What audio interfaces are you using?

[ChrisA]

Behringer is just a single company now owned by the Chinese "Music Tribe" company. It started a long, long time ago in Germany but that version of things is long gone.

Music Tribe - Wikipedia

en.wikipedia.org

I had a small mixer of theirs about 20 years ago and it developed noisy potentiometers within two or three years…not to mention that the preamps were terrible sounding. I didn't really know anything about the company but I swore off their stuff after that. You won't see an issue like that in a one month testing time period.

I think the preamps are probably the most important thing on these interfaces assuming that nothing on a particular unit is going to fail.

Same with me. I bought a Behringer mixer, and the pots and preamps were noisy. The thing was unusable for recording. I bought it at Guitar Center and told the returns guy I was returning it for the above reasons. He said. "These are OK for live performance because there is already so much noise in a live environment no one notices. He told me that if I wanted to record, I bought the wrong brand and my unit was not broken, they are just like that and I'd have to spend about tripple what I paid to get what I needed. Of course they took it back for a refund

After that I learned the importent thing is how it sounds, not ther knobs and features or even the price. Buy the one with the best sound.

Good microphone preamps are the most important thing to look for in an audio interface. Buy Focusrite and be done with it.

 

[MajorFubar]

Good microphone preamps are the most important thing to look for in an audio interface. Buy Focusrite and be done with it.

To be fair you can buy a Focusrite and it will service you fine. It's a safe option. Like buying a Toyota. However just for the benefit of any people new to this...other quality options exist. From the perspective that I don't like to just follow the crowd blindly, I bought a Focusrite 4i4 gen 4 and - a bit left field - a Muto M4, both from Amazon so I could return one without quibble. The preamps, ADCs and DACs in the Muto absolutely demolished the Focusrite. It wasn't even close. And on top of that the M4 has proper input and output level meters on the front not silly tricolor LEDs around the knobs, plus individually-switchable 48V in case you're using both a condenser and a dynamic/ribbon at the same time and you don't want to blow the latter up. It also has a loopback function built in, useful for anyone recording audio-tutorials live.

EDIT just to be clear, I'm definitely not here to rubbish Focusrite. Their reputation of producing the de-facto product that home recordists can just buy and get good results from is well-deserved, albeit founded on them being smart enough to be one of the first major players to throw affordable but high-performing products at the fledgling 'bedroom-producer' market, so their name is indelibly associated with it. But it's 2025 and other quality options do definitely exist, for those who want to do their own thinking rather than pick the default option.

TLDR Focusrite are no longer the only high-class candy bar in the candy store

 

[bassjunky]

Just for anyone curious, finally decided on a 2nd gen. Focusrite 18i20. Got a good deal off Ebay, should be here in a few days. I'm stoked!

 

[olavsu1]

TLDR Focusrite are no longer the only high-class candy bar in the candy store

Yes.
Focusrite 8i6 is better than Behringer, but falls short of my old M-Audio Firewire 410 (it was 7.1 surround )

 

[bassjunky]

Yes.
Focusrite 8i6 is better than Behringer, but falls short of my old M-Audio Firewire 410 (it was 7.1 surround )

I wish I could've kept my Lexicon FW interface running on my new M4 mini. Unfortunately, Firewire is pretty much dead.

 

[olavsu1]

Firewire is pretty much dead.

Firewire is not dead. It's just that manufacturers of desktop PC like products, based on laptop mobos, don't put them to device I/O patchbay.

I've heard that some people create these FW slots for their mac minis by connecting several transitions in series and getting their gadgets to work.

A completely separate topic is the drivers, will they work......

 

[txa1265]

I just grabbed the MOTU M2 (from Sweetwater of course) for my home studio ... for so long was just a MIDI studio, then moved to software instruments, recording my guitar & bass only rarely and through single point interface or more recently through USB from amp.

Now that I've built out the guitar & bass setups and resurrected my old K2000R sound module, time to break out my little Mackie mixer and route the outputs into the M2. Excited to get going!

 

[olavsu1]

I tried the rear inputs on my Scarlett 8i6. These inputs have fixed gain, which is very low, so ART DJ Pre II it's not worth letting the signal in there. If I turn the preamplifier gain to maximum, it still sounds too quiet.
//Behringer didn't have such a feature....

