
There are a ton of choices available, but armed with a few key features, you can future-proof your setup.
For guitarists diving into the world of home recording, an audio interface is the bridge between your instrument and the digital world. With so many options out there, it’s easy to get overwhelmed—especially when you’re juggling features, audio quality, and price. But if you’re serious about your tone and want to future-proof your setup, your best investment will always be the interface with the highest quality components, flexible I/O, and enough headroom to capture your playing at its very best. Welcome to another Dojo!
Let’s unpack the differences between interfaces with different numbers of input channels, and explore top-tier options from trusted names like Universal Audio, Focusrite, and Neumann. While your current needs might be modest, choosing an interface that can grow with your rig ensures that you’re not limiting your creativity before you even press record.
A single-input interface might seem like enough for a solo guitarist, especially if you’re primarily tracking one instrument at a time. They’re portable, affordable, and ideal for quick demos or mobile recording. However, this configuration quickly becomes restrictive. If you want to track both a mic’d cab and a DI signal simultaneously—or add vocals, synths, or pedals—you’re out of options.
Stepping up to dual-channel interfaces opens up a lot more flexibility. Models like the Universal Audio Apollo Twin X Duo ($799 street), Focusrite Clarett+ 2Pre ($499 street), or Neumann MT 48 ($1,850 street) offer outstanding fidelity and headroom with transparent preamps that preserve nuance. These interfaces support both high-impedance (Hi-Z) instrument inputs and line-level sources, allowing direct connection from guitars, pedals, or modelers like the Kemper or Quad Cortex. If you’re recording at higher sample rates—think 96 kHz or even 192 kHz—these units can handle it without breaking a sweat.
“Choosing an interface that can grow with your rig ensures that you're not limiting your creativity before you even press record.”
When you reach the quad-input category, you’re entering serious territory. Interfaces such as the Universal Audio Apollo x4 ($1,599 street) or Focusrite Clarett+ 4Pre ($699 street), as well as many others, are great for guitarists who run stereo rigs or want to simultaneously record multiple sources: guitar, vocals, keys, or even analog outboard gear. This level of input expands what’s possible in your session. Notably, these models often include ADAT expansion, so you can add even more inputs later.
The Apollo series, in particular, is a favorite among professionals for good reason. Being able to track through high-end emulations of preamps, compressors, and EQs in real time—without taxing your computer—can dramatically improve your workflow and sound. Plus, their Unison technology adapts the impedance and gain staging of their preamps to match classic hardware profiles, making it ideal for guitarists chasing vintage tone.
Neumann, a name traditionally associated with high-end microphones, has entered the interface market with the MT 48, and it’s turning some heads. This interface boasts elite conversion quality (up to 32-bit/192 kHz), a clean, expansive 78 dB of gain—plenty of headroom for any dynamic mic or ribbon—and the touchscreen control and routing matrix make it very flexible.
For budget-conscious musicians, Focusrite’s Scarlett series is the go-to, but the Clarett+ line is where the real power lies. With upgraded converters, improved dynamic range, and dedicated instrument inputs, these interfaces deliver clarity and punch at a more accessible price point.
While connectivity might seem like an afterthought, it’s actually a critical consideration. Interfaces now come with Thunderbolt, USB-C, or even network-based options like AVB or Dante. Thunderbolt models, such as those from Universal Audio and some Focusrite Clarett+ versions, offer ultra-low latency and superior bandwidth—ideal for running complex sessions with many plugins. USB-C interfaces are broadly compatible and increasingly powerful, while AVB and Dante appeal to those integrating with larger studio setups or performing live with digital mixers.
In the end, your audio interface is the foundation of your home studio. Prioritize audio quality—especially high sample and bit rates (96 kHz/24-bit or higher)—but don’t skimp on headroom, especially if you’re using dynamic or ribbon mics. Make sure you have at least one Hi-Z input for your guitar and that your line-level handling is clean and reliable. Expansion potential, digital signal processing, and solid connectivity are all worth the investment if they keep your workflow smooth and your sound uncompromised.
So even if you’re only plugging in a single Strat today, think beyond the present. Choose the interface that matches the sound in your head—not just your budget. It’s an investment not just in gear, but in your music. Namaste.
