Best Audio Interface for Mac (Pro & Air) M1 M2 [2023 Reviewed]

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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

ThumbnailAudio Interfaces for MacProRec ScorePrice
Universal Audio Apollo Twin MkII HE

Universal Audio Apollo Twin MkII HE

9.2
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PreSonus Quantum 2626

PreSonus Quantum 2626

8.9
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SSL SSL2+

SSL SSL2+

8.4
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Introduction

For Audio engineers and Music producers, macs have always been the number one choice. Apple products have the highest quality standard, the company really goes the extra mile in terms of user experience. The probabilities and workflow are a lot more optimized which is why most technically inclined people opt for macs.

Windows machines have come a long way and aren’t inferior by any means, you can get the same results with a PC that’s properly set up. It really comes down to knowing how to get the most out of what you have. A huge benefit with macs is that they allow for aggregation of audio devices. This enables you to connect several USB inputs to your DAW, without having to worry about clock sync issues.

When choosing an audio interface for mac you want to be really careful with what ports you have on your machine. A lot of newer MacBooks do not have USB ports, and while there are a lot of Thunderbolt interfaces in the market, the majority offer USB-C connectivity. You really don’t want to use B to C cables since those often impose latency and cause connectivity issues. It’s best to always get an interface that has the same connectivity as your computer.

A vast majority of audio interfaces are class complaint with macOS. This means that they do not require any driver installations and pretty much work out of the box (you may get added benefits when installing manufacturer drivers). However, there are still some manufacturers out there who do not support macs or are lazy about updating their stuff when the newer chips come out. it’s always a good idea to check the manufacturer website and make sure the interface is mac compatible.

Other than that, your personal requirements will define what interface is going to work best for you. You really want to consider how many Inputs and outputs you need, whether you want to spend more to get a device with the best quality preamps or converters, or if having an on board DSP or ADAT connectivity is more important for you. The form factor is also a deciding factor, some people go for rackmounts while others want more portable interfaces.

Ultimately, your budget will dictate what you can actually buy, but putting in some research upfront and narrowing down your use case is going to help you get the best interface within your price range. All modern interfaces have a decent output, they do not differ a lot in terms of sound quality unless you are willing to spend quite a bit more.

Best Audio Interface for Mac Reviews

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

9.2ProRec Score
Apollo Twin MKII HE
Price to Performance
8.5
Input / Output
8.5
Sound Quality
10
Connectivity
9
Additional Features
10

The UA Apollo Twin MKII HE is a 10×6 I/O interface with Thunderbolt connectivity. The unit also offers ADAT and features DUO DSP cores, as well as a recording resolution of 192kHz/24-bit. The interface comes with two attractive plug-in bundles and is fully integrated with the LUNA recording system.

Design wise, the front panel houses the high impedance instrument input and a headphone out. The remaining I/O i.e. two XLR/TRS jacks and four outputs, two balanced line outs and two monitor outs, are present on the back panel which also features a power supply connection, a power switch, the Thunderbolt port and a TOSLINK input for ADAT or S/PDIF.

The top panel has a large rotary encoder which can be used to set the input mode, apply high pass filter, select phantom power, use the pad feature, set polarity or stereo link the two analog inputs or to control talkback, dim, mute, alternate feature switching, mono fold-down and ‘function.’ Surrounding the knob are LEDs that indicate preamp gain and monitor volume levels.

Regarding the build quality, the Apollo has a sleek and strong all-metal body with smooth controls. The layout of the unit is really user friendly; the level scroll knob which controls a variety of functions that make hardware handling a breeze.

After connecting the interface to our Mac via a TB3 to TB adapter and cable, we went ahead and downloaded the drivers. The installation videos by Universal Audio made the setup process hassle free and we had the interface up and ready for recording in no time. We plugged in a Neumann U87AI into the unit and started off by laying down vocal tracks.

The UNISON preamps on the interface are amazing; they are way better than other Thunderbolt or MIDI sound cards in this price range. They were able to record not only clean and raw sound. However, since this was a little on the flat side, we had to rectify this in post production.

The latency on this unit is impeccable! With no plugins in use and delay compensation turned off, the round trip latency on REAPER at 44.1 kHz, and a buffer size of 32 samples, was about 4.2 ms.

The UAD plugins i.e the Realtime Analogue Classics bundle and the Heritage Edition plugins, that come with the interface are really impressive; they give you loads of creative control over your sound. Coupled with Apollo’s DUO DSP cores, using the emulations on the interface is as easy as anything. Since we also had our Gibson LesPaul plugged in to test out the Hi-Z input, we used the Fender ’55 Tweed Deluxe for FX; the sound and feel was authentic to that of a real amp.

