As an Amazon Associate I earn from qualifying purchases. This write-up is based on Focusrite’s published specifications and documentation, not hands-on testing.

The Focusrite Vocaster One is a single-microphone USB-C podcast interface with over 70 dB of gain, Auto Gain, voice Enhance presets, a mute button, phone and camera connections and stereo loopback. It is designed for one host who records or streams speech, rather than for music production.

See the Focusrite Vocaster One on Amazon.

Focusrite Vocaster One key specs

Specs come from Focusrite’s Vocaster One page.

Why 70 dB of gain matters for podcasting

The most popular broadcast microphones are dynamic models with low output. Spoken word at a normal distance produces far less signal than a singer or a guitar amp, so these microphones often need 60 dB or more of clean gain. Many entry-level music interfaces offer around 55 to 57 dB, which pushes their preamps to the noisy top of the range or forces you to add an inline booster. Focusrite’s position is that the Vocaster’s 70 dB range is enough for any XLR microphone without a booster.

A simple test tells you whether gain is sufficient: speak at your normal level about a hand’s width from the microphone and check that peaks reach around −12 to −10 dBFS in your recording software without the gain control being at its maximum. If they do, you have headroom.

Auto Gain, Enhance and Mute

Auto Gain. Hold the Auto Gain button and speak; the interface listens and sets the input level. Focusrite’s page describes this as a set-and-forget step before recording. Speak at the level you will use on the show, not louder, because a test that is too loud leads to a quiet recording.

Enhance. Enhance applies a voice preset that combines compression, EQ and rumble reduction. Focusrite offers several presets, switchable in Vocaster Hub, and an Enhance Edit view to adjust each part. Because Enhance is processing on the interface, the result is part of the recording. If you prefer to process in an editor later, leave it off and record clean.

Mute. A hardware mute silences the microphone for coughs or interruptions. It is faster than muting in software during a live stream.

Phone, camera and loopback connections

The phone connection uses a single 3.5 mm TRRS cable, so a guest on a phone call can be heard and recorded, or you can play audio from the phone into the show. The camera output sends the processed show audio to a camera’s microphone input over a TRS cable, which saves syncing separate audio and video files afterward.

Loopback brings audio from your computer, such as an intro jingle or a guest on a video call, into the recording or stream. Vocaster One offers two stereo loopback channels, set up in Vocaster Hub.

Vocaster One vs Vocaster Two

Vocaster One handles one host microphone. Vocaster Two adds a second microphone input with a second headphone output, for an in-person co-host or guest. If you only ever record yourself and remote guests, the One covers it. If anyone sits next to you, you need the Two.

Who should consider the Vocaster One

• Solo podcasters who use a low-output dynamic microphone.
• Streamers who want hardware mute and loopback without extra software.
• Video creators who want clean voice recorded straight to a camera.
• Anyone running remote interviews who records phone guests.

Who should look elsewhere

The Vocaster is built around speech. It has no instrument input, no MIDI, and its preset-driven processing is aimed at voice. Musicians recording guitar or synths alongside vocals will get more from a music interface such as a Scarlett or Volt. If you need more than two in-person microphones, look at a podcast mixer or a multi-input interface.

Common mistakes

• Running Auto Gain while speaking louder than you will on the show.
• Stacking Enhance with heavy compression in the editor, which makes breaths and room noise jump up.
• Monitoring loopback audio in the call software as well, which causes echo for remote guests.
• Plugging into a USB port that cannot supply 900 mA, which Focusrite lists as a requirement.
• Sitting too far from a dynamic microphone. Moving closer raises the voice above room noise more effectively than more gain.

Setup checklist

1. Connect with the included USB-C to USB-A cable and run Easy Start.
2. Install Vocaster Hub and enable phantom power only if your microphone needs it.
3. Position the microphone a hand’s width from your mouth and run Auto Gain.
4. Choose an Enhance preset, or leave it off if you will process later.
5. Set up loopback and the phone or camera connection you need.
6. Record a one-minute test and listen back on headphones and speakers.

For voice recording technique, read recording and editing a voice-over or podcast and audio interfaces for podcasting, or browse our recording hub.

How to set up the Focusrite Vocaster One step by step

Vocaster One is built for quick setup. Still, a few steps make the first episode sound better.

1. Use a capable USB port

Focusrite states that Vocaster One needs a USB port that supplies 900 mA. Most modern computer ports do. Avoid unpowered hubs, because they may not supply enough current.

2. Install Vocaster Hub

Vocaster Hub controls Enhance, the loopback and the Show Mix. Install it, connect the interface, then check for firmware updates.

3. Connect the mic and headphones

Plug a dynamic or condenser mic into the XLR input. Turn on 48V only for a condenser that needs it. Then plug headphones into the headphone output.

4. Run Auto Gain

Speak at your normal show volume for the length of the Auto Gain process. Talk the way you will on air, not quieter. Afterwards, check that loud laughs stay out of the red.

5. Choose an Enhance preset

Try each Enhance preset while reading a short script. Record each one and compare. Pick the one that sounds natural on your voice, rather than the one that sounds loudest.

6. Set up the recording software

In your recording app, select Vocaster One as the input. Record the mic on its own track. If you use the loopback, record it on a separate track so you can balance it later.

A solo podcast workflow

Here is a simple workflow for a weekly solo show. First, write a short outline. Then sit at a consistent distance from the mic, about a fist away for most dynamic mics.

Next, run Auto Gain at the start of each session, because your voice changes from day to day. Use the Mute button when you cough or need a pause, which saves editing time.

After recording, edit out long gaps and mistakes. Then normalise loudness to your platform’s target. Finally, export and listen on earbuds before publishing.

Recording remote guests and phone calls

For a video call guest, use the loopback. It sends computer audio into your recording software. Record your mic and the loopback on separate tracks.

For a phone guest, use the TRRS phone input. Focusrite notes that this cable is not included. The phone input is mono, which suits speech. Again, record the guest on a separate track if your software allows.

Always run a short test call before the real interview. Check that the guest hears you clearly and that you are not hearing an echo of yourself.

Vocaster One vs similar interfaces

The table compares published specs. Focusrite’s Vocaster One product page lists more detail.

The Vocaster models are designed for speech, with phone and camera connections. The Volt 1 and Scarlett 4i4 suit music better, with instrument inputs and MIDI.

Pros and cons

Pros

• 70 dB of gain suits low-output dynamic mics.
• Auto Gain and Enhance make good sound quick.
• Mute button on the unit.
• Phone input, camera output and loopback.
• Bus-powered from a 900 mA USB port.

Cons

• One mic input only.
• Phone cable not included.
• Not designed for instruments or music production.
• One headphone output.

Choosing a microphone for Vocaster One

Broadcast-style dynamic mics are a popular match. They reject much of the room sound, which helps in untreated spaces. Many of them have low output, but 70 dB of gain covers that without an inline booster.

Condenser mics also work. They capture more detail, but they also pick up more of the room. Use one in a quiet, softened space, and turn on 48V phantom power.

Whichever mic you choose, keep the distance consistent. Moving closer and further changes both volume and tone. A boom arm helps you stay in place during a long recording.

Improving the room on a budget

The room affects a podcast as much as the mic. Hard walls create echo that makes speech sound distant. Soft furnishings reduce it. Record in a room with carpet, curtains, a sofa or a bookshelf.

Avoid recording in the centre of an empty room. Instead, face into a soft area, such as a wardrobe of clothes. Also turn off fans and noisy devices. Enhance can shape tone, but it cannot remove a strong echo.

Using the camera output for video podcasts

The TRS camera output sends your mix to a camera’s mic input. That puts good audio on the video file, so you can skip syncing later. Set the camera’s input gain low, then adjust in Vocaster Hub.

Many creators still record a separate audio file on the computer. It works as a backup and gives you more control when editing. You can sync it to video with a hand clap at the start.

Streaming with Vocaster One

For live streams, select Vocaster One as the audio device in your streaming software. The Show Mix combines your mic with loopback audio, such as music or game sound. That gives viewers one balanced feed.

Test the balance before going live. Speech should stay clear above music. Then use the Mute button for coughs or private moments.

Editing and loudness tips

After recording, remove long pauses and mistakes first. Then use gentle compression to even out levels. Finally, set loudness to your platform’s target with a loudness meter. Many podcast hosts publish their recommended levels.

Listen to the finished episode on earbuds and in a car if possible. Those are the places most people listen. If speech is hard to follow there, adjust before publishing.

When to upgrade to Vocaster Two

Upgrade when you regularly host a second person in the same room. Vocaster Two adds a second mic input and a second headphone output. It also adds Bluetooth for phone guests. Otherwise, Vocaster One covers a solo show well.

Who should buy it and who should skip it

Buy Vocaster One if you host a solo podcast, voice-over work or a streaming channel. It also suits interviewers who record remote guests through a phone or video call. The controls are simple, so it works well for beginners who want good results fast.

Skip it if you record music. It has no instrument input or MIDI, and a music interface such as the Scarlett 4i4 suits that work better. Skip it too if two people share a room for every episode, because Vocaster Two handles that directly.

