Audio interfaces play the most important of roles in any type of modern recording studio. Their main purpose is to route audio out of a computer for monitoring audio playback from within a DAW as well as routing audio into a DAW for recording.

Modern audio interfaces are often jacks of all trades. Many provide more features than we typically need within a package. Not only do modern audio interfaces handle the important job of digital conversion, but many also provide multiple headphone outputs, flexible routing, metering, I/O expandability via ADAT and modern connectivity such as Thunderbolt or USB-C with a few products out there priced in the higher ends of the market offering DSP for plug-in processing.

Updated For 2022

In this article, first published in 2019 and now updated for 2022 with a number of interfaces added, we take a look at several popular audio interfaces you can buy in 2022, all of which share a couple of common threads being that these products provide a minimum of 8 analogue inputs with mic preamps and are housed within a 1U chassis.

If you are in the market for a new 1U audio interface of this type then we hope this article helps you compare our selection of what is available in today’s market and that the information we have provided can help you decide on the best interface for your studio and budget.

This Is Our List, Not A Complete List

Please note this is not a complete list, this is a list of interfaces that have come across our radar either because we have reviewed them or at least one of the team has used them.

TASCAM US-16x08 - MSRP: $399

The entry-level into the 1U 8 mic pre interface category comes in from Tascam who are well known for developing solid recording gear at competitive prices. The US-16x08 feature set represents the barest of bones for audio interfaces of this type as only one headphone output with a level pot is provided and no ADAT is included for I/O expansion. That said, you may not need to worry about the absence of ADAT here as the US 16x08, as the name suggests, provides 16 analog inputs and 8 outputs.

On the front of the interface 8 XLR mic pres that are claimed to deliver “clean and quiet operation” with up to 56dB of gain along with 2 jack inputs are present with 10 gain pots. On the rear, you’ll find balanced line-level inputs 11 through to 16 with outputs 1 through 8 along with MIDI I/O. If you find that you require more than 8 mic pres then the extra inputs on the rear could easily be utilised with some outboard channel strips which would make this a great interface for full band recording applications.

This device also provides two options for mounting. Use either the rack ears for mounting in standard 19” racks or screw in the included legs into the side of the chassis for desktop placement.

The US 16x8 may look like it could be from the last decade as the design is a bit bland but it has some modern power under the hood as it includes DSP, though basic it is very useable. Each of the inputs can have a 4 band EQ and compressor applied in tracking. This is adjustable via the Tascam mixer application which also offers near-latency-free monitor mixing and flexible routing.

Focusrite Scarlett 18i20 - 3rd Generation - MSRP: $439

We can’t say for sure as we don’t have any sales figures to back this up but we reckon Focusrite’s Scarlett range could very well be one of the best selling audio interface ranges ever. It seems nearly everybody we know has either used or owned at least one generation of Scarlett at some point in their career. Small wonder why, these things sound amazing, cause no problems in terms of connectivity and cost a lot less than you first think.

Check out our review of the previous 2nd Generation Scarlett interfaces.

The Scarlett has a sexy metering section on the front and the entire device is configurable via the Focusrite Control App which makes it incredibly easy for storing and recalling routing options. The Focusrite Control App also enables users to make full use of the second headphone out as it’s own dedicated output separate from the main mix.

If 8 mic pres are not enough for you then you can easily expand this system via the built-in ADAT. You could buy any generic 8 mic pre extender on the market, but why would you? There’s already one in the Scarlett range called the Scarlett OctoPre Dynamic Mic Preamp which features a handy compressor knob on each input channel. Doesn’t it make good sense to extend the family if you are after more mic pres in a Scarlett studio?

Audient EVO 16 - MSRP $499

A 24 in / 24 out Audio Interface, the EVO16 features eight award-winning EVO Preamps, advanced converter technology as well as the ingenious Smartgain feature which can be used on all 8 channels simultaneously and continues to deliver on the EVO promise to make recording easy.

