Do you need an audio interface for your voiceover recording setup?
To record your voice with your computer, you’ll need an audio interface. In your VO studio or recording setup, the audio interface does two things: (1) it amplifies the analog signal received from your microphone and (2) it changes the continuous analog voltage into digital 1’s and 0’s so your computer can deal with it. The most common voiceover recording setup connects a Large Diaphragm Condenser microphone through an XLR cable to a separate Audio Interface which then connects to the studio computer through a USB cable.
Even a USB-Direct-Connected microphone contains an audio interface. In that case, those connections and the interface just happens to live inside the housing with the rest of the mic innards.
In both cases, you create your voiceover performance by moving air molecules, which creates a change of pressure (how we perceive sounds). Those get captured by the sensitive capsule or diaphragm in the microphone. Those pressure changes get converted into tiny fluctuations of electrical voltage and run through some circuits in the microphone, before getting amplified a bit more and then turned into digital information our computer can handle.
However, I often downplay that piece of equipment when describing the basics of home voiceover studios. While the Audio Interface is an integral part of the audio signal path, it does not tend to have a significant impact on overall sound quality in VO recordings. That’s because even the “entry level” interfaces do a pretty phenomenal job of handling the basics of amplifying the microphone input and then digitizing that signal into our computers.
When it comes to recording equipment, we live in a time of riches. Even more so with Audio Interfaces.
Audio Interface Basics
As with voiceover microphones, we’re always looking for “the best audio interface” in the home VO recording studio. As with every piece of equipment, you’ll hear all kinds of advice. You may be told that a recommended XLR microphone model needs a special preamp. Or, you may hear about something called a “sound card” and be wondering if that is a better approach.
As with any audio equipment, we can descend into a deep rabbit hole of various models and features. But for most of what we do in VO, the audio interface can be pretty simple. It’s is generally not the bottleneck in getting great audio in your voiceover auditions and produced work.
Definitions: Sound Card v. Preamp v. Mic Pre
First, a few terms that mean essentially the same thing: you may hear people refer to “Sound Cards” or “Preamps” or “Mic Pre’s”. If they are referring to the device that sits at the end of your XLR cable and connects to your computer via a USB cable, then they are talking about an audio interface.
Other terms used to describe an audio interface include: “A/D” or “A to D” (for audio to digital), “DAC” (digital audio converter), or just “Converter”. Generally, people are referring to the same piece of gear.
To be completely accurate, Sound Cards are dedicated circuit boards that plug directly into a slot inside of your computer. This type of hardware harkens to the days when it was more common to remove the case from your computer and directly install specialty hardware to give it more functionality. These days, we just connect a self-contained external device through a high speed data cable, such as USB. The benefit is that we no longer have to worry about whether upgrading our computer makes our plug-in cards obsolete.
Preamps or Mic Pre’s are kind of describing the same thing – an amplifier which takes the relatively low output from a microphone and boosts it up to a level that is useful when recording. Almost any audio interface you are likely to encounter will have a Preamp inside of it, in addition to the converter circuit. But, that does not prevent people from referring to an audio interface as their “Pre”.
What is an Audio Interface?
An Audio Interface does what a Sound Card used to do – first amplify and then convert the incoming analog signal into 1’s and 0’s that the computer can deal with. Because they are external, self-contained devices, they just need to follow the easier guidelines of data transfer through a digital cable rather than how to be physically connected to a computer motherboard. That keeps things simple for us.
These days, most audio devices are “Class Compliant” – meaning that in many cases (particularly on the MacOS side of things) you won’t need to worry about separate “driver” software. They are just plug-and-play. (Note – Windows users typically need to be aware of how to find the “driver” software for their interface).
Does An Audio Interface Actually Influence Our Audio Quality?
Honestly, I tend not to worry too much about this part of the input chain, preferring to keep things simple. In almost every case, the quality of our audio recordings are much more highly influenced by three other factors:
- The source (the timbre and volume of your voice)
- The room (which will act upon the sound in fairly complex ways)
- The microphone (remember, microphones are basically filters)
Current Audio Interfaces are seldom the bottleneck to high quality audio.
But – what does an Audio Interface actually do?
As I mentioned above, an Audio Interface receives analog (voltage) input from the microphone through the XLR cable. Once inside of the audio interface, a preamp circuit amplifies that input (typically by 40 to 60 dB of gain – which means that they are designed to handle the input from a condenser microphone). The interface’s converter chips analyze the fluctuating voltage and change it into digital information for the computer in real time. This information travels down the data cable (commonly a USB or USB-C cable) where your recording software records it and renders cool waveforms to your screen.
