The humble microphone. For many, it’s little more than a tool for a Zoom call. For streamers and podcasters it’s a utilitarian bit of kit. But for some — singers, musicians and other recording artists — it’s an instrument as characteristic and expressive as any guitar or piano. The microphone is often the biggest investment these performers ever make. If you want a different “timbre” to your recordings, then, you could just buy a lot of microphones. Alternatively, you might consider a “modeling” mic - one specifically designed to imitate the character of famous (and usually expensive) models.

For those not wanting to spend “small condo” levels of money on a well-stocked mic locker, something like the $1,000 Sphere LX from Universal Audio offers a tantalizing prospect. It’s one of the aforementioned modeling mics, and it claims to mimic 20 of the most sought after microphones of all time.

The Sphere LX itself is a condenser microphone, but thanks to its dual-capsule setup (most mics only have one) it’s able to do some pretty funky stuff. Not only can it pretend to be a dynamic or ribbon mic - both of which use different technology to a condenser - it can imitate environmental factors such as distance from the mic and/or different recording spaces. You can even blend two different virtual microphones at the same time for added versatility. It all sounds very clever on paper, but does it actually sound, well… good?

Universal Audio

Before we get to that, it’s worth understanding the setup required. As the Sphere LX has two capsules (the “sensor” part) it outputs in stereo unlike most vocal microphones that record in mono. This means it ships with a specific XLR splitter cable that requires two ports on your audio interface. So, if your setup currently only has one, you’d need to find a new one with multiple inputs (Shameless plug: I wrote an audio interface buyer's guide that you can read right here).

There are some important steps to take before you can start experimenting with your new virtual microphones. First, if possible, you’ll want to “bind” the two input channels on your interface so that they operate as one. This locks their gain levels so you don’t need to worry about the physical volume controls being different (which could impact the effectiveness of the modeling).

It’s also important to remove any processing your interface might apply. For example, Universal Audio’s own Volt 276 interface has hardware compression and EQ which you don’t want applied here. Other interfaces also can apply light processing or compression by default, so you will definitely want to check your interface’s settings. Sometimes such processing requires turning off via software - so watch out for that, too.

With the hardware set, you’ll want to open the Sphere’s companion software. It’s a VST plugin and therefore runs within other software — Ableton Live, Logic Pro or even Garageband will do. Drop the plugin onto the same audio channel assigned to the Sphere LX’s output and you’re set to record. Actually, you can even record first and then add the software later, as the emulation can be applied to any recorded audio (but only recordings from the Sphere will “match” the emulated mic).

Universal Audio

In the most simple use case, you would record your vocal with the Sphere LX and then choose the microphone you want it to sound like in the software. Then all you need to do is export the audio and you’re done. You can even go back, change the emulation to another microphone and export it a second time, but why stop there?

One of the key benefits of the dual-capsule system in the Sphere LX over, say, something like Slate’s M1 VMS system, is that it allows for things like changing the direction you were addressing the “mic” after the fact. If you recorded into the Sphere head on, but wanted a slightly off-axis sound (useful for taming high frequencies from a guitar for example), you can do that in the software after the fact. You can even change the polar pattern - the shape/area around the capsule in which sound is received.

While this feels a bit like witchcraft — changing the physical qualities of a microphone after something has been recorded — it serves both practical and aesthetic purposes. On the practical side, you can theoretically record once and “try out” different microphones, mic placements and polar patterns. This not only saves time with the vocalist or musician, you won’t need to keep moving gear around, perfect if you have a smaller space.

In practice, unless you have all of these classic microphones for comparison, it’s obviously hard to know how close the Sphere LX comes to the originals. I happen to have three of the microphones that are modeled by the system - Sennheiser’s MD421, Neumann’s TLM103 and Shure’s SM7B - although I use them primarily for spoken word, podcasting and streaming.

On simple tests with voice recordings, the Sphere LX comes really close for all three. There are definitely differences, but given that two units of the same mic can develop variations from each other over time, the LX likely falls within those differential boundaries. This is further reinforced by listening back to the raw audio captured by the Sphere which is very, very far from what it sounds like with emulation applied.

