Category: Audio Hardware

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

The PreSonus AudioBox iTwo is a bus-powered 2×2 USB audio and MIDI interface for macOS, Windows and iPadOS with two Class A mic preamps, two switchable line/instrument inputs, 48V phantom power, 24-bit/96 kHz conversion and 5-pin MIDI I/O. Its focus is mobile recording: it works with PreSonus’s Capture Duo app on iPad and can send sessions to the desktop for mixing.

See the PreSonus AudioBox iTwo on Amazon. The linked listing is the AudioBox iTwo Studio bundle, which adds headphones, a microphone and software to the interface; bundle contents may differ from what is described here.

PreSonus AudioBox iTwo key specs

I/O	2 x 2 USB 2.0 and iPad
Inputs	2 combo inputs with Class A mic preamps; switchable line/instrument
Mic gain	0 to 52 dB (owner’s manual)
Phantom power	+48V
Conversion	24-bit / 96 kHz
Outputs	Balanced ¼” main outputs, headphone output with its own level
MIDI	5-pin in and out
Weight	1.35 lb (0.62 kg), metal chassis

Sources: PreSonus’s AudioBox iTwo page and the iOne/iTwo owner’s manual.

Recording on iPad

The iTwo is MFi (Made for iOS) compliant. On iPad, PreSonus’s free Capture Duo app records two tracks at up to 24-bit/96 kHz, with level and pan controls and basic editing. Sessions can be sent wirelessly to PreSonus’s desktop software for editing and mixing. That makes the iTwo useful for capturing rehearsals, demos or interviews without a laptop.

One known setup point: iPadOS must allow the recording app to use the microphone, even when the audio comes from the interface. If an app shows no input, check that Microphone access is enabled for it in iPad Settings.

Preamps and gain

The owner’s manual lists 0 to 52 dB of mic gain from Class A preamps, which covers condensers and most dynamic mics on singing or instruments. Each input switches between line and instrument level, so a keyboard or a guitar can be connected directly.

Zero-latency monitoring

An internal analog mixer lets you blend input and playback without delay, and the headphone output has its own level control. Monitor through the hardware while recording and turn off software monitoring to avoid hearing a delayed double.

Included software

PreSonus now bundles Fender Studio Pro recording software for macOS and Windows, alongside the Capture apps for iPad. Check the current bundle on PreSonus’s page.

A mobile demo workflow

1. Set up the iTwo with a vocal mic on input 1 and a guitar or keyboard on input 2.
2. Record the idea into Capture Duo on iPad, keeping levels conservative.
3. Send the session to your computer and open it in your DAW.
4. Replace parts, add arrangement and mix, using the same interface at your desk.

Because the same interface is used in both places, the input sound stays consistent between the demo and the studio session, which makes it easier to keep parts from the first take.

How the iTwo compares

• Versus the AudioBox USB 96: both are 2×2 with MIDI, but the iTwo is aimed at iPad recording and its manual lists more mic gain.
• Versus the Studio 24c: the 24c uses USB-C, records up to 192 kHz and has LED meters, but focuses on computer use.

Who should consider the AudioBox iTwo

• Musicians who want to record on iPad as well as a computer.
• Songwriters capturing demos and rehearsals on the go.
• Users with 5-pin MIDI gear.

Who should look elsewhere

• Computer-only users who would prefer USB-C and higher sample rates.
• Anyone needing more than two inputs.
• Podcasters wanting loopback and phone integration.

Using the iTwo on a computer

On macOS and Windows the iTwo works as a standard two-input interface. Select it as the audio device in your DAW, set 48 kHz and a small buffer while recording, and use its analog blend for latency-free monitoring. The 5-pin MIDI ports appear as a MIDI device, so an older keyboard or drum machine can be recorded as MIDI.

Alternatives

• The AudioBox USB 96 if you only record on a computer.
• The Volt 276 for USB-C and a built-in compressor.
• A Focusrite Vocaster Two if your main use is a two-person podcast.

Who the iTwo suits best

The iTwo is a good fit for songwriters who capture ideas away from the desk, teachers recording lessons on iPad, and bands who want simple two-track rehearsal recordings. It is less suited to people who need many inputs, loopback for streaming, or onboard processing.

How to set up the PreSonus AudioBox iTwo on a computer

Setting up the PreSonus AudioBox iTwo on a Mac or PC is simple. Still, a few choices early on decide how clean and responsive your recordings feel. Work through these steps in order.

1. Connect the USB cable. The iTwo is bus powered over USB 2.0, so it needs no wall adapter on a computer.
2. Install drivers if needed. On a Mac it works as a standard audio device. On Windows, install the driver and Universal Control from your PreSonus account for the lowest latency.
3. Pick the device in your DAW. Choose the AudioBox iTwo for input and output in your audio preferences. On Windows, select its ASIO driver.
4. Set the sample rate. PreSonus lists 44.1, 48, 88.2 and 96 kHz. Use 44.1 kHz for music or 48 kHz for video.
5. Set a tracking buffer. Try 128 samples when recording. Raise it to 512 or more for mixing.
6. Start with the main volume down. Then bring up your speakers and headphones slowly.

How to set up the iTwo with an iPad

The iPad workflow is the main reason to choose this interface. Because it is MFi compliant, it works with Capture Duo and other iPad recording apps.

1. Connect the iTwo to your iPad with the correct cable or adapter for your iPad’s port.
2. Check power. PreSonus notes that the iTwo works with standard iOS power accessories, so check their notes for your model.
3. Install Capture Duo or your preferred recording app.
4. In iPad Settings, allow microphone access for that app. Without it, the app sees no input.
5. Arm two tracks, one per input, and record a short test.

After the test, play it back on headphones. Listen for clipping, hum or a thin guitar tone before the real session.

Setting gain on the iTwo

The iTwo has signal-present and clip LEDs rather than full meters. Therefore, use your software meters as the main guide.

First, set the input switch to line or instrument where needed. Next, have the performer play at their loudest. Raise the gain until your DAW meter peaks around -12 to -6 dBFS. If the clip LED lights, turn the gain down.

PreSonus rates the mic preamps at 0 to 52 dB of gain. That suits condensers and most dynamics on vocals. However, very quiet dynamic mics on soft speech may need more gain than that. In those cases, an inline mic booster or a higher-gain interface helps.

Zero-latency monitoring explained

The internal analog mixer lets you hear inputs with no delay. According to PreSonus, the Direct button gives a fixed 50/50 mix of input and playback. In other words, it is an on/off blend, not a variable knob.

If the 50/50 balance does not suit you, adjust playback level in your DAW instead. Meanwhile, turn off software monitoring on the armed track. Otherwise, you hear the direct signal and a delayed copy together.

For more on avoiding delay, our recording hub links to monitoring and tracking guides.

