Whenever I feel irrationally optimistic about the state of the world, I go to YouTube and check out appalling videos about recording.
Granted, some videos are excellent, but I can avoid those simply by looking for gear-related videos with “scam” in the title. In many of them, the people—most of them poster children for the phrase “a little knowledge is a dangerous thing”—expound on their groundbreaking discovery that the manufacturers of audio hardware and software are Agents of Satan who laugh sadistically as they pillage our bank accounts.
(We’ll ignore the irony that these same people use click-bait titles to try and monetize their channels.)
Lately, I’ve seen videos along the lines of, “This expensive, high-end audio interface uses the same D/A converters and op amps as this interface that costs one-tenth the price! How stupid do they think you are? You’re being scammed!”
First, let’s make sure we’re on the same page. It might seem odd that I would defend high-end gear passionately because, frankly, I have a pretty average studio. Also, I believe that it’s possible to make emotionally compelling recordings with mid-tier and even low-end gear. I once worked with a label whose most successful artist was signed based on a demo done with a Yamaha DX7 and Casio keyboard, recorded on a cassette multitrack. Regardless, the artistry was undeniable.
Fortunately, though, I occasionally get a high-end gear reality check when visiting places like Nashville’s Blackbird Studio. Likewise, while recently presenting a seminar at the University of Rochester’s recording studio, I played some audio examples recorded in my studio—and their playback quality was definitely better. (At least being able to confirm that my material was recorded and mixed properly offset the jealousy…somewhat.)
So, let’s discuss what the “you’re being scammed” people don’t realize about the factors involved in the price of high-end gear.
THE COST OF QUALITY
An audio interface is about more than just chips—factors such as stability and longevity also matter. Consider the audio path’s coupling capacitors. The three main types used for applications requiring high capacitance are aluminum electrolytic, aluminum polymer electrolytic and tantalum. High-end gear designers choose the capacitance type carefully.
Aluminum electrolytics are the least expensive, but they dry out over time, their values drift with age and heat, and when they leak out over a circuit board, your gear becomes a lovely doorstop. So, yes, an interface with bargain electrolytics may sound fine—for a while. But polymer electrolytic or tantalum capacitors can maintain their original performance for decades, if used within their ratings.
Regarding stability, when capacitor values change, the frequency response of circuits using them changes, too. (A side note: The capacitance of cheap ceramic capacitors used for guitar tone controls can vary over a +80/-20% range and is affected by temperature. This is why a guitar’s tone changes when you bring it in from the cold, or it gets hit by stage lights.) Tantalum capacitors have less series resistance and fewer impedance issues, so, they’re ideal for precise frequency response and minimal DC offset, especially over time—but they’re much more expensive, and tantalum is a conflict metal.
Fortunately, polymer electrolytics are nearly as good and less expensive (but still not cheap). Then again, for applications like decoupling with large-value capacitors, aluminum electrolytics are a more practical choice. And ceramics are best for high-frequency bypassing. In either case, though, high-quality versions cost more.
Other factors contribute to audio quality and longevity. A multilayer circuit board can include ground and power planes for less crosstalk between channels, less voltage sag under transient loads, and lower-impedance return paths to make op amps happy.
Furthermore, heat is the enemy of electronic components, so high-end units spend more on heat sinking and thermal design. Standard carbon resistors generate noise internally—unlike metal-film resistors that generate virtually no current-induced noise, and are built to much tighter tolerances.
PRICE MEETS VALUE
Multiply an audio interface’s channels by the number of resistors and capacitors, and those costs add up. And there’s more. For example, the “it’s a scam” people seldom consider crosstalk. The lowest audio interface crosstalk I’ve measured had a design with separate power supplies and separate power rails for the left and right channels. I’ve also measured budget interfaces whose crosstalk is insanely bad at some frequencies. The Scam Police don’t talk much about that.
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Want more? Because high-end units sell in smaller quantities, there are fewer opportunities for quantity pricing on costly parts. Beyond the hardware, low-latency drivers are difficult and expensive to write. However, they’ll make you a lot happier than when a company says, “Go download ASIO4ALL.” There are also the usual costs of doing business, which have to be amortized over a small number of unit sales.
This is not a diss on lower-end gear, which has made it possible for people to create home studios with audio quality that exceeds what high-end gear provided not that long ago. Sure, some high-end gear may cut some corners, but to say that all high-end gear is a scam involves ignorance, not truth-telling.
Professionals want inputs with identical characteristics, drivers with imperceptible latency, and consistency with respect to frequency response and distortion. More importantly, they not only need products that sound excellent, but can maintain that quality running 24/7, year in and year out, well into the future. For them, the least-expensive solution may just be the one that costs a little more.
