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Whether you’re just getting into recording drum covers or upgrading your home studio, having the right audio interface is essential. You need enough inputs for your drum mics, solid preamps, and the right features to get a professional sound.
I’ve tested and compared some of the best audio interfaces at different price points, focusing on sound quality, connectivity, and overall ease of use.
No matter your budget, you’ll find something here to help you record great sounding drums.
What are the Best Drum Recording Interfaces?
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Watch the Full in-depth Review
My Testing Process
Sound Quality
This is about how clean, clear, and musical the interface sounds when recording drums. I’m listening for low noise, good transient response, and whether the preamps capture the natural sound of the kit without any unwanted harshness or distortion.
Features & I/O
Here I’m looking at how well the interface is equipped for drum recording specifically. That means enough mic preamps for a full kit, useful extras like Auto Smart Gain, ADAT expandability, MIDI I/O, and how flexible the overall routing is.
Ease of Use
I wanted to make sure each of these interfaces felt intuitive. I scored these based on how quickly I could set levels, make any necessary adjustments, and start recording. The best interfaces stay out of the way and let you focus on playing, not menu-diving.
Value
Finally, I look at whether the interface justifies its price. Not everything needs to be cheap, but it does need to make sense for what you’re getting. If an interface sounds great, works reliably, and offers useful features at its price point, that’s strong value.
In-Depth Drum Recording Interface Reviews
Focusrite Scarlett 18i20 4th Gen
Focusrite Scarlett 18i20 4th Gen Review
The Focusrite Scarlett 18i20 4th Gen is the latest iteration of this popular interface, and it’s the interface I upgraded to from the Behringer 1820. It’s fully racked into my setup along with a stage box to keep things tidy, and I use it every single time I record drums.
This latest gen features upgraded preamps and added functionality. The new Auto Gain setting and Safe Mode are two of the standout upgrades.
Similarly to the EVO 16, the Auto Gain helps quickly dial in levels and get everything sounding balanced, and the Safe Mode is a really cool feature that prevents clipping. It does this by automatically lowering the gain when it detects distortion from loud input levels.This is especially useful when tracking drums, and I think this is a great feature.
You also get AIR Mode, which adds some extra color in the form of high-end presence. And if you press it twice, you get Presence plus Harmonic Drive, which introduces a bit of grit – really nice on snare or overheads if you want a different flavour.
The preamps themselves are super clean and low-noise. Everything I’ve recorded through this has sounded great. Connectivity is on-point too: USB-C for low-latency, ADAT for expansion, and plenty of outputs for monitoring. And one nice advantage over the EVO 16 is that it also includes full MIDI I/O on the back, which is handy if you’re running any external MIDI gear.
Another thing I love is that the Scarlett actually gives you 10 inputs – 8 on the back and 2 on the front. So if I want to record guitar or vocals, I can just plug straight into the front without crawling behind my desk to unplug anything. Those two front inputs automatically override the ones on the back, and I find this is super handy in day-to-day use.
My only real gripe is the LED gain meter. Instead of showing an actual value, it just lights up LEDs, and it’s not very precise or easy to read. Small adjustments can feel like guesswork, unlike on the EVO 16 you read a clear number on the screen.
Aside from that, I get on really well with this interface. It has a great sound, clever features and the overall package feels premium. It definitely ticks all the boxes for me.
Pros
- High quality converters from Focusrite’s flagship RedNet interfaces
- Auto Gain & Safe Mode help are very practical and useful features for recording drums
- 10 XLR Inputs in total makes it more flexible for lots of studio applications
Cons
- New interface design is slightly more complex than before
- No clear screen that displays gain levels - so it’s not as precise as the EVO 16
Audient EVO 16
Audient EVO 16 Review
The Audient EVO 16 is seriously impressive. It sits in that perfect middle ground where you’re getting higher-end sound and features, without the complexity or cost of something fully pro-studio level.
It comes with 8 EVO preamps, which sound clean, neutral, and detailed- perfect for capturing drums. They’re low-noise too, meaning even at higher gain levels, you won’t get excessive hiss or interference.