 

[MajorFubar]

Totally random guess but maybe those are line inputs. On my Motu, the rear inputs are line inputs, with a fixed gain overloading at 6V equating to +18dBU. With quieter sources I have to increase the level in post, but the noise floor is below -100dB if I capture at 24bit so it's not an issue.

 

[olavsu1]

Yes these are line inputs. And the problem is caused by the different attitude of different classes of devices to the line level. That ART amplifier then has a consumer level audio output. but focurite needs professional line level signal...

Line level - Wikipedia

en.wikipedia.org

 

[MajorFubar]

You'll need to increase the level in post-capture. According to its specifications, the output from the ART DJ Pre II is +6dBU, but that massively depends on the output level from your turntable cartridge, and the modulation level of the vinyl records. Not all cartridges have the same max output in millivolts, and not all records are modulated to the same level. Records with a longer playing time, for example, are by necessity, quieter than records with a shorter playing time.

Even at its maximum of +6dBU, you would still need to increase the level post-capture. However the roar from vinyl records is never better than 65dB less than the absolute loudest modulation level on the quietest vinyl known to man, so you should have lots of room to increase the level post-capture without hearing the noise-floor of your interface.

 

[Avatar74]

To be fair you can buy a Focusrite and it will service you fine. It's a safe option. Like buying a Toyota. However just for the benefit of any people new to this...other quality options exist. From the perspective that I don't like to just follow the crowd blindly, I bought a Focusrite 4i4 gen 4 and - a bit left field - a Muto M4, both from Amazon so I could return one without quibble. The preamps, ADCs and DACs in the Muto absolutely demolished the Focusrite. It wasn't even close. And on top of that the M4 has proper input and output level meters on the front not silly tricolor LEDs around the knobs, plus individually-switchable 48V in case you're using both a condenser and a dynamic/ribbon at the same time and you don't want to blow the latter up. It also has a loopback function built in, useful for anyone recording audio-tutorials live.

EDIT just to be clear, I'm definitely not here to rubbish Focusrite. Their reputation of producing the de-facto product that home recordists can just buy and get good results from is well-deserved, albeit founded on them being smart enough to be one of the first major players to throw affordable but high-performing products at the fledgling 'bedroom-producer' market, so their name is indelibly associated with it. But it's 2025 and other quality options do definitely exist, for those who want to do their own thinking rather than pick the default option.

TLDR Focusrite are no longer the only high-class candy bar in the candy store

I know you're not crapping on Focusrite per se, but I do want to add that there are differences between Focusrite pres. The 18i20 uses the same analog pres found in the RED and Clarett, descended from the legendary ISA110 preamp (the mic pre that set the standard).

The smaller Focusrite interfaces do not use the higher grade pres. What's more is that you have to go up past the 4i4 to get clean power... USB powered interfaces are susceptible to ground loop hum. Now there are better dedicated instrument pres like the RME Fireface, but now you're getting into the price range of the RED and REDNET interfaces with Dante connectivity.

 

[Fishrrman]

Mac OS26 (Tahoe) is supposedly going to drop "support" for firewire.

Wonder how this is going to affect the studio and home audio guys with firewire-based interfaces...?

Will they become unusable?
Or... will there be "workarounds"...?

 

[MajorFubar]

It's a good question. I would imagine many studios are still using firewire interfaces from the perspective that they're not in the kind of business where they routinely repurchase a ton of hardware every time some computer mfr decides they're obsoleting a socket. That said, Dante is becoming a standard now and is scalable.

 

[olavsu1]

It's a good question. I would imagine many studios are still using firewire interfaces from the perspective that they're not in the kind of business where they routinely repurchase a ton of hardware every time some computer mfr decides they're obsoleting a socket. That said, Dante is becoming a standard now and is scalable.

If they are protoolers, it would be good for them to move to freeBSD.

 

[D*I*S_Frontman]

SSL 12 is a decent value: 4 inputs + ADAT lightpipe expansion if you need to add more later, two separate headphone mix outputs, and the SSL stuff passes the Julian Krause muster for audio quality.

