If you’re a musician, a podcaster, or anyone else who needs to record high-quality audio to a computer, phone, or tablet, you need a USB audio interface that lets you connect any microphone or electric instrument. Show
The Focusrite Scarlett 2i2 3rd Gen offers the best combination of features, build quality, user-friendliness, and affordability for musicians. Beginning and experienced podcasters should check out the Focusrite Vocaster Two. Everything we recommendOur pick This USB interface features an almost-industry-standard design that’s user-friendly and affordable, but its iOS compatibility is limited. Buying OptionsRunner-upThis interface is similar to our top pick, but it adds a MIDI connection and a more powerful headphone amp. However, it has a slightly less-user-friendly design. Buying OptionsUpgrade pickThis larger, pricier interface has a sturdy, intuitive, knobs-on-top design, as well as a built-in compressor that makes it easier to get pro-quality sound. Buying OptionsBudget pickThis affordable model makes setting input levels easy, which is especially helpful for beginners. But the control configuration is unusual. Buying OptionsOur pickThe control layout on this interface is designed for podcasting rather than music recording, and it includes features that add a professional polish. Buying OptionsWhat you need to know
Our pickThis USB interface features an almost-industry-standard design that’s user-friendly and affordable, but its iOS compatibility is limited. Buying OptionsThe Focusrite Scarlett 2i2 3rd Gen is the latest version of the interface that has become something of a standard for home-studio recording and has long been our top pick for musicians. The Scarlett 2i2 3rd Gen is compact, yet it’s sturdy and bulky enough to stay put on a desktop, and all of its knobs and jacks are in the right places for comfortable operation. The LED gain indicators’ design makes setting record levels especially easy. However, the Scarlett 2i2 3rd Gen has limited iOS compatibility and lacks a MIDI connection (which is useful only if you want to use a very old keyboard, drum machine, or sampler). Runner-upThis interface is similar to our top pick, but it adds a MIDI connection and a more powerful headphone amp. However, it has a slightly less-user-friendly design. Buying OptionsThe Universal Audio Volt 2 has a few features that certain people may find appealing, including a MIDI interface, compatibility with iPhones, and a more powerful headphone amplifier than most USB interfaces offer—which can be helpful if your monitoring headphones require a lot of power to drive to satisfying volume levels. The Volt 2’s level meters are small, though, and we prefer the layout of inputs and indicator lights on our top pick. Upgrade pickThis larger, pricier interface has a sturdy, intuitive, knobs-on-top design, as well as a built-in compressor that makes it easier to get pro-quality sound. Buying OptionsThe Universal Audio Volt 276 is a great step-up model for musicians who are more serious about recording. It has all the features and benefits of the UA Volt 2, plus an onboard compressor that can quickly and safely smooth out the highs and lows of a recording and make it a little easier for you to set recording levels. The Volt 276’s larger chassis takes up extra space on a desktop but provides a sturdier control surface, as well as a convenient knobs-on-top design and large input and output level meters. It’s over 50% pricier than the Volt 2 and the Focusrite Scarlett 2i2 3rd Gen, but recording enthusiasts are likely find it worth the extra investment. Budget pickThis affordable model makes setting input levels easy, which is especially helpful for beginners. But the control configuration is unusual. Buying OptionsThe Audient Evo 4 is an ideal choice for beginning music producers and podcasters, thanks to its affordable price and automatic gain-setting feature. Setting input levels correctly is the most difficult part of using a USB audio interface, but the Evo 4’s auto-gain feature makes the task easy. The box has a compact, lightweight design with a plastic chassis, so it may move around a bit on a desktop. It also has an unusual, single-knob control configuration, but we got used to it. Our pickThe control layout on this interface is designed for podcasting rather than music recording, and it includes features that add a professional polish. Buying OptionsFor those who create podcasts, a few minutes spent with the Focusrite Vocaster Two will reveal the huge advantages it offers for podcasting. It’s set up for a host-and-guest situation, with large headphone-level knobs that are easy to adjust. It includes a mute button for each mic, plus a voice-enhancement button that you can set for one of four modes. You can easily bring in callers or background music from a phone through the Bluetooth interface or cable. The researchWhy you should trust usI have been reviewing audio devices professionally for more than 30 years and have been recording music on a semiprofessional basis since the early 1980s. I have considerable experience in evaluating audio quality and in performing lab measurements