EVO 16 breaks convention with its high resolution, full-colour screen built into the unit. Smart gain has been designed to take the guesswork out of setting gain. Not only does it save time for the user, but it eliminates the hassle for those working on their own, which means users can spend less time figuring out the tech and more time recording. There is also room for expansion with plenty of optical inputs and outputs, making it possible to record anything from just drums to a full band. Ensuring the studio can grow with time, there are both ADAT and SPDIF options to add up to 16 extra channels of mic preamps.

Features

• 8 x EVO Mic Preamps with Smartgain

• 2 x JFET Instrument Inputs

• 2 x Independent Headphone Outputs

• 8 x Line Outputs

• 2 x Optical Inputs

• 2 x Optical Outputs

• Multi-Channel Smartgain

• 'EVO Motion UI' Control System

• High-Res LCD Screen

• One Knob Centralised Control

• Ultra Clear Metering

• Input/Output Control

• Channel Status Indication

• Programmable Function Button

• Ultra-Low Latency Software Mixer

• Monitor Control

• Audio Loop-back

• Word Clock Output

• USB2.0 (USB-C Connection)

• 24bit / 96kHz

PreSonus Studio 1824c - MSRP: $649

PreSonus’ Studio 1824c is the latest and greatest 1U audio interfaces on market featuring USB-C connectivity. Presonus have been developing interfaces of this type for years with the Studio 1824c proving that PreSonus have indeed learnt a trick or two in the last decade producing great value audio interfaces.

In terms of price point and feature set PreSonus have clearly aimed this product neatly between Focusrite’s Scarlett and Clarett interfaces making this, the Studio 1824c, the most affordable route into USB-C audio interfaces.

Presonus interfaces are faultless, we should know as we’ve tested them all. Couple that ruggedness and reliability we’ve come to expect from Presonus gear with the 1824’s sonic perfection and this could very well be everything to every recording person.

Focusrite Clarett+ 8 Pre - MSRP: $1,249.99

The recently refreshed Clarett+ range of Focusite audio interfaces are a rather more grown up affair compared to the Scarletts. That’s not to say that the Scarletts aren’t any good, they are, it’s just the Claretts have a slightly different AIR about them… literally. The “+” units enjoy improved audio performance over previous Clarett units. We looking forward to putting it through its paces soon.

As you can probably tell by now this mid-tier of audio interfaces all offer similar features in terms of I/O, dual headphone outs, front panel metering and modern connectivity. You have to dive into the finer details to find out what sets each of these units apart, besides price. Apart from the beautiful red finish and USB-C connectivity what makes the Clarett+ 8Pre unique?

Each of the 8 mic preamps features an AIR mode. When this is enabled, which is engaged via the Focusrite Control App, the sound at the pre opens up in a stunning way. AIR is an analog model of Focusrite’s classic transformer-based ISA mic pre. It sounds amazing on vocals, snare drums and acoustic guitars. Anything you need to pop out of a mix at the tracking stage will benefit from the AIR mode.

Like the Focusrite Scarlett’s range of interfaces, the Clarett family also has its own 8 mic pre extender called The Clarett OctoPre. Watch the video above to see these two devices recording a live multitrack drum session directly to an iPad Pro 2018 via USB-C.

PreSonus Quantum 26x32 - MSRP: $1,099

The Quantum is the jewel in PreSonus’ interface crown which connects to your Mac OS or Windows PC via Thunderbolt 2. Quantum features 8 recallable XMAX channels of mic/line inputs, ADAT Optical I/O providing up to a massive 26 inputs and 32 outputs with extremely low latency. Quantum can record and playback at 24-bit, 192 kHz and has the ability to expand as your needs grow. You can stack up to 4 units together to offer 96 channels of I/O which we feel is more than enough I/O for even the most demanding of tracking sessions.