PG contributor Tom Butwin profiles three versatile - and affordable - acoustic guitars from Cort, Epiphone, and Gold Tone. These classic designs and appointments offer pro-level sound for an accessible price.
Cort Essence Series ES-GA4 Grand Auditorium Cutaway Acoustic Electric Guitar, Natural Semi Gloss (GA4NSG)
Epiphone Slash J-45 Acoustic Guitar - November Burst
The classic J-45 has been the choice of legendary musicians ever since it was first introduced in 1942. Known as The Workhorse, it is Gibson's most famous and most popular acoustic guitar model. Now Epiphone has released a new Inspired by Gibson"' J-45"' with all of the features players want, including all solid wood construction, a comfortable rounded C neck profile, 20 medium jumbo frets, the 60s style Kalamazoo headstock shape and a gorgeous Aged Vintage Sunburst finish. The Fishman® Sonicore under-saddle pickup and Sonitone preamp make this Workhorse stage-ready too. Optional hardshell or Epilite"' case available separately. A battery is not included. To power your pickup, you will need a 9-volt battery.
Gold Tone The Bell Acoustic-electric Guitar - Natural
Gold Tone’s Festival Series: The Bell stands out by blending classic craftsmanship with stage-ready versatility. Its all-solid wood construction—featuring a Sitka spruce top and mahogany back and sides—produces a rich, balanced tone that shines in any setting. The slope-shoulder design offers both comfort and clarity, perfect for fingerstyle or strumming. With a slim "D" neck, Fishman electronics, Grover tuners, and D’Addario strings, The Bell is crafted for players who demand tone, playability, and reliable performance—on stage or in the studio.
A beautifully realized mashup of two iconic guitars.
Reader: Ward Powell
Hometown: Ontario, Canada
Guitar: ES-339 Junior
I’ve always liked unusual guitars. I think it started when I got my first guitar way back in 1976. I bought a '73 Telecaster Deluxe for $200 with money I saved from delivering newspapers.
I really got serious about playing in 1978, the same year the first Van Halen album was released. Eddie Van Halen was a huge influence on me, including how he built and modded guitars. Inspired by Eddie, I basically butchered that Tele. But keep in mind, there was once a time when every vintage guitar was just a used guitar—I still have that Tele, by the way.
I never lost that spirit of wanting guitars that were unique, and have built and modded a few dozen guitars since. When I started G.A.S.-ing simultaneously for a Les Paul Junior and a Casino, I came up with this concept. I found an Epiphone ES-339 locally at a great price. It already had upgraded CTS pots, Kluson tuners, and the frets had been PLEK’d. It even came with a hardshell case. It was cheap because it was a right-handed guitar that had been converted to left handed and all the controls had been moved to the opposite side, so it had five additional holes in the top.
Fortunately, I found a Duesenberg wraparound bridge that used the same post spacing as a Tune-o-matic. I used plug cutters to cut plugs out of baltic birch plywood to fill the 12 holes in the laminated top. I also reshaped the old-style Epiphone headstock. Then, I sanded off the original finish, taped the fretboard, and sprayed the finish using cans of nitro lacquer from Oxford Guitar Supply. Lots of wet sanding and buffing later, the finish was done.
I installed threaded insert bushings for the bridge, so it will never pull out. The pickup is a Mojotone Quiet Coil P-90 and I fabricated a shim from a DIY mold and tinted epoxy to raise the P-90 up closer to the strings. The shim also covers the original humbucker opening. I cut a pickguard out of a blank and heated it slightly to bend it to follow the curvature of the top.
All in all, I'm pretty happy how it turned out! It plays great and sounds even better. And I have something that is unique: an ES-339 Junior.
The Gibson EH-185, introduced in 1939, was one of the company’s first electric guitars.
Before the Les Pauls and SGs, this aluminum-reinforced instrument was one of the famous brand’s first electric guitars.
It’s hard to overstate the importance of electric guitar in shaping American popular music over the last half-century. Its introduction was a revolution, changing the course of modern musical styles. Today, when we think of the guitars that started the revolution, we think of the Stratocaster and the Les Paul, guitars held against the body and fretted with the fingertips. But the real spark of this musical mutiny was the lap-steel guitar.