Many interfaces provide a “Direct Monitor” option, so you can hear the audio as it comes into the interface, before it is digitized. That way, you can hear yourself with no time delay. Sometimes the controls for Direct Monitoring are (1) a switch on the device, (2) a “Mix” knob which balances between the audio coming back from the computer and the input from the microphone, or (3) a software control panel where you might set those things through your computer.
The Audio Interface also handles conversion during playback. It makes sense of the digital data from the computer, converts that back into a voltage signal which goes into our headphones or speakers. This audio output uses the high quality converters and amps in the interface, and often sounds better than the audio coming out of the headphone port on your computer.
All of audio input generally occurs with very little change to the signal. What we end up with is an accurate transfer of our voice through the microphone and into the recording software.
Audio Interfaces: Can Distortion Sound “Good”?
Just what happens when we use it?
Every voiceover studio must have an Audio Interface. It handles the vital step of transferring performances from the microphone into the computer. While the mic is the primary filter between your voice and the recording software, everything travels through the audio interface.
When Is “Distortion” a Good Thing?
Audio Interfaces recommended for VO studios generally have a “neutral” sound. That means the signal coming out of the interface remains very, very similar to the signal which went into the interface. It will be louder – thanks to the preamp circuit – but it shouldn’t sound different. That means there’s no “coloration” of the sound.
Any coloration of the incoming audio is actually distortion of that signal. Which on the face of it is a bad thing, right? We want to avoid distorting our audio signal, don’t we? That’s why we record conservatively, practice mindful mic placement and position, correct?
Yes. Yes. And yes. Those things are true.
For VO, we certainly don’t want significant general distortion on our voice recordings – clarity and accuracy is the point. Yet “controlled” distortion might add some sonically pleasing aspects to our sound – adding overtones or “harmonics” to the original signal which compliment it.
That’s where the “boutique” preamps come in. By judiciously adding coloration or tonal changes by boosting certain specific harmonics in the original signal, those preamps add extra tonality which our ears find pleasing.
Using a Specialty Preamp for VO
This “secret sauce” is why some voice actors choose to invest in a separate preamp – they are using the combination of their microphone AND that preamp to create their core tone. When you get to that point, of course, you need to (a) know what you are doing, and (b) have clients who want that specific tone from you.
Which brings us back to the basics of running your VO studio – most of what we deliver to our voiceover clients are neutral, clean, vocal recordings. We need to be able to do that consistently.
As with many things, there’s a balance to maintain. The more tonal coloration we add to our recordings, the more “produced” our audio may sound. That may not be appropriate for certain types of projects, or the client may want to shape that tonality on their end. Many actors’ voices tend toward an “announcery” quality to begin with, and adding additional character from a preamp often increases that. How many audition opportunities ask us to “not sound like a voice actor”? All of those considerations factor in to what we add to our core tone.
Adding “Character” to the Input Signal
When we are aware of those potential downside, some distortion might be a good thing – and a few of the Audio Interface manufacturers understand that. Most of the companies who make audio interfaces have been in the recording studio equipment business for a long time, and have a heritage of making the recording consoles found in high end professional studios. Recording engineers might favor a given type of console (if you’ve seen the documentary “Sound City”, they are moving a Rupert Neve console to Dave Grohl’s studio). In addition to the core functionality of clean, neutral preamps, certain audio interface models try to capture some of that feel with an additional tone option.
Focusrite, through the “Air” circuit on their Scarlett series; Solid State Logic, with the “4K” button on their SSL 2 and SSL 2 Plus models; and Universal Audio, using a “Vintage” option on their Volt series, all provide a simple button to add some of that coloration to the signal. Think of it as a slight bit of sonic “signature” that can be added.
What’s nice about these particular interface models is that those sonic options have been set up by folks who know what they are doing. They are designed to be a more subtle enhancement of the signal. Since they are activated by buttons, they are also either “ON” or “OFF” – which makes it impossible to set something wrong.
If it’s appropriate to your workflow, you can provide a client samples with and without that option and let them decide which they want to receive from you.
Remember – You can’t Unbake the Cake!
When using any inbound processing like those coloration circuits, the original signal into your computer is being directly modified. With some interfaces we’ll discuss below, you may be able to still record a raw, unprocessed signal. But, the interfaces above do not let you do that. You will be recording that processed signal. In that case, any processing you add on the way in will become part of the recording and cannot be removed. You can always add processing in software.
