An expensive interface used to be an accepted part of the pro’s working inventory. We ask whether that is still true given the vast range of tools out there.

Even before the DAW paradigm fully took over, there was still much discussion among pros about both the technical and subjective qualities of the interfacing solutions available. Converter specs and sound quality in concert with analogue performance were, and continue to be, the deciding factors on what makes a good interface for many, with price coming a close second. It was (and still is) entirely possible to invest in gear whose performance is tangibly different from comparable options, however even those with deep pockets would concede that those differences grow smaller by the year.

Does Quality Still Cost?

Economic factors still dictate that there is some truth in getting what you pay for. While audio quality has already been mentioned, other factors such as the design, the build quality, and the quality of the materials used will be significant factors on the cost of any unit. For this reason, most will have noticed that on one hand it’s quite possible to buy a 1U interface with 16 channels of inputs and outputs for less than £250/$300, or a high quality box costing twice that with only a handful of IO on the other. For some, lots of functionality for less money trumps all other factors including quality. While this ethos may serve the hobbyist or musician on a budget, for pros quality matters, and premium products’ higher standard of construction, reliability, and audio quality arrives at an extra cost.

Interface Overkill

Despite demanding audio tasks requiring high quality (and therefore expensive) audio interfacing, there will be times when the professional’s need will change given a certain job or client. While it might be true that the default requirement will be for reliability and quality overall, the nature of some jobs will require different functionality and attributes from an interface. The most obvious will be for the kind of small scale, mobile work which an increasing number of audio and media-based professionals find themselves doing. Following recent world events, as well as a shift in the wider industry landscape, it is not unusual for the pro’s primary requirements to be those of portability and affordability. This applies especially to those putting together packages for remote voiceover talent or those producing content where the only required facilities might be one mic input, loopback for virtual sources, and a headphone output.

The Mobile Interface

Clearly, having multiple channels of immovable rack-mounted audio or MIDI interfacing simply isn’t needed when the requirement is a smaller, ‘micro rig’ for those working with laptops or mobile devices for capture. Of these smaller problem solvers, it could be argued that the audio quality of the inputs can represent an improvement over using a mobile device alone. Using a suitably hot condenser mic will negate any issues with mic amp noise; certainly, with a modern mobile interface with, say, one XLR input, location recordings will see ambient noise levels that far exceed and obscure any low-level circuit noise that may exist. Pro earbuds or low-load headphones will pair happily with their outputs, meaning tasks such as mixing or editing can be undertaken on the move. Of course there’s always quality monitoring on tap back at base. In more extreme cases, the question of replaceability also comes into play in environments where damage to gear in the field is a possibility.

Consumer Vs Pro?

While the professional’s toolkit may have changed considerably in the last few years, the need for professional grade audio is the one thing that has not gone away. However, in situations where the requirement is for minimal facilities, with performance that makes external conditions, not audio quality itself the greatest concern, the mobile interface is a viable option. Where budget is tight, it is perhaps best redirected back into the areas that will actually make a difference, such as improving studio monitoring quality or ergonomics. Although it’s entirely possible to buy bad consumer grade gear, offerings from the established players continue to improve and aspire to ‘Pro’ performance. It’s true to say that those names with one eye on the professional can no longer be discounted for serious work where the technical requirement is met.