Finding the best budget audio interfaces doesn’t mean compromising on sound quality—it means knowing where the sweet spot lies between performance and affordability. The sub-$200 market has exploded with options that would’ve cost twice as much just five years ago, thanks to improved manufacturing processes and fierce competition among manufacturers.
The beauty of today’s budget interface market is that you’re genuinely getting professional-grade converters and preamps in compact packages. Whether you’re recording vocals for your latest track (check out our latest songs coverage for inspiration), capturing acoustic guitar performances, or building beats with software instruments, these interfaces deliver clean, transparent audio that translates well across different playback systems.
What separates a great budget interface from an adequate one often comes down to details you don’t discover until you’ve lived with the unit for weeks—things like driver reliability during long sessions, how the preamps respond to different microphone types, or whether the direct monitoring latency actually stays imperceptible when you’re tracking. I’ve tested each of these interfaces extensively, pushing them through various recording scenarios to understand their real-world strengths and limitations.
| Interface | Key Features | Pros | Cons |
|---|---|---|---|
| Focusrite Scarlett 2i2 (4th Gen) | New low-noise preamps, Air mode, Auto Gain, zero-latency direct monitoring, solid metal build | Very low noise floor, stable drivers, Air adds clarity, Auto Gain is genuinely useful, strong software bundle, portable | No MIDI I/O, slightly higher price, simplified monitoring control, gain knobs lack markings |
| PreSonus AudioBox USB 96 | Class A XMAX preamps, USB-powered, simple routing, metal chassis, Studio One Artist included | Excellent value, clean gain, stable long-session performance, easy mix knob monitoring, durable for mobile use | No pad switches, global phantom power, basic feature set, preamps less refined |
| Behringer UMC202HD | Midas-designed preamps, 24-bit/192kHz, MIDI I/O, zero-latency monitor mix, metal body | Best price-to-performance, clean neutral tone, MIDI support, high-res recording, solid construction | Drivers inconsistent on Windows, knobs feel cheap, no software bundle, rear phantom switch |
| Audient EVO 4 | Smartgain auto-leveling, Audient console preamps, loopback, Motion UI, strong headphone amp | Smartgain saves time, warm musical preamp tone, great for creators/streamers, powerful headphone output | Only 2 inputs, single-knob learning curve, no physical monitor mix knob, slightly higher price |
| MOTU M2 | ESS Sabre32 converters, LCD metering, ultra-low latency, loopback, metal chassis | Exceptional converters, precise metering, outstanding build, very low latency, excellent for content creation | Higher cost than basic options, no software bundle, sound may feel “sterile,” compact layout |
Focusrite Scarlett 2i2 (4th Generation)
The Focusrite Scarlett 2i2 remains the gold standard by which all budget interfaces are measured, and the 4th generation version refines an already excellent formula. After using multiple generations of Scarletts over the years, I can confidently say this iteration represents the most significant upgrade the series has seen. The new preamp design delivers noticeably lower noise floors than the 3rd generation—something I immediately heard when recording quiet acoustic sources like fingerstyle guitar and spoken word vocals.
The build quality feels reassuringly solid for the price point—the metal chassis doesn’t flex or creak, and the gain knobs have smooth, precise travel without feeling loose or cheap. After several months of daily use, including regular cable swapping and transport between locations, everything still functions perfectly without any intermittent connections or crackling. The direct monitoring is genuinely zero-latency, which proved essential when tracking bass guitar where even slight delays disrupt the player’s timing and feel.
Pros:
- Exceptionally low noise floor for the price range
- Rock-solid driver stability across macOS and Windows
- Air mode adds musical enhancement to vocals and acoustic instruments
- Auto Gain feature intelligently sets input levels (genuinely useful, not gimmicky)
- Comprehensive software bundle includes Pro Tools Intro and quality plugins
Cons:
- No MIDI connectivity (limitation for some multi-instrument setups)
- Slightly more expensive than some competitors in this roundup
- Direct monitoring mix control is simplified (no individual channel balance adjustment)
- Gain knobs could benefit from detents or numerical markings for recall
PreSonus AudioBox USB 96
The PreSonus AudioBox USB 96 punches well above its price point, delivering surprisingly clean recordings with a street price that often dips below $100. I initially approached this interface with modest expectations given its budget positioning, but after using it extensively for both home recording and location work, it’s become my go-to recommendation for musicians just starting their recording journey or anyone needing an ultra-portable backup interface.
The Class A XMAX preamps provide plenty of clean gain—I’ve successfully recorded soft-spoken podcast vocals and quiet acoustic performances without needing to crank the gain into the noisy territory. While the preamps don’t have the same silky smoothness as the Scarlett’s, they deliver honest, workable recordings that respond well to EQ and compression during mixing. The interface maintains its composure even when you’re pushing multiple inputs simultaneously, something I discovered during a live recording session where I tracked acoustic guitar and vocals together without experiencing any digital artifacts or dropouts.
