phantom power 48v audio

• Performance & Production

What is Phantom Power & Why Do I Need It?

Phantom power…what a strange name!? If you're new to home recording, this term can be confusing. If this is the case, we can help...

Phantom power, sounds funny, doesn't it? If you're new to home recording, this term can be confusing. Thankfully, we can help...  

Phantom Power is a term given to the process of delivering DC (Direct Current) to microphones requiring electric power to drive active circuitry. Condenser microphones such as Shure's KSM range all have active circuitry and require phantom power.  

How Does Phantom Power Work?

The power can be provided by a battery located inside of the mic; an example is the Shure PG81 (now discontinued) that operates from a single AA battery. Alternatively (and most commonly) the DC power is provided by the pre-amp/mixer and delivered to the condenser microphone via the mic cable. This method is referred to as phantom power. The worldwide standard for phantom power is 11 to 52 volts of DC (typical studio mics run on 48v). Your preamp will typically have a button labelled 48v, which allows you to turn this on/off. However, some older mixers and cheaper audio interfaces may not have phantom power. In this case, an external phantom power supply can be added between the condenser mic and the preamp.  

Will Phantom Power Damage My Dynamic Mics?

A dynamic microphone, like the SM58 , does not require phantom power because it does not have active electronics inside. Nonetheless, applying phantom power will not damage other microphones in the vast majority of cases. The reason is that modern dynamic  microphones are designed to accept phantom power without issues, but we advise checking your manual or consulting with the manufacturer first before connecting; particularly if you have a ribbon microphone. Additionally, it's a good idea to turn phantom power off while plugging and unplugging microphones to prevent any potential power surge and general pops and loud noises, which could damage your speakers/headphones over time.  

Why Is It Called Phantom Power?

Condenser microphones made in the 1930s, 1940s, and 1950s required a special power supply to operate. This power supply would often be located quite near the microphone and was usually large, heavy, and cumbersome. In the 1960s, work began on a new powering concept that would eliminate the need for a separate power supply. Schoeps and Neumann (German microphone manufacturers) were leaders in this development. Eventually, a new condenser mic powering standard emerged. The DC power to operate the condenser mic was provided by the mixing board and delivered via the mic cable; eliminating the need for an external power supply. And what does one call a power supply that is working, but invisible? It is a phantom power supply! - Source Shure Inc Applications Engineering

Marc forms part of our Pro Audio team at Shure UK and specialises in Digital Marketing. He also holds a BSc First Class Hons Degree in Music Technology. When not at work he enjoys playing the guitar, producing music, and dabbling in DIY (preferably with a good craft beer or two).

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What is 48v Phantom Power? When To Use It?

In this guide, we’re going to take a look at 48V Phantom Power. You might have heard of it before, especially if you’re a musician or a sound engineer, but you might not know exactly what it is or why it matters.

Quick Answer: 48v Phantom Power is required for any active microphone (Condenser, Active Dynamic, Active Ribbon) or if you’re using an inline preamp. Using phantom power on a passive dynamic microphone won’t’ help it or hurt it in any way. If you use 48v on a ribbon microphone you risk damaging it.

What is 48V Phantom Power?

48V Phantom Power is a DC voltage sent through XLR microphone cables to activate active microphones, such as condenser mics.

The “phantom” part of the name comes from the fact that the power is invisible to the user – it’s not something you can touch or see. It’s just there, powering your mic and allowing it to do its job.

Although rare, you may see phantom power available in other voltages as well:

Why Do You Need 48V Phantom Power?

Condenser microphones require a power source to work. Unlike dynamic mics, which use the movement of a coil around a magnet to generate an electrical signal, condenser mics use a capacitor to convert sound into an electrical signal. The capacitor needs an external power supply (48v) to charge the microphone capsule and do its job.

How Do You Use 48V Phantom Power?

Using 48V Phantom Power is pretty straightforward. You can send it to your microphone three different ways:

• External 48v Power Supply
• Audio Interface
• Audio Mixer

Although it’s possible to use an external power supply, most people prefer to use the built in 48v supply from their audio interface or audio mixer. Connect your microphone your interface/mixer and turn on the Phantom Power switch. That’s it!

This will work on any popular interface, like the Scarlett 2i2 .

Related: Dynamic vs Condenser Microphones

Dynamic Microphones

You might wonder what happens if you use a dynamic microphone with 48V Phantom Power. Will it damage the microphone?

The answer is no; dynamic microphones are not affected by 48V Phantom Power.

Phantom power will not help or hurt a modern dynamic microphone in any way.

Related: Best Dynamic Microphones , a complete guide for every budget.

Ribbon Microphones

Ribbon microphones are a different story. They can be damaged by 48v phantom power. For this reason, it’s best practice to leave 48v phantom power turned off when you don’t need it.

Inline Microphone Preamps

Inline microphone preamps (also known as mic activators) provide more clean gain to dynamic and ribbon microphones. These can be helpful when using low-output microphones like the Shure SM7B.

If you’re using an inline microphone preamp, you must supply it with 48v phantom power.

Another benefit of using inline preamps is that they will protect ribbon microphones from 48v and prevent them from getting damaged while providing more clean gain.

Related: Best Inline Microphone Preamps

Active Dynamic & Ribbon Microphones

Lately, active dynamic microphones have been getting more popular. These microphones are what you get when you combine a dynamic microphone with an inline preamp.

If you’re using an active dynamic microphone, you use 48v phantom power to activate the internal preamp on the microphone.

Related: What is an active dynamic microphone?

48v Phantom Power FAQ

Phantom power is required on any active microphone (Condenser microphone, active dynamic microphone). Without phantom power for these microphones, they will not work. If you use phantom power on a passive dynamic microphone, it will not improve your microphone in any way. If you use phantom power on a passive ribbon microphone, you will risk damaging the microphone.

48v phantom power can fix a quiet dynamic microphone if you use it with an inline preamp (Cloudlifter, Dynamite DM-1, Fethead, etc.). Otherwise phantom power doesn’t have any impact on

48v phantom power will not damage a dynamic modern (balanced) dynamic microphone. It’s still best practice to avoid using it if you don’t need it, but phantom power will not hurt a dynamic microphone like the Shure SM58.

You need to use phantom power if you’re using a condenser microphone or inline preamp (Cloudlifter, etc.).

The most common voltage for phantom power is 48v, but in rare circumstances, you may see 12v, 15v, 18v, and 24v as well.

Phantom power does not work on 1/4″ cable. Technically, it’s possible. But audio interfaces and mixers don’t send 48v out of 1/4″ line inputs.

Simply, turn on the 48v or Phantom Power button on your audio interface or mixer to send phantom power to your microphone. In rare circumstances, you may need to purchase an external phantom power supply if your mixer/interface doesn’t have one.

