Focusrite Scarlett 4i4 4th Gen: Specs, Pros and Who It Suits

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The Focusrite Scarlett 4i4 (4th Gen) is a bus-powered USB-C interface with two mic/line/instrument inputs, two extra line inputs, four balanced outputs and MIDI in and out. It suits a producer who records one or two sources at a time but also wants to hook up a synth, a drum machine or a second pair of speakers.

Key specs

Inputs	2 mic/line/instrument combo inputs + 2 rear line inputs
Outputs	4 balanced line outputs, 1 headphone output
Mic preamp gain	Up to 69 dB
MIDI	5-pin MIDI In and Out
Resolution	Up to 24-bit/192 kHz
Power	USB bus-powered
Extras	Auto Gain, Clip Safe, Air (Presence and Harmonic Drive), loopback

Who it is for

• Home producers who record vocals or guitar and also use hardware synths over MIDI.
• Anyone who wants two speaker pairs or a separate cue output.
• Podcasters who need loopback to capture computer audio.

What the 4th Gen adds

Compared with earlier generations, the 4th Gen raises preamp gain to 69 dB, which helps with quiet dynamic mics like broadcast mics. Auto Gain sets the level while you perform, and Clip Safe drops gain automatically if a peak would clip. Air adds a brighter, more forward character to inputs.

4i4 vs 2i2

Both have two mic preamps. The 4i4 adds two line inputs, two more outputs and MIDI. If you only record and monitor on one pair of speakers, the 2i2 is enough. Read our Scarlett 2i2 4th Gen review and how to choose a Scarlett.

Things to check before buying

• You still only get two mic preamps; full drum kits need an 18i20-class interface.
• There is a single headphone output.

Check the Focusrite Scarlett 4i4 4th Gen on Amazon

Inputs and outputs in practice

The 4i4 places two combo mic/line/instrument inputs on the front panel, so you can record a vocal and guitar together, two podcast hosts, or a stereo microphone pair. Two additional line inputs on the rear are useful for a synth, drum machine or other line-level source that you want permanently connected without unplugging your microphone. Four balanced line outputs give you a main monitor pair plus two more outputs that can feed a second speaker pair, a headphone amplifier for a performer, or an external effect. There is one headphone output.

With 5-pin MIDI In and Out, the 4i4 can also act as a MIDI interface for hardware synths and older keyboards. Loopback lets you record audio from your computer, which helps when streaming, recording a video call, or sampling audio from another application.

Published specifications explained

Focusrite lists the 4th Gen mic preamps with 69 dB of gain and −127 dBu EIN, and the instrument inputs with 62 dB of gain. The line outputs are rated at 120 dB dynamic range. The high gain figure means low-output dynamic microphones used for speech and vocals can usually reach a healthy level without an inline booster, which was a common complaint with some older entry interfaces. Conversion supports up to 24-bit and 192 kHz.

Auto Gain and Clip Safe in practice

Auto Gain listens to a short section of performance and sets preamp gain automatically. Clip Safe monitors the signal and reduces gain if a peak would clip, which protects takes from unexpected loud moments. These tools are especially useful when recording yourself, because you cannot always watch meters while performing. They do not replace good technique: still check levels on the first take, and keep performers at a consistent distance from the microphone.

Air modes

The 4th Gen Air feature has two settings: Presence, which brightens the top end to bring a source forward, and Presence and Harmonic Drive, which adds midrange harmonics for more character. Both are recorded with the signal, so try them on a test take before committing an important performance.

Software and control

Focusrite Control 2 handles routing, loopback and input settings on Windows and macOS. The interface ships with a software bundle that typically includes a DAW and plugins; check Focusrite’s site for the current contents, as bundles change.

Setup checklist

1. Install Focusrite Control 2 and check for firmware updates.
2. Connect the interface with a suitable USB-C cable.
3. Set inputs with Auto Gain or manually, leaving headroom.
4. Route outputs 3 and 4 to a second speaker pair or cue mix if needed.
5. Connect hardware synths to MIDI and the rear line inputs.

