Looking for 2-input USB Audio Interface to Use with Windows 7/ Windows 10 Computers

LeoMusic

New member
Hi! My local store has the following 5 units in a similar price range. All of them have 2 mic/line/instrument ports as well as MIDI in/out.

  • Steinberg UR22 MKII $199 CAD
  • Roland Rubix22 $209 CAD
  • PreSonus Audiobox iTwo $209 CAD
  • PreSonus AudioBox 22VSL $249 CAD
  • Focusrite Scarlett 2i4 MK2 $289 CAD

I was initially favoring Scarlett 2i4 because of its ergonomics and presence of RCA outputs. But many reviewers complained about glitches such as crackling noise and frequent need to power unit off and on to make it working properly. That made me considers other possibilities.

I assume that similarly priced units from reputable brands will have similar quality preamps and sound. However I want to make sure that the unit provides the reliable and stable operation with Windows 7 and Windows 10 computer without pops/clicks/breaks.

Which of the units is more likely to provide the glitch-free operation with Windows 7 and Windows 10? Are you using one of these units with Windows 7 or 10? Please share your good or bad experience.

Thanks.
 
Why do you find RCA connectors attractive? The best option is balanced TRS jacks.

It might be the cheapest but the Steinberg UR22 got an excellent review in SoS and nothing I have read since has changed the opinion I have formed.

Dave.
 
Why do you find RCA connectors attractive? The best option is balanced TRS jacks.
I plan for now only use headphones while recording and mixing. Occasionally I might connect my home stereo via RCA, just to fool around. I realize that studio monitors with TRS jacks is proper way to do it, but at this point I don't have a budget or even enough space in my room to put the studio monitors.

It might be the cheapest but the Steinberg UR22 got an excellent review in SoS and nothing I have read since has changed the opinion I have formed.
I noticed there is lot's of good feedback about Steinberg UR22. What is SoS?
 
I plan for now only use headphones while recording and mixing. Occasionally I might connect my home stereo via RCA, just to fool around. I realize that studio monitors with TRS jacks is proper way to do it, but at this point I don't have a budget or even enough space in my room to put the studio monitors.

I'd go for balanced outputs regardless - You can still hook up to your hifi, but if you ever progress to something with balanced inputs you'll be glad.
It's not just the physical connector - balanced i/o is designed to minimise noise/interference getting into your output signal.
Better to have and not need, IMO.

I noticed there is lot's of good feedback about Steinberg UR22. What is SoS?

SoundOnSound website. :)
 
I'd go for balanced outputs regardless - You can still hook up to your hifi, but if you ever progress to something with balanced inputs you'll be glad.
It's not just the physical connector - balanced i/o is designed to minimise noise/interference getting into your output signal.
Better to have and not need, IMO.
Scarlett 2i4 has both, TRS and RCA outputs. RCA is just an icing on the cake for me until I get TRS monitors. Would not I risk to overpower and damage my Hi-Fi if I connect it via TRS-to-RCA adapter to balanced output?

SoundOnSound website.:)
Thank you.
 
Scarlett 2i4 has both, TRS and RCA outputs. RCA is just an icing on the cake for me until I get TRS monitors. Would not I risk to overpower and damage my Hi-Fi if I connect it via TRS-to-RCA adapter to balanced output?

Ah, ok...the 2i4 has both.
That's not bad.

No, there's no danger of overpowering anything.
Both are line level outputs. It's just that balanced sends the signal down two conductors, (one is opposite polarity), then a capable device can compare the two and do magic trickery <cough> to remove noise that shouldn't be there.
An adapter simply grounds, or leaves disconnected, one of those conductors giving you unbalanced.

Heh...sorry to bang on about it. :p

I can't tell you anything about drivers or stability, but one thing I'd want to compare is the preamp gain, particularly if you intend to use dynamic microphones.
 
Amazon.co.uk: phono to jack adaptor

Put a couple of those ^ on the shopping list (better 4, you can never have enough cables and adaptors in this audio game!).

Sorry the contraction threw you. Now you know make good use of them, no more independent, factual audio information source AFAIK.

Driving a receiver from an AI's line outputs is always going to be a bit 'hot'! Consumer audio likes to 'see' 150mV or so and most AIs at this price level will chuck out twice that 300mV and the sort of average levels* you should record at. As others have said, these levels will do no harm.

*That X2 difference is 6dB. The maximum level most budget AIs deliver is +10dBu or 2.5V (rms. Google it) and that would be at the maximum level indicated on the recording software (DAW) of 0dBFS where 'fs' means 'Full Scale'. Get to grips with this decibabble stuff, you will see it a LOT here and on other forums/books/specifications. The terms are often misused or wrongly quoted. Never be afraid to ask!

Dave.
 
I'd want to compare is the preamp gain, particularly if you intend to use dynamic microphones.
About comparing preamp gains...

  • 2i4 has a 50 Db gain with 3 kOhm input impedance
  • UR22 has 60 Db gain, but 4 kOhm impedance
  • PreSonus has only 10 Db gain, but 1.2 kOhm impedance.

I am not sure how to bring these combinations to "common denominator". Higher gain means higher volume. But lower impedance also means higher volume.
 
About comparing preamp gains...

  • 2i4 has a 50 Db gain with 3 kOhm input impedance
  • UR22 has 60 Db gain, but 4 kOhm impedance
  • PreSonus has only 10 Db gain, but 1.2 kOhm impedance.