Condenser microphones will not work without 48v of phantom power. You must turn on 48v phantom power using your audio interface, mixer, or external power supply for your condenser microphone to work.

The Shure SM7B does not need 48v phantom power unless you use it with an inline preamp (Cloudlifter, Dynamite, Fethead, etc.).

Yes, phantom power can damage passive ribbon microphones. It’s best practice to turn phantom power off when using ribbon microphones.

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Phantom power: what it is, when you need it and how to use it

What is phantom power?

48v phantom power, sometimes referred to as 48v, is a means of sending direct current (DC) from an audio interface , mixing desk or pre amp to a piece of equipment which requires power to operate. The most common piece of equipment that we use in home studios which requires phantom power is a condenser microphone . There are also some DI boxes which require 48v. Phantom power is sent to the device from the interface via a balanced XLR cable, the same one used to send the audio signal from the device to the interface. Your interface will usually have a button labelled 48v which is used to switch phantom power on and off.

Phantom power and mics:

As we’ve already established, condenser mics require phantom to function. That’s because they contain active circuitry. The same is true of active ribbon mics which also require phantom power to operate. Because dynamic mics and passive ribbon mics do not contain active electronics, they do not require 48v.

So, what do you do if, like most of us, your audio interface only allows you to turn on 48v globally. In this case, you can either switch it on for all connections, or none at all. But how does this work if you want to use a combination of condensers, dynamics and/or ribbons at once? Let’s establish a few guidelines.

Old/vintage mics:

When it comes to old/vintage ribbon mics and even some older dynamic mics , sending phantom power to them could very likely cause damage. As such, it’s important to do some research into a specific vintage mic. Make sure it’s absolutely safe to use that mic with 48v switched on before connecting it. If you are in any doubt, don’t connect it, as the risk for damage is high, particularly with ribbon mics.

Modern mics:

With newer dynamic and ribbon mics, the vast majority are designed to accept 48v despite not requiring it to function. Their ability to handle 48v will usually be stated in their manual. So double check there if you have any concerns.

That said, there are a few instances when even a modern ribbon could be damaged if presented with 48v . Connections made through mis-wired cables, damaged/worn out cables, or damaged/worn out cable connectors are one cause. Additionally, a mic could be damaged if you connect or disconnect it from your interface with phantom power already switched on, rather than connecting/disconnecting the mic before switching phantom on or off. Also, making connections between mics and your interface/desk/preamp via a patch bay with phantom power switched on can cause damage. That’s because, when TRS cables are inserted or removed from the patch bay in order to route signals, power can momentarily be shorted (i.e. routed along an unintended path) to the ribbon mic’s element.

48v best practices:

With the above in mind, there are a few codes of best practice to follow to protect your mics when working with phantom power… Be sure that your cables are properly wired and in a good state of repair. Make sure that you turn phantom off before connecting or disconnecting mics. Not just ribbons, but condensers too. This will protect not only your mics, but also your speakers and your ears as well. Also, be sure that phantom power is switched off before you do any routing on a patch bay. Finally, when it comes to vintage ribbon mics or dynamic mics, do some research before connecting them to an interface which is outputting 48v to be absolutely sure that the mic can handle it. If in any doubt, don’t connect it.

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AT8801 Single-channel 48V Phantom Power Supply

• Specifications

What does 48v phantom power on a mixer or audio interface do?

Frank Edwards

About the author

Frank Edwards is the founder and owner of churchsoundtips.com and has over 10 years experience running sound in his local church.

If you are new to using a mixing console, perhaps you have wondered what the 48v leds are for, or maybe you are aware of equipment that requires phantom power?

The short answer is:

Phantom power is +48V DC that’s sent to a condenser microphone through its balanced XLR cable. The microphone receives power from and sends audio to a mixer (audio device) along the same wires. It’s known as “phantom” because the current doesn’t come through a separate wire.

Phantom power is used to supply current to electronics inside the condenser mic. These mics need power for their operation, as well as impedance converters, preamplifier circuitry and, in some cases, to polarized microphone capsules. Phantom is a DC voltage ranging from 12 to 48 volts. In a condenser microphone, the transducer element has to receive electrical charge for it to convert sound waves into electrical energy.

A dynamic microphone by contrast doesn’t require power to make it work. Dynamic microphones are commonly used for vocals. A ribbon microphones are similar in many ways to dynamic mics, and most are passive, but there are some ribbon microphones do require power. You may commonly find a ribbon microphone used for acoustic instruments or miking up an amplifier.

Phantom power applications:

• Sound consoles (analog/ digital)

• Microphone preamps

• Audio interfaces

• Stand-alone phantom power supplies

• Instrument amps with an XLR input

In all of these cases, the phantom power is at the female XLR input connector . It is a positive DC voltage on XLR pins 2 and 3. Pin 1 has 0 volts, pins 2 and 3 have the same DC power. The cable shield is connected to the ground via pin 1. Pin 2 and 3 have the balanced audio signal.

Nearly all mixing consoles and audio interfaces provide phantom power at their mic input connectors, so you just plug the mic into the mixer and press the +48volt button to power it.

The three common types of use are 12, 24, and 48v (voltages).

The 12v and 24v varieties are fairly common in battery-powered portable mixers. These mixers meet significant limitations due to their power source. Studio consoles provide 48V DC phantom power to each individual microphone input. As a result, many studio-oriented condenser microphones need phantom power and are designed to operate at 48v. In fact, some mics operate only at 48v.

Even if a mixer provides phantom power for each microphone, you still need to pay attention. Some consoles don’t seem to be capable of providing 12mA (milliamps) of current per microphone across the board. Once you connect several mics, the phantom power supply may not be able to offer enough current to every one of them or it might just crash. This rather unpleasant risk can occur with cheaper consoles as well as battery-powered mixers. Therefore you need to know the current requirements of every mic you hook up with the mixer and also the total current available from the mixer. Check out my other post 15 best products for small church sound systems here

Why condenser microphones require a phantom power supply

We will try to explain why condenser mics need power in order to work. Condenser microphones are based on an electrically-charged diaphragm assembly that forms a sound-sensitive capacitor (capsule). This capacitor (capsule) stores an electrical charge. Once the component is charged, an electrical field is formed in proportional size to the space between the backplate and the diaphragm.

When sound hits the capsule, the variation between the area produces an electrical signal that represents the sound detected. A transducer changes this energy from one type into another and in this case, acoustic energy into electrical energy.

The diaphragm and backplate may be charged in 2 ways:

– By an externally applied source (phantom power). This is named external bias or true condenser.

– By a permanently charged electret (a permanently polarized piece of dielectric material) material within the diaphragm or on the backplate. This way of charging is also known as electret condenser or internal bias.