Audio Interface Features and Options
Because our Audio Interfaces connect microphones to recording computers, they must have cables attached to them. And, since we will be always be adjusting settings, controls need to be easily accessible.
As basic as that sounds, the manufacturer’s choices of where to locate those controls and how to attach various cables can make a noticeable difference in studio workflow. Directly moving knobs, sliders or buttons remains the most common method of adjusting settings. Having a clean and simple control panel with easy-to-adjust settings lets you focus upon the performance with no fumbling.
For home-based voiceover studios, the most common Audio Interfaces are desktop models laid out in one of two ways:
- Front Panel Routing Designs: (as with the Scarlett 2i2 in the image above) Audio cables attach and settings are adjusted on the face of the unit.
- Back Panel Cable Routing: (like the SSL 2 Plus shown below) Audio cables attach at the back and controls are on the top of the interface. This similar to mixers and consoles typically found in more complex studios.
In some cases interfaces are controlled by software through the computer. If that is the case, the interface manufacturer will supply the control app, typically available to you via download when you register the device. Usually, the software “console” app provides access to deeper settings and more complex setup items.
Location, Location, Location… Where to put the Audio Interface
My recommendation is generally to leave the audio interface out of the booth – for two reasons.
First – USB, USB-C, or Lightning data cables generally need to be shorter than XLR audio cables. You could easily run an XLR cable 50 – 100 feet without having noticeable degradation of the audio signal, but there are specific length limits for digital cables. Long data cables introduce the possibility of dropouts and glitches.
Second – and this is more of an aesthetic bias – for most voiceover work, there’s little reason to have the interface nearby. If you are setting appropriate input levels, there’s no need to be actively tweaking input knobs when recording.
Laying Things Out – Cable routing and control surfaces
Consider the physical layout of your interface. While I’m incredibly happy with the amount of hours my Gen1 Focusrite Scarlett 2i2 provided (and keeps providing), the control panel layout causes the microphone cables to jut out to the front of the unit.
That meant I sacrificed a bit of desktop real estate to the connections and cable loops. It also made it slightly fiddly to get at the input knobs for each channel. The rear panel routing and more separated controls of the SSL 2+ cleaned things up significantly.
How Many Inputs?
Most home-based VO studios have only a single microphone, and an interface with a single input lets you happily get to work. However, for a few dollars more, there typically exists a two input model of the same unit.
If you ever want to add another mic, having that second input simplifies things. Also – since the second input has its own separate preamp, that provides a backup if the first one fails. The minor increase in price is cheap insurance. It also lets you have a second microphone at your desk if you are doing Remote Connected sessions.
Plug This Into That – current Audio Interface connectors
Most interfaces now use a USB-C connection – the smaller plug design that supports higher data transfer speeds. In order to accommodate older computers, some interface models ship with a cable that goes from USB-C on the interface to a USB 2.0 connector (the older, rectangular-shaped connector) on the other end. If not, converters are readily available. Note that USB-C actually has the same connector shape as Thunderbolt – so sometimes it gets a little confusing. You can plug a USB-C device into a Thunderbolt port, but it won’t be able to use the faster data rates that Thunderbolt supports. (More about Thunderbolt here.)
Will It Work Tomorrow?
These days, electronic devices are typically built by manufacturing contractors. That’s why we can get amazing products for very low cost. The downside is that maintaining consistency, controlling the variables of components, and keeping quality high can be difficult. If some subcontractor supplies a sub-spec part or the manufacturing tolerances are not met, the result is often bad production runs of certain makes and models. While no company is immune, some do seem to have more of an issue with this than others.
Reliability is a key feature in your studio.
I would rather have a slightly less flashy piece of gear that worked every day.
Recommended Audio Interface Models for VO
Any of these Audio Interface models could work well at the center of your voiceover recording studio. Though they could be described as “simple” audio interfaces (as opposed to models which have more complex routing features and processing options described below), all of them have mic inputs with 48V Phantom Power and supply appropriate gain for the condenser microphones used most commonly in VO.
Of the models in this group, I prefer the SSL as it provides a nice control layout and rear panel routing, though I’d be happy with a Focusrite or Steinberg.