Compared to the Behringer UMC1820, this has a lower noise floor, and better converters. You’re getting a touch more clarity in your transient detail.
Arguably the main stand out feature is the Smartgain, which automatically sets the gain levels for your mics. If you’re new to recording (or just want to save time), this feature is amazingly useful. You hit a button, play for a few seconds, and it dials in the best levels. You can also tweak the gain levels manually for more control.
I’ve absolutely loved using this audio interface. The build quality is solid, with a compact and durable chassis that feels well put together. Another one of the best things about this interface is the LED screen and single dial which makes navigation really easy.
It uses USB-C connectivity, which ensures low latency, and I haven’t had any issues with lag or delay when tracking drums. It also has ADAT expandability, so you can add extra mic preamps later if you need more channels.
In terms of downsides, there’s no dedicated pad switches. Plus the smart gain is amazing, but some people might prefer individual dials for each channel. And just a small gripe but there is no included rack mount kit if you want to put this in your studio rack.
Besides that, this is hands-down one of the best interfaces you can get for drum recording. It is extremely user-friendly and it’s packed with very useful features- all at an affordable price.
Pros
- Affordable and well-built 8-input interface with great sound quality
- Very clear LED screen makes it very easy to navigate and adjust gain levels manually too
- Smartgain feature simplifies gain staging, making setup a lot quicker
Cons
- Very few negatives, but it doesn’t have an included rack mount
Behringer U-PHORIA UMC1820
Behringer U-PHORIA UMC1820 Review
The Behringer UMC1820 has been my drum tracking interface for recording all my gear videos, drum covers, and sessions over the last few years. It’s honestly been stellar for the price- it’s super reliable and solid.
With eight XLR inputs, ADAT expandability, and MIDI I/O, this is a fully functional studio-in-a-box. It has everything you need to track a full drum kit.
It features eight Midas-designed preamps, which are clean and transparent sounding. They capture my drums with detail and don’t add any unwanted noise or coloration. Although these aren’t high-end boutique preamps, for the price they perform really well.
For a budget interface, it feels solid too and the layout is pretty beginner-friendly. Every channel has its own gain knob, the pad switches are useful for loud sources, and having two headphone outputs has been crucial for me when tracking with someone else.
After years of use, it’s never let me down. No random dropouts, no issues- just consistent performance. The latency is manageable as well. But I think this USB 2.0 connection won’t be quite as quick as the previous two interfaces along with other new models that feature USB-C.
That’s part of the reason I’ve finally upgraded it. I’ve been looking for something with more features. And unlike the Focusrite Scarlett 18i20 or the Audient EVO 16 which have sturdy internal power supplies, the UMC1820 relies on a fairly flimsy external adapter. It’s not a dealbreaker, but it’s one of those things that makes a difference in a long-term setup.
That being said, the UMC1820 has been an incredible tool for me, and I still think it’s the best beginner friendly interface for drummers. It’s reliable, sounds good, and it’s ridiculously affordable.
For around $230, the UMC1820 offers incredible value. If you’re just getting into drum recording, or you want to make covers without spending much, this is hands down the best interface you can buy at this price.
Pros
- Midas preamps offer clean, transparent sound with low noise
- Individual dials and pad switches make it very beginner friendly
- Incredible value- the best budget-friendly interface at this price
Cons
- Uses an external 12V power brick, so no power conditioner compatibility
- USB 2.0 instead of USB-C so it won’t be quite as fast in terms of latency
- Lacks modern Auto Gain staging
Audient ID48
Audient ID48 Review
The Audient iD48 is definitely the most “professional-leaning” interface out of everything in this roundup. It’s not really aimed at beginners – this is for people who want higher-end sound quality and more flexible routing options in their studio.
A big selling point here is the preamps. The iD48 uses Audient’s console-grade mic pres — the same style of preamps they use in their large-format studio consoles. If you want the cleanest, highest-quality capture of your drums – these certainly deliver.