In the early 20th century, guitar music was moving out of the parlors of homes and into public spaces where folks could gather together and dance. Guitarists needed to project their sound far beyond where their wimpy little acoustic instruments could reach. Instrument manufacturers began experimenting with larger body sizes, metal construction, and resonators to increase volume.
Around this time, George Beauchamp began experimenting with electric guitar amplification. He settled on a design using two U-shaped magnets and a single coil of wire. Beauchamp was in business with Adolph Rickenbacker, and they decided to stick this new invention into a lap steel.
If we put on our 1930s glasses, this decision makes perfect sense. The most popular music at the time was a blend of Hawaiian and jazz styles made famous by virtuosos like Solomon “Sol” Hoʻopiʻi. Photos of Hoʻopiʻi with a metal-body resonator abound—one can imagine his relief at being handed an instrument that projected sound toward the audience via an amplifier, rather than back at his own head via resonator cones. Beauchamp and Rickenbacker were simply following the market.
As it turned out, the popularity of Hawaiian music gave way to swing, and electric lap steels didn’t exactly take the world by storm. But Beauchamp and Rickenbacker had proven the viability of this new technology, and other manufacturers followed suit. In 1937, Gibson created a pickup with magnets under the strings, rather than above like Beauchamp’s.
“When I plugged in the EH-185 I expected to hear something reminiscent of Charlie Christian’s smooth, clean tone. But what I got was meatier—closer to what I associate with P-90s: warm and midrange-y.”
The first page of Gibson’s “Electrical Instruments” section in the 1939 catalog features a glowing, full-page write-up of their top-of-the-line lap steel: the EH-185. “Everything about this new electric Hawaiian Guitar smacks of good showmanship,” effuses the copy. “It has smoothness, great sustaining power, and an easy flow of tone that builds up strongly and does not die out.”
Picking up the 1940 EH-185 at Fanny’s House of Music is about as close as one can get to traveling back in time to try a new one. It is just so clean, with barely any dings or even finish checking. Overall, this is a 9/10 piece, and it’s a joy to behold. Speaking of picking it up, the first thing you notice when you lift the EH-185 out of the case is its weight. This is a much heavier instrument than other similar-sized lap steels, owing to a length of thick metal between the body and the fretboard. The catalog calls it “Hyblum metal,” which may be a flowery trade name for an early aluminum alloy.
This 1940 EH-185 is heavier than other lap steels in its class, thanks to a length of metal between its fretboard and body.
Photo by Madison Thorn
There are numerous other fancy appointments on the EH-185 that Gibson didn’t offer on their lesser models. It’s made of highly figured maple, with diamond-shaped decorations on the back of the body and neck. The double binding is nearly a centimeter thick and gives the instrument a luxurious, expensive look.
Behind all these high-end attributes is a great-sounding guitar, thanks to that old pickup. It’s got three blades protruding through the bobbin for the unwound strings and one longer blade for the wound strings. When I plugged in the EH-185 I expected to hear something reminiscent of Charlie Christian’s smooth, clean tone. But what I got was meatier—closer to what I associate with P-90s: warm and midrange-y. It was just crying out for a little crunch and a bluesy touch. It’s kind of cool how such a pristine, high-end vintage instrument can be so well-suited for a sound that’s rough around the edges.
As far as electric guitars go, it doesn’t get much more vintage than this 1940 Gibson EH-185 Lap Steel. It reminds us of where the story of the electric guitar truly began. This EH-185 isn’t just a relic—it’s a testament to when the future of music was unfolding in real time. Plug it in, and you become part of the revolution.
Sources: Smithsonian, Vintage Guitar, Mozart Project, Gibson Pre-War, WIRED, Steel Guitar Forum, Vintaxe
J Mascis is well known for his legendary feats of volume.
J Mascis is well known for his legendary feats of volume. Just check out a photo of his rig to see an intimidating wall of amps pointed directly at the Dinosaur Jr. leader’s head. And though his loudness permeates all that he does and has helped cement his reputation, there’s a lot more to his playing.
On this episode of 100 Guitarists, we’re looking at each phase of the trio’s long career. How many pedals does J use to get his sound? What’s his best documented use of a flanger? How does his version of “Maggot Brain” (recorded with bassist Mike Watt) compare to Eddie Hazel’s? And were you as surprised as we were when Fender released a J Mascis signature Tele?