A bird’s eye view of the 4th generation Scalett range from Focusrite.
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Most producers and musicians today know Focusrite for their interfaces, but their history runs much deeper than that.
Originally founded by Rupert Neve to make high end consoles in the 1980s, they have been on the front lines of professional audio innovation for over 40 years.
In the early 2000s, Focusrite emerged as one of the most dominant names in pro audio interfaces, and in more recent years, their entry-level Scarlett series have become what is quite possibly the best-selling line of studio interfaces in history.
Focusrite is now on its 4th generation of the Scarlett interfaces, which emerged in 2023 with the Solo, 2i2 and 4i4 and was completed in September of 2024 with the release of the 16i16, 18i16 and 18i20. I got a chance to do a hands-on review of one of the flagship models, the 18i20.
Whether you need an interface with a larger channel count for music production, sound design, or streaming, the Focusrite Scarlett 18i20 is a remarkably affordable option that delivers some shockingly good specs for its price. We’ll take a closer look at it today, and the features of the 4th generation more generally.
Features
The front panel of the Focusrite Scarlett 18i20.
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Design
I’ve been using Focusrite interfaces for a long time. The Saffire Pro 40 got me through my recording program in college. It was a great interface with good conversion and a lot of connectivity for integrating external gear.
On practically every level that we can measure, the Focusrite Scarlett 18i20 blows it away.
The enclosure design is familiar, a 1U 19” rack unit with two combination XLR1/4” inputs on the front, with the rest located on the rear. Channels are selected via buttons and dialed in with a global Input knob.
To the right of the Input (gain) control there are six buttons to link channels, add phantom power, engage the Hi-Z function, Auto, Safe. Finally there is a button for the Air feature, which adds presence to the upper midrange and high end.
The monitor section is in the middle, with LED metering over the eight channels and the stereo outputs. Conveniently, there are buttons to switch to alternate monitors, and Mute, Dim, and Output. There are two headphone outs with gain controls and a talkback feature.
On the rear are various types of I/O, including SPDIF, Optical, Word Clock Out, and MIDI connections for connecting the interface with other gear. Ten ¼” outputs include connections for Main and Alt monitoring, and six outputs for adding external processing. Eight combination inputs let you route everything through the rear if you like to keep your studio space clean.
RedNet Converters
Let’s start with one of the most impressive features—the converters. They’re derived from Focusrite’s RedNet 24-bit, 192kHz AD/DA conversion found on some of the highest-end interfaces in their lineup. They increased the dynamic range to 122dB to handle any sound source, no matter how much air it’s pushing.
Preamps
The preamps deliver up to 69dB of gain and are a step up from the 3rd generation models. Auto Gain and Clip Safe cuts down some of the time spent on gain staging and keeps levels in check, though it’s still better to take the time to dial everything in manually if you have the option.
Channels 1 and 2 have front and rear panel inputs. So if you need to catch inspiration quickly you can just plug in and record. If you like to keep your cabling organized, you can keep things flowing through the back. This is a convenient design that will appeal to professionals and project studios alike.
Auto Gain and Clip Safe
Auto gain works by hitting the button and playing a part for 10 seconds. It chooses the ideal gain setting considering the available dynamic range and headroom. Clip Safe monitors levels to prevent distortion so no takes are wasted. All eight preamps can use both features simultaneously.
All inputs have a Hi-Z mode. Nothing compares to the dynamics and articulation of a real amplifier, but Focusrite did a great job in adding back some of the articulation to the DI inputs.
Air Mode
Air Mode is another very useful feature. It gives a gentle lift to the high end presence that sounds modern without being harsh and adds harmonics like the type of pleasant crossover distortion from a high end studio console. Just be careful when using certain microphones that already have a presence peak built into their design!
There are two modes. Presence mode is a modern sound that models the Focusrite ISA sound and Harmonic Drive mode is more of a throwback to the fat and warm sounds of classic British preamps.
Focusrite reengineered both modes from previous generations to give more character to the preamps, so they perform more like vintage models.
The rear panel of the Focusrite Scarlett 18i20.
Buy it new on Sweetwater, B&H, Thomann, or Amazon. Look for deals on Reverb.
I/O
One of the areas where the Focusrite Scarlett 18i20 really shines is the I/O. There are eight combination XLR/TRS outputs and 10 total ¼” TRS outputs. Two are designated for mains monitors (with built-in talkback microphone), the others can be used for a second monitor set or for integrating outboard hardware.
The I/O configuration supports multiple standards. Besides the TRS outputs the unit also supports MIDI, ADAT (dual I/O), Word Clock, and SPDIF. This means you can integrate all different types of hardware processors, expand the channel count with more I/O, and achieve in-depth MIDI routing.
In Use
Smaller versions of the 4th Gen Scarlett, like this 2i2 are also available.
Buy it new on Sweetwater, B&H, Thomann, or Amazon. Look for deals on Reverb.
For an interface with this much going on, it’s pretty seamless to use once you dive into how the features are designed to work.
