We have already reviewed the new 4th Gen Scarlett lineup’s smaller and more entry-level models, so we just wanted to touch down here today with some thoughts on the pro-grade and more mid-range home studio variants that debuted earlier this year. Scope out our hands-on impressions down below.
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Hands-on with Focusrite’s latest Scarlett interfaces – 16i16, 18i16, and the 18i20
Scarlett 16i16 $370
Scarlett 16i16 is a compact, all-in-one studio hub for your instruments and outboard gear. Ideal for artists and producers, 16i16 is equipped with enough I/O to connect all your studio gear. Two of our most detailed ultra-low-noise mic preamps. Hi-Z, line, and MIDI connections for your guitars, keys, synths, grooveboxes, and controllers. With 16i16 your headphones, monitors, and line outs each get their own mix, so you can match the studio setup to the session. Expand your channel count using the S/PDIF or ADAT connections.
Scarlett 18i16 $499
Scarlett 18i16 is the complete compact studio hub for all your instruments and outboard gear. Perfect for producers, 18i16 is equipped with enough I/O to connect all your studio gear. Four of our most detailed ultra-low-noise mic preamps. Hi-Z, line, and MIDI connections for your guitars, keys, synths, grooveboxes, and controllers. With 18i16 your headphones, monitors, and line outs each get their own mix, so you can match the studio setup to the session. Expand your channel count using the S/PDIF or ADAT connections.
Scarlett 18i20 $650
Scarlett 18i20 is the ultimate studio hub for demanding project studios. Fully equipped with 18 inputs and 20 outputs, including eight of our most detailed ultra-low-noise mic preamps, line, Hi-Z, and MIDI connections for your drums, vocals, guitars, keys, and synths. Focusrite Control 2 provides flexible routing and mixing options, allowing you to customise 18i20’s independent outputs to suit the needs of any recording session. Expand and sync your setup with ADAT, S/PDIF, and Word Clock connections.
Electronicsforward’ Take
I have had a chance to test out all three of the models you see on display in this review and everything has worked perfectly on a pair of different MacBook Pro and Mac mini setups. The Focusrite installation process has always been a seamless one for me and it was again this time – there’s not much more to it than connecting the interface to your machine over USB-C and downloading the Focusrite Control 2 app.
Our in-depth thoughts on the experience can be found over in our full-length review of the first round of 4th Gen Scarletts when they debuted last summer, and I am happy to report that folks looking to score additional input/output capabilities from the lineup are in for a treat with the 16i16, 18i16, and the larger models.
The only real difference between these models and the lower I/O count variants (outside of the price of course), is the number of inputs and outputs – this is really where the purchases needs to be made once you have decided you need the extra connectivity real-estate. The high-end 18i20 does seem to have lower-noise pre-amps, but you’re likely not going to me making your purchase decision on that – if you only need four inputs and two pairs of outputs, I would say the pres on the more affordable two sound more than good enough for just about any bedroom producer.
You need eight mics to record a drum kit or have a bunch of hardware synths? You’re going to need the big boy. You need four solid analog 1/4-inch/XLR inputs? The 18i16 is what you’re after. It really is mostly that simple if you ask me.
All three of these models provide a pair of headphone outputs on the front of the unit, which is really a must of you’re trying to a run a mini at-home recording engineer + performer setup in my opinion.
The next factor I always consider when recommending an interface of this caliber to folks is their monitor requirements. But again, all three of these models will (at least) support two sets of speakers with a quick flip switch on the front of the unit to select which speakers to send the computer’s output to at any given time.
All of this is to say, it really all comes down to the number of analog inputs you need. After all, if you’re running a much more complicated studio setup with the need for sends and returns coming to and from the channels and/or running loads of external gear that requires digital inputs, you already know you’re going to need the Scarlett 18i20. In many ways, and as I’m sure you can imagine, this review isn’t really for these folks. It is really for those on the fence about whether or not to splurge for the more pricey 16i16 or 18i16 models over the entry level variants we featured previously.
If you want to permanently have a place to plug in a few guitar inputs or a keyboard, as well as a vocal mic – this would be quite a standard at-home studio setup – you’re likely going to want more than just the 2i2 model, otherwise you’ll have to manually plug things in and out when creativity strikes, alter the input gain each time, and so on.
Here’s what I would say to sum up and put this all into perspective.
- If you need four analog inputs, you need the 18i16
- If you only need two analog inputs, and want two headphone outputs, get the 16i16.
- If you only need two analog inputs, and don’t care about having two headphone outputs, forget these three and get the 4i4.
- If you’re recording a drum kit, or have a ton of outboard gear to connect, you already know the Scarlett 18i20 is where it’s at.
All told, these are great interfaces that sound just as good and get the job done hassle-free, you just need to know what you need from a creative perspective, take some future-proofing measures into consideration (maybe you will need more inputs down the line), and don’t buy more than you require.
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