Best Audio Interface for Streaming and Gaming [2023 Reviewed]

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ThumbnailLow Latency Audio InterfacesProRec ScorePrice
RME Babyface Pro FS

RME Babyface Pro FS

9.5
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TC Helicon GoXLR MINI

TC Helicon GoXLR MINI

8.7
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MOTU M4

MOTU M4

8.6
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Introduction

If you are a new streamer, or if you have been gaming for a while and you’re now getting more into the technical audio side and want your live streams to have the best possible sound, then an audio interface is a step in the right direction. Interfaces let you transition from low quality USB mics to high quality XLR ones. They come with preamps and AD/DA converters that take your audio game to the next level.

Some gamers and streamers opt for mixers over audio interfaces. In comparison, interfaces cost less and offer higher quality audio. While mixers usually have more channels and added EQ functionality, you can invest in an interface with a more elaborate I/O config, and you always have EQing options via software. Overall, an audio interface is a better investment, not only is it cheaper, it also offers much better sound quality.

When choosing an audio interface for streaming or gaming, the input and output configuration is a huge deciding factor. If you have a single input (just a mic) then a single channel interface will do just fine. If you have multiple sources, then a 4 to 8 channel interface should cover everything. If you’re making a podcast with multiple guests then you obviously need more inputs to connect more mics,, if you’re livestreaming your gameplay then configure the connections stereo bus into stereo (single channel only) interface and go ahead and sync your cams.

Pretty much all interfaces feature XLR inputs with Phantom power, as well as built in preamps and converters. It is still a good idea to check and make sure that the interface you are choosing doesn’t have any other issues. One such aspect is the lack of driver support. Most manufacturers build their interfaces to either plug and play or they provide drivers. Google around and make sure that there aren’t any constant driver issues with your specific interface.

Some streamers like their interfaces to have loopback functionality, which is a feature that lets you pass the mix back to your computer (sometimes required for OBS or discord etc.) Others look for more advanced features such as an onboard DSP (gives you mixing + EQing options), or ADAT/SPDIF expansion (lets you expand your interface channels).

Honestly, gaming and streaming aren’t as intense of a use case. All you really need to focus on is the input/output configuration, XLR + phantom power, and sound quality (preamps/converters). You want something with good driver support that doesn’t run into issues later down the road. Other than that everything else is a ‘nice to have’ but not a requirement. It all comes down to your budget and your specific needs. It’s better to forgo some advanced features and invest in a better mic, which will have a significant impact on your sound quality.

Best Audio Interfaces for Streaming Reviews

All text and image links lead to Amazon unless stated otherwise. All product scores are based on ProRec’s in-house scoring model

8.7ProRec Score
TC Helicon GoXLR MINI
Price to Performance
9.5
Input / Output
8
Sound Quality
8.5
Connectivity
8.5
Additional Features
9

The TC Helicon GoXLR Mini is a 2×2 I/O interface, with a 48 kHz/24-bit recording resolution. The USB-B interface offers an S/PDIF input (for your gaming consoles), as well as additional inputs via software. Designed specifically for streamers and podcasters, the GoXLR has a variety of features that allow you to record, mix and livestream on the go.

The top panel of the interface features 4 channel faders (giving you individual control over channel levels in your mix), 4 channel mute buttons, as well as Censor and Cough buttons.

The unit’s back panel houses an XLR input (based on MIDAS preamps), a 3.5 mm line-in and out, an optical input channel and a USB-B port. The fairly simple front panel merely houses two channels; a headphone mic connector and, a headphone jack which directly outputs to your preferred streaming platform i.e. OBS.

The small, and compact, GoXLR has a rather aesthetic design and features blue backlighting on faders, switches and I/O. The top panel tilts towards you, making it easier to control the faders. And while the build quality of the interface’s body, sliders and ports is good, the slider caps feel cheap to touch.

After watching a few set up videos, we connected the GoXLR with our PC and after a relatively easy installation process, we were ready to record. Then, we plugged in a Shure SM7B mic and a pair of PreSonus monitors and started off by live streaming via Zoom.

Although the Shure SM7B is a dynamic mic, and requires a lot of gain, the MIDAS preamps on the interface were able to power it just fine. At about 59 dB of gain, we were able to get a good signal for our voice recordings (we didn’t even have to go up to the max 72 dB offered by the interface!) However, with game music playing in the background, we weren’t able to get a good voice signal. Maxing out the gain in this situation only added hiss to the audio, and eventually, we had to opt for a Cloudlifter to boost the signal.

Other than that, we had no complaints regarding the 48 kHz/24-bit recording resolution which was more than enough for purposes like broadcasting, podcasting and streaming, which was our specific use case. Adjusting EQ and compression for the mic was also as easy as anything in the GoXLR app.