I was particularly interested in how well the Sphere LX would emulate the SM7B and the Sennheiser MD421, as these are both dynamic microphones. Condenser microphones work very differently, so the idea that one could imitate the other was interesting. Condenser mics are generally favored in vocal studios as they capture more detail, but dynamic mics are better for those with less than ideal recording conditions. Being able to flip between the two with one mic would be both convenient and impressive.

The MD421 in particular has a unique character for a dynamic microphone with a surprisingly detailed, lively sound. With a straight voice test, the Sphere LX doesn’t quite capture those trademark “sparkle” frequencies, but it definitely does a good job on generally sounding like the Sennheiser — and it’s distinct from its imitation of the SM7B (also a dynamic mic), but with more emphasis on the lower frequencies.

While the comparison shows a decent facsimile of the Sennheiser’s sound, it’s worth noting that both the MD421 and the SM7B have a physical highpass filters built in that can be adjusted through different settings of bass roll off. This isn’t something that’s replicated in the Sphere’s companion app, so if you wanted any sound other than their default, you would need to apply some post processing.

There are some other challenges, too. In almost every other recording situation, once the track is laid down, the take is set in stone. You can manipulate it after the fact, of course, but the take itself is immovable. With the Sphere LX, and similar systems, you can reimagine the recording the moment the singer’s lips stop moving. Flicking through each virtual mic and the related setting until you find the one you like the most. This could obviously be a good thing, but option paralysis is the death of many a good audio project.

The appeal of these systems could also depend on your budget and whether you feel confident that they will remain supported by the manufacturer. This is particularly prudent for professionals. “I find with anything like that you're into ‘what's it going to be worth in the next, you know, five years?’ Or when they decide to make the mic redundant, which I’ve found on products that involve anything software.” Chris Denman, CEO of Skyrocket Audio and professional sound engineer told Engadget. The redundancy isn’t a huge risk, unlike many app-dependent gadgets, as VSTs can live outside of an app store, but something to consider.

IK Multimedia

If you’re curious about microphone modeling but don’t want to jump right into a hardware system, there are software products that claim to do a similar thing without the $1,000 outlay. Something like IK Multimedia’s “Mic Room” plugin, for example, offers a similar roster of mics for well under $100. To get the best results, your current mic will need to be one the app has a reference for, so there’s possibly an additional spend, and the results aren’t as accurate or as configurable as the Sphere LX, but it’s an easy way to experiment before committing to something like Universal Audio’s solution.

All in all, whether mic modeling is right for you will come down to personal preference, economics and the projects you need it for. For casual users looking for a do-it-all mic, it’s perhaps a little complex and costly. However, for singers looking for a streamlined, versatile setup, it almost feels like a no brainer. There will be plenty of use cases that fall between and either way, it’s a really interesting concept that will likely only continue to become more accessible.

Whether you make music, podcast, stream or simply enjoy listening to any of these things, a good audio interface is going to make all the difference. Your Mac or PC’s built-in sound will be just fine for most pedestrian tasks, but for creators it’s likely going to fall short of what you need for audio recording.

The good news is there’s a wealth of options tailored to a variety of specific needs and use cases. The less-good news is that it can be a bit overwhelming trying to decide which one is the best for you. Which is why we’ve cooked up this guide, in which we highlight the best options whether you simply want to record a guitar, or go live to an audience of thousands (or to at least sound good while you work on that number).

And don’t worry about being overwhelmed with jargon, we’ll focus on the task in hand over the kHz and decibels so that you know which is best for the results you want without feeling like you’ve just come out of a math class.

Best for those on a budget

Audio interfaces aren’t just for creators. Maybe you work from home and want to be able to use a high-quality XLR microphone for work calls. Or perhaps you prefer to have physical controls for your headphones and mic? Or maybe you just appreciate the superior audio quality from a dedicated device to the one that came with your PC. If so, you likely don’t need to spend too much money - here are three options that won’t break the bank.

M-Audio M-Track Solo

It’s certainly not the prettiest device on this list, but what the M-Track Solo ($49) lacks in aesthetics, it more than makes up for in functionality for the price. If you’re just looking for something to plug a microphone or guitar into - or both at the same time - the M-Track Solo is hard to beat.

For beginners or would-be podcasters, there’s also the M-Track Duo ($70) which adds a second XLR microphone connection so you can invite guests over and record them on their own channel making editing a lot easier - and you won’t need to get intimate with them as you share a microphone. There’s not a lot in terms of frills here, like MIDI or effects, but for the price it’s a solid choice.