Antelope Audio Discrete 8 - MSRP Starting From $1295

The Antelope Audio Discrete 8 shares many of the features available on the other units in the current range of interfaces but where Discrete 8 stands out from the crowd is its 8 console grade mic preamps using discrete components. These are not off-the-shelf chipset based preamps. You still get access to Antelope’s stunning sounding FPGA effects, but this time you have to opt for the Premium pack, which will cost you extra to take full advantage of this.

Preamp and monitor control is still available from either the front panel, your computer or iOS device and as has become the norm for Antelope units there is an amazing array of digital and analog connectivity.

As ever the review ends with a track recorded using only the Discrete 8 mic pres and instrument inputs. All the guitar amps and effects are recorded real-time "to tape" from the ever-growing selection of Antelope FPGA effects. Other than some reverb there is no other processing on this recording so what you are hearing is great sounding instruments through great sounding pres.

Pricing starts at $1299 USD for the Discrete 8 Basic package up to $3295 which includes Discrete 8 rack unit the Premium FX pack, which allows you to use 8 channel strips with 4 FX instances each and up to 16 channel strips using the AFX2DAW plug-in and all 50+ Antelope Audio real-time FPGA FX. You also get one of Antelope’s Edge Duo large-diaphragm condenser modelling microphones and 6 of their Verge small pencil condenser mics as well as the full Mic Emulation Bundle.

MOTU 1248 AVB Interface - MSRP: $1295

The 1248 is a Thunderbolt interface, it also offers USB 2.0, the difference being total channel count, Over Thunderbolt a total of 128 channels can be simultaneously routed each way. Over USB this channel count is reduced to 64. It is also possible to connect a reasonably current Mac (anything recent enough to have Thunderbolt seems to work) directly to the AVB network via Ethernet.

The 1248 packs a total of 32 inputs and 34 outputs into a fantastically affordable 1U frame. This includes an 8-in/12-out analog I/O with four microphone preamps and two guitar inputs. On top of that, the 1248 offers you 18 channels of digital I/O on ADAT and S/PDIF, and with its ultra-fast Thunderbolt connectivity (in addition to USB 2.0), you could hardly ask for less system latency.

The rear of the 1248 offers 4 mic inputs, 8 analogue inputs, 8 analogue outputs in addition to the 2 pairs of monitor outputs (Main and Mon), s/pdif I/O on phonos, 2 sets of ADAT connections and word clock I/O on BNCs (particularly necessary in this case as the potential for clocking to get complicated when connecting multiple AVB boxes is very real). 

As a standalone unit, the 1248 is a lovely interface, it is a joy to use and would be very happy with it even without the AVB aspect of its operation. The reason for choosing this unit over any of the others is that it provides the broadest range of I/O available on any one box. Only some of the AVB range offer Thunderbolt, specifically the 1248, 16A, 8M and 112D. The 24Ai, 24Ao, Ultralite AVB and the Monitor 8 are all USB only. If you need Thunderbolt and want an integrated monitor controller then the 1248 is the right box for you.

You can learn more about the MOTU 1248 and find out how Julian Rodgers got on with this unit in our article MOTU AVB Interfaces Review - 1248.

Slate Digital VRS-8 - MSRP: $1,999

Over the last decade, Slate Digital has been on a mission to reimagine and reinvent the concept of the traditional recording studio by giving us what they refer to as a “Virtual Recording Studio” experience. They have developed a huge catalogue of analog modelled plug-ins, touch control surfaces, microphone modelling bundles and now this, their latest creation, the Virtual Recording Studio 8 named VRS-8.

This audio interface completes Slate’s virtual studio dreams. The VRS-8 has been in development for a number of years and was finally released earlier this year receiving positive reviews. By comparison, the VRS-8 looks like it could be a step back in evolution compared against the slightly more affordable interfaces featured in the list as it doesn’t feature metering, high I/O counts or USB-C or DSP which Slate says isn’t an oversight. They chose to make sure the money that would have been spent on including such features were instead poured into the most important aspects of an interface, its mic preamp quality and performance.

