7 Best Budget Audio Interfaces to Start Your Music Creation Right Now

Focusrite Scarlett Solo (3^rd Gen) is the best budget USB audio interface for recording a single instrument or the human voice. It’s easy to use, boasts excellent build quality, and lets you get quality audio from different microphones into your computer. (You’ll need a preamp with dynamic mics though, due to their low output.) Its suitable air Mode gives your recordings a more open sound while the two hum-free outputs yield clean audio playback. The audio quality is further enhanced by its high-performance converters that let you mix and record at up to 24-bit and 192kHz.

What’s more? The solo 3^rd Gen is a fantastic upgrade. Compared to the previous versions, this model has better microphone inputs, variable line inputs, fixed-line inputs, instrument inputs, and line and monitor outputs. To paint a picture, the 3^rd Gen has a dynamic range of 111dB and a gain range of 56dB (mic input) compared to 106dB and 50dB in the 2^nd Gen Bus-Powered counterpart. When it comes to line & monitor, the 3^rd Gen has a dynamic range of 108Bb and a maximum output level of 15.5dBu compared to 106dB and 10dBu in the 2^nd Gen Bus-powered counterpart. That explains the high-quality audio. The quality sound coupled with the included Pro Tools and quick start tool makes the solo 3^rd Gen a force to reckon with.

What we liked:

We liked the solo 3^rd Gen’s compact design, which makes it portable and easy to store. Its sleek look boosts your studio’s aesthetics while the quick start tool gets you up and learning, with ease. We particularly loved the series of tutorials Focusrite has created to guide new buyers. The tutorials take you through the logistics of recording your music, getting set with your DAW, and more; without any confusion or intimidation. As a result, you get set up, plugged in, and jamming (to your tune) in no time.

What could be better:

In our opinion, however, the solo 3^rd Gen can use a better USB connection. Currently, the model switches to a USB C connector with lightning, which needs a separate driver. To deliver the said driver, the Solo 3^rd Gen shows as a USB with the installation media. As such, the system does not boot if the device is plugged in. Also, Focusrite gets you to register the interface and drivers on their site before the connection can be made. That can be painstaking, especially considering the new driver drops connections after an extended period of use.

PreSonus AudioBox USB 96 2×2 has two high-quality Class-A mic preamps for connecting XLR microphones. The preamps double as line preamps for connecting instruments, thanks to the included Amphenol XLR tips. The result is a clear sound with low floor noise. Added to the preamps is MIDI I/O for connecting to your favorite MIDI controller (synth). The studio-grade converters let you mix and record music at up to 24-bit/96kHz. (You can access the zero-latency monitoring if you buy an adapter for 3.5mm headphones.) The build quality is commendable, with the aluminum chassis and metal accents giving a premium-kind-of feeling.

Besides being simple, reliable, and portable, the PreSonus AudioBox boasts a DAW recording software and a Studio Magic Plug-In Suite (with over $1,000 of computer-based recording software plug-ins). That makes it ideal for podcasters, producers, and musicians on a tight budget. It’s also ideal for guitar or guitar-bass collaborations. Being portable and 2.0 bus-powered, this audio interface makes recording easy for both home and away studios.

What we liked:

We liked the mobile nature of this unit. Its heavy-duty steel chassis ensures it remains completely reliable even after taking a serious pounding. At the same time, it’s USB 2.0 bus-powered so we used it to record from anywhere we could place a laptop. We also loved that the AudioBox USB 96 works with Windows and Mac audio-recording software. Its PreSonus Studio One Artist DAW also proved to have a short learning curve than most audio-recording software. Better still, it was easy to use and record without distractions from the tools.

What could be better:

On the flip side, the zero-latency monitoring feature comes at the expense of some popping and annoying white noise in the headphones. The noise can at times make it difficult to monitor the audio. Also, only one ear cup can receive the sound from the recordings produced by the AudioBox 96 interface. And while the unit is compatible with most third-party products, you must purchase a key code to gain “compatibility”.