More mistakes to avoid

• Running Auto Gain while speaking softly. Use your real show voice.
• Stacking Enhance with heavy plugins. Too much processing makes speech sound harsh. Choose one approach.
• Recording loopback and mic to one track. Separate tracks give you control in the edit.
• Skipping a test call. Echo and level problems are easier to fix before the interview.
• Using a hub with low power. Connect to a port that supplies 900 mA.

Building a repeatable recording routine

Consistency matters more than gear on a regular show. Set up the mic in the same place each time. Use the same Enhance preset and the same distance from the mic. Then run Auto Gain at the start of every session.

Save a template in your recording software with tracks for the mic and loopback. Name each file with the episode number and date. Finally, back up raw recordings before you start editing. A routine like this makes each episode sound like the last one.

Check the current price of the Focusrite Vocaster One on Amazon.

FAQ

Releasing a show with music beds or a theme song? Our single track mastering makes the music sit at a consistent level next to your voice.

As an Amazon Associate I earn from qualifying purchases. This write-up is based on Focusrite’s published specifications and documentation, not hands-on testing.

The Focusrite Clarett 8Pre (sold as the Clarett+ 8Pre) is a rack-mount USB-C audio interface with eight Clarett+ mic preamps, two JFET instrument inputs, ten balanced outputs and eight channels of ADAT in and out. It is built for studios that record drums, full bands or several players at once and want every mic on its own preamp without adding outboard gear.

See the Focusrite Clarett+ 8Pre on Amazon.

Focusrite Clarett 8Pre key specs

Full figures are on Focusrite’s Clarett+ 8Pre page.

Eight preamps: what that changes

Most desktop interfaces stop at two or four mic inputs. Eight preamps let you mic a drum kit properly in one pass: kick, snare, two toms, two overheads and still have two inputs left for a room mic or a bass DI. For bands, eight inputs cover a scratch vocal, two guitars, bass DI and a reduced drum setup at the same time.

Because each input is on its own channel in your DAW, you can mix every source separately later. That matters more than any spec sheet number: a kit recorded to two channels cannot be rebalanced, while a kit on eight channels can.

Air mode

Focusrite describes Air as an all-analogue circuit with impedance switching, designed to recreate the presence lift associated with its ISA preamps. Because it works before conversion, its effect is printed into the recording. Use it on sources that benefit from extra top-end openness, such as acoustic guitar or a dull vocal, and leave it off on sources that are already bright, such as cymbals through a bright condenser.

Outputs and monitoring

Ten balanced outputs give you room for two pairs of studio monitors, separate headphone amplifiers for performers, or sends to outboard compressors and reverbs. The two headphone outputs can carry their own mixes, built in Focusrite Control, so the drummer can hear more click while the guitarist hears more of themselves.

Independent A-D and D-A converters are rated by Focusrite at up to 124 dB dynamic range. In practice, the converter quality on modern interfaces at this level is rarely the limiting factor in a home studio; room acoustics and microphone placement usually are.

Expansion over ADAT

The ADAT ports carry eight more inputs and outputs. Pair the 8Pre with an eight-channel ADAT preamp, such as Focusrite’s Clarett+ OctoPre, and you reach sixteen mic inputs. ADAT runs at eight channels at standard sample rates; at higher rates the channel count drops, which is normal for the format.

Who should consider the Clarett+ 8Pre

• Home and project studios recording full drum kits.
• Bands tracking live together.
• Producers with several synths, drum machines and outboard processors who want everything permanently connected.

Who should look elsewhere

• Solo artists recording one or two sources at a time. A smaller interface such as the Clarett+ 4Pre or a two-input desktop unit costs less and takes less space.
• Podcasters, who will get more from a dedicated podcast interface with auto gain and phone connections.
• Anyone who wants onboard DSP effects while tracking; the Clarett+ range does not run plug-ins on the hardware.

DAW workflow: tracking a full band

1. In Focusrite Control 2, name the eight preamp inputs (kick, snare, overheads, bass DI, guitar, vocal) so they match your DAW track names.
2. Build a separate headphone mix for the drummer with more click and bass than the singer’s mix.
3. In the DAW, record-arm each mono track to its matching input and keep the buffer small while tracking.
4. Add drum mics beyond eight with an ADAT preamp on the optical input and assign those inputs to new tracks.

Alternatives: the Clarett 4Pre if four preamps cover your sessions, or a rack-mount Apollo if you want DSP plug-ins while tracking.

Common mistakes with an eight-preamp interface

• Setting every preamp to the same gain. A kick drum and a room mic need very different gain. Set each one on its own while the source plays at its loudest.
• Turning phantom power on for everything. Check which inputs share a phantom switch before connecting ribbon or older mics.
• Ignoring phase between drum mics. Overheads and close mics can partly cancel. Check polarity and time alignment before mixing.
• Running ADAT without a clock plan. One device must be the clock master. A mismatched clock causes clicks and dropouts.
• Recording too hot. At 24-bit there is no need to push levels near 0 dBFS. Peaks around −12 to −6 dBFS leave headroom for transients.

Setup checklist

1. Install Focusrite Control and any driver Focusrite lists for your system.
2. Connect by USB-C and select the Clarett+ 8Pre as the audio device in your DAW.
3. Set the sample rate in your DAW; Focusrite Control follows it.
4. Label each input in your DAW to match the mics plugged into the front and rear.
5. Build headphone mixes in Focusrite Control before the performers arrive.
6. Record a short test take and check every channel for level, noise and phase.

For a general guide to picking interfaces by input count and connection, see how to choose an audio interface, and for mic choices see what a mic preamp does. More recording guides are in our recording hub.

How to set up the Focusrite Clarett+ 8Pre step by step

An eight-preamp interface rewards planning. These steps take you from unboxing to a working session.

1. Mount and power it

The 8Pre needs its power supply, so it is not a bus-powered unit. Place it in a rack or on a desk with space for airflow. Then connect power before the USB-C cable.

2. Install Focusrite Control

Install Focusrite Control first. On Windows it includes the ASIO driver. On a Mac it handles routing and settings. Check for firmware updates once the unit is connected.

3. Choose sample rate and buffer

Select 44.1 or 48 kHz in the DAW and in Focusrite Control. These rates give you all eight ADAT channels in each direction. Start with a 128-sample buffer when tracking many channels, and raise it if you hear clicks.

4. Label every input

Write an input list and name each DAW track to match. Eight preamps, two instrument inputs and ADAT channels add up fast. Clear labels avoid confusion mid-session.

5. Build monitor mixes

Create one direct-monitoring mix per headphone output. Then send extra mixes to line outputs that feed a headphone amp. With ten line outputs, a full band can get separate mixes.

6. Set gain and run a test

Set each preamp at full performance level. Aim for peaks near −12 dBFS. Record one full section and check every track before the real takes.

Using ten outputs for hybrid mixing

Ten balanced line outputs make the 8Pre a good centre for hybrid mixing. Send stems to outboard compressors and EQs, then return them through line inputs. Your DAW’s hardware insert tool can measure and correct the round-trip delay.

The ADAT output adds eight more outputs through an external converter. Combined with S/PDIF, that gives plenty of routes for effects, cue mixes or a monitor controller.

Clarett+ 8Pre vs related interfaces

The figures below come from each product’s official page. Focusrite’s Clarett+ 8Pre specifications list the full data.

The 8Pre and 18i20 both offer eight preamps. The 8Pre leads on preamp noise and output level, and it adds analogue Air with impedance switching. The 18i20 leads on gain, automation tools, talkback and digital I/O.

Pros and cons

Pros

• Eight low-noise preamps at −129 dBu EIN.
• Ten balanced line outputs with 124 dB dynamic range.
• ADAT in and out, plus S/PDIF and MIDI.
• Two headphone outputs.
• Analogue Air with impedance switching on every preamp.

Cons

• 57 dB of gain can be tight for quiet speech on low-output dynamics.
• Needs mains power.
• No Auto Gain, Clip Safe or talkback mic.
• Only two instrument inputs.

Gain staging with eight channels

Eight open mics add noise and bleed together. So, set every preamp on its own first. Then listen to the full kit or band. Lower gain on channels that pick up too much of a loud neighbour.

Record at 24-bit with headroom. Average levels near −18 dBFS and peaks around −10 dBFS suit most sessions. Drummers often play harder in the take than in the check, so leave extra space on drum channels.

Check phase between close mics and overheads too. Flip polarity in the DAW where the sound thins. Small mic moves often fix phase better than any plugin.

A sample drum mic plan for eight preamps

Eight preamps cover a well-miked drum kit. One common layout looks like this:

• Preamp 1: kick inside
• Preamp 2: snare top
• Preamp 3: rack tom
• Preamp 4: floor tom
• Preamps 5 and 6: overhead pair
• Preamps 7 and 8: room pair

Use Air carefully on drums. It can add sparkle to toms or a dull snare. On overheads, however, it can make cymbals harsh. Test it on a short recording first.

Next, check the overheads against the snare. If the snare sounds thin when both are up, flip polarity on one channel. Then compare the kick mic against the overheads in the same way.

Recording a full band with ADAT expansion

For a full band, the drums may take all eight preamps. Add an eight-channel ADAT preamp for bass, guitars and vocals. That brings the session up to 16 mic channels plus the instrument inputs.