You’ve also got eight switchable insert points, which is something none of the other interfaces here offer. In simple terms, these give you much more control over your routing.
You can patch in analog gear like compressors, EQs, or external preamps before the signal hits the converters. If you’re someone who likes outboard gear or wants the option to expand a hybrid setup later, this is a huge bonus.
Yes, the other interfaces in this roundup have ADAT too, but the ID48 gives you full optical I/O with more flexible routing, so you can expand your setup in both directions. It’s just a more professional-grade implementation. It’s built for bigger, more advanced studio workflows, not just home setups.
In terms of build, the iD48 is excellent. Everything about it feels intentional and well made. The metal chassis, the knobs, the buttons – it’s definitely built to last.
Now, if you’re a drummer who just wants to record covers at home, I’ll be honest, I don’t think you’ll need this level of routing and expansion. The EVO 16 or the Scarlett 18i20 will be more than enough for most people, and they’re simpler to use.
But if you’re someone who wants the best sound quality in this roundup, or you’re planning to grow your studio with outboard gear, the iD48 is the most future-proof option here.
Pros
- Audient Console mic preamps sound clean, musical, and detailed
- Eight switchable insert points offer serious routing flexibility
- Excellent I/O and ADAT expandability for larger or growing setups
Cons
- More expensive than entry-level drum interfaces
- Overkill if you just want a simple, plug-and-play setup
Why is a Drum Recording Interface Important?
Your interface is the bridge between your drum kit and your computer. Its whole job is to capture your playing accurately, cleanly, and without giving you any headaches. Ultimately, It allows you to get the most out of your microphones and the sound of your kit.
It’s worth bearing in mind that for more expensive interfaces, the sonic difference might not be huge. They should however, offer improved features, connectivity, and extra I/O.
You’ll need enough mic inputs, which is why I’ve focused on interfaces with eight built-in preamps- which I think is sufficient for most home drum recording setups.
Typically, I’ll use 7 or 8 mics on the kit. One or two on snare, kick, three toms, and a pair of overheads. But ultimately, the number of inputs you’ll need depends on your setup.
If you want to add extra mics or expand later, you’ll need ADAT expandability. ADAT lets you connect to additional preamp devices, giving you more inputs without needing to replace your interface.
Of course, to record you’ll need to use a digital audio workstation (or DAW for short) on your computer. I personally use Logic, but some other popular options are Cubase, Pro Tools, Ableton, etc.
Why Preamps and Converters Matter for Your Sound
When you’re recording drums, the preamps are responsible for amplifying the incoming audio signal (for instance your drum mics) to a usable level. Preamps provide gain without adding noise or distortion to preserve the full dynamic range of your drums.
The converters then take that amplified signal and transform it into a digital format your computer or DAW can work with. Converters have a wide dynamic range and are designed to preserve the integrity of the sound during the conversion process.
What are we looking for in a good drum recording interface?
- Clean, transparent preamps for accurate, true-to-life drum capture.
- 8 XLR preamp inputs to cover a full drum kit with close mics and overheads.
- Fast connections like USB-C or Thunderbolt for low-latency performance.
- ADAT support to add extra preamps as your setup grows.
- Intuitive interface controls that make setup and monitoring quick and easy
Drum Recording Interfaces FAQs
Should Drums be Recorded in Mono or Stereo?
Recording in mono and stereo can both be beneficial for specific scenarios, but in most cases, it’s better to record drums in mono. This makes it easier to mix the drums after recording, as the tracks will be individual rather than one audio file.
Stereo is a good option when recording live drums, as it can be used to blend the entire sound of the drum set with any other instruments and vocals.
Do I Need a Preamp for Recording Drums?
Although it’s not essential to use a preamp when recording drums, doing so can certainly enhance the sound of your recordings. A preamp is used to shape the tone and dynamic qualities of the audio signal before they reach the audio interface.
Drum recording interfaces all have mic preamps installed on the inputs, but some may benefit from the additional freedom that is afforded them when using an external preamp.