The models below can currently be purchased in the $100 – $300 (USD) range. All are “bus powered” – meaning they draw their operating current from the USB cord, though the Steinberg models also allow the use of a separate power supply. Laptop or desktop computers provide appropriate power to all of these. A separate power adapter can solve certain types of setup issues – for example if trying to use an iPad as the recording device, or if you want to reduce the draw on a laptop battery.
One feature I haven’t mentioned yet is audio “loopback” which gives the ability to playback recorded audio through the interface (sometimes this is described as “streaming” audio). This can be beneficial in some directed session situations where playing back recordings to a remote director might be a bit cumbersome. Models with loopback are noted below.
While some interfaces come bundled with recording software packages, it’s important to note that all audio interfaces will work with any standard recording software in your computer. You do not need to use the specific recording software which comes with any of these (though Windows systems typically require installing a device-specific software “driver”).
Recommended Audio Interfaces: My Top Three
Focusrite Scarlett Series – 2i2 / Solo Gen3
These ubiquitous red boxes seem to be on the desk of many VO studios. There’s a reason for that: Scarlett models are simple to set up, have clean, neutral preamps and work consistently. The only general issue I’ve encountered with these occurred back when a run of Gen2 models shipped with bad USB cords, which was an easy, if somewhat annoying, fix. The current Scarlett Gen3 Series have an “Air” circuit for tonal options (the “coloration” I mentioned earlier). The one thing you need to remember: if you disconnect the interface from your computer, it resets the 48V power to “off” – but there are lights on the panel which show status. I recommend this audio interface in both the Solo (single mic input) and 2i2 (two microphone input) configurations.
Note – the Solo model has only one volume (playback) control for both the speakers and headphones. It also provides unbalanced speaker (monitor) output via RCA jacks.
Focusrite Scarlett 2i2 – two mic inputs – manufacturer’s site – purchase
Focusrite Solo – single mic input – manufacturer’s site – purchase
Solid State Logic SSL 2 / 2+
Solid State Logic (SSL) is a company with a long history of quality studio consoles – the impressive mixing boards you see in high end recording facilities. Over the past few years, they’ve been bringing out simpler versions for more home-based use and the 2 / 2+ sits in a true sweet spot for our VO needs. Both models have two mic inputs and a “4K” button for tonal options (it’s designed to have coloration similar to the 4000 series of their recording consoles). The “+” (Plus) model adds MIDI ins & outs for musical instruments and has a second headphone and speaker output. This has been out for almost two years now, with a good track record.
The SSL has become my most often recommended audio interface.
SSL 2+ – manufacturer’s site – purchase
SSL 2 – manufacturer’s site – purchase
Quite possibly the real reason I like the SSL 2 Plus – it goes up to 11…
Steinberg UR12 / UR22 MkII / UR22-C
Since this company is owned by Yamaha, they tend to have their production chains pretty dialed in. These models tend to work reliably with little fanfare. Steinberg just released a USB-C version of the two-input 22 model, which will likely phase out the UR22 MkII. One nice option is that the UR series models all have the ability to be powered from a 5V DC adapter (sold separately) in addition to being bus powered. The 22 series both include Loopback. Another recommended audio interface for the VO studio.
UR22 MkII – two mic inputs – manufacturer’s site – purchase
UR22-C – two mic inputs – manufacturer’s site – purchase
UR12 – one mic input – manufacturer’s site – purchase
Other Audio Interface Models to Consider
Universal Audio Volt 1 / Volt 2 – (above center)
Announced in late fall 2021, this is UA’s approach to a simpler interface (I’ll talk more about their Apollo series in a minute). Similar to “Air” or “4K” options above, these two base models in the Volt lineup have incorporated a “Vintage” button as a tonal option. Note – these interfaces do not support the software plugins found in the Apollo series. As new items, there’s not yet a significant track record of reliability.
Volt 2 – two mic inputs – manufacturer’s site
Volt 1 – one mic input – manufacturer’s site
In the Volt series, Universal Audio also brought out the 176 and 276 models with an onboard Compression circuit designed to mimic a classic 1176 model, but those only provide a limited number of discrete presets. Those models are probably less appropriate for a basic VO setup.
Audient ID4 MkII / ID14 MkII (above left)
As much as I generally like Audient products, they definitely had a few recent issues with consistency in their interface lineup – mostly related to the power supplies. They brought out an interesting series of interfaces in the EVO line, which had some automations for input gain and other features. They have good quality converters and preamps. I’m showing the ID series here as they tend to be more commonly found in VO input chains. One nice improvement on the current “MkII” models is the inclusion of a Loopback option via a software mixer control.
