Zoom’s new AMS audio interfaces can switch between music and streaming modes at the flick of a switch
Whether you’re recording or performing to the world, they should have you covered
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There isn’t exactly a shortage of audio interfaces on the market, but Zoom is attempting to differentiate its new AMS models by saying that they’re perfect for the modern musician who also does a bit of streaming, too.
To this end, two of the three models - the AMS-24 and AMS-44 - feature a switch that enables you to flick instantly between music and streaming modes. In music mode, you can access expanded input and output routing options; in streaming mode, all inputs are combined into a single signal for broadcasting.
The AMS-24 is a 2-in/2-out device that offers two XLR/TRS combo inputs with Zoom’s low-noise preamps. There are also two headphone outputs and two TRS outputs for external monitors.
The AMS-44 is very similar but, being a 4-in/4-out interface, adds a couple of additional combo inputs.
Other features include direct monitoring and a Loopback switch that combines the input with playback from your computer - useful for adding background music to a stream or singing live over an instrumental track.
We shouldn’t forget about the AMS-22, either. The baby of the family, this is a 2-in/2-out interface that has a single XLR/TRS combo input and a stereo line in, plus headphone and monitor outputs. It also boasts the aforementioned direct monitoring and loopback features.
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All three interfaces can be powered over USB or AC adapter, with the AMS-24 and AMS-44 also having an AA battery power option. There’s support for PC, Mac, iOS and Android.
We’re still waiting on prices for the AMS interfaces, but we’re guessing they’ll be pretty affordable. Find out more on the Zoom website.
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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.
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