“Our AI isn’t trained on other people’s catalogues”: AI-powered “meta-composition” software DAACI places the human at the centre of music-makingAmong the dozens of AI-powered music composition softwares that have emerged in recent years, here’s one that promises to put human creativity back at the centre of music-making.

READ MORE: The best audio interfaces to buy in 2023: 10 best interfaces under $250

The software in question is DAACI, a music composition tool that sets itself apart from traditional generative AI models.
As CEO Rachel Lyske tells MusicRadar, “One of the major innovations with DAACI is that it isn’t just a generative AI that ingests loads of pre-existing music and puts out its idea of what that sounds like.”
Instead, the Abbey Road-backed team is made up of composers and musicians who respect the creative process and the rights of artists. She says that unlike most of the other systems that aim to produce full music tracks based on minimal user input – like a few seconds of music or a set of keywords like ‘happy’ and ‘classical’ – DAACI writes musical elements and textures directly by encoding musical ideas.
“Traditionally, composers have had to compose by inputting specific note choices in a DAW, which puts all kinds of limitations on their creative process. With DAACI composers still compose by encoding their musical choices, or ‘meta-composing’, allowing the AI to compose for them on the edge.”
“Our AI isn’t trained on other people’s catalogues,” Lyske explains. “Most of these systems rely on deep learning methods trained on large existing collections or, alternatively, play ‘musical Tetris’ with pre-composed loops or static elements. This takes human creativity almost fully out of the loop, and it’s actually ethically questionable.”
By contrast, “DAACI doesn’t rely on pre-recorded tracks or edited audio samples.” It “composes, arranges, orchestrates and produces music with authentic and high-quality output”.
Additionally, the software also ensures that artists and composers receive fair compensation for their work.
“Whether you’re using those AC/DC-inspired guitar riffs or a funky drum pattern inspired by Chad Smith, DAACI can trace where every note comes from and will circulate the rights back to the original source of inspiration,” says the executive, emphasising the platform’s commitment to their message of ‘created by composers, for composers’.
The firm has plans to roll out its technology in various forms by the end of the year.
Learn more at DAACI.
The post “Our AI isn’t trained on other people’s catalogues”: AI-powered “meta-composition” software DAACI places the human at the centre of music-making appeared first on MusicTech.

How the vinyl industry weathered pandemic disruptions to emerge stronger than everCOVID-19 hit the vinyl industry as a perfect storm. Making a recording, even at the best of times, demands an intricate and specialised production process. The pandemic introduced shortages of key materials and skyrocketing manufacturing costs that pushed lead times for new vinyl pressings to as long as 12 months.