Recording MIDI gear through the iTwo

The 5-pin MIDI in and out ports let older synths and drum machines talk to your computer or iPad. Connect your keyboard’s MIDI out to the iTwo’s MIDI in. Then select the iTwo as a MIDI input in your DAW. For audio, run the synth’s outputs into the two line inputs at the same time. As a result, you capture both the notes and the sound in one pass.

PreSonus AudioBox iTwo vs similar interfaces

The table below compares the iTwo with close options, using published manufacturer specs.

Feature	AudioBox iTwo	AudioBox USB 96	UA Volt 276	Vocaster Two
Inputs	2 combo, Class A preamps	2 combo	2 mic/line/instrument	2 XLR mic
Mic gain	0 to 52 dB	0 to 35 dB	See UA specs	High gain for dynamic mics
Max sample rate	96 kHz	96 kHz	192 kHz	See Focusrite specs
Connection	USB 2.0 and iPad	USB 2.0	USB-C, iPad and iPhone	USB-C
MIDI	5-pin in/out	5-pin in/out	In/out	None listed
Headphone outputs	1	1	1	2
Standout extra	iPad recording with Capture Duo	Simple, low-cost 2×2	76 compressor, 610 preamp mode	Loopback, phone input, Show Mix

To sum up, the iTwo wins for iPad recording and preamp gain over the USB 96. The Volt 276 adds onboard tone tools. Meanwhile, the Vocaster Two is the podcast specialist.

PreSonus AudioBox iTwo pros and cons

Pros

• Works on macOS, Windows and iPadOS.
• Class A preamps with up to 52 dB of gain, per PreSonus.
• Zero-latency analog monitoring via the Direct button.
• 5-pin MIDI in and out for older gear.
• Light metal chassis at 1.35 lb, with a Kensington lock hole.

Cons

• Sample rate tops out at 96 kHz.
• Direct monitoring is a fixed 50/50 blend, not a variable knob.
• Only clip and signal LEDs, not full meters.
• USB 2.0 connector rather than USB-C.
• No loopback for streaming.

Choosing microphones for the iTwo

Because the preamps reach 52 dB of gain, mic choice matters. Here is how common types pair with the iTwo.

• Condenser mics. These are sensitive, so they need less gain. Switch on +48V phantom power first. They suit vocals, acoustic guitar and room sound.
• Standard dynamic mics. Handheld stage mics work well for loud singing, guitar amps and drums. For quiet speech, you may run near the top of the gain range.
• Low-output dynamic and ribbon mics. Broadcast-style dynamics and ribbons can need more than 52 dB for soft sources. Plan for an inline booster in that case.

Also, never switch phantom power on or off with your speakers turned up. The pop can be loud. Ribbon mics in particular should be checked against the maker’s advice before using phantom power.

Headphones and speakers

PreSonus rates the headphone output at 60 mW per channel into 60 ohms. That drives most studio headphones at comfortable levels. Very high-impedance models may sound quieter, though, so check your headphone’s specs.

For speakers, connect powered monitors to the two balanced 1/4-inch TRS main outputs. Use balanced TRS cables where possible to reduce hum over longer runs. Then set the large main volume knob low before turning the speakers on.

Tips for rehearsal and demo recordings

The iTwo is often used to capture a band or a songwriter quickly. A few habits make those quick takes far more usable.

• Place one mic for the room and one close to the singer. Then pan them apart in the mix for width and clarity.
• Record a 10-second level check before every song, since volume often rises once players warm up.
• Name and save each take right away, so files transfer cleanly to your computer.
• Keep the interface away from amps and power strips to reduce hum.
• Back up iPad sessions to your computer the same day.

Finally, keep peaks conservative. A slightly quiet take can be raised later, but a clipped take usually cannot be fixed. For broader guidance, see our guide on choosing an audio interface.

Quick decision guide

Still unsure? Choose the iTwo if you record on an iPad and a computer and want MIDI. Choose a USB-C model with loopback if you stream. Choose a four-input interface if you track drums or a full band. The official PreSonus AudioBox iTwo page lists the complete specifications.

Common mistakes

• Not granting microphone access on iPad. Without it, recording apps cannot see the interface.
• Using a weak power source with iPad. Check PreSonus’s notes on power accessories for your iPad model and connector.
• Wrong input switch setting. Set line or instrument correctly; a guitar on line level will sound thin and quiet.
• Double monitoring. Use the hardware blend and disable monitoring in the app.
• Recording too hot. Leave headroom for loud moments.
• Expecting a variable monitor blend. The Direct button is a fixed 50/50 mix, so set playback in your DAW.
• Using a generic Windows driver. Install PreSonus’s driver for lower latency.

Setup checklist

1. On a computer: connect by USB and select the AudioBox iTwo in your DAW.
2. On iPad: connect with the appropriate cable or adapter, install Capture Duo, and allow microphone access.
3. Set each input to the right type and set gain.
4. Enable 48V for condenser mics only.
5. Record a short test, then transfer it to your computer to confirm the workflow.

More: DAW software for iPad Pro, how to choose an audio interface and the recording hub.

FAQ

When your demos are ready for release, our single track mastering can finish them. Send a final stereo mix with headroom.

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

The MOTU M4 is a 4-in, 4-out USB-C audio interface that adds two balanced line inputs, two extra line outputs and an input monitor mix knob to the two combo mic/guitar preamps, 120 dB output dynamic range and color LCD metering of its smaller sibling. Those extras make it a better fit for producers who connect a keyboard or synth alongside mics, or who need a second pair of outputs for another set of speakers or a headphone amp.

See the MOTU M4 on Amazon.

MOTU M4 key specs

Mic/guitar inputs	2 XLR/TRS combo jacks with independent gain, 48V and MON switch
Line inputs	2 rear 1/4″ TRS (balanced or unbalanced), 115 dB dynamic range, +18 dBu max
Line outputs	4 balanced 1/4″ TRS (DC coupled), 120 dB dynamic range, +16 dBu max
RCA outputs	4 unbalanced, mirroring the TRS outs
Headphones	1 stereo 1/4″ output with separate level
Front controls	Monitor and phones volume, input monitor mix knob, 3-4 switch
Mic EIN	-129 dBu
MIDI	In and out
Sample rates	44.1 to 192 kHz
Display	Full-color LCD (160 x 128) for input and output levels
Power and bus	USB-C, USB 2.0 class compliant, bus powered
Dimensions	20.955 x 10.8 x 4.5 cm, 0.7 kg

Source: MOTU M4 tech specs and the M4 product overview.

What the M4 adds over the M2

Both models share the same preamps, converter technology, metering screen and bus-powered design. The differences are all about connections and monitoring control:

• Two dedicated line inputs on the rear, so a stereo keyboard or drum machine can stay plugged in while both front preamps remain free for a mic and guitar. All four inputs can be recorded at once.
• Outputs 3-4, a second balanced pair (plus mirrored RCA). The front-panel 3-4 switch relates to how these outputs are used for monitoring; check MOTU’s documentation for exact behavior.
• An input monitor mix knob that blends live inputs against computer playback, which MOTU describes as controlling the balance between the two.
• A slightly wider and heavier metal case to fit the extra jacks.