Presonos AudioBox iOne

Unlike other PC components, like graphics cards, digital sound has natural limits meaning that older devices can still be relevant today - and often at a better price. Presonos’ AudioBox iOne ($70) is one such example. It’s primarily intended for creators that work with music software, but it’s a great all-around audio interface with all the essential connectivity for a now-reduced price.

As a bonus, the AudioBox iOne works well with iPads, too - not a guarantee at this price point. Though some might find the headphone amplification on the low side, in case that’s a feature important to you.

Focusrite Scarlett Solo

There’s a reason why Focusrite’s Scarlett series of interfaces appear on so many recommendation lists - including two spots on this one: They offer a great balance of performance, reliability and price. At around $130, the Solo is not the absolute cheapest you can find, but it will get you started in streaming, podcasting and beyond just fine. In fact, if you just want a port for an XLR mic, improved headphone amplification and easy connections for speakers, the Solo could be the only interface you ever need that won’t feel underpowered or even as your needs evolve.

Best for streamers

Photo by James Trew / Engadget

Perhaps not surprisingly, the streaming category is one of the busiest when it comes to audio interfaces. That’s partly because most Twitchers and YouTubers have several different audio feeds to manage in unison. As such, products in this category come with a software component that lets you pipe your microphone, your group chat and your game audio to different places. Thankfully, this isn’t as confusing as it sounds - not with one of the following devices at least.

Roland Bridge Cast

Roland might be best known for its musical equipment, but the company does a sideline in streaming gear and the Bridge Cast ($299) is one of the strongest in this category. There are four hardware volume dials so you can adjust the mix of your mic, chat and game etc. in real time, and you can even control separate “submixes” for you and your audience in real time.

On top of the mix controls, there are some voice effects, microphone EQ and dedicated mute buttons for everything - these can also be used to trigger samples, too. With the option to pipe in phone audio via an aux port, Roland has made a strong case for the Bridge Cast as the streamer’s interface of choice.

TC Helicon GoXLR Mini

The original GoXLR was one of the first audio interfaces that really focused on what streamers wanted. The Mini was released a year later and was a hit in its own right, and remains popular today, long after its initial release. The physical faders give you tactile control over each part of your stream and the connectivity includes a 3.5mm microphone port next to the headphone port - perfect for gaming headsets that use a splitter.

Additional touches include a !@#$?* button to spare your audience when you get a bit spicy with your language and an optical port so your game console audio sounds pristine. Of course, there’s RGB lighting on the faders which is almost as important as the connectivity, right?

Elgato Wave XLR

If you don’t have the budget or, let’s face it, the desk space for a full-sized mixer to control your streams, Elgato’s Wave XLR is the minimalist’s choice. Not only is it discreet, it manages to eke out a lot of functionality from just one clickable knob and a capacitive mute button.

Despite the simplicity, the Wave XLR still delivers crisp, clear audio. Where it really comes into its own, though, is its modular integration with other Elgato products. When used in concert with the Stream Deck and the Wave Link app, for example, the experience opens up to include the ability to run audio plugins and create custom shortcuts to control the audio on your stream.

Beacn Mix Create

If you already have an audio interface you’re happy with but want the convenience of a mixer for your streams then the Mix Create by Beacn is exactly that. The lightweight USB mixer comes with a screen, but the brains of the operation is the software that creates separate audio feeds for your mic, game, browser and so on.

For streamers, it means hands on controls and the flexibility of a submix (i.e. the mix you hear and the mix listeners here can be different). Not only is this an elegant solution for those who already have a hardware interface, it means you can enjoy dedicated volume controls for things like YouTube and Spotify when you’re not going live.

Best for musicians

Whether you pluck strings or drop DJ-bombs, you’re going to want pro tools that provide you all the right ports while delivering rich, bit-perfect sound for your home studio. Unlike streamers that will want to be able to work with audio from a variety of digital sources, musicians and songwriters also want to record (and listen to) physical instruments in real time - so all of our selections have a focus on clean sound quality with good connectivity.