Many modern condenser microphones use a sort of mixer-provided phantom power. However, they will even be powered by an onboard battery or an exterior power supply. Never apply mixer-driver phantom power to a microphone that’s already using one of these different power sources.

Phantom power from an audio mixer

Now that we learned what phantom power is, let’s find out the way to properly use it. With the master faders turned down in the analogue or digital mixing desks , activate the phantom power. The on/off switch for this power source in many consoles is labeled “P48” which means “phantom power 48 volts”. It might be labeled “48V” or just “Phantom.” You must mute a mic channel and plug a microphone into that channel. This prevents a loud pop once plugging in the mic. You can unmute the the channel and wait a couple of seconds for it to be absolutely powered.

Some mixers apply it to all input channels at once; in others, this power source switchable on every input. That allows you to turn off the supply for ribbon mics as a safety precaution. Some mixers apply phantom to only a couple of channels, thus be aware of that if you can’t power-up a mic.

Mics with inline on-off switches generally short XLR pins 2 and 3 to mute the microphones. Since the identical power is on both pins, there’s very little or no pop once the pins are shorted along. If you hear a pop once switch the mic, the voltage is slightly different on the pins because of the resistor tolerance within the supply. Some on/off switches can short the pins over a time. It can prevent pops. If you would like to block power in one channel, use block capacitors.

Stand-Alone +48 Volt Supplies

What to do if your mixer, microphone preamp or instrument amp doesn’t have phantom power? Get independent standalone power supply and plug it directly into the mixer with the microphone cable. Some of those supplies are AC powered, some are battery powered, and some are both. Some can supply just one microphone, while others can power several at the same time. Some supplies have a switch that selects 12v or 48v. Set it to 48v for additional headroom if the microphone is specified for 48 volts.

The phantom power supply usually has XLR input and output connectors, one pair per channel. Connect an XLR cable between the microphone and the supply’s input connection. Plug another microphone cable between the supply’s output connection and the mixer, preamp or instrument amp’s microphone input.

If the amp’s input connection could be a 1/4-inch jack (not an XLR) insert a transformer adapter between the supply output and the amp’s input jack. This encourages powering a condenser mic and plugging it into an instrument amp which doesn’t have a 48 volt supply. Some di-boxes can supply 48 volts if they have an external adapter.

Can phantom power damage equipment? – some important  cautions

Don’t plug a mic into an input where phantom already switched on, you could hear a loud pop. If you have no other choice (as during a live performance), mute the mixer channel before you plug it in.

Make sure your power is sufficient for your microphones. Some mics begin to distort or lose the strength if the it drops significantly below 48 volts.

To measure the phantom voltage at your mixer’s channel input, get a DC meter and measure between XLR pins 1 and 2. Do the same between pins 1 and 3.

Be aware of voltage sag. Microphones draw current through the supply’s resistors, which current causes a drop.

The higher the current drain of a microphone, the more it drops the power at the connection.

Power supplies are rated within the total number of milliamps they can provide. Check that that the entire current drain of all the mics plugged into the supply doesn’t exceed the supply’s current rating.

Avoid having phantom in a patch bay (device or unit featuring a number of jacks) because someone is likely to patch in and cause a pop. If you need to patch into a jack with phantom on it, mute the input module that the mic is connected to, or turn down its fader. Mic-level patches should be avoided anyway.

Some supplies cause a hum after you plug in a connection that ties the shell to ground. Float the shell. This additionally helps to prevent ground loops. Since the cable defend carries the DC come back, make sure the shield and its solder connections are secure. Otherwise, you can expect crackle noises, especially once the cable is moved.

What does the +48v button mean on a Focusrite audio interface?

Like most USB audio interfaces, the Focusrite range include support for microphones that require a 48v power supply for phantom power. So if you have a condenser microphone plugged into one of the inputs, press the 48V button to turn on phantom power to the mic. You may wish to check out my Focusrite Scarlett 2i2 review.

What type of mic requires phantom power?

Generally speaking dynamic microphones are passive and don’t require any external 48 volt phantom power supply. However, condenser mics are quite different, and most do require phantom 48V powering.

What Is 48v Phantom Power? Unlocking Sound’s Secret Power

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Greetings mate and Welcome aboard!

Stuart Charles here, HomeStudioBasics.com helping YOU make sound decisions, so…

Phantom power, a crucial element in the world of audio production, may seem mysterious at first glance, but it plays a fundamental role in ensuring that our microphones and audio equipment function as they should.

In this article, we’ll demystify the concept of 48V phantom power, exploring its purpose, how it works, and its significance in the realm of professional audio recording and sound reinforcement.

What Is 48v Phantom Power?

48V phantom power, often referred to simply as “phantom power,” is a method of delivering electrical power to microphones and certain other audio equipment.

It is commonly used in professional audio recording and sound reinforcement systems.

Phantom power is used to provide electrical power to condenser microphones and some active direct boxes (DI boxes) and other audio equipment.

Condenser microphones require a source of power to operate their internal electronics and produce a signal.

Phantom power typically provides a voltage of 48 volts DC (hence the name “48V”), although some equipment may use lower voltages like 12V or 24V.

This voltage is supplied through the same audio cables that carry the microphone or equipment’s audio signal, simplifying setup and reducing the need for additional power cables.

How It Works

Balanced audio.

Phantom power is usually applied to the microphone or equipment through a balanced XLR connector.

• Related: Balanced vs. Unbalanced Audio Cables 

It works by sending a direct current (DC) voltage of typically 48 volts through the same balanced audio cable that carries the microphone’s audio signal.

This voltage is delivered equally to the positive and negative signal wires of the cable.

It’s called “phantom” power because it doesn’t affect the audio signal itself; it’s present on the same wires but doesn’t interfere with the microphone’s output.

The microphone, typically a condenser microphone, has internal active components that require electrical power to function.

These components can include FETs (field-effect transistors) or integrated circuits.

• Recommended: What Is A FET Preamp?

The MXL 990 has a FET preamp.

When the phantom power is applied to the microphone, it energizes these components, allowing them to operate.

As a result, the microphone can effectively convert sound waves into electrical signals and transmit them through the balanced cable to a recording device or mixer.

Phantom power’s balanced approach ensures that the microphone’s audio signal is not distorted or affected by the presence of the DC voltage.

It’s a widely used method in professional audio setups because it simplifies cabling and power management while enabling the use of condenser microphones and other equipment that require external power for their internal electronics to function.

Condenser microphones

Compatibility

Not all microphones and audio equipment require phantom power.

Dynamic microphones like the Shure SM57, for example, do not need phantom power as they generate their own electrical signal without external power.

Plugging a dynamic microphone into a phantom-powered input typically won’t cause any issues, but there are some things to keep in mind:

While dynamic microphones don’t require phantom power to operate, they do need an adequate amount of gain to produce a strong and clear signal.