The predecessor of the Apollo Twin MkII is the Apollo Twin from the previous generation. The MKII offers an increased dynamic range on inputs 3 and 4, a level up from the original 118 dB to 121 dB. The monitor controller on the new model also offers increased functionality and controls newly added features such as talkback, mute, dimming etc, in addition to its original functions. The Heritage Edition of the Apollo Twin MKII, though, comes with the HE plugin bundle as well while the non HE model only includes the Classics bundle.

Since our recording experience was so smooth, it was hard to find downsides with the Apollo Twin but there are a few things we would like to point out. Even though the unit is pretty costly, it doesn’t come with a Thunderbolt cable; we had to use our own cable with our Mac. Also, the plugins on the UAD site are amazing but expensive; it’s better to wait for sales or use discount vouchers if you are looking to invest in plugins.

Overall, the Apollo Twin is a great all-in-one package. The unit not only nails the point home in terms of hardware but also comes with an amazing collection of software which makes it far more valuable than its market price. So, if you are looking for an interface that will give you fantastic sound quality while also being Mac compatible, you cannot go wrong with the Apollo!

Apollo Twin MkII HE Benefits

The design and layout of the interface is really user-friendly.

The UNISON preamps help record really clean audio.

DSP DUAL core processing allows you to run multiple plugins with minimal latency.

The included software bundles include great plugins which gives you creative freedom when mixing music.

Apollo Twin MkII HE Drawbacks

Although the unit is quite expensive, it doesn’t include a Thunderbolt cable.

The plugins on UA’s website are great but heavy on the pocket if bought at full price.

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

8.9ProRec Score
PreSonus Quantum 2626
Price to Performance
7.5
Input / Output
10
Sound Quality
8
Connectivity
10
Additional Features
9

As the name implies, the PreSonus Quantum 2626 is a 26×26 I/O interface. Offering TB3 connectivity and a 192 kHz/24-bit resolution, the unit also offers ADAT and MIDI ports. The interface also has the added functionality of being used as a rackmount device.

On its front panel, the PreSonus features 8 combi jacks (mic/line or mic/instrument) with their corresponding gain controllers. The mic inputs are based on PreSonus’s XMAX preamps. 48V power switches (and LED indicators) for inputs 1-4 and 5-8 are present on the front as well, along with a monitor control knob and 2 headphone outputs with individual volume knobs.

As for the back panel, it houses everything else; the remaining inputs, outputs and ports. Here, you will find 8 balanced TRS outputs, 2 main outputs and preamp outputs and Line Returns for channels 1 and 2. You will also find MIDI ports, S/PDIF connections, 2 ADAT channels (one port provides I/O expansion up to 8 channels at 44.1 or 48 kHz), Word Clock I/O to sync other digital audio devices with the interface, the TB3 port, a power connection and a power button.

The interface has a neat, all-black look. All controls, and XLR inputs, are present on the front panel, which helps in switching up settings when the unit is rack mounted. Although the volume and gain knobs are plastic, they have a solid feel to them and turn smoothly.

Connecting the interface to our MacBook Pro, downloading the drivers from PreSonus and setting up the 2626 in the Studio One DAW was pretty easy. Although the interface has a control Console, it is integrated with Studio One in a way that we could control the settings via the DAW. This made the mixing experience hassle free rather than having us worrying about managing an internal mixer other than the DAW.

Since we wanted to record our acoustic guitar on the interface, we miked our Yamaha FG800 with an SM-57 whilst also connecting a pair of Focal Alpha 80 for monitoring. Listening to the audio output, we were pleasantly surprised by the preamps; they had loads of headroom and our recordings were transparent and pristinely clean.

While Universal Control doesn’t offer direct monitoring, we didn’t really miss the feature. Tracking via Guitar Rig at 64 buffers, the round trip latency with our MacBook was only 2 m/s. In fact, we were able to record at up to a buffer size of 128 samples without hearing any cracks, or delay, normally expected with similar interfaces.

The monitor amps on the interface were commendable; we only had to turn the gain knob till 2 o’clock on the main output dial yet it was enough to power our monitors and deliver a good, loud volume.

We also played some old tracks on the interface that we had only heard in mono with other units. We were amazed by hearing them in stereo on the 2626; they sounded so much more lively and full bodied, a testament to the unit’s fantastic converters.

The 2626 is part of PreSonus’s Quantum series of interfaces and follows on from the more expensive flagship model, the 2632. The main differences between both units include 6 additional outputs and the thunderbolt 2 port in the 2632. In comparison, the 2626 doesn’t feature digitally controlled preamps nor does it have the detailed LED meters like the original version. Instead, it features XMAX preamps, has TB3 connectivity and boasts lower latency (as low as <1ms).