Focusrite Scarlett 2i2

Focusrite’s second showing on this list is a little red box that, once you’re aware of it, you’ll start seeing everywhere from live streams to YouTube guitar tutorials. The popularity of the Scarlett audio interface is for more than its dashing red looks. The preamps - the part that turns your voice or instruments into usable sound – are widely regarded as some of the cleanest for music production at this price range.

With two combi-ports (there’s no MIDI here) the connectivity is fairly standard, but guitarists, singers and voice actors in particular will appreciate the “Air” feature that gently adds a sense of space to vocals - a trademark of Focusrite products.

Universal Audio Volt 276

When Engadget’s Managing Editor, Terrence O’Brien, reviewed the Volt 2/76 from Universal Audio he described it as “bringing something special to the table.” It’s a reference to the built-in compressor that emulates the company’s classic 1176 Limiting Amplifier hardware. All you need to know is it’s another tool to make your instrument or vocals sit better in the mix.

In a world awash with generic audio interfaces, genuinely useful features like this are what makes the Volt series stand out. Alongside the compressor, the Volt 276 has a pair of 5-pin MIDI connector ports and a button for “vintage” mode. The latter emulates the company’s popular Audio 610 preamp which, according to Universal Audio, was used by Van Halen and Ray Charles. Not bad company to be keeping! At $299, it’s a little on the spendier side, but it's a comprehensive choice for anyone who works with instruments, vocals and outboard MIDI gear.

MOTU M6

If you need more connectivity than the standard 2 or 4 inputs, MOTU’s M6 has you covered. As the name suggests, there are up to six instrument inputs - four of which can be microphones - and a pair of 5-pin MIDI ports for synths. The M6 can even output CV signals to control even older music gear. The M6 also has dedicated buttons on each input channel for phantom power (for condenser microphones) and real-time headphone monitoring. If all that flexibility wasn’t enough, a small display for volume levels means you have a quick visual reference to make sure you keep your precious recordings out of the red.

Best for Podcasters

Whether you’re operating from a sound-treated studio or recording under a duvet in the back office, most podcasters have a few needs in common. First and foremost is the option to connect more than one high quality microphone. Second would be the ability to record remote guests easily whether they are using Zoom or calling in on a phone - which requires something called “mix minus” and isn’t a standard feature on most interfaces.

Lastly, many shows will want to be able to play music or audio from other sources in real time. All of the picks in this section exceed those basic compatibility requirements, which one is best for you will be determined by budget or specific needs.

Focusrite Vocaster Two

From the same company as the acclaimed Scarlett series, the Vocaster Two takes all the audio knowledge from its sister series and packages it into a more podcast-friendly format. Not only are there dual XLR mic or line inputs, there are two headphone ports, each with their own volume control so you and a live guest can podcast together in the same room.

Thanks to both a 3.5mm and Bluetooth inputs you have multiple options for including “call in guests”. There’s even a 3.5mm output for those who want to make a video-version of their podcast for YouTube - simply plug the Vocaster right into your camera for perfect audio as you record it. What’s more, the “auto gain” and “enhance” features will make sure you and your local guest will sound tippity top without having to apply any external effects.

Rodecaster Pro II

If you see yourself taking your podcasting to the next level, then the Rodecaster Pro II from Rode is hard to ignore. With four XLR combi ports, it’s perfect for multi-guest in-person shows, especially as it has physical faders for each channel along with easily accessible mute and solo buttons.

The Rodecasater Pro II also includes both a 3.5mm/aux port and Bluetooth for plugging in a phone plus dual USB ports that make it easy to feed in audio, like a Zoom call, from a PC or a tablet. Each microphone port has a wealth of effects available to enhance the audio, and the eight rubber pads let you fire off sound effects and intro/outro music at will. The pads can also trigger automated actions like musical fade-ins. In short, the Rodecaster II is quite a powerhouse, but obviously a fair amount more expensive than most interfaces on this list.

Best for music listening

What we call an audio interface today, we might well have once called a “sound card.” While today’s interfaces also serve up a host of connectivity options, the thing we need them for the most is often just good old fashioned listening to music. While everything on this list will reproduce music to a high standard, Hi-Fi heads might prefer something that will let them interface with more exotic audio formats, audio gear and high-end headphones.