Many entry-level audio interfaces often provide just enough gain, leaving users in search of that extra boost to achieve optimal audio quality.

• Related: What does an Audio Interface Do?

This is where handy accessories like the Fethead or Cloudlifter come into play.

These inline preamplifiers can provide the additional gain necessary to ensure that your dynamic microphone captures every nuance of your sound source.

By bolstering the signal before it reaches your audio interface, these devices help achieve cleaner recordings and eliminate the need to max out your interface’s built-in preamps.

For instance, I can sort of comfortably record with my SM57 + Volt 2 without a Fethead, but it’s really not ideal.

Well, because once you start nearing 90-95% of the gain available, you’ll notice there’s more and more noise.

This isn’t ideal and thus why most people who plan on using a dynamic should either, A) buy a super powerful interface, or B) get a Fethead.

Here’s a recording of my SM57 where I attempted a happy medium between minimizing noise and applying just enough gain to get it loud enough:

Doesn’t sound bad, but I’d rather have the extra headroom with the Fethead and not have to pump up the gain on my interface.

By contrast, here’s a simple recording with 48v phantom power plus a Fifine K669C. Notice how much louder it is with hardly any gain used:

Some audio interfaces, mixers, and preamps have switchable phantom power.

This means you can turn phantom power on or off for individual channels, ensuring that you only supply power to the devices that need it.

Precautions

When using phantom power, it’s essential to ensure that your equipment is compatible, and you do not accidentally connect non-condenser microphones or equipment that cannot handle phantom power.

Misapplication of phantom power can potentially damage certain devices.

That said, plugging a Shure SM57 into an audio interface isn’t going to hurt it. Just make it a habit of not turning on phantom power in these scenarios and you should be fine.

Closing Thoughts

Phantom power, at 48V or otherwise, is the quiet hero of the audio world.

It breathes life into condenser microphones and active equipment, ensuring our voices and music are heard loud and clear.

It’s a backstage powerhouse, often unnoticed but always essential, bridging the gap between electrical currents and sonic artistry.

So, whether in the recording studio or on stage, phantom power remains an indispensable tool, silently empowering the world of sound.

Well that’s about it for today my friend! I hope you’ve enjoyed this What Is Phantom Power? Discussion and came away with some valuable insight.

Questions? Comments? Requests? Did I miss the mark on something? Please let me know down below or Contact me!!

Are you looking for a condenser microphone? I can help and would love to hear from you. Until next time..

All the best and God bless,

[Xtr@Ba$eHitZ]

Can’t decide which headphones to purchase? Interested in a complete buyers guide outlining over 40 of the best options on the market? Click on over to the best audiophile headphones to learn more!!

Be sure to also check out my reviews and resources page for more helpful and informative articles.

Stuart Charles Black

Stu is determined to help you make sound decisions, and strives to deliver the best and most in depth content on the internet! In his spare time, he likes to fish, paint, play guitar, pray, rap, make beats, take photos, record videos, graphic design, and more. His sense of humour, coupled with a knack for excellence and strict attention to detail are what allow him to stand out in an crowded industry.

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What Does Phantom Power Do on an Audio Interface?

Phantom power on an audio interface provides power to active components such as condenser mics. It is delivered through balanced audio cables and can appear to be ‘phantom’ when there’s no visible external power supply. The unique construction and sensitivity of condenser mics mean that they require an additional current to boost their signals, and this is provided by phantom power.

In this article we’ll look at:

What is phantom power?

48v phantom power on audio interfaces, why do condenser mics need phantom power, do you need phantom power for ribbon or dynamic mics.

Phantom power on an audio interface refers to a DC current delivered through (balanced) audio cables to provide power for microphones and other equipment.

This type of current is often referred to as ‘ phantom ‘ when there are no visible external power supply or cables used—the current is delivered directly from an interface to the device requiring the power through a balanced audio cable.

A balanced audio cable uses three conductors—two for carrying balanced signals (positive and negative) and a third for ground. An XLR cable, used for connecting condenser microphones to audio interfaces , is an example of a balanced audio cable.

Another reason for the term phantom is that when the same voltage is applied to the two signal-carrying conductors of a balanced cable (relative to ground), there’s no voltage difference between them. Hence, any power delivered through the cable appears to be ‘phantom’.

Phantom power is used for microphones that have active circuitry (i.e., circuits designed to operate with an external current), such as condenser microphones .

Many audio interfaces have a button labeled ’48V’ (or sometimes ‘P48’)—this is the phantom power switch .

The 48V refers to a voltage of 48 volts that’s applied to the signal-carrying conductors of a connected XLR (balanced) audio cable.

Phantom power can run on 12 to 48 volts, but the audio industry standard is 48 volts .

When connecting a condenser mic to an audio interface, pressing the 48V button activates phantom power and provides a current through the connected balanced audio cable. Most audio engineers advise that you activate phantom power after plugging in a cable (with an attached mic).

Without phantom power, a connected condenser mic won’t operate. If phantom power isn’t available on your audio interface, you’ll need to find another source of phantom power, such as an external power supply, to power your condenser mic.

Condenser mics are the microphones of choice for most recording studios. They offer higher sensitivity and fidelity compared to other microphones, such as ribbon or dynamic mics.

Microphones, in essence, convert sound waves to electrical signals, and different types of microphones have different ways of doing this. In the case of condenser mics, an electric current—i.e., phantom power—is required.

To understand why condenser mics need phantom power, let’s look at how they’re made and how they work.

How condenser mics are made

Condenser mics work through the principle of electrical capacitance —the ability to store electrical energy between two conducting surfaces.

One of the conducting surfaces used in a condenser mic is usually a solid metal plate and the other is a thin membrane called a diaphragm .

The diaphragm is made from a thin polyester film, or mylar , which is covered by a thin layer of gold.

The gold is applied by a technique called sputtering (i.e., applying a molecular layer of atoms to a surface), so the diaphragms used in condenser mics are often referred to as gold-sputtered mylar .

How condenser mics work

In an electrical capacitor, the distance between the conducting surfaces determines the amount of capacitance produced. If the distance changes, the capacitance also changes.

This phenomenon is exploited by condenser mics.

As sound waves hit a condenser mic’s diaphragm, its distance from the solid plate changes in sync with the sound waves. This results in changes to capacitance, which creates an electrical signal that mimics the sound waves.

The diaphragms of condenser mics are very thin, sometimes only 6 microns thick (0.006 mm), so they are also very fragile. This is why they are very sensitive to quiet sounds and are good at picking up audio nuances in a studio environment.

But the small size and fragility of a condenser mic’s capacitor arrangement mean that only a tiny electrical current is produced . This signal is too small to be connected to any equipment in an audio workflow. A powered circuit is required, therefore, to boost the signal with current.