Example uses

• A beatmaker with a drum machine on the rear inputs and a microphone on the front for vocals.
• A singer-songwriter recording vocal and guitar simultaneously.
• A streamer capturing a microphone plus computer audio through loopback.
• A producer comparing two pairs of monitors using outputs 1–2 and 3–4.

When to step up from the 4i4

The 4i4 has two microphone preamps, so it cannot record a full drum kit or a band with several microphones at once. If you plan to do that, look at interfaces with four or eight preamps, such as the larger Scarlett models, or an interface with ADAT input so you can add an external preamp later. The 4i4 also has a single headphone output; recording two performers at once needs a headphone amplifier fed from outputs 3 and 4. For most home producers recording one or two sources and working with a synth or two, the 4i4 covers the job, but planning for growth now can save a second purchase later.

Whatever you record, check levels on a test take first and listen back on headphones before starting the real performance.

Pair that with the drivers your interface maker provides for the best results.

Recording workflow with the Focusrite Scarlett 4i4

The checklist above gets the interface running. This section covers a full session from start to finish. Focusrite’s Scarlett 4i4 product page has the user guide and downloads if you need more detail.

Step 1: prepare the session

Open your DAW and set the audio device to the 4i4. Choose 44.1 or 48 kHz, and match the rate in Focusrite Control 2. Set the buffer to 64 or 128 samples for tracking. Then create mono tracks for each mic or instrument, and label them.

Step 2: set levels with Auto Gain

Ask the performer to play or sing the loudest section. Press Auto Gain and let it listen. Next, enable Clip Safe on sources with sudden peaks, such as an energetic vocal. Finally, check the meters in the DAW. Peaks around −12 dBFS leave a safe margin.

Step 3: monitor without delay

Use direct monitoring in Focusrite Control 2 for the performer. Turn off software monitoring on the armed track to avoid hearing the signal twice. If you want reverb in the headphones, add it on a send and accept a little latency, or keep it dry while tracking.

Step 4: record and review

Record a short take and listen back on monitors. Check for noise, harshness and room sound. Adjust mic position before changing gain. Small moves of the mic usually do more than any setting.

Step 5: mix at a larger buffer

When tracking ends, raise the buffer to 512 or 1024 samples. Plugins then have room to run. Use outputs 3 and 4 for a second speaker pair, or to send audio to outboard effects.

Using loopback for streams and tutorials

Loopback records your computer’s playback alongside your microphone. That is useful for streaming, screen-recorded tutorials and sampling. In Focusrite Control 2, enable the loopback inputs. Then select them in OBS or your DAW as a separate source.

Be careful with feedback. If you record loopback in the same DAW that plays it back, you can create a loop. Record loopback into a different app, or mute the track that receives it.

Scarlett 4i4 vs similar compact interfaces

The table compares published specs for the 4i4 and three alternatives with two mic preamps.

Spec	Scarlett 4i4 (4th Gen)	MOTU M2	UA Volt 2	Clarett+ 2Pre
Mic preamps	2	2	2	2
Mic gain	69 dB	Not listed on specs page	55 dB	57 dB
Mic EIN	−127 dBu (A-wtd)	−129 dBu	−127 dBu	−129 dBu
Line outputs	4	2 TRS (plus mirrored RCA)	2	4
Output dynamic range	120 dB	120 dB	110 dB	124 dB
MIDI in/out	Yes	Yes	Yes	Yes
Auto Gain / Clip Safe	Yes	No	No	No
Expansion	None	None	None	ADAT in

The 4i4 stands out for gain and automatic level tools. The MOTU M2 offers low noise and a colour meter. The Volt 2 adds Vintage mode for character. The Clarett+ 2Pre brings stronger output specs and ADAT expansion.

Pros and cons

Pros

• 69 dB of gain suits quiet dynamic mics.
• Auto Gain and Clip Safe make levels quick and safe.
• Four line outputs for two speaker pairs or outboard gear.
• MIDI in and out on the rear panel.
• Bus-powered, with a power supply included for extra stability.
• Two Air modes for added presence or drive.

Cons

• Only one headphone output.
• No ADAT expansion, so two mic channels is the limit.
• Two of the four line inputs are fixed level.
• No onboard DSP effects.

