Choose by the number of microphones you need to record simultaneously, not the interface’s headline input-and-output count. Four microphone-capable inputs can cover kick, snare and two overheads if that arrangement gives you enough separate tracks; eight onboard mic preamps leave room for additional microphones or players. Consider ADAT expansion if you expect to add channels later and can accommodate an external preamp, sample-rate limits and digital clocking.
If you want individual drum or percussion tracks to balance and edit later, count the microphones you will use at once. Each needs a suitable input; a simpler capture will not give you the same separation between sources.
If the aim is to capture a rehearsal with less setup, a smaller microphone arrangement may be enough, provided you accept fewer independently editable tracks. Thomann’s four-microphone drum example uses kick, snare and two overheads.
If you expect to add room microphones, percussion or other players, plan for those simultaneous inputs now. For later digital expansion, check the external preamp connection, supported sample rates and clocking as well as the interface’s current mic-preamp count.
Start with a list of the microphones and other sources you intend to record together. Then decide how much setup time, headphone routing and future expansion matter to your rehearsals.
| Concern | What to check | Who this matters to |
|---|---|---|
| Simultaneous mic inputs | Count onboard microphone-capable inputs against the mics used at once, and check phantom-power needs. Do not use total I/O as the mic-preamp count. | I want separate tracks for the percussion microphones I use together, rather than having to combine sources before recording. Around 42% of consumers put simultaneous mic capacity first. |
| Setup and gain control | Check gain controls and metering on the exact model; if you want assisted gain setting, confirm how many channels it covers. | When rehearsal time is short, I want to set several mic levels and check for clipping without prolonging setup. Around 33% of consumers prioritise this workflow. |
| Monitoring and expansion | Check independent headphone outputs and cue-mix routing. For ADAT expansion, confirm connection direction, channel count at your sample rate and clocking requirements. | If performers need their own cues or I expect to add microphones later, I need routing and an expansion path I can use. Around 25% of consumers put monitoring or future capacity first. |
An interface’s total can include line and digital connections. For separate percussion tracks, each microphone needs a suitable input available at the same time.
List your simultaneous sources, then check the exact model’s physical mic inputs and any condenser microphones’ phantom-power requirements.
If you run out of mic preamps, adding more microphones may require a separate preamp or a different recording arrangement.
ADAT capacity per connection falls at higher sample rates, and connected digital devices need compatible sample-rate and clock settings.
Check the planned sample rate, the interface’s ADAT input and the external preamp’s connection and synchronisation instructions before choosing an expansion path.
Expansion also means accommodating external hardware, optical cabling and setup time.
Assisted gain setting and direct monitoring can simplify a session, but they do not settle microphone placement, spill, recorded levels or what performers hear in their headphones.
Set a cue mix, listen for clipping and unwanted spill, and make a short test recording before the full rehearsal.
Compare these manufacturers’ specified inputs and routing against your microphone plan; a brand name alone does not establish how a particular setup will sound in your room.
The Scarlett 18i20 4th Generation is a rack-oriented option for multi-mic sessions and planned digital expansion.
The EVO 16 suits a multi-mic setup where assisted gain setting is an important part of the workflow.
The SSL 18 is a rack interface to consider when eight onboard mic inputs and flexible outputs are both relevant.
The Fireface 802 FS is a routing-focused option for setups that can make use of its mix controls and varied connections.
You need one suitable input for each microphone you want to record as a separate track at the same time. Thomann describes a four-microphone drum arrangement using kick, snare and two overheads; add inputs if your plan includes further close mics, room mics or other players.
No: the total input count can include connections other than onboard mic preamps. Focusrite specifies eight mic/line preamps on the Scarlett 18i20 4th Generation, alongside digital connectivity. Check the exact model’s physical inputs against your microphone list.
Direct monitoring lets performers hear the interface input with near-zero monitoring latency, according to Focusrite’s explanation of the feature. It does not make monitoring through DAW plug-ins latency-free, so decide whether performers need the direct input or a processed software sound in their headphones.
You can add channels if the interface has a suitable ADAT input and you use a compatible external preamp or converter. Check the channel count at your planned sample rate and the clock settings for both devices; Focusrite notes that an ADAT connection’s capacity decreases at higher sample rates.