Fiio K7

With phono, coaxial, optical and USB inputs, the K7 from Fiio is able to handle music and audio from almost any high fidelity source. Most traditional audio interfaces support playback of up to 48 kHz, the K7 can handle files all the way up to 384 kHz at 32-bit - perfect for the demanding audiophile.

On the front you’ll find two inputs: a 1/4" jack and a 4.4mm balanced headphone port along with a big ol’ volume dial.While its Hi-Fi aesthetic might not be the most razzle-dazzle, it does have an RGB LED around the dial to give it a pop of color (it also changes color depending on the “quality” of your audio source).

Fiio Q7

Don’t let the unusual design fool you, the Q7 from Fiio is an absolute audio powerhouse. It has the same digital inputs as the K7 but supports files with up to twice the maximum sampling rate (for those who absolutely must have 768kHz/32bit support).

More practically the Q7 can decode Tidal’s top-tier MQA files and there’s Bluetooth for connecting to your phone along with a built-in battery, too making this a portable high-end audio experience that won’t drain your laptop. Naturally, for the music listener that wants it all, there are jacks for every size of headphone, including 2.5mm and 4.4mm balanced sets.

A good audio interface can make all the difference if you make music, podcast, stream or even just enjoy listening to any of those things. Your Mac or PC’s built-in sound will be just fine for most pedestrian tasks, but for creators it’s likely going to fall short of what you need for audio recording. But there's a wealth of audio recording options out there that are all tailored to a variety of specific needs and use cases. The only catch is that it can be a bit overwhelming to try to decide which is best for you.

We’ve cooked up this guide to help you in that respect, highlighting the best options whether you simply want to record a guitar, to find the best audio interface for vocals or go live to an audience of thousands (or to at least sound good while you work on that number). And don’t worry about being overwhelmed with recording studio jargon, we’ll focus on the task in hand over the kHz and decibels so that you know which is best for the results you want without feeling like you’ve just come out of a math class.

Best audio interfaces on a budget

Audio interfaces aren’t just for creators. Maybe you work from home and want to be able to use a high-quality XLR microphone for work calls. Or perhaps you prefer to have physical controls for your headphones and mic? Or maybe you just appreciate the superior audio quality from a dedicated device to the one that came with your PC. If so, you likely don’t need to spend too much money - here are three options that won’t break the bank.

M-Audio M-Track Solo

It’s certainly not the prettiest device on this list, but what the M-Track Solo ($49) lacks in aesthetics, it more than makes up for in functionality for the price. If you’re just looking for something to plug a microphone or guitar into - or both at the same time - the M-Track Solo is hard to beat.

For beginners or would-be podcasters, there’s also the M-Track Duo ($70) which adds a second XLR microphone connection so you can invite guests over and record them on their own channel making editing a lot easier - and you won’t need to get intimate with them as you share a microphone. There’s not a lot in terms of frills here, like MIDI or effects, but for the price it’s a solid choice.

Presonos AudioBox iOne

Unlike other PC components, like graphics cards, digital sound has natural limits meaning that older devices can still be relevant today - and often at a better price. Presonos’ AudioBox iOne ($70) is one such example. It’s primarily intended for creators that work with music software, but it’s a great all-around audio interface with all the essential connectivity for a now-reduced price.

As a bonus, the AudioBox iOne works well with iPads, too - not a guarantee at this price point. Though some might find the headphone amplification on the low side, in case that’s a feature important to you.

Focusrite Scarlett Solo

There’s a reason why Focusrite’s Scarlett series of interfaces appear on so many recommendation lists - including two spots on this one: They offer a great balance of performance, reliability and price. At around $130, the Solo is not the absolute cheapest you can find, but it will get you started in streaming, podcasting and beyond just fine. In fact, if you just want a port for an XLR mic, improved headphone amplification and easy connections for speakers, the Solo could be the only interface you ever need that won’t feel underpowered or even as your needs evolve.

Best audio interfaces for streamers

Photo by James Trew / Engadget

Perhaps not surprisingly, the streaming category is one of the busiest when it comes to audio interfaces. That’s partly because most Twitchers and YouTubers have several different audio feeds to manage in unison. As such, products in this category come with a software component that lets you pipe your microphone, your group chat and your game audio to different places. Thankfully, this isn’t as confusing as it sounds - not with one of the following devices at least.

