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The EVO 16 was recognized instantly on my Macbook Air and was available as an audio device in Ableton Live straight away. Audient’s recently announced EVO 16 promises a glimpse of things to come for the interface market, but how well does it actually perform? Andertons Music Company is authorised and regulated by the Financial Conduct Authority, firm registration number 716155. The outputs generate a maximum level of +12dBu, while the hottest that can be accommodated at the inputs is +16dBu.
My daily driver is a (distinctly premium) Focusrite Red4Pre and I control that almost exclusively front the front panel.The interface software can be difficult to view as it's all in the popular dark colours and in my room when the sun is shining through the window it can be hard to see the button logos as everything is a shade of gray.
This feature really comes into its own in a multichannel application involving bands and drumkits, making EVO 16 the natural box to put this tech into. All details and adjustments made are displayed in real-time via the TFT backlit LCD screen, allowing you to navigate hardware features and make changes on the fly with ease. Though it too connects to the host computer using a single USB‑C port, it’s a mains‑powered device (with an internal PSU, happily) that boasts eight analogue inputs with mic preamps, eight line outputs and a pair of independent headphone outputs. All of our products come with a three-year limited warranty guaranteeing you further protection and peace of mind when you choose EVO by Audient.Featuring a crisp, high-resolution display, the Motion UI provides real-time feedback on your settings and I/O connectivity. EVO 16 takes critical listening seriously and is packed full of monitoring functionality to back it up. The popular format of input 1 and 2 being on the front is used on this interface but I'd prefer all 8 on the back as this is the best solution when cabling into a rack unless you only ever want to use the front inputs for guitar in the control room.
Q for users: after saving a session (or whatever their term is) to use in standalone mode, are you able to assign a cue mix on the fly when in standalone? For each headphone output, there’s a switch that lets you select that output for volume control via the encoder (instead of the main monitors). Reflecting a wider shift in what the role of musician or engineer actually means, Audient’s EVO range presents the next level of useability for anyone who simply wants to record.Which leads me on to the other issue with the interface, there are no rack mount kits included and contrary to the other video reviews you may have seen they are not free so add these into y9oru budget when comparing interfaces. For the first time, a stunning high-resolution, full-colour screen intelligently displays information as you need it, transforming EVO 16 into a fully immersive, easy-to-use experience.
Audient’s EVO 16 offers a powerful combination of hands-on and software control, coupled with great connectivity and a plethora of innovative features. While Smartgain is obviously a quick and very beginner-friendly way to set the preamp gain for various channels, I do prefer the traditional, manual method. Audient’s ID range thus combines ergonomic desktop form factors with mic preamps and other circuit designs closely related to those used in their flagship ASP consoles. When they moved into making audio interfaces, one of the key selling points was their ability to apply this analogue design expertise in the new sector. needed a simple audio output to pass mixing Dolby Atmos mixes from M1 pro tools Tig to surround speakers.They’re also commendably clear and comprehensive, especially in regard to things like headphone output level, which is often overlooked. And this tiny display is not only crystal clear but thanks to the IPS technology, easy to view even when you’re way off axis. Delve a little deeper, however, and you’ll find that it offers a surprisingly comprehensive level of control, including a number of features that are more typical of expensive ‘professional’ interfaces. Like most interfaces of its ilk, the EVO 16 has a built‑in DSP mixer to handle routing, low‑latency cue mixing and use as a standalone mic preamp.
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