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Stores shuttered. Global shipping delays kept existing stock off shelves. And, as the disruptions of 2020 stretched into 2022, stakeholders across the industry were left with the uneasy but not unfamiliar feeling that maybe the medium of vinyl truly might not recover this time.
However, if there’s one thing we should have learned over the last few decades, it’s that vinyl doesn’t go down easy. In 2023, the industry has not only weathered the tempest but has seemingly emerged stronger than ever, thanks to a dramatic expansion of production capacity at existing facilities and new pressing plants opening up around the world.
“The current lead times are a lot healthier,” says Anouk Rijnders, project manager of Artone Studio in The Netherlands. “When you have a new album recorded, you don’t want to have to wait a year to get it released. A turnaround time of 12 weeks is much better for the industry.”
DeWolff at Record Industry. Image: Jaap Kroon
Similarly, while some local record stores were forced to close permanently, many more pivoted to online sales. It proved effective in connecting with customers during the lockdowns and pushing through the pandemic slump, says Larry Jaffee co-founder of the annual Making Vinyl conference and author of Record Store Day: The Most Improbable Comeback of the 21st Century.
“The latest sales numbers suggest that consumer demand for vinyl remains strong,” says Jaffee. “New brick-and-mortar outlets have opened on both sides of the Atlantic Ocean since life has returned to normalcy.”
Esher Vollebregt, manager for Record Store Day in the Netherlands, sees a similarly encouraging trend: “Stores are doing really well and not many locations had to shut down. The total number of shops in the Netherlands has remained very stable over the years and vinyl sales are still growing. Fun fact: of the five or six new stores that opened after the pandemic peak, two are run by young girls – 20-year-old Sophie from Artistic Records and 14-year-old Quinty from Q-Records.”
That young people are interested in retaining these local hubs is an important victory for the industry. While online sales may offer convenience for customers, and a financial lifeline for businesses, the unique role that physical record stores hold is hard to replace.
Record Industry vinyl pressing plant. Image: Jaap Kroon
From crate-digging culture to community connection, these spaces are about more than making a purchase. “Record stores are places to get in touch with new music in an accessible way,” says Vollegregt. “They are the main physical meeting point for vinyl enthusiasts and the vinyl culture.”
Record stores are essential in maintaining existing vinyl communities on a local level. But large-scale in-person events have emerged as the best way to excite the wider public and introduce younger generations to the medium.
Jeffrey Smith, VP of marketing at Discogs, says events like the upcoming Haarlem Vinyl Festival in the Netherlands are pivotal in sustaining the culture and growing connections within the diverse communities who celebrate the medium.
“These events provide a space for collectors, fans, artists, sellers, and historians to celebrate their shared passion for music and vinyl,” says Smith. “In essence, they are the beating heart of the vinyl community, igniting connections, nurturing growth, and preserving the enduring appeal of vinyl records for generations to come.”
Featuring an open-air record fair, live performances, listening sessions, and a conference program, Rijinders says multi-day events like the Haarlem Vinyl Festival function as a generational bridge – where people can not only celebrate the medium but exchange knowledge.
Vinyl against the sunlight in the Netherlands
“The great thing about an event like this is that many people, young and old, can get together,” she says. “They can hear new music, share collections and stories, but perhaps also learn things; how to set up their system or the history of classic albums.”
The importance of connecting vinyl to Millennial and Gen-Z demographics is hard to overstate. For the medium to continue its renewed relevance, passion has to be passed down to the next generation. Here, there are many promising signs.
“There’s no better example than Taylor Swift selling nearly one million units of Midnights,” says Jaffee. “Seven of the top 10 US best-selling albums on vinyl in 2022 were artists popular with Gen Z and millennials. That included Harry Styles, Olivia Rodrigo, Kendrick Lamar, and Tyler, the Creator.”
Moving forward, Jaffee says he hopes this trend continues, with labels increasing vinyl releases for current artists with big streaming numbers. However, he also sees opportunities to revisit older albums that missed out on a vinyl release.
“Albums from 1990s artists, released during the CD era’s heyday, are still not available on vinyl,” Jaffee points out. “Let’s not forget the first decade of the vinyl comeback was driven by baby boomers like me who missed spinning on a turntable the beloved albums of our collective youth.”
In a similar manner, Jaffee continues, vinyl releases of classic Gen X and Millennial anthems could drive future growth for the industry by offering an entry point for middle-aged listeners who want a more tangible connection to the albums they’ve loved for years.
Vinyl shot against backdrop in the Netherlands
There are plenty of positive signs and future opportunities for vinyl – but there are still challenges to overcome. Both Jaffee and Rijnders point to the recent surge in production capacity as having potentially negative consequences. “There’s actually too much capacity at the moment,” Rijnders says. “This might lead to lower prices and perhaps even a price war between the smaller pressing plants.”
“The industry appears to be a victim of its success,” agrees Jaffee. “Vinyl record manufacturers must not make the same mistake that CD replicators did in the 1990s and embark in a cutthroat price war to win new business because it’s not sustainable.”
The process of manufacturing vinyl is far from streamlined. There is currently only one company – based in Japan – producing the lacquer needed to make a ‘master’ disc for vinyl pressings. Such bottlenecks in the supply chain leave the industry vulnerable to future disruptions.
Similarly, the machinery needed by pressing plants grows increasingly rare and specialised and there is a growing need to update both the industry’s tools and its materials. “It’s all vintage equipment,” says Jaffee. “Speaking of which, the vinyl industry continues to – and needs to – do its part to help reduce its carbon footprint amid the global warming reality, by developing non-toxic materials that go into the actual composition of a record.”
Overcoming these hurdles offers benefits not only for collectors, store owners, and manufacturers, but for artists as well. Given how financially precarious streaming is for the majority of artists, a thriving vinyl industry may offer an essential alternative source of income.
DeWolff signing their vinyl jacket at Record Industry. Image: Jaap Kroon
“Musicians make far more money from sales of their records than they’ll ever see from streaming royalties,” says Jaffee. “This is even more true for those artists who take records on the road to sell at gigs. They will earn far more profit – as much as a 50 per cent margin per record – when compared to the royalty stake from traditional vinyl sales.”
At the same time, Jaffee acknowledges that vinyl pressing remains a costly proposition when dealing in smaller quantities – something that is likely to be prohibitive for smaller or independent artists.
Decades after its supposed demise, the story of vinyl is one of remarkable resilience. A cat with nine lives, a phoenix from the ashes, Bruce Willis in Die Hard – not one of them can match the staying power of the humble LP.
The entire catalogue of recorded music is readily available at bargain bin prices, and yet people still gravitate to vinyl because it offers something that digital streaming platforms have been unable to replicate.
The vibe of a listening bar, the sense of accomplishment that comes with finding a rare gem, the feeling of owning a music collection rather than renting it via subscription, the personal connections offered by stores and events – these are much-needed counterpoints to the increasingly abstract and passive listening experience offered online.
Vinyl is the musical medium that just won’t quit – and we, in turn, can’t quit vinyl.
The post How the vinyl industry weathered pandemic disruptions to emerge stronger than ever appeared first on MusicTech.