With M-Audio AIR 192|4, you get to create flawless 24-bit/192kHz high-quality masterpieces with an easy-to-use and intuitive audio interface. The interface has an all-new ¼” instrument input and XLR+¼” balanced combo input, allowing you to create two channels simultaneously. The ¼” instrument input has a well-designed impedance and gains stage to provide accurate bass or guitar representation. Better still, the interface comes equipped with a software package that contains everything required to get you started. Think of Pro Tools (First Edition), Ableton Live Lite, the Avid Effect Collection, Eleven Lite, and more. M-Audio AIR 192/4 is by all standards one of the best budget audio interface USB 3.0.

The device best resonates with people who love alternative pop or rock or classic rock. It’s also for you if you love Iron Maiden, Foo Fighters, and The Who. (If you want to use the interface on AMD, power it on a power brick and use the ¼” output to input into your motherboard sound card.)

What we liked:

We liked that M-Audio AIR 24 has an excellent build quality, it’s easy to set up and produces clear sounds. Our guitar sounded better with distortion effects, without any unwanted noise. Also, our recordings (on the laptop) sounded extraordinarily clear – all thanks to a 24-bit/192kHz at a budget price. We also appreciated its lightweight and compact design that made it easy to fit into a laptop bag and carry to a location of choice.

What could be better:

While the device works great with high-speed USB, there’re noticeable audio crackles and pops when using USB (type C). To make it worse, the troubleshooting available barely corrects the crackles. (The directions include setting the main volume to 80% (in Windows) and adjusting the direct/USB knob – all of which barely help.) M-Audio Air 24 also has compatibility issues with AMD processors, which results in buffer underruns, audio issues, loss of audio, and occasional blue screen.

Native Instruments Komplete Audio boasts 2 (2x Combi-XLR/jack) inputs with phantom power for flexible recording. Its ¼’’stereo outputs are ideal for use on stage, at home, or in the studio. The host/input mix provides the option of hearing playback as you record. Moreover, the interface record in 24-bit resolution at up to 192kHz – which is impressive for its price and compact design. It also features direct monitoring with simple LED level readouts. Added to that are a VU meter for adjusting levels accurately and a big volume knob for adjusting output levels easily.

The Komplete Audio 2 is a great upgrade. Unlike Audio 1, Audio 2 can work in stereo. It also features two combo jacks for more flexibility and two jack outputs suited to studio connections. That’s a far cry from the consumer-oriented RCAs of Komplete Audio.  Better still, the Audio 2 has line/mic switches for both inputs, making it suitable for connecting instruments. Overall, Komplete Audio 2 is made for easy stereo recording. As such, it’s ideal for performers, beatmakers, and musicians who want to play out, produce or capture ideas with high-quality audio.

What we liked:

We liked the ultra-lightweight and compact design of this unit. Its build quality is commendable – especially because it’s made from plastics and not expensive metals, like in older models. We also loved the solid preamps with a commendable gain range. We recorded without prominent latency, and the recordings were extraordinarily clear and clean. Its 5-segment LED signal indicators are excellent for direct monitoring while the main output knob is fun to turn.

What could be better:

But while we were impressed by what Komplete Audio 2 has to offer, it cannot switch between monitoring outputs (½ – ¾) as in the original version. Also, only the 1/2’’ is recognized by Foobar or Windows 10. At the same time, the software bundle is somewhat hard to locate and download. You must use Native Instruments’ license app or stand-alone installer. Unfortunately, there are no clear instructions about it on their software. The customer support could also use some improvement.

The Steinberg UR12 is a 2 input and 2 output USB interface, boasting a single D- PRE Class-A mic preamps (from Yamaha), with +48V phantom power. The D-PRE is specially designed to capture all the expressiveness and subtleties of any audio source. (As such, the mic preamps sound stunning, which is to be expected as D-PRE is a culmination of years of development by skilled engineers at Yamaha corporation.) The interface is housed in a rugged yet compact chassis to boost its durability. And its 24-bit/192kHz converters provide commendable dynamics and details. Its ultra-stable drivers for Windows and Mac OS X make sit compatible with the major audio recording software applications.