Read our MOTU M2 write-up if two inputs and two outputs are enough for you.

Why a monitor blend knob matters

When you track vocals or guitar with direct monitoring, you need to hear yourself and the backing track at a comfortable ratio. Without a blend control, you adjust the playback level in software and hope the balance works. The M4’s knob lets the performer change that ratio instantly from the front panel, which helps when you are recording yourself and cannot easily reach the mouse.

Using four outputs

Four line outputs open up several setups that a two-output interface cannot handle as neatly:

• Two pairs of studio monitors, such as main speakers and a small reference speaker, to check mixes on different systems.
• Sending a separate cue mix to an external headphone amplifier.
• Routing to outboard effects and back through the line inputs, using the extra outputs as hardware sends.
• Feeding a DJ mixer or PA via the RCA outputs.

Measured performance claims

MOTU’s published numbers put the line outputs at 120 dB dynamic range with -110 dB THD+N, the line inputs at 115 dB with -106 dB THD+N, and the mic preamps at -129 dBu EIN. MOTU attributes the output figures to ESS Sabre32 Ultra DAC technology, which also drives the headphone amp. Spec sheets cannot tell you how an interface sounds to your ears, but these figures put the M4 among the quieter small interfaces on paper. Our guide to mic preamps explains what EIN measures.

MOTU also quotes 2.5 ms round-trip latency at 96 kHz with a 32-sample buffer. Your own results will depend on your computer and session.

Loopback, drivers and platforms

As with the M2, the M4 driver includes loopback channels for mixing computer audio with live inputs, a common need for streaming. The interface is class compliant on Mac and iOS (iOS requires an adapter and, per MOTU, a powered USB hub), and uses a MOTU driver on Windows. See our guide on how to use an audio interface for setup basics.

Bundled software

MOTU includes Performer Lite, Ableton Live Lite and a library of loops and one-shots. Bundles can change, so confirm on MOTU’s site.

Who should buy the MOTU M4

• Producers with a keyboard or synth who also record vocals or guitar.
• Home studios with two sets of monitors.
• Performers who want a hardware blend between input and playback.
• Streamers who need loopback plus extra line inputs for other sources.

Who might choose something else

• Recording more than two mics at once needs an interface with more preamps.
• Two separate headphone outputs for two performers are not on the M4.
• No ADAT or S/PDIF, so there is no digital route for expansion.

For a rack-sized alternative with more preamps, compare our PreSonus Studio 68c write-up. Our guide on how to choose an audio interface helps weigh inputs, outputs and monitoring.

How to set up the MOTU M4 step by step

Getting clean, low-latency audio from the MOTU M4 takes about ten minutes. The order matters, because driver and buffer choices affect everything after them. Follow these steps before you record your first take.

1. Install the right driver. On Windows, install MOTU’s driver before you plug in the interface. On a Mac, the M4 works without a driver, but MOTU offers an optional one. Download both from MOTU’s support pages.
2. Connect with the supplied cable. Plug the M4 into a USB-C or USB Type A port. It is bus powered, so no wall adapter is needed. Avoid unpowered hubs, since they can starve the unit of power.
3. Select the M4 in your DAW. Open your audio preferences and choose the M4 for both input and output. On Windows, pick the MOTU ASIO driver rather than a generic one.
4. Set the sample rate. 44.1 or 48 kHz suits most music and video work. Higher rates up to 192 kHz are supported, but they use more processing power and disk space.
5. Choose a buffer size. Start at 64 or 128 samples while tracking. Raise it to 512 or 1024 when mixing with many plug-ins.
6. Turn the monitor knobs down. Lower the monitor and phones levels before you power your speakers. Then raise them slowly.

Once these basics are set, test each input with the LCD meters before you press record.

Setting gain with the color LCD

The full-color screen is one of the M4’s most useful tools. It shows levels for every input and output at once. That means you can set gain without staring at your DAW.

First, ask the performer to play or sing at their loudest. Next, turn the gain knob until the meter peaks well below the top. A safe target is roughly -12 to -6 dBFS on the loudest parts. That leaves headroom for surprise peaks. If a meter reaches the top, the signal is clipping, so back the gain off.

Line inputs 3-4 have no gain knob. Instead, set the level at the source, such as the volume on your keyboard. Our guide to using an audio interface covers gain staging in more detail.

Monitoring: hardware vs software

The M4 gives you two ways to hear yourself. Each has a clear use, so pick one per session.

Hardware (direct) monitoring sends the input straight to your headphones. Press the MON switch on the input you want to hear. Then use the input monitor mix knob to balance it against playback. Because the signal never passes through the computer, there is no latency to notice. However, you will not hear plug-ins such as reverb or amp sims on the input.

Software monitoring routes the input through your DAW. As a result, you can hear effects while you record. MOTU quotes 2.5 ms round-trip latency at 96 kHz with a 32-sample buffer. Real results depend on your computer and session size, though.

Never use both at once. If MON is on and your DAW track is also armed for monitoring, you will hear a doubled, phasey signal.

A sample session: synth plus vocal

Here is a practical setup that shows why the M4’s extra inputs matter. Picture a producer recording a stereo synth and a vocal in one pass.

• Plug the condenser mic into input 1 and switch on 48V phantom power.
• Connect the synth’s left and right outputs to rear line inputs 3 and 4.
• Leave input 2 free for a guitar or a second mic later.
• Create a mono track for input 1 and a stereo track for inputs 3-4 in your DAW.
• Turn on MON for input 1, then set the blend knob so the vocal sits just above the track.

With this layout, nothing needs re-patching between takes. That speed is the main reason to choose the M4 over a two-input box.

Using loopback for streaming and podcasts

Loopback sends your computer’s own audio back in as a recordable input. For instance, a streamer can mix game audio, a browser call and a live mic in one program. To use it, select the M4’s loopback channels as inputs in your streaming or recording software. Then mute any track that would feed loopback back into itself. Otherwise, you can create a feedback loop.

MOTU M4 vs similar interfaces

The M4 sits in a crowded class. This table compares it with close alternatives, using each maker’s published specs.

Feature	MOTU M4	MOTU M2	Focusrite Scarlett 4i4	PreSonus Studio 68c
Mic preamps	2	2	2	4
Extra line inputs	2 rear TRS	None	2 rear line	None (combo inputs)
Line outputs	4 TRS + 4 RCA mirrored	2 TRS + 2 RCA mirrored	4 balanced	Main + outputs 3/4
Headphone outputs	1	1	1	1 (Cue A/B)
Digital I/O	None	None	None	S/PDIF in/out
MIDI	In/out	In/out	In/out	In/out (breakout)
Power	USB bus	USB bus	USB bus	12V adapter
Metering	Color LCD	Color LCD	Gain halos	Front-panel meters

In short, the M4 is the pick for line inputs plus clear metering. The 68c suits anyone who needs four mic preamps and S/PDIF instead.