Phantom power provides the additional current needed to boost the tiny signals generated by condenser mics.

Ribbon and dynamic mics are constructed differently from condenser mics. They’re more robust and durable, but they’re less sensitive to picking up nuanced sounds and are used less frequently in studio environments.

Unlike condenser mics, dynamic and (most) ribbon mics have only passive circuitry —they do not require an external power supply.

So, you don’t need phantom power for (passive) ribbon and dynamic mics.

If you accidentally switch phantom power on when using a (passive) ribbon or dynamic mic, in most cases it will make no difference. This is yet another reason for the name ‘phantom’ with this type of power—it has no effect on passive electronic devices.

But in some cases, phantom power may add unwanted noise to the audio workflow when using passive devices . It may also damage passive mics if there happens to be an imbalance in the voltage being applied to the microphone cables that connect the mics.

You should, therefore, leave phantom power switched off when using (passive) ribbon or dynamic mics.

Many audio interfaces come with a phantom power (48V) switch .

This is used for connecting audio devices that contain active circuitry , the most common such device being a condenser microphone .

Since phantom power can be delivered by an audio interface without the need for an external power supply, there’s no visible source for the power. It also has no effect when applied to passive electronic devices, such as dynamic mics and some ribbon mics.

This is why this type of power is referred to as phantom.

Phantom power is transmitted from an audio interface through balanced audio cables , such as the XLR cables used to connect microphones. Balanced cables have three conductors—two for connecting positive and negative (balanced) signals, and one for ground.

Condenser mics are designed on the principle of electrical capacitance and are constructed to be sensitive —they can pick up nuanced sounds , and they’re the microphone of choice in studio environments .

They produce only tiny currents, however, and therefore require an additional current—i.e., phantom power—to boost their signal output for interacting with other audio devices.

Other commonly used microphone types—ribbon and dynamic mics—use only passive circuitry and do not require an external power supply. These mics, therefore, do not require phantom power.

Phantom power is a DC power that’s used to provide power to operate microphones that contain active circuitry. It’s called ‘phantom’ because it’s sent over the same wires that transmit the audio signal and is invisible to the naked eye.

What kind of microphones require phantom power?

Condenser microphones require phantom power. They are very sensitive and pick up faint sounds, but they produce only a small electrical current (audio signal). They need an external power source, therefore, to boost the small signals that they produce.

How much voltage is needed for phantom power?

The most common voltage for phantom power is 48 volts, or ’48V’. This voltage is high enough to boost condenser microphone signals but low enough not to damage the microphones. Some microphones, however, require different voltages, such as 12 or 24 volts. Be sure to check your microphone’s manual to know which voltage it needs.

Do all microphones need phantom power?

No, not all microphones need phantom power. Dynamic microphones and (most) ribbon microphones do not require phantom power. They use a different method to generate an audio signal that does not need an external power source.

How do I turn phantom power on or off?

On an audio interface, there is usually a button or a switch labeled ‘phantom power’ (or ’48V’) that you can turn on or off. When it’s turned on, the interface will send phantom power to a connected XLR cable and microphone. Be sure to turn the phantom power switch off when you’re not using a condenser microphone to avoid damaging it.

Can I use an external power supply instead of phantom power?

Yes, you can use an external power supply, such as a battery pack, to power your condenser microphone. However, you need to make sure that it provides the right voltage and that it’s compatible with your microphone’s connector. Also, keep in mind that external power supplies can be bulky and inconvenient to carry around.

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Best 48v Audio Interface with Phantom Power [2023 Reviewed]

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Introduction

If you’re planning on recording high-quality vocals and acoustics, then you might want to purchase a decent condenser microphone . Condenser mics are extremely sensitive microphones, used in studio environments where detail and accuracy are extremely valued. However, because of how condenser mics are designed, they require phantom power aka 48V DC which is a much higher voltage than what a normal input needs. Therefore, some audio interfaces have built-in circuitry that allows them to regulate the voltage in order to drive power demanding condenser microphones.

If you look at the different offerings in the market, you will find that almost all recently released units feature phantom power. In fact, it is extremely unlikely that you come across an audio interface that doesn’t feature 48V. With that in mind, you still have to research an audio interface beforehand since It’s very common to get a device with faulty 48V switches or bad circuitry altogether. 

Moreover, even though 48V is a mandatory requirement to drive condenser mics, the quality of an audio interface’s preamps is presumably a much more important metric. Finding an audio interface with phantom power is easy, but the tricky part is landing a rather inexpensive one with transparent and accurate preamps . Provided that you’ll be mainly using condenser mics as inputs, you won’t need a ton of headroom since 50 dB of gain is usually enough to drive most condenser microphones. Nonetheless, it’s always a good idea to go for an audio interface with a higher gain range if you can afford to.

You can find interfaces with phantom power that cost as little as $50, around $200 (mid range) and some that cost upwards of $2000. To determine how much you should spend on an audio interface, you should first estimate how much your whole setups costs. If you’re eying an audio interface that costs more than 30% of your budget, then you’re probably making bad decisions. As a general rule, spend around 80% of your budget on a pair of studio monitors, headphones, MIDI controller, microphone, and an audio interface then set aside 20% toward peripherals like software licenses, instruments, and soundproofing.

Recommended Read: How to Choose an Audio Interface

Best Audio Interface With Phantom Power Review

The SSL2+ is one of the best mid-range audio interfaces with phantom power. It is a powerful unit with a 2×4 I/O configuration that features a maximum sampling rate of 192kHz and a 24 bit depth.

Physically speaking, the SSL2+ is enclosed in an extremely sturdy metal but is still relatively lightweight. The unit has a tabletop form and its main panel is slightly inclined which helps with accessibility. The controls are well-spaced and are extremely smooth which we think makes the fine-tuning processes much more enjoyable.

The back panel of the SSL2+ features all of its I/O sockets which include the 2 XLR/TRS mic inputs, the MIDI I/O connectors, 2 unbalanced line outputs, 2 balanced monitor outputs, and 2 headphone outputs. You’ll also find a Kingston lock socket and the USB-C port which is used to power the unit on this same panel.

On the main panel, you’ll find a large blue monitor knob which can be used to control the output volume. It sits next to the 2 individual headphone volume controllers and the monitor mix knob. This panel also contains separate controls for the 2 mic inputs which include a gain knob, a 48V toggle, an INST toggle, a 5-level led meter, and a 4k legacy mode toggle.

In terms of sound quality, the SSL2+ contains very powerful preamps that offer an impressive 62 dB of gain. They can easily drive any instrument/mic while providing an exceptionally high headroom. We found those preamps to be extremely accurate and transparent as they boast an incredibly low noise floor (-130.5 dBu). The signal they produce is uncolored and sounds very professional. The SSL2+ can also drive any mic including condenser mics like the AT-2020 and it doesn’t severely distort the recordings even at high gain levels.

