After all, there are loads of different podcast formats and recording approaches. With a bundle, you might end up with a surplus of stuff you didn’t need or, crucially, missing out on the one piece of kit that you did.

But, the “I’ll just buy everything separately” approach isn’t without its flaws. I once got asked how to plug five (five!) Blue Yetis into a phone and record on separate channels.

So, if you’re overwhelmed by the sheer choice of podcast gear out there, there’s a great peace of mind in knowing that all the parts in a podcast bundle work harmoniously together.

All you need to do is guarantee they’ll work with your recording approach and podcast format.

Unless you haven’t already guessed, the MOVO PodPro-T is the podcast equipment bundle that’s the focus of our attention today. So let’s see if it’s the ideal one for you and your show.

A quick heads up to say that we received the MOVO PodPro-T kit free for review purposes, and we use affiliate links in this review. Affiliate links help support all of our free content, but rest assured, they never prevent us from giving our honest opinions!

Video was recorded with the aid of the MOVO iVlogger-PRO, though the audio is via the MOVO CastMic from this very podcast equipment bundle!

Who is the MOVO PodPro-T Podcast Equipment Bundle For?

Podcasters who run local co-hosted or interview shows are the obvious candidates for this setup.

By “local,” I don’t mean a show about litter and dog fouling (though if that’s your niche, have at it); I’m referring to both participants recording in the same room or space.

That isn’t to say you couldn’t record any other type of podcast with this gear – you could – but if you like to take your equipment on the go and meet up with guests or co-hosts in person, then this is where the MOVO PodPro-T podcast bundle really shines.

What’s in the Podcast Equipment Bundle?

“Bundle” is such an untidy-sounding word. It brings to mind the scene of many cables, mics, and headphones strewn across a table in a large pile.

Fortunately, the MOVO PodPro-T was nothing at all like that. Everything came neatly packed and clearly labelled, and I had it set up and ready to record in minutes. Here’s what’s what:

Two Mics

Two MOVO CastMics, to be specific. The CastMic is a Dynamic Cardioid XLR microphone with a frequency response between 40Hz and 16kHz. These cost about $90 to buy individually.

You’ll also get an XLR cable for each, as well as two additional coloured foam pop filters (orange and teal) to help settle those “my mic or yours?” arguments.

I like the sound of these mics (quite literally). I recorded them via the MDX-2 interface into an iPhone. You can hear the results in my short video overview.

Two Mic Stands

If you’re travelling to various locations to record with others, boom arms are impractical. Not only are they large and unwieldy, but there’s no guarantee you’ll have somewhere to properly attach them.

The MOVO TMC-3 adjustable table stand is a portable yet weighty and durable custodian for your CastMic (or, any other mic, to be quite honest).

As desk stands go, they’re as good as I’ve seen. One thing about desk stands, though, is that they demand good technique and mic etiquette. Try to record a serial table drummer, positional wanderer, or unbearable fidget with one of these, and you’ll know all about it. Your listeners will, too.

Bought separately, one MOVO TMC-3 will set you back around $20, though if you spend $90 on a CastMic, you’ll get one in the box along with it.

An Audio Interface

How about something to plug your mics into? The MOVO MDX-2 is a two-channel portable audio interface, and it’s just the ticket. It’ll plug into anything – anything – name a device…

The ZX Spectrum? Well, not that one, as far as I know. But owners of PCs, Android stuff, iPhones, iPads, and Macs can plug and run the MDX-2 via one of its included and corresponding cables.

What’s more, you can pop a couple of AA batteries into it if you’re off to record somewhere without electricity. Just like my house after that last bill came through.

The MDX-2 is actually a brilliant piece of standalone kit (and in this podcast equipment bundle, it doesn’t even need to stand alone). It has Phantom Power should you want to swap in a condenser mic, and two headphone jacks with independent volume control. The indie jacks are always something I look for right away in an interface. If you ever record with anyone hard of hearing, this can prevent you from going the same way.

Another nice touch I always look for (but never ever use) is the XLR jacks being “combo” ports that can take 1/4″ inputs, too. Handy if you’re a musician, I suppose.

You can also run 1/4″ line outputs into studio monitors. If you’re recording out in a field somewhere, I’d like to see pictures.

The MOVO MDX-2 on its tod costs about $150.

What’s NOT in the Box?

Alright, so if you’ve bought yourself a podcast bundle, that means you have everything you need to start recording. Right?

Well, not quite. I’d still recommend using headphones, which aren’t included. This isn’t a criticism of the kit, which is great value as it is, but it’s worth noting.

If you want a couple of pairs of headphones (along with a couple of boom arms) in your podcast equipment bundle, then MOVO has other options!

I should also stress that you’ll still need a recording device (computer, smartphone, etc) to run it all into. You can’t record directly into the MDX-2, just in case that wasn’t clear already.

Total Cost of the MOVO PodPro-T Podcast Equipment Bundle (& Savings)

The MOVO PodPro-T Podcast Bundle retails at $299.95. So if my maths are correct (and there’s a first time for everything), you’d save $30 on buying this kit separately. Remember, you’d get the mic stands with each individual mic you purchased.

$30 is a decent saving, but $300 isn’t an insignificant amount of cash to splash on podcasting, especially if you’re just starting out. I wouldn’t recommend spending that much until you know for certain you plan to stick at this.

However, having a kit like this can arguably help you stick at it because it makes it all so easy.

It’s your money, you decide. You’ll just have to, because I can’t.

Summary: The MOVO PodPro-T Podcast Equipment Bundle

So there you have it, a review of the MOVO PodPro-T. Let’s do a quick recap.

• It costs about $300
• You get two mics, two mic stands, and an audio interface
• The interface plugs into pretty much anything (PC, Mac, Android, iPhone, iPad)
• You can power the interface via USB or with two AA batteries
• It’s ideal for podcasters who record guests or co-hosts locally
• It’s super portable
• The audio sounded great in my tests

It’s always good to answer the question, “Who is this NOT for?” and the PodPro-T kit is definitely overkill for folks who want to record solo episodes or do remote interviews. If that sounds like you, be sure to check out our Podcast Equipment Guide for something more suited.

But if you record with others locally—especially on the go in various locations—then this could be the perfect podcast equipment bundle for you. I’ve certainly been impressed with the MOVO kit we’ve tested so far, and it’s worth having a look at their iVlogger-PRO kit if you want to add a video component to your podcast, too!

Focusrite already boasts the most popular USB audio interface in podcasting – the Scarlett 2i2. But they also have a podcast-focused offering in their range: the Focusrite Vocaster.

The Scarlett 2i2 is a brilliant interface used by 14% of podcasters, according to our 2024 Gear Survey. But this famous old kit was designed – first and foremost – with musicians in mind.

A growing number of gear companies now create podcast-first options, such as the Rode Rodecaster II, Zoom PodTrak P4, and Mackie DLZ Creator. It’s likely that someone at Focusrite posed the question, “What if the Scarlett 2i2 was made for podcasters?” and the Vocaster was the eventual outcome.

A big thanks to Focusrite for sending this kit out to us for review. Some links here are affiliates, so we’d earn a small commission should you choose to buy through them, never at any extra cost. Rest assured, though, that affiliates never stop us from giving our honest opinions about products – we always review fairly!

Focusrite Vocaster Vs Scarlett 2i2

As you’ve no doubt established by now, the Focusrite Vocaster is a USB audio interface for podcasters. But what exactly makes it “for podcasters”?

Simpler Interface

The Scarlett 2i2 is by no means a cluttered or complicated-looking device, but Focusrite has definitely streamlined the Vocaster’s design. We have some big clear dials and buttons on the top of the device; even the greenest of podcast beginners will know their way around it within a few minutes.

Podcaster Presets for Clarity & Optimisation

The Vocaster offers four “podcaster-approved” presets that tweak your audio quality at the touch of a button: ‘Clean’, ‘Warm’, ‘Bright’, and ‘Radio’. You can easily try them on for size and see if you like how they work with your voice, tone, and mic.

Easy Call Recording

Around one in four podcasters run remote interview shows. There are loads of good online multitrack recording software options out there, but Vocaster owners can save on subscription fees by recording through the device itself. You can connect your phone to the Vocaster via Bluetooth or a cable and record any audio your phone can play.

With my testing, I found that phone calls sounded… exactly like phone calls (who would have thunk it?), but using something web-based like WhatsApp was a big improvement. Check out the sound samples section to hear for yourself.

Auto-Gain (70dB Gain Range)

The Vocaster’s 70dB gain range enables you to power even the hungriest of mics without them ever needing to look at the dessert menu.

It also has an “Auto-Gain” feature that can optimise and set your levels for you, which is ideal for beginners, podcasters in a hurry, or folks trying out a new mic for the first time.

Focusrite Vocaster One Vs Focusrite Vocaster Two

Quite simply, the Vocaster One accommodates one podcaster, whilst the Two can handle a couple. This doesn’t impact the number of people on your episode; it’s more about how many of them can record in the same room as you. The Vocaster One has one XLR mic input, the Vocaster Two has two. The latter also has additional jacks and controls for a second pair of headphones.