MOTU M4 pros and cons

Pros

• Four simultaneous inputs, with two kept for line sources.
• 120 dB dynamic range on the main outputs, per MOTU.
• Color LCD shows every input and output level at a glance.
• Hardware monitor blend knob for latency-free tracking.
• Bus powered and housed in a metal case, so it travels well.
• Loopback built into the driver for streaming.

Cons

• Only two mic preamps, so drum or band recording is limited.
• One headphone output, which makes two-person sessions awkward.
• No ADAT or S/PDIF for adding preamps later.
• No built-in DSP effects for monitoring.

Routing outputs 3-4 in your DAW

Outputs 3-4 do nothing until you send audio to them. Most DAWs let you assign any track, bus or the master to a chosen output pair. Here are three common setups.

• Second speaker pair. Duplicate the master to outputs 3-4. Then mute one pair at a time to compare speakers. Some DAWs and monitor controllers make this easier with a speaker switch.
• Headphone cue mix. Create a send bus routed to outputs 3-4 and connect a headphone amp. Now a second performer gets their own balance.
• Hardware insert. Route a track out of 3-4 into a pedal or compressor. Next, return it to line inputs 3-4 and record the result.

Label the outputs in your DAW’s I/O setup. Clear names save time and stop you sending a mix to the wrong place.

Buffer size cheat sheet

Buffer size trades latency for stability. Smaller buffers feel tighter but strain the computer. Larger ones are stable but add delay. Use this table as a starting point, then adjust for your machine.

Task	Suggested buffer	Why
Tracking vocals with software effects	32-128 samples	Keeps delay low enough to sing in time
Playing virtual instruments	64-128 samples	Notes respond quickly to your keyboard
Tracking with MON direct monitoring	256 samples	You hear the input directly, so delay matters less
Mixing large sessions	512-1024 samples	Frees processing power for plug-ins

If you hear clicks or dropouts, raise the buffer one step. Also close other apps that use audio, such as browsers or video calls.

For more context on connections, see MOTU’s official M4 page, which lists the full I/O and system requirements.

Common mistakes

• Plugging a keyboard into the front preamps by default. On the M4 the rear line inputs keep the preamps free for mics.
• Leaving the monitor mix knob fully toward input. You will not hear the backing track and may think playback is broken.
• Assuming outputs 3-4 carry the main mix automatically. Check routing in your DAW and MOTU’s documentation.
• Running iOS without enough power. MOTU recommends a powered USB hub for iOS.
• Using a generic Windows driver. Install MOTU’s ASIO driver, or latency will be much higher.
• Tracking at a huge buffer. A buffer of 1024 samples makes software monitoring feel laggy. Drop it while recording.
• Doubling the monitoring. Use MON or DAW input monitoring, not both.

FAQ

When the tracks you record on your interface are mixed, our stem mastering service gives the final master extra control over each group. Upload your stems and we will return a polished, release-ready master.

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

The MOTU M2 is a bus-powered 2-in, 2-out USB-C audio interface with two combo mic/line/guitar inputs, ESS Sabre32 Ultra DAC technology rated at 120 dB dynamic range on the main outputs, a full-color LCD level meter and MIDI in and out. It is aimed at home recording, songwriting, streaming and podcasting, for anyone who needs two inputs and wants clear metering on the front panel.

See the MOTU M2 on Amazon.

MOTU M2 key specs

Inputs	2 XLR/TRS combo jacks for mic, line or Hi-Z guitar
Preamp features	Independent gain, 48V phantom power and monitor (MON) switch per input
Outputs	2 balanced 1/4″ TRS line outs (DC coupled), 2 RCA outs (mirrored)
Headphones	1 x 1/4″ TRS stereo with its own volume control
MIDI	5-pin MIDI in and out
Sample rates	44.1 to 192 kHz
Line output	120 dB dynamic range (A-weighted), -110 dB THD+N, +16 dBu max
Mic input	115 dB dynamic range, -129 dBu EIN, +10 dBu max at minimum gain
Headphone output	115 dB dynamic range, -110 dB THD+N, +12.5 dBu max
Metering	160 x 128 pixel full-color LCD with input and output meters
Connection and power	USB-C (USB 2.0 audio class compliant, works with USB Type A), bus powered
Size and weight	19.05 x 10.8 x 4.5 cm, 0.61 kg

All figures are from the MOTU M2 specifications page.

Audio quality on paper

MOTU highlights the M2’s ESS Sabre32 Ultra DAC technology, which it says drives both the main outputs and the headphone output. The published 120 dB dynamic range on the line outputs is a strong figure for a two-channel interface. For monitoring and mix decisions, a clean, low-noise output is arguably more important than the inputs, since you hear everything through it.

On the input side, MOTU lists -129 dBu EIN for the mic preamps. Lower EIN means less self-noise at high gain, which matters most with quiet sources or low-output dynamic mics. Our explainer on mic preamps covers what EIN and gain range mean in practice.

Metering on the front panel

The M2’s most distinctive feature for its class is the full-color LCD showing input and output levels. Most small interfaces use simple LED rings or a few segment LEDs. A proper meter makes it easier to set recording levels with headroom, and it shows you output level without looking at the screen. That suits recording vocals or guitar while you are away from the computer.

Monitoring and latency

Each input has a MON switch that sends the input directly to the outputs, so you can hear yourself without the delay of routing through software. MOTU also quotes a round-trip latency of 2.5 ms at 96 kHz with a 32-sample buffer for monitoring through the computer. Actual latency depends on your computer, buffer setting and plugins.

Unlike the M4, the M2 has no knob to blend input and playback. Direct monitoring is either on or off per input.

Loopback for streaming and podcasts

MOTU’s driver provides loopback channels, which route computer audio back into the computer as an input. That lets you mix sound from a browser, game or call with your microphone in streaming or recording software. It is useful for streamers and remote podcast hosts who want one interface to handle everything.

Connectivity and compatibility

The M2 connects via USB-C and is USB audio class compliant, so it works on Mac without a driver (an optional driver is available) and on iOS devices with a suitable adapter. Windows uses MOTU’s driver. It is powered from the USB bus, so there is no power supply to carry. If you are new to connecting and configuring an interface, our guide on how to use an audio interface covers drivers, buffer size and routing.

The rear panel has balanced TRS outputs for studio monitors and mirrored RCA outputs for consumer speakers or a DJ mixer. MIDI in and out lets you connect a hardware synth or older keyboard controller without a separate MIDI interface.