One of the best things, however, was that the GoXLR driver created a series of sound cards (i.e. Mic, Chat, Console, Line-in, System, Music) which were all independently routable, and could be matched to the four physical sliders on the top panel. Although this took a tad bit of set up (i.e. making sure our Music was set to the music output etc), we were able to control audio levels of all channels from the hardware itself, without having to go into individual apps to alter the volume.

Also, in case of an app crash, we would still be able to control our mix via hardware (and not lose all controls since the mix basically lives on the hardware, not software). Fortunately though, the app didn’t crash for us, however, we still think this was pretty cool as a backup strategy.

The GoXLR Mini, released in 2019, is a stripped down version of the GoXLR. The Mini is not only more compact, and smaller in size than the GoXLR, it is also more cost effective. The Mini also cuts out some of the more premium features of the original version i.e. voice effects (which included reverb, pitch, gender, delay, robot etc) and sample pads. The in-built DeEsser from the original version, which reduced plosives and sibilance, is also absent in the Mini. Other than that, the original GoXLR included motorized faders, unlike physical ones in the Mini, and a 10-band EQ, in comparison to the new version’s 6-band EQ.

Although the GoXLR comes with pretty good features for streaming, it lags behind in a few areas. For one, the XLR Mini app is only available on Windows. We initially wanted to use the interface with our Mac but had to connect it with our PC since the app wasn’t available. Also, since there is only one headphone out, and line out, on the interface, we could only connect one pair of headphones and speakers with the interface simultaneously. This limited us to streaming via one PC only, since the single Line out (to connect another PC) was occupied by the speakers.

All in all, the GoXLR Mini proved itself to be a great interface for streaming. We were really impressed by the ease of set up, and streaming, with the GoXLR. The GoXLR app, as well as, the hardware controls i.e. the four faders, mute, censorship controls, etc all made the streaming experience seamless. At this price, the GoXLR Mini kills the competition and we simply cannot recommend it enough.

TC Helicon GoXLR MINI Benefits

Setting up the interface is very easy.

The GoXLR app allows great mixing possibilities.

You can match various channels (i.e Console, Music etc) via software to the physical faders.

TC Helicon GoXLR MINI Drawbacks

The GoXLR app is only available in Windows.

There is only one line out which limits usability.

All text and image links lead to Amazon unless stated otherwise. All product scores are based on ProRec’s in-house scoring model

8.6ProRec Score
MOTU M4
Price to Performance
8.5
Input / Output
8.5
Sound Quality
8.5
Connectivity
9.5
Additional Features
8

The MOTU M4 is an entry level, 4×4 USB-C interface, offering a maximum sampling rate of 192kHz and a bit depth of 24-bit. Having a traditional desktop style design, the interface doesn’t require external power; instead it is bus powered via your computer. Moreover, the M4 is compatible with both iOS and Windows.

In terms of the physical layout, the front panel houses the main controls and I/O. Here, you will find a full color LCD display along with two combo XLR/TRS inputs, with individual gain knobs, MON buttons and phantom power switch for each. Alongside the inputs is a knob for switching your mix between Input and Playback, and a direct monitoring toggle for inputs 3 and 4. Apart from this, you will find a ¼” headphone output along with a small volume knob, which sits beside a large rotary monitor volume encoder.

The relatively simple back panel features a pair of balanced line inputs, as well as four balanced, and four unbalanced, line outputs. Here, you will also find MIDI I/O (DIN sockets), the USB port, power switch and a Kensington lock.

Buildwise, the metal chassis of the M4’s body accounts for the unit’s sturdiness. The inputs and ports on the unit are well soldered, and don’t feel loose while the knobs and buttons feel smooth and responsive. The screen on the unit is also pretty helpful, displaying audio levels of instruments, monitors and PC.

The interface came in pretty good packaging, and the company manual contained clear, succinct instructions for set up, so we had no trouble with that. We just plugged in the MOTU to our MacBook, installed the drivers, and were ready to record; it was that easy! After connecting our Shure SM57 to the interface, and plugging in our JBL monitors and DT990 headphones, we started live streaming via Zoom on our laptop.

Since the interface features converters based on the ESS DAC chip (which are found in higher end interfaces from MOTU), we had high expectations regarding sound quality. As expected, the signal conversion on the interface was incredibly clean, and noise free. The THD, on inputs and outputs both, was really low and the overall sound quality was impressively transparent.

Although the Shure SM57 needs a lot of gain, MOTU’s 60 dB of max gain was enough to drive a decent signal with the mic. We also found the drivers on the interface to be very stable; we were able to get a good latency without the interface using up a lot of processing power. The RTL was only 4 ms (at 44.1 kHz and buffer size of 32 samples) which was pretty impressive.

