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All text and image links lead to Amazon unless stated otherwise. All product scores are based on ProRec’s in-house scoring model
| Thumbnail | 32 bit Audio Interfaces | ProRec Score | Price |
|---|---|---|---|
 | 9.4 | Check Price on Amazon | |
 | 9 | Check Price on Amazon | |
 | 8.7 | Check Price on Amazon |
Introduction
There’s a lot of chatter about 24 bit vs 32 bit audio interfaces, and there are arguments for both. 24 bit technically has enough dynamic range for most applications, on the other than 32 bit is considered to be a lifesaver, especially for those who do not have enough experience, or are recording in the field all by themselves.
But do you really need a 32 bit float interface? Not really, however, it is definitely a useful addition. The truth is that 24 bit does not have any limitations as such. The only difference between the two is the dynamic range that is being expressed (the difference between the quietest and the loudest sounds). 32 bit really starts to make a difference when you hit the digital domain. However, every DAW is configured to use 32 bit float for signal manipulation, regardless of whether your audio is recorded in 24 bit, which means the format itself is not really the bottleneck.
The actual benefit of having a 32 bit recording is that it helps prevent clipping. You have 2 converters for each of your inputs, and they get offset post conversion. Each of them fits into the 32 bit format and your audio interface ends up picking the one which is the quietest. However, each of them is 20 bits of the actual available dynamic range, which is basically all interfaces in a nutshell. They are especially useful for single take recordings, and also give you some extra headroom without worrying about setting your gain levels or monitoring your input.
When choosing a 32 bit audio interface, the requirements aren’t any different. You want to focus on the input and output configuration, the preamps and the converters, the manufacturer driver reputation and any additional features that you may need such as an on board DSP, ADAT or SPDIF. Your use case will really define what sort of interface you need. Just make sure that it is compatible with your OS and is good for what you intend to use it for.
Finally, you want to focus on your budget. Interfaces are available in a wide price range, and most of them do just fine for most use cases. The fancier ones cost a pretty penny but you can get by without spending a lot of money if all you want to do is record guitars or vocals in your home studio. So choose the one that is best for your use case, so you can avoid upgrades in the near future.
Recommended Read: How to Choose an Audio Interface
Best 32 bit Audio Interface Reviews
All text and image links lead to Amazon unless stated otherwise. All product scores are based on ProRec’s in-house scoring model
The Zoom UAC-232 is a 2×2 I/O interface, offering sampling rates up to 192 kHz and a bit depth of 32-bit. Featuring microphone preamps from Zoom’s F series, the 232 also comes with the Mix Control Software (compatible with Windows, Mac and iOS).
The front panel of the unit features two combo XLR/TRS jacks with signal indicators, and separate phantom power switches. Input 1 also includes a Hi Z switch (for guitars and basses). Other than that, you will find a headphone output, along with its corresponding volume knob, a volume encoder for the main outputs, a direct monitoring switch and a 32-bit float light indicator.
The rear panel features two TRS outputs, MIDI I/O, a Kensington lock and, interestingly, two USB-C sockets. One is used for connecting the interface with your computer and the other is used to supply power (only in some cases though i.e. when connected with iOS devices, otherwise the interface can be bus powered via your device).
Physically, the interface has a sleek, aesthetic design. The layout is rather user friendly and the I/O placement is such that you can use the unit horizontally or vertically. An interesting difference you will notice with the interface is the absence of gain knobs on either of the inputs, since Zoom has completely foregone them in favor of the 32-bit float technology.
Setting up the interface was pretty straightforward; after downloading the software, we connected the 232 to a MacBook, plugged in an RE20 for laying down vocal tracks, a pair of Yamaha HS7 studio monitors for listening to the mix and Neumann NDH 20 headphones for vocal referencing.
After adjusting the mic gain levels, via the Mix Control app, the quietness of the renowned F-series preamps was apparent. And with the 32-bit recording technology, it felt like we were capturing the full dynamic range; the high notes as well as the low end details, all without losing level.