RME Fireface UFX II - MSRP: $2150

The RME Fireface UFX II is a stunning solution to transfer analogue and digital audio data directly to a computer from practically any source. Numerous unique features including a very well-thought-out selection of configuration dialogs, mixing engine and multipurpose monitoring solution as well as professional DSP effects and class-leading analogue circuits with some of the latest digital converters make the Fireface UFX II a serious powerhouse when it comes to computer-based recording, mixing and mastering.

Connectivity

• 30 Input / 30 Output channels

• 12 x Analog I/O

• 4 x Mic/Instrument Preamp, digitally controlled

• 1 x AES/EBU I/O

• 2 x ADAT I/O (or 1 x ADAT I/O plus 1 x SPDIF I/O optical)

• 1 x Word Clock I/O

• 2 x MIDI I/O

• 1 x USB 2.0

• TotalMix FX Control Software For Windows, Mac OS or iOS.

• Optional: Advanced Remote Control USB

RME Fireface UFX+ - MSRP: $2482

The RME Fireface UFX + could be considered a perfect centrepiece for your multi-track recording, mixing or mastering studio as it can easily handle up to 94 channels of I/O. Fireface UFX+ features incredible flexibility and routing to outboard studio equipment as well as the availability of DURec (Direct Recording to USB) and super low latency I/O for which RME hardware and drivers are renowned.

With many features that were not available on the predecessor, the UFX+ has MADI I / O (188 I / O channels, 128 more than the Fireface UFX), an even more powerful DSP, compatibility with USB 3.0 and Thunderbolt and a new optional remote control will make the RME Fireface UFX + the new reference for multi-track recordings, mixing and monitoring.

Connectivity

• 94 input / 94 output channels

• 12 x analog I / O

• 4 x Mic / Instrument Preamp, (digitally controllable)

• 1 x AES / EBU I / O

• 2 x ADAT I / O (or 1 x ADAT I / O plus 1 x SPDIF I / O optical)

• 1 x Word Clock I / O / MADI I / O Coaxial

• 1 x MADI I / O optical

• 2 x MIDI I / O

• 1 x Thunderbolt ™ connectivity

• 1 x USB 3.0

• TotalMix FX Control Software For Windows, Mac OS or iOS.

• Optional: Advanced Remote Control USB

Apogee Ensemble Thunderbolt - MSRP: $2,499

Reviewed by us in 2014, we were so impressed we went ahead and purchased this unit.

Highlights

• 30×34 Thunderbolt 2 Audio Interface for Mac

• 8 Mic preamps with up to 75 dB of gain and Advanced Stepped Gain circuit

• Thunderbolt connectivity for ultra-low latency (1.1ms round trip with Logic Pro X)

• Front panel Guitar I/O with Class A JFET inputs, dual mode re-amp outputs

• Talkback functionality with built-in mic and control button

• 2 PurePower headphone outputs

• 10 separately assignable analog inputs

• 16 analog outputs of premium Apogee conversion

• Core Audio optimized DMA engine frees up Mac CPU for plug-ins and software instruments

Since its release Apogee has continued to add value to the Ensemble with apps for iPhone and iPad and more recently they have added FX Rack DualPath DSP plugin support for their own range of plugins, giving those tracking the ability to use effects with low latency.

Our conclusion in the Apogee Ensemble Thunderbolt review was;

Have Apogee managed to put a little excitement back into the life of this old cynic? Does the Apogee Ensemble Thunderbolt deliver on the sound and ‘ultra-low latency’ performance?

The simple answer is yes. Enough for me to have gone and purchased this unit, it’s not coming out of my rack any time soon. In the words of Victor Kiam “I liked it so much I bought the company.” Well not quite, but it is now my new interface, bought and paid for with my hard-earned cash. When I first saw the Apogee Ensemble Thunderbolt I thought this unit was made just for me, now having used it I was right.

