These easy-plug-and-play boxes from Focusrite, PreSonus, IK Multimedia, TASCAM, and Audient offer a lot of recording power—and a variety of options—at affordable prices.
From a guitarist’s perspective, an audio interface is the box that lets you easily record studio-like tones on your laptop or desktop computer. Essentially, interfaces provide the inputs and outputs you need to do this efficiently, help you record at a higher bit rate to achieve a richer sound, and allow you to adjust gain to achieve the tones you desire.
There are a lot of guitar-friendly audio interfaces out there, so let’s take a look at five of the friendliest and most affordable. All offer high-quality preamps and come with software that includes recording and mixing capabilities. They all sound good, but a few have special sauce—more flexibility, more functions, a more solid build. They’re all easy to set up, have headphone outs, and are bus-powered, which means they get juice from the USB port they’re plugged into—although a power adapter may be required when using an iPad. All of these interfaces provide easy, album-quality recording ability for low dough.
Focusrite Scarlett 2i2
Focusrite Scarlett 2i2 4th Generation.
This fourth generation version of the company’s tried and true interface has been beefed up for guitar, with Auto Gain to optimize recording levels, and Clip Safe, which adjusts gain levels (the overall gain range is a whopping 69 dB) in danger of clipping, plus dynamic gain halos that make it easy to see if you’re overloading the signal. Otherwise, this popular, low-latency device in an anodized aluminum enclosure still has two inputs and outputs, and two mic preamps. It also comes with a free expansion bundle that provides amp plugins (including a killer Silver Jubilee), a reverb plugin modeled on the Hit Factory’s ’verb, plus compression, a synth, a console, and other handy virtual devices. But my favorite feature is the new Air button. Without the Air feature engaged, the preamps sound clean and clear, with loads of headroom. Push the Air button once and you get more high frequencies—it sounds like recording through a high-fidelity console. Push the Air button again and the midrange frequencies are boosted for thick, muscular electric guitar sounds. The 2i2 bundle also includes a three-month Pro Tools Artist subscription and Ableton Live Lite, to get you started.
$199 street, focusrite.com
PreSonus AudioBox USB96 25th Anniversary
PreSonus AudioBox USB96 25th Anniversary.
The latest iteration of the company’s popular AudioBox interface has two ins and outs, and mic preamps—with a 35 dB range—that have an excellent reputation for delivering pristine audio signal. Low latency means you can listen without a hitch as you layer over tracks you’ve already recorded. The steel-chassis box comes with Studio One DAW software, used by a lot of pro recording engineers. The software bundle also includes an extensive collection of plugins, along with the Capture Duo iPad App, which allows easier recording and mixing on an iPad.
$99 street, presonus.com
IK Multimedia iRig HD X
IK Multimedia iRig HD X.
If you’re looking for extreme portability, the pocket-sized HD X might be your jam. It has the same 24-bit/96kHz A/D conversion rate as all these units, and seems designed for quick-and-dirty tracking with an iPhone or iPad. The preamp is instrument-only—no microphones—and it’s got amp and headphone outs, all mono-only. AmpliTube 5SE is included for amp emulations, and TONEX SE, with lots of outboard-gear-modeling options, is also part of the package. Plus, the Loopback+ virtual effects loop brings even more value to this tiny titan.
$129 street, ikmultimedia.com
TASCAM US-2x2HR
TASCAM US-2x2HR.
The big difference with this two-in/two-out interface is its MIDI ins and outs for studio controllers. And while it has a solid build and sturdy controls for gain, ins, and outs, it also comes with Steinberg’s Cubase SE to get you up and tracking, plus the SampleTrack sound and groove workstation.
$129 street, tascam.com
Audient iD4 MkII
Audient iD4 MkII.
This device uses the same discrete class-A preamp that’s in the company’s recording consoles on its channel 1—good for any mics. A separate JFET input handles guitars and other high impedance instruments. The all-metal box has quarter-inch and eighth-inch headphone outs, and you can pan playback and recording tracks, to better hear what you’re cutting. The software bundle is the ARC suite, which provides virtual instruments, cab sims, plugin effects, and Steinberg’s Cubase/Cubasis LE3 for desktop and mobile DAWs.
$199 street, audient.com
A single-knob OD that ranges from pretty clean to pretty mean.
Cheap, easy, and offers a wide range of drive.
Limited by nature.
$109
October Audio NVMBR Gain
octoberaudio.com
Usually when I get the finger, it‘s nowhere near as much fun as October Audio’s NVMBR Gain. With just one dial and a graphic of a witch’s severed digit on top, the NVMBR Gain does a lot.
Snap it on with the knob all the way left, and it works as a 5 dB line boost—good to keep your amp or downstream effects sounding louder but clear. Turn it toward noon, and the output slowly increases. The company says the left side of the dial is a clean boost, but to my ears there’s subtle compression and a mid-forward attitude that TS fans should dig as much as I did. At 12 o’clock—where the pedal’s character really starts to change—I got hair and airy sparkle that, with my PRS SE Silver Sky’s single-coils, sounded like Hughie Thomasson’s opening riffs in the Outlaws classic “Green Grass and High Tides.”