The best thing about having 32-bit float on the interface, however, is that you don’t have to constantly monitor the input levels for clipping; it was literally like ‘plug and play’. In a not so quiet environment, we were able to record at low gain levels and easily boost up the signal in post production. Applying plug-in effects in post production helped get an amazing overall sound by adding further depth to the audio.
As for direct monitoring, the hardware switch allowed us to listen to the mix in real time, and make quick mixing decisions on the go. The headphone amps on the interface also did not disappoint as they were able to drive a good volume on the NDH 20 headphones being used.
The Mix Control App offers two modes; one allows music from your computer to be recorded into your audio and the other combines different parts of your mix into one, ready for live streaming. Although we did not live stream our recordings, we really enjoyed using the Loopback feature considering how easy the app made it.
The predecessor of the UAC-232 is the UAC-2, which has now been discontinued. From the older model, the 232 has undergone incredible improvements i.e increased bit depth of upto 32-bit (compared to UAC-2’s max bit depth of 24-bit), USB 2.0 technology as well as a significantly lighter body which makes it easier to handle the interface.
Although UAC-232 is a great piece of gear, it has some drawbacks that we would like to point out. For instance, the interface only works best if you use it in conjunction with the Zoom Mix Control App. Although the app offers additional features such as Loopback, some basic features like input gain control are only accessible via the software, leaving you with no other option. This, unfortunately means that you cannot use the 232 as a standalone interface. While using only one input, we could hear a bit of noise in our headphones. Initially, we couldn’t figure out why but turning down the gain on the second input resolved the issue.
Overall, the Zoom UAC-232 offers great value for the money, with good sound quality and a plethora of additional features available via the Mix Control app. With ultra clean preamps and 32-bit recording technology, the 232 really goes the extra mile. It would make for a great addition to your studio. Highly recommended!
Zoom UAC-232 Benefits
The interface does well noisy environments by turning down gain levels and boosting up the signal in post production.
The Mix Control app offers two modes; one for recording and the other for live streaming, that allow for smooth operation.
The 232 has a powerful headphone amp.
Zoom UAC-232 Drawbacks
Some features like Loopback can only be accessed via the Zoom Mix Control app.
When using only one input, unadjusted gain on the other input may add noise to your audio.
All text and image links lead to Amazon unless stated otherwise. All product scores are based on ProRec’s in-house scoring model
The Sound Devices MixPre-3 II is a high end audio interface and recorder offering a max recording resolution of 32-bit/192 kHz. Featuring Kashmir preamps that deliver up to 76 dB of gain, the 5×2 I/O interface offers stereo as well as mono recording.
The compact MixPre-3 II is covered with rubberized panels on the top and bottom (for mounting music and camera gear securely). The sides house the ports and I/O whereas the front features the controls i.e. buttons for playback and record, a high resolution touchscreen and input gain knobs with halo LED channel rings.
The left panel features two XLR inputs, an unbalanced stereo line output, USB-C and USB-A ports, and a power switch. The right panel houses the third XLR input, an aux/mic stereo input, a stereo headphone jack along with a control knob and a micro HDMI socket. On the back panel, you will find a slot for SD card, battery mounts as well as an alien wrench and an anti rotational pin.
The ergonomics of the unit are excellent; it is very easy to set up and use. The small form factor and battery powering make the interface portable. The build quality is solid as well; the controls are smooth and the touchscreen is responsive and easily navigable.
From beginning to the end, the setup process is very smooth and beginner friendly. Since we intended to test out the unit by recording some vocals, we plugged in our iPhone (via a TRRS cable), a Shure SM7B and Adam Audio AV7 monitors into the interface. After setting up the gain levels and monitor volume via the touchscreen (in the Systems Menu), we started recording.
As expected, the renowned Kashmir preamps on the MixPre were really quiet and the signal conversion was also very accurate, owing to the MixPre’s 32-bit float technology. There was no signal clipping whatsoever and no sound compression, except when recording very loud vocals or shouting directly into the mic.