Obviously, there’s a pricing difference, too. Here are some costs at the time of writing:

• Vocaster One: $80
• Vocaster Two: $160
• Scarlett Solo 4th Gen: $140
• Scarlett 2i2 4th Gen: $200

Vocaster Software & Driver Issues (Windows/PC)

My joy at being sent a Focusrite Vocaster Two to review soon turned to dismay when I tried to install the driver on my (Windows 11) laptop. The outcome was a blue screen of death, and it wouldn’t work on another similar machine, either. There were two things going on here that are worth a heads-up:

• McAfee: An old McAfee driver, which is still pre-installed on many PCs, incorrectly identifies the Vocaster driver and device as a threat.
• Microsoft Visual C++ Redistributable: The driver required Visual C++ Redistributable version 14.40 to be installed. I had version 14.38, which was missing its uninstaller component.

Figuring out and fixing these issues was above my own capabilities (most things are, to be quite honest with you), and I had to get help. It’s all sorted now (thanks, Adrian!), but if you’re using a Windows device, tread carefully here!

Vocaster Hub Software

Vocaster Hub is the Vocaster’s companion software. It allows you to set up your mics, their gain levels and presets, the levels of any Bluetooth or 3.5mm inputs, and your overall show mix. Anything I changed in here was instantly reflected in whatever software I had open (Adobe Audition, Squadcast, etc). It’s a pity there are no actual readings or numbers anywhere, though!

With the Vocaster Two, I like the fact that I can send Phantom Power to one mic and not the other. This means I can use a condenser mic and dynamic mic at the same time, if those are my only two available models.

Buttons, Knobs, Dials & Other Capabilities

On the top of the Focusrite Vocaster, there’s a big gain dial and a headphone volume dial. There’s also a mute button, an Auto-Gain button, and an ‘enhance’ button to toggle through the four presets, or turn them off altogether. The secondary (guest) input on the Vocaster Two has a second set of these buttons and dials, with the exception of the gain dial.

Again, like the Vocaster Hub software, there are no readings or numbers on the device to assist with gain or volume levels. The idea behind that might be “don’t confuse beginners with numbers they don’t understand”, but I feel that the cons outweigh the pros with that thinking.

The Vocaster connects to your computering machine via a USB-C to USB-C, or, USB-C to USB-A cable, and there’s a power button on the back.

On the back, you’ll also find 1/4″ stereo outputs that’ll enable you to connect a pair of studio monitors.

The XLR inputs are not combo ports, as they are on the Scarlett 2i2, so they only take XLR cables and not 1/4″ inputs. I doubt this is an issue for any podcasters, though.

You can link up a phone or tablet via a 3.5mm jack or Bluetooth connection. You can also send audio to your camera via a 3.5mm output.

The Phantom Power (48v) button lives on the back, too, alongside a Kensington security slot. This allows you to secure the device with a Kensington lock, which is like a bike chain for an audio interface. Now I can leave my Vocaster outside The Spar whilst I nip in for eight tins of Tennents Super.

On the very front, the headphone jacks are 1/4″. I used an adapter to plug mine (3.5mm) in. Guests have their own independent headphone jack and volume control on the Vocaster Two.

Focusrite Vocaster Sound Quality

I tested out the Focusrite Vocaster Two using a dynamic mic (the Shure SM58) and a condenser mic (the Rode NT1-5th Gen). I also made a “traditional” phone call and a WhatsApp call.

I had a hell of a time getting the NT1 5th Gen to connect, but it’s no surprise to hear it performing well once it worked. I think the Vocaster gets a really good tune out of the SM58, too. The presets add a little enhancement without being overbearing, which, I guess, is the tightrope these features tend to have to walk.

I would only use a phone call in a podcast if there were absolutely no other option, and I would make it as short as possible. If you’re using your phone to bring in guests, definitely try to use an app like WhatsApp or Facetime.

Focusrite Vocaster Review: Summary

I’d have probably marked the Focusrite Vocaster higher if I hadn’t had the setup troubles with the driver software and then the issues with getting the Rode mic to work. This feels harsh because the device is potentially blameless on both fronts, but I only have my own experiences to go on.

I’ll say this—when it’s set up and working properly, the Focusrite Vocaster seems to be a brilliant interface for podcasters. I’ll definitely continue to use it going forward. But if you’re using a Windows PC or laptop, beware of potential conflicts with its driver and the McAfee /”Microsoft Visual C++ Redistributable” tag team of doom.

The Vocaster One is tremendous value at less than $80. If I were thinking of buying the Two, I’d maybe fork out the extra $50 or so and get the Scarlett 2i2 4th Gen. But if you’re a complete beginner and like the more streamlined interface of the Vocaster models, you might be inclined to disagree.

In any case, I hope that this Focusrite Vocaster review has left you feeling more informed than when you arrived. If you’d still like to shop around, be sure to check out our roundup of the best USB audio interfaces for podcasters.

In this Focusrite Scarlett 2i2 review, I’ll cover one of my favourite (and most popular!) pieces of podcasting kit.

The Focusrite Scarlett 2i2 is what’s known as an audio interface. But what does that actually mean, and why would you use one?

Let’s start there, before delving into the 2i2 itself.

What is an Audio Interface, & Why Might I Need One?

 A quick heads up that we use affiliate links to products and services we think you’ll find useful or interesting. We may earn a small commission should you choose to buy through them, though never at any extra cost to yourself!

An audio interface is a piece of hardware that can give you greater control over your recording setup. This one—the Focusrite Scarlett 2i2—plugs into your computer or laptop via the USB port and allows you to record with two separate microphones.

This might be a good option for you if you:

• Want to improve your audio quality
• Want to record locally with a co-host
• Want to record professional-sounding interviews or podcasts on location

I’ve owned a Focusrite Scarlett 2i2 for about 14 years and have recorded the vast majority of my audio with it in that time. Many other podcasters feel the same way, with the 2i2 coming in as the most popular interface in our 2024 Gear Survey.

It’s not just podcasters who swear by the 2i2, either – it’s arguably the most popular audio interface on the planet!

Focusrite Vocaster: Voice Presets, Auto-Gain, & Call Recording

Read article called: Focusrite Vocaster: Voice Presets, Auto-Gain, & Call Recording

What Else Will I Need to Run the Focusrite Scarlett 2i2?

Podcasting with a USB mic is a great way to get your show off the ground, but after a while, you might start to think about building out a more ‘studio quality’ setup. This is where a move towards buying an interface like the Scarlett 2i2 is worth considering.

In order to use the Focusrite Scarlett 2i2 you will need:

• An XLR cable, or two if you have a co-host or are conducting interviews.
• An XLR microphone, or two if you have a co-host or are conducting interviews.

An XLR cable (or microphone cable) is the standard type of cable used by musicians and other live performers. It simply connects at one end to your 2i2 and at the other end to your microphone.

If you’re looking for a quality mic to pair with your 2i2, see our best podcast microphones roundup. Obviously, your choice of mic has a big impact on your sound, though your environment and technique are equally as important, too!

I’ve run all manner of mics into the Focusrite Scarlett 2i2, from the Shure SM57 and Samson Q2U to the Electro-Voice RE20 and the Neumann U87.

Focusrite Scarlett 2i2 4th Gen Vs Original

At a glance, a 2011 Focusrite Scarlett 2i2 might not look so different than a 2023 2i2 4th Gen model. But quite a lot of improvements and iterations have been made. Here are the most notable:

• The sample Rate limit has jumped from 96kHz to 192kHz
• It has a more precise Frequency Response
• Dynamic Range has increased from 105dB to 116dB
• Gain Range has increased from 46dB to 69dB
• The Headphone outputs have improved

Physically, the 2i2 4th Gen has a USB-C connection, whereas Gens 1 and 2 were USB-B. New features have also been added to help inexperienced (or rushed!) podcasters get optimal sound with minimal effort. These are:

• Auto Gain – the 2i2 can listen to a sample of your audio and set the gain for you
• Clip Safe – automatically adjusts gain if you’re at risk of clipping
• AIR Mode – enhances your audio with some EQ presets

You can toggle these on and off, so veteran audio pros have the option to retain full manual control over their sound. The beauty of the Focusrite Scarlett 2i2 is that it has always catered to creators of all experience levels, and these additional features only go towards strengthening that claim.

Focusrite Scarlett 2i2: Pricing

The 4th Gen is the easiest to find and buy brand new. It’s obviously the most expensive, but not by an outrageous amount. If you have yours as long as I’ve owned mine, a brand new 4th Gen will cost you less than $15 a year:

• Focusrite Scarlett 2i2 4th Gen (around $200)
• Focusrite Scarlett 2i2 3rd Gen (around $180)
• Focusrite Scarlett 2i2 2nd Gen (around $140)
• Focusrite Scarlett 2i2 1st Gen (around $50-100)

If you’re certain you’ll only ever use one XLR input, you might opt for the Focusrite Scarlett Solo instead. Depending on its generation, one of these will usually cost between $100 and $140.

Does the Focusrite Scarlett 2i2 Have Phantom Power?

Yes! All models of the Focusrite Scarlett 2i2 contain that mythical superhero known as Phantom Power. This enables you to use any XLR condenser mic with the device (along with any XLR dynamic mic) by simply hitting the 48v button on the front.

How Does the Focusrite Scarlett 2i2 Sound?

These sound samples were recorded with a Rode Procaster, Shure SM58, and a Samson Q2U. No post-processing has been applied. They were recorded on my 1st Gen 2i2, and, although I think they still sound good, the preamps and general audio specs have improved a lot since then, too!