In terms of drawbacks, we would like to point out that the power switch is present on the back of the interface. Since the unit is rack mountable, powering it on/off in a rackmount set up is really difficult. Also, since the 2626 costs more than a half grand, we had expected it to come with additional features like the high pass filter and the pad function, however, both features are absent (both in hardware and software).

All in all though, the PreSonus Quantum 2626 proves itself to be an interface that offers you a smooth recording experience. The unit has ample I/O options, provides MIDI connectivity, and features a TB3 port that reduces latency to a minimum. This interface will redeem itself many times over with its supreme audio quality if you make it a part of your studio!

PreSonus Quantum 2626 Benefits

You can access the controls via your DAW; you don’t have to use the interface’s Console separately.

The preamps have huge headroom and capture pristinely clean audio.

The latency on the unit is very low.

PreSonus Quantum 2626 Drawbacks

The unit is designed to be part of a rack mount set up yet the power switch is on the back.

The interface doesn’t offer high pass filter and pad.

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

8.4ProRec Score
SSL SSL2+
Price to Performance
9.5
Input / Output
7.5
Sound Quality
9
Connectivity
8.5
Additional Features
7.5

The SSL2+ is a midrange 2×4 I/O interface offering USB-C connectivity. The SSL2+ offers a max recording resolution of up to 192 kHz/24-bit. Featuring MIDI I/O, the unit also comes with a legacy ‘4K’ switch and a collection of software including plugins and the SSL Complete console.

On the main panel you will find a large blue knob for monitor volume control, a monitor mix knob and two headphone volume knobs. Here, you will also see individual controls for both inputs i.e a phantom power toggle, a gain knob, INST feature, the 4K switch and LED indicators.

The back panel features two XLR/¼” jacks, four line outs (two balanced, two unbalanced), two headphone outs, MIDI connections, the USB port and a Kensington lock. The front panel is minimalistic and has no controls or I/O which gives the unit a very clean look.

In terms of build quality, the unit has a well-built, metal body which feels a tad heavy. The controls are easily reachable, which really helps in workflow optimization, especially the monitor volume knob which is just the right size and quite handy.

The user manual with the interface was pretty straightforward, and we had no trouble settling it up. Since the SSL2+ is class compliant, we didn’t have to download any drivers to use it with our Mac (for windows, you will need to download drivers). We intended to test the SSL2+, both with mics and DIed, so we connected an SM-57 to record vocals, and also plugged in a Squier Classic.

The preamps on the interface are quite powerful, they deliver up to 62 dB of gain which was more than enough to drive the SM-57. For the guitar, we had to give little initial gain to generate a solid DI signal. Our recordings were clean, transparent and without color. The unit also has super clear signal conversion; the dynamic range on the ADC/DAC is 110.5 dB and 112 dB, respectively. We could really hear the details in our audio, and the bottom end of the sound was really smooth. There were no decay tails in the voice or guitar signals which was another bonus!

The monitor outs, as well as the headphone outputs, on the interface are really loud. Although we were recording in a room of 20 m², we didn’t have to turn the volume knob past 12 o’clock to get a good signal for our Yamaha HS5 monitors. The headphone amps were more than capable of driving our DT1770 Pros (250 Ω impedance) to adequate volume levels.

As for the legacy 4K switch, we found that it made our vocals sound really lively, and added a tad bit of harmonic distortion. The 4K emulator basically provides a touch of EQ and compression while boosting the overall volume which works really well with some parts of the mix.

The SSL2+ and the SSL2 were released as part of a midrange audio interface series by SSL in 2020. The SSL2 is a cheaper version of the SSL2+; it features only 2 inputs and 2 outputs and is aimed at the solo content creator. The SSL2+, on the other hand, has an additional headphone output, MIDI connections and two unbalanced RCA outputs as well. Both models have the legacy 4K switch and also come with the SSL Production Pack software bundle.

Although the SSL2+ is a pretty robust and great sounding unit, it has some faults too; the build of the interface is a bit tacky. For instance, the buttons aren’t really up to mark and feel like they will fall off any moment. The inputs also feel a little weak, and loose. Additionally, the LED indicators on the unit have 10 dB meters which aren’t hugely informative in monitoring gain levels. However, they provide adequate information to indicate when your signal is clipping or too quiet.

Overall, however, the SSL2+ proved itself a very reliable interface for its price. The unit is very user friendly and sounds great not only with mics but instruments as well. Ths preamps and converters on the interface are top notch, delivering clean, and detailed audio output. For a bus powered interface, the SSL2+ is a powerful unit and a wise studio investment!