The feature, however, that we liked most was Loopback. This function works via a virtual driver, and routes audio from the output internally to be recorded, essentially enabling internal recording. The Loopback feature allowed us to record our livestream without the hassle of virtual audio recording which made the recording experience effortless on our part.

The M4 and M2 were released in 2019 as part of MOTU’s foray into the entry level, and affordable, class of interfaces. While both share a lot of features, they mainly differ in their I/O configurations, and price. As the name indicates, the M2 has 2×2 channels, losing two inputs and two outputs in comparison to the M4. Besides that, the playback monitor mix knob is also missing on the M2; all of this makes the M2 slightly cheaper than the M4.

Although the M4 is a fantastic interface, it has some drawbacks which MOTU can improve upon. For instance, the loopback, direct monitoring and volume knobs all work on Outputs 1 and 2 only. This means that we couldn’t use a lot of outputs on the interface simultaneously, i.e. for speakers, monitors, headphones etc without losing volume control also, since Outputs 3 and 4 do not have separate volume control. Also, we found the VU meters on the interface to be a bit slow. Although they weren’t exceptionally responsive, they were still fairly helpful for indicating clipping.

Overall, the MOTU M4 is an amazing piece of gear; it is an all rounder interface which you can easily adapt for streaming, especially with its highly useful Loopback feature. Combined with a pretty solid build, low latency and direct monitoring features, you can hardly go wrong with such a versatile interface!

MOTU M4 Benefits

The converters on the interface are amazing; our recordings were very clean.

The RTL was only 4 ms.

The Loopback feature allows internal recording.

MOTU M4 Drawbacks

Volume control is only available for outputs 1 and 2.

The VU meters are not very responsive.

All text and image links lead to Amazon unless stated otherwise. All product scores are based on ProRec’s in-house scoring model

9.5ProRec Score
RME Babyface Pro FS
Price to Performance
9
Input / Output
10
Sound Quality
10
Connectivity
8.5
Additional Features
10

The RME Babyface Pro FS is a fairly versatile, high end interface. Offering an extensive 12×12 I/O configuration, the unit features optical I/O (as ADAT and S/PDIF), and MIDI connectivity. Equipped with RME’s proprietary SteadyClock FS technology, the Babyface minimizes jitter upto nanoseconds.

The unit has a rather distinct shape and houses ports and I/O on its back panel and sides. The rear panel features two XLR and two line inputs whereas on the sides you will find two headphone outs, two line/instrument inputs, the optical I/O and MIDI ports, as well as the USB port and 12V connection.

The top panel, however, is where the real magic occurs. Here you will find an LED display which sits atop 4 buttons; IN, SET (A), MIX (B) and OUT. Below these is present a large knob, which is used in conjugation with the DIM and SELECT buttons, and the 4 buttons above.

Physically, the unit has an all-metal body which makes it resistant to fall and damage but also adds to its weight. In terms of layout, the design of the interface is very straightforward and user friendly; the controls are well positioned, and the upper panel has a slight tilt for easier control.

Setting up the Babyface Pro FS was no big deal since the included video tutorials were easy yet comprehensive. We plugged in the interface to our MacBook, downloaded the drivers and installed the TotalMixFX software. After plugging in an EVRE20 mic and a pair of Sennheiser HD 599 headphones, we started live streaming our game via Twitch.

While connecting to Twitch was pretty easy, the best part about live streaming via the interface was the handy TotalMixFX software. The software allowed us to edit our mix on the go; there were options for reverb, boost, EQ etc. Overall, we were able to add multiple effects to our sound. The Loopback feature (in TotalMixFX) was also very usable, especially for streaming/podcasting.

The latency with the interface was incredible; despite running multiple FX such as compressors, EQ, and reverb, the latency values were really low while direct monitoring was a charm. Also, owing to RME’s SteadyClock FS technology, our recordings were really clean; there were no cracks, pops or any sort of jitter which would hint at inaccurate signal sync.

Regarding sound quality, we were impressed by how easily the Babyface was able to power our dynamic RE20. The mic preamps on the interface are really something; all our recordings sounded clean, and authentic, and we were intuitively able to add any effects we wanted on the raw audio. The converters on the unit were commendable as well; they helped capture pristine, yet detailed, audio which was surprisingly clear as well.

The Babyface Pro FS is a significant upgrade from its predecessor, the Babyface Pro. For instance, the FS version features the SteadyClock FS which reduces jitter by syncing signals upto nanoseconds. Apart from that, the new model has better THD values (an 8 dB difference), increased SNR (112.2 dB to 113.7 dB) and features a 20 mW improvement in the power of the TRS outputs. The Babyface Pro FS also features a +19/+14 dB switch which decreases output signal levels.

