Which is the best audio interface?
If we want to edit music, record sound, or perhaps expand our existing capabilities with more professional tools, a suitable sound card, or audio interface, can come in handy. But choosing can be difficult, as there are many manufacturers offering such devices. How can we find out which manufacturer's product is right for us? Of course, it's helpful to browse YouTube for answers, but many videos are very biased and do not give a true picture of the real capabilities of individual sound cards. So now I will try to create a comprehensive guide to the currently available sound cards and their capabilities.
Basically, we can categorize these devices into five categories based on their sound quality.
The first category is the cheapest segment. These sound cards typically do not use a unique driver; we just plug them into the computer and they work. The disadvantage of these units is that they can only operate at 16Bit/44.1kHz values. Their signal-to-noise ratio is also inferior to other cards. These units are only worth purchasing if we do not need extra sound quality and our main tasks are not composing, editing sound, or recording instruments.
The second category is a little more expensive than the first, but still considered cheap. The price roughly reflects the capabilities of the device. These devices are already capable of recording at higher bit depths and higher kHz values. Most of these cards are excellent for basic tasks. However, in this range, we will find many devices that fall short of professional devices in many respects. For example, the signal-to-noise ratio. The output signal-to-noise ratio of better products can be as high as 120 dB, which is considered extremely good. And generally, their harmonic distortion is significantly lower than that of cheap ones, where the output signal-to-noise ratio can be at 85dB. The difference is large if we only consider it as information, but during use, it is not that tragic.
The third category includes decent mid-range devices. Here we encounter a general sound quality that is suitable for many tasks. Relatively good preamps, relatively noiseless microphone recordings, relatively noiseless line-in and out outputs. In most cases, a sound card with such capabilities is enough for almost anything.
The fourth category, in many respects, demonstrates professional capabilities, competing with the best, but still relatively affordable in price. Here, certain functions are typically basic, without any extras, but in return, the overall sound quality can be considered excellent.
The fifth category is almost uncompromising in every respect. But what counts as good quality? We need to measure capabilities against something. And this information is easily accessible in the device's online description. Pay attention to the following data:
Preamp: signal-to-noise ratio. The higher, the better
Threshold: THD Total harmonic distortion value. The lower the better.
Line-In: Signal to noise ratio and THD value.
Line-Out: Signal to noise ratio and THD value.
Strictly focusing on these, these values matter. The decision can be influenced by the number of inputs and outputs, the amount of additional features, such as DSP, or special function buttons, convenience features.
Now let's see the list. I warn you, it will be long. Microphone preamp input signal-to-noise ratio dB(A):
Apogee Boom
122
Focusrite Clarett 2Pre USB
119
Focusrite Vocaster TwoB
112
Focusrite Scarlet 18i20 Gen3
110
Focusrite Scarlett Solo Gen3
110
Focusrite Scarlett Solo Gen2
106
Motu Ultralite-MK5
119
Motu M2
115
Audient ID44 MKII
116
Audient ID4 és ID14 MKII
113
Audient Evo 4
115
Audient ID14
112
RME Babyface Pro FS
116
Universal Audio Volt2
112
SSL 2
110
Tascam US-2X2HR
110
Antelope Zen Go
110
Presonus Studio 24
107
Presonus Relevator ID44
102
Presonus Audiobox Go:
90
Behringer UMC404HD
104
Behringer UMC202HD
100
Behringer UMC22
85
Behringer UM2
84
M-Audio Air
103
M-Audio M-Track Solo/Duo:
88
Steinberg UR22c
103
Steinberg UR22 MK2
100
Lewitt Connect 6
100
As can be seen, Behringer, Steinberg, and M-Audio do not excel in terms of signal-to-noise ratio. The situation is that an average recording can be made with most of these without feeling like we're missing something. However, a signal-to-noise ratio below 90dB can be a problematic choice in a professional environment.
Next up is the output dynamic range. With higher values, the output sound will be noticeably more accurate, and the signal will feel less muddy. For professional use, one should strive for the maximum value.
Apogee Boom
122
Focusrite Clarett 2Pre USB
118
Focusrite Scarlet 18i20 Gen3
107
Focusrite Vocaster TwoB
108
Focusrite Scarlett Solo Gen3
108
Focusrite Scarlett Solo Gen2
106
Motu Ultralite-MK5
125
Motu M2
122
Audient ID44 MKII
126
Audient ID4 és ID14 MKII
125
Audient Evo 4
112
Audient ID14
117
RME Babyface Pro FS
125
Universal Audio Volt2
110
SSL 2
112
Tascam US-2X2HR
111
Antelope Zen Go
128
Presonus Studio 24
104
Presonus Relevator ID44
102
Presonus Audiobox Go:
100
Behringer UMC404HD
107
Behringer UMC202HD
107
Behringer UMC22
92
Behringer UM2
92
M-Audio Air
102
M-Audio M-Track Solo/Duo:
96
Steinberg UR22c
107
Steinberg UR22 MK2
103
Lewitt Connect 6
104
As we can see, Behringer, Steinberg, and M-Audio don't excel in terms of signal-to-noise ratio. The situation is such that with most of these devices, an average recording can be made without feeling like something is missing. However, a signal-to-noise ratio of less than 90dB can be problematic for professional use.
Moving on to output dynamic range, Behringer and M-Audio still lag behind, but while M-Audio is still in the acceptable category, only Behringer's HD-branded cards achieve better results. It's almost certain that the UM2 and UMC22 cards are not necessarily designed for studio-level work.
The amount of total harmonic distortion in converting analog signals to digital is a difficult case because not all manufacturers provide these data. If we see this marking, the value can be considered low, and it is an outstanding value: <0.0003%. Most manufacturers' products range around <0.002. This value is not so negative in terms of sound that it significantly affects the signal, but Behringer usually does not provide that value, which is thought-provoking, as it is likely that it has a not-so-good value. However, harmonic distortion counts not only at the input but also at the microphone input and output. The combination of all these values determines how good a sound card is.
Based on this, the Focusrite Clarett 2Pre, the Motu Ultralite-MK5, and the RME Babyface Pro FS interfaces are the best, and this is reflected in their prices. Most of the Audient sound cards are also in this category, but they are cheaper, making them an excellent choice for lower amounts.
The Antelope Zen Go is amazing in some of its properties, but sometimes average. Unfortunately, the included plugin pack only works with online internet use. Additionally, its analog/digital converter is average.
The popular UAD Volt2 only reaches the stable middle-class level. The weakest values are achieved by Presonus and Behringer sound cards, along with M-Audio cards.
Except for the weakest Behringers, any sound card can be used for music purposes, but for mastering purposes, where the input and output signal-to-noise ratio is essential, it's worth choosing the more expensive options. It also matters what else we need. If we want many inputs and outputs, our options are already limited. If we need DSP, then UAD and Antelope are suitable. If we want our sound card to function as a DAW controller, then Audient products are the way to go.