The right side is this little monster’s other, nastier head. From noon to floored, it unleashes a soft-clipping-style overdrive that goes from perfect for gritty controlled blues to gnashing. If Syd’s “Interstellar Overdrive” tone is your thing, all the way right is where you’ll find it. But after, say, 3 o’clock the clipping accelerates exponentially, so abandon hope of much subtlety if you venture there. I could easily see this mere 3.63" x 1.5" x 1.88" stomp replacing another drive or two, to free up pedalboard space. And at $109, it offers a lot of functionality at a bargain tag.
If you’ve ever wanted to make your mixes sound more like the Fab Four’s, you can use this guide to do just that.
We’re huge, and I mean H-U-G-E, Beatles fans here at Blackbird (you can guess where the studio’s name comes from). And for this column, I’d like to give you some ways you can add some old-school Beatles sound to your mixes. Tighten up those belts, the Dojo is now open.
The Beatles’ recording process has been well-documented—instruments, mics, locations within the various studios, outboard gear, consoles used during the tracking and mixing process, etc. Recently, I had a Blackbird Academy student ask me how he could get more of a Beatles “vibe” while mixing his recent recording session. In the not-too-distant past, the best solution was to go to Abbey Road Studios. But now, today’s technology can get really impressive results with plugins that model the timbre and behavior of the original vintage outboard gear.
Original Recipe
On February 11, 1963, the Beatles recorded their first album. The 10 songs they recorded that day would be combined with their first singles to make up the U.K. LP Please Please Me. After you take into account the individual touch and feel that the Fab Four brought to their instruments—which I strongly believe is the biggest contributor to their sound—the remaining factors consist of the room acoustics (in Abbey Road Studio 2) and all the recording gear.
Just like the classic Coke flavor, the early 1963 recordings of the Beatles had a specific engineering recipe with a signal chain that was initially and most notably developed by Malcolm Addey and Norman Smith (Beatles aficionados will note that the legendary Geoff Emerick didn’t come on board until Revolver)—specifically, four pieces of outboard gear. The EMI-designed REDD.37 four-track mixing desk, the EMI RS114 limiter (a favorite of Smith’s), and two American compressors: the Altec 436B, which was so heavily modified by EMI it became the RS124, and the holy grail mono Fairchild 660.
The good news is that most of this gear has been faithfully modeled and recreated as plugins! Checkout Waves’ Abbey Road collection ($229 street) and Universal Audio’s Fairchild Tube Limiter Collection ($89 street). Chandler Limited has faithfully recreated the RS124 ($2,995 street) as well as other legendary EMI/Abbey Road gear for those who may want the analog experience.
Just like the classic Coke flavor, the early 1963 recordings of the Beatles had a specific engineering recipe.
The Process
During these early recording sessions, the REDD.37 desk’s four-track inputs were typically arranged in a consistent way. Track 1 was dedicated to the rhythm section with the Altec/RS124 compressing lightly. Track 2 was dedicated to rhythm instruments (acoustic and electric guitars) and compressed with the RS124 while tracks 3 and 4 were reserved for vocals and individually compressed with the Fairchild 660. Any bounced mixes (i.e. recording tracks 1–3 onto track 4 to free up the previous tracks and allow for additional recording) would also be processed through the RS124s. These compressors were also involved in mixing, mastering, and lathe cutting rooms at Abbey Road as well.
Your Turn
Let’s emulate this approach on a mix by taking a similar approach. Open one of your multi-track sessions on your DAW. Route all your drums, loops, and percussion outputs to a new aux bus and label it “Rhythm Section.” Place an RS124 on this bus and put your recovery on the fast side and try for around 3–10 dB of compression. Use your ears for this and don’t be afraid to go too far and then back off until it feels just right.
Repeat the process for all of your keys and guitars—route their outputs to a new aux bus labeled “KYZ-GTRS,” use an RS124 on this bus, another RS124 set for medium to slow release, and perhaps around 3–5 dB of compression for starters.
Create two other aux busses for your BGVs (background vocals or solos, or both) and one for your lead vocal (or main melodic instrument if there are no vocals). Use a Fairchild compressor for each of these busses. Set the time constant to position 2, and adjust the threshold until you get 2–5 dB of compression. At this point, you’ve reduced your mix to four main elements that you can control and automate as you see fit with broad use of specialized compression targeted for specific elements of your mix.
Finally, add a stereo version of an RS124 or use a Fairchild 670 (also stereo) on your main stereo bus as well as the REDD.37 mixing desk, and listen to the differences. Be sure to play around various subtle degrees of compression levels and reduction, and check out the drive knob on the REDD desks.
Until next time, namaste.