Lewitt offers a step-change with new dual-USB Connect 6 audio interface that offers computer and mobile integration

Like most years, 2022 has had its fair share of new audio interfaces, but we’re also seeing signs that manufacturers are trying to bring something different to the market. M-Audio recently launched its console-friendly M-Game devices, for example, and now mic manufacturer Lewitt has dropped the Connect 6.

Let’s start by considering the look of this thing, which is unusual, to say the least. There’s a cut-off corner and various raised ledges, which give the Connect 6 a very distinctive appearance. A generic-looking audio interface this is not.

Then there are the dual USB-C ports - one for your computer and another for your mobile device. So, you can easily integrate your phone or tablet into your studio setup, with lossless audio transfer between that and your computer.

The idea is that this will enable you to stream audio directly to the likes of TikTok and Instagram, or capture audio from your phone.

Lewitt Connect 6

(Image credit: Lewitt)

Before you go thinking that Lewitt has thrown the baby out with the bathwater here, allow us to reassure you that there are plenty of more familiar audio interface features, too. We’re talking about the two low-noise preamps with XLR/Line combo jacks (these promise 72dB of preamp gain), 3.5mm aux input, L/R line outs and dual headphone jacks.

There’s also audio-setup for “optimal settings in any recording environment,” and you get three latency-free DSP-powered effects (Compressor, Equaliser and Expander). 

The Control Center software, meanwhile, can be used for routing, mixing and loopback purposes.

The Connect 6 is available now priced at $299/£259. Find out more on the Lewitt website. 

Ben Rogerson

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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