Set the clock source before recording. Make one device the master and the other follow over ADAT. Only one device should lead, or you will hear clicks and pops.

Then plan headphone mixes. Two headphone outputs cover two people. For more, feed a headphone amplifier from spare line outputs. Each mix can be built separately in Focusrite Control.

Who should buy the 8Pre and who should skip it

Buy the 8Pre if you record bands or drums and want low-noise preamps with analogue Air. It also fits hybrid mixers who need many analogue outputs. Skip it if you rarely use more than four mics at once, since the Clarett+ 4Pre is smaller. Skip it as well if you want Auto Gain and talkback built in, which the 18i20 provides.

Using S/PDIF and MIDI

S/PDIF adds a stereo digital input and output. Use it for a digital reverb unit, a preamp with a digital output, or a monitor controller. Match the sample rate and clock settings on both devices.

MIDI in and out let the 8Pre control synths or receive notes from a keyboard. That removes the need for a separate MIDI interface in a compact setup.

Rack, cabling and workflow tips

A rack-mounted interface stays put, so plan cables once and do it well. Use a patch bay or a labelled snake from the live room. That way, mics plug into the same channel every session.

Keep power cables away from mic and line cables where possible. Crossing them at right angles reduces hum pickup. Balanced cables on all line outputs also help keep the noise floor low.

Build a DAW template that matches your input list. Include track names, colours, monitor mixes and bus routing. Save the Focusrite Control setup alongside it. The next session then starts in minutes.

Finally, back up recordings after each session. Large multitrack projects fill drives quickly. Keep a copy on a second drive before deleting anything from the main one.

Monitoring at higher sample rates

The 8Pre supports up to 192 kHz. However, higher rates reduce ADAT channel counts and increase CPU load. For most music, 44.1 or 48 kHz gives excellent results with full channel counts. Use higher rates only when a client or project requires them.

Before a big session, power everything up early and let the computer settle. Then run a quick record test on all channels, so a faulty cable shows up before the band starts playing.

Final checks before your first Clarett+ 8Pre session

Before recording anything important, run a short checklist. Confirm the Clarett+ 8Pre 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.

Check the current price of the Focusrite Clarett+ 8Pre on Amazon.

FAQ

Once your multitrack session is mixed, our stem mastering service can finish it from grouped stems. It is a good fit for band recordings with many sources.

As an Amazon Associate I earn from qualifying purchases. This write-up is based on Focusrite’s published specifications and documentation, not hands-on testing.

The Focusrite Clarett 4Pre (sold as the Clarett+ 4Pre) is an 18-in/8-out USB-C audio interface with four Clarett+ mic preamps, two JFET instrument inputs, ADAT expansion and converters rated at up to 124 dB dynamic range. It suits home and project studios that track a small band, a drum kit with a few microphones, or several sources at once, and want room to grow.

See the Focusrite Clarett+ 4Pre on Amazon.

Focusrite Clarett+ 4Pre key specs

Figures are taken from Focusrite’s Clarett+ 4Pre product page.

What the preamp numbers mean

Focusrite lists the mic inputs at 57 dB of gain, an equivalent input noise (EIN) of −129 dBu, a maximum input of +18 dBu and THD+N of −110 dB at +20 dB gain. EIN describes the noise a preamp adds when it has nothing to amplify. A figure around −129 dBu is close to the practical limit for a microphone preamp, so on quiet sources such as acoustic guitar or soft vocals, the room and the microphone’s self-noise will usually be audible long before the preamp is.

The 57 dB gain range is enough for most condenser microphones and for dynamic microphones on loud sources like snare, guitar cabinets and sung vocals. Very low-output dynamic and ribbon microphones on quiet speech can still sit near the top of that range. If you plan to record whispered voice-over with a low-sensitivity broadcast dynamic, check that microphone’s sensitivity against the 57 dB figure, or budget for an inline booster.

The +18 dBu maximum input on the mic channels and +26 dBu on the variable line inputs matter when you feed hot sources. Synths, drum machines and outboard gear with +4 dBu nominal levels will not clip the line inputs at sensible settings.

Air mode explained

Air is an analogue circuit on each preamp. Focusrite describes it as recreating the effect of its ISA preamps by changing the input impedance and adding presence. In practice, Air lifts the upper frequencies before conversion, which can help a dull microphone or a dark room. Because it happens before the converter, it is printed into the recording; you cannot remove it later the way you can bypass an EQ plugin.

A sensible approach is to record a short test with Air on and off, at matched levels, and compare. Bright condenser microphones on sibilant singers often sound better with Air off, while dynamic microphones on vocals or guitar cabinets may benefit from the lift.

Inputs and outputs in a real session

The four combo inputs give you four preamps. Two of those inputs switch to JFET instrument mode for guitar and bass. On top of that, four fixed line inputs take keyboards or outboard returns, and the ADAT optical port adds eight more channels at 44.1 or 48 kHz when you connect an ADAT preamp such as Focusrite’s Clarett+ OctoPre. That is how the interface reaches its 18-input total.

The four balanced outputs let you run a main pair of monitors plus a second pair, or send a line out to outboard processing. The two headphone outputs each get their own level control, which helps when an artist and an engineer need different volumes.

Conversion and monitoring

Focusrite uses independent A-D and D-A converters and rates the line outputs at 124 dB dynamic range with −106 dB THD+N. For mixing, low-noise outputs mean the hiss floor stays below what most monitors and rooms reveal. The headphone outputs are rated at 118 dB dynamic range and up to +16 dBu, which drives a wide range of headphones.

Routing and direct monitoring are handled in Focusrite Control on supported systems, where you can build low-latency monitor mixes for each headphone output.

Included software

Focusrite lists Ableton Live Lite, Pro Tools Intro+ and the Hitmaker Expansion bundle with plugins from companies such as Antares, Softube and XLN Audio. Bundles change over time, so check Focusrite’s page before buying for a specific plugin.

Who should consider the Clarett+ 4Pre

• Home studios that record a vocalist and two or three instruments at once.
• Producers who own analogue synths and want line inputs that are always connected.
• Anyone planning to grow into a full drum recording setup through ADAT.
• Engineers who want two independent headphone mixes.

Who should look elsewhere

If you only record one or two sources at a time, a two-input interface such as the Clarett+ 2Pre or Scarlett 2i2 does the same job with less desk space. If you need eight preamps in one box without ADAT, the Clarett+ 8Pre is the next step. If you want to monitor through DSP plugins while tracking, look at an interface with onboard processing.

Common mistakes with a multi-input interface

• Leaving Air on for every channel, which can stack brightness across a whole drum kit.
• Enabling 48 V phantom power on a channel used by a vintage ribbon microphone without checking the manufacturer’s guidance.
• Setting the ADAT preamp to a different sample rate from the session, which causes clicks or no signal.
• Recording peaks near 0 dBFS. At 24-bit, peaks around −12 to −6 dBFS leave headroom without adding audible noise.

Setup checklist

1. Run Focusrite’s Easy Start tool and install Focusrite Control if your system needs it.
2. Select the Clarett+ 4Pre as input and output device in your DAW.
3. Choose your sample rate before connecting ADAT gear, and set the external preamp as clock master or slave consistently.
4. Gain each microphone while the performer plays at full volume.
5. Create a headphone mix for each output in Focusrite Control.

How to choose an audio interface walks through the input count question in more detail, and our recording and mic technique hub covers microphone placement for each of the sessions above.

How to set up the Focusrite Clarett+ 4Pre for a session

The checklist below covers the basics. This section goes step by step through a full first session.

1. Install Focusrite Control

Install Focusrite Control before connecting. On Windows, it includes the ASIO driver. On a Mac, it manages routing and hardware settings. Then check for firmware updates.

2. Power and connect

Connect power as shown in the user guide, then the USB-C cable. Use a direct port on the computer rather than a hub when possible.

3. Set rate and buffer

Choose 44.1 or 48 kHz in both the DAW and Focusrite Control. These rates also give you all eight ADAT channels. Set a 64 or 128 sample buffer for tracking.

4. Plan the inputs

Use preamps 1 to 4 for microphones. Use the two front JFET inputs for guitar or bass. Then use the four fixed line inputs at the rear for synths or a drum machine. Fixed inputs have no gain knob, so set the level at the source.

5. Build two headphone mixes

The 4Pre has two headphone outputs. In Focusrite Control, create a separate direct-monitoring mix for each. For instance, the engineer hears a full mix while the singer hears more vocal.

6. Set gain and test

Set each preamp at the loudest part of the performance. Aim for peaks near −12 dBFS. Record a short test, then listen on monitors before the main takes.

A four-mic drum and vocal plan

Four preamps can capture a compact drum setup. Use one mic on the kick, one on the snare, and two overheads. That is a classic and effective approach for rock and pop demos.

Alternatively, record a small band live. Put vocals on preamp 1, an acoustic guitar mic on preamp 2, and a stereo pair on the room. Then plug bass into a JFET instrument input and keys into the rear line inputs.

If you need more mics, add an eight-channel ADAT preamp. Set one unit as clock master and the other to follow. That expands the 4Pre to 18 inputs in total.