Focusrite Scarlett 2i2: Portability

The Scarlett 2i2’s small, light nature means that you can basically pack a mobile studio into an average-sized shoulder bag. For example, you might be attending an event or conference and want to do some interviews, or you may even want to record a podcast episode there and then.

You could easily pack the Focusrite along with a laptop, headphones, USB cable, two XLR cables, and two microphones and still have room in your bag to spare. Sure, it isn’t as small and handy a setup as the Rode Wireless Pro, but it’s a lot more portable than the horse-drawn Rodecaster Pro.

Should I Buy a Focusrite Scarlett 2i2?

The Focusrite Scarlett 2i2 is an excellent little piece of kit for podcasting or any creative audio endeavour. But do you need one?

If you’re already happy enough with the sound and workflow of your existing recording setup, then probably not. Just stick with it, and keep doing what you’re doing.

But if you’re looking to upgrade from a USB mic setup to using XLR mics (and still record into your computer), then the 2i2 is one of the best options on the market.

There are other quality USB audio interfaces out there; however, if you’d still like to shop around, check out our roundup. You might also fancy a look at the Focusrite Vocaster, which is essentially a 2i2 reimagined with podcasters in mind.

Need More Help Choosing Podcasting Equipment?

If you need some more tailored advice for your own setup or want help with any other aspect of podcasting, then be sure to check out the Podcraft Academy. That’s where we run our weekly live Q&A sessions, and you’ll have access to all of our video courses, tutorials, ebooks, and other downloadable resources!

• USB audio interfaces allow you to run one or more XLR mics into your computer.
• They can offer an increased range of flexibility and options when compared to your typical USB mic setup.
• USB audio interfaces tend to be small, light, and a lot less cluttered than a standard mixer.
• The best USB audio interface for you will depend on your own unique budget, setup, and needs.
• Read on to find out more.
• Or, jump to our best USB audio interface recommendations.

Podcast equipment setups vary from person to person. Some podcasters prefer to keep things as simple and minimalistic as possible. Others are always looking to add the latest shiny thing to their arsenal of audio gear.

The easiest way to get set up and ready to record good-sounding audio is to plug in a USB mic. The quality of USB mics has come on leaps and bounds these past few years. That said, a lot of podcasters feel the desire to “graduate” to an XLR mic after a while, as they begin to explore ways to take their audio quality from good to great.

If this sounds like you, then you might also be in the market for a USB audio interface. Whatever XLR mic you pick up (see our best podcast microphone choices right here), you won’t be able to run it directly into your computer.

Of course, you don’t even need a computer to run an XLR mic. You could plug it into a digital recorder instead. But if you record online with co-hosts or interviewees, or, prefer to record directly into your DAW, then getting yourself a quality USB audio interface will make a lot of sense.

What is a USB Audio Interface?

A USB audio interface is a little box into which you can plug an XLR mic. Depending on the model, you can sometimes plug multiple XLR mics in.

A USB audio interface will connect to your computer by – funnily enough – USB. This setup gives you much more control and flexibility than your typical USB mic setup.

You’d also plug your headphones into your USB audio interface. It becomes both your input and your output. You simply need to select both these options when setting your preferences in your DAW or call recording software.

USB audio interfaces tend to be smaller and lighter than your average gaming console. They’re typically free from too many knobs and dials and look much simpler than their mixer counterparts.

Not all audio interfaces are USB, however. It’s actually quite a broad term, and audio interfaces come in all shapes and sizes. There’s the built-in sound card inside your computer. There’s tiny little USB dongles. There’s the circuitry built into a USB microphone. And then there are breakout devices, ranging from a simple USB interface with a microphone input all the way up to the large rackmount interfaces found in many studios.

While the info in this guide certainly applies across most audio interfaces, for the context of podcasters working in their home studio, we’ll primarily address small two- and four-channel breakout devices that connect to your computer via USB, Firewire and other similar digital connection ports.

So now that you know a bit more about what they are and why you might want one, what are the best USB audio interface options out there right now?

Our 2024 Podcaster Equipment Survey showed that the Focusrite Scarlett 2i2 (14%) and Zoom PodTrak P4 (12%) were the medium’s most popular audio interfaces.

Best USB Audio Interface for Podcasters: Model, Price, & Audio Quality

‘Best’ is always a very subjective term. Of course, it’s going to depend on your own unique needs, setup, and budget. You’ll find a recommendation here that looks right for you.

Just a quick heads up, too, that we sometimes use affiliate links for products we review. This means we may earn a commission if you buy through them, never at any extra cost to yourself. Affiliates help support all the free content we put out on the site on a regular basis. Don’t worry—this never clouds our judgment when giving you our honest opinions!

With that said, let’s dive into the recommendations. Here are my favourite USB audio interface options to date.

Focusrite Scarlett 2i2 – The Best Seller Option

• Cost – $200/£170
• XLR Inputs – 2
• Size – 19.51 x 5.31 x 3.35 cm
• Weight – 640g
• Gain range of up to 69dB (4th Gen)
• Frequency response of 20-20k Hz

Sound samples recorded with Rode Procaster, Shure SM58, and Samson Q2U mics. No post-processing has been applied.

I’ve owned a Focusrite Scarlett 2i2 for many years now, and it’s still an integral part of my home recording setup. This is arguably the world’s best-selling USB audio interface and is used by millions worldwide for recording audio and music.

Now in its fourth generation (earlier generations are still on sale for cheaper), it has many new features compared to my relic of a model, including auto gain and clip protection and a preamp with up to 69dB gain range.

Read our full review of the Focusrite Scarlett 2i2

Focusrite Vocaster – The Ultra-Simple Option

• Cost – $80 (Vocaster One) & $150 (Vocaster Two)
• XLR Inputs – The One has one, the Two has two!
• Gain range of up to 70dB
• Frequency response of 20-20k Hz

Not content with the Scarlett 2i2’s dominance, Focusrite also created the Vocaster, a podcast-specific USB audio interface. This is available for solo or co-host podcasters. Intuitively, the Vocaster One has one XLR input, and the Vocaster Two has two. See what they did there?

With the Vocaster, you can easily connect your phone to bring in guests, or send audio out to your camera, too.

Read our full review of the Focusrite Vocaster

PreSonus AudioBox USB 96 – The Durable Option

• Cost – $99/£72
• XLR Inputs – 2
• Size – 4.45 x 13.97 x 13.97 cm
• Weight – 912g
• Gain range of up to 35dB
• Frequency response of 20-20k Hz

Sound samples recorded with Rode Procaster, Shure SM58, and Samson Q2U mics. No post-processing has been applied.

The PreSonus AudioBox USB 96 is a great option if you’re someone who records on-the-go a lot. Housed in a heavy-duty steel chassis it can, in PreSonus’ own words, “take a serious pounding and remain completely reliable”. They proved this by driving over it in a truck. Case closed!

Read our full review of the PreSonus AudioBox USB 96

Rode AI-1 – The Minimalist Option

• Cost – $125/£95
• XLR Inputs – 1
• Size – 17.78 x 7.62 x 12.7 cm
• Weight – 454g
• Gain range of up to 45dB (updated to 60dB with firmware)
• Frequency response of 20-20k Hz

Sound samples recorded with Rode Procaster, Shure SM58, and Samson Q2U mics. No post-processing has been applied.

The Rode AI-1 may appeal more to folks who record solo or online conversations. It’s a minimalistic little interface that keeps things as simple as possible.

Zoom PodTrak P4 – The Versatile Option

• Cost – $149/£150
• XLR Inputs – 4
• Size – 112mm x 155mm x 47 mm
• Weight – 290g
• Gain range of up to 70dB
• Frequency response of 20-20k Hz

The Zoom PodTrak P4 is a podcast-specific digital recorder which also doubles up as a USB audio interface. This means you’ll be sorted to record up to four local participants and remote guests whether you’re at your computer or not. Obviously, though, with more options comes more complexity, which might put beginners off.

It’s worth mentioning that, when used as a USB audio interface, you don’t have the same multitrack options as you do when recording directly to the SD card. However, there’s nothing to stop you doing both at the same time!

Read our full review of the Zoom PodTrak P4

Shure MVX2U – The Mobile Option

• Cost – $130/£116
• XLR Inputs – 1
• Size – 15.8 x 14.0 x 4.4 cm
• Weight – 100g
• Gain range of up to 60dB
• Frequency response of 20-20k Hz

Sound sample recorded with Shure SM58. The interface applies gain and tone effects whilst recording.

The Shure MVX2U is a great USB audio interface option for the on-the-go podcaster. It’s tiny and lightweight, ideal for running your XLR mic as if it were USB, or even setups like plugging an XLR into your phone.

The MVX2U also has a lot of nice built-in features to help improve your audio. Find out more about its DSP technology, auto gain, and EQ settings in our detailed review.

Read our full review of the Shure MVX2U audio interface

Lewitt Connect 2 – The User-Friendly Option

• Cost – $200
• XLR Inputs – 1
• Size – 20.3 x 15.4 x 6.10 cm
• Weight – 780g
• Gain range of up to 72dB
• Frequency response of 20-20k Hz

The Lewitt Connect 2 reimagines the way a USB audio interface should look. If you’ve never used an interface before, then you’ll likely find this design more intuitive. But if you already know your way around the likes of the 2i2, the transition might be slightly more jarring.

It’s a touch-based interface, so settings can be “locked in ” and can’t be accidentally knocked or turned when the device is off. The Connect 2’s companion software comes via the Lewitt Control Centre, which has a clip guard preset and a handful of vocal enhancement options.