ADAM Audio’s A8H offers impressive inherent sound quality and DSP options galore£2349 per pair (street price)
ADAM Audio made a huge impact in the home, project and commercial studio world with its original A Series in 2006, the original A7 catching many off-guard with a surprising level of mid-range clarity that many studio monitors lack, plus an affordable price tag. X variants followed with re-designed ports and a wider range of driver sizes, but it wasn’t until late 2022 that the series enjoyed a major overhaul.

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Packed with a plethora of helpful DSP gadgetry, the latest A Series features redesigned low- and mid-range drivers featuring low levels of distortion, whilst at the same time retaining the signature sound of ADAM’s proprietary, X-ART ribbon tweeter. Naturally, it was the A7V we put to the test first when the new models were released, and we found the range of sound customisation options and pricing to be ultra impressive. When ADAM suggested we also take a look at the largest-woofer monitor in the same range, we snagged them straight away.
The A8H is a three-way, front-ported, midfield design sporting an 8-inch woofer, a 3½-inch mid driver plus an X-ART tweeter. Just like the A7Vs we already tested, there’s a wide range of options for getting the A8Hs to sound right in the user’s own listening environment, with the first layer of this being simple EQ customisation via push buttons on the rear panel.
ADAM Audio A8H (front)
Common applications here would be taming low-end if the monitors are close to walls, getting rid of low-mid humps caused by desktop placement, and tweaks to the high frequency range based on your preferred level of crispness. For both the wall-proximity and desk filter cuts, it’s a real advantage that there are two cut positions for each of these switches; many monitors only offer a single cut/notch option – a far blunter tool than the -2 and -4dB options on offer here.
Straight out of the box, we are able to use the rear panel EQ to carefully cut away some boundary bass build-up and the booming low-mid hump caused by our desk that usually results in a muddy mix coming across, all without excess thinning or scooping.
Sonic results are pretty spot-on straight away, with precise bass articulation, detailed yet silky-smooth highs, and compelling stereo imaging. Like other active monitors this size – and especially those with such extended high frequency capabilities – self noise is a slight issue. There’s more hiss evident up close than with our Genelecs, but it isn’t really going to trouble you at midfield distance, and is certainly less noticeable than with the Type 07 MK2s from related brand HEDD Audio that we reviewed in 2021.
ADAM Audio A8H (back)
Work remotely
For more detailed tweaking, the A Control desktop app interfaces with the speaker via a network-connected RJ45 port on the rear of each monitor. Within the app, a more complex, 6-band EQ is accessible, plus convenient extras like speaker muting and preset saving.
We’ve saved the best trick till last, however; the ability for the monitors to self-host SonarWorks’ SoundID Reference (room equalisation) calibration files. We’re big fans of SonarWorks’ ability to drag the most accurate and articulate sound of any half-decent monitor speaker or pair of headphones, but running on a host computer, you have to deal with latency, checking that you’re correctly routed to the Sonarworks audio driver, plus occasional interruptions when the software drops the licence or current preset.
A Control desktop app
With the ADAM A Series, you get a 60-day trial of SoundID Reference, during which time you can place and measure the monitors’ response from your listening sweet spot using a test microphone. Once the measurement process is complete the resultant calibration file – a complex, custom EQ profile – can be loaded directly into the monitor in A Control, without the penalty of additional latency. Really neat stuff, but it must be noted that you’ll have to buy Sonarworks if your trial runs out and you decide to move your speakers to a new room or position. It’s a big shame that there isn’t a more generous arrangement whereby ADAM owners could get, say, five free measurements/trials, or similar. Consequently, this extra cost may well need to be factored in when making a buying choice.
With the Sonarworks calibration enabled, the sound is simply stunning; we really enjoy putting the monitors through their paces with a more even, mid-forward voicing than before, as well as increased envelopment and clearer stereo separation of sources. It’s a testament to the voicing of the ADAMs that the EQ correction is rarely more than 3dB either way of the midpoint – far less than with our usual, Finnish-made monitors, and resulting in less of a compensatory level drop to leave headroom for the boosts.
Listen in

