NAMM 2018: Audient’s iD44 is its most powerful desktop audio interface yet

NAMM 2018: Audient has already impressed in the desktop audio interface market with the iD4, iD14 and iD22, and now it’s setting its sights on the slightly higher end with the iD44.

This offers four Audient Class-A mic pres that deliver 60db of gain and options for digital expansion.  

"iD44 is the natural expansion of Audient's high performance audio interface range, building on award-winning features; utilising high grade components and adding innovative, new enhancements inspired by listening to our customers' feedback," says Andy Allen, Audient's marketing manager.

"As with our smaller interfaces, the mic pres are the exactly the same as those you find in our large format recording consoles, making us the only company to use the same discrete Class-A mic pre throughout our entire product range. iD44 continues to deliver real analogue heritage right to our customers' desktops."

Specs are below, and you can find out more on the Audient website. It’s expected that the iD44 will ship in the first quarter of 2018 at a price of $699.

Audient iD44 specs

  • 20-in, 24-out Desktop Interface 4 x Class-A Audient Console Mic Preamplifiers with 60 db of gain
  • Class Leading AD/DA Converters
  • 2 x ADAT Inputs & Outputs for Digital Expansion
  • 2 x Discrete JFET Instrument Inputs
  • 2 x Fully Balanced Inserts
  • 2 x Independent Stereo Headphone Outputs
  • Main and Alt Speaker Outputs
  • ScrollControl
  • 3 x User Defined Function Keys
  • Dedicated Talkback, Dim and Cut Controls
  • Low Latency DSP Mixer
  • Word Clock Output
  • USB2.0 Compliant
  • 24bit/96khz
  • All-Metal Enclosure
  • Over £500 worth of plugins and software free with ARC

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Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.