Although it was hard to find faults with the Babyface, we would like to suggest improvements in some places i.e the TotalMixFX software isn’t very intuitive, especially when you are just starting out. Although it gets easier once you start reading up on it, RME can definitely work on making the UI better i.e. more straightforward. Also, while RME’s software is fantastic, we believe that the interface should offer a greater degree of control through hardware. For instance, some basic features like phantom power can only be switched on through the app, which is slightly annoying.

All in all, we found the RME Babyface Pro FS to be an incredible piece of gear. Not only does it offer fantastic options for live streaming scenarios, it is a pretty robust and compact interface overall. The interface performs exceptionally well in various areas, and offers an infinite number of mixing possibilities via the TotalMixFX software. If you are looking for an interface that will give you excellent performance in all areas, the Babyface is probably your best bet!

RME Babyface Pro FS Benefits

The I/O configuration allows a lot of flexibility for connecting various music gear.

The TotalMixFX software has an incredible range of mixing applications.

The converters capture an authentic, raw sound.

RME Babyface Pro FS Drawbacks

The TotalMixFX software can be made more user friendly.

Some features such as phantom power are only accessible via software.

Verdict

streaming gaming audio interface comparison, quantitative analysis

According to our scoring model, you will find a fascinating trend of perfect scores in 3 out of 5 categories i.e the I/O, Sound Quality and Additional Features categories. Interestingly, these perfect scores are all creditable to the RME Babyface. On the other hand, there is an interesting difference of a solid 2 points within a single category. This point difference can be observed in two categories; I/O and Additional Features. While the Babyface takes the cake in both categories, the lowest scoring interface with regards to I/O is the GoXLR Mini while the MOTU M4 offers the lowest number of Additional Features.

The trend of excellence displayed by the RME Babyface is impressive; in 3 out of 5 categories, the Babyface leads by a solid margin whereas in the categories of Price to Performance and Connectivity, it falls second. Since the unit offers a 12×12 I/O configuration (with S/PDIF and ADAT options), delivers distortion free audio, and incredible sound quality, while also offering a highly usable collection of Additional Features.

Regarding Connectivity, Babyface’s USB 2.0 port lets it down, in comparison to MOTU’s USB-C port which places it at the top but the port itself has no impact on performance, the interface is built really well! In Price to Performance, the Babyface provides good value for money but only loses out since it is far more expensive than the other interfaces.

The performance of the TC Helicon GoXLR Mini throughout different categories is also commendable. Although it only manages to bag one top spot, it has good scores in all categories. In Price to Performance, the GoXLR leaves behind all other interfaces, even the similarly priced MOTU, since it has a fantastic overall performance considering its sound quality, additional features and connectivity. The unit offers an amazing collection of controls that elevate the streaming experience.

In Connectivity and Sound Quality, the GoXLR Mini goes head to head with the MOTU; both score the same. In Input/Output, the unit falls last as it offers a 2×2 channel configuration in comparison to the MOTU’s 4×4, which comes second last according to the scoreboard. However, the GoXLR also offers S/PDIF which is absent in the MOTU.

After intense testing and comparison, however, the best interface for streaming and gaming comes out to be the RME Babyface Pro FS with an impressive overall score of 9.5. Packed with features like MIDI, ADAT and S/PDIF, the Babyface is an amazing piece of gear. Coupled with the incredible on-the-go mixing capabilities offered by the TotalMixFX software, the RME Babyface is truly a must have for every streamer!

Frequently Answered Questions

Is an Audio Interface good for Gaming?

Yes! Interfaces are excellent for gaming, especially if you have a more elaborate setup. While modern motherboards have come a long way, having a separate dedicated audio interface will help eliminate components from external elements present in your rig. If you have a more exotic setup, then you may also need more outputs, especially if you play different sources through your speakers and so on. Interfaces don’t cost a lot of money these days, so getting a dedicated one for improved sound quality is definitely a good idea.

Should I use an Audio Interface for Streaming?

You should use an audio interface for streaming if you’re looking for better sound quality and better inputs. An interface allows you to use XLR mics and you can also route your outputs, and connect several inputs at the same time. You also get loopback functionality to pass the mixes back to your computer.

Will a better Audio Interface reduce Latency?

A better interface will significantly improve latency. Interfaces are dedicated to improving your audio and latency is a huge aspect they counter. A good interface with good drivers will help eliminate any latency issues in your recording chain.

Should I get a Mixer or an Audio Interface for Streaming?

Interfaces are a better option! Not only are they a lot cheaper than mixers, they also offer higher quality audio in comparison. Mixers do have more channels and EQ functions in general, but you can get an interface with a better input output configuration and the accompanying software will give you EQing options.

How do Streamers set up Audio?

To set up an audio interface, you just need to hook it up to your computer, install the drivers and any accompanying software and then route your mic through the interface. It’s a pretty straightforward process. Before going live, test your audio setup. Speak into your microphones or play your instruments and monitor the audio levels. Make adjustments as necessary to ensure proper audio balance and clarity.