Universal Audio’s pedigree is uncontested in audio: the preamps and compressors they developed in the 1960s are some of the most coveted and emulated today. With that in mind, here are some of the best audio interfaces on the market today. Sometimes the $150 unit is all you need, sometimes only top-of-the-line will do. No converter can destroy a solid performance of a savvy arrangement of a well-written song, but an interface nonetheless remains the single gate through which all your recorded sounds must pass. Does it have microphone preamps, and are they any good? What about other types of built-in audio processing? And does it send and receive MIDI? Finally, is it “good enough?” Audio specs have a way of inducing vertigo, of highlighting microscopic impurities in the sound that may not even be perceptible. But there are other features that must be considered: how many inputs and outputs? A singer-songwriter or an electronic producer working mostly in-the-box may need only two of each, while a budding engineer will opt for more. “Nothing is more important to digital audio than data conversion,” writes Dennis Bohn of the pro audio company Rane. The quality of conversion, therefore, must be considered when purchasing an interface.
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