better specs than RME fireface UCX – the same user interface and use, for a half of price…
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As a result of today’s update, the following interfaces were removed from our recommended list, but you can still read what we have to say about them:
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Regarding the 8 output Tascam, will it interface with qlabs on a MacBook pro running version 10.12.6
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It looks like no one running the exact same setup as you has answered your question, so even though I haven’t used that specific combination myself I can let you know that it will function with your computer in it’s basic mode without advanced features because it is Class Compliant – the standard USB drivers will take care of that for you. As to the features requiring the Tascam drivers, I don’t know.
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Hi I have a question about the Tascam. to use it with my daw (studio one) would i need to use it’s drivers anyways?
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Hi nils, You shouldn’t need to to use drivers to use the core interface capabilities as it can operate as a USB Audio Class Compliant Device. Without drivers however you won’t be able to use the DSP functions or Tascam’s special software but these are more add-on features. There are people who use the Tascam in class compliant mode on Windows but there’s a chance that some fiddling could be required to stop it from wanting to use the drivers.
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Audio Interface Guides
Disclosure
About the Author and Contributors
Here are the key people and sources involved in this guide's production - click on linked names for information about their music industry backgrounds.
Lead Author & Researcher
Raphael Pulgar
I've been an audio engineer for 20 years specializing in rock and metal recordings. I also play guitar and produce original music for my band and other content creators.
Some of the recording gear I use in my studio includes the Focusrite Scarlett 18i20, Focusrite Scarlett Solo, Samson QH4 Headphone Amp and Cloudlifter CL-1. My mics include Aston Origin, Aston Element, Shure SM57, Rode NT1, Rode PodMic and MXL V67G.
Contributors
Jerry Borillo and Alden Acosta: Product research.
Daniel Barnett: Supplemental writing.
Alexander Briones & Jason Horton: Editing and Illustrating.
Media
Main/Top Image: Created by Gearank.com using photographs of the Audient iD44, PreSonus Studio 68c, Focusrite Scarlett 4i4, Focusrite Scarlett 18i20 and RME Fireface 802.
The individual product images were sourced from their respective manufacturers' websites, promotional materials or supporting documentation.
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