Read our full review of the Lewitt Connect 2 audio interface

Part 2: The Ultimate Guide to Audio Interfaces

Looking for a deeper dive into audio interfaces beyond a few top-level USB audio interface recs for podcasters? Then read on. In part two of our guide, we’re going to explain some of the terminologies around audio interfaces, as well as answer some frequently asked questions.

Can I Use the Audio Interface Within My Computer?

There’s little that would compel me to recommend using the audio interface built into your laptop. They’re noisy, unbalanced and made of components with varying degrees of quality in order to keep costs down. This applies to the interface on smartphones as well.

There are obvious benefits of recording away from your computer altogether. Without the help of a control room, fan noise and other computer sounds can bleed into the recording.

However, there are times when having a computer nearby is necessary, either for productivity or workflow, or, because you’re using a USB audio interface. For that, we need an interface that will suit our needs. And that’s where things get tricky.

Different sound devices are made for different applications. For example, I wouldn’t use a Presonus Audiobox to record sound effects. The mic preamps are too noisy for detailed sound recording, and the device doesn’t handle the sampling rates I need. For voice, however, the Audiobox would likely suit many people’s needs.

So, what are you looking for? Let’s look at the different features you’ll find, and what they mean.

USB vs Firewire

I hear arguments regarding USB vs Firewire all the time. I don’t intend to rehash them, as most are highly subjective. The arguments are often weighted by whether the individual uses a Mac or PC, and they fail to look at the bottom line: both USB and Firewire are plenty fast enough to handle your audio signal.

The most determining fact in whether to use USB or Firewire (or PCI, or Fireport, or Thunderbolt) is your computer. If your computer is not slotted with Firewire interfaces, there isn’t a compelling argument for purchasing a separate firewire interface to make other hardware work.

Analog vs Digital

Overall, the average user is going to be considered with analog inputs and outputs (I/O). Analog I/O refers to any signal where audio information is transmitted in the form of electrical pulses. In other words, if you plug a microphone, guitar or monitor into an input or output to transmit or receive sound.

This becomes confusing because the main purpose of an audio interface is to convert your audio to a digital signal. Or, to convert from digital back to analog in the case of outputs. An easy, if oversimplified, way to think of it is that if you can hear it with your ears, even if it is from a digital source, what you’re hearing is an analog signal.

Digital Inputs and Outputs (I/O)

Digital I/O ports include MIDI, SCSI, Timecode, optical, S/PDIF and other ports used to carry machine-readable digital information from one system to another without converting them to an analog sound source first.

I cover digital inputs in the context of recording voice only because it’s commonly a feature on audio devices. If you use outboard mic preamps, digital mixers or other digital devices in your chain, it’s important to ensure your devices have compatible digital inputs. Otherwise, you can likely overlook this feature.

Analog I/O

Analog Inputs and Outputs are one of the most important items to pay attention to. Typical external sound cards support both XLR and balanced TRS (¼”) cables, often in the same port (referred to as a combo connector). Ensure you use a balanced connection to avoid unwanted electrical interference. And make sure the audio connections on your interface match the connections on your microphones, monitors and other equipment.

Another Analog I/O factor is the number of ports. Audio Interfaces typically have two inputs and two outputs (2×2). Some have four inputs and two outputs (4×2).

It’s important to know how many devices you intend to connect to your audio interface in order to determine number of input and output ports. Multiple monitor combinations (5.1, quad, 7.1, etc) require an output for each monitor. Recording multiple actors requires enough inputs for each microphone you intend to plug into the device. For most podcasters and voice actors, a 2×2 or even a 1×2 recording device (like most USB microphones) are sufficient.

MIDI Ports

MIDI is used primarily for communicating between sequencing software and digital instruments and equipment. MIDI can also be used to control external peripherals like rackmount reverb modules. Unless you are a musician, a sound designer or a lighting designer, you likely don’t need MIDI ports.

Word Clock

Word clocks are used to synchronize digital playback and recording devices. Typically the internal clock from your computer hardware or software is sufficient. Again, unless you are heavily into creative audio production and design, a word clock is likely not a determining factor in an audio interface.

Driver Support

There are a number of different audio driver types. The key here is to ensure your audio interface meets your hardware and software needs. PCs typically run ASIO, WDM and MME. ASIO is low-latency. Core Audio is OSX’s low-latency driver. Ensuring your audio device is ASIO or Core Audio compatible will allow the widest compatibility. Check reviews for inherent issues between PC and Mac compatibility before you purchase.

Software Compatibility

I’ll be honest here. This is primarily a Pro Tools consideration. It’s also one of the reasons I’ve gone through so many audio devices. If you’re working in Pro Tools, this can be a frustrating trial and error. Something as simple as the crystal used in the sync clock of your audio device can make Pro Tools choke. This is less an issue since version 11, and there are a number of workarounds using a go-between software audio interface like ASIO4ALL (PC) or Soundflower (MAC).

Most podcasters don’t need anything as complicated as Pro Tools for their audio production. Audition and Audacity are two popular choices, whilst Alitu is the easiest way to record, edit, and produce a podcast.

Sampling Rate

Sampling Rates for most applications run from 44.1 to 192 kHz. Lower sampling rates are available, however they’re typically used for telephony, toys and other situations that do not require high-fidelity recording. In general, most studios record voice at 48 kHz. This allows some breathing room in the audio, and gives audio editors and designers a little room to stretch and pitch voices without losing audio fidelity.

For most voice and interview podcasts, 44.1 kHz is sufficient to capture excellent vocal audio. For voice actors, I recommend sticking to the 48 kHz studio standards. If you do voice for creature effects, higher sampling rates may be desired.

Bit Depth

Bit depth is important in determining your dynamic range for recording. Dynamic range is the difference between the softest signal your device can register above the noise floor and the loudest signal your device can reproduce without distortion. 16-bit is suitable for most podcast voice applications. For voice actors and studio professionals, 24-bit is standard. 32-bit is starting to become more common, but again these are typically used by folks like me who need to record loud engines, shotguns and jets without distorting.

Battery Power

This is for those of us who use our audio devices in the field. Handheld devices, like the Zoom H5, often have a setting to operate as an audio device on most computers. This makes them more adaptable for recording interviews in that cafe, rather than being tied to the studio.

Technical Specs

In A Beginner’s Guide to Microphones for Voice, I covered a number of different technical considerations when comparing microphones. The good news is, most of that information applies here as well. Let’s review!

Frequency Response

Frequency response refers to the range of frequencies your microphone can accurately reproduce at an equal level. Audio interfaces should record anything from 20hZ to 20kHz, the range of human hearing, and I would be highly dubious of any interface that doesn’t record at a minimum of that range.

Impedance

Impedance is a measure of your equipment’s resistance. Low-impedance, or low-Z, inputs allow long mic cable runs without introducing noise or reducing frequencies.

Equivalent Noise Level

Also known as self-noise, the equivalent noise level is the electrical noise or hiss a microphone produces. In general, a self-noise specification of 28dB and lower is acceptable for quality recording.

Signal to Noise Ratio (S/N)

This is the difference (in dB) between the audio interface’s sensitivity and the equivalent noise level. 64dB and higher is good. Here’s more on signal to noise ratio.

Audio Interfaces for Podcasters: FAQ

Alright, continuing our masterclass, time for some more frequently asked questions around audio interfaces.

What is a Preamp?

Sometimes audio interfaces are referred to as “preamps”, but this isn’t entirely accurate.

A preamp is any type of gadget that boosts the signal from your microphone, making it stronger and clearer. It’s like turning up the volume on your mic, but more precise and controlled. Audio interfaces have preamps built-in, and these preamps are specifically designed to work with the interface, so you get the best possible sound quality.

So, audio interfaces have preamps, but they aren’t “preamps” in themselves.

Where Are My Recordings Saved When Using an Audio Interface?

A USB audio interface won’t store and save audio itself – that will happen in whatever DAW or recording software you’re using.

Inside any software you’re using, you just need to remember to set the interface as the “input”. So, for example, I might be recording with a Samson Q2U mic into my Focusrite Scarlett 2i2 USB audio interface and Adobe Audition. Audition – the software – will ask for my input, and I’ll select “Focusrite Scarlett 2i2”. Some podcasters get confused here because they try to find and select their mic instead. But as the mic runs into your interface, your DAW will treat the mic and interface as one device.

Digital recorders are a type of audio interface that can store audio directly via a memory card, without the need for a computer. You can also set up most digital recorders to work as USB audio interfaces, but at that point, they’ll store audio on the computer (via your software) instead.

Can an Audio Interface Improve My Podcast Sound Quality?

Yes and no. In an ideal world, better equipment means better sound quality in your end product. But there’s a lot more to it than that.

You can buy the best gear in the world, but if you’re recording in a suboptimal environment with loads of reverb and your mic technique is terrible, then your podcast will sound bad.

Fortunately, it doesn’t need to be difficult or expensive to create a podcast studio. And, your mic technique can be optimised with a few simple tips. Once you have these essential basics nailed down, then there can be a noticeable jump in quality if you’re transitioning from a cheap USB mic to an audio interface setup.

What is Phantom Power?

Phantom power is a way to send power to a condenser microphone. It usually appears as a little LED light on an audio interface or microphone.