The interface operates in 3 modes: Basic, Advanced and Custom (your personal combination of Basic and Advanced settings). Using the Basic recording mode, we were able to mix in music from Spotify on the iPhone directly into the audio, prevent clipping by limiting the signal etc. Deploying the Advanced mode, however, opened up a reservoir of options like gain control for separate inputs, selective low cut filter (for different frequencies i.e. 40, 80, 120 or 160 Hz) etc. As for the 32-bit recording, it was only available in the Advanced mode.
The MixPre also allows you to record directly into an SD card, relieving you from carrying around a computer/laptop everywhere. Additionally, Sound Devices’ Wingman app (for iOS and Android), allows remote control of the interface. And while it offers basic options such as channel metering, track arm status etc, we still thought this was a pretty cool addition.
The Mic Pre-3 II was released in 2020, while the first generation interface came out in 2017. From its predecessor, the Mix Pre-3 II is a major upgrade featuring 32-bit float recording, increased sampling rate of up to 192 kHz, audio streaming via USB and internal (or external) timecode generation via an HDMI port. Other differences include adjustable limiters as well as a 10 second improvement in the pre roll buffer, in the new model.
Although the Mix Pre-3 II offers incredible recording functionality, it misses out in a few key areas. For instance, the interface doesn’t come with ample I/O channels. The interface features only combo mic/line inputs. Given the unit’s price, however, Sound Devices should have included separate XLR and line inputs on the interface. And although the unit can be powered via batteries, it uses up a lot of power. So, if you are recording on the field, make sure to pack a good number of batteries.
All in all, however, the MixPre-3 II proved itself to be a fantastic interface. Not only is it compact and battery powered, it also offers incredible recording functionality. Additionally, the interface’s 32-bit float technology is another scoring point for why you should invest in the MixPre!
Sound Devices MixPre-3 II Benefits
The 232 helps record clear, uncompressed audio and prevents signal clipping.
The Wingman app allows remote control of your device.
You can record directly to your SD card via the interface .
Sound Devices MixPre-3 II Drawbacks
For its price, the MixPre doesn’t come with ample I/O channels.
The unit uses up a lot of battery power.
All text and image links lead to Amazon unless stated otherwise. All product scores are based on ProRec’s in-house scoring model
The Steinberg UR44C is a midrange USB-C interface, offering a 6×4 I/O configuration and a maximum recording resolution of up to 192 kHz/32-bit. The interface comes with bundled DSP effects and Steinberg’s dspMixFx software.
On its front panel, the UR44C houses 4 combo (¼” XLR) inputs with individual gain adjustment knobs and LED indicators, as well as two phantom power switches for condenser mics. At the extreme right of the front panel, you will find 2 headphone outputs, with their corresponding volume knobs, as well as a large monitor volume encoder.
The back panel of the interface features 2 ¼” jacks for monitors as well as 4 line outs, along with 2 ¼” line inputs. Here, you will also find a 12V power socket (for externally powering your interface), a USB-C socket (which can also bus power the interface), and MIDI ports.
Physically, the interface is housed in a hefty metal casing which gives it a reliable sturdiness. The controls on the unit also feel solid and responsive, and nothing feels cheap or weak in terms of hardware.
Configuring the interface for recording required us to install the drivers and software. Then, after setting up the interface in the dspMixFx software, we plugged in an AT4040 which was mic’d up to an acoustic guitar, JBL studio monitors and a pair of Sennheiser HD 300 headphones.
Owing to the Class-A D-PRE preamps on the interface, the recordings were very clear. The ADC/DAC conferred a slight bit of warmth to the audio which sounded really pleasant. As for the 32-bit recording float technology, it helped capture an immaculately clean and detailed guitar sound.
The dspMixFx software was very straightforward and the UI was pretty basic but it allowed us to use the free DSP effects. The Guitar Amp Classics bundle had a bunch of cool amp emulations which helped us add interesting tweaks to our recordings. Surprisingly though, even when using heavy plugins, there was no discernible latency, which is creditable to the interface’s fast USB-C port.