Pete Tong’s rework of the 90s anthem Seven Seconds reveals a tight kick, and high-mid bite on snare, although not too harsh. Dual lead vocals sit on top perfectly, not appearing to fight for space with the surrounding string section.
Hedonism from Skunk Anansie demonstrates transient kick, snare and tom detail that jumps out in a wholly satisfying way, whilst melodic bass lines sing through the texture. The layered, double-tracked distorted guitars happily co-exist in the stereo field, with the wah-heavy solo being pinpointed on the right-hand side.
Steely Dan’s I Got the News showcases multiple guitar and percussion and horns layers all in precise detail. This album can be a little too crisp on the ears and the ADAMs push the boundary of brightness here, but the keen transient response makes up for this. In response, we tweak our SoundID reference calibration to back-off the corrective boosts at the high extremes, so that part of the spectrum actually ends up being closer to the factory-set contour!

Weigh up the options
The A8H’s features stack up extremely favourably against competing three-way models. Both the HEDD Audio Type 20 MK2 and Neumann’s KH 310s are around £1000 more a pair and have fewer DSP capabilities (the HEDDs have smaller, 7-inch woofers to boot). Meanwhile, Dynaudio’s LYD 48s are less expensive per pair, but only have very simple filter dip switches with no fine tuning of level. Put simply, ADAM Audio has knocked it out of the park with the A8H.
Key features

3-way, front-ported studio monitors
8-inch woofer, 3½-inch mid driver and 1-inch X-ART tweeter
Switchable balanced (XLR) and unbalanced (RCA) inputs
Push-button EQ controls, including 2-position desktop filter
Level/gain fine control
Network control with detailed EQ options via the A Control app
Onboard Sonarworks integration (60-day trial provided for set-up)
Dimensions: 274 mm (height) x 382 mm (width) x 329 mm (depth)
Weight: 13.6 kg per monitor
Contact: adam-audio.com

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Hello to Ableton Live but by Avid 😎 called Pro Tools Sketch.
#musicproduction #Tools #DAW #Musicians #Producers

Is AI the future of music? This is Emergent Drums: an AI-powered drum sampler plug-in
Audialab, the parent company behind Emergent Drums, has developed a new plug-in that uses state-of-the-art Artificial Intelligence to generate unique samples constantly. The program works much like any traditional software or hardware-sampled beat machine, featuring a 16-pad layout – which is notably ideal for hooking up a USB drum pad controller. Essentially, when you load the […]
The post Is AI the future of music? This is Emergent Drums: an AI-powered drum sampler plug-in appeared first on DJ TechTools.

AJH Synth’s new Chance Delay module AJH Synth’s latest Eurorack module has been designed around a unique concept that combines chance and randomness with pulse delay and conditioning capabilities.

eStreamly blends physical, digital shopping with the video as the stareStreamly offers business-to-business video commerce software to enable livestreams and videos to be shoppable across platforms.

PAMA and Shure Announce Recipients of 2023 Mark Brunner ScholarshipThe Professional Audio Manufacturers Alliance (PAMA), in partnership with Shure Incorporated, announces the 2023 recipients of the third annual Mark Brunner Professional Audio Scholarship. Brunner, a long-time Shure executive, a past president of PAMA and a leading voice in the professional audio community, had an unwavering passion for education and mentorship throughout his career. Each $2,000 scholarship is offered annually to students worldwide who are pursuing an education in professional audio.

The 2023 Mark Brunner Professional Audio Scholarship recipients are Dennis Freeman from Middle Tennessee State University (for the third consecutive year); Benjamin Nix-Bradley from CSU Northridge (for the second year); and Valor Swezey from University of New Haven (for the first year).

