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This, for audio systems, causes a problem as audio requires a constant stream of samples due to being a continuous waveform. To do this, audio systems have what’s known as a buffer.
My feeling is that Audient have got the balance between functionality, usability and form factor right for the situation in which they envisage the iD4 being used. Most importantly, however, the performance of the single classic Audient Class-A microphone preamplifier is exemplary, and the J-FET instrument DI can add a pleasing touch of body and warmth when pushed. We're big fans of the Universal Audio Apollo Twin X here at MusicRadar, and this super interface has some incredibly powerful features that will offer a serious upgrade to anyone’s home recording experience. It comes in two formats, Duo and Quad which are named for the amount of DSP processing chips they possess. The Volt range has the affordable market in its sights, and here we're looking at the Volt 176 and 276. These look very different from other UA interfaces and have a very different remit. There’s no plugin hosting, onboard software processing, or Console software. These are plug-and-play, with UA’s excellent preamps and, in the case of the two units here, the benefit of onboard analogue processing. This is the big brother to the standard SSL2, the main difference being that the 2+ adds two outputs to the 2-in, 2-out configuration of the 2, MIDI In/Out plus an additional independent headphone out (with both being able to monitor different mixes). There's also the 4k button which adds some extra presence and high-end zing (and, more importantly, makes you feel that little bit more 'pro'). As well as being a volume control the iD knob has some other useful functions. If you push it down you engage 15dB of dimming. If you hold the Mute and iD buttons together the knob pans the inputs. If you hit the iD button the knob becomes a mouse scroll wheel and means you can take control of knobs and faders just by placing your mouse pointer over them. The bumpy lumpiness that feels good when using it as a volume control feels less so when controlling knobs. Each bump is also a jump in value, which makes it far from precise. It could do with a smooth mode like mouse wheels often have. Getting TechnicalThe technical specifications line up nicely with other interfaces in their range. Comparing them to their own even more budget‑friendly EVO 4 and EVO 8 interfaces there’s not much in it on paper. They both run at 24‑bit and 96kHz; they have similar signal‑to‑noise of 101dBu, slightly improved dynamic range at 120dB, the same 58dB gain range on the mic input, slightly less on the JFET input. The same headphone amplifier design was also used in the smaller EVO 4 and EVO 8 interfaces as well, meaning whether you are using the iD range for recording music and mixing or using an EVO for streaming and podcasting, you’re still getting the same high-performance headphone quality. Connecting up the iD4 is as simple as plugging its USB cable into your chosen computing device — as long as you’re a Mac user running OS 10.7.5 (Lion) or above, that is. If you’re on an iOS device, you’ll need to be running iOS 6 or above and be in possession of a Camera Connection Kit and a USB 2 powered hub, which might make mobile recording a bit of a challenge. But it can be expanded through the optical input which allows for an extra 8 channelsof ADAT at 44.1kHZ or 48kHz, 4 channelsof ADAT at 88.2kHz or 96kHZ, or 2 channelsof S/PDIF between 44.1kHz and 96kHz.
Buffer size options go down to a wafer‑thin 16 samples, which gave an output latency of 2.5ms and a round‑trip of 4.4ms. It just about held it together at that level on my Intel i9 test machine, but it seemed to get comfortable when you eased off to 128 samples giving a perfectly playable 4.5ms output and just under 10ms round‑trip. Just to note that the specs suggest the best performance is to be had with a pure USB‑C connection, whereas I was going into a regular USB 2.0 port. Want to grow your studio business? Invest in Audient. – Audient on Audient keeps Lito’s Place on Top of Film WorkIn the end, the best audio interface for you will at least partly come down to price, so you’ll be pleased to know that our list of recommendations in this guide covers a broad range from beginner to pro. We’d also recommend reading our guide focused specifically on the best budget audio interfaces if you have less to spend. Every iD interface features the Audient Console Mic Preamp, the same discrete circuit design found in our renowned recording console the ASP8024-HE. Designed to deliver ultra-low noise and low distortion with a touch of classic analogue warmth, iD4’s Audient mic pre will give you the professional sound you deserve. It’s all in the detail - Class Leading Converters Overall, the iD24 brings this unit in line with other 2nd generation iDs, offering an attractive balance of features, with a heavy focus on a genuinely audiophile front end – which we love. It has well-designed software for additional features like cue mixes and signal routing. All in all, it is a flexible interface delivering good value for money. Clarett is Focusrite’s premium USB range with three models and a decent bundle of software including Focusrite’s Red 2 and Red 3 plugins and Plugin Alliance’s bx_console Focusrite SC. Clarett+ focuses on improving audio performance rather than expanding that feature set. AudioFuse connects via USB 2, but USB connectivity goes further; Arturia has built a USB hub into it, providing three extra USB ports. AudioFuse provides a beautiful and contemporary approach to USB audio interfacing with a great design, compatibility with a huge range of possible audio sources, a great sound and a highly tactile control set.
No need to find a power outlet as iD4 is powered directly from your computer via USB, without compromising on sound quality or performance. Get the most from your mics - True Phantom Power With only the two inputs, the Audient iD4 is pretty minimal, but it covers the needs of many musicians whether electronic or acoustic and, as it’s small and buss powered, it can be taken on the road for any travelling songwriters who want to work on the go. Both interfaces use M-Audio’s Crystal Preamp design, and this provides you with plenty of clean neutral gain, great for lower output dynamic mics or weedy passive guitars. Both can sound pretty nasty when they’re overloaded so we kept well away from the red clip LED. We captured an acoustic guitar through the DI input while simultaneously recording the vocal with an sE Electronics RNR1 through the mic preamp. The mic requires phantom power and a fair amount of gain, but gave us the ability to set the null point to point at the guitar, providing a reasonable amount of separation between the two. Firstly, the introduction of new generation DAC’s meant we were able to reduce distortion to vanishingly low levels whilst increasing dynamic range dramatically, to give the purest possible representation of your audio. Secondly, we added what is known as a DC Servo to the output which allows for the removal of DC without the use of capacitors on the audio path, which can cause smearing and low-frequency loss. This ensures that the headphone outputs retain the sharp details of your audio whilst also providing a powerful low-end response.iD4’s converters make sure you hear every nuance, every detail of your audio, letting you hear your mix more accurately. Work faster, make better creative decisions and experience professional audio performance from your desktop. Powerful Performance - Dual Headphone Outputs The front face of the Apollo Twin X features a huge knob that can be used for volume control of monitors, headphones, and input gain, as well as some handy buttons for phantom power, muting, and various other features. We found it to be an incredibly fleshed-out and powerful recording experience using one of these and combined with the portable size, it’s the perfect interface for taking to and from recording sessions, with the connectivity to grow with you should you choose to invest further in the UA ecosystem. With the 76 Compressor, you choose 1176-style Vocal, Guitar, Fast, or Off one-button compression, each delivering a characteristic flavour without going overboard. The Vintage option provides the tube emulation, gentle saturation, and top-end lift of UA’s classic 610 channel. The 4i4 supports Focusrite’s Control application, which means that a number of settings can only be made in the software. The app also handles low-latency monitoring. Bundled software includes Presonus Studio One Artist and Studio Magic Software Suite, Ableton Live Lite, so you'll have plenty to get you up and running no matter what your audio interface needs.
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