Clarett+ 4Pre vs related interfaces

The table compares published figures from Focusrite. Visit the official Clarett+ 4Pre page for the full list.

The 4Pre sits in the middle. It doubles the 2Pre’s preamps and adds a second headphone output. The 8Pre adds more preamps and outputs. The 18i20 trades a little preamp noise for Auto Gain and more digital I/O.

Pros and cons

Pros

• Four low-noise preamps at −129 dBu EIN.
• Two headphone outputs for separate mixes.
• Four fixed line inputs for synths and drum machines.
• ADAT input for eight more channels.
• 124 dB line output dynamic range.
• Analogue Air on each preamp.

Cons

• 57 dB of gain is limited for quiet speech on low-output dynamics.
• Four line outputs only, with no ADAT output.
• No Auto Gain or Clip Safe.

Using the fixed line inputs

The four rear line inputs are fixed at +18 dBu maximum. They have no gain control. Therefore, set the level on the synth or drum machine itself. Turn the source up until the DAW peaks sit around −12 dBFS.

These inputs are ideal for keeping gear permanently connected. For example, wire a stereo synth to inputs 5 and 6 and a drum machine to 7 and 8. Then the front preamps stay free for mics and guitars. Nothing needs re-plugging between sessions.

Gain staging across four channels

With four mics, levels interact. Set each preamp on its own first. Then listen to all channels together. Bleed from a loud source, such as drums, can raise the level on nearby mics.

Record at 24-bit and leave headroom. Average levels near −18 dBFS with peaks around −10 dBFS keep you safe. Since there is no Auto Gain, watch the meters closely during the first take.

On the output side, the line outputs reach +18 dBu. Use the monitor control for volume and keep the DAW master near unity.

Who should buy the 4Pre and who should skip it

Buy it if you need four clean preamps, two headphone mixes and room to grow. It suits project studios, small bands and producers with outboard synths. Skip it if you mainly record one voice at a time. Skip it too if you need many analogue outputs or ADAT out, because the 8Pre covers that.

Common setup mistakes to avoid

• Two clock masters with ADAT. Pick one master to avoid clicks.
• Turning fixed inputs up at the interface. They have no gain knob; adjust the source.
• Air on bright sources. It is recorded and cannot be removed.
• Mismatched sample rates. Keep the DAW and Focusrite Control the same.

Using the 4Pre with an iPad

Focusrite lists iPadOS compatibility over USB-C. That makes the 4Pre an option for mobile recording on a tablet. Connect it with a suitable USB-C cable, then open a recording app that supports multichannel input.

Keep the session simple on a tablet. Fewer tracks and plugins put less load on the device. Test the setup at home before a live recording, so that surprises happen in private.

Monitoring with two speaker pairs

The four balanced outputs let you run two speaker pairs. Use outputs 1 and 2 for main monitors and 3 and 4 for a smaller reference pair. Then switch between them in Focusrite Control to compare mixes.

Comparing on small speakers is a quick check of the vocal and bass balance. If the mix holds up on both, it usually translates well elsewhere. Match the volume of the two pairs before comparing, because louder playback tends to sound better.

Finally, label each DAW input to match the physical channel. It prevents recording to the wrong track when a session gets busy.

Final checks before your first Focusrite Clarett 4Pre session

Before recording anything important, run a short checklist. Confirm the Clarett+ 4Pre 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.

Check the current price of the Focusrite Clarett+ 4Pre on Amazon.

FAQ

Once your multitrack recordings are mixed, our stem mastering service can finish them from the separate groups you export.

As an Amazon Associate I earn from qualifying purchases. This write-up is based on manufacturer specifications and published documentation, not hands-on testing.

The Universal Audio Volt 2 is a bus-powered USB-C interface with two combo mic/line/instrument inputs and two outputs, plus a Vintage mode inspired by UA’s 610 tube preamp. It is built for singer-songwriters recording voice and guitar together, or stereo sources.

Key specs

What Vintage mode does

Vintage mode is an analog circuit setting that adds warmth and a gentle saturation reminiscent of UA’s 610 tube preamp. It suits vocals and guitar when you want character on the way in. Turn it off for clean recordings.

Limitations

• 55 dB of gain is modest for quiet broadcast dynamic mics; an inline booster may help.
• Only two outputs, so one pair of speakers.
• No onboard DSP for UAD plugins (that is the Apollo line).

Check the Universal Audio Volt 2 on Amazon

Two channels in practice

The Volt 2 has two front-panel combo inputs, each accepting a microphone on XLR or a line or instrument signal on a 1/4-inch jack. UA’s specifications list a 1 MΩ instrument input impedance, suitable for passive guitar and bass pickups. Each channel has its own gain control and its own Vintage button, so you can print preamp colour on one source and keep the other clean. Two inputs open up common home-studio jobs: a singer-songwriter recording vocal and guitar at once, two podcast hosts on separate tracks, a stereo pair of microphones on acoustic guitar or piano, or a stereo synth or drum machine.

Outputs are a stereo pair of balanced 1/4-inch monitor outputs and one headphone output. That supports one pair of monitors. Two podcast hosts will need a headphone splitter or a small headphone amplifier, because there is only one headphone jack.

Published specifications explained

UA lists 55 dB of available gain and −127 dBu EIN (A-weighted, 150 Ω) for the mic preamps, a 112 dB A-weighted dynamic range on the mic inputs, a maximum mic input level of 9 dBu, and line outputs with a 110 dB dynamic range and 15 dBu maximum level. Conversion runs at 44.1 to 192 kHz at 24-bit. In practical terms, the preamps are quiet enough for condenser microphones and most dynamic microphones on loud sources. For very quiet speech on low-output dynamic broadcast microphones, the gain may run near its maximum, which is why some users add an inline booster.

The 9 dBu maximum mic input level is worth noting if you record very loud sources close up, such as a kick drum or a guitar cabinet with a sensitive condenser. Use the microphone’s pad if it has one, or position it further away, to avoid clipping the preamp.

Vintage mode on two channels

UA describes Vintage mode as an all-analog circuit inspired by the UA 610 tube preamp, working on the mic, line and instrument inputs. Because it is applied before conversion, the effect is recorded with the signal and cannot be removed later. A cautious approach is to record one take with Vintage on and one with it off on important sources until you know when you prefer it.

MIDI, monitoring and compatibility

The Volt 2 includes 1-in/1-out 5-pin MIDI for a controller, synth or drum machine. Direct monitoring sends inputs straight to the headphones and monitors for latency-free recording, with a blend between input and computer playback. UA lists class-compliant operation on macOS and on iPadOS/iOS 14 or later, with the UA Connect app providing the Windows driver. Mobile users may need an adapter and external power, because the interface is bus-powered.

Included software

UA bundles LUNA and a selection of UAD native plugins, such as its 1176 and LA-2A compressor emulations, along with third-party instruments and tools. Bundles change over time, so confirm the current list on UA’s site.

Volt 2 compared with Volt 1 and Volt 276

UA positions the Volt 276 as the option for people who want analog compression on the way in, inspired by the 1176. If you prefer to compress later with plugins, the Volt 2 covers the same inputs and outputs.

Setup checklist

1. Install UA Connect on Windows, or connect directly on macOS.
2. Choose the Volt as the audio device in your DAW, and assign inputs 1 and 2 to separate tracks.
3. Set each channel’s gain separately while the performer plays at full volume.
4. Enable 48 V only for microphones that need phantom power.
5. Use direct monitoring for tracking and increase the buffer size for mixing.

Common uses for two inputs

• Recording a vocal and acoustic guitar together for a natural performance feel.
• Capturing an interview with each speaker on a separate track for easier editing.
• Recording a stereo keyboard, synth or drum machine.
• Using two microphones on one source, such as a guitar amp, and blending them in the mix.

When using two microphones on one source, check the phase relationship between them, because small distance differences can thin the combined sound.

Label each track clearly when recording two sources, so takes stay organised during editing.

Plan your channels before a big session to avoid confusion.

Recording workflow with the Universal Audio Volt 2

The checklist above covers first-time setup. This section walks through a typical session. Universal Audio’s Volt 2 product page links to the manual and UA Connect.

Step 1: prepare the DAW

Select Volt as the audio device. Use 44.1 or 48 kHz. Set the buffer to 64 or 128 samples while tracking. Then create one mono track per input, and label them.

Step 2: set each channel

Choose mic, line or instrument for each input. Turn on 48V for condensers. Next, set gain on each channel at the loudest part of the performance. Peaks around −12 dBFS in the DAW leave a safe margin.

Step 3: decide on Vintage mode per channel

Vintage mode works on each channel separately. For example, use it on a vocal but not on a bright acoustic guitar. Record short tests both ways, then pick by ear at matched loudness.

Step 4: monitor and record

Use the direct monitor feature for zero-latency listening. Turn off software monitoring on armed tracks. Record a take, then listen on speakers before moving on.

Step 5: mix with the bundled plug-ins

Raise the buffer for mixing. Then add the included UAD plug-ins, such as the 1176 and LA-2A style compressors or the 610 preamp. They run natively on your computer.

Choosing microphones for Volt 2

Volt 2 provides 55 dB of gain on each channel. Condensers work easily. Many dynamic mics on singing or loud instruments work too. However, low-output dynamics on quiet speech can need more gain, so an inline booster may help.