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[NSH111]

The Solid State Logic SSL 2+ has by far been the best interface I have tried. The sound quality matches that of the pro studios I used to record in while attending college in Chicago. It doesn't add anything extra to the sound: great sound floor, super clean and just makes my recordings feel polished before EQ and other plugins. It is the first interface I have used that makes me choosey about processing the recording: now I'm thinking about what each plugin is doing to the signal, because I don't want to add any distortion I don't need and I want to preserve the clean feel that it brings. Now I am using plugins to enhance the sound, not to try fixing the recording. For vocals it just creates a natural smooth 'warmth' we have come to expect from pro audio.

 

[loby]

It's a good question. I would imagine many studios are still using firewire interfaces from the perspective that they're not in the kind of business where they routinely repurchase a ton of hardware every time some computer mfr decides they're obsoleting a socket. That said, Dante is becoming a standard now and is scalable.

Studio's don't upgrade just because something new comes out. The mentality is "if it a'int broke, don't fix it".

My guess (and a little experience) is that those who are still using firewire are using old gear that does not work past the 64-bit only architecture (I am talking about multitrack gear and not just home 4-port XLR mic inputs boxes or non-pro stuff). There is no need to update, because if you do...there are headaches because not only do you (let's say) buy a new Mac, but there is always having to update your gear to accommodate the new, even though the old may still work technically.

I have an Alesis MasterControl that uses firewire and I do not want to get rid of it as it is still in excellent condition. the last Drivers that came out for it are for Mountain Lion, but got it to work up to macOS Sierra. So...I use a iMac or Mac mini 2012 with it. If we continue to use firewire, we have to keep the old reliable Macs working or buy completely new gear which costs more than just having a little faster Mac. Bragging rights does not happen in the Music industry because of what gear you have, but what music you produce.

Also, adding new gear in older workflows ALWAYS causes issues and time is money. Can't afford to be down trying to figure out issues or resolve gear conflicts. If it works, no need to touch unless you have too. We want to focus on creativity and making music and not messing with the gear.

Though I understand that tech moves on, there are still good gear, hard drives and other that are firewire based and still usable. Though there are adapters, there is no firewire to USB-C adapter that I know of.

Apple probably is aware that many to few are using firewire with their newer OS's, so they see no need to continue support. Plus, they probably are also aware that most manufacturers are not making drivers per yearly OS, so that is also considered in their decisions.

 

[Certificate of Excellence]

Im in a similar boat. I still use a Presonus Firepod FP10 that Ive had for probably 15 years now through a Macpro 1,1 for multi live instrument recording and for my PowerPC macs I use Presonus Firebox - all FW400/800 driven. At the time I did not think about future proofing these FW units with adapters and even at that, Apple removed FW support in Ventura anyways, so unlikely things would work as they should and I am not going to fork over the $$ now to find out lol. I do also have a Presonus Audiobox that is USB driven and with a usb A to C adapter works fine with my current M2 macbookpro. It only has two inputs as my needs are less for what Im doing nowadays + very portable.

A Presonus Studio 1824c might be a nice scalable solution at around 300-500 USD per unit. It is a rack device so still technically I guess "portable" in the right SKB case or equivalent but maybe not ideal. If you want to stay with the mixer foot print which might be more to your tastes as a portable AOI solution, a StudoLive AR12c coud fit the bill and give you 14 tracks under $500. Looking at those, that takes me back to my mid 90s garage band days recording punk tracks into a Tascam 488 lol.

Best of luck to you

 

[loby]

Im in a similar boat. I still use a Presonus Firepod FP10 that Ive had for probably 15 years now through a Macpro 1,1 for multi live instrument recording and for my PowerPC macs I use Presonus Firebox - all FW400/800 driven. At the time I did not think about future proofing these FW units with adapters and even at that, Apple removed FW support in Ventura anyways, so unlikely things would work as they should and I am not going to fork over the $$ now to find out lol. I do also have a Presonus Audiobox that is USB driven and with a usb A to C adapter works fine with my current M2 macbookpro. It only has two inputs as my needs are less for what Im doing nowadays + very portable.