It’s not going to be everyone’s choice, especially if you are a PC user, but I think for those Mac users wanting a flexible, great-sounding low latency audio interface this one has to be on your shortlist.

Antelope Audio Orion Studio - MSRP: $2,995

The Antelope Audio Orion Studio fits Thunderbolt and USB connectivity as well as 12 mic fantastic sounding Class-A mic pres, a ton of analogue and digital I/O and Antelope’s signature clocking technology into a single rack space.

The original Orion Studio was given a facelift and a spec upgrade in 2017 to create the Orion Studio Rev 2017. At the same time, the Orion Studio HD was launched giving users access to Pro Tool HD and HDX connectivity, but the HD version had no Thunderbolt it was HD and USB Only. All three units featured 12 mic pres so you can record your full band using just the onboard mic pres. Then if you really want to go to town expand your system via the ADAT ports.

Orion Studio works with any Windows or macOS DAW. The variety of digital and analog I/O combined with the flexible routing matrix makes the device easily interconnectable to pretty much any studio outboard gear. Orion Studio offers two pairs of monitoring outputs, 16 analog outs, 2 re-amp outputs, plus 16 channels I/O via ADAT and 2 channels of I/O on S/PDIF.

Metric Halo LIO-8 3D - MSRP - $3560

The LIO-8 3d is the result of Metric Halo’s 20-year research program into the fusion of digital and analog audio technologies. It comes with 8 channels of mastering grade A/D Conversion and D/A Conversion with analog domain monitor control (8 channels). It has ultra-high impedance Guitar/Bass DI inputs 8 channels of AES I/O, SMPTE LTC I/O, MIDI I/O, 128 Channel x 64 bus mixer (up to 192k), Instantiable DSP processing with over 100 plugins, Integrated analog domain surround-capable Monitor Controller and all I/O supports 192k.

The 3d Card Upgrade is a user-installable hardware and software combination that completely refreshes your Metric Halo devices for the next leg of the digital revolution. It replaces all the digital & computer interfacing on your hardware with up-to-date, cutting-edge implementations.

Anyone who has bought a Metric Halo interface in the last 18 years can upgrade it to modern-day specs.

Each LIO-8 3d integrates:

• Mastering grade A/D Conversion (8 channels)

• Mastering grade D/A Conversion with analog domain monitor control (8 channels)

• Mastering grade headphone output with dedicated D/A Conversion

• Exceptional ultra-high impedance Guitar/Bass DI inputs (2 channels; shared with Analog 1+2)

• AES I/O (8 Channels)

• All I/O supports 192k

• SMPTE LTC I/O

• MIDI I/O

• 128 Channel x 64 bus mixer (up to 192k)

• Instantiable DSP processing with over 100 plugins

• Integrated analog domain surround-capable Monitor Controller

• Incredibly accurate DPLL clock with ultra-low jitter

• Seamless hardware multi-unit unification over MHLink (mixer, routing and transport)

• MH EdgeBus Card slot with support for AES/SPDIF/MADI/ADAT/TOSLINK/MIDI (depending on card)

• Internal slots for optional MH ULN-R preamps (in 4 channel blocks)

• SMUX support for ADAT and MADI

• IR Remote Control support

• Front-panel metering and control with dedicated gain knobs

• Bullet-proof recording with the integrated Record Panel

• MIO Console 3d

• MHLink Ethernet connectivity

• USB-C connectivity

You can learn more about the Metric Halo LIO-8 and the 3D Upgrade system in Nataniel Reichman’s article Metric Halo 3D Audio Interfaces - Hardware Product Of 2020. Earlier in 2020 Nathaniel also wrote about how he was able to create a low-cost Dolby Atmos Monitor Controller using the DSP in his Metric Halo interface in our article Using Metric Halo Interfaces To Create A Low Cost Dolby Atmos Monitor Controller.