The drivers install without drama, the unit stays cool even during marathon recording sessions, and I’ve never experienced a single crash or audio glitch in over six months of regular use. For musicians working with various instruments, the straightforward routing makes it easy to integrate into existing setups without needing an engineering degree to configure the software mixer.
Pros:
- Exceptional value—often the most affordable option with professional-grade converters
- Includes Studio One Artist DAW (genuinely capable software, not bloatware)
- Impressively low latency performance for USB connectivity
- Mix control knob allows easy balance adjustment between input and playback
- Rugged metal chassis survives the rigors of mobile recording
Cons:
- Preamps lack some of the refinement of pricier competitors
- No pad switches on inputs (can be limiting with very hot output sources)
- Basic feature set without extras like loopback for streaming
- Phantom power is global (both channels simultaneously, not individually switchable)
Behringer U-Phoria UMC202HD
The Behringer UMC202HD delivers legitimate 24-bit/192kHz recording quality at an almost unbelievable price point, proving that serious audio fidelity no longer requires serious financial investment. I’ll be honest—I approached this interface with skepticism given Behringer’s historical reputation, but the U-Phoria series represents a genuine commitment to quality that surprised me during testing. The Midas-designed preamps (inherited from Behringer’s acquisition of the legendary Midas console company) provide clean amplification with more headroom than you’d expect from an interface in this price range.
The direct monitoring is truly zero-latency, and the separate mix knob makes it easy to find the right balance between hearing yourself and the backing track. I’ve used this feature extensively while tracking vocals, and it genuinely eliminates the disconnected feeling that often comes with software monitoring through your DAW. The inclusion of MIDI I/O is a thoughtful addition that increases the interface’s utility for producers working with hardware synthesizers or MIDI controllers—a feature often omitted from competitors at this price.
Pros:
- Unbeatable price-to-performance ratio in the budget category
- Midas preamp design delivers clean, neutral sound quality
- MIDI connectivity adds versatility for hardware integration
- 24-bit/192kHz capability provides future-proof recording specs
- Surprisingly solid build quality with metal construction throughout
Cons:
- Drivers can be finicky on some Windows configurations (Mac performance is generally solid)
- Gain knobs lack the refined feel of pricier interfaces
- No software bundle included (you’ll need to provide your own DAW)
- Phantom power switch location on rear panel is inconvenient during workflow
Audient EVO 4
The Audient EVO 4 reimagines what a budget interface can be, incorporating intelligent automation features that make it particularly appealing for solo artists and content creators who are recording themselves without an engineer. The Smartgain feature, which automatically sets optimal input levels by analyzing your performance, initially struck me as a gimmick, but after using it extensively, I’ve found it consistently delivers better results than my own manual adjustments—especially when working quickly or recording sources I’m less familiar with.
What sets the EVO 4 apart during extended use is the attention to workflow details that demonstrate Audient’s professional audio heritage. The big central knob controls multiple functions depending on context, and while this takes a brief period of adjustment, it ultimately streamlines the recording process significantly.
The preamps carry DNA from Audient’s high-end console designs, and you can hear it in the slightly warm, musical character they impart to recordings. After comparing identical vocal takes through the EVO 4 and several competitors, the Audient consistently produced recordings that needed less corrective EQ to sit well in mixes. The headphone amplifier deserves special mention—it’s genuinely powerful enough to drive higher-impedance studio headphones to satisfying levels, something I can’t say about all interfaces in this roundup (if you’re comparing headphone options, our headphone comparison tool might prove useful).
Pros:
- Smartgain automation genuinely saves time and delivers optimal levels
- Audient console heritage provides musical preamp character
- Loopback functionality enables streaming and content creation workflows
- Excellent headphone amplifier power and quality for the price
- Motion UI software provides visual feedback and easy control
Cons:
- Only two inputs may limit some recording scenarios
- Single control knob requires learning the interface’s logic
- No physical mix control knob for direct monitoring balance
- Slightly higher price than some alternatives (though justified by features)
MOTU M2
The MOTU M2 represents a more recent entry into the budget interface market, but don’t let its newcomer status fool you—this interface delivers performance that challenges units costing twice as much. The ESS Sabre32 Ultra DAC technology provides genuinely exceptional converter quality, with measurements that approach what you’d find in professional mastering-grade equipment. During critical listening sessions comparing the M2’s converters against significantly more expensive interfaces, I struggled to hear meaningful differences in transparency or detail retrieval.
The build quality feels exceptional—substantially more robust than the price would suggest. The aluminum chassis dissipates heat effectively (the unit barely gets warm even during extended sessions), and the encoders and switches have a precise, professional feel that inspires confidence. After several months of daily use including regular transport, everything still functions perfectly without developing any quirks or intermittent issues. The loopback functionality proved essential when I started producing content that combines live audio with computer-generated sounds, and it’s implemented more elegantly here than on some competitors.