We also found the 4k preamp emulation to be extremely useful and flattering, especially for recording vocals. By activating the 4k mode, the SSL2+ applies a subtle boost to the high-end frequencies and a slight enhancement to the unit’s harmonic distortion which adds a very pleasant effect to recordings. While we could achieve the same results post-recording in the DAW, having a togglable built-in emulator is much more efficient and valuable.

As for its converters, the SSL2+ has fairly powerful ADCs and DACs which provide around 110 dB in dynamic range. They’re extremely detailed and can capture an amazing amount of details. The unit’s dynamic range might seem relatively low in face-value. However, we can attest that the SSL2+ still sounds better than a lot of audio interfaces with higher dynamic range.

The SSL2+ was released hand in hand with the SSL2 which is a slightly cheaper version. The main difference between both models is that the SSL2+ features an additional headphone output, 2 unbalanced line outputs, and it has MIDI connectors unlike the SSL2. Nonetheless, both units are identical in terms of sound quality as they’re equipped with the same preamps and converters. Considering how valuable an extra headphone and 2 balanced outputs are, we would almost always go for the SSL2+ when offered the choice.

Putting aside the SSL2+’s great prowess, we believe that SSL could have made better choices to further refine their unit. For instance, all of the unit’s I/O sockets are on its back panel which isn’t optimal for audio engineers who frequently swap equipment. And while we don’t mind this design, we would’ve appreciated it if the SSL2+ had at least 1 headphone output on the front panel for better accessibility. Another thing we noticed with our unit is that the headphone outputs sometimes produce a very low yet audible static noise. While this barely affects the monitoring experience, it’s still something you should look out for. Finally, we think that SSL should’ve included a power switch in their audio interface so that we don’t have to plug/unplug the unit.

Overall, the SSL2+ is one the most admired midrange audio interfaces by professional and amateur audio engineers alike. With its exceptionally useful features, remarkable sound quality, and incredibly user-friendly UI, the SSL2+ is undoubtedly one of the best audio interfaces in its price range. We recommend the SSL2+ as an incredibly versatile unit that can reliably produce high-end tracks. 

SSL SSL2+ Benefits

You get 2 headphone outputs which can be extremely useful.

The preamps have an exceptionally high gain range (62 dB).

The unit has amazing big quality.

The 4k mode sounds extremely pleasant. 

The unit’s converters are extremely accurate and capture a lot of detail.

SSL SSL2+ Drawbacks

All of the unit’s I/Os are on the back panel which can be annoying.

The headphone outputs sometimes produce a very dull noise.

The SSL2+ doesn’t feature a power switch.

UA Volt 476

Universal Audio’s Volt 476 is an incredibly powerful audio interface that features 4 inputs and 4 outputs. It is equipped with remarkably powerful preamps that can drive any condenser mic with extreme accuracy.

Physically speaking, the Volt 476 has a vintage design that is infused with a twist of modernity. The unit is relatively lightweight weighing slightly above 2.5 pounds which makes it great for traveling purposes. The control buttons and knobs are very satisfying to use and they have a very premium feel to them.

In terms of I/O channels, the Volt 476 features 2 sets of line outputs, 1 pair of monitor outs, and 2 line inputs on the back panel. You’ll also find a MIDI I/O connector, a USB-C port, a 5V external power jack, and a power switch on the left part of this panel. Conversely, the front panel features 2 TRS/XLR mic inputs along with a unified 48V toggle and 2 separate INST buttons which can be used to connect high-impedance inputs. 

On the main panel of the Volt 476, you’ll find even more controls for the 2 mic inputs which include separate gain knobs, vintage mode toggles, and 76 compressor buttons. On the right side, you’ll also find a large monitor knob along with 4 different buttons that can be used to select a monitor source. FInally, you’ll find a Mono button in the center of this panel and an LED monitoring section which provides accurate metering of the different I/O channels on the upper right corner of the 476.

Soundwise, the Volt 476 is equipped with extremely powerful AD and DA converters that can produce impeccable tracks. They offer a great 112 dB of dynamic range which allows the Volt 476 to capture an incredible amount of details while preserving the signal’s original form. This is also in part due to the Volt 476’s incredibly flat frequency response curve (+/- 0.1) which prevents the signal from losing quality.

As for its preamps, the Volt 476 offers a terrific 55 dB of gain which is sufficient to drive almost all condenser mics. We found them to be exceptionally silent and transparent as they can produce very clean tracks. We were mainly recording with a Rode NT1 condenser mic with active phantom power which reliably pumped very clean and professional tracks. The Volt 476 also has a remarkably low THD+N (-103dB) which means that the audio barely distorts even at very high gain levels. We did have to max out the gain levels when we shifted to a Shure SM7B , yet, we didn’t run into clipping and the tracks were fairly loud. Additionally, the Volt 476 boasts a remarkably low noise-floor of -127 dBu which means that all recordings will be artifact-free and crystal clear.

As for the UAD plugins, preamp vintage mode, and the built-in 76 compressor, you could certainly expect nothing less than professional-level effects.  Honestly, you won’t appreciate the value of these features until you personally try them.

When it comes to the downsides, the Volt 476 is considerably more expensive compared to other similarly priced audio interfaces which offer more I/O channels and better audio specifications. Nonetheless, this price spike is expected considering that the Volt 476 features a built-in compressor which we think is certainly worth paying the extra buck for. Moreover, we noticed that inputs 3 and 4 aren’t compatible with consumer grade inputs since they’re tailored to the pro-grade +4dBu gear. This means that certain inputs like guitar effect boxes and synthesizers might not work properly on these inputs.

The Volt 476 was released alongside 4 other models which are the volt 176, volt 276, volt 1 and volt 2. The volt 276 and 176 are almost identical to the 476 both design wise and in terms of sound quality but they have less inputs and are therefore cheaper. On the other hand, unlike the 76 models, the volt 1 and volt 2 don’t feature the 76 compressor mode and they have a completely different design. Otherwise, all the volt models are equipped with the same circuitry including identical preamps and converters, so you would get the same sound quality regardless of which unit you opt for.

Overall, for a rather inexpensive audio interface, the Volt 476 offers a ton of commendable features and remarkable audio specifications that are comparable to interfaces twice the price. From the extremely useful built-compressor to the high-quality preamp, the 476 has all the tools you need to start recording high quality tracks. We recommend the 476 as an incredibly elaborate interface that can refine your recordings and provide a lot of value.

Universal Audio Volt 476 Benefits

The unit features a built-in 76 compressor which is extremely useful.

The preamps are quiet and offer a fair amount of headroom.

The unit has a very pleasant design.

You get exclusive access to the UA plugin library.

The unit is extremely well-polished.