on many types of audio gear. I recently played on, co-engineered, and mixed Take2, a jazz album that rose as high as number three on the Roots Music Report jazz radio play chart. I also co-host and co-engineer a podcast about audio. Who this is forIt’s possible to record music on a computer with nothing more than an inexpensive USB microphone, but most USB mics are designed primarily for voice recording, and few of them can record in stereo. If you’re even slightly serious about the task, you should at least get a two-channel USB audio interface because it allows you to connect any type of conventional (passive) microphone, to connect instruments directly, and to record in stereo—which is important if you’re recording a group or instruments that benefit from a stereo presentation, such as piano and percussion. It also allows singer-songwriters to record their voice on one channel and a guitar on the other. Many podcasters get by with a USB microphone, but they too can benefit from a USB audio interface. It makes it easier for them to use a second mic for a guest, as well as to experiment with passive microphones (of which there’s a nearly limitless selection) in their search for the perfect match for their voice. DJs who use a computer as a source for audio playback can use a USB interface to connect their computer to a PA system. How we picked and testedA size comparison of all our picks: the Focusrite Vocaster Two (left), Audient Evo 4 (right), and (in the stack, from top to bottom) the Universal Audio Volt 276, Focusrite Scarlett 2i2 3rd Gen, and Universal Audio Volt 2. Photo: Michael Murtaugh We focused on two-channel USB audio interfaces because they allow you to make recordings that are as complex as you can imagine—the exception being if you need to record three or more tracks simultaneously, such as when you’re recording a group or a full drum kit. Most of the models we tested are also available in single-channel versions (or with a single mic input and an instrument input) or in versions with four, six, or more input channels for recording large groups playing live. All of the interfaces we tested have two XLR microphone inputs that double as line inputs to connect musical instruments or other electronic sources. They are all capable of providing phantom power, so you can use condenser mics, which are typically (but far from always) better for recording than dynamic mics. Here are the characteristics and features we looked at when considering which USB audio interfaces to test:
Despite manufacturers’ claims about the sound quality of the preamplifiers and digital circuitry in their USB audio interfaces, our tests consistently showed that sound quality isn’t a major distinguishing factor between interfaces. Rather, the most important quality of a USB audio interface’s performance is its usability. Its placement of the controls, jacks, and indicator lights should be intuitive, and plugging in a microphone or instrument, adjusting gain levels, and monitoring the signal level should be easy. To test usability, I spent several weeks using all of the interfaces to do music recordings and to record and mix my podcast. I made test recordings with different microphones and instruments, including the Electro-Voice RE20, Røde PodMic, and Shure SM57 dynamic microphones; the Audio-Technica AT4022 and Samson C02 “pencil”-style condenser mics; and the Røde NT1 large-diaphragm condenser mic. During these tests, I paid particular attention to the following:
I got real-time feedback from my podcasting partner, Dennis Burger, who was able to gauge the quality of the sound while recording and editing. He also provided feedback on the design and features of several of the interfaces. Then we sent some of the top contenders to Wirecutter senior staff writer Lee Neikirk, who is a musician and has a BA in music performance from Westfield State University. Finally, I ran lab measurements on the interfaces to confirm that none of them had any audible flaws that our ears might have missed, such as excessive noisiness or a significant weakness in bass or treble response. Only one of the tested interfaces exhibited a noteworthy flaw in these measurements, but it was subtle and probably wouldn’t be noticed in a recording session. However, these measurements did reveal the effect of the different recording modes of each interface, which we discuss in more detail below. The measurements process also uncovered one notable performance distinction among the interfaces: headphone amp power, which was at least adequate in all of the models, though a few produced much more power. That extra power doesn’t make a difference with most headphones, but it could offer an advantage if you’re using low-sensitivity audiophile headphones. Ultimately, after testing these interfaces, we all agreed that a skilled musician or podcaster could make great recordings with any of them. But a few stood out for making the process easier, more reliable, and more consistent. Bottom line: If your recording sounds great, you deserve all the credit, and if your recording sucks, well, it won’t be the fault of your USB interface. Our