When you turn on phantom power on your audio interface or mixer, a little bit of extra voltage gets sent through the microphone cable, which powers the condenser element in the microphone. Without phantom power, the microphone might sound really quiet or not work at all.

Make sure you check if your microphone needs it before you turn it on – some microphones, like dynamic mics, don’t need phantom power and could even be damaged by it. And when you do use phantom power, turn it off before unplugging the microphone, or you might hear a loud pop that could damage your equipment.

Monitoring via the Headphone Jack

Every USB audio interface on the market will have at least one headphone jack. It’s best practice to plug your headphones in here and monitor your recordings. This allows you to hear the audio in real-time as it’s being recorded.

Monitoring through headphones ensures that you can hear the exact same audio that’s being captured by the microphone or other input device. This is important because it allows you to catch any issues with the recording right away, such as unwanted background noise, clipping, or distortion.

By monitoring your recordings through headphones, you can also ensure the audio levels are set correctly. If the levels are too low, you may end up with a recording that’s too quiet and difficult to hear. On the other hand, if the levels are too high, the recording may be distorted and unusable.

What Are the Best USB Audio Interfaces for Podcasters? Summary

As I’ve said already, the best option for you will depend on your unique needs, setup, and budget. By looking over the input options, specs, and costs, and listening to the sound samples, you’ve maybe even made up your mind by now.

I’m heavily biased towards the Focusrite Scarlett 2i2 because I’ve owned one for so long, and my model can’t even do half of what the latest (4th Gen) iteration offers. That said, if I were just starting out, I’d probably opt for the Vocaster instead because it’s so podcast-specific. Another podcast-specific kit here is the Zoom PodTrak P4 – a better option for anyone doing most of their recordings on the go.

Need More Help?

If you’re still weighing up what gear to buy, remember to also check out our Best Podcast Microphones and Podcast Equipment roundups. You’ll find all our top choices right there.

We also have courses on everything from equipment choice and setup, to audience growth and monetisation inside Podcraft Academy. We run weekly live Q&A sessions in there too, so you can get regular tips, advice, and support that’s uniquely tailored to you.

“The most user-friendly audio interface ever made” is Lewitt’s bold claim with the Connect 2. I can definitely see where they’re coming from. They’ve thrown out the rulebook when it comes to audio interface design and have entirely reimagined how this looks and functions.

But… ironically, I found the Connect 2 a bit confusing at first. This isn’t through any fault of Lewitt’s. I’m just completely accustomed to the “ah, so it looks a bit like the Focusrite Scarlett 2i2” layout of almost every other interface I’ve reviewed.

In any case, why did Lewitt decide to reinvent the wheel? Let’s find out in this Connect 2 review:

What is the Lewitt Connect 2?

As we’ve already established, it’s a USB audio interface. It lets you connect an XLR mic, which you can run on your computer. You can use it for musical purposes, but as we’re a podcasting website, I’m going to stay firmly in my own lane here.

It’s worth pointing out that there’s one single XLR jack on the Connect 2. Some podcasters buy a USB interface if they’d like to record themselves and others (co-hosts, guests) together. If that’s what you’re after, then the aforementioned Scarlett 2i2 is a better bet. However, if you’re a solo or remote podcaster, then read on:

What’s Different About the Lewitt Connect 2?

The Connect 2 looks very different to your typical audio interface. At first glance, you might even mistake it for a guitar pedal or something of that ilk. But its wildly different aesthetic comes with practical reasons.

Firstly, all the pluggy-in stuff (let’s call them jacks) is on the back. You’ll find such ports on the front and back of most other interfaces.

Secondly, all the pressy-turny stuff (let’s call them buttons and dials) is on the front, which is better described as the “top”. The one exception is the Phantom Power button (used to power condenser mics like the Lewitt RAY) on the back.

And, speaking of buttons. The Connect 2 has…

A Touch-Based Audio Interface

Back in our old office, we had a studio set up with an ancient Yamaha mixer. This thing had about 600,000 knobs and dials on it – definitely the type of kit you want to “set and forget.” The problem was, sometimes, Colin would bring his son in on school holidays, and we’d find our carefully selected settings all over the place the next day.

Any interface or mixer with physical, turnable dials is vulnerable to unwanted tampering. Lewitt Connect 2 owners don’t need to worry about this, though. If your device is disconnected, your settings will be untouchable.

Custom Button Shortcuts

The Connect 2 also has a “custom button.” This can be—would you believe it—customised to access a number of shortcuts. These include toggling the preamp style, muting or unmuting various kits, or quickly displaying the Control Centre software on your computer.

Lewitt Connect 2: Pricing

At the time of writing, you can buy one brand new on Amazon for $200. I don’t see it available on Amazon UK just yet.

Our link to the Lewitt Connect 2 is an affiliate link, meaning we’d earn a commission if you buy through it. Affiliate income helps support all of our free content, though it never clouds our judgment when reviewing products or services. You’ll always get our honest opinions, no matter what!

Check out the Lewitt Connect 2 on Amazon

For comparison, the legendary Focusrite Scarlett 2i2 (4th Gen) has two XLR inputs and costs about $180. The Connect 2 has a marginally higher Gain Range (72dB Vs 69dB). That (and aesthetics) aside, there isn’t too much to split them in terms of performance.

Connections & Cables

The Lewitt Connect 2 has a USB-C connector, but a wee adapter in the box turns it into a USB-A (traditional USB) connection.

Aside from the XLR jack, you’ll find two options for connecting headphones – a 3.5mm and a 1/4″. There are three other 1/4″ jacks – two for speakers (Left and Right) and one for an instrument.

Lewitt Connect 2: The Technical Lowdown

Next up, here are the Connect 2’s technical numbers, ranges, and capabilities. This is for a microphone input and not an instrument input because, again, we’re podcasters.

• Gain range of up to 72dB
• Dynamic range of 118dB
• Max input level of 15.8dB
• Frequency response of 20-20k Hz

Lewitt Control Centre Software

The Connect 2’s digital brain comes in the form of Lewitt’s Control Centre (it’s actually Center, but I’m rebelling) software. This gives you a lot of customisation options to set your sound up exactly how you’d like it, no matter which mic you’re using. There are three EQ presents you can access at the toggle of a button:

Clean gives you unparalleled clarity and fidelity. Perfect if you want to process your signal further. 

Warm provides a vintage vibe and helps to smoothen the high-end of overly bright microphones.

Vivid brings even your dullest-sounding microphone alive and adds articulation by boosting the right frequencies.

Lewitt

You can hear my own sound samples below. I also tested the DeNoise and the Compression. Before we get to that, though, let’s talk about clipping.

Clipguard – No More Distorted Audio

Sometimes, audio can “clip” and distort due to a combination of loud sounds and high gain. Clipping can still be a menace, even when you’ve set your levels appropriately.

Lewitt’s Clipguard is a limiter you can toggle on and off within the Control Centre. Think of it as a nightclub bouncer, letting all of your audio through except that one guy who’s way too loud.

“Not tonight, son”.

Sound Samples

I thought “Warm” and “Vivid” sounded good with the Lewitt RAY, but then again, that is Lewitt’s own mic, so both devices will be designed to work harmoniously. Can’t argue with the Compression and DeNoise, either, though I do prefer to add these effects in post, rather than bake them into the audio.

I also set my Shure SM58 up in the Lewitt Control Centre. It walked me through everything, and I went with the recommended settings (which you can overrule if you’d prefer). It sounded a bit overproduced for my liking, but I can see why it would want to pump that much juice into a dynamic mic. In future, I’d look to tone it down a little.

Lewitt Connect 2 Review: Summary

I recently reviewed the Lewitt RAY mic and was impressed by its innovative and unique features. I think the same can be said for the Connect 2. It’s clearly something that has been designed from scratch. It does the essentials well, and the Control Centre software gives you plenty custom options without being overwhelming or difficult to use.

I mentioned that the Focusrite Scarlett 2i2 4th Gen costs about $20 less than the Connect 2’s $200 price point. If you’re looking for two XLR inputs, this is a no-brainer.

But, if you’re only recording yourself because you do solo or remote episodes, then the Lewitt Connect 2 is well worth your consideration. If you’re pretty new to audio, then you’ll likely find the look, build, and layout more intuitive. The software has plenty of handy presets to get your audio on point without any technical knowledge. And, if you have kids, the touch-screen is a safeguard against any budding audio engineers looking to reset your levels for you.

Finally, if you’re still looking to shop around for the best kit to plug your mic into, check out our roundups for USB Audio Interfaces, Digital Recorders, or Mixers!

Formed in 2017, Maono (which means “vision” in Kiswahili, according to my PS22 box) have gradually established themselves as a known brand in the podcast equipment space.

Editor’s Note

Thanks to Maono for sending us the PS22 to review. Our link to the product is an affiliate, though, rest assured, affiliates never cloud our judgement – we always give our honest opinions, no matter what!

Like most other companies, they do struggle to create memorable names for their products. The WM820, PM500, and PD400X have passed through our doors in recent years, offering little hint of what they are or do until you see them. I’m sure there are technical reasons for these names, but I do long for the day when we see equipment like:

• The Samson Big Bloody Brilliant Mixer
• The “Are You Shure You Want To Sound This Good?” Mic
• And the Maono Vocal Explosion 6000 Recorder (it felt right to get some random numbers in there)

Alright, so maybe I’m not going to be hired by any tech companies as chief-of-names any time soon, and the Maono PS22 is the name this little USB audio interface has been given, so let’s make peace with that and get on with the review, shall we?

