Focusrite: Scarlett 16i16 Interface

My home studio is very simple, and is mostly used for editing audio, prepping mixes before using my "real" studio, recording remote interviews, doing my voiceovers, and mixing in the box. An old pair of Dynaudio BM6A speakers [Tape Op #22] and a Dangerous Music D-Box [#61] monitor controller makes for a decent monitoring setup, but my computer interface is from 2012 – ancient when it comes to digital audio. Even though my converter was sonically performing adequately, being limited to its stereo I/O drove me crazy. When mixing in the box at Jackpot!, I love assigning the rough mixes to a different output, allowing me to switch between my mix and the rough on our monitor controller. At home, I'd have to assign the rough to the main output, make sure it wasn’t going through bus processing, and also check that it didn’t somehow get unmuted and accidentally bounced out along with the new mix (creating distortion/phase hell). I simply needed more outputs!

I've owned a 1st Generation Scarlett 2i2 for many years, which I use around the studio to solve routing problems such as recording Zoom calls, tracking virtual computer instruments, or playing mixes out of someone's laptop. It's been a handy little affordable (and helpful) workhorse. Focusrite's Scarlett 16i16 is part of the new 4th Generation of their Scarlett series, with six different configurations – from 2 in/out to 18 in/20 out. As you might guess, the 16i16 offers 16 in/out. Analog connectivity includes six inputs and four outputs (plus two headphone outs). Digital I/O is via the rear Optical and S/PDIF ports, so additional interfacing is required for the other ten channels, and there’s MIDI DIN I/O as well. This is all far more than I need, but I do like a bit of overkill with my hardware devices.

The front panel features two XLR combo input jacks with gain knobs. The Select button allows picking one channel or the other to engage 48V phantom power; add modes for Air, Auto, and Safe; plus the ability to select the 1/4-inch instrument input. The large Output knob has an awesome circular meter wrapping around it, as do the preamp gain knobs. I love metering, and these work well to also indicate when Auto is setting levels by turning blue. Output controls also feature an Alt switch for sending output to a second set of monitors, and Mute, which is imperative when one is self-recording. Two independent 1/4-inch headphone jacks/amps with volume knobs also grace the front. All of the I/O on the 16i16 is digitally controlled, including preamp levels and such. This is genius, as built-in DSP can handle the Air, Auto, and Safe modes. Air has two settings, adding top end presence or a bit of harmonic grit. Auto gain allows the 16i16 to set its own levels: Users can simply press the button, perform, wait for the blue light to stop, and then be ready to track. Auto gain sets levels fairly conservatively, but I'd love to try it on a drum set! Clip Safe uses the DSP to spot overages and keep them from happening, something I wish everyone had 20 years ago. This digital power also means that the Control 2 computer app can be used to set levels, configure and store various mixes (including different headphone mixes), and more. There’s also a mobile version of the app, which can set mic levels and mixes remotely, which is especially cool if you’re across the room from the interface.

The 16i16 is a smart interface and monitor hub. If I were to quit using my D-Box and only use the 16i16, what would I miss? Mono summing, multiple monitoring inputs (for those rough mixes!), and a talkback (which I never use at home anyway) would be the main functions. However, for many users, this unit could be an everything interface. The 16i16 is USB-C (2.0) bus-powered for easy remote use and comes with an external power supply if your computer can't power it. Tech hint: Install the Control 2 software to unlock sample rates above 48 kHz (up to 192 kHz). Speaking of sample rates, the only negative thing I have to say about the 16i16 is that I had to reset the unit's sample rate via the Control 2 software before opening a session in Avid Pro Tools that was not at the interface’s current rate. This is slowing down my workflow when jumping between mixes, and I cannot imagine someone who doesn't comprehend clocking and sample rates being able to understand what could be going on when they get this error code. I asked Focusrite about this, and they informed me that "It comes down to the fact that there are some limitations in Core Audio and USB audio class specification when dealing with devices with different channel counts at each sample rate. With the 16i16, the channel count varies according to the sample rate (ADAT or ADAT S/MUX). There is a tool called ASV that allows the user to select the sample rate without having to worry about the channel count, however it is a lot of effort to implement, which is probably why most DAWs haven't – and Avid hasn’t in this case. It is something we have raised with them, and will continue to try and work with DAW manufacturers to make it easier for customers."

I jumped into work on some recent in the box mix sessions, and this proved that the D to A converters were at a quality and level that I honestly didn’t expect at this price point. Playback quality was stellar, and I switched over to some classic Pink Floyd albums to make sure what I was hearing was correct. The converters are awesome and are apparently from Focusrite's high end RedNet interfaces. I was able to listen deep into my mixes and pick out details I needed to address. I was sure that these converters would be a letdown, as I'm very picky and have heard some of the best AD/DAs. However, I soon acknowledged that I would be keeping the 16i16 for my home studio. Via the S/PDIF output I was also able to use the D-to-A "DAW" converter built into my D-Box, which has become a handy option for more outputs.

I'm always advising musicians and home recordists not to worry about the quality of most interfaces, get what they can afford, and simply start tracking. Units like Focusrite's Scarlett 16i16 illustrate how true this is today. With converters and preamps of this quality, one needs only to focus on the music. I'm a full-on professional engineer who owns a commercial studio, but I'm buying this unit and will be mixing for my clients on it. Doesn't that say something about where we are these days?