If you make music on a PC or Mac, an audio interface is pretty much an essential piece of kit. In a nutshell, the best audio interfaces for production and music-making enable you to get high-quality audio in and out of your computer, and to connect some essential studio gear during your production session.
Once you've got your hands on an audio interface you’ll be able to plug in microphones, electric guitars, synths and other instruments – perhaps even MIDI equipment, too – and to hook up a pair of studio monitors and studio headphones.
But, as you might expect, there are lots of audio interfaces on the market, all vying for your attention, so you how do you choose the best audio interface for you? You read our guide, of course, which will tell you everything you need to know, and recommended some of the best audio interfaces you can buy right now.
With Amazon Prime Day on the horizon, it could be worth holding off on picking up a new audio interface until the Prime Day music deals start emerging. We'll be reporting on the best offers right through to Prime Day itself.
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What is the best audio interface?
If you want a great audio interface but a limited budget, you can’t go wrong with the Audient iD4, a 2-in/2-out USB device that looks, sounds and feels great. It enables you to plug in microphones and instruments, and offers great value for money. It might be cheap, but the quality is excellent.
If you need a bit more I/O, take a look at the third-generation version of Focsurite’s Scarlett 4i4, a USB-C audio interface that gives you double the number of inputs and outputs and sounds great.
Also consider the SSL 2+, a new 2-in/4-out audio interface for 2020 that gives you at least a flavour of that magic 'SSL sound' at a remarkably low price.
At the top end, consider Universal Audio’s UAD Apollo Twin MkII, a 2-in/6-out audio interface that also enables you to use UA’s range of excellent DSP-powered plugins.
Best audio interface: buying advice
When choosing the best audio interface for your home studio, the first thing to work out is the number and type of inputs and outputs you need. If you only want to plug in one microphone or instrument at a time - which, if you're a solo producer who generates most of their sounds inside the computer, you probably will do - just one or two inputs will be enough, but if you want to record a live band, you’ll need far more than that.
Multiple outputs can be useful if you want to set up separate headphone mixes (if you're a DJ, for example) or send audio elsewhere for further processing.
You’ll typically find both XLR and 1/4-inch inputs on an audio interface, often combined into combo connectors so that you can plug mics, guitars, synths and the like into the same input. Many interfaces have a phantom power option, too, which is required to use certain microphones.
Some audio interfaces have MIDI I/O on them, which could save you from having to buy a separate interface for external gear. If you only intend to use a MIDI keyboard, though, remember that this could plug into one of your computer’s other USB ports, so MIDI I/O might not be an essential requirement.
Audio interfaces typically run over USB or ThunderBolt, and you first need to make sure that the one you choose will plug into your computer. We’re now starting to see interfaces with USB-C connectors, but these can still plug into older USB ports with the right cable or adapter.
Many are class-compliant, which means you can just plug them in and start using them, and bus-powering is a feature to look out for, too, as it means you don't have to plug a mains power supply into your audio interface. It’s also worth checking to see if your interface has iOS compatibility, if that’s important to you.
Most contemporary audio interfaces offer a low-latency recording option, which means you can stay in time with your project when you’re adding more tracks. Some interfaces also promise latency levels that are low enough to use effect plugins in ‘realtime’ on the input as you record, while others have have their own DSP processing built into them.
In the end, the best audio interface for you will at least partly come down to price, so you’ll be pleased to know that our list of recommendations below covers a broad range. Read on to find out what we consider to be the top audio interfaces on the market right now.
The best audio interfaces to buy today
Arguably the best audio interface you can buy for less than $200, The iD4 is a simple two-input/two-output offering featuring a mic preamp – complete with phantom power for using condenser mics – as well as an instrument level DI for plugging in your guitar or bass. On top of this, there’s a main output for your speakers and dual headphone outputs.
The whole thing is powered via USB and, with Apple’s camera connection kit, it can also work with an iPhone/iPad. However, the studio devilry is in the detail: Audient has really thought about everything with value and usability in mind, making what is a budget solution feel anything but inexpensive. The Audient iD4 is, quite simply, the best USB audio interface we’ve seen at this price for a long time.
Read our full Audient iD4 review
Compact interfaces with pro features and connectivity, the SSL2+ promises an affordable version of ‘the SSL sound’, bringing the feel of a gazillion recordings made in 7-figure recording studios within reach of everybody.
This is the big brother to the standard SSL2, the main difference being that the 2+ adds two outputs to the 2-in, 2-out configuration of the 2, MIDI In/Out plus an additional independent headphone out (with both being able to monitor different mixes). There's also the 4k button which adds some extra presence and high-end zing (and, more importantly, makes you feel that little bit more 'pro').
There are two combi mic/line inputs with Hi-Z (impedance) options for switching between guitar and bass signals or those from synths or drum machines. A +48v option also allows the connection of both condenser and dynamic mics.
With great monitoring and recording quality and a flexible I/O configuration, the SSL 2+ comes highly recommended.
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Focusrite’s Scarlett USB interfaces have traditionally combined excellent sonics and audio flexibility at affordable price points, and the third generation units keep up the good work.
