Behringer UMC1820 Review: Specs, Features and Who It Suits

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The Behringer UMC1820 is the budget route to eight preamps, with ADAT in and out for expansion and MIDI for hardware.

Key specs

Spec	Behringer UMC1820
Inputs/outputs	18-in/20-out
Mic preamps	8
Preamp gain	not published on the pages we checked
Mic EIN	not published on the pages we checked
Conversion	24-bit/96 kHz
Connection	USB 2.0
Power	External power supply
I/O detail	8 combo inputs with MIDAS-designed preamps, ADAT/S/MUX optical in and out, coaxial S/PDIF, MIDI in/out, line outputs and headphone outputs

Source for the table: the Behringer UMC1820 product page, plus manufacturer documentation where noted.

Behringer UMC1820: the essentials

UMC1820 is Behringer’s largest U-PHORIA interface. It has eight MIDAS-designed preamps with phantom power, and its optical port adds eight channels of ADAT at 44.1/48 kHz (or S/MUX at 88.2/96 kHz). Coaxial S/PDIF, MIDI in and out and line outputs bring the total to 18 inputs and 20 outputs. Conversion is 24-bit/96 kHz.

Behringer lists 106 dB of dynamic range. Because the ADAT input and output both work, you can add an eight-channel preamp for 16 mic inputs, or use the UMC1820 itself as an ADAT preamp for another interface.

Two ways to use the optical port

Because the UMC1820 has both ADAT input and output, it works in two directions: as the main interface with an expander, or as an eight-channel ADAT preamp for another interface that has spare optical inputs. At 88.2/96 kHz, S/MUX halves the channel count over optical. Coaxial S/PDIF adds two more digital channels.

A drum kit on a budget

A band records drums with all eight MIDAS-designed preamps: kick, snare top and bottom, two toms, hi-hat and a pair of overheads. A second eight-channel ADAT preamp, or another UMC1820 in ADAT mode, adds room mics, bass DI and guitar amps for a full live take. MIDI in and out connect a drum module or keyboard. Two headphone outputs give the drummer and engineer their own listening level.

Limits to know

The UMC1820 runs from its external power supply and tops out at 96 kHz. Behringer quotes 106 dB of dynamic range in its manual but does not publish gain or EIN on the product page we used.

Who it suits

• Drum recording
• Live band tracking
• Expanding another interface via ADAT

Who it is not for

• Solo creators
• Mobile laptop setups
• Anyone needing 192 kHz

If this sounds like your setup, see the Behringer UMC1820 on Amazon.

Rack life

The UMC1820 is a 1U rack unit, so it fits alongside other rack gear. The front panel holds the eight combo inputs and gain controls, which makes repatching easy. Its line outputs can feed monitor systems or outboard gear, and the two headphone outputs give basic personal monitoring. Paired with an ADAT preamp, it reaches 16 mic inputs for a fraction of the cost of premium rack interfaces, which is why many home drum rooms are built around it.

A typical drum-recording build uses the UMC1820 for kick, snare, toms and overheads, then adds an ADAT preamp for room mics or more toms. The two headphone outputs cover drummer and engineer.

Understanding the features

ADAT expansion explained

An optical ADAT port is a way of buying inputs later. A preamp unit with ADAT output connects with one optical cable, and its channels appear in your DAW like any other input. One device must provide the clock; the other follows, or you will hear clicks.

Do you need 5-pin MIDI?

MIDI on an audio interface lets the DAW send notes and clock to hardware and receive notes back. It is especially useful for sequencing hardware from the computer or syncing a drum machine to the project tempo.

Two headphone outputs

If you regularly record with someone in the room, prioritise an interface with two headphone outputs.

How much preamp gain do you need?

Condenser microphones put out a strong signal and rarely need more than about 40 dB of gain. Dynamic microphones are quieter, and on soft speech they may need 55 dB or more. Ribbon microphones can be quieter still. If a preamp runs out of gain, you can add an inline booster or move the mic closer to the source, but it is easier to choose an interface that matches your microphones in the first place.

Strengths

• Eight MIDAS-designed preamps.
• ADAT/S/MUX optical in and out.
• Coaxial S/PDIF.
• MIDI in and out.
• Rack-mount format.

Where the Behringer UMC1820 fits

For many home studios, the UMC1820 is the cheapest route to eight simultaneous mic inputs. The trade-off is a 96 kHz ceiling and fewer premium features than higher-end rack interfaces, such as onboard DSP effects or multiple dedicated cue mixes. For drum recording at 44.1 or 48 kHz, which is where most projects live, that ceiling rarely matters.