Universal Audio Volt 476 Drawbacks

The unit is expensive compared to similarly priced audio interfaces.

Input channels 3 and 4 are tailored for pro-grade inputs (+4 dBu) so some consumer grade inputs might not work properly on them.

Audient iD44 MKII USB Audio Interface

Audient’s iD line of mid-range audio interfaces is one of the most popular amongst musicians, home-producers, and audio engineers. The most sophisticated model in the series is the iD44 which is a very powerful and multi-faceted audio interface that features 20 inputs and 24 outputs. 

In terms of build quality, the iD44 is enclosed in an extremely sturdy metal while its knobs are made-up from aluminum. The whole thing weighs around 4.4 pounds which makes it great for on-the-go sessions. The iD44 is also relatively compact considering how many I/O channels it offers and it has a rather elegant yet unobtrusive design which we really like. 

As for the I/O sockets, the back panel of the iD44 MkII features 4 Line/XLR jack inputs 2 of which have their separate send and return sockets. This panel also contains 4 balanced line output sockets, a USB-C port, a 12V port for external power, and a small On/Off switch. We should note that the majority of the iD44’s I/O channels can be accessed through ADAT (16 channels) which is why it features dual ADAT I/O connectors along with a World Clock Out socket. Other than that, you’ll find 2 Instrument inputs along with 2 headphone outputs on the front panel.

On the main panel of the iD44, you’ll find the different controls for the mic inputs which include individual gain knobs, 48V power switches, -10dB pad buttons,  and 100 Hz hi-pass filter buttons. On the right part of this panel you can also find the 2 headphone volume controllers which sit above 3 reprogrammable function buttons and a talkback toggle. The largest knob on the panel is the monitor knob which you can use to control the output volume. Below it are the DIM, CUT, and the ID button which Allows you to integrate the knob as a controller in the DAW.

When it comes to sound quality, we found that the iD44 has a rather smooth, transparent and natural character. The unit features incredibly silent preamps that provide a remarkable 60 dB of gain. They’re extremely detailed and can drive almost all mics while maintaining a rather neutral sound. They also do exceptionally well maintaining the true form of the signal as they add almost no color or noise to the recordings. For the majority of our test, we were using an SM58 dynamic mic which worked great with the iD44. Nonetheless, we still opted for an external cloud-lifter for some additional gain, but you really won’t need one.

As for the converters, the iD44 offers around 122 dB of dynamic range which translates to crisp and granular tracks. They offer a ton of headroom and can capture any recording with immaculate detail while adding zero-noise. We also noticed that the iD44 has immunity to RF interferences which is extremely important in studio environments where there are multiple sources of disturbances.

One thing we should note is that the iD44 has a maximum sample rate of 96kHz and a 24-bit depth which might be an issue for some considering that almost all audio interfaces at this price tag offer a 192kHz sample rate. However, we rarely ever use more than a 96kHz sample rate even for high-grade recording and you also probably won’t need this option. Additionally, while we do believe that the unit has top notch build quality and design, we would’ve appreciated if Audient made the device slightly tilted since the current parallel panel design can obscure your line-of-vision to the controls if your interface is set on the desk.

The Audient iD44 MkI was released back in 2018, 4 years prior to the release of the MkII. Both units look exactly the same except that the MkII metal frame has a slighter darker hue and the colors on the button were stripped away in the 2nd model. Both units also have the same number of I/O channels. However, the MkII allows you to connect ⅛’’ headphones to one of the output sockets unlike the MkI. In terms of sound quality, we saw small improvements in dynamic range, THD+N, and EIN specifications between both models. The high-frequencies on the MkII also sound much more smoother and tamed when compared to the MkI. We appreciate that Audient actually implemented notable upgrades to the iD44 considering that the time between both unit’s releases is relatively small.

All in all, the Audient iD44 MkII is an extremely reliable unit that produces exceptional sound quality and offers a lot of great features. At its price range, we don’t think that any other audio interface with a similar I/O configuration can compete with the iD44’s remarkably silent and transparent preamps. If you want a price-efficient audio interface that can consistently produce great tracks, then we recommend the iD44 as an incredibly all-rounded unit that you can’t go wrong with.

Audient iD44 Benefits

The unit’s preamps are extremely silent and provide a lot of headroom (60 dB)

The converters are very accurate and detailed.

The iD44 has a lot of onboard features that are extremely useful

The unit has RF immunity.

The device is well-designed and has great build quality.

Audient iD44 Drawbacks

The iD44 only features up to a 96kHz sample rate and a 24 bit depth.

The unit’s parallel panel design isn’t very practical.

Verdict 

Based on our scoring model, you can see that there is a 0.4 score variance between the highest and lowest scoring units. If you look at the scores in each category individually, you’ll find that the highest variance is in the Input/Output and Additional features categories. The iD44 takes the lead when it comes to the Input/Output category which is expected considering that it features a 20×24 I/O configuration compared the Volt 476’s 4×4 and the SSL2+’s 2×4 configurations. On the other hand, the iD44 scores on par with the SSL2+ in the additional features category where the UA Volt 476 excels because of its built-in compressor, vintage mode, and extensive UAD plugin library.

The Audient iD44 remains fairly consistent throughout as it doesn’t score below 7.5 in any given category. It also scores the highest in 2 out of 5 categories which are the Input/Output and Sound Quality categories. Compared to the other 2 units, the iD44 offers the highest dynamic range and gain range along with the largest number of input channels. It also has a lot of great features like the talk-back function and the iD scroll-wheel . Conversely, the iD44 scores the lowest on the Price-to-Performance category which might indicate that it might be unreasonably priced. However, the iD44 is still exceptionally price-efficient, but it’s simply not as price-efficient as the SSL2+ and the Volt 476.

We should also mention that while the UA Volt 476 doesn’t provide the best sound quality compared to the other 2 units, it is still as an extremely all-rounded device. As you can see, the Volt 476 aces the score in the additional features category while it hovers an average score of 7.5 in the other 4 categories. It is also relatively inexpensive considering the great features it offers which makes it great for people who want to set foot in music production.

Nonetheless, when it comes to the best audio interface with phantom power, the iD44 emerges as a clear uncontended winner . With its remarkably silent, transparent, and high-gain preamps to its extremely accurate converters, the iD44 can produce nothing less than professional grade tracks. It is also an incredibly reliable device that doesn’t have any major bugs/glitches that can negatively affect your recording experience. If you’re looking for a really powerful interface that can flatter your mic inputs and produce exceptional recordings, then we recommend the iD44 as a solid purchase that you won’t regret.

Frequently Asked Questions

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Phantom Power

Phantom power is a means of distributing a DC current through audio cables to provide power for microphones and other equipment.

The supplied voltage is usually between 12 and 48 Volts, with 48V being the most common. Individual microphones draw as much current from this voltage as they need.