Included software

MOTU bundles its Performer Lite DAW, Ableton Live Lite and a collection of loops and sounds from third-party providers. Check MOTU’s page for the current bundle, as included software can change.

Who the MOTU M2 suits

• Singer-songwriters recording a voice and a guitar at the same time.
• Producers who want clean monitoring outputs for mixing at home.
• Streamers and podcasters who need loopback.
• Anyone who wants proper metering instead of basic LEDs.

Who should look elsewhere

• If you need more than two simultaneous inputs, for example to record a drum kit, look at larger interfaces.
• If you want a blend control for direct monitoring or separate line inputs, the MOTU M4 adds both.
• If you need digital expansion such as ADAT, the M2 does not offer it.

For comparison, see our write-ups of the Focusrite Scarlett 4i4 and the PreSonus Studio 26c, two other compact USB interfaces. Our guide on how to choose an audio interface covers what to prioritize.

Common mistakes

• Leaving MON on while also monitoring through software. You hear the signal twice, which can sound like phasing or echo.
• Turning on 48V for every mic. Only condenser mics and some active mics need phantom power.
• Recording too hot. Use the LCD meter and leave headroom below the top.
• Using the RCA and TRS outputs at once without thinking. They are mirrored, so both carry the same signal.

How to set up the MOTU M2 step by step

The M2 is simple to connect, but the driver choice matters. MOTU’s M2 specifications page lists the full technical data.

1. Install the right driver

On Windows, install MOTU’s driver for low latency and loopback. On a Mac, the M2 is class compliant. However, the optional MOTU driver is needed for loopback and MOTU’s lowest published latency figures.

2. Connect and power on

The M2 is bus-powered over USB-C and has its own power switch. Connect it directly to the computer, then switch it on.

3. Set rate and buffer

Choose 44.1 or 48 kHz in your DAW. Use a small buffer for tracking. MOTU quotes 2.5 ms round-trip latency at 32 samples and 96 kHz with its driver, though your computer sets the practical limit.

4. Set gain with the LCD meters

Ask for the loudest part of the performance. Raise gain until the colour meters show healthy level without reaching the top. In the DAW, aim for peaks around −12 dBFS.

5. Use the monitor switches

Each input has a monitor switch for direct monitoring. Press it to hear that input with no computer delay. Then turn off software monitoring on the armed track.

6. Connect speakers

Use the balanced TRS outputs for studio monitors. The RCA outputs mirror them, which is handy for a consumer amplifier or DJ mixer.

A vocal and guitar recording workflow

Put a vocal mic on input 1 and a guitar on input 2. Turn on 48V only for condenser mics. Plug a guitar straight into the combo jack, and check MOTU’s manual for input settings.

Next, set gain at full performance level and enable direct monitoring on both inputs. Record a test and listen on monitors. Adjust mic position before changing gain.

When tracking ends, raise the buffer for mixing. Use the bundled Performer Lite or Live Lite to edit and mix. Finally, export and check the mix on headphones and small speakers.

MOTU M2 vs similar interfaces

The table compares published figures from each maker.

Spec	MOTU M2	Scarlett 4i4 (4th Gen)	UA Volt 2	Clarett+ 2Pre
Mic preamps	2	2	2	2
Mic EIN	−129 dBu	−127 dBu (A-wtd)	−127 dBu	−129 dBu
Line output dynamic range	120 dB	120 dB	110 dB	124 dB
Max line output	+16 dBu	+16 dBu	15 dBu	+18 dBu
Line outputs	2 TRS plus mirrored RCA	4	2	4
MIDI	In/out	In/out	In/out	In/out
Auto Gain	No	Yes	No	No

The M2’s strengths are low noise, its colour LCD meters and mirrored RCA outputs. The Scarlett 4i4 adds Auto Gain and more outputs. The Volt 2 adds Vintage mode. The Clarett+ 2Pre adds ADAT expansion and higher output level.

Pros and cons

Pros

• Low mic noise at −129 dBu EIN.
• Colour LCD meters for inputs and outputs.
• ESS Sabre32 DAC with 120 dB output dynamic range.
• Mirrored RCA outputs.
• MIDI in and out.
• Bus-powered with a power switch.

Cons

• Loopback on Mac needs the optional driver.
• One headphone output.
• No Auto Gain.
• No expansion port.

Reading the LCD meters

The colour LCD shows input and output levels at a glance. That is the M2’s most visible feature. Many small interfaces only offer a single LED per channel. Full meters make gain setting quicker and more accurate.

Watch the meters while the performer plays loudly. Keep peaks below the top of the scale. If the meter hits the top often, lower the gain. Then check the DAW’s meter too, since it shows exactly what is being recorded.

Using loopback for streaming and podcasts

Loopback sends computer audio back into your recording or streaming app. On Windows it comes with MOTU’s driver. On Mac it needs the optional MOTU driver.

Use it to record a video call guest, add music to a stream or capture a tutorial. Record the loopback on its own track when possible. Mute playback of that track to avoid feedback.

Choosing microphones for the M2

Condenser mics pair easily with the M2. Turn on 48V phantom power on the input you use. For dynamic mics on loud singing, the M2 also works well.

Quiet speech on a low-output dynamic mic may need more gain. In that case, test your mic before committing, or add an inline booster. The mic input accepts up to +10 dBu before clipping, so keep gain low on loud sources such as guitar amps.

Using the RCA outputs

The RCA outputs mirror the main TRS outputs. That makes it easy to connect a hi-fi amplifier, powered speakers with RCA inputs, or a DJ mixer. Use TRS for studio monitors where possible, since balanced connections reject more noise over long cables.

Who should buy it and who should skip it

Buy the M2 if you record one or two sources and want clear metering and low noise. It suits singer-songwriters, home producers and streamers on Windows. Mac users who need loopback should install the optional driver.

Skip it if you need four outputs for a second speaker pair, where the four-output MOTU M4 or Scarlett 4i4 suits better. Skip it as well if you want Auto Gain or room to expand with ADAT.

Common setup mistakes

• Skipping the Windows driver. Without it, latency is higher and loopback is missing.
• Expecting loopback on Mac without the driver. Install MOTU’s optional driver.
• Double monitoring. Use the monitor switch or software monitoring, not both.
• Leaving the power switch off. The M2 has its own switch, so check it first when nothing appears.
• Recording loopback into a loop. Mute the receiving track.

Buffer size and latency in practice

Buffer size controls how much audio the computer processes at once. Smaller buffers mean less delay but more CPU strain. Larger buffers are safer but add delay.

For tracking, start at 64 samples. If you hear clicks, move up to 128. For mixing, use 512 or 1024 samples so plugins have room. MOTU’s published 2.5 ms figure assumes a 32-sample buffer at 96 kHz with its driver. Real sessions with many plugins usually need more.

Direct monitoring sidesteps the problem while recording. The monitor switches let the performer hear the input with no computer delay at any buffer size.