SSL SSL2+ Benefits

The preamps are excellent for the unit’s price.

The ADC/DAC have good dynamic range and help capture detailed audio.

The amps can drive really loud volume for headphones and monitors.

The 4K switch adds instant presence to your sound; it is a handy feature if you don’t want to tweak around a lot with software.

SSL SSL2+ Drawbacks

The build quality is questionable; the buttons and inputs feel low quality.

The LED meters on the interface aren’t very helpful in precise gain monitoring (since they have 10 dB jumps).

Verdict

audio interface for mac scoring model quantitative analysis comparison

Based on our scoring model, there is an interesting trend; in almost every category, the highest score is a perfect 10, however, the top spot isn’t held by one interface which goes on to show just how tough the competition is. The highest score difference between interfaces in any category is 2.5 points. This difference can be seen in two categories; Input/Output and Additional Features.

In both categories, the leading interface is different, however, the lowest scoring interface is the SSL2+. In the I/O category, the top spot is claimed by the PreSonus owing to its I/O configuration of 26×26 (due to ADAT and S/PDIF expansion options) whereas the 2×4 I/O SSL2+ scores a mere 7.5. In Additional Features, the Apollo Twin scores a bull’s-eye since it offers two plugin bundles, the LUNA recording system and features such as Talkback and Dimming. However, here the SSL2+ falls last too as it only offers MIDI connectivity and the 4K legacy feature.

The UA Apollo Twin is the only unit that does not fall last in any category. In two categories, it scores a solid 10 whereas in the remaining categories, it does score below 8.5, in contrast to the lowest score of 7.5 in any category. In terms of Sound Quality, the Twin takes the cake; it has powerful UNISON preamps (which dominate by a wide margin over the ultra quiet preamps on the SSL2+) and comes with amazing emulations that allow you to produce incredible sound.

The Apollo’s 10×6 I/O configuration and TB2 connectivity put it at second place in the scoring race. As for Price to Performance, although the Twin is far more expensive than the SSL2+ which is the cheapest (and scores the highest in this category), it still gets a decent score as it is an amazing deal of good hardware plus software.

The PreSonus Quantum shows a reliable performance in all categories, falling behind in only two categories. Featuring 26×26 I/O, and TB3 connectivity, the unit leads in these categories. In Additional Features, its I/O expansion options, Word Clock I/O and free Studio One software place it at second place. In Price to Performance, the unit falls last since it is pricey whereas in Sound Quality, the PreSonus scores low only in comparison to the SSL2+.

Based on our scoring model, the Universal Audio Apollo Twin MKII Heritage Edition comes out to be the best interface for Macs with the highest average score of 9.2. The unit offers TB2 connectivity and ultra low latency while featuring super quiet yet powerful preamps. The presence of DUO DSP cores on the interface make it easy to run multiple plugins without having to worry about lag or delay which gives you creative freedom to mix music as you want. If you are in the market for an all rounder interface for use with your Mac, the Apollo Twin is the perfect interface for you!

Frequently Asked Questions

Do Audio Interfaces work well on Macs?

Interfaces, as well as other audio equipment, work really well on Macs! Macs are the weapon of choice for most audio engineers all over the world, and a lot of audio interface manufacturers build their interfaces to be class compliant with macOS, so you do not need to do any driver installations. While you will have interfaces that will not be the easiest to set up with Windows, with macOS you are always on the safe side.

Are Thunderbolt Audio Interfaces worth it?

In the equipment world, Thunderbolt is more of a premium port that is featured on more premium audio interfaces. So in that sense, thunderbolt audio interfaces are more worth it when compared to their USB counterparts. However, in terms of latency, it really depends on how well the manufacturer has built the interface, the driver config or native support. The port itself does not impact sound quality or performance.

How do I know if an Audio Interface is compatible with Mac?

You can check the manufacturer website and also search forums or reddit to see what people have to say. Most interfaces are compatible with mac, we have only ever had issues with Windows, and even then there’s always a way to make it work.

What Audio Interface works best with MacBook Pro?

All interfaces are good, but in our testing, we found the Apollo Twin to be the safest bet! Universal Audio has done a really good job at integrating the workflow with macOS.

How do I connect my Audio Interface to my Mac?

Depending on the port configuration of your computer and your interface, (either USB/Thunderbolt) you’re going to need to plug it in, install the drivers (if required), and that’s really it. Whenever you get an interface, make sure to read the setup instructions from the manufacturer to see if you need to do any further software installations to get things going.