The mic input clips at 9 dBu. For a loud guitar cabinet or kick drum, keep gain low and check peaks carefully.

A two-person podcast with Volt 2

Volt 2 can record two hosts on separate tracks. Plug a mic into each input, set gain while both speak normally, and record each to its own track. Separate tracks let you balance levels and remove noise after the show.

There is one headphone output, though. For two listeners, use a headphone splitter or feed a small headphone amplifier from the line outputs. UA does not list a loopback feature, so remote callers are best captured with your recording software.

Volt 2 vs similar two-input interfaces

The table compares published figures.

Volt 2’s strength is Vintage mode and the bundled UAD plug-ins. The others lead on output specs, outputs or gain. Choose by the feature you will use most.

Pros and cons

Pros

• Two inputs with per-channel Vintage mode.
• Low EIN of −127 dBu.
• MIDI in and out on 5-pin DIN.
• Bus-powered and class compliant on Mac.
• Bundled LUNA and UAD plug-ins.

Cons

• 55 dB of gain can be tight for quiet speech on dynamic mics.
• Two line outputs only.
• One headphone output.
• No onboard DSP.
• Windows needs UA Connect for the driver.

Common mistakes with Volt 2

• Vintage mode on both channels by default. Decide per source.
• Recording two mics to one stereo track. Use two mono tracks for control later.
• Skipping UA Connect on Windows. The driver improves latency and stability.
• Double monitoring. Pick direct or software monitoring.
• Mic bleed in duets. Space the two mics apart and point them away from each other.
• Powering through a passive hub. Use a direct port.

Who should buy it and who should skip it

Buy Volt 2 if you record two sources together and like analogue colour. It suits singer-songwriters, two-host podcasts and home producers. Skip it if you need four outputs, two headphone feeds, or room to expand. In that case, compare the four-output options above, or look at Volt 1 if one input is truly enough.

A singer-songwriter session

Recording voice and guitar together is the classic Volt 2 task. Put a vocal mic in input 1 and a guitar mic or DI in input 2. Then place the vocal mic above the mouth and the guitar mic near the twelfth fret, pointed away from the voice.

Some bleed between the two mics is normal. To reduce it, keep each mic close to its source. Also try a cardioid mic on each, with the rear of each mic facing the other source.

If the guitar has a pickup, consider recording both the pickup and a mic. Use the instrument setting for the pickup on input 2, and keep the vocal on input 1. That leaves no room for a guitar mic, but it gives a clean, bleed-free guitar track.

Recording guitar and bass DI

Each input accepts an instrument at 1 MΩ impedance. That loading suits passive pickups and preserves high-end detail. Set gain while playing the hardest part of the song.

Then add an amp simulator in the DAW. Keep the buffer small so the response feels immediate. Vintage mode can add a little warmth to clean DI tones, so try it on bass in particular.

Gain staging and headroom

Good gain staging keeps noise low and avoids clipping. Record at 24-bit and leave room above your peaks. Average levels around −18 dBFS with peaks near −10 dBFS are a practical target.

With two channels, balance matters too. Set each input on its own, then check them together. A loud singer may cause the guitar mic to pick up more voice than expected.

On the output side, use the monitor knob for volume and keep the DAW master near unity. If your speakers are too loud at low settings, reduce their input trim instead.

When to upgrade from Volt 2

Upgrade when you regularly need more than two mics, such as drums or a band. Also upgrade if you need separate headphone mixes or extra outputs for outboard gear. For built-in compression, Volt 276 adds a 76-style compressor while keeping the same layout.

Mixing with the bundled UAD plug-ins

The included plug-ins give you a classic starting chain. For vocals, try the 610 preamp plug-in for gentle colour. Then add an LA-2A style compressor for smooth levelling. Finally, use an 1176 style compressor if you need faster control of peaks.

Use these with restraint. Start with small gain reduction, around 3 to 6 dB, and compare with bypass at matched loudness. Louder often sounds better at first, so matching levels gives a fair test.

Because these plug-ins run natively, they use computer CPU. On an older laptop, freeze or bounce finished tracks to free resources.

Using Volt 2 for streaming

For a stream, select Volt as the audio device in OBS or similar software. Plug your mic into input 1. Input 2 can take a second mic, a guitar or a line-level source such as a small mixer.

Next, enable direct monitoring so you hear yourself without delay. Use your streaming software’s tools to add game or desktop audio, since UA does not list loopback. Then do a short test recording to check balance between your voice and the other sources.

A small habit helps a lot: save a scene with your audio settings. Next time, you can go live without rebuilding the setup.

Before each session, check cables and save a DAW template with both inputs labelled. It saves setup time and avoids recording to the wrong track.

Final checks before your first Volt 2 session

Before recording anything important, run a short checklist. Confirm the Volt 2 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.

Check the current price of the Universal Audio Volt 2 on Amazon.

FAQ

Pair it with our guides on recording vocals at home and choosing an audio interface.

As an Amazon Associate I earn from qualifying purchases. This write-up is based on manufacturer specifications and published documentation, not hands-on testing.

The Universal Audio Volt 1 is a bus-powered USB-C interface with one combo mic/line/instrument input and two outputs, plus a Vintage mode inspired by UA’s 610 tube preamp. It is built for solo vocalists, podcasters and guitarists who record one source at a time.

Key specs

What Vintage mode does

Vintage mode is an analog circuit setting that adds warmth and a gentle saturation reminiscent of UA’s 610 tube preamp. It suits vocals and guitar when you want character on the way in. Turn it off for clean recordings.

Limitations

• 55 dB of gain is modest for quiet broadcast dynamic mics; an inline booster may help.
• Only two outputs, so one pair of speakers.
• No onboard DSP for UAD plugins (that is the Apollo line).

Check the Universal Audio Volt 1 on Amazon

Inputs and outputs in practice

The Volt 1 has one front-panel combo input that accepts a microphone on XLR or a line or instrument signal on a 1/4-inch jack. According to UA’s published specifications, the instrument input has a 1 MΩ impedance, which suits passive guitar and bass pickups, and the line input accepts balanced or unbalanced connections. Because there is only one input, you record one source at a time: a vocal, an acoustic guitar with one microphone, a DI bass, or a synth in mono. Building a song means layering overdubs rather than tracking a band live.

On the output side there is a stereo pair of balanced 1/4-inch monitor outputs and a headphone output. That is enough for one pair of studio monitors and headphones, which covers most home studios. There is no second speaker pair or separate cue mix, so if you plan to compare two sets of monitors, you will need a monitor controller.

Preamp and conversion specs explained

UA lists the mic preamp at 55 dB of available gain with an equivalent input noise of −127 dBu (A-weighted, 150 Ω). EIN describes how quiet the preamp is: −127 dBu is a respectable figure for an entry-level interface. The gain figure matters most with low-output dynamic microphones, such as popular broadcast models, which often need a lot of gain for quiet speech. With 55 dB available, those microphones may sit near the top of the gain range, so an inline microphone booster is a common addition for soft-spoken podcasters.

Conversion runs at up to 24-bit and 192 kHz. UA publishes a microphone input dynamic range of 112 dB (A-weighted) and line output dynamic range of 110 dB. For home recording, these numbers mean the converters will rarely be the limiting factor; room noise and microphone choice usually matter more.

Direct monitoring and latency

Volt includes direct monitoring, which sends the input signal straight to the headphones before it travels through the computer. This lets you hear yourself without the delay that can occur at larger buffer sizes, which keeps vocal and guitar takes in time. Many producers record with direct monitoring on and the DAW track’s input monitoring off, so they do not hear a doubled, slightly delayed signal.

MIDI and compatibility

UA lists 1-in/1-out 5-pin MIDI on the Volt 1, which is unusual at this size. You can connect a hardware synth, a drum machine or an older MIDI keyboard without a separate MIDI interface. The Volt is class-compliant on macOS and iPadOS/iOS 14 or later, and UA provides a driver through its UA Connect app for Windows. UA notes that iPad and iPhone users may need an adapter and an external power source, because the interface is bus-powered.

Included software

UA bundles its LUNA recording software and a set of UAD native plugins, which run on your computer rather than on dedicated DSP hardware. The exact bundle can change, so check UA’s product page for the current list before relying on a specific plugin.

Who should consider the Volt 1

• Solo singers and rappers recording one vocal at a time.
• Guitarists and bassists recording DI or a single microphone.
• Podcasters with one host who want 48 V phantom power for condenser microphones.
• Beatmakers who need MIDI for a hardware synth plus one input for sampling.

Who should look elsewhere

If you ever want to record two people, a stereo pair of microphones, or a vocal and guitar at the same time, the Volt 2 or another two-input interface is a better fit. If you need many inputs for drums, look at interfaces with eight preamps or ADAT expansion. If you want to monitor through UAD plugins with near-zero latency, UA’s Apollo line is designed for that.

Setup checklist

1. Install UA Connect on Windows, or connect directly on macOS.
2. Select the Volt as the input and output device in your DAW.
3. Set the input gain so peaks land well below 0 dBFS.
4. Enable 48 V only for microphones that need phantom power.
5. Use direct monitoring while recording, and set a larger buffer when mixing.
6. Record a short test take and listen back on headphones for clipping, hum or room noise before the real performance.