I am not sure how to bring these combinations to "common denominator". Higher gain means higher volume. But lower impedance also means higher volume.

There is no need for a 'common denominator' the input impedance (Z) of a mic pre has virtually no affect on the gain unless it was substantially under 1k Ohm. There is pretty universal agreement that different load Zs affect the 'character' of dynamic and especially ribbon mics but exactly HOW and how much and whether a higher or lower Z is desirable is NOT so universal!

The Presonus 22vsl has a gain of 65dB max, which model were you looking at? No matter, nobody is going to give an AI mic amp just 10dB of gain! Typo or reader error.

In practice, all things being equal (never are) an AI with a gain of 50dB is going to be usable with a dynamic mic..IF the mic is being used as intended, that is, close up and personal. Trying to capture a toy piano at 3 feet with a 57 would task ANY mic pre!

BTW. 'Lower impedance' usually means LOWER gain but it depends whether you mean source or sink.
Dave.
 
No matter, nobody is going to give an AI mic amp just 10dB of gain! Typo or reader error.
Thank you, Dave. My mistake, 10dB was "Max Input Level", not gain.

I did some further reading. The gain range for Presonus iTwo is 52 Db. But the manual it is specifies a range of -10 dB to +42 dB. So maximal gain is only 42 dB.

50 dB for Focusrite Scarlett 2i4 is a "range", not a maximum gain. And a maximum gain for 2i4 is nowhere to be be found.

Looks like Steinberg UR22 wins with gain range +6 dB to +60 dB, right?
 
The Presonus 22vsl has a gain of 65dB max

Presonus 22vsl appears to have the most powerful mic preamp in this price range. Still available in my local store for $250 CAD. But it does not seem to have "Line Input", only has Instrument Input and no Instrumnet/Line switch.
 
It may or may not be a big deal for you but if you intend to use a dynamic on quiet or distance sources it's worth considering.
 
It may or may not be a big deal for you but if you intend to use a dynamic on quiet or distance sources it's worth considering.
I am considering inexpensive dynamic mic like Shure SM58. I plan to use it for voice from a short (4 - 6 inches) distance. I afraid condenser mic would pick up to much background noise such as a/c, fans, furnace, etc.
 
I am considering inexpensive dynamic mic like Shure SM58. I plan to use it for voice from a short (4 - 6 inches) distance. I afraid condenser mic would pick up to much background noise such as a/c, fans, furnace, etc.

The problem of noise intrusion will not be solved by a high gain pre amp and an insensitive microphone as a moments consideration of the physic will make clear...

Your waffle creates 'X' sound level at your lips. At 4 inches that level will have dropped a bit and there it enters the mic. If YOU can hear 'noises off' that means they must be at a level comparable to your voice. Said voice for speech is around 75dB SPL and maybe 80-90 dB for songs with odd peak (but if you have correct technique you will pull back for those) Noise might only be at 55dB SPL but that still means you have an appalling signal to noise ratio of -20dB!

The ONLY solution is to get right on top of the mic where your voice is much louder than the noise. Note, all this makes NO mention of the type of microphone. Dynamic, capacitor, crystal! So long as they permit near licking of the grill, they will work. OR! You could do something about the noise but that is often impractical, too expensive or downright impossible. My son used to record at 2am thru 4am.

Do look into Small Diaphragm Capacitor mics with a pad switch, very Swiss Army Knives.

Dave.
 
The ONLY solution is to get right on top of the mic where your voice is much louder than the noise. .

thats a clear way of saying it.
the SM7 has the nice grill for consistent distance if you eat the mic or kissit or whatever its called, up close.....like radio dj's and announcers up close which drowns out everything else. I was in a radio station the other night and 3 hanging SM7's and 1 RE20.
the room wasnt soundproofed much at all, maybe not at all.
the 58 would work too and a lot cheaper. but the SM7 has the cool grill and filters and foam, it really does have some extra for the money.(but then there might be the need for a outboard preamp to avoid maxing the interface pre = a different noise) lol
 
thats a clear way of saying it.
the SM7 has the nice grill for consistent distance if you eat the mic or kissit or whatever its called, up close.....like radio dj's and announcers up close which drowns out everything else. I was in a radio station the other night and 3 hanging SM7's and 1 RE20.
the room wasnt soundproofed much at all, maybe not at all.
the 58 would work too and a lot cheaper. but the SM7 has the cool grill and filters and foam, it really does have some extra for the money.(but then there might be the need for a outboard preamp to avoid maxing the interface pre = a different noise) lol

The SM7b also has some pretty sophisticated hum bucking capability as well which makes it useful in 'industrial' settings where motors (tape machines) and big M transformers are likely to be found.

The use/need for an external 'booster' preamp is a moot one. Some AI pres have a 'sudden death' gain hike at around 95% of gain pot rotation and this often comes with a big jump in noise. Getting a good setting for high (but not max) gain is often therefore very tricky. My KA6 does not have THAT much gain (55dB iirc) but it does not get noisy at max wang and so it can and has been used to capture acoustic guitar at about a foot with minimal noise (will do that again but my playing is dire!) . Did have an M-A Fast track pro with B awful pres and the 'jump'. I solved that problem by buying a pair of SDCs. (and something else but tell that sometime)

This might sound a bit heretical but there are some very good, low noise cheap mixers around now. Using a mixer affront of a less than stellar AI pre amp can be useful. (gives you pan and EQ to boot)

There are no 'rules' (other than the physical ones of the universe) whatever gets the job done.

Dave.
 
Back
Top