A balanced audio signal connected to a 3 pin XLR has the audio signal traveling on the two wires – usually connected to pin 2 (+ve) and pin 3 (-ve). Pin 1 is connected to the shield, which is earthed. The audio signal is an AC (alternating current), whereas phantom power is DC (direct current).

The DC phantom power is transmitted simultaneously on both pin 2 and 3, with the shield (pin 1) being the ground. Since the DC voltage on the ‘hot’ and ‘cold’ pins (2 & 3) is identical, it is seen by equipment as “common mode” noise and rejected, or ignored, by the equipment.

If you put a volt meter on pins 1 & 2, or pins 1 & 3, you will see the 48v DC phantom power, but if you meter pins 2 & 3 (the audio carrying wires) you will see no voltage.

The DC voltage can be harnessed however, and used to power mics, mic-line amps, or indeed a video camera (in this case the DC voltage would travel up the video cable – and would need special equipment to filter this voltage).

In summary, audio signals transmit as AC current, whereas powered equipment requires DC current to operate. Phantom power is a clever way of using one cable to transmit both currents.

How is Phantom Power Generated?

Phantom power can be generated from sound equipment such as mixing consoles and preamplifiers. Special phantom power supplies are also available.

Does Phantom Power Affect the Audio?

Despite occasional reports of damage or unwanted audio disturbance, it is generally accepted that phantom power does not affect the quality of audio and is quite safe to use. However it is recommended that you do not supply phantom power to microphones which do not require it, especially ribbon microphones.

History & Standards

The use of phantom power dates back to early telephone systems, with the first commercial phantom-powered microphones being released in the 1960s. Since then there have been several versions and standards for phantom powering, including:

• DIN standard 45 596
• IEC standard 268-15A

A-B and T-Power are similar power systems that are now obsolete.

• Most earth-lift switches will disable phantom power.
• High-impedance microphones, or microphones with unbalanced outputs, are not compatible with phantom power.
• Some non-standard consumer components use a feature they call phantom power, but is not true phantom power. These devices may cause damage when connected to a true phantom-powered device.

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PreSonus AudioBox iOne 2x2 USB/iPad Audio Interface, 1 Instrument Input & 1 Microphone Input With Low-Noise, High-Headroom, Class A Mic Preamplifier & +48V Phantom Power | P-I-one

• Warranty: 1 Year    Effortless warranty claims with global coverage; shipping costs are on us*. Learn more

•  Condition: New
• Deliver To Moscow Change Delivered by Nov 23 If you order within 15 Hours, 38 Minutes

Description for PreSonus AudioBox iOne 2x2 USB/iPad Audio Interface, 1 Instrument Input & 1 Microphone Input With Low-Noise, High-Headroom, Class A Mic Preamplifier & +48V Phantom Power | P-I-one

Record Anything, Anywhere.The Singer/Songwriter’s Best Friend

AudioBox iOne: The USB/iPad Audio Interface for Guitarists and Songwriters.

The audio interface for guitarists and songwriters on the go.

Inspiration is everywhere for singer/songwriters, so bring your studio with you and record wherever you go. The two-input PreSonus AudioBox iOne lets you capture your voice and instrument on your Mac, Windows PC, and iPad. Simply plug in your guitar and microphone, and you’re ready to create! USB bus-powered and bundled with powerful, easy-to-use recording software, the AudioBox iOne makes it easy to capture ideas and create professional-quality recordings.

Mobile recording made easy.

The AudioBox iTwo audio interface and its software library make recording your compositions and tracks easy! Record in stereo on your iPad with free Capture Duo or record up to 32 tracks with affordable Capture for iPad. Then wirelessly beam your iPad tracks to our award-winning Studio One recording and production software for Mac or Windows for editing and mixing. Or do the whole project on your laptop with Studio One. Either way, the AudioBox iTwo and its software library provide all the tools needed to record on the road and in the studio.

Studio One Artist makes recording a breeze

No other entry-level recording and production software is this easy to learn and use, yet is capable of creating studio-quality output. Studio One Artist lets you work quickly and stay focused on your inspiration, offers unlimited tracks and plug-ins, and delivers features not normally found in entry-level DAWs. Access powerful editing tools without wading through menus. Load and save audio clips, MIDI files, and effects by drag-and-drop. Studio One makes it easy!

6-8 Days Delivery in Russia We offer express delivery to Russia, Moscow, Sant Petersburg for PreSonus AudioBox iOne 2x2 USB/iPad Audio Interface, 1 Instrument Input & 1 Microphone Input With Low-Noise, High-Headroom, Class A Mic Preamplifier & +48V Phantom Power | P-I-one. Best Price Guarantee We offer the best price for PreSonus AudioBox iOne 2x2 USB/iPad Audio Interface, 1 Instrument Input & 1 Microphone Input With Low-Noise, High-Headroom, Class A Mic Preamplifier & +48V Phantom Power | P-I-one in Russia, Moscow, Saint Petersburg. Buy now with the best price!

Specifications for PreSonus AudioBox iOne 2x2 USB/iPad Audio Interface, 1 Instrument Input & 1 Microphone Input With Low-Noise, High-Headroom, Class A Mic Preamplifier & +48V Phantom Power | P-I-one

• 02 December, 2018
• 22.86 cm x 8.12 cm x 22.35 cm

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• IED1544AIO-D

4 x 4 Analog/Dante I/O Module

The IED1544AIO-D is a 4-input (2 flow) x 4-output (2 flow) mic / line level analog pre-amplifier that converts analog audio signals to Dante® network audio. Multiple channels of Dante® network audio can be transported over standard IP networks. The IED1544AIO-D 4x4 Dante® I/O Module features four analog balanced mic or line inputs (selectable) and four balanced line outputs. The four analog inputs are converted into Dante® network audio and can be routed via Dante Controller™. The four outputs convert Dante® digital audio received over the LAN into analog audio. There are indicators for network connection, network audio traffic, and power. Each input can be selected to Line or Mic level. In Mic mode, each input has 3 gain selections with Phantom Power. The IED1544AIO-D requires no external power supply. It is powered via a network PoE port or a PoE injector.

NOTE: For GLOBALCOM® GCK systems, the IED1544AIO-D acts as a 2x2 I/O device. For GLOBALCOM® EN5400 systems, the IED1544AIO-D also acts as a 2x2 I/O device, with the exception that all four outputs can be used, but only if they are receiving from no more than two distinct sources.

Dante® Digital Audio Platform

Analog Line or Mic Level Input

Convert Analog Mic/Line Audio to Dante® Network Audio

Convert Dante® Network Audio to Analog Audio Out

48V Phantom Power

Input Signal & Peak LED Indicators

Independent Gain Selection on Each Input

Analog Balanced Line Output

Output Signal LED Indicators

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