Whichever interface you choose, a well-placed microphone in a quiet, treated space will improve recordings more than small differences in converter specifications.

If you later outgrow one input, the Volt 2 uses the same controls, Vintage mode and UA Connect software, so the setup above carries over unchanged.

How to set up the Universal Audio Volt 1

Volt 1 is simple, but a few steps make the first session smoother. Universal Audio’s Volt 1 product page links to the manual and UA Connect.

1. Install UA Connect

On Windows, UA Connect installs the driver Volt needs for low latency. It also handles registration and the bundled software. On a Mac, Volt is class compliant and works without a driver, but UA Connect is still the way to get LUNA and the included plug-ins.

2. Connect power and USB

Volt 1 is bus-powered from the computer. Plug it straight into a port on the computer rather than a passive hub. For an iPhone or iPad, UA notes that an adapter and external power may be needed.

3. Select Volt in your DAW

Open the audio settings and choose Volt as input and output. Set 44.1 or 48 kHz. Then set the buffer to 64 or 128 samples while recording.

4. Set the input type

The single combo input takes a mic, line or instrument signal. Use the front instrument setting for a guitar or bass. Turn on 48V only for condenser mics that need it.

5. Set gain

Ask for the loudest part of the performance. Raise gain until the meter stays clear of red on peaks. In the DAW, aim for peaks around −12 dBFS.

6. Use direct monitoring

Turn on direct monitoring to hear the input with no computer delay. Then disable software monitoring on the armed track, or you will hear two copies.

A vocal recording workflow with Volt 1

Here is a short workflow for a home vocal. First, place the mic about a hand’s width from the singer, with a pop filter. Next, set gain at full volume as above.

Then decide on Vintage mode. Record a short take with it on and one with it off. Compare them at matched loudness. Vintage mode adds tone that you cannot remove later, so choose by ear.

After recording, raise the buffer for mixing. Add the bundled UAD plug-ins, such as the 1176 or LA-2A style compressors. These run natively on the computer, not on Volt itself. Finally, export a rough mix and check it on headphones and a phone speaker.

Volt 1 vs similar interfaces

The table uses each maker’s published figures.

Volt 1 is the smallest option here. It suits one source at a time. If you think you will add a second mic or a guitar alongside vocals, Volt 2 or one of the two-preamp rivals is the safer choice.

Pros and cons

Pros

• Vintage mode adds analogue character on the way in.
• Low EIN of −127 dBu for a compact interface.
• MIDI in and out on 5-pin DIN.
• Bus-powered and class compliant.
• Bundled LUNA and UAD plug-ins.

Cons

• One input only.
• 55 dB of gain can be tight for quiet dynamic mics on speech.
• 110 dB output dynamic range is lower than some rivals.
• No onboard DSP; plug-ins use the computer’s CPU.
• Windows needs UA Connect for its driver.

Common mistakes with Volt 1

• Skipping the Windows driver. Without UA Connect, latency and stability suffer on Windows.
• Using Vintage mode on everything. It suits some voices but not all. Test it first.
• Double monitoring. Use direct monitoring or software monitoring, not both.
• Powering from a hub. A passive hub may not supply enough current. Use a direct port.
• Expecting DSP plug-ins. The bundled plug-ins are native. They will not run on Volt hardware.
• Buying for two people. One input cannot record an interview on two mics.

Choosing a microphone for Volt 1

Volt 1 offers 55 dB of gain. That is plenty for condenser microphones, which have high output. Most large-diaphragm condensers will sit comfortably in the middle of the gain range for sung vocals.

Dynamic mics are different. Many broadcast-style dynamics have low output. On loud singing they are usually fine. On quiet speech, though, you may run out of gain. An inline booster solves this, or you can choose a higher-output dynamic mic.

The mic input accepts up to 9 dBu before clipping. That is lower than some interfaces. So, for very loud sources such as a close-miked guitar amp, keep gain low and watch the meter.

Recording guitar and bass

For a guitar or bass with passive pickups, use the instrument setting. The input has a 1 MΩ impedance, which avoids dulling the pickup’s tone. Set gain while playing hard strums or loud notes.

Next, add an amp simulator in your DAW. Keep the buffer low so the amp sim feels responsive. If the computer struggles, freeze other tracks first.

Some players also want the Vintage mode tone on DI guitar. Try it on clean parts, where a little warmth can help. On high-gain amp sims, the effect is usually less noticeable.

Volt 1 for podcasts and streaming

A solo podcaster or streamer can use Volt 1 well. Plug in one mic and use direct monitoring. Then send the output to streaming software such as OBS by selecting Volt as the audio device.

However, Volt 1 has no published loopback feature. To mix game or call audio into a stream, use your software’s own capture tools. A two-person show also needs a second input, so Volt 2 or a dedicated podcast interface is a better match there.

When to upgrade from Volt 1

Upgrade when you need more than one input at a time. Recording a singer playing guitar is the most common reason. Similarly, a co-host on a podcast makes two inputs necessary.

The natural step is Volt 2. It keeps the same preamp design and adds a second channel. If you want built-in compression, Volt 276 adds a 76-style compressor. For two mics plus extra outputs, a four-output interface such as the Scarlett 4i4 also works.

Gain staging on a small interface

Gain staging means giving each stage the right level. On Volt 1, the first stage is the preamp gain knob. Too little gain raises the noise floor relative to the voice. Too much gain clips the converter, which leaves harsh distortion.

Record at 24-bit, so you can leave plenty of headroom. Average levels near −18 dBFS, with peaks around −10 dBFS, work well. They also suit analogue-style plug-ins like the bundled compressors, which react best to moderate input levels.

On the output side, the line outputs reach 15 dBu. Use the monitor knob for volume, and keep the DAW master near unity. If your speakers are too loud even at low knob settings, lower the speakers’ own input trim. That lets you use more of the knob’s range.

Finally, check headphone level before each session. Start low and bring it up slowly. Comfortable levels help you work longer and judge tone more reliably.

Keep a simple note of the gain setting that works for each mic and singer. It makes the next session quicker to start.

Final checks before your first Volt 1 session

Before recording anything important, run a short checklist. Confirm the Volt 1 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.

Check the current price of the Universal Audio Volt 1 on Amazon.

FAQ

Pair it with our guides on recording vocals at home and choosing an audio interface.

As an Amazon Associate I earn from qualifying purchases. This write-up is based on manufacturer specifications and published documentation, not hands-on testing.

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

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.

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.

Check the current price of the Focusrite Scarlett 4i4 4th Gen on Amazon.

FAQ

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

As an Amazon Associate I earn from qualifying purchases. This write-up is based on manufacturer specifications and published documentation, not hands-on testing.

The Focusrite Scarlett 18i20 (4th Gen) is a 1U rack interface with eight mic preamps, ten line outputs, two headphone outputs and ADAT expansion, built for recording full bands and drum kits. It is the flagship of the Scarlett 4th Gen range and needs external power.

Key specs

Who it is for

• Engineers recording drums with six to eight mics.
• Small studios needing two headphone mixes and a talkback mic.
• Anyone planning to expand with an ADAT preamp for 16+ mic inputs.

Strengths

Eight 69 dB preamps cover nearly any mic. Separate main and alt speaker outputs let you switch between monitors. Two ADAT ports allow up to 16 extra channels at 44.1/48 kHz from external preamps.

Limitations

• Not portable or bus-powered.
• ADAT channel count drops at higher sample rates.
• Overkill if you record one vocalist at a time.

Check the Focusrite Scarlett 18i20 4th Gen on Amazon

Inputs and outputs in practice

Focusrite lists eight mic/line preamps, two of which on the front panel also accept instruments through Hi-Z inputs with a 1 MΩ impedance. The remaining six preamps sit on the rear. Eight preamps cover a typical drum kit, for example kick, snare, two or three toms, a pair of overheads and a room microphone, or a small live band with several sources at once. Two ADAT ports add up to 16 more channels at 44.1 or 48 kHz from external preamps (dropping to eight at 96 kHz), and S/PDIF adds two more digital channels, which is how the interface reaches its 26-input count.

On the output side, Focusrite lists ten balanced line outputs, including main and alternate speaker outputs, plus two independent headphone outputs. Those extra outputs let you feed separate headphone mixes through external amplifiers, route signals to outboard compressors or effects and back, or connect a second set of monitors for comparison. The built-in talkback microphone lets an engineer speak to performers through their headphones without a separate microphone.

Published specifications explained

The mic preamps offer a 69 dB gain range with −127 dBu EIN (A-weighted) and a maximum input level of 16 dBu. The line outputs are rated at 122 dB dynamic range (A-weighted) with a maximum level of 16 dBu, and the headphone outputs at up to 57 mW into 33 Ω. In practice, 69 dB of gain is enough for low-output dynamic and ribbon microphones without extra boosters, and the headphone amplifiers are designed to drive high-impedance headphones. Conversion supports sample rates from 44.1 to 192 kHz at 24-bit.