pick: Focusrite Scarlett 2i2 3rd GenPhoto: Michael Murtaugh Our pickThis USB interface features an almost-industry-standard design that’s user-friendly and affordable, but its iOS compatibility is limited. Buying OptionsThe Focusrite Scarlett 2i2 3rd Gen is our favorite two-channel USB audio interface for most musicians because it features a simple design with logically laid-out controls and indicators. It’s one of the few interfaces we’ve encountered that never forced us to think about which control or connection to use, or how to use it. Simply put, using the Scarlett 2i2 3rd Gen felt as intuitive to us as a favorite hammer would feel to a professional carpenter. It’s intuitive to use. The Scarlett 2i2 Series has been a top seller for years, and we suspect it’s because of the design. The gain indicators are our favorite feature: Each gain knob is surrounded by an LED ring that glows green when you have a good, strong signal level, orange when the signal level is dangerously high, and red when it’s clipping. The input and headphone jacks, the phantom-power button, and the monitor and headphone level controls are also easy to locate on the front. This interface probably has all the features you need. Focusrite has bumped up the 3rd Gen version’s maximum audio resolution to 24-bit/192 kHz. This version also adds switchable stereo monitoring, which lets you hear input one in the left channel and input two in the right channel—a nice feature if you’re using two microphones to record in stereo, or if you’re recording a podcast with a host and a guest. It also has an Air button for each channel, intended to create a more “vintage” sound. Our measurements showed that this feature tilts the frequency response by gradually and subtly boosting the treble by a maximum of +1.9 decibels at 20 kHz and cutting the bass by a max of -2.1 decibels at 20 Hz. We found it a useful quick fix if we wanted to add a little extra liveliness to a recording, although you could achieve a comparable effect with an equalizer plug-in. The Focusrite Scarlett 2i2 3rd Gen uses a USB-C connection, rather than the USB-B connection of the 2nd Gen model. Photo: Michael Murtaugh In our measurements and recording tests, we couldn’t detect any flaws in the Scarlett 2i2 3rd Gen’s performance. It sounded practically the same as the other interfaces we tested, except when we engaged the Air button, which added that subtle and sometimes welcome bit of brightness. Incidentally, the Air button produces an effect similar to that of the Vintage button on the and . The headphone amp, while not as powerful as those in the Volt 2 and Volt 276, is more than powerful enough for any studio headphones. The Scarlett 2i2 3rd Gen comes with the Ableton Live Lite digital audio workstation and a three-month subscription to the Avid ProTools DAW. It also comes with Focusrite’s Hitmaker Expansion software bundle, which includes effects plug-ins for auto-tune, reverb, EQ, compression, and Marshall guitar-amp simulation, as well as MIDI drums, keyboards, and synthesizers. Flaws but not dealbreakers
Runner-up: Universal Audio Volt 2Photo: Michael Murtaugh Runner-upThis interface is similar to our top pick, but it adds a MIDI connection and a more powerful headphone amp. However, it has a slightly less-user-friendly design. Buying OptionsFor certain people—specifically, anyone needing five-pin MIDI jacks, the ability to record to an iPhone, or a more-powerful headphone amp to drive their monitoring headphones—the Universal Audio Volt 2 may be a better choice than the . But we found its layout and indicators to be less user-friendly. It has some nice extras that our top pick lacks. The MIDI jacks will come in handy if you have an older keyboard, sampler, or drum machine that has five-pin MIDI connections but no USB. The Volt 2 is compatible with iPads and iPhones, and it can draw power from an external 5-volt power supply so that it doesn’t run down the battery of your tablet or phone. The Volt 2 has an unusually powerful headphone amp, which in our tests put out 106 milliwatts into a 32-ohm load (compared with 33 mW for the Scarlett 2i2 3rd Gen). That’s an extra 5.1 decibels of volume, which could be an advantage if you’re using low-sensitivity audiophile headphones. It also has a Vintage button, which boosts the treble by +2.0 decibels at 20 kHz, much like the Air button on the Scarlett 2i2 3rd Gen does, but it doesn’t cut the bass. It offers a quick way to liven up a dull-sounding microphone (or vocalist). The maximum digital audio resolution is 24-bit/192 kHz. This interface is a little less user-friendly. The big difference between the Volt 2 and the Scarlett 2i2 3rd Gen is that the Volt 2 places its two input jacks side by side and clusters the controls in a separate section, with the controls for input one on top and the controls for input two beneath. There’s nothing wrong with that layout, but we found the Scarlett 2i2 3rd Gen’s layout to be a little more intuitive. The Volt 2’s signal-level meter consists of two small LEDs for each channel. The bottom one glows green when a signal is present, and the top one glows yellow when the