Perhaps this might help: Before you decide on an interface, think about what kind of recording you’ll be doing. E.g; guitars, vocals, bass, keys, etc. For example, if you record vocals and guitar simultaneously, you’ll need two channels of simultaneous recording, which any interface can handle. The question is how you wish to record guitar; direct, or with a mic. If you want to mic both yourself and guitar, you’ll need 2 XLR inputs with phantom power available for condenser mics. If you go direct with the guitar, then an instrument DI on one channel will work.

If you’re recording a stereo keyboard and vocals simultaneously, you’ll need at least two line level inputs plus an XLR in. That means that you’ll need an interface with at least one stereo channel and one mono channel, or three separate mono channels (actually a 4-channel unit). Just because a unit says it has two instrument DIs and two XLR ins does not mean you are home free. If it’s a 2-channel unit, you’ll probably have to choose between XLR or 1/4″. Besides, you’ll want channel separation, so a 4-channel unit (not 4-input) is what you’ll need. Of course, this is only an issue if you want to record more than one thing at a time. The important distinction between number of simultaneous inputs and number of channels is how many discreet tracks you can record at once. E.g.: A 4-simultaneous input, 2-channel interface means that all four inputs wind up on two tracks, so, for example, your guitar will also be on your vocal track. This makes signal processing and mixing a problem.

Here’s where things can get dicey: Preamps. Most preamps on 2-channel interfaces don’t have a lot of gain, which means that you won’t get enough level if you use a low-sensitivity dynamic mic such as a Shure SM7B. Even the SM57 and 58 put out a fairly low voltage, so you’ll need to look at the specs to see how much gain the onboard preamps have.

If you can afford it, I would suggest the Apogee Duet. You’ll get converters that are used to make records, excellent, transparent preamps with 75dB of gain (which means you can use ribbon mics) and selectable phantom power. There’s also two instrument DIs. Keep in mind that in order to offer Apogee sound quality at such a low price (in relation to their other gear) there are some workarounds, such as breakout cables for connecting instruments and mics, as well as some extra button pushing to get through channel and output control. A minor trade-off if you’re going for sound quality and reliability. Also, it does play well with Logic and Garageband. As an aside, the breakout cables shouldn’t be an issue if you leave your mics and/or and instrument connected at all times (just place a sock or something similar over your mics to protect them from dust). The advantage of staying connected means you’re always ready to record. If you need to change instruments, it just means keeping the breakout connectors where you can get to them easily (extension cables are one solution). Again, if you can afford it, and don’t anticipate your I/O needs changing, this is the unit to go with.

Another option:

I recently tested the tc electronic Konnekt 6, which did sound quite good and offered some very well thought-out professional features. It also has a 12dB gain boost for low-sensitivity mics, and the preamps sound quite good. The I/O is pretty much what you’re looking for, plus you’re getting tc electronic reverb, which is also quite good. Another nice feature is that it has a button that pulls up or hides the software control panel, which is quite convenient when recording and changing settings. Ergonomically, the unit is very well thought out, plus, if your needs change and you’d like to add more I/O, all tc electronic interfaces share can work as expansion units and all share the same converters and preamps. Keep However, and this is a big however, it did start to act buggy with Logic 7 in terms of clocking issues at 96kHZ. Of course, this may be due to the fact that I have a lot of different systems loaded into my Mac for testing purposes. Conflicts can arise. What I would suggest is that you try the Konnekt 6 but make sure you can return it (return policies change on computer recording gear. For example, software alone is not returnable but hardware is — just double check to be sure that the Konnekt 6 is covered by the full 45-day return policy.)

If sound quality is what you’re after, you won’t be disappointed with either.

I suggest these because both Apogee and TC equipment are used at the highest levels of recording — so you’re getting technology derived from high-end equipment. But remember, these are still in the budget realm and not the same as buying their high-end equipment. The advantage is that the thinking that has gone into them is done by those who make professional equipment, not hobbyist gear. Plus, they have a reputation to uphold.

As far as hobby gear is concerned, I’d go with the PreSonus Inspire 1394. Again, gain might be an issue depending on the mics you’re using, but PreSonus gear sounds pretty good, it gives you four simultaneous inputs (two mono and one stereo channel, or two stereo channels) with XLR and instrument inputs, and if your I/O needs change, you daisy chain up to four of them for 16 simultaneous inputs.

Okay, getting late, gotta go. Hope this helps.

-B-

To begin the debunking process, different types of I/O will not be lumped together as an overall channel or input count. Stereo S/PDIF, TDIF, or AES will not be counted as two inputs or two channels, but a single stereo channel, and the number of actual simultaneous channels (not “up to”) that can be recorded and played back will be listed at various sample rates.

I’ll also do my best to debunk marketing-speak that implies more than what the unit actually has to offer. Basically, I’ll try my best to present specs and features on a “what they actually built is what you get” basis.

Please let me know what information you’d like to see (post in comments field) and what brands you’d like me to start with. For now, I’ll go alphabetically and begin with Alesis. Your input will be vital in terms of helping me to help you select the right interface and solve this dilemma once and for all.

-B-

I’d also like to give some props to Barry for coming on and trying to clarify the issue. Maybe Musician’s Friend needs a” Live Chat With Barry” button!

Anyhow, I’ll be going to the introductions to officially say hi to everyone, but in the meantime…

Hi!

-Rich

I may be reading it wrong, but either way, you got a point on the rant. But a spin on this is if companies make a true “home studio in a box” with every type of preset known to man, that puts a lot of hard-working/studying engineers out of business. The challenge to go and learn a few things before expecting a Nickelback-quality recording can be a good thing.

Presets don’t work, but assuming that they did, I see absolutely no correlation between audio interface manufacturers being up front and honest and about the specs and features in their audio interface and getting some kind of audio hand out.

I think that’s my point. I’ve got my hands tied doing so many things to improve the quality of the recordings coming out of my place that I don’t have time to dig and dig and dig to investigate the most important features.

Brandon

I think some of it is getting better. I was pleasantly surprised to see M-Audio’s NRV10 properly described as an 8×2 analog mixer and 10×10 software assisted interface.

The worst one I’ve seen so far is the A&H Zed-14. It’s USB equipped, but I had to read in a review, that the USB only carries the buses. Not individual inputs. I couldn’t find that ANYWHERE on their website, not even pdfs and white papers.