Setting up the Behringer UMC1820

1. Rack the unit and connect power.
2. Install the driver.
3. Set the clock source with ADAT gear.
4. Assign channels in your DAW.
5. Set headphone levels.

Common mistakes

• Clocking errors with ADAT.
• Expecting 192 kHz.
• Using bus power, which it does not support.

Other options

Interface	I/O	Mic preamps	Connection	Power
Behringer UMC1820	18-in/20-out	8	USB 2.0	External power supply
Steinberg UR816C	16-in/16-out	8	USB-C (USB 3.0)	External power supply
Audient EVO 16	24-in/24-out	8	USB-C	External power supply (not bus powered)

Steinberg UR816C adds DSP effects and word clock. Audient EVO 16 adds Smartgain and a touchscreen. There are more picks in our guide to the best audio interfaces.

You may also find these useful: our recording guides, gain staging, audio interfaces for vocals.

How to set up the Behringer UMC1820

The Behringer UMC1820 has more connections than most budget interfaces, so a planned setup saves time. Follow these steps in order. Afterwards, save the result as a DAW template.

1. Install the driver on Windows. Download the Behringer USB audio driver from the UMC1820 product page first. On a Mac, the unit works without a driver.
2. Connect power, then USB. The UMC1820 runs from its included 12 V adapter. Plug that in, then connect the USB 2.0 cable straight to the computer.
3. Turn levels down. Set all eight gain knobs, the main output and both headphone knobs to minimum before switching on speakers.
4. Choose the sample rate. Pick 44.1 or 48 kHz if you plan to use all eight ADAT channels. At 88.2 or 96 kHz, S/MUX cuts the optical channels to four.
5. Select the driver in the DAW. On Windows, choose the Behringer ASIO driver. Then enable every input you need in the DAW’s audio settings.
6. Set phantom power by bank. The +48 V switches cover inputs 1–4 and 5–8 as groups. Plan which mics go where before you switch them on.
7. Label your inputs. Name each DAW input after the source, such as “Kick” or “OH L”. This makes every later session faster.

Workflow: recording a full drum kit

Drums are the main reason people buy this interface. The following layout uses the bank-based phantom power sensibly.

Input	Source	Phantom bank
1	Kick (dynamic)	Bank 1–4 off
2	Snare top (dynamic)	Bank 1–4 off
3	Snare bottom (dynamic)	Bank 1–4 off
4	Rack tom (dynamic)	Bank 1–4 off
5	Floor tom (dynamic or condenser)	Bank 5–8 on
6	Hi-hat (condenser)	Bank 5–8 on
7–8	Overheads (condenser pair)	Bank 5–8 on

Because phantom power is grouped, putting all condensers on inputs 5–8 keeps the dynamics on 1–4 free of it. Next, use the pad switches on kick and snare if the clip LEDs flash. Then set each gain on the loudest fill, not on a soft groove.

Once levels are set, record a short test and check for phase problems between the snare and overhead mics. If the snare sounds thin when both are up, flip the polarity of the snare bottom track in the DAW. Our gain staging guide, linked above, covers safe levels in more detail.

Expanding to 16 mic inputs with ADAT

The optical port is what turns the UMC1820 into a growing system. Here is the usual expansion routine.

1. Connect an eight-channel ADAT preamp with two optical cables, one for each direction.
2. Make the UMC1820 the clock master, and set the expander to sync to the incoming ADAT signal.
3. Set both units to the same rate, 44.1 or 48 kHz, for all eight extra channels.
4. Check that the expander’s channels appear as inputs 11–18 in your DAW.

A second UMC1820 can serve as the expander, because it can also send its preamps out over ADAT. Alternatively, run the process the other way round, and feed the UMC1820’s preamps into a larger interface with spare optical inputs.

Behringer UMC1820 vs other multichannel interfaces

Here is how the UMC1820 compares with three interfaces we cover. Every figure comes from the makers’ own product pages.

Feature	Behringer UMC1820	Behringer UMC404HD	RME Digiface USB	RME Fireface 802 FS
Mic preamps	8	4	None (optical only)	4
Optical I/O	1 ADAT in, 1 out	None	4 in, 4 out	2 in, 2 out
Top sample rate	96 kHz	192 kHz	192 kHz	192 kHz
Headphone outputs	2	1	1	2
MIDI	5-pin in/out	5-pin in/out	No	Yes
Power	12 V adapter	Included adapter	USB bus	Internal PSU

Put simply, the UMC1820 is the budget way into eight preamps. The UMC404HD suits smaller setups with four mics. The Digiface USB adds no preamps, but it links many ADAT devices to one computer. Meanwhile, the Fireface 802 FS is a rack unit for studios that need RME drivers, AES and word clock.

