Hey everyone,
Hoping I can get a bit of advice and some opinions on my next purchase; I currently use a Focusrite 2i4 in my home set up, it does the job, but I am now considuring an upgrade. Initially I wanted more preamps I/O flexibility for adding external preamps/hardware. I have been happy with the 2i4, so I started looking at the more expensive models in their range, the 18i8 seemed about right.
I then looked at other brands and one that has caught my eye is the Audient ID22. It is only two preamps, but a lot is said about the quality of the preamp and the converters. So I am asking for anyone's experience with both interfaces, is there a marked improvement in Audient's converters and preamps? Do you really get a jump in quality for another 30 quid? (Albeit with two rather than 4 preamps).
I am thinking I would prefer a jump in quality over two extra preamps, so any advice anyone can give on this will be massively appreciated. Also, if a different brand offers what I am looking for, or I need to increase my budget, please let me know.
Thanks!
Comments
what's your budget, and what do you want it for? Instruments, mics etc? Hobby use?
Feedback
https://www.studiowear.co.uk/ -
https://twitter.com/spark240
Facebook - m.me/studiowear.co.uk
Reddit r/newmusicreview
Audient/Focusrite you mentioned, Presonus, M-Audio, RME/MoTU (well possibly not quite for £350) etc
If you got on well with the Scarlett 2i4, get the bigger brother and duck the learning curve - the ability to add additional I/O ports via ADAT lightpipe (etc) comes with the the sort of units you're looking at too
Good luck !
Feedback
The only negative for me is the lack of ADAT ports which would have made it perfect.
The iD and Crimson were audibly ahead of everything else. I don't have any acoustic treatment, monitors are a pair of Silver 5L monitors hooked up to an NAD 3130 amp.
When I got the Crimson, I still had the Delta 44 installed and the UR22. Really was a big difference. The level of detail was much greater with the Crimson. My usual test WAV file is the 1959 recording of Rhapsody in Blue with Leonard Bernstein. Listening on headphones first then monitors was truly amazing. So much more detail right down to hearing the orchestra turning over their printed scores. That was running at 44.1kHz.
The ID22 and ID14 are a little brighter. The general consensus at Gearslutz is that the Audient interfaces are very clear, the Crimson is a little warmer. Some would go with the Crimson sounding more analog. From the tests I ran, I agree with those thoughts. There is very little difference between the iD14 and iD22. Some prefer the iD14 over the 22 and vice versa.
The ID drivers are generally rated as being OK, not the best for low latency, but totally usable.
Personally I would go for the iD14 and try it out. At £190, that leaves a good chunk of budget left if you wish to upgrade in other areas.
I'll start looking at reviews for this, thanks!
Thanks
I'm looking at the SPL Crimson and the Audient ID22. Here are the chief differences that matter to me:
- SPL doesn't have pads. The ID22 does.
- ID22 doesn't have coaxial SPDIF. The SPL does.
- ID22 has ADAT in and out so you can add an extra 8 ins and 8 outs at 44.1khz or 48khz. The SPL doesn't offer this so you're limited to it's built in ins+outs.
- User reports seem to be that drivers for the ID22 aren't as good as the SPL drivers.
I've gone Clarett 8PreX as un upgrade to the 18i20.
The 8PreX has no pads, but the maximum input level on the mics is +18dBu
I still have an Octopre Mk2 which does have pads, and with the pads engaged the maximum input level is +17dBu
Personally I think if you believe in the long term you'll use ADAT and or SPDIF then that has to be factored in. I use both, though I use SPDIF very regularly and ADAT only every now and again.
I also have a Palmer Pan 02, which is more compact but more expensive. It's very marginal, but I subjectively prefer the sound of the Orchid.
It really doesn't take long to eat up outputs if you are planning long term integration of any stereo gear (such as secondary monitors, headphone amp, stereo compressor).
My philosophy is if it's possible to leave something set up permanently, so it'll always be ready for use, then that's ideal.
I've not recorded any drums with the Clarett yet. I did have to use pads with the Octopre, which I used over the 18i20 for drums because they're basically the same preamps except the Octopre has pads on every input. IIRC I used pads on all shells to keep the levels safe.
On paper the Clarett should have similar headroom without the pads.