Simply put, an audio interface is a physical device that allows you to get sound in and out of your computer.<\/p>\n\n\n\n
One of the first things you\u2019ve probably been told to invest in when starting out as a music producer,<\/a> songwriter, or recording artist is an audio interface. However, if you’re exploring them for the first time, it may be unclear which one is best for you.<\/p>\n\n\n\n In this article, we go over why you would need an audio interface in the first place, the components that make them up, and some factors you’ll want to consider when you choose one.<\/p>\n\n\n\n Feel free to use the table of contents below to easily navigate to a specific section.<\/p>\n\n\n\n Let’s dive in!<\/p>\n\n\n\n When you think about it, every mobile phone, tablet, and computer actually comes with its own built-in audio interface. All of them have a mic that captures<\/em> sound,<\/a> and speakers<\/a> or an audio output (such as a headphone jack, for example) that emits<\/em> sound. So, you may ask yourself, “Why would I need an audio interface if my computer already comes with one?”<\/p>\n\n\n\n Well, the answer is dependent on how you create music.<\/p>\n\n\n\n The truth is, if you aren\u2019t going to be recording audio with microphones or physical instruments and you\u2019re just using your headphones,<\/a> you can probably hold off on getting an interface for now. But, if you want to record something with a mic<\/a> or connect your computer to external speakers, you should probably consider investing in an audio interface.<\/p>\n\n\n\n Voice to verse\u2014anywhere. With the addition of Splice Mic, you can instantly test and record ideas, explore genres, and unlock new creative possibilities, all from <\/strong>the Splice mobile app.<\/strong><\/a><\/p>\n\n\n\n So, what does an audio interface do, exactly?<\/p>\n\n\n\n Audio interfaces come in many different configurations and specifications, but all of them achieve the same core functions by using variations of the following key components.<\/p>\n\n\n\n Many of the industry’s biggest manufacturers make several variants of the same type of audio interface. More often than not, these variants are based on the number of inputs<\/strong> and outputs<\/strong> the audio interface has.<\/p>\n\n\n\n For example, if you take a look at Focusrite’s Scarlett interfaces,<\/a> you’ll see that one of the biggest differences across each option (alongside more detailed technical specs) is simply the channel count for supported inputs and outputs. More inputs allow you to record more sources simultaneously, while more outputs allow you to send your audio to multiple audio destinations simultaneously.<\/p>\n\n\n\n If you\u2019re a singer-songwriter or bedroom producer who\u2019s interested in recording no more than two microphones at any given time and you have just one pair of speakers, you would probably do just fine with a simple two-input \/ two-output audio interface.<\/p>\n\n\n\n Note that some audio interfaces may have options for taking in digital optical inputs to expand your audio interface input and output options\u2014more on this in a later blog post.<\/p>\n\n\n\n Related to inputs on audio interfaces are what we call microphone preamps.<\/strong> These are the circuits inside the audio interface that boost the signal of the microphone you’ve connected to your preamp.<\/p>\n\n\n\n Some audio interfaces are very expensive because they have exceptionally high-quality microphone preamps that boost an input signal in a clean and pure fashion, with a minimal amount of noise. However, thanks to the wonders of technology, a lot of affordable audio interfaces on the market these days also have pretty solid microphone preamps that don\u2019t burn a hole in your pocket.<\/p>\n\n\n\n You\u2019ll probably see the term supported sample rates<\/strong> on most audio interfaces, along with values such as 44.1 kHz, 88.2 kHz, 96 kHz, 192 kHz, etc. This is related to how the audio interface can handle converting your captured audio (analog audio) into digital signals<\/a> in a way that allows your computer to ‘read’ them. Naturally, the higher the sample rate, the better the audio quality and the bigger the file size.<\/p>\n\n\n\n Audiophiles and professional engineers often pay huge sums of money for interfaces with pristine state-of-the-art converters. After all, you can have the best microphone, the best microphone preamp, and the best vocalist in the world, but if your audio converters that ultimately turn your recording into a digital signal are low quality, then your resulting audio will also suffer.<\/p>\n\n\n\n Audio converters don’t solely exist on the \u2018front end\u2019 when capturing audio\u2014they also exist on the \u2018back end\u2019 when digital audio from your computer needs to be converted back to an analog signal, so that your speakers can play it back. Generally, you’ll find that audio interfaces with high-quality audio converters tend to be more expensive.<\/p>\n\n\n\n Every audio interface has what we call a monitoring section.<\/strong> This is usually comprised of a volume knob, a cue output (or headphone jack), and maybe a toggle to switch between different pairs of speaker outputs. Usually, the more monitoring options an interface has, the more costly the interface is going to be.<\/p>\n\n\n\n Last but not least, it’s important to understand the way an audio interface provides a connection with your computer. These days, most interfaces come with USB 3 connectors or USB-C connectors. For most use cases, a standard USB 3 connector should be good enough, but if you need much lower latency (this might come into play if you’re recording multiple inputs simultaneously), then consider going for a connector with a higher bandwidth such as the Thunderbolt connector.<\/p>\n\n\n\n Choosing an audio interface that’s right for your digital audio workstation<\/a> recording needs depends on a variety of factors. Audio interfaces range widely in price points, spanning anywhere from under one hundred dollars to a couple of thousand dollars. Realistically, if you\u2019re starting out, it\u2019s wise to grab an audio interface that\u2019s not too<\/em> expensive, but also affords you the option to build on your setup later on.<\/p>\n\n\n\n If you’re not sure where to start, the Scarlett interfaces from Focusrite<\/a> that we mentioned earlier are widely adored by hobbyists and professionals alike, have stood the test of time, and generally deliver the bang for your buck. They\u2019re built with high-quality converters and preamps, while often being the go-to economic option across various price points. And as a bonus, we’ve partnered with Focusrite to offer a promo code for three months of free Splice Sounds<\/a> to anyone who buys a third gen or fourth gen Scarlett interface.<\/p>\n\n\n\n If you have any questions about audio interfaces, or if you\u2019d like more articles around picking the right audio interface, let us know via the Splice Discord.<\/a><\/p>\n\n\n\n Explore royalty-free one-shots, loops, FX, MIDI, and presets from leading artists, producers, and sound designers:<\/p>\n\n\n\nWhat you’ll learn:<\/h3>\n\n\n\n
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\n\n\n\nWhy would you need an audio interface?<\/h2>\n\n\n\n
\n\n\n\nHow does an audio interface work?<\/h2>\n\n\n\n
Inputs and outputs<\/h3>\n\n\n\n
Microphone preamps<\/h3>\n\n\n\n
Audio converters<\/h3>\n\n\n\n
Monitoring section<\/h3>\n\n\n\n
Connector types<\/h3>\n\n\n\n
\n\n\n\nHow to choose the right audio interface for your music<\/h2>\n\n\n\n
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