Universal Audio Apollo X8P - MSRP: $3,699

The Apollo X8P is the latest and greatest interface by Universal Audio offering a much more producer focused set of I/O including Hexa-core UAD-2 processing and surround mixing capabilities. The full Apollo X range is the third generation of Universal Audio’s Apollo interface series which raises the bar significantly in several key areas over the previous versions including better clocking, better A/D-D/A conversion and better mic preamp quality.

What sets the Apollo apart from all the other interfaces in this list is that it features a mammoth amount of DSP for UAD-2 plug-in processing (UAD plug-ins sold separately).

Metric Halo ULN8 MkIV - MSRP $3995

Metric Halo have a comparitively small but very dedicated following because of the impeccable quaiity and flexibility of their interfaces. The ULN-8 MkIV is a simply stunning piece of gear. And the MIOConsole3d software is extremely flexible and infinitely useful, allowing routing from anywhere to anywhere. It even has Metric Halo’s +DSP Graph, which allows users to build their own processing blocks to create almost any type of processing they could ever need. It also includes a plethora of hosted plugins that run on the internal processor of the interface, including a hosted version of their Channel Strip 3. Couple that with 80-bit internal processing and pristinely quiet, yet musical,  preamps that deliver 91.5dB of gain.

One of the biggest selling points of Metric Halo hardware for me has always been the upgradability of their interfaces. Their 3D upgrade path was a perfect example of this, allowing users to upgrade legacy hardware to current specs - quality and environmental responsibility.

Features

Metric Halo’s unique 3d Core Digital Engine with MHLink

• 8 channels A/D with Analog Trim

• 8 channels D/A with Analog Gain

• Stereo Headphone

  • Dedicated HP D/A and Analog Gain

• Ultra-low converter latency

  • Converter latency reduced by 85% compared with previous generation

  • Round-trip through Converters + Mixer + DSP + Monitor:
    ≈ 0.9ms @ 44.1k
    ≈ 0.2ms @ 192k

• 8 channels MH ULN-R preamps

• 2 channels Guitar/Bass DI inputs

• 8 channels AES Output

• 8 channels AES Input

• SMPTE LTC I/O

• MIDI I/O

• 128 Channel x 64 bus mixer

• Integrated DSP

• Full support for 192k

• Detailed Front panel metering

• FP control with dedicated gain knobs

• IR Remote Control support

• MH EdgeBus Card slot

• MHLink Gigabit Ethernet connectivity

• USB-C connectivity

• Low power, cool-running design with no fans

Avid Pro Tools Carbon - MSRP $3999

Pro Tools Carbon is a return to what put Pro Tools into the majority of pro music studios in the first place. It is a 1U hardware interface. A 25/34 AVB interface with 8 mic preamps specifically designed for tracking music. It’s for the serious musician or studio owner who wants to be able to track a typical band in stereo using Pro Tools and without having to think about latency.

Pro Tools Carbon is the first audio interface Avid has designed in house since the Avid HD IO and Avid HD Omni a decade ago. Avid has offered branded hardware since but this has been produced in partnership with other companies such as DAD and Apogee. Whereas, Pro Tools Carbon is an all in-house design and manufacture. When paired with the Hybrid Audio Engine it offers some very interesting new features. With the same low latency DSP performance as offered by HDX systems, four discrete headphone output and 8 mic preamps with further expansion via ADAT connectors, this is the ideal solution for hassle-free tracking in Pro Tools.

Check out our article Pro Tools Carbon - Everything You Need To Know

Merging Technologies Hapi MKII - MSRP: $4,442 With 8 Mic Preamps

Hapi, and its 2U big brother (technically father) the Horus from Merging Technologies are some of the most customisable interfaces available.

Hapi MKII utilises the ZMAN technology introduced with Anubis and this powerful processor allows some performance upgrades. The introduction of the ADA8S and ADA8P cards improved the headroom of the mic-pre inputs and effectively doubled the analog I/O count to 16 in/16 out in DSD, all in 1U rack-mountable box.