Dennis Freeman, who has begun his final year in Audio Production at MTSU, noted, “The Mark Brunner Scholarship has opened the opportunity for me to continue and further my studies under the audio production degree. I am forever grateful for the privilege of having this scholarship! I look forward to all my future plans, including an internship in the spring at a local recording studio.”

Benjamin Nix-Bradley, who is studying Music Composition and Commercial & Media Writing at CSU Northridge, remarked, “This scholarship and the support of PAMA empowers and encourages me to dive into music technology, education and outreach. It helps me acquire social skills and software to complete more ambitious projects with fellow student artists. I am grateful for this organization and the positive impact it has had on my professional network. Since last summer, I have run music technology workshops at a local high school and worked as an archival intern at Ravi Shankar’s Music Circle. The scholarship this year will help me finish strong at CSUN. I’m looking forward to what these experiences will bring to my senior recital.”

Valor Swezey, who is studying Music and Sound Recording at University of New Haven, adds, “This scholarship really does mean a lot to me because, like most people in college right now, money can be a huge barrier to get past. So, this scholarship lets me focus my energy on my classes, rather than how I’m going to pay for books and supplies.”

On behalf of PAMA, Chris Regan, chair of the board of directors, stated, “For the third straight year, we have been able to honor the legacy of Mark Brunner with awarding assistance to the next generation of audio professionals. We are pleased to once again help Dennis Freeman and Benjamin Nix-Bradley with their pursuits, and to add Valor Swezey to the roster of young talent receiving this scholarship. Mark had a passion for mentorship, and he would certainly be proud of these recipients. We thank Shure for partnering with PAMA on this scholarship and for making it possible. PAMA received a record number of student applications this year and we are thrilled to see the scholarship continue to grow.”

A former President of PAMA from 2011-2013, Brunner provided a consistent voice to the strategic direction of PAMA and its role in advancing the professional audio industry. Mark joined Shure in 1989 and during his tenure held several key positions, including Director of Advertising and Managing Director of the Musical Instrument and Touring Sound business unit. Most recently, Mark was Vice President of Global Corporate & Government Relations, where he worked on numerous industry issues, including the FCC rules for wireless device operation/frequency, spectrum allocation, and lobbied to protect the wireless microphone market sector. Additionally, he was a prominent member of The Recording Academy Producers & Engineers Wing Manufacturers Council, where he frequently shared his views on legislative wireless white space and broadband issues as well as other related industry matters.

Individuals and companies interested in supporting the Mark Brunner Professional Audio Scholarship fund may donate via the PAMA website here. PAMA is appreciative of all donations that honor Mark’s legacy and support students pursuing careers in the professional audio industry.

For more information, go to pamalliance.org/scholarship.

Zayn Malik sued for alleged copyright infringement over ‘Better’Lawsuit filed by musician and songwriter Patrick Simmons, who goes by the stage name Havyn
Source

TikTok generated over $2bn in the UK and Europe last year – more than doubling YoYA new annual filing, reviewed by Music Business Worldwide, reveals how platform's business performed in multiple key markets.
Source

Instagram Broadcast: What is it and how can musicians benefit?A brand-new social media feature has just dropped and it could be the best new way for artists to keep in touch with fans.
MusicTech has taken a deep dive into Instagram’s new feature Broadcast to find out how it can be of use to musicians and their fan bases.

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What is Broadcast?
In simple terms, Instagram’s Broadcast allows creators to send direct messages to their followers about announcements, behind-the-scenes content, event details and more. This can also expand to voice notes, videos, reels, and Q&As.
Followers who join the channel are able to react to messages and interact with polls, but they are not able to send any messages back.
It could be a good tool for musicians as it looks to be a good way of sharing exclusive content directly to those who care the most, and create a strong community within Instagram.
How does it benefit musicians and fans?
Instagram’s Broadcast feature is an interesting tool for musicians because a creator can create multiple channels, whether that be to give personal updates and messages to fans (like an Instagram story), or even about upcoming releases, tour dates and more.
Users have the option to either accept or deny the request to join a Broadcast channel, which allows artists to connect with the fans that want to engage.
There is also the option to add collaborators to channels, so more than one person can control what is being said in the chat, including other band members, tour managers, and even select fans.
It’s intriguing to see how DJs are using the newest feature too. DJ Patrick Topping has used it so far to promote a competition, while Friend Within is using the platform to share screen recordings of what he’s working on on Ableton Live. On the other hand, DJ Boring has used it so far to put out a poll about what new merch his fans want to see.
From our experience, Broadcast does feel more personal to connect with an artist this way – at least compared to using stories or posts. As the artist is speaking directly to those that want to hear from, it’s a great way for fans to build a closer relationship to their favourite artist, and for the artist to understand what it is the fans want to know, see and hear.
The post Instagram Broadcast: What is it and how can musicians benefit? appeared first on MusicTech.