Common mistakes with the 4i4

• Selecting the wrong input mode. A guitar in line mode sounds thin. Press Inst for passive pickups.
• Leaving 48V on for the wrong mic. Modern ribbon mics usually tolerate it, but older ones may not. Check the mic’s manual.
• Using a weak USB port. If you hear dropouts, connect the included power supply.
• Recording loopback into a loop. Mute playback of the loopback track to avoid feedback.
• Running Auto Gain too early. Do it after warm-ups, at real performance level.
• Forgetting the outputs 3 and 4 route. Assign them in Focusrite Control 2, or they stay silent.

Who should buy it and who should skip it

Buy the 4i4 if you record one or two sources and want automatic levels. It also suits producers who need MIDI and a second speaker pair. Skip it if you will soon need more than two mic channels. In that case, an interface with ADAT expansion or more preamps lasts longer. Skip it also if two people need separate headphone feeds.

Choosing microphones for the 4i4

With 69 dB of gain, the 4i4 handles most microphones without a booster. That includes many low-output dynamic mics used for speech and vocals. As a result, it is a good match for broadcast-style dynamics on podcasts and streams.

Condenser mics need much less gain. Turn on 48V for them, and expect Auto Gain to settle at a lower setting. Large-diaphragm condensers suit vocals and voice-over. Small-diaphragm condensers suit acoustic guitar and percussion.

Ribbon mics are quiet, so high gain helps here too. Check your ribbon’s manual before enabling phantom power, though. Most modern ribbons are safe with it, but older designs can be damaged by a faulty cable.

A two-person podcast setup

The 4i4 can run a simple two-host podcast. Plug a dynamic mic into each front input. Use Auto Gain for both hosts while they talk at normal volume. Then enable Clip Safe in case someone laughs loudly.

The challenge is headphones. There is only one headphone output. So, feed a small headphone amplifier from outputs 3 and 4. Build a mix for that pair in Focusrite Control 2. Both hosts can now hear themselves without delay.

For remote guests, use loopback. It brings the call audio into your recording software. Record each host and the loopback on separate tracks. That way, you can fix levels after the show.

A home production setup with synths

Producers can use the rear inputs for line-level gear. Inputs 3 and 4 take a stereo synth or a drum machine. Meanwhile, the front inputs stay free for a vocal mic and a guitar.

Connect a keyboard or sequencer through the 5-pin MIDI ports. The 4i4 then acts as a MIDI interface as well as an audio interface. That removes the need for a separate USB MIDI box.

Finally, use outputs 1 and 2 for main monitors. Use outputs 3 and 4 for reference speakers or an effects send. This layout covers most small studio needs in one compact unit.

Gain staging and headroom explained

Gain staging means setting levels so each stage has enough signal and enough space. On the 4i4, the first stage is the preamp. Too little gain lets noise creep in later. Too much gain clips the converter, and that distortion cannot be removed.

Recording at 24-bit gives a wide dynamic range. Therefore, there is no need to record close to 0 dBFS. Average levels around −18 dBFS with peaks near −10 dBFS are a common target. They also suit plugins designed to behave like analogue gear.

The output side matters too. The 4i4’s line outputs reach +16 dBu. Set your monitor volume with the main knob, and keep the DAW master fader near unity. If you need to turn the monitors right down to hear softly, lower their input trim instead. That keeps the 4i4’s output in its cleanest range.

Headphones follow the same idea. Start with the headphone knob low, then raise it slowly. Loud monitoring causes ear fatigue, and tired ears make poor mix decisions.

One more tip: write down the settings that work for each source. Next time, you start from a known point instead of guessing.

Final checks before your first Focusrite Scarlett 4i4 4th Gen session

Before recording anything important, run a short checklist. Confirm the Scarlett 4i4 appears in your DAW at the right sample rate. Check that every input shows signal on its meter. Make sure the headphones and speakers both play back. Then record ten seconds, play it back and listen closely for noise or clicks. That small habit catches most problems early.

FAQ

Compare the full range in is Focusrite Scarlett a good audio interface?, then set it up with our FL Studio interface guide.