Being crafted and engineered to meet the most exacting needs, the UR12 is ideal for any home recording enthusiast. Just be sure to get the drivers first, before plugging it in. If you hear screeching noises during setup, it means your OS is installing older drivers. As such, don’t use a CD to install the drivers. Instead, get up-to-date drivers from Steinburg or Yamaha website. Once you have installed the drivers, you can turn on the interface and plug it in.

What we liked:

We liked that the D-PRE mic preamp has a wide frequency range, enough to handle any music source without overly amplifying any components of the signal. The mic is tuned to capture the true essence and expression of an audio source or a given performance, all while leaving room for later editing. We also appreciated the interface’s cross-platform compatibility with iPad, OS X, and Windows.

What could be better:

On the flip side, the UR12 lacks a MIDI input or output, which means you cannot connect it directly to your favorite synth (MIDI controller). It’s also relatively heavier than other audio interfaces on our list. And while that does not affect its mobility, it sure can affect the number of things you can carry at a go.

EVO 4 amplifies and converts an analog signal to digital. It boasts a JFET instrument input, 2 XLR input channels, and both stereo and mono loopback channels for recording your audio output. (Note, the unit creates an input selection, which mixes the 2 channels into 1 if that’s your preference. You can also mute either channel by long-pressing the numbered buttons.) The JFET input only t channel 1. It takes priority over XLR input, and as such; it automatically mutes the XLR signal when in use. Its Smartgain feature gets your sound levels set up fast during sound monitoring; while eliminating the possibility of clippings.

The unit is suitable for anyone who needs to record instruments or vocals for their cover song or original music. Think of songwriters or producers. It’s also great for recording a couple of mics for podcasts.

What we liked:

We liked that Audient EVO 4 provides access to the Cubasis (iOS) LE 2, the compact DAWs Cubase, and some VST synthesizers when you register your unit on their site. The bundled software is an impressive set of freebies for aspiring producers and songwriters. We were also impressed by the Smartgain feature that gets your sound levels set up fast during sound checking. The feature helps reduce clippings that can occur when you set the gain too high.

What could be better:

In our opinion, however, it’d be better if you can turn the LED indicators off when you connect EVO 4 to a PC. There should also be dB labels next to the LED indicators. Currently, you must look down on the interface to see all the LED lights, which is inconvenient. Also, the unit should be upgraded to allow the use of headphones and speakers for monitoring simultaneously. Currently, plugging in the speakers will automatically mute the headphones’ output channels.

BEHRINGER U-Phoria UM2 audio interface bridges the gap between your fans and your creativity. The unit is 2.0 USB powered making it blazingly fast. It has you recording your cover songs in minutes, thanks to the included connectivity necessary for your guitars, keyboards, microphones, and MIDI devices. Its 4 world-class MIDAS-designed mic preamps include +48V phantom power for condenser mics, and pass through studio-grade 24-bit/192kHz to produce high-quality sound.

Whether you’re a producer on the go, a songwriter, or running backing tracks at a gig; UM2 will make you shine in the audio recording domain. The 4 XLR/TRS inputs provide ultimate flexibility while recording while the ability to communicate with MIDI devices adds the benefits of control to your studio workflow. Better still, UM2 allows zero-latency monitoring which means you can experience your performance clearly – without delay, resulting in a better recording and performance.

What we liked:

We particularly liked Tracktion, one of the world’s easiest and fastest DAW for composing, recording, mixing, editing, and sharing your masterpieces with the world. The DAW features unlimited track count, dynamic automation, MIDI recording, support for AU and VST plug-ins. Besides the DAW, we loved the interface’s small footprint. Its mobility is further enhanced by its ability to power from the USB bus.

What could be better:

On the downside, UM2 has a single +48V phantom power switch for all channels. That means that the 4 channels are either on or off. This can be hectic in cases of mixed sources – think acoustic guitar pickups, ribbon mics, and more. Also, the unit lacks usable internal effects during the zero-latency direct monitoring.