Wie können Sie ein professionelles Audio-Interface mit hochauflösender Audiowiedergabe auswählen?

- Majority of the time you may only need a couple of inputs, but it's also important to be prepared for the odd time that you may need more inputs to connect a guitar, bass, and a stereo keyboard (2 inputs). - Consider the type of connection your computer takes for the fastest conversion from analog to digital, i.e. USB-C, firewire. - There are interfaces that come with their own plugins in order to provide lower processing for your computer. An example would be the Universal Audio interfaces which come with Auto-tune, compressors, and eqs.

First is the interface for live or recording, if for live what control and dynamics are available dedicated to each channel’s input and output- does it have a Pad on the input. If for recording then it’s all about the preamps ! This doesn’t mean specifications it’s about the sound of the preamps, all the great desks had preamps that had a “Sound “

Understand that a High resolution audio recording is only as great as its final product. If high resolution audio is recorded- then is it going be to be reduced to mp3/Wave/Dolby/streaming/stereo/5.1 Surround/7.1 Surround/etc this will dictate how to choose the best audio source for your project

Agreed should know what is your requirement how many Inputs gonna to use and how many outputs you are going to use either you looking for stereo or surround

TRS. XLR. & RCA. Connections. Are avaliable. Both unbalanced & balanced audio. Analog, this is completely acceptable for sound audio recording, both in the booth or just computer designed music, which is not A.I. Generated but by your own two fingers. The work has to be understood & at the right sound check level of listening. Otherwise you could get sued & / or fired from the industry. TRS: 6.5mm jack. Connection. XLR: 3 pin connection (for example; Microphone.), & RCA: 3.5mm jack connections for an Audio interface to (speaker) connections. If the correct sound level of recording isn’t right then you get either white noise, or go deaf. Lol. & that is not good or right. When chooseing an Audio interface, you need to understand audio.

Besides looking for an audio interface that offers at least 24-bit depth and a sample rate of 96kHz or higher, you should also research the interface's microphone preamps. While most interfaces offer 96kHz/24bit, not all offer the same quality of preamps.

Nice parts within the device makes it sound good - that is the magic, and also the price factor for some of the expensive units. They are unseen under the hood, but some are known to give specific audio qualities. KHZ: You would want something to run the formats that are being used in the audio world. For instance for TV production 48khz is used. Your highest EQ frequency available in this case would be 48000/2=24000hz. I use 48khz for the music I work with. BIT: Every bit is 6db of gain. On the regular CD its 16bit. How much of that sound can we fit? 16x6=96db. You do the math for 24bit and 32bit. I recommend not to mess with 16 ever again. I use 24bit/32bit by default.

When it comes to high-resolution audio playback, the bit depth and sample rate are key indicators of quality. Look for an audio interface that offers at least 24-bit depth and a sample rate of 96kHz or higher. This ensures that the interface can reproduce audio with greater detail and clarity, capturing the nuances of the original sound. Higher bit depths and sample rates can provide a noticeable improvement in the fidelity of your recordings and playback.

It's important to note that if your audio interface interacts with analog equipment the quality of analog to digital converters becomes increasingly important. There's a ton of math behind how analog wave-forms are squared off based on sample rate during conversion to digital but the best rule of thumb I follow is: Better math = better converters = better audio quality. In my experience, you generally get what you pay for in terms of quality.

I'm often asked about the difference in quality between budget interfaces, there isn't a great deal of difference at this level and it's probably just as worthwhile researching interfaces that have the features you need. A readthrough of the spec sheet may reveal small differences but that probably may not even be audible perhaps. When it comes to higher end AD/DA converters, there can be a perceived difference depending on the philosophy of the company and what they prioritise soundwise and the components they opt to use, for example a Burl sounds markedly different to an Avid interface for instance, even to a relatively untrained ear, so it is definitely worth auditioning a few side by side when you're looking to spend the big bucks.

Latency is all important. Most people with developed ears can detect a difference of 12 milliseconds or less. Don’t ever let anyone try to sell you on any product or environment where latency will be noticeable. Stringing low latency devices together can also add up to a noticeable level. I rely on expert engineers for support in this area.

Latency during recording can quickly turn a captivating artist and performance into a mediocre one. Although a few millisecond (12-15ms) may seem like very little on paper, most artist use what they hear in their headphones to make small changes to their performances. Hearing themselves with significant amounts of latency effects the performance in an audible way(most times). It is incredible how reactive our bodies are.

Personally I can work with up to about 12ms latency, anything more than that tends to be noticeable enough for me to find it distracting. An interface with DSP mixing capability (such as RME) means you can monitor without routing through your DAW, thereby reducing a whole step in the monitoring signal chain, which helps greatly. Even if you can't overcome software latency in your system, don't forget you always have the option to monitor analogue (which completely eliminates latency issues, as latency is a result of digital routing practices), simply by monitoring through an analogue device (small mixer etc) You'll probably find other uses for the mixer too! (Keyboard submixer, extra inputs for your gear if your interface has too few, etc)

Before buying an interface, ask yourself what effects you'll want to use while monitoring in real-time. If you want to hear yourself with auto-tune, EQ, compression, and reverb while recording, you may want to consider buying a DSP interface. These interfaces use their own processing power for low-latency monitoring instead of your computer's CPU. Research brands like UAD or Antelope Audio to find out if they offer plugins that you might want to use in real-time.

Reliable functionality on the software part is so important! You would not want to end up not being able to connect in 4-5 years. The driver might become unavailable or unsupported on your system (and this is all you could have). See if the brand is active on updates and products. Try something they use in actual music studios.

Yes now every hardware and software has latest edition every year this days starting updated is costly should consider only that interface which has longer years of os support for computers

Some devices are built with expansion in mind and some are not. Look for the connection types - If today you need to use an older computer with perfect older system running but it only has older ports and your audio interface only runs newer ones - you can not connect.. I am a user of Universal Audio Apollo for many years and I can assure you can daisy-chain them into a whole rack if you needed.

An interface with ADAT is so handy if you wish to (or think you might in the future) need more than the eight analogue I/O that is pretty much the standard. You can use the ADAT I/O to plug in an 8-channel preamp with ADAT output (such as Audient) in addition to the analogue inputs you already have, for example, when recording a large number of inputs, such as a band all playing together with the drumkit fully miked up The ADAT I/O can be useful for outputs too, for surround sound mixing, for separating out your channels and mixing through a console in the traditional way, or simply sending different outputs to different destinations (you may require an AD/DA converter with ADAT I/O too, such as a Ferrofish to maximise your options)

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I would not trust all the opinions by default because some people really do not understand the specifics, especially coming from a different world into audio. I recommend relying on detailed user review videos of people with reputation to protect. Do not only go with the star ratings. Measure twice, cut once!

There's no shame in spending as much time as possible looking at reviews! Professionals in your field are invaluable resources, as their experience offers insights that can guide your decision. However, since you might not always know a reviewer's background, it's wise to look at a range of reviews to get an overall consensus on the equipment's quality. If you have specific questions, don't hesitate to ask the community—gathering as much information as possible will help ensure you make a well-informed choice!

If options seem overwhelming - I always can confidently recommend two lines of interfaces that will fit almost any application: Top quality, high budget: Anything from RME Budget, great quality: Audient iD line

I believe in good built quality that lasts for years - nothing will break off during normal use and will also have a better value upon resale. I keep my gear at the best condition I have and I love to get used gear that has been taken care of!

Keep in mind the capability of your CPU in your computer or smart devices. Low-performance devices might experience clipping when dealing with high-quality audio. It's a good idea to invest in a strong computer first before getting a high-quality audio interface.