Roland Bridge Cast

Roland might be best known for its musical equipment, but the company does a sideline in streaming gear and the Bridge Cast ($299) is one of the strongest in this category. There are four hardware volume dials so you can adjust the mix of your mic, chat and game etc. in real time, and you can even control separate “submixes” for you and your audience in real time.

On top of the mix controls, there are some voice effects, microphone EQ and dedicated mute buttons for everything - these can also be used to trigger samples, too. With the option to pipe in phone audio via an aux port, Roland has made a strong case for the Bridge Cast as the streamer’s interface of choice.

TC Helicon GoXLR Mini

The original GoXLR was one of the first audio interfaces that really focused on what streamers wanted. The Mini was released a year later and was a hit in its own right, and remains popular today, long after its initial release. The physical faders give you tactile control over each part of your stream and the connectivity includes a 3.5mm microphone port next to the headphone port - perfect for gaming headsets that use a splitter.

Additional touches include a !@#$?* button to spare your audience when you get a bit spicy with your language and an optical port so your game console audio sounds pristine. Of course, there’s RGB lighting on the faders which is almost as important as the connectivity, right?

Elgato Wave XLR

If you don’t have the budget or, let’s face it, the desk space for a full-sized mixer to control your streams, Elgato’s Wave XLR is the minimalist’s choice. Not only is it discreet, it manages to eke out a lot of functionality from just one clickable knob and a capacitive mute button.

Despite the simplicity, the Wave XLR still delivers crisp, clear audio. Where it really comes into its own, though, is its modular integration with other Elgato products. When used in concert with the Stream Deck and the Wave Link app, for example, the experience opens up to include the ability to run audio plugins and create custom shortcuts to control the audio on your stream.

Beacn Mix Create

If you already have an audio interface you’re happy with but want the convenience of a mixer for your streams then the Mix Create by Beacn is exactly that. The lightweight USB mixer comes with a screen, but the brains of the operation is the software that creates separate audio feeds for your mic, game, browser and so on.

For streamers, it means hands on controls and the flexibility of a submix (i.e. the mix you hear and the mix listeners here can be different). Not only is this an elegant solution for those who already have a hardware interface, it means you can enjoy dedicated volume controls for things like YouTube and Spotify when you’re not going live.

Best audio interfaces for musicians

Whether you pluck strings or drop DJ-bombs, you’re going to want pro tools that provide you all the right ports while delivering rich, bit-perfect sound for your home studio. Unlike streamers that will want to be able to work with audio from a variety of digital sources, musicians and songwriters also want to record (and listen to) physical instruments in real time - so all of our selections have a focus on clean sound quality with good connectivity.

Focusrite Scarlett 2i2

Focusrite’s second showing on this list is a little red box that, once you’re aware of it, you’ll start seeing everywhere from live streams to YouTube guitar tutorials. The popularity of the Scarlett audio interface is for more than its dashing red looks. The preamps - the part that turns your voice or instruments into usable sound – are widely regarded as some of the cleanest for music production at this price range.

With two combi-ports (there’s no MIDI here) the connectivity is fairly standard, but guitarists, singers and voice actors in particular will appreciate the “Air” feature that gently adds a sense of space to vocals - a trademark of Focusrite products.

Universal Audio Volt 276

When Engadget’s Managing Editor, Terrence O’Brien, reviewed the Volt 2/76 from Universal Audio he described it as “bringing something special to the table.” It’s a reference to the built-in compressor that emulates the company’s classic 1176 Limiting Amplifier hardware. All you need to know is it’s another tool to make your instrument or vocals sit better in the mix.

In a world awash with generic audio interfaces, genuinely useful features like this are what makes the Volt series stand out. Alongside the compressor, the Volt 276 has a pair of 5-pin MIDI connector ports and a button for “vintage” mode. The latter emulates the company’s popular Audio 610 preamp which, according to Universal Audio, was used by Van Halen and Ray Charles. Not bad company to be keeping! At $299, it’s a little on the spendier side, but it's a comprehensive choice for anyone who works with instruments, vocals and outboard MIDI gear.

