A manageable format for high quality. We take a tour of the aspects that really matter these days when choosing an interface. There are too many devices on the market, but are they all the same? What sets one apart from another? When is it worth paying a little more? What amount is really a good price? Will this interface soon fall short for me?
When we browse online or brick-and-mortar stores, we come across an enormous number of devices that look similar or identical, with widely varying prices. The AUDIO/MIDI interface is one of the central elements when it comes to capturing, recording and triggering our signals. Not only because of its routing capabilities (inputs and outputs), but because of the clarity, "warmth" and transparency it gives our sources.
After-sales support
Before focusing on the components, versatility or features of the hardware itself, I want to stress the importance of buying from brands that are well established and financially healthy. I say this because, as you know, technology moves very fast. 
Computing, even more so. A frequent problem, made worse lately by the economic crisis, is delayed or nonexistent firmware and driver updates for our hardware. How many of us have been left stranded for months, or forever, when a new operating system came out? I'd say that, in the case of Mac for example, I personally went through Mavericks, Yosemite and El Capitan waiting for an updated driver for my system. Having to stay one operating system version behind the cutting edge doesn't seem worrying. It may even be advisable until we're sure everything will work properly. But it's another matter entirely when your device is left stranded or obsolete because the company that makes it runs into trouble and leaves its users high and dry. In this respect, Focusrite has proven to hold a solid, stable and forward-looking position. In fact, the device we're testing today is compatible with Windows 10 and offers amazing plug-and-play with El Capitan. Just plug it in and go.
The Scarlett 2i4 (2nd gen) is compatible with Windows 10 and offers amazing plug-and-play with El Capitan. Just plug it in and go.
The hardware
With the hurdle of current and future driver updates cleared, we can focus on the hardware itself. There are some obvious points:
- The number of simultaneous inputs. The number of channels we can record at once (this will largely determine the price).
- Number of outputs. Needed to connect several monitoring setups at once (pairs of monitors), send signals to DJ mixing gear, keyboards or external electronic music devices, etc.
- Headphone outputs. The number of headphone outputs and their individual volume levels.
- Phantom power. Power for condenser mics, global or per channel.
- Attenuation pads. Help reduce input levels for very aggressive instruments or signals.
- Line/Mic inputs. Needless to say.
- Connection flexibility. Both in the number and type of analog inputs and outputs and in the digital ones.
- Type of computer connection. USB, Thunderbolt, FireWire, etc. The type of connection will affect the speed of data transfer between our interface and the software (computer, DAW).
- Expansion capabilities. Or interconnection with other devices that let us expand its capacity.
So far, it seems fairly easy to work out what we need now and will need in the short term when choosing. Is our setup for DJing? A portable studio? A fixed personal studio? How many musicians and devices take part in our sessions at the same time?. The quality of the preamps and the crystal-clear transparency of the product make it, in our eyes, a serious interface that's well worth what it costs.
Now comes the more hidden part, which can't be seen in the catalog or detected by looking at the product's casing. Yet it's what will give real meaning to the value for money and what will largely determine the sound quality and how comfortable our work is.
- The mic preamps. The number and quality of the preamps. We should consider the dB range the preamp can handle: how much it can help us bring up a signal and, above all, with what quality, warmth and transparency.
- Sampling quality. This one is obvious and easy to check on the spec sheet.
- Clock synchronization and stability. It's very important for the unit to be well balanced and to hold up well to the workload it's supposed to handle. No hiccups and with consistent quality.
- Channel architecture. The design of the channels, in terms of their components and signal routing, will also determine the final quality of our sound. Noise minimization, etc. Keep in mind that each track we add piles up those potential "flaws." When the recording is crystal clear, crisp and good, the possibilities for the final mix will be much richer for achieving a good result.
- Low latency. Although this seems to be a solved problem, all that glitters is not gold. Even well-respected brands have certain delays when we're monitoring and recording, and much more so when using real-time effects. This sometimes makes performing really uncomfortable and "kills the vibe" for the performer.
The unit offers spotless recording clarity with no delays. Latency performance on the 2nd-generation Scarlett 2i4 is magnificent
Software
Next we can add the tools included in the hardware bundles. If they're good quality, they're always welcome. In the case of the unit we're testing today, we find a free version of Pro Tools First, 2 GB of libraries, Novation virtual synths and Focusrite's Red 2 & 3 Suite, among other utilities.
Includes the Red 2 & 3 Plug-in Suite, Softube Time & Tone Pack, Pro Tools First | First Focusrite Creative Pack, Ableton Live Lite, Loopmasters library (2 GB), Novation Bass Station virtual synthesizer (VST and AU)
Test conclusions
It's worth noting that, in terms of finish, Focusrite has listened to users' comments about the first generation, adding metal pots on the front panel and ridges on the knobs, which were more slippery in the first version.
What I liked most, without a doubt, was its latency control and handling of our monitoring when recording while listening to previously recorded tracks. The direct monitor control lets you adjust the monitoring mix by balancing the input signals against playback from the DAW.
We also liked the device's lighting system. It's very clear for checking what we have engaged (pads, phantom power, etc.) and especially the visual input and output metering system, which warns us if we're frying the input/output with saturation or, on the contrary, we're running very low with plenty of headroom.
The quality of the preamps and the crystal-clear transparency of the product make it, in our eyes, a serious interface that's well worth what it costs
The 2i4 is easy to handle and almost immediately ready to go. Ideal for moving from our studio to the rehearsal space, the stage, parties or DJ sessions, etc. If you're thinking of a product with these qualities but with more features and for a fixed installation, you can go for the rack versions, such as the second-generation 18i20, or other in-between options.