What is the Maono PS22? (& Who’s it For?)

Its full title on the box is the Maono ProStudio 2×2 USB Audio Interface. You can use it to run one or two XLR mics into your computer. There’s an option to run it into your phone, too. I’ll come to that in a bit.

The classic use-case scenario for a podcaster is that of someone who wants to do in-person interviews using two mics. But, solo or remote guest/co-host-focused podcasters will find just as much value in the device. The second mic jack is a handy option, but there’s nothing to say you need to use it.

Maono PS22 as a Smartphone Audio Interface

You can record via the PS22 into your smartphone if you have a mobile cellular telephone device with a USB-C connection. This is typically:

• any Android device
• the iPhone 15

I don’t know the exact model of my iPhone, but it’s not a 15. It was made sometime around 1948. I summoned a USB-C to Lightning connector from my Lovecraftian drawer of cables to see if it might work. Alas, it didn’t.

In any case, your mileage may vary if you have a compatible phone and a desire to record video with decent audio. I, for one, am a traditionalist and don’t much care for smartphone recording anyway. I’m more interested in the big question:

Is the Maono PS22 as good as the Focusrite Scarlett 2i2?

Maono PS22 Vs Focusrite Scarlett 2i2

Comparing the Maono PS22 with the Focusrite Scarlett 2i2 is a logical step for me. I’ve owned the latter for 13 years, so I have a lot of experience with it. Both devices are very similar in look, size, function, and price point.

Besides, at its age, my 2i2 is only going to last so much longer. Can the PS22 step up to replace it when that fateful day arrives? Let’s look at some notable differences between the two.

The option to record into your phone is an obvious plus for the PS22. As I’ve said, this doesn’t work for everyone, and with a few extra cables, you could manage this with the 2i2, too. But it’s more of a default feature with the Maono model.

I also like the fact you can turn Phantom Power on for one mic but leave it off for the other. This means you can use a dynamic and condenser mic together without running the risk of breaking your dynamic model. On the 2i2, it’s all or nothing.

The 2i2 is a better USB audio interface on a technical level. This is me looking at the specs for things like dynamic range, frequency response, and gain range. However, these differences are so marginal and are unlikely to ever noticeably affect the average podcast recording. Personally, I can hear no difference between the two.

On the price points, the PS22 doesn’t seem to be as widely available just yet, but looks to be retailing at $120. You can probably save about $20 on the 2i2 if you shop around a bit.

Key Maono PS22 Pros

• Smartphone recording option
• Independent Phantom Power for each input

Key Focusrite Scarlett 2i2 Pros

• Overall better technical specs
• Potentially lower-cost

What Does the Maono PS22 Sound Like?

Time to let the Maono PS22 do what it was born to do – aid in the recording of a digital audio file!

I recorded a sound sample using the Audio-Technica 2020. It’s a condenser mic, so I used the Phantom Power setting.

Then, the trusty Samson Q2U was my dynamic mic of choice.

Both were recorded in a “normal” office-style environment, no sound treatment or anything like that. I also didn’t apply any post-processing, cleaning, compression, etc, to the files afterwards.

Conclusion

I like the Maono PS22 and would recommend it as a solid USB audio interface option for podcasters.

Whilst it might not go toe-to-toe with the Focusrite Scarlett 2i2 in its technical specs, there’s no difference audible to my own hearing.

You can likely buy the Focusrite Scarlett 2i2 for a little cheaper, and it’s still my favourite interface overall (we’ve been together a long time). But if you already own an XLR condenser mic and an XLR dynamic mic, and would like to use them simultaneously, then the PS22 is undoubtedly a better option.

Likewise, if you want to record video on your phone then there’s a decent chance you’ll be able to set your PS22 up to handle the audio side of things. That’s another big selling point for the Maono model.

In all, I’m impressed with the Maono PS22, and it’s good to know that in the last years of my venerable 2i2s life, a natural successor is on hand to step up when the time comes.

• Sound Quality: 4.8/5
• Ease of Use: 4.9/5
• Price Point: 4.7/5
• Availability: 3/5

Still looking to shop around? Check out our Best USB Audio Interfaces for Podcasters roundup!

The drawback was that plugins could only be applied post-recording signal. Where am I going with this? Well, this article will be looking at DSP tech via the Shure MVX2U.

Editor’s Note

Thanks for reading our review of the Shure MVX2U. Just a quick heads up that we received this unit free of charge, and that we also use affiliate links on the site to products and services we think you’ll find interesting. We’d earn a small commission should you choose to buy through them (at no extra cost to yourself), and this helps support all the free content we put out. This will also never cloud our judgement when it comes to writing reviews – we’ll always give you our honest opinions, no matter what!

What is DSP and Why Should I Care?

Before I get into the performance testing of the MVX2U, let me explain what DSP in audio is and why it’s an awesome development for audio hardware. 

DSP stands for Digital Signal Processors. 

In a typical recording setting, your voice is converted from an analogue source (XLR microphone) into a digital source (interface does this conversion). 

Now, DSP technology can manipulate this signal BEFORE it hits your computer and recording software. 

Why is this a biggish deal? In our digital audio age, what you record into the DAW is what the signal is. If it clips, even if you put a limiter plugin on the damage, clipping will still be there.  All plugin processing is completed post-recording. 

But DSP allows us to mimic outboard analogue gear-like signal flow that we can use to shape the signal a bit via compression or EQ, for example, before it hits the DAW/computer.

So, how does this tie into the Shure MVX2U?

What is the Shure MVX2U?

On paper, the Shure MVX2U is an audio interface with DSP technology on an automatic setting. That means any XLR mic can be auto-gained for you. You are no longer restrained to the handful of USB mics that can do this. You could very well use a U87 that is auto-gained to get that classic tone without worrying if your recording levels are set correctly.

The MVX2U is not your traditional interface, either. It fits in the palm of your hand!

Compatibility

For Apple users, it’s business as usual to set up in your sound settings, but for Windows – there’s no ASIO driver from Shure. So, outside of Audacity, other DAWS that cannot use Windows Audio directly need to grab ASIO4ALL or something similar. It’s not recommended by Shure to use with mobile devices as it’s designed specifically to work with their Shure Motiv Desktop software.

Out of the Box

Here’s what you get…

• The MVX2U itself
• Quick Start Guide
• USB C to C cable

If your computer doesn’t have a USB C port, you will need a USB C to A adapter.

Connections on the Shure MVX2U

The device is fairly simple in that it has:

• female XLR connectivity
• one 3.5mm headphone jack for monitoring
• one USB C port to connect to the computer
• one 48V indicator (phantom power)

ShurePlus Motiv Desktop App

All of the DSP features are enabled or disabled in this desktop app.

There are so many settings in both the auto and manual tabs that don’t fit in a screenshot! Fear not, though – the UI is super clean, and it’s very easy to figure out.

I found that the Near setting worked best for a dynamic mic, whereas Far worked best for a condenser mic.  Inside the automatic tab, the Tone refers to a vague EQ profile via Dark, Neutral, and Bright.

The gain settings under the automatic tab are labelled Quieter, Normal, and Louder. This is how much input gain is applied based on “how loud” you want the recording to be.  I found Normal to be the best approach, but depending on how loud your voice is, you may need to experiment.

Now, if you like control but still want to use an XLR mic as a USB mic with the DSP processing, the manual tab is for you.

Input gain, EQ, high pass filter, limiter (on/off only) and compression are controllable.  However, the nitty-gritty compression settings are not controllable and are only altered via Off, Light, Medium, and Heavy.

So that all looks great on paper, right? Now, let’s see (hear!) how the Shure MVX2U performs.

Shure MVX2U Tests

The following tests are all performed using the automatic tab on both a dynamic and condenser mic. I used the standalone iZotope RX Editor to record, as it could easily use Windows Audio and see the MVX2U using MME for the driver type.

SM58 via the Shure MVX2U

Testing a dynamic mic, then, in the form of the Shure SM58, I start off with the loud gain, and there is an impressive amount of it. So much, in fact, that I am clipping a dynamic mic, which is pretty unheard of!

Levels for SM58 Test:

• Louder: -18LUFS or -19.14 dB RMS
• Normal: -26.3 LUFS or -27.2 dB RMS

I didn’t do a quiet test as “normal” was just on the cusp of healthy recording levels. Any lower, and it would be too quiet!

I prefer the normal gain setting for the automatic tab with a dynamic mic. If I didn’t speak immediately in the louder setting, the levels would shoot up. This made the voice a bit choppy but also boosted the room noise significantly with no talking. The normal setting was smooth.

No USB-common interference occurred throughout this test.

Skylight via the Shure MVX2U

This test uses the Skylight from 512 Audio. 

The condenser mic test suffered from clipping and noise bursts more significantly than the previous test because condenser mics are more sensitive than their dynamic counterparts.

Levels for Skylight Test:

• Louder: -16.6 LUFS or -17.43 dB RMS
• Normal: -22.0 LUFS or -23.35 dB RMS
• Quieter: -27.8 LUFS or -28.89 dB RMS

Though the “Quieter” auto-gain setting is on the low side, it is still on the cusp of acceptable recording levels.  The louder auto-gain setting greatly boosted the background noise and added a bit of hiss.  I did a check by boosting both the normal and quiet sections to -16LUFS. The background noise was nowhere as loud as when -16LUFS is reached using the “louder” auto-gained section. Use with caution!