MOTU M6

If you need more connectivity than the standard 2 or 4 inputs, MOTU’s M6 has you covered. As the name suggests, there are up to six instrument inputs - four of which can be microphones - and a pair of 5-pin MIDI ports for synths. The M6 can even output CV signals to control even older music gear. The M6 also has dedicated buttons on each input channel for phantom power (for condenser microphones) and real-time headphone monitoring. If all that flexibility wasn’t enough, a small display for volume levels means you have a quick visual reference to make sure you keep your precious recordings out of the red.

Best for audio interfaces for podcasters

Whether you’re operating from a sound-treated studio or recording under a duvet in the back office, most podcasters have a few needs in common. First and foremost is the option to connect more than one high quality microphone. Second would be the ability to record remote guests easily whether they are using Zoom or calling in on a phone - which requires something called “mix minus” and isn’t a standard feature on most interfaces.

Lastly, many shows will want to be able to play music or audio from other sources in real time. All of the picks in this section exceed those basic compatibility requirements, which one is best for you will be determined by budget or specific needs.

Focusrite Vocaster Two

From the same company as the acclaimed Scarlett series, the Vocaster Two takes all the audio knowledge from its sister series and packages it into a more podcast-friendly format. Not only are there dual XLR mic or line inputs, there are two headphone ports, each with their own volume control so you and a live guest can podcast together in the same room.

Thanks to both a 3.5mm and Bluetooth inputs you have multiple options for including “call in guests”. There’s even a 3.5mm output for those who want to make a video-version of their podcast for YouTube - simply plug the Vocaster right into your camera for perfect audio as you record it. What’s more, the “auto gain” and “enhance” features will make sure you and your local guest will sound tippity top without having to apply any external effects.

Rodecaster Pro II

If you see yourself taking your podcasting to the next level, then the Rodecaster Pro II from Rode is hard to ignore. With four XLR combi ports, it’s perfect for multi-guest in-person shows, especially as it has physical faders for each channel along with easily accessible mute and solo buttons.

The Rodecasater Pro II also includes both a 3.5mm/aux port and Bluetooth for plugging in a phone plus dual USB ports that make it easy to feed in audio, like a Zoom call, from a PC or a tablet. Each microphone port has a wealth of effects available to enhance the audio, and the eight rubber pads let you fire off sound effects and intro/outro music at will. The pads can also trigger automated actions like musical fade-ins. In short, the Rodecaster II is quite a powerhouse, but obviously a fair amount more expensive than most interfaces on this list.

Best audio interfaces for music

What we call an audio interface today, we might well have once called a “sound card.” While today’s interfaces also serve up a host of connectivity options, the thing we need them for the most is often just good old fashioned listening to music. While everything on this list will reproduce music to a high standard, Hi-Fi heads might prefer something that will let them interface with more exotic audio formats, audio gear and high-end headphones.

Fiio K7

With phono, coaxial, optical and USB inputs, the K7 from Fiio is able to handle music and audio from almost any high fidelity source. Most traditional audio interfaces support playback of up to 48 kHz, the K7 can handle files all the way up to 384 kHz at 32-bit - perfect for the demanding audiophile.

On the front you’ll find two inputs: a 1/4" jack and a 4.4mm balanced headphone port along with a big ol’ volume dial.While its Hi-Fi aesthetic might not be the most razzle-dazzle, it does have an RGB LED around the dial to give it a pop of color (it also changes color depending on the “quality” of your audio source).

Fiio Q7

Don’t let the unusual design fool you, the Q7 from Fiio is an absolute audio powerhouse. It has the same digital inputs as the K7 but supports files with up to twice the maximum sampling rate (for those who absolutely must have 768kHz/32bit support).

More practically the Q7 can decode Tidal’s top-tier MQA files and there’s Bluetooth for connecting to your phone along with a built-in battery, too making this a portable high-end audio experience that won’t drain your laptop. Naturally, for the music listener that wants it all, there are jacks for every size of headphone, including 2.5mm and 4.4mm balanced sets.

When a microphone has been around for 30 years, it must be doing something right. The Rode NT1 is arguably the company's flagship studio mic and origin story for the brand's name. The mic was originally called the Rodent1, shortened to Rode NT1 and the rest is history. Today, the company is unveiling the fifth iteration and it comes with two key updates that should interest podcasters and vocalists alike. Those would be 32-bit float recording and the addition of USB connectivity.