Auto Gain, Clip Safe and Air

As part of the 4th Gen range, the 18i20 includes Auto Gain, which listens to a source and sets preamp levels, and Clip Safe, which reduces gain automatically if a signal is about to clip. Both are useful when tracking several musicians at once, when one engineer cannot watch every level. The Air feature offers two modes: Presence, which lifts the high end, and Presence and Harmonic Drive, which adds midrange harmonics. These are applied at the input, so they are recorded with the signal.

Remote control and routing

Focusrite Control 2 manages routing, headphone mixes and preamp settings on Windows and macOS, and a mobile app for iOS and Android can control the interface remotely. This is handy when you are in the live room setting up microphones and need to adjust gain without walking back to the computer. Loopback lets you record computer audio, which helps when streaming or capturing audio from other software.

Physical design and power

The 18i20 is a 1U rack-mountable unit, supplied with rack ears, and Focusrite lists it at around 3.3 kg. It is not bus-powered and uses an IEC mains power cable, so it is designed for a fixed studio rather than portable recording. It connects over USB-C using the USB 2.0 protocol and supports word clock for syncing with other digital devices.

Who should look elsewhere

If you record only one or two sources at a time, a smaller interface such as the Scarlett 2i2 or 4i4 is easier to carry and set up. If you need more than 26 channels or very large routing setups, consider a networked audio system or a larger interface range.

Setup checklist

1. Install Focusrite Control 2 and any firmware updates.
2. Rack-mount the unit or place it on a stable surface with ventilation.
3. Label each input channel in your DAW before a multitrack session.
4. Set up headphone mixes for performers in Focusrite Control 2.
5. If expanding with ADAT, set the external unit to follow the 18i20 clock or vice versa.

Example drum input plan

Keep this layout consistent between sessions so templates and routing work every time.

For larger sessions, an ADAT preamp such as an eight-channel unit can add more microphone inputs for extra room microphones, a second snare microphone or additional instruments, while the 18i20 remains the clock and routing hub.

A quick test with an ADAT expansion: route its eight channels to new tracks, record a few seconds from each, and confirm there are no clicks before a real session.

How to set up the Focusrite Scarlett 18i20 4th Gen

The 18i20 has a lot of I/O, so a planned setup saves time. Focusrite’s Scarlett 18i20 product page links to Easy Start, downloads and the user guide.

1. Mount and power it

The unit is 1U and ships with rack ears, so it can sit on a desk or in a rack. It is not bus-powered. Focusrite lists a 30 W external supply, connected with the included IEC cable. Leave space for airflow around the case.

2. Install Focusrite Control 2

Install Focusrite Control 2 on Windows or macOS before connecting the USB-C cable. On Windows, this also provides the ASIO driver. Then pair the iOS or Android app if you want to set preamp gain from the live room.

3. Choose the sample rate early

Pick 44.1 or 48 kHz for most sessions. That matters on this interface because ADAT carries 16 channels only at those rates. At 96 kHz the two ADAT ports carry up to eight channels. Set the same rate in your DAW and in Focusrite Control 2.

4. Set the buffer size

For tracking, start at 64 or 128 samples. If the computer crackles with many tracks armed, raise it one step. Then rely on direct monitoring through Focusrite Control 2 so performers hear themselves without delay. For mixing, use 512 samples or more.

5. Build headphone mixes

The two headphone outputs are independent. Create one mix for the engineer and one for the performer. Furthermore, you can send extra mixes to line outputs and feed an external headphone amp for a full band.

6. Use Auto Gain, then check by ear

Ask each player to perform at full intensity, then trigger Auto Gain. Afterwards, turn on Clip Safe for unpredictable sources like a shouting singer. Still listen to every channel, because a level that looks right can hide a bad mic position.

Talkback and speaker switching in a session

The built-in talkback mic lets you speak into the performers’ headphones without a spare microphone. Route it in Focusrite Control 2 to the cue mixes only, so it never reaches the recording. That simple step avoids voices on your takes.

Alt speaker switching lets you compare a mix on two monitor pairs. For instance, wire large monitors to one pair of outputs and small speakers to another. Switching quickly between them shows whether the bass and vocal balance holds up on both.

Scarlett 18i20 vs other multi-preamp interfaces

The table compares published figures for the 18i20 and three related interfaces.

In short, the 18i20 offers more gain, automatic level tools and more digital I/O. The Clarett+ 8Pre answers with lower preamp noise, higher output headroom and analogue Air with impedance switching. Choose the 18i20 for convenience and channel count. Choose the 8Pre if analogue character and output specs matter more.

Pros and cons

Pros

• Eight preamps with 69 dB of gain each.
• Auto Gain and Clip Safe across all eight mic channels.
• 26 inputs and 26 outputs with dual ADAT, S/PDIF and MIDI.
• Two independent headphone outputs and a talkback mic.
• Remote control from a phone or tablet.
• Word clock for syncing with other digital gear.

Cons

• Needs mains power, so it is not a portable interface.
• Only two front-panel instrument inputs.
• Uses USB 2.0, so very large track counts depend on a stable computer.
• Preamp noise is slightly higher on paper than the Clarett+ range.

Common mistakes with the 18i20

• Choosing 96 kHz with full ADAT expansion. You lose half the ADAT channels. Decide the rate before wiring.
• Clock conflicts. When an ADAT preamp is connected, set one device as master and the other to follow. Clicks are the usual symptom of a conflict.
• Talkback on the recording. Route talkback only to cue mixes.
• Trusting Auto Gain blindly. A drummer often hits harder in the take than during the level check. Leave extra headroom on drums.
• Ignoring phase. With eight mics on a kit, check overheads against the snare and kick. Flip polarity in the DAW where the sound thins out.
• No labels. Name every DAW input to match the physical channel. It prevents confusion when the session gets busy.

Who should buy it and who should skip it

Buy the 18i20 if you record drums, bands or a rack of synths. It also fits engineers who want remote control and talkback. Skip it if you record one or two sources at a time, because a compact Scarlett 4i4 does that with bus power. Skip it as well if you need analogue colour on the way in more than automatic tools.

Expanding the 18i20 over ADAT

The eight built-in preamps cover a basic drum kit. A full band, however, often needs more. The dual ADAT inputs solve that. Connect one or two eight-channel ADAT preamps, and the 18i20 can record up to 24 mic channels at 44.1 or 48 kHz.

Wiring is simple. Run an optical cable from the preamp’s ADAT output to the 18i20’s ADAT input. Then decide the clock. Many engineers make the 18i20 the master and set the preamp to follow over ADAT. Others use word clock instead. Either works, as long as only one device leads.

The ADAT outputs are useful too. They can feed extra outputs on an expander for more headphone mixes or outboard sends. In Focusrite Control 2, those channels appear as normal outputs you can route like any other.

Planning a full band session

Before the band arrives, write an input list. It should name each source, the microphone and the input number. This step catches problems early, such as running out of phantom-powered channels or instrument inputs.

A typical plan uses the eight preamps for drums. Then the two instrument inputs take bass DI and a keyboard. Next, ADAT channels handle guitar amp mics and vocals. Finally, the line inputs capture a stereo synth or a drum machine.

Next, plan the headphone mixes. Drummers usually want more bass and click. Singers want more of their own voice and some reverb. With two independent headphone outputs plus line outputs feeding a headphone amp, everyone can get a usable mix.

Then do a quick test recording of a full song section. Listen back on monitors before the real takes. That pass often reveals a buzzing cable, a rattle on the kit, or a mic that moved.

Lastly, save the Focusrite Control 2 setup and the DAW template. The next session with the same band will then take minutes instead of an hour. Labelled cables help just as much.

Air modes and Harmonic Drive

Each preamp offers Air in two flavours. Presence adds a lift in the upper range for a clearer, more open sound. Presence and Harmonic Drive adds that lift plus gentle saturation. Both are optional, and both are recorded with the signal.

Use them with care. Presence can help a dull vocal or a dark acoustic guitar. Harmonic Drive can add weight to a bass DI or a room mic. On cymbals or bright condensers, however, leave Air off. You can always add brightness in the mix, but you cannot remove it from a recorded track.

Check the current price of the Focusrite Scarlett 18i20 4th Gen on Amazon.

FAQ

New to choosing interfaces? Start with how to choose an audio interface and our Scarlett buying guide.

As an Amazon Associate I earn from qualifying purchases. This write-up is based on manufacturer specifications and published documentation, not hands-on testing.

The Focusrite Clarett+ 2Pre is a two-preamp USB-C interface aimed at producers who want lower noise, higher output level and ADAT expansion than a Scarlett offers. Its analog Air circuit and +18 dBu outputs make it a step up for small studios.

Key specs

Clarett+ 2Pre vs Scarlett

The Scarlett 4th Gen has more gain (69 dB) and conveniences like Auto Gain. The Clarett+ focuses on audio specs: lower preamp noise, wider output dynamic range and an analog Air circuit, plus ADAT to add eight preamps later. If you use quiet dynamic mics, consider a clean inline booster with the Clarett+’s 57 dB gain.

Who it is for

• Producers upgrading from an entry interface who record vocals and instruments.
• Studios that may expand to 10 inputs via ADAT.