All units in the range have received physical and technical upgrades, with improved preamps (now up to 56dB gain), balanced connectivity throughout, and the inclusion of Focusrite’s ISA transformer preamp emulation option (Air). On the bus-powered Scarlett 4i4 you get two mic/line/instrument inputs with gain, two line-level TRS inputs and four TRS outputs.
The 4i4 supports Focusrite’s Control application, which means that a number of settings can only be made in the software. The app also handles low-latency monitoring.
As we’ve come to expect from the Scarlett series, the sonics are neutral and the drivers reliable. The Air option tilts the frequency response towards high frequencies, and this can be great for taming undesirable proximity or adding high frequency lift.
With a decent software bundle included, this is a solid upgrade and a great affordable audio interface.
Read our full Focusrite Scarlett 4i4 3rd Gen review
Still a desktop-format 2-in/-6-out interface with 24-bit/192kHz capabilities, the Apollo Twin MkII would be almost indistinguishable from the original were it not now black rather than silver. It connects to your Mac or PC via Thunderbolt (there’s no cable in the box), but it has to be powered from the wall. The back panel and front edge house the inputs and outputs, while the top panel centres on a satisfyingly oversized knob.
Also a DSP box for powering UAD plugin effects (you can choose from Solo, Duo and Quad options), the Apollo Twin MkII features the same game-changing Unison preamps as its predecessor, fed by the Mic/Line and Hi-Z ins. These enable a gradually expanding subset of UA’s classic hardware emulation plugins to be inserted directly into each input path.
This is a musically empowering hardware/software hybrid that's capable of elevating even the humblest of home and project studios to genuinely professional-quality heights, and certainly one of the best audio interfaces you can buy.
Read our full Universal Audio Apollo Twin MkII review
Komplete Audio 2 is a two-input, two-output design with two identical mic/line/instrument inputs. Connections are on space-saving combi XLRs with individual selector switches to select between line and instrument. 48V phantom power, meanwhile, is engaged globally via a single switch.
In addition to the inputs, the front panel includes a hardware monitoring balance knob (Input/Host) and headphone output with independent control.
The main output level is controlled from a large output level knob on the top panel. Here you’ll also find the input meters, alongside phantom and USB indicators. Round the back you’ve got the USB B connector, a pair of balanced outputs on TRS 1⁄4-inch jacks and a Kensington Security slot.
It makes our best audio interface list because the performance of the Komplete Audio 2 is as slick as its looks, and though the features are basic, it does its job admirably. And when you consider the excellent software bundle, it's great value.
Read our full Native Instruments Komplete Audio 2 review
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The compact Evo range was launched at the NAMM Show 2020 to much acclaim.
You’ll find two combi mic/line inputs around the back of EVO 4, and one instrument level input at the front for connecting guitar or bass (which then overrides the first input around the back).
Two speaker outs complete the connections and a central main dial controls the level of that output plus a number of other levels determined largely by which buttons on the top of the panel you press, these being 1 and 2 (for the input levels), and output (bottom right) plus a final button that means the dial adjusts the mix between the input and DAW. Using the headphone socket means the main dial controls this level.
The one-dial solution is beautifully implemented and designed to help make EVO a clever, compact desktop solution that sounds great.
Read the full Audient Evo 4 review
With high-quality Onyx mic pres, balanced analogue connectivity and operation up to 24-bit/192kHz, the bus-powered Onyx Producer 2.2 audio interface is more than capable of getting clean signals in and out of your DAW. There are two identical mic/line inputs with combination XLR/jack connectors. Each has a manual green backlit switch to select a Hi Z instrument, and there’s a global backlit switch for 48V phantom power.
Input signals can be monitored with zero latency using the Input/DAW Mix knob, and rounding off the front panel are a large Monitor level knob and headphone output with level knob. Round the back you’ll find a pair of 1⁄4-inch jacks for the monitor output, and also a pair of MIDI connectors (In and Out), which is very handy. Throw in the robust metal case and you’ve got a compact workhorse device that should last for years. You also get a DAW, Tracktion T7, in the box.
Read our full Mackie Onyx Producer 2.2 review
Steinberg has pimped-up its UR range of audio interfaces, introducing USB 3.0 models for PC, Mac and iOS. The UR22C is the most affordable of these.
Each of the interfaces offers USB Type-C connectivity (or USB 3.1 Gen 1 SuperSpeed, to give it its official title) and operates at 32-bit/192kHz audio resolution. There’s MIDI I/O, too, as well as DSP that provides zero-latency effects that can be used when monitoring. These can be accessed via the dspMixFx mixer.
Unsurprisingly, the UR22C is a 2-in/2-out audio interface. You get a couple of balanced Neutrik combo inputs, each of which sports a Yamaha D-PRE mic preamp, and two balanced line outputs.
With its rugged metal casing, the UR22C is the best audio interface for you if you want something that can be slung in a backpack without fear.
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The follow-up to the original iRig Pro Duo, the new version offers two analogue combo inputs so that you can connect and simultaneously record your favoured combination of instruments and mics. These inputs come with updated Class-A preamps, adjustable gain (increased for this model) and phantom power. There’s MIDI I/O, too, along with two balanced 1/4-inch outputs and a headphone output.