A Presonus Studio 1824c might be a nice scalable solution at around 300-500 USD per unit. It is a rack device so still technically I guess "portable" in the right SKB case or equivalent but maybe not ideal. If you want to stay with the mixer foot print which might be more to your tastes as a portable AOI solution, a StudoLive AR12c coud fit the bill and give you 14 tracks under $500. Looking at those, that takes me back to my mid 90s garage band days recording punk tracks into a Tascam 488 lol.

Best of luck to you

I too am in the same boat:

I had a TASCAM 688 in the 90’a and a PortaOne in the 80’s. Those were the days.. LOL. Great gear back in the day.

Have an Alesis MasterControl FireWire with Apple thunderbolt adapter (still) and use on occasion (15 years and don’t want to give it up), but only works to macOS Sierra. Best out of the bunch besides my the TASCAM PortaOne in the day.

Current: (modern setup)

Have an M-Audio M-Track Eight (rack), PreSonus Go and 24C for portables while using them with a Studio One Faderport Eight - all USB. Don’t like much the Studio One compared to the MasterControl…but…no choice if you want physical knobs and sliders now-a-days.

Needs now are less too. The issue is ports and tech change and drivers are not updated, so you have to spend to continue while perfectly good gear remains. Either become door stops or landfill. What can be done…

I feel now another shift coming with macOS Tahoe and beyond with gear not working again even though it technically should. Oh well, nothing we can do..

 

[Certificate of Excellence]

For me, it was a conscious choice to keep using what I own and works perfectly fine and put the money I would otherwise spend on a new setup somewhere else. I’m very familiar & comfortable with the rig at this point. It serves my needs having become a seamless part of my creativity/workflow, captures great audio & I own it so why buy something new and effectively start over? What would new macOS or hardware bring (other than problems lol) that would be so earth shattering to necessitate spending thousands on a new setup which would just be a headache & take away from making music. lt didn’t add up for me anyways. Im not fixing what isn’t broken lol. Not falling into that trap.

 

[MajorFubar]

For me, it was a conscious choice to keep using what I own and works perfectly fine and put the money I would otherwise spend on a new setup somewhere else. I’m very familiar & comfortable with the rig at this point. It serves my needs having become a seamless part of my creativity/workflow, captures great audio & I own it so why buy something new and effectively start over? What would new macOS or hardware bring (other than problems lol) that would be so earth shattering to necessitate spending thousands on a new setup which would just be a headache & take away from making music. lt didn’t add up for me anyways. Im not fixing what isn’t broken lol. Not falling into that trap.

That kind of talk will have you struck off Uncle Tim's christmas card list for sure. He doesn't want you to be happy with old tech, and if he finds some way of closing a loophole to force you off it, you bet it will be happening. lol

 

[bassjunky]

For me, it was a conscious choice to keep using what I own and works perfectly fine and put the money I would otherwise spend on a new setup somewhere else.

This really makes me want to bust out my old Roland VS-1680. I recorded so much stuff on that thing for years, and now appreciate an all-in-one DAW, not reliant on a computer at all. Good times!

 

[MajorFubar]

Best time of my life [music-creation wise] was 35 years ago when the entirety of my studio kit was a Technics K700 workstation keyboard and an Akai 4000DB R2R recorder. Anyone under 40 would laugh at how limiting that was. But I had some of my absolute best days making music with it and finding hacks to get sounds out of the machine outside of its basic specifications. The gear I now own is immeasurably better. Absolutely off the scale. Does old me get more fun out of it? No.

 

[loby]

Best time of my life [music-creation wise] was 35 years ago when the entirety of my studio kit was a Technics K700 workstation keyboard and an Akai 4000DB R2R recorder. Anyone under 40 would laugh at how limiting that was. But I had some of my absolute best days making music with it and finding hacks to get sounds out of the machine outside of its basic specifications. The gear I now own is immeasurably better. Absolutely off the scale. Does old me get more fun out of it? No.

Totally feel it...

I currently have gear that I would have died for back in the day....

But...nothing like my old TASCAM PortaONE 4 track recording my band...

I guess everything was new and exciting, as we could not do anything outside of a professional studio, but once we had the opportunity to do it at home...that was fun trying to get pro recordings and sound from toys..

Fun days indeed.