Gain staging and headroom

Record at 24-bit and leave headroom. Average levels around −18 dBFS with peaks near −10 dBFS are a safe target. That keeps the low noise floor well below the signal, without risking clipping.

On the output side, the TRS outputs reach +16 dBu. Use the monitor knob for volume and keep the DAW master near unity. If your speakers are too loud at low knob settings, turn down their input trim instead.

Using the M2 with MIDI gear

The 5-pin MIDI in and out ports connect keyboards, drum machines and older synths. Your DAW sees them once the M2 is connected. That removes the need for a separate MIDI interface on a small desk.

A simple producer setup uses a keyboard on MIDI in, a synth on MIDI out, and the synth’s audio into the two combo inputs. You can then sequence and record the synth with one compact box.

Loopback driver notes

Yes, with MOTU’s optional Mac driver installed. Without it, the M2 still works as a class-compliant interface, but loopback is not available. On Windows, loopback comes with MOTU’s standard driver.

Final checks before a session

Before recording, confirm the M2 is switched on and selected in your DAW. Check the sample rate. Then record ten seconds from each input and play it back. This catches cable faults and routing errors before they cost you a take.

Headphones and monitoring levels

The headphone output offers 115 dB dynamic range and up to +12.5 dBu. Start with the headphone knob low, then raise it slowly. Loud levels tire your ears and make mix decisions less reliable.

Closed-back headphones suit recording, because they leak less sound into the mic. Open-back headphones are often preferred for mixing. Check your mix on both, plus speakers, before you call it finished.

FAQ

Once your recordings and mix are done, our single track mastering service can prepare them for release. Send your mix and we will return a master ready for streaming.

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 Two is a two-microphone USB-C podcast interface with Auto Gain, Enhance voice presets, a mute button per host, two headphone outputs, Bluetooth and wired phone connections, a camera output and computer loopback. It is designed for shows with a host and a guest in the same room, plus remote callers, and it trades music-studio flexibility for speed of setup.

See the Focusrite Vocaster Two on Amazon.

Focusrite Vocaster Two key features

Mic inputs	2 XLR, with enough gain for low-output dynamic mics (Focusrite: “no booster needed”)
Headphones	2 outputs, one per presenter, each with its own Show Mix level
Phone	Bluetooth, or a single TRRS cable
Camera out	TRS output to send the show audio to a camera
Loopback	Capture computer audio such as music beds or call audio
Software	Vocaster Hub for levels, Enhance, routing and Show Mix

Details are on Focusrite’s Vocaster Two page.

Auto Gain and Enhance

Auto Gain is a one-button level set: press it, talk at your normal show volume, and the interface sets the mic gain for you. It solves the most common podcast problem, which is a host who is too quiet or clipping. Enhance applies one of several presets designed for spoken voice. It is a fast starting point; if you prefer to shape the sound yourself later, record without Enhance and treat the voice in your editor.

Two hosts, two headphone mixes

Each presenter gets a headphone output and their own level. That sounds minor, but in a two-person show it stops one host from having to listen too loud or too quiet. Each host also has a mute button, so a cough or sneeze can be cut on the fly without touching the computer.

Phone guests and computer audio

Bluetooth lets you bring a phone call or music from a phone into the show. A TRRS cable does the same with a wire, which some people prefer for reliability. Loopback captures audio playing on your computer, such as an online call, an intro sting or a music bed, so it can be recorded and streamed together with the mics.

Setting up a two-host room

The interface is only part of the sound. Two mics in one room pick up each other’s voice, so the further apart the hosts sit and the closer each speaks to their own mic, the cleaner each track will be. Dynamic microphones a few inches from the mouth, pointed away from the other host, reduce spill. Soft furnishings, a rug and curtains reduce the echo that makes home podcasts sound like they were recorded in a kitchen.

Keep both hosts at a similar distance from their mics so their levels match. Auto Gain helps set levels, but it cannot fix a host who leans back halfway through the show.

A simple remote-guest workflow

1. Connect the guest by phone (Bluetooth or TRRS) or through a call app on the computer using loopback.
2. Check that the guest hears both hosts but not their own voice delayed back to them.
3. Record the in-room mics on their own tracks, and the guest on a separate track if your software allows.
4. Ask the guest to record their own audio locally as a backup when quality matters.

Camera output for video podcasts

The camera output sends the show mix to a camera through a single TRS cable. This means the camera file carries the good audio, which can save syncing in the edit for simple video shows. For multi-camera shoots you may still prefer to record the audio separately in your DAW.

Included software

Focusrite lists six months of Hindenburg PRO and six months of Acast Influencer with registration. Bundles change over time, so check what is offered when you buy.

Who should consider the Vocaster Two

• Two-person podcasts recorded in one room.
• Shows that bring in phone or online guests.
• Streamers and video podcasters who want camera audio without a separate mixer.

Who should look elsewhere

• Solo hosts. The Vocaster One has the same idea for one mic.
• Musicians who need instrument inputs, MIDI or line inputs for synths; a music interface fits better.
• Shows with three or more in-room hosts, which need more mic inputs.

Common mistakes with a podcast interface

• Running Auto Gain while speaking quietly. Talk at the volume you will use during the show, including laughs, or levels will be set too high.
• Not testing the phone route. Make a test call before the show to check levels and that the caller cannot hear an echo of themselves.
• Using condenser mics in a noisy room. Dynamic mics close to the mouth pick up less of the room.
• Recording only the stereo mix. If your software allows, record each host to its own track so you can fix one voice without affecting the other.
• Forgetting the mute buttons are on. Check mute status before every take.

Setup checklist

1. Register the unit and install Vocaster Hub.
2. Connect both mics and headphones, then press Auto Gain for each host.
3. Choose an Enhance preset or leave it off.
4. Pair a phone by Bluetooth or connect it with TRRS, and test a call.
5. Set your recording software to the Vocaster Two and record a test.

For recording and editing tips, read how to record and edit a voice-over or podcast and our overview of audio interfaces for podcasting. More guides are in the recording hub.

How to set up the Focusrite Vocaster Two step by step

The checklist below covers the basics. These steps add detail for a two-host show.

1. Choose a powered USB port

Focusrite states that Vocaster Two needs a USB port that supplies 900 mA. Connect it straight to the computer instead of an unpowered hub.

2. Install Vocaster Hub

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

3. Position both mics

Seat the hosts facing each other or side by side, with mics pointed away from each other. Keep each mic close to its speaker. That reduces bleed between the two channels.

4. Run Auto Gain for each host

Each host has separate Auto Gain. Ask each person to talk at show volume during the process. Then check the meters while both talk and laugh together.

5. Pick Enhance presets

Choose a preset for each host on its own. Voices differ, so the same preset may not suit both. Record short tests and compare.