The inclusion of USB might feel like something that should have been there all along, but typically "pro" studio microphones are XLR only, with USB being the reserve of desktop microphones. Times are changing though and more folks are seeking a classic microphone but without the need to use an audio interface. Now, with the NT1 you have both. The USB connection is tucked away right at the base of the existing XLR port. It's a clever solution, but you will need a USB cable with fairly slim connections else it won't fit.

With the new USB connectivity comes the option for tailoring the sound of the mic. Usually that part is offloaded to an interface or mixer, but now there's an onboard DSP that allows you do apply things like a noise gate or compressor to the mic directly (via Rode's Central or Connect apps). Not to mention this makes the microphone much more portable as you won't need to bring a separate, often clunky interface along with you.

Rode

Easily the biggest benefit of the MK5 (and that built-in DSP) is the introduction of 32-bit float recording. In a nutshell, 32-bit allows for an exponentially larger dynamic range than 16- and 24-bit (which is what most systems use). This means you can forget about clipping (when audio is too loud and distorts) as there's enough headroom for almost any sound that would be possible. Or, put another way, you can effectively forget about setting levels safe in the knowledge you can adjust them in post without any audio loss.

What this means for podcasters and vocalists is less time worrying about levels at the point of recording, knowing you can set things as you want in post. Of course, good levels at the point of recording is always adviseable if possible, but it at least means any sudden sounds won't ruin your take. It's also currently very rare to find 32-bit float on a microphone like this - typically you'd have to buy a pro-level audio recorder if you wanted this feature.

At $259 the NT1 sits in an interesting spot. Shure's MV7 also offers XLR and USB connectivity and retails for $250 without 32-bit float (it's also a dynamic mic which will be either a benefit or a disadvantage depending on your needs). Sennheiser's fantastic MK 4 condensor typically runs for around $300 and doesn't offer USB connectivity. Similarly, if you're using something like a Blue Yeti and looking for an upgrade, the NT1 makes a compelling option.

The NT1 goes up for pre-order today. 

When a microphone has been around for 30 years, it must be doing something right. The Rode NT1 is arguably the company's flagship studio mic and origin story for the brand's name. The mic was originally called the Rodent1, shortened to Rode NT1 and the rest is history. Today, the company is unveiling the fifth iteration and it comes with two key updates that should interest podcasters and vocalists alike. Those would be 32-bit float recording and the addition of USB connectivity.

The inclusion of USB might feel like something that should have been there all along, but typically "pro" studio microphones are XLR only, with USB being the reserve of desktop microphones. Times are changing though and more folks are seeking a classic microphone but without the need to use an audio interface. Now, with the NT1 you have both. The USB connection is tucked away right at the base of the existing XLR port. It's a clever solution, but you will need a USB cable with fairly slim connections else it won't fit.

With the new USB connectivity comes the option for tailoring the sound of the mic. Usually that part is offloaded to an interface or mixer, but now there's an onboard DSP that allows you do apply things like a noise gate or compressor to the mic directly (via Rode's Central or Connect apps). Not to mention this makes the microphone much more portable as you won't need to bring a separate, often clunky interface along with you.

Rode

Easily the biggest benefit of the MK5 (and that built-in DSP) is the introduction of 32-bit float recording. In a nutshell, 32-bit allows for an exponentially larger dynamic range than 16- and 24-bit (which is what most systems use). This means you can forget about clipping (when audio is too loud and distorts) as there's enough headroom for almost any sound that would be possible. Or, put another way, you can effectively forget about setting levels safe in the knowledge you can adjust them in post without any audio loss.

What this means for podcasters and vocalists is less time worrying about levels at the point of recording, knowing you can set things as you want in post. Of course, good levels at the point of recording is always adviseable if possible, but it at least means any sudden sounds won't ruin your take. It's also currently very rare to find 32-bit float on a microphone like this - typically you'd have to buy a pro-level audio recorder if you wanted this feature.

At $259 the NT1 sits in an interesting spot. Shure's MV7 also offers XLR and USB connectivity and retails for $250 without 32-bit float (it's also a dynamic mic which will be either a benefit or a disadvantage depending on your needs). Sennheiser's fantastic MK 4 condensor typically runs for around $300 and doesn't offer USB connectivity. Similarly, if you're using something like a Blue Yeti and looking for an upgrade, the NT1 makes a compelling option.

The NT1 goes up for pre-order today.