Stereo mixers needing another monitoring path
You work mainly with one stereo monitor pair but may need alternate monitors, headphones or a separate output feed without moving to a rack-sized setup.
Who is this for?
Composer-mixers recording score elements
You also record microphones, line-level instruments, guitars or voice-over, so the interface must accommodate your recording connections as well as mix playback.
Growing post-production setups
You expect to add speaker feeds, external converters or hardware sources and need to plan physical outputs, routing and expansion before choosing an interface.
What matters when choosing?
Map your monitors and simultaneous recording sources first. Then decide whether real-time production features or a smaller desktop setup should take priority.
Compact four-output interface
Consider it when: You mix mainly in stereo but need an alternate stereo destination or separate line-level feed.
Trade-off: Four outputs alone do not establish a complete surround-monitoring workflow; check your speaker count, monitor control and DAW routing.
Multi-input production interface
Consider it when: You need to record several score sources alongside mixing, rather than use the interface chiefly for playback.
Trade-off: Extra inputs help only if they match the sources you will connect; they do not by themselves improve a stereo mix.
Expandable studio interface
Consider it when: Your planned speaker feeds or hardware sources require more connections than a compact interface provides.
Trade-off: ADAT expansion needs compatible external equipment. Focusrite specifies its Scarlett 18i20 4th Gen 16-input, 16-output ADAT mode at 44.1 or 48 kHz.
| Concern | What to check | Who this matters to |
|---|---|---|
| Monitoring and routing | Count the physical line outputs you will use, and check how monitor, headphone and DAW playback paths are controlled. | If I need alternate monitors or a separate feed, I want to know where each signal will go before buying. Around 36% of consumers put monitoring and routing first. |
| Recording connections | Count simultaneous microphone, line and instrument sources; check the relevant connectors and phantom power where needed. | When I record score elements or voice-over, I need enough suitable inputs at the same time. For around 29% of consumers, recording connections are the primary concern. |
| Real-time workflow | Check latency under the stated sample-rate and buffer conditions, driver support and loopback if you need to capture computer playback. | Playing software instruments or monitoring an overdub makes responsiveness important to me; capturing computer audio may matter for a review feed. Around 21% of consumers prioritise this workflow. |
| Desktop simplicity | Confirm computer compatibility, power requirements, cable type and the monitor and headphone connections you need. | For a straightforward stereo desk, I would rather keep connections manageable than add I/O I do not plan to use. Compact simplicity comes first for around 14% of consumers. |
Buying pitfalls
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Assuming four outputs provide surround monitoring
Four outputs can serve two stereo destinations, but a surround arrangement needs enough discrete speaker feeds and a workable monitoring plan.
List every speaker and separate feed before buying. If you expect to expand, check the interface and any required external equipment together.
Your planned setup may also call for monitor control, speakers or additional cables.
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Comparing latency figures without their test conditions
A figure measured at one sample rate and buffer size cannot be treated as equivalent to one measured under different conditions.
Compare published figures only where their conditions match, then check driver and operating-system support for your computer and DAW.
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Choosing inputs without counting simultaneous sources
A software-only mix and a session recording microphones, synths or voice-over place different demands on an interface.
Count the sources you will connect at once and distinguish microphone, line, instrument and MIDI connections.
If the available inputs cannot accommodate a later session, additional preamps or converters may be needed.
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Assuming a listing identifies the exact bundle
Plug arrangements, supplied cables, software and warranty terms can vary with the version and destination.
Confirm the exact model and included items with the seller, and check the applicable conformity information for your delivery destination.
Brands to consider for these setups
Focusrite
The Scarlett range includes the compact 4i4 and the larger, ADAT-expandable 18i20 4th Gen.
- Focusrite specifies four balanced rear-panel outputs for Scarlett 4i4.
- Focusrite specifies 16-input, 16-output ADAT expansion for Scarlett 18i20 4th Gen at 44.1 or 48 kHz; using it requires compatible external equipment.
MOTU
The M4 is a compact desktop option for a setup needing four balanced line outputs, MIDI connections and bus power.
- MOTU specifies four balanced line outputs and two line inputs on the M4.
- MOTU’s published 2.5 ms round-trip latency figure applies at 96 kHz with a 32-sample buffer, not to every computer or session.
Steinberg
The UR44C is relevant when recording sources alongside score mixing calls for several microphone or line inputs.
- Steinberg specifies six inputs, four outputs and four D-PRE microphone preamps for the UR44C.
- Check its connection layout and software workflow against your session; additional inputs are not inherently useful for a playback-only mix.
Audient
The EVO 8 offers a compact four-input, four-output route with two stereo speaker outputs and two headphone outputs.
- Audient lists a software mixer and loopback among EVO 8’s features.
- Audient notes that low-buffer stability depends on CPU load, the operating system and driver performance.
RME
The Babyface Pro FS is relevant when independent mixes and routing to physical outputs are central to a portable setup.
- RME states that TotalMix FX can route and mix input and playback channels independently to physical outputs.
- Check the physical connections needed for your monitors and other equipment, and allow for configuring the routing.
Joybuy audio interfaces
Related products coming soon.
Questions about score-mixing interfaces
Do I need more than two outputs for a stereo short-film score?
Not necessarily: one stereo monitor pair uses two outputs. Four analogue outputs become useful if you need another stereo destination or a separate line-level feed, but check speaker count, routing and monitor control before planning a surround setup.
Should the maximum sample rate decide which interface I buy?
No: check the project’s delivery requirements, your computer, the connections you need and your monitoring plan as well. If ADAT expansion is part of that plan, Focusrite specifies the Scarlett 18i20 4th Gen 16-input, 16-output ADAT mode at 44.1 or 48 kHz.
What should I check about latency?
Check the sample rate, buffer size and computer conditions behind a published figure, particularly if you will play software instruments or monitor overdubs through the DAW. MOTU states its M4 2.5 ms round-trip figure at 96 kHz with a 32-sample buffer; Audient cautions that low-buffer stability also depends on CPU load, operating system and drivers.
What can I do with an old audio interface?
Look for an electrical-equipment reuse or recycling route rather than putting it in general waste. GOV.UK describes the UK’s waste electrical and electronic equipment framework as encouraging recovery, reuse and recycling; check available retailer take-back and local-authority services.