A basic Hapi MKII comes fitted with 8 channels of AES/EBU digital I/O. 8 channels of ADAT optical and stereo SPDIF as well as network connectivity over the RAVENNA AES67 protocol. There are then 2 custom slots in which you can install a range of different option cards depending on your I/O requirements. There is a mini-Digilink allowing Hapi to talk to Avid HDX systems. Mic preamps with direct output, line-level I/O as well as MADI. They are very flexible systems and the quality is exceptional.

The I/O count of the Hapi and the Horus are hard to pin down as it depends on the option cards you fit. If you want analogue I/O Hapi is limited to 16 channels but add in RAVENNA and Optical I/O and this could be part of an ever-growing system.

Take a look at the video below and Production Expert article where Production Expert Technical Editor, James Ivey and Paul Mortimer of Emerging UK test the Horus (a 2U version of Hapi) recording drums in James’ studio using a number of different connectivity and mic pre options.

Features

• 8 AES/EBU I/O via D Sub

• 8 ADAT or 2 SPDIF I/O via TOSLINK

• 44.1kHz to 192kHz and beyond! (Premium cards up to DXD/DSD256)

• Audio over IP with RAVENNA – AES67 Connectivity

• ASIO and Core Audio Driver

• Interface control over LAN

• 2 Slots for optional AKD8D/AKD8P, DA8/DA8P and MADI cards

• Timecode and Sync – LTC/MTC/VideoRef/Wck

• Dual stereo headphone outputs

• Rotary encoder front panel control

The version we have quoted for includes the base model at $2499, a standard AD8A module with 8 mic/line inputs and 8 analog outputs.

Lynx Aurora(n) Thunderbolt Interface - MSRP: $4,599 With 8 Mic Preamps

In 2017 Lynx released the update to the original Aurora; the Aurora (n) series of audio interfaces and converters. The updated series featured a proprietary card format called ‘LSlot’ and since its release Lynx Studio now has a number of option cards to allow different configurations and connection methods, including Thunderbolt, Digilink, USB and Dante. It is possible to configure an Aurora (n) in many different ways, mixing and matching analogue IO with digital connectivity. They can act purely as analogue to digital converters for connecting to a Pro Tools HDX rig, as USB or Thunderbolt audio interfaces, or even as expanders for an existing Dante network.

A couple of features are built into the chassis, being common to all Aurora (n) configurations, namely the dual headphone amplifier outputs and the ability to record directly to an SD card. This potentially makes the Aurora (n) a failsafe device in live or studio recording, or even, with some limitation, a dedicated audio recorder. Finally, it is a fan-less design, which is very good to see.

The Aurora(n) was designed to be future-proof. Rather than build yet another box that is destined to end up on the shelf, Lynx has made something that can change as your needs and/or those of your system do, with modular USB, Thunderbolt 3, Dante, and Digilink cards available.

Considering the 1U footprint, the amount of I/O you can push through Pro Tools is highly impressive. All I/O is delay compensated, and if you have hardware inserts connected to the unit you can enjoy accuracy to within one sample. Impressive.

In April 2021, James Richmond took a look at the Aurora(n) interface in our article Lynx Aurora(n) - Tested and then Luke Goddard took a look at a different version with the DigiLink HD2 card to use with Pro Tools HDX or HD Native systems in our article Lynx Aurora(n) LT-HD2 For Pro Tools HD.

As you can see there are many configuration combinations available. For this article, we chose 2 LM-PRE4 cards, which Luke Goddard has reviewed.

Compare These Audio Interfaces

Below is a table to help you quickly compare each of these audio interfaces key features and price:

Do you own any of the audio interfaces that we’ve featured in this list? Let us know why you chose the device you did and what the main selling points were that helped you decide on your audio interface.