6. Record to separate tracks

Record each host on their own track in your software. Add a track for loopback or phone audio too. Separate tracks make editing and level balancing much easier.

A two-host episode workflow

Start each session with a quick sound check. Then agree on a hand signal for pauses. Each host can use their own Mute button for coughs.

During recording, avoid talking over each other too often. Crosstalk is hard to edit later. Afterwards, edit gaps, balance the two voices and set loudness to your platform’s target.

Vocaster Two vs similar interfaces

The table compares published features. Focusrite’s Vocaster Two product page lists full specs.

Feature	Vocaster Two	Vocaster One	UA Volt 2	Scarlett 4i4 (4th Gen)
Mic inputs	2	1	2	2
Headphone outputs	2	1	1	1
Auto Gain	Yes, per host	Yes	No	Yes
Mute buttons	Separate host and guest	One	No	No
Bluetooth	Yes (5.0)	No	No	No
Phone connection	Stereo TRRS and Bluetooth	Mono TRRS	No	No
Camera output	Yes	Yes	No	No
MIDI	No	No	Yes	Yes

Vocaster Two is the only one here with two headphone outputs and Bluetooth. Volt 2 and the Scarlett 4i4 also record two mics, but they target music rather than speech.

Pros and cons

Pros

• Two mic inputs with separate Auto Gain and Mute.
• Two headphone outputs.
• Bluetooth and wired phone connections.
• Camera output for video podcasts.
• Loopback for remote guests.
• Bus-powered from a 900 mA USB port.

Cons

• No instrument inputs or MIDI.
• Only two mic inputs, so a third guest needs another solution.
• Enhance cannot fix a very echoey room.

Using Bluetooth for phone guests

Bluetooth is the quickest way to bring a phone caller into the show. Pair your phone with Vocaster Two in the phone’s Bluetooth settings. Then make the call as normal. The caller’s audio enters the mix, and they hear both hosts.

Run a test before every interview. Check that the caller hears you clearly and that their level matches the hosts. Keep the phone on charge for long calls, and turn off notifications so alerts do not interrupt the recording.

A wired TRRS connection is another option. It avoids pairing and wireless issues. Use whichever is more reliable in your space.

Choosing microphones for two hosts

Use the same mic model for both hosts if possible. Matching mics make the two voices sit together naturally. Broadcast-style dynamic mics are a common pick because they reject room sound and bleed.

Condenser mics capture more detail. However, in a shared room, each condenser also picks up the other host. That bleed can sound hollow. If you use condensers, treat the room and keep the mics close.

Room setup for two people

Hard walls cause echo, which makes speech sound distant. Record in a room with carpet, curtains or soft furniture. Then position the hosts so that each mic points away from the other person.

Keep at least an arm’s length between the two mics where possible. Ask both hosts to stay at a consistent distance from their mic. A boom arm for each helps.

Video podcasts with the camera output

The camera output sends the mix to a camera’s mic input. That puts usable audio straight on the video file. Set the camera input gain low and adjust from Vocaster Hub.

Still, record a separate audio file on the computer. It is a backup and gives cleaner edits. A clap at the start helps you sync audio and video later.

Who should buy it and who should skip it

Buy Vocaster Two if two people share a room for your show, or if you take phone guests often. It suits interview shows, co-hosted podcasts and streams with a partner.

Skip it if you host alone, because Vocaster One is smaller and does the job. Skip it also if you record music, since a music interface like the Scarlett 4i4 has instrument inputs and MIDI. If you need three or more mics, look at a larger interface or a podcast mixer.

Editing two voices

Edit each host’s track separately. First, remove noise and gaps. Then balance the two voices so neither dominates. Gentle compression on each track evens out levels. Finally, set overall loudness to your platform’s target and check the episode on earbuds.

Using the Show Mix and loopback

The Show Mix combines both hosts, the phone guest and computer audio into one stereo feed. That feed is ready for streaming or quick-turnaround shows. Meanwhile, you can still record each source on its own track for detailed editing.

For a video call guest, use the loopback. It brings the call audio into your recording software. Record it on its own track, so you can lower the guest or fix their level later.

Watch out for echo. If the remote guest hears their own voice back, check that your call app is not receiving the loopback. Check your routing so the guest’s own audio is not sent back to them.

More mistakes with Vocaster Two

• Using one preset for both hosts. Pick presets per voice.
• Running Auto Gain with only one person talking. Each host needs their own check.
• Recording to one stereo file only. Separate tracks give you control in the edit.
• Forgetting phone notifications. Silence them before a Bluetooth call.
• Mics facing each other. Point them away to reduce bleed.
• Using a low-power hub. Connect to a 900 mA port.

A repeatable show routine

Consistency helps listeners. Set up the mics in the same place each time and keep the same presets. Save a template in your recording software with tracks for each host, the guest and loopback.

Before each episode, run Auto Gain for both hosts and do a short test recording. After the show, back up the raw files before editing. This routine makes each episode sound like the last.

Headphone mixes for host and guest

Two headphone outputs mean each host has their own level. That matters, because people prefer different volumes. A host with louder headphones may speak more quietly, which changes the recording.

Start with both headphone controls low, then raise them slowly. Ask each host whether they can hear themselves and the other person clearly. If a host cannot hear their own voice, they tend to talk louder or move away from the mic.

For long sessions, keep headphone levels moderate. Lower levels reduce ear fatigue and help everyone stay focused through the episode.

Final checks before recording

Run a quick checklist before every Vocaster Two session. Confirm both mics show signal. Check both headphone outputs. Test the phone or call audio. Then record thirty seconds of both hosts talking and play it back. Listen for noise, echo and level differences before starting the real episode.

Keep a short written note of each host’s preset and seating position. It saves time and keeps the sound consistent between episodes.

FAQ

When your episode is edited, our single track mastering can bring it to a consistent, polished loudness. Send the final mixed file.

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

Mic input	1 XLR, 70 dB gain range, switchable 48 V phantom power
Outputs	Headphone output, speaker outputs (mono or stereo)
Phone	3.5 mm TRRS input and output (mono); cable not included
Camera	3.5 mm TRS output to a camera; cable not included
Loopback	Two stereo loopback channels from the computer
Controls	Auto Gain, Enhance, Mute, gain ring, volume
Software	Vocaster Hub for levels, Enhance, routing and Show Mix
Power	USB bus-powered; Focusrite notes it needs a 900 mA USB port

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.

Use	Connection	Cable needed
Phone guest or phone audio	Phone input/output	3.5 mm TRRS to TRRS
Recording audio onto video	Camera output	3.5 mm TRS to TRS
Intro music or call audio from computer	Loopback (USB)	None
Editing on speakers	Speaker outputs	Depends on monitors

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.