Check the Focusrite Clarett+ 2Pre on Amazon

Inputs and outputs in practice

The Clarett+ 2Pre has two front-panel combo inputs, each switchable between microphone, line and instrument. Focusrite describes the instrument inputs as high-impedance JFET designs intended to preserve a guitar’s natural tone, similar to plugging into an amplifier. With two inputs you can record a vocal and an instrument together, a stereo microphone pair, or two podcast guests. An optical ADAT input adds eight more channels from an external preamp, such as Focusrite’s own eight-channel units, which turns the 2Pre into a ten-input recording system.

Four balanced line outputs give you a main pair of monitors plus two further outputs, which can feed a second pair of speakers, a headphone amplifier for a performer, or an outboard processor. A headphone output with independent level is on the front panel.

Published specifications explained

Focusrite lists the mic inputs with +57 dB of gain, −129 dBu EIN, 118 dB dynamic range at minimum gain and a maximum input level of 18 dBu. The line and monitor outputs reach 18 dBu with a 124 dB dynamic range, and the headphone output is rated at 118 dB dynamic range with a 16 dBu maximum level. Independent A-D and D-A converters run at up to 24-bit/192 kHz.

In practical terms, the −129 dBu EIN means very low preamp noise, and the high maximum input level gives plenty of headroom for loud sources. The 57 dB gain range is lower than some competitors, including the Scarlett 4th Gen at 69 dB, so very quiet low-output dynamic microphones on soft speech may need an inline booster. With condenser microphones and louder sources, 57 dB is usually ample.

How Air works

Focusrite describes Air as an all-analogue circuit with impedance switching, controlled by relays, that recreates the character of its ISA preamps. When Air is on, the input impedance changes, which alters how many microphones respond, and a gentle high-frequency lift adds clarity and presence. Because Air works in the analogue domain before conversion, it is recorded with the signal. It suits vocals and acoustic instruments that need a little extra openness, but it may be too bright on already bright sources.

Connectivity and power

The 2Pre connects over USB-C and is compatible with macOS, Windows and iPadOS according to Focusrite. It can run on 15 W USB-C bus power, and a power supply is included for hosts that cannot provide enough power. This flexibility makes it usable both on a desk and for recording on the move with a suitable laptop.

Who should look elsewhere

If you only need basic recording and value convenience features such as Auto Gain and Clip Safe, a Scarlett 4th Gen interface offers those at a lower tier. If you need more than two built-in preamps without adding ADAT hardware, consider a larger Clarett+ model or an eight-preamp interface.

Setup checklist

1. Install Focusrite Control and any firmware updates.
2. Connect to a USB-C port that supplies 15 W, or use the included power supply.
3. Set gain while the performer plays at full volume, leaving headroom.
4. Try Air on and off for each source before recording important takes.
5. If adding an ADAT preamp, set the clock source correctly to avoid clicks.

Clarett+ 2Pre compared with the Scarlett 4i4

The comparison shows the trade-off: the Clarett+ prioritises low noise, headroom and expansion, while the Scarlett adds gain and automatic level tools. Choose based on whether you are likely to add more inputs later and which microphones you use.

Both interfaces suit home studios; the right choice depends on your microphones, plans for expansion and preference for analogue character over automatic convenience features. Read the full specifications on each manufacturer page before deciding.

For guitarists, the JFET instrument inputs are worth noting, since Focusrite designed them to respond like an amplifier input rather than a generic line input.

How to set up the Focusrite Clarett+ 2Pre step by step

A clean setup takes about fifteen minutes. Follow these steps in order, and you will avoid most first-day problems. Focusrite’s own Clarett+ 2Pre product page links to Easy Start, downloads and the user guide.

1. Install the software first

Download Focusrite Control from the Focusrite downloads area before you plug in. On Windows, this package also installs the ASIO driver your DAW needs. On a Mac, the interface works with Core Audio, but Focusrite Control still handles routing and the hardware settings. Then check for firmware updates inside the app.

2. Power it correctly

Focusrite rates the 2Pre for bus power from a 15 W USB-C port. Many laptops supply that, but some hubs and older ports do not. If the unit drops out or will not start, use the included power supply. Avoid passive USB hubs, because they share power between devices.

3. Pick a sample rate and stick to it

Choose 44.1 kHz or 48 kHz for most music and video work. Set the same rate in your DAW and in Focusrite Control. Higher rates up to 192 kHz are supported. However, they cost CPU and disk space. They also reduce ADAT channels, because ADAT carries eight channels only at 44.1 or 48 kHz.

4. Set the buffer size for the task

While recording, use a small buffer such as 64 or 128 samples. That keeps the delay between playing and hearing short. While mixing, raise it to 512 or 1024 samples, so plugins have more time to process. If you hear clicks, the buffer is too small for your computer at that moment.

5. Route your monitoring

Connect your studio monitors to outputs 1 and 2. Then use outputs 3 and 4 for a second speaker pair, a performer’s headphone amp or outboard gear. In Focusrite Control, build a direct-monitoring mix so the singer hears the microphone with no computer delay. Next, turn off input monitoring in the DAW for that track, or the singer will hear a doubled, phasey signal.

6. Gain staging for a vocal

Ask the singer to perform the loudest part of the song. Raise the gain until peaks reach roughly −12 to −6 dBFS in your DAW. That leaves room for surprises. Record at 24-bit, so you do not need to push levels close to 0 dBFS. As a result, the low noise floor stays far below the voice.

A worked example: vocal and acoustic guitar session

Here is a practical two-input plan for a singer-songwriter. It shows how the 2Pre’s features fit together in one session.

If the session later needs drums, the ADAT input lets you add an eight-channel preamp such as the Clarett+ OctoPre. Set the 2Pre as the clock source and the OctoPre to follow it over ADAT, or the reverse, but never both as masters.

Focusrite Clarett+ 2Pre vs similar interfaces

The table below uses each maker’s published figures. It compares the 2Pre with its larger sibling and two popular two-input rivals.

The pattern is clear. The Clarett+ line leads on output level, output dynamic range and expansion. Meanwhile, the Scarlett leads on gain and automatic level tools. The MOTU M2 matches the Clarett’s mic noise figure and adds a colour level meter, but it has no expansion port.

Pros and cons

Pros

• Very low mic noise at −129 dBu EIN.
• +18 dBu outputs with 124 dB dynamic range for clean monitoring.
• ADAT input grows the unit to ten simultaneous inputs.
• Analogue Air with impedance switching is recorded with the signal.
• JFET instrument inputs for guitar and bass.
• Runs on bus power from a 15 W USB-C port, with a PSU in the box.

Cons

• 57 dB of gain is modest for quiet dynamic mics on soft speech.
• No Auto Gain or Clip Safe, so you set levels by ear and meter.
• One headphone output, so a second listener needs a separate amp.
• Only two built-in preamps without extra hardware.

Common mistakes with the Clarett+ 2Pre

• Running from a weak USB port. Dropouts often come from power, not drivers. Try the included supply first.
• Leaving Air on for everything. Air changes impedance and adds a high lift. On bright mics and cymbals it can sound harsh, and you cannot remove it later.
• Double monitoring. Hearing the vocal through direct monitoring and through the DAW creates a comb-filtered sound. Use one path.
• Two clock masters. With ADAT gear, only one device should be the clock master. Otherwise you get clicks.
• Recording too hot. Peaks near 0 dBFS leave no margin. At 24-bit, aim lower and normalise later.
• Mismatched sample rates. If the DAW and Focusrite Control disagree, audio may play at the wrong speed or not at all.

Who should buy it and who should skip it

Buy the 2Pre if you record one or two sources and care most about clean conversion and output headroom. It also makes sense if you plan to add eight more channels over ADAT. Producers who mix on good monitors benefit from the higher output specification.

Skip it if you mainly record quiet dynamic microphones for speech. In that case, a higher-gain interface avoids an inline booster. Skip it too if two people need separate headphone mixes, because the 4Pre adds a second headphone output.

Matching microphones to the Clarett+ 2Pre

The preamp’s gain range decides which microphones pair easily. Condenser microphones have high output, so 57 dB is plenty for vocals, acoustic guitar and room sound. Most dynamic microphones on loud sources, such as a guitar cabinet or snare, also work without strain.

The tricky case is a low-output dynamic or ribbon microphone on quiet speech. Those sources may need most of the available gain. In that situation, an inline booster adds clean gain before the interface. Alternatively, choose a higher-output microphone for spoken word.

Instrument sources are simpler. Plug a passive guitar or bass straight into a front input and select instrument mode. The high-impedance JFET input avoids loading the pickup, which helps keep the top end intact. For synths and drum machines, use line mode instead, since line inputs accept up to +26 dBu before clipping.

Using the four outputs well

Four balanced outputs give you more options than a typical two-output interface. For example, send outputs 3 and 4 to a second, smaller speaker pair. Switching between the two pairs is a quick way to check how a mix translates.

Another use is hardware inserts. Send a track out on outputs 3 and 4, through a compressor or effects unit, and back into a line input. Your DAW’s hardware insert tool can measure the round-trip delay and correct it. In addition, the outputs can feed a headphone amplifier for a band, which solves the single headphone jack limit.

Check the current price of the Focusrite Clarett+ 2Pre on Amazon.

FAQ

See our best audio interfaces roundup and interface buying guide.