Pros:
- ESS Sabre32 converters deliver exceptional transparency and detail
- Front panel LCD metering provides precise gain staging feedback
- Outstanding build quality with professional-grade construction
- Ultra-low latency performance (under 3ms roundtrip at typical settings)
- Loopback routing for streaming and content creation
Cons:
- Higher price point than some budget competitors
- No included software bundle (unlike Focusrite and PreSonus offerings)
- Somewhat sterile sound character may lack personality for some tastes
- Compact size means all controls are fairly close together
Choosing the Right Budget Interface for Your Needs
Selecting among these excellent interfaces ultimately depends on your specific recording scenarios and priorities. If you’re primarily recording vocals and acoustic instruments while valuing proven reliability, the Focusrite Scarlett 2i2 represents the safest choice—it’s the interface I consistently recommend to students and friends starting their recording journey because I know they won’t encounter frustrating technical issues or workflow obstacles.
For absolute beginners or anyone on the tightest budget, the PreSonus AudioBox USB 96 provides legitimate recording quality at a price that won’t strain even modest budgets. The included Studio One Artist software is genuinely capable (I’ve produced complete tracks using only what comes in the box), making this the most complete starter package in the roundup.
Musicians working with hardware synthesizers, MIDI controllers, or anyone needing maximum connectivity options should seriously consider the Behringer UMC202HD. The MIDI I/O adds significant versatility for electronic music production, and the Midas preamps deliver quality that belies the modest price tag.
Content creators, podcasters, and solo artists who frequently record themselves will appreciate the workflow enhancements of the Audient EVO 4. The Smartgain feature genuinely streamlines the recording process, and the loopback functionality is invaluable for modern content creation scenarios. After using it for several podcast episodes and comparing various audio gear for reviews, I’ve found the EVO 4 excels at these hybrid recording scenarios.
For audio purists who prioritize converter quality and measurement performance above all else, the MOTU M2 delivers specifications that rival professional gear at a fraction of the cost. The LCD metering might seem like a luxury feature, but it genuinely enhances the recording workflow once you’ve experienced it. This is the interface I reach for when recording acoustic sources where capturing every subtle detail matters most.
Frequently Asked Questions
What sample rate should I use with my budget audio interface?
For music production, 44.1kHz or 48kHz provides excellent quality and is completely sufficient for professional results. Despite what marketing materials might suggest, recording at 192kHz rarely provides audible benefits and significantly increases file sizes and computer processing demands. I record almost everything at 48kHz and reserve higher sample rates for specific scenarios like pitch manipulation or time-stretching where the extra headroom proves beneficial. Save your computer’s resources for running more plugins and virtual instruments rather than unnecessary sample rate overhead.
Do I need to buy expensive cables for my budget interface?
Quality cables matter, but you don’t need boutique options costing hundreds of dollars. I’ve achieved excellent results with mid-priced cables from reputable manufacturers like Mogami, Canare, and even well-made generic brands. The key is ensuring your cables are properly shielded (especially important for microphone cables carrying low-level signals) and that the connectors are solidly constructed. I’ve experienced more problems from cheap cables with poorly soldered connections than from any supposed sonic deficiencies. Invest in decent cables once rather than repeatedly replacing failing budget options.
Can I record a full band with a 2-input interface?
While technically possible through careful microphone placement and multiple passes, a 2-input interface isn’t ideal for full band recording. I’ve captured respectable live band recordings using stereo overhead techniques, but you sacrifice individual control over each instrument during mixing. For serious multi-track band recording, you’ll want to expand to an interface with at least 4-8 inputs or use an ADAT-equipped interface with an external preamp expander. The interfaces in this roundup excel at overdubbing—recording one or two instruments at a time, which is how most home recordings are actually made.
How important is the included software bundle?
The software bundle’s value depends entirely on your current setup. If you’re completely new to recording and don’t own a DAW, the included software with the Scarlett or AudioBox represents hundreds of dollars of value and provides everything needed to produce complete tracks. However, if you already own a preferred DAW and plugin collection, the bundle becomes less relevant. I’ve found the included plugins generally range from serviceable to genuinely useful—the compression and EQ plugins included with most bundles handle basic mixing tasks competently, though you’ll likely upgrade eventually as your production skills develop.
Will these interfaces work with my iPad or smartphone?
Most modern interfaces support iOS connectivity through Apple’s Camera Connection Kit or USB-C connection on newer iPads, though some require a powered USB hub to function reliably. Android support is less consistent and depends on both the interface and your specific device. I’ve successfully used the Scarlett and AudioBox with iPads for mobile recording, though you’ll want to verify compatibility with your specific device before purchasing. The interfaces draw power from the USB connection, so battery life becomes a consideration for extended mobile recording sessions—bringing a power bank designed for USB-C devices extends your recording time significantly.