You can engage the direct monitor switch for latency-free monitoring of the incoming signal, and the iRig Pro Duo I/O comes with a USB-C cable for easy compatibility with modern devices (Lightning and USB-A cables are supplied, too). There are new dedicated PC drivers as well, along with a refreshed rubberised finish.
The iRig Pro Duo I/O can be bus-powered or run on two AA batteries and ships with a large bundle of software. It’s compatible with iOS, Android, PC and Mac so could be just the thing if you need to record on the move and in your studio.
AudioFuse is an attractive and portable Mac, PC and iOS-compatible interface with a raft of features. Despite its compact frame, there’s plenty of connectivity on offer. Along the front edge, you’ll find combi inputs and two fully independent headphone feeds. In turn, these can accommodate both mini-jack and 1/4-inch plugs.
At the back, there are speaker outputs for two pairs of monitors, line level connectors, MIDI In/Out ports (which, due to size restrictions, have been replaced by mini-jack connectors, which you’ll find in the box) and - for digital interfacing - both S/PDIF and ADAT In/Out. There are also inserts for inputs 1 and 2, allowing you to track through hardware compressors or channel strips.
AudioFuse connects via USB 2, but USB connectivity goes further; Arturia has built a USB hub into it, providing three extra USB ports. AudioFuse provides a beautiful and contemporary approach to USB audio interfacing with a great design, compatibility with a huge range of possible audio sources, a great sound and a highly tactile control set.
Read our full Arturia AudioFuse review
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Antelope doesn't tend to scrimp on the quality of its products and the Zen Tour is no exception. It’s very compact given how much functionality it offers, and feels solid. It has a small but useful touchscreen which enables you access to all the basic functions of the unit, with the likes of input gains, headphone levels and talkback directly accessible using buttons on the front panel and the large 'soft' knob.
At the front are two headphone outs, two re-amping outs and four line/Hi Z inputs, all on 1/4-inch jacks. To the rear are four dual XLR/1/4-inch inputs, two pairs of monitor outs on 1/4-inch jacks, eight analogue outs on a DB25, two RCA sockets for S/PDIF in and out, a power connector and USB and Thunderbolt sockets. On the left-hand side are two pairs of ADAT ins and outs.
Once you have the software installed on your computer and connected you are ready to go. There are six amplifier emulations covering vintage to modern and clean to downright filthy. They sound great and, unlike some software emulations, have a great dynamic response. You also get a great range of EQs and compressors.
If you want a high-quality audio interface for studio, rehearsals and gigs you have to look at this. It sounds great and is supremely flexible. Certainly one of the best audio interfaces for guitarists you can buy.
The Zen Tour has also now joined the Synergy Core family, meaning it deploys Antelope's Synergy Core FX processing, enabling upgraded pro-class A/D and D/A conversion, the firm's Acoustically Focused Clocking technology, and touchscreen control.
Read our full Antelope Audio Zen Tour review
Steinberg has entered the Thunderbolt audio race with the the AXR4, a rack-mountable interface aimed at professional producers and engineers. This 28-in/24-out box offers latency-free DSP-powered monitoring and effects, stacks of I/O and plenty of routing flexibility. Up front you’ll find four Neutrik combo inputs and two headphone outputs, while the back panel houses eight TRS line inputs, eight TRS line outputs and two sets of ADAT I/O doubling as S/PDIF.
The second pair provides an alternative AES/EBU Sub-D connector. MIDI I/O sits alongside word clock I/O, while two Thunderbolt 2 ports enable computer connection and daisy-chaining of up to three interfaces. The four hybrid mic preamps benefit from refined transformer circuitry and Rupert Neve Designs SILK processing, while DSP effects include the VCM 276 compressor, VCM EQ601, the Sweet Spot Morphing Channel Strip and the REV-X reverb.
The Steinberg AXR4 oozes quality from every pore, making it a serious contender in the pro audio interfacing arena.
Read our full Steinberg AXR4 review
Prism Sound has quickly developed a reputation as a go-to choice for many professional users and studios seeking exemplary audio quality at the interfacing stage. Atlas is a 2U USB interface with plenty of I/O possibilities, but the extra ace up its sleeve is an MDIO port, which provides additional, flexible interfacing capability.
The rear panel shows the internal interfacing capabilities Atlas offers, with eight coveted Prism Sound preamps provided, which allow for either XLR or TRS connections, alongside eight dedicated balanced 1/4-inch outputs. You'll also find digital inputs, with supported formats including S/PDIF and ADAT, meaning that Atlas is capable of recording up to 18 channels at once, at up to 192kHz, though digital track count becomes lower at super-high resolution.
In use, Atlas feels like a thoroughbred interface from the moment it's up and running. You can configure some settings from the front panel, but Prism Sound also provides a comprehensive Control application to allow you to set up Atlas's assorted I/O over software.
Atlas is a sumptuous interface, offering unparalleled sound quality. Prism Sound's reputation is further enhanced with its arrival and, since the quality of its interfaces was already seen as excellent, that's a glowing endorsement.
Read our full Prism Sound Atlas Audio Interface review