signal is approaching clipping and red when it’s clipping. The meter works fine, but to us its presentation was a little less visually intuitive than the Scarlett 2i2 3rd Gen’s LED ring. The Volt 2 includes MIDI connectors for use with older keyboards and samplers, plus a 5-volt power input, which helps preserve battery life when you’re using an iPad to record. Photo: Michael Murtaugh Universal Audio’s software package includes the Ableton Live 11 Lite digital audio workstation, plus plug-ins for pitch correction, Ampeg bass-amp simulation, reverb, drum and bass track generation, and a variety of MIDI instrument sounds. Upgrade pick: Universal Audio Volt 276Photo: Michael Murtaugh Upgrade pickThis larger, pricier interface has a sturdy, intuitive, knobs-on-top design, as well as a built-in compressor that makes it easier to get pro-quality sound. Buying OptionsComparing the Universal Audio Volt 276 to the is like comparing a Lexus to the equivalent Toyota model—it does basically the same thing but has a more-deluxe design and a couple of extra features. The Volt 276 generally sells for about $100 more than the Volt 2, and it’s larger and heavier, with a layout similar to that of a mixing board. It includes onboard compression. By making the soft parts of a recording louder and the loud parts softer, a compressor can make recordings sound more professional. Adding compression during the recording process can save time because you may not have to add more compression when you’re mixing (though you can’t take it out later). The onboard compressor also makes it a little easier to avoid clipping when you’re setting the record level. The Volt 276 offers one compressor per channel, with no controls other than presets for three modes: vocals, guitar, and “fast” (which works well for drums). We were happy to hear that none of these modes imposed the heavy-handed, “suck the life out of the music” compression effect that many audiophiles complain about. Its design and layout give it a more professional feel. With its wood sides and uncrowded layout, this USB audio interface has a more serious, professional appearance than most others. It has twice the desktop footprint of the , but that makes it more stable, which could come in handy when you are connecting and disconnecting cables. The top-panel knobs are easy to access—and they’re easier to adjust precisely than the front-panel knobs on other interfaces. The Volt 276 has large, five-segment LED meters for input and output signal level, which makes setting the gain a little easier. We like the Volt 276’s top-panel knobs. The back panel includes MIDI jacks, a USB-C connector, and a 5-volt input for external power. Photo: Michael Murtaugh From a technical standpoint, the Volt 276 seems nearly identical to the Volt 2, except for the addition of the onboard compressor. Its Vintage button works the same way, adding a bit of extra brightness to liven up a dull-sounding instrument or vocal. Likewise, the Volt 276’s headphone amp was almost as powerful as the Volt 2’s (the difference was just 0.3 decibel). The Volt 276 includes five-pin MIDI jacks for use with older keyboards, samplers, and drum machines. And it can draw power from an external 5-volt source; if you use it with an iPad, this feature will save considerable battery life. The maximum digital resolution is 24-bit/192 kHz. It’s compatible with iPads and iPhones, as well as with Macs and PCs. The software included with the Volt 276 is the same as you get with the Volt 2, consisting of the Ableton Live 11 Lite digital audio workstation, plus plug-ins for pitch correction, Ampeg bass-amp simulation, reverb, drum and bass track generation, and a variety of MIDI instrument sounds. The Volt 276 is much pricier than most of the interfaces we tested for this guide, but we’d be tempted to pay that price difference just to get the bigger, more-user-friendly design. The fact that it also has effective and easy-to-use onboard compressors seals the deal for us. Budget pick: Audient Evo 4Photo: Michael Murtaugh Budget pickThis affordable model makes setting input levels easy, which is especially helpful for beginners. But the control configuration is unusual. Buying OptionsThe Audient Evo 4 offers a feature that’s a huge advantage for beginners and pros alike: Smartgain, an automatic gain-setting function that ensures the input levels aren’t too high, too low, or unmatched. Though the Evo 4’s single-knob control panel is less straightforward than the control interfaces of our more expensive picks, we got used to it quickly and came to appreciate the precision of the 19-step LED level indicator. It makes setting the recording level especially easy. Just hit the green Smartgain button, tap the button for the input you want to adjust (one or two, or both if you’re recording in stereo and want the channel levels to match), and then press SmartGain again (which makes the button glow red). Now play or sing until the SmartGain button flashes green twice. In our tests, SmartGain always gave us a just-right recording level. You can also set gain using conventional methods, if SmartGain’s results don’t satisfy. The