Conclusion: Shure MVX2U

This neat little device can adapt any XLR mic as a USB mic with DSP technology.

The Shure MVX2U is currently priced at $129.99 on Amazon.com

This interface/adapter would work best for:

• Streamers
• Podcasters
• Mobile Podcasters (laptop setup)

The Louder auto-gain setting is pretty iffy, but Normal and Quieter work relatively well.  Shure gives you the option of assistance with a clean UI, for those unfamiliar with audio, in the automatic tab, but a more personalized touch with more customization options in the manual tab. 

It’s a bit of a disappointment that, currently, the MVX2U doesn’t integrate with the mobile app for mobile devices. But overall, I think it’s a neat little device that allows creators to use mics with more characteristic tone that are typically XLR-only in a USB setup. Additionally, it simplifies the recording process with an added bonus of DSP processing. 

The MVX2U isn’t as functional as a traditional interface, like the ones from Focusrite or SSL, so maybe not a main gear contender, but a nice optional addition.  However, if you don’t need speaker output or an ASIO driver-based device, it very well could be used as your main setup.  It all depends on your needs!

• Features for Price: 4.5/5
• Performance: 4/5
• Ease of Use: 5/5
• Total: 4.5/5

Still looking to shop around a little? Be sure to check out our full guide to the best audio interfaces!

In this review, I’ll be looking at a sound card-style interface/condenser microphone combo kit known as the LiveMix Duet. This kit is made by Synido, a newer company that came into existence in 2021 under the motto “Record Your Colorful Life”. 

Sound interesting? Here’s the plan:

• Test the build quality of both the mic and interface
• Test the strength and cleanliness of the signal from the preamps of the LiveMix Duet
• Test the built-in headphone amp of the interface
• Rigorously test the MS1 condenser microphone

Read on to see how the LiveMix Duet and MS1 microphone perform!

Synido provided me with this kit for review purposes.

What is the LiveMix Duet?

This kit comes with:

• LiveMix Duet Sound Card style interface
• Condenser microphone MS1
• XLR cable
• USB C to A cable for interface
• Foam shield for the mic
• User manual

This interface is a sound card-style interface.  This means there is no dedicated ASIO driver for Windows users, and it piggybacks off of Windows Audio.   Typically, using ASIO drivers helps to lower the amount of latency you will hear when monitoring during recording.   Out-of-box, during recording, there was enough of a noticeable amount of latency for the human ear to pick up. Most people find it distracting to hear their voice with a slight delay, and it might cause folks to fumble when speaking. The latency issue is more concerning when you need to match a performance, for example, music overdubbing to other instruments or dubbing to a visual. So this was a definitely early downside of the kit.

The First Impressions of the LiveMix Duet

The interface is super light, which makes its portability useful, but the body feels a bit cheap. I would handle with care if you plan to travel with it.  However, the knobs and switches do have some resistance to them to prevent accidental change of settings.

This interface/mic combo kit has a price tag of $99, which is on the low end. Yet, I couldn’t write off the LiveMix Duet once I got further into my testing.

Connections/Features for the LiveMix Duet

• 2 XLR combo ¼ inch inputs for either a mic or instrument cable
• Switches for channels 1 and 2 to swap between line level and instrument
• One ¼ inch headphone jack
• Two ¼ inch jacks for speaker output
• 48V Phantom Power for channels 1 and 2
• The ability to connect to a computer or mobile device

The Installation Process of the LiveMix Duet

This interface is NOT plug-and-play. You must head over to the Synido website download page. There you can grab the LiveMix Duet software for either Mac or Windows.

This will install a driver for your computer to recognize the device and software that contains EQ settings. Once installed, it shows up as “Synido”, with a number representing the software version.

The Recording Quality of the LiveMix Duet

The interface didn’t have any interference issues from the USB port (hums).  The preamps are relatively clean, with the tone being much better than I had anticipated. 

I used the dynamic mic, Shure SM58.  Dynamic mics are “gain hungry”, meaning they require more input gain to achieve healthy recording levels, which makes it perfect for a preamp test (input gain).  I was able to achieve healthy levels of -25dB RMS.  The gain knob was turned almost all the way up, but I didn’t hear any notable self-noise or distortion introduced with the preamps being pushed to the max. 

This was a pleasant surprise considering the price tag.

Your room can have a big effect on the tone and recording quality. Treat your recording space as much as possible!

The Headphone Amp of the LiveMix Duet

The headphone amp is good for this price range.  I used the headphones DT990 Pro 250 ohm.  These headphones require a fair amount of amplification to achieve adequate volume.  I was able to achieve a “good enough volume” at the 11 o’clock position, but, after that, there was some noticeable hiss from the amp.  Headphones like the NTH-100s worked much better as these require less amplification to achieve adequate volume before reaching hissy territory.

Initial Recording for the MS1

The initial recording came out nice and clean.  There was no device noise from the microphone or interference of any kind.  The tone wasn’t as clear as I would have liked, but it’s nothing a little EQ can’t fix.

Later on in my testing, I discovered it was the software’s EQ features interfering with the tone.

You can pair the MS1 mic with the LiveMix Duet software, which has some EQ settings.  However, I found the EQ bands too wide.  Aside from boosting or attenuating certain frequencies, you can mute the mic and playback from the software. Currently, the software is a bit lacklustre, and I would do any EQ tweaks in the mix stage post-recording.

MS1 Off-Axis Test

There is a slight drop in volume when you lean to either side by an amount possible sitting in a chair with arms.  However, there was no major change in tone, so any “volume” loss can be edited afterwards if you happen to be slightly off-center of the mic capsule.

MS1 Plosive Test

I used the foam shield that comes with the mic, but mic placement technique will still be required to lessen plosives at the recording stage.  It would be wise to also additionally use a pop filter with the foam shield.  One thing to note is that the stand for the mic is flimsy.  It had trouble propping up the mic’s weight, so I was unable to angle the mic since it would fall over.  I also noticed the threads for screwing the pieces weren’t the best quality, as they wouldn’t catch or unscrew easily.

Using the LiveMix Duet with a Mobile Device

There is a braided cable provided that has two USB C male to USB A Male connectors.  The USB C’s are clearly labelled for a cell phone and for the interface.  You must have access to a powered USB outlet/hub to supply enough power to the interface. 

There is no specific app from Synido to record via a cellphone, so you will need to source your own app.  However, it is plug-and-play once everything is connected with the cable.

The tone of the MS1 became clearer using a cellphone app as the recording software.  This is most likely due to the EQ settings from the computer software not interfering. At this time, I haven’t found a way to bypass the EQ to the mic from the software, which is a bit annoying.  The instructions from Synido are a bit lacking.

There was no interference (hums) that is usually associated with mobile device recording. My cell service, Bluetooth, and Wifi were active at the time of the recording.

A spectrogram of the cell phone test for the MS1 and LiveMix Duet

Overall Thoughts and Conclusion for the LiveMix Duet

Despite the cheaper feel of the interface, the LiveMix Duet is comparable to a Scarlet interface from Focusrite for its performance.  In my opinion, it does some things slightly better, such as with the preamps and headphone amp.  Latency can be an issue, and the stand is the biggest drawback, though you can swap that out.  However, for its $99 price tag, you get a decent introductory interface and mic that works via a computer or cell phone.  The software is a bit annoying to deal with as it affects the tone of the mic greatly, but fine for people who don’t mind playing around with the settings to find what works with your voice.

Who this kit is for:

• A parent to purchase for their child to start recording
• A solo individual just starting out podcasting on a budget
• Someone who would like to gift a recording starter kit

The LiveMix Duet paired with the MS1 isn’t going to give you high-end studio results, but the important thing is that it can give you a clean signal which can be polished up a bit easier in post-recording.

• Build Quality: 3/5
• Recording Quality for Price Range: 4.5/5
• Interface Performance for Price Range: 4/5
• Microphone performance for Price Range: 4/5
• Included Accessory Quality: 2/5

• Take you through its main features
• Test how it performs
• Assess build quality
• And more!

I may sound like a broken record to anyone familiar with my reviews.  Nevertheless, I’ll say it once again. 

Good quality audio gear has never been more affordable than it is now.  

Back in the day, you used to have to spend close to a thousand dollars for an interface that was a cut above the home consumer level, which at the time wasn’t designed for professional use.  This is no longer the case as companies continue to innovate while bringing costs down.  Your audio interface plays just as big of a role in your sound quality/tone as your mic and physical recording space. 

Disclaimer: This kit was provided free for review purposes. We also use an affiliate link in our article, which means we’d earn a small commission, should you choose to buy via it!

The Volt 2: What Is It?

The Volt 2 is a 2-in/2-out audio interface that features:

• Stereo out via ¼ inch jacks for speakers
• Shared headphone amp for channel one and two
• Direct Monitoring
• Vintage Recording Mode
• MIDI in and out x1
• 48V Phantom Power
• Instrument In

You also get a handful of free software goodies! Better yet, the price tag is only $189 USD for the Volt 2.  Continue reading to find out why that is so mind-blowing!

Universal Audio has a nifty little comparison chart between the Volt 2 and Apollo Solo.