HoRNet HoRNet Tape MK2 The new HoRNet Tape MK2, a software emulation of the classic tape saturation effect that left an indelible mark on music production from the 1960s through the 1990s. This update replicates... Read More

Avid Pro Tools Sketch Pro Tools Sketch is now available as a new window in the Pro Tools application (version 2023.9 and later) and as a free iPad app from the Apple App Store. Capture and play with... Read More

Avid release Pro Tools Sketch Avid have announced the release of Pro Tools Sketch, a new non-linear, clip-based creation window in Pro Tools that is also available as a free iPad app.

The best audio interfaces to buy in 2023: 10 best interfaces under $250After already dropping cash on a microphone, headphones and maybe even a new DAW, spending even more money on an audio interface with bells and whistles can feel like unnecessary pain for your wallet. However, it’s an essential component in most recording setups if you actually want to plug that microphone in!
These are our picks for the best audio interfaces you can grab for under $250. While most of these sit in the two-channel range, some offer extra ins and outs or something a bit different, from novel hardware features to enticing software bundles.
The Best Audio Interfaces under $250

Focusrite Scarlett 2i2 (4th Gen)
Audient EVO 8
PreSonus Revelator io24
Arturia MiniFuse 4
Universal Audio Volt 176
Solid State Logic SSL 2+
Audient iD4 MKII
MOTU M2 2×2
Behringer U-Phoria UMC404HD
IK Multimedia iRig Pro Duo I/O

Focusrite Scarlett 2i2 (4th Gen)
Focusrite Scarlett 2i2. Image: Focusrite
The Focusrite Scarlett 2i2 (4th Gen) is a 2-channel USB 2.0 audio interface renowned for its exceptional recording capabilities. With a 24-bit / 192 kHz resolution and impressive 120 dB dynamic range, it ensures high-quality sound. Featuring two Scarlett microphone preamps with 69 dB gain, +48V phantom power, and the Air function for added brilliance, it’s perfect for vocals and instruments. User-friendly features like Auto Gain, Clip Safe, and Dynamic Gain Halos simplify volume control. Compact and bus-powered with USB-C connectivity for both PC and Mac, it includes the Hitmaker Expansion Software Bundle for comprehensive music production.
Features:

Exceptional 24-bit / 192 kHz sound
Two instrument/line and two mic inputs (XLR)
69 dB gain, +48V phantom power
Easy recording, no clipping
Ideal for mobile recording
Price: $227

Find deals at thomann.de.
Audient EVO 8
Audient EVO 8
The EVO 8 from Audient offers the same satisfying, easy-to-use interface and Smartgain feature as its smaller siblings, making it a superb choice for beginners. However, its four quality mic preamps open up a whole host of possibilities that just aren’t possible with two inputs, including stripped-down drum recording or experimenting with multiple close and ambient mics when tracking guitars. Just like other Audient interfaces, there’s a decent (albeit single) DI input with a JFET transistor stage that makes instruments sound less clinical when plugged straight in. As well as support for two pairs of studio monitors, there are also two headphone outputs – pretty rare at this price.
The EVO 8 over-delivers on both quality and quantity of features, achieving a perfect score of 10/10 in our review. Bus-powering via USB-C adds to convenience and portability, and Audient’s ARC bundle is always worth checking out, particularly when Sonarworks’ headphone and room correction software is bundled in.
Read our full review.