In early 2023, Audient announced a new ID24 which looks really good. It implements some of the functionality that Audient built into the recent ID44 model in a more useful configuration for VO studios.
ID4 MkII – one mic input – manufacturer’s site
ID14 MkII – two mic inputs – manufacturer’s site
MOTU M2 / M4 (above right)
Another company that makes higher-end interfaces. I do like the oversized displays on these as a quick reference and they do have the ability to loopback audio to a remote client on MacOS, which is one of the reasons they’ve grown in popularity. But, I have heard a few reports of these failing in odd ways, so I’m paying attention to whether that was just a blip or a wider issue. Both are two input models, with additional output routing on the M4.
M2 – manufacturer’s site
M4 – manufacturer’s site
Audio Interfaces With More Features
As you start spending more money on Audio Interfaces such as the ones below, you aren’t necessarily getting a better quality analog to digital (A/D) conversion. Nor do you see a huge change in the quality of the preamps which are contained in those units. However, you do start adding additional features, which creates a more versatile piece of equipment.
The question is whether those extra options and features inside the audio interface are important within the context of your studio and recording needs of your voiceover studio.
Audio Routing Options – Software Controls
For example, within the Scarlett Series from Focusrite, there are other interface models with more microphone inputs. I have an 18i20, which I’ve used during “Mic Night” events, allowing me to attach up to eight microphones at the same time. Basically, it’s the equivalent of eight Solos (or four 2i2’s) with a same set of preamps and converters.
However, when you go up to the 18i20 model, Focusrite supplies their Focusrite Control “Console” software which gives computer control of the audio signal. It allows the ability to change settings on the attached hardware device through your computer. The software provides a virtual mixing console onscreen and begins to add flexibility in your routing options.
With so many people currently producing podcasts or streaming content, manufacturers are continuing to add more enhanced software routing options. For example, the Presonus io24 Revelator Interface (shown in action in the image above) may seem to have a somewhat limited set of hardware controls on the unit itself, but, it provides much more versatility through the Presonus Universal Control software. Something like this is really designed to be controlled mostly software to access all the features.
Sonic Enhancement Options in Audio Interfaces
These types of interfaces usually allow much more extensive processing of the incoming audio signal. Similar to the “Air”, “4K”, or “Vintage” switches in the Audio Interfaces I mentioned above, these software tools can modify the raw signal from the microphone, adding coloration or effects with completely adjustable settings.
That means it can have a significant impact upon sound quality, so, you need to get those settings right.
While there are ways to record a “dry” signal in addition to the processed audio, it’s important to note that you are generally “baking in” the effects. If your workflow benefits from that, and you understand the settings you are adjusting, this can be a significant workflow refinement.
Like many of the models above, these Audio Interfaces below all have a pair of microphone inputs, plenty for most VO setups. What they add to the mix is a potentially wide tonal palette through input processing and highly versatile software signal routing to send the audio to various places. These last two features are arguably where most of the additional expense comes from.
Audio Interface Models with Advanced Features
Universal Audio Apollo Series Interfaces
Universal Audio (UA) pioneered the idea of firmware plug-in processing modules which live in the interface itself. Working directly with known companies that built the classic hardware found in high end studios, UA created software versions for their interfaces. With the Apollo series, you can access plug-in versions of the Manley VoxBox, API Vision Channel Strip or the Avalon M737 preamp, for example, which are sonically accurate to those devices. You hear the result in real time as you record, thanks to the processing power in these interfaces.
The Solo and the Twin are the most common models found in VO setups. Both have two inputs, but the Twin has more complex monitor outputs, as well as more studio-focused routing and talkback. Both are Thunderbolt 3 connected, rather than USB. (There is a Twin USB model geared for Windows users).
UA Apollo Solo – manufacturer’s site
UA Apollo Twin – manufacturer’s site
RME
RME builds interfaces with incredibly versatile routing and proprietary audio drivers. You don’t hear about these as much in home VO studios, but they are a solid and reliable product with a strong heritage in professional studios.
They are particularly strong in the variety of presets you can create for various routing and processing. If you do other types of recording, or tend to be moving between studios, this can be a powerful asset to your studio. They have an exceptionally logical layout to their routing software.
RME Babyface Pro FS – manufacturer’s site
Presonus revelator io24 Audio Interface
Presonus has been implementing a lot of these ideas for a while and have quietly created a versatile and advanced audio interface option for a budget-friendly investment with the revelator io24. Taking features from their StudioLive mixer series, they have implemented their FatChannel processing software, while also providing Presonus Universal Control software for a solid way to control these interfaces.