The preamps have clarity and detail without introducing noise. Via remote control you can set the levels without being at the desk through the Focusrite’s Control 2 Android and iOS apps. This gives you freedom to move around the recording space without being tethered by cables to dial in sounds just right.
I tried it out with my 1073 clone, and it takes external preamps really well. There’s no way to bypass the onboard preamps entirely, but like on my old Saffire Pro 40, keeping them at unity (0dB gain) lets you gain stage from whatever external hardware you’re using.
Dynamic Gain Halos
Aside from the previously mentioned gain staging assistance via the Auto Gain and Clip Safe features there are “Dynamic Gain Halos” on the front panel. These give you a quick readout of your input and output monitoring so you always have a visual on the levels the interface is reading.
Monitoring
The monitor section features a large, easy access volume knob which is a great upgrade to the small pot I was used to with my Saffire Pro 40. To the left of it are Mute, Dim, and Alt control for switching to a secondary monitor pair.
This not only helps you monitor from the interface, but presents the differential in your DAW channels – if there is one. And thanks to the custom headphone amplifier, loud sessions become easy to manage.
It’s designed to be a studio centerpiece for beginners too. While most people just starting out in audio production might opt for a smaller, less expensive interface, thanks to the Easy Start function Focusrite provides a guided tutorial for getting everything set up properly. Included are tips and tricks for getting the most out of the unit, as well as production suggestions and other educational content.
Loopback functionality is great for streamers, content creators, and hi-fi heads to route a stereo mix through a DAW via virtual inputs.
The entire Scarlett range comes with the Focusrite Control 2 software that allows remote control of the interface and digital routing on desktop, mobile or tablets.
Buy it new on Sweetwater, B&H, Thomann, or Amazon. Look for deals on Reverb.
Bundled Software
The included Hitmaker Expansion software bundle gives you everything you need to start working right out of the box, and makes a great complement to your existing library of software tools.
You get a three-month Pro Tools Intro+ with essential audio and MIDI tools needed for any kind of music production, as well as a curated selection of over 80 effects and instrument plugins. Also included is six months of FL Studio Producer Edition, as well as Ableton Live Lite. There’s also a three-month subscription to Splice that provides access to all kinds of royalty-free content.
Additional plugins include amp simulations from Marshall, virtual instruments from Native Instruments, Brainworx, XLN Audio, Antares Auto-Tune Access, and Sonnox, among others. All plugins are officially licensed. You even get the venerated Focusrite Red compressor, one of the favorites of legendary mix engineer Chris Lord-Alge.
To Be Critical
There’s very few things not to like about the Focusrite Scarlett 18i20. Depending on how your recording rig is set up it might be a bit of overkill with the I/O. But that’s also one of the things that makes it so versatile, and there are smaller models in the Scarlett lineup to serve what you need for ins and outs.
I found the gain pots to be one of the things that could be designed better. The pots have infinite travel, and the only indication of where it’s at in the travel is a somewhat mystical halo LED. This potentially makes it more difficult to dial in the ideal volume quickly.
Fortunately, the Halo metering around the knob and via the interface’s panel meter and the metering in my DAW helped, but it’s still a little inconvenient. Don’t get me wrong, the front panel digital metering is accurate, and the Gain Halos are a nice touch that most interfaces don’t offer. But in my opinion it’s prettier to look at than it is efficient.
When it comes to playback, it seems like I have to push my powered monitors higher than usual to get the same output level I get with the interface I’m currently using. The front panel monitor controls are useful, but like all interfaces you need to be within arm’s reach of the interface to use them. If you’re recording yourself, it’s not a bad idea to integrate a monitor controller or opt to connect your mobile device to the Focusrite Control 2 software.
Additionally, it runs on mains power, which could be an inconvenience for some users. But this also means it doesn’t drain your computer battery like bus-powered interfaces do.
The Control 2 app is an innovative way to set up routing, configure monitor mixes, and manage levels, on PC, Android, Mac, or iOS device – but there is definitely a learning curve to consider.
If you’re just starting out or just need a simple way to get signal into your DAW it’s probably a little above your budget. But when it comes to providing a platform for future gear expansion there are few that offer this level of expandability under $1,000.
Summing Up the Focusrite Scarlett 18i20
Focusrite has long offered 8-channel interfaces at a midrange price point, and this 4th generation in the Scarlett series is their best yet in the sub $750 category.
The Focusrite Scarlett 18i20 combines the best of the history of Focusrite interfaces with modern features like “Air” mode that add versatility to capturing sounds. It has a feature set that easily appeals to audio veterans and beginners alike.
Whether you have a professional facility, home or project studio, or anything in between, if you’re looking for a new centerpiece for your recording setup going with the fourth generation Focusrite Scarlett 18i20 won’t have you seeing red.
A huge thank you to the Focusrite team for providing me a hardware unit to test drive.
Brandon Stoner is a lifelong musician and certified audio engineer who owns more guitars than anyone needs. As a lover of all things writing and music technology, he crafts every piece with his dog Max on his lap.
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