Price: $229
Inputs: 4 mic/line combo inputs; 1 instrument input (6.3 mm)
Outputs: 4 TRS line outputs (6.3 mm), 2 headphone outputs (6.3 mm)
Mic preamp gain range: 58 dB
Notable features: Smartgain; JFET DI; ARC software bundle
Maximum sample rate: 96 kHz
Connection: USB 2.0, USB-C connector

Check out the EVO 8 via thomann.
PreSonus Revelator io24

The PreSonus Revelator io24 is a desktop, wedge-shaped interface that comes as a big surprise at its price point. With two digitally-controlled mic preamps, on-screen feedback and metering and a suite of built-in DSP effects, it makes tracking vocals and instruments a more pleasurable experience. The DSP also provides crucial tools for podcasters or streamers who want to shape their incoming mic sound with EQ, compression and a noise gate, and extensive loopback support is another bonus for this type of user.
Bus-powering makes the io24 a great proposition for music on the move, while the PreSonus Studio Magic software bundle rarely disappoints, including full software instruments, genuinely useful audio effects, and an entry-version of the Studio One DAW.
Read our full review.

Price: $199 (although frequently discounted)
Inputs: 2 mic/line/instrument combo inputs
Outputs: 2 TRS line outputs (6.3 mm); 1 headphone output (6.3 mm)
Mic preamp gain range: 60 dB
Notable features: digital gain control; onboard DSP effects; MIDI in/out; strong software bundle
Connection: USB 2.0, USB-C connector

Find out more at thomann.
Arturia MiniFuse 4

Building upon its success in the synth hardware market, Arturia has gained fans in the audio interface world too with its AudioFuse line intended for pro users. The more recent MiniFuse interfaces include all the essentials, partnered – as you’d expect – by an attractive software bundle taken from the brand’s own, extensive plugin collection.
MiniFuse 4 is a four in/four out interface that has two combination mic, line and instrument preamps, plus a further two line ins for connecting the likes of an external synth or mic preamp. On the output side, there are four line outs, meaning you can drive two pairs of studio monitors or for hybrid mixing, send signals out from the extra line outs to analogue hardware (e.g. returning to the interface via line ins 3 and 4). There are two headphone outs, MIDI sockets, a handy main volume knob, and LED meters on the front. A two-port USB-A hub is another very useful extra, but you need to add an external DC power supply to put this into action; otherwise, the interface will work happily on bus power.
Read our full review.

Price: $219
Inputs: 2 mic/line/instrument combo inputs; 2 additional TRS line inputs (6.3 mm)
Outputs: 4 TRS line outputs (6.3 mm); 2 headphone outputs (6.3 mm)
Mic preamp gain range: 60 dB
Notable features: USB hub; MIDI in/out; choice of black and white colours; strong software bundle
Maximum sample rate: 192 kHz
Connection: USB 2.0, USB- C connector

Find out more at Thomann.
Universal Audio Volt 176

If you only need to plug in a single mic, but you want to max-out on both quality and vibe, then the Volt 176 from Universal Audio has you covered. As well as a Vintage mode switch for saturation based on the brand’s high-end 610 valve preamp, the input includes a characterful analogue compressor modelled on the much-loved 1176. As you’d expect from Universal Audio, conversion is no slouch either; the Volt handles sample rates up to 192kHz.
The significance of the 176’s compressor function is brought home in our review: “Make no mistake – this is a proper analogue compressor that does a fine job of recreating the 1176’s musically sympathetic transparency and responsiveness, and it’s rare to see input conditioning of this sort on any audio interface, let alone one that’s so affordable. It’s a stroke of genius that’s sure to make Volt as popular in home studios as Apollo is for the pros.”
Read our full review.

Price: $199
Inputs: 1 combo mic/line/instrument input
Outputs: 2 TRS line outputs (6.3 mm); 1 headphone preamp (6.3 mm)
Mic preamp gain range: 55 dB
Notable features: Vintage preamp mode based on 610 tube preamp; onboard 1176 style compressor
Maximum sample rate: 192 kHz
Connection: USB 2.0, USB-C connector

Find out more at thomann.
Solid State Logic SSL 2+

Solid State Logic (aka SSL) brings the spirit of its venerable analogue mixing consoles to the home studio desktop. Controls are simple, with an emphasis on fuss-free recording and playback, the Legacy 4K option on each preamp simulating the vibe of the 4000 series console, featuring a flattering high shelf boost plus subtle harmonic distortion. Our money is on the enhanced, ‘plus’ version with its additional headphone preamp, extra line outs and on-board MIDI, however, the standard SSL 2 is also available for around $50 less and has the same preamp options to inject mojo into any mix.
The combination of quality hardware plus the bundled SSL Native plugins is incredibly attractive, as Adam Crute explains in our review: “When the 4K effect is used in combination with the SSL Native plug-ins, your recordings should be blessed with a touch of class, and this is what truly helps the SSL 2 and 2+ stand out from much of their competition.”
Read our full review.