Feature	Vocaster One	Vocaster Two	UA Volt 1	Scarlett 4i4 (4th Gen)
Mic inputs	1	2	1	2
Mic gain	70 dB	See vendor page	55 dB	69 dB
Auto Gain	Yes	Yes, per host	No	Yes
Voice presets	Enhance	Enhance	Vintage mode (tone)	Air modes
Headphone outputs	1	2	1	1
Phone connection	TRRS (mono)	TRRS and Bluetooth	No	No
Camera output	Yes	Yes	No	No
Loopback	Yes	Yes	Not listed	Yes
MIDI	No	No	Yes	Yes

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.

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

Mic preamps	8 Clarett+ preamps with All-analogue Air and impedance switching
Instrument inputs	2 high-impedance JFET inputs
Outputs	10 balanced line/monitor outputs, 2 headphone outputs
Digital I/O	8-in/8-out ADAT, S/PDIF
MIDI	5-pin MIDI in and out
Conversion	24-bit/192 kHz, up to 124 dB dynamic range (Focusrite figure)
Connection	USB-C

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.

Spec	Clarett+ 8Pre	Scarlett 18i20 (4th Gen)	Clarett+ 4Pre	Clarett+ 2Pre
Mic preamps	8	8	4	2
Mic gain	57 dB	69 dB	57 dB	57 dB
Mic EIN	−129 dBu	−127 dBu (A-wtd)	−129 dBu	−129 dBu
Inputs / outputs	18 / 20	26 / 26	18 / 8	10 / 4
Line output dynamic range	124 dB	122 dB	124 dB	124 dB
Max line output	+18 dBu	+16 dBu	+18 dBu	+18 dBu
ADAT	8 in, 8 out	Dual in and out	8 in	8 in
Auto Gain / Clip Safe	No	Yes	No	No
Talkback mic	No	Yes	No	No

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.

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

Total I/O	Up to 18 inputs / 8 outputs (including 8 ADAT inputs)
Mic preamps	4 Clarett+ preamps, +57 dB gain range, −129 dBu EIN
Air mode	All-analogue, with impedance switching, modelled on the ISA preamp character
Instrument inputs	2 high-impedance JFET inputs
Line inputs	4 fixed line inputs plus the variable combo inputs
Outputs	4 balanced line outputs, 2 headphone outputs
Conversion	24-bit/192 kHz; line output dynamic range 124 dB
Digital	ADAT optical input (8 channels)
MIDI	5-pin In and Out
Connection	USB-C; macOS, Windows and iPadOS

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.

Session	How the 4Pre covers it
Singer-songwriter: vocal + acoustic guitar	2 preamps, with 2 spare for a stereo guitar pair
Four-piece drum setup (kick, snare, 2 overheads)	All 4 preamps
Full drum kit with 8+ microphones	4 preamps + 8 ADAT channels from an external preamp
Keyboard rig with two stereo synths	4 fixed line inputs
Two-host podcast with separate headphone mixes	2 preamps + 2 headphone outputs

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.

Spec	Clarett+ 4Pre	Clarett+ 2Pre	Clarett+ 8Pre	Scarlett 18i20 (4th Gen)
Mic preamps	4	2	8	8
Mic gain	57 dB	57 dB	57 dB	69 dB
Mic EIN	−129 dBu	−129 dBu	−129 dBu	−127 dBu (A-wtd)
Inputs / outputs	18 / 8	10 / 4	18 / 20	26 / 26
Headphone outputs	2	1	2	2
ADAT	8 in	8 in	8 in, 8 out	Dual in and out
MIDI	In/out	In/out	In/out	In/out
Auto Gain	No	No	No	Yes

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.

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

I/O	2 in / 2 out
Mic preamp	55 dB gain, −127 dBu EIN
Vintage mode	Adds tube-style preamp colour inspired by the UA 610
MIDI	MIDI In and Out
Resolution	Up to 24-bit/192 kHz
Power	USB bus-powered, class-compliant, optional 5 V DC input

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

Model	Mic inputs	Extra feature
Volt 1	1	Vintage mode
Volt 2	2	Vintage mode on each channel
Volt 276	2	Vintage mode plus 76 compressor mode

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.

Spec	Volt 2	MOTU M2	Scarlett 4i4 (4th Gen)	Clarett+ 2Pre
Mic preamps	2	2	2	2
Mic gain	55 dB	Not listed on specs page	69 dB	57 dB
Mic EIN	−127 dBu	−129 dBu	−127 dBu (A-wtd)	−129 dBu
Line outputs	2	2 TRS (plus mirrored RCA)	4	4
Output dynamic range	110 dB	120 dB	120 dB	124 dB
Character feature	Vintage mode	None	Air modes	Analogue Air
MIDI in/out	Yes	Yes	Yes	Yes
Expansion	None	None	None	ADAT in

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.

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

I/O	1 in / 2 out
Mic preamp	55 dB gain, −127 dBu EIN
Vintage mode	Adds tube-style preamp colour inspired by the UA 610
MIDI	MIDI In and Out
Resolution	Up to 24-bit/192 kHz
Power	USB bus-powered, class-compliant, optional 5 V DC input

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.

Spec	Volt 1	Volt 2	MOTU M2	Scarlett 4i4 (4th Gen)
Inputs / outputs	1 in / 2 out	2 in / 2 out	2 in / 2 out (plus mirrored RCA)	4 in / 4 out analogue
Mic preamps	1	2	2	2
Mic gain	55 dB	55 dB	Not listed on specs page	69 dB
Mic EIN	−127 dBu	−127 dBu	−129 dBu	−127 dBu (A-wtd)
Output dynamic range	110 dB	110 dB	120 dB	120 dB
Character feature	Vintage mode	Vintage mode	None	Air modes
MIDI in/out	Yes	Yes	Yes	Yes
Power	USB bus	USB bus	USB bus	USB bus or included PSU

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.

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

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

Who it is for

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

What the 4th Gen adds

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

4i4 vs 2i2

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

Things to check before buying

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

Check the Focusrite Scarlett 4i4 4th Gen on Amazon

Inputs and outputs in practice

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

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

Published specifications explained

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

Auto Gain and Clip Safe in practice

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

Air modes

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

Software and control

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

Setup checklist

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

Example uses

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

When to step up from the 4i4

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

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

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

Recording workflow with the Focusrite Scarlett 4i4

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

Step 1: prepare the session

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

Step 2: set levels with Auto Gain

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

Step 3: monitor without delay

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

Step 4: record and review

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

Step 5: mix at a larger buffer

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

Using loopback for streams and tutorials

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

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

Scarlett 4i4 vs similar compact interfaces

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

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

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

Pros and cons

Pros

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

Cons

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

Common mistakes with the 4i4

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

Who should buy it and who should skip it

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

Choosing microphones for the 4i4

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

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

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

A two-person podcast setup

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

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

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

A home production setup with synths

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

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

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

Gain staging and headroom explained

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

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

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

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

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

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

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

FAQ

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