Front Perspective of the Volt 2 Audio Interface

Volt 2 Review: Recording Performance

I tested the Volt 2 with a condenser and dynamic mic, the Skylight and Limelight from 512 Audio.  No extra gear is required to get healthy recording levels for a dynamic mic! The preamps need to be pushed fairly high – however, they were still clean! No hiss from the preamps was introduced to the recording from using a higher gain setting.

This raw recording (okay I took out the mouth clicks; no one wants to hear my spit) is measured at -23.84 RMS or -24LUFS with a true peak of -3.36dB… perfect!

Volt 2: Recording With Vintage Mode

I found that Vintage Mode was more beneficial for the dynamic mic test. The dynamic mic sounds slightly muddy.  Vintage Mode opened up my voice, thus removing the slight mud from my voice when recording.

The opposite was true with the condenser mic test in Vintage Mode.  It adds a slight touch of warmth to my voice.

Volt 2 Review: Overall Findings for Recording

What Vintage Mode does to your audio is going to be dependent on your voice, mic used, and your room (condenser mics that are more sensitive).

The Volt 2 is great for people who maybe don’t have the best-treated recording space to use a dynamic mic and its many benefits for such a scenario. 

One thing that I didn’t really care for was that the Phantom Power (48V) is shared between channels 1 and 2.  This means you probably shouldn’t use a condenser and a dynamic mic together. Overall, though, the preamps perform and sound great for its price tag.  It really does maintain that quality expected from Universal Audio.

Recording Findings for Windows Users

Sometimes, when using an ASIO driver for your DAW, it was a common issue that audio outside of your DAW would be muted when the software was open.  This isn’t the case with the Volt 2. I had audio inside Pro Tools (my DAW), and I was still able to hear audio outside of the program without any special routing.

Headphone Amp

This interface only has one headphone jack input.  So if you are recording with a second person, depending on the recording setup of what you’re doing, you may need a headphone splitter.  This would allow the second person to use headphones as well, but the volume will be shared.  Not a big deal as this is common on units of this price range.

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The headphone amp itself, however, is quite impressive.  It was able to drive my DT990 250 OHM Pros no problem.  Meaning? These headphones require a lot of “power” to get them at a comfortable volume and maintain details.  The headphone amp was also clean of hiss while turned up – clean headphone amp, nice! Although, for the safety of your ears, only turn up to a comfortable volume!

Monitoring Through Speakers

The Volt 2 couldn’t drive my 5.5 inch driver speakers very well.  Even past the 12 o’clock position it still wasn’t the same loudness as my SSL 2+ at the 10 o’clock position.  This unit operates best in a headphone environment for playback.

Recording Latency

Latency is the time it takes the audio signal to leave the interface into the DAW and be heard through your headphones.  It’s usually measured in milliseconds.  For the Volt 2, it’s super minimal while recording.  You’ll hear slight “phasey-ness” but nowhere near an echo.  The Volt 2 has direct monitoring capabilities, so this will give you zero latency while activated for recording.

The Build

The body is solid and has some weight to it.  This gives it a sturdy feel.  At the same time, it’s relatively compact and still light enough for mobile travel.  The Volt 2 is typically USB powered. However, there is a separate DC power cable (no block included) that you can use to record directly into Apple-only mobile products, such as tablets or phones, while on the go.

The buttons are sturdy – no double pressing to activate or deactivate features.  These buttons light up in bright colours too, so you know exactly if onboard features are active or not.

• Sound Quality for Price Point: 5/5
• Features and Extras for Price Point: 5/5
• Build: 5/5
• Total: 5/5  

Conclusion: Volt 2 Review

All in all, the Volt 2 is a great means to tap into that Universal Audio quality without breaking the bank.  Overall, it performs exceptionally well and outpaces most competition in its price range of $189.00 USD.  It seems to be geared more towards solo usage in its compact design – perfect for a podcaster. 

The preamps are clean and strong.  Its headphone amp should be able to drive just about any headphones. The direct monitoring is nice, as well, for a podcaster, voice artist, or singer.  I would definitely recommend this as a podcaster’s first interface.

If you’re still looking to shop around, though, then check out our Best Audio Interfaces for Podcasters roundup!

• Provide an overview of Maonocaster E2
• Test out onboard features
• Test recording quality
• And more!

This unit was provided by Maono free of charge for review purposes. We also use some affiliate links in our articles and may earn a commission should you buy through them – though never at any extra cost to yourself!

Connection Features

The Maonocaster E2 is an audio interface. The unit has:

• Two mic inputs (1 XLR and one 3.5mm jack)
• Aux in (music playback only)
• Live output 1 and 2 – seems to be for connecting phones for streaming apps
• Mic setting toggle for condenser and dynamic mics
• ¼-inch instrument in
• Bluetooth connection for music playback only
• Monitor SPK (for headphones or speakers)
• Aux Knob
• Monitor Knob
• 2x 3.5mm headphone jacks on front panel

Physical Controllable Effects on the Unit

• Wet/Dry mode for onboard effects
• Automatic vocal tuning for singers
• Pitch knob
• Built-in simplified EQ (Lo, Med, and Hi knobs)
• Onboard reverb effects with depth and decay time controls
• Eight sound pads

For a more detailed look, you can check out the Maonocaster E2 product page.

Maonocaster E2 Sound Pads

For these, you need to record sound effects internally into the unit.  The internal storage is limited, so short recordings assigned to the pads will be what you’re able to do.  There is no SD expansion and no drag and drop from your computer to add either sound effects or any stock sound effects.  The Sound Pads do have a separate volume control on the unit, which is nice.

Connecting the Maonocaster E2 to a Computer

A Windows machine seems to recognize it instantly. I didn’t need to switch any sound settings in the sound card window.  There isn’t a dedicated ASIO driver, currently, so you will need to use a DAW that supports direct input from Windows Audio.

When the Maonocaster E2 is connected to the computer, it still runs off of battery.  The USB C to A cable is used for computer connectivity, and there is a separate port on the unit for charging the battery.  No charging block is provided.

General Findings for the Maonocaster E2

I liked that the EQ and pitch controls had a notch in them so that you could tell when these controls were set to zero at the center.  During my testing, I found that this unit simplifies many things compared to other interfaces or mixers.  For instance, the wet/dry mode is like a light switch.  The effects are either on or off.  No need for extra routing of the fx for them to be recorded.

The headphones and speakers are on a shared volume knob. Traditionally, interfaces have separate volume controls for each.  Additionally, I also found the output from the interface a tad unusual compared to traditional interfaces.  In order to hear playback from my DAW after recording, I needed to use two separate knobs – the “aux” knob, and the “monitor” knob.  When listening through headphones, there was no volume output for playback until I turned the aux knob all the way up.  However, it was still not loud enough, so I turned up the monitor knob which then helped to increase the volume through the headphones.

This seems like a confusing way to control volume output for computer playback. The monitor knob, by itself, is Direct Input Monitoring, meaning it appears to control the monitoring of the input signal (I could hear myself in the headphones when speaking into a mic); yet, it was able to control the playback volume post-recording when used along with the aux knob. I also found it strange that there was only one speaker output jack rather than the L/R configuration, so headphones would be your best bet to use for stereo playback.

Recording With the Maonocaster E2

The preamp’s tone lacks luster, but the 60dB dynamic mic setting was able to give me healthy recording levels.  A level of -23 RMS or -24LUFS with a true peak of -4.29 was measured with iZotope RX after recording. For a budget-friendly device, the self-noise was within minimum expectation.  After boosting to -16lufs, there was some noticeable hiss not from my recording environment.

I found it unusual that two separate controls – one fader and one knob – both had an effect on the mic’s input gain going into my DAW, rather than the traditional one knob dedicated to input gain.

On-Board Noise Reduction of the Maonocaster E2

This feature is pretty impressive for a device at its price range. I deliberately recorded with a ceiling fan on high with a condenser mic, PM500

On-Board EQ of the Maonocaster E2

The EQ parameters are lo, mid and hi, meaning that the frequency that is either boosted or attenuated is limited.  For the test, I turned each knob to its extremes each way.  Turning the “Lo” all the way down made my higher-pitched voice tinny.  I suggest the EQ parameters should be used sparingly on a voice.

On-Board Pitch Effect of the Maonocaster E2

You can pitch your voice up or down with a dial in real time.  There was a little bit of a metallic sound artifact when pitching up.

Onboard Reverb Effects of the Maonocaster E2

At times, while flipping through the reverb settings, there was a crackle in the recording, and one preset failed to activate when this occurred.  Other than that, these presets sound pretty good!  

This interface features a dry/wet mode option, where “dry” is the usual setting activated when no onboard processing is desired. There are also depth and decay time knobs which control the reverb parameters.  One annoying aspect of these controls was that, even when dry mode was activated, reverb was still being applied to my voice recording. It only stopped applying reverb when I turned both depth and decay knobs all the way down.

Conclusion

The Maonocaster E2 has a price tag of $129.99 USD.  The functionality seems to sway more towards live audio such as streaming.  Sometimes the buttons need pressing a few times to get them to activate.  After reading some of the in-box documentation and info on the Maono site, the company is upfront that their product targets introductory users and will not sound like a higher-end unit. But what stood out to me was that they state that they listen to their user base input to implement features based on that feedback. 

As this new company grows and finds its footing through its products, this interaction is refreshing to see. Overall, I could understand that the design tried to make the process more simplified in some ways, but it ended up making certain controls more confusing.

• Performance Quality: 3.5/5
• Build Quality: 3.8/5
• Features for price point: 4/5

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