other design and control choices are unusual but workable. To adjust input gain, monitor, or headphone level, or to mix between direct monitoring of the inputs and monitoring what’s coming out of the computer, tap the appropriate button on top of the Evo 4, and then turn the single knob. We had to glance at the manual to figure that out, but we became proficient almost immediately. The company also offers the Evo Control app, which lets you control all of these functions from a laptop, but we never felt the need to use it. The two microphone/line XLR inputs are on the rear, which could be an advantage or a disadvantage, depending on how you’ve set up your desktop recording system. A dedicated 0.25-inch input on the front is intended for high-impedance instruments such as electric guitars; the advantage of this feature is that you don’t have to remember to press an Instrument button when recording, as you do with most interfaces. The Evo 4’s maximum digital resolution is just 24-bit/96 kHz, but the audible impact of recording at that resolution instead of 24-bit/192 kHz is zero. This interface is compatible with iOS devices, as well as with Macs and PCs. The small Evo 4 has a dedicated instrument input on the front, eliminating the need for an Instrument button. Photo: Michael Murtaugh It has a plastic chassis. This model might not survive being tossed in with a DJ’s PA system, but for desktop use it should last several years—depending, of course, on how wild your recording sessions get. Another small disadvantage is that the max output of the headphone amp, according to our measurements, was just 19 mW into 32 ohms—about 2.3 decibels less than that of the . But that’s still plenty to power most studio headphones. The Evo 4 comes with Steinberg Cubase LE and LE2 (for iOS) digital audio workstation software, a MIDI keyboard sound library, a library of digital sound samples, a guitar-amp simulator, and SoundID software for monitor speaker and headphone calibration. Best for podcasting: Focusrite Vocaster TwoPhoto: Michael Murtaugh Our pickThe control layout on this interface is designed for podcasting rather than music recording, and it includes features that add a professional polish. Buying OptionsI didn’t realize I needed a different USB interface for podcasting, but after just five minutes of using the Focusrite Vocaster Two, I didn’t want to record a podcast with anything else. This interface isn’t our choice for recording music, but anyone who is serious about podcasting will probably find it to be well worth the investment. Its design and features are perfect for podcasting. The Vocaster Two has headphone outputs for a host and a guest, plus large headphone-volume knobs for you to adjust the listening level. It also offers a mute button for each input—a huge convenience when you need to cough or clear your throat—and the Bluetooth connection makes adding background and bumper music simple. The Vocaster Two also has 3.5 mm stereo connections for line input from an audio device and a camera. The best feature is the Enhance tool, with which you select one of four sound presets independently for the host and the guest. The presets are labeled Clean, Warm, Bright, and Radio. All add dynamic range compression to smooth out the peaks and dips in the sound, plus a low-pass filter to reduce bumping sounds, footfalls, and microphone-handling noise. The operation of the modes is pretty consistent with what the names suggest. Our favorite was Radio, which cut the midrange a bit and boosted the bass; my podcast partner Dennis and I both found ourselves using it all the time because it made our voices sound a little fuller and clearer. Setting the gain level for either the host or the guest is simple: Press the button for that input, and then speak into the microphone in a normal voice for 10 seconds. The system then makes the adjustment automatically. You can still adjust the gain manually with the central knob, using large, intuitive level meters that bracket the knob on the left and right. The Vocaster Hub computer app controls many of the Vocaster Two’s functions and provides an on-screen mixer for you to incorporate loopback audio, plus audio from the Bluetooth and line inputs. It has limited compatibility with iOS devices. Like the , his model works only with iPads that have a USB-C jack, not with other iPads or iPhones. We’ve also seen some owners gripe about the Vocaster Two’s lack of sound-effects triggering pads, as found on full-featured podcasting platforms such as the Røde RødeCaster Pro II. The Vocaster Two has two microphone inputs, plus a USB-C connection and jacks for audio input from a phone or camera. Photo: Michael Murtaugh There’s no reason you can’t record music with it, but we don’t recommend doing so. The maximum digital recording resolution is only 24-bit/48 kHz, which is enough for podcasting but lower than most music producers prefer. Even the included software package is slanted toward podcast production, with the Hindenburg Lite audio-editing program and six-month trial subscriptions to Acast, Amplify Studio, and SquadCast Pro. The output of the headphone