The UR44C offers two headphone outputs which is a pretty useful option for live settings when two people may want to reference the mix simultaneously. Other than that, the headphone amps on the interface are powerful and can drive a good output on mid impedance pairs like the Sennheiser HD 300s (65Ω).
Steinberg released the UR44C along with UR22C and UR816C as part of the UR-C family of interfaces. Although all three interfaces offer the same basic features, they mainly differ according to their number of I/O channels, and market price. The cheapest UR22C has a 2×2 I/O configuration, the UR44C offers 6×4 I/O channels and the most expensive UR816C has a 16×16 I/O configuration. In addition to this, the UR816C also offers ADAT and S/PDIF connectivity, and can also be used as part of a rackmount setup.
Although recording with the Steinberg UR44C was mostly pleasant, we came across some drawbacks which slightly dampened the recording experience. For instance, installing Steinberg’s Windows software was really difficult. We initially wanted to use the interface with our PC but given how problematic and long the process was, connecting the interface to the MacBook turned out to be way easier. Also, although the Loopback feature on the interface is pretty useful, it is available only for inputs 1 and 2 which are combo XLR/Hi-Z jacks. Which means that if you have your guitar DIed, you lose out on Loopback mic functionality.
All in all, the UR44C is an incredible piece of gear; it offers good performance for its price and comes with highly useful bundled software. Coupled with its 32-bit float technology and latency free DSP plugins, the UR44C assures high quality audio output, for all uses!
Steinberg UR44C Benefits
The Class A D-PRE preamps are very quiet.
There is no latency when monitoring with the interface, even when using multiple FX.
The interface features two headphone outs, so two people can reference the mix at the same time.
Steinberg UR44C Drawbacks
Installing drivers on Windows is a long and cumbersome process.
Loopback feature is only available for Inputs 1 and 2 which are combo XLR/Hi Z jacks.
Verdict
According to our scoring model, there is wide variation between interfaces in certain categories. On the other hand, all three interfaces have the same scores in Connectivity since they all feature USB-C ports.
The single highest variation in a single category, however, is 2 points which can be observed in the I/O and Sound Quality categories. Here, you can see that the Mix Pre-3 scores a perfect 10 in Sound Quality, followed by the Steinberg UR44C. However, in I/O, the UR44C takes the lead (due to its 6×4 I/O configuration) and the Mix Pre-3 falls behind this time (owing to its 5×2 I/O configuration). In both categories, however, the Zoom UAC-232 falls last. In Sound Quality, it scores an 8 while in the I/O category, 232’s 2×2 channel configuration places it last on the leaderboard.
The Sound Devices MixPre-3 shows a consistently reliable performance throughout all categories. Unlike other interfaces which score the lowest in at least one category, the Mix Pre-3 remains at the top in all categories or scores second. In Sound Quality and Additional Features, the interface establishes its superiority owing to its ultra quiet Kashmir preamps and bundle of additional features including the HDMI port, built-in touchscreen, Wingman app etc. In Price to Performance, the interface scores 9 points despite being more expensive than the Zoom UAC-232 which is the cheapest (and highest scoring interface in that category).
The Steinberg UR44C places last in only one category; Price to Performance where it defends itself with its 6×4 I/O configuration and amazing sound quality but falls behind since it is slightly expensive. Regarding Additional Features, UR44C’s incredible latency free DSP effects, MIDI connectivity and dspMixFx software place it behind the MixPre yet above the UAC-232. Although the 232 offers MIDI connectivity and the Mix Control Software, it doesn’t hold up against the UR44C.
After intense testing and comparative scoring, however, the Sound Devices MixPre-3 II comes out to be the best 32-bit interface with an overall score of 9.4 points. Not only does it show an impressive overall performance, it takes the cake in the Sound Quality which is the most important category. Coupled with the ease of recording it offers and its exceptionally clean audio output, the Mix Pre-3 makes a strong case for itself, as a worthy and valuable studio investment!
Frequently Asked Questions
Is 32 bit Audio worth it?
Is there any advantage to 32 bit?
Should I use a 24 bit or a 32 bit Audio Interface?
How should I choose a 32 bit Audio Interface?
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