What’s interesting about the Revelator is that they combined the simplicity of a two input interface and overlaid it with so many other options – all while keeping the price reasonable. I’ve been playing with this since it came out, and have found it to be an interesting design.
Presonus Revelator io24 interface – manufacturer’s site
Mini Mixers As VO Audio Interfaces? I vote “No”…
There is one type of Audio Interface I would avoid for voiceover work – the “Mini Mixer” (also referred to as a “Notebook mixer” – many companies make a product like this). Often new voice actors try to use inexpensive USB mixers as their audio interface. For the most part, those hardware units are designed to take audio from a larger number of inputs (certainly more than the 1 or 2 we might need in the VO studio), adjust those audio input levels, process the audio and provide some limited routing options.
These Mini Mixers are equipped to be an inexpensive solution for capturing full bands or live performances. By providing a wide variety of functions at a relatively low price, they must use less expensive components throughout. The typical result is a comparatively noisy input channel for your microphone, which negatively impacts the quality required for voiceover applications.
A Few More Audio Interface Options for Voiceover Studios
Yamaha AG Series with Loopback – AG03 / AG06
This unit is an exception to the above statements about Mini Mixers in the home VO studio. Though laid out like a small mixer, it contains a higher quality preamp and converter circuitry. These models became quite popular as they contain a simple hardware Loopback circuit, allowing you to play audio back to a remote director.
Manufacturer’s site
Yamaha AG03 – 1 Mic Input – Purchase
Yamaha AG06 – 2 Mic Inputs – Purchase
CEntrance MicPort Pro
The MicPort Pro has long been a favorite of voice actors looking for a compact interface. With the earlier “2L” model, CEntrance added an analog Limiter which could provide a discrete track on the input in addition to the raw feed. I have a number of video game and animation clients who chose the 2L model for that feature.
CEntrance appears to have replaced that with a “Version 3” which I’ve not yet had the opportunity to use. One thing to be mindful of: since this unit is designed initially for mobile use, it runs from an onboard battery. Charging the battery can be a little tricky if using it as a computer interface as it needs a second USB cord connected. As of January 2022, the MicPort Pro 3 is finally available for order on the CEntrance site.
Presonus 24C / 26C Audio Interface
Even though I got a bit focused on the Revelator io24 with its flexible software routing, the basic 24C and 26C interface should not be dismissed. I do prefer these to the Audiobox Series – another simple two input interface that has been in the Presonus lineup for years.
The 24C and 26C both have two microphone inputs, use clean preamps with more gain, work with USB-C connections and have both input and output metering. The 26C model provides more output options, which may not matter for most VO setups.
Presonus 24C – Manufacturer’s site – Purchase
Presonus 26C – Manufacturer’s site – Purchase
Audio Interfaces – A Few Final Thoughts
On the topic of Audio Interfaces, I may have created a bit of a cognitive dissonance issue.
I’ve highlighted a range of audio interface models with a variety of interesting features, some of which are not particularly cheap. My hope is that has been helpful to understand what models work consistently in my voiceover studio and those of my VO audio clients.
On the other hand, there’s a consistent undercurrent of “it doesn’t really matter…” threading through my comments above. That gets at the crux of the issue. Unless you are working with a significant budget, it’s helpful to prioritize any investment you make in your voiceover business.
It gets back to priorities. By the time you are ready to upgrade your interface, it would have been helpful to invest first in quality training and then the space in which you record. Those two things remain more significant than even which microphone model you end up using.
In terms of importance, Audio Interfaces sit slightly below all of those things. And these days, you get a lot of usable quality for a fairly modest investment. Even the basic models I’ve mentioned work well – certainly enough to cover voiceover recording tasks.
The main reason I wanted to retire my Scarlett was that it travelled with me to in-person classes, and I was just worried about it banging about in my bag. I couldn’t afford to come back to the studio, plug it in and have it not work. Just to be clear, it is still working just fine after countless hours over many years.
How you use the gear matters as well. Whether more sophisticated routing features, or audio processing tools, matter remains a question that each of us must answer. My bias tends to be toward robust and simple solutions. I’ve found over the years, those types of things tend to fail less and be more easily repaired. With Audio Interfaces, keeping things as simple as possible pays benefits.
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Other of Resources
Recommended Microphones for Voiceover.
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