amps is adequate, just 1.1 decibels less than that of the Scarlett 2i2 3rd Gen’s headphone amp. If you’re recording a podcast for which you have no guests, or if all of your guests are calling in or joining through Zoom, Riverside FM, or the like, you could opt for the lower-priced Focusrite Vocaster One instead. It has just a single input and lacks the Bluetooth feature, but otherwise it’s basically the same device. How the Vocaster Two has held upOne headphone jack in our first test sample developed an intermittent connection problem, so we purchased a second sample, and so far the issue has not cropped up. We also haven’t seen complaints about this problem in owner reviews. One complaint we did see in reviews is that you can’t eliminate your own voice from what you’re hearing in the monitors or on your headphones. But as we’ve continued to use this interface to create podcasts, we haven’t encountered a scenario in which we wouldn’t want to hear our own voices. Other good USB audio interfacesIf you need to keep cost to a minimum: The M-Audio M-Track Duo is priced considerably lower than any other interface we tested, but it’s quite capable of making great recordings. And its knobs-on-top design is convenient, especially for people with larger hands. The enclosure is made of plastic; it seems sturdy enough to survive any abuse it might get on a desktop, but DJs might want something more rugged. Our measurements showed that the M-Track Duo has a 0.7-decibel reduction in frequency response in the upper range of the treble, but this didn’t produce a noticeable difference in our experience. Unlike our picks, which all have USB-C connectors, this model uses an old-school USB-B connection, and its maximum digital resolution is just 24-bit/48 kHz. What to look forward toFocusrite has introduced a new 4th-gen version of our top pick. The new version, which is currently selling for about $50 more than the 3rd-gen model on Amazon, reportedly offers new microphone preamps with up to 69 dB of gain, better analog-to-digital converters with a wider dynamic range up to 120 dB, and loopback functionality for sampling and podcasting. We plan to test it soon. The competitionThe Arturia MiniFuse 2 is an affordable, compact interface that works well. But we don’t like its level meters, which consist of a single tiny LED per channel, built into each level knob, that glows white when a signal is present and red when clipping. Also, the box is so slim that microphone cables can easily tilt it forward. The Audient iD4 MKII has just a single XLR mic input, plus a 0.25-inch instrument input, but we got a couple of requests to check it out, so we did. Like the Audient Evo 4, , this model has an unusual control interface. But whereas the Evo 4’s controls quickly felt comfortable to us, the iD4 MKII’s control scheme never did. Though the Behringer U-Phoria UMC202HD has all the features necessary for basic recording, plus a Pad button to quickly reduce gain, it’s supplied with a generic ASIO driver rather than a dedicated driver. We’ve been able to get some other devices to work using a generic ASIO driver, but we weren’t able to get the UMC202HD to work with our Windows laptop. The Behringer U-Phoria UMC204HD has a crowded design—filled with inputs, knobs, buttons, and small text—that took us a bit longer to figure out how to use. We also couldn’t get the interface to work with GarageBand on our test iPad, as the tablet would recognize the interface but couldn’t tell when audio was coming through. Roland’s Rubix 22 works fine, and it’s the only interface we tried that has a ground lift switch, which could help eliminate hum in some situations. But we don’t like the small, single-LED level meters. The Solid State Logic SSL 2+ is a large, user-friendly interface, somewhat along the lines of the and about the same price. It has large, five-segment LED level meters, two headphone outputs with individually adjustable levels, a 4K button that works much like the Vintage button on the Universal Audio interfaces, and two pairs of RCA outputs. We considered making it a pick, but we gave the nod to the Volt 276 instead because of its onboard compressors. The Steinberg UR22 MKII has bunched-up control knobs on its face, and the phantom-power switch is tucked away on the back panel, which makes it more difficult to use. The Zoom U-24 places everything other than the power slider on the top of the interface, which forces you to stand over the interface and maneuver around the microphone and instrument cords to access the knobs. Plus, the knobs function backward—instead of turning them clockwise to increase gain, you turn them counterclockwise. This article was edited by Adrienne Maxwell and Grant Clauser. Meet your guideBrent Butterworth is a senior staff writer covering audio and musical instruments at Wirecutter. Since 1989, he has served as an editor or writer on audio-focused websites and magazines such as Home Theater, Sound & Vision, and SoundStage. He regularly gigs on double bass with various jazz groups, and his self-produced album Take2 rose as high as number three on the Roots Music Report jazz album chart. |