Two headphone mixes for performers

The UMC1820 has two headphone outputs, and each can be switched between the monitor mix and playback channels 3–4. That switch is useful during tracking.

1. In the DAW, send a separate cue mix to outputs 3–4.
2. Set the performer’s headphone output to playback 3–4.
3. Keep the engineer’s headphones on the main monitor mix.

As a result, the drummer can hear more click and bass, while the engineer hears the full balance. Similarly, a singer can get more vocal in their cue without changing your mix.

Pros and cons of the Behringer UMC1820

Pros

• Eight Midas-designed preamps, each with a pad and line/instrument options on the front pair.
• ADAT in and out, so it can expand or be the expander.
• Eight balanced line outputs for monitors, cue mixes or outboard gear.
• Two headphone outputs with a mix/playback switch.
• Coaxial S/PDIF and 5-pin MIDI.
• Main outputs with dim and mute controls.

Cons

• Tops out at 96 kHz.
• Phantom power is switched in banks of four, not per channel.
• Needs its 12 V adapter, so it is not mobile.
• No onboard DSP or software mixer effects.
• Behringer does not publish preamp gain or EIN on the product page.

Common mistakes with the UMC1820

• Mixing ribbon and condenser mics in one phantom bank. Group condensers on one bank of four instead.
• Using 96 kHz with an eight-channel expander. S/MUX leaves only four optical channels. Stay at 44.1 or 48 kHz for all eight.
• Two clock masters. Only one unit should be master. Set the other to sync over ADAT, or you will hear clicks.
• Forgetting the direct monitor setting. Choose inputs 1–2 or all eight, depending on the session.
• Setting gain on a soft groove. Drummers play harder on takes. Set levels on the loudest fill.
• Powering the unit from a hub. The UMC1820 needs its own adapter; USB alone will not run it.

Who the Behringer UMC1820 is for

The UMC1820 suits bands that track live, home studios that record drums and engineers who want a cheap ADAT preamp for a larger interface. It also suits teachers who need several mics in one room.

On the other hand, skip it if you record alone, travel with a laptop or deliver at 192 kHz. In those cases, a smaller bus-powered interface is simpler, and our guide to choosing an audio interface lists alternatives.

Using the line outputs for outboard and monitors

Outputs 3–10 are balanced ¼-inch TRS line outputs. That is more than most budget interfaces offer, and it opens several useful setups.

• Second pair of monitors. Route the mix to outputs 3–4 and connect small reference speakers. Then switch between both pairs in the DAW.
• Headphone amplifier. Feed outputs 5–6 to a separate headphone amp for a third or fourth performer.
• Hardware inserts. Send a track out of a line output into a compressor, then return it to a spare line input. Most DAWs offer an external-effect plug-in that handles the delay.
• Re-amping. Send a clean guitar DI to a re-amp box and back into a guitar amp, then mic the amp on another input.

Because these outputs run at line level, never connect them straight to a guitar amp input. A re-amp box converts the level and impedance safely.

Using the UMC1820 as an ADAT preamp

Many studios already own a good two-channel or four-channel interface with an unused optical input. In that case, the UMC1820 can add eight preamps without replacing anything.

1. Connect the UMC1820’s optical output to the main interface’s optical input.
2. Set the UMC1820 to standalone ADAT operation, as described in Behringer’s manual.
3. Choose who supplies the clock. Usually the main interface is master and the UMC1820 follows.
4. Run both at 44.1 or 48 kHz for all eight channels.
5. Set gains on the UMC1820’s front panel, then record through the main interface’s software.

This keeps your existing drivers and monitor controls. Meanwhile, the UMC1820 simply becomes a bank of extra inputs.

Keyphrase recap: Behringer UMC1820 in one paragraph

To sum up, the Behringer UMC1820 offers eight Midas-designed preamps, ADAT in and out, S/PDIF, MIDI, eight balanced line outputs and two headphone outputs at up to 96 kHz. It needs its 12 V adapter, and its phantom power works in two banks. For drums and live bands on a tight budget, it covers a lot of ground.

Before you buy, list every source you plan to record at once. Count the mics, the instruments and the line sources. If that number is above four, the UMC1820 makes sense. If it is four or fewer, a smaller interface will be lighter, quieter on your desk and easier to carry.

Check the current price of the Behringer UMC1820 on Amazon.

FAQ

The Behringer UMC1820 is worth a closer look if the scenarios above sound like your sessions. Still deciding? Read how to choose an audio interface first.