Price: $229
Inputs: 2 combo mic/line/instrument inputs
Outputs: 2 TRS line outputs (6.3mm); 2 additional line outputs on RCA; 2 headphone preamps (6.3mm)
Mic preamp gain range: 62 dB
Notable features: Legacy 4K EQ/saturation option on preamps; strong software bundle
Maximum sample rate: 192 kHz
Connection: USB 2.0, USB-C connector

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Audient iD4 MKII

Audient’s iD4 MKII remains a firm favourite with those starting out, as well as professionals who want to mix at home with the same sound as their larger Audient studio setups. The interface offers a single Audient console-grade preamp and a JFET instrument input for direct recording. It’s bus-powered over USB 3.0 (Type C) and has really high quality converters that achieve an impressive 126dB of dynamic range in the digital-to-analogue end of the conversion.
Although it doesn’t have two discrete headphone preamps, you can feed two pairs of headphones the same mix using the parallel jack and mini-jack sockets on the front. Audio enthusiasts in the UK and Europe are lucky to be able to go one step further and bag the larger iD14 MKII for around £190/€219 street price!
Read our full review.

Price: $199
Inputs: 1 combo mic/line input; 1 instrument input
Outputs: 2 TRS outputs (6.3 mm); 1 headphone preamp with 2, parallel sockets (6.3 mm and 3.5 mm)
Mic preamp gain range: 58 dB
Notable features: Audient console preamp; JFET DI; impressive dynamic range; ARC software bundle
Maximum sample rate: 96 kHz
Connection: USB 3.0, USB-C connector

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MOTU M2 2×2

Healthy levels are a crucial element to recording success, and the MOTU M2 2×2 tackles this with a full-colour LCD screen with meters for all inputs and outputs. The interface offers two multi-function inputs and direct input monitoring on both channels. Conversion quality is notable, achieving a dynamic range of 120dB on line outputs for pristine quality playback. Adding on to that, the M2 2×2 also comes with useful software, including two DAWs and a 6GB library of loops and sounds to jump-start your music-making.

Price: $200
Inputs: 2 mic/line/instrument combo inputs
Outputs: 2 TRS line outputs (6.3 mm), mirrored on 2 RCA; 1 headphone output (6.3 mm)
Mic preamp gain range: 60 dB
Notable features: impressive dynamic range; MIDI in/out
Maximum sample rate: 192 kHz
Connection: USB 2.0, USB-C connector

Behringer U-Phoria UMC 404HD

Options do start to get limited when you’re looking for a low-cost interface with more than two inputs. The Behringer U-Phoria UMC 404HD fulfils this brief and more. It gives you four inputs, each with sensitivity-pad-equipped MIDAS preamps. For flexible integration with external hardware, there’s also an unbalanced insert point on each input – otherwise unheard of at this price level – as well as MIDI connectivity.

Price: $179
Inputs: 4 mic/line/instrument combo inputs; 4 unbalanced insert points
Outputs: 2 main XLR/TRS outputs; 4 line outs on TRS/RCA; 1 headphone output (6.3 mm)
Mic preamp gain range: unknown
Notable features: MIDI in/out
Maximum sample rate: 192 kHz
Connection: USB 2.0, USB-A to USB-B cable

IK Multimedia iRig Pro Duo I/O

Lugging around a clunky interface doesn’t quite make sense if you plan to record through a smartphone or tablet. The pocketable iRig Pro Duo I/O presents a solution to this issue, with multiple inputs, plus Lightning, Type A and Type C USB cables to interface with most devices right out of the box. It’s not the most recently-released product in the list, but nonetheless an enduring, easy-to-use and flexible mobile solution.
You get two analogue combo inputs, both with independent gain controls and phantom power. It also offers 3.5mm MIDI in/out ports, a pair of line outputs and a headphone preamp too. As for power, you can go with bus power via USB, or opt for two AA batteries.

Price: $230
Inputs: 2 mic/line/instrument combo inputs
Outputs: 2 TRS line outputs (6.3 mm); 1 headphone output (3.5 mm)
Mic preamp gain range: 50 dB
Notable features: MIDI in/out on 3.5 mm mini-jacks; AmpliTube SE & TONEX SE amp simulators included
Maximum sample rate: 48 kHz
Connection: USB 2.0, USB-A, USB-C & Lightning cables

Find out more at thomann.
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